Programme Berlin 2018
1pm    3pm    5pm    7pm

June 24

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

"No Exit"

In the presence of Robert Todd and Ben Pointeker.

Robert todd: Restless | Film expérimental | 0 | | 0:0 | 0 | 0 see more
Hans op de beeck: The Girl | Film expérimental | mp4 | couleur | 16:0 | Belgique | 2017 see more
Yang qiu: Xiao Cheng Er Yue (A Gentle Night) | Fiction | 4k | couleur | 15:5 | Chine | 2017 see more
Joakim pusenius: I Don't Know the River | Doc. expérimental | hdv | couleur | 27:44 | Finlande | 2016 see more
Ben pointeker: Impassenger | Vidéo expérimentale | mov | couleur | 6:0 | Autriche | 2017 see more
Salomé lamas: Ubi Sunt | Fiction expérimentale | hdv | couleur | 23:0 | Portugal | 2017 see more
Robert todd
Film expérimental | 0 | | 0:0 | 0 | 0

Changing winds, shifting moods, stirring, awaiting…

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals including the Media City Festival, San Francisco International Film Festival, Rotterdam International Film Festival, New York Film Festival, Le Rencontres Internationale, Black Maria Film Festival, Nouveau Cinema in Montreal, Cinematheque Ontario, the Harvard Film Archive, Pacific Film Archive, the Paris Biennial, Slamdance Film Festival, and others. His films have won numerous festival prizes, grants, and artist’s awards. He teaches film production at Emerson College in Boston.

Hans op de beeck
The Girl
Film expérimental | mp4 | couleur | 16:0 | Belgique | 2017

"The Girl" is a slow, suggestive, perception-oriented animated film in which the viewer is transported to the strange world of a silent, 14-year-old girl. The dreamy landscape images show a dark forest, a vast landfill, a gas station, a highway landscape, a meadow, a factory site and a mysterious lake. Amidst all this stands an old caravan. The scene seems to suggest that the protagonist leads a lonely life on these premises. For a further unspecified reason, she must at one time have left her parental home, which is presented to us at the beginning of the film, both in perfect condition, and later in a neglected, abandoned state. In a variety of different landscapes, we see the girl perform small acts such as gather usable waste or pick herbs. We often get to see her cargo bike; the vehicle she uses to gather the bear necessities in order to survive. Nighttime, breaking dawn, wind, rain, fog, cold and warming fire are present throughout the film. Occasionally, we get to see the girl – resting serenely – from up close, as if we were right beside her, and could feel her breath. At the end of the film we understand that she is resting on a raft in the lake, floating, passive, as a metaphor for surrender. An original soundtrack for the film was composed by Tom Pintens, on a text by the artist.

Hans Op de Beeck produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder and silence. Over the past twenty years Op de Beeck realized numerous monumental ‘sensorial’ installations, in which he evoked what he describes as ‘visual fictions’: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters. Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels and Gooik, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, B (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); Kunstmuseum Thun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, DE (2014), Screen Space, Melbourne, AU (2015); Château de Chimay, Chimay BE (2015); Espace 104, Paris, FR (2016); Kunstmuseum Wolfsburg, Wolfsburg, DE (2017); Fondazione Pino Pascali, Polignano a Mare, IT (2017); ._... Op de Beeck participated in numerous group shows at institutions such as The Reina Sofia, Madrid, ES; the Scottsdale Museum of Contemporary Art, AZ, US; the Towada Art Center, Towada, JP; ZKM, Karlsruhe, DE; MACRO, Rome, IT; the Whitechapel Art Gallery, London, GB; PS1, New York, NY, US; Musée National d’Art Moderne, Centre Pompidou, Paris, FR; Wallraf-Richartz Museum, Köln, DE; Hangar Bicocca, Milano, IT; the Hara Museum of Contemporary Art, Tokyo, JP; 21C Museum, Louisville, Kentucky, US; The Drawing Center, New York, NY, US; Kunsthalle Wien, Vienna, AT; Shanghai Art Museum, Shanghai, CN; MAMBA, Buenos Aires, AR; Haus der Kunst, Munich, DE; Museo d’Arte Moderna di Bologna, Bologna, IT; Kunstmuseum Bonn, Bonn, DE; Kunstraum Dornbirn, Dornbirn, AU; Museum Morsbroich, Leverkusen, DE; Den Frie Center of Contemporary Art, Copenhagen, DK; Royal Museum of Fine Arts, Brussels, BE; Frankfurter Kunstverein, Frankfurt, DE; … His work was invited for the Venice Biennale, Venice, IT; the Shanghai Biennale, Shanghai, CN; the Aichi Triennale, Aichi, JP; the Singapore Biennale, Singapore, SG; Art Summer University, Tate Modern, London, GB; the Kochi-Muziris Biennale, IN, Art Basel Miami Beach, and many other art events.

Yang qiu
Xiao Cheng Er Yue (A Gentle Night)
Fiction | 4k | couleur | 15:5 | Chine | 2017


QIU Yang was born and raised in Changzhou, China. He studied film directing at the Victorian College of the Arts, Australia. His last short film A Gentle Night was selected for the 70th Festival de Cannes Short Film Competition in 2017. And in 2015, his short Under the Sun was selected for the 68th Festival de Cannes Cinéfondation competition and is now selected for more than 80 international film festivals, including the AFI Fest, New Directors/New Films, Clermont-Ferrand, Palm Springs and nominated for the 52nd Taipei Golden Horse Award. He has been chosen to participate the Taipei Golden Horse Film Academy, mentored by the legendary film master Hou Hsiao Hsien, as well as the Swatch Art Peace Hotel residency in Shanghai. He is currently developing his first feature project Under the Sun (same title as the short), which was selected for the CineMart 2016 and Cinéfondation Residence 2017.

Joakim pusenius
I Don't Know the River
Doc. expérimental | hdv | couleur | 27:44 | Finlande | 2016


Joakim Pusenius (b. 1984) graduated (BFA & MFA) from Finnish School of Fine Arts in 2014. Before the arts school Pusenius studied in University of Helsinki theoretical philosophy, aesthetics and tv- and media studies (BA). Pusenius works mainly with moving image. In his artistic practise he is focusing on the means of the audiovisual medium by developing new ways of using camera and storytelling. He is interested in film making without a strict sense of storyline or the arch of drama. More likely he is interested in the dichotomy of the cinema: The possibility of cinemas metaphysical otherness and its capability of immersion. Eternal recurrence, existential solitude and disconnection by the modern technology are common themes in Pusenius` works. Last year Pusenius was working in Le Fresnoy - Studio National des arts Contemporains producing his most recent film work "Reste pour la nuit".

Ben pointeker
Vidéo expérimentale | mov | couleur | 6:0 | Autriche | 2017

Impassenger présente un espace de résonance émotionnelle et, ce faisant, permet au cinéma de devenir haptique. Ce film explore la relation entre la proximité et la distance, et permet à l’objet de l’enquête de figer sa soumission.

Ben Pointeker is a visual artist and filmmaker based in Vienna. His work often sets in between film and photography and is concerned with poetics, patterns of narrative cinema, the notion of time, ambiguous realities and fantasy. Previously based in The Netherlands he graduated from Piet Zwart Institute and won the Prix de Rome basic award. He is also a graduate of the University of applied arts Vienna and was artist in residence at Wiels in Brussels, in Shanghai and most recently at Bòlit in Girona in the framework of The Spur. He has exhibited at institutions such as Secession Vienna, Kunstpavillon Innsbruck, Contemporary Art Center Vilnius, Filmmuseum Amsterdam and major film festivals.

Salomé lamas
Ubi Sunt
Fiction expérimentale | hdv | couleur | 23:0 | Portugal | 2017

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical). Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life's transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary. The project hosts two performances - 'One Life to Live' and 'Requiem' by Christoph Both-Asmus and counts with the participation of CESA

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. In a fertile occupation of ‘no man’s land’, Lamas refers to her work as critical media practice parafictions. Rather than conventionally dwelling in the periphery between cinema and the visual arts, fiction and documentary, Lamas has been attempting to make these languages her own, treading new paths in form and content, challenging the conventional methods of film production, modes of exhibition and the lines between various filmic and artistic forms of aesthetic expression. These works of modified ethnography show an interest in the intrinsic relationship between storytelling, memory, and history, while using the moving image to explore the traumatically repressed, seemingly unrepresentable, or historically invisible, from the horrors of colonial violence to the landscapes of global capital. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC – Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA – Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belém, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genève, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de São Paulo, CAC Vilnius, MALBA, FAEMA, SESC São Paulo, MAAT, La Biennale di Venezia Architettura, among others

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Robert Todd films wind variations and the permanence of different structures, the contrast between immobility and movement. In this animated film. Hans Op de Beeck leads us into the strange world of a 14-year old girl. She appears to have a lonely life, in an unsettled landscape. With Yang Qiu, we follow a mother desperately looking for her daughter, while the world around her remains completely indifferent. Joakim Pusenius documents three specific events taking place in three different forests. Although separate, they are connected through their particular relationship with nature. Ben Pointeker explores the relationship between proximity and distance in both real and imaginary places, presenting a new space that emotional resonance would open. In an array of film strata, Salomé Lamas films ‘those who are there’ and implicitly examines an internal enigma, that of the limits of representation.


June 24

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


In the presence of Rosa Barba and Filip Markiewicz.

Jürgen nefzger: The Cloud Machine | Vidéo expérimentale | hdv | couleur | 12:35 | France | 0 see more
Matthew verdon: Hyperthermia | Vidéo | hdv | couleur | 11:39 | Royaume-Uni | 2016 see more
Rosa barba: From Source to Poem | Film expérimental | 35mm | couleur | 12:0 | Allemagne | 2016 see more
Astrid de la chapelle: Uccello | Film expérimental | 16mm | couleur | 2:20 | France | 2016 see more
Erik bullot: Nouveau manuel de l'oiseleur | Film expérimental | hdv | | 11:51 | France | 2017 see more
Filip markiewicz: Celebration Club | Fiction expérimentale | mov | couleur | 23:10 | Royaume-Uni | 2017 see more
Johan grimonprez: Raymond Tallis | On Tickling | Vidéo expérimentale | mov | couleur | 8:0 | Pays-Bas | 2017 see more
Jürgen nefzger
The Cloud Machine
Vidéo expérimentale | hdv | couleur | 12:35 | France | 0

Jürgen Nefzger associe des projets filmiques à son oeuvre photographique centrée sur les rapports entre l�??homme et son environnement dominés par les logiques économiques. Avec The Cloud Machine, il présente un film réalisé au sein d�??une grande usine d�??incinération. Celle-ci vient éclairer son propos, avec cette notion de recyclage, de cycle dans lequel s�??inscrivent les sociétés contemporaines. Avec des pointes d�??humour, il nous fait partager le quotidien de ces hommes alimentant cette machine à nuages. En dehors des fumées que rejette l�??usine, il y a cette idée de boucle immuable induite par une logique consumériste portant les individus vers les centres commerciaux, achetant des produits qui nécessairement seront voués à la destruction. En découle ce constat: finalement, rien ne change malgré les aléas. La crise, mais quelle crise? O.Lecine

Né en 1968 à Fürth en Allemagne, Jürgen Nefzger vit et travaille en France depuis 1991, aujourd�??hui entre Paris et Nice. Diplômé de l�??�?cole Nationale Supérieure de la Photographie à Arles, il est depuis 2008 artiste enseignant, à l�??Ecole Supérieure d�??Art de Clermont Métropole puis à l�??Ecole Supérieure d�??Art de Aix-en-Provence. Il est représenté par la galerie Françoise Paviot, Paris, depuis 2001.�?� Jürgen Nefzger a obtenu le Prix Niépce pour l�??ensemble de son travail en 2008. Il est également lauréat de la Villa Médicis Hors les Murs et du Prix Photo du Jeu de Paume. La publication « Fluffy Clouds » a reçu le prix du livre photographique en Allemagne. Dans une veine documentaire, Jürgen Nefzger aborde des sujets relevant d�??une interrogation sur le paysage contemporain. Observateur critique d�??une société consommatrice, il porte son regard sur des paysages marqués par les activités économiques, industrielles et de loisir. Son travail photographique se construit par série, à la chambre photographique, et associe des projets filmés en numérique présentés au sein de ses expositions ou indépendamment. Il édite aussi ses travaux sous formes de livres, en portant une grande attention aux question de narration et de positionnement.

Matthew verdon
Vidéo | hdv | couleur | 11:39 | Royaume-Uni | 2016


Matthew Verdon was born in Brisbane, Australia, and currently lives/works in London. After completing studies in agricultural science and art, he has exhibited widely both throughout the United Kingdom and internationally.

Rosa barba
From Source to Poem
Film expérimental | 35mm | couleur | 12:0 | Allemagne | 2016

"From Source to Poem" is an invitation to think about the spaces in which history and cultural production is preserved in order to be passed on to future generations. On the one hand, it pursues Barba’s research initiated with "The Hidden Conference" (2010-2015) – a three-part film work exploring museum storages and whose title refers to imaginary conversations taking place between artworks inside these invisible spaces – on the other hand, it is a reflection about the obsession of preserving any output of western culture in any possible medium. "From Source to Poem" shifts the focus from artworks into archival storage: Shot at the National Audio-Visual Conservation Center of the Library of Congress in Culpeper, Virginia, and at an enormous solar power plant in the Mojave Desert in California, it juxtaposes images from the largest media archive worldwide with a study of rhythm, and images of cultural with those of industrial production. The film exposes the preservation of cultural outputs, but also their digitisation for the future. A vast number of the archives’ holdings are sound material; a sonic memory which is recovered and mixed in the soundtrack as a mean to set in motion otherwise unlikely dialogues. Filmed and screened on 35mm film, the work itself is preserved in one of the most durable archival forms.

“Rosa Barba’s work is a subtle interrogation into and co-option of industrial cinema-as-subject, via various kinds of what might be understood as “stagings”—of “the local,” the non-actor, gesture, genre, information, expertise and authority, the mundane—and removals from a social realism within which they were observed, and which qualifies them as components of the work, to be framed, redesigned, represented. The effect of which her work contests and recasts truth and fiction, myth and reality, metaphor and material to a disorientating degree, which ultimately extends into a conceptual practice.” (Ian White) Her work has been exhibited at prestigious institutions and biennials worldwide. Most recently, she has had solo exhibitions at Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid (2017); HangarBicocca, Milan (2017); Vienna Secession (2017); Malmö Konsthall (2017); CAPC musée d’art contemporain de Bordeaux, France (2016-2017); Schirn Kunsthalle Frankfurt (2016); Albertinum, Dresden (2015) and at the MIT List Visual Arts Center, Cambridge MA (2015). Barba’s work is part of numerous public collections and has been widely published, most recently, in the monographic books "Rosa Barba: From Source to Poem" (2017; published by Hatje Cantz) and "Rosa Barba: The Color Out of Space" (2016; published by MIT List Visual Arts Center/Dancing Foxes). Rosa Barba was awarded various prizes, amongst others the PIAC (International Prize for Contemporary Art) by the Prince Pierre de Monaco Foundation (2016).

Astrid de la chapelle
Film expérimental | 16mm | couleur | 2:20 | France | 2016

L'épopée sur branches et en sous-bois, télescope: nature, peinture: uccelli et Uccello. Le film tisse un dialogue avec des éléments photos et vidéos trouvés sur internet d'oiseaux et d'extraits de tableaux de Paolo Uccello.

Astrid de la Chapelle est réalisatrice, artiste et musicienne. Elle est née en 1983 à Paris. Dans ses films 16mm, dessins et projets éditoriaux, elle procède à des transcriptions entre médiums et à des reconstructions narratives en renouvelant les hiérarchies de récit et l’utilisation de documents. Son travail explore les potentiels qu’ouvre les espaces ou les paysages. Elle auto-édite le fanzine de science-fiction Futu et joue en parallèle dans le groupe de musique, Shrouded and the Dinner, avec quatre autres artistes et musiciens. Elle a étudié à l’Ecole nationale supérieure des Arts Décoratifs de Paris (diplômée en 2008), à la School of Visual Arts de New-York (USA) et à l’Ecole Supérieure des Arts Appliqués Duperré. Invitée par le Muséum national d’Histoire naturelle en 2017, elle a imaginé le cycle sur l’île de Pâques avec une sélection de films et de conférences.

Erik bullot
Nouveau manuel de l'oiseleur
Film expérimental | hdv | | 11:51 | France | 2017

Un oiseau est-il un document ? Les réserves d�??un musée de civilisation peuvent-elles être perçues comme un miroir aux alouettes ? S�??agit-il d�??�?uvrer à une libération du document, à l�??instar de la libération animale ? Telles sont les questions posées par ce film visionnaire et poétique, tourné dans les réserves du Mucem à Marseille.

�?rik Bullot est cinéaste et théoricien. Il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Ses films explorent les puissances poétiques et formelles du cinéma. Sa filmographie compte une trentaine de titres. Son travail a été présenté dans de nombreux festivals et musées, en France et à l�??étranger. Il a publié récemment �??Le Film et son double�?� (Mamco, 2017) et coordonné l�??ouvrage �??Du film performatif�?� (it: éditions, 2018). Il enseigne actuellement le cinéma à l`�?cole nationale supérieure d`art de Bourges (France).

Filip markiewicz
Celebration Club
Fiction expérimentale | mov | couleur | 23:10 | Royaume-Uni | 2017

Celebration Club (2017) is a film made over the course of one week in Northampton following the Brexit referendum.The film captures musicians of different generations and origins talking about the changing society and making music, including punk scholar Roy Wallace, rapper Phundo Art, avant-garde black metal band Denigrata and the Northampton Male Voice Choir performing Robbie William’s Angels in a local church.

Luxembourger of Polish origin, Filip Markiewicz (born in 1980) is a multidisciplinary artist expressing himself through drawing, video, music, theatre and installations thereby creating a visual body of work using diversified media. His work is not intending to be a kind of political activism, but rather to develop an almost surreal language consolidating different expressions. In 2015 Filip Markiewicz represented the Grand Duchy of Luxembourg at the 56th Venice Biennale with his project "Paradiso Lussemburgo". In 2017 he produced his first theater play "Fake Fiction" at the Theater Basel. In 2018, he will present his monographic exhibition "Celebration Factory" at the Casino Luxembourg - Forum d`Art Contemporain.

Johan grimonprez
Raymond Tallis | On Tickling
Vidéo expérimentale | mov | couleur | 8:0 | Pays-Bas | 2017

In this short film by Johan Grimonprez, philosopher/neurologist Raymond Tallis argues that consciousness is not an internal construct, but rather relational. Through the intriguing notion that humans are physically unable to tickle themselves, Tallis explores the philosophical notion that we become ourselves only through dialogue with others.

BIO JOHAN GRIMONPREZ 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 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 realities. Grimonprez`s curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London. His feature films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009) and Shadow World (2016). Traveling the main festival circuit from the Berlinale, Tribeca to Sundance, they garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4. He published several books, including Inflight (2000), Looking for Alfred (2007) and a reader titled It`s a Poor Sort of Memory that Only Works Backwards (2011) with contributions by Jodi Dean, Thomas Elsaesser, Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. He lectured widely, among others at the University de Saint-Denis (Paris 8), Kennedy School of Government at Harvard University`s Institute of Politics; Tate Modern; MoMA (New York); Columbia University; Massachusetts Institute of Technology (MIT); the Parliament of Bodies of Documenta 14, and he participated in the Whitney Museum Independent Study Program (New York). His recent film project (with investigative journalist Andrew Feinstein), Shadow World: Inside the Global Arms Trade, awarded a production grant from the Sundance Institute, premiered at the 2016 Tribeca IFF (New York). It went on to win the Best Documentary Feature Award at the 2016 Edinburgh International Film Festival, and will premiere its US broadcast on Independent Lens on PBS in autumn 2017. His artwork is represented by the Sean Kelly Gallery (New York), and the gallerie kamel mennour (Paris). See for more info.

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Jürgen Nefzger films a waste incineration plant, sharing the everyday life of the men feeding this machine shrouded in smoke, the result of hard economic logic. Matthew Verdon explores museum collections kept at a controlled temperature. Here the museum becomes the form of an ideal state preserving memory, in contrast with the fragility of life. Rosa Barba films the largest audiovisual archives preservation centre in the world, in Culperer, Virginia, as well as a solar plant located in the Mojave desert in California, reflecting on the passage of time, its cyclic or immobile form. Astrid de la Chapelle assembles and sets the tempo of images of birds and paintings by Uccello, and proposes a new animated landscape. Erik Bullot films reserve collections at the Mucem in Marseille and questions their ultimate aim. Filip Markiewicz reflects upon the meaning of community in post-crisis situations. In Northampton, UK post-Brexit, he follows different generations of musicians: a punk group, a rapper and a choir. Johan Grimonprez films the philosopher and neurologist Raymond Tallis who develops the idea of a relational consciousness.


June 24

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

"Double Portrait"

In the presence of Carlos Pereira, Eleonore de Montesquiou, Mauro Santini and Kai Kaljo.

Carlos pereira: Histórias de Fantasmas (Ghost Stories) | Doc. expérimental | mp4 | couleur | 13:32 | Allemagne / Portugal | 2017 see more
Eleonore de montesquiou: Olga&Olga | Doc. expérimental | mov | noir et blanc | 29:39 | Russie | 0 see more
Mauro santini: Alkaid (Vaghe stelle) | Vidéo expérimentale | 4k | couleur | 6:12 | Italie | 2017 see more
Nora barbier: Les Yeux bleus cheveux noirs | Fiction expérimentale | mov | couleur | 14:31 | France | 2017 see more
Jean François lecourt, Thomas Auriol: Tir dans le miroir | Performance | 0 | couleur | 0:0 | France | 2010 see more
Kai kaljo: Isegi nimi on mõnikord sama (Even the Name Is Sometimes the Same) | Vidéo | mov | couleur | 1:55 | Estonie | 2017 see more
Louidgi beltrame: El Brujo | Film expérimental | 4k | couleur | 17:29 | Pérou | 2016 see more
Carlos pereira
Histórias de Fantasmas (Ghost Stories)
Doc. expérimental | mp4 | couleur | 13:32 | Allemagne | 2017

I. A storm in Berlin. Lightnings. The sound of thunders. II. Searching for a face in the dark. III. Inside an old Stasi building, a painter of ruins talks about being human.

Carlos Pereira (Lisbon, 1989) studied film directing in Lisbon (Escola Superior de Teatro e Cinema) and Barcelona (Escuela de Cine Bande à Part) and film studies in Stockholm (Stockholms Universitet). His films have been screened in festivals such as IndieLisboa, DocLisboa, Vila do Conde and Córtex and venues such as The Portuguese Cinematheque. Lives and works in Berlin, where he is as a member of the selection committee for Generation (Berlinale).

Eleonore de montesquiou
Doc. expérimental | mov | noir et blanc | 29:39 | Russie | 0

OLGA & OLGA 30 min., 2017 n&b langue: russe format: 16:9, HD avec : Olga Afanasyeva et Olga Tüvi musique : Tatjana Kozlova-Johannes montage son : Tammo Summera Olga et Olga vivent du côté russe de la frontière entre l`Estonie et la Russie. Les deux femmes sont meilleures amies depuis des décennies, depuis que les usines ont fermé dans le pays et qu’elles se sont retrouvées à faire les marchés. Le film est un double portrait des Olgas et tout particulièrement de leurs rapports aux hommes. Notre sujet favori est l’évolution de la situation spécifique des femmes lorsque l’environnement politique et économique du pays a radicalement changé. Héroïnes du film, elles se complètent parfaitement, l’une dramatique et pessimiste, l`autre beaucoup plus drôle. Ensemble, elles donnent une image complète des femmes de cette génération.

Eléonore de Montesquiou est née en 1970 à Paris, elle vit à Berlin et Tallinn. Son travail est basé sur une approche documentaire de la réalité, films (vidéos) dessins et textes. Ses collaborateurs sont à ce jour les compositeurs Peter Zinovieff, Phonic Psychomimesis, Helena Tulve, Tanja Kozlova, Lembe Lokk et Marcel Türkowsky; et les graphistes Aadam Kaarma, Heidi Sutterlütty, Ethan Burkhard et Jose Soares de Albergheria. Depuis 2007, Eléonore de Montesquiou mène un projet à long terme à la frontière Russie-Estonie „NA GRANE“ composé de films et publications. En 2005-2006, elle réalise ATOM CITIES en Estonie, films, dessins, publications et une pièce sonore réalisée pour les ACR de France culture, sur l’ex-ville soviétique close pour recherche nucléaire de Sillamäe, une ville habitée exclusivement par des Russes en Estonie. Lauréate de la villa Médicis Hors les Murs 2006, elle filme des femmes qui prennent régulièrement le train entre la Pologne et l’Allemagne pour aller travailler à Berlin. En 2008-2009, elle est résidente à Moscou (Senat Stipendium für Kulturaustausch). Depuis 2010, elle filme à la frontière entre l’Estonie et la Russie: Kreenholm (2010), Remember (2011), Notes (2015), Olga&Olga (2015). Ses premiers projets traitaient du rituel de la robe de mariée (1998, France), de la maternité: Swing, ma demeure (2003, Paris-Berlin) à la relation à la propriété privée „Minu maja on minu maa“ (2001, Estonie) et „Par exemple, Ebenthal“ (2004, Autriche). Avec Olga Olga Helena (2005, St-Pétersbourg), Eléonore de Montesquiou questionne le départ de réfugiés politiques et leur vie en exil, démarche qu’elle poursuit à présent avec les migrants qui arrivent en Estonie: Feu (2017), Le Général (2017), Sans retour (2017), Babylne (2017) Commando Sacko (2017).

Mauro santini
Alkaid (Vaghe stelle)
Vidéo expérimentale | 4k | couleur | 6:12 | Italie | 2017

“Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.

Since 2000, Mauro Santini (Fano, Italy, 1965) has composed a series of video diaries, stories told in the first person about time, memory and the search for oneself. One of these, ‘Da lontano’, won the Italian competition at the 2002 Torino Film Festival. He has participated at the international film festivals of Locarno, Venezia, Oberhausen, Jeonju, Annecy, Rencontres Paris/Berlin, DocLisboa, Cinémas Différents Paris, Montpellier, Pesaro etc In 2006, he made the feature film Flòr da Baixa and participated in 2008 with different works at “La cité des yeux, une saison italienne”, about Italian avant-garde cinema from 1968 to 2008, which was organized by the Cinémathèque Française in Paris and curated by Nicole Brenez and Federico Rossin.

Nora barbier
Les Yeux bleus cheveux noirs
Fiction expérimentale | mov | couleur | 14:31 | France | 2017

Deux amis se filment dans Shanghai. Librement inspiré du livre éponyme de Marguerite Duras, Les Yeux bleus cheveux noirs est un film sur le regard, le désir : une lutte silencieuse dans laquelle la retenue l’emporte sur ce qui est livré.

Nora Barbier est née en 1988. Après des études en philosophie contemporaine (Philmaster ENS et EHESS) et en études de genre (M2 de l’Université Paris 8 Saint-Denis), elle a travaillé comme attachée de production de cinéma pour Capricci. Sa première exposition personnelle, Life is so Easy, a eu lieu au Bazaar Compatible Program à Shanghai en 2016.

Jean François lecourt, Thomas Auriol
Tir dans le miroir
Performance | 0 | couleur | 0:0 | France | 2010

Jean-François Lecourt est né dans le Perche le 3 Novembre 1958, au sein d’une famille d’agriculteurs. Il entre à 17 ans à l’école des Beaux-Arts du Mans où enseigne Gina Pane, une des artistes fondatrices du mouvement de l’art corporel. Parallèlement, il suit l’éducation d’un Maître d’Arts Martiaux en Karaté Do (la voie des mains nues) de l’école Shotokan, et s’adonne assidûment aux pratiques du Tir à l’arme à feu et du Tir à l’arc. Sa démarche est basée sur l’analogie et l’identification. Une méthode qui le conduit à la découverte de l’aspect cyclique et symétrique des processus de tir et de photographie ; d’où le concept majeur de son œuvre : Le Tir dans l’appareil photographique.Cet acte artistique est un cérémonial immuable qu’il pratique depuis 1977. Il ne s’agit pas pour lui d’illustrer une névrose autodestructrice mais de tenter, en un retour immédiat, d’abolir l’arrêt fatal du cliché. La photographie est donc ici un Art martial. Comme dans le Kuy-Do, la cible à atteindre est soi-même, le but étant la réalisation au présent de celui qui pratique. Une nouvelle création vidéo de 2010 implique une série de films qui mettent en jeu l’autoportrait, la détonation, effondrement et la renaissance du paysage, ce travail s’intitule « Les tirs dans le miroir ».

Kai kaljo
Isegi nimi on mõnikord sama (Even the Name Is Sometimes the Same)
Vidéo | mov | couleur | 1:55 | Estonie | 2017

Among others, Kai Kaljo(1877-1906) lives on in my video "Even the Name is Sometimes the Same"(1877-2017). I don´t know if we are related or not, but does it really matter? The video was made in cooperation with the photo collection of the Tallinn town museum. In the corner of a very old photograph (made in 1877) of the Tallinn Old Town Harbor, there is a person sitting, very tired. For some unknown reason, I was overwhelmed by that person. She (or he) had no idea that photography existed so she never suspected being accidentally captured by someone´s camera, neither did she suspect that, for some reason, she would become so important for somebody after 140 years.

Kai Kaljo is an artist living and working in Tallinn, Estonia. She studied painting at the Estonian Academy of Arts. Since 1997, when she completed her first video "Loser", she mainly works in video. In 2006 – 2017, she used to work at Tallinn University as a professor for contemporary art. Her video work was often described as poetic, social, humorous/tragic. In recent years, she had been working with archival images and texts.

Louidgi beltrame
El Brujo
Film expérimental | 4k | couleur | 17:29 | Pérou | 2016

El Brujo, qui signifie « le sorcier » en espagnol, est aussi le nom d’un site archéologique mochica. C’est sur cette plage de la côte péruvienne que Louidgi Beltrame a tourné une partie de son film. Le curandero (chamane) José Levis Picón Saguma y rejoue la séquence finale du film de François Truffaut Les Quatre Cents Coups (1959) où le jeune héros Antoine Doinel, interprété par Jean-Pierre Léaud, s’enfuit vers le rivage. Suite à une Mesa - cérémonie de guérison liée au cactus psychoactif San Pedro - José Levis Picón Saguma prend en charge la place laissée vacante dans le dispositif cinématographique par l’acteur alors souffrant, resté en France. Après réception à distance de cette opération magique, Jean-Pierre Léaud rétabli est filmé à la dérive dans les rues de Paris suivant une trajectoire superposant les souvenirs du tournage des Quatre Cents Coups à une histoire subjective du cinéma de la Nouvelle-Vague. A travers ces transpositions, l’artiste orchestre une série de déplacements, une migration des personnages, des motifs et des époques. Aux lignes géométriques du paysage péruvien fait de pyramides et d’excavations répond ainsi la structure du montage filmique composée de travellings et de plans panoramiques sur la musique modulaire et synthétique du morceau Triangle (1979) de Jacno.

Louidgi Beltrame est né à Marseille en 1971. Il est aujourd’hui basé à Paris et a étudié à la Villa Arson de Nice et à l’Ecole Nationale Supérieure des Beaux-Arts de Marseille. De 1999 à 2001, il fut résident au Fresnoy, Studio National des Arts Contemporains à Tourcoing, puis au Pavillon, laboratoire de création du Palais de Tokyo. Depuis 2003, ses œuvres sont présentées dans de nombreuses expositions. Son travail a notamment fait l’objet d’expositions personnelles au Palais de Tokyo (Paris, 2015), au FRAC Basse-Normandie (Caen, 2015), au Kunstverein de Langenhagen (Allemagne, 2015), à la galerie Jousse Entreprise (Paris, 2008, 2012, 2014), à la Fondation d’entreprise Ricard (Paris, 2010), au centre d’art Les églises (Chelles, 2010), au musée d`Art moderne et contemporain de Strasbourg (2008) et au Jeu de Paume (Paris, 2006). En 2013, il a participé au programme de films conçu par Apichatpong Weerasethakul dans le cadre de la 11e Biennale de Sharjah ainsi qu’à de nombreux festivals dont le FID Marseille, Doclisboa et International Film Festival Rotterdam. Ses films ont fait l’objet de programmations spécifiques au Centre Georges Pompidou en conversation avec Pascal Beausse (Vidéo & Après, 2011) et au Louvre avec Catherine David (2013). Expositions collectives : notamment, Flatland, MRAC, Sérignan, 2016, Plagiar of Futuro, Hangar, Lisbonne, 2015, Michelangelo Antonioni, Cinémathèque Française, 2015, Double Jeu, Frac Centre, Orléans, 2014, Mutatis Mutandis, Secession, Vienne, 2012, Video, an Art History (1965-2010): A selection from the Centre Pompidou and the Singapore Art Museum Collections, 2011; Prisonniers du Soleil, Le Plateau, Paris, 2010.

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Carlos Pereira films ghosts of history, the shadows and echoes in a town. Between Estonia and Russia, Eléonore de Montesquiou films two Olgas who have been best friends for decades. Since factories have closed in the country they have been working in markets. Mauro Santini reconstructs landscapes in a visual composition conceived like a musical movement. Nora Barbier is inspired by the book by Marguerite Duras, ‘Blue Eyes, Black Hair’, and examines the silent showdown of gazes. Jean-François Lecourt produces self-portrait performances. Kai Kaljo faces the image of his double, born in the 19th century. Louidgi Beltrame revisits the last sequence in Truffaut’s ‘400 Coups’ on the Peruvian coast with a witch doctor and in the streets of Paris with Jean-Pierre Léaud. Simultaneously a film and a ritual, ‘El Brujo’ examines off-camera and film.


June 24

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

Closing screening
surprise film

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