Baby-sitter, barman, clothes and handkrafts salesman, videotapes program clerk, assistant director, editor, mime, auction sales assistant, journalist, artist…
http://jgperiot.free.fr

The artist and filmmaker Corinna Schnitt (1964, Duisburg) is active on the German and international art scene. After training as a wood-carver, she studied at the Hochschule für Gestaltung in Offenbach and at the Kunstakademie of Düsseldorf. For many years now she has made use of film in her work. She created a series of short experimental films in which daily phenomena are pushed to the limit like an endless spiral, witness 'Raus aus seinen Kleidern'. Besides numerous video installations featured in museums and galleries, Schnitt shows her work in film festivals and on German television.

Cultural Quarter presents the relationships of observation in the city to its citizens, whilst begging ethical questions about surveillance, the gaze and human behaviour. It exposes some of the gaps between developers' dreams and citizens' perceptions of what cultural space means and how to use it.
The film casts a precise and pertinent eye on a daily urban reality in an unspecified British suburb. Presenting a fine balance between reality and its representation, the film's subtly edited movements shift its perspective back and forth between reportage and a form of social voyeurism. The work questions how ideas about "them and us", social coherence, family and community ethics are constructed.

Mike Stubbs' internationally commissioned art-work encompasses film, video, new media installation, performance and curating. Recent productions include a solo exhibition at BALTIC, Gateshead (UK). Titled City Strapline Industries, the exhibition was developed through a residency hosted by the city marketing agency, and explored the complex social issues surrounding regeneration of a city. The exhibition featured new video works (including Cultural Quarter), photography, a web site, found objects and text. In 2003, Stubbs presented Jump Jet, a large scale outdoor projection and twin screen gallery installation made on location at RAF Wittering as part of a residency at Peterborough Museum and Art Gallery. Speechless, an outdoor projection and streaming media website was commissioned by Hull Time Based Arts in 2003, and included Mother Nature, a short video shown at Cambridge Film Festival and Werklietz Biennale [also featured on the Forma website].

After his education at the Art Academy St. Joost in Breda, audio-visual design, (1997-2002) he's been especially working on short, experimental animation films and video-installations (2002-2007). Those films are mainly collages of found-footage video and photographical material or samples, cut up, combined and edited with the computer and different types of animation software. The films are characterized by a complex combined action of loops, repetitions and rhythm, by which sound plays an important role. He lives and works in Rotterdam (The Netherlands).

Frank Theys (°1963, Brussels) studied Philosophy and Fine Arts in Brussels. He works as a video, documentary and theater maker. In his work he combines an interest for drama and technology. He lives and works in Brussels and Amsterdam.
http://www.frank-theys.net

Walking from my computer to the window and back without a head.

The movement of information across the worldwide web is invisible. Bits and bytes slip soundlessly through slender cables, to arrive, in no more than a split second, at the computer for which they are meant, where they can be used again at the click of a mouse. In contrast, the movement of oil is a messy and ponderous affair, which makes huge claims on the landscape and built-up areas. Bulky, rusty pipes traverse the fields, while trucks and tankers toil slowly over roads and oceans, accompanied by the threat of pollution and explosion. Both processes have drastically changed the world, and continue to keep economic and political relations on the alert. With its black-and-white collage-like images, 'Warning Petroleum Pipeline' is reminiscent of art that, in the early twentieth century, was intended to depict the destructive power of the emerging heavy industry.

, remember
That I am the cause of your journey.
Don’t lose me on that way.

In 'Lord of the Flies', William Golding describes a group of children being washed ashore on a desert island, where they design their own social structure as if it were a natural process. It is remarkable to witness how quickly the theoretical ideal formulated by the children becomes blemished. Their society degenerates into a very cruel, unjust and violent one. As introduction to Living a beautiful life, Schnitt shows a fragment from Der Katzenprinz, a Czech-East-German film made in 1978. Here, as in a vision, we see the reverse; cheerful, naked children living in a paradise where even wild animals are free from cruelty. The fragment is rather over the top, and, due also to the imagery, recognizable as an exponent of 1970s ideas on freedom and happiness. Which in turn confronts us with the fact that, by now, these ideas have become rather tainted and have been superseded by sense of reality. Although? Has anything taken their place?

A video recorded by a security camera.