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En mêlant mémoires familiales et images collectées sur internet, Forebear Forward et Work Hard Play Hard jouent sur le décalage entre des événements et leurs récits. Au premier plan, un grand-père relate des faits vécus par ses aïeux, accompagné par les commentaires de sa femme en hors-champs. Leurs échanges et l`arrière plan d`images d`archives ou de Google Street View se superposent aux histoires, accordant ainsi plus d`importance au contextes de narrations qu`à leurs sujets. Ces réappropriations de récits commentent avec humour le décalage générationnel, l`appartenance sociale, et le passage du drame à l`anecdote. Dans Forebear Forward,le grand-père se concentre sur une anecdote individuelle cocasse ayant eu lieu lors d`une dramatique explosion, tandis que sa femme désire surtout connaître le bilan des morts et rentrer chez elle. De son côté, la vidéaste invoque google pour inscrire cette histoire dans ses outils quotidiens de compréhension. Pour commenter le décalage social entre des matelots embarqués contre leur gré et le ton bourgeois et relativiste de ceux qui livrent ce récit, Work Hard Play Hard utilise des images de culturistes observés par le public comme s`ils étaient étrangers à leur propre espèce.

Using a range of time-based media including animation, video and installation, Naïmé Perrette in interested in layering narratives and subjectivities. In her documentary based works, she investigate the role of labour in the construction of young adults` identities. She follows individuals whose lives are shaped by physically or emotionally demanding activities to understand how they arrive to their own sense of empowerment. She conducts immersive research, interacting with isolated groups that are distant from her own experience but with whom she shares a larger cultural framework. Through this contrast she investigates systems of value and gender identity, in order to capture the multiple expressions of social relations and their borders. Graduated from the Ecole Nationale Supérieure des Arts Décoratifs of Paris in Cinema Animation in 2012, she was resident at the Rijksakademie van beeldende kunsten in Amsterdam in 2014-2015.

René lives a dull, uneventful life in a subterranean and futuristic world. He is about to be promoted and transferred from Circle One to Circle Six, when a series of mysterious mounds start to appear systematically in his apartment. Circle one`s starting point is Dante?s Divine Comedy combining the notion of Michael Haneke?s thriller with Andrei Tarkovski?s intimacy, albeit clearly influenced by pioneering movie directors like Stanley Kubrick or George Lucas.

César Pesquera is a director, graphic designer and audiovisual artist. He has directed and designed innovative moving image work across a broad spectrum of both commercial and non-commercial strands of the visual arts. His work is a reflection on the grammar of cinema and the relation between visual art and the cinematic experience. His films are screened worldwide on both visual art platforms and film festivals.

Passer/8 est un projet expérimental de deux personnes réelles, une fille qui travaille dans une cabine de péage et un gars propriétaire d'un manège. Le projet traite de problèmes comme le mouvement constant et l'immobilité, étant les activités mentionnées plus haut , des méthaphores de tels concepts, tellement liées à la vie ou tout autre phénomène en procédure- qu'il soit vital ou créatif.

César Pesquera a exposé son travail dans différents festivals et évènements internationaux tels que: A/V Festival 2006 (Sunderland, Grande Bretagne), Resfest Spain (Art Futura 2005, Barcelone, Espagne), Optronica 2005 (Londres Grande Bretagne), Dotmov 2004 (Sapporo, Japon), La 8éme Rencontres internationales Paris/Berlin 2004, VIPER 2002 International Festival for Film Video and New Media (Basel, Suisse), Observatori 2002 and 2003. 3rd International Festival of Artistic Research of Valencia, Art Futura 2001. Art and New Technologies Festival (Barcelone, Espagne), Transmissions Festival 004 (Chicago, USA), and SONAR 2001, 2004 and 2005 (Barcelone, Espagne) Il a aussi montré son oeuvre durant des expositions comme Digital Showcase #31. AMOADA, the Austin Museum of Digital Art au Texas (USA). Projectionsareal. ZKM, Zentrum für Kunst und Medientechnologie Karlsruhe (Allemagne). This Is Not My Computer. DA2 Museum Of Contemporary Art (Salamanque, Espagne), ZooRoom. A Room with a view. Resistor Galery (Toronto, Canada) Cesar Pesquera travaille actuellement comme rélisateur de publicités et de vidéo clips. Il est aussi co-producteur de Actop, un studio opérant comme structure ouverte et travaille sur une grande gamme de médias: Typographie, Animation, Mouvement Graphique, Visuel Live et de nouvelles approches de l'Image en mouvement. Il a récemment fini son premier court-métrage Passer/8 et il collabore actuellement avec la british collective D-Fuse sur différents projets. Il est aussi le Directeur Associé de Rojo®Magazine et Directeur Artistique de Ruga®Magazine, un magazine DVD distribué internationalement visant à montrer des oeuvres audiovisuelles, d'artsites du monde entier, non- distribuées. En tant que Shudo, Cesar Pesquera a distribué deux albums pour le prestigieux label Belge Sub Rosa/ Quatermass. Il travaille maintenant sur un nouveau projet sous le nom de Portabot.

Close to God / Far from Home (Somewhere in between pop and classical) is a portrait of a place and a state, stuck in between and surrounded by barriers. Close to God / Far from Home is High Class Salon and it?s owner; Palestine`s loneliest lover Tony, hair-dresser and choir-boy. Mr Tony is a proud decendant of Italian 13th century cruisaders and a natural born Germanophile. Mr Tony is also the sexiest man in Bethlehem, forever faithful to Jesus Christ, Richard Clayderman and Kaiser Franz Joseph to whom he built a temple, an altar, a home.

Axel Petersén is a visual artist born in Sweden 1979. He was educated in film at FAMU, Academy of Performing Arts i Prauge and in fine arts at the Royal Academy of Fine Arts in Stockholm. Axel Petersén makes videos, video-installations, still and moving image portraits and block buster movies for the cinema. Axel Petersén works with both ?fiction? and ?documentary?, usually merging the two in to a form were he can take on an active part, and by doing so, being able to push the scenes in the right, or the wrong direction. Right now he?s working on a feature length fiction film; After Eigh, a thrillerish manifestation to the grown-ups that never grew up.

In Paul Verhoevens erotic thriller Basic Instinct from1992, Michael Douglas character is put to the test. Is he still living up to the image of his own sexuality? Is he still the sex symbol Michael Douglas, son to the former sex symbol Kirk Douglas? In Like Father, Like Son, Like Michael Douglas Axel Petersén is staging a sexual generation shift. Through a number of scenes he instructs his father, Etienne Petersén to play the main male character while he himself portrays the female counterparts - a father and a son together watching and acting Basic Instinct.

Axel Petersén, born in Stockholm 1979, is a visual artist and filmmaker. He has made feature film (1), short films and video installations that have been shown widely in art and film contexts. He has a MFA from The Royal Institute of Art, Stockholm; he also studied film at FAMU, Academy of Performing Arts in Prague and most recently attended the Mountain School of Arts in Los Angeles.

À l?Hôtel Alexandria, à Alexandrie, l?Europe meurt lentement ; George a un Alzheimer, Sami s?occupe en organisant sa soirée d?adieu, et le fossoyeur Salah aide Madame avec les préparatifs de son dernier voyage.

Axel Petersén est né en 1979. Il a étudié l?histoire de l?art à la Lund University de Stockholm (Suède), puis à la FAMU de l?Académie Tchèque des Arts Musicaux de Prague (République tchèque) ainsi qu?au KKH, l?Université Royale des Beaux-Arts de Stockholm.

Saddam Hussein?s palace is looted in Baghdad 2003. A red Ferrari Testarossa disappears from his garage. Years pass by and cars from the same garage are found around the world; some crashed, some in mint condition. The Testarossa is still out there, ghostriding through the neverending desert.

Axel Petersén, born in Stockholm 1979, is a story teller and a visual artist. Educated at FAMU, Academy of Performing Arts in Prague and took his MFA at KKH, the Royal Institute of Art in Stockholm.

The film ?The American Houses? examines the buildings of the nearly forgotten german architect, Thilo Schoder. Schoder, who had studied under Henry van de Velde in Weimar, was classified as an architect of ?The New Objectivity? movement of the 1920s. Schoder built only a few houses in the 8 years period, from 1923 to 1931, in small villages from eastern Germany to the Czech Republic. When the Nazis took power Schoder, accused of being a socialist, was refused any further building contracts, forcing him to emigrate to Norway. In ?The American Houses? the condition of the buildings filmed range from highly renovated to abandoned and dilapidated. The surviving examples are not portrayed as technical depictions, but as subjective sensation.

Dirk Peuker born in 1970 2000-2005 University of Arts Berlin, Master of Fine Arts, Experimental Film and Media Department Mentor: Hartmut Bitomsky, Heinz Emigholz, Thomas Arslan 2006 Artist Grant from the Nordmedia Film Foundation and the Hannover Region Cultural Foundation 2007 DAAD Artist Grant 2008 Postgraduate Artist Grant Free State of Thuringia 2009 NaFÖG Grant from Berliner Senat since 2009 assistant professor for film and video Weißensee/School of Art Berlin Bettina Nürnberg born in 1976 2002-2007 University of Fine Arts Hamburg, Master of Fine Arts, Film Department Mentor: Wim Wenders, Gerd Roscher 2007 Künstlerinnenförderung ?artist film fond from Berliner Senat 2008 Production grant from Thuringia Region Cultural Film Foundation 2009 Stiftung Kunstfond, Artist Grand Germany

The experimental film work ?Flat Roofs for Mussolini? talks about the Italien Rationalism and Fascist architecture at Lake Como and the buildings by Guiseppe Terragni, who was an important pioneer of this style and tried to persuade the fascist regime to adopt his architecture as an official style. During a creative period lasting only 13 years, Terragni produced a body of work unique in terms of consistency and density. His buildings conform to the modern and are characterised by a reduction to elementary geometrical basic forms. While his buildings now serve as an important reference for architects such as Peter Eisenmann, they are also glorified and their political dimension is downplayed. (Text by Magdalena Magiera)

Dirk Peuker born 1970 in Friedrichroda, Germany, lives and works in Berlin. He studied Experimental Film at the university of the Arts Berlin since 2009 he teaches Film & Video at the Berlin Weißensee academy of art. 2006 Residency grant at the Villa Minimo, Hannover 2007 DAAD travel grant 2008 postgraduate grant of the Free State of Thuringia, 2009 NaFöG grant by the Berlin City Council Bettina Nürnberg born 1976 in Mannheim, Germany, lives and works in Berlin. She studied Film at the University of Fine Arts Hamburg 2006-07 Funding for woman artists 2008 Film Culture Fund of the Free State of Thuringia 2009 Stiftung Kunstfonds, artist fund

Marbled paper blue, a book’s illustrations, the flicker of film’s materiality: these are just a few of the narrative devices that punctuate Bettina Nürnberg and Dirk Peuker’s essayist film tracing the atmospheric efects of Italian architect Carlo Scarpa’s significant buildings, including the Brion family cemetery. As homage the work continues the filmmakers’ interests in documenting architectural histories. What is significant about this more poetic rendering is how it follows the rhythm of the spatial forms and motifs of their subject: Scarpa took an apolitical stance and refused to make architecture during the reign of fascism in Italy (1922–43); in the years that followed however, he produced Venice’s modernist exemplars, arguably the most beautiful architectural works of modernism for how they create mental spaces embedded in and indebted to his phenomenal city. With awareness of their medium, Nürnberg and Peuker capture both the structure and freeforming style of Scarpa’s architecture: their camera is equally focused on the mood of the city, the flow of water, the mandala as dichotomous form—light casts shadows. In turn, the film oscillates between document and experimental realism. The punctuating book pages that were an inspiration for Scarpa and ofer a structuring means for the sensuality of the recorded images come from the Venetian treatise of 1499 ascribed to Poliphili, which loosely acts an inventory of life-forms and classical humanist thought while following the story of courtly love. The act of ceremony is important to the book and so it is to the film as it mediates on Scarpa’s constructions, anachronistic zones that cross life with death, only to return to life once more: the film flickers, the paper is left wet, a hand all blue rises from the ruins … (Laura Preston)

Bettina Nürnberg www.bettinanuernberg.de Bettina NÜRNBERG (1976, Germany) was educated in art and film in Hamburg and Berlin. The work of the Berlin-based artist has been screened and exhibited worldwide. Dirk Peuker www.dirkpeuker.de Dirk PEUKER (1970, Germany) studied film and art in Berlin and Vienna. The work of the experimental filmmaker and artist has been screened and exhibited worldwide.

Beauté et/ou Destruction

Baby-Sitter, serveur, vendeur de vêtements, vendeur de souvenirs touristiques, ouvrier sur bateau de plaisance, animateur de supermarché, vendeur de vidéocassettes, télévendeur pour magasin de canapé, assistant sur des ventes aux enchères de faux éléments architecturaux anciens, stagiaire, assistant réalisateur, assistant monteur, monteur, animateur en centres de vacances, secrétaire, programmateur pour chaîne cablée, journaliste, réalisateur, artiste?

Synopsis Tout les plans de la comédie "slapstick" "A Film Johnnie" (USA, 1914) sont montré simultanément dans une grille symétrique, l'un après l'autre. Chaque scène, d'une coupure à l'autre, de la première à la dernière est mise en boucle. Un polyrythm visuel rythmé est produit en résultat, à cause des longueur variés des plans. La longueur totale de ce film mosaïque correspond exactement a celle de l'original. ALPHABETIZATION Les films muets étaient de quelque sorte mis sous écrit. Les images individuelles sont arrange dans un ordre chronologique de gauche à droite et de bas en haut, de la même manières que les lettres grecques. Le film peut être lu en son entier comme une page de livre. RELECTURE Le film original a été sujet à une relecture complète. Les plans d'origine n'ont pas été changés, il n y a pas eu de manipulation optique de l'image et les séquences et la longueur des plans ont été gardés. Le générique d'ouverture, les intertitres, le compte à rebours avant le film, et le générique de fin font bien sure partie de cette mosaïque. Seulement un différent regard, plus panoramique, fut donné à l'original. Ce film grotesque historique a été analysé et, en résultat, radicalisé. SPATIALISATION Cette expérience aboutit à une spatialisation "de facto" des supports bi-dimensionnels. La manière avec laquelle le montage original fut transformé devient le principe structurel de l'installation. Le montage devient de l'architecture, et le temps de l'espace. MULTIPLICATION En résultat des arrangement simultanés horizontaux et verticaux des images en mouvement, les espaces et les figures de l'original sont démultipliés. Chaque plan est changé en une pièce séparé dans une structure architecturale. Les figures gigotantes sont prisonniers, coincés dans leur cases, sont condamnées à une répétition mécanique sans fin.

Norbert Pfaffenbichler (* 1967) Study of Mediadesign at the University of Applied Arts, Vienna Exhibitions and Festivals (Selection): 1996 Chromapark, Berlin. 1997 Chichester Film Festival, Chichester; Circles of Confusion, Berlin. 1998 Diagonale, Graz. 1999 viper Videofestival, Basel. 2000 Sonar Festival, Barcelona; Medienturm, Graz. 2001 Underground Film Festival, New York. 2002 Internationales Filmfestival, Rotterdam; Intercultural Videoart Exhibition, Tokio; 59. Filmfestspiele, Venedig; Museum der Wahrnehmung, Graz. 2003 Sound Spectral, O.K Centrum für Gegenwartskunst, Linz; Ars Electronica, Linz. 2006 DIGITAL TRANSIT, ARCO, Medialab Madrid.

Dans une image trompeuse la répétition repose déjà sur les répétitions, la différence déjà sur les différences. Les répétitions se répètent, le différenciant se différencie. (Gilles Deleuze). Cette expérimentation sur le thème "différence et répétition" réunit des méthodes issues du film structural et des éléments du cinéma narratif. Des extraits de la vie d'un couple hétérosexuel sont classés en ordre sériel par le biais d'un simple principe de montage alphanumérique. Le film ?O.K End Here? de Robert Frank (USA 1963) a servi de modèle. Cette oeuvre a subi l'influence évidente du réalisateur italien Michelangelo Antonioni. Frank a tenté de transposer le langage du film d'Antonioni dans son propre environnement, le New York de la "beat generation", en se souciant peu des conventions cinématographiques et en produisant des images et des séquences très caractéristiques. La motivation pour revenir à cette oeuvre dans "N. o. F. 02" repose d'une part sur le fait que le modèle contient la tentative d'une transposition formelle et esthétique, et d'autre part dans son mépris affiché du sytème de règles traditionnellement en usage dans le cinéma. Au-delà de cela se trouvent dans "N. o. F. 02" d'autres références aux classiques du moderne tardif. Cette mosaïque de références sert à rendre accessible la manière dont fonctionnent généralement les images en mouvement.

Norbert Pfaffenbichler (* 1967) Études de technique visuelle des médias à l' "Universität für Angewandte Kunst", Vienne. Expositions et festivals (sélection) 1996 Chromapark, Berlin. 1997 Chichester Film Festival, Chichester; Circles of Confusion, Berlin. 1998 Diagonale, Graz. 1999 viper Videofestival, Bâle. 2000 Sonar Festival, Barcelone; Medienturm, Grace. 2001 Underground Film Festival, New York. 2002 Internationales Filmfestival, Rotterdam; Intercultural Videoart Exhibition, Tokyo; 59. Filmfestspiele, Venise; Museum der Wahrnehmung, Grace. 2003 Sound Spectral, O.K Centrum für Gegenwartskunst, Linz; ars electronica, Linz. 2004 ars electronica, Linz. 2005 Kunstverein Medienturm, Grace. 2006 DIGITAL TRANSIT, ARCO, Medialab Madrid.

In this grotesque found-footage-film close-ups of 65 actors playing Adolf Hitler in movies created between 1940 and today are combined in shot/countershot-manner. The soundtrack is produced by the Austrian composer Bernhard Lang. No other historical figure of the 20th century was portrayed more often in movies and by so many different actors than Adolf Hitler. (Only Jesus Christ has more appearances in cinema`s history - but with a headstart of more than 50 years.) In this grotesque and uncanny identity parade Adolf Hitler is presented as an undead who is impersonated by an alarming number of revenants. CONFERENCE is part five of my "notes on film"-series, which deals wtih filmtheoretical and -historical subjects. The movie is also part of a series of works about Charles Chaplin, which includes a number of installations and films.

1967 in Steyr. 1994-2001 University of Applied Arts, MK for Media. Artist and curator, various participations in festivals and exhibitions, founding member of VIDOK and lanolin. Go to artist`s homepage http://www.norbertpfaffenbichler.com

Synopsis (short): Cast: Cast: Sami Moss Mardina & Yeisen Acosta Medina Crew: Producer: Jakob Schillinger / Mario Pfeifer Cinematograpy: Matthias Biber Monatge: Mario Pfeifer Sound design: Thomas Wallmann Light design: Manuel Kinzer

Mario Pfeifer (b. 1981, Dresden /Germany) is a filmmaking artist based in Berlin and Los Angeles. He studied Fine Art at the Academy of Visual Arts Leipzig, University of the Arts Berlin and Städelschule Frankfurt am Main where he graduated in 2008. On invitation of the ?Bangkok Experimental Filmfestival 5? he co-curated international, artist made films from Berlin for the 2008 festival?s program. Mario Pfeifer was a Fulbright Scholar in California, USA in 2008/2009.

Mario Pfeifer (b. 1981, Dresden /Germany) is a filmmaking artist based in Berlin and Los Angeles. He studied Fine Art at the Academy of Visual Arts Leipzig, University of the Arts Berlin and Städelschule Frankfurt am Main where he graduated in 2008. On invitation of the ?Bangkok Experimental Filmfestival 5? he co-curated international, artist made films from Berlin for the 2008 festival?s program. Mario Pfeifer was a Fulbright Scholar in California, USA in 2008/2009.

On January 7th 2005 an asylum seeker, shackled at his hands and feet, dies in a fire in cell number five of a police station in Dessau, Germany. With “Cell 5” Mario Pfeifer reconstructs the case of Oury Jalloh’s death using legal documents, testimonies, audio-visual archives, and collaborates with the forensic expert Iain Peck to reproduce an accurate fire experiment. All in an attempt to answer: how could Oury Jalloh burn to death?

Mario Pfeifer ist a PRIX EUROPA nominated producer, director and visual artist whose interests intersect between political, social and anthropological issues. Mario works closely with communities, establishing intimate relationships from which he conceives his projects in collaboration with his protagonists. He graduated from the art academy Städelschule in Frankfurt am Main, studied with Stan Douglas at the University of the Arts in Berlin and was a Fulbright scholar in 2008 at the California Institute of the Arts, Mario is a recipient of DAAD fellowships in 2010 and 2012. Mario is an alumni of the European Creator’s Lab (2021), the Documentary Campus Masterschool (2019), the Feature Expanded Masterclass (2017), and a Berlinale Talent Campus alumni (2009). Mario Pfeifer’s installations were presented at the Power Plant Toronto; Museum of Modern Art, Berlin; Los Angeles County Museum of Art [LACMA], Los Angeles; MMK Museum fu?r Moderne Kunst Frankfurt am Main; Bundeskunsthalle Bonn; Neues Museum Nu?rnberg; Kunsthalle Winterthur; N.B.K. Neuer Berliner Kunstverein; Fotomuseum Winterthur; KOW, Berlin; Beursschouwburg, Brussels; MAAT Museum of Art, Architecture and Technology, Lisbon; KW Kunst-Werke, Berlin; CCA,Lagos; and his film presented at international Film Festivals in Amsterdam, Auckland, Berlin, Cologne, London, Madrid, Paris, Oberhausen, New York, Seoul and Toronto. He participated in the 3rd Montevideo Biennal (2016), the 11th Bienal do Mercosul (2018), the 10th Berlin Biennale (2018) as well as the 4th Mediterranean Biennale (2020). His works are hold in public and private museum collections at the Getty Center Los Angeles, Collection of Contemporary Art of the Federal Republic of Germany, Pinakothek der Moderne Munich, MMK Museum of Modern Art Frankfurt am Main, Fotomuseum Winterthur et.al. Mario has lectured and directed Masterclasses in Brazil, Chile, Czech Republic, Germany, India, Mexico, Poland, the U.K. and in the US. www.blackboardfilms.net/people

Un incident violent impliquant un réfugié dans un supermarché d’Allemagne de l'Est est reconstitué dans un studio de cinéma. Dix citoyens observent et commentent l'affaire, mettant en lumière la frontière floue entre le courage civil et se faire justice soi-même.

Les films du producteur et réalisateur Mario Pfeifer (né en 1981, à Dresde, Allemagne) explorent les structures et les conventions de représentation par le biais du film et de la vidéo, dans des lieux allant de Mumbai à New York, du Brésil au désert d'Atacama, de la Terre de Feu à l'Allemagne de l'Est en passant par le Sahara occidental. Il conçoit chaque projet à partir d'une situation culturelle spécifique, effectue des recherches sur le contexte socio-politique et intègre des références interculturelles en matière d'histoire de l'art, de cinéma, de technologie et de politique à sa pratique richement composée.

A rest stop docks the highway like a moonbase. Within this transit space a young man and a young woman drift in their orbits. A German love story.

After her first steps in the movie industry Désirée decided not to study film. After finishing studies in photo engineering and further filmexperiments she signed up for directing classes in Paris and Potsdam.

Utilizing the banality of Vietnamese state radio broadcasts, The Story of Ones gives a face and a sense of place to the unseen and offers a personal counterpoint to the officially sanctioned. Like entering a roomful of stories, the viewer steps into an unfamiliar space guided only by the sound of the radio tuning in to lifestyle programming, call-in shows and radio dramas. The portraits and settings layered atop the aural landscape create questions, provide humor, offer context and withdraw explanation of what once seemed clear before entering the room.

Pham Ngoc Lan {Phạm Ngọc Lân} was born in Hanoi, Vietnam; in July 02, 1986. He studied urban design and urban planning from 2004 to 2009 at Hanoi Architecture University (HAU). Inspired by the paradox of all living things, Lan considers himself an urban life observer rather than a photographer or an urban designer. Using photography and film as two of the favorite tools to express his ideas, his work attaches special importance to the direct, poetic and especially the whimsical respects of human life.

« Marnie's Handbag » est un mash-up artistique (application composite) sur les femmes criminelles dans le cinéma populaire. Phillips adopte un regard historique sur la manière dont Hollywood habille paradoxalement la femme coupable à un moment où elle tente d'éviter d?être arrêtée. En regardant des séquences de femmes qui s?habillent avant de commettre leur crime, en les extrayant de leur contexte narratif, Phillips se concentre sur le plaisir qui provient de la séduction débridée et de la vengeance.

Paulette Phillips est basée à Toronto (Canada). Ses ?uvres sont représentées par Diaz Contemporary Art à Toronto, et par Danielle Arnaud Contemporary Art à Londres. Elle enseigne à l'Ontario College of Art and Design. Les ?uvres de Paulette Phillips ont été exposées notamment à la Biennale de Tatton Park (Royaume-Uni), au Centre Culturel Canadien de Paris, à The Power Plant à Toronto, au ZKM (Allemagne), à la Kunsthaus de Graz (Autriche), au Heidelberger Kunstverein, au Ludwig Museum (Hongrie), et au Palazzo della Papesse (Italie). On peut lire des commentaires sur ces ?uvres récentes dans « Art in America », « Artforum », « Modern Painters » et « Flashart ».