MaLo Sutra Fish
Photography & Films

ARTISTS BIOGRAPHIES

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Malo Sutra Fish
MaLo Sutra Fish is a French visual artist currently based in Paris, born in 1985. Her practice is set between the USA and France, focusing on her passion for film as a format and material through Photography and Filmmaking. She currently is a member at the cinema collective L'Etna (France), at the art collective Flux Factory (USA) and partial member of Gowanus Darkroom (USA) and regularly collaborates with AgX (USA).

 Her prior areas of focus are collaborations particularly in short film and music video making. Her current work with the moving image includes a trilogy in association with Isao Yamada; Super 8 music videos made in collaboration with US Independent Music Scene (Osees, Flat Worms, + more ), known as the “Performance Series”. Her latest photographic series focus on the different aesthetics of memory - “the images we have in our brains” - studying and experimenting processing and printing techniques.

This focus on chemicals and lab techniques is the common thread between her film and photographic work. Despite using digital cameras for some projects, her core practice revolves around the defense of the analogue art form, particularly the processing of films and the making of prints in super8 and 16mm formats, and all formats in still photography. Her passion to play, experiment, investigate, and embrace all imperfections of cameras, lenses and films has no limit, thus why Experimental Art is the foundation of her work. She considers all projects part of an acquisition process of new skills or techniques, as well as unapologetically considering trials as artwork themselves yet differentiating a first draft from a final one.   

 Educated at the Lycée International de St-Germain-En-Laye, she also holds a double bachelor in Art History & Art Distribution. She has worked in film distribution, film production, stage production, film and photography festivals, publishing, and translation. Epileptic photosensitive, her training as an artist is either through mentorship and/or DIY approach. Hence, curatorial work is an integral part of her artistic ambitions, may it be in organising special screening events or creating exhibition programs.

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Noe Grenier

Born in 1987 in the Alpes-Maritimes, Noé Grenier received a diploma from the fine arts school ESBA-MOCO in Montpellier. After three years in Brussels, he enrolled at Le Fresnoy - National Studio for Contemporary Art in 2014. In 2021, he joined La Malterie as an associate artist for a three-year period as part of the Impulse Program.
Since the beginning of his video experiments, Noé Grenier has developed a personal approach to the moving image. Through a series of objects, installations, photographs and films, he brings a refection on the transformation of images, and thus of the gaze, to the temporality of viewing. His work is principally nourished by cinema. By applying gestures and other manipulations to existing or non-existant images, he invites the viewer to explore the omnipresent metamorphosis of consciousness during movement, transport or voyage. He seeks to reveal the relationship between cinematographic movement and human movement. Stories told inside transportation machines have focused up until now on reflecting on the simultaneity effect, the coexistence of images and immediate perception. Today, his work goes further to examine the organization of time and motion through experimental fictions that aim to raise the question of site-specific memory.

These interests are also explored in collective work with the Catharsis Projection trio, which Noé Grenier co-created with Gwendal Sartre and Gilles Ribeiro during his studies at Le Fresnoy. The trio was born out of a desire to organize sporadic projections of film and video programs that would resonate with their own practise, working with and elaborating on their shared recurrent theme of catharsis. It’s around this point of primordial friction between pulsion and formulation that the project has evolved into the creation of collective pieces, with the aim of revealing the complexity and necessity of dialogue between the image and the forces that act upon it.

He is also an active member of L'Etna

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Guillaume Anglard 

Guillaume Anglard is a director, specialized as Super8 and 16mm camera operator and video technician. He is known for his work on projects such as “Commune présence” and “Decadentia ‘. ’Decadentia” is an experimental sci-fi short in black and white, revealing the remains of an unknown civilization in a post-apocalyptic landscapes. The slide performance "Incidences" was a first body of work that revealed his continued focus on filming sculptures with a special interest on macro scales. Soundscapes and soundtracks are an elaborate collaboration and central part of his work. 

He is an active member of L'Etna and L'Abominable.

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Richard Tuohy + Dianna Barrie

Richard Tuohy is one of the most active experimental film artists currently working on celluloid in Australia. His film IRON-WOOD won first prize (ex aequo) at Abstracta 2009 experimental film festival in Rome. He runs Nanolab in Australia in collaboration with Dianna Barrie – the specialist small gauge film processing laboratory. He actively encourages other artists to work with cine film through his Artist Film Workshop initiative (see artistfilmworkshop.org). He is also a founding director of the Australian International Experimental Film Festival. Dianna Barrie and Richard Tuohy have a separate filmography despite the fact that they have a very collaborative dialogue. They are international celebrated for their immense work helping set up collective labs, optical and contact printer, processing equipment around the world. 

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​Frédérique Menant

After studies in Anthropology, Frédérique Menant turned to documentary cinema and became interested in the photochemical formats, super8 and 16mm. She joined L'Etna and then L'Abominable, two artist-run laboratories where she made a series of short poetic films, gradually stepping away from narrative forms.

She received prizes for her short film MUE(S) at the Festival of Different and Experimental Cinemas of Paris and for her film LE JARDIN at the "Filmer le Travail" Festival. Through her photochemical film practice, Frédérique Menant develops a sensitive and intuitive approach in which films are like journeys, as she searches for the secret vibrations of images, for what is hidden and can be discovered. The images she captures invite us to contemplate our way of being in the world and the time that passes through us.

She is an active member of L'Etna and L'Abominable.

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Nicolas Rey

Nicolas Rey is a co-founder of the alternate laboratory The L'Abominable . At the same moment craftsman-handyman, artist and professional, he calls to the world which surrounds him and the functioning of the economic, political and social processes. The experimental movies are like the organic farming or the participative democracy: we would never have of to add an adjective there. If we have of to add an adjective, that proves that there is a problem with the noun. 

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Isao Yamada

ISAO YMADA started his artistic career by working at Shuji Terayama's theatre company, Tenjousajiki. In 1974, he was appointed as an artistic crew for Terayama's feature-film, "Denen ni Shisu" (Pastoral: To Die in the Country). As a film director, Yamada's release includes "Anmonaito no sasayaki wo kiita" (I’ve heard the ammonite’s murmur:1992), "Jouhatsu Tabinikki" (The Soul Odyssey: 2003) based on the essay by Yoshiharu Tsuge, and "Shutorumu undo Doranku" (Sturm und Drang, 2014). In addition to his work in cinema, Yamada is also known for his work in manga, painting and graphic design. The calligraphic fonts used in his experimental films are all by his own hand writings. More information on the official site: www.yamavicascope.com

"The living mind and the dead heart - how can we distinguish them from each other? When my father died, I thought that only “fragmentation of night” was left of this world. I made The Long Goodbye to be my last film I would ever create. Tokyo Nostalgia was made in the tenth year after my father's death when I spent a month with my mother. Here I am still continuing to film, including recent piece of The Night of Copernicus."
-Isao Yamada

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Total duration of screening program: 70minutes and 14"