THURSDAY 08 MAY
16:30

INVITED PROGRAM
POINTLIGNEPLAN

Valerie JOUVE : Grand Littoral
Fiction documentaire | 35mm | couleur | 0:20:00
France | 2003

Cecile PARIS : Bianca 2002
Vidéo | dv | couleur | 0:03:12
France | 2002

Christelle LHEUREUX : Bingo Show
Vidéo | dv | couleur | 0:08:00
France | 2002

Arnold PASQUIER : Pendant ce temps, dans une autre partie de la forêt
Vidéo | dv | couleur | 0:25:00
France | 2007

The last twenty years have witnessed the displacement of a number of artistic borders. The relationships between cinema and video, cinema and photography, and fiction and documentary have not ceased to feed forms and attitudes. Worried about its support, its stakes, and its history, cinema has been one of these critical knots. These questionings are today particularly sensitive to the crossing of plastic arts and cinema by a traversing look of plasticians towards cinema and filmmakers towards contemporary art. It is at this crossing that "pointligneplan" has been finding its stakes, since 1998, by regularly setting up film programmings. Originally organized with the cooperation of the Research Group et cinemagraphic experiments by Christian Merlhiot, and joined by Pascale Cassagnau, Vincent Dieutre, and Érik Bullot in 1999, the programming "pointligneplan" regularly presents, at La fémis or during free hands in festivals and cultural institutions, an ensemble of singular works: filmmakers, artists, and plasticians question and redefine the new distributions of the world and of image.

THURSDAY 08 MAY
18:00
> Salon de Actos Sabatini


LIEN / UNLINK

Gordon MATTA-CLARK : The wall
Doc. expérimental | 16mm | color | 0:15:04
USA | 1976-2007 

Daniel KÖTTER : Checkpoint
Experimental film | super8 | color | 0:07:13
Germany | 2006 [•]

Carlos TRONCOSO : Tan lejos, tan cerca
Animation | dv | color and b&w | 0:01:30
Peru | 2007 [•]

Bouchra KHALILI : Straight Stories - Part 1
Video | dv | color | 0:10:06
Morocco /Spain | 2006 [•]

Lia LAPITHI SHUKUROGLOU : Receipt for marinated crushed olives
Video | dv | color | 0:03:30
Cyprus | 2006 [•]

Lia LAPITHI SHUKUROGLOU : Electricity
Video | dv | color | 0:02:30
Cyprus | 2006 [•]

Dana LEVY : The House by the wall
Video | dv | color | 0:04:43
Israel | 2005 [•]

Jenny MARKETOU : De_lete
Doc. expérimental | dv | color | 0:02:00
Grèce/USA | 2006 [•]

FENZ : Crossings
Experimental film | 16mm | color | 0:05:00
USA | 2006 [•]

Vincent MEESSEN : A Broken Rule
Video | dv | color | 0:02:06
Belgium | 2007 [•]

Kevin EVERSON : Emergency needs
Experimental film | 16mm | color | 0:07:00
USA | 2007 [•]

Herman ASSELBERGHS : Capsular
Doc. expérimental | dv | color | 0:24:00
Belgium /Spain | 2006 [•]

"The Wall" is the edit of a rare 1976 documentary of a performance by Gordon Matta Clark in Berlin, where he set off with the intention of blowing up a part of the Wall. Prevented by his friends from doing do, he writes "Made in America" and sticks publicity posters over the graffiti. Daniel Kötter films at Marienborn the old frontier between East Germany and West German, in two continuous shots, up to the moment when the two cameras cross over one another. Carlos Troncoso reworks a satelite map of Peru, inverting perspectives to global critical ends. Bouchra Khalili documents an experience of wandering in an ambiguous frontier zone where the physical and imaginary geographies become indiscernible. Lia Lapithi Shukuroglou documents the contemporary Chypriot situation with two of her typical features; one culinary, the other electrical. Dana Levy constructs her video from the starting point of photographs taken in an abandoned house on Palestinian territory near the wall of separation. Jenny Marketou films the frontier as a point of connection. The camera captures the human activities along the wire fence of separation between Mexico and the United States. Fenz creates a video response to the documentary of Chantal Akerman, «De l'autre côté» ("From the Other Side") and juxtaposes two points of view of the frontier, from one side and from the other. Taking up the codes of social protest, Vincent Meesen directs six characters brandishing words written in luminous letters, a political and poetic demonstration. Kevin Everson renders hommage to the cinema of Gus Van Sant, with a fiction/reconstruction of the African-American riots in Cleveland in 1968. Herman Asselberghs departs into the Spanish enclave of Ceuta, reflects on the pertinence or the insignificance of images; and on imprisonment as both symbol and symptom of a society.

THURSDAY 08 MAY
20:00
> Salon de Actos Sabatini


POST COLONIAL

Lawrence WEINER : Inherent in the Rhumb Line
Animation | dv | color | 0:07:00
USA | 2005 [•]

Alfredo JAAR : Muxima
Doc. expérimental | dv | color | 0:36:00
Chili/Angola | 2006 [•]

Ken JACOBS : Hanky Panky January 1902
Video | dv | black and white | 0:01:00
USA | 2007 [•]

Ken JACOBS : Nymph
Video | dv | color | 0:03:00
USA | 2007 [•]

Ken JACOBS : Capitalism: Slavery
Video | dv | black and white | 0:03:00
USA | 2006 [•]

Wendy MORRIS : Bully Beef
Animation | 16mm | black and white | 0:06:00
Afrique du Sud/Belgium | 2007 [•]

Teresa Maria DIAZ NERIO : Hommage à Sara Bartman
Video | dv | color | 0:05:00
Dominicaine (Rép.)/Pays-Bas | 2007 [•]

Ane LAN : Afrika
Video | hdv | color | 0:04:34
Norvège | 2007 [•]

Gavin YOUNGE : Alyscamps
Video | dv | color | 0:08:00
Afrique du Sud | 2007 [•]

Steven COHEN : Maid in South Africa
Video | dv | color | 0:12:00
Afrique du Sud | 2005 [•]

Lawrence Weiner offers a conceptual reading of the "rhumb line", a line of constant navigation, which in a certain way justified systemized pillaging on voyages of discovery. Alfredo Jaar filmed in Angola different interpretations of a song written in the 1950s by one of the founders of the country's liberation movement. Ken Jacobs refilms, reframes, redits, images from the beginning of the C20th, from the time of the origins of cinema, and reproduces the stereoscopic set-up of vision. «Hanky Panky January 1902» offers a vision of human sexuality. «Nymph» offers the belle of the ball surrounded by her suitors. «Capitalism: Slavery» reanimates a stereographic image of cotton pickers; silent, exploited. Wendy Morris connects the First World War and colonialism in the Congo. Teresa Maria Diaz Nerio offers a performance where she puts on, like her own skin, the body of Sara Bartman, an African woman taken to England in 1810 to be exhibited there, hardly considered as a human being because of her origins and her physical characteristics. Ane Lan examines the psychological aspects of the post-colonial relation between Europe and Africa. An African woman prepares a meal for her Western guest who is lying on a bed, sick. Gavin Younge explores the myth of the phantom ship through a series of hypnotic scenes of devastation filmed in Arles and in South Africa, and revisits Les Alyscamps, ancient necropolis of the town of Arles. Steven Cohen questions the body and its exploitation, and renders homage to his South-African nurse, aged 84, who has been since his childhood the household servant in his family.

THURSDAY 08 MAY
22:00

CLICHE AGAINST CULTURE

Ulu BRAUN : Südwest
Video | hdv | color | 0:01:45
Germany | 2006 [•]

Jason DEE : Moonscape
Video | dv | color | 0:02:30
United Kingdom | 2007 [•]

Marco RAPARELLI : Ristorante Italia
Animation | dv | color | 0:04:36
Italy | 2007 [•]

Michael VAN DEN ABEELE : Cargo Cult
Video | dv | color and b&w | 0:07:51
Belgium | 2006 [•]

Nate HARRISON : Stock Exchange
Video | dv | color | 0:12:30
USA | 2007 [•]

Gaëlle BOUCAND : Berliner Bildstörung / Zoologischer Garten
Video | dv | color | 0:03:12
France /Germany | 2006 [•]

Wagner MORALES : Wild life
Experimental fiction | dv | color | 0:09:21
Brazil /France | 2006 [•]

Helene SOMMER : Persistence of vision
Video | dv | color | 0:11:00
Norvège | 2007 [•]

Luis VALDOVINO, Dan BOORD : El Museo de la Memoria
Doc. expérimental | dv | color | 0:10:35
Argentina /USA | 2006 [•]

Ulu Braun reconstructs a detailed and utopian countryside, uniting tradition and globalization in a combination of idyllic scenes of European culture and clichés of the modern tourism industry. Jason Dee, in reference to landscape painting of the C19th, constructs a panorama on the basis of futurist films of the 1950s. The utopia of a world sealed in and preserved from space and from time. Marco Raparelli offers a narrative, not as a point of departure but as a consequence of the themes covered; here the Italian restaurant and the infinity of micro-worlds which it contains. Michael Van den Abeele creates a critical science fiction poem on the transport of goods, in a theme park reproducing in miniature the major European monuments. Nate Harrison creates a video letter addressed to an American image library holding video extracts destined for commercials, and offers a reflection of the social modelizing of the image. Gaëlle Boucand recreates a new space in the Berlin Zoo which is emptied of all presence, both seeing and seen, underlining the device of the gaze. Wagner Morales accompanies a group of tourists travelling on a boat in Patagonia. The camera films them in the style of a National Geographic documentary. Helene Sommer reassembles the holiday films and videos of a 90-year-old man, from 1950 to our time, questioning both perception in confronting history and the act of documenting. Luis Valdovino and Dan Boord explore a world which would exist only through being perceived and represented via post cards. Image and historic environment are disjointed, the relation between the world of the touristic gaze and the lived world is dissolved.