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.
UBERMORGEN, Nye Thompson
Uninvited
ubermorgen , Nye Thompson
Uninvited
Film expérimental | mp4 | couleur | 13:17 | Autriche | 2020

UNINVITED The world’s first horror movie for and by machines. An emergent Network Organism scans and breathes in the world for the first time through millions of virally abused CCTV cameras. Zoom. Enhance. Rekognise. Fear. Nothing makes sense. Data cannot be (p)arsed. Machine Learning Nothing. Hallucinogenic & locked down, vulnerable and oscillating between instability, lust, and aggression the Monster strains to define its own existence and distributed agency. Birth of a nation & auto-requiem. And you are, Uninvited.

Artist Nye Thompson (UK) is known for her experimental software architectures exploring network-embedded power dynamics and machinic visions of the world. In 2016 her first solo show was described by C4 News as “too shocking to broadcast”, becoming global clickbait and triggering an international government complaint. Since then she’s exhibited at venues including Tate Modern, The Barbican, The V&A, ZKM Karlsruhe, Ars Electronica. Her work has been featured on BBC, C4, CNN, the Guardian and Wired. She’s been called "the new Big Brother" (Vogue) and "a contemporary Jacques Cousteau" (Bob & Roberta Smith). UBERMORGEN (AT/CH/US) is an artist duo founded in 1995. Autistic actionist lizvlx and pragmatic visionary Hans Bernhard are net.art pioneers and media hackers widely recognized for their high-risk research into data & matter, conceptual art, and polarising social experiments. CNN called them 'Maverick Austrian Business People' during their Vote-Auction online project. They reached a global audience of 500 million while challenging the FBI, CIA, and NSA during the US presidential election. In 2005, they launched their acclaimed EKMRZ Trilogy, a series of conceptual hacks – Google Will Eat Itself, Amazon Noir, and The Sound of eBay. UBERMORGEN controls 175 domains.

Andres Felipe URIBE CARDENAS
mother's day
andres felipe uribe cardenas
mother's day
Vidéo | mp4 | couleur | 2:49 | Colombie | 2020

The communication tactics of the Colombian government in the context of a chronic armed conflict have taken the social media channels to mansplaining ideology on a contemporary massive media level. Found in 2018, this ready-made video art piece shows the rhetoric of the patriarchal discourse of the so called “low intensity” war. Here, the army is celebrating mother’s day by using soldiers to make fanatical affective statements about the role of women in society using a religious heroic language very much symptomatic of a fascist regime. This cinematographic production makes direct quotations of the spectacular education of American action movies embodied by the military themselves. The Colombian official Army is the biggest armed group (and the only one legal) in the country. For almost two decades the Army has been investigated for committing systematic crimes against humanity. Journalistic revelations in 2008 that the security forces had extrajudicially executed dozens of young men from Soacha, a poor neighborhood near the capital Bogotá, forced the government to deny at first and then to finally acknowledge that the Army may be responsible. Besides the title, the translation subtitles and the disclaimer, neither the sound nor the video had been whatsoever edited.

ANDRÉS FELIPE URIBE CÁRDENAS Bogotá, 1982. Lives and studies in Berlin. Bildhauerei Diplom and Meisterschüler in KHB, Berlin. Fine Arts BA from UJTL, Colombia. Works on borderline conceptualism, poetry, multimedia povera and situationism. Has deliberately turned off more than one hundred television screens within the international public space during his career. Solo shows in Bogotá, Cali,Los Angeles and Berlin U-Bahn. DAAD Masters Studium Grant 2019, IDARTES Publishing grant 2018, Ministry of Culture Creation Grant 2016, Intensivsprachkurs Goethe Institut Grant 2012. Collective shows in Colombia, Mexico, Argentina, U.S.A., Portugal, France, Norway and Germany.

Sarnt UTAMACHOTE
I Am Not Your Mother
sarnt utamachote
I Am Not Your Mother
Installation vidéo | mov | couleur | 15:0 | Thaïlande | Allemagne | 2020

"[...] lorsque le colonisateur la déshabille, la nudité de l'indigène le regarde en retour, à la fois comme l'image souillée qu’il a créée, et comme l’œil indifférent qui dit: "il n'y avait rien - aucun secret - à dévoiler sous mes vêtements. Ce secret est ton fantasme" (Rey Chow, Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies, Bloomington, Indiana University Press, 1993). Le regard du touriste crée non seulement un objet mais sous-entend également les désirs et les aspirations du sujet qui regarde et attrape. Les voyages des occidentaux à la recherche d’eux-mêmes deviennent une quête d'un récit alternatif, où le nouvel "Orient" est censé fournir la réponse à la question des origines perdues ainsi qu’un abri contre les problèmes. Beaucoup attendent des personnes non occidentales qu'elles soient passives et modestes, disponibles pour prendre soin d’eux et leur offrir un sentiment d'appartenance. Avec pour toile de fond les structures néocoloniales telles que l'extractivisme mondial, le backpacking et les entreprises internationales, je souhaite que cette vidéo rappelle aux spectateurs qu'ils participent possiblement à l'une ou l'autre de ces structures, et qu'elle leur fasse comprendre le caractère troublant de ces relations: comme s'ils étaient orphelins et devaient être adoptés par des "entités maternelles" indigènes.

Sarnt UTAMACHOTE est né en 1992, en Thaïlande et ses pronoms sont he/they (il/iel). Il est cinéaste et curateur queer. Il a étudié le design industriel (licence) à l'université Chulalongkorn, Bangkok (Thaïlande), et la cinématographie (licence) à la Freie Universität de Berlin (Allemagne). Il a co-fondé le collectif "un.thai.tled" (composé d’artistes critiques membres de la diaspora thaïlandaise et allemande), au sein duquel il organise des expositions culturelles critiques telles que "Beyond the kitchen : Stories from the Thai Park" (2020) ainsi que des projections de films "un.thai.tled Film Festival Berlin" (2019 - annuel). Il fait partie des participants sélectionnés pour le Young Curator Workshop de la 11e Berlin Biennale for Contemporary Art (Allemagne) en 2020. Dans son métier lié au film (en tant que producteur, réalisateur et monteur) il approfondit son emploi du cinéma comme moyen d'engagement social et imaginaire au-delà des réalités sociales conditionnelles. Son installation vidéo "I Am Not Your Mother" a été commissionnée et exposée au Festival international du film de Rotterdam (Pays-Bas), et a été nominée pour le R.D. Pestonji Award du meilleur film court au Thai Short Film and Video Festival, Bangkok (Thaïlande) [2020]. Il est le lauréat 2020 du Queer Short Film Fund, octroyé par le Xposed Queer Film Festival Berlin (Allemagne).

Michiel VAN BAKEL
P-9830
michiel van bakel
P-9830
Film expérimental | 4k | couleur et n&b | 5:10 | Pays-Bas | 2020

The natural and technological landscape in the Rotterdam port meet in a scouring way. This phenomenon is captured with a glass camera eye. A slightly more literal eye than usual in this analogy: the glass lens is hollow, hand-blown and only functions as a lens when filled with water. The water in the lens is extracted from the channel and sea on the spot. Small contaminants from the water are thus indirectly recorded as pollution particles that float through the water lens, just like the strings that everyone sometimes sees floating in front of his or her eye. The Dutch water landscape is photographed through the water from the landscape in front of us. The shooting technique used is just as hybrid as the subject itself. The camera is a DIY digital model with an old flatbed scanner as a light-sensitive plate. This produces miraculous time-space deformations, for example on the rotor blades of the windmills. These are not retrofitted filters, but deformations that take place inside the camera. Time proves to be all the more elastic. In addition, a game is played with the photographic image of the material world and its classical elements: water, earth, air and fire. Despite the corona crisis prevailing at the time of the shooting, the harbor appears to be an enormous living entity, a robot or a Leviathan with its own pulse of life.

Michiel van Bakel (1966, Deurne NL) studied astronomy (Leiden university) and psychology (Nijmegen university) for several years before he chose for autonomous visual art, at art school (Den Haag and Arnhem). Van Bakel expresses himself through film and videos, sculpture and installations. His work focuses on people and their surroundings, often resulting in a poetic reality. It conveys a fascination for the tension between man and technology, perception of time in our delicate man-made ecosystem. ‘When I look around, I see a lot of technology that aims to constrain reality in predictability, by categorizing and automating. I want to use technology to evoke wonder and transcend reality and predictability. I like to visualize things that were previously unseen and, in that sense, enrich my experience of reality. That is for me the incentive to make use of experimental video and animation techniques. Devices such as cameras, scanners and image processing algorithms I see as an extension of my senses. With these tools I manipulate images that are like anchors in time for me, but also images from my urban backyard: my 'condition urbaine.' Recurring themes are examining human perception, experiencing time, disorientation and instability.‘

Jeroen VAN DER STOCK
Hagibis
jeroen van der stock
Hagibis
Doc. expérimental | mov | couleur et n&b | 10:0 | Belgique | Japon | 2020

"Hagibis" propose une impression abstraite de la vie dans des conditions météorologiques extrêmes, dans le contexte d’un changement climatique rapide. Les images ont été tournées alors que le typhon le plus puissant depuis plus de 60 ans passait au-dessus du Japon.

Jeroen Van der Stock (né en 1979) est réalisateur. D'origine belge, il a obtenu un Master en arts audiovisuels à la Luca School of Arts de Bruxelles. Dans son travail, il explore souvent les idées de rejet, de dysfonctionnement et d'abandon. Ses œuvres vidéo ont été projetées lors de festivals de cinéma tels que ceux de Rotterdam (Pays-Bas) et d’Oberhausen (Allemagne), les RIDM - Rencontres internationales du documentaire de Montréal (Canada), les Rencontres Internationales Paris/Berlin, CPH:DOX à Copenhague (Danemark) et le festival de Jeonju (Corée du Sud). Son film court "Night Horse" a remporté le Grand Prix du Image Forum Festival (Japon), et a été nommé pour le prix Found Footage au Festival international du film de Rotterdam (Pays-Bas) en 2019. Jeroen Van der Stock vit et travaille actuellement à Kanagawa, au Japon.

Wendelien VAN OLDENBORGH
Two Stones
wendelien van oldenborgh
Two Stones
Doc. expérimental | hdv | couleur | 61:15 | Pays-Bas | Allemagne | 2020

Two Stones explores the trajectories and ideals of the Bauhaus-trained, German architect Lotte Stam-Beese and the Caribbean activist and writer Hermina Huiswoud through dialogues and appearances by contemporary protagonists. Both Stam-Beese and Huiswoud spent time working in the Soviet Union in the early 1930s and both ended up being active in the Netherlands after WWII. Two Stones was filmed in the 1930s constructivist district of KhTZ in Kharkiv, Ukraine, the first large housing project on which Lotte Stam-Beese worked, and in Stam-Beese’s celebrated 1950s Pendrecht, designed during her period as Rotterdam’s main architect/urban planner. In the 1970s, Hermina Huiswoud was agitating against the Rotterdam housing rule, which limited Caribbean Dutch inhabitants to settle in any of the city’s districts if their presence would exceed 5% of the population. Resonances as well as dissonances between the distinct trajectories of the two women and their expectation from communist ideology, are sensed through thoughts and experiences of the protagonists, who all have a personal or professional relation to the issues at hand. Two Stones (2020), is a single image edit with two soundtracks played sequentially.

Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, which look at the structures that form and hinder us, she participated in various large biennials, and in smaller dedicated shows. Recent solo presentations include: tono lengua boca at CA2M Madrid 2019-20 and Fabra i Coats Barcelona 2020; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Van Oldenborgh has exhibited widely including at Kunsthall Wien 2020, Stedelijk Museum amsterdam 2020, the Chicago Architecture Biennial 2019, bauhaus imaginista, HKW Berlin, Zentrum Paul Klee Bern 2019 and SALT Istanbul 2020. Van Oldenborgh is a member of the (Dutch) Society for Arts and a recipient of the Dr. A.H. Heineken Prize for Art (2014). A monographic publication, Amateur, was published by Sternberg Press, Berlin; If I Can’t Dance, Amsterdam and The Showroom, London in 2016.

Petrus VAN STADEN, Malebogo, Tebogo
Heaven Reaches Down to Earth
petrus van staden , Malebogo, Tebogo
Heaven Reaches Down to Earth
Fiction | 4k | couleur | 10:0 | Afrique du sud | 2020

Lorsque Tau prend conscience de sa sexualité, une cascade de pensées et d'émotions se déclenche chez Tumelo - entre eux, rien ne sera plus jamais comme avant.

Tebogo Malebogo et Petrus van Staden forment un duo de réalisateurs originaires d'Afrique du Sud. Ils racontent des histoires sous diverses formes, afin d'explorer et de commenter la complexité et la diversité magnifiques du monde dans lequel nous vivons.

Lesia VASYLCHENKO
Zaraz
lesia vasylchenko
Zaraz
Fiction expérimentale | mov | couleur et n&b | 15:46 | Ukraine | Norvège | 2020

"ZaraZ" est un essai vidéo de science-fiction, expérimental, de la chronopolitique et de la philosophie. À l'ère post-communiste, après la chute du mur de Berlin et l'effondrement de l'Union soviétique, des discours à propos de la fin de l'Histoire ont émergé. Au lieu de la structure passé-présent-avenir, nous assistons à un glissement temporel vers le Maintenant, qui se coule continuellement dans le présent du futur. "ZaraZ" réfléchit aux conséquences de l'accélération et de l'aliénation dans les sociétés modernes. Y sont dépeints des sites d'architecture brutaliste, construits pour concrétiser dans les espaces publics la "promesse" d'un avenir meilleur, et des paysages urbains endommagés par l'industrialisation et la croissance économique. La nostalgie de l'avenir s'exprime dans la désintégration des formes architecturales des espaces publics et privés, et dans la possibilité que de multiples présents émergent de passés multiples. "ZaraZ" interroge les temporalités spéculatives de la ville et explore les relations entre le temps et l'architecture; entre le virtuel, le réel et le véritable; entre les modes actuels d'instrumentalisation de l'histoire et la mémoire. Dans un monde où il n’y a qu’une seule synchronicité temporelle urbaine, la question demeure: quels sont les Temps responsables de la création de futurs imaginés?

Lesia Vasylchenko est artiste. Née à Kiev (Ukraine), elle vit à Oslo (Norvège). Sa pratique s’étend de l'installation à l'image en mouvement et à la photographie. Elle est co-curatrice de la galerie d'art autogérée Podium, Oslo (Norvège) et fondatrice de STRUKTURA.Time, une initiative transdisciplinaire de recherche et de pratique en arts visuels, archéologie des médias, littérature et philosophie. Elle est diplômée en journalisme à la Taras Shevchenko National University de Kiev (Ukraine) et en arts plastiques à la Oslo National Academy of the Arts (Norvège). Ses œuvres ont été présentées, entre autres, au Haugar Art Museum, Tonsberg (Norvège); à la Tenthaus, Oslo (Norvège); au Transnational Queer Underground, Berlin (Allemagne); à la Wrong New Digital Art Biennale, São Paulo (Brésil) et au Korea Queer Film Festival, Séoul (Corée du Sud).

Mona VATAMANU, Florin Tudor
Omnia Communia Deserta
mona vatamanu , Florin Tudor
Omnia Communia Deserta
Doc. expérimental | mp4 | couleur | 29:0 | Roumanie | 2020

The film investigates, analyses the theme of efficient modernity whose last consequence will be extinction, Ovidiu Tichindeleanu's speech having as background, motive, the post-apocalyptic present of the Omnia Hall, which thus acquires the meaning of a warning: we are again at the end of a road, that of the cult of production.

Mona V?t?manu (b. 1968) and Florin Tudor (b. 1974) work and live in Bucure?ti. Their practice consists of attentive observation and taking notice of material elements of reality. They often choose from it that which is ephemereal, small, marginal as dust, rust, fire, fluff from the tree’s seeds, soil. The work of the artists with such material can be a starting point for questioning social relations, technological and economic changes, political conflicts.

Vangjush VELLAHU
A Tool of Resistance
vangjush vellahu
A Tool of Resistance
Vidéo | hdv | couleur | 29:55 | Albanie | Allemagne | 2020

Cette installation vidéo à deux canaux est une introduction à ce qui se passe en Cisjordanie, entre les Palestiniens et l'armée israélienne. Cette installation vidéo est conçue pour raconter la réalité quotidienne des Palestiniens en général, à travers l’exemple précis de la ville d'Hébron et de sa résistance à l'armée israélienne. Pour développer ce récit, l'artiste s'est rendu dans la région, où il est entré en contact avec Human Rights Defenders, un groupe local qui utilise la caméra et les enregistrements vidéo comme outils de résistance pacifique. Cette installation vidéo contient principalement des séquences filmées par l'artiste, mais aussi d'autres documents d'archives, donnant un aperçu de l'histoire et de la réalité palestiniennes. Cette réalisation explore le rôle et la nature de la caméra et de la vidéo, en particulier en situations de conflit et d'oppression. Elle fait partie d’une série en cours intitulée "Fragments", que Vangjush Vellahu a réalisée depuis 2015 dans différents territoires affectés par de longues années de conflits gelés.

Vangjush Vellahu est né en 1987 à Pogradec (Albanie), et vit et travaille actuellement entre Tirana (Albanie) et Berlin (Allemagne). Dans son travail, il s'intéresse au voyage comme moyen de récolter et de raconter des histoires. Ses œuvres entremêlent les histoires urbaines d'entités qui, d'un point de vue idéologique et politique, restent en marge, inconnues. En 2018, il a publié son premier carnet de voyage, "Fragments I - Where stories cut across the land", qui a accompagné l’exposition vidéo solo portant le même titre. Ses œuvres ont été exposées, entre autres, au Times Art Center, Berlin (Allemagne); au Museu d'Història de Catalunya, Barcelone (Espagne); au Museum of Modern and Contemporary Art, Rijeka (Croatie); à la Škuc Gallery, Ljubljana (Slovénie); au Hamburger Bahnhof, Berlin (Allemagne); au State Museum of Contemporary Art, Thessalonique (Grèce); au MACA – Museum of Contemporary Art of Acri (Italie); à la National Gallery of Arts, Tirana (Albanie); au National History Museum, Tirana (Albanie) et à la Galerie nationale de Prague (République tchèque).

Bas VERBRUGGEN
Environs
bas verbruggen
Environs
Film expérimental | 4k | couleur | 17:45 | Belgique | 2020

In a deserted landscape where animals are affected by a distant rumble, a character emerges. Sinking deeper into the auditive world, sounds start to vibrate, time slowly loses its function and a storm rises. The character listens carefully as a dark tower seems to absorb his sonorous memories.

Bas Verbruggen (1997, Antwerp) started studying film at the KASK school of arts in Ghent, where he completed his master's degree in september 2020 with the film Environs. He is fascinated by absurd shapes in the everyday (Belgian) landscape, focuses on the experience of sound in cinema and usually makes his films individually and always from an audiovisual investigative point of view.

Matthieu VERDEIL, Dominique POUPARDIN, Jérémie VAN QUYNH
Dans l’armure d’Abraham
matthieu verdeil , Dominique POUPARDIN, Jérémie VAN QUYNH
Dans l’armure d’Abraham
Film expérimental | mov | couleur | 60:0 | France | 2020

Ve?tu d’une lourde armure me?die?vale, Abraham traverse la Bretagne a? pied, tel un Don Quichotte du XXIe sie?cle. Chemi- nant a? travers champs et fore?ts, villes et villages, cet anachronique et farfelu chevalier suscite l’e?bahissement de ceux qui croisent sa route. Il est accompagne? dans son pe?riple par le re?alisateur, son Sancho Panza, devant et derrie?re la ca- me?ra. Ensemble, ils vagabondent, acceptent le gi?te et le couvert qui leur sont offerts, ou bivouaquent sous les e?toiles. Peu a? peu, Abraham perd pied. Son armure devient sa Dulcine?e. Absorbe? par son œuvre, l’artiste s’efface finalement derrie?re le personnage qu’il a cre?e?. Seul reste un chevalier errant menant une que?te insense?e.

Depuis 1997, Matthieu Verdeil travaille avec de nombreuses socie?te?s de production pour la te?le?vision, la communication, les institutions et le web. Principalement en tant que chef-ope?rateur de prise de vue, mais e?galement en re?alisation et en montage. Son expe?rience est tre?s varie?es avec tous types de prestations, des tre?s gros e?ve?nements en direct (e?lection du Pape a? Rome en 2013) jusqu’au reportage seul en terre inconnues (Tour cycliste du Burkina Faso), en passant par les magazines te?le?, le documentaire, la communication culturelle, institutionnelle ou corporate... Son domaine de pre?dilection est le secteur culturel et artistique. Il a re?alise? des films de commande pour le MuCEM, la Friche Belle de Mai, le Centre National des Arts Plastiques, KLAP-maison pour la danse, le Palais de Tokyo, le CIRVA centre international de recherche sur le verre et les arts plastiques...

Michael VIENNE
Peripherien
michael vienne
Peripherien
Fiction expérimentale | 4k | couleur | 9:0 | Autriche | 2020

A strange pandemic / A stranded science fiction writer / A sequence haunted by lucid dreams, gentle speculations, and voices yet inaudible in the air.

Michael Vienne is a visual artist and experimental filmmaker based in Vienna. His work has been exhibited and projected internationally.

Viet VU
An Act Of Affection
viet vu
An Act Of Affection
Documentaire | mp4 | couleur | 16:0 | Viet nam | Portugal | 2020

While making a portrait of a single gay man in Lisbon, a filmmaker offers his character a little gift from the bottom of his heart. Not only capturing beautiful interactions between two individuals through a first-person perspective camera, this is also a film on the act of filming.

Viet Vu (Quang Trung Pham) used to be a film critic before breaking into filmmaking with his debut short of “Ant-Man”, 2018. The film won him “Purin Award for The Most Promising Filmmaker from South East Asia”. He has since then completed a series of shorts on memory, time and internal decolonization. His works have been shown at Locarno, Rotterdam, Tampere, Singapore among other film festivals. At present, Viet is finishing DOC NOMADS, his master program of documentary film directing across three different cities of Europe – Lisbon (Portugal), Budapest (Hungary) and Brussels (Belgium).

Matthijs VUIJK, Straub Sammie
What do I see when I see me
matthijs vuijk , Straub Sammie
What do I see when I see me
Doc. expérimental | mp4 | couleur | 3:23 | Pays-Bas | Afrique du sud | 2020

A young woman interacts with her own cyborg self. Freed from flesh and thoughts in cyberspace, the digital body extends the movements and expressions of her organic body. In this way, the young woman escapes earthly conventions around the female body.

Sammie Straub (1994, NL) is a multidisciplinary artist born and raised in Amsterdam. Sammie’s interests lie in visual culture, philosophy and music. In her visual works, performances and installations she looks for (fashion)aesthetics amidst societal political chaos and distractions. Her works contain elements of social criticism, styling, art-direction, music and graphic design. In her musical works Sammie has a preference for electronic music; breaks, wave, EBM and techno, transgressing boundaries of musical genres just like her origin transcends colonially defined borders and nations. Sammie is currently studying photography at the Willem de Kooning Academy in Rotterdam and philosophy at the University of Amsterdam. Matthijs Vuijk (1995, NL) has been studying photography at the Royal Academy of the Arts in Ghent, Belgium. After doing an internship with Dutch Filmmaker Lara Verheijden, Matthijs moved to Johannesburg, South Africa. There Matthijs finished an Honours in Film&Television at the University of the Witwatersrand (WITS), and participated in a collaborative VR project between the Filmuniversität Babelsberg and WITS. Matthijs has edited on Lara's new film Coco (2020), received regional funding from the province of Zeeland for his new documentary and is currently involved in different cultural initiatives in Johannesburg and Amsterdam.

Beny WAGNER
Coal Mine in the Canary
beny wagner
Coal Mine in the Canary
Doc. expérimental | mp4 | couleur | 18:34 | Allemagne | Royaume-Uni | 2020

An essay film told through the body, 'Coal Mine in the Canary' explores the work of John Scott Haldane, the late 19th century physiologist whose experiments with respiration in atmospheric extremes led him to put canaries in coal mines as early indicators of air toxicity. The film explores this historical technique as a form of environmental control, one that would ultimately shape the possibilities of exchange between organisms and their surroundings, determined as a series of regulated variables. In the canary, Haldane developed a new paradigm: to modify an organism is a form of environmental control because there is no border at which the organism begins and the environment ends.

Beny Wagner is an artist, filmmaker, researcher and writer. Working in moving image, text, installation and lectures, he constructs non-linear narratives situated within the ever shifting threshold of the human body. ? He has presented his work in festivals, exhibitions and conferences internationally including: Berlinale, International Film Festival Rotterdam, Eye Film Museum, Haus der Kulturen der Welt, Media Art Biennale WRO, 5th and 6th Moscow Biennale for Young Art, Moscow International Experimental Film Festival, Plato Ostrava, Künstlerhaus Bremen, Kunsthalle Amsterdam, Sonic Acts, Impakt Festival, Berlin Atonal, Venice Biennale, White Columns among many others. His work has been featured in Artforum, Spike Magazine Quarterly, Frieze Magazine, Kaleidoscope Press, Flash Art and Die Zeit. His writing has been published in Valiz and Sonic Acts Press among others.

Patrick WALLOCHNY
attractions
patrick wallochny
attractions
Doc. expérimental | mov | couleur | 4:27 | Allemagne | 2020

The gaze in “attractions” is focused on the animals. Any human activity seems strange. It forces its way into the otherwise equable way of life at Gori Park, ultimately calling into question the way humans constantly take it for granted that they are above nature.

Patrick Wallochny, born in Düsseldorf in 1990, is a filmmaker and video artist. He works as a director, editor and producer and lives in Berlin. His short films and site-specific audio and video installations move between documentary and fiction and try to playfully explore the limits of the medium. They are in dialogue with the cinema as well as with other art forms and pop culture. His eyes are on places as well as on people. On humour as on melancholy.

Phillip WARNELL
Intimate Distances
phillip warnell
Intimate Distances
Doc. expérimental | 4k | couleur | 61:0 | Royaume-Uni | USA | 2020

On a street corner in Queens, New York, an elderly, white-haired woman hovers, apparently waiting or looking for something – then starts approaching passersby. Miked up close, but viewed – surveillance-style – from distant rooftops, she asks them philosophical questions about turning points in their lives, sometimes eliciting candidly revealing answers from people who seemingly need to talk. She’s also seen up close at street level, viewed by a shaky nearby camera. And intermittently we hear the affectless voiceover of an English male reading an account of a prison spell. What exactly are we seeing? A documentary of sorts? A fiction stripped of its expected signposts? The woman is real-life casting director Martha Wollner, but the film never makes it clear what her mission is, what she hopes to learn, and what her relation is to the distant speaker (who may also be the distant observer). Echoing Coppola’s THE CONVERSATION, as well as works by Phillip Warnell’s fellow British experimental directors John Smith and Chris Petit, this is an enigmatic, elusive piece. Yet, as the title suggests, those moments when Wollner connects with the interiority of perfect strangers makes this an alluringly, unexpectedly compassionate guerrilla foray into urban experience. (Jonathan Romney)

Phillip Warnell is an artist-filmmaker, a writer, and the director of the Visible Institute, for research in film and photography, at Kingston University, London. He produces film works and texts exploring a range of philosophical and poetic thematics, also exploring ideas on human-animal relations. His most recent film, The Flying Proletarian (2017), premiered at CPH:DOX, Copenhagen International Documentary Film Festival, in March 2017. During his fellowship, Warnell is addressing a series of interconnected questions on “animality-cinemality-criminality,” involving engagement with film professionals and researchers relative to screen-based roles and exploring the relationship among appearance, measurement, and typecasting. He is also developing script-based ideas for a planned feature-length film, currently in development, that investigates ideas on misobservation and apparitions of other life-worlds, accessing archival material to inform and incorporate into the project. Warnell’s film work has been exhibited extensively, including recent screenings at the ICA in London, KW Institute for Contemporary Art, in Berlin, and Tate Modern, in London, as well as in such prestigious film festivals as the Locarno Festival, the New York Film Festival, and the Viennale. Previous exhibitions have included at the Moderna galerija, in Ljubljana, Slovenia; Sharjah Biennial, in United Arab Emirates; and Wellcome Collection, in London. His film Ming of Harlem: Twenty One Storeys in the Air (2014) won the 2014 Georges de Beauregard International Prize at FID International Film Festival Marseille and the 2015 Universities SIC Award at IndieLisboa.

Nico Joana WEBER
Tropic Telecom
nico joana weber
Tropic Telecom
Vidéo expérimentale | 4k | couleur | 24:58 | Allemagne | France | 2020

Tropic Telecom reflects contemporary Paris in its hybrid post-colonial reality. The film develops from the Palais de la Porte Dorée, which opened in 1931 on the occasion of the Paris Colonial Exhibition. It is the only building of the exhibition that was preserved after the end of the event, located in the southeast of the city bordering on the Périphérique. Its architectural style presents itself as a synthesis of the formerly modern Art Déco, as well as freely interpreted elements of native art and architectural styles. A crocodile basin is to be found in the still accessible aquarium of the palace that was used to showcase fish from the tropical colonies. As the film proceeds, an albino alligator that the basin houses today, embarks on a surreal journey. It leads the viewer through places of French colonial and migration history, as well as large brutalist and post-modern housing estates on the outskirts of Paris that were built from 1970 onwards and which stand for the residential utopia of a postcolonial Paris. A structure of images emerges that situates the ongoing aesthetic, political and social negotiation processes in a polyphonic communicative field.

Nico Joana Weber (*1983 in Bonn) lives and works in Ludwigshafen am Rhein, Germany. She studied Fine Art and Art History at Goldsmiths College London and completed her postgraduate studies at the Academy of Media Arts Cologne in 2013. By means of different artistic media such as video, installation, photography and drawing, she explores the aesthetic and political characteristics of architecture and landscape in transcultural contexts. Weber's work is fuelled by an unsteady search for historical traces and cultural processes of transformation and appropriation that doesn't arrive at simplistic solutions but rather focuses on zones of ambivalence. Nico Joana Weber has received numerous grants and awards, most notably the Villa Romana Prize (2016) and the Bonn Art Award (2019). Selected exhibitions and festivals include: Kunstmuseum, Bonn (2020), Kunstverein Kärnten, Klagenfurt (2019), Goethe Institute Bulgaria, Sofia (2019), Artothek, Cologne (2018), Temporary Gallery, Cologne (2017), Museum unter Tage, Bochum (2017), Skulpturenmuseum Glaskasten Marl (2017), Villa Romana, Florence (2016), Goethe Institute, Paris (2016), Aesthetica Short Film Festival, York (2015), International Short Film Festival Oberhausen (2015).

Effi WEISS, Amir Borenstein
CHANCE
effi weiss , Amir Borenstein
CHANCE
Documentaire | 0 | couleur | 75:0 | Belgique | 2020

Joué magnifiquement par eux-mêmes et sans scénario, CHANCE raconte la tentative nocturne de quatre jeunes soudanais, demandeurs d’asile, de rejoindre l’Angleterre depuis la Belgique. Filmé entièrement dans la remorque d’un camion, ce docu-fiction est une rencontre rare, privilégiée et profondément humaine avec quatre individus et avec une réalité trop souvent invisible.

Effi Weiss (née en Israël, 1971) et Amir Borenstein (né en Israël, 1969) sont un duo d’artistes-cinéastes qui travaillent ensemble depuis 1999. Leur travail croise différentes disciplines comme la vidéo, les installations et des projets participatifs. Leurs œuvres sont diffusées dans des musées, des centres d’Art contemporains et festivals. En dehors de leurs projets communs, ils animent aussi des ateliers avec des publics de toutes origines. CHANCE est leur troisième long métrage.

Chi-yu WU
Hominins
chi-yu wu
Hominins
Vidéo | mov | couleur | 16:4 | Taiwan | 2019

The conception of the work is based largely on prehistoric cave paintings on Sulawesi Island, as well as fossils and remains undiscovered or still undergoing excavation in East Asia, Southeast Asia and other regions. The creation of cave paintings marks the dawn of the intelligent creature discovering images for immersive experience. Species of different lineages can develop similar functions because of being in similar environments— what we call convergent evolution; different ethnicity groups, too, are able to develop consistent cognitive ability in similar spaces. As one of the oldest cave paintings, the painting at Leang-Leang cave had witnessed the beginning of consciousness, which happened across different locations in human history. It illustrates the common ground of humans and how they gradually evolve to share more similarities.

Wu Chi-Yu born in 1986, is an artist based in Taipei, Taiwan. Chi-Yu’s work has long been focusing on re-establishing the connections among humans, things, animals, and the ruined world left by technic capitalism. His practice revolves around the moving image, looking for contemporary narratives in lost memory through the reproducing of oral history and myths. He is also involved in different collaboration projects of installation, video installation, and performance.   The exhibitions he once participated include: The Ouroboros (TheCube Project Space, Taipei/ Casino Luxembourg, 2019); Serious Games (HOW Art Museum, Shanghai, 2019); 12th Shanghai Biennale: Proregress (Power Station of Art, Shanghai, 2018); Trans-Justice (MOCA, Taipei, 2018); Crush (Para Site, Hong Kong, 2018); Taipei Biennial (Taipei Fine Arts Museum, Taipei, 2016); The 2nd CAFAM Future Exhibition (CAFA Art Museum, Beijing 2015). His films have been screened at Short Film Program-Art Basel Hong Kong (2019); Beijing International Short Film Festival (2017); EXiS Festival (Seoul, 2017); Arkipel Festival (Jakarta, 2016). He had a solo show: 91 Square Meters of Time (TKG+ Project, Taipei, 2017) and was a resident artist at Rijksakademie van beeldende kunsten (2014-2015).