SELECTED #10

SELECTED #10

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SELECTED ARTISTS AND GALLERIES
p. 06
FOCUS ON SOUND
p. 96
GALLERY DIRECTORY
p. 100
‘Selected 10’ provides an introduction
to each of the video projects and artists
selected for the 13th edition of LOOP
Fair. It includes images and descriptions
of the 45 works that will be presented
on 4, 5, and 6, June, 2015. It also includes
the LOOP Studies programme that runs
in parallel to the fair, and contributes
to establishing the occasion to view,
promote, and discuss artist film and
video amid a specialized audience.
LOOP STUDIES
p. 104

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A
B
12 — Dragos Alexandrescu, Absence
of Presence l Gallery Taik Persons
14 — Basma Alsharif, The Story of Milk
and Honey l Galerie Imane Farès
16 — Pedro Barateiro, The Current
Situation l Galeria Filomena Soares
Focus on sound
18 — Anna Barham, Double Screen (not
quite tonight jellylike) l Arcade
20 — Janet Biggs, Can’t Find my Way
Home l Analix Forever
97 — Iñaki Bonillas, Ten Cameras
Documented Acoustically l ProjecteSD
22 — François Bucher, Severa Vigilancia
l ALARCON CRIADO
C
D
24 — Fabien Charuau, Being Seen Trying
l Chatterjee & Lal
26 — Chien-Chi Chang, China Town
l Chi-Wen Gallery
28 — Denicolai & Provoost, Constellation
l West Den Haag
30 — Hoël Duret, La vie héroïque de B.S. –
Un opéra en trois actes l Galerie Dohyang Lee
F
H
32 — Jonah Freeman & Justin Lowe, The
Floating Chain | Marlborough Barcelona
34 — Clarisse Hahn, Los desnudos
l Jousse Entreprise Gallery
36 — Drew Heitzler, Paradies Amerika
| Marlborough Chelsea
38 — Michal Helfman, %
l Sommer Contemporary Art

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11
J
K
40 — Juul Hondius, Brilliant Punitive Raids
| AKINCI
42 — Claudia Joskowicz, Hay muertos que no
hacen ruido l Die Ecke Arte Contemporáneo
44 — Cyrus Kabiru, The end of the Black
Mamba I l SMAC Gallery
46 — Katarzyna Kozyra, Faces
l ZAK l BRANICKA
L
M
48 — Bertrand Lamarche, Les souffles
l Galerie Jérôme Poggi
50 — Claudia Larcher, Self
| 22,48 m²
152 — Lu Chunsheng, The History of
Chemistry II l Vitamin Creative Space
54 — Ángel Marcos, Jilguero
| Galeria Trama
O
56 — Jonathan Monaghan, Escape Pod
l bitforms gallery
58 — Mel O’Callaghan, Ensemble
l Galerie Allen
60 — Jacco Olivier, No Title (480-620)
l Galerie Ron Mandos
62 — João Onofre, Tacet
l Marlborough Contemporary
Focus on sound
P
64 — Bongsu Park, Cell
l Rosenfeld Porcini
98 — Susan Philipsz, Songs Sung from the
First Person l Ellen de Bruijne Projects
66 — Tom Pnini, The Light Fantastic Toe
l Chelouche Gallery for Contemporary Art
68 — Ulrich Polster, Notturno
l Galerie Jocelyn Wolff

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R
S
70 — Sophia Pompéry, Still Water
l Galerie Dix9
72 — Dania Reymond, Greenland
Unrealised l Galerie Karima Celestin
74 — Isabel Rocamora, Faith
l Galeria SENDA
76 — Fernando Sánchez Castillo, Azor /
Guernica Syndrome l Art Bärtschi & Cie
Focus on sound
U
78 — Beatriz Santiago Muñoz, MATRULLA
l Galería Agustina Ferreyra
99 — Michele Spanghero, Monologue
l Galerie Mario Mazzoli
80 — Dominik Stauch, Walking with Richard
l Galerie Bernhard Bischoff & Partner
82 — UNGLEE, Forget Me Not
l Galerie Christophe Gaillard
V
W
84 — Eulàlia Valldosera, Avant la lumière
| Galeria Sicart
86 — Emma van der Put, Rincé Alien
l tegenboschvanvreden
88 — Puck Verkade, Solitary Company
l Dürst Britt & Mayhew
90 — Richard T. Walker, an is that
isn’t always l àngels barcelona
Y
92 — Wang Haiyang, Freud, Fish and Butterfly
l Galerie Paris-Beijing
94 — Yao Qingmei, Dance! Dance!
Bruce Ling! l Magician Space

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DRAGOS ALEXANDRESCU
ABSENCE OF PRESENCE
2015, 2’ 12’’, single channel, colour, sound, edition of 5 + 2AP
The Absence of Presence is both a
reflection and a representation of the
impact of technology and the digital self
on human relations. As we move our lives
online, the Internet promises a blissful
land of abundance. But can a space of
constructed identities and permanent
surveillance also be a space of intimacy?
Dragos Alexandrecu’s film The Absence of
Presence explores and questions the effects
of technological interference on our capacity
to be present. In the film a complex and
contradictory space is presented. The frame
intermittently shows inserts of fragmented
physicality: tightly-cropped shots of fingers
scrolling - or dancing- across the screen,
eyes, legs. We hear sounds of crickets, and
softly spoken words. The reverse gestures
between the construction of a virtual self and
a physical presence are explored.
‘What emerges in Alexandrescu’s exploration
is the establishment of an architecture of
loneliness, where the seductive construction
of online identity acts as a symbolic wall
from where it is difficult to escape. Does
the ceaseless stream of intrusions and
interruptions in our daily life necessarily
entail inclusion in the social fabric? Or is
it instead exclusionary? The Absence of
Presence’s anticipatory nature is situated on
the border between construction and ruin.’
Maya Byskov, curator and deputy director of
Gallery Taik Persons.
Dragos Alexandrescu (1974, Romania)
is an audiovisual artist. He received a
Master of Fine art from the University
of Arts George Enescu, La i, Romania
in 2005. His most notable exhibitions
include the upcoming Ideologies and
Conflicts, at the National Museum of
Contemporary Art, Bucharest, RO.
His work has been exhibited in solo
exhibitions such as: My Time, Varikko
Galleri, Sejnäjoki (2013); One day
screening of My Time project, Tranzit
GalleryIasi (2013); Perspectives, Vasa
Konsthall and Ibis Gallery, Vasa (2009);
Extended View, Gallery Sine, Helsinki
(2008); Between, Platform Gallery,
Vasa (2005); Index, Vector Gallery, Iasi
(2005). His works have been included
in several private collections in Europe.
Alexandrescu currently lives and works
in Vaasa, Finland.
Presented by
— Gallery Taik Persons, Berlin

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BASMA ALSHARIF
THE STORY OF MILK AND HONEY
2011, 9’ 45’’, single channel, SD video, colour, sound, edition of 5 + 1AP
The Story of Milk and Honey is a short
experimental video belonging to a larger
project, which includes photographs,
drawings and text. An unnamed man
narrates the story of his attempt to write a
love story in Lebanon. Through voice over
narration that weaves together images,
letters, and songs, a tale of defeat transpires
into a multi-layered journey exploring how
we collect information, perceive facts and
recreate history. The video represents the
material consequence of the failed love story,
questioning where the main character is to
be found in the midst of his own narrative.
This work was produced with the Fundación
Botín visual arts grant.
Basma Alsharif’s work considers the
transmission of the history of Palestine,
between fiction and reality. Sequences
which have been filmed or recorded,
collected in the media or on the social
networks are collated into montages
with a highly developed plasticity,
where subtitles, and therefore the
text, has as much individual presence
as the soundtrack (found, borrowed
from the repertoire of middle-eastern
popular music, or mixed) and yet they
remain very separate. Memory appears
to be in full mutation, uncertain and
subjective. The installation The Story
of Milk and Honey (2011) is composed
by three series: “Corniche Beirut”,
“Les Sauvages”, “Original Family
Archives”. Locations, temporalities
and personalities are blurred, veering
from raw documentary-type images to
landscapes of pre-apocalyptic paradise.
In 2014-2015, Alsharif has been artist in
residence at the Pavillon Neuflize, Palais
de Tokyo, Paris. She is making her first
feature film this year.
Presented by
— Galerie Imane Farès, Paris

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PEDRO BARATEIRO
THE CURRENT SITUATION
2015, 11’ 52’’, single channel, colour, sound, edition of 5 + 2AP
The narrative starts with the description
of two events happening simultaneously:
the cutting down of a palm tree and the
sound of a demonstration against austerity
outside the Portuguese Parliament. The two
events become related, in unison, reflecting
the present situation. On the one hand, the
trees are being cut down because of the
red weevil plague affecting specific types of
palm trees brought from African ex-colonies;
on the other hand, the demonstrations
against austerity taking place in southern
European countries such as Portugal, Spain
and Greece identify the EU toxic assets as
the roots of the economic crisis. These two
events find a parallel in the film, creating
a connection between natural and social
systems.
Pedro Barateiro (1979, Almada,
Portugal) is a multifaceted artist who
works with sculpture, installation, video,
painting, drawing, photography and text,
using a broad field of action in search
of a code for the senses and meanings
of the image. Barateiro has an MA in
Visual Arts (2006) from Malmö Art
Academy, and is a graduate of Maumaus
School of Visual Arts, Lisbon. He was
the artist in residence at AIR Antwerpen;
Palais de Tokyo, Paris; International
Studio and Curatorial Program, New
York; and in Künstlerhaus Bethanien,
Berlin. He participated at the 29th
São Paulo Art Biennial, the 5th Berlin
Biennale for Contemporary Art (2008),
the 16th Biennale of Sydney (2008),
PHotoEspaña (2008), and Busan
Biennale (2006). His work is present
in several public collections, such as
the Deutsche Bank Collection; EDP
Foundation; Serralves Museum; ARCO
Foundation; BESart - Colecção Banco
Espírito Santo; Fundación “la Caixa”;
and Calouste Gulbenkian Foundation.
He lives and works in Lisbon.
Presented by
— Galeria Filomena Soares, Lisboa

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ANNA BARHAM
DOUBLE SCREEN (NOT QUITE TONIGHT JELLYLIKE)
2013, 31’ 30”, 2 channel installation, colour, sound, edition of 3 + 1AP
Double Screen (not quite tonight jellylike)
explores the production and interpretation
of voice between human and computer.
The video shows a sequence of images
sliding from one screen to another as
they are repeatedly edited to a voice over.
The script was constructed from many
mutations of a text about cleaning a squid,
which Barham read aloud and processed
through speech recognition software,
over and over again, creating a strange
kind of feedback loop between herself and
the computer. The images are used as an
oblique code and syntactical key to track the
transformations of particular sounds and
words within the script. There is no start or
finish, no structured narrative, but instead
an associative accumulation of multiple
‘sense’. The main protagonist is a large
format UV printer, tended by the hands of
an unseen (human) printer, who carefully
tapes iridescent paper to a print bed and
cleans its surface with a brush before the
arm of the mechanical printer rolls into
action, blurring the lines between body and
machine in a way that points to Barham’s
writing method, which pitches technological
and computational processes against
the human voice to create a productive
slippage. Punning images are triggered by
the voice over: blinds in an office interior; an
owl; particles flowing inside a virtual solid;
black ink falling through water. The printer’s
constant and repeating presence produces
a sense of continuous production: the
production of ‘meaning’ in the work in which
the viewer is immersed and complicit; and the
continuous and unrelenting production of self.
Presented by
— Arcade, London
Anna Barham (1974, Birmingham,
UK) works with video, sculpture,
writing and live readings, exploring the
plasticity of various technologies of
language and their effect on subjectivity.
Recent solo exhibitions, performances
and commissions include Galerie
Nordenhake, Stockholm; Composite,
Brussels, and Rotterdam Film Festival
(2015); Hayward Gallery Project
Space, London (2014); Site Gallery,
Sheffield, and MK Gallery, Milton Keynes
(2013). Recent group exhibitions and
screenings include Centre Pompidou,
Paris, and Künstlerhaus KM, Graz
(2015); STUK, Leuven (2014); South
London Gallery (2013), and Turner
Contemporary, Margate (2013).
Barham’s work is represented in major
international collections including the
Tate in London, and Centro Galego de
Arte Contemporánea in Santiago de
Compostela. She lives and works in
London.

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JANET BIGGS
CAN’T FIND MY WAY HOME
2015, 9’ 44’’, single channel, colour, sound, edition of 5
PREMIÈRE
Can’t Find My Way Home explores the role
of memory in the construction of identity. An
avid collector of gems, Biggs’ grandfather
was able to recall the most obscure names
of samples in his collections even as he
was losing the ability to remember or
identify family members around him. In
1980, Merkers miners discovered a unique
and extraordinary geological anomaly 800
meters below the surface: a cavern filled with
giant, glistening, geometric crystals, some
measuring more than a meter in length.
Entering this natural wonder is like walking
into a mammoth geode, an experience that
is both immersive and otherworldly. Can’t
Find my Way Home juxtaposes footage shot
in the crystal cavern with documentation
of neurological research conducted in
laboratories in New York and Houston. In
doing so, Biggs draws visual connections
between the structure of these crystals and
the proteins that determine the biochemical
conditions of a hyper-excited brain, such as
one afflicted with Alzheimer. By physically
exploring the Merkers crystal cavern, Biggs
figuratively sets out to investigate the
diseased brain of her grandfather, tracing
fading memories and making astonishing
discoveries as she herself experiences
disorientation and confusion, some of the
same symptoms endured by Alzheimer’s
patients.
Janet Biggs (1959, Harrisburg, PA, USA)
is an American artist, known primarily
for her work in video, photography and
performance. She lives and works in
Brooklyn, New York. She has captured
such events as speeding motorcycles
on the Bonneville Salt Flats, Olympic
synchronized swimmers in their
attempts to defy gravity, kayaks
performing a synchronized ballet in
Arctic waters, sulphur miners inside an
active volcano, and a camel caravan
crossing the Taklamakan desert of
Western China. Biggs received her
undergraduate degree from Moore
College of Art, and pursued graduate
studies at Rhode Island School of
Design. Her work has been featured
in the first International Biennial of
Contemporary Art of Cartagena de
Indias; the Musée d’art contemporain
de Lyon; Vantaa Art Museum;
Konsthall Passagen, Linköping;
Oberösterreichisches Landesmuseum,
Linz; Kunstmuseum Bonn; Museo
d’Arte Contemporanea di Roma; and the
National Taiwan Museum of Fine Arts.
She currently lives and works in New
York.
Presented by
— Analix Forever, Geneva

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FRANÇOIS BUCHER
SEVERA VIGILANCIA
2007, 36’’ 2 channel, HD video installation, edition of 5 +AP
Severa Vigilancia is a nod to the title of a little-known play
by French author Jean Genet. The project arises from a
happening at the University of Antioquia, Medellín, in 1999.
That year had witnessed much violence on campus, with
three people being murdered in the same semester. During
a seminar of the Master’s degree program in theatre, two
students who had to give a presentation on the life and
work of Jean Genet decided to stage a hoax of an armed
kidnapping of some fellow students. For this purpose, they
wrote a detailed script designed to produce a crescendo of
terror, finely tuned to reach peaks of anxiety that probably
would not have been attainable in the unfolding of a real
event. ‘Why would you risk having me, of all people, do a
presentation on Genet?’ asks the author of the hoax, under
the alias of ‘Joche’. He asks this rhetorical question without
mocking the faces of terror he saw on his fellow students.
‘Joche’ is no different from Genet: he signals the moment
when he feels his resemblance to the French author, ‘A
scoundrel instilling fear’ he says smiling. The underworld of
Genet’s youth is the same as the one ‘Joche’ has witnessed
in Medellin; Genet is alive in the Medellin of the 90s in the
same way as Dostoyevsky lives on in the characters of
Kurosawa (Qu’est-ce que l’acte de création?, Trafic 27, Gilles
Deleuze, 1998). Just as Genet is not easily dismissed as an
amoral, savage anarchist, so ‘Joche’ must be understood as a
man with a mission. On the one hand, he sets out to break the
codes of theatrical representation, and on the other to rebel
against the status quo of an apathetic academic world that is
unable to experience the horror that is taking place outside
the walls of the classroom, a few meters away, in a city that is
bleeding from mindless violence. The piece embodies many
layers of violence: from the violence that is, to the violence
that is not, and to the violence that could have been. It also
points towards the undecidability between violence and the
representation of violence. It remains suspended forever
within a fiction - and its double.
Presented by
— ALARCON CRIADO, Seville
François Bucher (1972, Cali,
Colombia) is an artist trained
in film by The School of the Art
Institute of Chicago. He was
awarded a research grant from
the Whitney Independent Study
Program in New York. He is
currently a visiting professor
at the Academy of Fine Arts
in Umeå, Sweden, where he
is pursuing a doctorate in art
practices within the same
institution. Bucher’s works are
interrelated, and each virtual
splice is there to create multiple
short circuits of unpublished
meaning. His pieces create
ellipses, new dimensions of
thought underlying the whole
field. He participated at the 55th
Biennale di Venezia, in the Latin
American Pavilion, curated by
Paz Guevara and Alfons Hug
(2013). His work was present at
the 43rd Salon (inter) National
de Artistas, Medellín, curated
by Mariángela Méndez. During
2014, he was one of the artists
selected for the International
Biennial of Contemporary Art
of Cartagena de Indias, curated
by Berta Sichel; Cuenca
International Biennial, Ecuador,
curated by Jacopo Crivelli. He
is currently working on a solo
project for FLORA ars+natura,
Bogotá, curated by José Roca.
François Bucher lives and
works in Berlin.

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FABIEN CHARUAU
BEING SEEN TRYING
2015, single channel video installation, colour, sound, edition of 5 + 2AP
PREMIÈRE
The video installation consists of a video
mapped onto multiple squares of frosted
glass mounted on stands. The work uses
as its source material footage from the
Internet showing Indian devotees at prayer.
The artist has used online face-detection
software to create a graphic overlay. Footage
sourced from the Internet consists of
online ‘Darshan’ recordings. ‘Darshan’ is a
Hindi term meaning ‘auspicious sight’: the
action of seeing and being seen by the deity
whereby a state of spiritual closure between
devotee and god may be attained. Observing
that devotees pray in front of computers,
this project investigates how the Internet
processes a prayer. The footage also recalls
online surveillance technologies.
Fabien Charuau (1974, Lorient, France) is
a visual artist working with photography
and video. Having spent half his life in
India where his journey with photography
began, he sees himself as an Indian
photographer of French origin. Some
of the latest exhibitions that include his
work are Spheres 7, Galleria Continua
/ Le Moulin de Boissy (2015); Ways
of the Road, Alliance Française de
Delhi (2013); Spheres 6 - overview,
Chatterjee & Lal Gallery, Mumbai
(2013); Dératisme#44 - ANASTASIE
online show curated by Joël Riff (2012);
and Exchanging Glances, Chatterjee
& Lal Gallery, Mumbai (2011). Besides
having had his work shown in solo and
group shows and at photo festivals, his
reflection on Indian photography has led
him to take on a curatorial role for shows
on contemporary Indian photography,
such as This Is Not That, Galerie
Duboys (2011). He also writes on Indian
photography for the French magazine
PHOTO. Fabien Charuau lives and works
in Bombay.
Presented by
— Chatterjee & Lal, Mumbai

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CHIEN-CHI CHANG
CHINA TOWN
1992 - 2011, 19’ 23’’, single channel, edition of 5
Courtesy of Chang Chien-Chi, Magnum Photos, Chi-Wen Gallery
Immigration is propelled by suffering. To
witness the shifting patterns of populations
is to see the world in all its exigencies: war,
natural disasters, repression, famine, poverty
and persecution. But there is a hope at the
bottom of that Pandora’s box of troubles:
the hope that propels immigrants to settle in
strange lands. To contrast the bleak, blackand-white
lives of the Chinese men living in
the US, Chien-Chi Chang chose to use colour
when photographing their families in China.
The last 22 years of developing these
relationships are now culminating in a threegenerational
drama. Some of the first waves
of illegal immigrants are now choosing to
return to China to enjoy the prosperity they
have created there and spend the rest of
their lives with family members they have
not seen for nearly two decades. Yet their
sons still choose to be smuggled to New
York, leaving their own families behind.
Divided families remain divided.
The compelling quality of this project is its
universality. It is about the essential human
need to hope for the future and about
being willing to sacrifice one’s immediate
happiness in order to fulfil the dream of
giving one’s children a ‘better’ life. But is
economic prosperity worth the social cost?
Perhaps the answers to these questions can
be found in the lives of the people left behind
in China and in those of the second and third
generation immigrants growing up in the
United States. Look at them, and listen to
their voices. You may not understand their
language, but you can feel their longing.
Presented by
— Chi-Wen Gallery, Taipei
Chien-Chi Chang (1961, Taiwan) has
spent over a decade working in New
York’s Chinatown, documenting the
lives of immigrants there. His latest
project China Town developed out
of an interest in the dispersion of
individuals and families from their
homeland. From 1992 to 2011, he has
followed the lives of illegal immigrants
in New York City’s Chinatown who left
China as a matter of survival. These
pictures have appeared in National
Geographic magazine, as well as the
New Yorker, Time, and the Germanlanguage
edition of Geo. The series
earned Chang first place in the ‘Daily
Life Story’ category in the 1999 World
Press Photo Contest. That same year,
Chang won a grant from the W. Eugene
Smith Memorial Fund for humanistic
photography and was awarded the
Visa d’Or for magazine photography
in Perpignan. In 1999, he was named
the Missouri/NPPA Magazine
Photographer of the Year. He has
exhibited at Taipei Fine Arts Museum,
Biennale di Venezia, the São Paulo Art
Biennial, and the International Center
of Photography in New York. Chang is
a member of Magnum Photos. He lives
and works in Graz.

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DENICOLAI & PROVOOST
CONSTELLATION
2012 - 2014 Animatic: 16’ / test: 9’’ / screensaver: variable duration single channel or 2 channel + screensaver
edition of 10 + 4AP
Courtesy of the artists, West Den Haag and Solang Production Paris Brussels
During the writing of the script of their 2D animation
film project, Denicolai & Provoost acquired as much
knowledge about plants, trees, and animals and their
behaviour, as they learned from the animation field.
The artists decided to reflect these experiences by
creating Constellation, a triptych that shows the
research depicting nature-culture together with the
process of producing the animation. This project shifts
between the two constituents of nature documentary
filmmaking in order to create an open mental space for
the spectator. On the one hand, the film offers a view
of everyday life in the Sonian Forest near Brussels.
On the other, it constantly questions the human
perception of and the impact on nature. The project
does not rely on narration, but on rhythm and music;
it is presented as a set that combines three types of
animated images:
1. The animatic, an animated storyboard
comprising 344 drawings by the artists, is the
structure of the animation film in progress, following
the outcome in time, in action, in framing and points of
view.
2. The animation test is the first study on the
aesthetics and dynamics of the animation of a swan
floating in a circle on the water.
3. The screensaver is a compilation of 38
images in a random loop generated by the screensaver
program of a computer. The composition of images
includes colour studies for the animation film and
photographic details of ‘The Hunts of Maximilian’, a
series of 12 tapestries inspired by the Sonian Forest.
The tapestries were woven in Brussels in the 16th
century, and are on display in the Louvre.
The artist duo Simona Denicolai
(1972, Milan, Italy) and Ivo
Provoost (1974, Diksmuide,
Belgium) work with drawings,
animation, objects, prints, and
installations. Central to their
practice is playing with existing
models such as the social and
economic systems by upturning
the common perception of
things. They retract art from its
conventional place by working
within public spaces and public
institutions to extend their work
outward into daily life. Within the
aesthetic and political intimacy
of their artistic digestive process,
they withdraw from all forms of
elite artistic mechanisms and
take up an art that is serious
and exact and which almost, in a
sociological sense, observes and
analyses economic and social
realities. Their work has been
exhibited widely at institutions
and galleries internationally,
including places such as
L’Antenne/ Le Plateau Frac
Île-de-France (2011); Netwerk
Center for Contemporary Art,
Aalst (2012); Juan d’Oultremont,
Brussels NICC vitrine (2013);
and (SIC), Brussels (2014).
They currently live and work in
Brussels.
Presented by
— West Den Haag, The Hague

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HOËL DURET
LA VIE HÉROÏQUE DE B.S.–UN OPÉRA EN TROIS ACTES
2013 - 2015, 46’, 3 channel installation colour, sound, edition of 5 + 2AP
PREMIÈRE
The video opera La vie héroïque de B.S.
is an epic drama depicting the story of
B.S., a mysterious designer who inherited
certainties of modernist thought to a degree
of absurdity and disenchantment. The first
act plays with iconic design pieces from
the 20th century. Passionate about and
fascinated by those modern emblems, he
began the mad enterprise of synthesising
them as a zany ‘Facteur Cheval’ in designland.
The second act takes place in the
design firm of B.S., who is working on a very
strange order, which is as absurd as it is
challenging. The impossibility of resolving his
project plunges B.S. into a form of madness,
which drives him to continue his research
alone in Greece, a place that he regards as
the origin of all manufactured forms, where
the column was originally conceptualized
and realized. The particularity of this video
opera is that each act was filmed in an
installation/personal exhibition by Hoël
Duret, which constituted both the décor of
the opera as well as an exhibition in itself.
Hoël Duret (1988, Nantes, France)
lives and works in Nantes and Paris.
He graduated from ENSBA Nantes
Métropole in 2011. His work has been
seen at the Biennale de Mulhouse where
he was awarded the Young Creation
Award in 2012. This award will allow him
to have an exhibition, at the Museum
of Fine Arts of Mulhouse, in June 2015.
He was also awarded the Yishu 8 Prize,
Beijing in 2014. Hoël Duret’s views on
creation were influenced in a period of
reinterpretation of modernist thought.
There is an alternation between
industrialized and artisan modes of
production in his work as he shares
the same interest in both modes like
modernist pioneers who believed in
mass industrialization but also used
the skills of craftsmen. However, the
fascination for modernism he displays
could only be a façade, as he uses the
aesthetical manners of his predecessors
to criticize and examine them.
Presented by
— Galerie Dohyang Lee, Paris

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JONAH FREEMAN & JUSTIN LOWE
THE FLOATING CHAIN
2014, 30’, single channel, edition of 3 + 2AP
The Floating Chain takes the form a fauxethnographic
cut-up narrative illustrated
through a series of props, environments,
pictures, and architectural models. The
film’s aesthetic is inspired by the surrealistic
banality of a breakfast cereal commercial,
and the physical setting is the placeless and
timeless location of the “set”. People exist
solely in pictures on the wall, footage on
monitors or voices from a stereo. Scenes,
divided into discrete chapters, play within
the frame of a television or film projection
located within the set. Each chapter is told
through a disembodied voiceover that
illustrates a series of disparate groups and
settings. The cumulative result is a collage
portrait of a parallel science fiction culture
where the cohesive whole is left in obscurity.
Jonah Freeman (1975, Santa Fe, US)
and Justin Lowe (1976, Dayton, US)
create extensive immersive installations.
Their shows include Floating Chain
(High-Res Toni), Marlborough Chelsea,
New York (2014); Taipei Biennial 2014,
Taipei Fine Arts Museum (2014); SISTER
MOIRE, Winfield House, London (2013);
A Diamond hidden in the Mouth of a
Corpse, ISTANBUL ’74 (2012); Stray
Light Grey, Marlborough Chelsea, New
York (2012); Bright White Underground,
Country Club, Los Angeles (2010); Black
Acid Co-op, Deitch Projects, New York
(2009); The Station, Miami (2008);
Hello Meth Lab In The Sun, Ballroom
Marfa, Texas (2008). Select group
exhibitions include PANOPTICUM,
Robert Miller Gallery, New York (2014);
Kiss Me Deadly: A Group Show of
Contemporary Neo-Noir from Los
Angeles, Paradise Row, London (2011);
Transmission LA, MOCA, Los Angeles
(2012). Freeman and Lowe live and work
in New York.
Presented by
— Marlborough Barcelona, Barcelona

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CLARISSE HAHN
LOS DESNUDOS
2011, 12’ 17”, single channel, colour, sound, edition of 3 + 1AP
The video Los desnudos shows how
landless Mexican peasants, left without
their lands by the government, invent a
new type of struggle by using their body as
a place for political and social resistance,
demonstrating naked twice a day in the
streets of Mexico City, until they are proved
right.
‘The work of Clarisse Hahn, anchored in
the fields of the real and the social, opens
us to the experience of the Other. Looking
at the image of a stranger involves various
degrees of exposure, projection, emotional
investment and power relationships. The
tensions taking place between those who
occupy the surface of the image and the eye
that gazes on them constitute the heart of
Clarisse Hahn’s reflection.’ Extract from Face
au pouvoir by Giovanna Zapperi.
Clarisse Hahn (1973, Paris, France) is
an artist and film maker. Through her
films, photos and video installations,
she pursues documentary research into
communities, behavioural codes and
the social role of the body. Hahn has a
diploma from the École des Beaux-Arts
in Paris and holds a master’s degree
in Art History from the Sorbonne. She
writes art criticism for the magazines
ArtPress, Omnibus, Bloc Notes and
Crash. In 2002, Hahn was offered her
first personal exhibition by the Museum
of Modern and Contemporary Art,
Geneva. She has produced many videos
and photos that circulate in international
exhibitions: Palais de Tokyo, Paris;
Centre Pompidou, Paris; Musée d’Art
Moderne de la Ville de Paris; Museo
Reina Sofía, Madrid; Guggenheim
Bilbao; Museum of Modern and
Contemporary Art, Geneva; Arts Santa
Mònica, Barcelona; Miami Art Central;
International Biennial of Photography,
Bogotá; South London Gallery; Museum
of Contemporary Art, Sydney; Beijing
Cultural & Creative Industry Promotion
Center; and Museo de Arte Raúl
Anguiano, Guadalajara, among others.
She currently lives and works in Paris.
Presented by
— Jousse Entreprise Gallery, Paris

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DREW HEITZLER
PARADIES AMERIKA
2014, 45’, 5 channel, color, sound, edition of 3 + 2 AP
Paradies Amerika is made up of material appropriated
from archival television and film footage that constructs
an abstract narrative from the interwoven history of Pacific
Palisades, an affluent neighbourhood and district in the
Westside of the city of Los Angeles, which is home to many
influential and historical characters. Fictional or real, a
community of particularly special and curious personages
inhabit this special terrain.
Pacific Palisades has been ‘home’ to the crime fighting superteam,
West Coast Avengers; J. Paul Getty’s villa; the iconic
Eames House; Villa Aurora, where the Feuchtwangers held
‘socialist salons’ attended by Thomas Mann, Bertolt Brecht,
Arnold Schoenberg, Theodor Adorno, and other members of
the émigré community that made up ‘Weimar on the Pacific’;
the Uplifters’ secret clubhouse was in the Palisades, as well
as the Riviera Country Club where Elizabeth Taylor learned
to ride a horse and Walt Disney played golf with Howard
Hughes. Inceville, the first movie studio was in the Palisades;
Brian De Palma’s film Carrie was shot at Pali High, and so
was the video Slip It In for the hardcore punk band Black
Flag. The Methodist Church built a Chautauqua Conference
Grounds in the Palisades, and Paramahansa Yogananda built
the Fellowship Lake Shrine. Kenneth Anger lived there as a
child, and this is also where Hedy Lamarr and George Antheil
first met. Neil Young met a young singer-songwriter named
Charles Manson here while he and his friends were crashing
with Dennis Wilson. It is where the surfing pioneer Miki
Dora grew up, and also Gidget. Francis Clauser, who helped
handpick German rocket-scientists for Operation Paperclip,
including Willy Ley, Hubertus Strughold, and Wernher von
Braun, lived in the Palisades. The American Nazi Party built a
compound at Murphy’s Ranch, but it was raided the day after
Pearl Harbor. Ronald Reagan lived there. The Arpanet was
developed at UCLA in nearby Westwood. The first military
drone, the Ryan Firebee, was built just across San Vicente
in Santa Monica. Woody Guthrie, author of the song ‘This
land is made for you and me’, lived just across the canyon in
Topanga...
Presented by
— Marlborough Chelsea, New York
Drew Heitzler (1972,
Charleston, US) received his
MFA from Hunter College,
New York. Recent solo
exhibitions include HDA&T
at Green Gallery, Oak Park
(2014); Paradies Amerika at
Marlborough Chelsea, New
York (2014); Golden State
at MOCA, Tucson (2014);
Spiral Jetty/Crystal Voyager/
Region Centrale (Bootlegged,
Re-ordered, Combined,
Sometimes More, Sometimes
Less) at c.nichols project, Los
Angeles (2013). Recent group
exhibitions include Broadway
Morey Boogie in New York
(2014/2015); Drive-In at Blum
& Poe, Los Angeles (2013)
and Exposition de groupe at
the French Embassy in New
York (2013). Heitzler lives and
works in Los Angeles.
Photo credit: Bill Orcutt

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MICHAL HELFMAN
%
2013, 8’ 13’’, single channel, colour, sound, edition of 6
This work was created in collaboration
between Michal Helfman and the
choreographers Noa Zuk and Ohad Fishof.
The video % describes choreography as
a form of musical canon. Each dancer in
the group performs the same movement
as the one before, with a few seconds
of delay. The dancers are subjected
to a kind of a repetitive ‘assembly line’
dance. Using their bodies, they create a
human loop, existing in the gap between
a mechanistic and repetitive tribal dance.
Helfman examines the complex concept
of the ‘stage’, which acts as a sort of an
unfulfilled dream. The spectator undergoes
a contradictory experience by watching the
video from backstage, which represents
the ‘real order’, while the front stage
represents the ‘symbolic order’. Helfman
has researched bodily practices, movement
and choreographies in different cultural
contexts throughout her career. She has
worked with various professionals in these
fields, including performers, dancers,
and gymnasts. In %, Helfman explores
the smooth flow of movement, data and
communication that characterizes Western
civilization. She examines the way it stands
in opposition to the movement of the
smuggler and ‘goods’ being transferred
through different landscapes. Helfman deals
with this kind of ‘transparent choreography’:
5 out of every 100 people are in a constant
movement, internally displaced from their
homeland. This video is dedicated to them.
Michal Helfman (1973, Tel Aviv, Israel)
is a multidisciplinary artist. She holds
a BFA from the Bezalel Academy of
Art and Design, Jerusalem, where she
currently teaches in both the BFA and
MFA programs. Helfman has had solo
and group shows in Martin Gropius Bau
(2015); Center for Contemporary Art,
Tel Aviv (2013); Sommer Contemporary
Art, Tel Aviv (2010); Tel Aviv Museum
of Art (2009); Israel Museum in
Jerusalem (2007); the 50th Biennale
di Venezia (2003); San Francisco Art
Institute (2001); and more. Helfman
received the Anselm Kiefer Prize at the
Wolf Foundation in Herzliya, and was
a runner-up for the Israeli Art Prize at
the Nathan Gottesdiener Foundation in
2008. Helfman currently lives and works
in Tel Aviv.
Presented by
— Sommer Contemporary Art, Tel Aviv

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43
JUUL HONDIUS
BRILLIANT PUNITIVE RAIDS
2015, 10’ 56’’, single channel, colour, sound, edition of 5 + 2AP
Brilliant Punitive Raids is a short film
composed of photographic images. It springs
from the artist’s fascination with the equally
adored and detested PLO leader Khalil-al-
Wazir, better known as Abu Jihad, and his
assassination in Tunis in 1988. The absence
of media images of both Abu Jihad and the
events leading up to the attack sparked
Hondius’ imagination and inspired him to
create these images himself. With a degree
of freedom, Juul Hondius reconstructed
and staged the event leading up to the
assassination, frame by frame. However,
Brilliant Punitive Raids is not intended as a
historically correct reconstruction of events.
Rather, the sequence of still photos zooms
in on the personal experience of the Israeli
soldiers involved, even evoking sympathy,
and on the unsettling contradiction between
their make-believe play of two people in
love and the cold-blooded killing of a man
who was determined in his fight against the
Israeli occupation. Hondius’ work centres on
the status and impact of media images and
the ways in which they enter and determine
our collective memory. In Brilliant Punitive
Raids the artist worked the other way round:
presenting different sides and different
perspectives to one story, starting from an
absent image.
Presented by
— AKINCI, Amsterdam
Juul Hondius (1970, Ens, Netherlands)
has participated in several exhibitions:
Brilliant Punitive Raids, Stedelijk
Museum, Amsterdam (2015); Unisono
27: Juul Hondius, Stedelijk Museum,
Schiedam (2014); Post-Aura, Millennium
Art Museum, Photo Biennial, Beijing
(2014); Works in the Collection,
Museum Boijmans van Beuningen,
Rotterdam (2013); Raumproduktion,
Kunsthalle, Düsseldorf (2011); You
Are Not Alone, Joan Miró Foundation,
Barcelona (2011); Louvre in Heino,
Museum de Fundatie, Heino (2010);
Lagos Photo International (2010);
Fotomuseum, The Hague; Images
Recalled, Kunsthalle Mannheim (2010);
The Photographers, Platform Garanti,
Istanbul (2007); The Suspended
Moment, Centraal Museum, Utrecht
(2007); L’ École du Nord, Maison
Européenne de la Photographie, Paris
(2006); In Sight, The Chicago Art
Institute (2006); New Photography,
Photo-London, curated by Mario
Testino (2005); IDFA: Paradocs II The
Reality in Scenes, Stedelijk Museum,
Amsterdam (2005); Delay, Museum
Boijmans van Beuningen, Rotterdam,
curated by Wilma Sütö; Chasm, Busan
Biennale, curated by M. Park/T.M. Choi
(2004); Potrc, Hondius/Bekirovic,
Castro/Olafsson, De Appel Arts Centre,
Amsterdam (2004); Huis Marseille,
Amsterdam (2003); Musée des Beaux-
Arts, Nantes (2002); Life in a Glass
House, Stedelijk Museum, Amsterdam
(2002). Juul Hondius lives and works in
Amsterdam.

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CLAUDIA JOSKOWICZ
HAY MUERTOS QUE NO HACEN RUIDO
2015, 11’, single channel colour, sound edition of 5 + 2AP
PREMIÈRE
Hay muertos que no hacen ruido, ‘Some
Dead Don’t Make a Sound’, uses the Mexican
legend of the Weeping Woman, ‘La Llorona’,
as a metaphor for a nation in mourning.
The Weeping Woman is a broken symbol, a
melange of pre-Hispanic myths and various
representations of mother goddesses. In
its different versions, the legend preserves
elements of its indigenous essence and
represents time, the road to the underworld,
death in the supernatural, and hopelessness
in the everyday: it is an emblem of the
despair of a nation. Registering shots of
everyday life of the city of Oaxaca and
juxtaposing the mundane with the mystical,
this video captures the messy reality of
urban life reflected in the media used to
trivialize it.
Claudia Joskowicz (1968, Santa Cruz
de la Sierra, Bolivia) completed her
MFA at New York University in 2000.
Her work is included in the collections
of the Guggenheim Museum, New
York; the Kadist Art Foundation, San
Francisco; and the Banco Central de
la República, Bogotá. It has also been
shown internationally, most recently
at the Fondation Cartier pour l’art
contemporain, Paris; The Museum of
Contemporary Art, Roskilde; the 10th
Sharjah Biennial; the 29th São Paulo
Biennial; the 10th Bienal de La Habana;
and the 17th and 18th Videobrasil
Festivals. She has received, amongst
others, a Guggenheim fellowship in
film and video, a mid-career artist
commission from the Cisneros
Fontanals Art Foundation, and a
Fulbright Scholar Award; she was the
2014 artist in residence at the Lower
Manhattan Cultural Council’s Residency
at Cité Internationale des Arts, Paris,
sponsored by the City of Paris Mayor’s
Office. Claudia Joskowicz lives and
works in New York and Santa Cruz de la
Sierra.
Presented by
— Die Ecke Arte Contemporáneo, Santiago de Chile

46
47
CYRUS KABIRU
THE END OF THE BLACK MAMBA I
2014, 4’ 49’’, single channel, colour, sound, edition of 3 + 1AP
The End of the Black Mamba I is the first
in a series of short documentaries on the
declining use of a traditional fixed-gear
bicycle in Kenya. Nick-named Black Mamba,
the bicycle has achieved iconic status as an
affordable vehicle and a popular method
of transport for the Kenyan population.
However, as modernisation spreads
through the African continent, the Black
Mamba is increasingly being replaced by
inexpensive Chinese manufactured scooters
and motorcycles. Filmed on a flower farm
near Mount Kenya, the video shows local
cyclists who still use this traditional mode
of transportation. This older generation
praises the Black Mamba for its reliability
and health benefits, claiming that the
bicycle’s replacements, scooters and
motorcycles, ‘bring sickness and death’.
In this film, Kabiru consciously acts as the
devil’s advocate, arguing that the Black
Mamba will, unfortunately, be replaced and
will no longer be seen on Kenyan roads. The
End of the Black Mamba I, Cyrus Kabiru
not only documents a social and historical
occurrence, but also creates a dialogue
between his own life story and childhood,
and the thriving and changing African city in
which he now lives.
Cyrus Kabiru (1985, Nairobi, Kenya)
creates intricate sculptural works from
discarded materials that he finds on
the streets of his hometown. In 2014,
Kabiru launched a documentary film
project, The End of the Black Mamba
I, in memory of the large sculptural
works from his latest work, the Black
Mamba series. In 2013, Kabiru’s work
was exhibited at Lagos Photo Festival
and Afrofuture: Adventure with Africa’s
Makers, Thinkers and Dreamers at
Milan Design Week. Recognised as
an innovative international figure in
Africa, his work has been included
in the exhibition Making Africa. A
Continent of Contemporary Design,
currently showing at Vitra Design
Museum, Germany. He presented his
first solo exhibition in 2008 at Wasanii
International Artists’ Workshop, Nairobi,
part of the Triangle Network workshops.
After exhibiting his works in several
countries, he received the award for
Best Artist Innovation at the Maker Faire
Africa, and was celebrated by Guinness
Africa and MTVBase. Cyrus Kabiru
currently lives and works in Nairobi.
Presented by
— SMAC Gallery, Cape Town

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49
KATARZYNA KOZYRA
FACES
2006-2015, 2 channel, projection and screen, colour, sound, edition of 4 + 2AP
PREMIÈRE
The work Faces has to do with ballet. Like
Kozyra’s previous work Rite of Spring, it was
originally shown in a similar display as the
one shown here - the viewer was surrounded
by huge screens with faces showing extreme
emotions: above all, intense concentration,
tension, and equally intense effort. Clenched
mouths, rapidly moving eyeballs and
frowning foreheads with trickles of sweat.
These are the faces of dancers: classical,
modern, and hip-hop dancers captured
doing their showpiece performances. Now
redesigned and presented in one single
projection accompanied by a TV screen
with the documentation of the work from
an outside view, the artist seeks to focus
the viewer’s attention on one place, thus
enhancing the dramatic effect of the work.
The dancers were filmed in such a way that
we do not see their bodies; the instruments
with which they express themselves. We only
see the faces, which are virtually invisible to
the viewers during the performance. Dance
itself is being deconstructed here, separated
into the individual movements and frames
in a process of tedious animation, and then
assembled together again. In Faces, the
actor’s body is deconstructed. Something
that was a single whole now becomes visible
only fragmentarily.
Katarzyna Kozyra (1963, Warsaw,
Poland) is a sculptor, photographer,
performance artist, filmmaker, and
creator of video installations and artistic
actions. In 1993 she graduated from the
Warsaw Academy of Fine Arts, Faculty
of Sculpture. She received, among
others, the Paszport Polityki award
(1997) and the Polish Ministry of Culture
and National Heritage award (2011).
In 1999, she received an honourable
mention at the 48th Venice Biennale for
her video installation Men’s Bathhouse
at the Polish Pavilion. Her work has
been featured at major festivals and
exhibitions in Poland and abroad:
Biennale di Venezia; São Paulo Bienal;
Sydney Biennale; Busan Biennale;
Kunstsammlung Nordrhein Westfalen,
Dusseldorf; Kulturhuset, Stockholm;
Museum Voor Moderne Kunst, Arnhem;
Museum Moderner Kunst Stiftung
Ludwig, Vienna; Brooklyn Museum;
Kiasma, Helsinki and many more. In
2012 she established the Katarzyna
Kozyra Foundation. Kozyra lives and
works in Warsaw.
Presented by
— ZAK l BRANICKA, Berlin

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BERTRAND LAMARCHE
LES SOUFFLES
2015, 11’, colour, sound, film video HD, edition of 4 + 1AP
The film Les souffles is one of Bertrand
Lamarche’s works relative to his interest in
recorded music and sound and how to show
the process of listening. In several of his
installations or films, Bertrand Lamarche
uses turntables in some ‘mises en scenes’
where the records, the turntables and the
sounds are equally important. They are all
used to pinpoint the idea that space and
time can be distorted or twisted by using and
playing with the reality and the image of a
spiral. The film Les souffles shows a close up
on a phonograph that reads a record which
has been previously covered with wax. The
needle of the machine reads the record and
a thin thread of wax grows in a constant and
moving shape that breaks while too long
and too fragile to resist the rotation of the
turntable. It is then swallowed by a vacuum
cleaner that one can just hear. This thread is
eventually the negative figure of a recorded
song that one can see but not hear. It shows
convulsive disorder, like if the timeline
organised in the constant spiral of the record
had become a complete chaos.
Exploiting spatial and distortions,
Bertrand Lamarche (1966, Paris,
France) proposes a group of sculptural
hypotheses that are at once ecstatic
and conceptual. His work is rooted
in the amplification and the potential
for speculation of figures that have
featured regularly in his oeuvre for
nearly 20 years: the city of Nancy,
pop music, meteorology, giant
umbellifers, revolving lights, tunnels,
record decks. A large proportion of
his oeuvre is characterized by a desire
for subjectivation and appropriation,
sometimes almost demiurgic, of various
areas or figures of reality. Through
modelling, the artist takes over these
entities, developing a set of propositions
that unsettle viewers because they
are generated by looping, or present a
mise-en-abyme, or result from a loss of
reference points in space-time and/or
distortions in scale. Lamarche lives and
works in Paris.
Presented by
— Galerie Jérôme Poggi, Paris

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CLAUDIA LARCHER
SELF
2015, Loop, single channel, colour, sound, edition of 5 + 2AP PREMIÈRE
The video animation Self reflects the human
skin as the border between ‘oneself’ and
the ‘world’. In analogy to the representation
function of architecture, Self contemplates
the human skin through its potential to
design one’s own representation. Yet,
once the human body is understood as
an architectural envelope, its picture
can be expanded arbitrarily and freely
modulated. Methodologically, this allows
Self to scrutinise the interplay of function
and representation in different ways. Selfperception
and the others’ awareness
of oneself are thereby examined against
backdrop of identity, gender and perfection.
The video consists of subjective impressions
which are mixed with images of real
structures. A psychological space is created:
real organic structures merge with abstract
patterns and form a net of reality and surreal
vision in which time and space become
nullified. The result is a video of fictional and
impossible pan shots, which create surreal
imagery ranging between dream and reality.
Claudia Larcher (1979, Bregenz,
Austria) is a visual artist with a focus on
video animation, collage photography
and installation. She studied Plastic
and Multimedia and Media Art at the
University of Applied Arts in Vienna.
Since 2005 she has participated in
various group exhibitions and festivals in
Austrian and abroad, and has presented
her work in solo exhibitions. She has
exhibited at: Steirischer Herbst, Graz;
Tokyo Wonder Site; Slought Foundation,
Philadelphia; Centre Pompidou, Paris;
Calouste Gulbenkian Foundation,
Lisbon. She received the Austrian State
Grant for Video Art in 2015 and the
Kunsthalle Wien Award 2008. Larcher
lives and works in Vienna.
Presented by
— 22.48m², Paris

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55
LU CHUNSHENG
THE HISTORY OF CHEMISTRY II
2006, 95’, single channel, sound, color, edition of 5
‘A huge, room-sized container flew over my head. I
was breathing in the dust swirling in this decadesold,
enormous factory that covered several square
kilometers. A non-stop and static rumbling noise
resounded in my brain… I became cautious. I could
not help but speculate about the stories behind such
an enormous man made ‘object’. I had to film it. It has
such a mysterious power that comes from nowhere.
It is not even similar to the natural forces that drive
the evolution of species in order to survive in difficult
environments. There are always reasons behind
people’s actions, but I always think things are not this
simple. Are these reasons the true reasons? I thus
imagine a group of people, and their story that no one
knows. Lu Chunsheng described his experience like
this in our conversation about History of Chemistry.
We started to surpass reality and imagine something
else - the experience of other worlds.
If we say Lu Chunsheng is amused by how the world is
not explainable, and the absurd nature of people’s wills
that direct their actions, then his works should also
not be seen as any kind of explanation of the world. His
works represent events, but all the social references
that these events may have are peeled away. I see
multiple possibilities of interpretation in History of
Chemistry - the end of the confrontation between men
and their zoning represented in History of Chemistry
may be seen as a deterministic prophecy of the future,
but it may also just be a state of mind that is separate
from the ‘events’. And this state of mind, may it be
melancholic or excited, is never a conclusion of an
epoch.
Lu Chunsheng was born in 1968,
currently lives and works in
Shanghai, China. He articulates
a surrealistic and neutral
attitude, breaching the boundary
between documentary and
fiction. Selected solo exhibitions
includes: Vigorous shake and
the after, the earth feature gets
much clearer, prophecy comes
into his mind, Vitamin Creative
Space, Guangzhou (2014); The
Materialists Are All Asleep, The
Red Mansion Foundation, London
(2008); History of Chemistry,
Project Space Zip, Seoul (2004).
He has also participated in
Guangzhou Triennial (2002,
2005); 27th Sao Paulo Biennial
(2006); 10th Istanbul Biennial
(2007); 37th International Film
Festival Rotterdam (2008); Le
Parvis Centre d’Art Ibos (2003);
Astrup Fearnley Museum of
Modern Art, Oslo (2007); and
Centre Pompidou Paris (2008).
And I believe that Lu Chunsheng always sees the ruins
of the future behind all the flashes of reality.’
Text by Hu Fang.
Presented by
— Vitamin Creative Space, Guangzhou

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ÁNGEL MARCOS
JILGUERO
2009, 6’, single channel, colour, sound, edition 6 + 1AP
Jilguero films a tethered goldfinch which,
in order to drink, must pull on a thread
attached to a thimble that scoops water from
a glass; the video shows the relationship
between forced labour and human
admiration for the repetitive movements of
the Other, when the Other is in a condition
of dependency. With clear autobiographical
references, the author has structured this
work into three clearly identifiable stages:
the fields on the Meseta where these birds
live in freedom amidst cornfields and
poplars; the small carpenter’s workshop
where the goldfinch is locked away in a cage,
where, amidst the sound of machines and
music from the radio, the goldfinch sings
when the sun appears; and the bird has been
trained to scoop water up with a thimble
from a glass at the bottom of its cage. The
admiration for the automated movements of
another being in a situation of dependency
may exemplify the goodness of the one
who, from a privileged situation, subjugates
the other. The domestication process frees
the enslaved from doubts while making
him feel indebted to his benefactor. This
phenomenon has given rise to certain
labour practices, amongst other forms of
human behaviour. Production systems are
not conceived as a relationship between
equals based on a necessary exchange of
favours; the production line method instils
automatism as a means for subsistence, just
like that of the goldfinch.
Ángel Marcos’ (1955, Valladolid, Spain)
work repeatedly refers to the idea of the
‘blind spot’ as defined by Nobel literature
laureate Elias Canetti: ‘a point of reversal
beyond which things are no longer real’.
Marcos triggers his gaze beyond all real
experience; there, in the space between
desire, know-how and politics, seen as
the result of replacing the truth by the
real in a multiple game of subjectivities
of knowledge and action. His works have
been exhibited in recognised institutions
such as Centro de Arte Reina Sofía,
Madrid; Institut Valencià d’Art Modern;
ARTIUM, Vitoria-Gasteiz; Museo de
Arte Contemporáneo de Castilla y León;
Museo Patio Herreriano, Valladolid;
Naples Museum of Art, Florida; FNAC,
Paris; and Maison Européenne de la
Photographie, Paris. Angel Marcos lives
and works in Valladolid.
Presented by
— Galeria Trama, Barcelona

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JONATHAN MONAGHAN
ESCAPE POD
2015, 20’, seamless, loop, single channel, animated film, colour, sound edition of 3
Escape Pod is based on hunting mythologies
of the Greek and Nordic traditions. It
captures the journey of a golden stag that
roams modernist spaces of authoritarian
confrontation and material excess. Lavish
bedrooms, airport checkpoints, and a luxury
riot gear boutique are encountered, as
the scenery unfolds from the perspective
of a floating viewpoint that is framed as a
continuous shot. In a climactic moment, the
golden fawn is birthed out of a BoConcept
sofa, only to be carried away, into a heavenly
Duty Free shop in the clouds. Seamlessly
looped in a twenty-minute cycle, Escape
Pod suggests an apocalyptic decadent
future – one that is militarized, totalitarian
and permeated by extravagance. It is
a representation of laboured pursuits,
particularly of the otherworldly or
unobtainable.
Jonathan Monaghan (1986, New York,
USA) crafts surreal and psychologically
driven works that operate within the
real, imagined and virtual worlds. He
builds absurdist 3D environments that
contain compelling objects, often pulling
from populist sources, such as historic
architecture, religious iconography,
design, science fiction, and advertising.
Past exhibitions and screenings of
Monaghan’s work have included the
British Film Institute, London; the
Hirshhorn Museum, Washington D.C.;
Crystal Bridges Museum, Bentonville;
Rotterdam International Film Festival;
Fe Gallery, Pittsburgh; Shanghai
Duolun Museum of Modern Art; Vox
Populi, Philadelphia; Contemporary Art
Centre of Thessaloniki; the Museum of
Contemporary African Diasporan Art,
Brooklyn; George Mason University,
Fairfax; Bitforms Gallery, New York;
Curator’s Office, Washington D.C.;
Market Gallery, Glasgow; Artisphere,
Arlington; and Queens Museum of Art,
New York. Monaghan lives and works in
New York.
Presented by
— bitforms gallery, NY

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MEL O’CALLAGHAN
ENSEMBLE
2013, 7’ 15’’, 2 channel colour, sound, edition of 3 + 2AP
With Mel O’Callaghan’s Ensemble we are
witness to an act of struggle, triumph and
retreat. Man protests against the violence of
man and triumphs. Three firemen move into
the frame and prepare their hose. We watch as
they lean into and against the elemental force
of the water. After some time, a lone man moves
into frame and walks, improbably, against the
extreme force of the hose. He fights against it,
yet ultimately prevails as he pushes forward and
the men begin to retreat. The man is pushed
to his physical limit and accordingly the space
he is in speaks of this struggle. Set in the
landscape and played out in hi-definition slowmotion,
the long and thin 32:9 ratio creates
a striking tableau depicting this compelling
performance. It is at the threshold between
the two screens that the greatest action takes
place. This performance illustrates the struggle
to hold ground and to eventually overcome
– breaking this liminal space. Consistently
exploring the concept of performance as ritual,
Ensemble reinforces the artist’s interest in the
absurdity of action. In this case, a man takes
the challenge to push against the seemingly
impenetrable force of 3 fire-fighters in polishedmetal
highly-reflective uniforms with a highpressure
water hose. As metaphor for our daily
struggles, O’Callaghan’s protagonist and his
opponents play out this act of struggle, triumph
and retreat.
‘By sculpting bodies of water with one’s own
body, the physical labour might not only be
seen as repetitive and violent, but also as
introspective and meditative. In this way, the
figures seem to be distancing themselves
mentally from the act and the site of endurance.’
Anja Isabel Schneider, independent curator.
Presented by
— Galerie Allen, Paris
Mel O’Callaghan’s (1975, Sydney,
Australia) work has recently been
exhibited in the group exhibition
Nature/Revelation, curated by Joanna
Bosse at the Ian Potter Museum of
Art, Melbourne (2015); The Place of
Disquiet, curated by Miguel Amado,
for the third edition of A3bandas in
F2 Galeria, Madrid; the Biennale of
Sydney (2014); Museu Medeiros e
Almeida, Lisbon; Maison d’Art Bernard
Anthonioz, Paris; Videobrasil 05 15º, São
Paulo; The National Gallery of Australia,
Canberra; Musée départemental d’art
contemporain de Rochechouart; The
Australian Centre for Contemporary
Art, Melbourne; The National Museum
of Taiwan; Kunstverein Konstanz; AR/
GE Kunst Galerie Museum, Bolzano;
Artspace, Sydney; Witte de With Center
for Contemporary Art, Rotterdam; The
Art Gallery of New South Wales, Sydney;
Centre d’Art Santa Mònica, Barcelona;
Museu Nogueira da Silva, Braga; Festival
Encontros da Imagem, Lisbon; Gertrude
Contemporary, Melbourne; and Le
Printemps de Septembre-à Toulouse.
Mel O’Callaghan lives and works in Paris.

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JACCO OLIVIER
NO TITLE (480-620)
2015, 2’ 42’’, color, sound, edition of 5 + 1AP
PREMIÈRE
Olivier is a painter in search of new avenues.
His films are enigmatic and experiential
- moving in and out of abstraction they
reveal the traces and decisions made by
the artist in the process of painting. While
there is a clear and quite complex process
involved in their creation, Olivier does not
set a thematic agenda for the works, or
for their relationship to one another. The
films are instead imagined as windows onto
converging, and often elegantly simple. At
this convergence of painting and cinema,
however, lies an uneasy tension, a feeling
that something is about to happen or has
just happened that is unexpected and
beyond our control. Although his early works
contain many realistic elements, Olivier sets
no thematic agenda for the works or for their
relationship to one another. In his new work
No Title (480-620), he offers the viewer a
journey through the many layers of paint on
his canvas. His latest piece is on the edge
of abstraction and the more successfully
he lifts the veil on the traces and decisions
made by the artist in the process of painting.
Jacco Olivier (1972, Goes, Netherlands)
fuses painting and filmmaking by
repeatedly reworking paintings in
generous casual brush strokes and
systematically photographing each
development. The various stages are
combined into projected animations.
He has recently participated in
exhibitions such as: Buitengaats,
Jacco Olivier, Ronald Zuurmond;
Ketelfactory, Schiedam (NL); Out
There #2, Rotterdam (NL); Jacco
Olivier en Benjamin Li, Villa Mondriaan,
Winterswijk (NL); Metamorphosen,
Ovidius in de hedendaagse kunst.
Rijksmuseum Twente, Enschede;
Move On, 100 jaar animatie kunst,
Kade Kunsthal Amersfoort (NL); and
Laureaten Buning Bongers prijs,
Museum Henriette Polak, Zutphen (NL).
He also participates in Vita Vitale, the
exhibition at the Azerbaijan Pavilion of
the present 56th Biennale di Venezia
(IT). Jacco Olivier currently lives and
works in Amsterdam.
Presented by
— Galerie Ron Mandos, Amsterdam

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JOÃO ONOFRE
TACET
2014, 7’ 40”, single channel HD video, colour, sound, edition of 6
PREMIÈRE
Onofre’s new film Tacet is a reinterpretation
of 4’33’’, the iconic ‘silent’ work by
experimental composer John Cage.
Cage originally composed 4’33’’ in 1952
to be interpreted by one or any number
combination of instruments, but with
instructions for the performers not to play
throughout the four minutes and thirty-three
seconds of the score. The ambient sounds
occurring in the space during this time
become part of the piece. The Latin term
‘tacet’, (meaning ‘it is silent’), after which
the film is named, is the sole instruction
in Cage’s musical score, meaning ‘it is
silent’. As in Cage’s piece, the beginning of
Onofre’s film is marked by the entrance
of the performer, pianist João Aboim, and
the closing of the piano lid. However, in a
divergence from Cage’s instruction, the
pianist sets the piano alight. The gradually
building fire becomes the dominant sound
and a startling image in contrast to the
classical scene. Cage famously began
making works for prepared piano in 1940,
where elements were interposed inside the
piano itself for performance. Onofre’s fire
becomes an example of such preparation.
João Onofre (1976, Lisbon, Portugal) is
one of Portugal’s leading international
artists. Having shown his work as
early as 2001 at the Venice Biennale,
he is recognised as one of the most
innovative artists in video art. Lately, he
has explored the correlation between
cinematographic narratives and the
performer undertaking a physical,
spectacular activity. His work has been
widely exhibited in individual and group
shows in private and public institutions
such as the Museum of Contemporary
Art, Chicago; La Maison Rouge, Paris;
Museo de Arte Contemporáneo de
Castilla y León (MUSAC); Museo d’Arte
Contemporanea di Roma (MACRO);
Kunsthalle Krems; Fundación Botín,
Santander; MoMA PS1, New York.
Onofre currently lives and works in
Lisbon.
Presented by
— Marlborough Contemporary, London

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BONGSU PARK
CELL
2014, 4’, single channel, colour, sound, edition of 3 + 2AP
Park’s starting point is to look at herself
and her relationship to other people; her
need for company yet also solitude. She
creates intricate video mises-en-scène
where movement is expressed in its purest
form, through space, dance and sound.
Park’s practice is oriented towards designing
immersive settings and performances
– often collaborating with musicians,
dancers and choreographers; the videos
recording these creations are the artist’s
comments on the perennial tensions at the
core of all human relationships. Her dance
pieces are born out of this quandary: the
continual oscillation between the joining
and separation of human relationships. For
Cell, Park has created a formally complex
piece with three dancers, in which she
experiments with perspectives and display.
The integration of dance with sculptural
forms is a distinctive element in Park’s
artistic production. Cell concerns a dialogue
about the complexity of relationships and
an attempt to merge the language of images
with sculptural form.
Bongsu Park (Pusan, South Korea, 1981)
studied at the École des beaux-arts
de Bordeaux, Sangmyung University,
South Korea, and Slade School of Fine
Art, London. She has exhibited in solo
and group shows in Korea, Japan,
France and the UK, including exhibitions
at the Barbican Trust Arts Group,
London; The Crypt Gallery - St Pancras
Church, London; Bermondsey Project
Space, London and the contemporary
art Bordeaux Biennale Evento. In 2012,
Bongsu Park was invited to perform
for Platform 1 at Camden Art Centre.
Bongsu Park’s practice involves
photography, sculpture, video and
performance. The artist’s most recent
body of work focuses on collaborations
with a number of choreographers so as
to integrate dance into her video works
and live performances. She lives and
works in London.
Presented by
— Rosenfeld Porcini , London

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TOM PNINI
THE LIGHT FANTASTIC TOE
2015, 5’ 43’’, single channel, colour, sound, edition of 5 + 2AP
The Light Fantastic Toe presents the five
minutes leading up to a stereoscopic portrait
of a family, taken just before the patriarch
leaves to join the Union Army. Pnini has been
working to re-examine the notion that a
photograph represents a decisive moment
- the incidence of light striking a lens at
a precise instant in time. A stereoscopic
photograph consists of two nearly identical
images taken with a camera with two lenses,
with a separation equal to that of human
eyes. With the aid of a stereoscope viewer,
a magical illusion of depth is created. Pnini
unravels this magical end. He extracts the
two images from the stereoscope viewer
and strips the photograph from its original
function. The original magic is revealed
and before us appears a duplication of that
critical moment of traditional photography:
a decisive moment that reproduces itself. A
clone, a double, a mirror. The video begins
with what appears to be a split screen;
however, it is actually a double set creating
the illusion of a stereoscopic image. Similar
to the dual-lens stereoscopic image, in his
video, Pnini duplicates the actual scene in
real life: identical twins play two separate
roles, acting in two identical sets, which
themselves are replicas of an 1860s New
York apartment. The portrait is no longer
of one family, but is in fact of two families -
identical and different. Each family poses
in front of a similar path and destiny, the
prospect of war. As the click of the camera
captures an image for eternity, so it records
the possibility of death.
Tom Pnini (1981, Tel Aviv, Israel)
creates time-based works and largescale
installations. He has exhibited in
museums and galleries in New York,
Los Angeles, Milan, Toronto, Moscow,
and Israel, including solo exhibitions
at: Galleria Giuseppe Pero, Milan
(2015); Lesley Heller Workspace,
New York (2014); Chelouche Gallery,
Tel Aviv (2012). He holds a BED from
HaMidrasha College, Tivon (2008)
and an MFA from Parsons The
New School for Design, NY (2010).
He has received a Video Art Fund
from the Center for Contemporary
Design, Tel Aviv (2012), a Dean’s
Graduate Scholarship from Parsons
(2009-2010), and an Outstanding
Artistic Excellence Award from Beit
Berl College, Kfar Saba (2008). His
works have been part of the Robert D.
Bielecki Collection and The Shoken
Collection. Tom Pnini lives and works
in New York.
Presented by
— Chelouche Gallery for Contemporary Art, Tel Aviv

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ULRICH POLSTER
NOTTURNO
2013 - 2015, 31’ 45’’, digital video, super 8, Hi-8 and VHC transferred to dgital HD,
PREMIÈRE
colour, sound edition of 3 + 1AP
The complex structure of Notturno runs
riot amid the open simultaneity built up
from a great diversity of visual and acoustic
sources and modes of expression. Polster
filters out images from moment-to-moment
experience and links them together so as
to connect them to historical locations and
events of overriding importance – not only
to the Communist utopia, but also to the
Stalinist web of lies and ‘pathos formulae’.
Ulrich Polster’s store of images ranges from
the greyness of East German post-war cities
to the coarse-grained flickering super-8
film experiments of art subculture in the
GDR, invoking references from Eisenstein’s
Battleship Potemkin to Godard’s Film
Socialisme, and is simultaneously enriched
by innerscapes garnered on his lengthy
travels in Saxony, Vienna, Chernivtsi, and
Crimea. The accompanying soundtrack
extends from a live performance by Vic
Chesnutt to music by the avant-garde
Polish composer Henryk Górecki and the
melancholic German-born British composer
Max Richter.
Ulrich Polster (1963, Frankenberg,
Germany) is a German artist from the
former GDR. Heir to the 1980s East-
German underground film movement,
Ulrich Polster looks critically at
the end of Communism and at the
contradictions in the Western world.
His video installations and mixedmedia
collages deconstruct the
collective memory, the relationship of
the individual with the group, and the
disintegration of social institutions, in
order to reach an aesthetic experience
and an interweaving of diverging time
axes and horizons of remembrance. His
recent exhibitions include: STALKER/
MATERIAL, Neue Sächsische Galerie,
Chemnitz (2015); Made in USA, Wild
West Active Space, Maastricht (2014);
Notturno, Galerie Jocelyn Wolff, Paris
(2013); Shaoxing Lu, Westwerk,
Hamburg (2013). With a sensuously
charged sensitivity, Ulrich Polster has
set out to explore questions about his
own artistic development. Polster lives
and works in Leipzig and Berlin.
Presented by
— Galerie Jocelyn Wolff, Paris

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SOPHIA POMPÉRY
STILL WATER
2010, 12’ 16’’, single channel colour, sound, edition of 5 + 2AP
Still Water shows a dark table top with
various objects. A hand with a paintbrush
coats the table surface with water.
Through the foreshortening of the camera
perspective, the water acts like a right angle
in the middle of the likewise right-angled
picture detail, like a framed second image.
In the reflection on the water one can see a
window. Later, as a heater is installed under
the table, the evaporating water starts to
mist the view outside.
‘Associations with Dutch still life painters of
the seventeenth-century are justified in the
context of Still Water not only due to motifs
of interiors reflected in glass vessels but
also due to the evocation of fragility, which
becomes one of the main issues in the work.
A picture ‘painted’ with water, after achieving
its optimal sharpness and completeness,
slowly begins to dry, disappear, shrink, losing
sharpness, and so on, until it completely
disappears from the surface. The work
makes a full circle then, returning to the
view of the room with which it has begun. In
the Dutch paintings, specific objects were
saturated with symbols of transiency, while
in Pompéry’s video those meanings are
conveyed in progressiveness of a ‘maturing’
and disappearing picture, shown due to
specificity and possibilities offered by film,
but still with a tradition of painting in the
background’. Text by Marta Smoliska from
Pompéry’s solo exhibition publication
Nothing but a Transient Light.
Sophia Pompéry (1984, Berlin,
Germany) studied under artist Karin
Sander at Kunsthochschule Berlin
Weissensee. In 2009-2010, she
participated in an educational research
project led by Olafur Eliasson at the
Institut für Raumexperimente, affiliated
to the College of Fine Arts at the Berlin
University of the Arts (UdK) and
supported by the Einstein Foundation
Berlin. Recently her works were on
display at The Silent Shape of Things,
ARTER Space for Arts, Istanbul (2012);
Atölye, Nassauischer Kunstverein
Wiesbaden (2013); BYTS, Stedelijk
Museum s’-Hertogenbosch (2013);
and Festival of Future Nows, Neue
Nationalgalerie, Berlin (2014). Her works
have been included in collections such
as: Vehbi Koç Foundation, Istanbul;
Artothek of Neuer Berliner Kunstverein;
Science Center Spectrum, Berlin;
German Museum of Technology
Foundation, Berlin; and Kunstmuseum
Bonn. Sophia Pompéry lives and works
in Berlin.
Sophia Pompery, Still water
video, 2011
Presented by
— Galerie Dix9, Paris

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DANIA REYMOND
GREENLAND UNREALISED
2012, 10’, single channel, 16:9, full HD, colour, sound, 3 French version + 2 English version +1AP
‘Dania Reymond’s movies dive deep into the
history of cinema. With a memorial, visual
and sensorial immersion, her work leads us
to question not only the origins of this art
but also about its future. From a soundtrack
of Pasolini’s work or from an unrealized
scenario by Antonioni, by interfering with
the folds and corners of the images, she
mixes temporality, contexts and discourses
to bring forth a critical point of view of visual
history.’
Extract by Julie Crenn, art critic and curator.
‘Inspired by a film project abandoned
by Antonioni, which dealt with the
transformation of Greenland into a frozen
land, Dania Reymond plays with the
virtuality of writings and landscapes. Not an
adaptation, but rather a translation: a slow
glide along the coasts represented. ‘Where
are we?’
Text by Jean-Pierre Rehm, General Delegate
of FIDMarseille.
Dania Reymond (1982, Algiers, Algeria)
studied at the École supérieur des
beaux-arts de Marseille, and pursued
post-graduate studies at École
nationale supérieure des beaux-arts
de Lyon and at Le Fresnoy - Studio
national des arts contemporains. She
received the StudioCollector prize
for her short movie Jeanne (2012).
During her participation in the Jeune
Création exhibition (2014), her work
was distinguished as Art [ ] Collector
‘coup de coeur’. She has participated
in many festivals such as FIDMarseille,
San Sebastian Film Festival, and Côté
Court. Her work has also been shown in
institutions of contemporary art such
as the MoMA, the Lyon Biennale and the
Foire Internationale d’Art Contemporain
(FIAC). She currently lives and works in
Angoulême, France.
Presented by
— Galerie Karima Celestin, Marseille

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ISABEL ROCAMORA
FAITH
2015, 19’, 3 channel (single channel version), 2 K transferred to HD, edition of 5 + 2P
PREMIÈRE
Produced by the Isabel Rocamora Studio.
Funded by Creative Scotland. Co-produced
by GH Art Collection and the Koffler Gallery.
Faith is a three-screen installation that
poetically considers the conflict between
the dominant monotheistic religions in
Jerusalem by proposing a unification in
their gesture of prayer. Conceived as an
iconographic triptych, Faith intimately
observes the prayer forms of the three
religions in Jerusalem. The film is set in
the historically resonant landscapes of the
Judean desert, where a Jew, a Christian and a
Muslim pray in time and place synchronicity.
Questioning segregation while celebrating
difference, Faith invites reflection on one of
the most tragic, world echoing conflicts that
persist in this new century.
Isabel Rocamora (1968, Barcelona,
Spain) is a British-Spanish artist
filmmaker whose work considers the
performative nature of human gesture
and its relationship to individual
and cultural identity. Awarded
internationally, Rocamora’s moving
image work can be seen in museums
and filmothèques worldwide. Her
films have been exhibited, amongst
others, at Centre for Contemporary
Art Palazzo Strozzi, Florence; the
National Museum of Photography,
Copenhagen; the Herzliya Museum of
Contemporary Art, and the Museum
of Modern Art, Bologna. Currently
showing at the Biennale di Venezia,
The Mardin Biennale and the Musée de
la Civilisation, Quebec City; she is also
preparing solo retrospectives in the UK
and Canada. Isabel Rocamora’s work is
in several international collections. She
lives and works between Edinburgh and
Barcelona and is represented by Galeria
SENDA.
Ramadan Tahai in a process still of Faith, a film by Isabel Rocamora. © The Artist, 2015. Courtesy of Galeria SENDA.
Presented by
— Galeria SENDA, Barcelona
Michael Cohen in a process still of Faith, a film by Isabel Rocamora. © The Artist, 2015. Courtesy of Galeria SENDA.

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FERNANDO SÁNCHEZ CASTILLO
AZOR / GUERNICA SYNDROME
2012, 32’ 23’’, single channel, edition of 5 + 3AP
Born towards the end of Franco’s dictatorial
regime and fascinated by history, Sánchez
Castillo deepens his study of Spain’s darkest
moments by examining the propagandistic
mechanisms of memorials and political myths.
Azor / Guernica Syndrome is a film showing
the transformation process of the Azor (A-91)
leisure yacht built by the Bazán shipyard for
General Franco. Used mainly for cruising and
fishing, it was the setting for various historical
events such as the ‘Azor conversations’
between Franco and Don Juan de Borbón in
1948, during which it was decided that Don
Juan’s son, the young prince Juan Carlos,
would return from exile to study in Spain. Ten
years after Franco’s death and during the
transition to democracy, the Socialist Prime
Minister Felipe González spent a controversial
summer holiday on the yacht in 1985; the press
compared his behaviour to Franco’s. In 1990,
the Spanish government auctioned the vessel,
specifying that it should be destined for the
scrapyard. Nevertheless, it was purchased
by a businessman who wanted to turn it into
an entertainment venue at Marbella Bay. The
authorities rejected the project. The next owner
decided to dismantle the vessel and reconstruct
it in front of his house. After going bankrupt, he
abandoned his unfinished project and sold the
entire property to a group of investors. At the
end of 2011, Fernando Sánchez Castillo bought
the Azor to transform it into a prism-shaped
artwork. The prism is considered an exalted
form in minimalist art due to its constructive
impersonality and lack of sentimental or emotive
references. Some original parts of the yacht were
preserved, such as the mast, deck benches, signs
and cleats.
Presented by
— Art Bärtschi & Cie, Geneva
Fernando Sánchez Castillo (1970,
Madrid, Spain) holds a degree in
Fine Arts from the Complutense
University of Madrid and a Master in
Philosophy and Aesthetics from Madrid
University. He took part in Programme
de recherche at the École nationale
supérieure des Beaux-Arts in Paris
and the Rijksakademie van Beeldende
Kunsten in Amsterdam. A member of
the sceptical post-Franco generation
in Spain, Fernando Sánchez Castillo
questions the relationships between
art and power, public spaces and
collective memory. He has participated
in collective exhibitions at the Tate
Modern, London; MoMA, New York;
and the 50th Biennale di Venezia. He
also presented his work in solo shows
at the Centro de Arte Contemporáneo
de Málaga (2011), Centre d’Art
Contemporain Genève (2007), and
MARTa Herford (2006). This year 2015,
he is exhibiting his work in solo shows
at CA2M, Madrid; La Panera, Lleida;
and Bohusläns Museum, Uddevalla. He
will also participate in group exhibitions
in Switzerland, Holland, Germany and
Italy. Sánchez Castillo lives and works in
Madrid.

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BEATRIZ SANTIAGO MUÑOZ
MATRULLA
2014, 6’ 40’’, single channel, 16mm film transferred to video, colour, sound, edition of 3 + 2AP
Since 1971, Pablo Díaz Cuadrado has been
living near Matrullas Lake, a dam nurtured
by the Matrullas River, in Orocovis, a town
located in the Central Mountain Range of
Puerto Rico. The name Orocovis means
‘memory of the first mountain’. Pablo’s
kitchen inclines over this first mountain;
the wall is the hillside reinforced with river
stones. In this place Pablo plants and stores
ancient grains and seeds, accumulates
materials with possible and unpredictable
future uses, supervises the decomposition
and reconstruction of everything that
surrounds him; raises bees and prepares
himself for the moment when water and
food will no longer be available. The film
approaches the physical structures, time,
and symbolic value of Pablo’s project as well
as the site as a whole, as an assemblage; not
from a political and aesthetic vanguard, but
from a rearguard that quietly picks up the
debris of progress and tests alternative ways
of living.
The work of Beatriz Santiago Muñoz (1972, San
Juan, Puerto Rico) arises out of long periods
of observation, research and documentation,
during which the camera is present as an
object with social implications, and as an
instrument mediating aesthetic thought.
Her films frequently stem from research
into specific social structures or events,
which she transforms into collaborative
work, performance and moving image. Her
recent work is concerned with the material
and physical traces of abstract political
ideas, particularly post-military spaces, and
the relationship between new landscapes
and social forms. She has participated in
various exhibitions such as Ce qui ne sert pas
s’oublie, ‘What is not used is forgotten’, CAPC,
Bordeaux; La Cabeza Mató a Todos, TEOR/
éTica, San José, Costa Rica; MATRULLA, Sala
de Arte Público Proyecto Siqueiros, Mexico
City; Under the Same Sun: Art from Latin
America Today, Guggenheim Museum of Art,
New York; Post-Military Cinema, Transmission
Gallery, Glasgow; The Black Cave, Gasworks,
London; Capp Street Project: Beatriz Santiago
Muñoz, CCA Wattis Institute for Contemporary
Arts, San Francisco; Beatriz Santiago Muñoz,
Trinh T Minh-Ha & Gregorio Rocha, TATE Film;
VII Bienal do Mercosul; and Invasive Exotics,
RAM Galleri, Oslo. She has been awarded with
a 2015 Creative Capital Artist Grant for Visual
Arts for her film Summer of Women. Santiago
Muñoz lives and works in San Juan, Puerto
Rico.
Presented by
— Galería Agustina Ferreyra, San Juan

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DOMINIK STAUCH
WALKING WITH RICHARD
2014, 21’ 35’’, single channel colour, sound, edition of 7
PREMIÈRE
Walking with Richard is a combination
of performative and graphical videos,
originating in Stauch’s long-standing
engagement with the major work by Richard
Wagner, Der Ring des Nibelungen. The artist
condenses the opulence of the opera into
seven subject-based video clips. The images
are computer animated, with samples of
vocals, guitar sounds and an appearance by
the artist himself. Each chapter concludes
with drawings of medicinal plants with
their Latin names, like those found in
an encyclopaedia. The work captivates
the spectator by an accurate interplay
between image and audio. The dynamic
of the geometrical shapes, the colours,
and the sound turns it into an optical and
audio experience. The work refers back
to the experimental avant-garde movies
from the 1920s, abstract and concrete art,
but also shows influences of minimal and
pop art. The contemplative rhythm and
time, coupled with poetry and irony, create
ample association spaces which trigger our
imaginations.
Dominik Stauch (1962, London, UK)
trained as a graphic artist in Bern and
studied at Berlin University of the
Arts. He spent most of his childhood
in London, although he also lived in
Cleveland, Ohio and Cairo. Stauch has
worked consistently on elaborating
paintings by combining different
media, sticking to the colour and form
theory. He has always remained a
painter, aiming at assembling colours
and forms in a harmonious way.
The reduction to basic geometrical
form gives him the needed scope to
harmonize his conceptual approach
with the latest techniques. His works
have been exhibited recently at the
Zentrum für Kulturproduktion, Bern;
Galerie Bernhard Bischoff & Partner,
Bern; Kunstmuseum Thun; märz
galerie mannheim / cube 4x4x4 raumX;
ETAGEN, Bern. He has been awarded
the Atelier-Stipendium Berlin / Stadt
Thun (2008); Anerkennungsbeitrag
der UBS Kulturstiftung, Zürich (2008);
Anerkennungspreis der Stiftung für
Graphische Kunst in der Schweiz
(2007); Preis für Bildende Kunst der
Stadt Thun (2005); and Aeschlimann
Corti Stipendium der Bernischen
KunstGesellschaft (2001). Dominik
Stauch lives and works in Thun.
Presented by
— Galerie Bernhard Bischoff & Partner, Bern

84
85
UNGLEE
FORGET ME NOT
1979, 15’, single channel, colour, sound, edition of 5 + 2AP
UNGLEE directed Forget Me Not after the
success of his previous experimental film
Chérie, que veux-tu?, ‘Honey, what do you
want?’, which was screened during the
1979 Cannes Film Festival in the section
Perspective du Cinéma Français. While
working on another project that required
major funding, he created Forget Me Not,
in order not to be forgotten. At that time, he
became inspired by a famous slogan ‘In order
to be recognized, you first have to be seen’.
He wanted to be recognized, he therefore
had to be visible. UNGLEE conceived Forget
Me Not as an advertising film on himself.
Formally, he took into account the voyeurism
of the spectator, and turned himself into a
brand, a label, a name, a black-and-white
image, a Polaroid image, a video image,
a printed image. UNGLEE vented his
frustration by not allowing himself to see,
by using fast, jerky editing, filming frame by
frame, and playing with the texture of the
screen. In 1980, after a screening of Forget
Me Not, a man came up to him and asked if
he was the director. Enthusiastically the man
said: ‘You’re too much!’ In a book published
in 1979, Patrick Mauriès wrote: ‘«Too much»
doesn’t necessarily mean pleasant: it can
be something tiresome, or even disgusting.
«Too much» can be whatever goes too far, or
leaves you speechless.’
UNGLEE (date unknown, Brighton,
UK) became known in the late 1970s
for his experimental films, then later
in the 1980s for his photographs of
tulips. In the 1990s, in parallel to his
exhibitions, he started to intervene in art
reviews such as Art Press, Art Présence,
Technikart, and Revue d’Esthétique
with his Disparitions, ‘Disappearances’:
fictional obituaries in which he talks
about his life and passion for tulips.
Between 2000 and 2005, he started
shooting a series of videos around the
theme of love declarations. These works
were shown in France, Germany, Italy,
and South Africa. In 2010, he published
Unglee-Puzzle, a monograph presenting
his life and work. In 2012, he received a
grant from the Centre national des arts
plastiques (CNAP) to start working on
an immaterial sculpture, an olfactory
exploration called Tulipe Bleue. He lives
and works in Paris.
Presented by
— Galerie Christophe Gaillard, Paris

86
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EULÀLIA VALLDOSERA
AVANT LA LUMIÈRE
2015, 44’, colour, sound, edition of 3 + 1AP
PREMIÈRE
Following her research on the memory
stored in the things of everyday life, Avant
la lumière proposes the film medium as a
means of archiving rural living before the use
of electricity. It brings together various types
of registration ranging from documentary
to fiction, and reveals the mechanisms used
by the artist for its creation, i.e. the film
crew, the preparation of the actors, and the
fortuitous finding of objects for the atrezzo.
Following the descriptions and anecdotes
made by the members of ‘Association des
amis du Musée de la Memoire’, around
several of household items, the house
becomes a film set for a multilayered study
on the mechanisms of memory and shows
us that memory is, in fact, a theater made
of our present expectations. What remains
of our ancestors’ rural existence are our
own interpretations, seen from a present
that evokes and recreates a former modus
vivendi that tends to be idealised and tinged
with nostalgia.
Valldosera points at the universal contents
under the particular visions in the wish to
preserve a thread linking us to our origins
by understanding the struggle for human
survival in the environment, in step with
nature and not against it, as seems not to
be forgotten today. This film does not only
aim to be the testimony of a project on local
heritage by a group of persons, which is
next to his end, but also highlights the film
medium as a contemporary event by which
to re-update our past and a way of activating
the potential hidden under layers of oblivion
and prejudices.
Presented by
— Galeria Sicart, Vilafranca
Eulàlia Valldosera (1963, Vilafranca
del Penedès, Spain) is a Catalan artist,
who describes herself ‘as a producer of
meanings, rather than as a producer of
works’. After studying Fine Arts at the
Universitat de Barcelona in the early
nineties she left to Amsterdam to join
the Gerrit Rietveld Academie, where
she moved from the academic painting
from which Spain was awakening in the
eighties towards the new media. Her
first work in progress, The Navel of the
World, it is a strong statement on the
disappearance of the physical objects
of artistic production. Then in Bandages
she interlaces her powerful performative
actions with the use of cinematic devices
that will end up in the creation of her well
known luminic installations. The artist’s
retrospective held at Witte de With,
Rotterdam; Fundació Antoni Tàpies,
Barcelona; and later at Museo Reina
Sofía, Madrid; brought together all the
works that had been shown in many Art
Biennials as the ones in Korea, Istanbul,
Johannesburg, Santa Fe, Sydney, Lyon,
Venice, Sao Paulo or Münster, and she
could finally articulate all of the works
were light and shadow reinterpreted
our deep psychological perception of
spaces, of genres, of the private and the
public domains. Her work is in private
and public collections including MACBA,
Museo Reina Sofía, Deutsche Bank,
La Caixa, Centre Arts Santa Mònica,
MUSAC, FRAC PACA and Maison
Européenne de la Photographie and
Grand-Hornu. Eulàlia Valldosera lives
and works in Barcelona.

88
89
EMMA VAN DER PUT
RINCÉ ALIEN
2015, 8’, single channel, colour, sound, edition of 5 + 2AP
People need stories and images in order to create
order within the world’s chaos. Emma van der Put
provides us with those images. She regards the world
as a ready-made film set for her observations. Van
der Put doesn’t stage things; with her camera she
enters into situations that ‘happen’ to her. She sees
something - a situation or a place that evokes wonder,
which is alienating or simply gives rise to aversion
- and fascinated by it, she starts capturing it in film.
Those places are, for instance, popular festivals and
fairs that she would never attend herself, were it not
for the idea of using them in her work. In this way she
investigates, through her video works, how she relates
to situations that make her feel uneasy. For one of
her most recent videos, which came about during an
artist-in-residence program at WIELS Contemporary
Art Centre, she took her camera to the notorious
Brussels train station Midi/Zuid. There she would film
loud advertisements, hurried travellers, or sleeping
homeless people. A tag sprayed on a poster - the
estranging words ‘rincé alien’, roughly translated as
‘washed foreigner’, began to assume its own intrinsic
relationship with the surrounding people. The striking
aspect of Van der Put’s work is the ease with which
she makes day-to-day reality abstract and allows it
to have greater meaning than is visible at first glance.
While filming she remains detached from the things
going on around her in order to maintain an overall
view of the situation. At the same time she tries - by
way of the camera and the technical possibilities
that it offers - to fathom the latent information held
in brief passing moments. Throughout the editing
process she then gives shape to the relationships
among the images until they actually express, in terms
of their casualness, something about a location, a
situation, an occurrence. Because of the rhythm of her
constructions, viewers are prompted to observe on
their own and give room to the imagination.
Presented by
— tegenboschvanvreden, Amsterdam
Emma van der Put (1988,
‘s-Hertogenbosch, Netherlands)
graduated from the Academy of
Art and Design St. Joost (AKV),
‘s-Hertogenbosch, in 2010. She
was a resident at De Ateliers
in Amsterdam for two years
(2010-2012). After that she
worked as an artist in residence
at Nucleo, Ghent (2013); at
Lokaal 01, Antwerp (2014); and
for the past six months she has
worked at WIELS Contemporary
Art Centre, Brussels. Van der
Put has participated in various
international film festivals
and screenings such as IDFA
Paradocs at EYE Film Institute
Netherlands, Amsterdam (2014);
Lo Schermo dell’Arte Film
Festival, Florence (2014); Art
Cinema OFFoff, Ghent (2014);
Bosch Art Film Festival,’s-
Hertogenbosch (2013);
International Documentary Film
Festival Amsterdam (2013).
She was commissioned by
Huis Marseille Museum for
Photography to produce various
films and was nominated for
the Lucas Prize (2010), the
Gasunie Art Prize (2011) and
the Volkskrant Visual Art Prize
(2014). The work of Emma van
der Put is included in various
private and public collections in
the Netherlands and abroad. She
lives and works in Brussels.

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91
PUCK VERKADE
SOLITARY COMPANY
2015, 10’, single channel, colour, sound, edition of 5 + 2AP
PREMIÈRE
Solitary Company is a portrait of a remote
island as seen through the eyes of its
inhabitants. This is the first episode of a
triptych about the micro-community of
Hrisey, a remote island off the north coast of
Iceland, during the darkest months in winter
when all is covered in snow and silence.
During a month-long residency on Hrisey,
Puck Verkade conducted interviews with
three generations of local people, about their
personal connection with the island, the
effect of living in such a small community
off the mainland, and their relationship to
silence. Throughout the video we never get to
see the faces of the interviewees, only their
backs and the views they can see through
the windows. The island itself thus becomes
an additional character, showing its empty
landscape and silent presence. The circular
frame stresses visual isolation as well as the
physical borders of the island. Essentially the
narrative reflects on the borders of solitude,
on silence and its inevitable connection to
mortality.
Puck Verkade’s (1987, The Hague,
Netherlands) artistic practice is marked
by the exploration of how human
beings give meaning to life. Using an
investigative documentary method,
she questions matters of purpose and
their ambiguous nature. She is drawn
to subjects that expose the human
psychological condition, the way we
construct our identity through belief
systems, and the individual’s position
within society. After receiving her BFA
from the Royal Academy of Art in The
Hague (2011), Verkade’s work has
been shown at various institutions, for
instance at the Gemeentemuseum
Den Haag and Showroom MAMA,
Rotterdam. She recently completed
residencies in Thailand and Iceland
and will start her MFA in Fine Art at
Goldsmiths, London. In 2016 she will
have a solo exhibition at Dürst Britt &
Mayhew, The Hague. Puck Verkade lives
and works in The Hague.
Presented by
— Dürst Britt & Mayhew, The Hague

92
93
RICHARD T. WALKER
AN IS THAT ISN’T ALWAYS
2015, 10’, single channel, edition of 5 + 2AP
PREMIÈRE
Working within a meditation on the ideology
of landscape and nature, Richard T. Walker
aims to interrogate the conception of
such places, questioning what they mean
to us and what the particularities of such
an understanding reveal about who we
are. Approaching the experience of these
environments as metaphor, he seeks
inconsistencies within our understanding
as a critical tool to reveal points of
confrontation between innate desire, cultural
interpretation and reality. The piece an is
that isn’t always plays with notions of spatial
transition, emphasizing the physicality
of distance in both real and emotional
terms; highlighting the particularities of
perception and the fragility of a linear-based
understanding of reality. Walker wants
to pose questions that address the point
where the actuality and the preconceived
understanding of an experience come
together, mapping out an inquiry into the
relationship that this may share with our
sound and image-based understanding of
reality.
Richard T. Walker (1977, Shrewsbury,
UK) makes videos, photographs,
sculpture, installations and
performances that reveal a frustrated,
obsessive relationship with landscape
and at the same time explore the
complexity of human relations. He
received his BA in Fine Art from Bath Spa
University College in 1999 and his MA
in Fine Art from Goldsmiths, University
of London, in 2005. His work has been
in exhibitions at: àngels barcelona
(2006, 2010); Christopher Grimes
Gallery, Santa Monica; James Cohan
Gallery, New York; Carroll/Fletcher,
London; Kadist Art Foundation, San
Francisco; the San Francisco Museum
of Modern Art; Yerba Buena Center
for the Arts, San Francisco; Museu de
Arte Moderna, Rio de Janeiro; Witte de
With, Rotterdam; and K21, Düsseldorf.
Walker was a recipient of a fellowship
at Kala Art Institute, Berkeley in 2007
and received an Artadia Award in 2009.
He attended the Skowhegan School of
Painting and Sculpture, Maine, in 2009
and was a resident at the Headlands
Center for the Arts in 2011. He was an
affiliate artist at the Headlands Center
for the Arts from 2007–2009, and
attended the Skowhegan School of
Painting and Sculpture, Maine, in 2009.
Presented by
— àngels barcelona, Barcelona

94
95
WANG HAIYANG
FREUD, FISH AND BUTTERFLY
2013, 3’ 26’’, single chanel. colour, sound, edition of 7
Wang Haiyang, a young artist from Shandong
province, is far removed from the dominant
currents of contemporary Chinese art, which
are often characterized by social content
and political metaphors. His work explores
the various states of the subconscious and
our twisted relationships with our desires.
During his studies at the Beijing Academy
of Fine Arts, his psychologist encouraged
him to express his anxieties and the depths
of his soul through his painting, instead of
following academic styles. In his animated
videos, Wang Haiyang expresses himself
through stream of consciousness. Freud,
Fish and Butterfly and Double Fikret are
‘animated paintings’ that result from his
extraordinary work involving pastel drawings
and successive erasures. The artist uses
a technique similar to that of William
Kentridge, drawing continuously on the same
sheet of paper. He photographs each stage
of this patient and meticulous handwork,
and then animates the images to create a
video. Both animations are composed of
two thousand drawings. Wang Haiyang drew
and erased each day for over a year, finally
returning to his point of origin: a blank sheet
of paper. He has compared his method to the
spiritual practice of the Tibetan mandala:
‘A monk spends an entire year creating a
sand mandala that is destined to disappear.
Once it is completed, the ephemeral work is
simply destroyed, without leaving any trace.
One might think that there is nothing on this
paper, which I have completely erased, but in
reality it represents 1325.5 hours in the life of
Wang Haiyang’ he says.
Wang Haiyang (1984, Shandong, China)
is an artist specializing in painting and
engraving. In 2008, he received his
degree from the Central Academy of
Fine Arts in Beijing. His painting talent
was discovered early in his career, and
has won him numerous awards. Most
recently Wang Haiyang has gained
international fame for his animation
works: his films Freud, Fish and Butterfly
and Double Fikret were awarded at
the 55th DOK Leipzig Film Festival, the
11th Sommets du cinéma d’animation
in Montreal, and the 25th Holland
Animation Film Festival. His works have
been selected at over twenty other
international festivals. In 2012, Wang
Haiyang won the Today Art Museum
of Beijing’s Young Talent award. He
currently lives and works in Beijing.
Presented by
— Galerie Paris-Beijing, Paris

96
97
YAO QINGMEI
DANCE! DANCE! BRUCE LING!
2013, 12’, single channel, colour, sound, edition of 5 + 2AP
Yao Qingmei uses an interventionist
approach to re-imagine and perturb
the mundane parameters of reality in
order to yield new possibilities. Layering
absurdist gesture with poetic action, a
particular emphasis is placed on how
symbolic gestures gain or lose traction and
power through subtle displacement and
appropriation. Her theatrical performances
and interventions find form in areas
overlapping burlesque techniques of
parody, which combine with framing devices
influenced by theatre sets and costume,
pedagogical lectures, political satire and
dance choreography.
In the work Dance! Dance! Bruce Ling!
Qingmei assumes the guise of a fictional
character ‘Bruce Ling’ holding a hammer
and sickle in each hand. The performance
shifts between a sequence of gestures
referencing kung fu, socialist era renditions,
ballet, and contemporary dance. Alternating
in a ‘call-and-response’ with live music, a
pianist improvises an interpretation of the
soundtrack from Bruce Lee’s ‘Fury of the
Dragon’. The dance modulates between
melancholic and theatrical registers
of emotion, before culminating in the
destruction of an ancient ceramic pot.
Yao Qingmei (1983, Zhejiang Province,
China) was the winner of the Prix
Spécial du Jury du 59ème Salon de
Montrouge. She recently presented
newly commissioned work in her first
solo exhibition as part of Modules,
Fondation Pierre Berge-Yves Saint
Laurent, curated by Bernard Marcadé, at
Palais de Tokyo, Paris. Major exhibitions
include a solo exhibition at Magician
Space, Palais de Tokyo (2014); (OFF)
ICIELLE & FIAC, Paris (2014); Musée
départemental d’art contemporain
de Rochechouart (2014); Fondation
du doute, Blois (2014); 59ème Salon
de Montrouge (2014); Chapelle des
Carmélites, Toulouse (2014); and
Centre national d’art contemporain de la
villa Arson, Nice. Yao Qingmei lives and
works between Paris and Limoges.
Presented by
— Magician Space, Beijing

98
99
LOOP Fair, for the first time, opens a section dedicated to
sound. Curator Anne-Laure Chamboissier, has made the
selection of three galleries and artists: Iñaki Bonillas, Michele
Spanghero and Susan Philipsz.
‘In a world where our ears are constantly bombarded by
sound, and personal listening devices have become ubiquitous,
shared aural spaces are increasingly rare. The works
shown at LOOP Fair 2015 attach an importance to the issue
of paying attention to listening, and are linked with two
themes: the relationship between image and sound and the
sound as a mental image.’ Anne-Laure Chamboissier
IÑAKI BONILLAS
TEN CAMERAS
DOCUMENTED
ACOUSTICALLY
1998, digital audio and 10 CD’s, edition of 6
Diez cámaras documentadas acústicamente
(Ten Cameras Documented Acoustically)
was first shown on the occasion of an exhibition
called Foto Septiembre, an annual
photography exhibition under the following
condition: every artist who is invited to take
part in the show has to find his or her own
spot or venue.
‘I chose to work in Mexico City’s branch of
Tower Records, and settled on a project that
would – rather unorthodoxly – involve the
store’s headphone listening station.
I recorded the ‘sound’ of ten different cameras
such as Pentax, Minolta, Nikon and the
like (i.e. the sound of their shutters being
pressed) onto a compact disc that was then
inserted in the listening station. People
would be shopping around Tower Records
for the latest release, pick up a headphone
set and all of a sudden hear this strange tapestry
of stuttering shutter technology – an
audio-based photographic work presented
in the pretty straightforward ‘photographic’
context of a photo exhibition.’ Iñaki Bonillas
Since the late nineties, the young Mexican
artist has been establishing a relationship
with photography in his work. With a regard
for the aesthetics and the conceptual
practices of the sixties and seventies, Iñaki
Bonillas has been gradually isolating the
constituent elements of photography and
connecting them with other procedures. He
linked elements together that were a priori
incompatible: on the one hand a personal, biographical
narrative that consists of private
anecdotes and emotions, and on the other,
a quasi-scientific element of compilation,
classifying and archiving.
Presented by
— ProjecteSD, Barcelona

100
101
SUSAN PHILIPSZ
SONGS SUNG IN THE
FIRST PERSON ON
THEMES OF LONGING,
SYMPATHY AND RELEASE
2003, 24’ 16’’, edition of 3 + 2AP
Over the past two decades, Susan Philipsz
has explored the psychological and sculptural
potential of sound. Using recordings,
predominantly of her own voice, the artist
creates immersive environments of architecture
and song that heighten the visitor’s
engagement with their surroundings while
inspiring thoughtful introspection. The
music Philipsz selects responds specifically
to the space in which the work is installed.
While each piece is unique, the storylines
and references are often recognizable,
exploring familiar themes of loss, longing,
hope, and return. Songs Sung in the First
Person on Themes of Longing, Sympathy
and Release was a work to be played
intermittently over the PA system of Tate
Britain’s painting galleries as part of the
Tate Triennial ‘Days Like These’ 2003. Susan
Philipsz recorded herself singing ; ‘Please
Please Please Let me get what I Want’, by The
Smiths, ‘Hang On’, by Teenage Fan Club, ‘How
Much I lied’, by Gram Parsons and ‘Wild as
the wind’ by Ned Washington.
Since the mid-1990s, Philipsz’s sound
installations have been exhibited at many
prestigious institutions and public venues
around the world. In 2012, she debuted a major
work at dOCUMENTA (13) entitled Study
for Strings, which was later featured at the
Museum of Modern Art NY (2013). Philipsz
also presented solo shows at the Hamburger
Bahnhof, Berlin (2014), Carnegie Museum
of Art, Pittsburgh (2013), K21 Standehaus
Kunstsammlung Nordrhein-Westfalen,
Dusseldorf, Germany (2013), Museum of
Contemporary Art, Chicago (2011), Aspen
Art Museum, Colorado (2010-11), Wexner
Center for the Arts, Ohio State in Columbus,
OH (2009-10), Museum Ludwig, Cologne,
Germany (2009), Institute of Contemporary
Art, London (2008), a/o. She conceived
installations for the 2007 Skulptur Projekte,
Muenster, Germany and 55th Carnegie International
in 2008. Susan Philipsz won the
Turner Prize in 2010.
MICHELE SPANGHERO
MONOLOGUE
2014, 7’02”, loop, single channel with
stereo, audio color, sound, edition of 3+AP
The video installation Monologue shows the
process of ambience recording of the empty
Teatro Regio in Parma (one of the world’s
most important opera houses): the layering
of the sounds makes the theater resonate.
With silence the theater is in darkness, but,
as the sound rises, the lights slowly grow up
to reveal the theater and, in backlight, the
artist alone on stage thoroughly listening to
the sound – the monologue – of the theater.
Graduated in Modern Literature at the University
of Trieste, Michele Spanghero has
also attended workshops in electronic and
improvised music, sound design and video
making. His artistic activity is focused on
sonic arts, in the form of musc (as double
bass player), and sound art. Part of his research
is also dedicated to visual experimentation,
with particular attention towards the
photographic medium. He has exhibited and
performed in different international contexts
such as museums, galleries, clubs and festivals
in Italy, France, Switzerland, Slovenia,
Austria, Czech Republic, Germany, Netherlands,
Poland, Lithuania, Latvia, Estonia and
USA. His work is installed in both private
and public collections, such as the Finstral
Collection, the Mart Museum in Trento, the
Ettore Fico museum in Torino, and the TRA
museum in Treviso. His records have been
released for several labels such as Dedalus
Records, headphonica, Palomar Records,
Gruenrekorder and MiraLoop.
Presented by
— Ellend de Bruijne Projects, Amsterdam
Presented by
— Galerie Mario Mazzoli, Berlin

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#
A
22,48 m²
Rosario Caltabiano
30 rue des Envierges, 75020 Paris
+33 981722637
Contact@2248m2.com
AKINCI
Leylâ Akinci & Renan Beunen
Lijnbaansgracht, 317, 1017 WZ Amsterdam
+31(0)20 6380480
Info@akinci.nl
ALARCON CRIADO
Julio Criado
Calle Velarde, 9, 41001 Sevilla
+34 954 22 16 13
info@alarconcriado.com
Analix Forever
Barbara Polla & Julie Gil
Rue de Hesse, 2 CH - 1204 Genève
+41 22 329 17 09
analix@forever-beauty.com
àngels barcelona
Quico Peinado & Gabriela Moragas
Calle Pintor Fortuny, 27, 08001 Barcelona
+34 934 12 54 00
info@angelsbarcelona.com
Arcade
Christian Mooney
87 Lever Street, London EC1V 3RA, United
Kingdom
+44 20 7608 0428
info@arcadefinerts.com
B
C
Art Bärtschi & Cie
Barth Pralong
24, rue du Vieux Billard, Genève
+41-22 310 00 13
barth@bartschi.ch
bitforms gallery
Steven Sacks
131 Allen St, New York, NY 10002
+1 212-366-6939
steve@bitforms.com
Chatterjee & Lal
Mortimer Chatterjee & Tara Lal
01/18 Kamal Mansion Floor 1, Arthur
Bunder Road Colaba, Mumbai 400 005
India
+91 22 22023787
info@chatterjeeandlal.com
Chelouche Gallery for
Contemporary Art
Nira Itzhaki
7 Mazeh St.,Tel Aviv, 65213
+972-3-6200068
nirai@zahav.net.i
Chi-Wen Gallery
Chi-Wen Huang
Hua South Road Section 1/Taipei
+886 2 8771 3372
chiwen.huang@chi-wen.com
D
E
G
Die Ecke Arte Contemporáneo
Paul Birke
Av. José Manuel Infante, 1208, Santiago
+56 (2) 2269 0401
info@dieecke.cl
Dürst Britt & Mayhew
Jaring Dürst Britt & Alexander Mayhew
Van Limburg Stirumstraat 47, The
Hague
+31 6 24620663
jaring@durstbrittmayhew.com
Ellen de Bruijne Projects
Ellen de Bruijne
Rozengracht 207 A, 1016 LZ Amsterdam
+31(0) 20 530 4994
info@edbprojects.com
Galería Agustina Ferreyra
Agustina Ferreyra
750 Ave. Fernández Juncos Local 1. San
Juan
+1(787).302.0071
info@agustinaferreyra.com
Galeria Filomena Soares
Filomena Soares & Manuel Santos &
Hugo Dinis
Rua da Manutenção 80, 1900 Lisboa
+351 21 862 4122
gfilomenasoares@mail.telepac.pt
Galeria SENDA
Carlos Duran
Passatge de mercader 4, 08008
Barcelona (temporary space)
+34 934 87 67 59
info@galeriasenda.com
Galeria Sicart
Ramon Sicart
C/ Font, 44, 08720 Vilafranca del Penedès, Barcelona
+34 938 18 03 65
galeriasicart@galeriasicar.com
Galeria Trama
Joan Anton Maragall & Natàlia Peña
Carrer de Petrixol, 5, 08002 Barcelona
+34 933 174 877
natalia@galeriatrama.com
Galerie Allen
Joseph Allen Shea
59 rue de Dunkerque, 75009 Paris
+33 (0)1 45 26 92 33
galerieallen@galerieallen.com
Galerie Bernhard Bischoff & Partner
Bernhard Bischoff & Katia Masson-Gallucci
Waisenhausplatz 30, Postfach 6259, CH-3001
Bern
+41 (0)31 312 06 66
mail@bernhardbischoff.ch
Galerie Christophe Gaillard
Christophe Gaillard & Camille Morin
12 Rue de Thorigny, 75003 Paris 03
+33 1 42 78 49 16
camille@galerie-gaillard.com
Galeria Dix9
Hélène Lacharmoise
19 Rue des Filles du Calvaire, 75003 Paris
+33 01 42 78 91 77
hlacharmoise@yahoo.fr
Galerie Dohyang Lee
Dohyang Lee
75 Rue Quincampoix, 75003 Paris
+33 1 42 77 05 97
info@galeriedohyanglee.com
Galerie Imane Farès
Imane Farès & Caterina Perlini
41 Rue Mazarine, 75006 Paris
+33 1 46 33 13 13
caterina.perlini@imanefares.com

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Galerie Jérôme Poggi
Jerôme Poggi & Simon Poulain
2 Rue Beaubourg, 75004 Paris, França
+33 9 84 38 87 74
s.poulain@galeriepoggi.com
Galerie Jocelyn Wolff
Jocelyn Wolff & Nasim Weiler
& Eline Grignard
78 Rue Julien Lacroix, 75020 Paris
+33 1 42 03 05 65
nasim.weiler@galeriewolff.com
Galerie Karima Celestin
Karima Célestin
25 Rue Sénac de Meilhan, 13001 Marseille
+33 6 28 72 44 24
kc@karimacelestin.com
Galerie Mario Mazzoli
Mario Mazzoli & Tania Tonelli
Potsdamer Straße 132, 10783 Berlin
+49 30 75459560
info@galeriemazzoli.com
Galerie Paris-Beijing
Geoffroy Dubois
62 Rue de Turbigo, 75003 Paris
+33 1 42 74 32 36
geoffroy@galerieparisbeijing.com
Galerie Ron Mandos
Ron Mandos
Prinsengracht 282, 1016 HJ Amsterdam
+31 20 3207036
info@ronmandos.nl
J
M
Jousse Entreprise Gallery
Philippe Jousse & Sophie Vigourous
6 rue Saint-Claude, 75003, Paris
01 53 82 10 18
art@jousse-entreprise.com
Magician Space
Qu Keije & Pan Baohui & Billy Tang
Jiuxianqiao Road, Chaoyang, Beijing
+86 1058405117
billytang@magician-space.com
Marlborough Barcelona
Violant Porcel
Carrer d’Enric Granados, 68, 08008 Barcelona
+34 934 67 44 54
vporcel@galeriamarlborough.com
Marlborough Chelsea
Max Levai & Pascal Spengemann
& Aliza Hoffman
545 W 25th St, New York
+1 212-463-8634
aliza@marlboroughchelsea.com
Marlborough Contemporary
Andrew Renton & Louisa Adam
6 Albemarle Street, London W1S, United Kingdom
+44 20 7629 5161
la@marlboroughcontemporary.com
R
S
T
Rosenfeld Porcini
Ian Rosenfeld & Dario Porcini & Chiara
Gandini
36 Newman Street, London
+44 20 7637 1133
chiara@rosenfeldporcini.com
SMAC Gallery
Marelize van Zyl
145 Sir Lowry Road, Woodstock, 7925
+27 (0)21 422 5100
info@smacgallery.com
Sommer Contemporary
Irit Fine Sommer & Chen-li Gal
13 Rothschild Blvd., Tel Aviv, 66881
+972 3 5166400
chenli@sommergallery.com
tegenboschvanvreden
Pietje Tegenbosch & Martin van Vreden
bloemgracht 57, 1016 ke amsterdam
+31 [0]20 320 67 68
info@tegenboschvanvreden.com
W
Z
West Den Haag
Marie-José Sondeijker
Groenewegje 136, 2515 LR Den Haag
+31 70 392 5359
info@westdenhaag.nl
ZAK | BRANICKA
Asia Zak Persons & Monika Branicka
& Sofia Hauser
Lindenstr. 35, D-10969 Berlin
+49 30 611 07375
mail@zak-branicka.com
Gallery Taik Persons
Timothy Persons & Maya Byskov
Lindenstraße 34, 10969 Berlin
+49 30 28883370
berlin@gallerytaikpersons.com
P
ProjecteSD
Silvia Dauder & Maria Pose
Passatge de Mercader, 8, 08008 Barcelona
+34 934 88 13 60
info@projectesd.com
V
Vitamin Creative Space
Zhan Wei & Yan Chuan
Room301, 29Hao, Heng Yi Jie, Chi Gang
Xi Lu, Guangzhou, 510300
0086-20-84296760
mail@vitamincreativespace.com

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Running in parallel to the Fair, LOOP Studies
hosts an extensive program of discussions,
talks and private meetings, aimed at creating
synergy between international art professionals.
The forum’s main goal is thus to
provide a space to critically understand and
collectively debate the ever-evolving Video
Art practices, by merging experiences and
coming to envision new methodologies.
Having already explored the modalities of
production, collaborative creation and diffusion
of Video Art, this year’s edition of the
Panels, “Beyond Objects? A Debate on Engaged
Attitudes towards Collecting”, will
then draw attention to collecting strategies,
in this way coming full circle and providing a
comprehensive insight into the full spectrum
of the Moving Image art ecosystem.
Indeed, while the global art scene constantly
reshapes, the influence of collectors is reinforced
as a result of their purchasing power,
social skills and ability to detect artists that
will later be recognized. Contextually, worldly
positions coexist along unconventional,
passionate and daring minds, for whom the
practice of collecting respectively corresponds
to mere speculative strategies or to
directed philanthropic efforts. For the latter
category, collecting does offer opportunities
for economic investments, but it also entails
the possibility for enriched and new ways of
approaching life’s experiences.
While attempting to navigate the skepticism
caused by a market that very often reduces
artworks to collectibles stripped bare of any
cultural value, this discussion will then aim to
outline the profile of the ‘engaged, involved
and committed collector’. Specific attention
will be drawn to Moving Image practices
that, by enjoying a temporal and ephemeral
quality, are naturally subjected to specific,
and yet sometimes controversial norms. The
debate will accordingly explore the consistently
wide constellation of collecting
attitudes, by privileging those that, to different
extents, lead to the production of
contents; the processes related with the
evolution of those same practices in both
the institutional and the private realm; the
practical issues inherent to the very nature
of Films and Videos, as well as the specificity
of their market and legal regulations.
The three-day program of the Professional
meetings will then expand the discussion,
through a series of closed door conversations,
articulated around LOOP 2015’s
driving themes: ‘What about Collecting
Video Art?’ and ‘Beyond the Image: Sound’.
The specificities of Sound Art will also be
discussed.
LOOP PANELS
‘BEYOND OBJECTS? A
DEBATE ON ENGAGED
ATTITUDES TOWARDS
COLLECTING’
WEDNESDAY 3
18.30h | OPENING SESSION – Cercle del
Liceu
‘VÍDEO-RÉGIMEN. Coleccionistas en la era
audiovisual’: Exhibition Opening and
conversation
This exhibition puts together a series of
videos by international artists, from private
collections in Spain. The idea for the project
stem from the stringent necessity to put into
value the work of Spanish collectors committed
to the moving image, as well as from
the need to investigate its repercussion on
contemporary culture. Indeed, the audiovisual
nature of Film and Video implies new
modalities of production, distribution and
preservation, not only influencing the medium’s
status as a collectible, but also giving
birth to a novel typology of spectators and,
therefore, to new forms of reception.
Curator Carles Guerra in conversation with
Spanish collector Emilio Pi
THURSDAY 4
10.00h – 11.30h | PANEL DISCUSSION
‘A BRIGHT FUTURE? The Engaged, Involved
and Committed Collector’
When thinking about collecting strategies,
two very different profiles can readily be
outlined for collectors: that of ‘Prosumers’
and that of ‘Consumers’. Although very often
sharing an innate inclination for investment,
or indicating possibly overlapping approaches.
Prosumers tend to be devoted patrons
of the arts, generally responding to specific
political, historical or social agendas, while
Consumers are more likely driven by commercial
purposes and thus by the trends
dictated by the market. By paying specific
attention to the collecting of Video Art, the
aim of this session will be to explore the
existence and agency of the Post-Objective/
engaged collector, to assess his role in the
contemporary art market and to ultimately
outline the essential resolutions to support
and develop the medium’s recognition.
LOOP Committee Members Haro Cumbusyan,
Jean-Conrad and Isabelle Lemaître in
conversation with Alain Servais.
14.00h – 15.30h | ARTIST TALK
LUNCH WITH…Bernhard Leitner
When LOOP was founded in 2003, Video Art
did not have as wide an audience as today –
and interested collectors were only a few. A
parallel can then be drawn with Sound as an
art medium, that similarly slowly evolved to
become one of the most important feature in
contemporary art, since the dawning of the
Twentieth Century.

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As an architect and pioneer of sound art,
Bernhard Leitner (1938) explores the fundamental
relationship between the sound, the
space and the human body. His work focuses
on spatial creativity, and sound is deployed
as the very medium to mold and structure
the space. This conversation aims to disclose
the artist’s oeuvre, through a studied
selection of significant works made by the
end of 1960s.
Artist Bernhard Leitner in conversation with
curator Anne-Laure Chamboissier (The conversation
is part of the curatorial program
‘Beyond the Sound’, by Chamboissier).
18.00h – 19.30h | PANEL DISCUSSION
ZOOMING IN: From Private Collecting to
Public Engagement
What is that leads collectors to commit to
curatorial processes, apart from the will to
pay justice to artists beyond the market? Indeed,
whether in the form of foundations or
creative projects, very often collections promote
specific agendas by being opened to
public enjoyment. In these cases, they evolve
into vital platforms, aimed at exploring the
social and at fostering the participation of
either local and international communities.
By encompassing different and international
realities, this conversation will thus address
the shift from, or the exchange between, private
acquisition to public commitment.
Aaron Cezar (Director, Delfina Foundation),
Miguel Rios (Collector and Director, Leal
Rios Foundation), and Sandra Terdjman
(Director, Council; Program Advisor, Kadist
Foundation) in conversation with Gabriela
Galcerán (Collector and Director, Talking
Galleries)
FRIDAY 5
10.00h – 12.00h | ONE-TO-ONE CONVER-
SATIONS. COLLECTING LIVE: In Conversation
with the Players
By gathering together international collectors
to participate into one-to-one conversations,
this session will result into a concise
roundup on different collecting strategies.
The debates will particularly address the
implications related to the inherent nature of
Moving Image art and its market. The artist
perspective will also be addressed.
Collector Agah Ugur (CEO, Borusan Contemporary)
in conversation with Haro Cumbusyan
Collector Han Nefkens (Arts Patron, Han
Nefkens Foundation and Art Aids Foundation)
in conversation with curator Carles
Guerra Collectors Angel and Clara Nieto
in conversation with curator Montse Badia
(Director, Cal Cego Collection)
The Artist Take
Academy-Award® winning artist Pierre Bismuth
in conversation with curator Bartomeu
Marí (Director, MACBA)
14.00h – 15.30h | ARTIST TALK
LUNCH WITH…Pierre Bismuth
At the end of the 1970s, American artist Ed
Rusha conceived Rocky II, a fake rock named
after Sylvester Stallone’s memorable performance,
and later abandoned someplace in
the Mohava Desert. With the help of a private
detective and two Hollywood screenwriters,
artist Pierre Bismuth embarked on a
journey to find it. “What is an art piece that
nobody can see?” he argues. “But more than
that, what is an art piece that nobody knows
about? (…) I understand that an artist can
do an invisible piece, but a piece that no one
knows is kind of weird. It’s beyond any kind
of conceptual statement you can have.” This
decade long investigation has finally come to
life in ‘Where is Rocky II?’, a wit documentary
blurring together reality, fiction and the cinematic.
This session will constitute an exclusive
opportunity to hear the artist illustrate
its making and the possibility for a specific
insight into film production.
16.00h – 18.00h | KEYNOTE LECTURES
QUESTIONING SOPHISTICATION
“Editioning the Moving Image: Old Problems
and New Possibilities” – by Erika
Balsom (Theorist, Art Critic and Lecturer at
King’s College, London)
The sale of artists’ film and video as limited
editions on the art market is an increasingly
dominant form of distribution, displacing
both the rental model of the co-ops and the
sale of uneditioned works. The widespread
espousal of editioning represents a reining in
of the inherent reproducibility of the moving
image and its wholesale recuperation into
the symbolic economy it once compromised,
that of the unique work of art. The rise of this
model has provoked considerable controversy.
For some, its artificial scarcity goes
against the inherent qualities of the medium
and betrays promises of access and democratization;
for others, it represents the only
way film and video will be taken seriously
by museums and the most viable economic
model to support the livelihood of artists.
Influenced by the practices of late nineteenth-century
printmaking, the idea of
selling artists’ films as limited editions arises
in the early 1930s but remains unrealized at
that time. Throughout most of the twentieth
century, attempts to edition film and
video consistently failed to achieve market
viability. This changes in the 1990s, when a
number of factors align to make such a model
of distribution not only possible, but increasingly
preferred. This talk will unfold this
history, proposing an account of the reasons
behind the increasing adoption of the limited
edition over the past twenty years, and will
explore what implications this development
has for the distribution and acquisition of
film and video today.
“Beyond Collecting: The Construction of
Artistic Legacies” - by Henry Lydiate (Art
Lawyer and Consultant, The Henry Lydiate
Partnership, Lecturer)
“Let us consider two important factors,
the two poles of the creation of art: the artist
on the one hand, and on the other the
spectator who later becomes the posterity.”
Marcel Duchamp 1957.
Duchamp planned all his artwork: he made
copious notes, sketches, models, maquettes,
and trial assemblages; he carefully archived
planning material, not only for his own reference
but also for what he called “the posterity”.
He also meticulously and assiduously
planned for art after death: throughout the
last twenty years of his life he worked secretly
on conceiving, sourcing and fabricating
materials for, and trialing assembly of, an
installation work.
Duchamp died in 1968 and, following his
directions and instructions, his named trustees
assembled and exhibited the work at its
intended location in 1969. The Philadelphia
Museum of Art continues to own and show
this now iconic posthumous work, Étant
donnés, 1946-66, through which Duchamp
posthumously delivers the completion of his
artistic explorations.
Most artists give little if any thought to
posterity. The job of artists’ future estate executors
and administrators could be greatly
facilitated by living artists embracing within
their practices, from the outset of their
careers, straightforward and undemanding
planning measures.
This session explores key issues involved in
and arising from the death of an artist, which
practicing artists - regardless of their artistic
skill, market or critical value - may find stimulating
and useful during their working lives:
contracts for sale and for lending, including the
licensing of public showings of their works.
© Henry Lydiate 2015

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SATURDAY 6
12.00 – 13.30h | PANEL DISCUSSION
+ BOOK LAUNCH
An Aperitivo with the ALT[av] group
As a network of artists, curators, thinkers
and cultural agents, the ALT[av] - Alternative
Audiovisual Network from Brazil, proposes
a discussion on new paradigms towards
collecting, distributing and exhibiting, as well
as a reflection on the market for Video and
Moving Image practices at large. The talk will
not only highlight cases of success, but it
will also encompass experiences that bring
new perspectives over industrial and formal
standards (as, for instance, the museological).
In bringing about an exhaustive analysis
of the features constituting so unique mediums
as Film and Video, it will span both the
contextual role of private collections in the
Multimedia Age, the notions of intellectual
property, proprietary platforms and network
services, as well as the online and offline status
of a video, before being stored (i.e., the
possible stages of a multimedia piece’s life).
PROFESSIONAL
MEETINGS
4-5-6 JUNE, MEDIA
LOUNGE
Among the meeting leaders, Anne-Laure
Chamboissier (Independent curator), Enric
Enric (Lawyer specialising in intellectual
property rights), Menene Gras Balaguer
(Director, Culture and Exhibitions, Casa
Asia), Carles Guerra (Curator and art critic),
Vanina Hofman (Director, Taxonomedia),
Lluís Nacenta (Curator), Rachel Rits-Volloch
(Director, Momentum), Pau Waelder
Laso (Curator and Art critic), Gabriela Galcerán
(Director of Talkinggalleries)
Jordi Balló (Director, Máster en
Documental. de Creación, UPF).

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Oficial Sponsors
LOOP Barcelona 2015
Directors: Emilio Álvarez & Carlos Durán
Collaborating Institutions
LOOP Fair:
Anna Penalva
Pauline Lévêque
Maria M. Vila
Miquel Matas Ferrer
Carmen Corbera
Silvia Gutiérrez Kirchner
Collaborating Companies
PRODUCTION:
Isa Casanellas
Álvaro Bartolomé
Mercedes Durán
Alba Valverde
Onfocus-Technical Production
Collaborating Hotels
Media Partners
Online Media Partner
Other Collaborators
LOOP Festival:
Conrado Uribe
Adriana Valádez
Summer Secrest
LOOP Studies:
Carolina Ciuti
Victoria Sacco
Montserrat Vicent Espejo
Communication:
Núria Gurina
Eduardo Carrera
David Martrat
Marta Peret
Press:
Beatriz Escudero & Ainhoa Pernaute
Design:
Paula Rufi Domingo
Edited by Anna Penalva & Maria M. Vila; designed by Paula Rufi Domingo
Produced
by
Screen Projects
Screen Projects is a cultural agency specialised in moving image in
contemporary art, which develops projects of different formats and
locations through the collaboration with key players.
SCREEN PROJECTS is solely responsible for the content ownership SCREEN PROJECTS, not being in any way responsible for any
content provided to SCREEN PROJECTS by any third party -whether author, curator, producer, or programmer- who will be
responsible for acquiring all necessary rights for the dissemination of such content in LOOP BARCELONA 2015.
LOOP Barcelona is done through the complicity, support, creativity... and patience of all our
collaborators, without which this project would not be possible. To all of them:
GRÀCIES! ;)

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The projects included in LOOP Fair 2015
have been carefully selected by the four
engaged collectors that conform the LOOP
Committee: chaired by the enthusiastic
Jean-Conrad Lemaître, and formed by
Isabelle Lemaître, Marc & Josée Gensollen,
Renee Drake and Haro Cumbusyan. To
them, we would like to give a special thank
you for their generous contribution and
advice in putting together the selection for
this 13th edition of LOOP Fair.