Catalogue > Liste par artiste
Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search.  update in progress  
Avelino sala
Ivan salatic
Catalogue : 2016Dvorista | Fiction expérimentale | 4k | couleur | 20:59 | Montenegro | 2015
Ivan salatic
Dvorista
Fiction expérimentale | 4k | couleur | 20:59 | Montenegro | 2015

In the backyards there are sheds, a huge old tree, wild plants with wild offspring, waste scattered around. This is where they spend their time. A decaying building is about to be destroyed and someone may go beyond. Soon one of them becomes aware of the sea.

Ivan Salatic was born in 1982 in Dubrovnik and grew up in Herceg Novi. He finished the School of Fine and Applied Arts in Belgrade and graduated from the Faculty of Dramatic Arts in Cetinje. He has directed several short films that have participated in festivals such as Venice Film Festival, Sarajevo Film Festival, Torino Film Festival.

João salaviza
Catalogue : 2011Strokkur | Documentaire | 0 | noir et blanc | 7:16 | Portugal | 2011
João salaviza
Strokkur
Documentaire | 0 | noir et blanc | 7:16 | Portugal | 2011

In the beginning the idea was to make something from nothing, in a neutral and unknown place. Collect images and sounds instead of producing them. The camera, the microphone and the mini-amplifier: tools that take away and then give back. We defined a rule: the sound shouldn?t illustrate the image and the image shouldn?t absorb the sound. Less than a hundred kilometres from Reykjavik we found Strokkur. A scar on the Earth that insists in not healing, gushing from the depths. We came closer. For three days we saw and heard the internal dynamics of the crevice: the boiling water that spat out every seven minutes and the thermal shock, given the eighteen degrees below zero of the atmosphere. The film was already there, the music too. Underneath the blizzard, the soaked amplifier was out of tune and produced strange noises. The camera was almost blown away with the wind gusts. Batteries did not resist the cold and died every fifteen minutes. We ran for shelter carrying the gear on our backs. Reload. Reheat. Start all over again. ?Strokkur? is above all a document. A log of an observation-dialogue, of what was left.

JOÃO SALAVIZA Born in Lisbon in 1984. He studied cinema at Escola Superior de Teatro e Cinema in Lisbon and completed his studies at the Universidad del Cine in Buenos Aires. His first short film, ?TWO PEOPLE?, 2005, was selected for several festivals and won the Take One Award in Vila do Conde. In 2009, with ?ARENA?, he won the Palme d?Or for best short film at the Cannes Film Festival and the award for best Portuguese short film at IndieLisboa. He then participated in several renowned international festivals such as Tribeca, Rotterdam, London and Pusan (PIFF). In 2010, he finished ?HOTEL MüLLER? (based on the work of Pina Bausch) and ?CASA NA COMPORTA? for the Portuguese entry in the 12th International exhibition of Architecture ? Venice Biennale. He is currently working in the short ?CERRO NEGRO? for the programme Próximo Futuro from Fundação Calouste Gulbenkian. In the summer of 2011, Salaviza will shoot the short ?RAFA? to be followed by the pre production of his first feature film.

Jonathan saldanha
Catalogue : 2020AFTER THE LAW | Fiction expérimentale | hdv | couleur | 27:0 | Portugal | 2020
Jonathan saldanha
AFTER THE LAW
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.

Aarno salosmaa
Mark salvatus
Catalogue : 2016Notes from the New World | Vidéo | hdv | couleur | 12:24 | Philippines | 2015
Mark salvatus
Notes from the New World
Vidéo | hdv | couleur | 12:24 | Philippines | 2015

The Philippine Constabulary Band was a symphonic band formed in 1901 by African-American Lt. Walter Loving of the US Army’s 48th Volunteer Infantry during the American period in the Philippines. Since its first public performance on May 20, 1903, the band has brought the country international fame through its participation in international competitions, including the 1904 St. Louis Exposition in the USA, where the band placed second. In this infamous fair where live Filipinos were exhibited especially the dog-eating Igorot tribe, the band performed Rossini’s classical music ‘Willam Tell Overture’. Forward to the year 2015, the artist’s father’s has a vast vinyl record collection and one of them is a Philippine Constabulary band record that was released in the 70’s under the New Society period of the dictator Ferdinand Marcos. Creating a new narrative about the band and the collection, the current Philippine Army band played Rossini’s Willaiam Tell Overture after 100 years ago side by side by the vast collection of the artist’s father that were gathered slowly since the 70’s.

Mark Salvatus is a contemporary artist from Manila, Philippines. His works crosses various disciplines and media that deal with chance encounters and everyday politics creating his own narrative and visual language. Calling his works and practice as “Salvage Projects”, he has shown his projects in different international exhibitions including the Philippine Pavilion, Venice Architecture Biennale (2016); SONSBEEK International, Arnhem, The Netherlands (2016); Singapore Biennale (2011), Guangzhou Triennale (2011), Jakarta Biennale (2011/2015), Koganecho Bazaar, Yokohama (2011), Hotel Inmigrantes, Manifesta 9, Hasselt, Belgium (2012), Prologue Exhibition: Honolulu Biennale (2014), Survival Kit Festival, Umea, Sweden (2014) and Next Wave Festival, Melbourne (2010). He had also presented his works in different museums and galleries including La Trobe University, Visual Arts Centre, Bendigo; Asia Society, New York; Museum Brengasse, Zurich; Center for Contemporary Art, Singapore; Ateneo Art Gallery; Cultural Center of the Philippines, Vargas Museum; Metropolitan Museum of Manila; Osage Foundation, Hong Kong; 1335 Mabini in Manila; Art Center Ongoing, Tokyo. Mark is a recipient of the 13 Artists Award from the Cultural Center of the Philippines (2012) and Ateneo Art Awards (2010). In 2012 he founded and acts as the artistic director of 98B COLLABoratory, a multi-disciplinary site for creative sharing, discussion and collaboration.

Catalogue : 2020Jalan-Jalan | Fiction expérimentale | mp4 | couleur | 10:15 | Philippines | 2019
Mark salvatus
Jalan-Jalan
Fiction expérimentale | mp4 | couleur | 10:15 | Philippines | 2019

Kaliurang in Jogjakarta is located near the active volcano Merapi, where ghosts of memories and history are part of the landscape. A subtle video is presented created specifically for 900 mdpl 2019 where local residents of the town become actors/ as ghosts. Once in a while the people of Kaliurang sees a Dutchman walking, or a Japanese soldier walking, or a Javanese woman with a jar of water, or a wild animal or a supernatural being… passing by as if they are there, living amongst us. They are hiding in the trees – like the trees and forest and the mountain are the bare witnesses of all the history of colonialism, war, and the neoliberal progress of development. A fictional work with no narrative flow. The ghosts are walking amongst us or are we the ghost?

Mark Salvatus (b. 1980) works and lives in Manila, Philippines. He studied Advertising Arts at the University of Santo Tomas, Manila. His works has been presented in different exhibitions and venues including the 2nd Lahore Biennale,; Kyoto Art Center; ISCP, New York; Kunstraum Kreuzberg/Bethanien, Berlin; Sharjah Biennial 14; Mill6 CHAT, Hong Kong; PCAN Pavilion, Gwangju Biennale; Museum of Modern and Contemporary Art, Seoul; Osage Art Foundation, Hong Kong; Mori Art Museum, Tokyo; Rencontres Internationales Paris/Berlin; Philippine Pavilion, Venice Architecture Biennale; 6th Thessaloniki Biennale; SONSBEEK International, Arnhem; 3rd Singapore Biennale; 4th Guangzhou Triennale; 14th and 16th Jakarta Biennale; Koganecho Bazaar, Yokohama; Hotel Inmigrantes, Manifesta 9, Brunei Gallery, SOAS, University of London; Hasselt; Prologue Exhibition: Honolulu Biennale; Survival Kit Festival, Umea; Sharjah Art Foundation; Asia Society, New York; Art Center Ongoing Tokyo; Museum Brengasse, Zurich; La Trobe Art Institute, Bendigo; Cultural Center of the Philippines and Vargas Museum and Filipiniana Research Center. He had residencies in Asia Culture Center (ACC) Gwangju, Rijksakademie van beeldende kunsten (Amsterdam), IASPIS Umea; Art OMI, New York, Common Room Networks Foundation, Bandung, Indonesia and Goyang Art Studio in South Korea.

Roy samaha
Catalogue : 2019Sun Rave | Vidéo | hdv | couleur | 11:0 | Liban | 2018
Roy samaha
Sun Rave
Vidéo | hdv | couleur | 11:0 | Liban | 2018

This video explores childhood anecdotes heard around an apartment, which until 1989, when a major solar storm erupted, had been inhabited by a strange couple. Some suspected them of being undercover agents while others said they were just some new age sorcerers. The work addresses the relationship between layers of history, outstanding events in nature and ancient cyphering of language; how the cycles of the Sun’s unpredictable release of energetic flares affect the magnetic fields of the earth and influence radio transmissions, communication and reason on a mass scale.

Roy Samaha is a Lebanese artist, living and working in Beirut. He explores the boundaries of filmic language, perception of reality and the memory of personal objects.

Roy samaha, fakhoury omar
Catalogue : 2007Please rewind me later | Doc. expérimental | dv | couleur | 30:0 | Liban | 2007
Roy samaha , fakhoury omar
Please rewind me later
Doc. expérimental | dv | couleur | 30:0 | Liban | 2007

Cette oeuvre se veut un outil de recherche dans son propre passé. Il s'agit de relier les lieux d'enfance, les rêves et les enregistrement VHS. Comment réaliser un autoportrait sans s'adonner aux clichés des archives historiques? Il a été dit : "Vous devez comprendre: la mémoire des objets enregistre et retient les actions humaines... de sorte que les générations futures en héritent... Mais on vous a aussi demandé de partir, de tout laisser derrière vous comme si vous n'étiez jamais venu. Les choses, les lieux possèdent une sorte de mémoire. Quand vous entrez dans un espace fermé, une partie de vous y reste attachée, vous perdez quelque chose. Vous devez apprendre à partir sans abandonner une parcelle de votre être... Apprendre à circuler sans laisser de trace."


Roy Samaha est né à Beyrouth en avril 1978. Il y vit et travaille comme vidéographe à ses heures. Il est diplômé en cinéma de la Holy Spirit University of Kaslik (USEK), au Liban.

Catalogue : 2013Incarnation of a Bird from an Oil Painting | Fiction expérimentale | hdcam | couleur | 8:0 | Liban | 2013
Roy samaha , fakhoury omar
Incarnation of a Bird from an Oil Painting
Fiction expérimentale | hdcam | couleur | 8:0 | Liban | 2013

??Once Dr. Dahesh referred to a painting made by Mrs Marie Haddad, and which showed a bird on a tree. The colours of the painting moved and took the form of flesh, blood and feathers and the bird in that painting was converted into a living bird, which was placed in a cage and remained there for several years. Its place on the linen remained white.?

Omar Fakhoury Artist, Beirut Born in 1979, Omar Fakhoury is a multidisciplinary visual artist. He holds a Bachelor in Painting and a Masters of Fine Arts Roy Samaha, Artist, Beirut Born in 1978, a video artist and photographer living and working in Beirut Lebanon where he completed a Masters degree in film studies.

Roy samaha
Catalogue : 2007Please rewind me later | Doc. expérimental | dv | couleur | 30:0 | Liban | 2007
Roy samaha
Please rewind me later
Doc. expérimental | dv | couleur | 30:0 | Liban | 2007

Cette oeuvre se veut un outil de recherche dans son propre passé. Il s'agit de relier les lieux d'enfance, les rêves et les enregistrement VHS. Comment réaliser un autoportrait sans s'adonner aux clichés des archives historiques? Il a été dit : "Vous devez comprendre: la mémoire des objets enregistre et retient les actions humaines... de sorte que les générations futures en héritent... Mais on vous a aussi demandé de partir, de tout laisser derrière vous comme si vous n'étiez jamais venu. Les choses, les lieux possèdent une sorte de mémoire. Quand vous entrez dans un espace fermé, une partie de vous y reste attachée, vous perdez quelque chose. Vous devez apprendre à partir sans abandonner une parcelle de votre être... Apprendre à circuler sans laisser de trace."


Roy Samaha est né à Beyrouth en avril 1978. Il y vit et travaille comme vidéographe à ses heures. Il est diplômé en cinéma de la Holy Spirit University of Kaslik (USEK), au Liban.

Catalogue : 2013Incarnation of a Bird from an Oil Painting | Fiction expérimentale | hdcam | couleur | 8:0 | Liban | 2013
Roy samaha
Incarnation of a Bird from an Oil Painting
Fiction expérimentale | hdcam | couleur | 8:0 | Liban | 2013

??Once Dr. Dahesh referred to a painting made by Mrs Marie Haddad, and which showed a bird on a tree. The colours of the painting moved and took the form of flesh, blood and feathers and the bird in that painting was converted into a living bird, which was placed in a cage and remained there for several years. Its place on the linen remained white.?

Omar Fakhoury Artist, Beirut Born in 1979, Omar Fakhoury is a multidisciplinary visual artist. He holds a Bachelor in Painting and a Masters of Fine Arts Roy Samaha, Artist, Beirut Born in 1978, a video artist and photographer living and working in Beirut Lebanon where he completed a Masters degree in film studies.

Roy samaha
Catalogue : 2011Transparent Evil | Vidéo | | couleur | 27:0 | Liban | Allemagne | 2011
Roy samaha
Transparent Evil
Vidéo | | couleur | 27:0 | Liban | Allemagne | 2011

Late 2010, I got commissioned by Leica to follow in the footsteps of James Bruce and document the Nile river from Alexandria to Aswan. I invited my friend Gheith El-Amine to join me on this trip. it was his first time in Egypt. December 10, 2010: we made plans to leave on February 1, 2011. He contacted two Egyptian friends of his, and we were supposed to meet them as soon as arrived there. January 25. The revolution started in Egypt. the only incoming images so far were made by protesters with cellular phones and uploaded on the net. They were much more efficient than the state-owned television station which was still doing the pro-regime propaganda in high definition resolution.

Rajee samarasinghe
Catalogue : 2018Pituvahalaya | Doc. expérimental | mov | couleur | 7:49 | Sri Lanka | 2018
Rajee samarasinghe
Pituvahalaya
Doc. expérimental | mov | couleur | 7:49 | Sri Lanka | 2018

Shot improvisationally in 2010, shortly after the end of the Sri Lankan civil war, this film takes a lyrical approach to examining recent history and the process of reconstruction in the post-war era. The visions of an exile are carried through an immoral silence, to an end both dubious and bittersweet.

Rajee Samarasinghe is an award-winning Sri Lankan filmmaker and visual artist. Some of his recent work examines contemporary ethnographic practices through associations of family and heritage. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Rajee`s work has been exhibited at venues internationally.

Catalogue : 2016If I Were Any Further Away I’d Be Closer to Home | Doc. expérimental | hdv | noir et blanc | 14:30 | Sri Lanka | 2016
Rajee samarasinghe
If I Were Any Further Away I’d Be Closer to Home
Doc. expérimental | hdv | noir et blanc | 14:30 | Sri Lanka | 2016

Le déroulement de la pellicule se confronte à d’autres rouleaux manufacturés face à l’objectif. Le grain des images restitue, en noir et blanc, les habitants, les animaux, les paysages. La fabrication quotidienne voisine la vie domestique dans le découpage rythmé des gestes du travail. L’action semble accueillir quelques à côtés du labeur. Le film s’organise sous nos yeux, animé par de nouvelles itérations. L’absence de piste sonore n’annule que le bruit mécanique des projecteurs anciens. - Gilles Grand


Rajee Samarasinghe is a Sri Lankan visual artist. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Rajee`s work has been exhibited at venues internationally.

Catalogue : 2015An Appearance of Fortitude | Film expérimental | hdv | couleur | 5:14 | Sri Lanka | USA | 2015
Rajee samarasinghe
An Appearance of Fortitude
Film expérimental | hdv | couleur | 5:14 | Sri Lanka | USA | 2015

Part of an ongoing series of American psychogeographies, this particular piece investigates the idea of "remoteness," as two people establish a curious rapport in a sleepy Southern Californian suburb.

Rajee Samarasinghe is a Sri Lankan visual artist. His work often examines consciousness and impermanence. Some of his recent work develops questions into contemporary ethnographic practices. Rajee attended the University of California San Diego and is currently an MFA candidate at the California Institute of the Arts.

Catalogue : 2014Untitled (Horse) | Doc. expérimental | hdv | noir et blanc | 4:23 | Sri Lanka | USA | 2014
Rajee samarasinghe
Untitled (Horse)
Doc. expérimental | hdv | noir et blanc | 4:23 | Sri Lanka | USA | 2014

A symbiotic collaboration in movie motion. After Muybridge.

Rajee Samarasinghe is a relatively young imagemaker, once upon a time Sri Lankan. He makes fake narratives and destructive formal experiments. He aspires to make videos of a respectable length and standard. Rajee attended the University of California, San Diego and is currently an MFA candidate at the California Institute of the Arts.

Catalogue : 2020Imitation of Life | Vidéo expérimentale | mov | couleur | 0:58 | Sri Lanka | 2020
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.

Keith sanborn
Catalogue : 2011Oh, David, you know what colors I like... | Vidéo expérimentale | | couleur et n&b | 1:34 | USA | 2011
Keith sanborn
Oh, David, you know what colors I like...
Vidéo expérimentale | | couleur et n&b | 1:34 | USA | 2011

This video was produced for an exquisite corpse project by Jason Simon to be screened on Bastille Day, 2012 in Narrowsburgh, NY. I added a title to my segment and kept the first second of picture from the previous video, the starting point for my work. The title was inspired by a remark of Paul Sharits. One of his assistants had just screened a test for him of an elaborate optical printer film. The title was his response. Also, the Stones played several times on the David Frost Show. Also James Brown was Black and Proud. Also I?m going to dye my hair black and you can?t stop me.

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

Catalogue : 2017An Epilogue | Vidéo | hdv | couleur et n&b | 3:3 | USA | 2016
Keith sanborn
An Epilogue
Vidéo | hdv | 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.

Samuel sanchez
Vanja sandell billstrÖm, pagano, lucia
Catalogue : 2020Park | Documentaire | mov | couleur | 14:58 | Suède | 2020
Vanja sandell billstrÖm , pagano, lucia
Park
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.

Aurora sander
Catalogue : 2019À la carte | Animation | mp4 | couleur | 12:44 | Norvège | Allemagne | 2019
Aurora sander
À la carte
Animation | mp4 | couleur | 12:44 | Norvège | Allemagne | 2019

A narrator takes you on a deep dive into the art world. What mechanisms are driving this ecosystem, or rather: which participants? The animation film "À la carte" takes a humorous look at the food chain in the art field and the challenges we face.

The artist duo consisting of Ellinor Aurora Aasgaard and Bror Sander Berg Størseth constantly serve up fresh perspectives on the world, tongue in cheek, jaws scraping off the ground. In their particular case form does not follow function, but function at least contains the word fun. The objects produced by the duo are caught in between form and function, art and design, discourse and disgust. For instance: portable paintings whose support structure doubles as shipping crates, and a mobile sculpture serving you social lubrication. Or high heeled shoes with built in brushes for an easy clean, and seats reserved for magazine covers. Aurora Sander reacts to the intrinsic structures of the art world, of socialization, distribution, value creation, judgement, and accruement, to turn some tables, but making sure the tables look damned good on the way round. The references in the work of Aurora Sander are plentiful, and the usual appropriation of low culture you traditionally would find in the art is repurposed with a refined knowledge of not just the art world, but also an interest in merchandizing and hanging out, dipping low. Their artistic strategies are closely linked to design, theater, and fashion; fields that art is struggling to keep at bay. Art historian Benjamin Buchloh describes this relationship as one where high art constantly appropriates images, strategies, and mechanisms from low culture, not in order to assimilate the two, but rather to reaffirm art's position in the hierarchy. Aurora Sander seems to confuse the hierarchy, and the identity of the duo, who might be mistaken for a singular artist, a case of mistaken identity, might range from a Disney princess to an emerging artist trying to make it in the cruel marketplace of the art world. Aurora Sander's strategy of confusion, fusion, fiction and friction, seems to be the duo's strength, making objects and creating characters that belong in the art world, but have no idea how they got there.

Talena sanders
Catalogue : 2018Between my flesh and the world's fingers | Doc. expérimental | 16mm | couleur et n&b | 31:0 | USA | 2018
Talena sanders
Between my flesh and the world's fingers
Doc. expérimental | 16mm | couleur et n&b | 31:0 | USA | 2018

Mary MacLane, the Wild Woman of Butte, Montana, published her diaries in 1902 and 1917. As an out queer and proto-feminist at the turn of the century, MacLane became notorious upon the publication of her 1902 diary, I Await the Devil’s Coming. She was whisked away from the industrial hellscape of her copper mining Montana hometown to a life in the public eye as an author, journalist, female film pioneer and always a provocateur - sending up social norms throughout her career, with a special focus on staid notions about women and sexuality. Between my flesh and the world’s fingers is an experimental essay and diary film primarily based on her published diaries and her film work. Though the film is not directly a personal film, the production is founded in part in the act of a woman telling her own story through that of another woman, a trailblazing figure from the past.

Talena Sanders makes moving image works that explore the development of individual and collective senses of identity in affinity groups. Her films and videos are informed by an interest in presenting the many ways that social institutions can shape individuals lives on both the broader geopolitical level and the most intimate, personal scales. A common starting point for developing new projects begins with an interest in interrogating narratives from histories and how historical records can influence senses of identity, especially as it relates to ideas of national and regional character. She believes there are endless means to present and interrogate materials from the real on the spectrum from nonfiction to narrative production approaches. Her work often places historical found/archival footage and audio in dialogue with contemporary media captured on location to question constructs of privilege and power in who gets authorized to tell the story of a shared experience. She holds an MFA from Duke University’s Experimental and Documentary Arts program and a BFA from the University of Kentucky. Her work has been screened, exhibited, and collected internationally, including at the New York Film Festival`s Views from the Avant-Garde, FID Marseille, Montreal International Documentary Festival, Fronteira Festival, Viennale, DokuFest Kosovo, BFI London Film Festival, and Southeastern Center for Contemporary Art. Her first feature documentary, Liahona, is distributed by Documentary Educational Resources and Doc Alliance. She has previously taught film and video production and film studies at Duke University and the University of Montana. She is currently an Assistant Professor of Communication and Media Studies at Sonoma State University.

Fette sans
Catalogue : 2014La Reprise | Vidéo | hdv | noir et blanc | 40:3 | France | Allemagne | 2014
Fette sans
La Reprise
Vidéo | hdv | noir et blanc | 40:3 | France | Allemagne | 2014

La Reprise is an ongoing exercise begun on April 21, 2013. Every week, a subsequent minute is produced consisting of scenes shot that week along with archival material from the past years. Footage and sound are consistently recorded with the same single device. 
The film may distort, but there is always a presumption that something exists, or did exist, which is what was recorded. 
The sequences are neither true nor false, they integrate various degrees of theatricality and authenticity. They become portraits of an agitated immersion in the perpetual process of systematic indexing and gathering, and of close observations. [I am a passenger, a witness to recurrences and patterns.] This continuous collage of archives is the tension. The narrative is disconnected from the sum of its parts, and elaborates on successes and failures. Each screening becomes a unique occasion to view the film as the succession of each 1min weekly film is added every time.

At the beginning of the work, there is writing - perhaps a story, then there are photographs, films, and installations. Fette Sans was born in France. She lived in Los Angeles for about ten years where she ran an artist space, then moved to Berlin in 2010. Her work aims at questioning authenticity and the precious. What is representation without narrative? What is the role of light in memory? Panic. Repeat. Overwhelm. Serendipity plays an important role in her interaction with the characters and materials she gathers. She collects and re-interprets, referencing previous gestures and leaving these traces available for more examinations.

Gabriel sanson
Catalogue : 2019Empathie | Fiction expérimentale | 4k | couleur et n&b | 8:42 | France | 2019
Gabriel sanson
Empathie
Fiction expérimentale | 4k | couleur et n&b | 8:42 | France | 2019

Un chimpanzé se métamorphose en Ange de la Mélancolie et abandonne son île pour Saturne, la triste planète.


Gabriel Sanson, né à Paris en 1993, a réalisé plusieurs court-métrages présentés dans les prestigieux festivals de la Biennale de Venise et de Rotterdam.

Larissa sansour
Catalogue : 2007happy days | Art vidéo | dv | couleur | 2:59 | Palestine | 2006
Larissa sansour
happy days
Art vidéo | dv | couleur | 2:59 | Palestine | 2006

Happy Days est une vidéo qui expose la vie de tous les jours des palestiniens sous l'occupation israélienne. Pendant la vidéo, un collage de métrages filmés dans les territoires occupés est accompagné par la bande son de la série des années soixante-dix, "Happy Days". Le passage montre des images différentes de celles des journaux télévisés. La musique crée un contraste avec l'apathie du public confronté aux conflits mondiaux. L'idée est de soumettre les politiques internationales à un format normalement associé au divertissement, et ainsi amener l'attention sur cette frontière floue entre les deux.


Née à Jérusalem en 1973, Sansour étudia les beaux arts à Copenhague, London et New York et reçu son MFA à l'université de New York. Ses travaux sont interdisciplinaires, immergés dans le dialogue politique actuel et se servent de l'art vidéo, photographie digitale, documentaires expérimentaux et internet. Le travail de Sansour a été montré de par le monde dans des galeries, des musées mais aussi dans des festivals de films. Ses expositions les plus notables comprennent, le Tate Modern de Londres, le Musée National de la Reine Sofia, Madrid et un show prochain au Arken Museum of Modern Art au Danemark. Sansur est membre international du comite de la nouvelle école de concept Chaos Pilots avec lequel elle contribue par ses écrits sur l'art, la politique et l'éducation. Elle vie et travaille a Copenhague, au Danemark.

Catalogue : 2020al Mukhtabar | Vidéo expérimentale | 4k | noir et blanc | 28:0 | Palestine | Royaume-Uni | 2019
Larissa sansour
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.

Larissa sansour
Catalogue : 2013NATION ESTATE | Vidéo expérimentale | hdcam | couleur | 9:0 | Palestine | Danemark | 2012
Larissa sansour
NATION ESTATE
Vidéo expérimentale | hdcam | couleur | 9:0 | Palestine | Danemark | 2012

Short Content Nation Estate is a 9-minute sci-fi short offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East. The film explores a vertical solution to Palestinian statehood: One colossal skyscraper housing the entire Palestinian population ? now finally living the high life. Long Content In Sansour`s film, Palestinians have their state in the form of a single skyscraper: the Nation Estate. One colossal high-rise houses the entire Palestinian population ? now finally living the high life. With a glossy mixture of computer generated imagery, live actors and an arabesque electronica soundtrack, Nation Estate explores a vertical solution to Palestinian statehood. Each city has its own floor: Jerusalem on the third floor, Ramallah on the fourth floor, Sansour?s native Bethlehem on the fifth and so on. Intercity trips previously marred by checkpoints are now made by elevator. Aiming for a sense of belonging, the lobby of each floor reenacts iconic squares and landmarks. The story follows the female lead in a futuristic folklore suit returning home from a trip abroad and making her way through the lobby of the monstrous building ? sponsored and sanctioned by the international community. Having passed the security checks, she takes the elevator to the Bethlehem floor and crosses Manger Square and Church of the Nativity on her way to her apartment where she prepares a plate of sci-fi tabouleh.

Born in Jerusalem, Sansour studied Fine Art in Copenhagen, London and New York. Her work is interdisciplinary, immersed in the current political dialogue and utilises video art, photography, experimental documentary, the book form and the internet. Despite its stylised imagery, sterile futurism and high production value, sci-fi tends to allow for a specific kind of almost nostalgia framing of the topic at hand, even the situation in the Middle East. Sci-fi almost invariably carries within it a sense of retro, ideas of the future tend to appear standard and cliché at the same time as they come across as visionary. Sansour borrows heavily from the language of film and pop culture. By approximating the nature, reality and complexity of life in Palestine and the Middle East to visual forms normally associated with entertainment and televised pastime, her grandiose and often humorous schemes clash with the gravity expected from works commenting on the region. References and details ranging from sci-fi and spaghetti westerns to horror films converge with Middle East politics and social issues to create intricate parallel universes in which a new value system can be decoded. Sansour`s work features in galleries, museums, film festivals and art publications worldwide. Recent solo shows include exhibitions at Kulturhuset in Stockholm, Galerie La B.A.N.K in Paris, DEPO in Istanbul and Jack the Pelican in New York. She has participated in the biennials in Istanbul, Busan and Liverpool. Her work has appeared at the Third Guangzhou Triennial in China, LOOP in Seoul, South Korea, Institut du Monde Arabe in Paris and PhotoCairo4 in Egypt. Sansour`s graphic novel The Novel of Nonel and Vovel - a collaboration with Oreet Ashery - first appeared in Venice Biennale bookshops and was since launched at the Tate Modern, UK, the Brooklyn Museum, USA, and Nikolaj Copenhagen Contemporary Art Centre, Denmark. Her short film A Space Exodus was nominated in the Best Short category at the Dubai International Film Festival. Exhibitions in 2012 include the Centre for Photography in Copenhagen, Galerie Anne de Villepoix in Paris and Australian Centre for Photography in Sydney. She lives and works in London and Copenhagen.

Larissa sansour, ashery oreet
Catalogue : 2011Falafel Road | Doc. expérimental | hdcam | couleur | 61:0 | Palestine | Royaume-Uni | 2011
Larissa sansour , ashery oreet
Falafel Road
Doc. expérimental | hdcam | couleur | 61:0 | Palestine | Royaume-Uni | 2011

During February 2010, Jerusalem born artists Oreet Ashery and Larissa Sansour had twenty meals in twenty falafel eateries in London, one on each day. The meals were open for the public to join in eating and debate, and functioned as art events, laboratories, performances, therapy sessions and oral history hubs. All the meals were filmed with a small Flip camera on a rotating cheeseboard and were edited together into one-hour of raw and immediate film. Ashery and Sansour opened each meal with the question: Did Israel steal the falafel from the Palestinians? This seemingly silly and controversial question, was a precursor to an investigation into the intentional and systematic hijacking and eradication of Palestinian cultural history by the state of Israel.

Oreet Ashery is a Jerusalem born, London based visual artist, cultural activist and educationist, engaged in solo and collaborative practices. Ashery works across performance, still and moving image, objects and facilitation to create situations that explore the relationships between politics, culture and representation. Ashery?s work is presented extensively in an international context, and discussed in numerous publications and books, in various languages. Recently Ashery had published three books: The Novel of Nonel and Vovel, with the artist Larissa Sansour, Charta; the monograph Dancing with Men, Live Art Development Agency; and the Artangel commission Staying, dream, bin, soft stud and other stories. Sansour?s work is interdisciplinary and borrows heavily from the language of film and pop culture. References and details ranging from sci-fi and spaghetti westerns to horror films converge with Middle East politics and social issues to create intricate parallel universes in which a new value system can be decoded. Sansour?s work has been exhibited worldwide in international biennials, galleries, museums, film festivals and on the internet and is featured in many art publications. Larissa Sansour was born in Jerusalem and lives and works in London, UK.