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VIDEO FORMES Exhibition*

France - Belgium - Italy - Iran


#Gabriel_Soushayre [VIDEOFORMES French Festival]

#Saeed_Khavar_Nejad [SAFPEM Institute]

The first annual Iromedia is a special exhibition of video art and installation art in participation with France and the VIDEO FORMES international digital arts festival as the guest of the first annual event.

Artists of The Event

#Agnes_Guillaume [Belgium]

#Elisabet_Arvers [France]

#Francesca_Fini [Italy]

#Christine_Maigne [France]

#Regina_Hubner [Austria]

#Golnaz_Behrouznia [Iran]



Director at VIDEOFORMES International Digital Arts Festival in Clermont-Ferrand (France) since 1986;

- Education and Art Culture program

- Arts residencies program

- VIDEOFORMES Digital Archive

*Editor at Turbulences Video (Hybrid & Digital arts quarterly magazine)

*Curator for VIDEOFORMES Gallery

*Participates in many national and international events as curator, jury member, expert

*National Secretary at HACNUM (French National Network for Hybrid Arts and Digital Cultures)

*Former teacher at 'Université Clermont Auvergne' (Video and digital arts), Clermont-Ferrand

*Video and digital art producer, vlogger and videomaker

Gabriel Soucheyre’s first verified exhibition was Ciclo de Video Arte: Exquisite Corpse Video Project Volume 03 at Museo de Arte Moderno de Buenos Aires (MAMBA) in Buenos Aires in 2011, and the most recent exhibition was Videoformes 2021 at Vidéoformes in Clermont Ferrand in 2021.

He is most frequently exhibited in France, but also had exhibitions in Russia, Brazil and elsewhere. Soucheyre has at least no solo shows but 6 group shows over the last 10 years (for more information, see biography). A notable show was Collective Is Near at Now&After - International Video Art Festival in Moscow in 2019. Other notable shows were at International Festival Signes De Nuit in Paris and Vidéoformes in Clermont Ferrand. Gabriel Soucheyre has been exhibited with Lucas Bambozzi and Simone Stoll. Gabriel Soucheyre is ranked among the Top 1,000,000 globally. Soucheyre’s best rank was in 2021, the artist’s rank has improved over the last two years, with the most dramatic change in 2016.


AGNES GUILLAUME [Artist/*Belgium]

A former musician Agnès Guillaume turned to video art in 2010. She produces videos, mixed media works and embroideries. She sees her videos as mirrors reflecting intimacy that also function as poetic forms that ponder self-awareness. They imply the consistency of several internal realities that the spectator is invited to recognize, appropriate and share. Against any kind of certitude or single mindset, the videos are a call to an open-minded, critical and personal gaze. On prints coming from some of her videos, the artist uses mixed media techniques to materialize the forever fleeting sensation of the moving image. Those pieces, far from being a simple still of the video, bring out the depth of the images. As a daily practice, Agnès Guillaume adds embroidery works based on her own sketches and drawings. These pieces are traces of her vision of visible reality. Agnès Guillaume was born in Louvain 1962 and works between Brussels and Paris. Her work receives a growing international recognition. It can be found in a number of large private and public collections. “In her videos, as well as in her embroideries, Agnès Guillaume speaks only of us, humans. Not an abstract, transcendent, invented humanity, giving substance to an idealised conception of our condition. Humans who are all too human, in Nietzsche’s phrase.” Paul Ardenne “In the age of speed, the permanent state of acceleration that we live in, this type of visual endeavour nails its colours to the mast: art is an idiom that demands and deserves attention.” Paul Ardenne “Passers-by, take a good look in my mirror.” Marie-Laure de Cazotte “Past, present and future watch over each other, deploying their infinitely delicate treasures; comforting and reassuring each other; exchanging a gladness joy that alone must survive.” Victor Hundsbuckler “Video art is to short films what poetry is to novels: narrative gives way to the visionary”. Christophe Leribault



Golnaz Behrouznia, born in Chiraz (Iran), lives and works in Paris Since her studies at Tehran Fine Arts Academy and Toulouse University (Digital Creation) in France, Golnaz Behrouznia has been known for a mix-media work focused on the living. In 2017 she created Lumina Fiction #2 (installation), offering an immersive environment around a biological fiction. Her multimedia performance ElectroAnima-Experiment, with François Donato, offers a parallel version of the emergence of matter and life in 21 audiovisual phases. In 2021, Dissimilarium 0.2, an ensemble of interconnected islets linked to cosmic data, reveals potential worlds described through scale models and generative lights and sounds. Her research and creations since 2020 such as Morphogenetic Tensions, and Dramaturgy of Biospheric Cycles, are inspired by ecosystem cycles, the balance of the biosphere, the morphogenesis of forms within our hybrid environments. In 2021, she creates Geomorph Momenta, an immersive audiovisual installation influenced by bio-geo-logical feedbacks data within the terrestrial environment. Reverse Phylogenesis, a 2022 creation with Dominique Peysson, is based on a scenography mimicking a natural history museum that revisits the emergence of living things, evolution and questions the nature of life. Golnaz Behrouznia’s recent works are based on a desire to examine societal and environmental issues with the very tools that have shaped our past 30 years. Her drawings, installations and performances have been shown in several exhibitions in Iran, France and other countries, and are notably presented at : the 5th Biennial of Sculpture at the Museum of Contemporary Art in Tehran, the contemporary art museum les Abattoirs (Toulouse), as part of the Novela festival, the Vita Nova group exhibition (Paris), Espace Croisé art center (Roubaix), the Palais du Coudenberg (Brussels) for the BEM festival, the Bains Numériques Biennale (Enghien les Bains), Crossing Art, Science and the Environment, organized by the university of Sfax in Tunisia, at VIDEOFORMES international video and digital arts festival (Clermont-Ferrand), Quai des Savoirs (Toulouse) by Nomade Art Center in Toulouse, Tadaex festival (Tehran), ADAF festival (Athens), within OverTheReal Festival at the GMAC museum in Viareggio (Italy), the Kino Šiškade cultural center (Ljubljana) by Kud Mezra, at Canal Connect Festival (Madrid).


REGINA HUBNER [Artist/*Austria]

Regina Hübner (Huebner) was born in Villach, Austria. She lives in Villach and Rome, Italy. Decoration of Honour in Gold to the City of Villach, Goldenes Ehrenzeichen der Stadt Villach (2021) Fellow at IMéRA Institute for Advanced Study of Aix-Marseille University (2019). She gets her inspirations by questions about life and relationships between the individuum and universal concepts. Using different means to express her ideas, from experimental photography, video, sound, performance and ambientations, to texts, subjects and objects, the artist creates artworks connected to ongoing themes and realizes unique Ambientations. Hübner works also by involving other persons in her projects, the so-called Protagonists, or in collaboration with scientists and artists from the fields of visual art, literature and music. Regina Hübner’s work was exhibited at MANIFESTA 13 - Les Parallèles du Sud; VIDEOFORMES 2021 and 2019; Nuit Blanche Paris 2018; Dinzlschloss Villach; MMKK Museum Moderner Kunst Kärnten; MLAC Museo Laboratorio Arte Contemporanea dell’Università La Sapienza, Rome;  IIC Italian Cultural Institute Vienna; Austrian Cultural Institute Rome and Milan; change+partner contemporary art Bracciano/Rome; State Archive Turin; Polish Institute Rome; EXPO 2015 Milano; Cinecittà Studios Rome; ZKM Zentrum für Kunst und Medien, Karlsruhe; CAPC Musée d'Art Contemporain de Bordeaux; BIM Bienal de la Imagen en Movimiento Buenos Aires; Now&After International Video Art Festival, Contemporary Art Center Winzavod, Moscow; OVER THE REAL, Lucca Film Festival; Užupis Film Festival, Klaipeda; VIDEOFORMES International Festival of Video and Media Art, Clermont-Ferrand; ADAF Athen; Goethe Institut Dubai; Analog Room Dubai; Gamma Festival Moscow; FRAC Marseille, Amidex; Auckland Live Digital Stage; TICK TACK, Antwerp - Videodrome Paris; UZHUPIS FILM FESTIVAL, Neringa; Vilnius National Museum; Čiurlionis National Museum of Art, Kaunas; Mandel Center; FIVAC Festival Internacional de Videoarte Camaguey; IMéRA - Institut Méditerranéen de Recherches Avancées, Marseille; VIDEOFORMA Sergey Kuryokhin Modern Art Center St. Petersburg; Lange Nacht der Museen Austria; FIAV Casablanca; Gallery of Arts Temple University Rome; ADDIS VIDEO ART FESTIVAL; Strangloscope Florianópolis; WAC Weekend d’Art Contemporain Bordeaux; TIME is LOVE10; FIAV Festival  Friuli Venezia Giulia Fotografia, Udine; FulgorAzione Festival of Music and Arts, Capolona/Arezzo; FIVAC Festival Internacional de Videoarte de Camagüey; Sofia Underground Performance Art Festival, Sofia; WAC Bordeaux; Lange Nacht der Museen Austria; La Notte Bianca Roma; The Temple Gallery of Art Rome; Gallery Mcube Lalitpur; Goethe Institut Rom; Galerie ak Frankfurt; The Claremont Gallery, Los Angeles, US; Sala 1 Centro Internazionale di Arti Contemporanee, Rome, Italy; Kittredge Gallery, Tacoma, US; Nuova Icona, Venezia; Elaine L. Jacob Gallery, Detroit; Galerie Freihausgasse Villach; Jewett Arts Center Gallery Massachusetts; Plymouth University; HIEDRA, Buenos Aires; Lange Nacht der Museen, Villach;, Web;, Web; a. o. 


FRANCESCA FINI [Artist/*Italy]

Francesca Fini is an interdisciplinary artist focused on experimental cinema, digital animation, new media, installation and performance art. Her live projects, often addressing issues related to femininity, the distortions in the perception of beauty, the influences of society on gender and women's issues, are a mix of traditional media, lo-fi technology, homemade interaction design devices, live audio and video. Primarily interested in video and live art, she also creates artworks assembling performance art relics and video stills. Fini's practice is primarily digital. She worked for fifteen years in the field of digital media and television. She has shown work internationally, including at 2011 WRO Biennale in Poland, CINEMED Film Festival in Montpellier, NordArt International Art Exhibition, Berlin Directors Lounge and IKONO TV Film Festival in Germany, Videoformes Festival in Clermont Ferrand, Szczecin European Film Festival (SEFF) in Poland, FILE Electronic Language International Festival in Brasil, Athens Videoart Festival, IVHAM New Media Arts Fest and Proyector Festival in Madrid, CYBERFEST and Now&After in Russia, Robot Festival in Bologna, Instants Video numériques et poétiques in Marseille, BORDERCROSSING - official collateral event @ MANIFESTA12, MEM Festival at the Guggenheim Museum in Bilbao, BODY + CAMERA at MANA Contemporary Chicago, Un-Becoming at SomoS Art House Berlin, the Japan Media Arts Festival in Tokyo and the Margaret Guthman Musical Instrument Competition, organized by the Georgia Institute of Technology in Atlanta. As a pure performance artist, she was part of the iconic first edition of the Venice International Performance Art Week, featuring among others the work of Valie Export, Jan Fabre, Yoko Ono, Marina Abramovic and Hermann Nitsch. In 2014 and 2016 she was artist in residence at Bob Wilson's Watermill Center in New York. In 2016 she wrote and directed Ophelia Did Not Drown; an experimental feature film based on the hybridization between found-footage (from the national archive Istituto Luce Cinecittà) and original contemporary performative language, considered by legendary movie art critic Adriano Aprà, one of the best Italian experimental art film of all times. She is cited by Treccani Encyclopedia as one of the greatest exponents of cyber-performance in Italy.


ISABELLE ARVERS [Artist/*France]

Isabelle Arvers, PHD Candidate, LARSyS, Interactive Technologies Institute (ITI), Faculdade de Belas-Artes, Universidade de Lisboa (FBAUL), Portugal, is a French artist and curator whose research focuses on the interaction between art and video games. For the past twenty years, she has been investigating the artistic, ethical, and critical implications of digital gaming. Her work explores the creative potential of hacking video games through machinima. As a curator, she focuses on video games as a new language for artists. She curated several shows and festivals around the world, including Jibambe na Tec (Nairobi, AF, 2020), Tecnofeminismo (Bogota, AF, 2019), Art Games World Tour exhibit (Buenos Aires, 2019), Interspecies Imaginaries (Overkill, 2019), Machinima in Mash Up (Vancouver Art Gallery, 2016), UCLA Gamelab Festival (Hammer Museum, Los Angeles 2015, 2017), Evolution of Gaming (Vancouver, 2014), Game Heroes (Alcazar, Marseille, 2011), Playing Real (Gamerz, 2007), Mind Control (Banana RAM Ancona, Italy, 2004), Node Runner (Paris, 2004) Playtime (Villette Numérique, 2002). From 2013 to 2016, she worked on art and research projects and curated and produced six antiAtlas of Borders exhibitions around the mutations of the borders in the 21st century, including The Art of Bordering at MAXXI in Roma and Coding and decoding borders in Brussels. She was also in charge of the End of the Map exhibition in the fall 2015 in Paris about alternative, subversive and emotional cartography. As a tribute to Nathalie Magnan, her association Kareron produced in 2018 TRANS//BORDER, Nathalie Magnan’s teachings, a series of events about ecosexuality, cyber feminism, alternative media and situated knowledge. Kareron is actually producing UKI a Sci-fi Alt reality cinema by Shu Lea Cheang. In 2019, she embarked on an Art and Games World Tour in non western countries to promote the notion of diversity of gender, sexuality and geographic origin, focusing on queer, feminist, and decolonial practices. In 2020, Arvers started a PHD on Art & Games decolonization at Fine Arts Faculty in Lisbon, Portugal, under the direction of Patricia Gouveia.



Christine Maigne work is mostly about the paradoxal relations between natural and artificial. Her works can be monumental or, on the opposite, very intimate scale. She enjoys creating in situ for a specific environment. She also creates fictional works that adapt to more institutional spaces as well as almost derelict areas. She likes to reveal an (imaginary) organic life in unexpected venues or locations. With Whitepulse, she questions the living in shape and matter: a screen (?) changes form and also becomes alive, as if breathing.

The fFirst international annual event of #IROMEDIA has been released at DAS Art Society in Tehran - 2021

in Hostorical City of Shiraz

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