The Art Department hosts VIDEO FOREVER 31
*LOVE STORIES* January 7, 2017, 7 pm

Soho House Istanbul – Evliya Çelebi Mahallesi Mesrutiyet Cad. No:56, 34430 Beyoglu/Istanbul, TURKEY



Véronique CAYE, Enna CHATON (chez Céleste BOURSIER-MOUGENOT), mounir FATMI, Shaun GLADWELL, Marie HENDRIKS, Sandra HOYN, Merve KAPTAN,

Just as love feeds and thrills us, the loves related in LOVE STORIES nourish and enliven us. “Love Stories” ventures into a realm of love without borders, without distinctions between the various forms of love. We no longer should assign love a quality, to inscribe it in hierarchies like the ones bequeathed by idealism tainted with moralist propaganda, which casts down carnal love and raises up agape. Instead, our guiding principle for LOVE STORIES has been and will be the amorous mechanism, the principle of attraction, the flux that engenders attachment, instilled by nature in all its creatures, conscious or not. Love is the love for the other – whoever the other is. Let him or her be and let us all enjoy the existence of the other with love and respect. The videos selected also shed a critical light on the never-ending loneliness and constant fights that love also conceals.

The Art Department is dedicated to providing resources for the production of inspiring art projects and organizing educational programs in order to expand awareness through contemporary art.

Please send an email to to attend the screening
Find out more about VIDEO FOREVER, here
And for more information please email

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Move on ! Les voeux de Paul Ardenne

Après cinq ans de travail comme conseiller culturel à Analix Forever, je suis heureux de souhaiter aux artistes, à Barbara Polla et à la galerie une excellente suite avec leur nouveau conseiller culturel – et poétique – Frank Smith.

La galerie Analix Forever me semble être un prototype de ce que vont devenir les galeries d’art, à savoir des lieux et des structures qui ne soient pas seulement des espaces marchands, mais aussi des espaces de rencontres entre artistes, entre artistes et collectionneurs, entre artistes et historiens de l’art, écrivains, critiques d’art, commissaires.

Analix Forever – et d’autres galeries – sont aussi des espaces de compensation où se réalise au quotidien une promotion des arts vivants qui n’est pas assez, ou plus, faite par les institutions.

Ce qui m’a le plus intéressé à Analix Forever c’est le refus de l’art patrimonial – non pas par refus du patrimoine, mais au nom du fait qu’il y a incontestablement depuis trente ans un manque à combler en matière de mise en vue de jeunes artistes internationaux.

Ce qui est très intéressant c’est le pied à l’étrier qui est mis par Analix Forever à des jeunes artistes qui n’ont jamais exposé – avec tous les risques qui vont avec, risque de mévente notamment et, plus problématique encore, le risque de dissolution de l’image de la galerie, qui ne peut pas s’accrocher à deux trois noms qui font signature et publicité.

Mais le point le plus important est, incontestablement, la capacité de cette structure à développer des PROJETS culturels, en lien avec la création contemporaine, mais qui portent au delà de celle ci – tel le projet qui fut consacré à l’Architecture émotionnelle – et, dans son cadre, pour modeste qu’il soit, de contribuer à l’expansion culturelle.

J’ai eu beaucoup de plaisir à participer au cycle de valorisation de l’art vidéo, VIDEO FOREVER (et de poursuivre d’ailleurs cette participation, selon les thèmes abordés), une initiative qui constitue une expérience unique en son genre de valorisation de la création vidéographique contemporaine, avec un très haut niveau d’exigence académique, toujours.

Alors, MOVE ON ! BEST WISHES pour 2017 et au-delà !



Paul et Barbara aux Photaumnales de Beauvais.


After five years as the Cultural Advisor at Analix Forever, I am pleased to wish the artists, Barbara Polla and the gallery an excellent continuation along with their new cultural and poetic advisor, Frank Smith.

For me, Analix Forever Gallery is a prototype of what will become art galleries: spaces and structures that are not merely trading spaces, but also spaces for encounters between artists, artists and collectors, artists and art historians, writers, art critics and curators.

Analix Forever – and other galleries – are also spaces dedicated to the promotion of living arts, thus to compensate for a mission institutions are too often neglecting nowadays.

What has interested me the most at Analix Forever is that it has always left aside “heritage art” – not because of a rejection of heritage itself, but because of the undeniable fact that over the last 30 years, there has been a lack of promotion of young international artists.

What is very interesting is that the gallery gives a leg up and a chance to young artists who have never made exhibitions before – with all the risks that come with such decisions: possible financial issues, and even more problematic, the risk of dissolving the gallery’s image, when it does not rely on two or three so-called “big names” for its signature and recognition.

But the most important point is undoubtedly the capacity of this structure to develop cultural PROJECTS linked to contemporary creation, going even further from it – like the project devoted to Emotional Architecture which contributed, even within its modest framework, to cultural expansion.

It was a great pleasure to take part in VIDEO FOREVER, a cycle of video screenings and I will continue to do so according to the selected themes. VIDEO FOREVER, in its own style, represents a unique experiment, an initiative aiming to promote the creation by contemporary video artists with a very high level of educational and academic support.

And now, MOVE ON! BEST WISHES for 2017 and beyond!


Publié dans Artists, News, Paul Ardenne | 1 commentaire

La trentième de VIDEO FOREVER ! Visions Océaniques dans le cadre de la Biennale d’Anglet

Publié dans Barbara Polla, conference | Laisser un commentaire


Et retrouvez VIDEO FOREVER *LOVE STORIES* le 7 Janvier à Istanbul.

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October 28, 6.30 pm
Bibliothèque municipale Quintaou, Anglet

VIDEO FOREVER is proud to present its 30th session – OCEANIC VISIONS – at the 6th Biennial of Anglet – “La Littorale” – curated by Paul Ardenne.

This anniversary session of VIDEO FOREVER will promote the way in which contemporary artists work with the ocean as an essential part of our life, as a frontier to cross, as a temple concealing memories and myths.

The session will open with Crossings by late Leila Alaoui, followed by Los Durmientes by Enrique Ramirez, both artists taking a twain approach, political and poetic. Frank Smith, writer for the catalog of the Biennial, and Kemal Tufan and Shaun Gladwell, two artists featured in the Biennial, illustrate the broad vision of “La Littorale” – from participative art to video and the novel cinetracts produced by Frank Smith: a reminiscence of Chris Marker.

The ocean is an infinite place to be looked at and explored and so does Janet Laurence (who was the Australian representative for the COP21/FIAC, Artists 4 Paris Climate 2015 Exhibition, with Deep Breathing: Resuscitation for the Reef shown at the National Museum of Natural History in Paris). The Lebanese artist couple Joana Hadjithomas & Khalil Joreige search in the ocean for light, life and beauty – Se souvenir de la lumière is the title of one of Joana Hadjithomas & Khalil Joreige’s video recently produced by and shown at Jeu de Paume. Regina José Galindo also explores the shallows of the ocean – though with sand bags, not people – while Pauline Julier lures us into her own dreams of remote and soon lost islands.

In contrast Rita Jokiranta and Mauro Herce Mira tell us about some of the crude realities of today’s oceans – pollution, and work aboard the Fair Lady – Mauro Herce Mira’s film, Dead Slow Ahead, is currently on view in Paris. Todd Mac Millan endlessly stares at the Ocean, Oto Hudec sings for it. And as a melancholic end Janet Biggs embarks us on an expedition in the high Arctic with Fade to White, referring to an editing technique used to evoke death or transcendence, the mournful voice of counter tenor John Kelly paralleling the vanishing Arctic landscape…

Videos by Leila Alaoui, Janet Biggs, Regina José Galindo, Shaun Gladwell, Joana Hadjithomas & Khalil Joreige, Oto Hudec, Pauline Julier, Rita Jokiranta, Janet Laurence, Todd Mac Millan, Mauro Herce Mira, Enrique Ramirez, Frank Smith, Kemal Tufan.

Presented and commented by Barbara Polla ; screening Raymundo ; recording Alexandre D’Huy.

Thanks to: the artists, the Anglet Biennial, Paul Ardenne, Fondation Leila Alaoui, Fabienne Leclerc & Galerie In Situ, Galerie Michel Rein, Ida Pisani & Promoteo Gallery and Abdul Rahman Katanani.

Publié dans Artists, Barbara Polla, News | Laisser un commentaire


Wednesday, June 15, 7pm

Topographie de l’art
15 rue de Thorigny, Paris 3ème

Getting out of frame, to create
Creativity supposes, fundamentally, getting out of one’s frame, even if the artworks that result from such outgoing gestures get rapidly “reframed”, both physically and socially, through their new frame, strictly speaking; through the space in which they are shown; by the society which approves—or not—their validity and value; and by the gaze of the public.

In the “framework” of this 29th session of VIDEO FOREVER, we explore that specific moment of the affirmation of a difference and the resulting energy that any novel standpoint generates.

But the exit, the “coming out of frame“ sooner or later leads to re-entry into another frame. The “coming out” has thus to be reiterated again and again in order to be constantly renewing creative energy. We call this constantly regenerating energy “uncanny energy”.

The selected videos address this momentum of difference, of risk, of revelation, of freedom, of daring, of regeneration, of fun and of strangeness: while getting off frame the unsettling strangeness of being—the uncanny—suddenly appears in plain sight. The videos presented all are somehow about getting “out of frame”, whether in a most literal form or in a symbolic one: out of the window, out of the washing machine, out of advertising, out of one’s social frame, out of political clichés, out of jail, out of home (uncanny refers to the German word un-heim-lich), and out of gender stereotypes.
They also explore the so-called “Uncanny Valley”, a hypothesis in the fields of aesthetics elaborated by the Japanese robotics professor Masahiro Mori, which holds that when creatures look and move almost, but not exactly, like natural beings, they create negative feelings in the viewers. The “valley” refers to the dip between familiar and strange, between recognized and rejected. Have a look at the uncanny valley…

Sortir du cadre, pour créer
La créativité suppose, fondamentalement, une sortie du cadre – même si l’œuvre d’art plastique qui en résulte est ensuite, le plus souvent, ré-encadrée, physiquement et socialement, de multiples manières : par son cadre, à proprement parler ; par l’espace dans lequel elle est montrée ; par la société qui entérine – ou non – sa validité et sa valeur ; par le regard du public.

Dans le « cadre » de cette 29ème session de VIDEO FOREVER, nous nous intéressons au moment même de la sortie du cadre, et ce qui en résulte : ce moment si particulier de l’affirmation d’une différence et de l’énergie que cette prise de position génère. Nous n’ignorons pas que toute sortie du cadre suppose l’entrée presque automatique dans un autre cadre – la « sortie » doit donc se reproduire constamment. « Sortir du cadre », encore et encore, est la base même de l’énergie créative : the uncanny energy. Les vidéos sélectionnées s’inscrivent dans une sortie du cadre, sous toutes ses formes, des plus littérales (Shannon Plumb, Patrick Dekeyser) aux plus insolites, aux plus « uncanny » (Evi Kalessis, Joanna Malinowska & C.T. Jasper, Pauline Horowitz et ses Toilettes sèches). Une énergie inattendue, qui se manifeste de manière insolite, là où on ne l’attend pas, tel un territoire que l’on découvre en cours d’exploration, quand bien même il existe depuis toujours.

En sortant du cadre, paradoxalement, on s’expose. Et c’est à ce moment précis, à la sortie même du cadre, que l’inquiétante étrangeté de l’être – the uncanny – apparaît soudain en pleine lumière. C’est dans cet élan de sortie, de prise de risque, d’ouverture, de libération, que toute l’énergie consommée pour oser cette sortie se met à se régénérer, à circuler à grande vitesse : e = mc2 et plus la vitesse de sortie est grande, plus l’énergie générée l’est de manière exponentielle. C’est un moment jouissif de création, une acmé…
Pour lire la suite, cliquez ici.

Dans ce Hors Cadre, toutes les sorties sont bonnes, tous les départs vivifiants. Sortir du cadre : condition de créativité, condition de survie.

With videos by Moumen Bouchala, Sean Capone, Arnaud Cohen, Patrick Dekeyser, Marc Horowitz, Pauline Horowitz, C.N. Jelodanti, Evi Kalessis, Eva Magyarosi, Shannon Plumb, Joanna Malinowska & CT Jasper, Jhafis Quintero, Raymundo, Julien Serve, Tejal Shah, Matthew Weinstein, Julia Zastava.

Thanks to Daria Kahn, Topographie de l’art, Janet Biggs & Dana Hoey, Sonnabend gallery.

For more details :
Topographie de l’art

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Wednesday May 4, 7.30 pm

@ Musée de la Chasse et de la Nature
Rue des Archives, 75003 Paris

Free entrance – registration mandatory :

This session of VIDEO FOREVER on OCEAN is dedicated to Leila ALAOUI

A drink is offered after the projection, thanks to Musée de la Chasse et de la Nature

The OCEAN – or better said the OCEANS make up a global world with many faces. The surface and the depth, confrontation and immersion, deep diving animals and submarines, whales and their music, Poseidon and Bas Jan Ader, sailors and pirates, beauty and pollution, boarders and horizons, power and dreams, conflict and appeasement, fishermen and migrants, danger and joy…
But most importantly, in contemporary video art dedicated to the ideas of the Ocean (or at least in the current selection), there often emerges the notion of time. Time, whether linear or circular, whether measurable or infinite, has always been a major philosophical subject, but remains undefined even today. For many of the video artists selected for this VIDEO FOREVER session, the ocean appears to represent a « space-time » in front of which their gaze – and hence ours – loses itself in timelessness. Intimate, unseen under-water (all the more fascinating because it is unseen) allows the artist’s body – and hence our body – to dissolve out of time. In search of the miraculous, the oceanic myths become palpable, the romanticism rooted in the loss of den and the distance – now blurred by pollution that brings us harshly back from day-dreaming to reality and responsibility.
For some video artist’s presented, such as Janet Biggs and Shaun Gladwell, the dynamic interaction between man and the power of the waters is essential; for others, such as Leila Alaoui and mounir fatmi – the ocean is approached in a more political way.

With videos by Leila Alaoui, Annette Arlander, Janet Biggs, mounir fatmi, Anne-Charlotte Finel, Shaun Gladwell, Oto Hudec, Rita Jokiranta, Evangelia Kranioti, William Lamson, Janet Laurence, Todd MacMillan, Fernando Prats, Enrique Ramirez, Jean-François Robic, Frank Smith, among others.

Thanks to Leila Alaoui Foundation ; Gene Sherman ; Sarah Cottier Gallery ; Galerie Michel Rein ; Galerie Jousse ; Galeria Joan Prats ; Galerie Vincent Sator ; to AV-arkki, The Distribution Centre for Finnish Media Art, Finland ; and to IkonoTV’s video program « Art Speaks Out », curated by Vanina Saracino.

To learn more about the screening please click here.


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