Conceived to explore the possibility of the video medium, discover contemporary artists' creations and offer an unparalleled viewing experience, Vidéodrome is devoted to the promotion of engaged artists. Constantly evolving, Vidéodrome offer innovative programs in alternative spaces. The first nocturnal sessions "Vidéodrome Nights" took place in 2014 in a former subway station transformed into an underground art gallery and club. 

Today, Vidéodrome invests the citadelle of Bonifacio and its historical heritage by opening the exhibition to new video artists during nights of open-air projections, starting from twilight. An associative cocktail bar will be present for the occasion.

Summer program of the next Vidéodromes - 9 pm on the Impluvium site in Bonifacio :

- Friday July 29th 
- Friday August 5th
- Friday August 12th
- Friday August 19th
- Friday August 26th
- Wednesday August 31st

Trained as an architect, Mélissa Epaminondi develops a practice largely inspired by the natural and social environment, as well as the individual’s fulfilment in his space. Her approach aims at linking both “the organic” and “the constructed” to human cognitive phenomena.

He multidisciplinary work reflects a sensory vision of environmental issues and is oriented towards the creation of places and spaces that offer a retreat to the intimate. As an extension of her constructed works, her films, videos and installations act as "projective architectures", opening up a window on the collective and individual unconscious. Her creations evoke inner landscapes and the way sites are guessed, interpreted and narrated.

Mélissa Epaminondi has been exhibited in numerous institutions, notably at FRAC Corsica, the Es Baluard Museum of Modern and Contemporary Art in Palma de Mallorca, and the Casa Conti - Ange Leccia. In 2008, she co-founded L140, a research collective between art and architecture. She teaches video art at the Université de Corse Pascal Paoli and is currently replacing Fabien Danesi as director of the Casa Conti - Ange Leccia.

Considered one of the most influential contemporary artists on the international scene, Anish Kapoor is also one of the most visionary and innovative. From the beginning of his career, he has oriented his conceptual practice by experimenting with the most unexpected media, creating works that are born of the symbiosis between nature, intellect and technology.

Fascinated by the notion of void, he rethinks - and inverts - the interior and exterior of what is generally accepted as sculpture. He reflects on the concepts of negative and positive, seeking to push forward the limits of representation and sensation. And while he sculpts materials, from polished steel to resin, from pigments to fibreglass and monumental architecture, he also tames air, time and water.

His work can be found in the most prestigious permanent collections in the world: the Museum of Modern Art in New York, the Tate in London, the Fondazione Prada in Milan or the Guggenheim Museum in Venice. Anish Kapoor represented the United Kingdom at the 44th Venice Biennale in 1990 where he received the Premio Duemila Prize. In 1991 he won the Turner Prize and in 2013 he was awarded a knighthood for visual arts.

Mat Collishaw's art enfolds us in a twilight world between seduction and revolt, familiar and shocking, poetics and morbid.

An important figure in the Young British Artists, who revolutionised the art scene on the late 1980s with innovative and controversial experiments, he creates works that confront considerations of moral ambiguity with formally stunning and seductive images. Combining references of art history, literature and the Victorian era with modern imaging technology, the artist produces powerful artworks that re-contextualise traditionally disturbing topics. At once poetic and gloomy, his sculptures, installations and photographic works seem almost haunted, displaying elements of beauty in the darkest of environments, blurring the boundaries between seduction and repulsion, observation and exploitation, reality and artifice.

His work has been the subject of many prestigious exhibitions around the world, including at the Villa Borghese in Rome, the Bass Museum of Art in Miami, MoMA PS1 in New York, the Museu de Arte Moderna in São Paulo and the Victoria & Albert Museum in London.

Of Turkish origin, born in Egypt and living in France since 1965, Nil Yalter is an artist truly representing the Mediterranean space, knowing how to capture the multiple cultural facets of human communities.

She is internationally recognised for her commitment and her plural style, which is shaped at the crossroads of disciplines: she experiments with video as well as painting, collage, photography, performance or installation. A pioneer of video art, attached to the French counter-culture, the revolutionary political movement and 1970s feminist art, the artist develops a link between intimate exploration and ethnographic science, dealing with themes of migration, exile, loss of identity, status of women, etc. Nil Yalter's work reflects a style that mixes all these influences with autobiographical elements where the personal and the political are intertwined.

Nil Yalter has been exhibited in institutions such as the Los Angeles Museum of Contemporary Art, the National Museum of Women in the Arts (Washington, DC), the Museum of Modern Art PS1 Gallery in New York, the Contemporary Art Center (Vancouver, Canada), the Musée d'Art Moderne de la Ville de Paris and the Hessel Museum of Art in New York. Her works are part of the permanent collections of the Tate Modern, the Centre Pompidou, the Fonds National d'Art Contemporain and the Ludwig Museum, among others. Nil Yalter won the AWARE award in 2018.

Isaac Julien is as acclaimed for his striking movies as for his vibrant and inventive museum installations. One of his goals is to break down the barriers between different artistic disciplines, drawing inspiration and reflecting on cinema, dance, photography, music, theatre, painting and sculpture, and uniting them to build a powerfully visual narrative.

A master of a cinematic aesthetic reminiscent of the Sublime, Isaac Julien forges a critical dialogue on issues of race and sexuality. The British artist, of West Indies origin, is sensitive to the Black and Asian diasporas’ gaze. He first gained international attention in the 1980s for his provocative feature films, documentaries and experimental video works exploring black and gay identities. His more recent multimedia installations extend this enquiry with poetic but politically charged meditations, as well as using multi-screen devices to express fractured narratives exploring memory and desire.

A Turner Prize nominee, recipient of the Charles Wollaston Prize of the Royal Academy of Arts and appointed Commander of the Order of the British Empire (CBE) in 2017, Isaac Julien has exhibited at the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) in Cape Town (2017); Platform-L Contemporary Art Centre, Seoul (2017) ; Royal Ontario Museum, Toronto (2017); Fondation Louis Vuitton, Paris (2016); MAC Niterói, Rio de Janeiro (2016); Museum of Modern Art, New York (2013); Centre Pompidou, Paris (2005) and Moderna Museet, Stockholm (2005). His latest work has been shown at the Venice Biennale, Art Basel and Art Basel Miami Beach.

Kara Walker is one of the most complex and prolific American artists of her generation. She has gained international recognition for her paper-cut silhouettes that depict historical narratives haunted by sexuality, violence and subjugation in a candid way.

Using drawing, painting, text, shadow theatre, film and sculpture to expose the lingering psychological wounds caused by the tragic legacy of slavery, displacements and imperialism in all its forms, her work leads the viewer towards a critical understanding of the past while offering an examination of contemporary racial and gender stereotypes. Kara Walker's work highlights issues related to the legacy of populations that have suffered domination. Her visual and conceptual provocations offer a powerful and palpable testimony to collective fantasies of subjugation, human brutality and the psychosexual aspects of racism.

In 1997, Kara Walker was awarded the MacArthur Fellowship at only 28 years old. Since then, she has exhibited in the most important institutions: Walker Art Center in Minneapolis; Musée d'Art Moderne in Paris; Whitney Museum of American Art in New York; or the Hammer Museum in Los Angeles.

Francisco Rodrigues da Silva, known as NUNCA, is one of the most influential artists on the Brazilian urban art scene, who reached international recognition for the sophistication of his work, which explores cultural alienation mechanisms and questions the historical heritage – often illegitimate – that is conveyed among the people.

Recognising graffiti as the most brutally pure means of expression - as a selfless emanation of the urban unconscious, made by the city and for the city - the artist, who began painting in the street at 12 years old, adopted this discipline to reinterpret XVth century engravings, through which the conquistadors depicted the indigenous Brazilian people and their supposedly savage traditions.

This approach seeks to reverse the balance of power between settlers and the colonised, representatives and the represented: to reclaim a technique also means to reclaim its image and history. In this way, he explores themes of identity, ownership and the concept of 'cultural cannibalism': the way traditional local cultures are literally ingested, mixed or lost in globalisation. In doing so, he creates a perspective that seems to oscillate between two forces: on the one hand, regret at the devaluation of local cultures; on the other hand, consolation from this hybridisation that lays the foundations for a new generation. A generation that wants to be universal, sustainable, taking on the codes of multiple cultures without differentiation, without rules or constraints.

In 2008, at the age of 25, NUNCA became one of the youngest artists to exhibit at Tate Modern, thus rewarding his approach. Critical recognition followed with exhibitions at Grand Palais in Paris, Caixa Cultura in Rio de Janeiro, ArtScience Museum in Singapore and CAFA museum in Beijing.                                           

NB: NUNCA had conceived a multimedia installation for this exhibition, revisiting in digital format the postcolonial and multicultural perspectives developed with his Blond Indigenous series. However, due to the setbacks imposed by the pandemic, as well as legal complications that still sometimes affect graffiti artists, the artist was unable to present this work.

Barry McGee is a multi-disciplinary artist associated with the Mission School, of which he is a prominent member: it is a committed movement influenced by urban realism, as well as American graffiti and popular art. Initiated into graffiti at the age of 18 under the name Twist, Barry McGee has been instrumental in establishing the discipline's credentials, reflecting on the medium's ability to express social, cultural and political realities, as well as pushing its boundaries beyond the street space.

His works present an observation of contemporary life in its urban home, marked by a deep existential uncertainty, between vitality and chaos. His aesthetic is abundant and vibrant, composed of geometric patterns and recurring symbols that take up the language of comics, advertising, or other signs of urban mythology. He uses the unconventional media of cities, seeking to question the notion of public and private space, and the place of the human figure in this environment. Through this practice of experimenting with many media - painting, drawing, sculpture, video and installations of fragmentary pieces of found objects in the street - he captures the essence of this environment and the subculture that develops within it. His art is an expression of marginalised cultures and the subliminal identity of cities, which seeks to claim its territory. "It's pure chaos, claiming a territory that doesn't belong to you to state your own identity. It's like saying, I've got no other way to say I exist".

Barry McGee's work has been the subject of numerous solo exhibitions in museums and institutions such as Fondazione Prada in Milan; Hammer Museum in Los Angeles; UC Berkeley Art Museum and Pacific Film Archive in Berkeley, California; Institute of Contemporary Art in Boston; Modern Art Museum of Fort Worth, Texas; Watari Museum of Contemporary Art in Tokyo. The artist has also participated in biennales, including Venice and the Whitney Museum in New York. In France, he is represented by Galerie Perrotin.

Through a protean artistic practice combining video, musical performance, installation and photography, Sara Sadik explores themes of hybridity, cultural and colonial heritage, but also migration in a work inspired by what she calls the 'beurcore': French slang relating to the youth’ culture of the North African diaspora from the working-class neighbourhoods, which is often exoticized or despised. The artist tends to reveal this great social and cultural complexity.

In her work, she evokes an integration that is experienced through the encounter, the absorption of the attributes of a community that serve as means of expression and as supports for the emergence of a new culture in the making. Looking at what constitutes contemporary mythologies of 'beurness' - the distinctive signs that define its image in the collective mind, whether clichés or claimed realities - she questions its representation through strong references to hip-hop music, fashion, social networks and science fiction, such as allusions to the rap group PNL, the videogame GTA, the clothing brand Kalenji, the logos of the Olympique de Marseille and Capri Sun. These are all generational and cultural references that she summons with humour but also esteem, respect and empathy before reinjecting them into imaginary and diverted narratives, which build fictional situations drawn from reality, and situated in a present or prospective future. Her work is an embodiment of this popular and urban culture that walks with the shadows of its colonial past and its multicultural legacy, tending to singularise itself with respect to media generalities and seeking to establish possible future evolutions. By quoting these gestures and these vernacular codes often depreciated, Sara Sadik allows this generation to recognise itself within the fantastic trajectories it creates, thus legitimising realities that previously had no recognition. All of a sudden, she gives “street life” the force of myth.

Her works have been shown in group exhibitions at Karma International in Zurich, Wallach Gallery-Columbia University in New York, and Munchmuseet in Oslo. She has performed at the Palais de Tokyo's Do Disturb Festival in Paris in 2019 and at Manifesta 13 in Marseille in 2020. Her work is also present in public collections such as the Cnap, the Frac PACA or the Musée d'Art Moderne de la Ville de Paris. She is represented by the Crèvecœur Gallery in Paris.

Latifa Echakhch is an artist distinguished for her protean work dealing with questions of identity and multiculturalism, notably winner of the 2013 Marcel Duchamp Prize.

Born in Morocco, she grew up in France where her parents immigrated, choosing to take some distance from their country and culture of origin in order to integrate. In 1995, the terrorist attack pursued by Islamist fundamentalists in Paris led her to question her identity and sense of belonging, largely translating in her work. Her creations tackle contemporary identity and socio-cultural stakes, emphasizing chains of domination through a visual language made of symbols and allegories revealing a poetry of absence, marks and fragmentation. Driven by the need to subvert certain prejudices, contradictions and stereotypes, her work tends to isolate their significant emanations, the better to question and defuse them. In doing so, she reveals a great multi-identity wealth. Latifa Echakhch often makes use of her memories, which she diverts as working material, offering an intimate perspective on the experience of a contemporary world characterised by the loss of points of reference. She unveils the vulnerability of generations who must deal with a heritage that is both present but not very visible, discrete without ever disappearing.

Latifa Echakhch's work has been shown in France and abroad in numerous solo exhibitions: at Kunsthaus Zurich, Centre Pompidou in Paris, Hammer Museum in Los Angeles, MACBA in Barcelona, Swiss Institute in New York, Tate Modern in London, and as part of the 2011 and 2022 Venice Biennials, 2017 Istanbul Biennial, 11th Sharjah Biennial, Art Focus Biennial in Jerusalem, and Manifesta 7 in Bolzano. Latifa Echakhch won the Marcel Duchamp Prize in 2013, in recognition of her work "between surrealism and conceptualism, which questions with economy and precision the importance of symbols and reflects the fragility of modernism".

Since the early 1990s, Rineke Dijkstra has created a complex body of photographic and video works, offering a contemporary vision of the portrait genre.

She has received international recognition for her work on identity exploration and the intimate sphere with powerful images of teenagers, clubbers, soldiers, emigrants, schoolchildren or bullfighters. Her models are often caught in a moment of transition. They may be a new soldier at the beginning of his career, a young mother after the recent birth of her child, or a young girl growing up in an unfamiliar culture. By limiting contextual information and focusing on subtle details, such as posture and gaze, the artist encourages the viewer to look closely at her subjects, who seem to let their guard down in front of her lens. With their gaze directed towards us, they invite us to enter their intimacy, like the ferrymen figures in Ancient art who, placed at the front of the scenes, called viewers with their eyes and directed them into the painting. Rineke Dijkstra, whose work has often been compared to the works of Botticelli or Rembrandt, pays particular attention to the details that convey an emotional, sometimes awkward characteristic, embodying a fragile nature that is specific to her photographs and films. Noticing every shift, every doubt, every uncomfortable recoil or conscious gesture of concealment - this conflict between the deepest self and the will to represent ourself according to the codes of today's modelling, which takes on a whole new dimension within the social networks era - her images testify to an intense concentration, curiosity, honesty and extreme attention to the models, who become almost heroic in their vulnerability.

Since her first solo exhibition at the de Moor in Amsterdam in 1984, Rineke Dijkstra has exhibited in numerous institutions: Sprengel Museum in Hanover, Museu d'Art Contemporani in Barcelona, Art Institute of Chicago, etc., while the Guggenheim Museum and the San Francisco Museum of Modern Art have organised a major retrospective of her work. She has also participated in numerous group exhibitions, including the Venice Bienniale and the São Paulo Bienniale, and has received numerous awards for her work, including the Kodak Award, Nederland, the Art Encouragement Award, the Werner Mantz Award, and the Macallan Royal Photography Award.

Mao Tao is an artist of the sensitive, the subtle. His work perpetually questions the visible and the mechanisms that allow us to capture what remains indiscernible to our eyes: impressions, memories and thoughts, in an ode to existence and its transience.

He is inspired by everything that makes up our daily lives and accepts with benevolence what contributes to its dysfunction. After studying at the Willem de Kooning Academy in Rotterdam, the China Central Academy of Fine Arts in Beijing and the École Nationale Supérieure des Beaux-Arts in Paris, Mao Tao has developed a multimedia conceptual practice that aims at conquering the impressions left by this world in motion. Both confident and nostalgic, his work infuses emotions with materiality. He invites viewers to apprehend small details with the same fascination as he does. Making extensive use of science in his creative process, Mao Tao seeks to merge rationality and reverie and create spaces that seem to straddle two worlds, pushing us to believe in both what we see and what we don't see. There is something poetic about his attention to detail and the great patience he demonstrates. His artworks take their time, are built over time and are often made in series. There is also something comforting in his serene creations, often infused with a touch of humour and an immense consideration for the smallest phenomena.

Mao Tao has exhibited in numerous institutions and galleries around the world. He has recently presented his work at Soco 10 in Tokyo, the Nuit Blanche in Paris, the Maryland Institute College of Art, TaiKang Space in Beijing and previously at Central Saint Martin in London.

Ange Leccia is a pioneering artist in the field of video art and is internationally renowned for his work at the crossroads of experimental cinema and installation. He simultaneously reflects on the object and works on the moving image. He explores the capacity of the video medium to capture natural and cognitive phenomena.

After studying plastic arts, he began his research as a resident at the Académie de France in Rome. Inspired by the cinematographic image, the artist developed a practice that oscillates between the manifestations of the mind (obsession, memory, perception) and the materialisation of natural elements, whose each and every detail seems to be magnified. Through a delicate manipulation of effects made possible by the technical characteristics of video (editing, overprinting, mixing, speed, repetition and reuse of extracts that take on a whole new meaning), Ange Leccia creates complex and contemplative works that gather both the vibrant and effervescent aspect of the phenomena they encapsulate, and the patient and serene softness of a deeply pictorial scene. His research into luminosity and contrast, as well as his fascination with the aesthetics of the natural spectacle and the childlike fears associated with it, recall the works of the Impressionists and Romantics.

Pierre-Ange Carlotti is a photographer and video artist. His work is particularly organic, with an aesthetic that stimulates visual sensitivity; but also tactile, olfactory or sound, drawing the viewer into a deep intimacy with the young men and women who populate his images.

The frank, sometimes raw approach he develops in his personal work exposes the myth of idealized beauty and instead feeds on the beauty of the vulnerable, the ephemeral and the trivial. Pierre-Ange has collaborated with many prestigious international publications such as Vogue, Purple Magazine or Numéro Magazine and has been the subject of solo exhibitions.

In line with the exhibition themes, his capsule explores the intimate and sometimes chaotic trajectories of a youth for whom everything is still to be constructed or found. Through these fragmentary snapshots that seem to have already reached the status of recollections, he broaches the movement and memory of bodies as well as the island singularity.