David Zingraff was born in France in 1989 and now lives between Epinal and Strasbourg. Genderqueer and pro-sex feminist; her work aims to question bodies, genders and sexualities. Since 2019, she is gradually leaving the more academic nude aside to take the turn of pornography. Breaking the preconceived ideas on alternative sexualities as well as on pornographic photography are the aims towards which it tends. His photo material consists of Polaroïd, argentique (Minolta) and digital. The instantaneousness of the Polaroid and film photography is the specificity they choosed. Even if the digital allows the manipulation of the image she uses it only little. Physical and cerebral, the picture gives a faithful rendering of the models. A plunge into an intimate close to voyeurism and reporting. In resonance with the fields of sociology, genderstudies and pornstudies, David Zingraff’s photos are deserted islands devoid of blinders on which everyone is highlighted in their singularity and otherness.
A platform where the visual arts meet the world of the night.
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I live and work in Cluj-Napoca, Romania. I use painting and photography continuously to fight the general image of the world, I see everything like a long series of fever dreams and infinite video episodes which never finish but you can’t go back, like in a game, I run the streets and interact with every brick, searching the essence underneath the image, I look in the depth of field and try to imagine the real space behind the pixelated image of some blocks with lightened windows in the night, which are meant to be the limits of our simulated city where we walk and leave traces in the same artificial snow, we are caught in this glass globe with some houses, with some trees, snowflakes will never stop. If you break the glass, you’ll find a wall, if you break the wall, you find a door and this is only the beginning.
An Organ from inner lines of the body (No Title) – 2020 Kyungju Kim
The first is interested in IMAGES and visual culture. Mainly taking apart found footage, such as stock photography/ photos from eBay auctions or abandoned Instagram profiles.
The second works with video installations and performances. Bodies from the point of view of apparatuses, unusual and transvisual views of the self and games against any kind of fixed unity.
Live painting with the Strasbourg artist Guillaume Kalt. Inspired by Egon Schiele, Viennese Actionism and ancient Greece, he executed his model in charcoal and acrylic, set to the rhythm of the cold and dark techno of Clarence Rise.
An opera about plants / An opera through plants
First step of plant opera – WWW (wood_wide_web) in Kalt, Strasbourg.This first despositive was a first prototype of the system that was installed in enclosed space with “captured” and “caged” plants, surrounded by their technological extensions. The spectator is invited in this laboratory to be part of the experiment.The organic and technological tangled so close together that in the shadow you almost don’t see where the root start and the wire continues. It is one whole new creature – improved plant being – transfloric creation, that can already speak with short sentences and we can definitely recognise the differences of their voices
An ephemeral, organic and digital installation by Kapitolina Tcvetkova, Jean David Mehri, Gabriel Jeanjean, and Arnaud Grandjean.
On the occasion of the launch of its seventh issue on the theme of Volcanoes, Cercle Magazine, in collaboration with KALT, offers a selection of works by artists in a volcanic exhibition.
Fantine Andrès (Strasbourg – installation/drawing)
Olivia Benveniste (Strasbourg – drawing)
Pierre Faedi (Strasbourg – sérigraphie/riso)
Adrià Fruitós & Léo Puel (Strasbourg – Illustration/animation)
Wendigo Games (Toulouse – video-games)
Simon Pagès (Strasbourg – photography/projection)
Emmanuelle Giora (Strasbourg – ceramics)
With Louka Butzbach, Paul Descamps, Thomas Simon & Elie Partouche.
“At nightfall, a great ceremony will take place and the oracles will announce the next publication of Art Major: The Chronicles of the Galactic Bretagnes. Passe en Profondeur will enter the field after having warmed the bench for a long time. During this great black mass of illustration, the two entities will also present their respective works.”
Mika Oki lives and works in Brussels. Her training in sculpture and electro-acoustic music leads her to explore the notions of intangible spaces and emotional landscapes through videos and sound installations. She uses abstract sound textures and kinetic mental images. Mika Oki is also a DJ and radio host, whose world tends to blur the line between techno and narrative, abstract sounds.
ORLANDO is an opera, an immersive experience combining conscious movement, video installation, architecture and live music performance. Julie Beauvais choreographs expansive slow movements with precursors. These Orlandos of today embody the post-binary new paradigm in Berlin, Kinshasa, Marfa, London, Varanasi, Belo Horizonte-Lisboa, Chandolin, Patagonia, North Sea. Horace Lundd films this ample, essential gesture at the blue hour, in a vast outdoors setting. The architects of EPFL design a set allowing the videos to be projected simultaneously, side by side, connecting the seven horizon lines into one. ORLANDO, itinerant opera, travels lightly by being rebuilt with local materials. Christophe Fellay creates an audio score that can be interpreted by any musician across the world. Local artists join the adventure and are invitedto play and perform with ORLANDO. ORLANDO connects artists, scientists and audiences at the heart of today’s social evolution towards collaborative organisations, beyond stereotypes, prejudice and stigmatisation, around the world.
Lou Morlier studied at the Hear, he presented 3 of his videos as part of the KINO series: Mermaids, Because Americans are Dreamers to, and Adieu Matin.
His videos are at the crossroads of documentary, Dadaist collage and glitch. They question the relationship between art and the digital, the perception of the self as the root of the relationship to the world, as well as the great mythologies that structure our societies.