Catalogue 2017-2018
Below, browse the 2017-2018 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.
Elise FLORENTY, TÜRKOWSKY Marcel
SABOTEN TO NO KAIWA
florenty Elise , TÜRKOWSKY Marcel
SABOTEN TO NO KAIWA
Doc. expérimental | hdv | couleur | 45:0 | France | 2017

Mei, une toiyoïte de 30 ans, vient d’envoyer une lettre à son ami Toshi qui vit à Hambourg. Elle lui parle de haïkus, de souvenirs étranges de leur enfance et des dernières nuits d’été suffocantes où la fièvre dengue menace. Elle lui raconte aussi son dernier rêve empreint d’une atmosphère de complot d’Etat qui l’a conduit sur les traces du couple légendaire Hashimoto et de leur curieuse expérience, consistant à communiquer avec un cactus, via un détecteur de mensonge, afin qu’il devienne un éventuel témoin de crimes futurs.

Elise Florenty et Marcel Türkowsky partagent leurs connaissances théoriques du cinéma et de la musique pour réaliser des films créant un espace dans lequel la réalité rencontre les mythes, fables et utopies associés à un territoire donné ; enregistrant survivances, trahisons et métamorphoses des résistances du passé. Chaque film s`ancre dans une géographie particulière, et convoque plusieurs signes historiques, politiques, mais aussi littéraires : « Gennariello Due Volte » à Naples (d’après « Les lettres luthériennes » de Pasolini), « Holy Time In Eternity, Holy Eternity In Time » au Mississippi (dans le comté Yoknapatawpha de Faulkner), « The Sun Experiment » à Donetsk en Ukraine (d’après « Le chemin de l´Ether » de Andreï Platonov) et « A Short Organon For The Hero » à Rio de Janeiro au Brésil (d`après « Macunaíma » de Mário de Andrade). Tous les films ont la particularité de suive un personnage marginal qui, dans sa solitude, délire de façon lucide le monde et le cosmos, et parvient par des moyens détournés, à se « brancher » sur le collectif. Leurs films ont été montrés dans les festivals suivants : FID Marseille, Hors Pistes Centre Pompidou Paris, Doc Lisboa, Torino Filmfestival, IFFRotterdam, Valdivia Chile, November Film Festival London, Berwick Film Festival, Festival dei Popoli - Florence, Gianny Päng Live Festival Bologna, 25 FPS Zagreb, Ann Arbor Filmfestival, European Media Art - Festival EMAF Osnarbrück, Japan Media Art Festival, etc… Leurs films ont été montrés dans les musées suivants : Crédakino Ivry-sur-seine, Fracidf Le Plateau Paris, Le Jeu de Paume Paris, Palais de Tokyo, Les Églises centre d’art contemporain Chelles, La Synagogue art centre Delme, La ferme du buisson, Noisy-le-sec, CRAC Alsace, CAPC Bordeaux, Frac Pays de Loire, Carquefou, Mamco, Genève, Berlinische Gallery Berlin, NBK, Berlin, HDKW Berlin, Kunstverein Potsdam e.V, Kinderhook & Caracas Berlin, Iselp, Bruxelles, Matadero Madrid, Stäedtische Galerie Bremen, Izolyatsia Donetsk, International Moscow Biennale, Museum of Contemporary Art Detroit, Platform Seoul, Muzeum Sztuki, Lodz, La Triennale di Milano, CAC Vilnius, CCCB Barcelona, Festival Sonorites ainsi que la plateforme en ligne Vdrome. Ils ont participé aux résidences Izolyatsia, Donetsk, Ukraine ; Capacete, Rio De Janeiro, Brésil ; Geumcheon, Seoul, Corée du Sud ; Worpswede, Allemagne ; Cac Passages, Troyes ; Cité des arts, Paris, France ; et ont mené des projets de recherche en Grèce, au Japon et en USA. Ils ont reçu le prix EMAF 2014, European Media Art Festival, Osnabrück, Allemagne pour « The Sun Experiment (Ether Echoes )» et le prix EMAF 2017 pour « Conversation avec un cactus »

Kuba GARSCIA
Flora the Movie
garscia Kuba
Flora the Movie
Installation multimédia | mov | couleur | 4:57 | Pologne | 2015

"Flora The Movie" It is install_plantation or instant_plant or augmented plant. It is collection of objects and plants connected with moving mechanisms and multimedia devices like routers, usb hubs, lights, speakers. First, Im composing flora objects. Finding flowers, moss, bark, elements of nature and grow them in unusual pots, together with technology, electricity, lights. The goal is to create co-working life organism from different environments. Then, Im constructing kind of stage or altar from lost and found, DIY, elements, ready made objects, old fashion, destroyed furniture, audio-video recorders, computers etc… Next, Im adding projection mapping on interesting surfaces of composed objects (installation). Fitting animations to situations. Extending installation with another dimension and living structure - projection.

Born in 1988 in Krakow. He has graduated from Intermedia Department at Academy of Fine Arts in Krakow, Poland. Author of many multi-dimensional installations, immersive projects, install_plantations and digital flora. Works in the fields of postproduction, 3D mapping, interaction, objects collection, movement and design. Organizes, exhibitions and audio-visual performances. He marked the beginning of projection mapping movement in Poland and become influential and active person in new media community till now-days. He is trying to connect and explore all of the various codes of visual communication and their ability to process in order to apply them in specific urban spaces and/or exhibitions. Within the flexibility of visual language he creates multi-dimensional contemporary and site specific installations. Currently lives and works in Warsaw. His art was exhibited in galleries, festivals and other special events around Poland, Germany, Czech Republic, Slovakia, Israel, Great Britain, Sweden, Denmark. He is moderating audio visual experiences and animating people around visual art platform and gallery called K105K in Warsaw. He is co-founder of postproduction studio Locomotive.pl and flora and art lovers Project Utopia.

Yosr GASMI, Mauro MAZZOCCHI
I want to go mad, raving mad -L.E.N.Z.-
gasmi Yosr , Mauro MAZZOCCHI
I want to go mad, raving mad -L.E.N.Z.-
Fiction | mp4 | noir et blanc | 379:19 | Tunisie | 2016

Une longue traversée des montagnes mène un inconnu chez une famille charitable. Le temps d`un séjour, l`étranger s`essaie à la vie, mais bientôt le chaos de la vie le rattrape. Je veux devenir fou, fou furieux -L.E.N.Z.- est une image-sonore née de la nouvelle de G.Büchner traitant de la schizophrénie de l`écrivain Lenz. Confronté à la folie du monde, une silhouette anonyme émerge pour traverser ce chaos. Elle trace une ligne de fuite qui ne cesse de se faire et se défaire. -L.E.N.Z.- est une histoire d`errance sans nom.

Mauro Mazzocchi, né en 1986 en Italie, est diplômé en philosophie et en théâtre. Dès l`âge de 15 ans, il réalise ses premiers moyens et courts métrages : La clarté transparente du cinéma, (Ach)ille, Artaud, etc,. Yosr Gasmi, née en 1984 en Tunisie, est une normalienne, diplômée en littérature françaises de l`Université Sorbonne Paris IV. Elle s`intéresse à l`image dans ses diverses expressions artistiques et scripturales. Ce couple de réalisateurs indépendants collabore en 2015 à l`écriture, à la réalisation et à la production de leur premier long-métrage, Θέλω, θέλω μανῆναι -L.E.N.Z.- . Y.G-M.M - Les deux réalisateurs se considèrent comme une multiplicité technique et expressive. Ils travaillent ensemble dans la solitude de leur réflexion, s`occupant ainsi de tous les aspects de production, de réalisation et de postproduction cinématographiques. À partir de cette multiplicité technique se réalise l`expérimentation d`une création sans fragmentation des fonctions et sans hiérarchie, une expérimentation qui rend compte d`une anatomie hétérogène, d`une machine-cinéma dans son aspect le plus complet, avec la conscience des mouvements d`apparition et de disparition qui rythment discontinûment ses fonctions, à l`image d`un corps sans organe.

Bertrand GAUGUET
CHANTIER 3 - Pascal Battus-Bertrand Gauguet-Eric La Casa
gauguet Bertrand
CHANTIER 3 - Pascal Battus-Bertrand Gauguet-Eric La Casa
Doc. expérimental | mov | couleur | 25:27 | France | 2017

Musiciens, Pascal Battus, Bertrand Gauguet et Eric La Casa engagent des sessions improvisées sur des sites de chantier depuis 2010. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants de recherche intuitifs avec le milieu dans lequel ils se trouvent alors. Jouant avec la rumeur des espaces, avec les multiples sons des machines qui tournent, avec les gestes produits par les ouvriers et les paroles entendues, ils suivent une ligne indéfinie qui peut pencher d’un côté ou de l’autre de l’approche acousticienne, psycho-acousticienne, du paysage sonore, de la musique ou encore (mais plus rarement) de l’anthropologie. Ils espèrent ainsi concevoir un dispositif d’attention à partir duquel intervenir. En 2013, ils ont exploré le site de la Philharmonie – Cité de la musique à Paris. S’écartant d’une approche documentariste, le film Chantier 3 déplie davantage une cartographie subjective donnant à voir et à entendre des moments de « présence discrète ». Ou comment, en ouvrant des interactions avec une architecture en devenir, l’écoute et l’improvisation sont à même de proposer d’autres seuils perceptifs du chantier.

Bertrand Gauguet chemine dans une pratique impliquant sans hiérarchie le sonore et le musical : comme saxophoniste improvisateur, comme compositeur de musique électronique et comme collecteur de sons. Il est engagé depuis 2010 dans une recherche intuitive aux côtés d’Éric La Casa et Pascal Battus en conduisant des sessions improvisées sur des sites de CHANTIER. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants d’improvisation avec le milieu dans lequel les trois musiciens se trouvent alors. En 2018, deux albums (Chantier 1 et Chantier 4), un texte (Chantier II) et un film (Chantier III) constituent les marqueurs cartographiques de ce projet. http://www.bertrandgauguet.com/chantier

Philippe-aubert GAUTHIER, Tanya St-Pierre
La production fantôme
gauthier Philippe-aubert , Tanya St-Pierre
La production fantôme
Vidéo | mov | couleur | 4:0 | Canada | 2016

“La production fantôme – The Phantom Production“ est une installation vidéo sous forme de diptyque. Un double écran présente en simultané une vidéo filmée et une vidéo de synthèse. Inspiré par le photo-réalisme (comment les marques ou imitations de caméra accroît le réalisme des images de synthèse), c`est le mouvement de la caméra de la vidéo filmée qui est imitée par la vidéo de synthèse. Avec cette installation vidéo diptyque, les tensions entre séquences vidéo tournées et synthétiques proposent un processus de production cinématographique interrompu, ouvert à l`analyse critique. “La production fantôme – The Phantom Production“ peut être montrée de plusieurs façons : installation à deux canaux vidéo, installation à un canal, projection à deux canaux, projection à un canal.

Philippe-Aubert Gauthier : Philippe-Aubert Gauthier is a sound and digital artist, junior mechanical engineer and a researcher in acoustics (spatial sound reproduction). He holds an MSc and PhD in acoustics, and is currently a researcher for the Groupe d’Acoustique de l’Université de Sherbrooke (Canada). His artist’s statement is at the crossroads of the arts, sciences, technology and culture. Gauthier has received grants from the Canada Council for the Arts, Conseil des arts et des lettres du Québec, Natural Sciences and Engineering Research Council of Canada, Fonds de Recherche Nature et Technologie Québec and other organizations. Tanya St-Pierre : Tanya St-Pierre is a Graduate in visual arts from UQTR (Université du Québec à Trois-Rivières, Qc, Canada). Native of Gatineau (Quebec, Canada), she currently lives and works at Sherbrooke City (Qc, Canada). St-Pierre`s work have been supported by the CALQ and was shown in divers contexts in Canada, United States, Mexico, Morocco and in the United Kingdom. Also member of the performance duet NOÏZEFER CWU, since 2004, she participated in divers performance art and experimental music events.

Pieter GEENEN
mirador
geenen Pieter
mirador
Doc. expérimental | mov | couleur | 25:46 | Belgique | 2016

Around the southernmost tip of Europe, the European and African continent almost seem to meet. That`s why the Strait of Gibraltar is an important migration route, not only for the migratory birds spotted there, but also for refugees trying to reach Europe. At the Mirador del Estrecho panoramic lookout point tourists gather to take pictures of the stunning panorama, and comment on the view of Africa that they`re offered. mirador is centered around spectatorship and the act of watching itself. Like silent witnesses the tourist, the immigrant, the audience and the camera look at the landscape and indirectly at each other. They look to the other side, facing a continent that appears like a fata morgana. While being sold a dream in a world of increasing mobility and globalisation, this situation of `we` versus `they` and `here` versus `there` reveals the postcolonial gaze.

Pieter Geenen (°1979) lives and works in Brussels. He holds a master`s degree in photography and he`s a laureate of the international postgraduate program Transmedia at Sint-Lukas University College of Art and Design Brussels. His work has been presented at the International Film Festival Rotterdam, New York Film Festival, Hong Kong International Film Festival, VIDEOEX Zürich, Doclisboa, Images Festival Toronto, EMAF Osnabrück, EXiS Festival Seoul, FID Marseille, Rencontres Internationales Paris/Berlin/Madrid, M-Museum Leuven, La Capella Barcelona, Centre Pompidou-Metz, FRAC Basse-Normandie, ARGOS Centre for Art and Media Brussels and Médiathèque FMAC Geneva among others. He won the Input/Output Art Prize for emerging artists in 2007 and in 2011 he was awarded the first prize `Fondation Henri Servais` of the Art`Contest Art Prize. Work of Pieter Geenen is part of the collection of the Flemish Community, Colección Inelcom Madrid and different private collections. Together with audiovisual artists and filmmakers Sirah Foighel Brutman, Eitan Efrat and Meggy Rustamova he is a founding member of Messidor, a collective platform for reflection, production and distribution.

Riccardo GIACCONI
Due (Two)
giacconi Riccardo
Due (Two)
Doc. expérimental | 16mm | couleur | 16:55 | Italie | France | 2017

"Due" was shot in Milano 2, a residential neighbourhood located just outside Milano. Built as a utopian city between 1970 and 1979, Milano 2 was Silvio Berlusconi`s first ambitious project. It was in Milano 2 that TeleMilano, the first private Italian TV channel, started to broadcast, which made the area the bridgehead of the media and, later, political empire of Berlusconi. Milano 2, which nowadays may seem an ordinary suburban area, has functioned as a laboratory for a form-of-life which, in the decades of the “Berlusconismo”, spread nationally and left a long-lasting mark on Italian culture. The film includes an interview with Enrico Hoffer, the architect that designed the landscaping of the neighbourhood, as well as fragments from a 1974 publicity brochure advertising the real estate project.

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia, at UWE in Bristol and at New York University. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin). He was artist-in-residence at: Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). In 2016 he was awarded the ArteVisione video production prize, curated by Sky Arte and Careof. He presented his films at several festivals, including the New York Film Festival, the Venice International Film Festival, the International Film Festival Rotterdam, the Rome Film Festival, the Torino Film Festival, Visions du Réel and the FID Marseille International Film Festival, where he won the Grand Prix of the international competition in 2015. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication ‘Paesaggio’ and the ‘Helicotrema’ festival.

Mike GIBISSER
Travel Stop
gibisser Mike
Travel Stop
Film expérimental | 16mm | couleur | 19:0 | USA | 2017

Shot at the World’s Largest Truckstop in Walcott, Iowa, the film contemplates the interiors of a Midwestern highway rest stop, creating an essayistic portrait of a familiar site of travel and transience. With fixed attention toward the ideological overtones pressed to the surface in the objects for sale, Travel Stop examines how identity is called upon, regressed, emptied, overburdened, or parceled when traversing the non-places along the US interstate. “That the world of things can open itself to reveal a secret life—indeed to reveal a set of actions and hence a narrativity and history outside the given field of perception—is a constant daydream that the miniature presents. This is the daydream of the microscope: the daydream of life inside life, of significance multiplied infinitely within significance.” – Susan Stewart, On Longing

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work, often drawing together disparate subjects or time periods. In the past 10 years, he has completed two narrative features (Finally, Lillian and Dan and World of Facts), a feature film essay (The Day of Two Noons), as well as several experimental and non-fiction shorts. He has presented work at numerous galleries and festivals around the world, including the International Oberhausen Film Festival, the Harvard Film Archive, Tony Wight Gallery, Block Cinema, the AFI Film Festival, the Images Film Festival, the European Media Arts Festival, threewalls gallery, and the New York Film Festival. His work has been featured in Artforum, Variety, and Cinemascope, amongst other publications. He currently teaches at the University of Iowa and runs the Headroom Screening Series dedicated to bringing filmmakers to local audiences to present challenging and experimental new work.

Pierre-jean GILOUX
Invisible Cities
giloux Pierre-jean
Invisible Cities
Installation vidéo | mov | couleur | 0:0 | France | Japon | 2017

Anton GINZBURG
Birobidzhan Atlas
ginzburg Anton
Birobidzhan Atlas
Film expérimental | mov | couleur | 21:22 | USA | 2017

"Birobidzhan Atlas" is a film exploring Jewish Autonomous Region, an area that is located in the Far East of the Russian Federation. Founded by the Soviet government in 1934, the Jewish Autonomous Region became an official self-determined Jewish entity long before the establishment of the State of Israel. The landscape had a harsh geography and climate: it was mountainous, covered with virgin forests of oak, pine and cedar, and also swamplands festering with mosquitoes, and any new settlers would have to build their lives from scratch in this underpopulated region on the border of contested Manchuria. Birobidzhan is a town and the administrative center of the Jewish Autonomous Region, Russia, located on the Trans-Siberian Railway, close to the border with China. It is named after the two rivers: the Bira and the Bidzhan, which are tributaries of the Amur. The city was planned by the second director of Bauhaus, Swiss architect Hannes Meyer, and established in 1931. Birobidzhan Atlas employs Aby Warburg’s method of “montage-collision”, to build a representation of the area through combination of historical archives and documentation of today’s landscape, the relationship between the utopian and the represented landscape.

Anton Ginzburg (b. 1974, St. Petersburg, Russia) is a New York-based artist and filmmaker, investigating historical narratives and poetic studies of place, representation, and post-Soviet identity. He earned a BFA from The New School for Social Research and MFA degree from Bard College, Milton Avery Graduate School of Arts, Annandale-on-Hudson, New York. His work has been shown at the 54th Venice Biennale, the Blaffer Art Museum at the University of Houston, Southern Alberta Art Gallery in Canada, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns in New York, Lille 3000 in Euralille, France, and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery in London, Rotterdam International Film Festival (IFFR), Dallas Symphony Orchestra, Nasher Sculpture Center in Dallas, Les Rencontres Internationales in Paris, Haus der Kulturen der Welt in Berlin and New York Film Festival/Projections among others.

Eva GIOLO
Remote
giolo Eva
Remote
Film expérimental | hdcam | couleur | 23:41 | Belgique | 2016

Remote is a suggestive story. Portrait of a tender companionship in a secluded Irish countryside. Residing in the simplicity of the moment, the waiting and the repetition of days. This is a place where there is no space for imagining a future other than the perpetual repetition of the present. This is a place for survival, to be strong, alone with the wind, eyes burnt by the light. A place of unspoken tenderness, a landscape of silence and solitude in which there will always be someone.

Eva Giolo (b.1991 Brussels) is an audio visual artist. Her practice is predominantly made of filmic portraits that weave between fiction and documentary. They focus on individuals, almost always facing a certain kind of loneliness. She mainly focus on those individuals in their daily life, scripting and observing their actions and daily gestures through the camera. They often touch upon universal human themes and explore the relationship between loss, time and memory. But also the in-between language of the camera and the subject. Presenting memories, images and portraitures as something that can be manipulated and seen with multi-perspectives. Questioning the power of images is a recurrent theme and memories often stand as a central narrative. Giolo obtained a BA and MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent. She completed her music education at the Institute of Contemporary Music in London. Recent screenings and exhibitions include: Imagine Science Film Festival, New York; TAZ#17, Ostend; Côté court, Paris; International Film Festival Rotterdam; Blaa Galleri, Copenhagen; BOZAR, Brussels; Courtisane Film Festival, Ghent; Ishibiki Gallery, Kanazawa; In Out Film Festival, Gdansk among others. Giolo won the VAF Wildcard for experimental film (2016) and is a founding member of the small distribution and production platform elephy. Eva Giolo is a post-grad art resident at HISK in Ghent (2018-2020). She currently works and lives in Brussels.

Christoph GIRARDET
It Was Still Her Face
girardet Christoph
It Was Still Her Face
Film expérimental | mov | | 8:0 | Allemagne | 2017

Portraits of women. And men, who are spellbound by them. The painted portraits – a recurring motif of film noir as well as European postwar cinema – aesthetically stand in a tradition of an outmoded academic style that is bent on striking likeness with the model. They are revenants, omens of absence, metaphors for loss and death, objects of desire and fixation, which mesmerize both the viewer in the movie and in front of the screen.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. filmography (single channel, selection) 1991 Schwertkampf 1993 Fieberrot 1996 Release 2001 Scratch 2002 Absence 2004 Fiction Artists (with Volker Schreiner) 2007 Pianoforte | Storyboard 2012 The Eternal Lesson | Dirigible 2014 Fabric 2015 Synthesis 2017 It Was Still Her Face collaborations with Matthias Müller 1999 Phoenix Tapes 2002 Manual | Beacon 2003 Play | Mirror 2006 Kristall 2009 Contre-jour | Maybe Siam 2011 Meteor 2013 Cut 2016 personne

Alexander GIRAV
The Night in All Things
girav Alexander
The Night in All Things
Doc. expérimental | mov | couleur | 9:46 | USA | 2017

Somewhere, a young man is asleep, his room illuminated green by the flicker of his computer screensaver. Even the night sky resembles its digital replication. Anthropological observations on sleep in the age of technology, and the ways in which it substitutes natural environments.

Alexander Girav was born in Chicago in 1995 and now works as a cinematographer in Los Angeles. While a student at CalArts, he had his work screen at The Chicago International Film Festival and Valvidia International Film Festival. Upon receiving his BFA in Film/Video, Alex`s work has been selected to screen by Ann Arbor Film Festival and International Film Festival Rotterdam - among others.

Pascal GRANDMAISON, Marie-Claire Blais
Le chemin de l'énigme
grandmaison Pascal , Marie-Claire Blais
Le chemin de l'énigme
Vidéo expérimentale | 4k | couleur | 13:6 | Canada | 2017

N`ayant pas vécu l`Exposition universelle 1967 à Montreal, nous ressentons une sorte de vertige entre ce que l`évènement évoque aujourd`hui et l`absence de vestiges qui en témoignent. Une impression de vide qui nous incite à scruter attentivement le site de l`exposition universelle à la recherche d`indices révélateurs de son passé. À l`image d`une archéologie matérielle inspiré de Walter Benjamin qui recherche dans la matière, les débris et les laissés pour contre, les traces d`une histoire qui émanerait jusqu`à nous. Pour tenter de cerner l`ampleur de ce décalage, nous nous sommes intéressés aux facteurs d’apparition et d’effacement révélateurs des contradictions du site et de son histoire : la succession de déplacements de matière, d`additions et d`extractions, qui sont à l`origine de la création des îles Sainte-Hélène et Notre-Dame. La transformation radicale de la forme de l`île Sainte-Hélène, la dissolution de sa configuration ancienne et son artificialité actuelle, nous est apparue comme l`objet privilégié de notre désir d`en comprendre la portée actuelle. Les mouvements de remblais et de déblais de la matière sont transposés, dans le montage des séquences filmées, par la juxtaposition alternée d`une action performative et son contraire. Un jeu incarné par la confrontation de notre interprétation personnelle comme duo d`artistes. La réciprocité entre la spontanéité du geste de l`un et la transcription du cadrage de l`autre. " Il ne suffit pas que tout commence, il faut que tout se répète, une fois achevé les cycles des combinaisons possibles" Causes et raisons des îles désertes G. Deleuze

Film en co-realisation Pascal Grandmaison (1975-) est un artiste canadien qui vit et travaille à Montréal. Sa pratique explore les façons dont les images influencent la perception et la compréhension du concept de l’infini. Son travail fait l’objet de nombreuses expositions individuelles et collectives, incluant Expo 67 au Musée d’art contemporain de Montréal (2017), Intersections: Contemporary Artist Films au Audain Art Museum (Whistler, 2016), Installations au Musée national des beaux-arts du Québec (Québec, 2016), All membranes are porous à la Kamloops Art Gallery (2016) et La vie abstraite I à la galerie Diaz Contemporary (Toronto, 2015). Ses œuvres filmiques sont présentées internationalement, notamment à la galerie Power Plant (Toronto, 2016), à la Haus de Kulturen des Welt (Berlin, 2014), au Palais de Tokyo (Paris, 2014) et au Centre Georges-Pompidou (Paris, 2011). Il est représenté par la Galerie René Blouin (Montréal) et la Galerie Eponyme (Bordeaux). Marie-Claire Blais vit à Montréal. Diplômée en architecture, elle se consacre à temps plein aux arts visuels. Ces dernières années elle a entrepris la production d`un ensemble d`oeuvres qui chacune à leur manière active les différentes façons que nous appréhendons forme (s) et espace et les organisons dans notre mémoire perceptuelle. Diffusion et diffraction de la lumière articulent un espace entre le spectateur et sa mise en action, délimitant le seuil entre eux, offrant une voie d`accès. L`artiste a présenté plusieurs expositions personnelles à la Galerie René Blouin de Montréal. Son travail a figuré dans des expositions au Canada et au Mexique, incluant, À la recherche d`Expo 67, Musée d`art contemporain de Montréal (2017), Road Wall Door, Diaz Contemporary, Toronto (2016), L’oeil et l’esprit, Musée d`art contemporain de Montréal (2015), Projet HoMa, Fondation Guido Molinari, Montréal (2013). Elle prépare pour novembre 2017, Entrouvrir, entrevoir, enclore, une exposition solo au Centre culturel canadien à Paris et Buveurs de Quintessences, une exposition collective à la Fonderie Darling (2018) et au Casino du Luxembourg (2019).

Marko GRBA SINGH
Stars
grba singh Marko
Stars
Fiction | hdv | couleur | 23:21 | Serbia | 2017

At the Gaomeigu Observatory in China, the Naxi people scan the sky, convinced they are the descendants of immortal beings living there, abandoned on earth to watch them. The telescope triggers their local legends, both old and new. There is a legend about the Leader who fed his people. There is a story about Sanduo, a folk tale hero from the Middle ages. Today, he is a skater in the big city. Two gods are in love, but a foreigner interferes.

Marko Grba Singh was born in 1988 in Belgrade, Yugoslavia. He is currently on his PhD studies in Film & TV directing, exploring docu-fiction. His first mid-length film Abdul & Hamza, won the Special Mention in the First film competition at FID Marseille 2015. He was a member of the student jury at the San Sebastian Film Festival in 2016. The newest film of his, Stars of Gaomeigu won Most innovative short film award at Visions du reel in 2017. He is the Artistic director of IDFF Beldocs.

Johan GRIMONPREZ
Raymond Tallis | On Tickling
grimonprez Johan
Raymond Tallis | On Tickling
Vidéo expérimentale | mov | couleur | 8:0 | Belgique | Pays-Bas | 2017

In this short film by Johan Grimonprez, philosopher/neurologist Raymond Tallis argues that consciousness is not an internal construct, but rather relational. Through the intriguing notion that humans are physically unable to tickle themselves, Tallis explores the philosophical notion that we become ourselves only through dialogue with others.

BIO JOHAN GRIMONPREZ Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. Grimonprez`s curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London. His feature films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009) and Shadow World (2016). Traveling the main festival circuit from the Berlinale, Tribeca to Sundance, they garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4. He published several books, including Inflight (2000), Looking for Alfred (2007) and a reader titled It`s a Poor Sort of Memory that Only Works Backwards (2011) with contributions by Jodi Dean, Thomas Elsaesser, Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. He lectured widely, among others at the University de Saint-Denis (Paris 8), Kennedy School of Government at Harvard University`s Institute of Politics; Tate Modern; MoMA (New York); Columbia University; Massachusetts Institute of Technology (MIT); the Parliament of Bodies of Documenta 14, and he participated in the Whitney Museum Independent Study Program (New York). His recent film project (with investigative journalist Andrew Feinstein), Shadow World: Inside the Global Arms Trade, awarded a production grant from the Sundance Institute, premiered at the 2016 Tribeca IFF (New York). It went on to win the Best Documentary Feature Award at the 2016 Edinburgh International Film Festival, and will premiere its US broadcast on Independent Lens on PBS in autumn 2017. His artwork is represented by the Sean Kelly Gallery (New York), and the gallerie kamel mennour (Paris). See johangrimonprez.be for more info.

Chris GUDE
Mariana
gude Chris
Mariana
Fiction expérimentale | hdcam | couleur | 64:0 | USA | Colombie | 2017

The Guajira is a borderland peninsula between Colombia and Venezuela of resolute natives as well as disinherited adventurers. Some there take advantage of the peripheral territory to smuggle through isolated ports and over rugged landscape. They write their rebellious proclamation in the sands of crisscrossing desert paths and their rusted motors accompany their solitary voices with an unorthodox music, animating their indiscipline and adhesion to pure movement.

Chris Gude (1985, New York) studied geography and anthropology at Middlebury College. His first film, MAMBO COOL (2013), exhibited at FIDMarseille, Viennale, Punto de Vista, Mar del Plata, Cartagena, among others. His second film, MARIANA (2017), also premiered at FIDMarseille and won Best Director at the Ourense International Film Festival.

Vincent GUILBERT
Kyôbô na made no chinmoku (Savagely, Silence)
guilbert Vincent
Kyôbô na made no chinmoku (Savagely, Silence)
Doc. expérimental | mov | couleur et n&b | 20:30 | France | Japon | 2016

21 décembre 2015. Les images d’une caméra de surveillance montrent un renard à proximité de la cuve de confinement du réacteur no.2 de la centrale nucléaire de Fukushima..

Né en 1976 à Saint-Denis, France. Parallèlement à ses recherches sur la texture de l’image (qu’elle soit en pellicule, ou numérique) et le son, les thèmes développés à travers ses films sont essentiellement liés au Temps, à la mémoire et au fragment.

Tine GUNS
To Each His Own Mask
guns Tine
To Each His Own Mask
Doc. expérimental | mov | couleur et n&b | 42:12 | Belgique | 2017

We live in times of crises and failing economic systems. No wonder that questions of change are recurrent. Protest culture is having a revival. Every revolution has its icons. Nowadays, we see the mask show up. Wearing a mask is a carnivalesque strategy. Carnival is a ritual, temporarily dismantling social and political regimes, suspending norms and values. But after this limited period of allowed disorder and change, the order is restored. So the question arises: does the current wave of protests serve as an illusion of carnival? Or have we forgotten the function of carnival? Have we forgotten that the purpose of the ritual is to remember? To Each His Own Mask is a challenging artistic documentary by filmmaker and visual artist Tine Guns, linked to her installation Perpetual Moment of Pause.

Tine Guns (1983) lives and works in Ghent, Belgium. Her videowork was screened at festivals like Jean Rouch Festival & Next Festival. She exhibited at Cinematek/BOZAR, Netwerk Aalst, Brakke Grond Amsterdam among others. Her photograpic work was selected for Voies Off Festival 2014, Encontras Da Imagem Braga, BruggeFoto & Salut d’Honneur de Jan Hoet. In 2015 she was selected for .tiff, Young Belgian Talent, Introduced by Fotomuseum (FoMu) Antwerp. She has self-published various photobooks such ass: Amoureux solitaire (2014), and The Diver (2014), After The Flood (2017), The Collector (2017). In 2015 ‘The Diver’ was shortlisted as a finalist in the 2015 First Book Awards of MACK. ‘To Each His Own Mask ‘is her first Film In 2017 she received the First Price of Visual Arts, East of Flanders, Belgium

Elie HABIB (A.K.A) SISKA
BAYNA HAYAKEL STUDIO BAALBECK
habib (a.k.a) siska Elie
BAYNA HAYAKEL STUDIO BAALBECK
Doc. expérimental | 16mm | couleur | 47:29 | Liban | 2017

The work is about the ruination of film heritage in Lebanon navigated through the country`s cinematic heydays of the late 60s and early 70s - a period that witnessed a rise of Egyptian producers and directors moving to Lebanon to make films partly due to Nasser`s nationalization of the Egyptian cinema. The story of this film project evolves around one of the biggest production studios in the Arab world, and its lost archive. Located on Charles Helou Boulevard in the East of Beirut, the remains of Studio Baalbeck, a white modernist villa with open doors, broken windows and a garden full of wild plants and pine trees, appear like a lifeless place. But even if this biggest production studio in the Arab region initiated in 1962 had fallen victim to the Lebanese civil war (1975 to 1990), it has nevertheless left behind a treasure of an archive of voice recordings and films that still are famous throughout the entire Arab world, spanning productions from Erbil to Amman, and from Damascus to Cairo. Negligence by the Lebanese authorities has led to mold growing on parts of this archive inside the damp underground warehouses.

Siska`s body of work has two strong features, working with archive and memory through experimental use of analogue filmmaking. His installations have a strong site-specific feature that he usually develops exclusively for the respective location. His pursuit conjures pertinent questions regarding the ruination of Arab cultural heritage and the conflicted relationship between individual rights and the duties of the state, and the ever-illusive gaps between the personal and the collective. His practice usually starts with an intuitive approach, stretching documentary forms towards fictional territories while remaining faithful to the essential questions at sake managing somehow to extract a poetic, almost fairy-tale quality to the narratives he explores. Siska was born as Elie Alexandre Habib in Beirut Lebanon in 1984, graduated from the Lebanese Academy of Fine Arts ALBA in Beirut with a master degree in cinema studies and film directing. Now he lives and works between Beirut and Berlin. Siska` work was shown in prominent contemporary art venues and film festivals in New York, Berlin, Beirut, Cologne and Paris.

Samuel HEINRICHS
Rote Malam
heinrichs Samuel
Rote Malam
Doc. expérimental | mov | couleur | 24:30 | Royaume-Uni | Indonésie | 2017

Samuel Heinrichs studierte Geschichte und Politik in Sheffield, bevor er 2012 sein Studium an der HFBK in der Abteilung Film begann. Dort hat er mehrere Kurzfilme gedreht, die zwar sehr unterschiedlich sind, sich aber mit filmischen Formen beschäftigen, um spezifische und lokalisierte Orte zu untersuchen.