Catalogue 2021
Below, browse the 2021 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.
Ernst SKOOG
RENDEZVOUS
ernst skoog
RENDEZVOUS
Doc. expérimental | 0 | couleur | 28:20 | Suède | 2020

In Hollywood's epic stories from the Wild West have inspired an alienating role-playing universe somewhere out in today's Swedish wilderness. Here, a large group of freedom-loving people dressed in cowboy boots and Stetson hats get together in a re-enactment of a past that was never theirs. Fiction and reality meet in Rendezvous, but only in front of the camera. The participants collectively inhabits their simulation, and as long as they can sustain it together, they can safely live it out. It is all about escaping the modern world with its technology and morals, and instead finding the essential and authentic life. That this life can be expressed through fiction is the paradox that Ernst Skoog examines in a film, whose grainy and found footage-like aesthetics are the products of Skoog's concept. Rendezvous is shot on DV video - an already antiquated format - which adds a disorienting temporal distance between the images and what they represent. An antithesis to the Hollywood that their world is modelled upon.

Ernst Skoog was born 1991 in Kvidinge, Sweden and currently lives and works in Frankfurt am Main, Germany. Skoog graduated from the Royal Institute of Art in Stockholm in 2020. Working as both an artist and filmmaker his work centers around moving imagery. In his work he investigates and inhabits the overlap between reality, memory and fiction, and explores perceptions and nuances within them. Rendezvous is Skoog’s debut as a director, the film was nominated for Next:Wave Award and premiered at CPH:DOX in 2020.

Federico SOLMI
American Fables
federico solmi
American Fables
Vidéo | mp4 | | 7:40 | Italie | USA | 2020

“American Fables” Inspired by the legacies of real historical events and manufactured myths, American Fables, re-imagines through video vignettes some of the most celebrated moments in American History. I have long been influenced by the comically one-dimensional and inaccurate accounts of history common to most US textbooks, where ethnocentric perspectives create propagandistic narratives of American exceptionalism. Continuously, I find myself fascinated by the subjectivity of history, its vulnerability to partisan ideals and nationalism, rendering historical accounts more akin to folktales than facts. This inspired me to create my own library of counterfeit and re-imagined American History in an effort to submit my own voice into the ever expanding campaign of misinformation entrenched in Western rhetoric.

Federico Solmi (Italy, 1973) currently lives and works in New York. Solmi’s work utilizes bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society. His exhibitions often feature articulate installations composed of a variety of media including video, painting, drawing, and sculpture. Solmi uses his art as a vehicle to stimulate a visceral conversation with his audience, highlighting the contradictions and fallibility that characterize our time. Through his work, Solmi examines unconscious human impulses and desires in order to critique Western society's obsession with individual success and display contemporary relationships between nationalism, colonialism, religion, consumerism. By re-configuring historical narratives across eras, he creates social and political commentary works which disrupt the mythologies that define American society. Scanning his paintings into a game engine, Solmi’s videos confront the audience with his own absurd rewriting of past and present, merging dark humor and sense of the grotesque with new technologies. He creates a carnivalesque virtual reality where our leaders become puppets, animated by computer script and motion capture performance rather than string.

Francisca SOMIGLIANA
Diamante
francisca somigliana
Diamante
Fiction expérimentale | 4k | couleur | 7:29 | Argentine | 2020

Diamond is built as a game of reflections on the basis of a fact: a jewelry theft committed in Russia in 2018 allegedly committed by a criminal organization called Pink Panther.

Francisca Somigliana (Buenos Aires, 1992) studied Image and Sound design. She did the Film Program (2017) and the Artist Program (2020/21) of the Universidad Torcuato Di Tella. She was selected in 2019 to participate in the Biennial of Young Art. She participated in different shows and screenings such as Space between (CCR), Today I have permission to lie (UTDT), Program 2016 (Dahaus Studio), Satellite XIII (CHELA) and Cinematographic images and their path to freedom (UTDT)

Paul SONNTAG, Luzie Loose
A New Normal
paul sonntag , Luzie Loose
A New Normal
Film expérimental | 4k | couleur | 17:10 | Allemagne | 2019

A NEW NORMAL is a stereoscopic essay film, that examines the question how to go on when everything has changed. A young man leaves his apartment in an old high-rise and wanders through deserted landscapes. Something is waiting for him out there, but what drives him forward is his desire to leave everything behind, even himself. A narrator recounts fragments and experiences of an everyday life following catastrophe. They bear no resemblance with the journey of the young man, but cannot be cleanly separated from them either. Stories start out as banal episodes about grocery shopping or commuting to work but reveal various strategies to engage with a profound crisis of identity. The 3D images are both an artistic and a narrative choice: they serve as a window into his thoughts and attempts to develop a new sense of normalcy.

Luzie Loose (*1989) and Paul Sonntag (*1991) grew up in post-wall Berlin. Luzie studied at UdK Berlin while Paul received a BA from Columbia. Their paths crossed at Filmakademie BW, where Luzie graduated in 2018, with her first feature Swimming, which won several awards. Paul has been studying cinematography since 2016. His films have been shown at various festivals around the world. A NEW NORMAL is the first collaboration between the two and celebrated its world premiere at Filmfest Munich.

Giulio SQUILLACCIOTTI
What Has Left Since We Left
giulio squillacciotti
What Has Left Since We Left
Fiction expérimentale | 4k | couleur | 21:15 | Italie | Pays-Bas | 2020

On February 7th 1992, the Treaty on European Union was signed in the Dutch city of Maastricht. Decades later, the representatives of the last three countries left in Europe meet again in the very same room where it was signed, this time to deliberate on the permanent shutdown of their Union. In what seems to be a looped therapy session, the three characters - helped by a British interpreter as a self-appointed analyst - try to deal with their feeling of loss. The conversation allows their political and personal bonds to be woven together metaphorically, compelling them to face their identity crisis and acknowledge what is left, what no longer is and what still could be of their Union.

Giulio Squillacciotti (Born in Rome, Italy 1982) Artist and film-maker lives and works between Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome, where he earned a BA in Humanities from Sapienza University and holds a MA in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, religion and popular culture. His work has been exhibited and screened internationally at, among the others, the Dutch Pavilion of the Venice Architecture Biennale, Les Rencontres Internationales at Centre Pompidou, Palais de Tokyo, La Fe?mis and Gayte Lyrique in Paris and Centre d’Art Contemporain de Brest (F), at the Berlin Haus der Kulturen der Welt and Neues Museum in Weimar (D), Screen Space in Melbourne (AU), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), AKV of Den Bosch (NL), Istanbul 2010 European Capital of Culture (TR), the Beirut Art Centre in Lebanon (RL), the New York Photo Festival, Dumbo Video and the Columbia University in New York City (USA), Art Institute of Boston (USA), the Los Angeles Now Instant Image Hall (USA), OCAT in Shanghai (PRC); in Italy at PAC, Triennale, MACRO, MAXXI, 16th Quadriennale of Rome, MAMbo, Sandretto Re Rebaudengo and at the Official Competition of the 33rd, 35th and 36th Torino Film Festival.

Deborah STRATMAN
Vever (for Barbara)
deborah stratman
Vever (for Barbara)
Doc. expérimental | 16mm | couleur | 12:0 | USA | Guatemala | 2019

A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti. A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.

Artist and filmmaker Deborah Stratman makes films and artworks that investigate power, control and belief, considering how places, ideas, and society are intertwined. Recent projects have addressed listening, freedom, surveillance, sinkholes, comets, raptors, orthoptera, levitation, exodus, sisterhood and faith. She lives in Chicago where teaches at the University of Illinois.

Zhong SU
phoenix
zhong su
phoenix
Vidéo expérimentale | mp4 | couleur | 7:27 | Chine | 2020

It’s a one-shoot film about violence and blood in a turbulent world, with the name after the film’s duration. But 8'28'' is hardly to Interpret as the mirror of the pandemic era, since the film's sound creation and final edit all before the catastrophe came.As usual I done all parts of the film myself.

Zhongsu is an artist, living in Hangzhou, focus on the production of personal images from 2011.

Yuhsin SU
frame of reference
yuhsin su
frame of reference
Installation vidéo | mov | couleur | 11:18 | Taiwan | Allemagne | 2020

Scientists observing the Critical Zone place some tools outdoors in the Taroko Gorge site. They have notably installed near-real-time monitoring networks to investigate how landslides are driven by the weather, and also how landslides affect the climate. Cameras, seismometers, and weather stations replace the body of the observer to see beyond the scale of the human perception system. With video installation work Frame of Reference artist Su Yu-Hsin addresses the question of formatting scalar relations between the field, laboratory and database. What role do images play in the field work of the Critical Zone? The Artist followed the two groups of scientists from the ;GFZ German Research Centre for Geosciences to the outdoor landslide laboratory in Taroko National Park and laboratory in Potsdam, and the NCTU Disaster Prevention and Water Environment Research Center in Wuhe and Wulu. The network of stations in the catchment of the Liwu river are used to monitor rivers and landslides. How to see? Where to see from? In this infrastructure to see “within,” where is the body of the observer?

Su Yu Hsin(b.1989) is a Taiwanese artist and filmmaker currently based in Berlin. Su approaches ecology in its close relationship with technology. Her artistic research reflects on technology, ecology and the critical infrastructure where the human and non-human converged.Su specially focuses on map-making, operational photography and the technical production of geographical knowledge.Su Yu Hsin participated in group exhibitions in Taipei Biennial (2020), ZKM Karlsruhe (2020), Kyoto Art Center (2020), UCCA Center for Contemporary Art (2020), Haus der Kulturen der Welt (2019), and Junín Contemporary Art Museum (2018). She is the finalist artist in the 8th Huayu Youth Award (2020) and LOOP Barcelona Discover (2018).

Pilvi TAKALA
If Your Heart Wants It (Remix)
pilvi takala
If Your Heart Wants It (Remix)
Vidéo | hdv | couleur | 15:21 | Finlande | USA | 2002

Taking place annually in Helsinki, SLUSH is a three-day super event that aims to invigorate the tech-startup community by bringing together entrepreneurs with venture capitalists in a party-like environment. If your heart wants it (remix) is grounded in research Takala conducted at the 2018 edition of SLUSH. Together with an interdisciplinary team and camera crew, they fabricated a startup in order to gain entry.?

Pilvi Takala (b. 1981) lives and works between Berlin and Helsinki. Her video works are based on performative interventions in which she researches specific communities in order to process social structures and question the normative rules and truths of our behaviour in different contexts. Her works show that it is often possible to learn about the implicit rules of a social situation only by its disruption. Her work has been shown in MoMA PS1 and New Museum, Kiasma, Palais de Tokyo, Kunsthalle Basel, Manifesta 11, Witte de With, and the 9th Istanbul Biennial. Takala won the Dutch Prix de Rome in 2011 and the Emdash Award and Finnish State Prize for Visual Arts in 2013.

Alejandro Telemaco TARRAF, Alejandro Telémaco Tarraf
Piedra Sola
alejandro telemaco tarraf , Alejandro Telémaco Tarraf
Piedra Sola
Documentaire | 4k | couleur | 72:0 | Argentine | 2020

‘Piedra Sola’ is inspired by the Andean Cosmovision, where the past is thought to be ahead and the future behind. The film portrays a small community living in the altitudes of the Argentinian Puna, whose livelihoods are still governed by their sacred union with Pachamama. Piedra Sola is an honouring of these people as keepers of vital knowledge both in the local and universal context. The film, as an alchemical journey between time and dimension follows the mystical journey of a native llama herder and his encounters with his ancestors and the changing form of the puma.

Alejandro Telémaco Tarraf is an Argentine filmmaker. He studied cinema at Buenos Aires University and cinematography at SICA. His work has screened at international film festivals including Rotterdam, BAFICI, AFI Fest, Ficunam, Busan, Visions Du Reel, Institute of Contemporary Arts (ICA) London amongst others. In 2014 he was selected for the 9th Buenos Aires Talents programmed by Berlinale Film Festival and in 2015 he was selected as an audiovisual artist as part of Biennale of Young Artists, Buenos Aires. In 2020 he premiered his first feature film “Piedra Sola” as part of the Tiger Competition at IFFR.

Thomas TAUBE
Occident
thomas taube
Occident
Film expérimental | 4k | couleur | 30:48 | Allemagne | 2020

The world as we know it began in California in the last quarter of the century. The development of the high-speed motion photography becomes a lens for a larger story about the transformation of time and space. It is the base for what becomes later Hollywood and Silicon Valley both that most powerfully defined contemporary life says Rebecca Solnit. However, the world as we know it was also shaped by the European colonialism at the end of the 15th century. It defines our contemporary perspective on our so called norm and the relation amongst each other. It is also the origin of the cause why we are able to live how we live. It is the base for the division between the privileged and the others. Occident was the name of a horse, which motions became famous. Occident is also the definition of how the west differentiate itself from the rest of the world. It is the spine of what seems to be the normative and leads to the reason why it is not us, who drowns in the sea, who fabric our textiles, who dig for our ressources or who work in zones to extract toxic materials which are seemingly gone for long, but in reality are still around us as the people who are in touch with it. We live in a reality of present absent materials which are around us and defines the relation between a system’s different extensions.

Thomas Taube is a video artist living and working in Jena. He studied with Clemens von Wedemeyer and Candice Breitz. In his works, Thomas Taube detaches the medium of film from its linear and stringent narrative structures. With multi-channel installations, associative, reflective and surreal sequences Taube works against conventional cinematographic codes. Abolishing the immediacy of the medium through epic elements and discontinuous montage, his works aim to distinguish between seeing, observing, experiencing, and reflecting. His works are shown nationally and internationally in institutions such as the Museum der bildenden Künste Leipzig or the Center for Contemporary Photography Melbourne, in galleries and festivals, for example in the German Competition of the Internationale Kurzfilmtage Oberhausen or at Les Rencontres Internationales Paris/Berlin. He won the prize of the Leipziger Jahresausstellung 2015, the Marion Ermer Prize 2016 and received various scholarships such as the KDFS residency scholarship at the ISCP New York. His work can be found in various collections, including the Staatliche Kunstsammlung Dresden. He published "The Whirr of the Image Machine" in 2015 with Spector Books. Taube is currently represented by Reiter Galleries (Berlin/Leipzig).

TELCOSYSTEMS
Testfilm #1
telcosystems
Testfilm #1
Film expérimental | mov | couleur | 14:21 | Pays-Bas | Croatie | 2020

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules?

Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior. Their films, installations and performances have been presented at IFFR, Holland Festival, Transmediale, Sonar, EMAF Osnabrück, Oberhausen, Edinburgh, Ann Arbor, Videoex, EYE Filmmuseum, De Appel, Wood Street Galleries, STRP Biennale, SXSW, Stedelijk Museum Amsterdam and many more.

Daniel THEILER
Top Down Memory
daniel theiler
Top Down Memory
Film expérimental | 4k | couleur | 12:20 | Allemagne | 2020

The work deals with the manipulation of history in the context of the reconstruction of the Berlin Palace (“Humboldtforum”). Starting from the confusions surrounding an alledged proclamation of a socialist republic from one of its balconies in 1918, the film examines other political events that occurred on balconies. Reenactments of iconic political and cultural events on the original balcony raise questions about authenticity and manipulation. Who is writing our history? How do we deal with our past? How does collective memory work? The balcony is the central motive of the work, representing hierarchies and power politics.

Daniel Theiler is a German-Turkish visual artist, filmmaker and architect. He graduated as Meisterschüler of Nina Fischer in Art and Media at UdK Berlin. Studies of art at Bauhaus University Weimar under Danica Daki? and at the School of the Art Institute of Chicago (MFA), and architecture at TU Berlin, ETH Zurich, and the University of Strathclyde Glasgow (Dipl.-Ing.). Daniel Theiler works with a variety of media ranging from video, photography and sculpture to public interventions. In his works, he examines the gaps between utopia and reality by challenging conventions and questioning the usual. Theiler lives and works in Berlin.

Aske THIBERG
Ingen Problemer
aske thiberg
Ingen Problemer
Fiction | mp4 | couleur | 23:30 | Suède | Danemark | 2020

"No Problems" is a film about six characters and their personal relationships. The characters are all 3D scanned people who, while listening to the text of their inner monologue, move around in the "real" world where they don't quite fit in. Their skin reacts differently to the sun, their clothing does not respond to wind and their facial expressions remain the same no matter what is said. They use hand signs, awkward body movements and dance, in an attempt to stage the texts being read. Texts that talk about the feeling of disappointing oneself and one's loved ones.

Aske Thiberg (b.1994) is a Swedish and Danish artist, based in Copenhagen, where he is currently doing his MFA in Fine Arts.

Clarissa THIEME
Was bleibt I Šta ostaje I What remains / Re-visited
clarissa thieme
Was bleibt I Šta ostaje I What remains / Re-visited
Doc. expérimental | 4k | couleur | 70:0 | Allemagne | 2020

Films end. Biographies end. Life goes on. Can we break this law? Clarissa Thieme takes a stab at it. In "Was bleibt | Šta ostaje | What remains / Re-visited" (2020) she travels to certain cities and villages in Bosnia Herzegovina. She takes a single shot in each of the places where countless people have been raped, tortured, and murdered during the Bosnian War. Ten years ago, Thieme had been there already. "Was bleibt | Šta ostaje | What remains" (2009, 2010 world premiere at Berlinale) showed these places without accompanying words. Each of the images questioned: Does the location give testimony to the horror, or does it stay silent? Ten years later everything is different, or is it? In each of the places Thieme and her film team unfold a life-size transparent with a still from the preceding film from 2010. Sometimes this comparison of ‘now and then’ is simply a silent act of recognition. At other times it sparks conversation. Some are evasive, some full of lived-through memories. Who died where, is one of the questions. Who left to build a new existence elsewhere; who stayed; who returned – are some of the other. Between the lines and between the images it becomes clear: these topics haven’t been processed yet. And, how could they? It is difficult enough to keep on living. At the same time the filmic intervention prompts a reaction: In front of Thieme’s camera momentary public spaces arise. The old images provoke exchange. This exchange takes the form of what the reacting people are giving it. The film does not unravel mysteries – it is doing something mysterious: It dives into a space between remembrance and continuation and interlocks retrospection with the present. The void is everywhere. And Thieme’s film is never finished. On the contrary, it proves that there is a chance to act through film that persists. To be continued. (Jan Verwoert)

clarissa thieme is an artist and filmmaker. Working across film, photography, performance, installation and text, she combines documentary and fictional forms focussing on processes of memory, politics of identity and strategies of translation. Her practice is research-based and often takes a collaborative approach. thieme studied Media Art at the University of the Arts Berlin (UdK), holds a MA in Cultural Studies And Aesthetic Practice, University Hildesheim and is research alumni of the Berlin Center for Advanced Studies in Arts and Sciences (BAS). thieme's work has been exhibited and screened internationally and is available at Arsenal Distribution Berlin and sixpackfilm Vienna, as well as part of Video-Forum n.b.k. Berlin, blinkvideo, Hamburg and DES'T / district, Berlin.

Georg TILLER, Ranaïvojaona Maéva
Zaho Zay
georg tiller , Ranaïvojaona Maéva
Zaho Zay
Fiction expérimentale | 4k | couleur | 98:0 | Autriche | 2020

Une jeune femme travaille comme gardienne dans une prison désespérément surpeuplée à Madagascar. Elle passe son temps à rêver de son père, un meurtrier qui l'a abandonnée enfant, après avoir tué son propre frère. Dans son imagination, son père devient un tueur mythique, errant dans les campagnes et lançant des dés enchantés pour décider du sort de ses victimes. En secret, elle aspire au jour où il pourrait arriver parmi les prisonniers. Lorsqu'un nouveau détenu arrive en prétendant connaître son père, les fantasmes de la jeune femme commencent à tourner au cauchemar.

Maéva Ranaïvojaona est une auteur, réalisatrice et productrice franco-malgache, qui vit et travaille à Paris et Vienne. Suite à l'obtention de diplômes à l'école des Beaux arts de Dijon et Bourges, France elle travaille plusieurs années en tant qu'assistante auprès d'artistes comme Ernesto Neto au Brésil et Kristina Solomoukha à Paris, puis comme assistante réalisateur auprès de jeunes cinéastes en France et en Allemagne. Entre 2012 et 2016 elle écrit, produit et réalise deux court-métrages qui seront sélectionnés dans des festivals tels que IFF Rotterdam et le Short film Corner de Cannes. En 2016 Maéva Ranaivojaona remporte en tant que productrice le prix Air France du FIDLab. En 2017 elle ouvre à Paris la branche française de Subobscura Films ensemble avec le producteur et réalisateur Georg Tiller. En 2020, le long-métrage Zaho Zay, co-produit et co-réalisé par Maéva Ranaïvojaona et Georg Tiller gagne deux prix au FID Marseille, puis le prix MehrWert de la Viennale. Georg Tiller Suite à des études non achevées de philosophie et de théâtre, Georg Tiller étudie le cinéma et la télévision avec Harun Farocki à l'Academie des Beaux-arts de Vienne, puis la réalisation et la mise en scène à l'Académie du film de Vienne dans les cours de Michael Haneke et Christian Berger. Il étudie également la réalisation à l'Académie allemande du cinéma et de la télévision de Berlin (dffb). Mr Tiller a travaillé comme artiste et cinéaste indépendant, producteur de ses travaux et de celui de ses amis, dans le cadre du collectif d'artistes Naivsuper. Il a travaillé comme associé à Mengamuk Films en Allemagne et est actuellement directeur de la société de production Subobscura Films à Vienne, Autriche et à Paris, France. Les films produits par Mr Tiller ont été sélectionnés dans des festivals de renommée mondiale. Parmis eux la Berlinale, IFF Rotterdam et la Viennale. Ses travaux ont été exposés à la biennale de Sao Paulo, au Centre Georges Pompidou, et au Lulea Winter Bienal, entre autres.

Zanic TIN
Antiotpad
zanic tin
Antiotpad
Fiction | dcp | | 18:6 | Croatie | 2020

Somebody’s car is on fire. Somebody’s head got kicked in. Somebody got their mobile stolen. Will the troublesome adolescent break the vicious cycle of violence he might or might not have started himself?

Tin Žani? graduated from the National Film and Television School (NFTS) with an MA in Fiction Directing as a Croatian Audiovisual Centre scholar. Prior to NFTS, he finished BA studies in Film and Theatre Production in Zagreb. His first two short films Komba (2011) and Manja?a (2014) received awards and special mentions and were shown at A-list Film Festivals, TV and Film Markets such as International Film Festival Rotterdam, Clermont-Ferrand International Short Film Festival, Tampere Film Festival, Sarajevo Film Festival, Hamburg International Film Festival, Zagreb Film Festival, etc.

Peter TREHERNE
Atmospheric Pressure
peter treherne
Atmospheric Pressure
Doc. expérimental | mov | noir et blanc | 39:53 | Royaume-Uni | 2019

As cows are milked on a British dairy farm a cataclysmic storm builds on the horizon. A mysterious meteorologist investigates the bizarre weather event and follows his equipment to the farm. But in the face of such contingency (the driving rain and restive animal life) can his research yield any results?

Peter Treherne is an experimental filmmaker and moving image artist working in the South East of England. He uses an arsenal of affordable cameras and ND filters, along with the contingencies of rain, snow, fog and other lugubrious atmospheric states, to pixelate and reconfigure landscapes and narratives. Peter was educated at the University of Oxford where he received a masters in Film Aesthetics. He is also director of the Slow Film Festival. The festival exhibits durational and landscape moving image art.

Quy Minh TRUONG
Nha Cay
quy minh truong
Nha Cay
Doc. expérimental | 16mm | couleur et n&b | 84:4 | Viet nam | Chine | 2019

"In Minh Quý Tr??ng’s striking second feature, a man living on Mars in the year 2045 examines footage brought back from his encounters with an indigenous community in the jungles of Vietnam. As he experiments, his thoughts drift from matters of identity, aesthetics, and the politics of imagemaking, to ritual burial practices, to the seen and unseen forces that shape cultures. Combining elements of science fiction and ethnography, The Tree House is a powerful exploration of how time and environment relate to our understanding of home.", 57th New York Film Festival. (filmlinc.org/nyff2019/films/the-tree-house/)

Tr??ng Minh Quý was born in 1990 in Buôn Ma Thu?t, a small city in the Central Highlands of Vietnam. Quý lives and works here and there in the vibrancy of memories and present moments, his narratives and images, lying between documentary and fiction, personal and impersonal, draw on the landscape of his homeland, childhood memories, and the historical context of Vietnam. In his films, he has experimented with combining abstract concepts-images with realistic improvisations during shooting. He is the alumnus of 2012 Asian Film Academy (Busan International Film Festival) and 2016 Berlinale Talents (Berlin International Film Festival). His films have been selected for international film festivals and exhibitions such as Locarno, New York, Clermont-Ferrand, Oberhausen, Rotterdam, Busan, Les Rencontres Internationales Paris&Berlin. He won the main Art Prize at the 20th VideoBrasil (Sao Paulo) in 2017. His second feature film, The Tree House, premiered in 72nd Locarno Film Festival (Filmmakers of The Present Competition, Swiss Critics Boccalino Award), where it was called as “Three of the festival's best premieres” by Mubi and “a singular entrancing ode to memory and filmmaking” by The Film Stage. The film continued to screen in 57th New York Film Festival (Projections), Viennale, Festival Des 3 Continents (Competition), Rotterdam International Film Festival (Bright Future Main Program), CPH:Dox (Artist &Auteur), Goteborg International Film Festival, among others. Currently Quý is taking his research on analog and new media at Le Fresnoy - National Studio of Arts in France.

Florian TSCHARF
Terms of Play
florian tscharf
Terms of Play
Installation vidéo | 4k | couleur | 6:51 | Allemagne | 2020

In 'Terms of Play' 60 different training sentences were taken of the voice-cloning software 'Lyrebird IA' and recombined in a screenplay to form a dialogue. This dialogue was then interpreted by two actors. Each part was interpreted in a different emotion: some factual, some dramatic, some singing… The 2-channel video work deals with the processes of machine learning technologies which are playing an increasing role in film production. By appropriating and reinterpreting the training sentences (which the software itself has taken from publicly available texts, novels and essays), the work inverts these processes and reflects them critically.

Florian Tscharf (*1987 in Germany) is a video and media artist. He studied Media Design in Ravensburg, Directing at the Film Academy Baden-Württemberg and Screen Based Arts at the Bezalel Academy in Jerusalem. He lives and works in Berlin.

Anya TSYRLINA
All Other Things Equal
anya tsyrlina
All Other Things Equal
Doc. expérimental | 35mm | couleur | 19:30 | Suisse | 2020

Taking cinematic recontextualisation to the extreme without changing the original context, this radical fairytale magically waves together hundreds of subtly enigmatic frames and scenes from late Soviet “gender equality” propaganda - creating an elliptical, sensuous, quietly subversive world that provokes and evokes...

Anya Tsyrlina is a Russian-born visual artist. Her moving image work has been recently screened at film festivals and venues such as International Film Festival Rotterdam, Viennale, Berwick Art and Media Festival, Oberhausen, Winterthur, EMAF, MIEFF, Rencontres Internationales Paris/Berlin, Bildrauch, Haus der elektronischen Künste Basel, Anthology Film Archives, HKW.