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.
In This Valley of Respite, My Last Breath...
ramir Sj
In This Valley of Respite, My Last Breath...
Vidéo expérimentale | mov | couleur | 5:6 | Nouvelle-Zélande | Australie | 2017

A valley starved of light. Weariness. Fatigue. An offering of shelter; a surrender of breath...

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are often a mix of real and/or 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 exhibited at art galleries worldwide and screened at many prestigious film festivals including: the 67th Venice International Film Festival, International Film Festival Rotterdam (2009 and 2010), Edinburgh International Film Festival (2012 and 2013), Melbourne International Film Festival (2011) and the International Short Film Festival Oberhausen (2009).

Deux faisceaux blancs groupés et rotatifs
ramirez Enrique
Deux faisceaux blancs groupés et rotatifs
Fiction expérimentale | 4k | couleur | 24:41 | Chili | France | 2017

Il est dit que certaines tribus indiennes pensaient que nous marchions vers le passé avec l`avenir derrière nous, parce que le passé est quelque chose qui est en face de nous, nous pouvons le voir, alors que l`avenir serait derrière nous, comme un point aveugle, invisible et inconnu... Ils disaient que les tâches blanches (les étoiles) que nous apercevons dans le ciel étaient des trous par où la lumière de l`univers entrait et que l`obscurité n`y existait pas. La première chose que nous voyons, si nous arrivons depuis l`Amérique en bateau, est le sémaphore de Créac`h. nous pouvons voir une lumière qui annonce la terre proche, ce sont les yeux de l`ancien continent, le faisceau d`une étoile artificielle qui toutes les 10 secondes jette des éclairs de lumière pour montrer la voie aux voyageurs de la mer, qui viennent souvent du Nouveau Monde, ou de la fin du monde, le Finistère... L`autre bout du monde... Ces lumières indiquent la terre ou la fin de celle-ci, elles sont les signaux de référence du monde, les différentes constellations qui portent en elle la mémoire de leur propre lumière, indiquant leur passé et leur avenir... Dans le présent.

Enrique Ramírez est né en 1979 à Santiago du Chili. Vit et travaille à Paris (France) et Santiago (Chili). Il a étudié la musique populaire et le cinéma au Chili avant de rejoindre en 2007 le Studio National des Arts Contemporains-Le Fresnoy (Tourcoing, France). En 2013, il a remporté le prix des Amis du Palais de Tokyo, Paris, France. En 2014, il remporte le prix Loop fair, Barcelone. Il a notamment exposé au Le Palais de Tokyo, Centre Pompidou, Espace Culturel Louis Vuitton, IX Bienal international d`art, Bolivie; Museo Amparo, Puebla, Mexique; Musée de la mémoire, Santiago; Centre Culturel MATTA, Argentine, Buenos Aires et au Grand Café à Saint-Nazaire. En 2017, il est invité par Christine Macel à participer à l`exposition "Viva Arte Viva" de la 57ème exposition internationale de la Biennale di Venezia.

ramÍrez pÉrez Benjamin
Film expérimental | 16mm | couleur | 7:50 | Allemagne | Pays-Bas | 2016

Reenactments of cinematic strategies, images and fantasies tied to sex work and stage performance are layered on top of each other, focusing on embellished surfaces of bodies, objects and architectures. They intertwine and form a new entity in a female drag performance referencing 1970s cinema, sex work activism and pop choreography, which was developed in collaboration with the performance artist Liad Hussein Kantorowicz.

Benjamin Ramírez Pérez is currently a participant of de Ateliers Amsterdam (2016-2018). He studied at the Academy of Media Arts Cologne from 2009–2015. His works have been screened at Locarno, Edinburgh, Rotterdam and Toronto International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn and Museum of Contemporary Art Belgrade.

A Poetic Truth in a Pathetic Fallacy
rasmussen Elise
A Poetic Truth in a Pathetic Fallacy
Doc. expérimental | hdv | | 16:0 | Canada | Afrique du sud | 2017

A Poetic Truth in a Pathetic Fallacy considers ways in which human-kind has been fascinated by and has misinterpreted the rhinoceros, exploring the urgency to keep this genus from extinction while considering the lingering effects of colonialism and collection. Over the past decade the trafficking of rhino horns has gained popularity and both poaching and theft of vintage horns has risen dramatically. Horns were traditionally used in Eastern medicine and although scientists have concluded they have no health benefit, this has not dissuaded the market and its value has risen due to its newfound status as a luxury good. This is not the first time that the rhino has been misconstrued. In 1515 Albrecht Dürer created his famous woodcut based off of a written description of the rhinoceros. Although grossly inaccurate, his artwork served as the prototype for future depictions of rhinos up until the mid-19th century. In South Africa today, the lingering effects of colonialism and apartheid are at the root of poaching. In the male-dominated industry of wildlife protection, the Black Mambas [all female] Anti-Poaching Unit has been gaining international recognition for their efforts. Although beloved by the media, the Mambas risk their lives and struggle to support their families while protecting the wildlife that serves the interests of white landowners. This project is a multi-layered investigation into the link between globalization and extinction, using the poaching of the rhinoceros and its horn to speak about the relationship between bodies, labor, desire and the contested territory of representation.

Elise Rasmussen (born 1977, Edmonton, Canada; resides in Brooklyn, NY) is a research-based artist working in photography, video and performance. Her work has been exhibited, performed and screened at international venues including the Brooklyn Museum (NY), the Irish Museum of Modern Art (Dublin), CCS Bard Hessel Museum (Annandale-on-Hudson), Night Gallery (LA), Pioneer Works (NY), and Erin Stump Projects (Toronto). Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship (2007) and is a 2017-2018 artist in residence at LMCC’s Workspace program in Manhattan.

There are no Syrian refugees in Turkey
ressler Oliver
There are no Syrian refugees in Turkey
Doc. expérimental | 4k | couleur | 30:0 | Autriche | 2016

Refugees attempting to enter the European Union play a specific role in the relation between the EU and Turkey. The same European powers that routinely invoke “human rights” to justify military action in Africa and Asia (including the “Middle East”) deny all protection to survivors fleeing the slaughter they order. The EU border regime is responsible for tens of thousands of drownings in the Mediterranean, while Turkey has opened its borders to nearly three million refugees, more than all EU states combined. The film channels voices that not only go unheard but are quite unheard-of in the western “refugee debate” – because if Europe is the center of the world, speakers like these couldn`t possibly exist. They are Syrian refugees who preferred not to seek a way into the EU, choosing to continue their lives in Istanbul instead. The Syrians describe their life as “guests” in the continent`s largest metropolis, which for 500+ years has sheltered survivors of wars and pogroms started by powers to its north and west. One thing they discuss at length is the difficulty of making a living in Istanbul. Another is the reluctance of the EU to admit more than a pitiful number of refugees, whom it treats collectively as a social pathogen, a mobile hazard to be isolated and “made safe”. All the conversations were recorded in Arabic in the days after the coup attempt in Turkey on 15 July 2016, which therefore also became a topic of the film. Quietly reversing the entire perspective of the “refugee debate”, the film develops a political analysis of Turkish and European politics from the standpoint of Syrian refugees. The speakers are not seen in the film. Their anonymity is maintained as a precaution against repression and unwanted consequences of all kinds. The interviews are combined with images made from long single shots taken in Istanbul. The words and images are accompanied by an experimental audio composition – produced specifically for the film – which likewise bears witness to conditions of war and terror and to things left unsaid.

Oliver Ressler, born 1970, lives and works as an artist and filmmaker in Vienna, Austria, and produces exhibitions, projects in the public space, and films on issues such as economics, democracy, forms of resistance and social alternatives. His projects have been in solo exhibitions at the Berkeley Art Museum, USA; Platform Garanti Contemporary Art Center, Istanbul; Museum of Contemporary Art, Belgrade; Kunstraum at the University of Lüneburg; Centro Cultural Conde Duque, Madrid; Alexandria Contemporary Arts Forum, Egypt; Bunkier Sztuki Contemporary Art Gallery, Krakow and The Cube Project Space, Taipei. Ressler has participated in more than 250 group exhibitions, including the MASSMoCA, USA; Itaú Cultural Institute, Sao Paulo; National Museum of Contemporary Art, Athens; Van Abbe Museum, Eindhoven and at the biennials in Prague (2005), Seville (2006), Moscow (2007), Taipei (2008), Lyon (2009), Gyumri (2012), Venice (2013) and Athens (2013). For the Taipei Biennale 2008, Ressler curated an exhibition on the anti-globalization movement, A World Where Many Worlds Fit. A traveling show on the financial crisis, It’s the Political Economy, Stupid, co-curated with Gregory Sholette, was presented at Pori Art Museum in Finland. Their book It’s The Political Economy, Stupid: The Global Financial Crisis in Art and Theory was published by Pluto Press (UK) in 2013. Since 2000 Ressler realized 29 films that were screened in numerous film festivals and at Centre Pompidou, Paris; ICA, London; New Museum, New York; Serralves Museum of Contemporary Art, Porto; Museo de Bellas Artes, Caracas; MUMOK Kino, Vienna; Moderna Museet, Stockholm; MAMbo - Museo d’Arte Moderna di Bologna. A retrospective of his films is taking place at Centre d’Art Contemporain Genève throughout 2013. Ressler won the International Media Art Award of the ZKM in 2002 and is the first price winner of the newly established Prix Thun for Art and Ethics Award in 2016.

Hoe kamelen leeuwen worden
rigaux Lydia
Hoe kamelen leeuwen worden
Fiction | 4k | couleur | 61:0 | Belgique | 2017

‘How camels become lions’ depicts the urge for freedom. Through 4 episodes we see 4 family members in a moment when they are tired of being a camel, as a beast of burden. They realise their tasks are meaningless and find themself in a spiritual desert. The camel wants to become a lion. A spirit that fights against the false values in order to find his own freedom. The title is based on ‘Thus spoke Zarathustra’ by Friedrich Nietzsche. The character of Zarathustra confronts his audience with speeches. In his first speech he explains how you can become a free spirit through three transformations. The first stage is the one of the camel, willing to be controlled by others. During a second transformation, the camel becomes a lion, a rebel, who doesn’t allow anyone to tell him ‘you shall’. But, although the lion can react, he can’t create. For this, he needs to transform into a child. A child that thinks and acts independently of any structure. The characters of `How camels become lions` are in a transitional phase. Their state of discontent can be the beginning of a transformation to a lion, and who knows, afterwards, to a child.

Lydia Rigaux is a filmmaker born and living in Belgium. Her work navigates between fiction and documentary. An idea can start both from a fictional story or reality, yet during the process of making the film the line between those two becomes thinner due to the attempt to eliminate all false elements. Also the search of finding the ‘right’ image to capture a situation or environment sweeps away that border. It appears to her that a certain moment or setting can only be captured in this one image, the ‘right’ image. The dominance of this search controls the content and gives the film its own subject. In this way, the film creates its own reality. Her work has been shown at festivals as FID Marseille, Kasseler Dok Fest, Film Fest Gent and the Brussels Independent Film Festival (awarding ‘How camels become lions’ as Best Belgian Film).

Ley Aurea (Golden Law)
rodrÍguez collÍa Alberto
Ley Aurea (Golden Law)
Vidéo expérimentale | mp4 | | 7:4 | Guatemala | Brésil | 2014

This video speaks about the exploitation and its institutionalized discrimination (economic and racial) and slavery. The location is Brazil, because this one of the most unequal countries worldwide and was the last to declare slavery illegal (Aurea Act of 1898).

Lives and works in Guatemala. With his work tries to explore the historical memory, sordid aspects of the human being and the ridicule of the societies that are imposed over others. He graduated as Engraver from Art School no. 10 of Madrid, with his final project received the Honourable mention at Aurelio Blanco awards. He was awarded with the residencies of FONCA / CASA of Oaxaca, Mexico; Des.Pacio of San Jose, Costa Rica, Fundaçao Armando Alvarez Penteado in Sao Paulo, Brazil, and AIT in Tokyo, Japan. Also participated in 32nd. Biennial of Ljubljana, in the XVI and XVII Biennial of Guatemala and the VII Central American Biennial. In 2007 he co-founded the TEGG, the only engraving workshop in Guatemala, where he teached and organized exhibitions related to graphic arts. From 2010 to 2014 he was in charge of the Cinematographic Art Center of the CCEG, coordinating films screenings and workshops of cinema. Rodriguez also coordinated the Contemporary Film Festival (MUCA) and has worked for the human rights oriented film festival “Memoria, Verdad, Justicia” since 2013. He participated in the films "Even the Sun has spots" that won "Prix Espérance" and "Honourable Mention" in the FID of Marseille.

What If As If
rogalska Alicja
What If As If
Vidéo expérimentale | mov | couleur | 13:31 | Pologne | Royaume-Uni | 2017

What if As If explores legal fictions in international immigration law in collaboration with refugees, asylum seekers and immigrants based in the UK who trained as lawyers in their countries of origin. The video was filmed in a former courtroom and greenscreen, a device for filmic fiction, is used throughout. Legal fictions are used in legal reasoning when something is believed or assumed to be true - they allow for the law to be applied, without changing its text. For example, a refusal to accept an inheritance is legally possible if the inheritor is declared dead and having died before the person who left the legacy; another example is corporate personhood - i.e. treating companies as if they were persons. Immigration law is full of such artificial constructions: legal fictions of sovereignty, political community, the concept of entry, as well as fictions in welfare and employment law, and finally - citizenship and its terms and conditions. The lawyers` expertise and legal imagination combined with their personal, embodied experience of being exposed to the inherent contradictions and absurdities of immigration law, influences the way they see law in society. Legal fictions are used in the video as a vehicle for questioning existing legal structures, a tool for creative lawmaking and exploring speculative legal frameworks as possible resistance.

Alicja Rogalska is a multidisciplinary artist based in London and Warsaw and working internationally. She graduated with an MFA in Fine Art from Goldsmiths College and an MA in Cultural Studies from the University of Warsaw. In 2017 she was an artist in residence at KulturKontakt in Vienna and IASPIS - Swedish Arts Grants Committee`s International Programme in Stockholm. She was also a recipient of 2016-17 Artsadmin Bursary in London. Exhibitions include: For Beyond That Horizon Lies Another Horizon, Edith-Russ-Haus für Medienkunst (Oldenburg, 2017), Gotong Royong. Things We Do Together, Centre for Contemporary Art Ujazdowski Castle (Warsaw, 2017), Dreams and Dramas. Law as Literature, nGbK (Berlin, 2017), Social Design for Social Living, National Gallery (Jakarta, 2016), All Men Become Sisters, Muzeum Sztuki (Łódź, 2016); No Need For References, Kunsthalle Exnergasse (Vienna, 2015); Critical Juncture, Kochi-Muziris Biennale (Kochi, 2014); A Museum of Immortality, Ashkal Alwan (Beirut, 2014), IMS Project, Flat Time House (London, 2013); Melancholy In Progress, Hong-Gah Museum (Taipei, 2012); Jour de Fête, The Private Space Gallery / LOOP Festival (Barcelona, 2011); To Look is to Labour, Laden Für Nichts (Leipzig, 2010) and No Soul For Sale, Tate Modern (London, 2010).

rue pouchkine
rousset Martine
rue pouchkine
Doc. expérimental | hdv | couleur | 33:0 | France | 2017

de Martine ROUSSET 2012-2017 / Betacam Numérique / couleur / sonore / 1E / 33` 00 Yerevan, Arménie, dans l`illisible secret prisonnier des ombres dans les nuits de sous la terre trains pour nulle part la splendeur sereine des montagnes chants mutiques paradoxe mystique les voix des prisons éphémère voyageur léger dormeur

Nait le 29 mai 1951 à Montpellier, réside à Sète jusqu’en 1975 étudie la philosophie et le cinéma à l’Université Paul Valery de Montpellier. cinéaste de la lumière et de l`écrit ,travaille le film depuis 1977 oeuvre au département audiovisuel du Musée d’Art Moderne de la ville de Paris ,auprès de Suzanne Pagé depuis 1978.

Modern Props
ruaidhri Ryan
Modern Props
Fiction expérimentale | mov | couleur | 9:30 | Irlande | Royaume-Uni | 2017

“Modern Props” joins a pair of actors as they shop for furnishings and objects to decorate their characters’ new home. The department store, in which they shop, is in fact a TV and Film props warehouse; the objects are devoid of their original function, existing only to be photographed. As the couple traverses a multitude of environments; ancient Greek, British colonial, medieval, they begin to experience aesthetic disharmony. Conflicts around etymology, authenticity and concepts of perfection abrade at the relationship until eventually our couple breakup.

Approaching film from an art background, Ruaidhri entertains a distinctly humorous view on hyper-real, self-aware constructs, perpetually chasing a notion of authenticity that does not exist. Often disclosing methods of production and combining the sincere with the ironic, Ruaidhri continues to develop conceptually driven, narrative films for gallery and film festival exhibition.

Mauricio SAENZ
The Origin of Stones
saenz Mauricio
The Origin of Stones
Vidéo expérimentale | hdv | couleur et n&b | 4:53 | Mexique | 2016

“The origin of stones” questions the ideals of the past and their validity in the present through the decay and fall of monuments built to preserve a historic memory. With a text based on a debate that puts in doubt the efficiency of a scale used to document the proportion and appearance of archaeological remains, this work looks to ruins as elements of live content linked to the present and emphasizes the powerful yet fragile nature of the narratives of history. Thus, it mirrors the impossibility to imagine the promises of a future on the ruins of the recent past, representing in this way a model of a fallen utopia.

Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a visual artist and filmmaker with a practice between experimental and docufiction. He obtained a master`s degree in artistic production from the Polytechnic University of Valencia in Spain and has exhibited his audiovisual work in festivals such as Stuttgarter Filmwinter and European Media Art Festival in Germany where he was also nominated for the Dialogpreis of the German Ministry of Foreign Affairs. He was recently nominated for the LOOP Discover Award in Barcelona for outstanding international video artists.

The Tigger of the Cone
saghari Niyaz
The Tigger of the Cone
Film expérimental | super8 | noir et blanc | 2:22 | Iran | 2016

A Visual experimentation with the dadaist poetry of Ali Sarandibi which juxtaposes the outer, urban life in Tehran with the inner, softer life of its inhabitants

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based .

An Epilogue
sanborn Keith
An Epilogue
Vidéo expérimentale | mov | couleur et n&b | 3:3 | USA | 2016

A détournement of Walter Benjamin`s "Theses on the Philosophy of History," reconfigured for an era dominated by the digital, the instability of the physical body, and the seeming triumph of technology over art and the virtual over the real. Is technology the handmaiden of art? Is art the handmaiden of technology? Or is the notion of a handmaiden so hopelessly obsolete, then it can no longer provide metaphors which provoke us to think?

Keith Sanborn is a media artist, theorist, translator, and curator based in New York.

Alkaid (Vaghe stelle)
santini Mauro
Alkaid (Vaghe stelle)
Vidéo expérimentale | 4k | couleur | 6:12 | Italie | 2017

“Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.

Since 2000, Mauro Santini (Fano, Italy, 1965) has composed a series of video diaries, stories told in the first person about time, memory and the search for oneself. One of these, ‘Da lontano’, won the Italian competition at the 2002 Torino Film Festival. He has participated at the international film festivals of Locarno, Venezia, Oberhausen, Jeonju, Annecy, Rencontres Paris/Berlin, DocLisboa, Cinémas Différents Paris, Montpellier, Pesaro etc In 2006, he made the feature film Flòr da Baixa and participated in 2008 with different works at “La cité des yeux, une saison italienne”, about Italian avant-garde cinema from 1968 to 2008, which was organized by the Cinémathèque Française in Paris and curated by Nicole Brenez and Federico Rossin.

schauder Gerald
Installation multimédia | mov | | 3:30 | Allemagne | 2015

Skulptur21 is an 8 meter long sculpture made of wood, wire, carbon fiber and acrylic paint. It consists of individual hollow elements that are loosely assembled together, partly elevated on wires, on a specially constructed table. The different elements are painted white, light and dark grey, and black. The sculpture is a structural visualisation of Hans Richter‘s experimental film Rhythmus 21. The film, created around 1921, is considered a milestone in film history and is one of the first abstract films ever made. It consists of varying geometric elements that move within the pictorial frame of the screen and change in shape. The elements also change in size, giving the impression of movement towards and away from the viewer, thereby creating a feeling of depth. Skulptur21 shows this movement in space. In the sculpture, every element of the film is shown as a three- dimensional object. Size, position and colour of the elements correspond to those shown in the film. The viewer can physically retrace the elements of the lm by walking along the sculpture. One second of the 3-minute lm corresponds to about 5 cm of the 8 meter long sculpture. The lm can be seen in its entirety at one glance. The sculpture reveals relationships between the elements over the entire duration of the film. However, the translation of the film Rhythmus 21 into sculpture goes beyond a mere reinterpretation of the lm. Skulptur21 creates a connection between the time present in film and the space of architecture. In his paintings, Hans Richter was concerned with studying movement and rhythm. Taking as a basis musical theories, he started developing horizontal rolls depicting geometric elements that gradually change in shape and thus suggest movement. Skulptur21 can likewise be read as a musical score, a linear experimental notation that visualises dynamic proportions and progressions. In addition to o ering a new way of looking at the film Rhythmus 21, the aim of Skulptur21 is to enable the viewer to make their own personal discoveries and experiences, no matter what background or field they come from.

Gerald Schauder studierte an der TU Graz und am Institut für Elektronische Musik und Akustik in Graz sowie an der Kunsthochschule für Medien Köln. In seiner künstlerischen Arbeit setzt er sich vorwiegend, jedoch nicht ausschließlich, mit Hans Richters Experimentalfilm „Rhythmus 21“ auseinander. Daneben entstehen verschiedene Arbeiten im dreidimensionalen Raum, von Installation hin zu Skulptur. Dabei greift er auf unterschiedlichste Techniken zurück und erforscht Bezüge zwischen den verschiedenen Medien. Darüber hinaus arbeitet er im Bereich Musik und Audio Postproduktion und realisiert Kurzfilme.

Vollendete Zukunft (Future Perfect)
schnitt Corinna
Vollendete Zukunft (Future Perfect)
Fiction expérimentale | hdv | couleur | 9:0 | Allemagne | 2016

Eight protagonists distributed over Marls central Rathausplatz in front of the Skulpturenmuseum use megaphones to call out everyday phrases to each other as if they were carrying out a conversation:“Do you think he will have won the Lotto?“ or “You will have told me much about your experiences.“ Formulated in future perfect, these shouts play with the expectation that certain events will have happend by a certain time in the future. This construction has a distancing effect on the here and now and on the ease of normal everyday conversation, showing the extent to which a present experience is determined by expectations of the future. The use of megaphones seems antiquated today and thus deals ironically with present-day forms of communication. Like on the Web, banal experiences from one`s own life are communicated to an imaginary public without controls or personal contact. Marl`s Rathausplatz and the Skulpturenmuseum were constructed in the 1970s and document the city`structural rebirth, carried out with the goal of turning the urban core into a vibrant place and optimally combining diverse functions. Previously regarded as amuch lauded model solution, it is now obvious that the utopian promise of a city that radically deviates from traditional urban structures has not been fulfilled in the long run. Translation Michael Wolfson

Born in Duisburg, Germany, lives and works in Braunschweig. From 1986 to 1989 apprenticeship as a carver (diploma), Michelstadt, from 1989 to 1996 studies at the Hochschule für Gestaltung (Academy for Visual Communication), Offenbach, as well as at the Kunstakademie (Art Academy) in Düsseldorf (1995 Masterstudent). Since 2009 Professor for Film/Video at the University of Art Braunschweig.

The Crack-Up
schwartz Jonathan
The Crack-Up
Film expérimental | 16mm | couleur | 18:0 | USA | 2017

THE CRACK-UP “the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise” (F. Scott Fitzgerald – The Crack-Up, 1936) Glaciers take time and glaciers hold time immensely, with sorrow and not sorrow, worry and not worry. There is a light that casts on and cast out from within, `a persistent body of dense ice that is constantly moving under its own weight` and slowly dissolving, it sounds enormous, urgent.

Jonathan Schwartz lives in Vermont (usa) where his creative practice includes 16mm films, things that look like list-making and collecting as a mode of research, and teaching film/associative thinking. He has had solo screenings Austrian Film Museum, UnionDocs, SF Cinematheque, Cinema Project, TIFF/Free Screen, and more. His work has been included in many film festivals including New York, Ann Arbor, Rotterdam, Toronto, Punto de Vista, Recontres Internationales, Exis, and more.

A Tall Tale
schweizer Maya
A Tall Tale
Fiction expérimentale | mov | couleur et n&b | 16:16 | France | Allemagne | 2017

Maya Schweizer ( Paris, France) lives and works in Berlin. She studied at the university, Aix-Marseille I, at the Academy of Visual Arts Leipzig and Berlin University of the Arts, where she graduated. Maya Schweizer exhibited at Kunstverein Leipzig (2017-2018), Drawing Room Hamburg (2017-2018), Irish Museum of Modern Art, Dublin (2016); Skulpturenmuseum Glaskasten Marl (2016); Nordstern Videokunstzentrum, Gelsenkirchen (2016); Staatliche Kunsthalle Baden-Baden (2015);GRASSI Museum für Angewandte Kunst Leipzig (2015); MWW Wrocław Contemporary Museum (2015). She recently screened at Videoart at Midnight, Berlin (2018), Traverses Vidéo, Toulouse (2018), Vancouver International Film Festival, Canada (2017), Cinema in viennacontemporary, Vienna, Austria (2017), in Oberhausen 63. International Kurzfilmtage Oberhausen (2017) and at the 67. Berlinale, Forum Expanded, Berlin (2017). She received the Research stipends from the Berlin Senat (2017), Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Naples (2017), and the residency at the Watchtower, Flutgraben, Berlin (2016-2017).

Una investigación interrumpida de R (An Interrupted Investigation of R)
segal Alan
Una investigación interrumpida de R (An Interrupted Investigation of R)
Fiction expérimentale | 4k | couleur | 13:50 | Argentine | 2017

"An interrupted investigation of R" is an epistemological sci-fi detective short film. This project is an adaptation of Stanislav Lem`s “The Investigation”. The work pretends to contribute to the regime of Extra Science Fiction, as was developed by Quentin Meillassoux. A synopsis of the book that I found at Goodreads: "An officer at Scotland Yard is assigned to investigate an eerie case of missing-and apparently resurrected-bodies. To unravel the mystery, Lt. Gregory consults scientific, philosophical, and theological experts, who supply him with a host of theories and clues". I used that minimal narrative as an excuse to address some of this questions and ideas. What would happen if experimental science became impossible and cannot deploy its theories? What exactly guarantees for us, but also what convinces us that natural laws will still be valid in the next moment? How is the bound in between science and fiction? It seems like the science allows the construction of a storyline because stories happen in ordered worlds. The way the merger of the virtual and the digital elicits a context of indetermination. How will the construction of different models of representation affect our perception of a specific phenomenon?

Alan Segal (AR), born in 1985, he studied at Skowhegan School of Painting and Sculpture, Program for Artist and Curators, Universidad Di Tella, and is currently completing his master in Fine Arts at The Milton Avery Graduate School of the Arts at Bard College. He uses drawings, video, coding and sound to design works that reveal alternative systems of communicative convention. “Tutorial” was his last solo show at Zmud. Recent group exhibitions include "A word is a shadow that falls on a lot of things" at Ausstellungsraum Klingental (Basel, Switzerland), “Praising the surface” at the Hesell Museum of Art (New York, USA) and “To push an ism” at MAMBA (Buenos Aires Museum of Modern Art). He also shows his work in international biennials; "Visual Resonances" at the BIENALSUR (the South America contemporary Art Biennial) and "Draft Systems" at The WRO Biennale (Wroclaw, Poland).

Subduction Zones: Our Status Quo
Subduction Zones: Our Status Quo
Film expérimental | 4k | couleur | 4:8 | Taiwan | 2016

Located at the subduction zone where the Eurasian Plate converges with the Philippine Sea Plate, the island of Taiwan has developed a unique topography as a result of the downwelling tectonic activity. Similarly, Taiwan’s position at the boundaries of different political forces within the global geography, and the hidden forces exerted by political, economic, cultural, and ideological plates, have shaped its national identity. Taiwan’s unique landscape and geopolitical history serves as a theme for The Subduction Zone by Shake. Comprised of three short films entitled Our Status Quo, Our Story and Our Suite de Danses, the work traces the intersection of the tectonic plates and travel to Taipei’s Tatun Volcanoes; the Yuli to Antun section of the old railway line in Hualian that traverses the Eurasian Plate and Philippine Sea Plate; and to the Jili Badlands in Taitung. In the eyes of a geologist, these locations are ideal textbook examples of plate tectonics; but what Shake contemplates is whether these landscapes enable an imagining of the political struggles that have taken place on this island. How does an individual find a resting place within the conflicts of divergent social structures, political systems, and ideological modes? How can the status of the self be reimagined and the story of the self be told? In addition to landscapes, Shake also includes constructions of narrative elements in the film, such as archived historical documents, personal memoire, school activities, and cultural rituals, in the artistic practice of cinematic writing.

Cinematic writing (écriture cinématographique), is the initial creative approach that inspired Shake’s work. In order to experiment the possibility of narrative form, she plays with the plasticity of moving image to liberate the sense of sound and image, and then make them derived. Meanwhile, so as to resist the film’s rigid institutional mode of representation, in addition to the filming as the only manner, she also tries to work with other different medium and expression form to experiment. Recently, she tries to study Asian geopolitical history in her works. She has participated many international artist residency program, and presented her works in different countries.

The Watchmen
silva Fern
The Watchmen
Film expérimental | 16mm | couleur | 10:0 | USA | 2017

In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Regressions in missing time, caught in the act of captivity, confined to the carceral and perpetuated by movie sets, television sets, and alien encounters at bay. The corporeal cycle of control revolves as steadily as the sight of those who watch from above.

Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques including the Toronto, Berlin, Locarno, Rotterdam, New York, London, Melbourne, and Hong Kong International Film Festivals, Anthology Film Archives, Gene Siskel Film Center, Cinemateca Boliviana, Museum of Art Lima, Brooklyn Academy of Music, Museum of Contemporary Art Chicago, New Museum, Greater New York at MOMA P.S.1, and Cinema du Reel at the Centre Georges Pompidou. He has organized and curated screenings at venues including the Nightingale Cinema, Gallery 400, and DINCA Vision Quest in Chicago. His work has been featured in publications including Film Comment, Cinema Scope, Filmmaker Magazine, Millennium, and Senses of Cinema. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York.