2016 Berlin Programme
3 pm   5 pm   7 pm   9 pm

Mar. 18
3 pm

Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry


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.

| | | : | |

| | | : | |

| | | : | |

Adrian Flury recreates a continuum from thousands of touristic shots of sites in Athens taken from the Internet, and revives them through the duplication of images and perspectives. Diego Bruno questions the creation and structure of ideology, the role of intellectuals and the forms of historical representations. Galindez begins with the play ‘El Señor Galindez,’ written by the Argentinian psychoanalyst, author and actor Eduardo Pavlovsky in 1972. Miguel Peres dos Santos resumes and compiles extracts from Dutch public television in the 60s, in relation to emigration and the perception of those considered as ‘other,’ thus establishing a comparison between collective consciousness and censored archives. Eduardo Cachucho questions the use of language and emotions, commonly used by politicians with a view to controlling the masses. He echoes the conclusions of the psychological experiments carried out by Hendrik Verwoerd, who in the 30s wrote ‘A Method for the Experimental Production of Emotions’ through the use of colours and symbols. Can Sungu reveals a fictional universe based on stereotypes, culture shock and trauma in the lives of immigrants. ‘Replaying Home’ is a video collage of extracts from Turkish films shot in Germany in the 70s and 80s specially intended for the Turkish community, who gathered to see these films on video evenings.


Mar. 18
5 pm

Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry


Sirah foighel brutmann, Eitan Efrat: Nude Descending a Staircase | Vidéo | hdv | couleur | 18:30 | Belgique | 2015 see more
Maya schweizer: Le Soldat mourant des Milles | Film expérimental | hdv | couleur | 13:0 | Allemagne | 2014 see more
Galería perdida: The blind don't see black, they see nothing | Film expérimental | 16mm | noir et blanc | 5:41 | USA | 2015 see more
Armando lulaj: Recapitulation | Film expérimental | hdv | couleur et n&b | 13:0 | Italie | 2015 see more
Velibor bozovic: My Prisoner | Vidéo | hdv | couleur | 21:41 | Bosnie-Herzégovine | 2014 see more
Sirah foighel brutmann, Eitan Efrat
Nude Descending a Staircase
Vidéo | hdv | couleur | 18:30 | Belgique | 2015

The first part of Nude Descending a Staircase is a composition of clips found online that were made by visitors—pilgrims—to the remote memorial site of Walter Benjamin in Portbou, Spain. Each of these individual registrations is anchored in the specificity of the location. They start with the arrival to Portbou, go through the small town up to the cemetery, and end in a dramatic descent down Dani Karavan’s iconic staircase, which was created as an homage to Walter Benjamin. The assembly this audiovisual material transforms the autonomous experiences into one collective trajectory, and entangles collective memory, experience and the production of images. The second part reveals another staircase, abandoned and barricaded, on a small stage-like platform, outside the former Espai Memorial Walter Benjamin. The second staircase modestly suggests an alternative mode of framing memory. The title, borrowed from Marcel Duchamp’s 1912 painting, proposes to dialogue Walter Benjamin’s writing on history and reproduction with Duchamp’s attempt—in relation to the developments in photography—to capture movement autonomous from a body. Nude Descending a Staircase is the first chapter in a series of works titled Gathering Series.

Sirah Foighel Brutmann and Eitan Efrat (both °1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the Audiovisual field. Living and working in Brussels. Their works have been shown in film festivals as IDFA and Rotterdam Film Festival (NL); Courtisane (BE); New Horizons (PL); on ARTE/WDR; exhibited in solo exhibitions at Kunsthalle Basel (CH) and Argos (BE), and group exhibitions in STUK (BE); EMAF (DE) and The Petah-Tikva Museum for Contemporary Arts (IL). Their works have been produced by Auguste Orts and Argos (BE) and distributed by EYE institute (NL), they have won prizes in IMAGES (CA) and Oberhausen Film Festival (DE). Sirah and Eitan have presented their work as featured artists at the 59th Flaherty Film Seminar (US), and have participated in artists talks and presentations in institutions such as FLACC, Genk, LUCA BFA class, Brussels, L`erg BFA class, Brussels, DocNomads 2014, and Bezalel MFA class, Tel Aviv. Sirah and Eitan`s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; and the temporality of narratives and memory. Sirah and Eitan are members of the artists-run collective Messidor

Maya schweizer
Le Soldat mourant des Milles
Film expérimental | hdv | couleur | 13:0 | Allemagne | 2014

A video work, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town`s center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.

Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts (with Lothar Baumgarten). Maya Schweizer works with diverse media: the focus of her work lies in the making of short films based on documentary material. „Identity, biography, politics, history and memory are recurring themes in Maya Schweizer’s photographs and videos... In general, the artist generates an incomplete tableau of collective memory and questions the way history is produced and visually recorded. „(Cynthia Krell). The artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial — a relation which traces back to the very beginnings of montage as it does to research findings by French historian Pierre Nora. Recurring moments in Schweizer’s multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen (KdFS), 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen (ifa), TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; Der sterbende Soldat von Les Milles, Kunsthalle Baden-Baden, Germany 2015. Edith Seeshow’s Notes at the Kunstverein Langenhagen, 2013. Metropolis. Report from China with Clemens von Wedemeyer at the Frankfurter Kunstverein, 2011. The Same Story Elsewhere at the Westfälisher Kunstverein, Münster, Germany, 2010. Schweizer was also involved in many international exhibitions, such as; Inside the City. Public Space and Free Space at the GAK, Bremen, Germany, 2015. Vot ken you mach ?, Muzeum Wspólczesne Wroclaw, Poland, 2015. Collection Alphabet at the Museum of Contemporary Art (GfZK), Leipzig, 2014. The city that doesn´t exist at Ludwig Forum, Aachen, 2012. Ambigous Being, Hong Gah Museum,Taipei 2012. Take me to your leader!, Kunstmuseum Bergen, Norway, 2011. Here and There, at the Wallace Gallery, New York and at the Oonagh Young Gallery, in Dublin, 2011. 15 Jahre Villa Aurora. Transatlantische Impulse, AdK - Akademie der Künste, Berlin, 2011. Of Other Spaces at the Bureau for Open Culture, Columbus, Ohio, USA 2011.

Galería perdida
The blind don't see black, they see nothing
Film expérimental | 16mm | noir et blanc | 5:41 | USA | 2015

This film marks an investigation into the halftone print. Specifically, the spherical and diamond pattern that makes up an image found commonly in offset printing. These tessellations form a corollary to the structure of language where each "dot" is akin to a phoneme. In linguistics, the collated phonemes make up a morpheme—what we can call a meaningful word. The dot in the halftone print functions much the same way. With these dots, the reach of an image is made possible, exploded and distributed for the masses. Its legibility is a consumable currency by being illustrative for accompanying texts. When enlarged, the text loosens its hinges on the atomized image. The dots establish a dominant vocabulary contingent only on one another. For The Blind Don`t see Black, They See Nothing, the poetics lie within the parts of a whole, hidden amidst a constituted body.

The artist collective Galería Perdida are known for their multidisciplinary practice that brings together an inquiry of traditional crafts and the absurd, typographical design with semantic operatives. Fundamental to their research are encounters with idiosyncratic found texts and humor, design principles and the moving image; these irrational sources form the basis of a sculptural vocabulary. The use of humor is just one of many interests that Galería Perdida pursue in their body of work. Textiles, dead languages, redundancy, negation, display and the gallery, glyphs, organic matter, and graphic design are among the multiple reference points. Their constellation of objects and situations formulate a place for these subjects to collide, interact, and push against one another while defining the decree that the production of an object is not a singular but collective act.

Armando lulaj
Film expérimental | hdv | couleur et n&b | 13:0 | Italie | 2015

On December 23, 1957, at 11:10 AM, a US Lockheed T-33 Shooting Star aircraft flown by Major Howard J. Curran left Chateauroux, France, heading for Naples, Italy. Above Turin, the aircraft radio failed and after hitting bad weather with strong winds, the plane veered off its flight path to end up, by mistake, in the sovereign airspace of the People`s Republic of Albania. At 1:28 PM, the intruder was intercepted by the Albanian Air Force Command, which instantly ordered two MiG-15 fighter jets to take off and identify it. By 3:50 PM, the fighters reported that they had spotted the intruder in the area around Rinas Airport, flying at 500-650 km/hr at an altitude of 150-200 m. Prompt countermeasures were taken. The airplane was forced to land and, to keep it from taking off again, the airport was locked down.

Born in 1980 in Tirana, Albania, Armando Lulaj is a writer of plays, texts on risk territory, film author, and producer of conflict images, orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context. Exhibitions include the Prague Biennial (2003; 2007), Tirana Biennial (2005), 4th Gothenburg Biennale (2007), the 6th Berlin Biennial (2010), the 63rd Berlinale International Film Festival (2013) and the 56th Venice Biennale - Albanian Pavilion (2015).

Velibor bozovic
My Prisoner
Vidéo | hdv | couleur | 21:41 | Bosnie-Herzégovine | 2014

My Prisoner is a video work that reconstructs the event that occurred on 3 April 1994 in war-torn Bosnia by intermixing archival footage with contemporary reimagining of the occasion. It shows a young man being escorted by an army intelligence officer to visit his imprisoned father. As the men travel side-by-side in the back seat of a car Shine on You Crazy Diamond by Pink Floyd begins to play on the car radio. The young man acknowledges the music and tries to make conversation but the officer does not even recognize the track. A composite of autobiography, documentary and fiction, My Prisoner navigates through the space where the historical, the personal and the fictional simultaneously interfere with and enhance one another.

Velibor Božović grew up in Sarajevo, Bosnia-Herzegovina. When he was in his twenties, the country of his youth became a war zone and he spent the duration of the siege of Sarajevo honing his survival skills. In 1999, Velibor moved to Montréal where he worked, for eight years, as an engineer in aerospace industry until he gave up his engineering career to devote his time fully to art practice. Subsequently, Velibor completed a Master of Fine Arts degree in Studio Arts at Concordia University. He is the recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2015), Concordia International Mobility Award (2014), the Bourse de Maîtrise en Recherche from FRQSC - Fonds de recherche sur la société et la culture Quebec (2012) and Roloff Beny Foundation Fellowship in Photography (2011). His work has been exhibited in the United States, Cuba, Canada, and Bosnia-Herzegovina. His images appeared in The New York Times, The Paris Review, Descant, International Herald Tribune, Chicago Tribune, Granta, BH Dani and others.

| | | : | |

| | | : | |

| | | : | |

Sirah Foighel Brutmann and Eitan Efrat question individual and collective memory, and the presentation of history. The video partly comprises photographs taken by visitors at the Walter Benjamin memorial in Portbou. Maya Schweizer films Les Milles, a village in the south of France, home to an internment and deportation camp during the Second World War. Traces of the past surface. Galería Perdida examines the dots that form a printed image, and compares them to the structure of the language, where each phonomenon is required to form the meaning. Armando Lulaj recreates the story of the American plane forced to land at Rinas airport, on 23rd December 1957, after crossing People’s Republic of Albania airspace. Velibor Bozovic reconstructs his day on 3rd April 1994, during which he was, as a soldier of the Bosnian Army, accompanied by a military intelligence officer to visit his father, a prisoner of war of this very army. The meeting was filmed then broadcast on television during prime time. 18 years later, Velibor Bozovic revisits this documentary evidence, questioning its status as propaganda, historical document and personal recollection.


Mar. 18
7 pm

Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry


Frederic nauczyciel: Red Shoes | Installation vidéo | hdv | couleur | 4:17 | France | 2015 see more
Michelle deignan: Ways to Speculate | Vidéo | hdv | couleur | 3:44 | Royaume-Uni | 2014 see more
Jasmina cibic: Tear Down and Rebuild | Fiction expérimentale | 4k | couleur | 15:28 | Royaume-Uni | 2015 see more
Su-Mei tse: Pays de neige | Vidéo | hdv | couleur | 7:40 | Italie | 2015 see more
Sébastien durantÉ: Rendre à Cesar | Fiction | hdv | couleur | 4:36 | France | 2013 see more
Pierre-jean giloux: Metabolism | Fiction | hdv | couleur | 11:0 | Japon / Belgium | 2015 see more
Didier faustino: Exploring Dead Building 2.0 | Fiction expérimentale | hdv | couleur et n&b | 9:0 | Cuba | 2015 see more
Sasha pirker, Lotte Schreiber: Exhibition Talks | Doc. expérimental | 16mm | noir et blanc | 9:0 | Autriche | 2014 see more
Frederic nauczyciel
Red Shoes
Installation vidéo | hdv | couleur | 4:17 | France | 2015

Red Shoes est un rituel. Le vogueur Kendall Mugler (Paris) mets ses talons aiguille rouges, et remplit l’espace d’une énergie dite « dramatique » - c’est à dire : théâtrale, sauvage, hautement technique, audacieuse.

Frédéric Nauczyciel est un artiste visuel français. Il travaille entre la France et les Etats-Unis. Nourri par la danse et le cinéma, il réalise des photographies, des films et des performances. Il construit avec ses sujets des images collaboratives qui tendent vers une hybridation des formes. Il fait appel à l’expérience de la performance pour produire des « images vivantes » qui convient la présence. Depuis 2011, il déploie son travail entre les ghettos noirs de Baltimore et la périphérie parisienne, puisant dans la force des langages performatifs tel que le voguing. Il expose en France (Musée de la Chasse à Paris, Mac/Val, Eté Photographique de Lectoure, Rencontres Internationales de Photographie d’Arles, Festival d’Avignon, Centre Pompidou Paris), à Barcelone (Palau de la Virreina), ou aux Etats-Unis (Washington, Houston, Baltimore et New York). Il est lauréat en 2011 de la Villa Médicis Programme Hors les Murs pour les Etats-Unis (Institut Français), reçoit en 2013 l’Allocation de recherche du Centre National des Arts Plastiques et figure dans la collection du Fonds national d’Art Contemporain (Public # Ceux qui nous regardent, Le temps devant et The Fire Flies, Baltimore). Il est en résidence en Seine-Saint-Denis pour deux années, de 2014 à 2016.

Michelle deignan
Ways to Speculate
Vidéo | hdv | couleur | 3:44 | Royaume-Uni | 2014

Actual and virtual simulacra of historical European buildings, monuments and recreational spaces are presented in a tumultuous and fluctuating sonic landscape. This uncanny vision of past and present, depicting the instrumentalisation of places, is framed by two distinct voices. One languidly quotes lyrics from Kraftwerk’s Europe Endless (1977) the other earnestly performs excerpts from the introduction to the sci-fi novel, “The Mummy: A Tale of the Twenty Second Century” by Jane Webb Loudon (1827). Between them they proposes a progressive but unstable future where past dramas can easily be re-enacted.

Michelle Deignan (b. Dublin 1970) is an artist and filmmaker based in London. She has exhibited her work in over 60 national and international exhibitions, screenings and festivals including: `Public Space Ltd.`, Athens Media Art Festival;`transmediale`, House of Cultures, Berlin; `India Art Summit`, Delhi; The LUX and Cranford Collection Present: The World Turned Upside Down, Camden Arts Centre, London; `Terror and the Sublime: Art and Politics in an Age of Anxiety`, Crawford Art Gallery, Cork; `This Fanciful Digression`, CAN, Neuchatel, Switzerland. Michelle Deignan`s moving image work is distributed by LUX.

Jasmina cibic
Tear Down and Rebuild
Fiction expérimentale | 4k | couleur | 15:28 | Royaume-Uni | 2015

Composed of various quotes - belonging to political speeches, debates and proclamations that extract and emphasize the iconoclasm of architecture, art and monuments – the film creates an original conversation between four characters. A Nation Builder, a Pragmatist, a Conservationist and an Artist/Architect become a reflection of ideological deliberation facing a practical scruple. Including words drawn from Regan’s speech on the Berlin Wall, Prince Charles’s 1984 address at RIBA and Isis bloggers’ proclamation on the demolishment of temples, the film’s storyline uses language that endorses demolition and redesign, which were to aid the creation of new displays for ensuing nation-states or ideological positions throughout the 20th and 21st centuries. As the film’s narrative unfolds, the viewer is a witness to the final decision to demolish the fictitious building, the image of which is constructed in the spectator’s imagination through a collage of quotations on diverse, ideologically contrived and historically charged buildings, monuments, walls etc. that were to be or were knocked down - pointing to the universality and timelessness of the paradox of national and ideological representation and its icons.

1979, Ljubljana A London based artist working in installation, performance and photography. Cibic has begun making films in 2012 for her solo presentation of the Slovenian Pavilion at the 55th Venice Biennial. Cibic`s work is site and context specific, performative in nature and employs a range of activity, media and theatrical tactics to redefine or reconsider an existent environment and its politics. The basic gesture in Cibic’s artistic explorations is the dismantlement and careful analysis of the work of art, its representation, and its relationship to the viewer as she tries to operate inside the system she is investigating. The mechanisms and structures of the system thus often become integral parts of the practice, allowing the work to transcend the plane of art and the language of form. Her film works have been shown at Ludwig Museum Budapest, MSUB Belgrade, MGLC Ljubljana, Dokfest Kulturbahfhof – Kassel, Haus der Kulturen der Welt Berlin, Les Rencontres Internationales - Gaîté Lyrique Paris, Copenhagen International Documentary Festival, Art Brussels Cinema Program and Nassauischer Kunstverein Wiesbaden. Her upcoming solo screenings include MSUM Ljubljana, Crawford Art Gallery Cork, the Artist Cinema at the Museum of Contemporary Art Zagreb.

Su-Mei tse
Pays de neige
Vidéo | hdv | couleur | 7:40 | Italie | 2015

Pays de neige (Snow Country), 2015  Une marche faisant le vide comme un moment de suspension, cet espace indéfini semblable à celle d’une respiration avant tout commencement. Comme ce temps durant lequel la toile se prépare avant l`application de la peinture, comme celui pendant lequel la feuille blanche attend l`écriture, ou lorsque la pensée s`apprête à devenir parole. Dans cette vidéo de Su-Mei Tse le balayage souligne le moment magique durant lequel on se prépare à agir, à se laisser emporter par ses désirs, à marcher dans la neige …

Violoncelliste de formation et fille de musiciens professionnels, Su-Mei Tse développe un univers plastique qui s’exprime dans un vocabulaire de formes minimales où l’harmonie s’impose. Mettant en espace le son et la musique, elle exprime son regard sur le monde qui nous environne dans un état d’esprit imprégné par la philosophie zen, avec « la volonté de figurer le son, de rendre palpable l’impact physique et émotionnel de la fréquence sonore » (M. Le sauvage). Jouant sur la relation des sens, elle ravive notre intuition dans des oeuvres qui apparaissent comme des moments de respiration. Marquée aussi par la philosophie humaniste, Su-Mei Tse produit des pièces qui mettent en exergue le chemin de l’homme vers lui-même dans un rapport introspectif car si, comme le dit John Cage, « le silence n’existe pas », il renvoie toutefois à l’écoute de soi. De ce positionnement, naît une ambiance méditative : les sens entrent en éveil progressivement tandis que l’équilibre apparaît entre des elements organiques, matériels et culturels a priori inassimilables. Quant aux espaces, soustraits poétiquement par son geste, ils se révèlent sous l’angle du sensible. (H. Lallier)

Sébastien durantÉ
Rendre à Cesar
Fiction | hdv | couleur | 4:36 | France | 2013

4min36 – 2013 En 2007, les archéologues fouillent le fond du Rhône au bord des rives de la ville d’Arles découvrant un buste en marbre qu’ils identifient comme étant César. Face à cette découverte j’ai entrepris de sculpter mon propre buste dans le même matériau et de le jeter à l’eau, là ou les archéologues continuent les fouilles.

Chaque nouveau projet que j’entreprends nécessite que je m’immerge ; que j’interroge la façon de faire et de penser de tel ou tel artiste. J’aime ce challenge proche de celui du faussaire qui doit se plonger dans la technique et la vision d’un créateur. J’opère des déplacements à travers différents cadres (au sens Goffmanien), de façon à jouer avec le statut d’une œuvre d’art et celui de l’artiste. La transformation, la mise à mal d’un objet artistique, artisanal, archéologique permet une ouverture des champs et un déplacement des frontières entre ces différentes sphères. L’appropriation d’un objet ou d’une pièce passe par une transformation ou une greffe : un déplacement de forme, de matière ou d’espace trouble ses codes de lecture.

Pierre-jean giloux
Fiction | hdv | couleur | 11:0 | Japon | 2015

Metabolism : “Le point de départ est la découverte d’un photomontage de Arata Isozaki intitulé “Re-ruined Hiroshima”. Cette image est une énigme : dans ce paysage dévasté, deux grandes formes architecturées se dessinent : ces structures constituées (on le suppose) par des débris récupérés dans les alentours, surplombent une ville mise à terre. Les métabolistes (un groupe d’urbanistes et d’architectes japonais autour d’une même vision : la ville du futur ) ont projeté de reconstruire ce pays, de (lui) façonner une nouvelle identité. Ce fut une sorte d’élan tendu vers l’avenir, vers un futur développement de l’espace urbain qui devait répondre aux flux des populations vers les centres urbains. Ils s’inscrivirent néanmoins dans une continuité idéoloqique ‘traditionnelle’ faisant référence à l’image iconique du temple d’Ise . Le métabolisme fût la dernière utopie moderniste du XXème siècle, cette découverte m’a passionné et a suscité le désir de faire ce film. Certains de leurs projets non réalisés sont introduits dans ce film par le truchement des techniques numériques, dans le Tokyo de 2015. Jalons historiques et présences fantomatiques inscrites dans les strates urbaines de la mégapole japonaise.

Qu’il soit filmique ou photographique, le travail de Pierre Jean Giloux débute par le stade préparatoire du dessin, phases de recherches où la pensée s’organise par strates, avant de passer à la réalisation. Ses installations photographiques composées de suites d’images peuvent être qualifiées de « storyboards agrandis ». Ces dernières -le plus souvent exposées en milieux urbains- se confrontent aux rapports d’échelles et questionnent le statut de l’image au sein même de la cité. Ses travaux vidéo sont les résultats d’associations et hybridations d’images. Il développe par le biais des techniques numériques un travail de collage, montage, de compositions visuelles et sonores qui incluent des séquences animées en 2 et 3 d. Il aime à faire cohabiter le virtuel et le réel dans le dessein d’établir un dialogue et de questionner notre rapport au réel et vice versa. En 2015, Pierre-Jean Giloux à la Villa Kujoyama (Kyoto, Japon) où il réalise le quatrième et dernier volet de “Invisible Cities” intitulé “Station to Station”. Ses installations vidéos et ses films ont été exposés dans de nombreuses institutions et festivals, notamment le Centre Pompidou, le MAC VAL, le CREDAC, Comix Home Base de Hong Kong, au Kyoto Art Center, au Pavillon de l’Arsenal à Paris.

Didier faustino
Exploring Dead Building 2.0
Fiction expérimentale | hdv | couleur et n&b | 9:0 | Cuba | 2015

Didier Faustino dresse le portrait d’une jeunesse « encagée » . cette exploration sonde l’histoire du bâtiment La Escuala de Ballet et les utopies de son architecte, Vittorio Garatti Cuba 1961 Au cours d’une partie de golf, sur le terrain du club privé le plus prisé, où tous les politiques se rendaient, les révolutionnaires Fidel Castro et Che Guevara miment une partie en uniforme. Au cours de cette journée leur vient l’idée de créer sur ce magnifique site la plus grande école d’art d’Amérique latine. Trois architectes se voient donc confier la conception de cinq bâtiments, dont la mise en oeuvre commen¬cera la même année : l’école d’arts plastiques, l’école d’art dramatique, l’école de ballet, l’école de musique et l’école de danse moderne. Cuba 1962 Début de l’embargo des Etats-Unis sur Cuba et de la première crise économique du pays depuis le début du régime castriste. Sur les cinq bâtiments, trois sont encore inachevés et font alors l’objet de pillage. Ces bâtiments meurent avant même d’exister ; c’est le cas notamment de l’école de ballet, conçue par l’architecte italien Vittorio Garatti. Le projet s’enrichi au contact de la liberté et de la richesse du bâtiment, pour prendre la forme d’une chorégraphie en dialogue avec l’espace. « Exploring Dead Buildings » a alors muté en se fragmentant et d’un unique véhicule nous sommes passés à 3 systèmes portatifs, projectifs et prothétiques. D’une narration monologique a émergé un dialogue triptyque dans lequel se croisent des personnages hétéronymes dénués d’identité. L’oeuvre comme performance physique donne ensuite lieu à une captation et c’est alors la performance de la Bienale qui est fictionnée et mise en scène. A WALKER TO EXPLORE DEAD BUILDINGS Dans une atmosphère tropicale, au lever du jour, sur les toits d’une architecture aux courbes utopiques se déploie une chorégraphie de trois jeunes corps. Ces personnages mélancoliques au caractère hétéronyme arborent chacun un scaphandre métallique, métaphore d’une jeunesse encagée. Les caméras placées sur ces structures ainsi que celle qui gravite autour d’eux nous offrent les images de cette errance sur les ruines de la Escuela de Ballet de La Havane à Cuba. Le film met ainsi en exergue l’échec de cette utopie architecturale et culturelle. La performance, elle, souligne la mémoire d’un futur voulu meilleur, mais aujourd’hui rapporté à une architecture laissée sans usage. Ainsi les scènes claires et celles obscures s’entrecoupent entre passages de l’intérieur à l’extérieur,entre jour et nuit au service d’une esthétique fictionnelle. LIGNE NARRATRICE ENTRETIEN AVEC VITTORIO GARRATTI Didier Faustino s’adresse à l ‘architecte Vittorio Garratti, non pas pour qu’il lui raconte l’histoire de ce bâtiment, mais pour en capter son essence via l’expérience de son créateur ; celle des extrêmes et des utopies. Il l’invite à parler de sa jeunesse en cage, de ses illusions perdues ;de la Révolution. Le projet s’enrichi au contact de la liberté et de la richesse du bâtiment, pour prendre la forme d’une chorégraphie en dialogue avec l’espace. « Exploring Dead Buildings » a alors muté en se fragmentant et d’un unique véhicule nous sommes passés à 3 systèmes portatifs, projectifs et prothétiques. D’une narration monologique a émergé un dialogue triptyque dans lequel se croisent des personnages hétéronymes dénués d’identité. L’oeuvre comme performance physique donne ensuite lieu à une captation et c’est alors la performance de la Bienale qui est fictionnée et mise en scène. A WALKER TO EXPLORE DEAD BUILDINGS Dans une atmosphère tropicale, au lever du jour, sur les toits d’une architecture aux courbes utopiques se déploie une chorégraphie de trois jeunes corps. Ces personnages mélancoliques au caractère hétéronyme arborent chacun un scaphandre métallique, métaphore d’une jeunesse encagée. Les caméras placées sur ces structures ainsi que celle qui gravite autour d’eux nous offrent les images de cette errance sur les ruines de la Escuela de Ballet de La Havane à Cuba. Le film met ainsi en exergue l’échec de cette utopie architecturale et culturelle. La performance, elle, souligne la mémoire d’un futur voulu meilleur, mais aujourd’hui rapporté à une architecture laissée sans usage. Ainsi les scènes claires et celles obscures s’entrecoupent entre passages de l’intérieur à l’extérieur,entre jour et nuit au service d’une esthétique fictionnelle. Didier Faustino s’adresse à l ‘architecte Vittorio Garratti, non pas pour qu’il lui raconte l’histoire de ce bâtiment, mais pour en capter son essence via l’expérience de son créateur ; celle des extrêmes et des utopies. Il l’invite à parler de sa jeunesse en cage, de ses illusions perdues ;de la Révolution.

Artiste et architecte français, Didier Faustino travaille sur la relation entre corps et espace. À la frontière entre art et architecture, sa pratique a débuté dès la fin de ses études en 1995. Son approche est multiforme, allant de l’installation à l’expérimentation, de la création d’œuvres plastiques subversives à celle d’espaces propices à l’exacerbation des sens. Ses projets se caractérisent par leur dimension fictionnelle, leur regard critique, leur affranchissement des codes et leur capacité à offrir des expériences inédites au corps individuel et collectif. A ce titre, il a reçu le « Prix Dejean, Grande Médaille d’Argent » de l’Académie d’Architecture en 2010 pour l’ensemble de son œuvre. Ses projets se caractérisent par leur dimension fictionnelle, leur regard critique, leur affranchissement des codes et leur capacité à offrir des expériences inédites au corps individuel et collectif. Plusieurs de ses œuvres sont entrées dans les collections de grandes institutions : MoMA, Fondation Calouste Gulbenkian, Fondation Serralves, Fonds National d’Art Contemporain, Musée National d’Art Moderne / Centre Georges Pompidou. Actuellement, Didier Faustino travaille sur plusieurs projets architecturaux : la création d`une fondation et bibliothèque à Mexico City pour Alumnos 47, une maison domestique expérimentale en Espagne pour l’éditeur de maisons Solo Houses et un chai au Portugal pour le domaine Casa de Mouraz. Il consacre également une partie de son temps à l’enseignement, et dirige notamment la Diploma Unit 2 à la AA School de Londres depuis 2011. Depuis septembre 2015, il exerce la fonction de rédacteur en chef du magazine français d’architecture et de design CREE.

Sasha pirker, Lotte Schreiber
Exhibition Talks
Doc. expérimental | 16mm | noir et blanc | 9:0 | Autriche | 2014

Wenn, wie Walter Benjamin behauptet hat, Gebäude auf doppelte Art, durch Gebrauch und Wahrnehmung rezipiert werden, d.h. taktil und optisch, dann könnte man Sasha Pirkers und Lotte Schreibers Exhibition Talks als Versuch verstehen, diese doppelte Rezeptionsweise ein Stück weit zu entkoppeln. Während auf der Tonspur vom Gebrauch der Ausstellungsräume des Tiroler Architekturforums aut die Rede ist, von den Gegebenheiten der einzelnen Räume und den Möglichkeiten, sie für eigene Bedürfnisse zu adaptieren, liefert die Bildspur fragmentarische, statische und in Schwarzweiß gehaltene Ansichten derselben Räume, die allein schon deshalb im optischen Register verharren, weil sie über die Montage zu keinem kohärenten Raumganzen verbunden werden. Anstatt die Größe der Räume und ihre gebaute Anordnung etwa über einen Rundgang durch das Gebäude zu "erzählen", fängt die Kamera Details der Fassade und der Innenräume ein, die zum einen mit ihren klar gezogenen Linien und den vielfältigen Gelegenheiten zu Ein-, Aus- und Durchblicken von der Formensprache der klassischen Moderne zeugen, zum anderen diese Formensprache einem optischen Spiel von Licht und Schatten, von Grauwerten und Schwarzweiß aussetzen, das die drei Dimensionen des Bauwerks grafisch auflöst. Bestand die Pointe der doppelten Rezeptionsweise von Gebäuden bei Benjamin in der Übertragung auf die Wahrnehmungsbedingungen am Ort des Kinos (Zerstreuung statt Kontemplation), scheint die experimentelle Entkopplung von optischer Wahrnehmung und taktilem Gebrauch in Exhibition Talks einer anderen Logik zu folgen. Obwohl vom Bild strikt getrennt, suchen die Möglichkeiten des Gebrauchs nach Wegen ins Sichtbare. "Normalerweise ist der Eingang hier": Zu sehen ist eine Öffnung, durch die Licht auf eine Wand fällt, während der übrige Raum im Schatten versinkt. Die Öffnung ist ein Fenster, sie könnte aber auch eine Tür sein bzw. ist sie gerade im Begriff, zu einer solchen zu werden. Von solchen Übergängen handelt Exhibition Talks: vom Offenen, vom Beweglichen und Veränderlichen des gebauten Raums. (Vrääth Öhner)

Sasha Pirker was born in Vienna, Austria in 1969 and works there as an artist and filmmaker. She studied Linguistics in Vienna and Paris. From 1995-2000 she worked as a curator of contemporary architecture at the Architecture Center Vienna (Az W). Since 2006 she has been a teaching member in the Video and Videoinstallation department at the University of Fine Arts in Vienna, Austria. Her films are distributed by sixpackfilm Vienna. She had a retrospective “The Thinking Form” at the VIENNALE – International Film Festival in Vienna in 2011 and she is represented in “Breaking Ground – 60 years Experimental Cinema in Austria “, which has toured as a film programme internationally since 2012. In 2010 her film “The Future will not be Capitalist” was part of the competition Orrizonti at the 67th Film Festival in Venice, Italy (Mostra Internazionale d’Arte Cinematografica, Venice/I). Other screenings and exhibitions include: Centre Georges Pompidou “HORS PISTES 2011 – Un Autre Mouvement des Images”, the opening exhibition of 21er Haus/Belvedere Vienna “Greater Prospects”, Anthology Films Archives, New York/USA, Image Forum Festival, Tokyo/JPN, International Documentary Film Festival, London/UK, IFFR International Film Festival Rotterdam/NL, Antimatter Film Festival, Victoria, BC/CDN, Diagonale – Festival of Austrian Film, Graz/A, Istanbul International Short Film Festival, Corona Cork Film Festival/IRL, 25 FPS International Short Experimental Film and Video Festival, Zagreb/HR, VIS Vienna Independent Shorts/A (Audience Award 2008), Iowa City Documentary Film Festival, Iowa/USA, Nashville Film Festival, Tennessee/USA, Dortmund/Köln – Internationales Frauenfilmfestival/D, Cinéma du Réel, Paris/F, Transmediale, Berlin/D, Denver International Film Festival, Colorado/USA, Uppsala – International Short Film Festival/S, and Leeds – International Film Festival/UK.

Fréderic Nauczyciel presents a ritual. Kendall Mugler, part of the ‘voguing’ scene, puts his red stilettos on and displays his very technical and daring, theatrical and wild energy. Michelle Deignan makes two distinct voices speak in a real and virtual simulacrum of historical European buildings. One recites Kraftwerk lyrics while the other quotes extracts from a science fiction novel written in 1827. Jasmina Cibic films four characters whose words are based on extracts from discourse on architecture. She questions the link between architecture and ideology. Su-Mei Tse embarks on a walk. The emptiness is like time suspended, this indefinite space similar to a short pause before starting something. Sébastien Durante sculpts his own bust and then throws it into water for posterity. Pierre-Jean Giloux refers to metabolism, a Japanese architectural movement in the 60s and the last modernist utopia of the 20th century. In Havana, Didier Faustino films the building built in the 60s by the Italian architect Vittorio Garati. It was for a dance school that never existed. Sasha Pirker and Lotte Schreiber film the exhibition spaces at the Architektur Forum in the Tyrol. The soundtrack describes the use of the building, whereas the images provide fragmented and static views.


Mar. 18
9 pm

Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry


Richard martin: Abcam | Vidéo | hdv | couleur | 7:54 | Canada | 2015 see more
Elisa gÓmez alvarez: Me Myself and I | Fiction expérimentale | mov | couleur | 5:13 | Allemagne | 2015 see more
Maëlle gross: STRIKE A POSE | Vidéo | hdv | couleur | 17:20 | Suisse | 2014 see more
Levy dana: Eden Without Eve | Documentaire | hdv | couleur | 5:2 | USA | 2014 see more
Zackary drucker: Southern for Pussy | Fiction | hdv | couleur | 4:40 | USA | 2015 see more
Eve sussman, Simon Lee: No Food No Money No Jewels | Vidéo | 4k | couleur | 9:38 | USA | 2014 see more
Ira schneider: Somewhere on Orchard Street | Doc. expérimental | 16mm | couleur | 8:6 | Allemagne | 2015 see more
Janis rafa: Three Farewells: The Last Burial | Fiction expérimentale | 4k | couleur | 24:0 | Pays-Bas | 2013 see more
Richard martin
Vidéo | hdv | couleur | 7:54 | Canada | 2015

A B C A M (or A & B Cam) explores a scene from a TV movie where the angles have been superimposed to reveal filmic conventions. It reveals the narrative, angles as well as the adjustments in performance to observe the process in its rawness and mesmerizing predictability. In conventional cinema we are only allowed to see what is presented and manipulated through the process of editing. This is a process as old as the medium itself. It is the essence of cinema. In the case of A B C A M, that process has been subverted and exposed to allow the audience to experience the conventions simultaneously and in real time. The manufactured certainty of the experience is undermined as we are encouraged to review both sides of the narrative, follow the narrative or perhaps, find a new narrative.

Richard Martin (MFA 2013 University of British Columbia) is a media artist living in Vancouver Canada. His short film work has appeared as official selections in prestigious venues such as Berlin International Film Festival, Oberhausen, Rencontres (Paris), Toronto International, EXiS (Korea), Ann Arbor, Athens (Ohio), and many more. He has also worked as a mainstream film and TV director and in that his work straddles conventional and experimental cinema, blending and upending convention with abstract intention, playfulness and occasionally, personal trauma.

Elisa gÓmez alvarez
Me Myself and I
Fiction expérimentale | mov | couleur | 5:13 | Allemagne | 2015

The experimental short film ME, MYSELF AND I directed by Elisa Gómez Alvarez (script and rea- lisation) and Nicolas Stephan Fischer (fashion-collection F65.0) is about a metro-sexual matrix at the old Berlin corner pub "Soldiner Eck“. With stylistic devices of Western, Science-Fiction and the CAMP-movement the film questions society-forced role models and male stereotypes. Based on a shared research the fashion-collection and the short film were simultaneously realised in a synergetic project at University of Arts Berlin 2015. Surrounded by fairy lights and plastic flowers three male figures meet at an old Berlin pub. Despite their identical appearance they distinguish by personality and clothing. There is a strained relationship between them. Mutely the men communicate with minimal gestures as they seem confused between desire and fear. Camouflage-like their outfits vanish in the lavis- hly decorated ambience. A strange meeting, an interaction between alive and dead things in a surreal space.

ELISA GÓMEZ ALVAREZ was born 1989 in Berlin. She studies Visual Communication at the University of Arts Berlin since 2012. Since September 2015 she is a fellows- hip holder in one of Germany‘s most important foundation „Studienstiftung des deutschen Volkes“. During her studies she visited the studio class „MEDIA ART“ by Prof. Maria Vedder and „Expanded Media“ by Prof. Anna Anders. Now she is taking part in the studio class „Experimental Film / Media Art“ by Prof. Nina Fischer. Initiating a variety of short films and video installations she is a versatilely en- gaged student at University of Arts Berlin. One of her most complex projects was the film opera by Bohuslav Martinů. She realised a mixed media video work for stage scenery. The jazz-opera was performed first in Berlin. (Première: 4th/5th of July 2014)

Maëlle gross
Vidéo | hdv | couleur | 17:20 | Suisse | 2014

Jouant sur la limite entre documentaire et œuvre vidéo, Strike a pose suit Ariane V., body-buildeuse et Docteur en science de la Vie d’origine belge vivant en Suisse. Durant 9 mois, Maëlle Gross a côtoyé Ariane. Cet investissement dans la durée avait pour but de créer une intimité entre l’artiste et son sujet, afin que ce dernier puisse entrer dans un processus de lâcher prise, gage de confiance. Au moyen d’interviews, de la danse et d’immersion dans le monde du bodybuilding, peu à peu nous nous rendons compte d’un état d’ambïguité du corps. Pousser les limites physiques, se détacher de sa propre enveloppe pour la traiter comme une sculpture. Arrivé au paroxysme de sa métamorphose, la protagoniste devient alors, hors-norme. Hors-norme des critères de beauté stéréotypée du corps genré auxquelles elle est associée. Une invitation à l’introspection subjective dans l’imagerie contrôlée du corps où la limite entre le raisonnable et l’excessif se fait de plus en plus petite au fur et à mesure de la transformation radical qu’Ariane a entrepris sur son corps.

Née le 20 novembre 1988 à Lausanne en Suisse, Maëlle Gross montre très jeune un intérêt particulier pour la photographie et la vidéo. Diplômée en 2013 de la Haute Ecole d’Art et Design de Genève, elle déménage ensuite à Londres et intègre la Goldsmiths University où elle obtient en 2015 son Master of Fine Art avec mention. Son travail a notamment été présenté lors du festival vidéo R4 à Paris, a participé à une performance collective à l’Institute of Contemporary Arts (ICA) de Londres ainsi qu`à la galerie Large Glass à Londres sous le collectif Almosthere. Aujourd’hui, Maëlle Gross vit et travaille entre Londres et Genève.

Levy dana
Eden Without Eve
Documentaire | hdv | couleur | 5:2 | USA | 2014

A short documentary about life in the Everglades National Park’s with it’s few residents. Living in the midst of a national park, they learn to exist with the the wild. As a woman filmmaker I observe these men almost like an anthropologist, observing how they interact with their surroundings. The only women that appear in the film are as still images in Lucky`s photographs, . He believes that women like having themselves put in a romantic, exotic, dangerous setting to be photographed.

Dana Levy was born in Tel Aviv and Lives and works in New York. She completed her Post graduate in Electronic Imaging at the Duncan of Jordanston College of Art Dundee University, Scotland, and holds a BA from Camberwell Art College London Awards include 2013 Beatrice Kolliner Young Artist Award from the Israel Museum, 2010 Dumbo Arts Festival best studio award, 2008 Young Israeli Artist Award, 2006 Hamburg Short Film festival jury award. Solo shows include at The Israel Museum, CCA Tel Aviv, Nicelle Beauchene Gallery New York . Her work has been screened at Tate London, Tribeca Film Festival,Oberhausen Film Festival and more. group shows include at the Biennial of Contemporary Art of Cartagena 2013, Bass Museum, Miami, Florida, Invisible Exports Gallery NYC , MOCA Cleveland, EVA International Bienniel , Israel Museum Jerusalem, Harn Museum of Art ,OK Contemporary Art, Linz Au and more Artist Residencies include AIRIE Everglades National Park, Wave Hill Workspace residency New, LMCC Workspace NYC, Le Havre/ New York. Regards croisés
Art Omi NY, I-park, Connecticut, Triangle Arts Association NY and more

Zackary drucker
Southern for Pussy
Fiction | hdv | couleur | 4:40 | USA | 2015

Over a long weekend, a mother and daughter discuss thinning vaginal walls and humiliate a handsome stranger.

Zackary Drucker is an independent artist, cultural producer, and trans woman who breaks down the way we think about gender, sexuality, and seeing. She has performed and exhibited her work internationally in museums, galleries, and film festivals including the Whitney Biennial 2014, MoMA PS1, Hammer Museum, Art Gallery of Ontario, MCA San Diego, and SF MoMA, among others. Drucker is an Emmy-nominated Producer for the docu-series This Is Me, as well as a Co-Producer on Golden Globe and Emmy-winning Transparent. She is a cast member on the E! docu-series I Am Cait.

Eve sussman, Simon Lee
No Food No Money No Jewels
Vidéo | 4k | couleur | 9:38 | USA | 2014

Eve Sussman is a Brooklyn-based artist and filmmaker who works independently and collectively with her partner Simon Lee and Rufus Corporation, founded in 2003. Along with Rape of the Sabine Women, and 89 Seconds at Alcázar, that debuted at the Whitney Biennial, the company has collaborated on other projects including Yuri’s Office, and whiteonwhite:algorithmicnoir . Rufus Corporation’s works have been exhibited and screened internationally and are included in the collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Philadelphia Museum of Art, Philadelphia; The Margulies Collection, Miami; Fundación La Caixa, Barcelona; and Centro Galego de Arte Contemporáneo, Santiago de Compostela, Spain. whiteonwhite:algorithmicnoir was recently acquired for the permanent collection of the Smithsonian American Art Museum. Simon Lee works in photography, video and installation. His work is said to often be “a powerful metaphor for the random flow of history and a low tech formal tour de force” (Holland Cotter, New York Times). His 2010 film collaboration with Algis Kizys, Where is the Black Beast? (2010) was shown at the Sagamore Collection in Miami, Zebra Poetry Film Festival Berlin, IFC Center in New York, and was an official selection at the 2011 Rotterdam Film Festival. Together with Sussman, he co-founded the “Wallabout Oyster Theater,” a micro-theater space run out of their studios in Brooklyn. Lee has exhibited at the Brooklyn Museum of Art; The Berkshire Museum, MA; Roebling Hall, New York; the Moscow International Film Festival; Musée d’Art Contemporain de Montreal; Poznan Biennale, Poland; The Rotunda Gallery, Brooklyn NY; Tinguely Museum, Basel, Switzerland; Espace Paul Ricard, Paris, France; and The Whitney Museum of American Art, New York. In addition to founding the Wallabout Oyster Theatre, Lee + Sussman have been producing for Jack+Leigh Ruby, to ex-con artists who are now directing videos including: Car Wash Incident

Ira schneider
Somewhere on Orchard Street
Doc. expérimental | 16mm | couleur | 8:6 | Allemagne | 2015

I was a member of the Max`s Kansas City club 1966-1974.Andy Warhol hung out there until he got shot in 1968.The Velvet Underground continued to go there.Lou Reed & I often said hello.Larry Rivers,Mel Brooks,Janis Joplin, Lauren Hutton,Julian Schnabel sometimes talked.The maitre d`invited me to film an evening with his friends above a bridal gown shop on Orchard St.They somehow got fabrics from the shop. I brought my Bolex.

Ira Schneider made experimental films in the 60s, than independent video in `69, participated in the “First Group Video Art Exhibition” in NYC May `69 with “Wipe Cycle” video installation, makes his own kind of non-narrative videos, video performances, comedies and multi- monitor video installations. Recipient of Guggenheim Fellowship 1977, National Endowment for the Arts 1978, “Time Zones” video installation, Whitney Museum, NYC 1981, Fulbright Advanced Fellowship 1993. One of winners, Mediakunstpreis, ZKM, 2003. Recipient of the Hannah Hoech Prize, 2006, Berlin Exhibitions: “Video Skulptur” Cologne, Berlin 1989; “Max`s Kansas City Club Show”, Nikolaj Gallery, Copenhagen, 2004; Reina Sofia Museum, Madrid 2006 with “Manhattan Is An Island” video installation; Galerie Walden, Berlin 2007; Kunstpunkt, Berlin 2008; Rencontres International Film Festival, Paris, Madrid, Berlin 2008, 2009, 2010, 2011; “Changing Channels”, MuMoK, Vienna 2010; Prima Center and Freies Museum, both Berlin 2011. “Remote Control” ICA London; “The Whole Earth” exhibition, Haus der Kulturen der Welt, Berlin, April - July 2013; Zagreus Gallery, Berlin, 2014 video- and photo installation and cooking exotic menus. Award “Best Short Short Film” at the Paris Short Film Festival 2015 and award “Best Short Film” at the Berlin Short Film Festival 2015,best Experimental short film at the Paris IndependentFilm Festival,2015 Schneider has published two eBooks and two photography books 2014/15 and produced the video H2O #18.

Janis rafa
Three Farewells: The Last Burial
Fiction expérimentale | 4k | couleur | 24:0 | Pays-Bas | 2013

SYNOPSIS Three Farewells: The Last Burial Janis Rafa The Last Burial proposes a visual approach on the concept of death and the fear of losing, outside the rigid anthropocentric understanding on human / non-human existence. It describes the moment of loss within the intimate space of a family house. The father and mother of this familial environment are silenced, in a state of mourning. Their sorrow is expressed through the form of water, rain or onions; visual symbolisms that take the characters into a timeless state of being and awareness, reflecting on the house’s past. The Last Burial consists part of the Three Farewells (2013), a trilogy of burials produced by Janis Rafa, with the support of Amsterdams Fonds voor de Kunst Alexander S. Onassis Foundation Rijksakademie van beeldende kunsten.

BIO Janis Rafa Lives and works between Amsterdam and Athens. She completed her education in Fine Art (BA, MA, PhD) at the University of Leeds in Britain with scholarship by the Arts & Humanities Research Council. Her body of work spans from experimental-documentary practices, to video-essays, archival footage and most recently cinematic narratives and medium length films. She has recently completed the Rijksakademie van beeldende kunsten residency (2013-2014) in Amsterdam, with a scholarship by Onassis Foundation (GR). Her first solo exhibition was presented at Martin van Zomeren Gallery, Amsterdam, 2014. She currently presents work at EYE Film Institute, Close-Up: A New Generation of Film and Video Artists in the Netherlands (Jan-May 2015). She has participated in group exhibitions: VISIO European Program on Artists’ Moving Images 2015; 1st Research Pavilion, Venice Biennial, 2015; Art Rotterdam Projections, Kunstvereniging Diepenheim, 2015; Ce que raconte la solitude, ART-O-RAMA, 2014; Rijksakademie OPEN, 2013 – 2014, Manifesta 8, 2010; No Soul For Sale, Tate Modern, 2010. Her films and video works were screened at: Netherlands Film Festival, International Film Festival Rotterdam, BFI London, Cinema de la Nouvelle Lune, Curtas Vila do Conde, Gulf Film Festival Dubai, Capalbio Cinema, Project Space Leeds, and as part of Rencontres Internationales, 2010, at Centre National d’Art Moderne – Centre Georges Pompidou, Reina Sofia National Museum and Haus der Kulturen der Welt. Her work is part of Stedelijk Museum Amsterdam collection.

Richard Martin distorts the editing process, and explores a sequence from a TV film. He reveals the principal norms of the genre with its crude and hypnotic predictability. Elisa Gómez Alvarez multiplies an individual whose avatars waver between fear and desire. Maëlle Gross films Ariane V., a body-builder and Doctor of Life Sciences, and proposes a reflection on moderation and excess in the world of controlled body imaging. Dana Levy meets several inhabitants of Everglades National Park, like Adams without their Eve, for whom the only women present are in cigarette advertisements. Zackary Drucker portrays himself with his mother. They discuss the names used for the vagina and humiliate a handsome stranger who rings at their door. Eve Sussman presents strange characters who resume and act parts of speeches by famous people, from Lady Di to Janis Joplin, in a factory setting that turns into a court. Ira Schneider films an improvised party in Orchard Street in the 60s, organised by the members of Max’s Kansas City club, where the Velvet Underground recorded its first album. Janis Rafa films a bereaved couple suspended in time in a house. Their grief echoes the rain and everyday objects.

Download on pdf TV LAB See the trailers