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.
Jens PECHO
Housebound
jens pecho
Housebound
Film expérimental | mp4 | couleur | 4:46 | Allemagne | 2020

The film combines a scene from the movie "Copycat" (1995) with footage of my editing the film. It is a reflection on the idea of artistic originality as well as the art world’s constant desire to instantly transform everything – even the current health crisis – into works of art. The chosen scene shows Sigourney Weaver playing a psychologist suffering from agoraphobia having a nervous breakdown in a well equipped apartment in which she has been living housebound for several months. Despite the luxurious interior, her only source of social comfort is provided by the back then recently invented internet. Sitting at her desk admidst several clunky computer monitors she exchanges short messages with her distant chat partners. This footage is contrasted by textual inserts questioning the necessity and original value of artistic production in contemporary art. Weaver’s dramatic performance and the questionable 1990’s chic of the apartment add a humorous layer of critique on egocentric and classist character traits not uncommon in the art world. "Housebound" was commissioned by the 66. International Short Film Festival Oberhausen. It is my contribution to the festival's discussion: "Can and should one make films now?"

Jens Pecho studied at the Academy of Media Arts Cologne as well as the Staatliche Hochschule für Bildende Künste – Städelschule in Frankfurt am Main. As a visual artist, he works mostly with text- and video-based installations. His works have been shown internationally at museums as well as film festivals, among them the Art and Exhibition Hall of the Federal Republic of Germany, the Forum d'Art Contemporain – Casino Luxembourg, the Herzliya Museum of Contemporary Art, Israel, the Bangkok Biennial, Thailand, the Museum Kunstpalast Düsseldorf, Germany, the International Short Film Festival Oberhausen, Germany, the Message to Man IFF Saint Petersburg, Russian Federation, and the Uppsala International Short Film Festival, Sweden. He received several awards for his work, including the Spiridon-Neven-DuMont-Prize, the Young Artist Award from the State of North Rhine-Westphalia and most recently the Video Art Award of the city of Bremen.

Mario PFEIFER
Again | Noch einmal
mario pfeifer
Again | Noch einmal
Documentaire | 4k | couleur | 40:0 | Allemagne | 2018

A violent supermarket incident involving a refugee in East Germany is reenacted in a film studio. Ten citizens observe and comment on the case, which highlights the blurred distinction between civil courage and vigilante justice

Producer / Director Mario Pfeifer's (*1981, Dresden / Germany) films explore representational structures and conventions in the medium of film and video, in locations ranging from Mumbai to New York, from Brazil to the Atacama dessert, from Tierra del Fuego to East-Germany to the Western Sahara. He conceives each project out of a specific cultural situation, researches social-political backgrounds and weaves cross-cultural art historical, filmic, technological and political references into a richly layered practice.

An PHAM THIEN
Stay Awake, be Ready
an pham thien
Stay Awake, be Ready
Fiction | 0 | couleur | 14:0 | Viet nam | 2019

On a street corner a mysterious conversation among three young men at a street stalls. Meanwhile a traffic accident on a motorbike. The night brings together a sketch, a multicolor frame of reality?.

Pham Thien An is a film director, producer and screenwriter, born in November 1989 (Lam Dong Province, Vietnam). After four years of undergraduate studies in Information Technology at Lotus University, Ho Chi Minh City, he realized his interest in cinematography and filmmaking. In recent years, he has won several film awards in Vietnam. In 2015, he moved to Houston, Texas (USA) and continued working as a freelance filmmaker. ?His short film The Mute (2018) has travelled across several film festivals (Winterthur International Short Film Festival, Palm Springs International ShortFest, Uppsala International Short Film Festival, Encounters Film Festival). His latest short Stay Awake, Be Ready, official selection at Quinzaine des Réalisateurs 2019, was produced with the support of CJ Short Film Making Project. He is currently working on his first feature film Inside The Yellow Cocoon Shell.

Alan PHELAN
Folly & Diction
alan phelan
Folly & Diction
Vidéo expérimentale | mov | couleur | 15:0 | Irlande | 2020

The title "Folly & Diction" is a homophone or stand-in for (John) Joly and (Henry) Dixon, two men who worked together on mostly forgotten science projects over a century ago in Dublin. Together they discovered, for example, how water rises through trees and Joly invented a method of additive colour photography that used red, green and blue stripes. Instead of a detailed documentary or film essay, the music video format provides the structure for this 15 minute film, with a narrative culled from the Samuel Beckett short story "First Love" and narration in the form of song lyrics, culled from the poem by Jean Genet "Fragments of an Artwork". Fan-fiction provides a kind re-narrativisation for these works, shifting genders and sexualities. The video tells an oblique story of loss, of a forgotten history, and a failed relationship with Joly's collaborator Henry Dixon. Yet it brings the analogue photography process into a contemporary sphere as audio responsive animated stripes that pulse to the music and crude video layering that draw on multiple music video tropes. The echo of history pervade Phelan’s practice; in this case, familiar tropes are masterfully used to tell a story of invention, failure and love.

Alan Phelan (b. 1968) is an artist based in Dublin whose practice began in photography and has extended into many different media and mediums with a focus on interpretation, language and collaboration. He studied at Dublin City University (1989) and Rochester Institute of Technology, New York (1994) under a Fulbright scholarship. He has had significant solo exhibitions as the Irish Museum of Modern Art (2009), the Royal Hibernian Academy (2020) and Dublin City Gallery, The Hugh Lane (2016). Gallery solos include Golden Thread Belfast (2014), The Black Mariah Cork (2011) and Mother's Tankstation Dublin (2007). Group exhibitions include Garage Rotterdam (2020), EVA International (2016), Bonn Kunstmuseum (2015), Treignac Projet (2014), Bozar Brussels (2013), Feinkost Berlin (2007), The Whitney Museum of American Art (2004). His work is included in the collections of the Irish Museum of Modern Art, The Arts Council, Trinity College Dublin, Limerick City Gallery of Art, The National Self-Portrait Collection, the Office of Public Works, Dublin City Council and several private collections. Residencies include NCAD, Dublin, CCI, Paris, HIAP, Helsinki, URRA, Argentina and FSAS, Dublin. Recent awards include Creative Ireland MCCCS (2019), an Arts Council bursary (2017) and the Hotron Éigse Art Prize (2016).

Renata POLJAK
Porvenir
renata poljak
Porvenir
Doc. expérimental | 4k | couleur | 12:10 | Croatie | 2020

Dreaming of better lands, from generation to generation, because of poverty, hunger and wars, we voyage across the seas. Geography is destiny. Do our bodies retain the memories of our grandfathers; are memories of running away in search of better lands imprinted on our bodies? 'Porvenir' means 'future' in Spanish. Porvenir is the only town in Tierra del Fuego, at the bottom of the world, founded by Croatian immigrants at the beginning of the 20th century.

Renata Poljak (Split, 1974) is a visual artist and filmmaker. She graduated from the Arts Academy in Split, Croatia in 1997 and obtained an MA at École Régionale des Beaux-Arts (Film and Video Department) in Nantes, France in 1999. Her works have been shown at numerous national and international solo and group exhibitions, biennials and film festivals. She received many grants and awards, including the T-HT award – one of the most important contemporary arts awards in Croatia, in 2012. Her residencies include San Francisco Art Institute, Museum Quartier Vienna, Art In General, New York, Cité Internationale des Arts and Recollets in Paris and many others. Her films were screened at the Prospective Cinema at Centre Georges Pompidou, Paris, in 2010 and Palais de Tokyo, Paris, in 2012.

Txuspo POYO
Love Needs Time to Kill
txuspo poyo
Love Needs Time to Kill
Fiction expérimentale | 4k | couleur et n&b | 21:28 | Espagne | 2020

The impetus to think like this project has been pulled to start from the end, is a symptom of the crisis of historical experience. As the seminaries in the Basque Country began to close, their pedagogical methods have been reduced to the imagination of several generations. "LOVE NEEDS TIME TO KILL" is about the emptiness distilled by the loss of what’s natural and cultural. Over recent decades Franciscan seminaries, along with those of other Orders, have been closing down across the Basque Country. With their closing, comes the loss of a pedagogy that has been a fundamental pillar in the education and identity of the Basque Country. Part of the pedagogical approach was to have large collections of plant and animal specimens, collected from missions in the American, African, and Asian colonies. This research project connects the identity of the diaspora in the missions and their forgotten pedagogical approach to the construction of an exotic and colonial imaginary. On the stage of a small theater in one of the closed seminaries, we have recreated a Baroque still-life scene from the 17th century. The still-life becomes a form of barricade, a gesture of struggle and resistance, in which the inert yet expressive bodies of the animals assert a sense of destiny and uncertainty that has accompanied us from the Romantic era through to present day.

Txuspo Poyo ( Alsasua, Navarra) holds a BA in Fine Arts from the University of the Basque Country (UPV-EHU). In 2001 he completed an ISCP residency sponsored by Foundation Marcelino Botín and also studied at the CADA center of New York University. In 2006 he received funding from the Vegap Foundation and The Valencia Art Foundation for his Delay Glass project, and the same year won the Prize Gure Artea of the Basque Government. In 2008, he was awarded first prize at the 10th Unión Fenosa International Exhibition. In 2015 he received the Multiverso grand funding from The BBVA Foundation for La Engaña tunnel project and 2018 from Huarte contemporary Art Center and the Navarra Government for Izaro project. In 2019 he received funding from the Vegap Foundation. He has taken part in the Madrid Region’s 15th Image Symposium, and has been an invited speaker on master’s programs at the University of Cuenca and the University Of Basque Country UPV-EHU. He has held solo exhibitions in venues such as BBVA Foundation, Madrid, Artium Museum in Vitoria, Centre d’Art La Panera in Lleida, the Costa Rica Museum of Contemporary Art and Design and the Montcada Gallery of La Caixa foundation in Barcelona. His group exhibitions include Geopolíticas de la animación showing at the CAAC in Seville and MARCO in Vigo; Les Rencontres Internationales Paris/Madrid/Berlin; the 2nd Angola Triennial; the FILE in São Paulo; Incógnitas at the Guggenheim Museum Bilbao; Cine y casi cine at the Reina Sofía Museum in Madrid; Multitude at the Artist Space Gallery in New York, and Sandretto Re Rebaudengo Foundation, in Guarene-Torino, Italy.

Lucia PRANCHA
CASA DO SOL
lucia prancha
CASA DO SOL
Vidéo expérimentale | hdv | couleur | 12:0 | Portugal | Brésil | 2020

CASA DOL SOL explores the work and legacy of Brazilian writer Hilda Hilst (1930-2004). Often described as the Marquis de Sade of Brazil, her astonishing work takes up mysticism, insanity, embodiment, eroticism, and female sexual liberation. Hilst is one of the most important Portuguese ­language authors of the twentieth century. Nevertheless, her work is virtually unknown in our community. CASA DO SOL, translated from the Portuguese “House of the Sun” is the name of Hilst’s home. During her lifetime, her residence was an important gathering site for writers, artists and intellectuals. Today, CASA DO SOL holds her archive, and hosts an intimate residency program which allows writers and artists to breathe in the compound’s earthy magic. Prancha’s video, CASA DO SOL, was shot on location at Hilst’s house and gardens during summer of 2019 and uses the text of one of Hilst’s short stories. This experimental video explores sexuality and the colonial through the political and poetic militancy of Hilst’s writing.

Lúcia Prancha (1985, Portugal) obtained her MFA from CalArts (USA) in 2015, after completing BA studies in Lisbon (PT, 2009) and MA in São Paulo (BR, 2012). Lúcia Prancha explores the tensions between aesthetics, perception and politics, often by rethinking specific historical and social sites through sculpture, video and printed matter. Her work has been exhibited at LACA–Los Angeles Contemporary Archive, Los Angeles, USA, Hordaland Kunstsenter, Bergen, NO, Serralves Foundation, Porto, PT; Galeria Leme, Sao Paulo, Brazil and Museu Berardo, Lisbon, Portugal. In 2016, her film SEBASTIAN, THE GHOST was screened at Les Rencontres Internationales Nouveau Cinéma et Art Contemporain in Paris and, at Haus der Kulturen der Welt, Berlin; and the 24th Curtas Vila do Conde – International Film Festival, Portugal. In 2017, Prancha was in residency at the Jan van Eyck Akademie in Maastricht, NDC. During the Spring of 2020, Lúcia is a Visiting Artist Faculty at CalArts–California Institute of the Arts.

Sorayos PRAPAPAN
Digital Funeral: Beta Version
sorayos prapapan
Digital Funeral: Beta Version
Film expérimental | dcp | couleur | 5:24 | Thaïlande | 2020

One of my dream is to organize my own funeral.

Sorayos PRAPAPAN (1986, Thailand) is an independent filmmaker, He has directed several short films which won awards in his home country and were shown in many international film festivals including Venice,Locarno,Rotterdam and Clermont-Ferrand.

Wojciech PUS
Queer Landscapes | Segues from Endless
wojciech pus
Queer Landscapes | Segues from Endless
Fiction expérimentale | 4k | couleur | 22:13 | Pologne | 2020

“Queer Landscapes | Segues from Endless” is an experimental portrait of the character in the state of transition. Through their research the different characters and voices form a multilayered essay about queer intimacy, loneliness and resistance. This daydream plot becomes a choir of an oppressed identities, which become revolutionary and free. The essence of the film is based on the informal community of performers of different social backgrounds, gender identities, nationalities and migration status (Chile, France, Mexico, Poland, Ukraine). The combination of their personal stories, alongside fragments of literary works, films, memoirs, and dream notes creates a mosaic structure, situated in the genre of queer abstraction.

Wojciech Pu? is an artist engaged in various fields of art: film, theatre, visual arts, and opera. In his works he combines the aesthetics of experimental film with elements of light and video installations, giving them a cinematographic character. He has created an original, recognisable style, largely referring to rhythm, movement, and time, analysed by the artist using the medium of film. Pu? confronts the viewer with abstract representations having narrative potential, constructed with the use of montage and music. His works are on the verge of two realities – the actual one, and the one created by the film’s visuality.

Truong QUE CHI
Life is here
truong que chi
Life is here
Vidéo | hdv | noir et blanc | 7:25 | Viet nam | 2017

A man’s presence through his silhouette. Corporeality as a form of existence. A substance. In and out of the frame. Life is a form of maintenance, endurance, and tolerance, inside and outside the body. Events or incidents, like blows of any intensity, make rhythms. A man whose face can’t be seen. And his face is the only thing that he can’t refuse and can’t hide. Life is elsewhere. And life is here.

Tr??ng Qu? Chi works in Hanoi in both visual art and cinema, as an artist, a curator and a lecturer. Her works begin along the borders between cinema, literature, architecture, performance and sound — a search for a landscape, a mise-en-scène, in relation to space-time. Since 2015 Qu? Chi has been part of the curatorial board of Nhà Sàn Collective, as well as lecturing at the Hanoi University of Theatre and Cinema.

Raul RAJANGU, Rajangu Kalev, Kolberg Jaan
Digital Survivalism By Rajangu
raul rajangu , Rajangu Kalev, Kolberg Jaan
Digital Survivalism By Rajangu
Vidéo expérimentale | mp4 | couleur | 5:3 | Estonie | 2018

Extremely strange and slightly Gothic video filmed in Estonian rural cemetery in the midst of my own land art, space installations, and objects (glass house, golden-glass transparent coffin, lectern of the US president). I focus on the relationships between politics and pornography, the mysterious and morbid,and exhibitionism and ritualism, making all our sacred cows into hamburgers. It is a commentary about omni-everything (omni-presence/potency/science) of acidic and creepy digital mass culture, dominated by the terror of images, which does not leave you alone even in the netherworld. Biopolitics has quite smoothly mutated into thanatopolitics (Foucault). Erotization and pornification of death has made us into zombie-like entities, and our lives into voyeuristic and necrolatric showbiz.Our culture regards life from the perspective/necrospective of the death, only so it can ensure a perfect control over its denizens. This is my vision of perfect post-ideological/humanist digital survivalist Paradise led by no one, i.e. asking the question: "Who is in control?", the only answer will be: "No one is in control", which actually means, that "we all are in control".The Message we are being indoctrinated into is as comforting as it is vulgar: "Stay private and dead enough, in your echo chamber, enjoy yourself cause you cant change anything anyway. Any counter.act is in advance doomed".

Raul Rajangu. aka Luminoso, called also the father of Estonian postmodern art, entered the international art scene in the late 80´s. He is equally perfect as painter,performer, actionalist, creator of spatial & video installations, 3D aesthetician and transmedia activist. He is interested in all kinds of observables/appearances/splendors (cf "Luminoso" as his pseudonym). In his art/transformances he seems to be, consistently and somewhat paradoxically, guided by Oscar Wilde: "The true mystery of the world is the visible not the invisible". Nevertheless, Rajangu also - and even more comprehensively - fascinates the spectators with the invisible. Throughout his career, Rajangu has been keen to (re)use - what a lovely Grünepunkt! -, twist, subvert, and of course mock and taunt any kind of massive, total and fossilized ideological, aesthetic, moral, therapeutic, and metaphysical schemes and systems, our entire paternalistic, sexist, and misogynist digital prosumer paranoia. Rajangu is a liminoid artist who constantly stands on the boundary between very many worlds, mediating between them. His works provide a meeting point for East and West, public and personal, sacred and profane, consciousness and non-consciousness, life and death. He lives in a lonely countryside in Estonia.

Julie RAMAGE
How to order online
julie ramage
How to order online
Doc. expérimental | hdcam | couleur | 9:8 | France | 2019

Soumis au contrôle des conversations téléphoniques, à l'interdiction des connexions internet et plus généralement, de tout échange entre personnes détenues, l'espace carcéral constitue une zone blanche ancrée au cœur du tissu urbain. Contournant ce fonctionnement, ces derniers construisent une série d’outils permettant de transporter objets et messages au sein de l’architecture carcérale : les yo-yos, pendant mécanique de l’intranet, qui leur permettent de « commander en ligne ». De tels artefacts témoignent du développement de savoir-faire artisanaux s'adaptant aux évolutions architecturales et juridiques du monde pénitentiaire, des relations de pouvoir et de contre-pouvoir mises en jeu dans l'enfermement, mais surtout, d'un besoin universel d'échanges, dont Adam Smith avait fait le point central de toute théorie économique. La bande-son du film a été composée à partir de données collectées dans la terre de la maison centrale de Poissy lors d’une performance collaborative réalisée intra muros par Thibault Collin, chercheur au CNRS, et Julie Ramage. S'inspirant de la prospection géophysique, méthode de recherche archéologique, les détenus captent les signaux électromagnétiques traversant les terrains de la prison pour les convertir en ondes sonores. Se fait alors entendre, sous nos pieds, le réseau des télécommunications carcérales clandestines.

Julie Ramage (1987, France) est artiste visuelle et docteure en Histoire et Sémiologie du Texte et de l’Image. Elle explore les relations complexes se tissant entre les communautés humaines et les lieux qu’elles occupent. Ce travail implique la mise en place d’enquêtes sur le terrain et de protocoles de recherche collective qui fournissent le matériau de performances, de micro-éditions et d’installations vidéos, sonores ou numériques. Son travail a été présenté aux États-Unis, en Argentine, en Espagne et en France : Centre Pompidou, Cité Internationale des Arts, CENTQUATRE, Musée de l’Homme, Chapelle des Beaux-Arts de Paris, Le Cube, Maison Européenne de la photographie... Avec l'artiste Marina Ledrein, elle a fondé BLACKCUT, structure de production et de diffusion collaborative qu'elle co-dirige aujourd'hui.

Sj. RAMIR
We Are Without
sj. ramir
We Are Without
Vidéo expérimentale | mov | couleur et n&b | 3:9 | Nouvelle-Zélande | Australie | 2020

Our hands cannot resurrect. Set amongst the shadows of a grainy, dystopian landscape, We Are Without is a visual response to life, death and self-delusion...

SJ.Ramir is a New Zealand filmmaker residing in Melbourne, Australia. His films often contain scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are a mix of actual locations and constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. His films have been screened at many prestigious film festivals worldwide, including the 67th Venice International Film Festival, International Film Festival Rotterdam, Melbourne International Film Festival, Jih.lava IDFF and the Oberhausen International Short Film Festival

Elise RASMUSSEN
The Year Without a Summer
elise rasmussen
The Year Without a Summer
Film expérimental | 16mm | couleur | 20:5 | Canada | Indonésie | 2020

The Year Without a Summer takes its title from a phenomenon that occurred in the summer of 1816 wherein many parts of the world experienced extreme weather conditions. Dramatic storms and colorful skies gave inspiration to Romantic art, as witnessed in works by J.M.W. Turner and Casper Friedrich; while poor harvests, economic decline and civil unrest influenced Mary Shelley’s writing of “Frankenstein” during her summer sojourn to Lake Geneva. A century and a half later it was discovered that the eruption of Mount Tambora on the island of Sumbawa in Indonesia was the cause of this erratic shift in the world’s weather patterns, causing a famine in Switzerland and speculation that the world was ending. Using this historical framework as a provocation, The Year Without a Summer re-examines the effects of this environmental anomaly, finding parallels with our current climate crises, while intertwining diaristic accounts of Mary Shelley and her circle, Sumbawan folklore, and my own reflections traveling to the same volcano and lake during the hottest summer on record.

Elise Rasmussen is a research-based artist working with lens-based media. She has exhibited, performed and screened her work internationally including venues such as the Brooklyn Museum, the Bronx Museum, Pioneer Works (New York), Night Gallery, JOAN (Los Angeles), Belvedere 21 (Vienna), Sharjah Art Foundation (UAE), Institute of Modern Art (Brisbane), Dazibao (Montreal), Art Gallery of Alberta (Edmonton), and the Doris McCarthy Gallery at the University of Toronto. Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship and has been an artist in residence at a number of institutions including the Irish Museum of Modern Art (Dublin), the Nirox Foundation (South Africa), La Becque (Switzerland), LMCC (New York), Shandaken Projects (Storm King), SOMA (Mexico City), the Banff Centre (Alberta) and was a 2016 Fellow in the Art & Law Program (New York). Elise has been written about in publications such as Art in America, BOMB Magazine, Hyperallergic, Canadian Art and the New Inquiry, and has received grants and awards from the Jerome Foundation, the Canada Council for the Arts, NYFA/NYSCA, Contact Photography Festival, and the American Austrian Foundation. Born in Edmonton, Canada, Elise is currently based in Los Angeles, USA.

Total REFUSAL
How to Disappear
total refusal
How to Disappear
Documentaire | dcp | couleur | 21:0 | Autriche | 2020

“How to Disappear” is an anti-war movie in the true sense of the word, searching for possibilities for peace in the most unlikely place of an online war game. It’s a tribute to disobedience and desertion - in both digital and physical-real warfare. Shot in the picturesque war landscapes of “Battlefield V”, the hyperreal graphics become the backdrop for an essay-like narrative. The filmrevolves around the history of deserters - a part of human history, which has hardly been illuminated. Performances and creative interventions explore the scopes and limits of the audiovisual entertainment machine.

http://www.refreshingfilms.com/filme/how-to-disappear

Oliver RESSLER
Carbon and Captivity
oliver ressler
Carbon and Captivity
Documentaire | 4k | couleur | 33:0 | Autriche | 2020

For decades, nation states and politicians have proven unable to decarbonize the economy. Oil corporations have funded climate change denial for a quarter century while their own scientists plied them with proofs of disaster. At a moment when most people feel the effects of climate change in their own lives, oil corporations have changed their strategies and are now pushing for the generalized use of technological procedures that would allow them to continue extracting oil. Recorded at the Technology Centre Mongstad (TCM) in Norway the film introduces various perspectives on Carbon capture and storage. CCS is presented as technofix to prevent catastrophic global warming. But CCS remains a relatively immature technology deepening our dependence on fossil fuel energy. The film refers to humanity’s “captivity” which seems to carry extractivism onward to the point of no return.

is an artist and filmmaker who produces installations, projects in public space, and films on issues such as economics, democracy, migration, the climate crisis, forms of resistance and social alternatives. Ressler has had solo exhibitions at Berkeley Art Museum, USA; Museum of Contemporary Art, Belgrade; Centro Cultural Conde Duque, Madrid; Alexandria Contemporary Arts Forum, Egypt; The Cube Project Space, Taipei; Kunsthaus Graz, Graz and comprehensive solo exhibitions at Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; Centro Andaluz de Arte Contemporaneo – CAAC, Seville; SALT Galata, Istanbul; MNAC – National Museum of Contemporary Art, Bucharest; and Cultural Centre of Belgrade. Ressler has participated in more than 400 group exhibitions, including Museo Reina Sofía, Madrid; Van Abbe Museum, Eindhoven; MASSMoCA, North Adams, USA; Centre Pompidou, Paris; the biennials in Prague (2005), Seville (2006), Moscow (2007), Taipei (2008), Lyon (2009), Gyumri (2012), Venice (2013), Athens (2013, 2015), Quebec (2014), Helsinki (2014), Jeju (2017), Kyiv (2017), Gothenburg (2019) and Stavanger (2019), and at Documenta 14, Kassel, 2017 (exhibition organized by EMST). Ressler has completed thirty-four films that have been screened in thousands of events of social movements, art institutions and film festivals. A retrospective of his films took place at Centre d’Art Contemporain Genève in 2013. In 2002, Ressler won the first prize at the International Media Art Award of the ZKM in Karlsruhe and he is the first prize winner of the newly established Prix Thun for Art and Ethics Award in 2016. For the Taipei Biennale 2008, Ressler curated an exhibition on the counter-globalization movement, A World Where Many Worlds Fit. A travelling show on the financial crisis, It’s the Political Economy, Stupid, co-curated with Gregory Sholette, has been presented at nine venues (2011-2016), including Pori Art Museum in 2013. Since 2019 Ressler directs Barricading the Ice Sheets, a research project on the climate justice movement, funded by the Austrian Science Fund, that will lead to an exhibition at Camera Austria in Graz in September 2021.

Hun RHEE
how surely gravity’s law: notes and sketches
hun rhee
how surely gravity’s law: notes and sketches
Film expérimental | 16mm | couleur et n&b | 24:20 | Coree du Sud | 2019

“People live together, parents and children, husband and wife, but don’t know that communication is only an illusion, that in the last analysis each of us is locked up in his own secret?” wrote Argentine author Adolfo Bioy Casares in his short story Carta Sobre Emilia Emilia is nothing but an image of ‘pathosformel’. What we understand from images of passions that express anxiety in uncertainty, depression, sadness, mourning, bitterness, or great joy and passion, resistance and indolence might be a state of "weak decadence in hope of optimism" and a new form of cognition, “the tragic cognition of being”. One afternoon, a third person narrator and fictional character, Emilia, happens upon a second-hand bookshop and there, she finds an old and discolored book of poems written by René Laurids Brigge that includes short notes about the death of 19-year-old Wera Ouckama-Knoop, who was a female dance performer. Then, she decides to rewrite the notes and short sketches about W.O. Knoop, and her collected documents remembering someone’s death. This quadriptych style which is a four-chapter work of film shows a certain fold of pathosformel, polyvalent forces in which she recognizes the short sketches on her notes as "a non-real time and a heterogeneous space", and gets a feeling all of memories which come to a vague ‘future historical landscape”, like a flash of light at a moment of danger.

Rhee Hun is a filmmaker and researcher working on artist film and moving images. Working as a board member of Asian Artist Moving Image Platform(AAMP), his activities focus on artistic and curatorial practices across ranges of artist film and archive research with asking questions of ‘the future of landscape and moving image’ based on the archeological space and speculative narrative, language and allegorical epistemology. His film and video works have been shown in exhibitions and screenings at Far From Here in SeMA Storage(2019), International Short Film Festival in Oberhausen, Labs Program(2019), Collective research in MMCA Changdong residency program(2016), ACC Network platform: Asia-Kula, Kula Ring(2016), Arkipel(2015) and Rough Cut Night-Stop Motion(Expanded Cinema, Arts Council Korea Arts Theatre, 2014).

Simon Ripoll-Hurier
Age of Heroes
simon ripoll-hurier
Age of Heroes
Documentaire | hdv | couleur | 18:30 | France | 2020

East of Skopje there is a small quiet square where you can sometimes hear the trace of orchestral music. If you follow these sounds, they lead you into a large studio. The "Film & Music Ensemble" (FAME's project) in Skopje specialises in music for film. The hundred or so musicians, sound engineers, etc., who're part of it come every day to record scores from all over the world. The composers usually attend the sessions by teleconference. On the same day, you can move from a French TV drama to a Bollywood production. Following a smooth-running mechanism, the orchestra continuously produces music to support images and to give them their emotional tones. On the small square next to this large studio, life follows its course in a quiet indifference.

Coming from visual arts and developing a practice on the edge of music, radio and cinema, Simon Ripoll-Hurier (born 1985) tracks down situations of listening. Between 2014 and 2017, he developed Diana, a research project that includes film, video, performance and radio. He is now working on a film connecting today’s Silicon Valley with old CIA parapsychological experiments. His work has been presented in festivals, biennials, museums, galleries, and broadcasted on the radio. He also plays with Les Agamemnonz, an instrumental surf band, and co-founded *DUUU, an artist-run webradio.

Ben RIVERS
Look Then Below
ben rivers
Look Then Below
Film expérimental | 16mm | couleur | 22:30 | Royaume-Uni | 2019

Ben Rivers' films study the otherworldly, looking for places and stories outside the daily conventions of reality. Look Then Below was filmed in a Somerset transformed into a coloured, mist-enveloped island in an oily ocean with a cave basking in a subterranean glow. Time seems to stand still there. After Slow Action and Urth, this is the final part of a trilogy developed with American SF author Mark von Schlegell.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Ben RIVERS
The House Was Quiet
ben rivers
The House Was Quiet
Film expérimental | 16mm | couleur | 4:25 | Royaume-Uni | 2020

The parts of a house: a door, the shabby ceiling, the wooden floorboards, the portrait of a little girl. And the crackling of the 16mm film on which they are printed, "concrete" like the objects he films and in opposition to the fading of things in the pixels of digital. The verses of a poem by Wallace Stevens accompany the images: "The house was quiet and the world was calm/the reader became the book/and the summer night was like being aware of the book". In the succession of verses - and in the repetition of the days locked in the house during the lockdown - the reader, the book, the house and the summer night become one, cradled by the crackling of the film.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Riar RIZALDI
Kasiterit
riar rizaldi
Kasiterit
Fiction expérimentale | hdv | couleur | 18:22 | Indonésie | 2019

One-third of the global tin supply is extracted from Bangka island in Indonesia. Tin is the most impacted mineral by the upcoming technological development, which includes artificial intelligence and technology for renewable energy. Natasha is a solar-powered A.I. voice, and in this film, they trace their genealogy and the truth of their origin; from the capital liquidity to labour dynamic. With their feminised voice—as quite often performed by other AI-powered voice assistants produced by tech-companies, Natasha narrates the emergence of tin in Bangka island and their existence from the perspective of tropical anthropology of nature, value theory, philosophy of time, genetic mutation, geopolitics, and automation.

Riar Rizaldi works as an artist and researcher. Born in Indonesia and currently based in Hong Kong. His main focus is on the relationship between capital and technology, extractivism, and theoretical fiction. Through his works, he questions the notion of image politics, materiality, media archaeology and unanticipated consequences of technologies. He is also actively composing and performing sonic-fiction using the methods of field recording and foley through programming language. Riar has also curated ARKIPEL Jakarta International Documentary & Experimental Film Festival — Penal Colony (2017), Internet of (No)Things (2018) at Jogja National Museum and co-curated Open Possibilities: 'There is not only one neat way to imagine our future' at JCC, Singapore & NTT ICC, Tokyo (2019-2020). His works have been shown at Locarno Film Festival, BFI Southbank London, International Film Festival Rotterdam, NTT InterCommunication Center Tokyo, and National Gallery of Indonesia amongst others.