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Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search.  update in progress  
Maria-leena rÄihÄlÄ
Catalogue : 2006sans titre | Animation | | noir et blanc | 4:0 | Finlande | Allemagne | 2006
Maria-leena rÄihÄlÄ
sans titre
Animation | | noir et blanc | 4:0 | Finlande | Allemagne | 2006

The artist presents ten minimalist flash-animated drawings, trying to respect the original handmade ones. Together they build a series, but every small loop definitely has its own story: 001 is a female figure trying to fly out of his monitor 002 is a another female with a ghost in her head 003 in this third one she is trying to find a balance for her hat (or maybe better: her head) while her hands are only sticks 004 is a morning bird living in a spruce 005 is a female figure from the series "flirting with flowers". Her head is communicating with... 006 ...basil, which the artist saw last spring growing in his garden. He had the feeling that while coming trough the earth they were like small babies opening their mouths, hungry for life 007 is a girl who merges with her chair so that she looks like a strange animal (the artist thinks it might just be him sitting too much at home) 008 is the only male figure, he is called Boxer. He has a very sad end by a brave young woman 009 is a very angry young woman 010 is called "blähungen" (flatulence). These animations have a very simple self-made sound in the background (even some stolen pieces from Finnish folk-songs were used as a loop).

Maria-Leena Räihälä was born on July 16, 1964. After her art studies at the "Nordic Art School" (Kokkola, Finland 1984-87) she moved to Berlin and hit the underground art scene (e.g. her exhibition "Electric Angel" at the Fischbüro in 1988). The beginning techno movement both fascinated and inspired her. In the early 90s, for example, she made a lot of exhibitions at the legendary club "Ständige Vertretung". That brought her to experiments with electric pictures and multimedia installations with projections and huge photocopies of her drawings fitted perfectly with the music of the best DJs in the city. The base of her work was and continues to be drawings. For their digital versions Flash is still her favourite program no.2. Beside these she works with computer prints and large photocopies in order to produce room-filling installations. An example for this is last summer's "Morgenvogelstation", a sort of an audio-visual Gesamtkunstwerk. Huge prints of her drawings went together with pictures of historical bird song transcriptions by Heinz Thiessen (1887-1971). At the same time you could hear bird recordings by Veikko Neuvonen (Finland 1997). Eventually there were several concerts by the Berlin experimental group The RotTT under the name of "The Birds, Too". They played with all sorts of bird sounds and wore bird masks, which the artist had tailored for them. A select list where her exhibitions have been held includes: 2006 - Multimedia Happening, Berlin; Joint Exhibition, Neues Problem, Berlin 2005 - L.O.F.T, Berlin; Neues Problem, Berlin; Joint Exhibition, Gutleut 15 Ausstellungsraum, Frankfurt/Main, and Glue, Berlin; Joint Exhibition, 'Nothing except drawings Vol.2', QUARTAIR, Den Haag 2. Berliner Kunstsalon, Berlin 2004 - Joint Exhibition,Haus am Lützowplatz, Studiogalerie, Berlin; Joint Exhibition, Gallery Christa Burger, München; Hinterconti Gallery, Hamburg 2003 - Joint Exhibition, Neues Problem Gallery, Berlin 2002 - Emil Bock Institut, Berlin 2000 - Joint Exhibition, Pussy Galore, Berlin; Joint Exhibition, Neues Problem Gallery, Berlin 1999 - Joint Exhibition, Berlin Brandenburg Exhibition, Radio-Berlin 1998 - Haus am Lützowplatz, Studiogalerie, Berlin; Fruchtig Gallery, Frankfurt am Main; Walden Gallery, Berlin 1997 - Congress for Performance and Visual Art, Berlin 1995 - HTC Gallery, Berlin; Installation at Friseur, Berlin 1989 - Vanhan Galleria, Culture-Center, Helsinki, Finland; Kunsthaus Tacheles, Berlin 1988 - SoToDo Gallery, Berlin; Vincenz Scala Gallery, Berlin

Nanna rebekka, pernille lystlund matzen
Catalogue : 2016Hestebetvinger | Vidéo | 4k | couleur | 15:0 | Danemark | 2015
Nanna rebekka , pernille lystlund matzen
Hestebetvinger
Vidéo | 4k | couleur | 15:0 | Danemark | 2015

An easily overlooked T-junction in Copenhagen`s Sydhavn district is the location of a dramatic statue. In the midst of everyday urban space rises a bronze sculpture of a young man who is about to tame two unruly horses. The essay film ?Breaker of Horses? delves into the bronze sculpture and follows the hidden stories that are contained in the cast. This leads us back to the genesis of the sculpture in an antique Greek myth, to a Belgian Africa museum and deep into Europe`s colonial past. With formal nods to contemporary video artists such as Camille Henrot and Hito Steyerl, ?Breaker of Horses? is an overheated information flow of images, digital productions and archive material. The visual abundance is coloured by a soundtrack that alternately seethes with synthetic sound effects and detached bits of songs about the statue and its history. The film traces the copper material in the bronze sculpture back to the Congo, where extraction of copper through forced labour and slavelike conditions for the Congolese comprised one of the economical foundations for the Belgian King Leopold?s empire. Solidly placed in the era of today, ?Breaker of Horses? is a video work that turns to the past.

Nanna Rebekka is an independent filmmaker based in Copenhagen. Her work lies within the realm of hybrid fiction, documentary and video art. She has studied filmmaking at Center for Digital Arts and Experimental Media, University of Washington and at School of the Arts, Media, Performance & Design, York University. She is currently pursuing a masters degree in Visual Culture at University of Copenhagen. She is a former member of Copenhagen LGBTQ Film Festival. Pernille Lystlund Matzen (b. 1986) is an independent writer and filmmaker currently living in Copenhagen. Her work concentrates on new documentary forms, video art and essayistic modes of filmmaking. She holds a masters degree in Art History and Modern Culture from Columbia University, Universitat der Kunste, Berlin, and Copenhagen University. She currently works as an art critic at the Danish newspaper Information. Together, Nanna and Pernille have directed the short film `Breaker of Horses`.

Nanna rebekka, matzen, pernille lystlund
Pedro rebelo
Catalogue : 2005Laut[omata].3 | création numérique | 0 | couleur et n&b | 9:0 | Portugal | Royaume-Uni | 2005
Pedro rebelo
Laut[omata].3
création numérique | 0 | couleur et n&b | 9:0 | Portugal | Royaume-Uni | 2005

Laut[omata].3 est un travail semi génératif qui s?est développé à partir d?une activité de spectacle d?improvisation électronique et visuel. Il est fabriqué comme une manipulation de données numériques fondamentales sur des médias et construite à partir de samples et de models 3D. laut[omata] est une entité numérique qui prolonge la vie des interactions basiques de l'Homme ; c?est une entité qui tente de s'organiser elle-même grâce aux résidus numériques provenant des activités humaines. Ces résidus sont des structures comportementales initialement définies pour les stratégies d?interaction entre l?Homme et la machine.


Pedro Rebelo est un artiste et compositeur numérique né en 1972 au Portugal. Il travaille avec la musique électroacoustique, les médias numériques et les installations. Son approche de la composition musicale est enrichie par l?utilisation de l?improvisation et de structures interdisciplinaires. Il a été enrôlé dans plusieurs projets de collaboration avec des artistes visuels et a créé un large corps d??uvres explorant les relations entre l?architecture et la musique en créant des spectacles et des environnements d?installations. Cela inclut une série de pièces commandées à des solistes et des lives électroniques qui prennent comme base l?interprétation de certains espaces acoustiques. Dans le duo ?laut? avec le saxophoniste Franziska Schr?der, il explore les extensions des interfaces et le contrôle dans les pratiques de spectacles interactifs. Sa musique électroacoustique est programmée dans diveres compilations de CD (Sonic Circuits IV, Discontract III, Exploratory Music from. Portugal, ARiADA). Pedro conduit des recherches dans le domaine des médias numériques, des sons et compositions interactives. Ses écrits reflètent son approche du design et de la composition en articulant une pratique créative dans une compréhension plus large de la théorie culturelle. Pedro a eu un doctorat en composition à l?université d?Edinburgh et est en ce moment Directeur des Recherches au Sonic Art Research Center, à la Queen?s University de Belfast.

Monika rechsteiner
Catalogue : 2007Tawisupleba | Doc. expérimental | dv | couleur et n&b | 38:30 | Suisse | Allemagne | 2007
Monika rechsteiner
Tawisupleba
Doc. expérimental | dv | couleur et n&b | 38:30 | Suisse | Allemagne | 2007

Tawisupleba - ein dokumentarischer Bild-Essay durch Georgien mit Gesprächen über die Kunst Was wissen wir über Georgien? Welche komplexen Entwicklungen Georgien seit dem Ende der Sowjetunion genommen hat, und von welchem Erbe diese Entwicklungen überhaupt ausgehen können, ist in der öffentlichen Wahrnehmung in Westeuropa weitgehend unbekannt. Welche Chancen und Umstände bietet Georgien, ein Land im Transformationsprozess, für Kunstschaffende? Was wissen wir über die zeitgenössische Kunst in Georgien? Fotografien, aufgenommen im Zeitraum von zwei Jahren, 2004 ?2006, und aktuelle Kunstvideos georgischer KünstlerInnen sind im Film zu einer Reise montiert. Zitate über Kunst, Politik und Gesellschaft, von georgischen Kunstschaffenden und Kuratoren gesprochen, ergänzen die Stimmung vor dem Hintergrund des gegenwärtigen Georgien.

Monika Rechsteiner geboren in der Schweiz, arbeitet im Bereich Film, Filminstallation, Fotografie, Film/Musik-Projekte. Seit 1998 Ausstellungstätigkeit in der Schweiz, Deutschland, Holland, Finnland, Kanada. Nach dem Studium an der Hochschule für Gestaltung und Kunst in Luzern, Schweiz arbeitete Monika Rechsteiner als Dozentin bildnerisches Gestalten und Fotografie und als freiberufliche Künstlerin. 2007 schloss sie ihr Masterstudium an der Universität der Künste in Berlin ab. Seit einigen Jahren fokussiert sie ihren Blick auf Fotografie und Dokumentarfilm. Sie lebt in Berlin und Basel.

Marc rees, neil davies
Catalogue : 2006Comfort Zone | Performance | 0 | | 60:0 | Royaume-Uni | 2006
Marc rees , neil davies
Comfort Zone
Performance | 0 | | 60:0 | Royaume-Uni | 2006

Deux hommes enfermés dans une petite maison verte, transparente, en plastique bas de gamme, isolés de leurs environnements, dans une architecture provisoire, privée et légère leur appartenant. Ils se tiennent debout sur un lit couvert de leurs propres habits en désordre, s?habillant et se déshabillant alternativement à plusieurs reprises, de façon méthodique jusqu?à ce que leur respiration obscurcisse la vue à travers les parois et que leurs habits soient imbibés par le mélange de leur transpiration. Il y a moins d?une longueur de corps qui les séparent. Qu?est ce qui se trouve entre eux, mis à part assez de vêtements pour habiller toute une piste de danse remplie d?hommes ? Imaginez un rythme battant d?une soirée disco maintenant. Imaginez danser toute la nuit exactement à cette distance. Imaginez maintenir cette distance d?espace érotique particulier qui se trouve entre nous. Imaginez que nous ne brisions jamais ce volume d?air magique pour se serrer les bras, se bloquer les épaules et combattre brièvement, nu de la ceinture jusqu?en bas, les manches retroussées et capuchons relevés, les têtes légèrement inclinées rageusement l?une envers l?autre.


Marc Ree est l?un des principal exposant au Pays de Galles d?installation et de performance contemporaines. Ses ?uvres d?arts pluridisciplinaires et innovatrices sont connues pour leurs interprétations flamboyantes, humoristiques et souvent radicales de l?histoire, la culture et de l?expérience personnelle. Il a vécu et travaillé à Amsterdam, Montréal et Berlin et a entamé par le biais de son entreprise R.I.P.E plusieurs accords artistiques à succès avec des dessinateurs-modelistes de meubles, cinéastes, auteurs, compositeurs et chorégraphes en Europe et aux Etats-Unis. En plus de travailler avec des compagnies théâtrales corporelles de renom en Grande-Bretagne (Brith Gof, Earthfall and DV8) et les principaux chorégraphes allemands, (Angela Guerreiro, Thomas Lehmen and Tanz Compagnie Rubato) son ?uvre considérable comprend les ?uvres d?étapes solos ?Iddo Ef?/ ?Caligula Disco?, le lauréat installation/performances ?The House Project?/?RevolUn?/?Shed*light? et le film paru sur la BBC ?A Very Gladys Night? Ses commissions internationales les plus récentes étaient des événements d'installation, Shed*light: "Norman Behaviour" pour ARCO 05, Madrid ,"Adagietto Ara Deg" pour le 51ème Biennal de Venise 2005,"Vaseline Machine" pour VERBO, Galeria Vermehlo, Sao Paulo 2006 et "S x 3", SINOPALE, Turkey 2006.

Jeremie reichenbach
Catalogue : 2013QUAND PASSE LE TRAIN | Documentaire | dv | couleur | 30:0 | France | 0
Jeremie reichenbach
QUAND PASSE LE TRAIN
Documentaire | dv | couleur | 30:0 | France | 0

Jeremie reichenbach
Catalogue : 2010La mort de la gazelle | Documentaire | dv | couleur | 45:0 | France | 2009
Jeremie reichenbach
La mort de la gazelle
Documentaire | dv | couleur | 45:0 | France | 2009

Quelque part aux confins du Sahara, des hommes se tiennent prêts à la guerre. Sous la menace d`un ennemi invisible, isolés du monde, ils vivent dans l`attente du combat. Tourné au nord du Niger, ce film est une plongée dans l`improbable quotidien des rebelles du MNJ.


JÉRÉMIE REICHENBACH Maîtrise de Cinéma Université Paris 8, sous la direction de J.L Comolli. Réalisations Teshumara, les guitares de la rébellion touareg (51 minutes) Hibou production 2005 /2006 Grand prix Sacem 2006. L?histoire Touareg à travers la musique et la poésie. Aide à l?écriture et au développement (CNC), diffusion Mezzo, Image+, France O. Festival Radio France 2005, Bilan du Film Ethnographique 2006, Nafa 2006,Traces de vie 2006,Astra film festival ?. Exploitation en salle le 23-08-2006 sur Paris et en novembre 2006 sur la province. Tinariwen (10 min) Hibou Production 2004 Film de présentation du groupe de musique moderne Touarègue « Tinariwen ». Diffusion Paris première ,Canal +. Un monde plus propre. (30 min) Les Films du Monstre / Iskra 2000. En Janvier 98 les nettoyeurs du métro de la société Comatec se mettent en grève? Festivals Cinéma et racisme 2000 Paris Berlin 2001 Cinéma social-le monde initiative 2002. Salut Vazaha. (40 min) Hibou Production 2000. Des jeunes « en difficulté » partent en mission humanitaire à Madagascar pour aider la population à construire une route. Au fur et à mesure, des tensions naissent entre le groupe des Français et celui des locaux....Diffusion Téléssonne, Zaléa TV 93700 Drancy Animation d?un atelier documentaire au collège JB Clément 93440 Dugny 2002/2003 et réalisation d?un film collectif autour de la mémoire du camp de Drancy. 1er prix du festival rencontres mémoire de la jeunesse européenne 2003. Diffusion TFJ En développement La France d ?Abou. projet de série fiction documentaire de 12 x 13 minutes. Fond d?aide à l?innovation du CNC. Le Génie Tchatcheur projet de film documentaire de 52 minutes Niamey, et le travail comment ca va ? un documentaire de 26 minutes

Andrew reid
Catalogue : 2006Seeking foreign policy advice from... | Création sonore | 0 | | 4:15 | Royaume-Uni | 2006
Andrew reid
Seeking foreign policy advice from...
Création sonore | 0 | | 4:15 | Royaume-Uni | 2006

"Seeking foreign policy advice" fait partie d'un projet de création sonore en cours, explorant les enjeux du 'Culture Jamming' et du 'fair use' ou droit d'appropriation, ainsi que les problèmes de droits d'auteurs dans le domaine de la création artistique. A cette fin, l'artiste a utilisé des extraits de grands discours de politique étrangère prononcés par les cinq derniers présidents des Etats-Unis, en les replacant dans leur contexte et en les associant avec une bande-son d'applaudissements en continu (extraits d'une conférence sur le droit religieux, toujours aux Etats-Unis). L'artiste ne considère pas son travail comme nécessairement politique ou autobiographique, il s'agit bien plutôt de permettre à l'auditeur de tirer ses propres conclusions.


Andrew Reid est né en 1972 en Irlande. Il a étudié au Ducan of Jordanstone College de 2000 à 2005, où il a obtenu un Bachelor Honours et un Master of Fine Arts. Il prépare actuellement un doctorat (PhD) à l'université de Dundee.

Mark reid
Catalogue : 2010Park sky split | Vidéo | dv | couleur et n&b | 5:14 | Australie | 2010
Mark reid
Park sky split
Vidéo | dv | couleur et n&b | 5:14 | Australie | 2010

Park Sky Split is a study of temporal abstraction and rhythmic structures in video. The film presents an ambiguous black and white image, fragmented into small sections and repeated in seemingly random sequences. Brief moments of repeated rhythms and patterns are quickly broken as the film traverses back and forth across the timescale of the original footage. The film is comprised of a single piece of footage, copied and superimposed upon itself at half speed. Using digital compositing, the differences between the two videos are manifested in the frame as light, while the areas that remain the same across both images are represented by darkness. As the film progresses and this difference becomes greater, the dark areas of the frame appear to tear, filling with light. The rhythmic repetition creates a tension with the audience`s expectations of temporality in film as linear, while investigating the possibilities of visual interpretations of time.

Mark Reid is a new media artist who lives and works in Melbourne, Australia. He completed a Bachelor of Fine Arts (Honours) majoring in Media Arts at RMIT University in 2010. In 2011, Mark is moving to the United Kingdom to further explore his current body of work, which focuses on studies of place in artists` video.

Patricia reinhart
Catalogue : 2013Ein Nachtstück | Installation vidéo | | noir et blanc | 5:10 | Autriche | 2012
Patricia reinhart
Ein Nachtstück
Installation vidéo | | noir et blanc | 5:10 | Autriche | 2012

An end. Impasse. The ciné collages, 3 screenings parallel, only in black and white, without tone. The dialogue takes place between the individual scenes. By using different imaging sequences and lengths a new conflict, a new language, a new image is created. Ein Nachtstück is created in great detail from still photographs. Reinhart uses a technique to make her film loops which she has named ciné-collage.
 Multiple still photographs of characters and location details are collaged together in painterly layers and given just enough movement to provide a depth of colour and space.
 Architectural elements and public spaces of Paris are montaged together to present a destroyed, post-apocalyptic world. By using the bilateral symmetry of a building and its surroundings, or seen in the tradition of the Rorschach test, perspectives change. The world reflects itself, and seems to break and collapse. Patricia Reinhart created a world full of darkness, fear and the feeling of oppression. The disaster of the present has become an irrevocable reality. Lautréamont`s " Les Chants de Maldoror " and Max Ernst`s collages "Une semaine de Bonté" influenced Reinhart during the process of developing this work.

Patricia Reinhart studied painting at the Academy of Fine Arts in Vienna/AT and currently lives in Paris/FR. She has exhibited widely throughout Europe, including solo exhibitions at Gallery Lisa Ruyter/AT, Gallery Dana Charkasi/AT, marks blond project/CH, as well as public screenings at the beach in Venezuela and Spain. Her work has been shown in group exhibitions at Kunst im Tunnel/DE, Eglise Saint-Merry Paris/FR, Kerstin Engholm Gallery/AT, Essl Museum/AT and she also showed video work at Paris Nuit Blanche 2013. Works of her`s are included in many collections such as CCA Andratx/ES, Essl Museum/AT and Ursula Blickle Archiv - Kunsthalle Wien/AT.

Steve reinke
Catalogue : 2014Rib Gets In the Way | Documentaire | hdv | couleur | 52:15 | Canada | 2014
Steve reinke
Rib Gets In the Way
Documentaire | hdv | couleur | 52:15 | Canada | 2014

Rib Gets in the Way is narrated in the first person by Reinke and addresses mortality, the body, the archive, and the embodiment of a life’s work. The final and longest section of the video presents an animated children’s adaptation of Friedrich Nietzsche’s philosophical novel Thus Spoke Zarathustra (1883–85). The hand-drawn animations in this and earlier sections of the video are by Jessie Mott, a visual artist and writer whose work consistently engages a menagerie of human, animal, and celestial forms and with whom Reinke has collaborated on several previous videos.

Steve Reinke has long been lauded for his irreverent, philosophical, and often acerbic works, which typically adopt the form of personal essays to wryly bend and reread wide-ranging topics from pop culture to sex to theories of visual perception and beyond.

Catalogue : 2016Welcome to David Wojnarowicz Week | Vidéo | hdv | couleur | 14:1 | Canada | USA | 2016
Steve reinke
Welcome to David Wojnarowicz Week
Vidéo | hdv | couleur | 14:1 | Canada | USA | 2016

Reinke proposes a new holiday with the motto MORE RAGE LESS DISGUST: David Wojnarowicz Week and takes us through his seven days of celebration of the life of artist, writer and AIDS activist, David Wojnarowicz. Plankton, Kafka, Bette Davis, Wednesday afternoon visits with friends, more plankton, burning villages, Hollis Frampton, Sammy Davis Jr. as a libidinal machine producing sadness, opera, disembowelment, poetry.

Steve Reinke is an artist and writer best known for his monologue-based video essays, which are widely screened and collected. Originally from Canada, he know lives in Chicago and teaches in the department of Art, Theory, Practice at Northwestern.

Wolfgang reinke
Catalogue : 2006Nicht böse sein! | Documentaire | dv | couleur | 95:4 | Allemagne | 2006
Wolfgang reinke
Nicht böse sein!
Documentaire | dv | couleur | 95:4 | Allemagne | 2006

Johann Wolfgang est écrivain, et alcoolique. Cela fait des années que Dieter et Andi, tous deux dépendants à l'héroïne, ont trouvé refuge chez lui. 24 heures par jour suffisent tout juste à Andi pour satisfaire ses besoins en héroïne. Andi vit dans la salle de bains de Wolfgang. Dieter reporte sans cesse l'accomplissement de sa peine de prison de 100 jours par crainte de la crise de manque. Dieter habite dans la cuisine de Wolfgang. En dépit de l'impasse que représente leur dépendance et des conflits qui éclatent en permanence, ils réussissent tout de même à revenir les uns vers les autres et à réfléchir à une vie meilleure.


Né en 1974 à Güstrow, RDA 1984 - Première rencontre avec l'équipe d'un film documentaire de la télévision est-allemande, qui échoua à m'interviewer au terme d'une tentative de deux heures . 1986 - Tentative d'engagement par la "police du peuple" (VP) après un premier contact avec des "citoyens à problèmes" que j'avais justement envoyés en taule en voulant récupérer mon vélo volé. Premiers doutes prudents à propos du socialisme, après avoir vu l'intérieur de la voiture de patrouille, dans laquelle j'ai mené la police jusqu'à la bande de voleurs. 50 Marks de l'est de récompense. 1987 - Premier et dernier travail de sciences naturelles sur le thème ?Y a-t-il une vie sur Titan, satellite de Saturne?? (On n'a pas encore découvert de vie sur Titan.) 1988 - l'équipe de ?Bereitschaft Dr. Federau? (série médicale de la tv est-allemande) tourne dans notre jardin. Mon impression : une équipe de tournage se compose de porteurs de câbles . 1989 - Présentation de mon premier spectacle multimedia sur le thème "Menace nucléaire à cause de la course aux armements" . Après mon bac en 1992 étudiant sans perspective de diplôme, photographe pour des photos d'identité, vendeur de glaces, aide-maçon, conseiller ANPE, conseiller relations publiques, barman, assistant technique de reportages , photo-reporter indépendant, auteur pour "Eulenspiegel", assistant - éclairagiste, - script, et - décorateur.

remi
Catalogue : 2005Auto_facing | Performance | 0 | | 25:0 | Autriche | 2005
remi
Auto_facing
Performance | 0 | | 25:0 | Autriche | 2005

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Clémence renaud
Catalogue : 2018Gloires et Déclins | Vidéo expérimentale | hdv | couleur | 15:30 | France | Japon | 2018
Clémence renaud
Gloires et Déclins
Vidéo expérimentale | hdv | couleur | 15:30 | France | Japon | 2018

Au milieu des décors de la ville de Tokyo, des messages circulent par l`intermédiaire d`un signal rendu perceptible grâce à des objets génériques aux allures de sculptures. Un routeur wifi signale l'existence d'une ville en activité. La radio diffuse une voix qui annonce la météo du jour. Un objet rectangulaire blanc semblable à la forme d'un téléphone portable, glisse sur une surface en tissu aux imprimés faux bois. Un satellite en orbite géostationnaire au milieu des nuages synchronise son mouvement au rythme d`une respiration. La voix d'un GPS prend le relais et semble diriger enchaînement des images. La présence humaine est dématérialisée. Cette présence que l'on ne voit qu'à travers l'entité de la ville mais dont on entend les voix et les messages. Les corps ont pris la forme de ces objets sans fil qui relaient tout un tas d'informations. Des images nous reviennent en écho comme des repères, révélant petit à petit le chemin d`un signal jusqu'au point d'arrivée : L` île artificielle d`Odaïba construite sur des déchets. Gloires et Déclins invite le spectateur à observer les constructions d`un paysage contemporain, là où s`opère un glissement des identités.


Clémence Renaud est diplômée des Beaux-arts de Paris et lauréate du prix paris jeunes talents ; elle travaille d`abord dans le cadre de résidences en France puis décide de voyager et part vivre à Tokyo. Elle expose en Europe et au Japon. Elle élabore un travail sous forme de sculpture sonore, d`installation et de vidéo, au cœur duquel objets/sculptures et spectateurs se rencontrent et s`interpellent.

Markus renvall
Catalogue : 2008Demonstration | Vidéo | dv | couleur | 4:0 | Finlande | 2006
Markus renvall
Demonstration
Vidéo | dv | couleur | 4:0 | Finlande | 2006

Joanna reposi garibaldi
Oliver ressler, zanny begg
Catalogue : 2018Anubumin | Documentaire | hdv | couleur | 18:0 | Autriche | 2017
Oliver ressler , zanny begg
Anubumin
Documentaire | hdv | couleur | 18:0 | Autriche | 2017

The film focuses on Nauru, a tiny remote island in the Pacific with 10,000 inhabitants. The narration discusses different voids that have shaped the islands past and future. The largest void is a physical one, the island is a raised reef consisting of calcite and phosphate on a volcanic base, which since 1906 has been mined and exported to Australia, to fertilise the former colonisers’ farms. When phosphate extraction came to a stop in the 1980s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the 1990s Nauru became a prime money-laundering haven. After the disappearance of soil and money, today Nauru involves in the “disappearance of people” - housing one of Australia’s offshore refugee detention centres. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live.

Zanny Begg is a Sydney based artist whose work focuses on political activism and community. Her work is often collaborative inviting engagement with key themes such as resilience, financial disobedience and unthinking borders. Zanny has an experimental and research driven practice that works across film, performance, installation, activism and drawing. Zanny’s exhibitions include The Museum of Contemporary Art, Sydney, 2017; Sharjah Biennale, 2011; Istanbul Biennale, 2009. Oliver Ressler produces installations, projects in public space, and films on issues such as economics, democracy, global warming, forms of resistance and social alternatives. Solo exhibitions: Berkeley Art Museum, USA; Alexandria Contemporary Arts Forum, Egypt; Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; MNAC - National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul. Ressler is the first price winner of the Prix Thun for Art and Ethics Award in 2016.

Catalogue : 2017There are no Syrian refugees in Turkey | Doc. expérimental | 4k | couleur | 30:0 | Autriche | 2016
Oliver ressler , zanny begg
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 “ efugee 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.

Oliver ressler, dario azzellini
Catalogue : 2005Venezuela from Below | Documentaire | dv | couleur | 67:0 | Autriche | 2004
Oliver ressler , dario azzellini
Venezuela from Below
Documentaire | dv | couleur | 67:0 | Autriche | 2004

"Au Vénézuéla, une profonde transformation sociale a lieu depuis qu?Hugo Chávez a pris le pouvoir en 1998. Un large processus d?auto-organisation accompagné d?un grand nombre d?autres réformes est en cours. Dans le film ?Venezuela from below? les acteurs à la base de ce processus social ont la parole. Ils décrivent ce qu?ils ont fait et sont en train de faire, ce qu?ils pensent du processus bolivarien et quelles sont leurs attentes et leurs idées."


Oliver Ressler est né en 1970 à Vienne où il vit et travaille. Ressler est un artiste qui mène de front des projets de différents sujets socio-politiques. Il s?est investi depuis 1994 dans des expositions thèmatiques particulières, des projets ouverts au public et des vidéos aux thèmes tels que le racisme, l?immigration, le génie génétique, l?économie, les formes de résistance et les alternatives sociales. Ses récents projets et expositions personnelles sont Alternative Economics, Alternative Societies (Galerija Skuc, Ljubljana, 2003; Kunstraum der Universität Lüneburg, 2004), European Corrections Corporation (installation en container à Wels, Graz and Munich, 2003/2004, avec Martin Krenn) et Boom! (avec David Thorne, depuis 2001). Ressler a participé à des expositions collectives telles que »fly utopia !« , Transmediale 04 de Berlin; »The Interventionists«, MASS MoCA ( Massachusetts Museum of Contemporary Art) ; »Emoção Art.ficial II«, Itaucultural Institute de São Paulo; »Banquete«, Centre of Contemporary Art Palau de la Virreina à Barcelone; »Conde Duque«, Centre Culturel de Madrid; »Attack !«, Kunsthalle de Vienne; »Empire/State: Artists Engaging Globalization«, Whitney Museum of American Art de New York; »Exchange & Transform«, Kunstverein de Munich; , »Steirischer Herbst«, Graz. Il a également participé à de nombreux festivals vidéo en Europe et en Amérique du Nord. En 2002 son film vidéo »This is what democracy looks like !« a remporté le 1er prix International des Arts Médiatiques du ZKM.

Oliver ressler
Catalogue : 2018Anubumin | Documentaire | hdv | couleur | 18:0 | Autriche | 2017
Oliver ressler
Anubumin
Documentaire | hdv | couleur | 18:0 | Autriche | 2017

The film focuses on Nauru, a tiny remote island in the Pacific with 10,000 inhabitants. The narration discusses different voids that have shaped the islands past and future. The largest void is a physical one, the island is a raised reef consisting of calcite and phosphate on a volcanic base, which since 1906 has been mined and exported to Australia, to fertilise the former colonisers’ farms. When phosphate extraction came to a stop in the 1980s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the 1990s Nauru became a prime money-laundering haven. After the disappearance of soil and money, today Nauru involves in the “disappearance of people” - housing one of Australia’s offshore refugee detention centres. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live.

Zanny Begg is a Sydney based artist whose work focuses on political activism and community. Her work is often collaborative inviting engagement with key themes such as resilience, financial disobedience and unthinking borders. Zanny has an experimental and research driven practice that works across film, performance, installation, activism and drawing. Zanny’s exhibitions include The Museum of Contemporary Art, Sydney, 2017; Sharjah Biennale, 2011; Istanbul Biennale, 2009. Oliver Ressler produces installations, projects in public space, and films on issues such as economics, democracy, global warming, forms of resistance and social alternatives. Solo exhibitions: Berkeley Art Museum, USA; Alexandria Contemporary Arts Forum, Egypt; Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; MNAC - National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul. Ressler is the first price winner of the Prix Thun for Art and Ethics Award in 2016.

Catalogue : 2017There are no Syrian refugees in Turkey | Doc. expérimental | 4k | couleur | 30:0 | Autriche | 2016
Oliver ressler
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 “ efugee 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.

Fernando restelli
Catalogue : 2017Merodeo (Loitering) | Documentaire | hdv | couleur | 13:50 | Argentine | 2016
Fernando restelli
Merodeo (Loitering)
Documentaire | hdv | couleur | 13:50 | Argentine | 2016

Provocative documentary that exposes a personal look at the stigmatization produced by police forces and the state in the current xenophobic heritage. Using found footage, the film seeks to establish a social monitoring map available through the Internet, while following the journey of two marauding through the night. One of them will surely be stopped.

Born in 1991, he currently lives and works in Cordoba, Argentina. A filmmaker and cinematographer, he studied at the Universidad de Cordoba. His short film Merodeo has received the Special Jury Prize in [23] FICValdivia and participated in several festivals. With his first feature film in progress, Construcciones, has participated in the Rough Cut Lab of the 49 Visions du Réel, the 31 MDQ Film Fest, DocMontevideo 2016 and the TransLAB 2015 of Festival Transcinema. In 2016 he received an scholarship to attend the IDFAcademy in Amsterdam, The Netherlands.