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Connanski Loïc

Connanski Loïc

born in 1958

director, videographer, media artist

1981: Licence de Lettres Modernes (B.A. in French Literature), University of Paris Paris I.

1982-90: Messenger. Theatre Stage Manager. Safari guide in Namibia and Botswana.
Video cameraman and editor. Training in Image Report Journalism).
Humanitarian mission in the China Sea. Report in Burkina Faso. Instructor in audiovisual techniques. Work conducted for institutions.

1991-1996: Image reporting (news and magazine programmes) for the regional and national FR3 network and for RTL2
(German Television), MCM, Associated Press TV. Lecturer at the International Institute of Image and Sound (IIIS).

1997-2000 Films made on order. Supervision of a videogramme with Moroccan students in Casablanca (AFAA à la
carte programme 1998-99).

At the same time, since 1990, about one hundred creation videos were made.
CD-ROM prepared (with the assistance of FIACRE) - "THE WORST OF CONNANSKI" (1997). CD-ROM "BOUCLES" (1998). Creation of Internet site For Canal+, "LA PETITE VIDÉO ROUGE
DU SUR COMMANDANT CONNANSKI" 15' (1998). CD-ROM “EXOTICA" (2000). Interactive video installations: "INSTALL 2000", "ROBOT BURGER", "COMPLAINTES " (co-produced with MIR).

Public Broadcasts
Etablissements Phonographiques de l'Est (EPE – Phonographic Establishments of the East) Paris, March 93. OBORO Gallery (Montreal), May 93. La CLEF Cinema, Paris 94. Video evenings organised in several Parisian bars, 94. Fine Arts Museum of Mulhouse, May 94. Paris Video Library/Court Toujours Festival, June 94 and June 95. TV TROQUET Association, regular broadcast since June 94. Collectif Peyotl, regular broadcast since June 94. Fine Arts Museum of Aix en Provence, 1995. Video Bus Ex-In-Arte, 1995. University of Quebec (Montreal), 1995. FEMIS – Paris, January 96. Faculty of the Humanities and French Institute of Ouida (Morocco). Faculty of the Humanities and French Institute of Fez (Morocco). Local TV: "TV Bocal", 95-96. Cultural Forum of Blanc Mesnil: Vidéomesnil, 1996. Transat Video Hérouville St Clair, 96.
Electronics Art Station – Rennes, 96. Audiovisual “Climage” - Lausanne, 96. Cultural Centre of Barcelona, 96. Cargo Grenoble, 96. Art Video Retrospective in London and Hong Kong, 96. Collaboration with Station MIR CAEN, 97.
Carré d'Arts – Nîmes, 97. Images Passage – Annecy, 97. Centre for the Contemporary Image Saint Gervais – Geneva, 97. French Institute of Budapest,
”Vidéologies”, 97. Flèche d¹or Café, 97. Galerie des Archives – Paris, 98.
MIR station, Nov. 99. Hors Circuits – Berlin, 98. Hotel Scribe – Paris, 99. VideoLounge – New York, Feb. 99. EOF Gallery – Paris, March 2000.

Hérouville Saint Clair, 93-97-98. International Video Cinema Festival (Montreal),
95-96-97-98. Regenburg Kurzfilmwoche (Germany), 95. Instants vidéo de Manosque, 94-95-96-97-98. Gentilly 95. Mertola (Portugal), 96. Casablanca,
96-97-98-99. IV Franco-Baltic Art Video Festival, 96. Bandits Mages – Bourges,
97-98. Estavar, 97. Inattendus – Lyon, 97. Vidéoformes - Clermont Ferrand, 98-99.
ECRAN TOTAL – Nantes Fine Arts Museum, 98. Linea d¹Ombra - Salerna Italy, April 99. Metamorfosi ¹99 - Rome, May 99. Les Arts de la Rue (Street Arts) - Chatillon, September 99.

TV Broadcasts
TV5 Quebec, 92-94-95. ARTE / Snark 93-94. CINÉ-CINÉMA, 96. TV5 Latin America,
96. Canal + (Nuit du Cyclone), January 99. ARTE / Switch, March 99. Canal + MicroCiné, January 2000


- Public and Video prize – Festival Court Art Festival – Paris Video Library, June 95. 95.
- “Poireau à Manosque” prize awarded spontaneously by the public, 95.
- "Best Work, New Media” prize – FCMN, 98 (International Video Cinema Festival (Montreal) for "The Worst of Connanski”

EXOTICA Synopsis
The machine chooses for you images chosen by you of my Canon and Sony holidays.
October 99, I went with friends to Bangladesh who were making a report on a school in a rural environment run by an NGO. My DV (Digital Video) camera recorded everything I saw. A content with multiple forms arises from these images without narrative continuity: furtive impression of travel, ironic reflection on the status of the Western tourist, testimony on the quasi-evangelistic power of the communication industries (Sony, here) and finally, different ways to capture what is “real” according to the tool and the way to use it.
While my friends were filming in an “official” or directive manner, my DV twirled around quickly, like a wasp, seizing insignificant or immodest details, seeking the “Other”, almost violently.
Nevertheless, with its irreversible mirror-visor, the DV can show a certain generosity or honesty; the person filmed can see his/her image (if the cameraman so wishes) directly, as it is recorded.
In addition, this technique serves as a good pretext for encounters, however fleeting they may be, when the filmed person and the person filming pose together. However, this mirror-visor is also diabolical: captivated by his/her own image, the filmed person manages to forget about the capture.
BROWSING. Two techniques:
- Random: You are in an area without any marking and without any proportion. You are unable to know how many shots there are in the CD. You cannot be sure of having seen them all. The machine loves to see some of them again, not you.
- Linear: Each shot corresponds to a very precise "i" ("i" as in image or information). You need only to try to find out where you are to make the ideal sequence.

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