Berlin 2017 Programme
1 pm 2 pm 3.30 pm 5.30 pm

June 17
1 pm

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

Discussion and Coffee

We invite you to come for a coffee and listen to the invited artists who will discuss their work, research and ongoing projects with the Rencontres Internationales programming team. This is an informal and ideal opportunity to address the work of the artists in the programme before the screening.

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June 17
2 pm

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


J Tobias anderson: A Work of Art | Animation | hdv | noir et blanc | 1:36 | Suède | 2016 see more
Xi chen: PEW | Animation | hdv | couleur | 10:11 | Chine | 2016 see more
Dana Berman duff: Catalogue Vol.6 | Film expérimental | hdv | noir et blanc | 11:38 | USA | 2016 see more
Zachary epcar: Return to Forms | Film expérimental | 16mm | couleur | 10:13 | USA | 2016 see more
Laure prouvost: Lick in the Past | Vidéo | hdv | couleur | 8:25 | France | 2016 see more
institute for new feeling: This is Presence | Vidéo | hdv | couleur | 17:19 | USA | 2016 see more
J Tobias anderson
A Work of Art
Animation | hdv | noir et blanc | 1:36 | Suède | 2016

A reflection on the artist’s own work, mirrored in a dialogue involving three secondhand characters. Together they make an honest evaluation of the artwork to reveal the harsh truth.

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.

Xi chen
Animation | hdv | couleur | 10:11 | Chine | 2016

This is a story of PEW (penis-eating worm), this is a herstory of all humans.

Chen Xi was born in Wuhan, China (1985), graduated from Jiangnan University(BA) in 2008, then graduated from ECNU(MA) in 2012. He currently works and lives in Beijing. Since 2013, Chen Xi’s artworks have included various medium, such as painting, video, animation, photography and onsite project.

Dana Berman duff
Catalogue Vol.6
Film expérimental | hdv | noir et blanc | 11:38 | USA | 2016

"Catalogue" is a series of 16mm films and videos that consider the time it takes to look at the objects for sale in a mainstream furniture catalogue of designer knock-offs. The catalogue presents de-saturated photographs of staged rooms shot and printed to resemble sets for film-noir era movies. This mediation hypothetically increases the objects` desirability by picturing them in a nostalgic historical moment that is, in fact, fictional. In these pictures, copies of designer furniture are indistinguishable from original pieces. The film is a documentary of the filmmaker’s looking; each cut was determined by the rise and decay of her interest in the object. Each film takes one volume of the 11-volume mail order catalogue as its subject. They can be screened as a set or individually. "Catalogue Vol.6" was shot with audio clips from a horror movie that mention the words "house," or particular rooms or parts of a house, playing in the studio while the film was being shot so that each shot acquired a random "soundtrack." Then the film clips were organized as a "tour" through the rooms of a house: foyer, living room, dining room, kitchen, study, bath, ending at the bedroom.

Dana Berman Duff’s artworks are included in the collections of the Museum of Modern Art and the New Museum of Contemporary Art in New York, the Phillips Collection (Washington DC), Brooklyn Museum (NYC), The Carnegie Museum (Pittsburgh), and a number of private collections. Her works in small format film and video have been screened in a number of festivals including the Toronto International Film Festival, International Film Festival Rotterdam, the Biennale de l’Image en Mouvement (Geneva), Edinburgh International Film Festival, ExIS (Seoul), Antimatter (Vancouver), San Francisco Cinematheque’s Crossroads, Experiments in Cinema (Albuquerque), Cairo International Film Festival, Timisoara Festival (Romania), Filmmakers Festival (Milan), Onion City Experimental Film Festival (Chicago), LaborBerlin microcinema (Berlin), Dortmund/Cologne International Women’s Film Festival, Seattle Filmforum, Echo Park Film Center (Los Angeles). The Gringas, (2013) was named Best Documentary Feature at the 2014 Mexico International Film Festival. Dana Berman Duff teaches at Otis College of Art and Design in Los Angeles and lives part-time in Mexico.

Zachary epcar
Return to Forms
Film expérimental | 16mm | couleur | 10:13 | USA | 2016

A constellation of objects, each emerging into the soft peach-light void of an indeterminate condominium space.

Zachary Epcar (b. 1987, San Francisco) is a film and video maker based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, Les Rencontres Internationales Paris/Berlin, Images Festival, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.

Laure prouvost
Lick in the Past
Vidéo | hdv | couleur | 8:25 | France | 2016

Ses films sont des montages sensuels créés à partir de situations données. L’artiste développe en parallèle des clips à saynète réalisés de façon directe et spontanée, des oeuvres plus élaborées dans lesquelles elle produit des tissages visuels à partir de coupes franches et précises dans des séquences filmiques au long court. L’habillage, l’ornementation, la prise à partie du spectateur et la mise en difficulté du récit font parties intégrantes de ses créations. Lick In The Past a été réalisé dans le cadre de sa résidence à la Fahrenheit Flax Foundation (Los Angeles).

Laure Prouvost est née à Croix, en France. Elle vit et travaille à Londres. Lauréate du prestigieux Prix Turner en 2013 – la seule Française à l’avoir jamais gagné, s’empresse-t-on en général d’ajouter – Laure Prouvost est devenue l’une des artistes les plus reconnues et les plus en vogue de la scène internationale. Elle a déjà exposé à New-York, Pékin, Athènes, Mexico… et elle travaille officiellement entre Anvers et Londres.

institute for new feeling
This is Presence
Vidéo | hdv | couleur | 17:19 | USA | 2016

A 17-min video commissioned by Ballroom Marfa for the Artist Film International program led by Whitechapel in London. This video depicts a journey through the Institute for New Feeling’s fabricated SEO Marketing campaign, a web of interconnected sites populated with training modules, news articles, facility tours, click bait and social networking sites all linking back to the Institute for New Feeling.

The Institute for New Feeling 3 person collective committed to the development of new ways of feeling, and ways of feeling new. As a group we assume the authoritative voice of the Institution, borrowing from the language of corporate branding as well as that of mainstream medicine, therapy, health and beauty. Our work takes the form of treatments, therapies, retreats and wellness products. We are interested in the wellness industry as a shifting, slippery intersection of capitalism, technological innovation, and the body. IfNf has recently shown work at Ballroom Marfa, TX, Istanbul Modern, Turkey,Museum of Modern Art, NY, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum, Los Angeles, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Kevin Space, Vienna, Jardin Essential, Bruxelles, Recess, NY, and Akademie Schloss Solitude, Stuttgart.

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A reflection on J. Tobias Anderson’s own work as an artist mirrored in a dialogue with three other animated characters: the personal, general and global. Xi Chen tells a story about robots, PEW, flesh eating penis worms. It is the tale of all humans in a creative futuristic hypothesis of the world. Dana Berman Duff reviews her own vision by looking at objects in a catalogue. Staged rooms imitate a suite of genre films. She recreates a house, accompanied by horror film soundtracks. Zachary Epcar scrutinises objects, each emerging into the anonymous pastel decor of an indeterminate condominium space. Laure Prouvost films adolescents in Los Angeles and in France. In a car park or in rural areas, they hold upbeat conversations, expressing a desire for freedom and their fantasies about an easy and comfortable life. Agnes Bolt, Scott Andrew and Nina Sarnelle have created the ‘Institute for New Feeling’, committed to experimentation and the development of new ways of feeling, undertaking the language of corporate branding, as well as mainstream discussions on beauty. The well-being industry is at the crossroads between capitalism and the body. We are in the position of a web user. Pop ups, image distortion and misappropriation become desirable spaces.


June 17
3.30 pm

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

"Revolt Growth"

Tony cokes: Evil.66.2 | Vidéo | hdv | couleur | 8:4 | USA | 2016 see more
Marion inglessi: Catastrophe | Vidéo | hdv | couleur | 5:0 | Grèce | 2015 see more
Soufiane adel: Les Bonnes | Vidéo | hdv | couleur | 8:0 | France | 2015 see more
Frédéric jaeger, Nino Klingler: Nur der Fortschritt | Fiction expérimentale | hdv | couleur | 18:51 | Allemagne | 2016 see more
Lina selander, Oscar Mangione: The Ceremony | Vidéo | hdv | couleur | 16:18 | Suède | 2016 see more
Sebastian wiedemann: Los (De)pendientes | Vidéo | hdv | noir et blanc | 24:0 | Argentine | 2016 see more
Tony cokes
Vidéo | hdv | couleur | 8:4 | USA | 2016

Evil.66.2 The second video in a new trilogy within my larger "Evil”Series featuring selected quotes from the books of a well-known U.S. presidential candidate on a variety of subjects: from his rhetorical tactics, to his political opponents, to his views on borders, immigration, and other issues. Is all this a common tale of seduction and manipulation (or is it the self-deception of his supporters)?

Tony Cokes makes video and installation projects that reframe appropriated texts. The media works reflect upon capitalism, subjectivity, knowledge and pleasure. Sound always functions in his practice as a crucial, intertextual element, complicating minimal visuals. His works have been exhibited internationally at venues including Centre Georges Pompidou, Whitney Museum, Museum of Modern Art (NYC), SF MOMA, ZKM, Karlsruhe, Germany, and La Cinémathéque Française. Cokes has received fellowships from The Guggenheim Foundation, Rockefeller Foundation, and Getty Research Institute. He resides in Providence, RI where he is a Professor in the Department of Modern Culture and Media at Brown University.

Marion inglessi
Vidéo | hdv | couleur | 5:0 | Grèce | 2015

Catastrophe is the fatal turning point or resolution in Ancient Greek drama. The word catastrophe in Greek and Arabic bears the same weight: the catastrophe of Asia Minor, the Exodus from Palestine. When catastrophe strikes, the visual equivalent of extreme shock is to drop whatever one holds in one’s hands. The “unbreakable” Duralex glasses were created in France in the late 50’s and have today become a classic. A symbol of strength and durability, they have spread around the whole world and have been photographed in the hands of Afghan tribesmen, James Bond, and even Osama bin Laden. The “Western” glasses are shot in slow motion as they fall to the ground, bounce, alternate and merge with the more fragile Arabic tea-glasses in a silent and ultimately shared - dance of death. Letters hit the falling glassware with the rhythmic intensity of gunshots, spelling the word catastrophe in Greek, English, and Arabic (nakba). Catastrophe is a reflection on the current events in the world and the increasing loss of value of human life.

Marion Inglessi is a visual artist, scene designer, curator. Born in Athens, she lived in Ghana, Nigeria, Lebanon, Italy, France and USA. After a BA in English Literature, she received an MFA in Theatre Design from Brandeis University, Boston, U.S.A. (1986-89). She attended Istanbul Bilgi University, Turkey on an Erasmus scholarship (2010-11). In 2014 she received an MFA from the School of Fine Arts, Aristotle University, Thessaloniki. She has worked as a designer for theatre, opera, film and advertising, in New York, Paris, Athens (1989-2003). She was Head of exhibitions & curator at the Thessaloniki International Film Festival (2005-2009), for film directors Nico Papatakis, William Klein, Werner Herzog, Wim & Donata Wenders, Eve Sussman, Nuri Bilge Ceylan, Guillermo del Toro, Cao Fei, and others. In 2015 she co-created a video animation project for refugee children & adolescents in Athens shelters. She has had two solo painting and sculpture exhibitions while participating and curating a number of group shows. Her work is in private collections in Greece, France, Switzerland and Turkey and the Macedonian Museum of Modern Art. Her video Catastrophe participated in the video survey Fireflies in the Night Take Wing, at the SNFCC, Athens, 2016.

Soufiane adel
Les Bonnes
Vidéo | hdv | couleur | 8:0 | France | 2015

Le long de la nuit. Deux jeunes garçons sont dehors. Ils gardent un studio de cinéma. Ils sont frères. Seuls, la lune et un tigre les accompagnent pour traverser ce temps.

Soufiane Adel est né en 1981 en Algérie. Il arrive en France à 8 ans. C’est en faisant une école de design, l’ENSCI, Les Ateliers, qu’il découvre le cinéma. Pas par hasard, toute son enfance il s’est nourri des films de Jean Claude Van Damme et du Nouvel Hollywood. Il rencontre à 20 ans le néoréalisme italien et le cinéma expérimental, et amorce alors une longue cinéphilie, autodidacte, aléatoire, et compulsive. En 2004, il décide de filmer son père, lui demande de rejouer une scène qu’ils ont vécue ensemble. Ce sera son premier court métrage : « Nuits closes ». Après il y aura « La Cassette » puis « Kamel s’est suicidé six fois, son père est mort ». À partir de 2009, il co-réalise ses films avec Angela Terrail, avec qui il travaille depuis « La Cassette ». Ils réaliseront « Sur la tête de Bertha Boxcar » et prépare actuellement un long métrage, l’adaptation contemporaine d’un roman de Jack London « Martin Eden ».

Frédéric jaeger, Nino Klingler
Nur der Fortschritt
Fiction expérimentale | hdv | couleur | 18:51 | Allemagne | 2016

Two camels and two men are trapped inside a fable, longing for, but distrusting knowledge. Who can fight for humanity among football playing fascists, partisan storms and phony nature? “Nothing but progress” freely adapts tales by German philosopher Günter Anders.

Frédéric Jaeger is a film critic and filmmaker based in Berlin. In his artistic work he looks for contradictions in the contemporary society, in order to have fun with them. He is the founder of the German-speaking film magazine and contributor to Berliner Zeitung and Spiegel Online. Nino Klingler is a freelance film critic and filmmaker living in Berlin, Germany. After having worked for the German Federal Foreign Office he now attends as an artist the graduate school of Universitat der Künste in Berlin.

Lina selander, Oscar Mangione
The Ceremony
Vidéo | hdv | couleur | 16:18 | Suède | 2016

The opening of the film «The Ceremony» shows the image from the title page of Olof Rudbeck the Elder’s «Atlantica» from 1679, were Rudbeck reveals Sweden as the sunken Atlantis. Written during the era of the Swedish Empire, the archaeological novel «Atlantica» is a marvel of non-specialization and heterogeneous connections, largely based on speculative etymologies and sound correspondences. In «The Ceremony», in a similar audacious manner, identities, histories and places appear and disappear: freed from reality’s hold, in layer upon layer of image, text and sound, like abandoned or yet to be built cities: Tutankhamen’s crypt and unbroken seal, Bredäng (suburb of Stockholm where the artists live), the strange entrance to the old Stasi headquarters in Berlin, other places, tombs and prisons. All connected by subterranean passages through which an alien time runs; incompatible, turning endlessly into itself.

Lina Selander (b. 1973) lives and works in Stockholm, Sweden. Lina Selanders work often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s work has been shown at Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX - Centre de l’image contemporaine, Montré al and in international group shows such as the Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Sebastian wiedemann
Los (De)pendientes
Vidéo | hdv | noir et blanc | 24:0 | Argentine | 2016

"Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what remains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows." NICOLE BRENEZ

Colombian experimental filmmaker based in Sao Paulo, Brazil, has shown his films in galleries and festival in the Americas, Europa and Asia. His film "Zugang" was edited by Experiments in Cinema - DVD Collection - New Mexico, USA. In 2015 his film "Los (De)pendientes" was included in Artforum Magazine list of the best films of the year. His work received retrospective shows at Cinematheque of Rio de Janeiro, Museum of Modern Art of Medellin, Colombia and at La Neomudéjar Museum, Madrid-Spain. He defines his cinematic practice as the search of a perpetual becoming state of the image in relation with the cosmos, through the following formula: "I make cinema because I’m not a painter. I make cinema as a compositor would do."

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Tony Cokes select the quotes of a famous ex-candidate at the last American presidential elections in a tale of seduction and manipulation. Marion Inglessi explores the theme of catastrophe, the invisible and unpredictable suspense after a shock. Soufiane Adel films two young brothers at night who guard a film studio, and weave together references from Jean Genet to proletarian struggles and the construction of identity. The moon and a tiger accompany them, with a backdrop inspired by paintings by Ingres and Botticelli. Frédéric Jaeger and Nino Klingler present a tale about progress. Camels and men are trapped in a fable, longing for but distrusting knowledge. In ‘The Ceremony’, Lina Selander and Oscar Mangione establish disparate links between different identities, stories and places. Layers of images, texts and sound intertwine, cities appear abandoned or under construction. Sebastian Wiedemann assembles extracts from films produced in Argentina between 1956 and 2006, concerning criticism and revolution. He tries to circumvent our expectations, to make new areas of freedom and representations of people possible.


June 17
5.30 pm

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

"Utopia, every day"

Johan grimonprez: kiss-o-drome | Vidéo | hdv | couleur | 1:16 | USA | 2016 see more
Johan grimonprez: Every Day Words Disappear | Vidéo | hdv | couleur | 15:0 | Belgique | 2016 see more
Lili Reynaud dewar: TGMFS | Doc. expérimental | 4k | couleur | 36:0 | USA | 2016 see more
Johan grimonprez
Vidéo | hdv | couleur | 1:16 | USA | 2016

In 1980 an extraordinary demonstration hit the streets of the Brazilian city of Sorocaba. Under the military dictatorship, a court had outlawed kisses that undermined public morals. The ruling by Judge Manuel Moralles, which punished such kisses with jail terms, described them this way: Some kisses are libidinous and therefore obscene, like a kiss on the neck, on the private parts, etc., and like the cinematographic kiss in which the labial mucosa come together in an unsophismable expansion of sensuality. The city responded by becoming one huge kissodrome. Never had people kissed so much. Prohibition sparked desire and many were those who out of simple curiosity wanted a taste of the unsophismable kiss. "February 8. GENERAL SMOOCH" by Eduardo Galeano. From: "Children of the Days," first edition published in Mexico by Siglo XXI Editores Mexico, 2012.Translation copyright Mark Fried, Pinguin Books, London 2013.

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archaeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.

Johan grimonprez
Every Day Words Disappear
Vidéo | hdv | couleur | 15:0 | Belgique | 2016

In 1515 Machiavelli stated that it would be better for the Prince to be feared, than loved. Some 500 years later, Michael Hardt, political philosopher and co-author of Empire, Multitude and Commonwealth, asks what it would mean to base a political system on love, rather than on fear. How can we transform a society that is increasingly defined by a permanent state of war and cultivated by an industry of fear? How can we realize the paradigm shift necessary to move away from a reality that depends on the exploitation of people and the cult of privatising public resources? Hardt looks for an answer in what he calls `the commons’, by which he refers not only to natural resources, but also to the languages we create- and the relationships we conceive together. In the dystopian city-state Alphaville, of Godard`s eponymous film, all words and concepts relating to the idea of love and affection have been banned. When actress Anna Karina tries to express her feelings, she has to reinvent the words, for the concept of love is foreign to her. Like the protagonist in Alphaville, Hardt suggests that we need to redefine the tools to act politically together. Hardt embarks on a journey to identify the transformative powers of the ongoing struggle to re-invent democracy. Within this struggle he understands `the commons` as an antidote against a society run by fear; an inspiration for a paradigm that is based on dialogue and cooperation.

Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of theviewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.

Lili Reynaud dewar
Doc. expérimental | 4k | couleur | 36:0 | USA | 2016

Juchés sur un tabouret démesurément haut, des performeurs de stand-up comedy racontent des récits liés aux dents. À leurs pieds, imperturbable, une femme cyborg déclame le Manifeste Cyborg de Donna Haraway tandis qu’un musicien associe mélodies, noisemusic et sons issus de la préparation du projet conçu par Lili Reynaud Dewar. C’est la contre-culture américaine que l’artiste française convoque sur le plateau, et les luttes raciales, sociales et féministes s’entremêlent au fil des interventions des performeurs. Les images tournées à Memphis évoquent en creux la grève des éboueurs de 1968 (Sanitation Strike) et l’assassinat de Martin Luther King. Elles documentent aussi la conception des grillz pour les performeurs. Signe de revendication pour les rappeurs, incarnation de la résistance ou des inégalités sociales dans un pays au système de santé inique, les dents sont au cœur du projet et de l’espace scénographique. Les déchets qui emplissent les poubelles-dents racontent le processus collectif de maturation de la performance. Cette proposition joue des échelles et des formes en un va-et-vient entre les interventions performées, les images rapportées des États-Unis et les détails sculpturaux – jusqu’aux grillz arborés par les récitants. Lauréate du Prix Ricard pour l’art contemporain en 2013, Lili Reynaud Dewar développe une œuvre protéiforme reconnue sur la scène internationale. Son nouveau projet, DGMFS, s’inscrit dans le cadre du programme New Settings #6 de la Fondation d’entreprise Hermès qui en a soutenu la production et la diffusion au Théâtre Nanterre-Amandiers.

Le travail de Lili Reynaud-Dewar a fait l’objet de nombreuses expositions personnelles entre autres au New Museum à New York, à l’Index Fondation for Contemporary Arts à Stockholm, au Consortium de Dijon, au 21er Raum — Belvedere à Vienne, à Outpost à Norwich, au Magasin — Centre National d’Art Contemporain de Grenoble, à la kunsthalle Basel, à la Fondation Calder à New York (performance), à la Serpentine Cinema à Londres (performance), au FRAC Champagne-Ardenne à Reims. Elle a également participé à de nombreuses expositions collectives au Centre Pompidou, à la Fondation d’entreprise Ricard, au Palais de Tokyo et au Plateau à Paris, au CAPC de Bordeaux, au CAFAM à Pékin, au Logan Center for the Arts à Chicago, à la Kunsthalle Fribourg, à la Generali Foundation et au MAK à Vienne, au Witte de With à Rotterdam, dans le cadre de la Biennale de Lyon 2013 et de la 5ème Biennale de Berlin. Lili Reynaud-Dewar est lauréate du 15ème prix Fondation d’entreprise Ricard.

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Johan Grimonprez conveys the demonstration that took place, in Sorocaba, in Brazil under military dictatorship at the time in the 80s. A judge banned any kissing in public, with the penalty of a prison sentence. The town responded with a huge ‘kissodrome’. In ‘Every Day Words Disappear’, he gives the floor to Michael Hardt, an American political philosophy theorist, who raises questions regarding the means of transforming a society defined by a permanent state of war, fuelled by the industry of fear, in a reality which depends on the exploitation of people and the cult of the privatisation of common goods. In contrast to Machiavelli’s quote, according to which it is preferable for the Prince to be feared rather than to be loved. Lili Reynaud Dewar reflects upon the appropriation of objects, cultural and social identities. In this film, science fiction, rap and discourse on emancipation intersect in the specific cultural and political context of the city of Memphis, once the historic epicentre of slavery, and centre of the fight for African-American civil rights.

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