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.
Hugging Angela Davis
elske rosenfeld
Hugging Angela Davis
Vidéo expérimentale | mov | couleur | 14:41 | Allemagne | 2020

The video installation "Hugging Angela Davis" is a filmic, performative investigation of a spontaneous hug between Angela Davis and a young East German. The woman, Erika Berthold, was the daughter of communist functionaries and married to the son of the famous communist dissident Robert Havemann, and was active in oppositional circles herself. The work probes into the potentiality opened by this encounter between the two figures and their political struggles. It weaves the narrative questioning of this encounter with a filmic and performative examination of the motif of the embrace as a somatic, affective, political gesture. What can be made of the two women's mutual recognition, their shared departure from protocol? How does their momentary complicity cross or complicate cultural and political differences and ascriptions? What might a - dissident - politics of the hug look like? "Hugging Angela Davis" is part of the long term project "A Vocabulary of Revolutionary Gestures" – which looks at the body as the site and archive of historical experiences.

Elske Rosenfeld, born 1974 in Halle/S.(GDR), works in different media and formats. Her primary focus and material are the histories of state-socialism and its dissidences, and the revolution of 1989/90. Documents and archives are starting points for organising spaces in which these hi/stories can come to be present. Her ongoing project “A Vocabulary of Revolutionary Gestures” investigates how political events manifest and come to be archived in the bodies of their protagonists. Her works have been featured in international exhibitions, among others at Staatliche Kunstsammlungen Dresden, 2020; Goethe Institute Moscow (2020), “Palast der Republik, Haus der Berliner Festpiele (2019), f/stop Leipzig (2018), Gorki Herbstsalon III (2017), mumok kino, Vienna (2016), steirischer herbst festival, Graz (2015), Devi Art Foundation, Delhi (2013) and “Former West”, Utrecht (2010). In 2018 together with Suza Husse she organized the project “wild recuperations. material from below. Artistic Research in the Archive of the GDR Opposition”. In 2019 she co-curated the festival “Palast der Republik” at the Haus der Berliner Festspiele.

The Times, replayed
pia rÖnicke
The Times, replayed
Film expérimental | 16mm | couleur et n&b | 11:12 | Danemark | 2020

The Times, replayed unfolds in a time loop that is both enigmatic and very concrete. From an isolated room images of the world comes into appearance being both out of sync and in actuality with the news stream. The materiality of images are put into question, how they are contextualized and how they decompose, how rapidly the are rendered out of date or take one new meanings. Within this space an actual presence is slowly starting to emerge.

Pia Rönicke is an artist based in Copenhagen. In recent years, she has been investigating different botanical collections that show traces of colonial and geopolitical conditions. Her work is concerned with problems of space and spatial transformations. She is interested in the connection between work space and filmic space, and how we conceive historical matters in relationship to our daily activities. Rönicke often works with archives and the practice of collecting is a recurring theme in her artworks. Her artistic practice spans film, prints, sculptures, and objects, which together build narratives. Solo exhibitions, Drifting Woods, Gävle Art Center, Sweden, Word for Forest, Parallel Oaxaca, Mexico, 2018 The Cloud Document, Overgaden Institute of Contemporary Art, Copenhagen, 2017; The Pages of Day and Night, gb agency, Paris, 2015; Aurora, Museo Rufino Tamayo, Mexico City, 2012. Group exhibitions, film festivals, CPH:DOX, Copenhagen, 2018; FIDMarseille, 2018; Botany Under Influence, Apexart, New York, 2016; A story within a Story, Göteborg International Biennial for Contemporary Art, 2015, Buildering: Misbehaving the City, Contemporary Arts Center, Cincinnati, 2014; Rehabilitation, WIELS, Brussels, 2012; After Architecture, Centre d'Art Santa Mònica, Barcelona, 2010; Imagine Action, Lisson Gallery, London, 2008; Elephant Cemetery, Artists Space, New York, 2007; Anachronism, ARGOS, Brussels, 2007; GNS, Palais de Tokyo, Paris, 2003

Loss Less
kamran sadeghi
Loss Less
Vidéo | mov | couleur | 22:53 | Iran | USA | 2020

“Loss Less” is a site-specific audiovisual work recorded inside of the defunct nuclear cooling tower Satsop. In the 1970’s, the U.S. was more than 20 years into its nuclear power program. In Washington State, a consortium of public utilities began what was to be the largest single nuclear power project in the country’s history. The construction was suspended shortly before the facility was completed and what remains is a structure 129 meters across at the base, and rising to a height of nearly 152 meters. Kamran Sadeghi used its natural acoustics to compose and reshape sound, capturing the architectural integrity and holistic immediacy of the nuclear cooling tower, while symbolically removing its entire existence. Maintaining an emphasis on the sound, Sadeghi created a 3D abstraction from a still taken on location. The title ‘Loss Less’ is derived from the term lossless compression - a process that allows for the preservation and perfect reconstruction of data (audio). In this case the audio was not preserved, but intentionally degraded. The title also expresses the reality of catastrophic loss and destruction caused by nuclear energy, and the cry for less.

Kamran Sadeghi is an Iranian American musician, composer, record producer and interdisciplinary artist based in New York City. Recent solo album on LINE was recorded inside a defunct nuclear cooling tower, followed by a collaboration with installation artist Zimoun. Sadeghi’s diverse body of work can be attributed to his use of sound as a sculptural material.  An alchemist who is guided by thematic research, controlled experimentation and intuition while working with synthesis, acoustics and sound recording / processing technology. Sadeghi’s performances, soundtracks, collaborations and installations have been experienced at the ICA (Boston), DTW (NY), Corcoran Gallery of Art (DC), CTM Festival (DE), KW Gallery (DE), K11 Museum (Shanghai), MUDAM (Luxembourg), MuCEM (Marseille), Centre Pompidou (FR), Berghain (DE), KOW (DE), and Berlin Biennale (DE). Distinguished collaborators include American singer and poet Patti Smith, Ethiopian Jazz musician Mulatu Astatke, American photographer Nan Goldin and French-Swiss film director Jean-Luc Godard and choreographer Sasha Waltz. Recordings and productions are published on such labels as Sternberg Press, Vinyl Factory, LINE, Dragons Eye Recordings, Sacred Bones, Apollo Records and more.

People on Sunday
tulapop saenjaroen
People on Sunday
Vidéo expérimentale | 4k | couleur | 20:53 | Thaïlande | 2020

In this homage to Menschen am Sonntag (1930), the watchful surveillance of the camera captures the paradox of actors trying to relax while working.

Tulapop Saenjaroen, who holds an MFA in Fine Art Media from the Slade School of Art and MA in Aesthetics and Politics from CalArts, is an artist and filmmaker based in Bangkok. His recent works interrogate the correlations between image production and production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In the combined narrative and essayistic manner, he lately investigates on subject matters such as tourism, self care, and free labor through re-making and re-reading the produced images and their networks. Saenjaroen’s works have been shown in exhibitions and screenings internationally including Locarno Festival, International Film Festival Rotterdam, International Short Film Festival Oberhausen, Images Festival Toronto, Image Forum Tokyo, Curtas Villa do Conde, Asia Culture Center Gwangju, 25FPS Zagreb, Kasseler DokFest, Vancouver International Film Festival, Harvard Film Archive, BACC Bangkok, 100 Tonson Gallery, Display Gallery Prague, Seoul International New Media Festival, Moscow International Biennale for Young Art; and won awards from Winterthur, Jakarta, Moscow, and Thailand.

Mauricio SAENZ
mauricio saenz
Fiction expérimentale | dcp | couleur | 15:0 | Mexique | 2018

Bird men suffer mysterious falls in the search for where the sun rises. An altered reality through rites that converge in one objective: dying to generate life.

Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a filmmaker with an experimental praxis that blends fictional elements into a predominantly ethnographic approach. His work exposes counter narratives of resistance to history and the established order permeated with elements that range from performance art, poetics, and a strong visual component within an auteur context. Selected festivals include International Film Festival Rotterdam, AFI Fest, Karlovy Vary International Film Festival, Ann Arbor Film Festival, Sao Paulo International Short Film Festival, and Rencontres Internationales, among others. He received an honorable mention in the experimental shorts category in Slamdance in 2020, a nomination for the Dialogue award in the European Media Art Festival in 2017 and was also nominated for the LOOP Discover award in Barcelona that same year.

jonathan saldanha
Fiction expérimentale | hdv | couleur | 27:0 | Portugal | 2020

AFTER THE LAW is a courtroom short movie where a tribunal of humans and objects are contaminated by an untraceable virus. This judgement addresses an unknown accident that fractured the law and eroded speech. Trough a toxic mutation of roles and shapes, evidences, gestures and haptics the court colapses its capacity of deliberation. Shot in tape has a live performance, using a single camcorder, this court was designed has a cybernetic mechanism for haptic responses were collective drive, light, vibration, face recognition and empathy collide with a synthetic voice. All speech was generated with Google WaveNet, a generative model using neural networks to simulate human voices, this protocol was explored and accelerated to find moments were the voice of the machine breaks, stutters and drives glossolalia. In 2019 the images were used as a visual score for a group of deaf teenagers to interpret in an extended sine language, exploring the gaps of description and extending them to body description of this aphasic court. The coral voices were recorded through hipnose induced states, blending the surface frontiers that separate the body from its spatial resonators. A broken voice haunts a political paradox in a reversed bio engineering.

Jonathan Uliel Saldanha studied sculpture at the Faculty of Fine Arts of the University of Porto and devoted himself to studying the tabla - Indian percussion instrument - with the Hindu musical group Jugalbandi. He is the founder of the collective SOOPA, a visual, performative and sound laboratory, and Silorumor, a member of the Fujako duo and director of the group HHY & The Macumbas. Since 2010, he has composed several experimental sound pieces, co-created the pieces “Boca Wall”, “Shark” and “King Trilogy” and directed “Jungle Machine”, “Khorus Anima”, “The Well” and “Oxidation Machine”. , presented in venues such as Serralves, Porto - Rivoli Municipal Theater, Palais de Tokyo (Paris, France) and Accès (s) Festival (Billère, France). He collaborated with artists such as Carlos Zíngaro, Steve Mackay, Adrian Sherwood, Vera Mantero, Mark Stewart, João Fiadeiro among others, and as a musician, performed in festivals such as Nyege Nyege (Uganda), Unsound (Poland), Sónar (Spain). , Primavera Sound, Amplifest, Out.Fest, Circular, Million Party, Neopop, Tapettefest (France) and Elevate (Austria). In 2019 he presented the installation Vocoder & Camouflage (Vanishing Point: works from the António Cachola collection, Torreão Nascente Lisboa), the piece “Scotoma Cintilante”, for the blind choir and score-sculpture (Porto Catholic University, São Carlos Lisbon National Theater ) at the 2019 BoCa Biennial, and “Broken Field Atlantis” a light-sheet concert (Porto Municipal Theater: Rivoli). Also in 2018, a work that precedes this exhibition, he presented the play “SØMA” where a group of deaf teenagers translate in gesture the filming of an animist court, presented at Culturgest Lisboa and at the Porto Municipal Theater: Rivoli. At the same time, he presented the exhibitions “Behemoth Republic”, in the Sonic Geometry cycle in the Archipelago São Miguel Arts Center, in the Azores and “Dismorfia”, at the Catholic University of Porto.

mark salvatus
Fiction expérimentale | mp4 | couleur | 10:15 | Philippines | 2019

Kaliurang, à Yogyakarta, est situé près du volcan actif Merapi, un lieu où les fantômes des souvenirs et de l'histoire font partie du paysage. Il s’agit d’une vidéo subtile, créée spécialement pour 900mdpl en 2019, dans laquelle les habitants de la ville deviennent acteurs, dans le rôle de fantômes. De temps en temps, les habitants de Kaliurang voient un Hollandais à pied, ou un soldat japonais qui marche, ou une Javanaise portant une jarre d'eau, ou un animal sauvage ou un être surnaturel... passer comme s'ils étaient là, vivant parmi nous. Ils se cachent dans les arbres - comme si les arbres, la forêt et la montagne étaient les témoins nus de toute l'histoire du colonialisme, de la guerre et du processus néolibéral du développement. Une œuvre de fiction sans flux narratif. Les fantômes marchent-ils parmi nous ou sommes-nous les fantômes ?

Mark Salvatus (né en 1980) vit et travaille à Manille, aux Philippines. Il a étudié les arts publicitaires à l'université de Santo Tomas, à Manille. Ses œuvres ont été présentées lors de différentes expositions et dans différents lieux, notamment à la 2e Biennale de Lahore (Pakistan); au Kyoto Art Center (Japon); à l'ISCP, New York (USA); au Kunstraum Kreuzberg/Bethanien, Berlin (Allemagne); à la 14e Biennale de Sharjah (Émirats arabes unis); au Mill6 CHAT, Hong Kong (Chine); à la Biennale de Gwangju - Pavillon PCAN (Corée du Sud); au Musée d'art moderne et contemporain, Séoul (Corée du Sud); à l'Osage Art Foundation, Hong Kong (Chine); au Mori Art Museum, Tokyo (Japon); aux Rencontres internationales Paris/Berlin; à la Biennale d'architecture de Venise - Pavillon des Philippines, (Italie); à la 6e Biennale de Thessalonique (Grèce); SONSBEEK International, Arnhem (Pays-Bas); à la 3e Biennale de Singapour; à la 4e Triennale de Guangzhou (Chine); aux 14e et 16e Biennale de Jakarta (Indonésie); au Koganecho Bazaar, Yokohama (Japon); à l’Hotel Inmigrantes, Manifesta 9; à la Brunei Gallery - SOAS, Université de Londres (Royaume-Uni); à Hasselt (Belgique) ; à la Biennale d’Honolulu - Exposition Prologue (USA); au Survival Kit Festival, Umea (Suède); à la Sharjah Art Foundation (Émirats arabes unis); à l’Asia Society, New York (USA); au Art Center Ongoing Tokyo (Japon) ; au Museum Baerengasse, Zurich (Suisse); à La Trobe Art Institute, Bendigo (Australie); au Cultural Center of the Philippines et au Vargas Museum and Filipiniana Research Center (Philippines). Il a été artiste en résidence à l'ACC - Asia Culture Center, Gwangju (Corée du Sud); à la Rijksakademie van beeldende kunsten, Amsterdam (Pays-Bas); au IASPIS Umea (Suède); à la Art OMI, New York (USA); à la Common Room Networks Foundation, Bandung (Indonésie) et au Goyang Art Studio (Corée du Sud).

Imitation of Life
rajee samarasinghe
Imitation of Life
Vidéo expérimentale | mov | couleur | 0:58 | Sri Lanka | 2020

Tracing the colonial gaze in both the ethnographic image and forms of dominant media, this short piece describes an impressionistic encounter with a woman seen from a great distance, who shields her face from a curious telescopic lens.

Rajee Samarasinghe is a filmmaker from Sri Lanka currently based in the United States. He received his BFA from UCSD and his MFA from CalArts. Rajee is currently working on his debut feature, "Your Touch Makes Others Invisible," inspired by his childhood experiences during the Sri Lankan civil war — the project received a Sundance Documentary Fund grant in 2019 and was invited to Berlinale Talents' Doc Station as well as True/False Film Festival’s inaugural PRISM program in 2020. He was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020. Rajee's work has been exhibited at venues internationally including the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films presented by Film Society of Lincoln Center & MoMA, BFI London Film Festival, FIDMarseille, Festival du nouveau cinéma, Internationale Kurzfilmtage Oberhausen, Slamdance Film Festival, REDCAT, SFFILM Festival, Media City Film Festival, Guanajuato International Film Festival etc. He's received the “Tíos Award for Best International Film” at the Ann Arbor Film Festival, the “Film House Award for visionary filmmaking” at the Athens International Film + Video Festival, and an "Audience Award" at CROSSROADS at SFMOMA among others.

Vanja SANDELL BILLSTRÖM, Pagano, Lucia
vanja sandell billstrÖm , Pagano, Lucia
Documentaire | mov | couleur | 14:58 | Suède | 2020

Scenes of people in motion. Some are working, others spend their leisure time. The sound of airplanes and subways reminds us of the city behind the piece of created nature. A short documentary with scenes from the parks of Stockholm taking place during one year.

Lucia Pagano (b. 1984) is a filmmaker and artist educated at the Film School in Lodz, and at the Royal Institute of Art in Stockholm. Her films focus on details in everyday life, often by observing seemingly meaningless fragments of reality, sometimes to absurdity. Her films have been shown at festivals around the world, like Sao Paolo, San Francisco, Kiev, and Warsaw and has been awarded or been honorary mentioned at film festivals in LA, Oberhausen, Stockholm, and at Nordic Panorama. Vanja Sandell Billström (f. 1983) is a filmmaker and artist educated at the Royal Institute of Art in Stockholm. She works both with documentary, staged situations and video installations. The films often revolve around everyday situations, and with characters that seemingly spontaneously reflect on everyday conditions or the situation that the film itself requires. Sandell Billström has earlier been nominated for the Guldbagge award, Best Swedish Short and exhibited at Göteborg Konsthall, Supermarket Art Fair, Box Gallery and Färgfabriken. ”Park” is their first film that they have directed together and it was nominated for Best Swedish Short at the Göteborg Film Festival, the Tempo Short Award, 1KM Film and won the Tempo Sound Award 2020.

Larissa SANSOUR, Søren Lind
al Mukhtabar
larissa sansour , Søren Lind
al Mukhtabar
Vidéo expérimentale | 4k | noir et blanc | 28:0 | Palestine | Royaume-Uni | 2019

In Vitro is set in the aftermath of an eco-disaster. An abandoned nuclear reactor under the biblical town of Bethlehem has been converted into an enormous orchard. Using heirloom seeds collected in the final days before the apocalypse, a group of scientists are preparing to replant the soil above. In the hospital wing of the underground compound, the orchard’s ailing founder, 70-year-old Dunia is lying in her deathbed, as 30-year-old Alia comes to visit her. Alia is born underground as part of a comprehensive cloning program and has never seen the town she’s destined to rebuild.

Larissa Sansour Larissa Sansour is a Palestinian artist/director. Central to her work is the tug and pull between fiction and reality. In her recent works, she uses science fiction to address social and political issues. Working mainly with film, Sansour also produces installations, photos and sculptures. Sansour’s work is shown in film festivals and museums worldwide. In 2019, she represents Denmark at the 58th Venice Biennial. She has shown her work at Tate Modern, MoMA, Centre Pompidou and the Istanbul Biennial as well as the Berlinale, Rotterdam International Film Festival and BFI London Film Festival. Recent solo exhibitions include Bluecoat in Liverpool, Dar El-Nimer in Beirut and Nikolaj Kunsthal in Copenhagen. Sansour lives and works in London. Filmography 2019 In Vitro, 28’, Spike Island/Odeh Films/CPH Visuals. 2016 In the Future They Ate From the Finest Porcelain, 30’, Film London/Spike Island/Redeye Film. 2012 Nation Estate, 9’ 04’’, sci-fi, Beofilm/Redeye Film. 2012 Feast of the Inhabitants, 15’, short film. 2011 Trespass the Salt, 10’, 3-screen experimental documentary, with Youmna Chlala. 2011 Falafel Road, 60’, experimental documentary, with Oreet Ashery. 2009 A Space Exodus, 5’ 24’’, sci-fi, Beofilm. 2008 SBARA, 8’30’’, short film. 2008 Run Lara Run, 2’, short film. 2007 Soup Over Bethlehem, 9’30’’, experimental documentary. 2006 Happy Days, 2’ 30’’, short film. 2005 Bethlehem Bandolero, 5’ 12’’, short film. portrait.LIND.jpg download Søren Lind Soren Lind (b. 1970) is a Danish author, director and scriptwriter. With a background in philosophy, Lind wrote books on mind, language and understanding before turning to film and fiction. He has published novels, shorts story collections and several children’s books. Lind screens and exhibits his films at museums, galleries and film festivals worldwide. Recent venues and festivals include the 58th Venice Biennial, MoMA (US), Barbican (UK), Nikolaj Kunsthal (DK), Berlinale (D), International Film Festival Rotterdam (NL) and BFI London Film Festival (UK). He lives and works in London. Filmography – director 2019 In Vitro, 28’, Spike Island/Odeh Films/CPH Visuals. 2016 In the Future They Ate From the Finest Porcelain, 30’, Film London/Spike Island/Redeye Film. Filmography – script 2019 In Vitro, 28’, Spike Island/Odeh Films/CPH Visuals. 2016 In the Future They Ate From the Finest Porcelain, 30’, Film London/Spike Island/Redeye Film. 2012 Nation Estate, 9’ 04’’, sci-fi, Beofilm/Redeye Film. 2012 Feast of the Inhabitants, 15’, short film. 2009 A Space Exodus, 5’ 24’’, sci-fi, Beofilm. 2007 Burnt by the Sun, 30’, children’s film, directed by Thomas Østgaard, Beofilm.

abtin sarabi
Doc. expérimental | hdv | couleur | 27:47 | Iran | Sénégal | 2020

Des entrailles brulées des champs, soudain, apparut l’aurore. Ici l’homme est seul. Dans cette solitude l’ombre des cannes à sucre s’étend à l’infini.

Abtin Sarabi né en 1984 à Téhéran, Iran. Il est cinéaste, photographe, plasticien. Dès l’adolescence, Abtin Sarabi développe un travail photographique tendant vers le documentaire et la sociologie autant que vers une photographie plus mise en scène. Après avoir étudié la philosophie orientale, la peinture et la photographie à l’Université d'Art et d'Architecture de Téhéran où il obtient son diplôme en 2009, Abtin Sarabi s'oriente vers l'art vidéo et le cinéma. Après quatre années d'études à l'école des Beaux-Arts de Toulouse (France), où il réalise des courts métrages, des vidéos d'art et plusieurs séries de photographies argentiques, Abtin Sarabi obtient un diplôme national supérieur d'expression plastiques en 2014. Il poursuit ses recherches durant deux ans au Fresnoy, le Studio national des arts contemporain de Tourcoing (France) où il obtient son post-diplôme. Ses créations, fortement imprégnées par l’art pictural, sont souvent apparentées à un « cinéma poétique », sans doute à cause de la présence constante d’une dimension symbolique et de références à la mythologie.

Eran SCHAERF, Meyer Eva
Dieses Spiel geht nur zu sechst
eran schaerf , Meyer Eva
Dieses Spiel geht nur zu sechst
Doc. expérimental | mov | couleur | 43:14 | Allemagne | 2020



Les montagnes amoureuses
thomas schmahl
Les montagnes amoureuses
Film expérimental | mov | couleur | 21:48 | France | 2020

Un jeune homme est traversé par les ondes. Elles sont stoppées par les montagnes. Il commence à observer plus précisément les grandes masses rocheuses qui l’entourent et découvre de romantiques phénomènes. Par amour, il tourne autour.

Thomas Schmahl (né en 1994 à Annecy, vit et travaille entre Annecy et Reims) est diplômé de l’ESAD de Reims. Son travail s’intéresse à l’anecdotique, la carence, l’instable. L’artiste propose des situations, films ou installations dans lesquelles le récit et les protagonistes évoquent souvent un ailleurs. Il est lauréat du Prix de la Jeune Création de la biennale d’art contemporain de Mulhouse en 2019.

Johanna Maj SCHMIDT, Charlotte Ruppert
My Happiness Depends On You
johanna maj schmidt , Charlotte Ruppert
My Happiness Depends On You
Performance multimédia | mp4 | couleur | 60:0 | Allemagne | 2020

As a doubled figure inspired by Dolly Parton, the performers are sitting on a box with an inbuilt flatscreen. The screen shows a streaming video of a multiplayer online shooter game. Sitting above the gaming character, the two performers are wearing wedding gowns, wavy-blond long-haired wigs, eccentric makeup and have grotesquely big fake boobs (female monstrosity). They are holding begging bowls in their hands, which are usually used for the collection in churches. Once in a while, they are bleating “My happiness depends on you!” (from Dolly Parton’s song “Jolene”) hauntingly in chorus. In doing so they are starring into the eyes of one visitor each intensely/fury-like/expectantly. While the streaming video points to a potentially nostalgic desire for the Heroic, the two Dolly-figures put heroism as such into question. If the Heroic traditionally claims a singularity by the self-sacrifice of one individual, strong (man) for the sake of an ideology, a (feminist) response to the emphasis on the outstanding hero, would be a reversion to interdependence. Against this backdrop, the sentence “My happiness depends on you” could be seen, positively, as an anti-heroic preaching or, negatively, as voluntary submission. Thus, it hints at the ambivalent relationship between dependency and independency.

Johanna Maj Schmidt completed an MA in Art and Politics at Goldsmiths University of London in 2015. Since 2017, she studies Media Art at the Academy of Fine Arts Leipzig (class of Clemens von Wedemeyer) and is writing her PhD as part of a graduate school on rightwing populism about imaginaries of the Heroic in far right internet memes in so called postheroic societies. Her art works have been shown at the 6th Athens Biennale for Contemporary Art, the 3rd NSK Folk Art Biennale in Slovenia and at a Performance & Philosophy Festival at LOFFT Leipzig. Charlotte Ruppert completed a professional training as a management assistant in office communication at the Federal Office of Statistics in Wiesbaden. Afterwards, she decided to study Fine Art at the Art Academy in Offenbach am Main and finished her prediploma in Painting. Since 2017, she continued her studies at the Academy of Fine Arts Leipzig (class of Helmut Mark). Charlotte's drawings and paintings have been shown at Rosa Stern, Munich and Westpol Airspace, Leipzig. She is a co-founder and artistic director of Hitness Club e.v., an artist-run TV station.

After a while what is strange
florine schueschke
After a while what is strange
Fiction expérimentale | mov | couleur | 19:50 | Allemagne | 2020

Bizarre things happen inside a flooded Berlin in the near future. In the near future, Berlin is flooded. There is water up to the first floor of buildings, yet life goes on. The film combines surreal scenes filmed in an analogue model, narrative scenes played by actors and actresses and montages of both. The laconic everyday life in the city is oscillating between catastrophe and carthasis, yet the images also give hope for new ways of living in the future. Despite the precariousness the characters struggle with, their surrounding is one of a postcapitalistic society that has achieved positive changes by necessity: new architectonic spacial arrangements inside the house, a local food and energy supply on the roof, autonomy. The film therefore holds different possibilities for futures that we can approach from where we are now, hopeful and dreadful ones.

Florine Schueschke is an artist and architect living in Berlin. She has studied architecture at the University of the Arts in Berlin and the University of Illinois at Chicago.

dagmar schÜrrer
Vidéo expérimentale | mov | couleur | 3:48 | Autriche | Allemagne | 2020

The narrator in the moving image work GALAXY is technology itself. The story is generated by an algorithm and offers an interpretation of the brief meeting of the two characters Touch and Long Swipe, an encounter of love and disappointment. Small deviations in the language and the narrative logic reveal our social imprint of how stories are expected to be told and how technology is programmed to follow these perceptions. The mise en scéne is a computer-generated galaxy of objects and images reminiscent of the organic, but dismembered and fragmented, reflecting on the possibility of creating new worlds and stories in digital space by following a subjective system of ordering.

Dagmar Schürrer is a media artist based in Berlin, Germany. The digital image, found and generated, is her material to form a visual language beyond analogue perception. She assembles found footage, digitally generated objects and animations, text, drawings and sound to form intricate video sound montages, presented on screen, as installations or combined with new technologies such as augmented reality. She holds a degree in Fine Art from Central Saint Martin´s College in London, UK. Her work has been exhibited internationally, amongst others at the New Contemporaries at the ICA London, the Moscow Biennale for Young Art, at the Museum of Waste in Changsha, China, the Transmediale Vorspiel in Berlin and LUX moving image London. Her videos have been screened at numerous festivals: SUPERNOVA in Denver, Seattle Film Festival, the Athens Digital Arts Festival, the Horn Experimental Film Festival in Israel, Tricky Women Festival in Vienna, or the Diagonale Film Festival in Graz. In recent years she received the Goldrausch Scholarship of the Senate of Berlin and was shortlisted for the Berlin Art Prize and the Tenderpixel Award in London.

Frances SCOTT
frances scott
Film expérimental | 16mm | noir et blanc | 3:55 | Royaume-Uni | 2020

"Valentina" est un prélude à "Wendy", à la fois portrait spéculatif de la compositrice et musicienne Wendy Carlos et message de fan adressée à celle qui se décrit elle-même comme "The Original Synth". Dans "Valentina", une bobine de 30 mètres de film 16mm, traitée à la main, tournée-montée lors de répétitions, sert de partition silencieuse à une lecture. La performeuse et danseuse Valentina Formenti se rappelle une partie de la retranscription d’une interview de Wendy Carlos, plus tard remontée pour être publiée dans le magazine "Playboy" en 1979. Alors que l'interview du magazine était considérée comme la première annonce publique de la transition de genre de Wendy Carlos, les passages absents, exclus du montage final, incluent ses intérêts connexes pour la cartographie, la physique, les transformations mathématiques, l'astronomie et sa pratique de la photographie des éclipses solaires. Les multiples voix de Valentina sont traduites par le Vocoder et collées avec la performance du musicien Tom Richards sur le "Mini-Oramics", projet inachevé de Daphne Oram, afin de suggérer une naissance par synthèse sonore. "... imaginer un monde sans genre, qui est peut-être un monde sans genèse, mais peut-être aussi un monde sans fin." (Donna Haraway, ’A Manifesto for Cyborgs’, Socialist Review, no.80, 1985)

Frances Scott (née en 1981) habite à Londres. Elle est artiste et travaille avec les images en mouvement. Son travail s’intéresse aux récits et aux histoires à la limite de la production filmique et de ses dispositifs, pour produire des films composés de leurs fragments métonymiques. Ses projets sont souvent réalisés dans le cadre d'échanges avec d'autres spécialistes, groupes et publics, et développés par le biais de recherches dans des archives et collections aussi bien physiques qu’en ligne. Elle associe et allie divers matériaux, des supports filmiques analogiques et numériques, pour créer des scénarios complexes, à la fois scénarisés et improvisés. Son travail de réalisation, qui s'inspire de ce processus de collaboration et de recherche, prend de multiples formes: expositions, installations, projections, événements, diffusions radiophoniques et publications. Des présentations récentes ont eu lieu notamment à la transmediale x CTM, Berlin (Allemagne); au 57e NYFF – New York Film Festival (USA); au Edge of Frame & Close Up Film Centre, Londres (Royaume-Uni); au Het Bos, Anvers (Belgique); à The Bower, Londres (Royaume-Uni); à Tate St Ives, Saint Ives (Royaume-Uni); au Annely Juda Fine Art & The Russian Club, Londres (Royaume-Uni); à la Whitechapel Gallery, Londres (Royaume-Uni); au Yorkshire Sculpture Park & Art Licks, Wakefield (Royaume-Uni); à la South West Film & Television Archive, Plymouth (Royaume-Uni); et à la Focal Point Gallery, Southend-on-Sea (Royaume-Uni). Frances Scott a reçu le prix Stuart Croft Foundation Moving Image Award (2017), et travaille actuellement sur un nouveau film commissionné par TACO!, Londres (Royaume-Uni), en vue d’une exposition solo et d’une publication prévue en 2022.

The GPS Will Take Me Home
jens settergren
The GPS Will Take Me Home
Vidéo expérimentale | hdv | couleur | 8:49 | Danemark | 2019

Dans "The GPS Will Take Me Home", des pigeons chantent et discutent dans une langue futuriste à propos de divers sujets, incluant la technologie GPS, l'amour et le prolongement médical de la vie humaine. Ils communiquent et interagissent avec des appareils électroniques comme un four à micro-ondes, un robot aspirateur et un cryostat - une machine créée dans le but de congeler et ramener à la vie des corps humains dans le futur. Les pigeons apparaissent comme des hybrides, entre organisme et machine. Ils chantent des chansons pop autotunées, influencées par la dance music, mêlées à des enregistrements de champs électromagnétiques et de sons de synthétiseur, créant des tensions entre émotionnel et artificiel. Tels des oracles recevant des signes d'un futur qui ne peut être vu qu'à travers le brouillard. Les pigeons sont omniprésents dans les grandes métropoles. Ils se sont adaptés à notre mode de vie et ont substitué les agglomérations humaines à leurs habitats naturels. On peut considérer le pigeon comme un observateur domestiqué de la vie humaine, mais dans "The GPS Will Take Me Home", il apparaît comme un être doué de sens, un cyborg, portant un regard particulier sur le monde des humains.

Jens Settergren est artiste visuel. Il habite à Copenhague, au Danemark. Il s'intéresse au processus de production des imaginaires collectifs, des mythologies contemporaines, des désirs et de la culture visuelle. Ses œuvres reflètent la façon dont ces sujets sont exprimés dans les images, les objets et le langage. Il interroge les corrélations entre la technologie, la nature, la cognition et le pouvoir. Il a exposé à l'international dans des musées et des lieux tels que le Statens Museum for Kunst (Danemark), l’INCA – Institute for New Connotative Action (États-Unis), die raum (Allemagne), le KØS Museum of public art (Danemark), la Kunsthal Aarhus (Danemark), la Kunsthal Nord (Danemark), la Struer Tracks Biennial (Danemark), The Great Poor Farm (États-Unis) et Art Museum Brandts (Danemark). Jens Settergren a obtenu son diplôme de l'Académie des arts du Jutland (Danemark) en 2016. En 2019, il a été résident à l'ISCP – International Studio & Curatorial Program à New York (USA), et en 2020, il a reçu le Carl Nielsen et Anne Marie Carl-Nielsen Talent Award.

Liina SIIB
liina siib
Doc. expérimental | hdv | couleur | 9:28 | Estonie | 2020

The video “25.02._26.02.” is part of Liina Siib's tragicomical installation “Huldufólk” ( “Huldufolk” means “hidden people” in Icelandic – these are supernatural beings who look and behave like normal people but have their own activities in their own parallel world. They can make themselves visible for humans who can see them through a colourful glass. The video is filmed on Sunday night and Monday morning in the streets and backyards in the centre of Reykjavik. The inspiration came from the short story “Sunday evening to Monday morning” of Ásta Sigurðardóttir (1951) who describes a journey of a drunken woman in the streets of Reykjavik and her alienation. The precise geographical location does not really matter in the video much more than perhaps recognizing longer lasting nights, cold and strong wind; depicted activities and related attributes can be found anywhere in the world. The film material has been collected in 2018 when the artist worked in the residency at The Steina and Woody Vasulka Archive at the National Gallery of Iceland.

Liina Siib has studied printmaking and photography at the Estonian Academy of Arts. In her artistic practice, she uses the means of film, video, photography and installation. Liina Siib is intrigued by various manifestations of people's everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. Siib combines her field observations with archival sources, historical accounts and various narratives circulating in the society as well as with psychoanalytic approaches and contemporary art and film theories. Liina Siib has held personal exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. In 2011 her art project “A Woman Takes Little Space“ represented Estonia at the 54th Venice Art Biennale. Her recent exhibition and film projects include Linda Vilde Museum at the E. Vilde Museum in Tallinn (2021), Huldufólk / Hidden People, Hobusepea Gallery, Tallinn (2020), Politics of Paradise, Tallinn Art Hall (2019), RIBOCA1 Riga Biennial (2018), Urban Symphony in E-minor, Sinne Gallery, Helsinki (2018). Since 2015, she works as the head and professor in the department of Graphic art at the Estonian Academy of Arts. Full CV at:

Carla SIMON, Dominga Sotomayor
carla simon , Dominga Sotomayor
Documentaire | 0 | couleur | 19:29 | Espagne | 0 | 2020

In the form of a filmed epistolary conversation, two young, experienced filmmakers discuss film, present and past family, heritage and maternity. The personal and profound reflections—which are embodied in the graceful images taken day-to-day—are suddenly echoed by the political emergency of a country.

Carla Simón (1986) was raised in a small Catalan village. She studied Audio-visual Communication at University Autonomous of Barcelona and University of California. In 2011 she was awarded with a scholarship to study a MA at the London Film School, where she directed BORN POSITIVE, LIPSTCIK and THOSE LITTLE THINGS, all selected to several international film festivals. Her most personal short film was LLACUNES, made through her mother's letters. Summer 1993 is Carla’s autobiographical debut about a 6 years old girl who just lost her mother and has to move to the countryside with her new family. It premiered at the Berlinale 2017 where it won the Best First Film Award and the Generation Kplus Grand Prix Jury Award. The film has collected more than 30 prizes all over the world; it represented Spain for the Oscars, was nominated to the EFA, and won 3 Goyas. Carla was also awarded as the emerging talent of the Women in Motion in Cannes 2018. ALCARRÀS is her second feature in development, taking part of the Torino Film Lab, where it won the CNC award, the Cannes Residency and the Nipkow program. DOMINGA SOTOMAYOR She began her audiovisual career in the early 2000s, experimenting with videos and short films. Graduated in Audiovisual Direction at the Pontificia Universidad Católica de Chile, and co-founder of the production company Cinestación where she is now Director and Executive Producer. She has premiered films at festivals such as Berlinale, Cannes, Rotterdam, Valdivia, and Sundance. She debuted in feature films with DE JUEVES A DOMINGO (Thursday Till Sunday, 2012), winner of the Best Film at the Valdivia International Film Festival. After her master's degree in Film Direction at the Superior School of Cinema and Audiovisuals in Catalonia, co-directed with Katarzyna Klimkiewicz LA ISLA and released EL MAR (2014), his second feature film, in co-production with Argentina. She made history at the Locarno Film Festival in 2018 becoming the first woman to win the Golden Leopard Award for Best Direction for her film TARDE PARA MORIR JOVEN (Too Late to Die Young, 2018). She also won a Tiger Award at the Rotterdam Festival and the Film Critics Circle Award in the Netherlands.

Radiant Energy
ieva kotryna skirmantaite
Radiant Energy
Doc. expérimental | mp4 | couleur | 12:33 | Lituanie | 2020

Bluish purple hue covering the image is a result of a manufacturing error present in HTC One smartphone series. Made by Taiwanese company this phone comes back to where it came from. Little changes in system put as face to face with a whole new presence. The camera moves through spaces, jumping from one to another as if trying to come into contact with the surroundings. But together with an active soundscape, deformed images of the environment are creating a new space open to imagination.

Ieva Kotryna Skirmantaite (Vilnius, 1994) is an audiovisual artist currently based in Paris. After working for a few years in cinema industry in Lithuania, in 2019 she graduated BA Cinema in Paris 8 University. In 2019 she was also accepted to study master program in École Universitaire de Recherche ArTeC. At the moment the artist is developing her audiovisual research about sinkholes. Aside from her personal projects she often collaborates with other artists on their works.