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Der Titel Golden Boys leitet sich von den Golden Boy Promotions in Los Angeles ab. Sie nehmen junge Boxer unter Vertrag und organisieren monatlichen Kämpfe in der Stadt. Mit Golden Boys assoziiere ich eine Band, eine Gang oder eine andere Männergemeinschaft. Ich sehe das Boxen als eine Art Gemeinschaftsritual, junge Männer trainieren in kleinen Gruppen und sind als Sparringpartner körperlich eng verbunden. Mich interessiert ihr Zusammenschluss als eine Abgrenzung von ihrer Umgebung und als Eintritt in eine eigene Gegenwelt. Der Soziologe Loic Wacquant schreibt in seinem Buch Leben für den Ring. Boxen im amerikanischen Ghetto, dass die Sporthalle einer Entbanalisierung des Alltags gleicht. Mittels Trainingsroutine und Körpermodellierung bietet sie Zugang zu einer anderen Welt, in der sich Abenteuer, männliche Ehre und Prestige mischen. Gleichzeitig ist das Boxen eine der einsamsten und individuellsten Sportarten. Jeder steht allein im Ring, in minimaler Bekleidung. Der Körper ist das Kapital des Boxers, er wird eingesetzt im Kampf und unterliegt dabei einem hohen Verletzungsrisiko. Es ist eine Aufführung des Körperlichen auf erhöhter Bühne, umringt von Zuschauern. Hierin spiegelt sich die Sehnsucht wahrgenommen zu werden und der Wunsch, unsterblich zu sein. Boxen ist ein Kampf um Anerkennung. Wenn du ins Profigeschäft einsteigen willst, musst du es dorthin schaffen. In den USA, da bist du als Boxer noch wer, erzählt mir ein Protagonist aus Golden Boys Igdir. In dem Video begleite ich eine Gruppe junger Boxer aus Berlin zu Vergleichskämpfen in die Türkei. Die ersten beiden Szenen zeigen Alen Rahimic bei der Rasur, die ein Ritual vor jedem Amateurkampf ist. Den Amateurboxern ist es versagt mit Bart in den Ring zu steigen, weil er eine Verletzung im Gesicht verdecken kann. Im weiteren Verlauf sieht man die Jugendlichen bei ihren nächtlichen Treffen in der Hotellobby, die zu dieser späten Stunde von einem halb öffentlichen zu einem privaten Ort und somit zu einem Freiraum für die Gruppe wird. In Golden Boys Maravilla beobachte ich Andre Perez, Martin Urias und Raymond Otanes wie sie mal für mal eine steil ansteigende Straße in East Los Angeles hinauf rennen. Das road work ist Teil des Trainingsprogramms kurz vor ihrem Kampf in Mexiko. Am Ende der Straße steht – unscharf – eine Gruppe Männer, die an eine Gang denken lässt, die mit ihrer Präsenz das Viertel markiert und die Jüngeren vor äußeren Einflüssen abschirmt. Es sind die Trainer und Väter, die einer Kontrollinstanz gleich, ihre Zöglinge überwachen und hüten.We wanna keep them off the streets. Das Boxen soll ihre Söhne von der Straße fern halten. Gleichzeitig machen sie sich die Straße auf eine andere Weise zu eigen. Sie ist ihr Trainingsfeld. In Golden Boys Monterey Park ist Rico Ramos, ehemaliger Weltmeister im Bantamgewicht, einziger Protagonist. Er befindet sich in einer ‚gewohnten Ausnahmesituation‘, hat seine Wohnung und sein soziales Umfeld verlassen und lebt bei seinem Coach im Trainingscamp. In dieser letzten Phase vor dem Kampf wird sein Körper zur Rüstung und Waffe geformt. Mich interessiert der Moment der Isolation. Ramos sitzt wochenlang alleine vor dem Fernseher zwischen den drei täglichen Trainingseinheiten im Gym. Hier beobachte ich die Bewegungen des Körpers, Gestik und Mimik. Auf der Tonebene sind Stimmen und Musik aus dem Fernseher zu vernehmen. Es sind Fragmente, die eine Soundcollage ergeben, die zwischen Realität und Künstlichkeit changiert, ähnlich dem Körper im Raum, der sich in dem bunt aufflackernden Fernsehlicht bewegt. Das Boxen zeige ich in dem dreiteiligen Video nie explizit, vielmehr schwebt es wie ein Versprechen über den Köpfen der Protagonisten und ist verbindendes Element.

Jana Schulz (*1984 in Berlin) lebt und arbeitet in Berlin und Leipzig. 2018 schloss sie ihr Meisterschülerstudium bei Prof. Tina Bara an der Hochschule für Grafik und Buchkunst Leipzig ab. 2020 ist sie Teilnehmerin des Berlin Program for Artists, 2019 war sie mit einem Stipendium der Kulturstiftung des Freistaates Sachsen am International Studio & Curatorial Program in New York. 2018 erhielt sie das Villa Aurora Stipendium der Studienstiftung des deutschen Volkes und den Marion Ermer Preis. Schulz‘ Arbeiten wurden unter anderem im Eigen+Art Lab Berlin, bei Eigen+Art Leipzig, in der Anna Poterasu Gallery Bukarest, in der Kunsthalle Wien, im Museum der Bildenden Künste Leipzig und im Kunstquartier Bethanien Berlin gezeigt. Kommende Ausstellungen sind im Center for Photography Melbourne und im Kunstverein Bremerhaven. In ihren medienübergreifenden Arbeiten setzt sie sich mit Formen zwischenmenschlicher Kommunikation auseinander. In einer prozessualen Arbeitsweise beobachtet sie Strukturen und Dynamiken innerhalb sozialer Gruppen, reinszeniert einzelne Szenen und erweitert ihren dokumentarischen Ansatz um fiktive Elemente.

“Key, washer, coin” is a video piece that combines techniques from the reenactment, animation, music, and other fields to ruminates towards language and capitalist exchange. The formal and semantic languages of advertisements are dissected, breaking the marketing model down to its component parts, highlighting the complex capitalist infrastructure that fuels our economic reality. Advertisement shorts, graphic design pieces, marketing texts are rarely mistaken for art. That is due to a congenital wound: those forms cannot cover up their commercial nature, the evident and immediate presence of the money. The invisible hand of these disciplines is the labor of scientists, formal semantic researchers, cryptographers and engineers. By learning from these disciplines is it possible to create an original flowchart of resources; simultaneously critical, persuasive and disillusioning outcomes/pieces are expected.

Alan Segal is a Buenos Aires-based artist whose work has been shown nationally and internationally. Segal’s video work has been presented at film festivals such as the New York Film Festival, Viennale, Rencontres Internationales Paris/Berlin and, Mar del Plata International Film Festival. Among his recent group exhibitions are include Praising the surface at the Hesell Museum of Art (New York, USA), To push an ism at MAMBA (Buenos Aires Museum of Modern Art, Argentina), The Kitchen (New York, USA), A word is a shadow that falls on a lot of things at Ausstellungsraum Klingental (Basel, Switzerland), Desarticulaciones at Blau Projects (São Paulo, Brazil) and Variaciones sobre lo no mismo at MACBA (Buenos Aires Museum of Contemporary Art, Argentina). He also shows his work in international biennials; Visual Resonances at the BIENALSUR (the South America contemporary Art Biennial) and Draft Systems at The WRO Biennale (Wroclaw, Poland). As a film editor, Segal teamed up Gastón Solnicki for the films Kékszakállú (Argentina/Uruguay, 2016) and Introduzione all ‘Oscuro (Argentina/Austria, 2018). For his work in this film, he won the FIPRESCI award for the Best Editing at the Venice Film Festival. Segal studied at ENERC (Argentine National Film School), Skowhegan School of Painting and Sculpture (USA) and, UTDT Program for Artists (Argentina). He received his MFA from Bard College (USA).

Man sees himself as nature’s interpreter and tamer. But nature does not care about meaning, and its power cannot actually be controlled. It therefore remains silent in the face of man’s increasingly reckless experiment, the catastrophic effects of which will ultimately afflict man himself. The camera follows a panda at Schönbrunner Zoo surrounded by pictures of the Great Wall of China. Silently the panda holds a bamboo brush to paper, makes some marks with ink—pictures—and is rewarded with carrots. How shall we interpret this artistic gesture? The video proceeds to a control room at a never-used nuclear power plant that illustrates yet another despotic panorama, one with the same silence and latent violence. The images are transferred from one context to another, created and recreated in relation to one another. To question what it means is only human, but in the long run probably irrelevant. Text: Lisa Rosendahl

Lina Selander (b. 1973 in Stockholm) lives and works in Stockholm, Sweden. Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are explored and weighed. She examines relationships between memory and perception, photography and film, and language and image. Lina Selander’s solo shows include Kunst Haus Wien; Argos – Centre for Art and Media, Brussels; Iniva, London; Moderna Museet, Stockholm; VOX – Centre de l’image contemporaine, Montréal. She was the Swedish representative at the Venice Biennale 2015. A selection of her group shows include: The Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Belgium. ++++ Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

"A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off", is a voyeuristic glimpse of both local birds and migratory ones that make the Philippine marshlands their home for a time.

Shireen Seno is a lens-based artist whose work addresses memory, history, and image-making, often in relation to the idea of home. She was born to a Filipino family in Japan, where she spent most of her childhood. She has had two solo exhibitions and is a 2018 recipient of the 13 Artists Award from the Cultural Center of the Philippines. Her photo zine Trunks, produced while in residency at Objectifs Centre for Photography and Filmmaking, has been exhibited widely. She started out in film shooting stills for Lav Diaz before going on to direct her debut feature, Big Boy (2012), shot entirely on Super 8. It premiered at Rotterdam and won Best First Film at the Festival de Cine Lima Independiente. Her second film, Nervous Translation (2018), is about a girl who finds out about a pen that can translate the thoughts and feelings of nervous people. It premiered in Hivos Tiger Competition in Rotterdam and won the NETPAC Award for Best Asian Film. Other awards include: Critics’ Prize at Olhar de Cinema - Curitiba International Film Festival, Asian New Talent Award for Best Script Writer at Shanghai International Film Festival, Jury Special Mention at Pacific Meridian International Film Festival of Asia-Pacific Countries in Vladivostok, and Silver Hanoman at Jogja-Netpac Asian Film Festival. It also screened at MoMA as part of New Directors/New Films, Tate Modern as part of their Artists’ Cinema program, and at the Tokyo Photographic Art Museum for Yebisu International Festival for Art & Alternative Visions.

In a faceless apartment in Tatekawa, Tokyo, an American woman hires a Japanese woman to translate interviews about Japan’s declining birthrate. The American woman is presumptuous in her knowledge of Japan; the Japanese woman suffers from a self-professed excess of critical distance. They grate, fight, and crash together in love or lust, at which point their story gets hijacked into science fiction territory, as the translator interrupts their work sessions with stories from a world infected with the knowledge of its own demise. This neighborhood has already known devastation, having been wiped out the night of 9 March 1945 by American bombs. The third protagonist is the Tatekawa itself, the canal covered by an elevated highway that runs past the translator’s apartment, which gives the neighborhood its name. Reflecting back the concrete world in distorted patterns of blue, green, or glittering black, the Tatekawa transports a shifting procession of birds, shoes, condoms, crabs, plastic bags, flowers, big fish, little fish, death, life.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

The Troubled Bear and the Palace. 11 minuets. Walid Siti 2019. At the 7,000 ft peak of the Gara mountains in Kurdistan of Iraq, the remains of Saddam's palace, built in 1989, still stand. 29 years later, in March of 2018, two caged bears were escorted by a group of local media and Kurdish women forces to be ceremoniously freed at the helipad adjacent to the palace. Having lived dependently and in captivity throughout its life, the bears struggled to survive in the wild. One vanished whilst the other was at the mercy of the personnel that guard the telecommunication towers erected at the palace. The surreal juxtaposition of the stressed bear and the dilapidated palace, set amongst the magnificent mountains, encapsulates the tragedy of the people of this land throughout history, from the time of Gilgamesh to the present.

Walid Siti (b. 1954, Duhok, Kurdistan-Iraq). After graduating in 1976 from the Institute of Fine arts in Baghdad, Siti left Iraq to continue his arts education in Ljubljana, Slovenia before seeking political asylum in the UK in 1984 where he now lives and works. The work of Walid Siti traverses a complex terrain of memory and loss, in a world, which for him has been a place of constant change. The narrative of Siti’s experience, of a life lived far from but still deeply emotionally connected to the place of one’s birth, is one he shares with many exiles.

Paris - temps incertain, temps de la fin. Une cycliste, cavalière d'une possible apocalypse, erre autour de la ville éteinte, déserte, muette - guettant d'hypothétiques survivances. La Samaritaine, cube blanc, désaffecté, semble s’offrir comme un refuge ; mais elle se révèle le théâtre d’univers parallèles où se décide, avec les quatre derniers vivants, le sens de l'effondrement en cours. Les personnages qui y vivent sont en “arrêt de mort”, suspendus entre deux états, traversant les possibles, pris dans une fin du monde sans cesse imminente, et pourtant sans cesse différée, et encore sans cesse recommencée. C’est le bâtiment même qui va incarner de manière vivante cet interstice travaillant toutes les apparitions qui semblent traverser le lieu. Ce sont les modalités fluctuantes de cet espace de la Samaritaine qui vont se déployer, amenant d’oracles SM en chansons nihilistes, de danses de séduction désespérées en rituels de mutation, la révélation claire qu’il n’y aura pas de révélation. Les fins du mondes et les croyances sont défaites. Il n'est plus question de fin du monde, mais de commencements d'autres mondes - par la métamorphose. Apocalypse nous-autres.

SMITH ?http://www.fillesducalvaire.com/artiste/smith/ Le travail de SMITH s’appréhende comme une observation des mues de l’identité humaine. La photographie y côtoie le cinéma, la vidéo, la chorégraphie, le bio-art, la sculpture et l’utilisation des nouvelles technologies, dans une exploration des combinaisons des approches scientifique et philosophique, ouvertes sur les potentiels de la fiction. Après l’obtention d’un Master de Philosophie à la Sorbonne, du diplôme de l’Ecole Nationale Supérieure de Photographie d’Arles, et du Fresnoy - Studio National des Arts Contemporains, SMITH engage l’écriture d’une thèse de doctorat, à l’UQAM (Montréal). Ses travaux furent présentés sous la forme d’expositions personnelles aux Rencontres internationales de la photographie d’Arles, à la galerie les Filles du Calvaire et au Palais de Toyko à Paris, au musée de la Photographie d’Helsinki en Finlande, mais aussi dans de nombreux pays d’Europe (Suisse, Suède, Autriche, Luxembourg, Allemagne, Espagne, Italie...), d’Asie (Chine, Cambodge, Corée du Sud) et d’Amérique Latine (Mexique, Chili, Uruguay) et aux USA. Sa première monographie, «Löyly», est parue aux éditions Filigranes en 2013, suivie de « Saturnium » aux éditions Actes Sud en 2017, et d’un livre d’entretien avec l’historienne de l’art Christine Ollier en 2017 aux éditions André Frère. Paraissent en 2018 puis 2019 deux autres livres de photographie : "Astroblème" (Filigranes) et "Valparaiso" (André Frère). Son premier et son second moyen-métrages, "Spectrographies" et "TRAUM", furent diffusés en festivals et cinémas en Europe. Ses performances artistiques et chorégraphiques furent présentées au Centre Pompidou, au Théâtre de la Cité Internationale avec le soutien de la Fondation Hermès – New Settings, au CND (Pantin), au Musée de la Danse (Rennes) et au CCN de Montpellier. SMITH travaille actuellement à l’élaboration de son nouveau projet-monde "Désidération", avec la Cellule Cosmiel (Lucien Raphmaj, Jean-Philippe Uzan, SMITH) et le studio DIPLOMATES, qui explore les liens entre l’humanité contemporaine et son cosmos originaire : http://www.desideration.space ** Lucien Raphmaj https://lucienraphmaj.wordpress.com/ Lucien Raphmaj, écrivain né d’une œuvre élaborée avec SMITH, a écrit avec lui le scénario de ses films, depuis "Spectrographies" (2015) jusqu’aux "Apocalyptiques" (2019) en passant par leurs projets multidisciplinaires tels que "TRAUM" (film, exposition, textes, vidéos, spectacle de danse). C’est cette écriture à mille voix, fruit d’un travail personnel, mais aussi expérience d’une spectralisation de l’écriture qui se laisse traverser par d’autres voix, qui est celle qu’il mène encore à travers l’univers des « Apocalyptiques ». Il participe, en tant que critique, à la revue culturelle en ligne Diacritik et tient un blog sur la latérature. Son premier ouvrage, "Blandine Volochot", paraît aux éditions Abrüpt en Janvier 2020.

RE-ANIMATED explores the intersections of extinction, preservation of immortality. It is a re-imagining of ornithologist Douglas H. Pratt’s memories of the now extinct Kaua’i ???? bird, as told to director Jakob Kudsk Steensen. In the work, a vast virtual landscape based on Kaua’i unfolds and transforms into a photorealistic new world for people to explore. 3D-scanned organic material sourced from both field work and the American Museum of Natural History, as well as real archival audio are all remixed together, alongside algorithmic music composed by Michael Riesman, Musical Director for the Philip Glass Ensemble. Plants, moss, and insects respond to the pulse of music generated in real-time, and the audience’s breath and voice organically impact the virtual atmosphere through the VR headset. As a slow-moving, poetic virtual environment, RE-ANIMATED ultimately investigates how we relate to nature irrevocably altered by human activity. It provokes fresh perspectives on our ecological future, which may become unbound by the physical conditions governing our present reality.

Jakob Kudsk Steensen (b. 1987) is a Danish artist based in New York concerned with how imagination, technology and ecology intertwine. His works range from immersive VR ecosystems to mixed reality installations bridging physical and digital worlds, which invite audiences to enter new ecological realities. He collaborates with NGO’s, residencies, scientists and artists from different fields and ventures on excursions where he collects organic material, which is digitised and converted into digital worlds with 3D scanners, photogrammetry, satellite data and computer game software. Inspired by ecology-oriented science fiction and conversations with biologists and ethnographers, his projects are ultimately virtual simulations populated by mythical beings existing in radical ecological scenarios. Kudsk Steensen has exhibited internationally at the 5th Trondheim Biennale for Art and Technology; the Carnegie Museum of Art; Serpentine Augmented Architecture, Serpentine Galleries; Jepson Center for the Arts; Time Square Midnight Moment; MAXXI Rome; FRIEZE London; Podium, and Ok Corral. He was shortlisted for the Future Generation Art Prize 2019, and as part of the awards program, he was invited to create and exhibit new installations of RE-ANIMATED (2017-18) in Kiev and the Venice Biennale. He has received awards from the Danish Arts Foundation, The Augustinus Foundation, the Lumen Arts Prize, The International Academy of Digital Arts and Sciences, Games for Change, the Lumiere Foundation, The Telly Awards, and Cinequest Festival. His work has shown at Sundance, TriBeCa and Cannes among other film festivals. Steensen is an alumni of NEW INC, a technology and culture incubator by The NEW MUSEUM, in NYC.

Dans la continuité d’un ensemble de projets réalisé au sein de musées d’art, d’archéologie et d’Histoire naturelle, l’artiste poursuit son travail de déplacement du visiteur et des collections qui basculent dans un registre fantastique souvent inspiré de la science-fiction. Natura Naturata met en scène un groupe de gymnastique pluri générationnel au sein des collections de cristaux, d’animaux et de coraux du Muséum d’Histoire Naturelle de Genève. Sur des fragments de texte murmurés ou chantés extraits de l’ouvrage Monadologie et Sociologie écrit par le philosophe et sociologue Gabriel Tarde en 1893, les images mettent en rythme ce qui constituait, selon Gilles Deleuze, une "dialectique de la différence et de la répétition qui fonde, sur toute une cosmologie, la possibilité d’une microsociologie". Ainsi s’agence en équilibre précaire une vision tardienne de l’univers mettant en relation les "sociétés animales, cellulaires, atomiques, et stellaires". L'ensemble des images a été réalisé dans les galeries permanentes du Muséum d'histoire naturelle de la ville de Genève. Merci pour leur soutien et participation.

Marion Tampon-Lajarriette (b.1982 in Paris) lives and works in Geneva. She received an MFA from the École Nationale Supérieure des Beaux-Arts de Lyon (France) in 2007 and an MA in Arts and New Media from the Haute École d’Art et de Design de Genève (HEAD) in 2008. She has had numerous solo exhibitions, including: Museo Villa Pia (Lugano, 2019); Les Brasseurs (Liège, 2015); Mois de la Photo Festival (Paris, 2012); Loop Art Fair (Barcelona, 2008). Her work has also been shown at the Palais de Tokyo, Paris; MAMCO, Geneva; Swiss Institute, New York City; Capture Photography Festival, Vancouver; and is part of the permanent collection at MAMCO, Geneva; MEP, Paris; NMNM, Monaco; the Francois Pinault Foundation; among others. In 2016-2017 she was awarded a residency at the Swiss Institute in Rome, and took part in the Swiss Art Awards in Basel. In 2013, she was awarded the Société des Arts grant and the FCAC-Geneva grant and residency in New York City. The artist’s second monograph, Echos, will be edited in March 2020 by Casa Grande (331 pages, texts by Mark Lewis, Lucille Ulrich, Valeria Venditti). She is represented by Galerie Laurence Bernard in Geneva.

An aerial survey of the filmmaker’s place of origin, the film is a frame intensive search for home, place and direction. Edited in camera on Super 8, changing position two frames at a time, the movements of lines and masses offer a renewed look at this once lost but now rediscovered locale in a continuing quest for a sense of provenance.

Derek Taylor?s moving image work focuses on the intersection of documentary and experimental filmmaking, particularly as it relates to history and landscape. His work has been screened at a number of festivals both nationally and internationally. He studied film, video and new media at the School of the Art Institute of Chicago and currently lives and works in Connecticut (USA).

La Sicile se situe en plein centre de la Méditerranée. Elle a été traversée par de multiples peuples dans son histoire. Elle fut sicule, phénicienne, grecque, arabe, normande puis italienne depuis 150 ans. De par sa situation géographique elle a toujours été un lien entre l'Europe et l'Afrique, entre l'Orient et l'Occident. Depuis quelques années elle est naturellement devenue l'une des portes d'entrée de l'immigration dite illégale en Europe.

Ce film collectif a été réalisé dans le cadre du programme de recherche "Fixer l'archipel" dirigé par Philippe Terrier-Hermann avec les étudiants de l'ISBA, de l'académie de Naples et de La Cambre, section photographie : Melio Lannuzel, Sarah Toscano, Léna Besson, Delphine Pecheux, Alizée Berthet, Sonia Lalaoui, Johanna Defranoux, Nina Jonsson Qi, Marjolaine Abaléa et les professeurs Hervé Charles et Géraldine Pastor-Loret.

2002, Palm Springs, Californie : une incroyable maison d’architecte est rasée au bulldozer par un individu qui venait de l’acheter 2,5 millions de dollars. Construit en 1962, ce "bijou moderniste" situé sur un majestueux terrain de golf en plein désert, fut conçu par Richard Neutra pour héberger une grande collection d’art moderne et contemporain. En puisant dans l’intérêt de Neutra pour la psychanalyse et dans les rumeurs d’une vendetta personnelle de l’acheteur, le film mène l’enquête sur notre désir de protéger et de détruire la beauté. En écho à la théorie psychanalytique de Melanie Klein, la maison devient l’incarnation du bon sein encourageant et protégeant la créativité, tandis que l’acheteur incarne l’envie du mauvais sein destructeur.

Yan Tomaszewski est un artiste franco-polonais travaillant à la croisée de la sculpture, de l’installation et du cinéma. Son travail a été présenté lors d’expositions personnelles, notamment au Musée Archéologique de Cracovie (PL), au Musée de l’Air et de l’Espace au Bourget (FR), au Centre d’art contemporain Kronika à Bytom (PL), au Middelheim Museum à Anvers (BE), à la galerie Asymetria à Varsovie (PL) ou à Primo Piano à Paris (FR). Il a participé à de nombreuses expositions collectives, notamment à Artience (Daejeon, KR), au Fresnoy Studio national des arts contemporains (Tourcoing, FR), au Prix Sciences Po pour l’art contemporain (Paris, FR), à la Galerie municipale Arsenal (Poznan, PL), à Chapter II (Séoul, KR), à la Fondation Hippocrène (Paris, FR), à Chalet Society (Paris, FR) au Centre Pompidou (FR), à Manifesta 9 (Genk, BE), à la Saline Royale d’Arc et Senans (FR). Ses films ont été présentés au FID Marseille (FR) et à DocLisboa (PT).

"An unremarkable random 70’s newsreel from the artists’ hometown in the Soviet Siberia forms the substrate for a relentless exploration of the representational and narratological technics: without ever collapsing into a ‘story’ or abstraction, horizõn recants the relationship between analog and digital, surface and reference, sense and experience, past and present" (Thomas Zummer)

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.

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.

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.

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.

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

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.