Du vide sidéral naît l’énergie vitale – le Ki 기 (氣). Lignes et courbes se déploient et incarnent les éléments classiques composant la matière de l’univers : eau, air, feu, terre. De ces éléments jaillissent les corps d’athlètes en mouvement : ceux des lutteurs de ssireum (lutte coréenne), de taekwondo et de son ancêtre le taekkyeon, puis de tir à l’arc.

Le festival OVNi de Nice accueille l’œuvre de projection immersive Mouvement, suite à son passage au Centre Culturel Coréen de Paris durant l’été 2024. Son installation a été rendue possible à l’occasion de l’exposition « NOLI, jeux coréens » grâce à la collaboration du Centre avec la Korean Foundation for International Cultural Exchange (KOFICE).
L’installation du Centre Culturel Coréen, sur 4 faces à l’origine, a été réadaptée à son nouveau lieu d’accueil à l’occasion du festival OVNI.

In the film-essay Sleep with Pointing, Tõnis Jürgens approaches sleep as an interval – similar to the black border between two images or film frames.

In cinematography, the illusion of movement is created by an optical illusion: a sub-visible flicker of light and dark, where several static frames are juxtaposed, generating a succession of fluid images in the viewer’s mind. Like a sequence of images on film, Jürgens envisions our waking moments as framed by the dark, undefined void of sleep.

The recent popularization of sleep-tracking devices has helped to normalize surveillance capitalism and the datification of sleep. Thanks to wearable smart devices, fitness wristbands, sleep monitors, software apps and so on, we’re closer than ever to something once unattainable: watching ourselves sleep in real time.

However, the sleep interval cannot be entirely captured by digital means. Sleep holds immense potential, where the sleeper can disappear. In this film-essay, the artist explores this sleep interval as a means of (re)defining oneself. This interval or void lies between two frames of film, two bits of data, or two moments of wakefulness.

Produced by Le Fresnoy, Studio national des arts contemporains

Embodying the concept of beauty and perfection, EMI is an adored virtual influencer
until the day doubt creeps in.
What if the trend was to look less and less like a human being?
CGI, AI image generators, a program created to automate video processing, but also
traditional techniques such as live shooting or FX make-up, EMI explores different
methods in an atmosphere of viral vlogs and colorful selfies.
EMI is a hybrid project that includes a short film and a web page with NFTs.
https://emi.nevergone.cloud/

The emi.nevergone.cloud webpage is an outgrowth of the EMI film, extending the
narrative into another space and time. People can own a part of the influencer’s physical
body, thereby becoming the guardian of one of her organs. Each organ comes with a
short description that follows the codes of an autopsy. The NFT edition fully embraces
the consumerist codes of influencers.
Behind its seductive form, the EMI project explores the increasing capitalization of the
body, online, inviting us somewhere on the edge of the beautiful and the repulsive, the
real and the fictitious, the living and the dead.

Born in France in 1995 and based in Brussels, Ethel Lilienfeld’s work examines the growing
impact of the virtual body on reality and everyday life. She creates uncanny images that
exacerbate the tension between fantasy and madness. Ethel Lilienfeld’s work explores issues of
social norms, aesthetic standards and concepts of identity and gender. The body plays an
important role in most of the artist’s proposals. By combining technology with traditional
filmmaking techniques, Ethel crafts singular visual environments. Although she uses
photography, video installation and film, her works are nonetheless related to sculpture, and the
relationship with space is crucial in her oeuvre. In her videos, Ethel Lilienfeld works with actors,
sets and objects, sometimes drawing on fiction, sometimes on reality.
After completing a master’s degree in visual arts at La Cambre (Brussels) in 2020, Ethel
Lilienfeld obtained a post-graduate degree at Le Fresnoy – Studio national des arts
contemporains in 2023. She has won a number of awards: Villa Albertine Grant / Étant Donnés
Contemporary Art (2023); PrixFintroPrijs / Audience award and second jury prize (BE, 2023);
Production grant of the Wallonia-Brussels Federation (BE, 2022); Audience award, Brussels
Videonline Festival #2 at LA CENTRALE (BE, 2021); Cocof Award (French Community Commission)
at Médiatine (BE, 2021); Prix des Amis de La Cambre (BE, 2020).

Ethel’s work has been presented at such venues as the FotoFest Biennial (Houston, US); MEET –
Digital Culture Centre (Milan, IT); Alan Kadıköy _ Noise Media Art (Istanbul, TR); IMAL Centre for
digital cultures and technology (Brussels, BE); Opéra de Lille (Lille, FR); Les Safra’Numériques
(Amiens, FR); Le Cube (Garges, FR); Centre Wallonie-Bruxelles (Paris, FR); KANAL – Centre
Pompidou (Brussels, BE); Z33 Museum (Hasselt, BE); La CENTRALE pour l’art contemporain
(Brussels, BE); etc.

The film, Los plateados (“the silvered ones”) was born in the context of the Central American migrant caravans crossing Mexico to the United States in 2018, one of whose slogans was “We are not criminals, we are transnational workers”.

 La Bestia (“the beast”) is a freight train that crosses Mexico from the southern border with Guatemala to the northern border. It is also used as a means of transport by migrants wishing to reach the US border. Los Plateados were a group of outlaws in the 19th century, famous for their elegant costumes, complete with lace and silver spurs.

In Mexico City, a group of young people get together to juggle in between stop lights and earn a few coins. This film explores visible and invisible borders and everyday rituals.

Martín Molina Gola est né à Mexico le 5 mai 1988. Après des études de cinéma à L’Université Nationale Autonome du Méxique il a photographié et réalisé plusieurs court-métrages documentaires et expérimentales. Son travail a été montré dans de nombreux festivals dont la Berlinale, Oberhausen, EXiS ou FICUNAM parmi d’autres. En plus de son travail cinématographique il est aussi critique de cinéma et chercheur. Il collabore dans plusieurs revues mexicaines parmi lesquelles Nexos et Malatesta. En ce moment il réalise une thèse doctorale sur Fernand Deligny et la question de l’art à l’université de Paris 8. 

Mariya Nikiforova is a researcher, film programmer and filmmaker. After studying at Emerson College in Boston, she received a Master’s degree from the Sorbonne-Nouvelle University (Paris) in 2016, with a research project on artist-run photochemical film laboratories. She is currently pursuing a doctorate at Paris 8 University with a dissertation on the heritage of Soviet urbanism in cinema and artists’ film and video. She is a member of the artist-run laboratory Navire Argo (L’Abominable), where she has completed several short films. Since 2018, she is also the Collection Manager at Light Cone (Paris), an organization dedicated to the distribution of experimental cinema.

The installation “Lolodorf, une histoire coloniale”, is the crystallization of a “road
“path” that Africa must take: that of no longer relating itself through the
imaginary of others. It is a militant response to the monopolization of African history
of African history by the West.
It’s a visual essay on the enduring memory that the patriarchs of Lolodorf, a town in southern Cameroon
of their founding story. That of the NGOUE / BETI people, but also of the
German colonization and the French protectorate.
An immersive visual experience that bridges the gap between a past whose historicity eludes us
and a present of hybrid identities. This essay aims to place our narratives
in history. Stories that the West calls “tales and legends” because they are part of a cosmogony
of a cosmogony that eludes them. This is the case of the genesis of the NGOUE / BETI people that
in this video. Ethnic group that crossed the Sanaga River on the back of a giant snake
called “NGAN MEZE”. A founding story that’s one of many “that have been
subjected to colonialism and, as a result, distorted, even erased.”
A past told by the victims, by those who still carry in their memory the living pain
of forced labor, arbitrary confinement, the heroism of resistance fighters, the hypocrisy of
the hypocrisy of imposed religions…

Born in Bangangté (Cameroon), Yvon Ngassam lives and works in Douala.
Primarily known as a photographer, his artistic practice pushes the boundaries
limits of the photographic medium and encompasses video, sound and digital art,
from traditional techniques such as engraving and embroidery to the more
innovative NFT works.
His work addresses both historical and contemporary issues, such as
the legacy of slavery, colonial history and Cameroon’s cultural heritage,
urban transformation, displacement and migration. At the heart of these
themes is the notion of resilience, which Ngassam approaches through the
through the prism of dreams.

Levitate reflects on the presence of colonial monuments in public spaces through a speculative fiction approach.
The video records a performative action which took place in Rome where the Piazza del Popolo’s Flaminio obelisk was brought down from its standing position and made levitate. Suddenly, it could not visually dominate the square it was originally placed in, and it turned from a symbol of power into an inert object. As Kathryn Weir points out: “Rome features more obelisks than any other city, accumulated since 10 BCE when Emperor Augustus carried away the Flaminio obelisk to celebrate the conquest of Egypt; he started a mania that would extend from the Medicis to Mussolini. Archetypes of public monuments, obelisks testify to worlds ending and beginning.”
Levitate is part of a trilogy whose other two episodes are set in Paris, where the artist simulated the removal of the statue commemorating Marshal Joseph Gallieni from its pedestal in Place Vauban (Au Revoir – Joseph Gallieni [Farewell – Joseph Gallieni], 2021), and in Madrid, where he simulated the removal of the statue of Christopher Columbus and its transportation through the city on the back of a truck, causing the general perplexity and interest of passersby (Paseo, 2022). Both Gallieni and Columbus were responsible for the massacres of indigenous peoples.
Through play and poetry, Levitate calls for a conversation around what to do with hegemonic modalities of history-making and writing.

Through his sculptures, installations, films and interventions, Iván Argote explores our relationships
with others, with power structures and belief systems. He develops strategies based on tenderness
on tenderness, affection and humor, creating critical dynamics on prevailing historical
narratives. His interventions on monuments and his large-scale ephemeral and permanent public works
propose new symbolic and political uses of public space.
Argote studied graphic design, photography and new media at the Universidad Nacional de Colombia
in Bogotá and holds an MFA from the École nationale supérieure des beaux-arts (ENSBA) in Paris.
Iván Argote has been represented worldwide by galerie Perrotin since 2011, by Galería Vermelho in São
Paulo since 2012, and by Galería Albarrán Bourdais in Madrid and Menorca since 2019.