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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  
Sasha pirker
Catalogue : 2009Once at Miracle Mile | Doc. expérimental | dv | couleur | 9:10 | Autriche | 2009
Sasha pirker
Once at Miracle Mile
Doc. expérimental | dv | couleur | 9:10 | Autriche | 2009

?Once at Miracle Mile? The Pearl M. Mackey Apartment House in Los Angeles, built in 1939 by Rudolph M. Schindler, is completely compelling to Sasha Pirker. In her work, she doesn?t strive to merely capture architecture on film, nor to simply record and document what she sees, but rather to work with the building itself (albeit in a restrained and respectful way), indeed to map it. Intriguingly, Sasha Pirker takes what would seem awkward in a conventional feature film and makes it her own: the idiosyncratic use of cross dissolves in this short film becomes in fact its main stylistic principle, and ? stunningly ? it works. In ?Once at Miracle Mile,? several calm, steady and yet at times even hesitant circular camera pans are intertwined, playing with the gaze and the expectations of the audience. Into the background of one pan enters a second, although this one refuses to displace the first ? at least not initially ? but rather, the two camera pans exist simultaneously, allowing the viewer?s attention to move between the coming and going of the images, jumping ? no, gliding ? back and forth. A slow-motion dance through the building, a dance with the building, a fusion of inside and out, a simultaneity of views ? as if we were passing the house and just happened to catch a glimpse of ourselves in one of the windows. Why not? Everything is possible at Miracle Mile on this mild Californian afternoon. This film is a declaration of love, made with solemn and tender affection for the house it?s also a remembrance of: Once ? (Bernhard Seiter) Translation: Janet Grau

Sasha Pirker, artist, born 1969 in Vienna/Austria. Studied linguistics and architecture in Vienna. She lives in Vienna. Since 2006 she is a teaching member of the department ?Video and Videoinstallation? at the University of Fine Arts in Vienna.

Catalogue : 2011The future will not be Capitalist | Documentaire | 0 | couleur | 19:16 | Autriche | France | 2010
Sasha pirker
The future will not be Capitalist
Documentaire | 0 | couleur | 19:16 | Autriche | France | 2010

At the end of the 1960s, when there was still a future, Oscar Niemeyer, living in France, designed the headquarters of the French Communist Party. Sasha Pirker`s film studies the relationships between this building, with its futuristic qualities, and the contemporary situation of political projects, economic realities and aesthetic attitudes. The cinematic means employed are chosen so as to provide various ways of viewing this unusual building as a physical space, an institution or a historical document, thus looking into its aesthetic effect, its practical use or its political and symbolic meaning. The Future will not be Capitalist alternates between sober insights into the everyday working life of those employed at the party headquarters and shots which make reference to the modernist effect of the shapes and materials of Niemeyer`s building. Off-camera, comments and memories related by the administrator of the headquarters lead the viewer through the building, painting a picture of the current politics of a shrunken party constantly reminded of its ideal state by its magnificent headquarters. Text: Christian Kravagna (Translation: Anne Koth)

Born in Vienna in 1969. Studied Linguistics, Artist and Filmmaker.

Catalogue : 2012THE FACE - Storefront for Art & Architecture | Vidéo | 16mm | couleur | 4:30 | Autriche | USA | 2011
Sasha pirker
THE FACE - Storefront for Art & Architecture
Vidéo | 16mm | couleur | 4:30 | Autriche | USA | 2011

The face is usually the expressive surface which marks a person`s identity. "Face" does not, however, just refer to the human face, but could also mean the face of a building: the façade that "adorns" a building. In Sasha Pirker`s so-named short film, shot on 16 mm using a hand-held camera, these two meanings come at one another from diametrically opposed positions. On one hand Pirker is trying to show the building as a whole, plucking out individual fragments in an entirely subjective manner; fragments which the viewer then has to piece together. One clue to this interpretation is a quote by the artist Birgit Baldasti which flashes up right at the start: "If I was a poet I?d say that pleasure lies in other people refining your own imagination." On the other hand Pirker selects the clips of the building such that the individual faces of the passers-by remain hidden. In THE FACE all entities, both architectural and human, exist without their primary identifying feature: their face. Metaphorically only the eyes, mouth, nose and ears of the architecture can be seen, while people are generally cut off, or are filmed in silhouette from behind. The framing means that each image in the film just shows a clipping: here, there is no longer any suggestion of anything being shown as a whole. In Sasha Pirker`s view, the architectural elements are also given sculptural accents. At the same time, Pirker juggles with views from within and without, bringing out the limited, snippet-like view and precisely thus firing the imagination. Almost incidentally she also succeeds in connecting the gallery space and the street ? the primary aim of the two men of action Vito Acconci and Steven Holl when they renovated the façade of the Storefront for Art and Architecture (NYC) in 1993. (Dietmar Schwärzler) Translation: Anne Koth

Sasha Pirker, artist/filmmaker, born 1969 in Vienna, Austria. Studies in Linguistics in Vienna/Austria. From 1995-2000 she worked as a curator of contemporary architecture at the Architecture Center Vienna (Az W). Since 2006 she is a teaching member at the department ?Video and Videoinstallation? at the University of Fine Arts in Vienna, Austria. Her films are distributed by sixpackfilm Vienna, www.sixpackfilm.com (selection) 2011 Retrospective ?Philosopher of Space? at the VIENNALE - Vienna International Filmfestival 2010 67. Mostra Internazionale d?Arte Cinematografica, La Biennale di Venezia/I

Pascal piron, karolina markiewicz
Catalogue : 2014Les Formidables | Documentaire | hdv | couleur | 29:51 | Luxembourg | 2014
Pascal piron , karolina markiewicz
Les Formidables
Documentaire | hdv | couleur | 29:51 | Luxembourg | 2014

Documentaire sous forme d`extraits de témoignages autour des peurs et des angoisses de cinq jeunes. Quatre d`entre eux sont demandeurs d`asile et doivent conserver l`anonymat (prénoms d`emprunt). Ils ont entre 18 et 21 ans et ont tous endossé les enjeux de la vie d`adulte. Par hasard, ça se passe au Luxembourg. Il y a plus de 90 nationalités différentes qui se croisent, au Luxembourg, dans nos écoles, nos lycées, nos foyers, avec toutes ces histoires bien particulières : de guerre, d’après-guerre, de manque d’argent, d’exil. Ce sont ces couloirs des exilés auxquels fait référence le sociologue français, Michel Agier. Le documentaire, en trois chapitres donne la place à quelques uns de ces couloirs - quelques uns de ces récits.


Karolina Markiewicz (1976), diplômée en sciences politiques, philosophie et théâtre, et Pascal Piron (1981) diplômé en arts plastiques, travaillent tous deux dans l’enseignement au Luxembourg. Parallèlement, ils développent des travaux artistiques (peinture pour Pascal et mise en scène et écriture pour Karolina) - indépendamment jusqu’en 2013, où démarre leur parcours commun avec l’exposition Everybody should have the right to die in an expensive car réalisée pour le Kiosk de l`Aica Luxembourg. La collaboration qui en découlera permettra aux deux d’envisager leurs travaux artistiques différemment. Pascal ne verra plus l’image de façon bidimensionnelle et reprendra des travaux portée sur la vidéo, quant à Karolina, elle se tournera vers un théâtre d’images, plus abstrait. Tous deux s’intéressent désormais à l’image comme trace qui évolue dans le temps. Ainsi, les travaux s`axent autour de l`installation, la vidéo, du théâtre et des arts plastiques. Plusieurs projets en découlent, notamment le documentaire Les Formidables ainsi que Kulturstuktur /audio+video blog (le projet d’entretiens). Ces projets observent l`individu comme faisant partie d’une communauté humaine, quelque peu résignante d`apparence, mais qui aux travers de certains événements ou objets: film, œuvre d`art, pièce de théâtre, réalisation architecturale ou composition musicale, s`avère être lucide et forte.

Catalogue : 2016Artis | Vidéo | hdv | couleur | 5:12 | Luxembourg | Pays-Bas | 2016
Pascal piron , karolina markiewicz
Artis
Vidéo | hdv | couleur | 5:12 | Luxembourg | Pays-Bas | 2016

In Amsterdam, there once was a zoo, lions, elephants, people and Nazis. The elephants, who never forget, tell the story to the young lions. During the Second World War, the story goes, eighteen Jews hid above the lion’s cages. The Nazis, who loved the zoo, cared about the lions and bought them the best meat, usually lamb. The old lions couldn’t eat all they were given, so they left some of it to their new “roommates” for three years.

Karolina Markiewicz and Pascal Piron’s collaborative work creates links between film, visual arts and theatre. At the center is the individual person as part of a human community, oscillating between resignation and hope. Karolina Markiewicz studied political science, philosophy and theatre and works as a film and theatre director. Pascal Piron studied visual arts and works as an artist and film director. Both work as teachers. Their cooperation started in 2013, with an exhibition for Aica Luxembourg entitled Everybody should have the right to die in an expensive car. In 2014, they made a first documentary called Les Formidables, which tells the story of five young migrants in Luxembourg. In 2014, they found the video blog kulturstruktur.com. In 2015 they worked on the project Philoktet, which includes the homonymous play by Heiner Müller and an exhibition relating the Greek tragedy to Robert Oppenheimer and the atomic bomb. At the same time they released their second documentary Mos Stellarium, produced by Tarantula and supported by Film Fund Luxembourg. Part of this project is the installation of Mos Stellarium, which offers different parts of the movie simultaneously, thus giving a non-linear reading of the film. Their current work includes a video series entitled Side-effects of reality. It consists in a number of short films and video installations. Our reality is a vague and imprecise thing, hardly accessible. The core idea of Side-effects of Reality is to push this inaccessible reality to a poetic level, thus creating through video and text a new image of reality. This image is not the same as its content, it has its own mythology, and by this offers a different take on understanding our reality.

Catalogue : 2017Okopowa, Warszawa | Film expérimental | hdv | couleur | 7:16 | Luxembourg | 2017
Pascal piron , karolina markiewicz
Okopowa, Warszawa
Film expérimental | hdv | couleur | 7:16 | Luxembourg | 2017

Among the insurgents of Warsaw, there is Kazia. A young Jewish woman whom the Nazis ended up killing. She now wanders in the cellars of the old ghetto, the Jewish cemetery, on Okopowa Street and tells bits of her memories. Memories that haunt.

Karolina Markiewicz (1976, Luxembourg) and Pascal Piron (1981, Luxembourg) work as an artist duo since 2013. Their collaborative work creates links between film, visual arts and theatre. At the center is the individual person as part of a human community, oscillating between resignation and hope. Karolina Markiewicz studied political science, philosophy and theatre and works as a film and theatre director. Pascal Piron studied visual arts and works as an artist and film director. Both work as teachers.

piscine
Bojana piskur
Catalogue : 2006Ljubljana Modern Art Museum | 0 | 0 | | 0:0 | Slovénie | 2007
Bojana piskur
Ljubljana Modern Art Museum
0 | 0 | | 0:0 | Slovénie | 2007

La Moderna Galerija (Musée d?Art Moderne) est l?institution nationale slovène pour l?art moderne et contemporain. Un musée qui a une double vocation, explorer et présenter l?art moderne slovène et sa tradition depuis le début du XXème siècle, explorer et exposer l?art contemporain, sa pratique et son contexte. Situé dans la ville de Ljubljana, la capitale de la Slovénie, La Moderna Galerija opère sur trois sites différents, un bâtiment principal, la Moderna Galerija proprement dite, une ancienne caserne de l?Armée Yougoslave, le Metelkova et la Mala Galerija. Une telle organisation, une telle délocalisation géographique, permet à la Moderna Galerija de spécialiser chaque bâtiment. Le Metelkova est un haut lieu de la culture alternative slovène. La Mala Galerija est un espace d?innovation où sont réalisées des expositions personnelles. Quand au bâtiment principal, il héberge la collection permanente du musée, des expositions temporaires, une bibliothèque et un centre de formation. La Moderna Galerija se voit comme un intermédiaire entre le national et l?international, entre local et global. Un lieu où se cristallise les réalités de la société moderne, à mi-chemin entre les différentes réalités géopolitiques et culturelles de l?Europe contemporaine, entre Est et Ouest, entre Nord et Sud.


Née en 1970, Bojana Pi?kur a étudié à la Faculté de Philosophie de l?Université de Ljubljana, en Slovénie, et à la Charles University de Prague, en République Tchèque, où elle obtenu un PhD en Théorie Artistique. Elle est commissaire d?exposition à la Moderna Galerija, le Musée d?Art Moderne de Ljubljana et elle effectue des recherches sur le phénomène de l?art contemporain.

Marianne pistone, gilles deroo
Catalogue : 2009Hiver (les grands chats) | Fiction | 16mm | couleur | 55:0 | France | 2008
Marianne pistone , gilles deroo
Hiver (les grands chats)
Fiction | 16mm | couleur | 55:0 | France | 2008

Les enfants s?en tapent de l?hiver qui arrive A se marrer sous les grands chats, à s?embrasser Sous de pauvres abris Il fera nuit de plus en plus tôt L`hiver tombé comme une sentence, Ça y?est faut allumer. J?aurais voulu que Mimi soit intact, rien n?aurait dû l?atteindre... Ni l?hiver.


Marianne Pistone et Gilles Deroo Vivent et travaillent à lille

Robert Harding pittman
Catalogue : 2009Concrete Coast (Costa de Cemento) | Vidéo | dv | couleur | 25:0 | USA | Espagne | 2009
Robert Harding pittman
Concrete Coast (Costa de Cemento)
Vidéo | dv | couleur | 25:0 | USA | Espagne | 2009

The documentary film "Concrete Coast" is about the social, cultural and environmental effects of the last bit of un-urbanized Spanish Mediterranean coast being built up for residential tourism in the Region of Murcia. Agriculture is disappearing along this 230 km long coastline and is being replaced by 60 golf courses, marinas, freeways and new large scale planned communities with 1,000,000 residences, mainly sunseeking British retirees, doubling the population of Murcia within few years. Every hour 2 hectares of land are being urbanized in Spain. The impacts of these large-scale economic and political forces are illustrated by a Spanish farming family being expropriated of their land and a retired British couple embarking on their new life in a country where they do not even speak the language. How will all of this change the culture of the region? Will the populations integrate? Will these and other Spanish farmers have to emigrate? How will the global economic crisis affect the region?

Robert Harding Pittman grew up in Boston and Hamburg, the son of a German mother and American father. After taking his undergraduate and graduate degrees in environmental engineering (U.C. Berkeley), an area of concern that continues to inform his work, he received an M.F.A. in Photography and Film/Video at the California Institute of the Arts (Cal Arts). His main interest is how different cultures interact with the environment and how they manage ?development?. Currently he is living between Germany and Spain. In Germany he is making the second film about the 750 year old east German village of Heuersdorf which is being demolished for the expansion of an open pit coal mine. In Spain he is at work on ?Concrete Coast?, a photography and documentary film project about the impact of tourism on the culture and environment of Mediterranean Spain. He is working on a new photography project, "M - 50 (Madrid)", about new suburbs being built around Madrid. He has begun work on a photography book, "Anonimization" (working title), with curator Celina Lunsford (Fotografie Forum Frankfurt), compiling his work from various countries over the past years.

plasmodium, bob miller, jim thomson
Catalogue : 2005Rethinking the Raven | Création sonore | 0 | | 60:0 | USA | 2004
plasmodium , bob miller, jim thomson
Rethinking the Raven
Création sonore | 0 | | 60:0 | USA | 2004

"In a more Cagean mode, the sound collage "Rethinking the Raven" presents echo-treated field recordings of a suburban smart guy spouting increasingly ridiculous, palsied nonsense syllables into fast-food driveup intercoms. ("Sir, can you drive to the window so we can take your order, we can`t understand you.") The track is funny on a mean spirited Jerky Boys level, but also seductive, with the sound manipulations turning the baffled or bored utterances of the franchise employees into quasi-world music. One clerk`s digitally twinned "I don`t know/I don`t know (I don`t understand what you`re saying)" becomes poignantly melodic through repetition, resembling an eerie call-and-response chant. In "Dr. Octobongopus" a bored lounge MC introduces the stage act of a polyrhythmic, multi-armed, but basically lame bongo player in a routine that is pure deadpan surrealism."

platoniq, -
Cameron platter
Catalogue : 2010The Old Fashion | Vidéo | dv | couleur | 16:7 | Afrique du sud | 2010
Cameron platter
The Old Fashion
Vidéo | dv | couleur | 16:7 | Afrique du sud | 2010

The Old Fashion, is an adventure in humour, love, loss and longing for something more? a mélange of The Third Man, an advertisement for Prince Barrack Hussein?s sports water/ penis combo, strip club dance montages, mysterious villains and co-conspirators, and a certain fast food restaurant on Asstropolis. It pays homage to movie remakes and sequels, franchise food, dumbed-down politics, and mundane beauty. It is a portrait of contemporary South Africa, through the eyes of a deranged cat dictator bent on world domination.

Cameron Platter (born 1978 Johannesburg) His work is an intoxicating vision of Good vs. Evil, documenting contemporary morality through the telling of simple stories drawn and appropriated from the media, TV, films, art, history, pornography, battle scenes, politics, music, and religion. His targets and influences include Lamborghinis, Kawasakis and beautiful women in fishnets; megalomania and the mass media; James Bond and Richard Pryor; corrupt politicians; penis extension machines and strip clubs; children?s stories, crime fiction and gangster films; Southern African woodcut and craft masters; tabloid horror stories; wildlife, real life and things falling apart? Mixing traditional and new mediums, Platter creates a tableau that is a sincere homage to historical themes, an ironical take on contemporary Africa, and an ultra primitive, anti-aesthetic view on what it means to be alive today in South Africa. Recent projects include: Hard Times Great Expectations, Whatiftheworld Gallery, Cape Town; I Am Lonelyness, Hilger Contemporary, Vienna; The Old Fashion, Volta NY, New York; Black Up That White Ass II, Youngblackman, Cape Town; Dak?Art, Biennale de Dakar, 1910-2010: Pierneef to Gugulective, South African National Gallery and Art 39 Basel, Switzerland. His work is included in the permanent collection of the Museum of Modern Art (MoMA) New York.

Catalogue : 2013YOU | Vidéo expérimentale | dv | couleur | 15:59 | Afrique du sud | 2012
Cameron platter
YOU
Vidéo expérimentale | dv | couleur | 15:59 | Afrique du sud | 2012

A video made up of a collage of Pastor Chris Oyakhilome?s sermon on the ?Power of Thoughts? as well as use sources such penis extension advertisements, visionary fast food chicken outlets, sex websites, eternal happiness, instant cash, waterfalls, abdominal machines, life solutions international, dancing dolphins, mass builder, fireworks, slogans, sub-tropical bondage, and celestial landscapes; all directed in my crude, minimalist filmic technique. The video should be viewed as an expanded, absurdist, collage; part documentary and part commentary.

Cameron Platter was born in 1978, Johannesburg. Recent exhibitions include ?Imaginary Fact, Contemporary South African Art and the Archive?, 55th Venice Biennale; ?Impressions from South Africa, 1965 to Now,? Museum of Modern Art, New York; Le Biennale de Dakar 2010, Dakar, Senegal; ?Coca- Colonization,? Marte Museum, El Salvador; and ?Absent Heroes,? Iziko South African National Gallery. Platter fills the ordinary and marginal, with incendiary new meaning. Working from everyday experience with subjects overlooked or considered delinquent, sordid and lowbrow, he reconnoiters notions and concepts on the outside fringes of South Africa?s popular culture. His work appears in the permanent collection of MoMA, New York; The FRAC des Pays de la Loire, France; and the Iziko South African National Gallery. His work has been highlighted in The New York Times, The Wall Street Journal, Vice Magazine, NKA Journal of Contemporary African Art, Artforum, and Art South Africa.

Michael poetschko
Catalogue : 2014Zona (Fragment I und II) | Fiction expérimentale | hdv | couleur | 51:16 | Autriche | 2012
Michael poetschko
Zona (Fragment I und II)
Fiction expérimentale | hdv | couleur | 51:16 | Autriche | 2012

The topological narrative follows the routes of an itinerant photographer and a young philosophy student, their searching movements in-between the fractures and folds of the spatio-temporal fabric of the contemporary city. These fragments started with a rereading of Andrei Tarkovsky and the brothers Strugacky’s concept of the zone, as depicted in their late 1970s science fiction script Сталкер (Stalker). We suggest that the zone — a structure outside and closed off in Сталкер — has now entered the very heart of the urban fabric. We aim to explore the precarity, porosity and violence of this biopolitical space-time, as an immanent part of the city, our bodies and desires. The narrative presents itself as an open structure, in which staged miniatures, image and sound collages, dialogue, and different searching movements meet each other; open, rampant, unresolved and contradictory — oscillating constantly between poetic meditation and discourse, diversion and gravity, quotation and philosophical speculation.

Michael Poetschko explores narratives of living/laboring/traveling/resisting within post-fordist and transnational realities, working with experimental forms of filmmaking and installation. His work has been exhibited and projected internationally, most recently at the Wexner Center for the Arts in Columbus, the Uferhallen in Berlin and Temp Art Space in New York City.

Sascha pohle
Catalogue : 2012Reframing the Artist | Vidéo | hdv | couleur | 35:0 | Allemagne | Pays-Bas | 2010
Sascha pohle
Reframing the Artist
Vidéo | hdv | couleur | 35:0 | Allemagne | Pays-Bas | 2010

REFRAMING THE ARTIST deals with the stereotypical representations of visual artists in movies. The role of the artist both in fictional films and in biopics, classics of the twentieth century or recent popular films, is focused on the artist?s idiosyncratic behavior, his love affairs, his self-destruction associated with a mystification of his creative production or on encounters with other protagonists of the art world such as the collector, the art dealer, the model or the art student. Artists are almost solely painters, which reconfirms a predominant inadequate representation of visual artists in movies. In the video REFRAMING THE ARTIST fragments from approximately 50 different movies such as ?The Moderns? ?Surviving Picasso? or Vincent and Theo? are reset in the Dafen Oil Painting Village. Dafen, situated in Shenzhen, China, is the world`s largest producer of mass-produced handmade oil-on-canvas copy paintings supplying a global market. The video takes place in unmodified settings of the painters` own homes, studios, shops or galleries. There we see Dafen painters re-enacting movie scenes, in which they take over the role of a Picasso, a Van Gogh, a Pollock or several fictional artists, art collectors, critics, muses and lovers. In the ?Reframing the Artist? mass reproduction of oil paintings from Dafen and the recurrent use of artist stereotypes in the mass media film converge to a new narrative overlapping fiction and documentary. The Chinese painter is neither represented as a mere copyist nor does he apply to the notion of the ?original? artist according to our predominant definitions. REFRAMING THE ARTIST raises questions about authenticity in the context of global cultural exchange and it challenges the view of the ?exotic? Other, both the visual artist and the Chinese copy painter. The video is structured into five chapters: Artist and Authenticity, Artist and Market, Artist and Crisis, Artist and Student, Artist and Model. Painting props taken from the same original movies re-appear as copies in REFRAMING THE ARTIST.

Education 2002 B.A. Staatliche Hochschule für Bildende Künste (Städelschule), klasse Ayse Erkmen, Frankfurt am Main, DE 2007 Rijksakademie van beeldende kunsten, NL (Selected) solo exhibitions 2013 Rongwrong, Amsterdam, NL 2012 Art space Apguyeong, open in November en gecureerd door Ji Yoon Yang (De Appel CP 2008/09), Seoul, KR, (aanstaand) (exhibited works: Noire et Blanche + new production) 2012 Lothringer_13_Halle, gecureerd door Felix Ruhöfer, München, DE (exhibited works: Noire et Blanche, Statues Also Die, German Indian, Reframing the Artist, The Mad Masters) 2012 Gallery Weingrüll, Karlsruhe, DE (exhibited works: Noire et Blanche, Reframing the Artist, Statues Also Die) (Selected) group exhibitions 2013 ?Transfer Korea-NRW?, Kunsthalle Düsseldorf and Kunstmuseum Bonn, National Museum of Korea, Arko, (upcoming) - new production: Ornaments of Property 2012 Monitoring/ Kasseler Dokumentarfilm und Videofest, (upcoming), DE - Statues Also Die 2012 ?Generation Loss?, Green Papaya Art Projects, Manila, PHL 2012 ?Signals: For Real?, IFFR, 41st International Film Festival Rotterdam, gecureerd door Edwin Carels, NL - Reframing the Artist 2011 Museum der Moderne Salzburg, ?role models-role playing?, AUT - The Mad Masters 2010 Arti et Amicitae, Amsterdam, ?Villains and Heroes?, Sascha Pohle/Marco Pando, NL - German Indian 2010 Dafen International Contemporary Art Exhibition, ?Convection? Dafen Sub-Venue, Shenzhen Case Pavillion, 2010 Shanghai EXPO, CN - Reframing the Artist 2010 Taipeh International Art Center, Urban Nomad Video Art Section, TW - Reframing the Artist 2010 ?works?, basis, Frankfurt, DE 2008 PARA/SITE art space, ?Terminus?, gecureerd door Christina Li (De Appel CP 2008/09), Hong Kong - The Swimmer 2008 ?Beyond Paradise?, SMBA Stedeljik Museum Bureau Amsterdam, gecureerd door Delphine Bedel and Ayako Yoshimura , NL - The Swimmer 2008 ?Vertrautes Terrain?, ZKM - Center for Art and Media, Karlsruhe, gecureerd door Gregor Jansen and Thomas Thiel - German Indian 2008 Schirn Kunsthalle, Frankfurt am Main, DE, `All-Inclusiv A Tourist World - The Swimmer (Selected) Filmfestivals 2012 BIEFF, Bukarest, RO, Reframing the Artist 2012 58. Internationale Kurzfilmtage Oberhausen, DE, Reframing the Artist 2012 41st International Film Festival Rotterdam, NL, Reframing the Artist 2011 HomeShop, Jue Festival, Beijng, CN, Reframing the Artist 2009 Videonale 12, Bonn, DE, The Mad Masters¬ 2008 International Film Festival, 16th Curtas Vila do Conde, PT, If I were you ? LAS VEGAS NEW YORK BLACKPOOL, The Mad Masters 2008 37th International Filmfestival Rotterdam, NL If I were you ? LAS VEGAS NEW YORK BLACKPOOL Residencies 2006-2007 Rijksakademie van beeldende kunsten/Dutch Ministry of Education, Culture and Science, 2009 Meetfactory, Prague, CZ 2011 Incheon Art Platform, KR 2012 Changdong Studios, Seoul, KR (upcoming) Prices, Awards 2012 Principal Price, 58th International Short Film Festival Oberhausen, for Reframing the Artist, Netherlands, 2010 Fellowships/stipends 2011/12 The Netherlands Film Fund, research subsidy on DVD movie piracy 2011/12 Fonds BKVB, standard werkbudget for Noire et Blanche in combination with a residency in Incheon Art Platform, Korea 2010 Fonds BKVB, werkbudget for Detective project ? The Student of Prague 2009 Fonds BKVB, standard werkbudget for MeetFactory artist residency 2009 The Netherlands Film Fund, NL for Reframing the Artist 2008 Fonds BKVB, basis stipend, NL 2007 Hessische Kulturstiftung, DE, for The Mad Masters and If I were you ? LAS VEGAS NEW YORK BLACKPOOL 2006 DAAD, Berlin, DE 2006 Kunststiftung NRW, DE 2003 Kunststiftung NRW, DE, for Safety Hour 2003 Kulturstiftung Dresden der Dresdner Bank, DE, studio stipend `dynamo.eintracht`

Ben pointeker
Catalogue : 2007. ..... .:.:...:::ccccoCCoooo:: | Film expérimental | dv | couleur | 9:30 | Autriche | 2006
Ben pointeker
. ..... .:.:...:::ccccoCCoooo::
Film expérimental | dv | couleur | 9:30 | Autriche | 2006

Solution bien pratique au problème de l?orientation dans une salle de théâtre ou de cinéma, de petites lampes dissimulées ça et là montrent aux gens où mettre les pieds et où ne pas les mettre, leur indiquant leur fauteuil ou la sortie. Imagine maintenant l?obscurité totale. Entre. Arrête d?imaginer et regarde . ..... .:.:...:::ccccoCCoooo:: Alors qu?on regarde, la question se pose de ce que c´est regarder. Les petites balises de guidage nous reviennent à l?esprit. D?habitude, c?est en regardant que nous nous orientons. En réaction à cela, ou peut-être par conséquence, maintes formes d?art se proposent de nous désorienter. Mais la question de l?essence même du « regard » reste sans réponse. Or cette question est au centre de l??uvre de Ben Pointeker. Pour y répondre, tout en gardant ses distances vis-à-vis du langage conventionnel du cinéma et de la photographie, il renoue néanmoins avec celui-ci. La manière dont il procède rappelle la poésie concrète. Mais il ne s?agit ici que d?une réminiscence. La poésie concrète n?était dans l?ensemble qu?une réaction à quelque chose d?autre : ce que nous connaissions déjà. Et de ce fait, elle était limitée sur le plan dialectique à ce que nous connaissions déjà. Dans son approche cinématographique, Pointeker sait comment sortir de cette ornière. Mais il ne le montre pas. Ce qu?il montre, c?est ce qui apparaît. Nous nous trouvons dans l?obscurité totale. Une lumière brille. Plusieurs lumières brillent : une voiture se fraie son chemin. Au sens littéral du terme : une voiture se fraie son chemin. Cette voiture n?amène personne de A à B. En projetant sa lumière, elle se fraie son propre chemin. D?autres images suivent, qui se fraient leur propre chemin. Nous regardons, captivés par la lumière de ce qu?on nous montre, et nos sens commencent à deviner ce que c´est regarder. (Frans-Willem Korsten)


Ben Ponteker studierte u.a. Literaturwissenschaft und Kunst in Wien, Kopenhagen und Rotterdam, zuletzt MA Fine Art, Piet Zwart Institute Rotterdam; experimentelles Kino und filmische Installationen, Textpublikationen; daneben Bühnenvideos für Theater- und Tanzproduktionen und dramaturgische Beratung; in der Beschäftigung mit suggestiven Bildsphären interessiere ich mich für Rhetorik und Substanz des visuellen Erzählens

Catalogue : 2017Impassenger | Vidéo expérimentale | hdv | couleur | 6:0 | Autriche | 2017
Ben pointeker
Impassenger
Vidéo expérimentale | hdv | couleur | 6:0 | Autriche | 2017

Impassenger présente un espace de résonance émotionnelle et, ce faisant, permet au cinéma de devenir haptique. Ce film explore la relation entre la proximité et la distance, et permet à l’objet de l’enquête de figer sa soumission.


Ben Pointeker is a visual artist and filmmaker based in Vienna. His work often sets in between film and photography and is concerned with poetics, patterns of narrative cinema, the notion of time, ambiguous realities and fantasy. Previously based in The Netherlands he graduated from Piet Zwart Institute and won the Prix de Rome basic award. He is also a graduate of the University of applied arts Vienna and was artist in residence at Wiels in Brussels, in Shanghai and most recently at Bòlit in Girona in the framework of The Spur. He has exhibited at institutions such as Secession Vienna, Kunstpavillon Innsbruck, Contemporary Art Center Vilnius, Filmmuseum Amsterdam and major film festivals.

Marie poitevin
Catalogue : 2007Julien Blaine, l'éléphant et la chute | Doc. expérimental | 16mm | couleur | 13:45 | France | 2006
Marie poitevin
Julien Blaine, l'éléphant et la chute
Doc. expérimental | 16mm | couleur | 13:45 | France | 2006

Julien Blaine est poète « performer » il écrit, il hurle, il agit : « L?acte comme poème. Ce film est une rencontre avec deux de ses performances : « la chute dans les escaliers de la gare Saint Charles » et sa première « l?interview des éléphants. » Ce film est l?interprétation de sa création, de ses actions par sa fille. Ici , elle confronte le passé et le présent, elle invite le spectateur à déchiffrer, à ressentir, à créer du sens.


Après une formation aux Beaux ? Arts de Cergy et une formation aux métiers de l?image à la fémis, j?ai participé en tant que chef opératrice à plusieurs court métrages : Le ravissement de Raphaël Jacoulot ; Enceinte jusqu?aux dents de Marie Donnio ; A bright Interval d?Emilie Lamoine? J?ai été cadreuse sur plusieurs documentaires : Arthur Penn ; Jean François Laguioni, un cinéaste animé de Jean Jacques Bernard pour ciné cinéma classic. Et Résistants de la première Heure de Pholippe Costantini. J?ai réalisé plusieurs films vidéos accompagnant des lectures de poètes : Jacques Sivan et Vanina Maestri. Ainsi que des vidéos pour une compagnie de théâtre Alzhar et des musiciens Diabolicus. J?ai réalisé trois films sur la performance : Last Festival ; Bye bye la perf et ce dernier sur Julien Blaine. J?ai dirigé la lumière pour la compagnie Alzhar à la friche de la belle de mai et pour Diabolicus au théâtre des Bouffes du Nord.

Esther polak, ivar van bekkum
Catalogue : 2015Once We Get There | Film expérimental | hdv | couleur | 49:50 | Pays-Bas | USA | 2015
Esther polak , ivar van bekkum
Once We Get There
Film expérimental | hdv | couleur | 49:50 | Pays-Bas | USA | 2015

This film introduces an alienating yet familiar landscape of satellite images, tracks and sound. We follow the minute by minute movements and sounds of animals and machines, the chatting of people in Philadelphia. Although we constantly hear reality, we experience the movements within an abstract, two dimensional world of satellite photography. Without any crew present, the protagonists recorded their trajectories, sounds and private readings of the streets, allowing the filmmakers to access their experiences only afterwards. The film positions the audience as unwitting voyeurs. The meditative approach questions our contemporary techno-society, where social connectivity and eavesdropping coexist and balances between empathic co-traveling and voyeurism. The film resulted from a 7 month “Art in Public Space/Percent For Art” residency of Dutch visual artists Esther Polak and Ivar van Bekkum in Philadelphia.

Esther Polak and Ivar van Bekkum work together under the name PolakVanBekkum. Their work focusses on landscape and mobility. Routed in the history of the Dutch realistic landscape depiction, they engage with new technologies like GPS and data collection, to express individual experiences of spaces like the contemporary city and countryside. They search for changing ways to be in landscapes and how this influences the human understanding of space and the stories we tell to explain our lives. Besides the digital and technological innovative, they use very concrete means of visualisation, like drawings in sand or light, which makes their work very tangible and direct. Their projects are often informed by collaborations with participants, be it humans, objects, or even the rays of the sun. They have worked and exhibited internationally, at Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, London, IMAL Brussels, Rento Btattinga | Gallery Amsterdam, Museo for Image and Sound Sao Paolo, Nairobi, Lagos, Marrakech, Paris, Philadelphia and Los Angeles. In 2005 Esther Polak did receive a Golden Nica for interactive Art at Ars Electronica together with Ieva Auzina, for their MILKproject. Esther Polak is educated at the Rijksacademie in Amsterdam. Ivar van Bekkum is educated as journalist.

Catalogue : 2016A Collision of Sorts | Doc. expérimental | hdv | couleur | 17:0 | Pays-Bas | USA | 2017
Esther polak , ivar van bekkum
A Collision of Sorts
Doc. expérimental | hdv | couleur | 17:0 | Pays-Bas | USA | 2017

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

Wiktor polak
Catalogue : 2010Blisko | Art vidéo | dv | couleur | 5:49 | Pologne | 2008
Wiktor polak
Blisko
Art vidéo | dv | couleur | 5:49 | Pologne | 2008

?Blisko? (?Close?) ? about alienation in the big city. The artificial light inside the night trams creates a new reality.

I was born in 1979. Between 1998 and 2004, I studied at the Władysław Strzemiński Academy of Fine Arts in Łódź. In 2004, under the tutelage of prof. Grzegorz Przyborek, I obtained the certificate and title of Master of Fine Arts in asvertising photography. Since 2003, I have also participated in multimedia workshops held by prof. Konrad Kuzyszyn and Łukasz Ogórek, MFA. I was a post-graduate, free participant there. Since that time, my interests hav revolved around film and video. In 2007, I went on a three-month scholarship to France, organised by the Strasbourg Klub, the City of Strasbourg as well as the CAAC.

Esther polak, ivar van bekkum and esther polak
Catalogue : 2015Once We Get There | Film expérimental | hdv | couleur | 49:50 | Pays-Bas | USA | 2015
Esther polak , ivar van bekkum and esther polak
Once We Get There
Film expérimental | hdv | couleur | 49:50 | Pays-Bas | USA | 2015

This film introduces an alienating yet familiar landscape of satellite images, tracks and sound. We follow the minute by minute movements and sounds of animals and machines, the chatting of people in Philadelphia. Although we constantly hear reality, we experience the movements within an abstract, two dimensional world of satellite photography. Without any crew present, the protagonists recorded their trajectories, sounds and private readings of the streets, allowing the filmmakers to access their experiences only afterwards. The film positions the audience as unwitting voyeurs. The meditative approach questions our contemporary techno-society, where social connectivity and eavesdropping coexist and balances between empathic co-traveling and voyeurism. The film resulted from a 7 month “Art in Public Space/Percent For Art” residency of Dutch visual artists Esther Polak and Ivar van Bekkum in Philadelphia.

Esther Polak and Ivar van Bekkum work together under the name PolakVanBekkum. Their work focusses on landscape and mobility. Routed in the history of the Dutch realistic landscape depiction, they engage with new technologies like GPS and data collection, to express individual experiences of spaces like the contemporary city and countryside. They search for changing ways to be in landscapes and how this influences the human understanding of space and the stories we tell to explain our lives. Besides the digital and technological innovative, they use very concrete means of visualisation, like drawings in sand or light, which makes their work very tangible and direct. Their projects are often informed by collaborations with participants, be it humans, objects, or even the rays of the sun. They have worked and exhibited internationally, at Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, London, IMAL Brussels, Rento Btattinga | Gallery Amsterdam, Museo for Image and Sound Sao Paolo, Nairobi, Lagos, Marrakech, Paris, Philadelphia and Los Angeles. In 2005 Esther Polak did receive a Golden Nica for interactive Art at Ars Electronica together with Ieva Auzina, for their MILKproject. Esther Polak is educated at the Rijksacademie in Amsterdam. Ivar van Bekkum is educated as journalist.

Catalogue : 2016A Collision of Sorts | Doc. expérimental | hdv | couleur | 17:0 | Pays-Bas | USA | 2017
Esther polak , ivar van bekkum and esther polak
A Collision of Sorts
Doc. expérimental | hdv | couleur | 17:0 | Pays-Bas | USA | 2017

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.

Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

Ulrich polster
Catalogue : 2005Frost (I) | Art vidéo | dv | couleur | 5:51 | Allemagne | Russie | 2003
Ulrich polster
Frost (I)
Art vidéo | dv | couleur | 5:51 | Allemagne | Russie | 2003

Urszula pontikos
Catalogue : 2009CHINA'S WILD WEST | Documentaire | 16mm | couleur | 10:50 | Pologne | Chine | 2008
Urszula pontikos
CHINA'S WILD WEST
Documentaire | 16mm | couleur | 10:50 | Pologne | Chine | 2008

Every winter the Yurungkash River in western China dries up, revealing an expanse of river-worn stones. There, hidden within the rock, lies a buried treasure forty times more valuable than gold?jade. Hundreds of people gather in the riverbeds, endlessly scrabbling at rock in search of a jewel they are unlikely to find. Still, the small glimmer of hope prevails over weary backs and frozen figures. As we watch the countless poverty-stricken men and women in unrequited pursuit, we are perhaps left to ponder our own failed quests for diamonds in the rough, as well as the extraordinary?and quixotic?measures we`ll resort to in pursuit of wealth.

A graduate of the National Film & Television School, Urszula is a Polish-born, London-based cinematographer/director and stills photographer. With a continuing career in feature film drama she is also currently developing a feature length documentary which tackles similar issues to ?China?s Wild West?, but this time across several continents.

Zahra poonawala
Penka popova
Catalogue : 2005On the 16-th of February 2005 | Art vidéo | dv | couleur | 11:8 | Bulgarie | 2005
Penka popova
On the 16-th of February 2005
Art vidéo | dv | couleur | 11:8 | Bulgarie | 2005

Le travail de vidéo "On the 16-th of February 2005" ressemble à une peinture basée sur le temps (documentaire) décrivant une femme assise à une table. Au premier regard, le regard semble complètement immobile. L?image éveille la curiosité et la contemplation plus que ce qui se passe vraiment, plus le temps avance. Par conséquent, le spectateur pourrait déceler que les objets changent de place, bien que leur processus de mouvement reste inaperçu. Á la fin, le temps bouge ?plus vite?, révélant un peu de ce qui l?entoure et de l?auteur en train d?enregistrer ce qui se passe devant ses yeux. La pellicule vidéo n?a pas été retouchée afin d?atteindre cet effet "immobile", tout est absolument véridique au lieu réel et au temps.


Je suis né et j?ai été élevé à Plovdiv, en Bulgarie. J?ai commencé ma formation aux beaux-arts à l?âge de douze ans avec des cours de peinture et de dessin. J?ai été diplômé du College of Theater and Fine Arts à Plovdiv, en Bulgarie en 1991. Plus tard, j?ai étudié à la National Academy of Fine Arts, à Sofia en Bulgarie où je me suis spécialisé en esthétique de la scène dans le cours du professeur Svetoslav Kokalov. Je me suis concentré principalement sur la dramaturgie classique comme Sophocle, Shakespeare et Tchekhov. J?ai été diplômé en 2001 du MFA Photo and Digital Imaging program du Maryland Institute College of Art, à Baltimore aux Etats-Unis. J?y ai suivi la classe du professeur William Larson et du théoriste des médias Timothy Druckrey. J?explore dans mon travail actuel les limites de la perception, tentant d?exprimer les différentes formes de présence du visible et de l?invisible. Depuis 2001, je vis à Chicago, dans l?Illinois.

Pere portabella
Catalogue : 2010Mudanza | Documentaire | betaSP | couleur | 20:0 | Espagne | 2008
Pere portabella
Mudanza
Documentaire | betaSP | couleur | 20:0 | Espagne | 2008

Catalogue : 2010Miró, Aides l?Espagne | Documentaire | 16mm | noir et blanc | 8:0 | Espagne | 1969
Pere portabella
Miró, Aides l?Espagne
Documentaire | 16mm | noir et blanc | 8:0 | Espagne | 1969

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrspective exhibit in 1969. There wew heated discussions on whether it would be rudent to screen the film during the exhibit. Portabella took the following stante: "either both films are screened or ther don`t screen any" and, finally, both Miro l`Altre and Aidez l`Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter`s "pochoir" known as Aidez l`Espagne.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Miró l?altre | Doc. expérimental | 16mm | noir et blanc | 12:0 | Espagne | 1969
Pere portabella
Miró l?altre
Doc. expérimental | 16mm | noir et blanc | 12:0 | Espagne | 1969

As publicity for the exhibit Miró L`altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the "poster" for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Play Back | Doc. expérimental | 16mm | noir et blanc | 8:0 | Espagne | 1970
Pere portabella
Play Back
Doc. expérimental | 16mm | noir et blanc | 8:0 | Espagne | 1970

Playback is presented as a short rehearsal in a double sense. It is a satellite of the constellation of works that Portabella dedicates to the analysis of the "materiality" of aesthetic and cultural languages (Vampir-Cuadecuc and Miró l`Altre among others can also be understood in this manner). At the same time, he analyzes the rehearsals that Carles Santos carries out for the playback recording of a film on the work of Antoni Gaudi. The choir of the Gran Teatro del Liceu of Barcelona reads fragments from Wagner`s Tannhauser, Lohengrin and the Valkyries. The film was shot in the theater "Lluïsos de Gràcia".

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Miró Tapís | Doc. expérimental | 16mm | couleur et n&b | 22:0 | Espagne | 1973
Pere portabella
Miró Tapís
Doc. expérimental | 16mm | couleur et n&b | 22:0 | Espagne | 1973

The film was commissioned by the Galeria Maeght for the Joan Miró exhibit organized by the French Ministry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film was shot in six days in Montroig del Camp (the Miró country home) and in Tarragona during the process of elaboration of an original tapestry for eight months using 1200 kilos of wool and 600 kilos for the warp. The tapestry was 6 meters wide and 11 meters long and weighed a total of 3,500 kilos. A special loom had tobe built to weave it. The day the twin towers of the World Trade Center in New York were attacked, September 11, 2001, the tapestry was hanging in the hall of the one of the towers and was destroyed along with it.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Miró forja | Doc. expérimental | 16mm | couleur et n&b | 24:0 | Espagne | 1973
Pere portabella
Miró forja
Doc. expérimental | 16mm | couleur et n&b | 24:0 | Espagne | 1973

The film was conmissioned by the Galeria Maeght to commemorate the Joan Miró exhibit organized by the French Minsitry of Cultural Affairs in the Grand Palais in Paris that opened on May 17, 1974. The film, that took five days to shoot, shows the smelting and casting process of the work known as Puertas Mallorquinas by Joan Miró. The filming team travelled to the foundry owned by the Parellada family in Llinars de Munt. The bronze sculptures weigh 1200, 800 and 650 kilos respectively and were cast in one piece in a kiln specially constructed for the occasion.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010La tempesta | Doc. expérimental | 35mm | couleur et n&b | 3:0 | Espagne | 2003
Pere portabella
La tempesta
Doc. expérimental | 35mm | couleur et n&b | 3:0 | Espagne | 2003

Naked bodies are buffeted by water accompanied by the music Il Temporale from the opera La Cenerentola and the overture to Il Barbiere di Siviglia both by Gioacchino Rossini. The film is part of a show by Carles Santos: El compositor, la cantante, el cocinero y la pecadora (The composer, the Singer, the Cook and the Sinner).

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010No al no | Doc. expérimental | 35mm | couleur | 3:0 | Espagne | 2006
Pere portabella
No al no
Doc. expérimental | 35mm | couleur | 3:0 | Espagne | 2006

Carles Santos plays one of his pieces on the piano. This film was made for the exhibit on Carles Santos ¡Visca el piano! held at the Miro Foundation in the summer of 2006.

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).

Catalogue : 2010Uno de aquellos | Doc. expérimental | 35mm | couleur | 5:0 | Espagne | 2009
Pere portabella
Uno de aquellos
Doc. expérimental | 35mm | couleur | 5:0 | Espagne | 2009

Ever since the 1960s, Pere Portabella involved himself in the movements against the Franco dictatorship and in support of liberties. In 1977, he was elected senator in the first democratic elections, and took part in the drafting of the Spanish constitution (1978). Since 2001, he has chaired the Fundación Alternativas. Before working as a director, with Films 59, he produced some of the most emblematic spanish films: Los golfos (1959) by Carlos Saura, El cochecito (1960) by Marco Ferreri and Viridiana (1961) by Luis Buñuel wich provoked a scandal that obliged him to move to Italy. In 1964, he wrote the screenplay for Il momento della verità with Francesco Rosi. He began directing in 1967 with No compteu amb els dits followed by his first feature-length film, Nocturno 29 (1968). Vampir-Cuadeduc (1970) is a key work in his filmography, togheter with Umbracle (1972), represents a phase of radical rupture with the production of those years and marked him as one of the most original forces in underground and avantgarde cinema of the time. After Informe General of 1976 he only returned to directing in 1989, with Pont de Varsòvia. In 2001, his films became part of the collection of the Barcelona Museum of Contemporary Art (MACBA). In 2002, he was the only Spanish artist to be invited to Documenta 11 in Kassel. In 2008, the Museum of Modern Art of New York (MoMA) acquires a copy of Vampir-Cuadecuc and Die Stille vor Bach (2007).