3D digital animation and video - 2011 - 11:03 min A couple of virtual pigs are sowing discord in a Basque village where simultaneously they discover local customs : music, dance, hunters, butcher’s shop, pelota ball. Bertrand Dezoteux (b. 1982, France) makes experimental films which aims to represent the world as a system inspired by 3D modelization softwares. From one project to another, he elaborates a digital ecosystem of which the logical and customs are defined by the mecanisims of the digital program. Graduated from le Fresnoy in 2008, he often presents his work in France : Frac Aquitaine, Palais de Tokyo, Musée d’art moderne de la ville de Paris, Centre Pompidou, Confort Moderne ; and abroad : Astrup Fearnley Museet à Oslo, Frieze Londres, Los Angeles Municipal Gallery, Asia Culture Center à Gwangju. In 2015, Bertrand Dezoteux is the laureate of the Audi Talent Award to make a project entitled En attendant Mars (Waiting for Mars), inspired by a scientist experience of simulated trip to Mars. This project is also the frame of a residency at Observatoire de l’Espace du CNES (National Centre for Spatial Studies). Bertrand Dezoteux is also resident artist at DOC (Paris).
HD video - ongoing - 19:44 min D.^^.$.®. (Dance.Music.Sex.Romance) is an ongoing and continually expanding multi-channel video project exploring how the digital environment, both as an interface but moreover as a form of reconstructing and publicising our intimate experiences, directly influences our image of self and the implications this ego-theism has on romantic and erotic relationships. For Glassbox, D.^^.$.®. has been edited into a single channel. Samuel Fouracre (b. 1977, UK) completed an MFA at Royal College of Art (London) in 2009. He lives and works in London. Samuel Fouracre’s practice incorporates installation, sculpture and performance with a predominant focus on video. Fouracre’s video work combines live studio shooting with CG environments to question the autonomy of self and the construction and (sometimes delusionary) conviction of gender self-image. Recently his work has taken the form of what he loosely terms ‘non sequitur’ film-making. This technique references the formula of movie trailers and pop videos where the narrative is suggested by short, seemingly unconnected fragments. As such the work suggests, but remains non-committal, to any direct narrative arc. Recent screenings and group shows include: Moscow International Experimental film Festival (Moscow); Sin(timate) City, Bedlam Film Festival, (Edinburgh); I Do Care but I Don’t Understand, BBKL, (Leipzig): Addis Video Art Festival, (Addis Ababa); Internationales Kurzfilm Festival (Hamburg); Tele-novela, AcreTV, online and Mana Contemporary (Chicago).
HD video - 2014 - 04:53 min «SHOOT juxtaposes footage of faces in a crowd at the ploughing championships with audio recorded at a fashion shoot. The unobtrusive camera shakes violently with faces almost imperceptibly passing through the frame until the footage slows to reveal a revelatory gaze, intimately illustrating different states; a resentment towards having their image recorded, being trapped within a crowd or their working conditions. Audio from the conflicting social space of the fashion shoot collides with this footage while being simultaneously synced with events unfolding on screen. Navigating between these places, different subjectivities are revealed; the fair in relation to the interior space of the subject, the gap between the subject and the camera and the space between the viewer and the screen.» Mathilde Ganancia (b. 1988, Paris) is an artist working in Paris. After graduating from École Nationale Supérieure des Beaux-arts de Paris, she goes to live and work in London to assist artist Nils Norman and collaborate on video projects. With installations, texts, paintings and videos, Mathilde Ganancia has developed an eclectic body of work where certain paradoxes of our time are performed and critiqued. Adjusting herself to contexts and some positions she observes in our society, she tests and infiltrates them, exaggerating the behaviors, in order to extract from it complex and potentially polemical realities. Mathilde Ganancia’s work has been shown in several venues such as Wexford Art Center (Irlande) in 2014, Galerie Nord, Musée Eugène Delacroix (Paris), Space Gallery (Liège), Galleria Continua – Les Moulins (Boissy Le Chatel). In 2016 she is a resident artist at Skowheganjs (Maine).
HD video - 2014 - 04:49 min Dirty Deeds Done Dirt Cheap is a short video including poetic and musical elements that looks at the abstracting tendencies of contemporary high finance; where money no longer bears any relation to the production of useful goods or services. Music for the video was commissioned from the London based band Henge, playing a Doom Metal cover version of ABBA’s classic song, Money Money Money. Patrick Goddard (b.1984, UK) is an artist working in East London. Completing an MFA at Goldsmiths University in 2011, he is currently studying for a doctorate at The Ruskin, Oxford University, in Fine Art practice. Creating video, publication, performance and installation; Patrick’s politically loaded and narrative based works undermine themselves with a self-defeating black comedy. Inverting the position of the aloof cultural critical, Patrick’s work attempts to flip criticism back on the artist’s own ideology, presumptions and pretentions as it wrestles with the complexities of commitment. By incorporating a plurality of ideological stand points, meta commentary, and multiplying reflexive knots, the works reflect the artist’s own sincere misgivings and fumbled attempts to create a personal and political integrity. Recent solo shows include: Gone To Croatan, Outpost Gallery (Norwich) ; Revolver II, Matt’s Gallery (London). Recent group shows include : Fig2 with the White Review, ICA (London) ; Objective Considerations of Contemporary Phenomena, M.O.T. International Projects (London) ; IV Moscow International Biennale of Young Art, Moscow Museum of Modern Art (Moscow). Recent performances have taken place at Matt’s Gallery, N.O.W.here Gallery, Wysing Arts Centre, French Riviera, and Grand Union. His debut graphic novel, Operation Paperclip, was launched at Matt’s Gallery in June 2014 and he completed a residency at Black Rock, spring 2016 and Wysing Art Centre over the summer of 2014.
HD Video - 2012 - 04:53 min In Claiming the Echo, the assembly-based Solfónica choir performs inside an empty auditorium. Formed during the occupations of the 15M protest movement, the Solfónica choir normally performs during demonstrations and activist events in Madrid. For this piece, they sing scores by Henry Purcell which have been modified for the occasion, blending them with the words of political slogans and mottos which have been coined during the Spanish financial crisis which started in 2008. After finishing this work, the songs that were composed for Claiming the Echo have been spontaneously included in the repertoire of Solfónica, which now sings them in the streets during demonstrations related to cuts in social spending, in urban contexts where people demand their political rights. Marco Godoy (b.1986, Madrid) is a cross disciplinary artist living in London, currently working with photography, video and installation. Completing an MA in Photography at the Royal College of Art in 2014, after graduating from the UCM of Madrid and School of the Art Institute of Chicago. Marco Godoy´s work explores the construction of authority through visual means, looking at society´s ways to confront this power. His projects seek alternative ways in which to perform disagreement, exploring the relationships between images and ideology. His work has been exhibited internationally in galleries and institutions such as Dallas Museum of Contemporary Art, Matadero Madrid, Centre George Pompidou, Stedelijk Museum ‘s-Hertogenbosch, Edinburgh Art Festival, Liverpool Biennial, ICA London, Palais de Tokyo, Whitechapel Gallery..
HD Video - 2013 - 42:00 min Commissioned by The Banff Centre, Canada, as part of a 6-month Scottish Arts Council Residency Inspired by the Technicolor utopias of children’s television, Over The Rainbow invites the viewer into a shape-shifting world inhabited by cuddly monsters, faceless clones and gruesome pop divas. Shot entirely using green-screen the film presents a synthetic environment, part toy model, part computer generated landscape, which explores a dark, comedic parody of the Faustian tale, video game and horror movie genres. Rachel Maclean (b. 1987, Edinburgh) lives and works in Glasgow. Recent exhibitions include: Wot u :-) about?, HOME, Manchester, We Want Data (2016), Artpace, Texas, British Art Show 8 (2015), Ok, You’ve Had Your Fun, Casino Luxembourg (2015), Please, Sir…, Rowing, London, (2014); The Weepers, Comar, Mull, (2014); Happy & Glorious, CCA, Glasgow, (2014). Recent screenings include: Feed Me at Athens and Luxembourg Film Festival (2016); Moving Pictures, British Council and Film London, (2015-16); Lolcats, Impakt Festival, Utrecht, The Netherlands, (2014). Maclean won Glasgow Film Festivals Margaret Tait Award in 2013 and is nominated for the Film London Jarman, 2016. She has an upcoming solo show at Tate Britain for Art Now and will be representing Scotland at the 2017 Venice.
HD Video - 2015 - 15:56 min I wanted to make a film about the contemporary nature of Knossos an ancient Minoan site . On visiting several times I was delightfully disturbed by the plastic nature of the ‘reconstruction’ of parts of the site by Arthur Evans in the early 20th Century and too reminded of the work of Adolf Loos. The outcome is a visual and aural essay that uses computer generated drawings, footage found in my father’s cupboards and a soundtrack that take samples from different genres. Through drawing and collaging what became most important was the psychology and physicality inherent in the timeless process and wavering structure of myth-making. Whether the myth be ancient or modern, it exists even after adulteration, and can only exist because of this. It is presented through glimpses of a multi layered palimpsest where origin and meaning become unfixed leaving interpretation to remain open. What unites is a nihilistic hedonism that goes full circle as fantasies continually override original principles. Izzy McEvoy’s videos are animated using computer generated drawings, found footage and soundtracks sampled from popular music and films. They are fragmented yet meditative essays that rely on the non- verbal poetics of imagery and space to mediate the transcendence of structures within anthropology and architecture. Interested in the figures involved in the rewriting of history such as architects and archaeologists, Izzy McEvoy finds a breaking point where well intended principles succumb to desire. It is here that Izzy McEvoy begins to rewrite alongside the now broken heroes as she reuses old material and invents new. No longer an innocent bystander she attempts to unravel fixed origins that unfurl into perpetual effect, mutating along with the course of time. Recent exhibitions include: The Power of Now at Art, Lacuna (London); They Shake the Mountains when they Dance, Chalton Gallery (London) ; Mix Realities, Zona De Desgaste (Mexico City); Automated, Chalton Gallery, (London); Sargassum, The Dolphin, (London); Deal Pier Arts Festival (Kent); Overseers, Dyson Lecture Theatre, RCA (London); Fig-2 with The White Review, ICA (London); Pause Patina, Camden Arts Centre (London); Latching Firm, Camden Arts Centre (London); Oslobs, Podium (Oslo).
HD video - 2016 - 03:35 min Justin Meekel (b. 1986, Paris) is an artist working in Paris and the cofounder of DOC (Paris). In 2010, he has completed an MA in Fine Arts at the Ecole Nationale Supérieure d’Art de Cergy. Form appears spontaneously, not quite chosen ahead, and its completion is not a goal in Justin Meekel’s work. Besides, he often concedes that he has not created it directly - it comes from elsewhere. The artist uses methods from popular art, folk or more generally from society, distorting their primary meaning: his doctor’s prescription (Testament), a hip-hop video (Validée), drawings made by amateurs (Guess Who) or the Staten Island Ferry (Dompanach) and attempts to give them a new poetical purpose. Justin Meekel has exhibited in such venues as : Triangle (Marseille), CAPC (Bordeaux), La Salle de Bains (Lyon), Mains D’Oeuvre (Saint-Ouen), Treize (Paris).
Animation - 2016 - 07:24 min BATTHEY is a short animation that utilizes looped 3D animation and gaming software navigating a quarter life crisis the character appeals to our own need to face our shadow selves. Who’s become what’s, eager to touch outside reality’s messy dynamics. Aniexty narrates a tumultuous state of being. Laura O’Neill (b.1990, Wigan, UK) is currently a resident artist at the Rijksakademie van beeldende kunsten (Amsterdam). She has also been selected for VISIO – European Programme on Artists’ Moving Images 2016. Working simultaneously in a variety of media—video, sculpture, sound, and poetry - in each case there is a dynamic tension between the intrinsic transformative states of matter. Casting simple enquiries on form and feeling; the only stable view of the work is that of change itself. This energy is timely modulated and heightened through sound, imagery and the inclusion of found &/or crafted objects. The works are distinguished by their fascination with the fragility of experience and the body. Laura O’Neill has presented her work in such venues as : Wysing Arts Centre, (Cambridge) ; Composite (Brussels) ; ICA Film Biennale, Focal Point Gallery’s Big Screen (Southend-on-Sea) ; Bikini Wax (Mexico City) ; ICA (London) ; Camden Art Centre (London) ; Baltic 39 (Newcastle) ; Liverpool Biennale ; Spike Island (Bristol) and a recent film commission from Mexico City Metro, 2015.
HD video - 2015 - 06:10 min Lively music, good family feelings, warm up act. Small theatre of a dictatorship of hapiness. Blocked in this infernal Bar Mitzvah, each character becomes the passive spectator of his own condition. David Perreard (b. 1990, Paris) graduated from Villa Arson (Nice) in 2015 after studying at FAMU (School of cinema, Prague) in 2013. His practice ranges from videos, collaborative projects and magic shows. David Perreard makes short videos he stages as a puppeteer. Narratives inspired by everyday situations of which one would be the unexpected viewer. Micro-stories associated with various visual tricks that can pass from the oldest to the most modern techniques. David Perreard assembles techniques to create both embarassing and fragile situations that question with humor the (menaced) place of the individual in society and his (uncertain) sense of belonging to different communities. His work has been shown in group shows in Paris, Nice (Villa Arson, La Station, le Dojo), Marseille (Triangle France, Art-O-Rama) and at the Videoformes festival (Clermond Ferrand).
HD video, color, sound - 2016 - 05:56 min «How strangely does providence mingle for us mortals joy and sorrow in one cup.» These spoken lines from Thomas Mann’s The Holy Sinner (1951) introduce Sam Tierney’s Bottomlessness, picturing a cocktail of passions for those who will die. Fate, love, the grip of urgency and the release of pleasure pull us through a collage of scenes shot in London, Los Angeles and New York over the past 12 months. Movements between mental states of awe or daze and physical sensations of entry or flight inflect close observations of people and things in the cities from a paradoxical, edited distance. In a reflected movement, night and day interpenetrate as smoke and vapour. Indeed it is such a diffusion and suspension in air that this replacing, embroidered memory aims to become. Sam Tierney (b. 1988, US) is an artist currently living and working in London. He received a BFA from New York University in 2010 and an MA in Sculpture from the Royal College of Art (London) in 2015. Pareidolia is the recognition of a stimulus, visual or aural, as a familiar pattern where none ’actually exists’. Seeing a face in a cloud, hearing one’s name in an echo – such examples are potent not in their capacity to confound but in the clarity of their confabulation. Sam Tierney’s videos, sculptures and drawings seek to channel this potency, finding distortion (of memory, of intention) in the reflection and marking transparent confrontations with the opacity of recurrence. Recent exhibitions include : Lacuna, Margate Festival (Margate, UK) ; Maudlin Ecstasy, Fat Relic (London), Dirty Wellness, Atelier-ksr (Berlin) ; Made it Work, Sam Parker Projects (NYC) ; Let us know, Really !, 3236rls (London) ; We me at the far end of the landscape and both acted shy, Grünerlokka Kunsthall and Podium (Olso), Friction, Dig (London), Hakka, The Notary Public (NYC). In 2015, he co-curated with Philippe Darendinger Pause Patina at Camden Art Centre (London). He will have a solo exhibition at Almanac (London) in early 2017.