Catalogue 2024

Written upon testimonies, rumors and fake news, this film questions the architectures of energy shaping the Algerian territory from its colonial history to the rise of Chinese extractivism, underlining the multiplicity of reality in a post-truth era. Since 2006, thousands of Chinese workers have been arriving daily in Algeria to build new cities across the country. Refusal of taking care of the dead by construction companies led to rumors about the disappearance of worker’s bodies, therefore questioning the collective memory of these workers expunged from history. Memories of an Unborn Sun aims to articulate a metaphysical query around light as a form of memory, blending archives from French nuclear tests in the Sahara, viral footage of an artificial sun rising in the sky and verses from Tuareg poet Hawad. As this nightless world embodies the capitalist utopia of infinite growth, how to remember those made invisible? Exiled workers and ghosts of an energetical quest.

Marcel Mrejen (FR/DZ) born in 1994 (Paris, FR) is a visual artist and filmmaker exploring the articulation of technology within living and economic metabolisms. The form of his work spans various time-based media — installations, filmmaking, sound, and machine-learning. He graduated from the Gerrit Rietveld Academie in 2018, before being a resident of Le Fresnoy - Studio national des arts contemporains. His work has been exhibited in various cultural institutions, including the Stedelijk Museum, Laurel Project Space, De Brakke Grond, or the Institute of Contemporary Arts in London. Parallel to his artistic practice, he co-curated the first edition of REFRESH: Future-Proof. In collaboration with Eliott Déchamboux, his book: L’Europe c’est Deutshland quand tu rate laba tu est foutue mon frère, le reste c’est du fouma-fouma, was published by Jungle Books in 2019. His debut film Memories of an Unborn Sun was awarded the Jury Prize at Visions du Réel in 2024.

An Essay about coastlines and Plants: LANDEN follows its protagonist on her botanical journey from the Wadden Sea to the coast of Lebanon. As she collects material for her herbarium, she witnesses the consequences of Lebanon`s economic collapse and disturbing decay. Along fragile ecosystems she loses herself between modernist architecture or at the banks of the Beirut River to find some hope for a future after the fall. A journey where nature leads us through crises and loss.

In her artistic films, Vanessa Nica Mueller deals with questions of personal and collective memory, the human being in relation to urban space and nature, the uncanny and the cinematic construction of inner states, as well as the tension between identity(ies), the familiar and alienation. She spans the arc from inner navigations to non-spaces. In her artistic research on fragile ecosystems, she is interested in the intersection of external and internal climate changes. Starting from the documentary, she creates essay films that always contain an openness at the interface between staging and observation. She focuses on an essayistic and associative narrative style and combines digital film material with analog footage. In addition to realizing her own films, she works as a lecturer in the field of film education and in the field of directing, concept and film editing with a focus on the documentary form. Together with Katharina Duve and Adnan Softic she led the film seminar of the ACO program at the Hochschule für bildende Künste Hamburg for two years and also teached documentary film formats, project development and film research at the SAE Hamburg for several years and film editing at the UE University of Europe for two semesters. For threes years she was part of the selection committee of the International Competition of the Hamburg Short Film Festival. In the field of digital education and cultural mediation, she most recently designed and realized the workshop project Flora und Fauna Medienlab in 2023. After her film studies and ongoing freelance work her interest in non-linear and interactive narrative storytelling intensified as part of a Master’s degree in Next Media (Computer Science) and she researched about the difference and overlap of narrative structures in video games and films.

The film is about that very morning when the whole of Ukraine woke up to the howling of sirens and explosions of Russian missiles. The movie unfolds between movement and stillness, peace and war, and ultimately between life and death. It is an attempt to convey the feeling of disintegration of reality that people experience when they find themselves in the epicenter of one of the most frustrating and catastrophic situations. It is about the sense of loss that Ukrainians are experiencing in one way or another during this war.

Dmytro Shovkoplyas is a cinematographer, director and producer. He graduated from the National Theatre, Cinema and Television University with a degree in cinematography. He studied at Serhiy Bukovskyi's documentary film directing school. He has worked with independent production studios and directors on many international documentary and fiction projects.

This is a road-trip film that explores my roots through research on the wildlife of Taiwan. The film connects memories of Myanmar, where I spent my childhood, with the history of snails in Taiwan, focusing on those inhabiting Treasure Hill Artist Village. In 1932, the African giant snail was introduced to Taiwan by Professor Shimojo Kumaichi of Taihoku Imperial University (now National Taiwan University). This snail then spread from Taiwan to Okinawa and various parts of Asia. This film employs the invasive African giant snail as a lens for critically reassessing Japanese imperialism.

Hirofumi Nakamoto was born in Yokohama in 1986. The Silent Passenger, shooting hermit crabs in Okinawa, was selected for the 2013 Berlin International Film Festival. The Spacecraft Diaries 2016, a diary film with a mobile phone camera, was selected for the 2017 Jihlava International Documentary Film Festival. Night Snorkeling, collaborating with Nao Yoshigai, shooting the coastal waters of the Miura Peninsula, was selected for the 2021 Visions du Reel. In 2018, he moved to Zushi City in japan and founded “Zushi Art Films”, an organization, that holds lectures, workshops, and screenings around the film. He is currently holding a position as a teacher at Yokohama Digital Arts College.

Reversal combines images and sounds from movies released or broadcast in 1973, the year the Supreme Court decided Roe v. Wade. In the strange new reality ushered in by the Dobbs decision, the slogan "We won't go back" is recalled with bitter irony. This collage piece evokes the spectre of regression and repression that has followed the Court's decision.

Diane Nerwen is a video artist and art educator. She has shown her work internationally, including screenings and exhibitions at the Museum of Modern Art, NY, the Guggenheim Museum, NY, the Tate Modern, London, carriage trade, NY and the Berlin Film Festival. She was awarded a DAAD Artist in Residence Fellowship in Berlin in 2001.

The "Reporting from the Ghost Cities of the Metaverse" series explores empty and ineffective metaverse platforms using video, social media relational aesthetics, and live streaming performance/discussions. These artistic forms serve to critique techno-feudalist fantasies by examining the siloing of creative possibility in real time using glitch processing and dialectical argumentation in text and sound.

Created in fall of 2021, Sub Net is an anonymous new media art project that explores the mirror stage of online identity formation and challenges the promises, politics and power dynamics of technology & capitalism. They are a dream who thought it was a person. Their body of work intersects and tangles topics ranging from the amplification of the absurd within the metaverse; performative nostalgia baiting; and social media engagement as a site for relational aesthetics.

A speculative and poetic exploration of the entanglements and overlaps of historical events in the Atacama Desert (Chile), the film, told from the perspective of the wind, takes us on a visual journey, floating freely through the many sites and histories of the Atacama. Exploring some of the largest lithium mines in the world; hovering above the remnants of colonial labour camps reactivated under the Pinochet regime, and slipping inside the international observatory of the ALMA large array facility; Ferreira da Silva and Neuman’s camera uncovers material trajectories whose planetary scope and historical depths remain invisible to the many. By pointing at how these trajectories mutated and expanded into aspects of modern geopolitical issues, Ancestral Clouds Ancestral Claims, exposes pillars of western thought that sustain colonial legacies of inequality, racial exclusion and human extractivism while simultaneously proposing another worldview, one that is carried and echoed by the wind.

Arjuna Neuman is an artist, filmmaker, and writer and he is the co-founder of archiveofbelonging.org – a resource database for migrants and refugees. Neuman works with the essay as a guiding, multi-perspectival and inherently future-oriented form that underpins his experimental research and creative approach. As a writer he has published essays in Relief Press, The Journal for New Writing, VIA Magazine, Concord, Art Voices, Flaunt, LEAP, Hearings Journal, and e- flux. He studied at California Institute of the Arts. Denise Ferreira da Silva is an artist and philosopher. She currently is the Samuel Rudin Professor in the Humanities at the Department of Spanish and Portuguese Languages and Literatures, at NYU. Her artistic and academic work reflect and speculate on questions crucial to contemporary philosophy, political theory, black thought, feminist thought, and historical materialism. She is the author of Toward a Global Idea of Race (2007), Unpayable Debt (2022) amongst many other titles. Arjuna Neuman and Denise Ferreira da Silva’s collaboration includes the film Serpent Rain (2016), 4 Waters-Deep Implicancy (2018), Soot Breath//Corpus Infinitum (2020), Ancestral Clouds Ancestral Claims (2023). Their films have been exhibited at major art venues such as MACBA (Barcelona); Kunsthalle Wien (Vienna), the Pompidou Center (Paris), Whitechapel Gallery (London), The 56th Venice Biennale, The Haus Der Kulturen Der Welt (Berlin), Centre for Contemporary Art (Glasgow), and more. In Februrary 2024, they opened a retrospective of their work at the Munch Museum in Oslo; in May 2024 the Kunsthal Extra City in Antwerp opened a solo exhibition of their work. They have a forthcoming monograph published by Archive Books.

Nhà Sàn Collective presents a new moving image work filmed at the residence of Mr. Manh Duc, a home in close proximity to the collective and their community of artist friends for many years. In this playground, a mystical world emerges; a cinema is reenacted. As the film unfolds, a river, a garden, spirits, wooden structures, people and objects appear, dissolve and reappear, as if they were characters morphing into one another. The film draws attention to cinematic transformation of physical and immaterial beings as a process of experiencing diverse forms of archives.

Nhà Sàn Collective (NSC) began operating as an independent artist collective in Hanoi in 2013, when a group of friends set up their publicly accessible space. With or without a physical base, NSC has worked with fellow companions and collaborators to organise exhibitions, workshops, film screenings, talks and other activities as a supporting platform for artists in the community. An initiative for exchanges, expansions and connections. A place that’s also open toward works-in- progress and the unexpected, a just-do-it attitude which doesn’t always yield answers. Some of the Collective's main projects, which have been held on numerous occasions, are Skylines With Flying People, IN:ACT Performance Art Festival, Queer Forever!, Emerging Artists programme, amongst others. The collective board consists of Tr??ng Qu? Chi, Nguy?n Ph??ng Linh, Nguy?n Qu?c Thành, V? ??c Toàn, and Tu?n Mami. In 2022, they participated in Documenta 15 curated by Ruangrupa with their invited artist friends. The name ‘Nhà Sàn’ signifies the Collective’s foundation which is rooted in the spirit of Nhà Sàn Studio, an artist-run space founded in 1998 in Hanoi. The original Nhà Sàn, a house on stilts, was taken apart in 2020. In the Ng?c Th?y area by the bank of the Red River, the artists imagine this house to become the new Nhà Sàn Collective space, rebuilt, and transformed.

Les bruits de la respiration fatiguée et du funk brésilien. La bouche est la fenêtre de l'âme. À Xerém, une grand-mère de 97 ans n'a jamais été embrassée sur la bouche. Elle n'a jamais consenti à quoi que ce soit non plus, pour être honnête. Pendant ce temps, la jeunesse se promène dans les rues et les bois. Les mystères de l'amour et de la sexualité.

Née à Rio de Janeiro et élevée à Xerém, Ninah Nogino a obtenu son diplôme en Cinéma, pratique et esthétique, à l'Université Paris 1 Panthéon-Sorbonne. Après ses expériences scolaires, "Relato de Xerém" est son premier film.

In Los Angeles, the city becomes electric when it gets dark. For artist Monica Nouwens, it's these hours after sunset when LA is most vibrant and alive in its diversity and spirit. Nouwens' body of work is comprised of her experiences after dark on the streets of South East LA and is, in many ways, a love letter to the City of Angels. Having first moved to Los Angeles in the '90s, Nouwens is has been noted for intimate and provocative portraits amidst continuously synthetic landscapes of decadence and decay. In her work, shot in a distinctly cinematic aesthetic reminiscent of old Hollywood noir, Nouwens captures the faces and scenes of those Los Angelinos who contribute to the cultural mosaic of the city.

Monica Nouwens is a fellow of the Rijksakademie van Beeldende Kunsten Amsterdam. She studied at the Willem de Kooning Academy and California Institute of the Arts. Nouwens exhibited at Netherlands Photography Museum Rotterdam, Photography Museum Amsterdam, Stedelijk Museum Bureau Amsterdam, The Wende Museum, and underground spaces. Nouwens first consideration are the people in the work, and so the work is shown first in the streets of Los Angeles. Her videos have been shown at the The rejected Film Festival. Nouwens teaches at the Departement of Cultural Affairs Los Angeles and taught at UCI, SCI-Arc, CalArts, University of Leiden, Universidad de Monterrey, Mexico and CCA, Montreal.

Forensic video essay built as a performative research into the first international criminal tribunal case to enter convictions for rape as a form of torture and for sexual enslavement as crime against humanity. While working solely with visual archive and testimonies, The Silence of Reason acts as a memory itself: elusive, fluid, it rejects framing, moving in all directions, spatial and temporal. The singular experiences of violence and torture by women from the Fo?a rape camps during the war in Bosnia and Herzegovina become our collective memories, surpassing time and space.

Forensic video essay built as a performative research into the first international criminal tribunal case to enter convictions for rape as a form of torture and for sexual enslavement as crime against humanity. While working solely with visual archive and testimonies, The Silence of Reason acts as a memory itself: elusive, fluid, it rejects framing, moving in all directions, spatial and temporal. The singular experiences of violence and torture by women from the Fo?a rape camps during the war in Bosnia and Herzegovina become our collective memories, surpassing time and space.

In the short film trilogy "techno" Lydia Nsiah assembles and spiralizes historic and contemporary Science Fiction Films with an emphasis on African, African American, Asian, Indian, Indigenous and South American film productions. Working with their imagery of the fears and chances of technology the found moving images are edited into the artistic and cinematographic sequences inner, outer and in between. In the beginning of each film piece the imagined future of the technological is countered with a short intro, showing 16mm-film recordings by the artist of present nature. Due to a multi-part film recording process the two media video and 16mm-film interfere. The digital, the analogue, artefacts, (film) layers and translations culminate. The sound compositions by the artists Pisitakun, Jejuno and Billy Roisz respond to the sequences, the Sci-Fi Found Footage and the spiraling camera movement. With these dialogues between film and sound three short films are created, conversing with each other in the form of a trilogy and spiraling the technological in filmic, bodily and immersive ways.

Lydia Nsiah is an artist, filmmaker and writer, working with the in-betweens, abysses and gaps in audiovisual knowledge production by transforming and incorporating found and recorded analogue and digital memory images, often in collaboration with sound artists. She publishes and exhibits internationally on science fiction and decolonial practice, body and virtuality, forgetting and remembering, failure and error, film art and use. Her works were shown, among others, at the Berlinale Forum Expanded, the Internationale Kurzfilmtage Oberhausen (DE), Prismatic Ground/ Maysles Documentary Center, NYC (US), Crossroads San Francisco Cinemateque/ SFMOMA (US), IDFA – International Documentary Film Festival Amsterdam (NL), Festival Ecrã (BR), Bangkok Art & Cultural Center (TH), Blickle Kino/ Belvedere 21, Kunsthalle Krems (AT), Slovenska kinoteka (SL), Curtocircuíto, Santiago de Compostela (ES), Antimatter [Media Art], Victoria, BC (CA), Kunstforeningen GL Strand (DK).

"The Dawn Chorus" is an outbreak of birdsong at the start of a new day, depicted in the film as the inspiration for a dream-like gathering of the artists local queer community in Zagreb. This joyous celebration of queer bodies pays homage to the kingdom of birds through voguing, dancing, drag and costumes. It is a transposition that imagines the potential in the intersection between our own identities and the inclusive spaces that are open for other species. Filmed without the predictable popular electronic beats typically associated with ballroom, the film solely features the sounds of bodies in motion, the rhythmic impact of dancing, resounding percussive noises created by bodies, and chanting. These elements are accompanied by polyphonic sounds of birdsong onomatopoeias, sourced from ornithological manuals and sung by ”Le Zbor” a lesbian-antifascist choir from Zagreb accompanied by subtle gravity-like pedal tones played on Organ.

Damir Ocko (b. 1977, Zagreb) Graduate from the Academy of Fine Arts in Zagreb, O?ko has exhibited on solo exhibitions at Kunsthalle Krems, Museum of Contemporary Art Zagreb, Jeu de Paume, Paris, National Gallery in Prague, Museum of contemporary Art Bordeaux, Museo Amparo, Mexico, DAZIBAO, Montreal, Palais de Tokyo in Paris, Yvon Lambert Gallery in Paris, Künstlerhaus Halle für Kunst und Medien in Graz, Kunsthalle Dusseldorf, Temple Bar Gallery and Studios in Dublin, Kunstverein Leipzig among other places. He participated in numerous group exhibitions internationally with institutions such as, OFF Biennale Budapest, MUDAM in Luxembourg, FRAC le Plateau, Württembergischer Kunstverein Stuttgart, Kunsthalle Vienna, Louis Vuitton foundation among others. Damir O?ko represented Croatia in the 56th Venice Biennale with a solo exhibition "Studies on Shivering / The Third Degree. His works are included in many public and private collections such as FRAC le Plateau, Foundation Louis Vuitton, CNAP – Centre national des arts plastiques in Paris, MUDAM in Luxembourg and Museum of contemporary Art in Zagreb, among others.

While the shade of a tree is being stolen away, bodiless organs sit in the enormous gaps of the drained earth. Under the constant noise of unseen machines, disjointed body parts touch the drying soil and breaths are only audible to insects. In this quiet, distorted world, old songs of goodwill are sung: “Future times of vain sorrow do not disturb our gentle sleep...” While we are waiting for the miracle to come the sand continues to fly.

SENEM GÖKCE OGULTEKIN work spans the disciplines of choreography, performance, vocal work and film. In 2019, "Dun/Home" was chosen for Artist´s Film International, an international event initiated by Whitechapel Gallery in London and was shown at various museums and galleries of the world. In 2020, Senem Gökce Ogultekin was awarded the Allbau Foundation Culture Prize and was appointed to the Young College by the North Rhine-Westphalian Academy of Sciences and Arts in 2021. LEVENT DURAN is a multidisciplinary artist and writer. They studied sociology at Istanbul University and film at the Fine Arts University of Hamburg, where they obtained their master's degree. Their writings have been published in major magazines and newspapers in Turkey, and their visual creations (video, painting, sculpture, installation) have been exhibited internationally. Their film project "Murmuring Draft Dodgers" received the Courageous Citizen Award from the European Cultural Foundation.

1947 London was a hub of radical anti-colonial activity. International intellectuals, artists, and activists like Funmilayo Ransome-Kuti, Sylvia Wynter, C.L.R. James, Kwame Nkrumah, and George Padmore were all in London at the eve of the end of British colonialism. Individually, they were agitating for their respective countries' national independence, but did they meet? And if they all did, what did they discuss? What did they conjure?

This is a poetic contemplation on the state of the world, as well as a reflection of the times in the authors' homeland, when under the influence of censorship they are forced to seek an alternative language to discuss significant issues. In this work, diverse realms intertwine: the game setting, ancient Greek tragedy, social utopia, and our contemporary era. It is a shared universe, enriched by the voices of many authors.

Yana Osman, Anton Khamchishkin (Afghanistan, Russia) Filmmakers and audiovisual artists. Their artistic practice, including video, photography, sound, performance, and poetry, delves into how personal, social, and political documentary contexts become anentry point to the fantasy worlds we live. Their works have been exhibited at festivals, museums, and contemporary art spaces in Armenia, China, Finland, Germany, Hong Kong, India, Ireland, Italy, Kazakhstan, the Netherlands, Russia, Turkey, and even Antarctica, as well as in France, supported and showcased by CNC, Cité Internationale des Arts – Paris, Usage du Monde au 21ème siècle, Maison Européenne de la Photographie – Paris, Institut Français, Théâtre Nouvelle Génération (TNG) – Lyon, among other.

The video performance Las Hermosas Invisibles proposes a post-mortem connection between Simon(e) Jaikiriuma Paetau and her/their recently deceased trans sister, Aérea Negrot. For many years, Aérea had been collaborating with Simon(e)’s artistic works with versatile sound creations. In Las Hermosas Invisibles, Simon(e) gathers and assembles all of these sounds present in previous collaborations, and responds to them in a new video-performance piece shot in the territory of the tum xula7xw of the sn??ay?ckstx people. The performance invokes Aérea’s spirit, memories, and the impact she had on Simon(e)’s life and work. Aérea’s artistic and emotional legacy continues to exist and communicate with Simon(e) through sound, music, and memory. The title ‘Las Hermosas Invisibles,’ directly references the term “hermosos invisibles” (beautiful invisibles) coined by Wayuu poet Vito Apüshana. This term represents the human and non-human entities that make up the living and thinking territory of the Wayuu people, with whom Simon(e) became acquainted through their collaboration with Wayuu artist Elizabeth Pirela. While the piece is dedicated to the memory of Aérea Negrot, it also encompasses a broader exploration of the legacy of other trans-ancestors spanning from Tibira do Maranhão to Sylvia Rivera.

Simon(e) Jaikiriuma Paetau is a German-Colombian interdisciplinary artist whose work spans video art, installations, experimental cinema, and performance, with a focus on decolonial themes and queer cultures. In recent years, Simon(e) has focused on inventing myths and utopias inspired by rural and urban cultures in Latin America, challenging hegemonic discourses. In this way, they have created interdisciplinary works and collaborations with racialized artists and historically marginalized communities, especially Emberá & Wayúu, non-binary sexual dissident bodies (including themselves), and rebellious LatinX trans women. Simon(e) studied Media Art at KHM Cologne and Film at EICTV Cuba. Their films and videos have premiered and won awards at prestigious festivals and exhibitions like documenta14, Cannes Directors Fortnight, New Directors/New Films MoMa & Lincoln Center, Berlin Biennale 11, BFI London, and the New York Film Festival. Notable awards and recognitions include the Emerging Talent Award at International Short Film Festival Oberhausen 2022, the Norman Award at Stuttgarter Filmwinter 2023, the Best Director Award at the Cartagena de Indias International Film Festival Colombia (FICCI) 2018, and a nomination for the Queer Palm at Cannes Directors’ Fortnight 2022. Simon(e) has presented their performances and video installations at renowned venues such as the Wexner Center of the Arts, HKW, Martin Gropius Bau, Kasseler Kunstverein, nGbK, Ballhaus Naunynstraße, Shedhalle Zurich, HAU, the Sharjah Art Foundation, and the Cinemateca de Bogotá. In 2023, Simon(e) held their first solo exhibition at the IBB Video Space of the Berlinische Galerie—Museum of Modern Art. The National Museum of Colombia recently acquired several of their works for its permanent collection. Since 2024, Simon(e) is co-founder and artistic director of the transnational German-Colombian experimental artistic laboratory, Atelier Lapaetau.

Un fils revisite son vieux foyer, un endroit qu'il a connu autrefois, à la recherche d'un homard. Une exploration de la complexité de la masculinité et une lettre à mon père.

Née à Montréal, au Québec, Daniela Paglione est une artiste expérimentale et une étudiante de premier cycle en communication à l'Université Concordia. Elle a été captivée par la réalisation de films dès son plus jeune âge et a poursuivi cette passion dans le cadre de ses études. Ses films « The Earth was Formless and Void » et « Where Old Voices Go » ont été présentés dans le cadre du Vernissage 2023 du cinéma et des médias de Concordia (Montréal, Québec). Son nouveau film, Sinking Line, a récemment été projeté au Moving Images Alliance Collective, ainsi que dans le cadre de la 33e édition de Vidéo de Femmes dans le parc à Montréal. Elle travaille actuellement au Groupe Intervention Vidéo (GIV), un centre de distribution géré par des artistes qui se consacre à la promotion d'œuvres réalisées par des femmes. Daniela crée des courts métrages de manière indépendante depuis 2019. Son travail est expérimental et se concentre sur les thèmes du soi, de la mort et de l'inconscient.

Victor is a poor and submissive man who serves his general and the palace of an aristocratic family. Haunted by the red lips of his beloved Maria, he suffers unbearable hallucinations that lead him to the great precipice of death. “Illicit Trade” explores 3 texts by Georg Büchner - "Woyzeck", "Leonce and Lena" and “The Hessian Courier". A film adaptation of the German author's literary universe that is as anachronistic as imminently actual.

Born in Lisbon, in 1977, Pedro Paiva has been working in collaboration with João Maria Gusmão since 2001, using film as a privileged medium. In 2004 they won the EDP New Artists Award. In 2009, they were the Portuguese representatives at the 53rd Venice Biennale. His filmic work was presented at Anthology Film Archives New York (2010), Palais de Tokyo Paris (2013), HangarBicocca Milan (2013), Pompidou Metz (2017), Serralves Porto (2021). "Illicit Trade" is Pedro Paiva's first feature film.

Un rideau qui ondule évoque le temps passé au travers de quelques archives photographiques familiales

Jean Jacques Palix est compositeur, arrangeur, scénographe sonore pour des installations, collecteur et archiviste de musiques rares, chasseur de sons. À la suite de ses années de productions radiophoniques à France Culture puis à Radio Nova dont il fut un des fondateurs en 81, il crée en 1985 sa structure indépendante Tapage Atypique, puis, en 1991, le label de disques Song Active, pour répondre à son désir d'un studio ouvert aux rencontres artistiques, musicales et sonores. Il compose les musiques pour de nombreux chorégraphes, ainsi que pour des films d’artistes et documentaires. En 2002, il réalise de nombreux films parmi lesquels ”Conférence sur rien” autour d’une lecture d’Eve Couturier, d’après ”Lecture on nothing” de John Cage. En 2007, il crée 16’33’’, 33 hommages de 30’’ à 33 compositeurs pour la galerie IN SITU/Fabienne Leclerc à Paris. En 2009, il réalise le film ”Ce disque est le même que l’autre” diffusé dans des festivals internationaux (Rotterdam International Film Festival, Tribeca Film Festival …). En 2010, il est co-commissaire de l’exposition ”Cornelius Cardew et la liberté de l’écoute” (Brétigny sur Orge, Stuttgart, Culturgest Porto) et dirige les performances sonores de ”The living Currency” à Varsovie et à la biennale de Berlin. En 2013, il compose le Hörspiel ”TPNY Memory” sur un livret de Leyli Daryoush (diffusion France Culture). Il a collaboré avec Bruce Russell, Jean François Pauvros, David Linton, David Coulter, Alastair Galbraith, Vincent Segal, Paul Collins… Biographie: http://jjpalix.free.fr/bio-Palix.htm Website: http://jjpalix.free.fr/news.htm

2024 • 21’ • Vidéo • couleur, sonore. Avec Maria Donata D’Urso, Thanos Samaras. Réalisation, image, montage, Arnold Pasquier Un homme seul dans un appartement, une femme seule dans le jardin. Ils mettent en scène leurs solitudes dans une cérémonie secrète où leurs corps cherchent à embrasser une absence. En vis-à-vis se déploie une déambulation dans deux parcs d’Athènes dont les sentiers mènent à un panorama. Ce mouvement entre nature et architecture fait écho aux quêtes des corps séparés.

Arnold Pasquier est l’auteur d'une œuvre qui couvre les champs de la fiction, du documentaire, et de l'essai. Dès ses études d’arts plastiques et de cinéma, il réalise des essais en Super 8 et en vidéo où il mêle journaux filmés et fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes comme documentariste et comme danseur. Il partage son activité entre projets personnels, enseignement et collaborations en tant que chef-opérateur et monteur.