Elisabeth Molin

I’m born in Copenhagen, Denmark and moved to London in 2006 to study at Chelsea College of Art. I got interested in art through films and the way in which they can resemble the mind and mental states. Through film I got interested in these metaphorical moments and fragments in film which represents something about the whole, a mood, which you can’t describe but can relate to. I did my Masters at RCA from 2011-2013 and since then I have been traveling doing residencies and site specific projects in Athens, Rome, Copenhagen, Cologne and Los Angeles which has been exciting and productive for my work.

I’m influences by the everyday mostly, the paradoxes and surreal interstices I find around me, as well as dream life and the subconscious. Some of the artists and writers that has influences me the most are Laurie Anderson, Siri Husvedt, Pierre Huyghe and Jeremy Deller.

It depends what I’m working on. I like to create small bubbles for myself which defeat a bit day and night and act more like pockets of time for particular works. If I’m for instance writing I will devote the morning to writing and the afternoon to editing, if I’m taking pictures or go filming I will record in the day or night and edit in the night or following morning. Although I’m devoting different work to different days it often happens that the pockets collide and film become text or story become image. The notion of being in transit, in between spaces, between purpose, have a relevance. It symbolizes to me, moments where different worlds meet and transform each other mutually.

At the moment I’m in New York doing a residency. I’m spending the time filming, writing and taking photo’s in the city. The video I’m making ‘Sun 88 Realty’ is about elevators, escapism and about how value is created. It combines the personal experience of living in the city with ideas of comfort and post capitalist life.

Andrew Black

I was born in 1990 in the North of England and moved to Glasgow in 2009.

Pornography and conversations with friends.

When someone asks me to, or when it can be supported. Then I do what I can with the time and resources available, usually in-between other commitments.

A film made with the support of Market Gallery as part of their Studio Projects residency, recorded partly underwater. Starting with Pamela Colman Smith’s drawing for the Moon tarot card, it includes a village that was flooded during the construction of Thruscross Reservoir, close to where I grew up, and a moment of gay sex in a ruined village on an isolated peninsula on Scotland’s West coast.

Ibai Hernandorena

I currently live and work in Paris, however I still have a strong connection with Basque Country where I’m from. I studied Fine Art at Cergy Art School, Paris. Since graduating, and on the side of my art practice, I’ve always worked on set-design for film shoots. Art informs the design of a set and vice versa. Art and cinema are in a constant relationship.

I’m influenced by many artists such as Raymond Hains, Bela Tarr, Le Corbusier, Robert Smithson, Chantal Akerman, Laure Prouvost, Virginie Despentes, Don Delillo, W. G. Sebald, Enrique Vila-Matas, and many more.

It is often triggered by a place I visit. It can be a disused motor track in Catalunya, the ruin of a housing estate that was never finished to be constructed in the north of Madrid, an old and empty scientific observatory on the French Riviera, the history of a wasteland in Paris suburbs, the sound space of a film.

Right now I’m working on a sculpture commissioned by the Nouveaux Commanditaires (New Patrons) and Foundation of France. In 2018, it will be installed permanently in a borough of Bordeaux, France.

Eden Mitsenmacher

I was born in the USA grew up in Israel after graduating highschool I moved to London where I did my Bachelors in Fine Art at Goldsmiths College University of London. I later went on to do my Masters at Dutch Art Institute and am currently residing in Rotterdam Netherlands.

My artistic influences do not normally derive directly from the art world itself. I am currently really influenced by youtube, manga, fake news, fair wages, and romcoms.

I am not really sure how I start making a new work as I am constantly working. Sometimes the deadlines help me finish up a work but I always have several projects going on at once.

At the moment I am working on new projects with Rebecca Tritschler for our Youtube channel we feel u. Make sure you sub.

Ivo Aichenbaum

My background is quite diverse. When I was finishing high school in Patagonia I had a Black Metal band, some weird theatre experiences based on Antropologic theatre, Grotowsky, and Artaud practices, and also did a Social Sciences bachelor oriented to cultural heritage studies. Then I went to film university that was based on the Architecture faculty, so it wasn’t really a typical film school, it was open to a wider conception of Design of image and sound. There I became suspiciously involved with the contemporary art scene and started making some video, photographs, and installations for self-managed art spaces and museums. But it wasn’t until I started getting to know the so-called post-dramatic theatre that I understood my voice, making first-person documentaries. Those films portray the process of politicization that my generation experienced since 2011.

There are plenty of artists that I admire and had influenced my work in different fields. An international selection includes Pier Paolo Pasolini, Rimini Protokoll, Chris Marker, Jonas Mekas, Ross McElwee, Chantal Ackermann, Jean Luc Godard, Barbara Hammer, Eduardo Coutinho, Glauber Rocha, Raymond Depardon, Hito Steyerl, Harun Farocky, Chris Krauss, and Orson Welles among others. I also want to mention Raymundo Gleyzer, Fabian Polosecky (Polo), and Sofia Medici from Argentina and actual collaborators like Liv Shulman and Gabriel Valansi.

I have some topics on which I am obsessed with; The present activation of personal and political archives, the relation between Art and Work, and the changing subjectivities from xx to xxi century, especially the overcoming from the post-communist trauma. Research and chance have the same relevance in the process. Sometimes is a conceptual issue, sometimes it has to do with my biography, sometimes is a portrait or collaboration, but mostly I make unsystematic collections images, travel notes, readings, texts, photographs, archives, and records of conversations that become a film essay at the editing room.

Since 2016 I’m working on a series of collaborative chapters of a serie titled International Journal. It´s a travelogue over countries that experienced socialist or communist revolutions. I already recorded six 27´min chapters trough Central America, Cuba, Israel, Eastern Europe and China. The ending chapter is taking place in Russia for the 100th anniversary of the Bolshevik revolution. So please support this new travelogue watching my films here at 6×6 project!

Gabrielle Le Bayon

My background was marked by cinema early on in my life. When I was in my teens, I often went to watch classics at the cinema with my father who was a documentary filmmaker. I remember watching Ray’s “Pather Panchali”, Rossellini’s “Païsa”, Minnelli’s “Meet Me in St Louis”, Mankiewicz’s “The Ghost and Mrs. Muir”. This experience has definitively encouraged me to make films. Although I started with a History degree in Paris, I went on studying Film and Photography in London, where I lived for over ten years. It is such a stimulating place, where the art world experiments with many forms. There I could explore interactions between cinema and artist’s films and videos.

In London, I met filmmakers William Raban, Ken McMullen and Stuart Croft, who were my teachers at the London College of Communication and at the Royal College of Art. For a few years after graduating, I had the opportunity to assist on the development of some of their film projects, often for research and later on production. There were inspiring experiences because I could have an insight on their ways of working. The stimulating relationship of these artists to their work has broaden my approach on filmmaking. But when it comes to my own projects, I look at literature.

A new film project, usually starts with reading. Then I detach myself from the original texts to write my own script in relation to the context that structures it. The writing process is a frame where I throw in my feelings of reality and where they translate as physical, natural moments of the characters. Then I have to visit the places where I envisage my film shoot. My method would be, to quote Jean-Marie Straub: “Walk in a place three times, and find the right topographic point. That way one may be able to catch the mystery of the place without destroying it.” This is the way I approach the writing of all my films. Topography is the trace of History, the trace of what we want to show, what we want to say. With photography, there isn’t a starting point. It’s a spontaneous on-going process that allows me to remain open to my immediate environment, without any program or strategy. In “An Attempt at Exhausting a Place in Paris”, Georges Perec writes in details what he observes on a square over the course of a day. It’s an inventory of his immediate environment, the traces of the real.

I’m writing my next film, which is the portrait of a woman writer during the Second World War. It combines real and fictional facts inspired from her essays, journals and letters, focusing on the politics of the female body during her time and in our current political context.

Winnie Herbstein

Born London, Live Glasgow.

Chagnon and Asch – The Ax Fight

Over a long period of time.

A video about manual trades and building sites.

Benjie Cluness

I grew up in Shetland, an archipelago that lies more than 100 miles north of mainland Scotland. I moved to Glasgow to study and have lived here for almost ten years. I studied Communication Design at the Glasgow School of Art, specialising in graphic design. Despite studying design my practice developed to be primarily film based and ‘arty’. During my time at GSA the Com Des course was very accommodating to my desire to produce art films rather than conventional graphic design.

I’m primarily influenced by popular culture. I tend to read quite a bit of theory, but in terms of what shapes the intention of my work and how it is delivered aesthetically I am more concerned with Hollywood blockbusters, music videos and The Simple Life. I’m interested in forms of entertainment and art that are accessible and populist and I am making a conscious move toward making work that doesn’t require the viewer to have a grounding in critical theory, but can still elicit an emotional response.

I usually have a number of projects on the go at any one time and the majority of these never come to fruition. This is usually due to time and/or financial constrictions, my ambitions are grand but my pockets are empty.

Studying design rather than fine art taught me how to navigate deadlines and produce work quickly. I tend to spend most of my time ruminating on an idea and then – once the pressure to complete something builds – create the work quickly.

At the moment I’m making clothes. I’m still unsure where this fits in my practice, there’s a conceptual slant to the pieces I’m producing but I’m also keen to create garments that are desirable and marketable too.

I’m also working on a collaborative project with 3 artists that I greatly admire; Luca George, Gary Zhexi Zhang, and Racheal Crowther. We are each producing a video that will synchronise to form an immersive, nose-bleed of an installation.

Liv Schulman

I was born in Paris, being the daughter of two Argentinians on exile, but one year later we moved to Buenos Aires where I grew up. It gave me a french passport and an Argentine national feeling. I grew up in Buenos Aires until the economic crisis of 2001 when the country collapsed. That`s when my mother my sister and I moved to Israel. My dad stayed back home. Living in Israel didn’t suit me well, so I decided to go to Paris to study art. It took me three years to get accepted in the art academy of Cergy and meanwhile I worked as a cashier at the Goldemberg’s, a Jewish restaurant managed by an unorthodox man who didn’t quite know that war was over. The whole crew of the restaurant was either Polish, Tunisian, Algerian or Moroccan and those were the friends who taught me french because I didn’t know the language. After I started art school I completed my BA and later an MA with no honours, and I left for London in order to start an MFA in Art Writing at Goldsmiths which I never completed. Being left poor and unemployed I came back to Argentina in where I stayed for 4 years. In there many things happened all related to writing and teaching, I started an art writing cycle called Triple Frontera in which artists that wrote came to perform their experiments and that gave birth later on to an art writing newspaper called El Flasherito that is still going on. A few fanzines and publications came out also such as “Pobre Feo y Elegante and Algo mejor que nada” and then I started teaching first writing about art and second writing as art. I have always been very interested in seeing how writing and spoken word is a vehicle of desire.

All that is hybrid and stays in the intersection between disciplines, genres, television, theatre, writing, cinema, sculpture, cross genders etc, I like Ciudad de Cristal, Adventure Time, Robert Filiou, Miranda July, Kafka, Roberto Bolaño, Tim Etchens, Shana Moulton, Martin Rejtman, Marcelo Galindo, Nathaniel Mellors, Nestor Perlongher, Witold Gombrowitz, Phillip K Dick, Guy de Cointet, Cesar Aira, Pablo Katchakjian there are so many because practically I like things as long as fantasy intervenes as a political tool of the present into a form of documentary setting.

I am very slow at starting new work because I often work in series, episodes, tv shows so it is very rare that something independently pops out and starts growing with out having its own background as an institution. So what happens to me is that in a unorthodox way I have to crate a form of institution for each work that I do, and that institution would start working as a machine that produces connections and that eventually produces pieces of work inside an ongoing magma of thinking. But even that has a starting point and that point is always writing, writing a dialogue, between one and another self that might just be that strange person inside of outselfs. That`s when an idea of subjective paranoia starts acting out and creates new connections of meaning that unravel until it takes the usual shape of false theory and depressive strangement.

A series of small episodes called The Obstruction in which every time a man tries to say something he sees himself confronted to the genital parts of a public sculpture which creates an idea of obstruction in him he cannot overcome and little by little starts feeling worse and worse while he tries to develop his ideas on economy, offer and demand, pharmaceutical industry and rebellions in airports.