Catalogue > Faire une recherche

Currently_off_sight investigates visibility on sex webcam platforms through the testimonies of webcam performers. Despite the asymmetry of power between them and the sexcam platform, currently_off_sight resists a binary understanding of what is and what is not visible in that context. In this way, the project questions the purpose of rendering things (hyper)visible at the expense of others while exploring the many shades of online perception. Foregrounding webcammers’ voices, currently_off_sight examines how visibility manifests on the platform, and the various degrees of agency the different actors have there. Both in its web and video versions, the project is divided into chapters concerning the different topics addressed by the webcammers. Quoting the aesthetics used in the camming environment, these elements are placed on a simulated desktop that works as a stage and place of observation, while it also acknowledges the presence of a user in this entanglement.

Lotte Louise de Jong is a media artist from the Netherlands with a background in filmmaking. Her work is research-based and ranges from physical, digital and online installations to more traditional forms of narrative. Her practice addresses how we, as a society, view and shape our identity through mediated spaces like the digital world. The internet as a space for exploring intimacy has been the main focus of her past projects. She obtained a master’s degree in Fine Art and Design at the Piet Zwart Institute in Rotterdam in 2019. In 2020 she received an emerging artist grant from the Mondriaan Fonds. Antonia Hernández is a writer, designer, and media artist whose work explores infrastructural relations of intimacy, combining theoretical investigation with arts-based practices to understand the fleshy, living, and domestic aspects of media. She has presented her work and research-creation methodologies widely at conferences, exhibitions, and in artist talks, and is preparing a book on the role of fictional currencies in sexcam platforms.

Est-ce que le paradis peut exister dans une société corrompue ? Est-ce que l?éducation peut vaincre la télévision et la pornographie qu?on y voit ? De quelle manière est-ce que la citoyenneté peut jouer un rôle dans l?éducation, et l?éducation encourager la citoyenneté ? A 19 kilomètres de la capitale du Pérou, Lima, Villa El Salvador n?est pas une ?barriada? ordinaire. C?est une ville de plus de 300 000 habitants et un véritable exemple d?autogestion, d?autonomie et d?esprit communautaire. Joëlle de la Casinière dresse un portrait de cette ?nouvelle ville? qui fut construite à partir de rien, extrêmement rapidement et au milieu de nulle part. Le travail qu?elle a effectué sur la bande-son relève véritablement du poème musical en langage radiophonique. Avec le même style de collage ? à la fois produit et anticipation de l?ère du zapping ? qui caractériserait le travail de de la Casinière dans les années 80, ?Rose de Lima? joue avec les contradictions et les sens nouveaux que produit la juxtaposition du son et des images. En associant des boléros, des rancheras et d?autres genres de musique populaire Sud Américaine avec la vue accablante de routes en plein milieu du désert et de voitures industrielles, de la Casinière joue sur les stéréotypes qui existent à propos de l?Amérique du Sud et souligne ainsi les grands contrastes de ce continent.

D?origine française mais Belge d?adoption, Joëlle de la Casinière, qui est née en 1944, est connue principalement pour son travail avec le Centre de Recherche Montfaucon dans les années 80. Les vidéos Montfaucon, qui s?inspirent de Marshall McLuhan, sont des images de télévision qui se réfléchissent elles-mêmes dans le but de déconstruire l?idole qu?est devenue la télévision. Ce sont des ??uvres d?art complètes?, ils utilisent tous les systèmes sémiotiques que la télévision utilise : musique, images (des séquences trouvées et auto générées) et langage parlé, écriture et chansons. Le collage qui en résulte interrompt la perception conventionnelle et rend donc possible une réflexion sur ce medium. Entre 1972 et 1979, Joëlle de la Casinière et son compagnon Michel Bonnemaison (1923-2006) ont voyagé à travers le continent américain et ils ont rapporté de ce voyage une série de dix films.

Au départ, il y a une simultanéité. Un fossile marin de crinoïde mis à jour près du sommet de l'Everest, un célèbre alpiniste britannique qui s’évapore et un leader russe qui s'éteint sont le point de départ d’une histoire de la transformation de la matière. Dans un vaste mouvement, les matières terrestres se brassent et se métamorphosent, les échelles et les temporalités se télescopent, et les corps humains se nichent au creux des grands processus terrestres.

Astrid de la Chapelle est une réalisatrice et une artiste française. Elle développe dans ses films des expériences autour du récit, notamment en lien avec la géologie et les circuits économiques des ressources terrestres, mais aussi de la science-fiction. Son travail se déploie au sein de l’image en mouvement, mais également dans d’autres champs comme la musique, avec le groupe Shrouded and the Dinner depuis 2012. Ses films ont été présentés entre autres au Cinéma du Réel (FR), au festival d’Oberhausen (DE), à l’ECRA Experimental Festival (BR), au FID Marseille (FR), aux Rencontres Internationales Paris/Berlin (FR/DE), au Musée d'histoire naturelle (FR), au Musée de la Chasse et de la Nature (FR)…

L'épopée sur branches et en sous-bois, télescope: nature, peinture: uccelli et Uccello. Le film tisse un dialogue avec des éléments photos et vidéos trouvés sur internet d'oiseaux et d'extraits de tableaux de Paolo Uccello.

Astrid de la Chapelle est réalisatrice, artiste et musicienne. Elle est née en 1983 à Paris. Dans ses films 16mm, dessins et projets éditoriaux, elle procède à des transcriptions entre médiums et à des reconstructions narratives en renouvelant les hiérarchies de récit et l’utilisation de documents. Son travail explore les potentiels qu’ouvre les espaces ou les paysages. Elle auto-édite le fanzine de science-fiction Futu et joue en parallèle dans le groupe de musique, Shrouded and the Dinner, avec quatre autres artistes et musiciens. Elle a étudié à l’Ecole nationale supérieure des Arts Décoratifs de Paris (diplômée en 2008), à la School of Visual Arts de New-York (USA) et à l’Ecole Supérieure des Arts Appliqués Duperré. Invitée par le Muséum national d’Histoire naturelle en 2017, elle a imaginé le cycle sur l’île de Pâques avec une sélection de films et de conférences.

Water tanks work as collectors that help to control water levels in times of extreme rainfall, ensuring the availability of this resource in future times of drought. The one in Madrid is one of the largest in the country. I was not aware of its existence until a few months ago when I heard about it on the radio. It was a feature about everything that could be found there along the years: a dead donkey, an rusty small car, chandeliers... What kind of memories do we throw away in the water of these places where they cannot be carried away by the current? Do we want to forget them? Or do we want just to keep them preserved under water? In this virtual reality experience, the water-collector is part of the subconscious. It is a place where childhood memories are encapsulated. We can revisit them in the virtual world, but probably they will drown us.

Born in Madrid (Spain) 1988. Nieves de la Fuente studied Fine Arts at the Universidad Complutense de Madrid. She finished her studies with an Erasmus Scholarship at the Kunsthochschule Kassel with Professor Norbert Radermacher. During her Posgradual Studies at the Kunsthochschule für Medien in Cologne, she worked as a 3D artist and improved her understanding of the 3D medium. The work in 3D, open her a different approach to sculpture and a way into immersive technologies. She uses these as a medium to deliver a message and keeps working as a conceptual artist. Her current line of work oscillates among the construction of memory and its experience in immersive processes and the investigation of non-human perception delivered through these technologies. She has shown her work in institutions and festivals around Germany, Spain, Canada, Taiwan and Croatia among others.

In his essay Prison Time, Michael Hardt maintained that we have to construct a way for the moment of love to return, for it to be repeated endlessly and take on a tempral density, a duration that would become the material structure for a new time. That is what I wanted to construct, tinking in terms of the literal meaning of the word construct. To modify time and make visible not only something that generates a crucial change, but also something that apparently does not, whose change we are unable to perceive because of their fleetingness or because they are too commonplace. Using the strategy and the power of slowness. As Genet, who Hardt addresses in his Prison Time, might have put it, somebody could have achieved it even if it were only for a thousandth of a second. Things are not as they seem. They are much more coplex or contain more than we can see at first glance. Paraphrasing Frank Stella, "things are as they seem, but for me they are not as they seem...". Reality is much more complex, as well as changing and fragile. Any detail can breach it, one single event can transform a scene from reality into something completely different. We to are part of this reality, and that makes us just as fragile and changing. We are a reflection of what is happening around us. With this project, I continue transgressing reality, looking for ways to explore it further and find that which is difficult to see, accentuating the importance of what surrounds us in order to reach a better understanding and valuation. I have constructed a path twelve metres long by one metre wide for a trolley to circulate automatically along it in both directions. On it is a six metre high tower with a 500 watt spotlight. The trolley moves at a very slow speed from one end of the path to the other, pausing for one minute on both ends. It takes approximately one minute to cover the twelve metre stretch. At this speed, the trolley iluminates everything along its path as it comes under its focus. When bringing the work into the exhibition hall as we see in the intervention shown in the video, something that I touched on earlier happens: the structure somehow loses its core role and the place takes on a greater centrality, thus transforming it into an object and part of the installation. It takes on the false appearance of a stage set and reveals all its fragility, its harshness, or it is simply transgressed. Everything is a to-and-fro, a coming and going, endlessly repeating itself and marking this temporal density Michael Hardt spoke of. The idea is form this moment to keep on repeating itself and to generate a false way of controlling the uncontrollable, which is time.

Jaime de la Jara (Madrid, 1972) graduated with a degree in Fine Arts from de Universidad Complutense of Madrid in 1996. Since then he has won several prizes and grants, including one from the Fundación Marcelino Botín in 2003 and another from the Artistic Creation Awards of the Region of Madrid in 2008. His works have been seen in various exhibition and competitions such as: Generaciones 2005 and 2006 at La Casa Encendida and Destino Futuro, the selection of young artists by the Region of Madrid at the Botanical Garden, curated by Oliva María Rubio. He took part in LOOP 05 with an individual project and at the Planes futuros exhibition curated by Lorena and María Corral. De la Jara is on the roster of Fúcares Gallery in Madrid where he showed his work in the 15 inches project in 2007. It was then seen at art fairs like Balelatina (Miami, New York and Basel), ParisPhoto, Foro Sur, MACO, D-Foto, Vienna Fair, ARCO, Artorama (Marsella)? His work is in public and private collections like Fundación Coca-Cola, Caja Madrid, Fundación Marcelino Botín in Santander, Artium Museum in Vitoria, Caja de Ahorros del Mediterráneo, Region of Madrid and ABC Vocento. In 2005 he was runner-up at the ABC Vocento Prize. He is currently preparing a one-person show for Sala Tecla in Barcelona.

"En La Era" est une œuvre abstraite qui documente le déroulement du workshop Béton Expérimental (Experimental Concrete Workshop) de Las Pozas, à Xilitla. Diptyque du style de documentation subjectif de Manuela, le film utilise la couleur et le noir et blanc pour créer deux expressions distinctes, oniriques et fragmentées d'un même événement: un groupe d'étrangers immergés dans la jungle parmi les constructions surréalistes d'Edward James et créant leurs propres œuvres sculpturales. Le spectateur est plongé dans tout ce que ce cadre étonnant implique -les habitants, la nature, la préparation des repas... "En La Era" est fermement ancré dans le sensoriel, à travers la bande son de Camila Fuchs qui mêle les partions musicales à des enregistrements de terrain recueillis hors-champ lors du workshop.

Manuela de Laborde est originaire de Mexico. Elle est artiste et cinéaste. Sa pratique, en abstrayant les concepts de leurs propriétés concrètes, cherche à créer des espaces [virtuels] et à [régénérer] l'image. Inspirée par la simplicité de l'expression, l'économie du détail, le lieu de l’exposition, sa pratique est une méditation sur la présence physique. Son travail est visiblement porteur de revendications esthétiques et de plaisir, tout en étant performatif dans sa présentation et conceptuel dans son objectif. En 2012, elle a présenté son exposition solo, "Maquettes", aux Generator Projects, Dundee (Royaume-Uni). En 2013, elle a projeté "Sun" au MexFest de Londres accompagnée de la musique live de Camila Fuchs. Ses films courts "Viveros", "The exponential Nature of Images" et "Le Visible et L'Invisible" ont été présentés au Festival Antimatter, au Festival international du film documentaire de Jihlava (République Tchèque) et au Milwaukee Underground Film Festival (USA). Son film de thèse, "As Without So Within", a été projeté entre autres au TIFF - Festival international du film de Toronto (Canada), au festival WNDX de Winnipeg (Canada) [meilleur film court international], au Festival 25FPS de Zagreb (Croatie) [Grand Prix], au FICM - Festival international du film de Morelia (Mexique), au Festival international du film de Rotterdam (Pays-Bas), au New Directors du MoMA et du FSLC (USA), et à VideoBrasil (Brésil). Elle est actuellement cinéastes "en résidence" du Festival du film d'Oberhausen – Conditional Cinema (Allemagne), où elle termine son film "Ficciones". En octobre dernier, Manuela a participé à une résidence d'artiste au LIFT - Liaison of Independent Filmmakers in Toronto (Canada).

In The Era is an abstract work documenting the Experimental Concrete Workshop in Las Pozas, Xilitla. A diptych of Manuela’s subjective style of documentation, the film uses color and black and white to create two separate dreamlike and fragmented expressions of a single event: a group of foreigners immersed in the jungle among the surreal constructions of Edward James while creating sculptural works of their own. The film’s viewer is thrust into all that this stunning setting entails – the local residents, the nature, food preparation… In The Era is firmly grounded in the sensorial, with Camila Fuchs’ sound design melding sound scoring with field recordings from beyond the viewer’s visual frame of reference.

In 2012 she exhibited her solo show, Maquettes, in Generator Projects, Dundee; in 2013 screened, Sun, at London MexFest with the live score of Camila Fuchs; her short films Viveros, The exponential Nature of Images and Le Visible et L’Invisible where shown at Antimatter FF, Jihlava IDFF and Milwaukee UFF; and this year her thesis film, As Without So Within, was screened at Toronto International Film Festival, Winnipeg WNDX (Best International Short), 25fps Festival in Zagreb (Grand Prix), FICM of Morelia and International Film Festival Rotterdam, New Directors MoMA + FSLC and VideoBrasil among others.

Some accounts bend the soul. Such changes, such losses, fold us. We curl up around the hollow. Then, to raise is to unfold. That which requires forms of return, to dwell and reflect. Then, memories prove themselves useful: stacked up, a column of support; moved around they play novel roles and entertain. At the peripheries of such accounts, in the process of change, external beings turn towards us, the world becomes loaded with entrails, the other moves us, while in face of everything we pour ourselves. Divides where never so present and simultaneously misty. The backbone of loss is a trajectory. It is myth as verb and essay intertwined. It is the flexible virtuality of structures; diverse forms talk like sisters. Like Chiropractice, this film is an adjustment, proper and of cinema’s patterns towards the unpredictable, the playful or loving.

Artist and filmmaker based in Mexico City.?At first glance, her work carries aesthetic and pleasure claims, right up to a tenuous range of sensations. However, its presentation is performative - soaked with temporality; and its purpose, conceptual or perhaps spiritual. The work revolves around a quest to locate and isolate concepts built around tangible elements, to then create abstractions that regenerate their image and position their force within a new context. Virtual spaces rise and with them propositions for change: towards kindness, backwardness, slowing down, Ecology... Her practice ponders on presence; greatly inspired by the simplicity of certain formations, the economic and exponential nature of proposals, the power of hosting bodies and the playful air of philosophical reverberations. Laborde just finalized her first feature: The Backbone of Loss; as well as, attended Atelier 105 - Post production residency with her experimental documentary of Havana, Fiñe. As a result she is now distributed and archived by Light Cone. Her solo show, El duelo de una espina dorsal, curated by José Esparza Chong Cuy, Director and Chief Curator at Storefront for Art and Architecture took place at Luis Barragán’s J17 as a PEANA Off-site exhibition, February 2022. In 2021 Laborde aside having a retrospective with DocumentaMadrid, had a year long residency at The Museo Rufino Tamayo CDMX with her project -ito/-ita, a production residency at LIFT CA, and a three year, hybrid residency with Internationale Kurzfilmtage Oberhausen - Conditional Cinema for the production of her film Ficciones, recently presented at the New York Film Festival and BFI among others. Her thesis, AS WITHOUT SO WITHIN, is part of the catalogue: Ism, Ism, Ism / Ismo, Ismo, Ismo: Experimental Cinema in Latin America and was widely screened among these: Toronto International Film Festival, International Film Festival Rotterdam (Competition Tigger Shorts), New Directos/New Films at MoMa, FSLC and 20th Contemporary Art Festival Sesc_Videobrasil… and awarded GRAND PRIX at 25fps Zagreb and JURY AWARD at 24th CUFF. Collaboration Notas y notas y notas… with Jenny Berger Myhre was commissioned and presented at Borealis Festival for Experimental Music in 2019. Manuela de Laborde holds an Intermedia Art BA hons from Edinburgh College of Art and an MFA in Film and Video from The California Institute of the Arts.

"A Place" is a video triptych that depicts a singular apprehension of familiar interior and exterior spaces, brought together by various lines of flight. Three physical and mental spaces, inhabited by the affective presence of those who cross them or occupy them, follow one another, responding and canceling each other out.

Jean De Lacoste, born March 27, 1984; Belgian video artist and musician; graduated in 2009 from the E.R.G., Brussels and lives and works in Brussels. His work is a reflection on the phenomenological apprehension of inhabited, familiar places (related to souvenirs, family, anecdotes) and of non-places who don?t really belong to anyone, places we go through, that can even liberate us. This notion of « affect » is translated rather suggestively and distantly through editing image and sound.

résumé : En 2006, près de 40 000 personnes se sont présentées comme victimes de persécutions dans leur pays et ont demandé protection à la France. Dès leur arrivée elles se sont adressé à l?OFPRA, l?Office Français de Protection des Réfugiés et Apatrides qui a statué sur la validité de leurs demandes. 92% ont été rejetées. Les demandeurs d?asile rejetés par l?OFPRA peuvent faire réexaminer leur dossier en faisant appel à la Commission des Recours des Réfugiés. C?est la plus grande juridiction française, elle est composée de magistrats issus de la société civile assistés par un représentant du Haut Commissariat aux Réfugiés et un autre de l?OFPRA. Cette année là, la Commission des Recours des Réfugiés a annulé 4081 décisions de l`OFPRA, soit 14% des recours déposés. Le film expose le face à face souvent bouleversant de cinq requérants, assistés de leurs avocats et interprètes, avec la Commission et l?attente des résultat affichés dans le hall. Devant ce grand mur blanc se joue leur destin.

Biographie de Henri Pradelle de Latour, réalisateur. Né en 1949 en Autriche d`un père ambassadeur de France et d`une mère Cévenole, issus tous deux de vieilles familles conservatrices, Henri de Latour se rebelle à 20 ans contre les bonnes manières et les idées reçues . Il abandonne ses études de sciences économiques à Assas et achète une péniche avec quelques amis pour satisfaire sa passion, la musique. L`idée est de partir sur les canaux et de vivre de spectacles itinérants. Mais très vite la crise économique l`oblige à vendre la péniche et il se fait embaucher comme docker sur le port d`Anvers. Il part ensuite en Afrique et fait de l`import-export pour le compte d`un trafiquant qui le licencie quand il prend partie pour les dockers en grève. Toujours en mer, il part pour une saison de pêche en Islande ce qui lui a définitivement ôté le gout du poisson. L`Afrique l`attire et il y reviendra pour réaliser ses premiers films de 1985 à 1992 , dont une collection de 26` intitulée « Chercheur d`aventures ». LA DEMOCRATIE SOUS PRESSE, 1992, Bénin, une des premières démocraties en Afrique, vue à travers sa presse indépendante. PROFESSEURS BURKINABÉS, 1990 : Burkina Faso - Deux scientifiques burkinabés reviennent vivre dans leur pays après leurs études en Occident. VETERINAIRE DU DÉSERT, 1990 : la vie quotidienne d?un jeune vétérinaire dans le Nord-Est du Tchad. A PREMIERE VUE, 1986 : Portrait du musicien africain : Fela Randsom Kuti, chez lui, au Nigeria et lors de sa tournée européenne. SURINAM", 1986 : la guérilla dans l`ancienne colonie hollandaise. ... En 1985, il a créé ADL avec sa compagne, Anne Marie Luccioni et produit avec elle de nombreux documentaires sur les problèmes de société et sur les créateurs qui vivent dans leur région d`adoption, le Languedoc-Roussillon. Il réalise une série de 4 films sur le thème de la Justice :  PAROLE D?EVANGILE, 2003 , Portrait de Georges Frêche, Maire de Montpellier, plan séquence de 24 minutes, UN JUGE DE PAIX, 2002 , MISE EN EXAMEN" en 2000, et L?asile du droit en 2007. Il crée en 2001, le festival du film documentaires de Lassalle en Cévennes ? berceau de sa famille ? dont il a été élu maire aux dernières élections.

A woman tries to understand who she is and what her life was like. A group of scientists found her standing on an icefloat in Arctic waters. She used to be one of them. They found her back, but her memory is gone. Her state of mind and the state of the melting glacial ice surrounding her run parallel in the film.

Arjen de Leeuw is a visual artist, mainly working in the field of video and sculpture. Featuring within fictional settings his protagonists are challenged to deal with existential questions. They are forced to ask themselves how to position within these often absurd circumstances. Recurring elements in his work consist of the limitations of our western notion of freedom, fate and controllabilty, and the question if our (technological) progress brings us closer to the subliminal. Arjen de Leeuw was born in Amsterdam in 1972 where he still lives and works. He graduated from the Royal Academy of arts in The Hague. His work has been exhibited and screened both nationally and internationally. Including exhibitions in Galeria Joan Prats, Barcelona and Keith Talent gallery, London. Recent screenings of his work have been at the Centre Pompidou, Paris, the Reine Sophia museum, Madrid, the International Film Festival Rotterdam and 25fps in Zagreb. Parallel to his practice, he has designed theatre sets and costumes for several experimental theatre productions.

Eruptions a video by Arjen de Leeuw concept, setdesign, camera, editing, sound: Arjen de Leeuw actors: Luc van Esch, Emanuel Muris running time: 7.33min format: 16:9 miniDV,Betacam/PAL color/sound, no dialogue year: 2009 screeningformat: dvd/beta SP/Pal shot in Japan at mount Aso and in the Netherlands Synopsis: 2 men are working in a control room, monitoring a volcano. With all their buttons and control panels they give the impression they can adjust and manage these natural forces.

Curriculum Vitae Name Arjen de Leeuw Date of birth 17-08 1972 Place of birth Amsterdam, The Netherlands Education 1991-1995 Bachelor of fine arts, sculpturedepartment Koninklijke Academie van Beeldende Kunsten Den Haag, the Netherlands Grants: 2006 Basisstipendium Dutch Fund for visual arts (Fonds BKVB) 2002 Basisstipendium Dutch Fund for visual arts (Fonds BKVB) 1996 Startstipendium Dutch Fund for visual arts (Fonds BKVB) Prizes 2007 Workspace 2007, filmhuis, Den Haag Selection of recent exhibitions 2009 Visions of William Living ( a collaboration with Pia Wergius) is shown as part of her solo exhibition in Kristinehamns Konst Museum , Sweden Video festival Narave, Mestna-galerija,Ljubljana, Slovenija 2008 Amsterdam Int Filmfestival, de Melkweg, Amsterdam, the Netherlands Visions of William Living, met Pia Wergius, de Veemvloer, Amsterdam, the Netherlands 2007 Festival del creativita, Florence, Italy de altijd prijs prijs, de Fabriek, Eindhoven, The Netherlands Visions of William Living, met Pia Wergius, Filmhuis, Den Haag, the Netherlands 2005 the Videodictionary, as part of Impakt festival, Utrecht, the Netherlands Disegnitudine, la quotidianita?dell?utopia curated by Fiametta Strigoli La Giarina arte Contemporanea,Verona, Italy Access, Consortium, Amsterdam, the Netherlands Use this Kind of sky, curated by Paul Eachus and Nooshin Farhid, Keith Talent Gallery, London, UK La mossa delle idee, Sala santa Rita, curated by Fiametta Strigoli, Rome, Italy/Spacio Uno, Firenze, Italy 2004 No premises/no conclusions, curated by Manuel Saiz, Moriarty gallery, Madrid, Spain 2003 De Grote Verbeelding, de Grote kerk, Den Haag, the Netherlands Overexposed, curated by Jorge Bravo, Joan Prats Gallery, Barcelona, Spain 2001 Vertrek en verblijf, op Admiralengracht 52, Amsterdam, the Netherlands recent Screenings/videofestivals 2009 Noordelijk filmfestival, Leeuwarden, the Netherlands Architecture filmfestival, Rotterdam, the Netherlands Floss, VHDG, Leeuwarden, the Netherlands Revision, Dutch filmfestival, Utrecht, he Netherlands 25fps, Zagreb, Croatia 2007 Indie Memphis Micro Cinema Club ,Memphis, Tennessee, USA Central Cinema Seattle, Washington, USA Metropolis, broadcasted on TVE(spanisch national television) Spain. Filmfrontfestival, Gorcums museum, Gorichum, the Netherlands Videoar(Te)mpoAttivo, curated by Fiammetta strigoli,Plasma Art, Firenze, Italy, 2006 Prescriptions, a videonight by Spark video at ForestCity gallery, London Ontario, Canada Videothek, Korperein/satz. Hedah, Maastricht, the Netherlands, MuseumAbteiberg, Mönchengladberg, countryclub InternationalVideo.ArtFestival and Competiton.,Germany NPS new arrivals, web site 2005 Impakt avBBQ night, Impakt festival,Utrecht, the Netherlands 2004 Halloweird, Microcinema, shown oa, New York, San Francisco , USA All tomorrows deja vu, Video Mundi, Chicago, USA Island art film and videofestival, London, UK Love and other difficulties, Microcinema, shown oa in San Francisco, Houston, Oakland, USA Rotterdam VHS festival, of Corso, het Wilde Weten, Rotterdam, the Netherlands 2003 Videovisions, broadcasted by Edith Russ haus fur Medienkunst, Oldenburg, Germany Exploding cinema, London,UK 25HRS, the videoartfoundation, Barcelona, Spain the video?s are also distributed by De Filmbank, Amsterdam. Recent Theatreworks/stage and costume design/ projects 2008 teaching and lecturing at Hogeschool voor de kunsten Utrecht. costumedesign Alles is goed, direction Gienke Deuten, Toneelschuurprodukties, Haarlem 2006 Springplank voor de Val, a theatreproject with Gienke Deuten, produced by het Lab, Utrecht,The Netherlands 2005 costumedesign De Groote Storm, direction Rieks Swarte, Toneelschuurprodukties, Haarlem, the Netherlands 2004 costumedesign Woord and Van de wind en de berg, direction Rieks Swarte, Emanuel Muris, Toneelschuurprodukties, Haarlem, the Netherlands

In the hot month of August, Alice and her siblings go to their grandmother’s summer house. As the days go by, the house becomes a hive of slow straying bodies, as Alice becomes more and more engrained in her grandmother’s colonial past.

Inês de Lima Torres was born in 1995 in Setúbal, Portugal. She graduated from university at Lisbon School of Theatre and Film, majoring in Cinema, in the branch of Directing in 2017 “De Madrugada”, her graduation film, premiered at IndieLisboa 17’ National Competition and was also screened at other festivals such as San Sebastián International Film Festival.

The protagonists of this project are a group of 40-to 70-year old thieves from the north of Italy called ?I Lupi? the Wolves. The only time they steal is when it`s very foggy. The fog makes everything invisible including them. They rob houses, banks, jewelers, trucks - everything they can profit from. The video `I Lupi` is part of an installation that was made in collaboration with the Wolves.

Alberto De Michele (IT,1980) received his education at the Rietveld Academy, Amsterdam, department Audiovisual (1997-2001) and the Sandberg Instituut (Master Degree), Fine Arts, Amsterdam (2001-2004). His work straddles the line between (pulp) fiction and (plain) fact. It involves highlighting an individual, a phenomenon, an experience. His aim is to penetrate into the most expressive part, the core of his chosen subject. De Michele shows himself to be a captivating narrator with an eye for gripping personal stories or penetrating observations, causing intangible and alienating experiences. In the past three years he has mainly been focusing on the world around his father. His was given an upbringing surrounded by thieves, gangsters and gambling addicts, a social environment most people experience as sinister and unsavoury. Since De Michele grew up in this environment and still has one foot in his father`s world, he?s able to communicate easily with the people in it. The artist can build up a bond of trust between them and himself that enables him to explore their lives in a privileged way. De Michele has participated in several group exhibitions, for example at W139 - Amsterdam, Montevideo - Amsterdam, Kunsthal - Rotterdam, Apexart - New York, The Alternative Film Video - Belgrade. In 2007/08 the artist had a solo exhibition entitled ?Adriano? at the Appel in Amsterdam, an installation about an Italian bank robber who for a period of time was hiding in Amsterdam. From january 2010 Alberto De Michele will be a resident artist at the Rijksakademie, Amsterdam.

This work tries to delve into the production of hybrid objects and knowledge, by means of an extensive field work with the collaboration of experts in many different areas whose research methods include the use of concepts such as the invisibility or the difficulty of the parameters that characterize their search, as well as the negotiations with the territory, taking the dark matter as a metaphor and thread of this story. Let?s just say that the aim is to make up a story or scientific historiography which, in some of its particularities, transforms into more general stories based in the specific characteristics of a physical and political territory that becomes an exceptional parameter for the study of specific problems. "The supposed neutrality of geographical knowledges has at best proven to be a beguiling fiction and at worst a downright fraud. Geographical knowledges have always internalized strong ideological content. In its scientific (predominantly positivist) forms, natural and social phenomena are represented objectively as things, subject to manipulation, management and exploitation by dominant forces of capital and the state". Spaces of Capital: Towards a Critical Geography, David Harvey. In this scientific forms, eventuality considered as a possibility or risk of change, fact or unexpected problems is presented as a fundamental concept at facing the reading and rewriting of facts before a ?mathematization? of the Universe. The documentary filmed in Chile, in the Atacama desert, the most arid in the World, shows how this landscape and the extreme life conditions in it substantially affect the work carried out there by some scientists. Both recent and past history of this territory are present in the activities and reports elaborated by the scientists, making up a unique paradigm to investigate and rethink the relationship between policies, contexts and knowledge produced within them. This choral story includes people (archaeologist, anthropologists, natives, engineers, astrophysicists, cosmologists, etc) as well as landscapes in which their activities are carried out (an archaeological museum in Arica, in the Peru-Bolivia border, an experimental station in a territory recently revealed to science -Alto Patache-, the Chuquicamata copper mine, the Paranal astronomic observatory (ESO), ... and archaeological ruins arisen from industrial development: old mining cities abandoned in the desert, cemeteries of ancient dwellers of those settlements, etc. The change in the cosmological model emerged from the studies of dark matter and energy plays the role of an allegory and a mental image of the need of change in the archetype used when dealing with the production of knowledge, orders and paradigms, all of which are apparently intact.

Artist and cultural producer. Regina?s work develops connections between situations of scientific analysis and perception as objective knowledge, (scales of verisimilitude), non-experiential learning as derived from the technological imagination, (estrangement and projection), and levels of development of the ideal and critical consciousness, (new means of orientation). Part of her production has dealt primarily with the strategies of the formation of desire, crises in subjective meaning, and the visualization of the psychological landscape as a form of map making. In the same vein, she also analyzes the speculative transfer in scientific and cultural learning tools. Her work has been shown at institutions as Palais de Tokio (Paris), Haus der Kulturen der Welt (Berlin), Gaswork (London), Fundación Telefónica (Santiago de Chile), Artium y Montehermoso (Vitoria), La Panera (Lleida), Can Felipa (Barcelona), Musac (León), La casa Encendida (Madrid), Manifesta (Murcia), CGAC (Santiago de Compostela) y Matadero (Madrid). It has also been shown in independent spaces as Atelierhof Kreuzberg, General Public, Reh Kunst, Altes Finanzamt (Berlin) and Le Commissariat (Paris).

?Nouvelle Science Vague Fiction? focuses on the relationship between construction and analysis of human ecologies. This raises as a syntactic space in which connections are made between analytic situations and scientific perception (verisimilitude scales), non-experiential learning derived from technological imaginary (estrangement and projection) and levels of configuration of ideal and critical conscience (new orientation forms). An off-screen voice in the position of a ?super observer? guides us through various possible ends of the world, in a markedly objective tone; leaving these apocalyptical prophecies behind, it concludes with some irony on the spectator?s role and the meaning of those events and images, that nobody will ever be able to contemplate. The soundtrack is made in collaboration with the musician Jonathan Saldanha from sound recordings of the black hole Sagitarius A*, located in the centre of the Milky Way, captured by the Dwingeloo Radio Telescope in the Netherlands. The composition has been transferred to vinyl disc which is imaged by a scanning electron microscope with a magnification of ten thousand times, giving rise to a landscape impossible to perceive by simple view.

Regina de Miguel, Málaga, Spain, 1977. Artist and cultural producer.

Qui est responsable d’un viol? La victime ou le violeur? La victime est-elle responsable d’avoir été au mauvais endroit au mauvais moment? Et ne pas avoir été vêtu(e) autrement ? Les diamants doivent être mis à l’abri et protégés des voleurs, explique l’éducateur dans ce film. Les éducateurs aident-ils ainsi les jeunes filles auxquelles ils s’adressent à se défendre et être plus fortes, ou manipulent-ils leurs possibles sentiments de culpabilité? Islamic and Christian Community À Bolgatanga au Ghana, Séminaire d’éducation de santé sexuelle Un film de Eléonore de Montesquiou Merci à to DeerHunter et Brent Klinkum

Eléonore de Montesquiou est née en 1970 à Paris, elle vit à Berlin et Tallinn. Son travail est basé sur une approche documentaire de la réalité, films (vidéos) dessins et textes. Ses collaborateurs sont à ce jour les compositeurs Peter Zinovieff, Phonic Psychomimesis, Helena Tulve, Tanja Kozlova, Lembe Lokk et Marcel Türkowsky; et les graphistes Aadam Kaarma, Heidi Sutterlütty, Ethan Burkhard et Jose Soares de Albergheria. Depuis 2007, Eléonore de Montesquiou mène un projet à long terme à la frontière Russie-Estonie „NA GRANE“ composé de films et publications. En 2005-2006, elle réalise ATOM CITIES en Estonie, films, dessins, publications et une pièce sonore réalisée pour les ACR de France culture, sur l’ex-ville soviétique close pour recherche nucléaire de Sillamäe, une ville habitée exclusivement par des Russes en Estonie. Lauréate de la villa Médicis Hors les Murs 2006, elle filme des femmes qui prennent régulièrement le train entre la Pologne et l’Allemagne pour aller travailler à Berlin. En 2008-2009, elle est résidente à Moscou (Senat Stipendium für Kulturaustausch). Depuis 2010, elle filme à la frontière entre l’Estonie et la Russie: Kreenholm (2010), Remember (2011), Notes (2015), Olga&Olga (2015).

Olga et Olga vivent du côté russe de la frontière entre l`Estonie et la Russie. Les deux femmes sont meilleures amies depuis des décennies, depuis que les usines ont fermé dans le pays et qu’elles se sont retrouvées à faire les marchés. Le film est un double portrait des Olgas et tout particulièrement de leurs rapports aux hommes. Notre sujet favori est l’évolution de la situation spécifique des femmes lorsque l’environnement politique et économique du pays a radicalement changé. Héroïnes du film, elles se complètent parfaitement, l’une dramatique et pessimiste, l`autre beaucoup plus drôle. Ensemble, elles donnent une image complète des femmes de cette génération.

Eléonore de Montesquiou est née en 1970 à Paris, elle vit à Berlin et Tallinn. Son travail est basé sur une approche documentaire de la réalité, films (vidéos) dessins et textes. Ses collaborateurs sont à ce jour les compositeurs Peter Zinovieff, Phonic Psychomimesis, Helena Tulve, Tanja Kozlova, Lembe Lokk et Marcel Türkowsky; et les graphistes Aadam Kaarma, Heidi Sutterlütty, Ethan Burkhard et Jose Soares de Albergheria. Depuis 2007, Eléonore de Montesquiou mène un projet à long terme à la frontière Russie-Estonie “ NA GRANE ” composé de films et publications. En 2005-2006, elle réalise ATOM CITIES en Estonie, films, dessins, publications et une pièce sonore réalisée pour les ACR de France culture, sur l’ex-ville soviétique close pour recherche nucléaire de Sillamäe, une ville habitée exclusivement par des Russes en Estonie. Lauréate de la villa Médicis Hors les Murs 2006, elle filme des femmes qui prennent régulièrement le train entre la Pologne et l’Allemagne pour aller travailler à Berlin. En 2008-2009, elle est résidente à Moscou (Senat Stipendium für Kulturaustausch). Depuis 2010, elle filme à la frontière entre l’Estonie et la Russie: Kreenholm (2010), Remember (2011), Notes (2015), Olga&Olga (2015). Ses premiers projets traitaient du rituel de la robe de mariée (1998, France), de la maternité: Swing, ma demeure (2003, Paris-Berlin) à la relation à la propriété privée “ Minu maja on minu maa ” (2001, Estonie) et “ Par exemple, Ebenthal ” (2004, Autriche). Avec Olga Olga Helena (2005, St-Pétersbourg), Eléonore de Montesquiou questionne le départ de réfugiés politiques et leur vie en exil, démarche qu’elle poursuit à présent avec les migrants qui arrivent en Estonie: Feu (2017), Le Général (2017), Sans retour (2017), Babylne (2017) Commando Sacko (2017).

Au Brésil, les telenovelas sont très populaires, omniprésentes. J?ai filmé les regards de jeunes garçons regardant la télévision, à Atins, un village près de Sao Luis.

Eléonore de Montesquiou est née en 1970 à Paris, elle vit à Berlin et Tallinn. Elle travaille depuis 1998 avec la Galerie Zürcher à Paris. Son travail est basé sur une approche documentaire de la réalité, traduite en films (vidéos) dessins et textes. Ses précédents projets traitaient du symbolisme de la robe de mariée Robes (1998, France), de la relation d?une femme à la maternité: Swing, ma demeure (2003, Paris-Berlin) à la relation à sa maison Minu maja on minu maa (2001, Estonie) et Par exemple, Ebenthal (2004, Autriche). Avec Olga Olga Helena (2005, St-Pétersbourg), Eléonore de Montesquiou questionne le départ de réfugiés politiques et leur vie en exil. Pendant l?année 2005, Eléonore de Montesquiou est en résidence à Tallinn, réalisant ATOM CITIES, un projet documentaire sur l?ex-ville soviétique close pour recherche nucléaire de Sillamäe, une ville habitée exclusivement par des russes, la plus forte minorité en Estonie.

«The seagulls are waking up, can you hear them? It’s really hard to believe that these are now two different cities with a border.» told Olga to Eduard on the roof of a collective housing building where she works as a lift supervisor. A white night in this border town between Estonia and Russia, Olga and Eduard are tired, they are waiting for the sun to rise. "Horse, people and time", Eduard refers to Lermontov’s poem "Borodino" and indeed at this time in this peculiar place, almost non existing, philosphy, politics, all possible topics are grasped and dealt with.

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.