Catalogue > Faire une recherche

INCIDENT reconstructs a police shooting in Chicago in 2018, reassembling the event and its immediate aftermath from a variety of viewpoints, including surveillance, security, dashboard, and body-worn cameras as a continuous, synchronized split-screen montage.

Bill Morrison has been called “the poet laureate of lost films” (New York Times, 9/22/21). He makes films that reframe long-forgotten moving images. He has premiered feature-length documentary films at the New York, Sundance, Telluride and Venice film festivals. Morrison had a mid-career retrospective at MoMA in 2014. His found footage opus Decasia (2002) was the first film of the 21st century to be selected to the Library of Congress’ National Film Registry. Dawson City: Frozen Time (2016) was named one of the best films of year by more than 100 critics, and among the best of the decade (2010s) by the Associated Press, Los Angeles Times, and Vanity Fair, among others. In 2021 Morrison became a member of the documentary branch of the Academy of Motion Pictures Arts and Sciences.

Une volée d'étourneaux m'a survolé aujourd'hui. Dans mon esprit, je répète ce son encore et encore, tout en regardant les images du film. Le cinéaste capte son environnement avec la caméra, craignant de le perdre de plus en plus. Des règles strictes concernant l'utilisation de la longueur totale du clip et de sa piste audio originale guident le processus de montage. Les tableaux et leur insistance sur la durée créent une attraction vers un état de plus en plus isolé, où l'on perçoit le monde extérieur dans son intensité peu spectaculaire mais étrangement peu familière.

Born 1989 in Bern, Switzerland. Filmmaker, sound artist and photographer. His work includes several films and video installations, as well as collaborative work as a filmmaker and musician with a variety of artists. Yannick Mosimann's work focuses on intuitive processes and sensory experiences. He deals with themes such as the Anthropocene, nature and human perception. He lives and works in Bern.

« Cloud Cuckoo Land » (2008) est une collaboration entre Erik Moskowitz et Amanda Trager. Le titre de la pièce, « Cloud Cuckoo Land », est tiré de la pièce d?Aristophane « Les oiseaux ». Au IVe siècle avant J.-C., la notion d'utopie était déjà d?actualité ? mais également remise en question. Le récit parle du transfert d?une famille dans une communauté contemporaine. Le personnage central, Bianca, après avoir fantasmé des années sur la meilleure manière d?élever ses enfants ainsi que sur la notion figée et romantique de « meilleure » façon de vivre, est confrontée à sa propre intolérance et à sa propre incapacité à s'intégrer à la communauté. Le récit de la vidéo, qui exploite des moyens cinématographiques classiques tels que chant-contrechant, est destiné à l?exposition aussi bien dans des galeries ou des musées que dans des espaces cinématographiques. « Cloud Cuckoo Land » critique les postulats trop assurés sur les moyens de différencier espace public et espace privé.

Erik Moskowitz et Amanda Trager vivent et travaillent à New York et au Canada. Erik Moskowitz utilise la relation entre le cinéma et l?espace de la galerie comme point de départ pour l?installation et les films. Amanda Trager fait fusionner peinture, sculpture et installations, dans des récits en prose à la première personne. L?intérêt des artistes pour les récits fragmentés ou anti-narratifs vient de loin dans leurs parcours respectifs. Pour Moskowitz, il remonte à l?enfance, lorsque Spalding Gray l?invita à jouer dans le Sakonnet Point de Wooster Group. Son travail avec Spalding a continué pendant les huit années suivantes. Sa relation avec Joan Jonas date de cette période. Plus récemment, Moskowitz s?est fait remarquer pour ses musiques/installations vidéos basées sur des sources littéraires. Après s?être concentrée sur des textes plaintifs et sur la création de personnages dans la peinture, la sculpture et l?installation pendant plus de dix ans, Trager s?est récemment penchée sur la représentation d?une « conversation » absurde entre des acteurs mal assortis.

In response to an invitation to ?describe the queer voice,? artists Erik Moskowitz + Amanda Trager created this video, a whimsical portrait of an artist-couple.

Our collaborative work has been exhibited and screened internationally at venues that include Centre Pompidou, Jeu de Paume, Paris (2008-10); Reina Sofia, Madrid (2009); Haus der Kulturen der Welt, Berlin (2009); Participant, Inc. and 303 Gallery, NYC (2009). The single-channel component of our newest work premiered at the Rotterdam Film Festival and won Grand Prize for Short Film at IndieLisboa (2011). Art residencies include Montalvo Arts Center (2006) and Headlands Center for the Arts (2011), both in California. Grants include a NYFA Fellowship in Video (2008) and a NYSCA Distribution Grant (2009).

Jeu de Paume depicts a court tennis match at the Château de Fontainebleau, France, set in 1907. The stop-motion animation, filmed with a robotic hand-held camera, reflects the asymmetrical design of the court and the irregular rhythm of the game.

Joshua Mosley is Professor of Fine Arts in the School of Design at the University of Pennsylvania. He received his M.F.A. and B.F.A. from The School of the Art Institute of Chicago. Joshua is a recipient of fellowships including the Joseph H. Hazen Rome Prize, the Pew Fellowship in the Arts, and the Louis Comfort Tiffany Foundation Award. His work has exhibited and screened at the 2014 Whitney Biennial, the 2007 Venice Biennale, the Wexner Center for the Arts, the Museum of Modern Art, NY, the Modern Art Museum of Fort Worth, the Museum für Gegenwartskunst in Basel, Switzerland, the Art Institute of Chicago, the Bruce Museum, the Reina Sofia in Madrid, the Philadelphia Museum of Art, Donald Young Gallery, the Indianapolis Museum of Art, the Fabric Workshop and Museum, the Institute of Contemporary Art Philadelphia, the SITE Santa Fe Eighth International Biennial, and the Museum of Contemporary Art San Diego.

Tout le monde est heureux ici. Ils sont caché de l'autre monde par des murs d'un asile qui est le seul paradis sur Terre.

Vladimir MOSS est né à Smolensk (Russie) en 1964. Diplômé du l'Institut Russe du Cinéma (VGIK, Moscou) en 2003. En 2004, il est diplômé du Higher Courses des scénaristes et réalisateurs.

An essay film on an unplanned city, Dhaka, from the point of view of an off-screen architect. The architect travels from the loud city to the silence of the remote village, encounters people, incidents and landscapes. The film is a meditation on the nostalgia for the rural past jutted against the urban chaos and a reflection on finding home in the urbanized present.

Born in Bangladesh, Mehedi Mostafa studied architecture in Dhaka before joining a Mumbai based film school Whistling Woods Int. in India. He finished his diploma in filmmaking with direction specialization in 2017. Currently he?s working on a feature documentary project called “Making Places” and developing a fiction feature. He attended Docedge Kolkata, Uniondocs summer documentary lab and Locarno south Asia industry academy. His latest short documentary FANTASY IN A CONCRETE JUNGLE (2022) was selected at Clermont-Ferrand international short film festival and won the Lab student prize.

"Kuleshov Sukiyaki is based on the music piece "Systole No 2" from INTERSTICES (2000) by Terre Thaemlitz. It uses this music collage as a grid for the montage of a particular set of found images. In the music piece ?Systole No 2?, Thaemlitz deconstructed a funky 70`s pop song with the idea to extract those music passages where no vocals are being sang. These are usually the pop song segments that hardly anyone pays attention to. Thaemlitz therefore distills the background radiation of the song, transforms it into an arrhythmic instrumental piece, not without leaving some traces of the singer`s voice - his inhalations and exhalations, "suggesting emotional, physical and/or sexual exasperation, and occasionally resulting in the whispering of new words?? (T.T.) Analog to this "systolic" sound collage Kuleshov Sukiyaki contains a patchwork of clips from 70`s erotica and soft porn movies which highlight similar emotional moments, including the befores and afters of orgasm scenes. It features a variety of highly aesthetic cinematography (in films of Radley Metzger, Paul Morrisey) as well as stylistic somersaults. In the eyes of their producers and occasionally even directors these elements are exclusively created for the support or exaggeration of pure lust and sexual charge, that their creators hope to have embedded in these scenes. This over-saturation becomes apparent even in single images, after being taken out of their context. (Mostly close-up`s of actors gazing at their partner.) In this assembly of images the energy fields are redirected, using their magnetic charge in order to fuse together associative image elements of entirely different films. In addition, it also applies the oldest experiment in associative editing, the famous Lev Kuleshov effect, while featuring a non- linearity that could be compared to the ?now legendary? chopped film-with-sukiyaki dish by experimentalist Tony Conrad."

m o s t r a is a duo of video artists Gabriela Monroy and Caspar Stracke. They gather and transform found images according to single themes of social, architectural and political nature. Harvesting the net as well as recycling found footage, they recontextualize raw content in which images sequences are treated as text re-edited. Occasionally this also happens vice versa: text is transformed into imagery--literally, though ASCII code. m o s t r a `s fast-paced hybrid language of juxtaposed imagery and animated shapes allow a constant exchangeability of visual and textual signifiers, creating new meaning out of re-used images. Both, Monroy and Stracke have produced several video installations and single channel works that have been shown in the US, Mexico, Brazil, Europe and Japan. Their work has been published on the Eyewash DVD compilation by forward-motion theater. Stracke?s single channel work is in distribution of video data bank, e-film workshop, Oberhausen Festival and Lightcone, Paris.

The Warming Plateau is a film recorded on Tobago, an island unique among the former British West Indies in that much of its West African heritage survived the obliterating effects of slavery and exists in vibrant tradition long into the present day.  One segment of the film recalls the legend of Gang Gang Sarah, the ‘African slave witch’ who, wishing to return to her homeland, climbed the sacred Silk Cotton tree and tried to fly. But Gang Gang Sarah did not realise she had lost her powers of flight after eating salt, and fell to her death. The other segment of the film shows four men cutting their way through the jungle, making measurements, calling out to each other, working on something that comes into focus as a kind of land claim or marking of territory. The film as a whole is a portrait of the island as a sentient being, showing sites of past and present exploitation. 

Santiago Mostyn – born in San Francisco but with strong ties to Grenada, Zimbabwe and Trinidad & Tobago – currently lives in Sweden. Mostyn works and lives between these cultures, often creating a context for reflection on privilege, inclusion and utility. With his films, photographs and installations, he sets up a framework to test how wide or narrow the apparent divide is between different social spheres. He employs an intuitive creative process and points to a knowledge and history grounded in the body rather than the rational mind. Through his work, Mostyn creates a balance between intuition and reason, dreams and waking states, and offers the audience a fresh way of seeing and contextualizing their everyday experiences. Mostyn is a graduate of Yale University, Städelschule in Frankfurt, and the Royal Institute of Art in Stockholm. He is currently co-curator of “The Moderna Exhibition 2018: With the Future Behind Us”, Moderna Museet’s quadrennial survey of contemporary art in Sweden.

In Nefandus two men travel by canoe down the Don Diego river in the Sierra Nevada de Santa Marta in the Colombian Caribbean, a landscape of “wild” beauty. The men, an indigenous man and a Spanish speaking man, tell stories about pecados nefandos [unspeakable sins, abominable crimes]; acts of sodomy that took place in the Americas during the conquest. It has been documented that Spanish conquistadores used sex as a weapon of domination, but what is known about homoerotic pre-Hispanic traditions? How did Christian morality, as taught by the Catholic missions and propagated through war during the Conquest, transform the natives’ relationship to sex? Nefandus attentively looks at the landscape, its movement and its sounds for clues of stories that remain untold and have been largely ignored and stigmatized in historical accounts.

Carlos Motta's interdisciplinary artistic practice includes the making of video essays, documentaries and online video archives. His early video Letter to My Father (Standing by the Fence) (2005) narrates the experience of living and working in New York City at the aftermath on 9/11 and focuses on the personal and political intersections of immigrants within that context. Motta is interested in questioning the structures of power that control and regulate civic life as well as hegemonic construction of historical narratives. One of his most recognized projects is We Who Feel Differently (2012), a comprehensive video archive of interviews with dozens of queer subjects that speak about the forty years of gay, lesbian, bisexual, trans, intersex and queer activism from a variety of social perspectives. The installation was first presented in a solo exhibition at New York's New Museum in 2012 to great acclaim. Motta's most recent video works Nefandus Trilogy will have its World Premiere at the 2014 International Film Festival Rotterdam's Tiger Awards Competition. Composed of three short films, Nefandus (winner of Catalonia Hotels Award for Best Video at LOOP, Barcelona, 2013), Naufragios and La visión de los vencidos, the trilogy exposes the imposition of the category `sexuality` onto indigenous cultures in the Americas during the Conquest and throughout the colonial period, based on moral and legal discourses of sin and crime. These works will also be presented at the First International Biennial of Contemporary Art of Cartagena de Indias in February.

Inhambane. Mozambique. King-Best. Samsung Galaxy. Versace. Babes. White rooster. There are no toothpicks in Norway. Coconut trees. Baobab fruits. Superfruits. Vitamine C. Passiflorine. Alpha-linolenic acid. SMS in Chinese. Megabytes. Hotel Cardoso. Coffee is a white man’s addiction. Ngadzango. My woman. Nafta.

Ico Costa was born in Lisbon in 1983. He studies at the Portuguese National Film School (ESTC), in Lisbon, and at the Universidad del Cine (FUC), in Buenos Aires. In 2011 he was admitted at Le Fresnoy - Studio national des arts contemporains, in France, which he finished with Distinction. He directed the short films "Libhaketi" (2012), "Quatro Horas Descalço" (2012), "Corrente" (2013), "Antero" (2014) and "Nyo Vweta Nafta" (2017). His work was shown at several film festivals, such as the Critics` Week of Cannes IFF, Locarno IFF, Rome IFF, Indie Lisboa IFF, Bradford IFF, Durban IFF, Curtas de Vila do Conde ISFF, Jihlava IDFF, among others.

Oro est une divinité de la nature, une divinité du vent, une divinité invisible. Dans le pays Yoruba, Oro est la divinité la plus influente, la plus terrible, la plus puissante. Lors de la saison estivale, Oro se réveille. A la nuit tombée, drapé dans une longue robe, décoré de coquilles, un masque en bois peint, les lèvres teintées de sang; Oro défile dans la ville obscure. Les hommes initiés paradent dans les rues sombres; tourbillonnant, dansant, chantant, tuant chiens et poules errantes. Alors, un bruit étrange rugit et résonne de la forêt lointaine. C’est le signal pour toutes les femmes, de s’enfermer dans leurs maisons: elles n’en sortiront plus. Elles se couchent, couvrent leurs têtes et celles de leurs enfants. Elles ont interdiction formelle de regarder le personnages masqué du oro sous peine de mort ou d`amnésie soudaine. Une légende raconte que les profanes qui s`aventurent dehors aux jours interdits sont avalés par la divinité Oro. Leurs corps disparaissent et on retrouve leurs vêtements accrochés aux arbres le lendemain. Oro est un culte ancestral toujours actif dans le sud du Bénin. Il est utilisé à des fins politiques, pour préserver l`ordre établi, dans la communauté.

Pierrick Mouton est un artiste et vidéaste, vivant à Paris. Son travail explore la pensée magique, le cultuel et la transcendance, à travers des films, des installations et des photographies. Sa recherche se caractérise autour du film et de l’espace d’exposition, prétexte à rendre explicite les rôles du sujet et de l’auteur. Cette démarche est associée a une approche documentaire, et une immersion sur le long terme avec différents groupe de croyance et de pensée. Ces recherches aboutissent à un ensemble narratif hétéroclite, composé d’interviews, de dialogues, de dessins, de lettres, de sculptures... Tous ces documents sont présentés sous différentes formes: écrites, filmées, scénographiées, ou spatialisées. Pierrick Mouton a récemment exposé à Londres son projet sur le long terme, Correspondances, (2008-2015), qui e été présenté sous la forme d’une exposition personnelle à la Nunnery Gallery de Londres. Son travail est régulièrement montré dans différents festivals et expositions collectives (Carrousel - London, Espace croisé, Saison vidéo - Languedoc-Roussillon Cinéma, Creation on air - France culture, ....)

Il y a très longtemps, se trouvait un vieil homme au village, qui gardait jalousement un secret. Certains soir de l'année, quand la lune était pleine Il s'asseyait devant l'arbre sacré. Les mains écartées, il prononçait des paroles incantatoires jusqu'au bout de la nuit. La forêt tout entière s'animait. Après quoi, On raconte l'avoir vu à des centaines de kilomètres de là. Certains disent qu'il aurait le pouvoir de se téléreporter.

Pierrick Mouton est artiste et vidéaste, et vit à Paris (France). Son travail s’articule autour de systèmes de croyances, spirituels ou idéologiques à travers des films, des œuvres sonores ou des objets, qu’il fait réaliser ou qu’il réalise lui-même. Cette démarche est associée à une approche documentaire, et à une immersion sur le long terme avec différents groupe de croyance et de pensée. Pierrick Mouton a récemment exposé au Salon de Montrouge, Paris (France); à l’École d’architecture de la ville et des territoires Paris Est (France); à la Clark House Initiative, Mumbai (Inde); à la Villa Belleville, Paris (France); à l’Alliance Française, Chandigarh (Inde); à la Nunnery Gallery, Londres (Royaume-Uni); et à Carrousel, Londres (Royaume-Uni). Ses créations radiophoniques sont régulièrement diffusés sur France Culture et DUUU radio.

Il m’a dit. Les hommes sont loin.?Les lampes sont loin. Les acteurs sont partis depuis longtemps déjà.  Les arbres, les fleurs, les nuages sont loin.  Je crois, sentinelle, à l’heure où tous font la sieste, que ma mission est là : permettre aux hommes de dormir sur leurs deux oreilles. Aux portes du désert, Samir garde un décor de cinéma abandonné.?Il déambule à travers Jérusalem, se prend au piège des images factices. 

Pierrick Mouton est artiste et vidéaste. Son travail explore l’imaginaire collectif des croyances humaines à travers des films, des œuvres sonores ou des objets. Cette démarche est associée à une approche documentaire immersive avec différents groupes et communautées. Son travail a pu être présenté notamment au 65e Salon de Montrouge (Paris), Institut français (New Delhi), Clark House Initiative (Mumbai), Villa Belleville (Paris), Nunnery Gallery (London), Rencontres internationales (Paris – Berlin),... Ses créations radiophoniques sont régulièrement diffusées sur France Culture et la web radio DUUU. Milan Otal est musicien de formation, auteur et metteur en scène. Il a écrit des pièces de théâtre et des livres documen- taires explorant les relations entre fiction, essai et récit autobiographique. Fasciné par la voix sur scène, il a travaillé avec le com- positeur Vincent Trollet (Institut Français Hors les Murs), le concepteur de festival Faouzi Skali (Festival des Cultures Soufies, Fès), et les metteurs en scène Georges Lavaudant (Abbaye de Royaumont) et Jean- François Sivadier (Festival international d’art lyrique d’Aix-en-Provence ; Opéra de Bologne ; MC93). Il crée en 2020 l’opéra Arianna, exploration immersive dans un opéra aujourd’hui disparu à l’exception des dix minutes centrales. Il est pour ce projet artiste associé à La Pop, résident au Département de Design de l’ENS Saclay, à la Scène de Recherche de Saclay et à la Cité internationale des arts de Paris.,

Begun in the wake of recent (and ongoing) racial unrest in Ferguson, Missouri, USA, The Forcing (no. 2) is a meditation on power and the longing for deliverance in contemporary America. It combines original sound and video with appropriated content, observing no hierarchy of image quality or authorship.

Lydia Moyer is a visual artist and media maker who lives and works in the foothills of the Blue Ridge Mountains, USA. She directs the new media program in the art department at the University of Virginia where she is on the faculty. Her video and print work has been shown widely in the US and abroad.

Someone Else?s Project gives an unmediated insider look to the everyday lives of residents of Tehran, focusing on a correspondence between a U.S. based artist, and a Tehran based videographer, who takes on the risk of shooting illegally on the streets. The videographer recounts her interactions with civilians and guards, where strangers offer her voluntary and enthusiastic support to accomplish an illegal task. While reflecting on the unexpectedly familiar nature of everyday life in Tehran, Someone Else?s Project sheds light on Tehrani civilian?s resistant attitude towards civil obedience and the isolation of a society that is desperate to participate.

Shirin Mozaffari is a media artist, born and raised in Tehran, Iran. She holds a Master of Fine Arts from The School of The Art Institute of Chicago. Mozaffari has screened her short films and exhibited her video installations widely in the United States and abroad including the Asian American Film Festival at The Gene Siskel Film Center in Chicago, and the Queelnsland Gallery of Modern Art in Queensland Australia. Mozaffari was awarded for best Art Direction at Chicago Short Film Festival for her film Namesake. Mozaffari currently lives and works in Boston, MA.

In the days following the presidential election in Belarus in August 2020, numerous protests erupt throughout the country. The special police, OMON, take particularly brutal action against demonstrators, which even spills over onto passers-by. In total, almost 7000 people are arrested throughout Belarus. Hundreds of victims recount their experiences in interviews. Their reports reveal a system of repression, which is reconstructed in detail in the director’s room in Berlin Neukoelln in the form of a cinematic guide.

Pavel Mozhar was born in 1987 in Minsk and has lived in and around Berlin since the age of ten. He obtained a Bachelor's degree in Philosophy & Economics at the University of Bayreuth (2009-2012). During this time, he was involved in student film projects and attended seminars at the Media Studies faculty. After graduation he had various internships and jobs in the film industry. In 2015 he started his Master’s degree in Directing at the Film University Babelsberg Konrad Wolf, majoring in documentary forms. Mozhar’s most recent work is Handbook, a short documentary about the protests in Belarus in August 2020.

Ce film d´animation est basé sur les illustrations du "duden", livre de vocabulaire allemand-russe. Cette version de 1953 donne une description du monde à travers de nombreuses illustrations, de la vie politique aux sports en passant par la nature et le corps humain. Le film est indépendant des textes de la chanson, il reflète approximativement sa tonalité psychédelique et surréelle /"la ville est l´hameçon, la proie au bout de sa fine corde ... je suis en train de fumer, après le travail, la porte claque ... lentement, tout au long de la journée, plus rien à faire, lentement, le long des vitrines et des bars ..."/

David Mozny, artiste visuel, utilise l´image numérique depuis 2000. Il expose ses oeuvres dans des galeries ainsi que des clubs média et de théâtre, et est également professeur à temps partiel à la Faculté de sciences sociales de Masaryk, à Brno, dans la section "nouveaux médias".

Søren and Malene met and fell in love by playing and improvising music together. They had a child, but shortly after a tumor was discovered in Sørens brain. It was removed and treated with radiation. A week later it was confirmed that Malene had leukemia. The couples everyday life has been strongly influenced by endless treatments and they haven`t been playing music together for a long time. This experimental documentary creates three rooms in which the participants can play and once again find their common tone.

Theis Mølstrøm Christensen graduated from The National Film School of Denmark in 2013 as Director of experimental documentary. This director uses large and preferably dramatic settings with great emotions, and yet still strives to attain intimacy, tenderness and honesty. Life is precious and can be lost. Love is the characters’ driving force. He explores and portrays the depths of human intensity. Listening to the protagonists` truth and to their struggle, their love and their deep desire to be found. He makes the cinematic atmosphere play an active role in redeeming the participants on their journey. The audience are drawn insistently into the intense movements between close relationships. And are left thoughtful and touched, in an intrusive reminder that beauty is found within all if we only dare to look for it. Theis Mølstrøm Christensen is currently creating the feature documentary "Dream Warriors" about soldiers returning from Afghanistan suffering from PTSD, who relives their traumas in fictional settings.

Magma is the first film in a greater series of experimental short films called The Cycle - 8 experimental short films that embrace and discover movement through camera. The films are shot in the extreme and wild landscapes of a remote group of islands far up in the North Atlantic Ocean, the Faroe Islands. Fragmented stories are unraveled in these open and empty spaces, enhanced by the uncontrollable and extreme weather conditions that have an important character in all the films. Deprived from dialogues and narratives, the repetitive patterns of movements, costumes, music, landscapes and other components create an intriguing atmosphere that takes the viewer to a surrealistic yet hauntingly beautiful universe.

Rannvá Káradóttir is a London-based artist and filmmaker. Since graduating from London Contemporary Dance School she has emerged as one of the most prominent performance directors on screen. Rannvá started to use the film media for her practice early on and has developed a distinctive movement vocabulary on screen, exploring dance in various contexts and cross disciplinary works. Marianna Mørkøre, filmmaker and illustrator, began her career during fashion studies in London, especially interested in editing. Her constant curiosity in challenging the traditional perception of moving image has generated unique visual narratives that are marked by an experimental approach and a personal voice - a methodology of intriguing imagery determined to linger in your mind.

Dans Sirenes Opacas de São Paulo habite la tension entre la ville en tant que béton anonyme qui occupe l'espace, et le monde en tant qu'expérience accumulée dans le corps. Mais la ville est aussi le monde et l'espace est aussi le corps, et chacun porte l'anatomie de souvenirs opaques. L'ampleur des bâtiments face à l'échelle humaine des passants est opaque pour la recherche d'endroits sûrs face à la verticalité imposante. Le geste comme détail du corps qui parle est opaque au bruit de l'abîme urbain. Le suspense inerte qui gratte le ciel est opaque pour les expériences qui se transfigurent à la recherche d'elles-mêmes. Et cette tension ne grandit pas et ne diminue pas, elle est constante et ce qui soutient le mouvement quotidien, et son absence, dans les rues de São Paulo.

Né en Angola en 1989. Artiste transdisciplinaire, Lubanzadyo Mpemba s’exprime dans l’art vidéo, la photo performance, performance et documentaire. Son travail comprend des mises en scène visuelles qui traitent de la migration, de la la gentrification, la violence institutionnelle et la mémoire collective. Il est diplômé en droit et a étudié la sociologie urbaine, Études curatoriales, film et peinture en mouvement.