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.
Francis NARANJO
VIAJE A TIAWANAKU
naranjo Francis
VIAJE A TIAWANAKU
Vidéo expérimentale | mp4 | couleur | 18:32 | Espagne | Bolivie | 0

Viaje a Tiawanaku (Journey to Tiawanaku) is a tribute to Marisa Naranjo de la Coba, Francis Naranjo’s mother (who died in 2015 after a long illness), which becomes a tribute to all mothers. Marisa Naranjo never left the Canary Islands, she always travelled via other people’s memories. She led a remarkable life: her separation from her husband, whom she left while pregnant with her only child and amidst Franco’s dictatorship, meant she had to live with friends (in Santa María de Guía) because her circumstances prevented her from seeking the help of her family. A rural Spain immersed in poverty and a hypocritical morality meant that her son was her only concern. This video presents distinct journeys: a sensorial and initiatory one, where the soundtrack, images and poetry merge to help us on this passage which the human condition guides us on through its emotions; and another, physical and tangible. Following her death, Marisa embarks on her last voyage to experience of Tiawanaku (Bolivia). This time, it’s her ashes which travel, to resume the journey by way of our memory, where she awaits us to continue with the cycle of life.

Francis Naranjo is a Spanish artist born in Santa María de Guia, in the Canary Islands, in 1961. He has produced videos and installation pieces. His work develops problem areas pertaining to the society of information, highly technological, in which we are being controlled or in which we control, as well as globalization and the general use of new technologies and the human condition. Among other places, his work has been exhibited in the in different cities of the world like Santiago de Chile, Berlín, Nueva York, Göteborg, Miami, Uppsala, Madrid, París, Sevilla, Valencia, Casablanca, Tel Aviv, Montreal, South Korea, La Paz, Quito, Buenos Aires, Londres, Uppsala, etc.

Rawane NASSIF
Sokun Al Sulhufat (Turtles Are Always Home)
nassif Rawane
Sokun Al Sulhufat (Turtles Are Always Home)
Doc. expérimental | hdv | couleur | 11:39 | Liban | 2016

I left Lebanon in 2006. For the past 10 years I lived in 7 countries, 10 cities, and 21 homes. I slept in 21 beds, cooked in 21 kitchens, cleaned 21 bathrooms, wrote on 21 desks and locked 21 doors behind me. I packed all of my life into two suitcases and a backpack. The rest stayed behind. Somebody somewhere uses my bed, somebody somewhere has my shoes, somebody somewhere maybe remembers me in those fragmented traces of mine. I was there. But now I am here. In Qatar. In a fake Venice with colorful houses. Houses have memories too. They hide them under their windowsills, tuck them in layers of paint and sometimes whisper them to birds passing by. I wonder whose memories will these houses keep. I live here but I am unable to leave a trace. I try to attach myself to the walls, dirty them, mark them… but I fail. They are constantly cleaned, watched and protected. I caress them instead. And I film them, lest I forget. Home is where the heart is, they say. I disagree. My heart is everywhere. It left with the music. Like a turtle, I am always home.

Rawane Nassif is a Lebanese/Canadian filmmaker and anthropologist. She works in research and films often addressing subjects such as space, traditions, identities, displacement and memory. Rawane has directed social documentaries and wrote a book on the politics of memory in Lebanon, worked with immigrants and indigenous people in Canada, conducted visual research on nomadic traditions in Kyrgyzstan, taught anthropological courses in Tajikistan, wrote children’s books based on oral histories in Honduras and worked as a film researcher with the Doha Film Institute and the National Museum of Qatar. Her short film, “Turtles are Always Home” screened at numerous film festivals including the Berlinale, AFI Docs, Toronto, Camden, and RIDM. She is currently completing a mentorship with the “Masters in Experimental Cinema, Creative Documentaries, and Video Creation” Program at the Transforming Arts Institute in Madrid.

Frederic NAUCZYCIEL
La Peau Vive [Skin Live]
nauczyciel Frederic
La Peau Vive [Skin Live]
Installation vidéo | mp4 | couleur | 38:0 | France | 2017

J’ai invité dans le studio des complices de plusieurs années, issus de la communauté noire transgenre des deux territoires, et d’autres artistes connus ou inconnus, engagés dans des pratiques performatives, masculines et féminines, urbaines et savantes – waaking, krump, art performance, slam... Tous sont reliés par un désir puissant d’inventer leur identité et par une appartenance revendiquée aux marges, réelles et symboliques. Je leur ai proposé de filmer eux-mêmes leurs tatouages, leurs scarifications, leur peau, face à la caméra ; et ce faisant, à échantillonner, une partie de leur histoire. La Peau Vive est un film ralenti de corps qui s’auto-filment, sans parole. Seule persiste la respiration, caisse de résonnance, action organique du corps, rythme irrépressible du vivant. Fresque picturale, qui renvoie aux premiers gestes de l’art, à l’histoire de l’art, les corps écrivent et documentent ce que les voix ne disent pas. La peau devient l’espace d’écriture de récits, dans un aller-retour entre dissimulation et affirmation. La ville s’imprime dans les corps qui sont les sondes et les plaques sensibles de ses turbulences, en ajustements permanents. Nous entrons dans les paysages qu’elle dessine au hasard, mémoires ou auto-archives d’une passion, d’un deuil, d’une lutte pour tenir droit debout.

Frédéric Nauczyciel est artiste visuel. Il vit à Paris et travaille entre Paris et Baltimore. Depuis 2011, il déploie des installations vidéos, des photographies et des performances qui relient les ghettos noirs de Baltimore et la périphérie parisienne, puisant dans la force de langages performatifs tel que le Voguing, les fanfares déambulatoires ou la langue des signes. Ses projets en cours sont des récits mettant en jeu la langue, la trans-communauté, la traversée des lignes de partage. Il développe l’idée d’un « endroit de confiance », un espace libre d’assignation où la singularité de chacun existe sans labellisation. Il a exposé au Musée de la Chasse à Paris (2012), au Mac/Val (2012), au Festival d’Avignon (2013), au Palau de la Virreina, Barcelone (2010), au FotoFest International, Houston (2015) entre autres. Ses films ont été montrés aux Rencontres Internationales Paris / Berlin, au Festival Distrital à Mexico City, au Palace Festival à Chicago, etc. Frédéric Nauczyciel est artiste associé à la Cité des Arts et aux Ateliers Médicis.

Jürgen NEFZGER
The Cloud Machine
nefzger Jürgen
The Cloud Machine
Vidéo expérimentale | hdv | couleur | 12:35 | Allemagne | France | 0

Jürgen Nefzger associe des projets filmiques à son oeuvre photographique centrée sur les rapports entre l’homme et son environnement dominés par les logiques économiques. Avec The Cloud Machine, il présente un film réalisé au sein d’une grande usine d’incinération. Celle-ci vient éclairer son propos, avec cette notion de recyclage, de cycle dans lequel s’inscrivent les sociétés contemporaines. Avec des pointes d’humour, il nous fait partager le quotidien de ces hommes alimentant cette machine à nuages. En dehors des fumées que rejette l’usine, il y a cette idée de boucle immuable induite par une logique consumériste portant les individus vers les centres commerciaux, achetant des produits qui nécessairement seront voués à la destruction. En découle ce constat: finalement, rien ne change malgré les aléas. La crise, mais quelle crise? O.Lecine

Né en 1968 à Fürth en Allemagne, Jürgen Nefzger vit et travaille en France depuis 1991, aujourd’hui entre Paris et Nice. Diplômé de l’École Nationale Supérieure de la Photographie à Arles, il est depuis 2008 artiste enseignant, à l’Ecole Supérieure d’Art de Clermont Métropole puis à l’Ecole Supérieure d’Art de Aix-en-Provence. Il est représenté par la galerie Françoise Paviot, Paris, depuis 2001.
 Jürgen Nefzger a obtenu le Prix Niépce pour l’ensemble de son travail en 2008. Il est également lauréat de la Villa Médicis Hors les Murs et du Prix Photo du Jeu de Paume. La publication « Fluffy Clouds » a reçu le prix du livre photographique en Allemagne. Dans une veine documentaire, Jürgen Nefzger aborde des sujets relevant d’une interrogation sur le paysage contemporain. Observateur critique d’une société consommatrice, il porte son regard sur des paysages marqués par les activités économiques, industrielles et de loisir. Son travail photographique se construit par série, à la chambre photographique, et associe des projets filmés en numérique présentés au sein de ses expositions ou indépendamment. Il édite aussi ses travaux sous formes de livres, en portant une grande attention aux question de narration et de positionnement.

Jussie NSANA BANIMBA
Tiamvu (The Bridge)
nsana banimba Jussie
Tiamvu (The Bridge)
Vidéo | hdv | couleur | 1:22 | Congo (Brazzaville) | 2015

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Arianne OLTHAAR
Gesamtschule
olthaar Arianne
Gesamtschule
Film expérimental | 16mm | couleur | 5:23 | Pays-Bas | 2016

Images of a comprehensive school in West Germany that was built between 1972 and 1978. At the time it was very modern and progressive, both in the way of its education as well in its interior design. An example is the integrated disco in the cellar where up untill today schoolchildren can dance during their lunch break.

Arianne Olthaar (1970, Netherlands) is making experimental films, photographs and miniature models. Her work has a strong focus on the once-luxurious interiors of public spaces that were built in the 1970s and 80s, such as primate enclosures, dining cars, hotel nightclubs, discotheques, a school interior. Interiors that once represented an explicit modern luxury but nowadays have an aura of faded glory and are increasingly disappearing by renovation or demolishment. Her work has been presented in a variety of exhibitions as well as numerous international film festivals, including Cinematexas; Media City Film and Video Festival, Windsor; International Short Film Festival Oberhausen; EMAF Osnabrück; New York Film Festival; Onion City Experimental Film and Video Festival, Chicago; VIDEOEX; Zürich, International Film Festival Rotterdam; Rencontres Internationales, Paris/Berlin.

Juanita ONZAGA
The Jungle Knows You Better Than You Do
onzaga Juanita
The Jungle Knows You Better Than You Do
Doc. expérimental | 4k | couleur | 20:20 | Colombie | 2017

Colombia is a land of ghosts. Two siblings roam these mystical landscapes in search of their dead father`s spirit. Their journey takes them from Bogota to the Colombian jungle, through realms of thought and deep into their haunted dreams. Here they will find some answers and attract unexpected company.

Juanita Onzaga is a Colombian-belgian film director and cinematographer playing with hybrid forms between the fiction, the documentary and the experimental. Within her narrations she touches the importance of memory, death and imagination, creating tales that reflect different ways of perceiving reality within strong political contexts. We wander in dreams, jungles and cities surrounded by spirits. Marrying this way a sense of emptiness in realism in an intimate way with a quest for mysticism, where the invisible gives more answers and meanings than the physical world. Her short film The Jungle Knows You Better Than You Do won the International Jury prize for best short film generation 14plus at Berlin International Film Festival 2017, the highly acclaimed VAF Wildcard and other prizes, while being selected worldwide in festivals as San Sebastian, Sao Paulo, Reykjavik, Vilnius and Cartagena. She studied cinema in Brussels, obtaining a Bachelor in Direction of Photography at IAD and a Master in Film Direction at Sint-Lukas Brussel. She worked as a director and DOP for several short films, documentaries and video clips. Now she is currently developing her first feature film "The Landscapes That You Seek" at Torino Film Lab.

Hans OP DE BEECK
The Girl
op de beeck Hans
The Girl
Film expérimental | mp4 | couleur | 16:0 | Belgique | 2017

"The Girl" is a slow, suggestive, perception-oriented animated film in which the viewer is transported to the strange world of a silent, 14-year-old girl. The dreamy landscape images show a dark forest, a vast landfill, a gas station, a highway landscape, a meadow, a factory site and a mysterious lake. Amidst all this stands an old caravan. The scene seems to suggest that the protagonist leads a lonely life on these premises. For a further unspecified reason, she must at one time have left her parental home, which is presented to us at the beginning of the film, both in perfect condition, and later in a neglected, abandoned state. In a variety of different landscapes, we see the girl perform small acts such as gather usable waste or pick herbs. We often get to see her cargo bike; the vehicle she uses to gather the bear necessities in order to survive. Nighttime, breaking dawn, wind, rain, fog, cold and warming fire are present throughout the film. Occasionally, we get to see the girl – resting serenely – from up close, as if we were right beside her, and could feel her breath. At the end of the film we understand that she is resting on a raft in the lake, floating, passive, as a metaphor for surrender. An original soundtrack for the film was composed by Tom Pintens, on a text by the artist.

Hans Op de Beeck produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder and silence. Over the past twenty years Op de Beeck realized numerous monumental ‘sensorial’ installations, in which he evoked what he describes as ‘visual fictions’: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters. Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels and Gooik, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, B (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); Kunstmuseum Thun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, DE (2014), Screen Space, Melbourne, AU (2015); Château de Chimay, Chimay BE (2015); Espace 104, Paris, FR (2016); Kunstmuseum Wolfsburg, Wolfsburg, DE (2017); Fondazione Pino Pascali, Polignano a Mare, IT (2017); ._... Op de Beeck participated in numerous group shows at institutions such as The Reina Sofia, Madrid, ES; the Scottsdale Museum of Contemporary Art, AZ, US; the Towada Art Center, Towada, JP; ZKM, Karlsruhe, DE; MACRO, Rome, IT; the Whitechapel Art Gallery, London, GB; PS1, New York, NY, US; Musée National d’Art Moderne, Centre Pompidou, Paris, FR; Wallraf-Richartz Museum, Köln, DE; Hangar Bicocca, Milano, IT; the Hara Museum of Contemporary Art, Tokyo, JP; 21C Museum, Louisville, Kentucky, US; The Drawing Center, New York, NY, US; Kunsthalle Wien, Vienna, AT; Shanghai Art Museum, Shanghai, CN; MAMBA, Buenos Aires, AR; Haus der Kunst, Munich, DE; Museo d’Arte Moderna di Bologna, Bologna, IT; Kunstmuseum Bonn, Bonn, DE; Kunstraum Dornbirn, Dornbirn, AU; Museum Morsbroich, Leverkusen, DE; Den Frie Center of Contemporary Art, Copenhagen, DK; Royal Museum of Fine Arts, Brussels, BE; Frankfurter Kunstverein, Frankfurt, DE; … His work was invited for the Venice Biennale, Venice, IT; the Shanghai Biennale, Shanghai, CN; the Aichi Triennale, Aichi, JP; the Singapore Biennale, Singapore, SG; Art Summer University, Tate Modern, London, GB; the Kochi-Muziris Biennale, IN, Art Basel Miami Beach, and many other art events.

Vivian OSTROVSKY
DizzyMess
ostrovsky Vivian
DizzyMess
Film expérimental | super8 | couleur et n&b | 7:43 | France | USA | 2017

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Cinéaste née à New York en 1945, Vivian Ostrovsky passe son enfance à Rio de Janeiro puis poursuit des études supérieures à Paris en psychologie ainsi qu`en cinéma. Elle co-fonde dans les années 1970 Ciné-Femmes, organisme dédié à la diffusion de films de femmes. Depuis 1980, Vivian Ostrovsky a réalisé plus de vingt films, la plupart tournés en Super 8, qui incluent souvent du found footage, des extraits de fictions, de documentaires, ou de home movies. Ses films exploitent le thème du déplacement et se situent, d`après Yann Beauvais, entre le "film journal" et le "film collage". Elle travaille également à la programmation du cinéma d`auteur et d`avant-garde du festival de film de Jérusalem. Son travail a connu de nombreuses rétrospectives et expositions dans les musées et les festivals à travers le monde ; à la fois pour ses films et ses " films- installations ".

Akosua Adoma OWUSU
Mahogany Too
owusu Akosua Adoma
Mahogany Too
Vidéo expérimentale | super8 | couleur | 3:32 | USA | 2017

Mahogany Too takes the 1975 cult classic Mahogany – a fashion-infused romantic drama – as its base. The film examines and revives Diana Ross`s iconic portrayal of Tracy Chambers. Analogue film provides vintage tones, which emphasises the essence of the character, re-creating Tracy’s qualities through fashion, modelling, and styling

Akosua Adoma Owusu is a Ghanaian-American filmmaker and producer whose films have screened worldwide in prestigious film festivals, museums, galleries, universities and microcinemas since 2005. Her work addresses the complexities of living as an African immigrant in the United States and experiencing a collision of identities resulting in a “triple consciousness”. Owusu interprets Du Bois’ notion of double consciousness and creates a third identity or consciousness, representing the diverse consciousness of women and African immigrants interacting in African, white American, and black American culture. She has exhibited worldwide including Berlinale, Rotterdam, MoMA, BFI London Film Festival and San Francisco International Film Festival. In 2015, she was named by Indiewire as one of 6 Avant-Garde Female Filmmakers Who Redefined Cinema. Owusu is the recipient of many awards including an African Movie Academy Award, Creative Capital grant, Tribeca All Access grant and Guggenheim Memorial Foundation fellowship. Her work is included in the permanent collections of the Whitney Museum of American Art, the Centre Pompidou and the Fowler Museum. Owusu received her MFA in Film/Video and Art at the California Institute of the Arts. Currently, she divides her time between Ghana and New York, where she works as a Visiting Assistant Professor at the Pratt Institute in Brooklyn.

Laura J. PADGETT
Solitaire
padgett Laura J.
Solitaire
Film expérimental | 16mm | couleur et n&b | 2:19 | USA | Allemagne | 2017

SOLITAIRE We see Max Horkheimer buying newspapers, we hear Hannah Arendt speaking about the mother tongue and making the invisible tangible. We also see Frankfurt am Main during the great (re)construction boom of the 1960s. We see demonstrations on the Römerberg and the presence of the American Forces in the Federal Republic of Germany during the cold war as well as scenes after the apprehension of members of the Red Army Faction. Housing shortages, urban development, youth and their future, guest workers, consumer society: these topics are repeatedly presented and discussed in the Hessen Schau news program from this period. The film deals with the concept of democracy, of having a voice and the contiguity between private and public space. These boundaries, which are in the process of dissolving, are made clear the storytelling in this film as fundamental strands of our social being. Laura J. Padgett’s found footage film SOLITAIRE is made from documentary film material and radio broadcasts of the late 1950s until 1972. It was culled exclusively from the Hessian Broadcasting Corporation’s (hr) archives.

The artist’s work explores unoccupied spaces, both real and imaginary, to reveal truths that are often overlooked. Like her subject, her work itself occupies the spaces between photographic storytelling and installation, between language and image, between history and current affairs. While she uses photographic media the results are always more than photographic objects. Since the nineties Padgett has produced a wide-ranging body of work, adopting various genres such as architectural photography, still life and urban street photography while exploring our ideas of communal and cultural identity. Laura J. Padgett’s work is often displayed in public spaces and plays with scale, material and the way we interpret images and their relation to history. The breadth of her work demonstrates an ability to move fluidly between genres, based on her background in painting, art history and architecture. Born in Cambridge, USA, Laura J. Padgett studied painting, film and photography at Pratt Institute in Brooklyn New York. Her conceptual approach to her projects stems from this background. Her further studies in film and art history, with Peter Kubelka at the Städelschule and at the Goethe University in Frankfurt am Main, respectively, broadened her approach. Laura J. Padgett exhibits internationally, and her work can be found in state and corporate collections such as the DZ-Bank ArtCollection, Frankfurt am Main. Her work is in the permanent collections of Museo Museion, Bolzano, Museum für Kunst und Gewerbe Hamburg, Museum Wiesbaden and the Städel Museum, Frankfurt am Main. She is the 2017 recipient of the Marielies-Hess-Art Award. Laura J. Padgett lives and works in Frankfurt am Main.

Jongkwan PAIK
La Noche Cíclica (Cyclical Night)
paik Jongkwan
La Noche Cíclica (Cyclical Night)
Doc. expérimental | hdv | couleur et n&b | 17:0 | Coree du Sud | 2016

The time is out of joint. The ghost appears again in the dark of the night. “The chain of memorial light is not absolutely broken, it is rather knotted in a different way”…

Born in 1982, South Korea. Studied Psychology and Electronics in college and received MFA in Film from the Graduate School of Communication and Arts at Yonsei University. Jongkwan continues to produce experimental films based on research with in-depth study of images.

Manuel PALMA
El Sueño de la Razón
palma Manuel
El Sueño de la Razón
Fiction expérimentale | 4k | couleur et n&b | 15:0 | Espagne | 2017

The shadows of a moon eclipse cover two of the first villages built in Spain after the war. Its inhabitants are trapped under these transition moment turned to a new landscape between two worlds, between two dreams.

Manuel Palma (Cádiz, 1986) He studied Fine Arts in Sevilla and Valencia . It combines his education of drawing and painting with video art and sound art. He complete his education with the exchange program at Lietuvas Dailes Akademija in Lithuania. His audiovisual work has been seen in centers and festivals such as RENCONTRES INTERNATIONALES PARIS / BERLIN in Paris and Berlin, V Festival de MÁRGENES "Film Letters" in Madrid, ZINEBI57 "Zinergentziak15" in Bilbao, FIVA International Video Art Festival in Buenos Aires, "Music and Visual Arts Sens meeting" in Rambleta, Valencia, CINEMISITICA "Art Cinematheque Cinemistica 7" in Granada, "XXIV Muestra Abierta de videoartistas 18D" in Neomudejar, Madrid. He has developed courses and workshops with artists and filmmakers like James Benning, Lois Patiño, Victor Erice, Mercedes Alvarez. Currently he follow his education in Master Videolab of Contemporary Audiovisual Creation at LENS Visual School of Arts in Madrid.

Rotraut PAPE
BERLIN WALL: VERTICAL HORIZON
pape Rotraut
BERLIN WALL: VERTICAL HORIZON
Doc. expérimental | mov | couleur | 131:0 | Allemagne | 2015

Véréna PARAVEL, Lucien Castaing-Taylor
Somniloquies
paravel Véréna , Lucien Castaing-Taylor
Somniloquies
0 | 4k | couleur | 73:0 | Suisse | 2017

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Arnold PASQUIER
O amor moderno [le jour la nuit]
pasquier Arnold
O amor moderno [le jour la nuit]
Vidéo | hdv | couleur | 8:52 | France | Brésil | 2017

Denis PAVLOVIC
Zwischen Gestern und Morgen (Between Yesterday and Tomorrow)
pavlovic Denis
Zwischen Gestern und Morgen (Between Yesterday and Tomorrow)
Documentaire | 16mm | couleur | 25:15 | Allemagne | 2016

The story of a man who came to Germany 17 years ago. It’s the 31.12.2017, a day in the life of Niaz Ahmadzai from Afghanistan. A never ending story of work, existence, love, familiy and an unfulfilled personality. The perfect integration of a fully functioning machine.

Born – 1987 – Stuttgart Freelancer – since 2010 – Documentary, Video, Image – Director, Concepts, DoP, Producer Internship – 2011 – Production Company: Kloos und Co. Medien – Berlin Internship – 2011 – Director: Rolf S. Wolkenstein – Berlin Work – 2011-2013 – Filmgalerie 451, DVD-rental – Stuttgart Bachelor of Arts – 2012- Film and Video – Merz Akademie – Stuttgart Studies – 2015 – Director / Documentary – Filmakademie Baden-Württemberg Work – 2016 – Editorial assistent – SWR Stuttgart Work – 2017 – Won the shortfilm-competition “Die Vermächtnisstudie”, developed by the Ministry of Foreign Affair Germany and produced the documentary “Schranke” together with the German Filmacademy.

Sini PELKKI
Length
pelkki Sini
Length
Film expérimental | 16mm | couleur | 7:23 | Finlande | 2016

the work examines the length of a thought, the length of a moment. Through repetition and rhythm, the piece builds a sense of a narrative, distance and closeness at the same time. We are looking at a figure in an urban landscape, soon to be dislocated. The Gaze abandons and re-draws the images. Perception grapples with distances; between the figure and its landscape, between the viewer and the piece itself.

Sini Pelkki (born 1978) is an artist based in Helsinki, Finland. She gained her BA (Hons) Fine Art from Chelsea College of Art and Design, London (UK) in 2002 and her MFA from the Academy of Fine Arts, Helsinki in 2008. Sini Pelkki’s work derives and evolves around photography and the photographic image. Focusing on the subjectivity of seeing and the diverse dialogue between environments and the layers of spaces within spaces.

Carlos PEREIRA
Histórias de Fantasmas (Ghost Stories)
pereira Carlos
Histórias de Fantasmas (Ghost Stories)
Doc. expérimental | mp4 | couleur | 13:32 | Portugal | Allemagne | 2017

I. A storm in Berlin. Lightnings. The sound of thunders. II. Searching for a face in the dark. III. Inside an old Stasi building, a painter of ruins talks about being human.

Carlos Pereira (Lisbon, 1989) studied film directing in Lisbon (Escola Superior de Teatro e Cinema) and Barcelona (Escuela de Cine Bande à Part) and film studies in Stockholm (Stockholms Universitet). His films have been screened in festivals such as IndieLisboa, DocLisboa, Vila do Conde and Córtex and venues such as The Portuguese Cinematheque. Lives and works in Berlin, where he is as a member of the selection committee for Generation (Berlinale).

Jonathan PEREL
5-T-2 Ushuaia
perel Jonathan
5-T-2 Ushuaia
Doc. expérimental | 4k | couleur | 4:0 | Argentine | 2016

Adolfo Scilingo was the only military officer to confess the dictatorship crimes. Among the details he gave of the way the genocide worked, throwing prisoners from planes into the water to their death, Scilingo specifies the model that was used in the flights he participated in: an Electra. Of the eight Electras that belonged to the Argentine Navy, five of them were bought in 1982. Only the three bought in 1973 could have been used in the flight that Scilingo describes. Those three Electras are at present in Argentina. This film of Jonathan Perel searches cartographically the traces of those planes.

Jonathan Perel, born in 1976, lives and works in Buenos Aires. He attended a degree in Arts at the Faculty of Philosophy and Letters (University of Buenos Aires). He directed the feature films Toponimia (2015), Tabula Rasa (2013), 17 Monumentos (2012) and El Predio (2010), and the short films Las Aguas del Olvido (2013), Los Murales (2011) and 5 (cinco) (2008). Two times awarded with the Metropolitan Fund for the Arts, his films have been screened and awarded in numerous international film festivals, such as: Viennale, IFFR Rotterdam, FIDMarseille (Prix Camira), BAFICI, YIDFF Yamagata, Rencontres Internationales Paris/Madrid/Berlin (Palais de Tokio & Haus der Kulturen der Welt), First Look (Museum of the Moving Image), Porto/Post/Doc, Underdox, La Havana.

Gregor PESCHKO
nearly the same level as the sea
peschko Gregor
nearly the same level as the sea
Vidéo expérimentale | mov | couleur | 5:59 | Allemagne | 2016

The video refers to the Venice biennial 2015 „All the World´s Futures” and deals with the site of the biennial and questions on localization and orientation. The images in the montage vary between subjective movements, Found Footage and documental perspectives and discuss the point of view of a spectator as prosumer. Transitions between signal and glare, transparency and overlay, keep the deserted images in the video at an intermediate level - An interplay between the flattening surface of the screen and the reference to the site.

Gregor Peschko, born in 1990 in Bonn, lives and works in Leipzig, Germany. He studied at the Academy for Visual Arts Leipzig in the classes of Astrid Klein, Clemens von Wedemeyer and Michael Riedel and finished his diploma in 2018.