Beyond Les Rencontres Internationales, video and multimedia exhibitions are curated at the invitation of museums and art centres. They offer critical and progressive insight into areas with shifting boundaries, bringing together the aesthetic, social and political questions of our time, including issues related to changing modes of production and distribution.
BoCA Biennial of Contemporary Arts
Lisbonne, Portugal | March 17 to April 30, 2017
The BoCA Biennial of Contemporary Arts, invites the Rencontres Internationales to curate a video show in the framework of the "Animal-House" public space project, and a carte blanche screening. The following artits have been chosen for the public space project: Ivan Argote, Olafur Olafson and Libia Castro, Marion Inglessi. For the carte blanche, a work by Philippe Grandrieux have been programmed.
Visit the Biennale web site   
March 23-30, 2017
Complexo do Corucheús – Lisbon
Exhibition, video cycle
Olafur Olafson & Libia Castro : Illusion Woman | 14’14’’ | Spain, Iceland, Germany | 2017
"The year is 2016. 62 people own the same wealth as half the world. 1.3 billion people live in extreme poverty, on less than $1.25 a day. The 62 multi-billionaires who own the same wealth as half the world could fit on a double-decker bus. I just have one question: who is driving the bus?". With those words Illusion Woman – a young leftist feminist heroine, or anti-heroine, for the 21st century, with, from and for the multitude – opens her first appearance, applying a dazzle mask as she speaks. Illusion Woman´s speech, written by Nina Power, British philosopher, activist and feminist, with Libia and Ólafur, is a plea and manifesto, reflecting on the socio-economic and political situation in Europe and beyond since the financial crash of 2008, and forecasting two possible futures.
Libia Castro (Spain) & Ólafur Ólafsson (Island) are based in Rotterdam and Berlin. The artists have been collaborating since 1997, they met during their post-graduate study in The Netherlands, after having studied design in Germany and art in The Netherlands (L) and art in Iceland and The Netherlands (Ó). With a conceptual and multidisciplinary approach and a contextual and site related practice Libia and Ólafur's works go from the creation of situations and experiential environments, to interventions, sculpture, video and photography. "Our work has developed through our dialogue, experiences on different sites and our interest in Conceptual Art and art movements like Fluxus, Life Art, Feminist Art, Arte Povera, Social Sculpture, Situationism and Neoconcretism". Libia's & Ólafur's work has been exhibited individually and in group shows among others at; Manifesta 7 Principle Hope, Rovereto, Italy 2008; Reykjavik's Art Museum, Iceland 2008; Kunstlerhaus Bethanien, Berlin 2008; Van Abbe Museum, Eindhoven, The Netherlands 2008; CAC Málaga, Spain 2007; Akureyri Art Museum, Iceland 2006; CAC Vilnius, Lithuania 2006; Art in General, New York, USA 2006; De Appel, Amsterdam, The Netherlands 2005; The Triennial for Contemporary Art, Design and Architecture, Hasselt, Belgium (2005), Witte de With, Rotterdam, The Netherlands 2004; Platform CAC Istanbul,Turkey 2003 and The Havana Biennale, Cuba 2003. Their work has been reviewed in publications such as; Contemporary (UK), Untitled (UK), Art.es (ES), Artecontexto (ES), Art in America (USA), C -Magazine (CA), Time Out Istanbul (TR), NRC (NL), Metropolis M (NL), Mister Motly (NL), Sjónauki (IS), XXI Magazien for Architecture (TR), Kunstbeeld (NL), Arte-e-Critica (IT) and in numerous catalogues and other specialized publications. Libia & Ólafur have won the shortlist basis price of Prix de Rome 2009 in The Netherlands and in 2007 were nominated for the French prize Prix Gilles Dusein for photography and video. The year 2006 they were nominated for the cultural price of DV in Iceland. They have also been awarded various grants and residencies and thought and given workshops and lectures at various art academies and universities in bachelor and master degrees.
Ivan Argote : Barcelona | 5’16’’ | colombia, Spain | 2014
The video, set in Barcelona, shows the artist performing an iconoclastic action. During the night, using fire and a bottle of absinth, Argote sets on fire a statue representing a bishop showing the way to a native. The statue is on the pedestal of the Columbus monument, in the Christopher Columbus circle at the end of the Rambla, close to the harbour. By setting this symbol on fire, the artist shows all his disapproval of the European vision of colonisation, in which the colon is a hero.
Ivan Argote is Colombian artist who lives and works in Paris, Argote deals with the way that man relates with the myriad changes that take place daily in the historical, economic, political and moral realms. His aim is to question the role of subjectivity in the revision of these concepts. Argote involves the body, and emotions in the construction of his thinking, and develops methods to generate reflexion about the way we construct certainty in relation with politics and history. By creating interventions and performances for the public space, which are sometimes further developed in the format of films and installations, the artist explores the city as a space of transformation. His works has been shown in several cities all around the world, including: Intersections, Cisneros Fountanals Foundation, Miami, 2015; Between the Pessimism of the Intellect and the Optimism of the Will, 5th Thessaloniki Biennale, Thessaloniki, 2015; Levitate, Museum Quartier, Vienna, 2015; L’éloge de l’heure, MUDAC, Lausanne, 2015; Reddish Blue (solo), DT Project, Brussels, 2014; Let’s write a history of hopes (solo), Galeria Vermelho, Sao Paulo, 2014; Strengthlessness(solo), Galerie Perrotin, Paris, 2014; La Estrategia (solo), Palais de Tokyo, Paris (2013); Un millon de amigos (solo), Galeria ADN, Barcelona (2013); Tectonic, Moving Museum, Dubai (2013); Los irrespetuosos, Museo Carrilo Gil, México DF (2013); 30th Sao Paulo Biennial, Sao Paulo (2012); Sin heroísmos, por favor (solo), CA2M, Madrid (2012); Girarse, Joan Miró Fundation, Barcelona (2012), among others.
Marion Inglessi : Catastrophe | 5’ | Greece | 2015
The video explores the theme of unseen and unforeseen catastrophe. Catastrophe is the fatal turning point or resolution in Ancient Greek drama. The word catastrophe in Greek and Arabic bears the same weight: the catastrophe of Asia Minor, the Exodus from Palestine. When catastrophe strikes, the visual equivalent of extreme shock is to drop whatever one holds in one’s hands. The `unbreakable` Duralex glasses were created in France in the late 50’s and have today become a classic. A symbol of strength and durability, they have spread around the whole world and have been photographed in the hands of Afghan tribesmen, James Bond, and even Osama bin Laden. The ‘Western’glasses are shot in slow motion as they fall to the ground, bounce, alternate and merge with the more fragile Arabic tea-glasses in a silent and ultimately shared - dance of death. Letters hit the falling glassware with the rhythmic intensity of gunshots, spelling the word catastrophe in Greek (καταστροφή), English, and Arabic (nakba). Catastrophe is a reflection on the current events in the world and the increasing loss of value of human life.
Marion Inglessi is a visual artist, scene designer, curator. Born in Athens, she lived in Ghana, Nigeria, Lebanon, Italy, France and USA. After a BA in English Literature, she received an MFA in Theatre Design from Brandeis University, Boston, U.S.A. (1986-89). She attended Istanbul Bilgi University, Turkey on an Erasmus scholarship (2010-11). In 2014 she received an MFA from the School of Fine Arts, Aristotle University, Thessaloniki. She has worked as a designer for theatre, opera, film and advertising, in New York, Paris, Athens (1989-2003). She was Head of exhibitions & curator at the Thessaloniki International Film Festival (2005-2009), for film directors Nico Papatakis, William Klein, Werner Herzog, Wim & Donata Wenders, Eve Sussman, Nuri Bilge Ceylan, Guillermo del Toro, Cao Fei, and others. In 2015 she co-created a video animation project for refugee children & adolescents in Athens shelters. She has had two solo painting and sculpture exhibitions while participating and curating a number of group shows. Her work is in private collections in Greece, France, Switzerland and Turkey and the Macedonian Museum of Modern Art. Her video Catastrophe participated in the video survey Fireflies in the Night Take Wing, at the SNFCC, Athens, 2016.
April 27, 2017 2017
São Jorge Movie Theatr - Lisbon
Philippe Grandrieux : Meurtrière | Experimental film | 61’ | France | 2015
The theme of Meurtrière is The Thing. The Thing is senseless, insane, intolerable, hysterical, grotesque, phobic, dangerous, brutal, consuming, wild, sexual, unpredictable, staggering, frenetic, atrocious, anxious, frightening, ecstatic, desirable, vulgare, perverse, embarrassing, shameless nervous, obscene, sacred, furious, murderous. But first, without intention. With dancers: Émilia Giudicelli, Vilma Pitrinaite, Hélène Rocheteau, Francesca Ziviani.
Philippe Grandrieux was born in 1954 in France. He studied movies at the INSAS (Institut National Supérieur des Arts du Spectacle) in Brussels and started his career as a moviemaker by shooting fictional films and documentaries. Since the eighties, he has been working in collaboration with the French Institut National de l’Audiovisuel (INA) where he has been inventing new cinematographic forms and formats that put into question central notions in film writing such as the notions of documentary, information and film essay. In 1990, he created the film research lab “Live” which produced one hour long sequences by Thierry Kuntzel, Robert Kramer and Robert Frank. He also taught movies from time to time at la FEMIS (Fondation Européenne pour les Métiers de l’Image et du Son) and at l’Ecole à l'Ecole Nationale Supérieure des Beaux Arts (Paris).
His uncompromised vision of Art, leads him to push the boundaries of the cinematographic fields he is working on. As a consequence, he is always producing an inventive and radical cinema. His first two full-feature movies Sombre (which won an award at the Locarno Film Festival) and La Vie Nouvelle (A New Life) are exemplar of Grandrieux’s creativity in photography, sound and narration. Grandrieux’s films, deriving from horror movies and experimental movies, give the viewer intense sensorial experiences. His work has been influenced by the work of Edmond Bernhard, his teacher at the INSAS, Murnau, Robert Bresson, Jean-Marie Straub, Danièle Huillet, Rainer Werner Fassbinder, Stan Brakhage and also by his readings of Marc-Aurèle, Spinoza and Gilles Deleuze’s work.
He has been awarded at the Locarno Festival in 1998. In 2008, the Uplink in Tokyo payed him a tribute ; some of his works have been screened at the Tate Modern in London. His work have exhibited in Venice, Pusan, London, Manille, Montreal, at the FID Marseille, the Pompidou Center in Paris Jerusalem, Buenos-Aires, Las Palmas (where he gets the best photography award), Mexico, Pragua, Hong Kong. He is awarded in 2008, at the 65th Venice Mostra. In 2011 he is granted the « New : Vision Award » at the CPH:DOX, Copenhagen International Documentary Film Festival ; in 2012 he won the « Grand Prix Expérimental » at the Festival Côté Cour in Pantin. In 2013, his work exhibited at the Rotterdam Festival, the Lincoln Center-New York and then in Mexico, Istanbul, Lima, Edimbourg, Wrocław.