Catalogue 2016-2017
Below, browse the 2016-2017 Rencontres Internationales catalogue, or search the archives of the works presented since 2004. New video clips are routinely posted and the images and text are regularly updated.
(LA)HORDE
Novaciéries
(la)horde
Novaciéries
Vidéo | hdv | couleur | 16:43 | France | 2015

Dans le film de 16 minutes intitulé Novaciéries (LA)HORDE met en place une situation contemplative où les différents aspect du jumpstyle - une danse issue du mouvement mainstream hardcore - sont mis en scène et réinterprétés pour livrer un compte rendu mystérieux des différents aspects du développement d`une danse post-internet. Le film est un projet global qui mélange des images cinématographiques réalisées par (LA)HORDE lors du tournage avec une équipe de cinéma, des captations d`une performance avec les interprètes du film et des images d`archives réalisées par les interprètes eux même (homemade videos). La caméra suit des danseurs et une chanteuse dans une ancienne aciérie abandonnée. Les protagonistes exécutent et répètent des gestes de HardJump et de Hakken au rythme des machines et de l`hymne Hardcore "Hardcore to the Bone" proclamé par la chanteuse lyrique. Il en découle une errance des différents interprètes avant de se retrouver pour livrer un spectacle sans public. On oscille tout du long entre la vision idéalisée de leur représentation et la réalité de sa visibilité. Mélangeant cinéma, performance et home vidéo, Novaciéries transcende le film dansé pour faire un portrait chorégraphié et métaphysique du monde post-industriel en réinterprétant une danse post-internet.

(LA)HORDE est un collectif artistique fondé en 2011. Il regroupe à sa direction trois artistes : Marine Brutti, Jonathan Debrouwer et Arthur Harel. (LA)HORDE oriente son champ d’action sur l’échange et le questionnement des codes de différentes disciplines artistiques notamment dans les milieux de l’art vivant et de l’art contemporain. Leur travail se développe à travers la mise en scène, la réalisation de films, l’installation vidéo, la création chorégraphique, et la performance.

Soufiane ADEL
Les Bonnes
adel Soufiane
Les Bonnes
Vidéo | hdv | couleur | 8:0 | France | 2015

Le long de la nuit. Deux jeunes garçons sont dehors. Ils gardent un studio de cinéma. Ils sont frères. Seuls, la lune et un tigre les accompagnent pour traverser ce temps.

Soufiane Adel est né en 1981 en Algérie. Il arrive en France à 8 ans. C’est en faisant une école de design, l’ENSCI, Les Ateliers, qu’il découvre le cinéma. Pas par hasard, toute son enfance il s’est nourri des films de Jean Claude Van Damme et du Nouvel Hollywood. Il rencontre à 20 ans le néoréalisme italien et le cinéma expérimental, et amorce alors une longue cinéphilie, autodidacte, aléatoire, et compulsive. En 2004, il décide de filmer son père, lui demande de rejouer une scène qu’ils ont vécue ensemble. Ce sera son premier court métrage : « Nuits closes ». Après il y aura « La Cassette » puis « Kamel s’est suicidé six fois, son père est mort ». À partir de 2009, il co-réalise ses films avec Angela Terrail, avec qui il travaille depuis « La Cassette ». Ils réaliseront « Sur la tête de Bertha Boxcar » et prépare actuellement un long métrage, l’adaptation contemporaine d’un roman de Jack London « Martin Eden ».

Jan ADRIAANS
Stay
adriaans Jan
Stay
Vidéo | hdv | couleur | 6:24 | Pays-Bas | 2016

In a car workshop type space, between the pristine surfaces of car parts, archetypes of mass production, a construction of power is unfolding between a Dobermann Pinscher and its owner. A Dobermann is a special breed, it’s gracious, loyal, and potentially aggressive to strangers. It needs severe training. Both the owner’s and the dog’s consciousness are formed within this relationship. By the obedient appearance of the dog, it seems to concede to the rules it’s been given. But by knowing the rules it starts to gain power itself. The impression the video gives moves between floating through an abattoir where fresh slaughtered livestock is vertically stored and moved around in this almost perfectly hidden horror of death, and a peek into a shop window, where commodities are on display, waiting for a buyer in their best possible appearance. Starting from Wilfrid Sellars theory on the self: If the abattoir represents our scientific self; our matter, our genetic material, our flesh and bones without moral or ethics. In the image of the shop window our manifest self is reflected, a self constructed in a social context, a world of abstractions, of language and reasoning.

Jan Adriaans graduated from the Dutch Art Institute in 2015. His video-works explore human selfhood in its evolutionary context. By drawing a parallel with the animal, the set of constraints we are subjected to become more apparent. If we take these constraints into account, how can we redefine human agency, will, and control? “Selfhood is tyrannical precisely insofar as it is merely a congerie of drives. The act supplants the tyranny of the impulsive self with the rule of the subject. But it is the act itself that is subject. It is no-one’s.” Ray Brassier

AES+F
Inverso Mundus
aes+f
Inverso Mundus
Vidéo | 4k | couleur | 38:0 | Russie | 2015

Engravings in the genre of "World Upside Down", known since the 16th century, depict such scenes as a pig gutting the butcher, a child punishing his teacher, a man carrying a donkey on his back, man and woman exchanging roles and dress, and a beggar in rags magnanimously bestowing alms on a rich man. These engravings contain demons, chimeras, fish flying through the sky and death itself, variously with a scythe or in the mask of a plague doctor. The title of the work, Inverso – both an Italian "reverse, the opposite" and the Old Italian "poetry," and Mundus – the Latin "world," hints at a reinterpretation of reality, a poetic vision. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.

AES+F achieved worldwide recognition and acclaim in the Russian Pavilion at the 52nd Biennale di Venezia in 2007 with their provocative, other-worldly Last Riot (2007), the first in a trio of large-scale, multichannel video installations of striking originality that have come to define both the AES+F aesthetic and the cutting edge of the medium’s capacities. The second of the series, The Feast of Trimalchio (2009), appeared in Venice in 2009, and the third, Allegoria Sacra (2011), debuted at the 4th Moscow Biennale in 2011. United as The Liminal Space Trilogy, this tour-de-force series was premiered in September 2012 at the Martin-Gropius-Bau, Berlin, and the Moscow Manege, the central exhibition hall of the artists’ home city. The Trilogy was shown in the Museum of Fine Arts in La Chaux-De-Fonds, Switzerland (June–September 2014). Most recently all three videos were shown at Albright-Knox Art Gallery, Buffalo, NY (June-September 2015). In 2015 AES+F presented the new project Inverso Mundus at 56th Biennale di Venezia. AES+F received Sergey Kuryokhin Award 2011, the main award of the Kandinsky Prize 2012, the main award of the NordArt Festival 2014, and Pino Pascali Prize 2015 (18th Edition) – all for the project Allegoria Sacra. AES+F were awarded Bronze Medal (2005) and Golden Medal (2013) of Russian National Academy of Fine Arts. AES Group was originally formed in 1987 by the conceptual architects Tatiana Arzamasova and Lev Evzovich and the multidisciplinary designer Evgeny Svyatsky. Exhibiting abroad from 1989, the group expanded its personnel and name with the addition of the photographer Vladimir Fridkes in 1995. AES+F’s recent work has developed at the intersection of photography, video and digital technologies, although it is nurtured by a persistent interest in more traditional media — sculpture especially, but also painting, drawing and architecture. Deploying a sophisticated, poetic dialogue among these media, and plumbing the depths of art history and other cultural canons, AES+F’s grand visual narratives explore the values, vices and conflicts of contemporary culture in the global sphere. For more than a decade, works by AES+F have been showcased in signature festivals and biennial exhibitions of contemporary art around the world, including — in addition to Moscow and Venice — those of Adelaide, Gwangju, Havana, Helsinki, Istanbul, Kiev, Lille, Lyon, Melbourne, St Moritz, Sydney, Taipei, Tirana and Toronto. Their work has also been featured in influential events devoted to new media — such as ARS Electronica (Linz), Mediacity Seoul and Video Zone (Tel Aviv) — and photography — such as FotoFest (Houston), Les Rencontres d’Arles and Moscow’s Photo Biennial. By now the subject of almost 100 solo exhibitions at museums, exhibition spaces and commercial galleries worldwide, works by AES+F have been shown in such prestigious venues as the Neuer Berliner Kunstverein, ZKM (Karlsruhe), Casino Luxembourg, Kiasma (Helsinki), the Moderna Museet (Stockholm), Tate Britain (London), Institute of International Visual Arts (Iniva, various UK venues), the Passage De Retz (Paris), the Vanhaerents Art Collection (Brussels), MACRO Future (Rome), the Museo Thyssen-Bornemisza (Madrid), the State Russian Museum (St Petersburg), the Museum of Fine Arts (La Chaux-de-Fonds) and many others. Among the important European institutions collecting their works are the Moderna Museet (Stockholm), the Sammlung Goetz (Munich), the Neue Galerie Graz, the Maison Européenne de la Photographie (Paris) and the Centre Georges Pompidou (Paris). Works by AES+F are also presented in Australian public collections at AGSA / Art Gallery of South Australia (Adelaide) and MONA (Tasmania). Their works are also found in the foremost collections of Russia, including the Multimedia Art Museum Moscow, the Moscow Museum of Modern Art, the State Tretyakov Gallery (Moscow) and the State Russian Museum (St Petersburg).

Sandro AGUILAR
Undisclosed Recipients
aguilar Sandro
Undisclosed Recipients
Vidéo | hdv | couleur | 25:0 | Portugal | 2015

Avant et après ce second baiser.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.

Eren AKSU
Cosmorama
aksu Eren
Cosmorama
Fiction expérimentale | hdv | couleur | 8:7 | Turquie | 2015

They go to a day trip to an island next to Istanbul. They find themselves captivated by the never ending cityscape and sink into a contemplation on urban decay. Living in a concrete jungle is their future.

Born in Istanbul in 1987, Eren Aksu is a Berlin based filmmaker. He holds a Bachelor of Arts degree in Film& Television and currently studies Arts& Media at Berlin University of the Arts. His short films include Aydınlık (2013), Cosmorama (2015), İki Yer (2017).

J Tobias ANDERSON
A Work of Art
anderson J Tobias
A Work of Art
Animation | hdv | noir et blanc | 1:36 | Suède | 2016

A reflection on the artist’s own work, mirrored in a dialogue involving three secondhand characters. Together they make an honest evaluation of the artwork to reveal the harsh truth.

Born in 1971. Grew up on Gotland in the Baltic Sea. Education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. Lives in Nacka just outside of Stockholm. Working mainly with video and animation and moving between narrative and non-narrative works. Has created around 40 films. Also experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Sweden.

Delphine BALLEY
Charivari
balley Delphine
Charivari
Fiction expérimentale | hdv | couleur | 19:54 | France | 2016

Delphine Balley Charivari, 2016 Synopsis Charivari, l`intrusion des sons discordants dans un village, annonce la chasse de la bête noire, l`inversion des codes, la menace funeste qui contrarie l`ordre établi, une rumeur lointaine qui s`approche... Une cavalière venue d`un autre temps gît sur le sol, blessée. Le visage d`un homme apparaît battu par le vent, souillé par la terre. La forêt derrière lui est à peine visible. Concentré, il écoute: les bruits d`une chasse ancestrale céleste, des aboiements de chiens, puis soudain... un charivari primitif naît d`une rumeur transportée par le vent. Les chasseurs en poste, guettent cette chasse lointaine, par-delà les forêt qui se déroule au son du cors. Blessée au visage, la cavalière se redresse. Le regard fixe, elle traverse en boitant la forêt plongée dans un désordre de sons. Elle est attendue... L`homme au visage souillé halète, la bête noire est à terre. Le sang coule de sa plaie. La lame du couteau brille dans la nuit. Du sacrifice naît le rituel, la cavalière porte le masque d`or sur le visage. Dans une maison bourgeoise, Le Charivari atteint son apogée, les murs résonnent d`un rythme funeste et hors d`âge. Des convives vêtus de fourrures déambulent dans les couloirs, les visages défilent telle une galerie de portraits. C`est le rendez-vous secret d`un rite ancestrale. Le vent s`est introduit dans la maison. Au loin, des coups de feu résonnent, des chiens aboient, le gibier est de retour, la chasse peut commencer.

Née en 1974 à Romans en France, Delphine Balley vit et travaille à Saint-Jean-en-Royan dans la Drôme. Delphine Balley est diplômée de l’École Nationale Supérieure de la Photographie d’Arles en 1999. Ses séries photographiques, faites à la chambre, reconstituent et théâtralisent faits divers, scènes familiales, scènes d’avant ou d’après crime, histoires vraies, avec une extrême minutie, un goût prononcé pour le motif et le détail. Ces saynètes, métaphores du quotidien, sont autant de huis clos hors du temps qui mêlent savamment réalité et fantastique. La singularité créatrice de l’artiste transporte le spectateur dans un univers insolite, étrange, inquiétant, parfois dérangeant. Delphine Balley entremêle la chronique, le journalisme, le fantastique, la narration, le conte, la sorcellerie, ou encore le cinéma.

Sammy BALOJI
Pungulume
baloji Sammy
Pungulume
Doc. expérimental | 0 | couleur et n&b | 28:0 | Congo (RDC) | Belgique | 2016

The town of Fungurume is situated in the province of Katanga (D.R. Congo) and the hills and mountains surrounding Fungurume form one of the world’s largest copper and cobalt deposits. In pre-colonial times the area was already a major centre in the copper trading network that ran across Central Africa. Today the mountains have become the property of the American Tenke Fungurume Mining consortium (TFM). From 2009 on, TFM’s mining activities have been in full swing, causing the resettlement of thousands of local Sanga inhabitants. Pungulume focuses on Sanga chief Mpala and his court elders while they are rendering the oral history of the Sanga people, against the backdrop of the industrial destruction of the landscape that anchors Sanga memory and identity. (Filip De Boeck)

Sammy Baloji was born in 1978 in Lubumbashi, in the Katanga province of Democratic Republic of Congo. He studied Computer and Information Sciences and Communication at the University of Lubumbashi. With a borrowed camera, he began photographing scenes as sources for his cartoons. He soon enrolled in photography courses in DRC, and continued with photography and video at Ecole Supérieure des Arts Décoratifs, in Strasbourg, France. Baloji juxtaposes photographic realities, combining past and present, the real and the ideal, to illicit glaring cultural and historical tensions. He explores architecture and the human body as traces of social history, sites of memory, and witnesses to operations of power. Baloji has had solo exhibitions at Musée du quad Branly (Paris), MuZee (Oostende), Royal Museum for Central Africa (Tervuren), WIELS (Brussels) and Museum for African Art (NY). Baloji has featured in numerous group exhibitions worldwide: Biennale de Lyon, Venice Biennale, Louisiana Museum of Modern Art, Foundation Cartier pour l’Art Contemporain,... He has been the recipient of numerous awards including, the 2014 Rolex Mentor and Protégé Arts Initiative award, partnering with Olafur Eliasson. He was nominated a Prix Pictet finalist in 2009, received the Prince Claus Award in 2008 and two awards at the 2007 African Photography Biennial in Bamako, Mali.

Adrian BALSECA
El Condor Pasa
balseca Adrian
El Condor Pasa
Vidéo | 4k | couleur | 8:29 | Equateur | 2015

For “The Condor passes by” - in Spanish “El Condor Pasa”- the artist purchased a car: the mythical Condor GT (1981). This emblematic model fabricated in fiberglass during the transition from a military dictatorship to the restoration of democracy in Ecuador, is also part of the last days of the so-called “oil boom” in the country and the main focus of the proposal. Balseca recalls the nostalgic story of one of the last “national” cars and pays a posthumous tribute to that period of the local industry. The video shows us the last moments of the car before taking his “last flight”,when it is dropped from the top of a hill in the surroundings of the Mount Catequilla.

Adrián Balseca (Quito, Ecuador, 1989) lives and works in Quito. Balseca’s work aims to activate strategies of representation, narration, and/or interaction in order to highlight cultural specificities of a particular place. It explores the relationship and tensions between industrial and craft practices, revealing a fascination with the historic processes, and the configuration of materials involved in the production of manufactured goods. His work often involves transforming the composition of daily objects or certain civil laws into other material forms, or legal experiences. These projects —from small interventions to large-scale ‘site specific’ actions or video documentations— elaborate on ideas of emerging economies, nature, power, and social memory.

Frank BIESENDORFER
One
biesendorfer Frank
One
Film expérimental | 16mm | couleur et n&b | 1:30 | USA | Allemagne | 2016

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Education: 1983 Pompano Beach High School, Florida. 1981-83 played Varsity Football. 1983-85 Palm Beach Junior College, Florida, studied Fine Arts. 1985-88 Military service U.S. Army. 1991-94 Cook apprenticeship, Bergiusschule, Frankfurt, Germany. 1995-2000 Staatliche Hochschule für Bildende Kunst Städelschule, Film and Cooking, Master student of Peter Kubelka.

Sebastian BINDER, Sebastian Fred SCHIRMER
U?ber Druck
binder Sebastian , Sebastian Fred SCHIRMER
U?ber Druck
Documentaire | 0 | couleur | 12:52 | Allemagne | 2016

Everyone knows it, everyone has it. No pressure in the kettle means deadlock. Nevertheless it always seems to strong. Pressure is not tangible, pressure ist mostly transparent. But if it is high enough it is noticeable. OVER PRESSURE (ÜBER DRUCK) cinematically searches for its manners in our everyday life. It shows truth, personality and surprise. A colourful atmospheric picture to think about.

Sebastian Binder. Born 1983 in Frankfurt am Main. Studied Media Design at Bauhaus- University in Weimar with emphasis on directing and postproduction from 2004 to 2009. After that postgraduate studies at the Academy of Media Arts Cologne. Winner, amongst others, of the Screenplay Award at the Kurzundschön Festival 2013, the MDR Unicato Award, the Award for Media Design of Bauhaus-University Weimar and the Jury Prize of the 5e Courts dans la Vallee. Sebastian Fred Schirmer was born 1981 in Filderstadt and raised in Lahr/Black Forest, Sebastian Fred Schirmer has been working as a camera assistant for Film and Televsion since 2002. He obtained his engineering degree from the Hochschule Offenburg in 2009. Between 2011 and 2015 he studied at the Academy of Media Arts in Cologne where he majored in Visual design/Camera. He lives and works in Cologne as a freelancing cameraman.

Christophe BISSON
Silêncio
bisson Christophe
Silêncio
Documentaire | 4k | couleur | 56:0 | France | 2016

Dans un grand palais abandonné, hors du monde, des anciens sans-abris de Porto font le récit de leur expérience de vie dans la rue.

Christophe Bisson, né en 1969, vit et travaille à Caen. Arpès un parcrs universitaire en philosophie, il se consacre ensuite aux arts plastiques. Jusqu’en 2009, il participle à de nombreuses expositions personnelles en France et dans le monde (Paris, Budapest, Barcelone, Kiev, Vilius, New York, Moscou…). En 2007, il co-réalise avec la réalisatrice Maryann De Leo le documentaire White Horse, très remarqué dans les festivals internationaux et nominé pour l’Ours d’Or à la Berlinale. Il se consacre progressivement entièrement au cinéma à partir de 2010. Ses films (Description d’un combat, Road Movie, Liquidation, Au Monde, etc.) oscillent entre documentaire et art vidéo. Ils connaissent un franc succès dans les grands festivals internationaux (FID Marseille, Cinéma du Réel) et internationaux (Viennale, Curta Cinema, Karlovy Vary International Film Festival). Son premier long métrage documentaire Sfumato reçoit une Mention Spéciale à l’édition 2016 du festival Cinéma du Réel et un an après avoir été lauréat du FID Lab son dernier film Silêncio reçoit le prix des lycéens au dernier FID Marseille. Il travaille actuellement sur son prochain film (Un souvenir d’archives), toujours produit par Triptyque Films.

Laurence BONVIN
Avant l'envol
bonvin Laurence
Avant l'envol
Documentaire | hdv | couleur | 19:46 | Suisse | 2016

Avant l’envol propose une exploration de la ville d’Abidjan par le biais de son architecture d’état. Le film, précis et minimal, offre un état des lieux quasi chronologique de l’architecture moderniste dans la principale ville ivoirienne tout en soulignant la monumentalité et la qualité architecturale de ces édifices construits pendant les années euphoriques et visionnaires qui suivent l’indépendance. Dans ces architectures venues d’ailleurs le temps semble être suspendu. On y découvre parfois des formes qui traduisent le désir d’intégration de la culture vernaculaire mais qui trahissent, de plus en plus au fil du temps, une inadaptation au climat local. L’attention est portée aux usagers et à la manière dont ils s’approprient ces espaces et leur donnent vie à travers la chorégraphie des gestes, des déplacements, des interactions, des utilisations informelles et autres détournements qui s’y opèrent. Avant l’envol questionne ce patrimoine architectural riche, ambitieux autant que dystopique, interroge le sens et le devenir de cet héritage post-colonial.

Laurence Bonvin est une réalisatrice et photographe suisse ; elle vit entre Berlin et Genève. Son approche de nature documentaire est centrée sur des phénomènes de transformation du paysage urbain et naturel, de l’environnement bâti et humain. Son travail photographique a fait l’objet de trois monographies, de nombreuses publications et expositions en Suisse et internationalement. Récemment Bonvin a réalisé trois court-métrages documentaires : After Vegas (2013) avec Stéphane Degoutin ; Sounds of Blikkiesdorp (2014) et Avant l’envol (2016), projeté en première internationale à la Berlinale et lauréat du prix de la meilleure caméra au Kurzfilmtage de Winterthur. www.laurencebonvin.com

Karolina BREGULA
Wieza
bregula Karolina
Wieza
Fiction expérimentale | hdv | couleur | 78:0 | Pologne | 2016

PRESENTATION TEXT FOR THE WORK THE TOWER by Karolina Bregula 2016 / film / 79` `The Tower` is an opera musical about a group of people who live in the same concrete block of flats and who plan building a sugar tower together. Full of absurd and anxiety, the story of the utopian project is addressing the history of post war housing architecture analysing it from the position of its user, the inhabitant of a modernist city. The dreams and desires are juxtapositioned with difficult reality of life in the blocks and contradictions inscribed in the modernists` plans.

Karolina Breguła (born 1979) is a visual artist and filmmaker. She has performed and exhibited in places such as the Venice Art Biennale, the Jewish Museum in New York and the National Museum in Warsaw. She has received numerous awards including The Golden Claw at Gdynia Film Festival, the Views 2013 and Videobrasil 2015. She has been awarded multiple scholarships including the Polish Ministry of Culture Scholarship, the Visegrad Scholarship and the UNESCO scholarship. She lives and works in Warsaw. 

Dietmar BREHM
Hallo Mabuse
brehm Dietmar
Hallo Mabuse
Film expérimental | hdv | couleur | 5:0 | Autriche | 2016

First, a view of nature: an overcast sky, the chirping of birds. This plays the part of a colorful overture, still open to the world. Steps and the sound of a pushbutton telephone lead acoustically into one of Dietmar Brehm´s "intrusion films": Hallo Mabuse. Here, arriving at the other end of the line, intruding into the image means reversing polarity to negative and concentrating on the schematic through a type of circular aperture. A man´s profile and facial features lose their contours in the heavy light-dark contrasts, yet also emerge expressively. A dialogue of cryptic gestures unfolds. The source: several scenic miniatures from The Testament of Dr. Mabuse, Fritz Lang´s famous crime film about hypnosis and terror created in the interwar period. Brehm already included this material once before, in a shorter version, in tape 14 of the Praxis series; now he presents it as an autonomous member of the series; decelerated, with a new editing sequence, and also additional pictorial motifs. Hallo Mabuse captivates through its reduction, in which a conspiratorial narrative takes place, but even more so, the images themselves appear ambiguous, obscure, untrustworthy. A nod of the head, which seems treacherous in its mechanical repetition, meets the profile of a bearded man who does not appear to react at all in a suggested counter shot. The slight flickering of the image further intensifies the impression of an illicit agreement, of witnessing a crooked handshake. The ringing of the unseen telephone and the constant ticking of a clock lend the events a limited temporality. Something is running out, and in doing so, is also already reaching its end, a ghostly final act, which is anticipated by an explosion and breaks off with the sound of a falling guillotine. (Dominik Kamalzadeh)

Dietmar Brehm is born in 1947 in Linz 1967-72 studied painting at the University of Fine Arts/Linz. Professor at the University of Fine Arts/Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad.

Persijn BROERSEN, Margit Lukács
Establishing Eden
broersen Persijn , Margit Lukács
Establishing Eden
Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2016

In Establishing Eden, Broersen & Lukács focus on the establishing shot: the moment a landscape is identified and becomes one of the main protagonists in a film. In blockbusters like `Avatar` (James Cameron, 2009) and the film series `Lord of the Rings` (Peter Jackson, 2001-2014), these shots have been used to capture and confiscate the nature of New Zealand, propagating itself as a new Eden, evergreen and unspoilt. Here, fiction takes over from reality: mountains and forests exist under the name of their cinematic alter ego’s.   Broersen & Lukács travelled through the wilderness of New Zealand to capture these landscapes, and with that, they appropriate the nature of New Zealand once again. Creating an architecture of fragments connected by the camera movement of a perpetual establishing shot, they show this Eden as a series of many possible realities, an illusion that comes together just as easily as it falls apart.

Margit Lukács (Amsterdam, 1973) & Persijn Broersen (Delft, 1974) are artists living and working in Amsterdam. They work in a wide variety of media- most notably video, animation and graphics- producing a myriad of works that reflect on the depiction of nature in our increasingly virtual society.
 With intricate layers of (filmed) footage, digital animation and images appropriated from the media they demonstrate how reality, (mass) media and fiction are strongly intertwined in contemporary culture. Broersen and Lukács studied at the Sandberg Institute and at the Rijksakademie in Amsterdam. Their films, installations and graphic work have been shown internationally, including: Biennale of Sydney (AUS), Stedelijk Museum Amsterdam (NL), Muhka (Bel), Centre Pompidou Paris (FR), Shanghai World Expo (CN), Casa Enscendida, Madrid (ESP). Their films have been shown at several festivals including LAForum in Los Angeles, Kassel Dokumentar and filmfestival (Ger), Paris Rencontres (FR, Ger & Esp), New York Film Festival (USA), IDFA, Amsterdam (NL) and International Film Festival Rotterdam (NL).

Lena BUI
Nang Bang Phang
bui Lena
Nang Bang Phang
Fiction | hdv | couleur | 50:1 | Viet nam | 2016

Giang visits her aunt Mười in the Mekong delta (Tien Giang) for the summer to give her mother personal space and time to sort things out. The slow rhythm of countryside life, children’s games, and close relationship within the neighborhood help Giang forget about her personal troubles and the hot Mekong sun. Seeing her 60-year-old aunt constantly busy with farm work, Giang decides to help out. The film develops through Giang’s perspective, weaving documentary foot- ages with a fictional storyline. Through Giang and aunt Mười’s developing relationship we get a sense of the slow and drawn-out rhythm of life in the rural South of Vietnam, the close contact between human and animals, the switch from traditional methods to reliance on industrial feed, concerns sur- rounding food safety, and the perception and interests of a typical farming household in the Mekong Delta. The film also introduces a new angle into the relationship between human and animals, and the inseparable ties be- tween life and death.

Born in Danang, Vietnam, 1985. She spent part of her childhood in Thailand before completing secondary and high school in Saigon, Vietnam. She has a B.A in East Asian Studies from Wesleyan University, USA and since 2009 has moved back to live and work in Saigon as a full-time visual artist. She is happy to tell stories using whatever medium available, from words, images, to sounds and space. She has exhibited in various museums and art spaces in Vietnam and abroad. Her experience with moving images started with video art works: Passage of the mass, 2014; The process of purifying, 2013, Where birds dance their last, two-channel installation, 2012. Flat Sunlight is her first film.

Cihad CANER
Abstract Violence
caner Cihad
Abstract Violence
Vidéo | hdv | couleur | 11:10 | Turquie | Pays-Bas | 2016

Abstract Violence The images of war and migration are mainly based on the images that are being circulated in mainstream and social media. Although, these violent and manipulative images form an important element of public opinion concerning the migration flux and war, they are definitely not direct representations of reality. How to represent reality? Can we talk about the reality in the time of image culture? Abstract Violence investigates the image of current war and migration from its first place, from destroyed Syrian cities and from leftover objects. Caner questions the impossibility of representing violent images and how we interpret them within the time of the image culture. The project uses real footage that were shot by the artist in Syria during the recent war. Caner produces an abstract space with 3D scanned-rendered objects, which were collected from ruined houses to emphasize how these events become virtual and make us insensitive.

Cihad Caner was born in 1990 in Istanbul. Caner holds an MFA on Media Design and Communication. Caner lives and works in Rotterdam and Istanbul.

Filipa CÉSAR
Transmisson from the Liberated Zones
cÉsar Filipa
Transmisson from the Liberated Zones
Doc. expérimental | hdv | couleur | 30:0 | Portugal | 2016

Transmission from the Liberated Zones prend comme point de départ le concept de « Zones Libérées », terme utilisé pour décrire les territoires de la Guinée-Bissau arrachés à la domination portugaise et gérés, pendant les 11 ans de la guerre de libération (1963-1974), par des militants de la Guerilla du Parti Africain pour l’Indépendance de la Guinée et du Cap-vert (PAIGC). Les témoins du film sont tous suédois et ont en commun d’avoir visité cette zone au début des années 70. Il s’agit du diplomate Folker Löfgren, de la cinéaste Lennart Malmer, de la cinéaste et psychologue Ingela Romare et de la femme politique Birgitta Dahl. Pour agencer documents et témoignages, aller et venir du passé au présent, Filipa César met en scène un jeune narrateur dont le corps et la voix deviennent les outils d’un voyage temporel.

Filipa César est une artiste et réalisatrice dont le travail explore la porosité entre les frontières de l`image en mouvement et sa réception, les dimensions fictionnelles du documentaire et l`économie, la politique et la poétique, inhérents au cinéma comme praxis. Une large partie des films expérimentaux de Filipa César se concentrent sur les spectres de la résistance dans l`Histoire géo-politique du Portugal, en questionnant les mécanismes de production de l`Histoire et proposent des espaces performatifs d`une approche subjective au savoir. Depuis 2011, Filipa César entreprend des recherches sur les origines du cinéma en Guinée-Bissau, son imaginaire et son potentiel, au travers d`une recherche collective initiée dans le projet Luta ca caba inda (La lutte n`est pas encore terminée). Elle a également participé aux projets de recherche Living Archive (20111-2013) et Visionary Archive (2012-2013) organisés par l`Arsenal - Institute for Film and Video Art - à Berlin.

Budhaditya CHATTOPADHYAY
Decomposing Landscape
chattopadhyay Budhaditya
Decomposing Landscape
Vidéo | hdv | couleur | 35:0 | Inde | 2015

This award winning work creates discursive situations to facilitate in-depth and contemplative observation of the environmental decay of transitive sites in India, using media intervention and interactivity. The project aims to delineate the processes of decay and destruction of pastoral landscapes in the developing economies and societies. Taking point-of-departure from a perspective in the personal experience of forgetting and loss, being a native of the area myself (the artist), this large-scale project intends to reflect upon the interpenetration between locative and global cultures, decay in environmental and climatic integrity, disappearance of indigenous traditions and lapses in collective memory within the landscapes, by production and showcasing of the inter-media installation work. With a media anthropological approach, the project frames the gradual transfiguration with the help of media convergence, staging augmented and site-specific interpenetration between sound, video and still images. The work has been developed through a meticulous collection of audiovisual materials from various Indian locations in extensive fieldworks supported by Prince Claus Fund Amsterdam. This collection has been forming a digital archive expended for realizing the work.

Budhaditya Chattopadhyay is an Indian-born sound/media artist, researcher, writer and theorist, currently based in Europe. Chattopadhyay’s work questions the materiality, site-specificity and object-hood of sound, and addresses the aspects of contingency, contemplation, mindfulness and transcendence inherent in listening. His artistic practice intends to shift the emphasis from “object” to “situation” in the realm of sound. His sound-works are published by Gruenrekorder (Germany) and Touch (UK). Chattopadhyay is a Charles Wallace scholar, Prince Claus grantee and Falling Walls fellow, and has received several residencies and international awards, notably a First Prize in Computer and Electronic Music category of Computer Space festival 2014, Sofia, and an Honorary Mention at PRIX Ars Electronica 2011, Linz. Appearing in numerous exhibitions, concerts, conferences and festivals, Chattopadhyay’s sound and video works have been exhibited, performed or presented widely in Europe and Asia. Chattopadhyay has graduated from India’s national film school, specializing in sound, completed a Master of Arts degree in new media/sound art from Aarhus University, Denmark, and obtained a PhD degree in sound studies involving practice-based artistic research from Leiden University, The Netherlands.