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  
Wojciech kasperski
Catalogue : 2006Nasiona | Documentaire | dv | couleur | 27:9 | Pologne | 2005
Wojciech kasperski
Documentaire | dv | couleur | 27:9 | Pologne | 2005

A small village in the beautiful mountains of southern Siberia. A family living out of the way, not accepted by the society. They have their own secrets. Step by step, we get involved in their mysterious world. Strong characters, complicated relationships, and an uncovered story in the background. No fiction. Real world, no matter how surrealistic it appears to be. Real people. Real life. Real story.

Katharina kastner
Katharina kastner
Catalogue : 2019Villa Empain | Doc. expérimental | 16mm | couleur et n&b | 24:30 | Autriche | Belgique | 2019
Katharina kastner
Villa Empain
Doc. expérimental | 16mm | couleur et n&b | 24:30 | Autriche | Belgique | 2019

A unique blend of Bauhaus and Art Déco, the marvellous Villa Empain has had many different lives since it opened in 1934. A story of survival. ____ VILLA EMPAIN draws a mental map of a space, as it goes through time. Concrete marble, brick and steel: little else made by human hands seems as stable, as immutable, as a building. Yet the life of any structure is neither fixed nor timeless. Outliving their original contexts and purposes, buildings are forced to adapt to each succeeding age. To survive, they must become shapeshifters. VILLA EMPAIN compares the life of Louis Empain and his creation. It bears witness to how a fixed idea, an architect’s dream, has disappeared in favour of a living architecture. The work is activated.

Katharina Kastner is an Austrian filmmaker working in Vienna and Brussels. She studied directing at TISCH School of the Arts in NYC and LUCA, Brussels. Her experimental short film about a museum of contemporary art, VILLA EMPAIN, builds upon the concept of psychogeography and draws a mental map of a space as it goes through time. Katharina Kastner’s films combine documentary, essayistic and experimental elements. She is interested in fragile environments and the people behind these, using the camera to explore inner and outer transformations. Time and memory are recurring themes in her work.

Eszter katalin
Catalogue : 2018Mária Vörösben | Vidéo expérimentale | hdcam | couleur | 28:39 | Hongrie | Autriche | 2018
Eszter katalin
Mária Vörösben
Vidéo expérimentale | hdcam | couleur | 28:39 | Hongrie | Autriche | 2018

A woman visits a prison in the village of Márianosztra (Hungary) to find out more about the ongoing production of barbed wire by the inmates of the institution for various European border fences. Subsequently, she engages in a research about those women who were imprisoned there for being communists and antifascists between 1920 and 1944 at a time when it was run by nuns as a place to "re-discipline" the sentenced person through labor and prayer. The voice of a ghost belonging to a female political prisoner follows her as she is trying to connect past and present through gestures of mourning.

Eszter Katalin (born 1991, Budapest) is an artist based in Vienna. She has recently finished her master`s degree in Critical Studies at the Academy of Fine Arts in Vienna (2015-2018). In her works she focuses on the tensions between political struggles and their representation within a so-called critical artistic practice, departing frequently, but not solely, from Hungary’s social context as marked through its politics of memory and exclusion. Her latest works include her film MEGSZAKÍTÁS* Civil Aktivizmus Magyarországon (MEGSZAKÍTÁS* Civil Activism in Hungary, video in four parts, 76 min, 2017), Versammlung (Coming together, audio piece, 9 min, 2017) and Mária Vörösben (Mary in Red, video, 28:39 min, 2018).

Julia kater
Catalogue : 2016Breu | Vidéo | hdv | couleur | 4:0 | Brésil | 2016
Julia kater
Vidéo | hdv | couleur | 4:0 | Brésil | 2016

In Breu (Pitch black), the recorded images present, in a non-linear montage, the semi-artisanal paving process of a rectangle arbitrarily drawn in the middle of a vacant lawn. The soundtrack brings a circular text that overflows in modal adverbial adjuncts (mainly right and wrong),without defining any clear object, the text builds the speech in an endless cycle, onto which the ideas of progress and evolution cannot be applied.

JULIA KATER | 1980 ‘ Paris, France Lives and works in Sao Paulo, Brazil. Graduated in Photography from the School of Advertising and Marketing - ESPM (Sao Paulo - Brazil). The research of the artist Julia Kater is guided in the elaboration of a body of work that can treat it from its visual improbability. Whether by the collage brought about by different overlaid photographic prints, which announces a watchful sky ‘ despite its invisible character ‘ or by videos that bring about the rearrangement of a set of actions and phrases, each work in its own way prioritizes the elaboration of bodies from everyday scenes that suggest simultaneous shared experiences with the persistent memory together with its struggle with forgetfulness, its ally and the cause of the gradual loss of a large part of the truths. Kater regularly participates in exhibitions in Brazil and abroad, in countries like France, USA, Belgium and Portugal.

Vytautas katkus
Catalogue : 2020Kolektyviniai sodai | Fiction | 16mm | couleur | 15:0 | Lituanie | 2019
Vytautas katkus
Kolektyviniai sodai
Fiction | 16mm | couleur | 15:0 | Lituanie | 2019

Patriarchal masculinity seems to catch its last breath in the sun. A story about a cold relationship between a father and his son. Their bond, plagued by indifference, disintegrates completely. ?

Born in 1991 in Vilnius, Lithuania, Vytautas Katkus graduated with a Bachelor's Degree in cinematography from the Lithuanian Academy of Music and Theatre. He works as cinematographer in movies as well in video art projects. He won best young cinematographer award by Lithuanian Association of Cinematographers in 2014 and 2015. Since 2016 he is a member of Lithuanian Association of Cinematographers. ?Kolektyviniai sodai (Community Gardens), his debut short film, is selected at the 58th Semaine de la Critique.

Timo katz
Catalogue : 2006Whirr | Vidéo expérimentale | dv | couleur | 3:0 | Allemagne | 2006
Timo katz
Vidéo expérimentale | dv | couleur | 3:0 | Allemagne | 2006

C'est de façon rythmée que se révèlent les variations que les habitants d'un lotissement ont apportées au modèle standardisé de leur maison. La caméra ouvre, sur l'organisation schématique des bâtiments, un espace de pluralité et de constante variabilité. Les transformations de la surface architecturale apparaissent par oscillations. Le concret danse - sur la piste de l'abstrait.

Timo Katz est né en 1977 à Siegen. De 1999 à 2006 il étudie la photographie et le design de films à l'Ecole Supérieure de Bielefeld et obtient son diplôme de designer en Février 2006. Il vit à Bielefeld et travaille sur des projets de films expérimentaux ainsi que sur des commandes.

Timo & Jan katz & fuchs
Catalogue : 2008die Welt | Installation vidéo | dv | couleur | 5:0 | Allemagne | 2008
Timo & Jan katz & fuchs
die Welt
Installation vidéo | dv | couleur | 5:0 | Allemagne | 2008

Le travail vidéo expérimental ?Die Welt? porte sur la perception spatio-temporelle dans notre expérience visuelle du monde. Notre perception est non seulement définie par la photographie, mais surtout par les règles de la perspective centrale. Celle-ci montre et explique le monde visible à travers une simplification schématique. Le travail présenté s?intéresse à l?utilisation élargie de la caméra comme prothèse d?observation pour la découverte et la reconnaissance du visible. La perspective centrale est ici éventrée et déstructurée. L?espace visuel, s?appuyant sur le panorama d?un paysage urbain, est transcrit en une multiperspective parallèle, que l?on atteint en séparant l?image de la caméra en tranches ordonnées à la verticale, et qui ressemble ainsi à la perspective de prise de vue d?un scanner. La pièce, envisagée à travers ce procédé de destructuration, subit un décalage autant spatial que temporel. Le montage, et seulement le montage, permet ainsi de rendre visible un Espace-Temps-Vision alterné. Il se pose la question de la signification, pour notre perspective visuelle, de l?élargissement technique croissant de notre outil d?observation, et de ses conséquences au présent et à l?avenir. Il souligne en outre notre tendance à nous appuyer de plus en plus sur des modèles de perception déjà construits.

Timo Katz est né en 1977 à Siegen. Il étudie le design photo- et filmographique à l?Ecole Supérieure de Bielefeld où il obtient son diplôme en 2006. Il travaille depuis 2002 dans le domaine des vidéos et films expérimentaux. Il vit et travaille actuellement à Leipzig. Il forme avec Jan Fuchs le groupe indépendant de recherches visuelles Katz&Fuchs. Jan Fuchs est né en 1976 à Hamburg. Il étudie le design photo-et filmographique à l?Ecole Bielefeld et obtient son diplôme en 2004. Il travaille depuis 2002 dans le domaine des vidéos et films expérimentaux. Il vit et travaille à Kassel. Il forme avec Timo Katz le groupe indépendant de recherches visuelles Katz&Fuchs.

Yuki kawamura
Catalogue : 2005Sekainoaté | Fiction | dv | couleur | 53:0 | France | 2005
Yuki kawamura
Fiction | dv | couleur | 53:0 | France | 2005

Haruto conduit au hasard sur les routes désertes d?Hokkaido et prend en stop un homme lapin qui lui offre un masque. Tetsu recherche la part de lui-même qu?il a perdue. Sona se désintéresse du mal-être de Tetsu. Miwa hésite à suivre l?homme lapin dans un monde qui lui est inconnu? Des lignes de vie encore incertaines qui se connectent et se déconnectent entre réel et imaginaire..

Yuki Kawamura est né à Kyoto au Japon. Après des études de cinéma, il réalise en 1999 son premier film NUMERO 2 qui est toujours distribué au Centre Georges Pompidou à Paris et au musée Hara à Tokyo. Il commence alors un véritable travail sur la lumière, le réel et l`imaginaire mais aussi sur les couleurs et l`image.

Naomi kawase
Catalogue : 2006Naissance et maternité | Documentaire | dv | couleur | 60:0 | Japon | 2005
Naomi kawase
Naissance et maternité
Documentaire | dv | couleur | 60:0 | Japon | 2005

Naissance et maternité Réalisatrice : Naomi Kawase Producteur : Sento Inc. Naomi Kawase 60? La cinéaste Naomi Kawase, devenue mère, poursuit dans ce nouveau film documentaire, son ?uvre personnelle d?interrogation du monde. En effet, le 24 avril 2004 à 10h40, naissait son fils Mitsouki. La naissance a eu lieu, de manière traditionnelle, sans médecin, avec la seule assistance d?une sage-femme, dans une vieille maison japonaise, sur un tatami. Naomi Kawase y était entourée des membres de sa famille. Quand le cordon ombilical a été coupé, Naomi a pris la caméra et enregistré ce moment hautement symbolique, de même qu?elle a filmé toutes les personnes qui l?ont affectueusement assistée. Depuis, Naomi Kawase vit et filme au jour le jour son fils et sa grand-mère de 90 ans dans leur vieille maison de Nara. Le film se développe sur deux dimensions : celle de l?enfant grandissant sous le regard attentif de sa mère et de son arrière grand-mère et celle de la propre enfance de Naomi Kawase racontée à la première personne.

George kazazis
Catalogue : 2005Mickey, Mickey where are you? | Art vidéo | dv | couleur | 3:25 | Grèce | 2004
George kazazis
Mickey, Mickey where are you?
Art vidéo | dv | couleur | 3:25 | Grèce | 2004

Nous sommes constamment inondés par des images de violence, et en même temps par des images de styles de vie. Le contraste est sans conteste énorme. Les sentiments variant, mais, de n?importe quelle manière nous les regardons, les deux genres existent avec tellement de vie qu?ils en sont indispensables. Le matin du 20 avril 1999, deux jeunes américains, Eric Harris, âgé de 15 ans et Dylan Klebal, âgé de 18 ans, vinrent à leur collège de Colombia dans la ville de Littletown aux Etats-Unis, emportant avec eux des armes à feu et des grenades à main. Ils tuèrent 14 de leurs camarades et un professeur. La plupart des victimes se trouvèrent dans la cafétéria de l?école. L?incident dans son ensemble fut enregistré par les caméras de sécurité de l?établissement. L?évènement est si important en lui-même qu?il a même éclipsé la lumière d?un symbole national. La vidéo commence avec Mickey et Minnie Mouse dans différentes poses, courant, virevoltant dans un nuage de couleurs vives. Est-ce que c?est une fête ou un bain de sang ? La musique qui vient de la chanson "My Cat Fell In The Well" (1983) par Manhattan Transfer les accompagne, néanmoins insouciant et à la fois persistant. La chanson raconte d?une manière douve une histoire dramatique d?un beau chat-star qui est tombé dans un puit et la détresse de son propriétaire quand il l?a retrouvé. Soudain, la musique s?arrête et la vidéo montre des visages d?enfants tués sans foi ni loi, les mêmes enfants qui croyaient en l?innocence de ce Mickey Mouse ou n?importe quel autre Mickey Mouse. Pour notre salut, ces images stoppent et Mickey réapparaît, la musique recommence. La fin ne nous concerne plus. Cela ne pourrait jamais nous arriver.

Georges Kazazis est né à Atlanta en 1958 où il travaille et vit. Il est allé enseigner à l?école des Beaux-Arts d?Athènes à partir de 1990. Il fut aussi membre du Project Sapce Athènes (un espace pour plusieurs artistes fondé en 2000-2001)

David kelley, patty chang
Catalogue : 2018Spiritual Myopia | Film expérimental | hdv | couleur | 15:0 | USA | 2018
David kelley , patty chang
Spiritual Myopia
Film expérimental | hdv | couleur | 15:0 | USA | 2018

Spiritual Myopia is a film dealing with the invisible labor and desire of the residents of the oil industry boom towns of Fort McMurray in the Canadian Tar Sands and the refining town of Port Arthur Texas. The two cities are terminal nodes of the proposed Keystone XL oil pipeline which would span the United States. Fort McMurray is the third largest oil deposit in the world. Its rapid pace of growth has meant a dearth of housing for its migrant workers. Port Arthur boasts the world’s largest concentration of oil refineries and its town center has nearly disintegrated from economic decline. These twin cities are related spatially as nodes in the same energy infrastructure, and temporally in their different stages of a boom or bust economy. Borrowing its title from Alfred Stieglitz’s photo Spiritual America, Spiritual Myopia speaks to the nearsightedness innate to hypercapitalism.

Spiritual Myopia is a collaboration between artists David Kelley and Patty Chang Patty Chang (Lives and works in Los Angeles, CA) Patty Chang is an artist working in performance, video, writing, and installation. Her work has a capacity to explore complex subjects nearly simultaneously, as does life. Her work has been exhibited nationwide and internationally at such institutions as the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; New Museum, New York; BAK, Basis voor actuele Kunst, Utrecht, the Netherlands; the Hammer Museum, Los Angeles; Fri Art Centre d’Art de Freibourg, Fribourg, Switzerland; Chinese Arts Centre, Manchester, England David Kelley (Lives in Los Angeles California, CA.) David Kelley’s work is a hybrid of experimental documentary and ethnographic practices that make use of imaginary, choreographic and performative strategies. His work has been shown in galleries throughout the world. Recently, he has had exhibitions at the Museum of Modern Art in New York, White Box in Portland Oregon, and Commonwealth and Council in Los Angeles. Other recent exhibitions include The Bank in Shanghai, New Art Center, the de Cordova Biennial in Boston, BAK in Utrecht, MAAP space in Brisbane Australia.

Graham kelly
Catalogue : 2016Skull Island | Doc. expérimental | hdv | couleur et n&b | 18:7 | Royaume-Uni | Pays-Bas | 2016
Graham kelly
Skull Island
Doc. expérimental | hdv | couleur et n&b | 18:7 | Royaume-Uni | Pays-Bas | 2016

Skull Island is an ongoing series of video works, lectures and installations that use the fictional island from the various versions of King Kong as analogies for hypothetical image environments. Each island provides a means of manifesting and examining an introspective image space that reflects the sociopolitical contexts of its audience. The cultural and technological developments displayed within each version of the film define relative positions from which the viewer can question their current perceived surroundings. After being captured by a camera crew within this otherwise inaccessible territory, Kong escapes into the physical context to confront the audience with their internal fears and shared cultural constructs.

Graham Kelly (b. 1982, Ayr, Scotland) is an artist and writer based in Rotterdam and Brussels. Previous exhibitions, screenings and lectures include: Transmission Gallery (Glasgow), Intermedia (Glasgow), Generator Projects (Dundee), Kino der Kunst (Munich), TENT (Rotterdam), EYE Film Museum (Amsterdam) and the 2016 Moscow International Biennale for Young Art. He graduated from the Glasgow School of Art in 2009 with a Masters in Research and with a Masters in Fine Art in 2014 from the Piet Zwart Institute, Rotterdam. He was a resident at the Jan van Eyck Academy in Maastricht between 2015 and 2016 and is the recipient of the Mondriaan Fonds Werkbijdrage Jong Talent and Centrum Beeldende Kunst O&O subsidies and a Scottish Arts Council Creative and Professional Development Award.

Catalogue : 2017Hello Joe | Vidéo | hdv | couleur | 18:40 | Royaume-Uni | Pays-Bas | 2017
Graham kelly
Hello Joe
Vidéo | hdv | couleur | 18:40 | Royaume-Uni | Pays-Bas | 2017

Hello Joe was covertly produced overnight in a series of rented Airbnb accommodations. It is constructed entirely from elements found and filmed within a number of private homes that were accessed through the online service. Furnishings, ornaments and extracts from various personal book, CD and DVD collections act as a singular workable archive. The resulting film is comprised of a series of vignettes that examine the objects and media that we intimately live with and the ideologies that they preserve. Domestic spaces are merged together in this portrait of an emerging corporate territory within the declining value of privacy.

Graham Kelly is an artist, filmmaker and writer. His practice is situated in the interface between contemporary forms of image, the physical body and environment. By considering this interaction as an engulfing and continuous state or effect, his work seeks to expose and dissect power structures that are cast, distorted or enforced within it. His works have been screened and exhibited in a number of international contexts that include: Recontres Internationales, Kino der Kunst, Lo schermo dell’arte, EYE Filmmuseum, TENT, Transmission, Intermedia, Generator Projects and The Moscow Biennale for Young Art. He was a resident at the Jan van Eyck Academy in 2015/16.

Kevin kelly
Catalogue : 2017Some acts around rocks and stones. (Part 1) | Doc. expérimental | hdv | couleur et n&b | 16:2 | USA | 2017
Kevin kelly
Some acts around rocks and stones. (Part 1)
Doc. expérimental | hdv | couleur et n&b | 16:2 | USA | 2017

Marcel Duchamp talks about an absurd 'readymade'. An art dealer creates a discourse using the idea of the 'readymade'. An art historian talks about her long time relationship observing Robert Smithson's Spiral Jetty. These personal micro-histories around paradigm shifting artists offers hidden knowledge around the common art historical narrative. While the artist turns over the rocks of the Spiral Jetty, bringing back the experiential quality to an artwork that is mostly known through images.

Jean-paul kelly
Catalogue : 2006The Lie in Wait | Vidéo expérimentale | dv | couleur | 30:56 | Canada | 2005
Jean-paul kelly
The Lie in Wait
Vidéo expérimentale | dv | couleur | 30:56 | Canada | 2005

"The Lie in Wait" comprend une composition digitale et un documentaire vidéo personnel formant et examinant des histoires familiales dont les épisodes sont liés. L´oeuvre contient des scénarios animés et des interviews avec les parents de l´artiste qui, combinés, presentent souvent des convergences entre mythologies issues des traditions vernaculaires d´histoires familiales et mythes transmis par des moyens cinématiques mieux reconnus. Beaucoup des anecdotes utilisées dans la narration de ces histoires utilisent la métaphore pour créer du sens et partager une histoire. Ces histoires sont là pour être racontées et répétées, observées et regardées à nouveau. Au cours du processus, la narration de ces contes prend un sens métaphorique. Entre chaque épisode de la vidéo, des métaphores visuelles et linguistiques se répètent et se révèlent être les symptômes des répressions des conteurs. Caché derrière ces symptômes, il y a souvent un traumatisme latent. Quand ces métaphores deviennent non identifiables dans "The Lie in Wait", grâce à l´effet conjugué de ces incursions dans la mémoires des conteurs et de l´étrangeté de l´animation, le traumatisme remonte à la surface et réapparaît.

Jean-Paul Kelly (né en 1977, Londres, Ontario, Canada) est un artiste basé à Toronto, Ontario, Canada. Il se concentre essentiellement sur des installations basées sur la vidéo, mais son travail comprend aussi du dessin, de la photographie et des moyens d´impression. Ses vidéos les plus récentes, "Give Up the Ghost" (2004) et "the Lie in Wait" (2005), intègrent un langage hybride de compositions digitales, animation, performance vidéo et documents vidéo personnels qui se penchent sur l´anticipation, l´anxiété et la disparitions des contes oraux. son oeuvre a déjà été exposée dans des festivals et galleries d´Amérique du Nord, d´Europe et du Japon.

Eva Rocco kenell
Catalogue : 2017Trail | Vidéo | hdv | couleur | 24:6 | Suède | 2015
Eva Rocco kenell
Vidéo | hdv | couleur | 24:6 | Suède | 2015

In this film about a falsified InterRail ticket, a chain of events and links arise which leads the filmmaker on a journey. Where fiction in a performative manner seems to materialize itself and create a piece of reality that seems to imitate fiction. The protagonist in the film is never to be seen, instead we follow her voice through staging and documents while the story is being mediated.

Eva Rocco Kenell (b. 1982 Växjö, Sweden) holds a BFA from Gerrit Rietveld Academy in Amsterdam and a MFA from Konstfack University of Arts and Craft, Stockholm where she graduated with the honorable Principal scholarship. Kenell’s artistic practice is based on a documentary ground, even though the intentions are rather to break down classical narratives and normative storytelling. Not only concepts surrounding fiction and reality are central, but also questions around which one of the two is creating the other. Kenell`s methodology consists of a research based practice with a focus on micro-histories, where she explores single events and where details in a story can become the new center and the place which the focus is transferred to. Kenell`s practice brings up notions concerning the role of the documentary, storytelling, concept of truth and imitation. And at the same time it opens up for questions around freedom of movement and counter-strategies.

Chris kennedy
Catalogue : 2020The Initiation Well | Film expérimental | super8 | noir et blanc | 3:30 | Canada | 2020
Chris kennedy
The Initiation Well
Film expérimental | super8 | noir et blanc | 3:30 | Canada | 2020

The Quinta da Regaleira in Sintra, Portugal is a huge estate that has two wells for performing initiation ceremonies built into the ground. This film takes us into one of them.

Chris Kennedy (b. 1977 Easton, Maryland, raised Cambridge, Maryland) is an independent filmmaker, film programmer and writer based in Toronto. He is the Executive Director of the Liaison of Independent Filmmakers of Toronto. He programmed for the Images Festival from 2003-06, Pleasure Dome from 2000-06 and for TIFF Cinematheque’s The Free Screen/Wavelengths from 2012-2019. He co-founded and co-programmed Early Monthly Segments from 2009 to 2018. His short experimental films have screened at over one hundred film festivals worldwide and have been featured in solo shows at the Canadian Film Institute, Los Angeles Film Forum, Nam June Paik Art Center, the La Plata Semana del Film Experimental and the Pacific Film Archive. His film “Watching the Detectives” won the Ken Burns Award for the Best of the Festival at the Ann Arbor Film Festival in 2018. He has presented the work of others in Belgium, Egypt, Germany, the US and Canada. He holds an MFA from the San Francisco Art Institute, where he was co-founder and host of a weekly film salon. His work as an artist and programmer operates in dialogue with the history of film as art, exploring the medium’s materiality in a contemporary context.

Chris kennedy
Catalogue : 2010lay claim to an island | Doc. expérimental | 16mm | couleur et n&b | 12:0 | Canada | Tuvalu | 2009
Chris kennedy
lay claim to an island
Doc. expérimental | 16mm | couleur et n&b | 12:0 | Canada | Tuvalu | 2009

Texts from the 1969 American Indian Occupation of Alcatraz and letters from supporters propel an exploration of political yearning, emancipatory architecture and failed utopias. What does it mean to claim land that has more value as a symbol than as a potential home? And how does that symbol function beyond the boundaries of its geographic limits?

Chris Kennedy is an independent filmmaker, programmer and writer currently living in Toronto. He programmed for the Images Festival from 2003-06, Pleasure Dome from 2000-06 and co-founded the ongoing screening series Early Monthly Segments in 2009. His short experimental films have screened at over one hundred film festivals worldwide and he has presented film programs in Egypt, Belgium, Germany, the US and Canada. He holds an MFA from the San Francisco Art Institute.

Mark kent
Catalogue : 2016Hippopotamus | Fiction expérimentale | hdv | noir et blanc | 4:28 | Irlande | 2016
Mark kent
Fiction expérimentale | hdv | noir et blanc | 4:28 | Irlande | 2016

Hippopotamus synopsis A figure in a laboratory observers preserved specimens in jars Do they come to life? He begins to attend to the specimens The disks of a main frame computer begins to run He is now inside a container were many animals were housed many seem to be dead One animal a hippopotamus is still alive The figure plays and interacts with the hippopotamus in a pool among many dead fish The figure returns to the laboratory and his duty of attending the computers memory disks.

an irish artist graduated from uic with an MFA in studio art in 2012 resident at rijksakademie amsterdam 2001 2002

Djamel kerkar
Catalogue : 2013Arkhabil | Documentaire | hdv | noir et blanc | 12:45 | Algérie | Maroc | 2013
Djamel kerkar
Documentaire | hdv | noir et blanc | 12:45 | Algérie | Maroc | 2013

Dans une usine de l?archipel des ruines modernes. Deux silhouettes. Masculine et féminine. Dure et soyeuse. Suspendues à leurs ombres. Contemplent le temps qui passe, et sacrifient leurs corps au travail. Fragments d?une journée à leurs côtés

Djamel Kerkar est né à Alger, en Algerie. Il a passé une partie de son enfance a Tunis, et a travaillé a Alger comme animateur et programmateur de cinéclub (Cinéclub chrysalide). Il est diplômé en tant que réalisateur de l?école des arts visuels de Marrakech au Maroc. Il réalise son premier travail en 2012, le court métrage documentaire « Archipel » suivi de « Earth Is Full Of Ghosts » une Fiction librement inspiré du malentendu d?Albert Camus. Il développe plusieurs projets en Algérie

Nicolas keroulas
Catalogue : 2020Tasmant | Fiction expérimentale | 4k | couleur | 23:5 | France | 2020
Nicolas keroulas
Fiction expérimentale | 4k | couleur | 23:5 | France | 2020

Une nuit, un homme étrange apparaît. Arrivé non loin des côtes, il croise le chemin d’un fantôme qu’il se décide à suivre.

Nicolas Keroulas est né en 1997.