![]() ![]() It was initially called the “International Video Week” and was one of the first events of its kind in Europe.įrom the outset, the Biennale has been a meeting ground for curators, artists, and the general public, as well as a space for reflecting on the questions posed by artist-made films and videos. The Biennale de l’Image en Mouvement was founded by André Iten in 1985. These films and videos, like all the installations in the show, have been commissioned and produced by the Biennale together, they form a remarkable series of new works that will be premiering at the Centre d’Art Contemporain Genève and in other venues around Geneva during the opening days, from November 8th to November 10th, 2018. Kienitz Wilkins, Tobias Madison, Florent Meng, Bahar Noorizadeh, Eduardo Williams (with Mariano Blatt), and Leslie Thornton & James Richards. Nine films and single-channel videos made for theatrical screening have been commissioned from Sarah Abu Abdallah, Neïl Beloufa, Irene Dionisio, James N. Musician Elysia Crampton will present a new live concert, and artist Pan Daijing will premiere a performance piece. Ligia Lewis will offer a preview of her new choreography-the final part of a trilogy-co-produced by the Biennale with the HAU Hebbel am Ufer theater in Berlin. Meanwhile, Andreas Angelidakis has been entrusted with tying all of these installations together into a single, cohesive project. The artists featured in the exhibition are Meriem Bennani, Lawrence Abu Hamdan, Korakrit Arunanondchai & Alex Gvojic, Ian Cheng, Tamara Henderson, Kahlil Joseph, and Fatima Al Qadiri & Khalid al Gharaballi, each with a work commissioned and produced by the Biennale. ![]() The future could start to blur into some vague, digital present, while primeval sounds bear echoes of a past that struggles on, refusing to fade away.Įmphasizing the innovative potential of new languages connected to the moving image, the 2018 Biennale forges an intense dialogue with a generation of artists from a wide range of countries and backgrounds. As visitors are sucked into these universes, they may begin to lose their grip on reality and their sense of time. Inevitably, this edition of the Biennale explores the status of the moving image and its exhibition format, building on the idea that the long era of projection on screens is coming to an end and will give way to environments that reverberate with the radiant echo of their implosion.įor this edition, an immersive exhibition has been dreamt up, presenting a series of contiguous, differing worlds that alternate within a densely packed space that is a unified whole, yet teeming with eclectic forms. The concept for this show, which covers more than 2500 square meters, revolves around a fundamental principle: that moving images now dwell outside the screen, lingering on in a fascinating kaleidoscope where vision can be shaped by sound as much as by the image itself, or even more so. While the project’s strategic focus remains on production, the 2018 edition takes a new approach: alongside an extraordinary series of films, performances, and concerts, it presents an exhibition conceived as a series of individual environments. The Biennale de l’Image en Mouvement 2018 is curated by Andrea Lissoni, Senior Curator, International Art (Film) at Tate Modern, and Andrea Bellini, Director of the Centre d’Art Contemporain Genève. The 2018 edition: The Sound of Screens Imploding The Biennale de l’Image en Mouvement in Geneva has therefore become a full-fledged production platform, with each edition presenting only new works. The latter engage in a dialogue with the curators throughout the production process of a new work, financed or co-financed by the Centre and premiering in Geneva. A unique hybrid event-at the crossroads of a film festival, a plethora of solo exhibitions, performances and a platform for research and production-the BIM brings together visual artists, performers, musicians and filmmakers. The Biennale de l’Image en Mouvement was founded in 1985 in Geneva and was reinvented in 2014 as a platform for producing new works. 20 new works commissioned and produced by the Centre d’Art Contemporain Genève ![]()
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