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(2018) Travail vidéo diffusant l'éthique de la représentation raciale dans le monde numérique et du jeu. Mon emploi / travail en tant que monteur pour la région Afrique dans un jeu vidéo de sport, et en tant qu'artiste apprenant l'agence et la représentation, m'a conduit à créer cette œuvre. Les couleurs et les cheveux d’une liste d’options assignées aux traits du visage africains et asiatiques dans une base de données de création de joueurs sont arbitraires comme une critique d’avoir dit les "options" sélectionnées en premier lieu. La falsification des fonctionnalités se produit avec un audio qui capture les exhalations et les réactions d'un joueur réel à ce jeu pendant qu'il est joué. Cela se produit en anglais puis en français - les deux plus grandes puissances coloniales de l'histoire de l'Afrique. Le titre est une pièce de théâtre sur le mot "eugénisme", qui était une pseudo-science développée en Europe qui avait des visuels et des croyances biologiques distinctifs sur le plan racial.

Joe Turpin est un artiste visuel Sud-Africain. Né à Johannesburg en 1995, Turpin a obtenu son baccalauréat spécialisé en beaux-arts de l?Université de Witwatersrand en 2018. Le travail de Turpin est inspiré par l'histoire, la narration et le symbolisme, où l?idée exige le médium. Turpin a montré son travail à l'échelle internationale dans des expositions et des publications et a participé à des programmes de résidence. Il vit et travaille à Johannesburg.

Migrant shipyard workers on the Adriatic coast spend their daily routine in their dormitory. In the evening, one of them visits a nearby town.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule für bildende Künste Hamburg) and a “Meisterschüler” degree in Arts and Media from the Berlin University of the Arts (Universität der Künste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

Paranon est constitué de deux compositions parallèles en contrepoint, l'une visuelle et l'autre sonore, fondées sur les propriétés des ondes sinusoïdales. Les générateurs d'ondes sinusoïdales programmés qu'utilise Zeno van den Broek permettent de générer des interférences, de décaler les phases et d'alterner les fréquences avec une grande précision. L'écriture en contrepoint crée une tension et des résultats inattendus entre l'onde sinusoïdale initiale et les répétitions qui suivent. Les deux compositions parallèles introduisent à une beauté du son pur et explorent la richesse des collisions d'ondes sonores, créant des événements visuels et sonores inouis.

Zeno van den Broek est compositeur et artiste, né aux Pays-Bas et basé à Copenhague. Il travaille de manière multisensorielle pour rechercher et interroger des notions physiques, sociales et acoustiques. Il utilise des moyens audiovisuels pour créer des œuvres spécifiques à un lieu et à un concept. Cette méthode transdisciplinaire a une base conceptuelle solide, issue d'une formation en architecture, qui permet à Zeno de comprendre et de révéler la richesse et la complexité de la perception spatiale, viscérale et physique. Il travaille avec un langage artistique caractéristique fondé sur des éléments minimalistes et fondamentaux tels que les sinusoïdes, les lignes, le bruit et les grilles. Il travaille avec des instituts de recherche tels que la Fondation Gaudeamus, la LIMA et la Old Church d'Amsterdam. Son travail est présenté à l'international dans des lieux et des festivals tels que le Festival international du film de Rotterdam, Sonic Acts, les Rencontres Internationales Paris/Berlin. Sa musique est distribuée par des labels tels que Moving Furniture Records, Unsounds et The Tapeworm.

A horse in different shapes, obscurity, digital artefacts and an electroacoustic soundscape are the main travelers on an abstract journey through the night. --A short film entirely based on footage from unsecured live surveillance cameras-- Synopsis: A cave with an animal trapped inside? An eyeball vaguely reflecting a horse asleep? A peephole into the black night? A dark side of the globe? With the exception of a few cars passing, some sleepy village is lacking traces of human activity. In the dimly lit interiors of a house no movements are to be detected. A few trucks hit a road that eventually leads to a hallucinogenic crossroad and a stable with a psychedelic horse. The horse is restless and behaves oddly. Under sea level a couple of predator sharks are slowly exploring the waters. The nearby beach remains empty. Some insects do appear, but they can’t stop the night from turning into something more obscure and less comprehensible. The eyeball shelters a horse in many shapes. The dark side of the globe approaches. The peephole sucks itself deeper into the night.

Jeroen Van der Stock (°1979) is a Belgian-born filmmaker who earned his Masters in Audiovisual Arts from the Luca School of Arts in Brussels. In his work he often explores ideas around rejection, dysfunctionality and abandonment. Van der Stock his video works have been screened at film festivals including Rotterdam, Oberhausen, CPH:DOX, Jeonju and RIDM. His short film ?Night Horse? won the Grand Prize at the Image Forum Festival and was nominated for the Found Footage Award at IFFR 2019. Van der Stock is currently living and working in Kanagawa, Japan.

Des enfants de Bruxelles, d’Athènes et de Sarajevo déploient des bandes transparentes de ruban adhésif dans les rues où ils grandissent. Quand ils les enlèvent, une empreinte de la ville se dessine : poussière, sable, emballages de bonbons, insectes, verre, peluche... Un journal ultra-réaliste qui s’anime à travers une vieille lanterne magique. Toutes ces formes et ces images nous renseignent-elles déjà sur l’avenir ?

Sarah Vanagt a d’abord étudié l’histoire à Anvers, dans le Sussex et à Groningen, puis le cinéma à la National Film and Television School de Londres. Dans ses documentaires et ses installations vidéo, elle essaie toujours d’approcher l’histoire avec poésie et imagination. Des questions telles que la façon dont nous traitons (les traces du) le passé, comment nous le mettons en image et comment nous gérons notre mémoire collective deviennent tangibles. Palpables.

From an archive of poetry written by youngsters at the former youth centre Rzoezie (Amazigh for “wasp”, ‘78-‘06) in Mechelen (Belgium), the original authors and contemporary poets revisit, recite and discuss their selection of poems, probing their resonance in today’s social and political “weather”.

Robin Vanbesien is a Brussels based filmmaker, artist and cultural worker whose films, installations and performances inhabit an explorative search for a ‘co-elaborative’ feeling and thinking that is social and material. His debut film, Under These Words (Solidarity Athens 2016), and the associated book, Solidarity Poiesis: I Will Come and Steal You, constitute an account of the social poetics of solidarity work. His work has been shown at various venues internationally (a.o. Contour Biennale, transmediale, Lumiar Cité, Athens Biennale, Sculpture International Rotterdam).

Mona Vatamanu & Florin Tudor, born 1968/1974, work together since 2000. Based in Bucharest, currently living in Berlin (DAAD Berliner Kunstlerprogramm). Selected Solo Exhibitions: 2009 - Mona Vatamanu & Florin Tudor, All Power to the Imagination!, Secession, Grafischess Kabinett, Vienna; Mona Vatamanu & Florin Tudor, Surplus Value, BAK, basis voor actuele kunst, Utrecht; 2003 - Living Units, Project Room, Ludwig Museum, Budapest. Selected Group Exhibitions : 2011 - Untitled (12th Istanbul Biennale), Istanbul; Call the Witness, Roma Pavilion Collateral Event, 54th Venice Biennale, Venice; Image projected until it vanishes, Museion, Bolzano; 2010 - Flying Down to Earth, FRAC Lorraine, Metz; Modern Dialect, M HKA, Museum of Contemporary Art, Antwerp; Shockworkers of the Mobile Image, 1st Ural Industrial Biennial, Ekaterinburg; Over the Counter, Mucsarnok Kunsthalle, Budapest; 2008 - 5th Berlin Biennial, When Things Cast No Shadow, KW Institute for Contemporary Art, Berlin; 6. Gyumri Biennial, Transformation of History or Parallel Histories, Gyumri; Art as Gift, Periferic Biennial 8, Iasi; Like an Attali Report, but different, On fiction and political imagination, Kadist Art Foundation, Paris; 2007 - 52nd Venice Biennial, Romanian Pavilion, Low-Budget Monuments, Venice.

Sleeping Beauty was poetically made in Super8 later digitalized and it was inspired by a short story I wrote in Paris in 1973 about a woman who waits eternally for her lover who never shows up.

Regina Vater is one of the pioneers in the use of video as an art form. Her first work in video, shot in Paris in 1974 upon the invitation of Ruth Escobar, was a poetic documentary about Escobar’s theater group from S.Paulo, which was later finished by Andrea Tonachi. Regina made her second video, “Miedo”, in 1975, sponsored by CAYC of Buenos Aires. Most of her extensive video work was realized with very limited budget. Her videos were shown in several American festivals. Examples of the many awards and honors her work has received are, among others: honors from the American Film Institute; the Best of ACTV Programming; Video Travel Grants Pilot From the Arts International & National Endowment; "My Own Home Town" award for video; GPIA grant from Program for Interdisciplinary Artists - Southwest Alternate Media Project and New Jersey Council for the Arts Fellowship.As an artist, Regina has also received many other international awards, such as a Guggenheim Fellowship in 1980 which brought her to the U.S. From 1980 to 1985, she lived, worked and had many shows in New York. Regina lives and work in Rio de Janeiro Brazil.

We get in touch with the creative processes of both artists. At the beginning of the video, we see a small interview with Xolisile, which shows how the previous interaction was. He does not want to verbally negotiate his interests, proposing an exclusively corporal dialogue. When asked about his opinion on the system of rules with which is proposed to work, Xolisile continues with an enigmatic and powerful career that works as an escape and as a response at the same time.

This documentary is about the wind, birds, sweat, hands, a wheelbarrow, drought and burial. Could it be possible to disappear in the desert? Totoral is a town that disappears between its hills. a town that was born and raised by the land, by their animals and by survival. The desert is constantly mutating, the trees get drier and the men get older. These men, together with their animals, erase their footprints and their passage through time.

Javiera Véliz Fajardo est née en 1986, à Copiapó, région d?Atacama, nord du Chili. A suivi d’études en Beaux Arts et cinéma à Santiago. En 2011, avec Bárbara Pestan crée la société de production Pocilga. En 2013 continue ses études à la EICTV à Cuba. En 2015, réalise un master en direction photographique à la ESCAC, en Espagne. Elle a travaillé en plusieurs projets en tant que réalisatrice, productrice et chef opérateur. Son documentaire “Habiter la-bàs n'est pas l'enfer, c'est le feu du désert, la plénitude de la vie qui est resté là comme un arbre”, a eu sa présentation en cinema du Reel 2019, prix tenk distribution. Actuellement elle réalise son deuxième long métrage “Agua Marina”.

In the background of blockbuster films, algorithms have been employed to replace extras in post-production. Since years we are used to scenes in which masses of automated characters fill the screen, animated by algorithms that let them interact, similar to computer games and agents in computational sociology. Such artificial masses are stepping in the foreground. Simulating life began in the movies and computer games, but is influencing many fields today. In architecture, city planning and traffic navigation as well as in predictions of markets and trade, virtual scenarios influence society and change the way we live. Transformation Scenario (2018) by Clemens von Wedemeyer creates a speculative narration on the impact of emulated group behaviour in society. It follows an idea that could be inspired by Jean Luc Godards film Le Gai Savoir: “To find the solution to a problem, be it a chemical or political problem, one has to dissolve it: dissolve hydrogen, dissolve the parliament. Therefore we will now dissolve images and sounds.“ The film is part of a long term project by the artist making reference to the work Mass and Power (1960) by Elias Canetti, shifting the view on imageries of society, crowd control and potentials of masses today. This is especially relevant in times of populism, when numbers are used to construct power, and demonstrations and mass events form moments of resistance.

Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. The artist and filmmaker participated in group shows such as the 1st Moscow Biennale (2005), the 4th Berlin Biennale (2006), Skulptur Projekte Münster in 2007, the 16th Biennale of Sydney (2008), and dOCUMENTA (13) (2012). He had solo shows among others at MoMA PS1, New York, ARGOS Centre for Art and Media, Brussels, the Barbican Art Centre, London, Frankfurter Kunstverein, Museum of Contemporary Art, Chicago, Neuer Berliner Kunstverein and Hamburger Kunsthalle. His works can be found in major collections such as The Museum of Modern Art, New York; Museum Ludwig, Cologne; Tate Modern, London.

A city dweller moves through various routines and encounters throughout a single day. The gradually revealed circumstances point toward a crisis starting to unfold.

Hamid Waheed is a filmmaker and artist currently based in Oslo, Norway. He works with the film and video, as well as utilizing writing and performance. The work often emphasizes characterization and queerness as methods of investigating social/physical structures, with a particular interest in history and archived data. Film projects are initiated through ’Verbal Film’, often in collaboration with other parties. Aside from this, a practice in curating video works is ongoing through the collective ?HÆRK’. He has a BFA in Moving Images from Nordland College of Art and Film.

A two-channel cyclical installation that acts as a personal and conceptual re-tracing of and meditation on the relationship between body, site and choreographic archive. It is a response to the passing of the artist’s friend, mentor and collaborator the British dance artist Rosemary Butcher MBE. The title comes from a note made during a conversation with Butcher some years ago: ‘the actual structure is the material’, surrounded by arrows and scribbles and with no further elaboration. This is an example of the unique phrasing and specificity of words that formed the basis of her choreography. This work is an attempt to apply some of these concerns to the choreographic edit and structural framework of moving image. The film’s spoken narration draws upon phrases and instructions directly from Butcher’s notebooks and interviews; notes made by Williams during conversations and observations throughout their collaborations; interviews with several dancers; and original writing. Two works from Butcher’s archive provide the conceptual backbone of the film. The Site (1983) and Test Pieces (2015) draw their source material from specific ruined sites in Dartmoor and Munich. Williams documents these sites in the present day, drawing connections between them and them and the choreographies they inspired.

Sam Williams (b. 1985, Essex) is a visual artist and filmmaker working predominantly in moving image, installation and performance. This expansive approach to film is a way of questioning what the moving image can be and exploring the connections between the cinematic and the somatic and cinema as a live art. Sam currently lives and works in London, where he is a resident artist at Somerset House Studios. He studied MA Sculpture and Moving Image at the Royal College of Art, graduating in 2016. His first solo show, ‘the actual structure is the material’ took place at Siobhan Davies Dance, London, in 2019. In addition to this his work has been exhibited and screened at institutions such as Outpost (Norwich), Baltic39 (Newcastle), Focal Point (Essex), Jerwood Space, Somerset House, Tate Britain and Sadler’s Wells (London) and Kino Arsenal (Berlin). As part of the audio-visual group Emptyset he has performed internationally and has shown collaborative works with choreographer Rosemary Butcher MBE at The Place (London), Nottingham Contemporary and Akademie der Künste (Berlin).

Somewhere in Denmark Eyad is practicing Japanese. He is alone in his room and sleeps several days in a row. He fled through Europe from Syria. Inam is in her kitchen roasting almond for Maklouba. She is his mother. The extractor hood in her new kitchen doesn’t work properly. In a letter read for Eyad, we learn that the narrator’s mother has died. The two of them meet in this longing for something. Can we say farewell to what was in the past to live in what comes next? Through silent pictures, Sayonara (Goodbye) explores the condition of being lost. 

William Andreas Wivel B. 1988 William Andreas Wivel is Danish born filmmaker, working in several countries, based in Copenhagen. He received his MA in Film Science from the University of Copenhagen in 2014 with a part productional part academic thesis on the subject; queer-feministic film aesthetics. After university he entered The National Film School of Denmark where he graduated in documentary directing in 2019. Specializing in auteur-driven documentary film, his work often has an essayistic approach to story telling with focus on combining strong visuals with in depth character studies. William Andreas Wivel is the director behind several short films and is developing his first feature length documentary where he continues his collaboration with Eyad Dahbour.

Both my parents and grandparents had told about their experiences of witnessing dragon and strange astronomic as kids. These things became part of my childhood memory which I still hold onto deeply. I believe there are some kind of lives and energy that are beyond human existence. They are totems which evolved into symbols throughout thousands of years. Whereas modern science , under the coverage of logic, made every one of us a superstitious bystander. Truth is like an enormous broken flower fading on earth. How do these incidents relate to casual bystanders? The mystery of these beliefs is best understood by peasants, who have intermingled with the land and nature for thousands of years. But are they still there, or are they hidden in a secret way? This is what I have been looking for. It is unique and belongs to everyone. As Nietzsche wrote in “Also sprach Zarathustra”: “You and I even in the mountains we seek something different. I came here to seek more safety, because it is still the strongest tower and will”.

ZHOU YULONG photographer & Artist b. 1978 2000: Worked as Art director of Ogilvy&Mather Co. 2002: Founded DTMPHOTO studio Based in Shanghai

Five authors from different regions of the world read the novel The Shape Of Things To Come by H.G. Wells together and then started writing. The visual artist Tobias Yves Zintel transforms their texts into an experimental video. How have human beings shaped the planet? And, in turn, how has the planet shaped human beings through large-scale climatic changes? And what form will our life together take on if we no longer place the human being above all others?

In his artistic practice Tobias Yves Zintel (1975, Passau, Germany) draws on different genres as film, theater, performance, installation and music. Through conscious border crossings he re-arranges and re-mixes selected parts from these fields and creates narrative documentaries between fact and fiction. In his films, he focusses on existential questions about human identity - its rituals and belief systems and how these are influencing the experience of reality. He also works as artistic/scientific Associate in the Department of fine Arts at the KHM in Cologne.

Set in the millenary Chinese city of Suzhou —now a super modern city— a fragile reconstruction of optical reality fails to fully materialise. Two mysterious characters help the “package” (POV) to follow a linear trajectory of space time, nevertheless there will be several instances to escape the linear construct. Sounds of machine guns, sonic monsters and war explosions do not interrupt the peaceful flow of an evening walk.

Luciano Zubillaga is an artist and scholar whose major works take the form of transdisciplinary research in the intersections of art, philosophy and technology with publicly engaged practice. He recently exhibited work at the Institute of Contemporary Art London ICA, Whitechapel Art Gallery and the Museum of Modern Art, Buenos Aires. His first feature film, Things to Come is based on a graphic music score and performed by German star Hanna Schygulla. In 2008, Luciano was the recipient of the London Artist Film and Video Awards (LAFVA) by Film London and Arts Council of England and his work is part of the British Artists? Film and Video Study Collection (BAFVS). He is co-founder of experimental moving image collectives Z.A.S.Z and TcoET. Luciano lives and works in Suzhou, China where he teaches experimental moving image.

A silent city, mysteriously devoid of inhabitants, is crossed by a man who has come from a faraway country. The anonymised architecture that composes the urban landscape guides the person into an inaccessible space, the city cemetery, which will make him reflect on his own identity.

Enea Zucchetti was born in Lugano in 1996. Since childhood he has developed a strong interest in cinema and visual arts. In 2017 he moved to Milan where, influenced by the language of documentary and photography, he began to experiment with the image through audiovisual projects. Currently his artistic research touches on the themes of architecture, urban planning and contemporary landscape. His first short film, "L?azzurro del cielo", was selected at the 72nd Locarno Festival and other national and international film festivals.