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Cinemas of the Future
cinemas du futur

Lille 2004 - European Capital of Culture
Euralille, Lille
6 December 2003 - 22 February 2004


Romy Achituv - BeNowHere Interactive
Pierre Allio - Allioscopy©
Gregory Barsamian - The Scream, Postcards from the Fringe
Jean Michel Bruyère / LFKs - Si poteris narrare, licet (for EVE Interactive Cinema)
Luc Courchesne - Landscape 1, The Visitor: Living by Numbers
Du Zhenjun - Cover, We Seek the Light, The Wind
Dumb Type - [OR] installation
Ghassem Ebrahimian - The Sacred, The Absurd
Richard Fleischer - The Boston Strangler
FogScreen Inc - FogScreen
Holger Förterer - Helikopter, Dropped
Teiji Furuhashi - Lovers
Masaki Fujihata - Field-Work@Alsace
Abel Gance - Napoléon
Ulf Langheinrich – Perm (for EVE Interactive Cinema)
Marie Maquaire - Tentative d'épuisement d'un lieu, Berlin
Minim++ (Motoshi Chikamori & Kyoko Kuno) - Tool's Life
David Moises - Hanoscop
Pat O'Neill, Rosemary Comella, Kristy H.A. Kang, The Labyrinth Project - Tracing The Decay of Fiction
Christian Partos - Step-Motor Animations, Striptease
Miguel Rothschild - Killer Tears, La Famille Mustermann
Tomohiro Sato - Floating Memories
Joachim Sauter & Dirk Lüsebrink (ART+COM) - The Invisible Shape of Things Past
Jeffrey Shaw - The Golden Calf, EVE Interactive Cinema
Pierrick Sorin - La télévision holographique
Yasuhiro Suzuki - Globe-Jungle Project
Shiro Takatani - frost frames
Time's up - bodySPIN

Curator: Richard Castelli

Cinema has been called upon to develop in the next decade. Parallel to its frenzied industrialisation – already underway by means of various by-products and assorted games, for which film really only acts as an alibi – a more fruitful alternative is emerging that involves a total re-working of the film-spectator relation. It is one in which a strong physical engagement is no longer to be excluded; it is one for which new writings are necessary.

Whether immersive, labyrinthine, and/or interactive, these new cinematographic possibilities are bringing numerous centres of research and production together with new writers and directors.

Cinemas of the Future constitutes a sort of inventory of these works and their creators: the “image-blowers.”

Whereas new technologies more and more easily allow for a manipulation of images to ends which are alienating at best and criminal at worst, these “image-blowers” have chosen to cultivate these new technologies for their poetic capacities. As well, they are liberating themselves from the constraints of the classical film-screen in the same way that glass-blowers liberate themselves from matter, from mineral.

Cousins to these magicians of matter, they propose to draw out and to sculpt the projected image and to shatter the relation between the spectator and the works.

We will be invited to experience a whole new approach to image and sound, not only with our eyes and ears but with our entire body as well.

Richard Castelli
Artistic Adviser of Lille 2004
Curator Cinemas of the Future