Programme Berlin 2018
2pm   3pm   4pm   5.30pm   7pm   9pm
Friday

June 22
2pm

Forum
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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Friday

June 22
3pm

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

"Partial Fiction"

In the presence of Alicja Rogalska.

Randa maroufi: Stand-by Office | Doc. expérimental | hdv | couleur | 13:0 | Pays-Bas / France, Liban, Roumanie | 2017 see more
Alicja rogalska: What If As If | Vidéo expérimentale | mov | couleur | 13:31 | Royaume-Uni | 2017 see more
Jad youssef: Al fayadan (The Flood) | Fiction | 4k | couleur | 19:48 | Liban | 2017 see more
Randa maroufi
Stand-by Office
Doc. expérimental | hdv | couleur | 13:0 | Pays-Bas | 2017

Un groupe de personnes dans un environnement de bureau. Des gestes quotidiens de travail sont observés dans tout le bâtiment. Rien ne semble être déplacé. La caméra circule continuellement et change progressivement notre perception de cet espace. On se pose la question : qu’est ce que signifie ce bureau pour ce groupe de personnes ? "We Are Here" est un groupe de réfugiés à Amsterdam qui ne reçoit aucun logement fourni par le gouvernement, mais ne peut pas non plus travailler. Le groupe a décidé de rendre visible la situation inhumaine qu’ils doivent vivre, en ne se cachant plus, mais en montrant la situation des réfugiés qui sont "en dehors de la loi" aux Pays-Bas.

Diplômée de l’Institut National des Beaux-Arts de Tétouan, de l’École Supérieure des Beaux-Arts d’Angers (France) ainsi que du Fresnoy (France). Randa Maroufi est de cette génération advenue avec le règne des images. Elle les collectionne avec autant d’avidité que de méfiance, se pose sans cesse la question de leur véracité. Sa recherche se situe entre le reportage, le cinéma et l’étude sociologique qu’elle poursuit en réalisant des fictions ambiguës qu’elle met au service du réel, et le champ de ses expérimentations s’étend de l’occupation de l’espace public à la question du genre, dont elle relève les mécanismes de construction. Son travail qui se traduit essentiellement à travers la photographie, la vidéo, l’installation, la performance et le son, a été présenté lors d’événements d’art contemporain et de cinéma majeurs tels que La Biennale de Marrakech (2014), Les Rencontres photographiques de Bamako (2015), Le Museum of Modern Art à New York (2016), Le Dubai Photo Exhibition (2016), Le Festival International du court-métrage de Clermont-Ferrand (2016), le VIS Vienna Independent Shorts (2016), le FID Marseille (2016) etc. Son film Le Park a reçu plus d’une vingtaine de prix tels que le prix ADAGP Art numérique – Art vidéo (2015), Videonale Award of the fluentum Collection (2017), le prix du jury au Festival International du film de Rotterdam (2016), le prix du meilleur court métrage au festival IBAFF etc. Le Park fait parti de la collection Photographie/Vidéo du Centre National des Arts Plastiques (CNAP).

Alicja rogalska
What If As If
Vidéo expérimentale | mov | couleur | 13:31 | Royaume-Uni | 2017

What if As If explores legal fictions in international immigration law in collaboration with refugees, asylum seekers and immigrants based in the UK who trained as lawyers in their countries of origin. The video was filmed in a former courtroom and greenscreen, a device for filmic fiction, is used throughout. Legal fictions are used in legal reasoning when something is believed or assumed to be true - they allow for the law to be applied, without changing its text. For example, a refusal to accept an inheritance is legally possible if the inheritor is declared dead and having died before the person who left the legacy; another example is corporate personhood - i.e. treating companies as if they were persons. Immigration law is full of such artificial constructions: legal fictions of sovereignty, political community, the concept of entry, as well as fictions in welfare and employment law, and finally - citizenship and its terms and conditions. The lawyers` expertise and legal imagination combined with their personal, embodied experience of being exposed to the inherent contradictions and absurdities of immigration law, influences the way they see law in society. Legal fictions are used in the video as a vehicle for questioning existing legal structures, a tool for creative lawmaking and exploring speculative legal frameworks as possible resistance.


Alicja Rogalska is a multidisciplinary artist based in London and Warsaw and working internationally. She graduated with an MFA in Fine Art from Goldsmiths College and an MA in Cultural Studies from the University of Warsaw. In 2017 she was an artist in residence at KulturKontakt in Vienna and IASPIS - Swedish Arts Grants Committee`s International Programme in Stockholm. She was also a recipient of 2016-17 Artsadmin Bursary in London. Exhibitions include: For Beyond That Horizon Lies Another Horizon, Edith-Russ-Haus für Medienkunst (Oldenburg, 2017), Gotong Royong. Things We Do Together, Centre for Contemporary Art Ujazdowski Castle (Warsaw, 2017), Dreams and Dramas. Law as Literature, nGbK (Berlin, 2017), Social Design for Social Living, National Gallery (Jakarta, 2016), All Men Become Sisters, Muzeum Sztuki (Łódź, 2016); No Need For References, Kunsthalle Exnergasse (Vienna, 2015); Critical Juncture, Kochi-Muziris Biennale (Kochi, 2014); A Museum of Immortality, Ashkal Alwan (Beirut, 2014), IMS Project, Flat Time House (London, 2013); Melancholy In Progress, Hong-Gah Museum (Taipei, 2012); Jour de Fête, The Private Space Gallery / LOOP Festival (Barcelona, 2011); To Look is to Labour, Laden Für Nichts (Leipzig, 2010) and No Soul For Sale, Tate Modern (London, 2010).

Jad youssef
Al fayadan (The Flood)
Fiction | 4k | couleur | 19:48 | Liban | 2017

a video that attempts to portray an eerie study of seclusion, alienation in and through the image of the fugitive. the main character occupying the images is an anti-hero recluse who resides in a state of self-inflicted introspection. the character is transcended through a narrative thread of non-fiction moments and segments, into a cluster of morose stagnation and insistent malaise. *secrecy molds the morbid drifting of hatem, a man who works in privacy and lives his life accordingly. hatem hides more than he tells, clouding himself in a reclusive state of introspection.


born in 1989, I am an artist-filmmaker from beirut. I finished my bachelors in audiovisual studies, with a specialization in cinema, from saint joseph university, beirut in 2013 with my film “transmission”. afterwards, I went on to collaborate with ashkal alwan, which led to my 2014 ongoing film project titled “a thin soft layer of”. I graduated from the film masters program at the netherlands film academy in 2017 with a thesis exploring the self-alienation and seclusion that deviant members of society may inflict on themselves as an act of escapism. I’ve worked in different fields related to film, including cinematography, editing, sound, development, production as well as assembling my own process, first and foremost as a filmmaker, but also as a researcher.


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Randa Maroufi films a group of people in an office setting. It seems to be a perfectly normal work place, until the sense of fiction recedes. Alicja Rogalska examines the notion of legal fiction, devices used in legal reasoning allowing the law to be applied. ‘What If As If’ was made with refugees and asylum seekers in the United Kingdom, furthermore legal professionals in their native countries. Jad Youssef portrays an anti-hero through the fugitive character, and embodies notions of isolation and alienation in a fragmented fiction.


Friday

June 22
4pm

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

"Attempt to Study Language
in the Land of Things"

In the presence of Natalia Skobeeva.

Bertrand dezoteux: Picasso Land | Animation | mov | couleur | 11:6 | France | 2015 see more
Natalia skobeeva: Do You Speak Peking Opera? | Vidéo | mov | couleur | 6:5 | Royaume-Uni | 2017 see more
Laure prouvost: DIT LEARN | Vidéo | hdv | couleur | 15:44 | Royaume-Uni | 2017 see more
institute for new feeling: Avalanche | Vidéo expérimentale | mov | couleur | 16:40 | USA | 2017 see more
Bertrand dezoteux
Picasso Land
Animation | mov | couleur | 11:6 | France | 2015

Ce projet a pour origine le célèbre ballet Parade (1917), dont les costumes et décors avaient été créés par Picasso, sur un texte de Cocteau, musique de Satie, et chorégraphie de Massine. En 1980, ce monument de l’avant-garde européenne est adapté à la télévision par Jean-Christophe Averty, réalisateur héritier du surréalisme, et pionnier de la technique d’incrustation (chroma key) en France. Picasso Land tente de perpétuer cet esprit d’avant garde en proposant un troisième opus, en 3D. Décors et personnages ont été modélisés à partir de peintures et sculptures de Picasso, formant un petit peuple hétéroclite et dansant. Pour mettre en action ces corps singuliers, leur donner vie, une chorégraphie a été créée en collaboration avec le danseur Yaïr Barelli. Il a développé un vocabulaire de gestes, de pas et d’attitudes qui furent numérisés puis injectés dans les personnages. Cette relecture de l’œuvre de Picasso dévoile un « Pays », qui se construirait d’œuvre en œuvre, qui aurait ses propres mœurs, sa culture, son territoire.

Bertrand Dezoteux. Né en 1982, formé au Fresnoy – Studio national des arts contemporains, il développe sa pratique autour de nouvelles formes audiovisuelles. À la frontière du documentaire, de la fiction et de la science-fiction, ses films s’inspirent des logiciels de modélisation 3D, pour créer des objets visuels hybrides. Il réalise ainsi « Le Corso » en 2008, « L`Histoire de France en 3D » en 2012, « Animal Glisse » en 2015, « Picasso Land » en 2016 ou encore "Super-règne" en 2017. Présenté en France et à l’étranger, le travail de B. Dezoteux interroge notre rapport aux autres, au travail ou au quotidien, notre imaginaire du futur et notre désir d’ailleurs. En 2015, il est lauréat du prix Audi talents awards pour le projet « En attendant Mars », mené en collaboration avec l`Observatoire de l`espace du CNES (Centre national d`études spatiales). En 2017,  l’artiste a été exposé au Palais de Tokyo (Paris) et à la Station (Nice), ses films ont été montrés au New York Film Festival et au Toronto International Film Festival. En mars 2018, il est programmé  au théâtre des Amandiers (Nanterre) ; en avril,  la galerie Édouard Manet (Gennevilliers) lui consacre une exposition personnelle. 

Natalia skobeeva
Do You Speak Peking Opera?
Vidéo | mov | couleur | 6:5 | Royaume-Uni | 2017

How post-contemporary critique of post-truth post-index post-everything could look or sound like? What tools are available when language renders meaning sense-less? Do You Speak Peking Opera? is an enquiry in the state of pre-emptive post-contemporaneity, open ended, delivered to you by artificial intelligence, provoking genuine physical reaction.


Natalia Skobeeva is an internationally recognised award winning artist, based in Deptford, whose hybrid experimental practice explores ideas of transnational and multicultural existence in the post-truth society. She is a graduate of MA Fine Art, Royal College of Art, London, UK Solo shows include  ‘This Territory is Time’ Espronceda Art Centre, Barcelona, ‘Horrors of Archiving’ in Objectief Exhibitions, Antwerp, ‘Carpets in St Petersburg, former Leningrad, former St Petersburg’ in the State Museum of Political History of Russia, St Petersburg, Camera Club London and Viewfinder gallery London, solo projects  in Moscow, Istanbul, Brussels, Berlin and London. Recent group exhibitions include Manifesta 11, LOOP festival Barcelona 2017, Tenderflix  2016, Bristol Biennale 2016, Vision in the nunnery 2016, 4th Moscow Biennale of Contemporary art, 15th WRO Media Art Biennale, Miden 2013 Festival of Video art, Retrospective of Now&After Video art festival among others. Awards: 2018 London Creative Network award 2017 ARTAGON III award 2016 Red Mansion prise 2016 Arts Council England, International Artist Development fund recipient. 2015 RCA award to attend the Opening of 2015 Venice Biennale April 2015,  March 2014 Cowley Manor Arts Award, selecting committee Millicent Wilner (director at the Gagosian Gallery) Jenni Lomax (director of Camden Arts Centre), Alex Sainsbury (director of Raven Row) January 2012, nominated for Corinthia Art Prize, selecting committee Jan Dalley (Arts Editor, Financial Times), Amanda Nevill (Director, British Film Institute), Ben Evans (Director, London Design Festival), Caroline Rush (CEO, British Fashion Council), Ed Vaizey (MP, Minister for Culture)

Laure prouvost
DIT LEARN
Vidéo | hdv | couleur | 15:44 | Royaume-Uni | 2017

In 'DIT LEARN' the viewer is enticed into an abstract, pre-verbal condition from which to rediscover the learning of language, words and their associated meanings. With a fast-paced procession of objects and images, an accompanying aural and written narrative directly implicates the viewer.


Laure Prouvost was born in Lille, France (1978) and is currently based in London and Antwerp. She received her BFA from Central St Martins, London in 2002 and studied towards her MFA at Goldsmiths College, London. She also took part in the LUX Associate Programme. Solo exhibitions include ‘the wet wet wanderer’, as part of ‘Para|Fiction’, Witte de With Center for Contemporary Art, Rotterdam, The Netherlands (2017); ‘softer and rounder so as to shine through your smooth marble’, SALT Galata, Istanbul, Turkey (2017); ‘And she will say: hi her, ailleurs, to higher grounds…’, Kunstmuseum Luzern, Switzerland (2016); ‘GDM Grand Dad’s Visitor Center’, Pirelli HangarBicocca, Milan, Italy (2016); ‘all behind, we’ll go deeper, deep down and she will say,’ Museum Fu?r Moderne Kunst Frankfurt Am Main, Frankfurt, Germany (2016); ‘Into All That is Here’, Red Brick Art Museum, Beijing, China (2016); ‘ we would be floating away from the dirty past’, Haus Der Kunst, Munich, Germany (2015); ‘For Forgetting’, New Museum, New York, NY, USA (2014); ‘While You Weren’t Looking’, Laboratorio Arte Alameda, Mexico City, Mexico (2014); Max Mara Art Prize for Women, Whitechapel Gallery, London, UK and Collezione Maramotti, Reggio Emilia, Italy (2013); ‘Laure Prouvost / Adam Chodzko’ as part of ‘Schwitters in Britain’, Tate Britain, London, UK (2013); The Hepworth Wakefield, Wakefield, UK (2012); and ‘All These Things Think Link’, Flat Time House, London, UK. Prouvost won the MaxMara Art Prize for Women in 2011 and was the recipient of the Turner Prize in 2013.

institute for new feeling
Avalanche
Vidéo expérimentale | mov | couleur | 16:40 | USA | 2017

Avalanche is an enhanced water beverage filtered through a human pipeline that traces the flow of water through a city and through the body. A live performance presents municipal water usage as a literal concert of bodies, a system that is improbable, arduous, and flawed. The Avalanche bottling process begins with an ice cap harvested from the Never Summer Mountain Range. The ice melts and travels through a series of human filters, eventually collecting in crystal singing bowls. The sound of this filtration is performed as a concert for a live audience, while at the same time being live broadcast back to the mountain range, causing an avalanche from the vibration of sound waves. The avalanche is bottled for consumption, while also providing new ice to begin the process again. The project consists of a one night live performance, multi-channel video and vending machine stocked with Avalanche water, all of which work together to create a mythology of the product’s “source.” Passing water between the city and the mountain in an endless feedback loop, IfNf`s filtration process equates the mountain spring with the trickle of water across a dirty windshield, the tears of two middle-aged men, the gargle and spit from a teenager’s mouth—juxtaposing trivial everyday gestures with the looming, dark future of a changing climate.


The Institute for New Feeling is a collective founded by Scott Andrew, Agnes Bolt, and Nina Sarnelle, committed to the development of new ways of feeling, and ways of feeling new. As a group, our identity is always shifting. Borrowing aesthetics and language from wellness and tech industries, market research, speculative design, political propaganda, we assume a familiar yet fragile voice of authority. IfNf has recently shown work at The Getty Center, LA, Ballroom Marfa, TX, MoMA, NY, Istanbul Modern, Turkey, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum LA, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Jardin Essential, Bruxelles, Recess, NY, and Mwoods, Beijing. IfNf has been featured in Frieze, Art in America, Vogue Italy, Huffington Post, SFMoMA, Creators Project, FlashArt, and Hyperallergic.


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Bertrand Dezoteux models a setting and characters from paintings and sculptures by Picasso, forming a small diverse dancing population in reference to the 1917 ballet ‘Parade’ for which the costumes and decor were created by Picasso. Natalia Skobeeva proposes a potential post-contemporary critique of post-truth, post-index, post-everything. It remains open-ended, delivered to you by artificial intelligence. Defying conventional linguistic and representation systems, Laure Prouvost leads us to an abstract and pre-verbal condition. We rediscover learning language, words and the meanings given to them. Institute For New Feeling creates the marketing and advertising concept of a new mineral water, from its source at the top of the mountain, to the filtering process by the human body.


Friday

June 22
5.30pm

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

"Work Value"

In the presence of Christian Barani and Wim Catrysse.

Christian barani: des êtres de poussière | Doc. expérimental | hdv | couleur | 18:0 | Népal | 2018 see more
David brognon, Stéphanie Rollin: Mon heure de gloire | Doc. expérimental | 0 | | 0:0 | Belgique | 0 see more
Wim catrysse: Outpost | Doc. expérimental | 4k | couleur | 34:41 | Belgique | 2018 see more
Christian barani
des êtres de poussière
Doc. expérimental | hdv | couleur | 18:0 | Népal | 2018

Un point de départ : Dans le Haut Mustang, une très vieille histoire se raconte dans le village de Ghemi. Malgré le courage et les combats des villageois, toutes les nuits, la démone Balmo et ses esprits détruisent les habitations du village. Épuisés, ils décident de demander l’aide d’un moine, le guru Rimpoche qui méditait dans la vallée. Rimpoche sort alors de sa méditation et accepte de combattre la démone. Durant sept nuits le combat fut monstrueux. Mais Rimpoche remporta la bataille. Aujourd’hui dans le pays népalais, la lutte contre les esprits qui détruisent sans cesse le pays continue. Malgré une révolution maoïste qui a abouti à la démocratie, à l’abolition de la monarchie, à l’écriture d’une nouvelle constitution, à l’égalité homme femme… le pays est toujours victime des esprits destructeurs et le peuple népalais continue sans cesse la lutte.

Christian Barani est né en 1959, vit à Paris. Il termine ses études par une maîtrise de sciences économiques à la Faculté de Nice.Il construit une pratique qui associe le champ du documentaire à celui des Arts Visuels. Sa recherche se fonde sur un dispositif performatif qui engage un corps/caméra marchant dans l’espace. Il définit une règle du jeu qui compose avec le hasard et l’improvisation et génère des images sans à priori. Pas de scénario préalable. Durant le temps de la marche, tout se joue dans l’instant de la rencontre. Jamais une séquence n’est tournée deux fois. Ce qui est advenu et advenu. De cette expérience nait une œuvre protéiforme composée de films en salle, de films déployés dans l’espace d’exposition, d’installations vidéos, de projections performances et de photographies. Sur une période de 10 ans, il filme au Kazakhstan avec G. Reynard l’apparition de la post modernité et les transformations sociales de ce pays d’Ex Union Soviétique, il filme au Népal, en Namibie, en Éthiopie, à Chypre, à Dubaï, au Liban, en Géorgie... Il réalise en parallèle de nombreuses œuvres de commandes pour des musées comme la Maison Arthur Rimbaud à Charleville Mézières, l’Institut Royal des Sciences Naturelles de Bruxelles, le Centre de Culture Scientifiques de Rennes, Agora : Biennale d’Architecture de Bordeaux, le Mons Mémorial Museum en Belgique, Le Musée des Confluences à Lyon, La Cité de l’architecture et du patrimoine de Paris… De 1990 à 2006, à l’École Nationale Supérieure de Création Industrielle, il fonde et dirige le département Images en Mouvement, la cellule d’Expérimentation Image et Son- Xis- avec Jeff Guess et Extensions - dynamiques d’écritures avec frédéric dumond. De 2000 à 2010, il crée avec Véronique Barani et Sabine Massenet une structure de diffusion de films et vidéos d’artistes "estceunebonnenouvelle" qui va regrouper plus d’une centaine de réalisateurs et artistes internationaux. Cette collection comprend plus de 500 films

David brognon, Stéphanie Rollin
Mon heure de gloire
Doc. expérimental | 0 | | 0:0 | Belgique | 0

David Brognon & Stéphanie Rollin ont représenté l’abandon de l'activité et l’interruption brutale du temps qui en découle, par des images de l’usine désertée, d’horloges figées, et des enfants des travailleurs cherchant un nouveau lieu de transmission.


Wim catrysse
Outpost
Doc. expérimental | 4k | couleur | 34:41 | Belgique | 2018

« A transfixing look at how Belgian artist filmmaker Wim Catrysse surveys the dynamics of self-constructed, architectural settings or the fictitious characteristics of phenomenal environments — dissecting subjectivity and thereby also the illusion of control. His films and video installations challenge both participants and viewers in a primordial way through the evocation of vertigo. This precondition of boundaries operates to expose the observer to underlying motives. His artistic approach combines intuition with technical reasoning, which often leads to complex, cinematographic image constructions. »


Born 1973 in Leuven (BEL) Lives and works in Antwerpen (BEL) Studied at ESA St-Luc Bruxelles (BEL), Higher Institute for Fine Arts, Anvers( BEL) and The Glasgow School of Art (GBR


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Christian Barani resumes a very old story, that of a village in Nepal that is destroyed every night by evil spirits, and offers a reflection on resistance. David Brognon and Stéphanie Rollin film a deserted factory in Gosselies and discover abandoned clocks in certain locations. Each persistently displays 8h50. Time has stopped, halting any chance of transmission. Wim Catrysse films Russian minors in the polar landscape of Svalbard, a Norwegian archipelago in the Arctic Ocean. Russia maintains a presence there for strategic and geopolitical reasons. The film provides a grim outlook for a society that seems to have reached a final industrial stage.


Friday

June 22
7pm

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

"Shiverings"

In the presence of Philippe-Aubert Gauthier, Tanya St-Pierre, Maya Watanabe, Mónica Martins Nunes and Arnold Pasquier.

Philippe-aubert gauthier, Tanya St-Pierre: La production fantôme | Vidéo | mov | couleur | 4:0 | Canada | 2016 see more
Maya watanabe: Earthquakes | Vidéo expérimentale | mov | couleur | 12:0 | Japon / Netherlands | 2017 see more
Sonia leber, Leber Sonia and Chesworth David: Earthwork | Installation vidéo | mov | couleur | 5:0 | Australie | 2016 see more
Mónica martins nunes: Na cinza fica calor (The Ashes Remain Warm) | Doc. expérimental | mov | couleur | 20:52 | Cap Vert (Îles du) / Portugal/Germany | 2016 see more
Pascal grandmaison, Marie-Claire Blais: Le chemin de l'énigme | Vidéo expérimentale | 4k | couleur | 13:6 | Canada | 2017 see more
Arnold pasquier: O amor moderno [le jour la nuit] | Vidéo | hdv | couleur | 8:52 | Brésil | 2017 see more
Vincent guilbert: Kyôbô na made no chinmoku (Savagely, Silence) | Doc. expérimental | mov | couleur et n&b | 20:30 | Japon | 2016 see more
Sj ramir: In This Valley of Respite, My Last Breath... | Vidéo expérimentale | mov | couleur | 5:6 | Australie / New Zealand | 2017 see more
Philippe-aubert gauthier, Tanya St-Pierre
La production fantôme
Vidéo | mov | couleur | 4:0 | Canada | 2016

"La production fantôme - The Phantom Production" est une oeuvre vidéo sous forme de diptyque. Un double écran présente en simultané une vidéo filmée et une vidéo de synthèse. Inspiré par le photo-réalisme (comment les marques ou imitations de caméra augmentent le réalisme des images de synthèse), c`est le mouvement de la caméra de la vidéo filmée qui est imitée par la vidéo de synthèse. Avec cette oeuvre et installation vidéo diptyques, les tensions entre séquences vidéo tournées et synthétiques proposent un processus de production cinématographique interrompu, ouvert à l`analyse critique. "La production fantôme - The Phantom Production" se décline de plusieurs façons : installation vidéo dyptique ou projection.

La pratique artistique de Philippe-Aubert Gauthier est conséquente de ses profils : artiste sonore, artiste en arts numériques, ingénieur mécanique junior, docteur en acoustique et professeur à l’Université de Sherbrooke. Méthode artistique et savoir scientifique ou technique deviennent des matières brutes pour une démarche artistique réflexive liée aux implications et influences sociales, culturelles et historiques des technologies de communication et des médias. Tanya St-Pierre est artiste en arts visuels, sonores et numériques. En explorant les relations possibles entre les arts visuels ou numériques et la narration, elle transforme divers systèmes d'altération de la narration en propositions poétiques et conceptuelles. On trouve dans ses oeuvres des traces déchirées de narrations et de fictions. Depuis 2003, leurs démarches se rencontrent dans des projets collaboratifs. Leurs intérêts et engagements respectifs sont abordés dans des échanges amenant des propositions artistiques hybrides qui résultent de joutes d'autocritiques et d'inventions en duo.

Maya watanabe
Earthquakes
Vidéo expérimentale | mov | couleur | 12:0 | Japon | 2017

TECHNICAL DATA: Title: Earthquakes Author: Maya Watanabe Year: 2017 Length: 15min (9min looped) SYNOPSIS: An unnatural landscape appears in an empty theater. Without any human action, a series of events begin to unleash. The motionless scene is abruptly interrupted by artificial disasters. When the scenography breaks down and the staged landscape collapses, the inhabitants confront their extintion. As the long-shot continues, the remnants left behind appear again, inexplicably recomposed. The fundamental motivation is to explore the limits –one’s own limits, ethical limits, political limits– of control over others deaths. CONTRIBUTORS: Director: Maya Watanabe DOP: Sho Fujii Sound composer: German Popov Art director: Tadaya Miyashita Production Manager: Yoshio Miyamoto Coordination: Haruna Hirano, Kyoto Art Center


Maya Watanabe is a Peruvian visual artist who works with video installations. Her work has been exhibited at: Palais de Tokyo, Matadero Madrid, Kadist Art Foundation, Das Fridericianum, Museo de Arte Contemporáneo de Lima, and Kyoto Art Center among others. She has been featured in festivals like Videobrasil, LOOP, FILE, Transitio MX, Madrid Abierto, Havana Film Festival, and Beijing Biennale. She has also collaborated as a set designer and audiovisual art director for theatre plays performed in Peru, Spain, Austria and Italy. Watanabe is based between Amsterdam and Madrid.

Sonia leber, Leber Sonia and Chesworth David
Earthwork
Installation vidéo | mov | couleur | 5:0 | Australie | 2016

Earthwork’s screen is positioned flat on the floor, facing upwards. The visitor, looking down, gets a bird’s-eye view of a suburban landscape in which there are destroyed buildings, damaged roads, fences, and gardens. The image suggests a world that has undergone massive disruption. It is unclear whether accident, entropic forces, or warfare has caused this result. Superimposed upon Earthwork’s devastated landscape is another smaller image that presents the viewer with an alternative framing the site. We see diagrams: symbols of what might be location coordinates, suggesting an ongoing search for boundaries, and an intention. The two images appear to be attempting to ‘line-up’, but this is never achieved. The title, Earthwork, references the American Land Art movement of the 1960s; Leber and Chesworth’s videowork further explores Robert Smithson’s concept of the ‘non-site’. A non-site is an artwork situated in a gallery that metaphorically represents a remote actual site. As Smithson suggests ‘the site is evading you all the while its directing you to it’.


Sonia Leber and David Chesworth are known for their distinctive installation artworks, using video, sound, architecture, and public participation. Developed through expansive research in places undergoing social change, Leber and Chesworth’s works are speculative and archaeological, responding to architectural, social, and technological settings. Exhibitions include ‘56th Venice Biennale: All the World’s Futures’ (2015) and ‘19th Biennale of Sydney: You Imagine What You Desire’ (2014). Solo exhibitions include ‘Architecture Makes Us’, Centre for Contemporary Photography, Melbourne (2018); ‘Zaum Tractor’, Fehily Contemporary, Melbourne (2014); and Gridchinhall, Moscow (2013); ‘The Way You Move Me’, Fehily Contemporary, Melbourne (2012); ‘Space-Shifter’, Detached/MONA FOMA, Hobart (2012); Perth Institute of Contemporary Arts (2011); and Conical, Melbourne (2009); and ‘Almost Always Everywhere Apparent’, Australian Centre for Contemporary Art, Melbourne (2007). Group exhibitions include ‘Looking at me through you’, Campbelltown Arts Centre, Sydney (2017); ‘Borders, Barriers, Walls’, Monash University Museum of Art (2016); Substation Contemporary Art Prize, Melbourne (winner, 2016); ‘Melbourne Now’, National Gallery of Victoria, Melbourne (2013-14); Gold Coast Art Prize (winner, 2014), Screengrab6 Award, Townsville (winner, 2014), ‘Cooperation Territory’, 16thLine Art Gallery, Rostov-on-Don, Russia (2013); ‘Spaced: Art Out of Place’, Fremantle Art Centre (2012); ‘Stealing the Senses’, Govett-Brewster Gallery, New Plymouth, New Zealand (2011).

Mónica martins nunes
Na cinza fica calor (The Ashes Remain Warm)
Doc. expérimental | mov | couleur | 20:52 | Cap Vert (Îles du) | 2016

Every morning when I go out of the door, he is the first one I see. He is the first to tell me good morning. He is a father. Although he is destroying us, he does not kill us. The villages of "Chã das Caldeiras" lie inside the caldera of the "Pico do Fogo" volcano in Cabo Verde. After losing everything they own on the last eruption, its inhabitants are forced to reconstruct their lives. A subjective visual tale on real loss, a symbiotic relationship and the possibility of the eternal return.


Mónica Martins Nunes (1990, Lisbon) is a portuguese visual artist living and working in Berlin. After studying Sculpture in Faculdade de Belas-Artes - Lisbon University, she graduated in Fine Arts from the Universität der Künste Berlin. In 2016 she became a Meisterschüler in the same institution and was subsequently awarded the Elsa-Neumann-Stipendium (NaFöG) from the city of Berlin. "The Ashes Remain Warm" is her first moving image work and won the Golden Dove - International Competition Short Documentary at DOK Leipzig 2017.

Pascal grandmaison, Marie-Claire Blais
Le chemin de l'énigme
Vidéo expérimentale | 4k | couleur | 13:6 | Canada | 2017

N`ayant pas vécu l`Exposition universelle 1967 à Montreal, nous ressentons une sorte de vertige entre ce que l`évènement évoque aujourd`hui et l`absence de vestiges qui en témoignent. Une impression de vide qui nous incite à scruter attentivement le site de l`exposition universelle à la recherche d`indices révélateurs de son passé. À l`image d`une archéologie matérielle inspiré de Walter Benjamin qui recherche dans la matière, les débris et les laissés pour contre, les traces d`une histoire qui émanerait jusqu`à nous. Pour tenter de cerner l`ampleur de ce décalage, nous nous sommes intéressés aux facteurs d’apparition et d’effacement révélateurs des contradictions du site et de son histoire : la succession de déplacements de matière, d`additions et d`extractions, qui sont à l`origine de la création des îles Sainte-Hélène et Notre-Dame. La transformation radicale de la forme de l`île Sainte-Hélène, la dissolution de sa configuration ancienne et son artificialité actuelle, nous est apparue comme l`objet privilégié de notre désir d`en comprendre la portée actuelle. Les mouvements de remblais et de déblais de la matière sont transposés, dans le montage des séquences filmées, par la juxtaposition alternée d`une action performative et son contraire. Un jeu incarné par la confrontation de notre interprétation personnelle comme duo d`artistes. La réciprocité entre la spontanéité du geste de l`un et la transcription du cadrage de l`autre. " Il ne suffit pas que tout commence, il faut que tout se répète, une fois achevé les cycles des combinaisons possibles" Causes et raisons des îles désertes G. Deleuze

Film en co-realisation Pascal Grandmaison (1975-) est un artiste canadien qui vit et travaille à Montréal. Sa pratique explore les façons dont les images influencent la perception et la compréhension du concept de l’infini. Son travail fait l’objet de nombreuses expositions individuelles et collectives, incluant Expo 67 au Musée d’art contemporain de Montréal (2017), Intersections: Contemporary Artist Films au Audain Art Museum (Whistler, 2016), Installations au Musée national des beaux-arts du Québec (Québec, 2016), All membranes are porous à la Kamloops Art Gallery (2016) et La vie abstraite I à la galerie Diaz Contemporary (Toronto, 2015). Ses œuvres filmiques sont présentées internationalement, notamment à la galerie Power Plant (Toronto, 2016), à la Haus de Kulturen des Welt (Berlin, 2014), au Palais de Tokyo (Paris, 2014) et au Centre Georges-Pompidou (Paris, 2011). Il est représenté par la Galerie René Blouin (Montréal) et la Galerie Eponyme (Bordeaux). Marie-Claire Blais vit à Montréal. Diplômée en architecture, elle se consacre à temps plein aux arts visuels. Ces dernières années elle a entrepris la production d`un ensemble d`oeuvres qui chacune à leur manière active les différentes façons que nous appréhendons forme (s) et espace et les organisons dans notre mémoire perceptuelle. Diffusion et diffraction de la lumière articulent un espace entre le spectateur et sa mise en action, délimitant le seuil entre eux, offrant une voie d`accès. L`artiste a présenté plusieurs expositions personnelles à la Galerie René Blouin de Montréal. Son travail a figuré dans des expositions au Canada et au Mexique, incluant, À la recherche d`Expo 67, Musée d`art contemporain de Montréal (2017), Road Wall Door, Diaz Contemporary, Toronto (2016), L’oeil et l’esprit, Musée d`art contemporain de Montréal (2015), Projet HoMa, Fondation Guido Molinari, Montréal (2013). Elle prépare pour novembre 2017, Entrouvrir, entrevoir, enclore, une exposition solo au Centre culturel canadien à Paris et Buveurs de Quintessences, une exposition collective à la Fonderie Darling (2018) et au Casino du Luxembourg (2019).

Arnold pasquier
O amor moderno [le jour la nuit]
Vidéo | hdv | couleur | 8:52 | Brésil | 2017

L'installation vidéo d'Arnold Pasquier fait partie d'une série qui vise à refléter les conditions d'une expérience sentimentale en lien avec un paysage et à inventer la forme spectaculaire d'un amour contemporain. Deux paysages creusent une absence et révèlent la possibilité d'une rencontre. D'une part, une sculpture monumentale couvre les ruines du village de Gibellina en Sicile, détruit par un tremblement de terre; d'autre part, une autoroute coupe irrémédiablement en deux un quartier d'immigrants italiens de la ville de São Paulo au Brésil. Ce cercueil blanc, ce moulage en béton débordant, offre une nouvelle scène pour exprimer - jour et nuit - un amour qui est en lui-même l'invention d'une forme d'amour.

Arnold Pasquier est né en 1968 à Paris. Dès ses études d’arts plastiques et de cinéma à l’Université Paris 1 Panthéon-Sorbonne, il réalise des essais en super 8 et vidéo dans lesquels il développe un univers de journaux filmés et de fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes en tant que documentariste et danseur. Ces expériences inaugurent la réalisation d’une œuvre où la danse tient une place importante. En 1997, il intègre le Fresnoy, Studio national des arts contemporains. Arnold Pasquier est l’auteur de nombreux films, vidéos, documentaires, fictions, mises en scène de spectacles et émissions radiophoniques : son travail se développe au croisement de ces différentes disciplines. Ses films ont été présentés et primés dans de nombreux festivals de cinéma en France et à l’étranger (Festival du film de Locarno, Festival Côté Court à Pantin, Vidéodanse, Biennale de Busan, FIDMarseille, Rencontres Internationales Paris Berlin Madrid). En 2005, il est lauréat d’une bourse Villa Médicis Hors les Murs et il réalise le film Celui qui aime a raison au Brésil, sorti en salle en 2006. Son film Notre amour est présenté en sélection officielle au Festival du film de Locarno en 2009. En 2012, il présente un court métrage intitulé L’Italie et, lauréat d’une résidence de réalisation du Festival Côté Court de Pantin, il achève la réalisation d’un long métrage de fiction expérimentale, Si c’est une île, c’est la Sicile.

Vincent guilbert
Kyôbô na made no chinmoku (Savagely, Silence)
Doc. expérimental | mov | couleur et n&b | 20:30 | Japon | 2016

21 décembre 2015. Les images d�??une caméra de surveillance montrent un renard à proximité de la cuve de confinement du réacteur no.2 de la centrale nucléaire de Fukushima..

Né en 1976 à Saint-Denis, France. Parallèlement à ses recherches sur la texture de l�??image (qu�??elle soit en pellicule, ou numérique) et le son, les thèmes développés à travers ses films sont essentiellement liés au Temps, à la mémoire et au fragment.

Sj ramir
In This Valley of Respite, My Last Breath...
Vidéo expérimentale | mov | couleur | 5:6 | Australie | 2017

A valley starved of light. Weariness. Fatigue. An offering of shelter; a surrender of breath...


Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. His films have been exhibited at art galleries worldwide and screened at many prestigious film festivals including: the 67th Venice International Film Festival, International Film Festival Rotterdam (2009 and 2010), Edinburgh International Film Festival (2012 and 2013), Melbourne International Film Festival (2011) and the International Short Film Festival Oberhausen (2009).

Philippe-Aubert Gauthier and Tanya St-Pierre propose a critical reflection on the notions of realism and moving image production. A diptych video, one filmed and the other image synthesis, develop in parallel in accordance with identical camera movement. Maya Watanabe explores an artificial landscape where disaster suddenly strikes, examining the notions of control and limits. Sonia Leber and David Chesworth film the replica of a low-rise housing area that seems to have been destroyed. In Cape Verde, after the volcanic eruption of Pivo Fogo, Mónica Martins Nunes films the reconstruction of a village. Inhabitants regard the volcano like a father. It destroyed; it did not kill. On the artificial island built in Montreal for Expo 67, Pascal Grandmaison and Marie-Claire Blais look for traces of history in the very matter of the island. Moving embankments and rubble are incorporated into the footage. Arnold Pasquier produces a diptych film performance, a film about dance and love. Vincent Guilbert evokes the hopeless outcome of the Fukushima disaster. 21st December 2015, images from a surveillance camera show a fox close to the containment vessel in the n°2 reactor of the power plant. Sj Ramir seeks refuge in a valley deprived of light.


Friday

June 22
9pm

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

"Astrometal"

In the presence of Martin Beauregard, Kuba Garscia and Yu Araki.

Martin beauregard: Another Day after Eternity | Installation vidéo | 4k | couleur | 8:38 | Canada | 2017 see more
J Tobias anderson: Where Did It All Start? | Animation | mov | couleur | 1:10 | Suède | 2017 see more
Alan segal: Una investigación interrumpida de R (An Interrupted Investigation of R) | Fiction expérimentale | 4k | couleur | 13:50 | Argentine | 2017 see more
Che-yu hsu: Re-rupture | Vidéo | mov | couleur | 15:19 | Taiwan | 2017 see more
Kuba garscia: Flora the Movie | Installation multimédia | mov | couleur | 4:57 | Pologne | 2015 see more
Daniel jacoby, Yu Araki: Mountain Plain Mountain | Doc. expérimental | mov | couleur | 21:33 | Espagne / Japan | 2017 see more
Bon alog: Summa summarum | Film expérimental | mp4 | couleur | 5:46 | Lituanie / Lithuania | 2017 see more
Efthimis kosemund sanidis: Astrometal | Fiction | 4k | couleur | 15:55 | Grèce | 2017 see more
Martin beauregard
Another Day after Eternity
Installation vidéo | 4k | couleur | 8:38 | Canada | 2017

L'oeuvre rend visible une forme de résurgences de l'expérience traumatique au sein de la création d'environnements 3D représentatifs de la vie domestique. Sans jamais montrer l'horreur des évènements, elle participe de processus de recontextualisation et réinterprétation d'archives web d'attentats terroristes, ceux survenus notamment à Paris (2016), Bruxelles (2016) et Istambul (2017). Elle engage l'expression d'une temporalité humaine écartelée entre la réalité de l'évènement et sa médiation faisant signe quelque part entre la vie, le son et l'image.

Martin Beauregard est artiste professionnel et professeur-chercheur-créateur à l’Université du Québec en Abitibi-Témiscamingue. Martin Beauregard est diplômé de l’Université du Québec à Montréal (PhD en Études et pratiques des arts) et de l’Université Paris 1 Panthéon–Sorbonne (PhD en arts plastiques et musicologie), ainsi que de l’École des Beaux-arts de Bordeaux (Master en arts et médias). Son travail artistique a été présenté dans de nombreuses institutions, notamment au Musée des beaux-arts de Montréal (Montréal, Canada), à Location One (New York, Etats-Unis), au Capc Musée d’art contemporain de Bordeaux (Bordeaux, France) et à l’Asahi Art Square (Tokyo, Japon).

J Tobias anderson
Where Did It All Start?
Animation | mov | couleur | 1:10 | Suède | 2017

The simplest of questions. An overwhelming silence. The conundrum of existence.


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.

Alan segal
Una investigación interrumpida de R (An Interrupted Investigation of R)
Fiction expérimentale | 4k | couleur | 13:50 | Argentine | 2017

"An interrupted investigation of R" is an epistemological sci-fi detective short film. This project is an adaptation of Stanislav Lem`s “The Investigation”. The work pretends to contribute to the regime of Extra Science Fiction, as was developed by Quentin Meillassoux. A synopsis of the book that I found at Goodreads: "An officer at Scotland Yard is assigned to investigate an eerie case of missing-and apparently resurrected-bodies. To unravel the mystery, Lt. Gregory consults scientific, philosophical, and theological experts, who supply him with a host of theories and clues". I used that minimal narrative as an excuse to address some of this questions and ideas. What would happen if experimental science became impossible and cannot deploy its theories? What exactly guarantees for us, but also what convinces us that natural laws will still be valid in the next moment? How is the bound in between science and fiction? It seems like the science allows the construction of a storyline because stories happen in ordered worlds. The way the merger of the virtual and the digital elicits a context of indetermination. How will the construction of different models of representation affect our perception of a specific phenomenon?


Alan Segal (AR), born in 1985, he studied at Skowhegan School of Painting and Sculpture, Program for Artist and Curators, Universidad Di Tella, and is currently completing his master in Fine Arts at The Milton Avery Graduate School of the Arts at Bard College. He uses drawings, video, coding and sound to design works that reveal alternative systems of communicative convention. “Tutorial” was his last solo show at Zmud. Recent group exhibitions include "A word is a shadow that falls on a lot of things" at Ausstellungsraum Klingental (Basel, Switzerland), “Praising the surface” at the Hesell Museum of Art (New York, USA) and “To push an ism” at MAMBA (Buenos Aires Museum of Modern Art). He also shows his work in international biennials; "Visual Resonances" at the BIENALSUR (the South America contemporary Art Biennial) and "Draft Systems" at The WRO Biennale (Wroclaw, Poland).

Che-yu hsu
Re-rupture
Vidéo | mov | couleur | 15:19 | Taiwan | 2017

In 1995, there was a human-shape balloon on the top of Chongxing Bridge in Taipei, and there was also the attempt of suspending all kinds of items in the air, such as washing machine, boiling hot pot, the statue of Chiang Kai-shek, and sex doll, trying to crash them to the ground. But the plan failed eventually; nothing was destroyed. Before everything started, it ended because of the self-explosion of the human-shape balloon. The same year under Chongxing Bridge, there was also a large scale fight. The people present there that day slashing each other with iron rod or sashimi knife. When we found the people invovled, however, they told us it was actually a fight between political factions.   Re-rupture assembles two seemingly unrelated historical fragments: "People`s Taxi riot" and "Taipei Breaking Sky." I invited five drivers who participated in the fight at the time to return to the event site, while hanging a guitarist Li Na-shao on the top of Chongxing Bridge to play music.


Hsu Che-Yu was born in Taipei in 1985.Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective.

Kuba garscia
Flora the Movie
Installation multimédia | mov | couleur | 4:57 | Pologne | 2015

"Flora The Movie" It is install_plantation or instant_plant or augmented plant. It is collection of objects and plants connected with moving mechanisms and multimedia devices like routers, usb hubs, lights, speakers. First, Im composing flora objects. Finding flowers, moss, bark, elements of nature and grow them in unusual pots, together with technology, electricity, lights. The goal is to create co-working life organism from different environments. Then, Im constructing kind of stage or altar from lost and found, DIY, elements, ready made objects, old fashion, destroyed furniture, audio-video recorders, computers etc… Next, Im adding projection mapping on interesting surfaces of composed objects (installation). Fitting animations to situations. Extending installation with another dimension and living structure - projection.


Born in 1988 in Krakow. He has graduated from Intermedia Department at Academy of Fine Arts in Krakow, Poland. Author of many multi-dimensional installations, immersive projects, install_plantations and digital flora. Works in the fields of postproduction, 3D mapping, interaction, objects collection, movement and design. Organizes, exhibitions and audio-visual performances. He marked the beginning of projection mapping movement in Poland and become influential and active person in new media community till now-days. He is trying to connect and explore all of the various codes of visual communication and their ability to process in order to apply them in specific urban spaces and/or exhibitions. Within the flexibility of visual language he creates multi-dimensional contemporary and site specific installations. Currently lives and works in Warsaw. His art was exhibited in galleries, festivals and other special events around Poland, Germany, Czech Republic, Slovakia, Israel, Great Britain, Sweden, Denmark. He is moderating audio visual experiences and animating people around visual art platform and gallery called K105K in Warsaw. He is co-founder of postproduction studio Locomotive.pl and flora and art lovers Project Utopia.

Daniel jacoby, Yu Araki
Mountain Plain Mountain
Doc. expérimental | mov | couleur | 21:33 | Espagne | 2017

Deepening confusion becomes a delightful experience watching this collaborative film by Daniel Jacoby and Araki Yu. The documentary observes the idiosyncratic sounds and rhythms of Ban’ei, a rare kind of draft horse race that takes place only in Obihiro, Japan. Capturing the behind-the-scenes operations of the race, the film gradually twists itself into a knot as the excited voices of the commentators merge into a frenzy of gibberish. Award winner of the Ammodo Tiger Short Competition at IFFRotterdam in 2018!


Daniel Jacoby (1985, Lima, Peru) and Yu Araki (1985, Yamagata, Japan) met in 2010 during a residency at Tokyo Wonder Site (Tokyo). Both their works have been highly influenced by their journeys. Fiction is often used by them as a tool to comprehend the puzzling cultural and socio-political differences across destinations. Their first film made as a duo is Mountain Plain Mountain (2017). This premiered and was awarded at the Ammodo Tiger Short Competition at IFFRotterdam in 2018. Daniel Jacoby graduated in fine arts from the University of Barcelona and furthered his education at the Städelschule in Frankfurt. Recent exhibitions include venues like Fundació Joan Miró (Barcelona), CRAC Alsace (Altkirch), EYE Film Institute (Amsterdam), The Banff Centre (Alberta), Kunsthal Chalottenborg (Copenhagen), Palais de Tokyo (Paris), Kunstverein Harburger Bahnhof (Hamburg), 1646 (The Hague), Trafó (Budapest), and the 11th Cuenca Biennial (Ecuador). His films have been programmed in festivals such as 25FPS (Zagreb), BIM (Buenos Aires), MIEFF (Moscow), Go Short (Nijmegen), Sheffield Fringe (UK), Videobrasil (Sao Paulo), Les Rencontres Internationales (Paris), and Cairo Video Festival (Cairo). His film Jagata won the National Competition at Lima Independiente (Peru) in 2016. Daniel has participated in residency programs at Delfina Foundation (London), Jan van Eyck Academie (Maastricht), Casino Luxembourg (Luxembourg), Tokyo Wonder Site (Tokyo), among other places. Yu Araki received his Bachelor of Fine Arts in Sculpture from Washington University in St. Louis, U.S.A. in 2007, and completed his Master of Film and New Media Studies from Tokyo University of the Arts in 2010. In 2013, he was selected to participate in Tacita Dean Workshop hosted by Fundacio´n Boti´n in Santander, Spain. His films have been programmed in international festivals such as NIFF (Thailand), BFI London Film Festival (U.K.), The Weight of Mountains (Iceland), International Short Film Festival Oberhausen (Germany), Dong Fang (Italy), and MIFF (Russia). Recent exhibitions and screenings include Okayama Art Summit (Okayama, Japan), Yokoha- ma Museum of Art (Yokohama, Japan), The Benaki Museum (Athens, Greece), JIKKA (Tokyo, Japan), The Container (Tokyo, Japan), Washingtown (Mito, Japan), ZKM (Karlsruhe, Germany), CAST (Tasmania, Australia), Tate Modern (London, U.K.), A*DESK (Barcelona, Spain), no.w.here (London, U.K.), Alternative Space LOOP (Seoul, South Korea), and Para/Site Art Space (Hong Kong). Araki has participated in residency programs at SNEHTA (Greece), Nes Artist Residency (Iceland), and Tokyo Wonder Site Aoyama (Japan), among other places. He lives and works in Tokyo, Japan.

Bon alog
Summa summarum
Film expérimental | mp4 | couleur | 5:46 | Lituanie | 2017

The characteristics of our subconsciousness has its own model of reality. Human-being is trying to distinguish where simulation starts and ends. But the self-reflection of consciousness is full of absurdity itself... What is REAL? And what is REALLY happening?


2015 - present BA in Photography and Media art, Vilnius Academy of Arts (Lithuania) 2017.10 - 2018.02 Photography and Time-based arts, Bucharest national university of Arts (Romania) 2009 - 2013 BA in Creative industries, Vilnius Gediminas technical university (Lithuania) 2012 Spring semester - Multimedia, Tomas Bata university (Czech Republic)

Efthimis kosemund sanidis
Astrometal
Fiction | 4k | couleur | 15:55 | Grèce | 2017

Two boys and a girl prepare for nightclubbing in the heart of Athens. Arriving, they face a deserted club, where music plays blaring but there is no one to listen. There, one by one falls asleep as they surrender themselves in a collective dream.


Born with dual Greek/German nationality, Efthimis Kosemund Sanidis studied Informatics Engineering, and then Contemporary Arts at Le Fresnoy - Studio National in France. His films have won acclaim at festivals around the world. His debut short film, ‘II’ (2014, 16’), won the Pack & Pitch award at Sarajevo while in development, followed by a world premiere in the Pardi di Domani section of the Locarno Film Festival. He shot his next two films, ‘Odette’ (2015, 16’) and ‘Unbuilt Light’ (2017, 29’), while in residency at Le Fresnoy, with the latter opening in competition in Sarajevo. ‘Astrometal` (2017, 15’) was nominated for a Golden Lion in the Orizzonti section of the 74th Venice International Film Festival.

In a 3D environment representative of domesticity, Martin Beauregard makes the recurrence of traumatic experiences visible, involving an expression of human temporality torn between the reality of an event and its mediation. J. Tobias Anderson asks the most simple of questions regarding the beginning. Alan Segal depicts strange disappearances of bodies. The starting point is one where science makes it possible for fiction to be elaborated, as it takes place in an orderly world. Che-Yu Hsu revisits two past events that marked the history of the city of Taipei in the 90s, and the collective memory of its inhabitants: the unsuccessful hanging of a huge human-shaped balloon, and a street fight spanning an entire neighbourhood. Kuba Garscia arranges miniature audiovisual devices, like many flowers and bouquets, by means of electronic and computerised equipment. In Japan, in Obihiro, Daniel Jacoby and Yu Araki film a very unique horse race, with draft horses. These races, and the transactions that take place on the margins of this strange competition, form the rhythmic and sound backdrop to which the film unfolds. Bon Alog proposes an impossible conclusion to the problem of the non-existence of the non-real. Man tries to distinguish things, but his consciousness is full of absurdity itself. In Athens, Efthimis Kosemund Sanidis observes a group of young adults while out at night, from a middle-class apartment to a deserted nightclub where the collective dream begins.


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