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Mehdi meddaci was born in 1980. He is a graduate of ?Le Fresnoy Studio National des Arts Contemporains? and of ?l?Ecole Nationale Supérieure de la Photographie d?Arles?. His works were shown in numerous exhibitions and festivals : le Grand Palais (Paris, 2008), « Festival Internacional de Artes et Culturas digitales de Gran Canaria » (Canary Islands, 2008) , Festival International du Cinéma Méditerranéen of Montpellier (2008), « FRAC PACA Marseille » (2007).

Une balade virtuelle dans des archives cinématographiques oubliées.

Jurij Meden est né en 1977. Il est réalisateur, vidéaste, écrivain et curator.

"19: Victoria, Texas" est un court-métrage expérimental, abordant un incident qui s'est déroulé en mai 2003 près de la ville de Victoria (Texas) et au cours duquel 19 immigrés clandestins sont morts, enfermés dans la remorque d'un camion. Pas moins de 100 personnes, originaires du Mexique ou d'Amérique centrale, sont restées bloquées pendant des heures dans un camion par une chaleur étouffante, dans ce qui devint le cas le plus meurtrier de trafic humain de l'histoire des Etats-Unis. Parmi les victimes figurent un petit de garçon de cinq ans et son père. Soutenu par un design sonore particulièrement riche et des images tirées de journaux télévisés, "19 Victoria, Texas" rend hommage aux 19 victimes et retrace l'expérience sombre et claustrophobe de cette tragédie humaine.

Originaire du Texas, Dolissa Medina est une cinéaste, écrivain et administratrice établie à San Francisco. Elle a réalisé sept court-métrages, dont ?Cartography of Ashes? (2006), ?A Lineage of Kind Men (2004), ?Fight or Flight? (2002) et ?Grounds? (2000). Dolissa Medina a reçu différentes bourses: de la San Francisco Arts Commission, du Pacific Pioneer Fund, de la Bay Area Video Coalition (SF) et de la Film Arts Foundation (SF). Elle est titulaire d'un diplôme de journalisme de l'Université d'Etat de San Francisco.

You cannot pay your bill. – . Your heat and lights are cut off. -. You pay. The clocks initially flash 88:88, –:–. You set the clocks. You cannot pay. -. You pay. 88:88. –:–. Repeat. 88:88, –:–. Cut. -. You stop setting your clock to the time of the world. 88:88, –:– . Subtracted: – : you make do with suspension. 88:88, –:–, -.

Isiah Medina was born in 1991 and he lives in Toronto.

A compressed version of idizwadidiz.

Isiah Medina was born in 1991 in Winnipeg, CANADA. His movies include Semi-auto colours (2010), 88:88 (2015), and idizwadidiz (2016).

A philosopher is the child born under the divorce of being and thinking

Isiah Medina was born in 1991, went to university to receive debt and will always have been rabble.

Russian North. People who are living in that district pick in the bog the ?space garbage?, sell the scrap metal or use it in the housekeeping and farming. In Arkhangelsk area, 45-years since nuclear bomb experiments, life is going its ordinary way.

Pavel Medvedev was born in 1963 in Orenburg (Russia). In 1990 he a full course of studies in LGIK (Leningrad?s Krupskaja Institute of Culture), specialized in film production at the Gorin?s workshop. Since 1990 till 1992 studied at the Higher Program of Television Production (workshop of V. Sarukhanov). Since 1991 till 2000 he was working at the TV and Radio companies of Saint-Petersburg as a producer. Since January till May 2001 was producing the serial of documentaries ?Petersburg?s short stories?. In February 2002 he has made his first professional documentary film ?Vacations in November?.

Athene 2018. 42% des jeunes sont au chômage. Cinq, jeune, non-acteurs attendent l’entrance de leur vie mature, indépendante. Ils represent leur vrai vie tandis qu’ils se bougent dans un narratief fictionelle. Dans cela ils jouent ensemble dans des Airbnb’s luxueux pour oublier leur futures futile. Regardant leur ville ils rêves d’autres mondes ou les choses peuvent être différents.

Louisiana Mees (06.12.1994, Hasselt, Belgium) lives and works in Bruxelles, Belgium. Her childhood was a patchwork of worldly journeys she made with her mother. Her youth was filled with dans lessons and theatre. In January 2019 she graduated as Master in the Audiovisual Arts with great distinction and announced one of the legates of the Royals Academie of Fine Arts (Ghent). Currently she is studying International Politics, Conflict and Development at UGent, Belgium.

Six personnages éclairent la nuit dans une ville africaine. Ils portent chacun un mot. Une fois assemblés, ces mots produisent une phrase, indistinctement poétique et cependant politique en même temps. Comme avec les autres projets de Vincent Meesen, "A Broken Rule" est tiré d'une intervention du public puis déformé par la mise en récit filmique de l'artiste, mélangeant les traditionnels codes et conventions. Comme un documentaire sur une expérience, cette vidéo est à la croisé des chemins entre la performance, la fiction, la musique expérimentale et le film documentaire, résultant en ce qui peut être lu comme un appel ou une invitation à une "transformation irrégulière".

In his famous essay Mythologies(1957), Roland Barthes demystified the French colonial imperialism by means of a photograph that appeared on the cover of Paris-Match. This picture, that became an icon of modern criticism, shows a colonial cadet on guard.Vita Nova unveils the biographical ghost underneath the surface of this mythical picture. When recited, Barthes words reveal slowly their hidden meaning: the unmeasurable weight of an historically burdened heritage. Vita Nova is a spiral movie in which History (Histoire), now chaotic in its temporality, returns in a more certain form as story (histoire). The found Time of history is here the survival to the image. It is the now, the temporality of the living, the untimeliness of the reciter.

Vincent Meessen (U.S.A., 1971; lives in Brussels) produces work at the crossroads of the documentary and conceptual art, whose codes he manipulates in order to create hybrids he calls ?documents of experience?: films, texts, interventions, photographs, etc. He focuses on the cultural appropriation of usages, signs or documents, which he moulds and reshapes as narrative. His work is characterised by a recitative style in formats as diverse as the essay (Vita Nova), the fable (Dear Adviser) and the tale (Les Sociétaires). He has developed a poetics of re-reading and translation, wherein the document is transformed into experience and experience into a document. He often employs collaborative procedures which undermine the authority of the author and privilege the collective understanding of multiplicities. Vincent Meessen?s work has recently been the subject of a solo exhibition at the Stedelijk Museum Bureau Amsterdam (SMBA) and has been presented with the collective Potential Estate at the Brussels Biennial and at M HKA (off-site) in Anvers. His films have been widely screened at venues such as the Jeu de Paume and the Cinémathèque française in Paris, the Museo Reina Sofia in Madrid, the Swiss Institute in New York and in international festivals such as the IDFA in Amsterdam, the IFFR in Rotterdam, the Cinéma du Réel in Paris and Transmediale in Berlin. His films are distributed by par Argos centre for art & media in Brussels.

Im Sinne einer zeitgenössischen Praxis als Kunstschaffender will sich eine Methode in unterschiedlichsten Medien darstellen lassen. Sie veranlasst Werkkategorien der eigenen Produktion zu ignorieren und darauf aufbauend die Grenzen dieser weiter zu verzerren. Im Medium Video oder Film besteht etwa in Form einer Story im Allgemeinen eine wesentlich stärkere Erwartungshaltung an Inhalt. Auf virtueller Ebene bringt solch eine gerichtete Konzentration zwischen Publikum und AutorIn diese Erwartungshaltung von Seiten der BetrachterInnen mit sich. Um diese Beziehung dann auch als Inhalt offenzulegen, ist es nötig den/die AutorIn sichtbar zu machen. So muss der Kunstschaffende im Medium Film sowohl in der Funktion des Autors/der Autorin, als auch in der des Schauspielers/der Schauspielerin - der ebenfalls sein Anliegen tragen kann - sichtbar werden. Das heißt die allgemeine Frage der AutorInnenschaft im Kontext eines Werkes weiterzutragen. AssistentIn, FotografIn, AuftragnehmerIn, AuftraggeberIn, KritikerIn oder GaleristIn rücken gemeinsam mit dem Autor/der AutorIn ins Bild und vor die Kamera. Um die Einflüsse all dieser Rollen weiterhin zuzulassen, ist es von wesentlicher Bedeutung sie in Echtzeit ? vor laufender Kamera ? selbstentscheidend mitwirken zu lassen. Jeder Darsteller/jede Darstellerin entscheidet für sich, in Abhängigkeit zum Autor/zur Autorin, den damit verbundenen Integrationsaufwand und das daraus entstehende gemeinsame Filmbild. Die Problematik gleichzeitig vor aber auch hinter der Kamera zu stehen löst ein großer Spiegel, dem Kamera und Akteure gegenüberstehen. Motiv des Bildes, optischer Inhalt, beziehungsweise Skript entstehen in Echtzeit um die Kamera.

Christoph Meier, geboren 1980 in Wien, hat schon während seines Architekturstudiums (1999-2005) an der Technischen Universität Wien ein Studium der textuellen Bildhauerei bei Heimo Zobernig an der Akademie der Bildenden Künste Wien (2003-2009) begonnen. 2008 kam ein Studienaufenthalt an der Glasgow School of Art hinzu. Heute lebt und arbeitet Meier als freischaffender bildender Künstler in Wien und beschäftigt sich genreübergreifend mit den Medien Architektur, Skulptur, Installation, Performance und Film. Bisher konnte Meier seine Arbeit im Rahmen einer intensiven Ausstellungstätigkeit im In- und Ausland zeigen, wobei zu den wichtigsten Ausstellungsorten der Kunstverein Braunschweig (2006), die Generali Foundation Wien (2006), das Groeningen Museum in Brügge (2007), das Nam June Paik Art Center in Seoul (2009) und für der kommende Jahr 2010 das Museum auf Abruf Wien sowie das Kunsthaus Graz (während des Diagonale Film Festivals) zählen. Dieses Jahr erhielt Christoph Meier den Förderpreis der Karl-Anton Wolf Stiftung und den Preis der Galerie Klatovy/Klenová (CZ).

A human being (the artist himself) lies half-naked on a forest floor, facing the viewer while gently singing. On his body rests a throng of colorful moths whose fluttering wings generate a melody attuned to the song. With its prolonged visual intro and lyrical song, Hour of Moth (Etude no. II) takes the form of a music video where Mejdahl himself is both the singer and songwriter. The work is a love song to the angel of the night—the moth—but also a yearning and sensual hymn to all nature. Mejdahls claims the geometric patterns on moth wings to be hidden warning messages from nature itself, but humans struggle to comprehend them. Hour of Moth (Etude. no II) thus looks upon the current climate crisis in which the human race feel detatched from Nature, while still searching for hope in the dark. This video art piece was made for Mejdal’s solo exhibition Liljegrotten (Lillith Grotto) at Overgaden Institute for Contemporary Art, Copenhagen (2021). The same year Hour of Moth (Etude no. II) was aqcuired by by The Museum of Contemporary Art (Museum for Samtidskunst), and The Danish Arts Foundation.

Copenhagen-based visual artist, filmmaker, and electronic music composer Kim Richard Adler Mejdahl was born in the Danish village Skælskør. With an educational background in fine arts Mejdahl has created a wide range of critically acclaimed artworks that interweave genres and media. In 2018 Mejdahl received The Jury’s Solo Award at Charlottenborg’s Spring Exhibition for his horror-musical documentary ODE - featuring the artist’s entire family that sing about their deceased abusive father. The movie was later aqcuired by The National Gallery of Denmark (Statens Museum for Kunst). Mejdahl’s largest production consists of his debut arthouse feature DAYS OF AL from 2019 - an experimental horror film starring the artist’s cousin and puppy dachshund as leading actors. Both movies come with its own soundtrack released by the artist’s music alias Kim Kim. This summer Mejdahl will release Liljegrotten - a music album and Denmark’s largest collectively produced sound piece made entirely out of audience sound recordings generated at the artist’s latest solo exhibition at Overgaden Institute of Contemporary Art.

Conduit par une voix virtuelle, un homme ordinaire trouve refuge dans les bois. Là, il tentera de comprendre le mystère de sa situation.

Miguel Mejías (né en 1991 à Tenerife, Espagne) a étudié l’écriture de scénario à Madrid après avoir fait des études de sociologie et de communication. Après une série d'autres emplois comme chauffeur, promoteur culturel, docker, ouvrier de chantier, éditeur ou encore restaurateur d’objets historiques, il est actuellement professeur de cinéma et de littérature à Sundsvall, en Suède. Ses réalisations ont été sélectionnées dans des festivals internationaux tels que le Trieste Film Festival (Italie); Cinespaña, Toulouse (France); Experimental Superstars, Novi Sad (Serbie); le Festival Internacional de Cine de Las Palmas de Gran Canaria (Espagne); le Festival de Málaga (Espagne); la Mostra de Cinema Mediterraneo, Valence (Espagne); le Ismailia Film Fest, Ismaïlia (Égypte); le Festival de Cine de Bogotá (Colombie) ou encore le Festival de Buenos Aires (Argentine).

Vast desert expanses extend out in our imaginations as life after death, the white blinding light transforming the mere mortal into the eternal. The curtains go down but the brilliance of the spirit lives on, truly free amongst the sweeping winds and blowing dust. Judy Garland, Jim Morrison, Big Jim and even you?the essence of life may be meaningless but there is unspeakable beauty in its demise.

Bjørn Melhus, born 1966, is a German-Norwegian media artist. In his work he has developed a singular position, expanding the possibilities for a critical reception of cinema and television. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew. Originally rooted in an experimental film context, Bjørn Melhus`s work has been shown and awarded at numerous international film festivals. He has held screenings at Tate Modern and the LUX in London, the Museum of Modern Art (MediaScope) in New York, and the Centre Pompidou in Paris, amongst others. His work has been exhibited in shows like The American Effect at the Whitney Museum New York, the 8th International Istanbul Biennial, solo and group shows at FACT Liverpool, Serpentine Gallery London, Sprengel Museum Hanover, Museum Ludwig Cologne, ZKM Karlsruhe, Denver Art Museum among others.

Towards the end of the 1960ies the world witnessed the war in Vietnam through what can still be called one of the largest ever TV war spectacles. At the very same time American astronauts looked down on Earth from the moon for the first time in human history. Although initially intended as affirming American dominance in the cold war this first view on the blue planet as whole created an image that quickly became the icon of ecological thought and central to a whole movement of counter culture. MOON OVER DA NANG draws these two contrasting media events together in Melhu’s own quirky and experimental quest to come to grips with the country’s post-socialist present in the throughway between the past and the future. Interviews with residents and dreamlike associative sequences are mixed with the documentation of the production process of a life-sized marble sculpture in Da Nang, a city in central Vietnam, which, 40 years after the end of the war in Vietnam, is being discovered by international investors for the tourism business. Traces of the past and of the war are gradually covered up by the construction of hotels and luxury resorts. At the end of the film the marble sculpture receives its finishing touches and turns out to be an Apollo astronaut.

Bjørn Melhus was born in Kirchheim unter Teck in 1966 and studied Fine Arts with a major in Film/Video at the Braunschweig University of Art from 1990 to 1997. He was a fellow of the DAAD at the California Institute of the Arts in Los Angeles and of the federal state of Lower Saxony in ISCP, New York. He participated in exhibitions at the Whitney Museum in New York, the 8th International Biennial of Istanbul, the Venice Biennial in (1998/2011), the FACT in Liverpool, the Serpentine Gallery in London, the Sprengel Museum in Hanover, the Ludwig Museum in Cologne, the ZKM in Karlsruhe, the Denver Art Museum, as well as others. Bjørn Melhus has been a professor of Fine Arts/Virtual Realities at the School of Art and Design Kassel since 2003. Bjørn Melhus has been living and working in Berlin since 1987. In his short films and installations, Bjørn Melhus focuses on general global ideas and trends, the critical reception of mass media, as well as the direct effects they have on people. He uses footage from film and television excessively and deconstructs stereotypical themes, figures and patterns of perception through means of exaggeration. At the same time, he breaks up a seemingly fixed relationship between media and audience, thus opening up the view on the essentials of human interaction.

Bjørn Melhus, born 1966, is a German-Norwegian media artist. In his work he has developed a singular position, expanding the possibilities for a critical reception of cinema and television. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew. Originally rooted in an experimental film context, Bjørn Melhus's work has been shown and awarded at numerous international film festivals. He has held screenings at Tate Modern and the LUX in London, the Museum of Modern Art (MediaScope) in New York, and the Centre Pompidou in Paris, amongst others. His work has been exhibited in shows like The American Effect at the Whitney Museum New York, the 8th International Istanbul Biennial, solo and group shows at FACT Liverpool, Serpentine Gallery London, Sprengel Museum Hanover, Museum Ludwig Cologne, ZKM Karlsruhe, Denver Art Museum among others.

A man in a hotel. A newscaster. A corpse under a bed sheet, which suddenly awakens and postulates the advent of "sudden destruction". Speech is gushing out in the rhetoric of the apocalypse taking itself to the absurd. The quotes are taken from YouTube videos of self-proclaimed evangelist prophets.

Bjørn Melhus, born 1966, is a German-Norwegian media artist. In his work he has developed a singular position, expanding the possibilities for a critical reception of cinema and television. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew. Originally rooted in an experimental film context, Bjørn Melhus`s work has been shown and awarded at numerous international film festivals. He has held screenings at Tate Modern and the LUX in London, the Museum of Modern Art (MediaScope) in New York, and the Centre Pompidou in Paris, amongst others. His work has been exhibited in shows like The American Effect at the Whitney Museum New York, the 8th International Istanbul Biennial, solo and group shows at FACT Liverpool, Serpentine Gallery London, Sprengel Museum Hanover, Museum Ludwig Cologne, ZKM Karlsruhe, Denver Art Museum among others. Since 2003 he has been professor for Virtual Realities at the School of Art Kassel, Germany. Bjørn Melhus lives in Berlin.

Isolated from the outside world, grotesque figures negotiate the pandemic state of emergency using language quotes from end-time movies. The video evokes fear, loneliness, illness, as well as threat and defense scenarios. Or: Several bizarre creatures reminiscent of human beings find themselves huddled away in squalid basements, at safe distance from the outside world. Speaking in selected quotes from doomsday films we observe them in various stages of despair, loneliness and sickness reflecting the pandemic state of affairs.

Bjørn Melhus In video art Bjørn Melhus has developed a singular position, expanding the possibilities for the critical reception of cinema and television. His stories have narrative structures formed by the fragmentation of the levels of image and sound. His practice of fragmentation, destruction, and reconstitution of well-known figures, topics, and strategies of the mass media opens up not only a network of new interpretations and critical commentaries, but also defines the relationship of mass media and viewer anew. His collages of rhythmic language and sound include almost incidentally the techniques of the video clip and trailer culture, although Melhus quotes neither pop music, nor does he engage in any lifestyle propaganda. His works expose the mechanisms of commercialization and rebel against simplification and global cultural standardization. His European view of American culture and of the global and trivial branches of mass culture is determined both by fascination as well as by a deep scepticism, by the longing to get away and by homesickness. Bjørn Melhus (born 1966 in Kirchheim/Teck, Germany) studied at the Brauschweig School of Arts in Germany and 1997/1998 with a DAAD grant at CalArts filmschool. In 2001/2002 he participated in the International Studio and Curatorial Program (ISCP in New York). Since 2002 he lives and works in Berlin. His works have been shown and awarded at numerous international film festivals and he has held screenings at Tate Modern and the LUX in London, the Museum of Modern Art (MediaScope) New York, and the Centre Pompidou in Paris - amongst others. His work has been exhibited in shows like The American Effect at the Whitney Museum New York, the 8th International Istanbul Biennial, the 54th Biennale di Venezia, solo and group shows at FACT Liverpool, Serpentine Gallery London, Sprengel Museum Hanover, Museum Ludwig Cologne, ZKM Karlsruhe, Denver Art Museum – to name just a few. More info: www.melhus.de

Ils se sont rencontrés en été, sous la pluie. Un film sur le silence et le carnaval. Sur la colère et la joie. Un hommage passionné à la surface de Rio de Janeiro : plein de douleur, de rêves et de tristesse. Une histoire carnavalesque d'amour et de violence. Créée à travers le silence criant qui entoure notre ville comme un masque interminable.

Felipe Bragança et Marina Meliande, 24 ans, font tous les deux partie de la nouvelle génération de critiques de films et réalisateurs brésiliens. Bragança et Meliande avaient réalisé ensemble deux courts-métrages primés et avaient produit d'importants festivals de films à Rio de Janeiro. Bragança vient de terminer son premier scénario de long-métrage et a travaillé comme assistant-réalisateur et coscénariste sur le second long-métrage de Karim Aiznou (" Madame Satã"). Marina Meliande est spécialisée dans le montage son et image, et travaille avec de grands monteurs de films au Brésil. Elle prépare actuellement, avec Felipe Bragança, son premier long-métrage.

Imaginez Electro Vishnu en Provence. Soyez témoin d`une fusion totale du corps et de la nature.

Journaliste-blogueur français, auteur de documentaires, compositeur et chanteur electro, je me suis mis aux courts métrages depuis 2000.