2016 Paris Programme
 2 pm   3 pm   5 pm   7 pm   9 pm 

Jan. 13
2 pm

Gaîté Lyrique
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access


Andrew lampert: El Adios Largos | Film expérimental | 16mm | couleur | 11:13 | USA | 2013 see more
Eske schlÜters: Title (Life goes on) | Vidéo | hdv | couleur | 12:0 | Allemagne | 2015 see more
Blake williams: Red Capriccio | Vidéo | hdv | couleur | 6:59 | Canada | 2014 see more
Les leveque: Nine Hamlet RGB | Vidéo | hdv | couleur | 5:55 | USA | 2015 see more
Andrew lampert
El Adios Largos
Film expérimental | 16mm | couleur | 11:13 | USA | 2013

In 1973, Robert Altman`s THE LONG GOODBYE was both a critical and commercial flop. Set in a time transposed, neo-noir Los Angeles, Elliott Gould`s bumbling performance as gumshoe Philip Marlowe left Raymond Chandler aficionados dismayed, as did Vilmos Zsigmond;s kinetic camera work and John Williams` cheeky score. The film quickly disappeared from theaters and was never shown on television. While the film was released on RCA`s short-lived Video Disc format in 1981, the movie has not been seen since. All known prints were destroyed, and the original production elements perished due to a leaky sprinkler system in a Culver City in 1983. THE LONG GOODBYE was written off as permanently lost, an all too important missing link from Altman`s greatest period. It has for years remained a film that is impossible to reassess. Filmmaker and archivist Andrew Lampert’s serendipitously purchased a mysteriously film titled EL ADIOS LARGOS from a collector through the mail in 2002. Closer examination revealed that this 16mm, black and white, cropped, Spanish-language dubbed print was actually a reduction copy of Altman’s 35mm, color, widescreen, English-language masterpiece. Knowing the importance of his discovery, Lampert and a team of volunteer preservationists, including colorization expert Jody Blyer, set out on a decade-plus mission to preserve this unearthed gem using the latest digital technology. Lampert has gone to extensive lengths to painstakingly produce the most authentic, thoroughly accurate version that can be made given the considerable difference in materials.

Andrew Lampert is at the forefront of a new generation of artists engaging with film, video and performance, revisiting and extending the dialogue around an expanded cinema. Lampert pursues the alchemy between artist, art, and audience in a public space, especially that of cinema. Bringing unscripted and chance elements into cinema`s veneer of control, and often working with found material, he foregrounds the contingency of film as a medium. Reveling in cinema as a performative environment, Lampert reclaims this space from a mass media culture to emphasize its potential for immediacy and accident—and to make each of his screenings and performances a one-of-a-kind event. Lampert explores the cinematic experience as content, experimenting with the physical spaces between projector, projectionist, audience and screen, and with the experiences made possible through their convergence. The cinema becomes a site of abstract and magical production in his performances, videos and films, as Lampert investigates the gap between an artwork`s private intent and its public reception. Lampert`s media works defy strict categorization as films or videos. His projects are unified in their emphasis on the frame around the edges of narrative—the genres and clichés in which he cloaks on-screen action, the happy accidents during production, and the unexpected events during a screening that shape the audience`s response and foreground human activity in the cinematic context. Lampert was born in St. Louis, Missouri in 1976. His work has been shown at the 2006 Whitney Biennial; The Getty Museum, Los Angeles; Mitchell Algus Gallery, New York; British Film Institute, London; The Kitchen, New York, and Light Industry, Brooklyn, amongst many other venues. Lampert`s work has also been featured in a number of international festivals, including the New York Film Festival and the Rotterdam International Film Festival. In addition to his work as an interdisciplinary artist, he is the Film Archivist at Anthology Film Archives in New York.

Eske schlÜters
Title (Life goes on)
Vidéo | hdv | couleur | 12:0 | Allemagne | 2015

Eske Schlüters geb. 1970 Studierte an der Hochschule für bildende Künste in Hamburg. Diplom 2004. Seither arbeitet sie als freie Künstlerin vor allen Dingen mit Bewegtbild. Sie hatte Gastprofessuren in Hamburg und Zürich und zahlreiche Stipendien (Kunstfonds Bonn, Villa Romana Preis, Künstlerstätte Bleckede) und diverse internationale Einzel- und Gruppenausstellungen (Kunstverein für die Rheinlande und Westfalen, Bundeskunsthalle Bonn, Frankfurter Kunstverein, Museum für Gegenwartskunst Siegen, Haus am Waldsee Berlin, Kunsthaus Hamburg)

Blake williams
Red Capriccio
Vidéo | hdv | couleur | 6:59 | Canada | 2014

An anaglyph 3D found footage film about machines and landscape that interlaces motion with stasis, crescendos with glissandos, and reds with blues. Its three movements depict a parked Chevy Caprice police vehicle, Montréal’s Turcot Interchange, and an empty rave room.

Blake Williams is a filmmaker, film critic, and PhD student living and working in Toronto. His films have shown at the Toronto International Film Festival, New York Film Festival, Internationale Kurzfilmtage Oberhausen, Images Festival, and the Pacific Film Archive.

Les leveque
Nine Hamlet RGB
Vidéo | hdv | couleur | 5:55 | USA | 2015

Nine Hamlet RGB engages a simple algorithm to destabilize the timing of the red, green and blue frame sequential display system while incorporating fragmented, appropriated “to be or not to be” excerpts from nine Hamlet films. The audio is the synced sound from the appropriated excerpts laced with low frequency binaural tonal pulsations. The physicality of the constructed optical and aural experience is seeking a mechanism of unconscious disarticulation. The ghosting of colors, evanesent Hamlets, and somatic tones are looking for a “dream-work” that can be ciphered, displaced, or not.

Les LeVeque works with digital and analog electronic technology. His projects include single and multi-channel videos and video/computer based installations. His projects have been exhibited and screened internationally. Video Data Bank distributes his single-channel video work. He is represented by Kerry Schuss Gallery in New York City.

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Jan. 13
3 pm

Gaîté Lyrique
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access


Adrian flury: A place I`ve never been | Film expérimental | 4k | couleur | 4:40 | Suisse | 2014 see more
Diego bruno: Galindez | Doc. expérimental | 4k | couleur | 21:56 | Argentine | 2015 see more
Miguel peres dos santos: Voices | Film expérimental | hdv | couleur et n&b | 18:48 | Pays-Bas | 2015 see more
Eduardo cachucho: Flatland | Vidéo | hdv | couleur et n&b | 8:5 | Belgique | 2014 see more
Can sungu: Replaying Home | Vidéo | hdv | couleur | 30:0 | Allemagne | 2013 see more
Adrian flury
A place I`ve never been
Film expérimental | 4k | couleur | 4:40 | Suisse | 2014

By sourcing multiple digital images of the same place from different archives this experiment in film makes use of frame by frame montage to discover hidden forms, patterns and references thereby giving new meaning to the prevailing redundancy of these pictures.

Adrian Flury was born in 1978 in Zug, Switzerland. He started out in an apprenticeship as an electrician, after which he studied animation at the Lucerne University of Arts. He has been working in the field of moving images since 2005.

Diego bruno
Doc. expérimental | 4k | couleur | 21:56 | Argentine | 2015

The film focuses on the formation and representation of ideology, the position of the intellectual, and forms of re-presentation, actualisation of historical complexities. Galindez departs from the theatre play El Señor Galindez, written by Argentine psychoanalyst, dramaturge and actor Eduardo Pavlovsky in 1972.

Born in 1978 in Argentina, Diego Bruno lives and works in Helsinki. He studied History of Art at the University of Buenos Aires, holds a BA in Fine Arts from the Escola Massana, Barcelona and an MFA in Fine Arts from the Finnish Academy of Fine Arts. Bruno’s work has been shown at Wiels Center for Contemporary Art, Brussels; Museum of Latin American Art, Buenos Aires; Centre d ́Art Santa Monica, Barcelona; Manifesta 08 Murcia; Hudson Valley Center for Contemporary Art, New York; Center for Contemporary Art Celje; Extra City, Antwerp; The Solo Project, Basel; Museum of Contemporary Art, Barcelona and Malmö Kunsthalle, among others.

Miguel peres dos santos
Film expérimental | hdv | couleur et n&b | 18:48 | Pays-Bas | 2015

That one is able to speak does not mean that one has a voice. In Voices, Miguel Peres do Santos constructs a comparison between the collective consciousness and a censored archive. Just like in our own lives, we “choose” to keep what we do not want to remember as far from our consciousness as we unconsciously can; the same method we apply on public archival material that we would rather not be confronted with as a societal whole. At the television archive of Beeld and Geluid, Miguel Peres dos Santos and Sharelly Emanuelson found a significant amount of footage relating to migration from the public television memory of the Netherlands. In it, the essence of the Dutch relation to the alleged “other” can be viewed. In Voices Peres dos Santos uses this material to try to find out if the perceived voiceless were really silent, and if those who do not have a voice today are only mute to the ones who refuse to listen.

Miguel Peres dos Santos (Lisboa, 1976) is an independent artistic researcher graduated in his MA in 2012 from the Royal University of the Arts in The Hague, The Netherlands. His work is frequently screened in The Netherlands, but also in Belgium, France, Denmark, Norway, Portugal and the U.S. He lectured in 2012 for the University College Leiden, and is a policy advisor for Foundation Focus. He currently lives and works in The Hague.

Eduardo cachucho
Vidéo | hdv | couleur et n&b | 8:5 | Belgique | 2014

Hendrik Verwoerd in an experiment he carried out in the 1930’s named ‘A Method for the Experimental Production of Emotions’ uses various combinations of colours and symbols to elicit in his test subjects various emotions. Verwoerd studied as a psychologist before ever entering into politics, even achieving a doctorate magna cum laude. His highly mediatic experiment goes on to succeed in its ambitions in creating: “compassion, shame, embarrassment, malicious joy, anger and vexation.” Flatland emerges from research into this experiment and how its outcomes could be overlaid onto the propaganda and media manipulation during the apartheid regime. Flatland takes the audience through a performance-lecture that traverses the research into the psychological experiments while overlaying juxtaposing them onto South Africa’s past and present. Simultaneously it makes a case for how language and emotion is used by politics today to control the masses.

Eduardo Cachucho is an artist and architect based in Brussels and Johannesburg. He is interested in how national, and trans-national, infrastructural developments can have long lasting rippling effects from their implementation. Delving into detailed historical research into specific topics, he collects references of historical events, documents, catalytic events, archival materials. These elements often find themselves in critical events that over time lose their importance, or blur their meanings and effects, or even change in their meaning of significance over the decades. His works act as interventions that reinforce or put into question these elements. Simultaneously his interest in performance and video work allow another entry-point into said research material and works, often being condensed into a performative action symbolising core elements of the research, presented as performance and video pieces within an installation.

Can sungu
Replaying Home
Vidéo | hdv | couleur | 30:0 | Allemagne | 2013

In the early 1980s, VHS video recorders had become widespread in Germany and in a very short time they were also well accepted by many Turkish immigrants there. The lack of sufficient German language skills, as well as the fact that the content of German television broadcasting was not targeting the Turkish audience at all, led Turkish immigrants increasingly to rent videotapes. The video nights were a sort of social event including neighbours and family. Watching videos was accepted as a pleasant and family-friendly alternative to going out and getting attached to German-dominated cultural life. A lot of Turkish video companies opened up in Germany and imported movies to transfer them on videotapes. Some of these companies also produced low-budget video movies targeting the Turkish audience in Germany. Due to digital revolution, these companies were not able compete against digital TV and online videos and closed one after another. Some of the movies which were only released on videotapes, are now in danger of disappearing forever. Replaying Home is a video collage including selected cuts from these Turkish movies shot in Germany during the 1970s and 1980s and invites on a journey through a fictive universe based on stereotypes, culture shock, Occidentalism, homesickness and the traumas of migrant life.

Can Sungu was born in Istanbul, Turkey, studied Film (BA) and Visual Communication Design (MFA) at Istanbul Bilgi University and at the Institute for Art in Context in Berlin University of Arts (MA), gave courses on film and video production, facilitated workshops and took part in various exhibitions in Europe, such as at transmediale`14, Museum of Modern and Contemporary Art Rijeka and Künstlerhaus Vienna. In 2014 he co-founded the project space bi`bak in Berlin-Wedding where he works as project manager, artist and curator.

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Jan. 13
5 pm

Gaîté Lyrique
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access


Volker schreiner: Sites | Film expérimental | hdv | couleur et n&b | 8:20 | Allemagne | 2015 see more
Sophie roger: C'est donc un amoureux qui parle et qui dit : | Film expérimental | hdv | couleur | 6:15 | France | 2015 see more
Thomas mohr: Zu Hanne Darboven | Vidéo | hdv | couleur | 8:27 | Pays-Bas | 2014 see more
Damir ocko: TK | Film expérimental | 4k | couleur | 19:46 | Croatie | 2015 see more
Volker schreiner
Film expérimental | hdv | couleur et n&b | 8:20 | Allemagne | 2015

A filmic tryptic of three landscapes.

video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

Sophie roger
C'est donc un amoureux qui parle et qui dit :
Film expérimental | hdv | couleur | 6:15 | France | 2015

Pages arrachées du Fragment d`un discours amoureux de Roland Barthes dans un grenier de montagne. La réalisatrice regarde et dessine les paysages qu`elle voit au travers des planches ajourées. Un papillon la suit jusque dans la neige.

Depuis plusieurs années, le travail de Sophie Roger fait dialoguer dessin et vidéo, lectures et quotidien. Cinéma d`essayiste, elle travaille seule et prend le temps. Ses films arpentent ses territoires les plus intimes (maison, jardin) tout en gardant comme horizon une pensée de l`autre et de l`ailleurs.

Thomas mohr
Zu Hanne Darboven
Vidéo | hdv | couleur | 8:27 | Pays-Bas | 2014

Is it possible to understand the work of the artist and composer Hanne Darboven (1941 - 2009) famous for her large scale installation containing thousands of drawings and notes? The project Zu / On Hanne Darboven is an exploration of herless known music  in relation to her  visual oeuvre. Abschliessend (In conclusion) is based on 1853 pictures handheld taken- as meticolous as possible - very close to the details of the works in the last space of the exhibition “The order of time and things. The home studio of Hanne Darboven” organised by the Museo Nacional Centro de Arte Reina Sofía and the Deichtorhallen Hamburg - Sammlung Falckenberg in collaboration with the Hanne Darboven. The music is the last part of Hanne Darbovens Requiem recorded in eleven volumes. The pictures are processed in still compositions frame by frame in a series of cycles increasingly compressing the original information.

Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures regarding major and minor personal and historic events. Main themes recently the reverberation of historic incidents and and the intertwined relations of culture. Thomas Mohr’s particular way of composing films since 2008 begins with smallest elements - taking single images. This material is processed in repetitive steps to higly compressed structures where the visual properties are almost dissolved. Since 2010 works specifically related to the body of work of Hanne Darboven. Now working on constructing an episodic memory covering the information of 30 years (1985-2015).

Damir ocko
Film expérimental | 4k | couleur | 19:46 | Croatie | 2015

Departing form an eight part poem the artist constructs a complex polyphonic work in which poetry meets movements, sounds, silences, bodies, and ¬endurability in order to project the ideas behind the work. Several topics constantly reoccurring through out the work are brought forward by a meticulously scored narration, in which pause and silence are equally important as the spoken or written word. Poem itself depicts on various images, starting as a morning song in which a question of a routine and a rotation turns the engine on for work to move towards more difficult imagery. People gather in dangerous constellations to act in violence, to observe silently, or to setup the false feeling of tranquillity which is constantly turned upside down by the various mechanisms of the film itself. Heavy things get stuck in the throat, stones used as tools and voices come to unrest.

Damir Očko (b. 1977, lives and works in Zagreb) is one of the most prominent Croatian artist of his generation. His videos, films, poetry and works on paper have been exhibited recently in Temple Bar Gallery in Dublin (2014), KM - Künstlerhaus Halle für Kunst & Medien in Graz (2014), Yvon Lambert gallery in Paris (2013), Palais de Tokyo in Paris (2012), Galleria Tiziana Di Caro in Salerno (2012), and Kunsthalle Dusseldorf (2011). He participated in numerous collective exhibitions with institutions such as MUDAM, Luxembourg, FRAC Le Plateau in Paris, Kunsthalle Wien, and Museum of Contemporary Art in Zagreb among others. His works are part of many public and private collections around the world.

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Jan. 13
7 pm

Gaîté Lyrique
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access

"Possible worlds"

Louis-cyprien rials: Mene, Mene, Tekel, Upharsin | Vidéo | hdv | couleur | 5:45 | Iraq | 2015 see more
Alex monteith: Cascade Cove in the Shadow of 150,000 Bones | Doc. expérimental | hdv | couleur et n&b | 13:0 | Nouvelle-Zélande | | 2015 see more
Salomé lamas: The Tower | Vidéo | hdv | noir et blanc | 8:45 | Portugal | 2015 see more
Nova paul: Still Light | Vidéo | 16mm | couleur | 6:35 | Nouvelle-Zélande | 2015 see more
Halida boughriet: Des intégrations | Vidéo | hdv | couleur et n&b | 16:7 | France | 2015 see more
Julien dubuisson: Pavillon nocturne | Vidéo | hdv | noir et blanc | 5:45 | France | 2015 see more
Louis-cyprien rials
Mene, Mene, Tekel, Upharsin
Vidéo | hdv | couleur | 5:45 | Iraq | 2015

Mene, Mene, Tekel, Upharsin est une vidéo tournée en 2015 en Irak, à Kirkouk, à quelques kilomètres de l’Etat Islamique. Dans le champs pétrolier majeur de Baba Gurgur, un feu éternel brûle, celui du Livre de Daniel, duquel Dieu sauve trois enfants juifs jetés dans les flammes par le roi Nabuchodonosor car ils ne vénéraient pas ses idoles. Cette succession de plans fixes montre à la fois les installations pétrolières, menaçants monstres de métal perdus dans le désert, et ce feu sacré inscrit dans un cercle, mythique punition d’une idolâtrie, et devenu lui-même idole et objet de toutes les prédations contemporaines. Des gros plans de flammes, semblent sortir des voix, des choeurs, comme si le gaz et la chaleur déformant l’image voulaient rendre cette dystopie mélodieuse. Discrètement mêlées à la bande son, des choeurs de femmes en araméen, priant, enregistrées pendant plusieurs mois dans des camps de réfugié du Nord de l’Irak apportent la voix nécessaires des victimes les plus immédiates des conflits, donnant la profondeur biblique, archéologique et spirituelle que nécessite à la fois un tel lieu et le sentiment menaçant, quasiment apocalyptique qui se dégage de ces flammes et que révèle le titre : Pesé, Pesé, Compté, divisé.

Né en 1981 à Paris, Louis-Cyprien Rials à étudié le théâtre en France avant de découvrir la photographie au Japon, oui il a vécu plusieurs années. En 2007, il entreprends un voyage sur les traces du peintre Hiroshige pour livrer une analyse comparative du paysage japonais dans le temps. Depuis son retour du Japon, en 2008, il vit entre Paris, Bruxelles et Berlin, tout en continuant ses voyages souvent dans des pays non-reconnus internationalement ou dans des zones interdites au public qu’il voit comme des « parc naturels involontaires ». Parallèlement à son oeuvre photographique, il travaille sur le minéral et la relation que l’humain entretient avec les « pierres à images », livrant dans de grands tirages photographiques des paysages tirés des pierres, que l’humain se plait à associer à d’autres formes, par le phénomène de paréidolie. Le travail sur le paysage, sa profondeur, et l’interprétation que nous avons de ses représentations est une partie importante du travail de l’artiste, que ce soit dans des installations de projecteurs de dispositives générant des peintures-paysages, ou sa trilogie de vidéo sur le Désert et la violence, terminée en 2015 en Irak.

Alex monteith
Cascade Cove in the Shadow of 150,000 Bones
Doc. expérimental | hdv | couleur et n&b | 13:0 | Nouvelle-Zélande | 2015

SYNOPSIS Film essay recorded in Aotearoa / New Zealand`s Cascade Cove, Tamatea / Dusky Sound; one of the wettest places on earth. After he had sailed there for the first time in 1770, James Cook spent more than two months in Tamatea in Aotearoa on his second journey in 1773. Cascade Cove within Tamatea is also near to the sites of the earliest archeological digs of the lower fiords of Aotearoa. The Begg Brothers, then in the modern era, Peter Coutts, each made various archeological incursions looking for and removing both settler and Maori material culture from the area. This film compiles observations of the intensity of weather atmosphere as a physical expression of tension between elemental forces, as a way of approaching a contested past in which European research methods overran already existing Maori knowledge production about the area. This film is part of an ongoing series of work about this area of Aotearoa.

Alex Monteith Biography (1977-) born Belfast, Northern Ireland, resides Tamaki Makaurau, Aotearoa resides in Piha, Aotearoa Alex Monteith’s works often explore the political dimensions of culture engaged in turmoil over land ownership, history and occupation. The works traverse political movements, contemporary sports, culture and social activities. Projects often take place in large-scale or extreme geographies. Recent surfing related actions connect the museum directly to local geography through participatory performance projects.

Salomé lamas
The Tower
Vidéo | hdv | noir et blanc | 8:45 | Portugal | 2015

Maybe Kolja’s experiment of merging his body (human) with the tree (nature) venturing into a border zone between the earth and the sky is due to his purity of spirit, to the grandeur of the idiots, or the foolishness of the mystics; or is it all this together? Maybe it is a symptom of the enlightened – or simply an elaborated suicide.

Salomé Lamas (1987, Lisbon, Portugal) studied Cinema in Lisbon and Prague, MFA in Amsterdam and is a Ph.D candidate in film studies in Coimbra. She has been working with time-based image and has exhibited both in art spaces and film festivals. After a couple of short films, her debut film NO MAN’S LAND premiered internationally at Berlinale (Forum) and was exhibited in a number of other festivals. Lamas is a MacDowell Colony fellow, a Rockefeller Foundation Bellagio Center fellow and DAAD Berliner Künstlerprogramm fellow.

Nova paul
Still Light
Vidéo | 16mm | couleur | 6:35 | Nouvelle-Zélande | 2015

Six Artists respond to the work of Joanna Margaret Paul is a programme of short moving image works by Nova Paul, Rachel Shearer, Sonya Lacey, Miranda Parkes, Shannon Te Ao and the collective Popular Productions. A prolific film-maker, poet, photographer and painter, the work of Joanna Paul (1955-2003) quietly observed the intimate poetics of the domestic and the modest grace of her bucolic surroundings. This programme presents an ambitious range of new moving image commissions shot at home, in industrial space, nature and using a microscope within salt letter form – each film celebrating the resonance of Paul’s work and offering the catalyst for a collection of new work by a range of contemporary New Zealand artists.

Nova Paul teaches studio moving image and art theory in the Visual Arts Department. Her film-making practice draws from early cinema, experimental film histories and fourth wave film discourse to consider the poetics and politics of place, self-determinacy and the image and the role of story telling in talking back to neo-liberal hegemonies. Her writing practice has focused on lens-based media and its relationship to whenua (land). In 2008 she co-edited PLACE: Local Knowledge and New Media Practice (Cambridge Scholars Publishing), a book that examines how on how long-held attachments to place are transforming in the new media context. In 2012 she published Form Next to Form Next to Form (Dent De Leone, UK and Clouds, NZ) this artist book won the 2013 Most Beautiful Book in Australisia (Monash University, Australia) Nova Paul`s 16mm films have screened nationally and internationally in film festivals and gallery programmes. This is not Dying (2010) has screened at Recontres Internationale, George Pompidou Centre, France, (2011), Rotterdam International Film Festival, (2011), New Zealand International Film Festival, (2010) City Gallery Wellington, (2010). Pink and White Terraces has screened at Whitechapel Gallery (UK) and was selected by Whitechapel Gallery for Artists` Films International at the Venice Biennale in 2013. The film has toured to Ballroom Marfa (USA), Fundacion Proa (Argentina), GAMeC - Galleria d`Arte Moderna e Contemporanea (Italy), Henie Onstad Kunstsenter (Norway), The Institute for the Readjustment of Clocks at the Koç Foundation (Turkey) from 2009-2010. Pink and White Terraces premiered at the Telecom International Film Festival, (2006) and was Telecom Prospect New Art, City Gallery, Wellington, New Zealand, 2007. Other film commissions include Our Future is in the Air (2007) for Martini Shot; New Artists Show, Artspace, Auckland and the World of Interiors (2008) for New Zealand Film Archive, Wellington. Nova Paul is of Te Uri Ro Roi and Te Parawhau /Ngā Puhi descent.

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Halida boughriet
Des intégrations
Vidéo | hdv | couleur et n&b | 16:7 | France | 2015

Dans le film « Des intégrations» , La mémoire collective officielle et la mémoire politique se figent, à la limite de l’amnésie voire de la négation. C’est par le biais d’un univers poétique mais désenchanté que le film se propose de soulever des enjeux touchant à la jeunesse contemporaine. Les personnages jouent sur une série de correspondances qui érigent le film au rang de transfert visuel.

Artiste française et Algérienne . Anciennement diplômée de L’Ecole Nationale Supérieure des Beaux Arts de Paris et du programme d’échange de la SVA section cinéma à New York jusqu’en 2005. Halida Boughriet explore un large éventail de médias à travers ses oeuvres . Elle accorde une place centrale à la performance, dont les structures de son langage artistique lui donne une variété de formes. Au carrefour d’une préoccupation esthétique, sociale et politique, ses pièces s’efforcent de saisir les tensions dans les relations humaines mis en évidence par la société . Le corps est omniprésent , comme un instrument de geste poétique.

Julien dubuisson
Pavillon nocturne
Vidéo | hdv | noir et blanc | 5:45 | France | 2015

Inspiré par la pièce d’Alberto Giacometti Le Palais à 4h du matin (1932), Pavillon nocturne est conçu comme un « petit théâtre ». Un théâtre dans lequel les personnages ont été remplacés par des formes, l’histoire par les relations qu’elles entretiennent entre elles, les récits qu’elles portent ainsi que leur inscription dans l’histoire de l’art. La sculpture (la combinaison de six formes emboîtées) est une structure construite et close sur elle-même, il n’y a pas d’espace entre les pièces aucun autre élément ne peut y entrer ni en sortir. A la fois «white cube» et «black box theater», cette forme à tiroirs se présente sous la forme d’une collection, un musée, une sépulture, une abstraction, une mort. Un enfant assis sur le sol assemble les pièces en plâtre d’un étrange jeu de construction. Dans ses mains des formes (un visage, une pierre, une forme géométrique, etc.) apparaissent et disparaissent progressivement par un système d’emboîtement rappelant le principe des poupées russes.

Julien Dubuisson est né en 1978 en France. Il est diplômé de l`École nationale supérieure des Beaux-arts de Paris en 2005 et participe depuis 2103 au programme de recherche 5/7de la Villa Arson. Son travail a fait l’objet de plusieurs expositions dont notamment : Basse déf au Palais de Tokyo, Paris (2009) ; Dynasty au Palais de Tokyo / musée d’Art moderne de la ville de Paris (2010) ; Parois au Parc culturel de Rentilly (2011) ; Agir dans ce paysage au Centre international d’Art et du Paysage de l`île de Vassivière (2013) ; Natura Lapsa au Confort Moderne (2014) ; aux bois dormants au musée départemental d’Art contemporain de Rochechouart (2014) ; L`Ordre des lucioles à la Fondation d`entreprise Ricard (2015) ; l’après midi à la Villa Arson (2015).

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Jan. 13
9 pm

Gaîté Lyrique
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access


J Tobias anderson: Allt blir självklart, genomlyst | Animation | hdv | couleur | 2:30 | Suède | 2015 see more
Scott fitzpatrick: Immortal Cats #1 | Film expérimental | 35mm | couleur | 0:55 | Canada | 2015 see more
Naïmé perrette: Forebear Forward | Vidéo | hdv | couleur | 1:8 | Pays-Bas | 2014 see more
Alex anikina: Ostrannenie | Film expérimental | hdv | couleur | 8:13 | Royaume-Uni | 2015 see more
Laure prouvost: How To Make Money Religiously | Vidéo | hdv | couleur | 8:44 | Royaume-Uni | 2014 see more
Isiah medina: 88:88 | Doc. expérimental | 4k | couleur et n&b | 65:5 | Canada | 2015 see more
J Tobias anderson
Allt blir självklart, genomlyst
Animation | hdv | couleur | 2:30 | Suède | 2015

In a colorful setting, where thoughts and ideas aren’t necessarily black or white, a situation of non-communication is enacted. Two men and a woman are throwing their most inner thoughts at each other, but finding little solace in the others’ words. Communication can sometimes be unidirectional, even though a dialogue is taking place, and where certainty can be a comfort, perhaps skepticism and doubt should be the default.

Born in 1971. Grew up on Gotland in the Baltic Sea. Education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. Lives in Nacka just outside of Stockholm. Working mainly with video and animation and moving between narrative and non-narrative works. Has created around 40 films. Also experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Sweden.

Scott fitzpatrick
Immortal Cats #1
Film expérimental | 35mm | couleur | 0:55 | Canada | 2015

Quelle est votre plus grande ambition dans la vie? Laser-imprimée sur un film de 35mm recyclé en 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage.

Naïmé perrette
Forebear Forward
Vidéo | hdv | couleur | 1:8 | Pays-Bas | 2014

En mêlant mémoires familiales et images collectées sur internet, Forebear Forward et Work Hard Play Hard jouent sur le décalage entre des événements et leurs récits. Au premier plan, un grand-père relate des faits vécus par ses aïeux, accompagné par les commentaires de sa femme en hors-champs. Leurs échanges et l`arrière plan d`images d`archives ou de Google Street View se superposent aux histoires, accordant ainsi plus d`importance au contextes de narrations qu`à leurs sujets. Ces réappropriations de récits commentent avec humour le décalage générationnel, l`appartenance sociale, et le passage du drame à l`anecdote. Dans Forebear Forward,le grand-père se concentre sur une anecdote individuelle cocasse ayant eu lieu lors d`une dramatique explosion, tandis que sa femme désire surtout connaître le bilan des morts et rentrer chez elle. De son côté, la vidéaste invoque google pour inscrire cette histoire dans ses outils quotidiens de compréhension. Pour commenter le décalage social entre des matelots embarqués contre leur gré et le ton bourgeois et relativiste de ceux qui livrent ce récit, Work Hard Play Hard utilise des images de culturistes observés par le public comme s`ils étaient étrangers à leur propre espèce.

Using a range of time-based media including animation, video and installation, Naïmé Perrette in interested in layering narratives and subjectivities. In her documentary based works, she investigate the role of labour in the construction of young adults` identities. She follows individuals whose lives are shaped by physically or emotionally demanding activities to understand how they arrive to their own sense of empowerment. She conducts immersive research, interacting with isolated groups that are distant from her own experience but with whom she shares a larger cultural framework. Through this contrast she investigates systems of value and gender identity, in order to capture the multiple expressions of social relations and their borders. Graduated from the Ecole Nationale Supérieure des Arts Décoratifs of Paris in Cinema Animation in 2012, she was resident at the Rijksakademie van beeldende kunsten in Amsterdam in 2014-2015.

Alex anikina
Film expérimental | hdv | couleur | 8:13 | Royaume-Uni | 2015

Ostrannenie is a video-exploration of a territory and of the language belonging to it. It traces a history of imaginary lands from the times when the Earth rested on elephants’ backs to the current moment of Google Maps and glossy stock footage. The map of the world in the video becomes a field where the history of geographical discoveries is intertwined with the histories of the human imagination, with the camera’s eye and the gaps in language.

Alex Anikina is an artist-researcher who currently lives and works in London, working primarily with texts, language-based works, experimental films and objects. Her artistic and academic practices both revolve around the exploration of human relationship with technology and knowledge through experimental film. Her works are held in the collection of National Centre for Contemporary Arts, Moscow. Participated in VI Moscow Biennale of Contemporary Art and IV Moscow International Biennale for Young Art. Presented a paper and a video installation at DRHA 2014 at Greenwich University. Received Best Experimental Short award at the London Independent Film Festival (2014). Screenings include Open Eyes Filmfest Marburg, VideoJam at Salford, MAGIKALCHARM Experimental Video Festival (2014 and 2015) at Anthology Film Archives, New York, Athens International Film and Video Festival, FLEXfest, 10th Cologne International Videoart Festival, AOF International Film Festival, Berlin DLX festival.

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Laure prouvost
How To Make Money Religiously
Vidéo | hdv | couleur | 8:44 | Royaume-Uni | 2014

«How to Make Money Religiously» explore les possibilités multiples de la mémoire et de l’oubli, nous confronte aux caractérisitiques arbitraires du pouvoir et de la possession. Consommation, désir et syntaxe expressive des arnaques sur internet s’entrecroisent. Laure Prouvost interroge ainsi, à travers diverses strates, les glissements entre système et communication, et fait apparaître, comme par magie, des interprétations multiples, qui dépendent de la manière dont on perçoit ou dont on se rappelle l’histoire.

Laure Prouvost est née à Croix, près de Lille, en 1978. Elle étudie les arts plastiques et intègre une école d’art, l’institut Saint Luc de Tournai, en Belgique. En 1999, elle part à Londres afin d’étudier au Central Saint Martins College of Art and Design (CSM), et s’établit dans la capitale britannique. Elle devient l’assistante de l’un de ses enseignants à Saint Martins, l’artiste conceptuel John Latham, et poursuit ses études au Goldsmiths College. Ses oeuvres ont été exposées à l’Institute of Contemporary Arts et à la Tate Britain. En 2011, elle remporte le Max Mara Art Prize for Women, grâce auquel elle effectue une résidence à la British School at Rome et à la fondation Pistoletto de Biella. Peu connue en France, elle expose en 2013 à la Biennale d’art contemporain de Lyon. Son installation Wantee, présentée dans le cadre de l’exposition « Schwitters in Britain », est sélectionnée par le jury du prix Turner. Celui-ci est organisé par la Tate Britain et récompense chaque année un artiste contemporain de moins de cinquante ans, né ou travaillant au Royaume-Uni. À la surprise des critiques, il lui est décerné en décembre 2013. En 2014, le New Museum of Contemporary Art de New York accueille l’exposition « Laure Prouvost: For Forgetting », présentant une oeuvre inédite, qui mêle un collage mural, des sculptures, des installations vidéo et un film, intitulé «How to Make Money Religiously». En 2015, le musée départemental d’art contemporain de Rochechouart accueille sa première exposition monographique française, «On ira loin». Elle y présente notamment une création, «The Smoking Image», où elle met en scène des adolescents de la région confrontés au désoeuvrement, à l’âge des premiers désirs et au souhait d’indépendance.

Isiah medina
Doc. expérimental | 4k | couleur et n&b | 65:5 | Canada | 2015

You cannot pay your bill. – . Your heat and lights are cut off. -. You pay. The clocks initially flash 88:88, –:–. You set the clocks. You cannot pay. -. You pay. 88:88. –:–. Repeat. 88:88, –:–. Cut. -. You stop setting your clock to the time of the world. 88:88, –:– . Subtracted: – : you make do with suspension. 88:88, –:–, -.

Isiah Medina was born in 1991 and he lives in Toronto.

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