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"It`s like you`ve got yesterday, today and tomorrow in the same room. There is no telling what can happen" This line from the Award-winning film "I`m not there", about the life of Bob Dylan, conveys the same sense of a melding of time and place, and the uncertainty of what may happen, that defines Crispin Gurholt`s Live Photo... (Selene Wendt)

born 1965 in Oslo, Norway. Norwegian photo, installation and video artist. Education: Einar Granum Art School, Oslo Drawing and painting school. Was apprenticed to Odd Nerdrum (1992). Educated at the National Art Academy (1993-98) and New York University (Film School 1996). Gurholt is best known for his vivid tableaus "Live Photo", in which he problematized the relationship between reality and what`s beyond what we see. He makes use of the media`s language and exposes the often unpleasant situations, emotions and conditions. His works have been exhibited in Venice, Rome, Madrid, Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum and Haugar Vestfold Kunstmuseum. He has also produced a series of music videos, including for the rock band Turbonegro.

Il y a un silence électrique. Nous assistons à un instant congelé dans une mise en scène de théâtre, avec le suspense d'un film de détective. Un vrai tableau présente deux êtres humains, vivant, respirant, pensant, situés dans l?espace étroit et confiné d'une sortie de secours. L'homme vient de tirer sur la femme. Est-ce l'avenir, le présent et le passé, réunis en un seul instant?

Crispin Gurholt est né en 1965 à Oslo. Il s?est diplômé à l'Académie Nationale Norvégienne des Beaux-arts en 1998 et à la New York University School of Continuing Education Film School (USA) en 1996.

There is an electric silence. We are witnessing a frozen moment in a staged drama with the suspense of a detective film. A real tableau presents living, breathing and thinking human beings located in the hills of Ekebergaasen in Oslo, Is this the future, the present and the past rolled into one single moment? We feel confused. What is happening. is the group of people lost or are they trespassing, Are they a part of the development we see in the background of the greenery, or are they forced out and away from the development? Are they passive or active?

Crispin Gurholt (b. 1965) is an artist working in the fields of photography, installation and video. He was educated at the Einar Granum Art School, Oslo Drawing and Painting School and was an apprentice to master painter Odd Nerdrum in 1992. He then attended National Academy of the Arts (1993-98), and the New York University Film School in 1996. Gurholt is best known for his vivid tableaus Live Photo, in which he problematized the relationship between reality and what`s beyond what we see. He makes use of the media`s language and exposes the often unpleasant situations, emotions and conditions. His works have been exhibited in Venice, Rome, Madrid, Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum and Haugar Vestfold Kunstmuseum. He has also produced a series of music videos, including for the rock band Turbonegro.

The film Please Kill Me is a personal expression of my own account around the time we live in, pointing out one of our greatest challenges: The market and capital domination in the world. When economic growth is the strongest driving force, we experience increasing economic, social, cultural and, not least, enormous environmental challenges. It is no longer human, ideological or religious ideals that govern, but material growth. The feeling is this: We find ourselves not in a crisis resulting in radical restructuring, but are caught in a loop of repetition and denial, where genuine change appears impossible. In no way whatsoever does art stand outside this static situation. It stands in the midst of it and has no power to act as a genuine opposing force. The constant striving for ‘the new’ cannot expel the feeling that things are at a stand-still; the admonishment to establish micro-utopias in the increasingly sleek art institutions proves merely to repeat the imperative that each and every person should tend his or her own garden – or network; the mantra to summon ‘critical discourse’ does not hinder one’s thoughts from first and foremost revolving complacently around oneself. We know we are sitting in the same boat, and since we all know it is sinking, we try to sit as still as possible, so that at the very least it sinks slower. This is the artist`s confrontation with himself, the art scene and a world gone crazy spinning around itself, trapped in an eternal loop of repetition. In Please Kill Me the staged models have been assigned the same roles as they play in reality: In the gallery space you find the artist, curator, critic and gallerist frozen in a position where they are confronted with the allegation that art is dead.

Crispin Gurholt (b. 1965) is a Norwegian artist based in Oslo and Berlin. The density of his work reflects his versatility and the range of his studies, which in turn are essential to the creation of the highly composite universes of his Live Photos. Gurholt studied at the National Academy of Art in Oslo and The New York Film School SCE. He also has a background in scenography and directing. Since 2012 he has been teaching at The Art School of Rogaland in Norway. His Live Photos represent the sum of a wide-ranging expertise that, combined with social comment, presents a compelling picture of our time. Crispin Gurholt has an international reputation. His work and installations have been shown in Venice, Rome, Paris, Berlin, London, Copenhagen, Turin, Madrid, Cologne and Havana, as well as a number of major Norwegian art institutions. Gurholt is a receiver of the Norwegian Artist Grant since 2010.

In twilight we see a French limousine parked in front of a doorway next to a cash machine. In the back seat of the parked car is a middle-aged businessman. The private chauffeur is withdrawing money from the cash machine, and the driver`s car door is open. Next to the driver is a transvestite prostitute who is suggestive in his communication. Another transvestite prostitute leans against the limo`s rear window and is looking at the man in the back seat. In the dark doorway in the background we see the shadow of an elegant, masculine, Arab man, the pimp of the two prostitutes. Thematically the film points to the relationship between power, politics, money and sex, suggesting identity conflicts, double standards and hidden desires. The theme is archetypal, Machiavellian, and refers to a tacit acceptance of a system that helps to sustain an outdated patriarchy. As long as you don`t get caught everything is allowed! Recent sex scandals linked to European politicians, does not make the thematic less relevant. An intricate relationship between political and criminal groups is insinuated. The film is open and suggestive and apparently simple, but beneath the surface a complex communication pattern is unfolding.

Crispin Gurholt (f.1965) is a Norwegian artist based Berlin. He is a graduate of the National Art Academy in Oslo (1993-98) and New York University Film School (1996). He has exhibited in Havana, Venice, Rome, Turin, Madrid and Paris, the Henie Onstad Art Centre, Lillehammer Art Museum, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum and Haugar Art Museum.

we see a family in a hospital with a nurse, the scene is frozen in a moment, maybe in real time, maybe from memory, there is noting telling what has happened or what is going to happen, they are all captured in the same moment, they are remote and at the same time together, multiple stories in a shared moment. are we! with our objective view seeing all the truth in the given scene and moment? or are there multiple stories to be told as we float through everyday life.

Crispin Gurholt, born 1965 in Oslo, Norway. Norwegian photo, installation and video artist. Education: Einar Granum Art School, Oslo Drawing and painting school. Was apprenticed to Odd Nerdrum (1992). Educated at the National Art Academy (1993-98) and New York University (Film School 1996). Gurholt is best known for his vivid tableaus "Live Photo", in which he problematized the relationship between reality and what`s beyond what we see. He makes use of the media`s language and exposes the often unpleasant situations, emotions and conditions. His works have been exhibited in Venice, Rome, Madrid, Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum and Haugar Vestfold Kunstmuseum. He has also produced a series of music videos, including for the rock band Turbonegro. http://www.snl.no/Crispin_Gurholt

I walked along the road with two friends ? the sun was setting ? I felt a wave of sadness ? suddenly the sky turned blood-red ? I stopped, leaned against the fence, deathly tired ? I saw the clouds flaming like blood and swords, over the deep blue fjord and the city ? My friends walked on ? I stood there trembling with angst and fear ? I felt a great endless scream echo through nature. From Edvard Munch?s diary, 22 January 1892, Nice Five dark figures enclosed in a bushy piece of greenery. A rusty car door, a bicycle wreck, some planks. They are serious and concentrated, like grieving or as if lost in an endless waiting for Godot, gathered around an object that could be the root of a tree, a sculpture or a gravestone. Around them high-rise buildings are shooting up, dark clouds are hanging over the cranes. A threating storm is rolling in over the city and the fjord. One of the figures is holding a scythe; his face is like a dark empty hole, the mask frighteningly dead. Nature has lost its voice. The photograph By Ekebergåsen is a dystopian manifestation of the marginalised position of art and artists in society. The artist, rejected and hunted, has gone into hiding. The shelter is a small patch of uncultivated ground squeezed in between capitalistic and populist political forces. From here they fought their guerrilla war, and lost. Between Bjørvika and Christian Ringnes?s future sculpture park, a small group of art students have gathered. An old bunker serves as their gallery. No one knows they are there.

Crispin Gurholt (f.1965 in Oslo) is a graduate of the National Art Academy in Oslo (1993-98) and New York University Film School (1996). He has had exhibitions in Venice, Rome, Turin, Madrid and Paris, the Henie Onstad Art Centre, Art Copenhagen, Stenersen Museum, Vigeland Museum, the North Norwegian Art Museum, Lillehammer Art Museum and Haugar Art Museum. Gurholt is participating in the 11th Havana Biennial. He has also been a set designer for several films and stage productions, and produced and directed numerous music videos, including videos for the Norwegian band Turbonegro.

The search for the underlying, essential message during the realization of an increasingly impossible seeming project becomes a reflexive, trance-like loop: the video piece rigorously rehearses artistic processes of creation and reflection, the conditions of production and the fear of failure. In a circular movement, as if the artist where spinning on her own axis in the studio, the camera scans the studio and all the objects, sketches and open processes it contains. Spaces open up – sometimes more distant, sometimes closer to the object of attention – as the camera traces a picture frame or traverses an urban landscape. Between old works pictured and image-like notes, cross-references emerge between image and text. The loop is repeated and constantly refined: at each screening the film is overwritten and thus becomes infinite and unfinished, continuously expanding and re-inscribing itself. Through this process, the artist repeatedly questions herself, thus highlighting her own as well as the general conditions of production.

Maia Gusberti *1971 born in Bern (CH) Lives and works in Brussels, Bern and Vienna 1986-93 Graphic Design Studies, Schule für Gestaltung, Biel (CH) 1996-02 MA Media Arts, Univ. f. applied Arts, Vienna (AT) 2096-10 Lives in Vienna (AT) Artist in residence in Sofia/Interspace, (EU) Artist in residence Paris/Cité des Arts (BMUKK), Artist in residence Cairo (PRO HELVETIA) 2006-11 Lives in Vienna(AT) and Cairo(EG) 2009 Artist in residence at PROGR Bern (CH) 2010-16 Lives in Bern (CH) and Vienna (AT) 2010 Main Award Aeschlimann Corti Stipendium (CH) 2011 Photography Award of Canton Bern Distinction (CH) 2012 Work Grant Photography 2012 of Canton Bern (CH) 2010-16 Artist in residence in Rome/IT (BMUKK) Artist in residence Amman/JO (PRO HELVETIA) Artist in residence Brussels/BE (Bains Connectives) Artist in residence Rotterdam/NL (Kaus Australis) Co-Initiant of Das Lehrerzimmer, Space for Books, Art and Cooking in Bern Member of RE-P.ORG, collective for visual and art concepts in Vienna & Bern Website: www.maiagusberti.net Email: m.gusberti@re-p.org Contact: (Postal adress) Maia Gusberti, Nydeggstalden 22, 3011 Bern Atelier: Atelier 311, PROGR, Waisenhausplatz 30, 3011 Bern (CH) Atelier: 24-26, Rue Lambert Crickx, 1070 Brussels (BE)

Distance, presents the absence of belief, where labour is estranged and invisibly services ?lifestyle?. Helen stays at a hotel for a conference, and has invited her sister and her nephew (Grant) to join for the weekend. After Helen leaves for the day?s session, Grant grows bored and listless after playing while his mother sleeps and wanders off into the hotel. He amuses himself for a number of hours playing in the corridors and spaces of the hotel, while occasionally voyeuristically watching the staff at work. He returns to the room to find Helen also at the door, her conference finished for the day. They sit in the room and Helen waits for Grant?s mother to return who is not there when they enter. The mother does return briefly, but only to change into something more suitable for dinner, and leaves again, to the silent frustration of Helen. Helen then also abandons Grant to his own devices while she goes off to her evening function.

Simon Gush (b.1981, ZA) is a South African artist currently based Johannesburg. He completed his undergraduate degree at the University of the Witwatersrand in 2003. Gush was a laureate at the HISK (Higher Institute for Fine Arts) in Ghent, Belgium, in 2007/8 and a Gordon Institute of Performing and Creative Arts Fellow at the University of Cape Town, South Africa, in 2011. He has participated in numerous group exhibitions internationally and locally and has held solo shows at the SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (2010), West, Den Haag, the Netherlands (2010), and the Stevenson Gallery in Cape Town (2009 & 2010) and Johannesburg (2009 & 2011). Gush has been included in two international publications surveying young contemporary artists: the Younger Than Jesus Directory published by the new Museum in New York, USA (2009); and 100 New Artists by Francesca Gavin, published by Laurence King Publishing (2011). Alongside his artistic practice, Gush has collaborated in founding and facilitating a number of alternative temporary exhibition platforms, most notably the Parking Gallery in 2006, which was relaunched in 2012.

The title of the film, Iseeyou, comes from the slogan of the first multi-racial trade union in South Africa. It is a meditation of the relationship of visibility to work. Exploring public monuments to work and workers in Johannesburg, it looks at how these have been celebrated in apartheid and post-apartheid South Africa through public art. The film suggests that this celebration is a way in which the conditions of work, and often the abuse of the rights of workers, is justified through the promotion of a work ethic.

Simon Gush was born in 1981 in Pietermaritzburg, and is currently based in Johannesburg. He was a laureate at the HISK (Higher Institute for Fine Arts) in Ghent, Belgium, in 2007/8 and a Gordon Institute of Performing and Creative Arts Fellow at the University of Cape Town in 2011. Solo exhibitions have taken place at the SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (2010); and West, Den Haag, the Netherlands (2010); in addition to Stevenson Cape Town (2009, 2010 and 2013) and Johannesburg (2009 and 2011). Notable group exhibitions include My Joburg at La Maison Rouge, Paris,and the Staatliche Kunstsammlungen Dresden (2013); Present Unlimited, Sofia Contemporary, Fabrica 126, Sofia, Bulgaria (2012); Mind the System, Find the Gap, Z33, Hasselt, Belgium (2012); Connections, Kunsthalle Luzern, Luzern, Switzerland(2011); the 2009 Luleå Summer Biennial, Sweden; and .za: Young Art from South Africa at Palazzo delle Papesse, Siena (2008). Alongside his artistic practice, Gush has collaborated in founding and facilitating a number of alternative temporary exhibition platforms, most notably the Parking Gallery, Johannesburg.

Lazy Nigel explores the small industrial town of Nigel in the East Rand of Johannesburg during weekends. The video starts with its landscapes of industrial complexes and factories, devoid of employees. As the film and my filming -which took place over a number of weekends- progress, a variety of local activities are revealed. Many of the town industry employees leave to return to their families, who often lived elsewhere. I wanted look at what remained. The film explores laziness as a construct. I am interested in unpacking the fact that work is traditionally seen as the major locus of our identity. Time off from our jobs allows us to engage in other activities that may not be seen as productive in a traditional sense. These activities can be social, political or creative, allowing us to think of our value in different ways and, as such, offer new ways to think about our identity.

Simon Gush (b.1981, Pietermaritzburg), living in Johannesburg. He was a 2011 Fellow at the Gordon Institute for Performing and Creative Arts, University of Cape Town, and completed postgraduate studies at the Hoger Instituut van Schone Kunsten in Ghent, Belgium, in 2008. Solo shows include After Work at Galerie Jette Rudolph, Berlin and 9 o`clock, at the National Arts Festival, Grahamstown (both 2015), Red at the Goethe-Institut, Johannesburg (2014); 1st and 3rd at Galerie West, The Hague, and 4 for Four at SMAK, Ghent (both 2010), in addition to six previous exhibitions at Stevenson, Cape Town and Johannesburg. Group shows include Artists Engaged? Maybe at Fundação Calouste Gulbenkian, Lisbon (2014); the 2nd Montevideo Biennial, Uruguay (2014); My Joburg at La Maison Rouge, Paris, and the Staatliche Kunstsammlungen, Dresden (2013); Halakasha at the Standard Bank Gallery, Johannesburg (2010); 1910-2010: From Pierneef to Gugulective, Iziko South African National Gallery, Cape Town (2010) and the 2009 Luleå Summer Biennial, Sweden. In 2015 the academic workshop Red Assembly, with African Critical Inquiry Programme was held in East London around his exhibition Red. Gush was awarded the Jury prize at the Bamako Encounters Biennale (2015).

Le projet « Map Office » a commencé il y a de nombreuses années, dans le but d?élaborer une série d??uvres sur la production en Chine, et plus particulièrement, sur une usine de textile devenue, pour l?artiste, le laboratoire et le modèle d?expérimentation sur la « société harmonieuse ». Commencée en 1968 à Hong Kong, la « Cité de production » a été déplacée en 1989 vers un grand site, à la frontière entre Shenzhen et Dongguan. Depuis lors, il a constamment mis au point un environnement fabuleux, dont le défi est de réaliser un « capitalisme positif », par le biais de l'ingénierie du paysage et des avantages sociaux dont bénéficient ses dix mille travailleurs.

En 1997, Laurent Gutierrez et Valérie Portefaix, architectes Français, fondent à Hong Kong MAP OFFICE, une structure pluridisciplinaire dont les projets associent la recherche architecturale et urbaine aux arts visuels. Ils ont participé à plusieurs expositions locales et internationales, entre autres: une exposition personnelle à la galerie Parasite (HK), la 7e Biennale d?architecture de Venise (2000), 1e Biennale d?architecture de Rotterdam (2003), 2e Triennale de Canton (2005), 1e Triennale de Paris (2006), 15e Biennale de Sydney (2006), 10e Biennale d?Istanbul (2007), 52e Biennale d?art de Venise (2007), 2e Biennale d?architecture de Shenzhen (2007) et la 1e Biennale d?architecture de Hong Kong (2008). Leurs publications cherchent à mettre en évidence les phénomènes urbains visibles à Hong Kong et en Chine. Ils sont les auteurs de Mapping HK (2000), HK LAB (2002), Yung Ho Chang / Atelier FCJZ (2003), HK LAB 2 (2005), My PRD Stories (2005), The Parrot?s Tale (2007), Unreal Estates of China (2007) and City of Production: a Fabulous Opportunity to Experiment with Positive Capitalism (2008). Leur dernière recherche ? ?PIXEL: Wish Space and Other Minute Area of Illumination? - s?intéresse au ?Lean Planning? et examine l?impact des systèmes de production et de distribution appliqués à un environnement convertible, ainsi qu?aux effets du ?Made in China? sur la région du Delta de la Rivière des Perles. Laurent Gutierrez est architecte DPLG, professeur Associé à l?Ecole de Design de l?Université Polytechnique de Hong Kong ou il dirige le Master en Design Stratégies (MDES) et le Master en Innovation Design Management (MBA - IDM). Il termine sa thèse de doctorat à l`université de Paris 8 sous la direction de Claude Prélorenzo. Sujet: ?La production du territoire et le territoire de la production : du modèle au laisser-faire, stratégies et mise en ?uvre de l?aménagement territorial en Chine de 1949 à aujourd?hui.?(Soutenance prévue fin 2008). Valérie Portefaix est architecte DPLG et docteur en Urbanisme et aménagement du territoire. Sa thèse, ?Architecture et territoire: Outils et stratégies du projet à grande échelle dans l?oeuvre de Le Corbusier? a été dirigée par Rémi Baudoui, à l?Université de Grenoble, 2001. Elle est également directeur du bureau de recherche MAP OFFICE.

Dans la « crying room » (chambre à pleurer), la souffrance pour la vie gâchée des jeunes filles abusées éclate dans toute sa brutalité et son intensité pure ; l??uvre de Gutierrez combine une immersion dans cet espace traumatique avec une dimension de réflexion sur la critique sociale et une dénonciation des contextes sociaux de l?abus sexuel. La Thérapie primale ? controversée dans de nombreux pays occidentaux ? crée un espace intime et protégé où les jeunes filles abusées peuvent faire face à leurs traumatismes et commencer leur chemin vers la guérison. « Crying Room / Patch Worked Dreams » est une réponse à l'une des questions auxquelles la mondialisation est de plus en plus confrontée : les abus et violences sexuelles, la traite des jeunes filles et des femmes. L??uvre de Gutierrez est basée sur une perspective d'espoir et de résistance.

Sally Gutierrez est une artiste visuelle dont le travail se nourrit de différentes disciplines telles que les films, les études de genre, l'urbanisme, l'anthropologie, la poésie et la littérature. Elle a obtenu sa maîtrise en art à l'Université Complutense de Madrid et achevé un MA en études médiatiques à la New School University. En 2001, elle a reçu une bourse de résidence du Lower Manhattan Cultural Council au World Trade Center. De retour à Madrid, Gutierrez s'est rendue aux Philippines à deux reprises, grâce à diverses subventions et a développé plusieurs projets dans ce pays. Son travail a été exposé internationalement. Elle travaille également en collaboration avec sa s?ur, qui est réalisatrice et productrice de documentaires. Leur dernier film, « Papologo », est actuellement projeté dans des festivals de cinéma et des centres d'art du monde entier, et a reçu plusieurs prix.

Hollis Frampton, personnage-clé du mouvement expérimental américain des années 60 et 70 et théoricien largement publié, a réalisé des films acclamés et influentiels tels que "Zorns Lemma", la série des Hapax Legomena, et "Magellan" (inachevé). Des rétrospectives de son oeuvre ont été présentées au Centre d´Art Walker, au Musée d´Art Moderne, et ailleurs. Le journal "Octobre" a, par deux fois, consacré des numéros entiers à Frampton, et la totalité de ses films est conservée à la Royal Film Archive (Belgique). Frampton enseigna à la Cooper Union, au Hunter College et à la State University of New York à Buffalo. En janvier 1977, Hollis Frampton fit une apparition dans "Screening Room" afin de parler de son oeuvre et projeter "Lemon", "Pas de Trois", des extraits de "Maxwell´s Demons", "Surface Tension" et "Critical Mass", et des rushes de ce qui devint "Magellan".

Screening Room a été développé et animé par le réalisateur Robert Gardner, qui a l´époque dirigeait le Centre d´Arts Visuels d´Harvard et en présidait le Département d´Études Visuelles et Environnementales. Sa propre filmographie comprend Dead Birds (1964) et Forest of Bliss (1986).

Yvonne Rainer est apparue dans "Screening Room" pour la première fois en 1977 avec le spécialiste cinéma et auteur Deac Rossell. Elle y projeta et discuta d´extraits de son film Kristina Talking Pictures. La longue carrière d´Yvonne Rainer a été guidée par l´intransigeante exploration de la nature des performances, la structure du sens, et les relations entre sexes, tout d´abord dans la danse et la chorégraphie d´avant-garde, puis dans la réalisation filmique. Ses distinctions honorifiques incluent un titre de membre Guggenheim et MacArthur, ainsi que de nombreuses expositions de ses oeuvres, dont de récentes retrospectives au Musée d´Art Moderne de San Francisco et à la Société du Film du Centre Lincoln (New York). Le reste de sa filmographie inclut Lives of Performers (1972), Film About a Woman Who? (1974), The Man Who Envied Women (1985), Privilege (1991), et MURDER and murder (1996).

Screening Room a été développé et animé par le réalisateur Robert Gardner qui était également à l´époque Directeur du Centre d´Art Visuel d´Harvard et président du département d´Etudes Visuelles et Environnementales de cette même école. Sa filmographie inclut Dead Birds (1964) et Forest of Bliss (1986).

Les oeuvres animées de Caroline Leaf sont le fruit de son talent de conteuse et de techniques d´animation d´avant garde. Une de ses plus importantes contributions cinématographiques est sa technique de manipulation du sable sur une boîte à lumière, qu'elle a débuté alors qu´elle était étudiante à Harvard. Plus tard, elle travailla dans l´animation et en tant que réalisatrice au National Film Board of Canada. Son film, "The Street", fut nominé à l´Academy Award en 1976. Pendant cet épisode, elle projette les remarquables "the Owl Who Married a Goose : An Eskimo Legend" (la chouette qui épousa une oie : Une légende Eskimo), et des extraits de "The Street" et "the Metamorphosis of Mr.Samsa", oeuvres qui étaient alors en cours. Les films dessinés à la main, de Mary Beam portent sur des thèmes tels que la mémoire, les fantaisies érotiques et le féminisme. Elle enseigna l'animation à Harvard entre 1972 et 1977, et en 1988 elle travailla en partenariat avec Media Ink, Inc., pour un spot politique animé hebdomadaire diffusé lors du Sunday Today Show sur la NBC. Elle enseigna également à l´Université de Floride Sud et Illinois Nord. Dans le cadre de ce festival elle projette "The Tub", "Solo Film", "Going Home Sketch-book", "Piano Rub", et son travail en cours "Quilt Film".

(Déjà traduit autre part) ---------------------------- Screening Room fut développé et accueilli par le réalisateur, qui à l'époque, était Directeur au Centre d'Arts Visuels de Harvard et Président de son comité pour le Département d'Etudes Visuelles et Environnementales. Ses propres films comprennent Dead Birds (1964), et Forest of Bliss (1986).

Synopsis In "VRA" 2D-shaders are used to generate a stobocopic noise-performance, by image to sound translation.

Daniel Haas connects sound and light in new and unique ways to generate sensory-intensive experiences.

The work is about the ruination of film heritage in Lebanon navigated through the country`s cinematic heydays of the late 60s and early 70s - a period that witnessed a rise of Egyptian producers and directors moving to Lebanon to make films partly due to Nasser`s nationalization of the Egyptian cinema. The story of this film project evolves around one of the biggest production studios in the Arab world, and its lost archive. Located on Charles Helou Boulevard in the East of Beirut, the remains of Studio Baalbeck, a white modernist villa with open doors, broken windows and a garden full of wild plants and pine trees, appear like a lifeless place. But even if this biggest production studio in the Arab region initiated in 1962 had fallen victim to the Lebanese civil war (1975 to 1990), it has nevertheless left behind a treasure of an archive of voice recordings and films that still are famous throughout the entire Arab world, spanning productions from Erbil to Amman, and from Damascus to Cairo. Negligence by the Lebanese authorities has led to mold growing on parts of this archive inside the damp underground warehouses.

Siska`s body of work has two strong features, working with archive and memory through experimental use of analogue filmmaking. His installations have a strong site-specific feature that he usually develops exclusively for the respective location. His pursuit conjures pertinent questions regarding the ruination of Arab cultural heritage and the conflicted relationship between individual rights and the duties of the state, and the ever-illusive gaps between the personal and the collective. His practice usually starts with an intuitive approach, stretching documentary forms towards fictional territories while remaining faithful to the essential questions at sake managing somehow to extract a poetic, almost fairy-tale quality to the narratives he explores. Siska was born as Elie Alexandre Habib in Beirut Lebanon in 1984, graduated from the Lebanese Academy of Fine Arts ALBA in Beirut with a master degree in cinema studies and film directing. Now he lives and works between Beirut and Berlin. Siska` work was shown in prominent contemporary art venues and film festivals in New York, Berlin, Beirut, Cologne and Paris.

Palestinian contemporary artist and filmmaker Shadi Habib Allah takes us with him on an unlikely journey of discovery – at gunpoint across the Sinai Peninsula, led by Bedouins who will force us across an unmapped terrain whose only signposts are the small stories they tell about the stakes of living, dying, and moving through this mysterious space. Stories, itineraries, directions, and allegiances become as blurred as the status of the Bedouins themselves, who remain unrecognized non citizens of this no man’s land, through which Habib Allah is led – behind the lines of military checkpoints, off the political, economic, and historical grid, a place where these desert outliers quietly continue their lineage with the help of snakes…

Born in Jerusalem, Palestine in 1977, Shadi Habib Allah received a BFA from Bezalel Academy of Arts and Design in 2003 and an MFA from Columbia University in 2010. His practice ranges from film, sculpture and drawing to installation. While each projects defines its own terms based on research and physical engagement, a common thread is opening up suggestive modes of navigation across circulation networks of people, technologies, objects, images and economy to examine ideas of use and value and the structures that hold them in place. He was twice awarded 2nd Prize for the Young Artist Award from the A.M. Qattan Foundation, and has attended residencies at Cittadelarte, Fondazione Pistoletto in Biella, Italy and Gasworks in London, England. He was nominated for the Luma Award 2011 and was the 2012 recipient of the Louis Comfort Tiffany Award. Habib Allah was a part of the fall residency program at Delfina Foundation in London, in October 2016. Habib Allah’s work has been exhibited at the New Museum Triennial (2015); Art Statements, Art Basel 43 (2012); Palestine c/o Venice, Venice Biennale (2009); the Riwaq Biennale, Ramallah (2009); and In Focus, Tate Modern, London (2007), amongst others. His Films have screened at the International Film Festival Rotterdam, Courtisane Festival Belgium, the 40th Norwegian Film Festival and 32nd Hamburg International Short Film Festival. Recent exhibitions include:I can call this progress to halt, Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA (2017); Black Box Screenings O Solitude, Beursschouwburg, Brussels, Belgium (forthcoming 2017);Daga`a, Green Art Gallery, Dubai, UAE (2017); House of Commons, Portikus, Frankfurt/Main, Germany (2016),Biscuits and Green Sox Maaike, Reena Spaulings Fine Art, New York, USA (2016)Shadi Habib Allah: 30KG Shine, Rodeo, London, UK (2015) The Verdant, Hacienda, Zurich, Switzerland (2015); Artists Space on Randall Island, Frieze Art Fair, New York, USA (2014); Empire State curated by Norman Rosenthal & Alex Gartenfeld, Palazzo delle Esposizioni, Rome, Italy (2013) & Galerie Thaddaeus Ropac, Paris, France (2013); Frozen Lakes, Artists Space, New York, USA (2013);Nouvelles Vagues, curated by Jason Waite and Antonia Alampi, Palais de Tokyo, Paris, France (2013). Shadi Habib Allah lives and works in New York.

Ours dévoile l?intimité d?un agent forestier, ses gestes, ses parcours quotidiens et la sérénité théâtrale inhérente.

Après avoir fait ses études aux Beaux-Arts de Montpellier et obtenu un diplôme National d?Art Plastiques, Laura Haby, née en France en 1988, s?installe à Lyon. La production artistique de Laura Haby se situe du coté de la vidéo et de la peinture, aborde des écritures liées aux lieux comme motifs de référence. Ses ?uvres mettent en joue les paysages, les hommes qui y circulent et toute la dimension émotionnelle qui y trouve racine. Son travail a déjà été présenté dans plusieurs festivals ainsi que dans des dispositifs relevant des arts plastiques.

Nomadic is the oldest way of life which is still alive in some parts of the world, and it has been called the most scenic attraction in the age of technology. This film represents some of the hard work of nomad women in Iran which they repeat almost every day. Living in mountains and plains has increased these women`s tolerance and made them strong against life`s obstacles.

Narges Haghighat was born in Iran, 1984. She has been painting in different styles such as realism, expressionism, and abstract since 2004. She holds a bachelor of computer software from the Pasargad University of Shiraz, Iran. Currently, she is studying Film Animation at Mel Hoppenheim School of Cinema- Concordia University in Montreal, Canada.