Centre d'animation Camille Claudel

Centre Blaise-Pascal, 3 rue Maréchal Joffre Clermont-Ferrand

Motnday to Saturday from 2PM to 7PM

Free access

Philippe ENGELHARD (Germany)


Produced by Staatliche Hochschule für Gestaltung (Karlsruhe, Germany), and presented with the support of EU Culture Program 2007-2013 for Transit project, worn by EMAF (D) & Vidéoformes (F).

"On the 21st of April 2010 I was walking through the neighborhood. By chance there was some bulky refuse laying in front of the houses for the public pick-up service next day. At Hildapromenade 4 in Karlsruhe I found an old blue photo album. In the album were no references regarding time, names or text elements. But the photos which were quite uncharitably glued into the album were somehow telling a story.

The story was nothing fancy, it was about a middle-class woman in the 1960ʼs who was celebrating her retirement at the office she was working for. The book, which I believe was a present of her colleagues, was half filled with photos of her retirement party. Afterwards she or her husband completed the rest of the album with there private photos.

I wanted to revitalize the photos and rebuild the memories in a way of moving pictures. To illustrate this I used a 3D application to reconstruct the woman in 3D space."

Semra HENIN & Jill TEICHGRAEBER (Allemagne)


Produced by Muthesius Academy of fine Arts (Kiel, Germany), and presented with the support of EU Culture Program 2007-2013 for Transit project, worn by EMAF (D) & Vidéoformes (F).

This project is using the cultural location of CHATEAU DE MONCLEY (France). It is not used as a static place but as a source of history, cultural heritage, contemporary witness and as playing court.

Moncley functions as a playground and a labyrinth, in which the experiment takes place. The young woman starts to comunicate with another person who seems to be herself.

The multiple film location is the engine of their present project, the artist duo is looking for the secrets and there are more to come.

The mighty monument offers hiding places, prisons, protection, hallucinations, mazelike, historical atmosphere, music, sky, mirrows, darkness, a lot of dust, strange eyes, cold stones, spiderwebs and dead butterflies, carpets of dry flies, transparent material, paintings, fountain, fir tree and flowing blue.


August SAI (Estonia)

Map is not the territory

Produced by University of Fine Arts (Tallinn, Estonia),and presented with the support of EU Culture Program 2007- 2013 for Transit project, worn by EMAF (D) & Vidéoformes (F).

The most durable myth is the one that claims that people are a part of nature, that people are something else outside themselves. What is the force that has kept peopleís thoughts within these coordinates?
The image people have of themselves can it be broken, torn up by the person themselves? Is it not possible to dissolve oneself within oneself so that you cannot even recognise yourself anymore, and then to construct, to program a new ëIí; distance oneself from oneís own vision and manipulate the constructions inside oneself, in connection with oneís own subject with no possibility of controlling the substance that makes up the nature of a personís ëIí, the well-established patterns that are impossible to break or to tear up, at the same time being the object that is being broken (substance) as well as the one that breaks it, the intruder.
There is no reality outside the viewer. Reality only exists in our own heads, minds, consciences. And this is why the only way to change, to reprogram one's reality oneself is by leaving one's conscience. Conscience creates reality. A subject that is located in the ërealí world and is a part of this world has its own reality through which it feels this ërealí world. But the subject cannot access its real substance (programs, settings) through its world (through its conscience). It must leave its own world or see itself outside itself in order to be able to influence, control, program its substance. It is possible to experience reality through the illusory.

August Sai (1983) is an artist based in Tallinn, Estonia. August graduated from the Estonian Academy of Arts in 2010 with a BA in Fine Arts, painting. He is currently continuing his studies in an MA program. His work centres around the question of how identities are formed and how different identities can be transformed by information.

Katarzyna PACURA (Poland)

Mother's cells

Produced by University of Arts (Poznan, Poland), and presented with the support of EU Culture Program 2007-2013 for Transit project, worn by EMAF (D) & Vidéoformes (F).

This videoperformance took place in a coal mine that is no more in use now. But this inconspicuous space hides very interesting connection between Poland and Belgium, and at the same time very significant. That is all about the man and the story behind him, that changed the whole history of Poland. The man was:
Edward Gierek - he was born in Porąbka, outside of Sosnowiec. He lost his father to a mining accident in a pit at the age of four. His mother married again and emigrated to northern France, where he was raised. He joined the French Communist Party in 1931 and was later deported to Poland for organizing a strike. After his military service in Stryj, Galicia, Gierek went to Belgium in 1934, where he joined the Communist Party of Belgium while working in the coal mines of Waterschei. During World War II, he remained activist of the Communist Party of Belgium. He returned to Poland in 1948 and rose through the party ranks to become by 1957 a member of the Polish parliament. As first secretary of the Katowice voivodship party organization (1957-70), Gierek created a personal power base and became the recognized leader of the young technocrat faction of the party. When rioting over economic conditions broke out in late 1970, Gierek replaced Władysław Gomułka as party first secretary. Gierek promised economic reform and instituted a program to modernize industry and increase the availability of consumer goods, doing so mostly through foreign loans. His good relations with Western politicians, especially France’s Valéry Giscard d’Estaing and West Germany’s Helmut Schmidt, were a catalyst for his receiving western aid and loans.(...)

Afterwards Gierek’s plan didn’t work out as he had dreamed to. As Wikipedia says ‘Polish society is divided in its assessment of Gierek. His regime is fondly remembered by some for the increase in the standard of living Poland experienced in the 1970s under Gierek’s rule. Others emphasize that this increase was made possible by unsustainable foreign loans that were used unwisely, leading directly to the economic crisis the country experienced in the 1980s.’
My plan was to perform a simple gesture: to go to the old minor area so that I could have a view with the mine buildings in the back, stand there and recite the International communist song or more precisely four stanza of it that I chosen, each of one translated in four different languages: German, French, Dutch and Polish. I wanted to speak till the moment that these languages would mix up when I got tired and create some kind of meaningless pulp. I also decide to dress up so that I almost merged with the landscape, and can be visible only by moves I perform (making circles, walking without aim). It took me about 30 minutes to achieve my goal.

Stefan Piat (Belgium)

The bridge

Produced by St Lukas Hogeschool (Gent, Belgium) and presented with the support of EU Culture Program 2007-2013 for Transit project, worn by EMAF (D) & Vidéoformes (F).

Build with photographs taken from various viewpoints, The Bridge show us a place where a person walk through. By representing simultaneously differents events, this work deals with the introduction of the time into the construction of a photography.


Stéfan Piat (1979) lives and work in Brussel. Graduated from the school of art of Aix-en-Provence in 2005. he is actually part of the postgraduate program Transmedia in St-Lukas Brussel. His work have been presented in such venues as Arborescence, Acces-s, Videoformes, Q-O2, Sint-Lukasgalerie. Working with various mediums as interactive video, photography, or sound. It starts with the observation of events, and try to think the spatial and temporal potentiality of an image.


Ilse PROOST (Belgium)

Produced by St Lukas Hogeschool (Gent, Belgium) and presented with the support of EU Culture Program 2007-2013 for Transit project, worn by EMAF (D) & Vidéoformes (F).

For the video - Voyage ‘A’ Belgium – Ilse Proost drove 18 hours and 37 minutes through her homeland. A GPS accompanies her to all cities in Belgium that start with the letter A. The combination of a self-portrait and the passing scenery, combined with the voice of the GPS provides a complex and intriguing atmosphere.

Ilse Proost was born in 1987 in Turnhout, Belgium. Where she lives and works. She is a performance and video maker. Ilse Proost is fascinated by the process of making art. She manipulates this process by creating certain rules and restrictions for herself. Very different than limit herself to one particular medium or particular style. It appeared that these rules not only stimulate inventiveness, original application form and a different kind of thinking. The rules work as a motor, a driving force in the evolution of her work. The introduction of a rule leeds to creativity.