Berlin 2020 Programme
1pm   2.30pm   3pm   5pm   5pm Closing
Sunday

Aug. 30
1pm

Exhibition + Live online
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Exhibition from 2pm to 8pm. Free admission at HKW (without registration)
To fulfil the distancing sanitary measures, you need to bring your own headphones to watch the works shown in the lobby. In case you forgot, headphones will be provided at the counter.
Live streaming in free access (without registration)

"Space and time"

Thomas mohr: Matters of Time | Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2019 see more
daniel & clara: Notes from a Journey | Fiction expérimentale | hdv | couleur | 72:30 | Royaume-Uni | 2019 see more
Thomas mohr
Matters of Time
Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2019

From Berlin to Hiroshima, from Hiroshima to Berlin. From Past to Now, from Now to Past. Connecting events, remembering the suffering of war and new beginnings. Observations. 7 identical defined time units each containing a series of 24 progressing intervals of shifting box systems descending from 25x25=625 to 2x2=4 images. The construction of each unit is exactly the same, the content of each unit is entirely individual. Walking through a winter night in Berlin, going from Miyajima island to Hiroshima, the experience of My Facebook Timeline Having devastating destruction in mind and reconstruction. Straight forward, up side down, rotating. Positive, negative. Complex layers, more complex layers. Text, subtext.


Biografy: Moving, changing, transformation, experience. Exploring processes of perception and memory systematically since the late 1980ties. From 1985 onwards a growing archive containing more then 500000 pictures and thousands screenshots regarding a wide range of events of transition from a collective meaning to very personal moments. Living and working in Amsterdam. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica/LInz, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin

daniel & clara
Notes from a Journey
Fiction expérimentale | hdv | couleur | 72:30 | Royaume-Uni | 2019

"Notes From A Journey" uses images and sound captured whilst on a journey through the British landscape as the material for an exploration of the acts of looking/seeing listening/hearing. More than simply mapping a journey across the country, this film presents a map of the filmmakers' engagement with the images of the landscape. By reducing them to impressions, fragments, fictions and forms, the recorded images/sounds are transformed into “artefacts” which, when presented in the sequence of a film, activate narratives, ideas and sensations in the viewer. Central to the film are scenes shot at the Neolithic mound and stone circle of Avebury, motifs that speak of the long and complex relationship humans have to their environment and how through art and ritual we seek to understand our place in relation to it. Ultimately this film is a journey in itself – a first person encounter with the limits of perception, it exists in a place where both the recording device and the human senses are tested.


Daniel & Clara, two humans one artist on a journey of exploration of dimensions real and imagined, the results of which consist of moving image, photography and performance. In their current work they have been exploring the British landscape as a site for encounters with the mysterious, the eerie, the otherworldly and the unknown. As they say, “we seek to see with one eye open and one eye closed, sight turned simultaneously out towards the world and inward to the depths of the human experience.” In their work, images and sounds of the landscape become activators of narratives where past, present and the imagination intermingle. Their work has been exhibited and screened internationally at galleries and film festivals including Whitechapel Gallery, Kettle’s Yard, Fabrica Gallery, Close-up Cinema, BFI, Alchemy Film & Moving Image Festival, Doclisboa, Microcinema Artist Moving Image, Museu de Arte Moderna Rio de Janeiro, Black Box Farnham, Film Mutations Zagreb. In 2019 they launched Moving Image Artists (MIA), an organisation dedicated to supporting and cultivating contemporary moving image art and experimental film. This includes an online magazine, screenings and the Moving Image Salon, a monthly gathering for artists to meet, share and discuss their work. The Moving Image Salon takes place at Film and Video Umbrella, London. Several of their films are distributed online by Tao Films and Kinoscope. Films by Daniel & Clara are also included in the BFI National Archive.


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Thomas Mohr rebuilds his life, from past to present, from present to past, exploring perception and memory processes. From Berlin to Hiroshima, the screen is made up of 625 images, reduced to 4 images. Daniel & Clara re-tell a journey in the English countryside. The images and sounds of the landscape form narrative activators where the past, present and imagination get mixed up. A Neolithic site, the motif for the relationship that man has with the environment, is central to the film and offers a reflection on depths of perception and human experience.

Sunday

Aug. 30
2.30pm

Special session, screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
This session is not being live streamed
Free admission at HKW, registration required (free tickets available from Wednesday 19th afternoon on)



We remind that live streaming is free access, without registration. Please use the free booking system for the required registrations at HKW only.

Carte blanche to Pedro Costa

In the presence of the filmmaker

Pedro Costa: Vitalina Varela | Fiction | color | 2:04:00 | Portugal | 2019

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Vitalina Varela, 55-year-old, Cape Verdean, arrives in Lisbon three days after her husband’s funeral. She’s been waiting for her plane ticket for more than 25 years.

« After making "Colossal Youth" I had the feeling that I was spending most of my time with Ventura, in a man’s world, so I was happy when Vitalina appeared in my life halfway through the shooting of Horse Money, in the autumn of 2013. The encounter with Vitalina deserved a film, it was that simple for me. I also felt that this encounter could give me the chance to approach another side of the story of the Cape Verdean diaspora – the women’s side of the story.
[...] At the beginning of Vitalina Varela there was just Vitalina and her dramatic arrival in Lisbon, to her late husband’s house in the neighborhood of Cova da Moura. The film slowly began to take shape and evolve as I started visiting Vitalina and talking with her every day : she was telling me all about herself, her runaway husband Joaquim, her two children, her peasant life in Cape Verde, her immigrant life in Lisbon... I listened to her memories and suggested some directions we could take in the film. Vitalina accepted some ideas and naturally rejected others. And I kept doing my job : suggesting, adding, concentrating, getting it tighter and tighter. This way, we began to build an itinerary for this woman.
[...] Vitalina and I became friends and she agreed to play a supporting role alongside leading man Ventura in Horse Money, and the more I got to know Vitalina the more I knew that my next film would be with her and about her. I thought that she could be the star of a film about her own life, a film centered on her own memories and experiences, a sort of companion piece to Horse Money, with Vitalina as the main character and, perhaps, with Ventura in a supporting role. Actually, I started putting together this dreamed project with Vitalina while Horse Money was still in the shooting phase. I even got some funding for the Vitalina project, which I used to complete Horse Money. So, you see, Horse Money and Vitalina Varela are connected in many ways. They really are twin films.
[...] for me it’s about desperate people, it’s about their struggle – a struggle inwards into their most profound selves, and a struggle outwards against the wall that has been built around them, against the silence that has fallen over them. I’m working in a very disturbed, very disoriented community : these people used to be peasants in Cape Verde, then they migrated to Lisbon to work ; in Portugal they were mercilessly exploited, they needed the money... I don’t know in what stage of progress or defeat of capitalism we are in, right now... I know that I can only work with this confusion. It’s very risky and challenging, but I have no interest in safe scenarios.
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Pedro Costa (interview by Michael Guarneri, Debordements.fr, November 2019)


Sunday

Aug. 30
3pm

Exhibition + Live online
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Exhibition from 2pm to 8pm. Free admission at HKW (without registration)
To fulfil the distancing sanitary measures, you need to bring your own headphones to watch the works shown in the lobby. In case you forgot, headphones will be provided at the counter.
Live streaming in free access (without registration)

"Protocol"

Mike hoolboom: I Touched Her Legs Remix | Vidéo | hdv | couleur et n&b | 0:0 | Canada / US | 2019 see more
Javier velazquez cabrero, Xolisile Bongwana: The Loop | Vidéo | hdv | couleur | 4:20 | Afrique du sud | 2018 see more
Emmanuelle laine, Benjamin Valenza: Est-on prêtes à endosser les habits de l'artiste ? | Vidéo | 4k | couleur | 19:0 | France | 2019 see more
broersen & lukács, in collaboration with Nina Vadsholt: All, or Nothing at All | Vidéo | hdv | couleur | 7:45 | Danemark | 2019 see more
Sini pelkki: Sheet N°4 | Film expérimental | 16mm | couleur | 12:0 | Finlande | 2018 see more
Ghost Mountain Ghost Shovel collective: Buenos días mujeres | Doc. expérimental | 4k | couleur | 8:20 | Mexique / TAIWAN | 2019 see more
Maïder fortunÉ, Annie Mac Donell: Communicating Vessels | Fiction expérimentale | 4k | couleur | 30:48 | Canada | 2019 see more
Mike hoolboom
I Touched Her Legs Remix
Vidéo | hdv | couleur et n&b | 0:0 | Canada | 2019

Eva Marie Rodbro’s embedded ethnographic maestro short, originally made in Brownsville, Texas in 2010, is given a fan remake. Night vision animal life and teen hangouts conjure a temporary and fragile collective, while conversation fragments, alternately performed and raw, shouted and whispered, collide.


Mike Hoolboom began making movies in 1980. Making as practice, a daily application. Ongoing remixology. Since 2000 there has been a steady drip of found footage bio docs. The animating question of community: how can I help you? Interviews with media artists for 3 decades. Monographs and books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door.

Javier velazquez cabrero, Xolisile Bongwana
The Loop
Vidéo | hdv | couleur | 4:20 | Afrique du sud | 2018

We get in touch with the creative processes of both artists. At the beginning of the video, we see a small interview with Xolisile, which shows how the previous interaction was. He does not want to verbally negotiate his interests, proposing an exclusively corporal dialogue. When asked about his opinion on the system of rules with which is proposed to work, Xolisile continues with an enigmatic and powerful career that works as an escape and as a response at the same time.


Emmanuelle laine, Benjamin Valenza
Est-on prêtes à endosser les habits de l'artiste ?
Vidéo | 4k | couleur | 19:0 | France | 2019

Synopsis court Les paroles de femmes travaillant dans un centre d’art sont jouées en lip-sync par une femme installée dans un intérieur sommairement meublé. Affects et expériences de travail se mêlent à mesure que la protagoniste est habillée de différentes tenues. Synopsis long Les paroles de femmes travaillant dans un centre d’art sont jouées en lip-sync par une femme installée dans un intérieur sommairement meublé. Affects et expériences de travail se mêlent à mesure que la protagoniste est habillée de différentes tenues qui petit à petit contraignent, exhibent puis dissimulent son corps. Une statue se détache sur un ciel bleu, dans le silence d’une rue. Alors que le monologue se poursuit, l’espace vacant devient celui d’une institution imaginaire, traversé de silhouettes de visiteurs et collaborateurs. Aux récits se mêlent des images d’archives, fragments de performances d’artistes femmes, détails d’une pratique collective de l’art.

LAINÉ VALENZA — vit et travaille à Marseille Lainé Valenza est un duo d’artistes, constitué à partir d’une conversation perpétuelle, d’une zone commune à la frontière de leurs recherches respectives. Il se caractérise par un intérêt pour la critique institutionnelle, la mutation des formes d’images et d’une attention visuelle, de ses enjeux culturels subjectifs et politiques. Au fil des projets, le duo emploi des formes visuelles diverses, telles que le cinéma étendu, des installations in situ, de la télévision en direct, des performances, etc. Emmanuelle Lainé est une artiste visuelle déjà bien connue pour ses installations in-situ à grande échelle. Elles montrent souvent une reconstitution précise de l'architecture créant un espace critique pour la perception du spectateur ainsi que pour l’institution qui l’accueil. Ses Installation se caractérisent par une utilisation systématique de la photographie très grand format, associée à un langage sculptural très exigeant. Benjamin Valenza concentre depuis plusieurs années déjà sa pratique artistique sur la création d'un média à part entière. Prenant en compte Internet et le numérique autant que la télévision comme point de départ il s’agit d’une forme critique et intentionnellement non déterminée . Le lieu d'exécution ou la problématique du contexte est central dans son travail, il s'articule avec la sculpture et l'installation afin de créer des situations de micro politique ou l’artiste s’efface au profit du collectif.

broersen & lukács, in collaboration with Nina Vadsholt
All, or Nothing at All
Vidéo | hdv | couleur | 7:45 | Danemark | 2019

In ‘All, or Nothing at All’ Margit Lukács and Persijn Broersen explore the hybridity, in image and sound, of the ultra-thin surface of digital photography in order to contemplate its role in shaping our experience and memory. ‘All, or Nothing at All’ takes its cue from Frank Sinatra’s 1939 first hitsong. Originally performed from an utterly male perspective, Danish singer Nina Vadshølt transformed the song into an angelic, rebellious chant in which many voices converge and dispute eachother. Broersen & Lukács constructed an army of avatars, impersonations of Nina Vadshølt, that ramble through a digital replica of the ancient city of Viborg(Denmark): a labyrinth of abandoned malls, garages, crusader paths and centuries old alleys as portals to another dimension. The choreography is based on West Side Story, the 1961 adaptation of Romeo and Juliet, in which Puerto-Rican and Polish streetgangs fight eachother. In ‘All, or Nothing at All’ the duality is depicted in the display of the real and the virtual, in which the ancient town of Viborg appears as a hollow veil resembling the way in which everything seems feasible that appears on our screens, a world in which there is no middle ground, only Everything or Nothing.


Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited by renowned institutions and organisations both domestically and internationally. Lukács & Broersen’s work have been shown at a.o. Rencontres Arles (France), Art Wuzhen (China), Biennale of Sydney (Australia), Karachi Biennial (Pakistan), Stedelijk Museum Amsterdam (Netherlands), FOAM (Netherlands), MUHKA (Belgium), Centre Pompidou (Paris), Kröller Müller (Netherlands) and Casa Enscendida (Madrid). Their films have been shown at several festivals including LAForum (Los Angeles), Oberhausen FilmFest (Germany), Kassel Dokumentar und Filmfestival (Germany), Rencontres Paris Berlin at Louvre, Paris (France), Haus der Kulturen der Welt, Berlin (Germany), the New York Film Festival (United States), IDFA (Netherlands) and IFFR (The Netherlands). Upcoming shows are Forest on Location, A Space Gallery, (Toronto, Canada) Shaping the Invisible World- at Hek (Basel , Switzerland) and Rubble: A Matter of Time at Auckland Art Gallery (New Zealand.

Sini pelkki
Sheet N°4
Film expérimental | 16mm | couleur | 12:0 | Finlande | 2018

Sheet No4 examines the outlines and borders of a photograph -and a human being. How to look, how to see, how to move. Using repetition and reinterpretation to both construct and deconstruct the image and its boundaries. A Conflict between outlines and content. One of the starting points of the work was the dialogue between Pelkki and the four multidisciplinary artists, whom she invited to collaborate; Emma Hammarén, Magnús Logi Kristinsson, Johan Jonason and Keiko Yamamoto. The interaction and diverse interpretations embodied in those exchanges becomes the core of Sheet No4. The name of the work refers to a contact sheet, a proposal for a photograph, where all the options are there with possible re-framing and remarks.


Sini Pelkki (b. 1978 Helsinki) works with photography and moving image. She is interested in the subjectivity of seeing, introspective lives of spaces within spaces. In her works landscapes, figures and objects turn into layered narratives that lead to various paths and ambiguous readings. Recent years her work has been going towards different kind of collaborations. Her first work in book form Arranged Lines was released in 2018. Sini Pelkki (b. 1978 Helsinki) works with photography and moving image. She is interested in the subjectivity of seeing, introspective lives of spaces within spaces. In her works landscapes, figures and objects turn into layered narratives that lead to various paths and ambiguous readings. Recent years her work has been going towards different kind of collaborations. Her first work in book form Arranged Lines was released in 2018. Pelkki gained her Bachelor degree in Fine Art from Chelsea College of Art and Design, London (UK) in 2002 and MA from the Academy of Fine Arts Helsinki in 2008. Her works have been shown in exhibitions and film festivals internationally.

Ghost Mountain Ghost Shovel collective
Buenos días mujeres
Doc. expérimental | 4k | couleur | 8:20 | Mexique | 2019

Two strangers, M and A, encounter each other in different sites around Escandón (Mexico City) following action scripts that designate their journey and reflects on the issue of femicide. Between auto-cinema and auto-documentary, Buenos días mujeres is designed beforehand but played out in the absence of the director. Confronted with several scenarios and sets, the main characters in the film interpret the narrative as if on auto-pilot, while the photographers document their actions, freezing the specific time and charting a path for future viewers.


Ghost Mountain Ghost Shovel Art Collective (2009-Now) which led by director Val Lee, creates live works that build constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-enscène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, abstruse historical reenactment, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music, and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream.

Maïder fortunÉ, Annie Mac Donell
Communicating Vessels
Fiction expérimentale | 4k | couleur | 30:48 | Canada | 2019

An art professor tells the peculiar story of her student E., a strange young woman whose conceptual performance pieces and singular existence leave the professor increasingly unmoored. Combining fictional narrative, personal anecdote and private conversation, Communicating Vessels explores how we influence each other in ways that are sometimes good, sometimes bad, yet always urgent and necessary. An unusual tribute to art and its creation, channelling seminal performances by Joan Jonas and Lygia Clark.


Maïder Fortuné, studied literature and theatre (École Jacques Lecoq in Paris) before entering Le Fresnoy National Studio for Contemporary Arts, where she developed a performance-related practice of the technological image. With its great formal rigor, Fortuné’s work commands all the viewer’s attention for a genuine experience of the image and its processes. Recently, her practice turned to more narratives preoccupations. Lecture performances and films deeply rooted in writing, are the mediums she process to open up new narrative strategies. Her work has been exhibited internationaly (Europe, Brazil, Canada, China, Japan). In 2010 she won the Villa Medicis fellowship in Roma, Italy. Recent shows and performances have been held at Gallery 44, Toronto, Centre Pompidou Paris, and the Toronto International Film Festival. In 2019, her mid-length film L’inconnu de Collegno was part of IFFR Bright Future selection. In 2020, Communicating Vessels runs for the Accomodo Tiger award at IFFR Rotterdam. ANNIE MACDONELL- BIO Annie MacDonell is a visual artist. Her practice begins from the photographic impulse to frame and capture, and is concerned with the production and circulation of images in the present moment. Her work includes film, installation, sculpture, performance and writing in addition to photography. She received a BFA from Ryerson University in 2000, followed by graduate studies at Le Fresnoy, Studio National des Arts Contemporains, in France. Recent solo shows have been held at Gallery 44, Toronto, Parisian Laundry, Montreal, the Art Gallery of Ontario. Recent performances have been presented at Nuit Blanche Toronto, le Centre Pompidou and the Toronto International Film Festival. In 2019, her films have screened at TIFF and the Viennale. In 2012 she was short-listed for the AGO AMIA prize for photography, and she was long listed for the Sobey Art Award in 2012, 2015 and 2016. She is a founding member of Emilia Amalia, a feminist research and writing group. She is an assistant professor at Ryerson University and lives in Toronto with her family.


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Mike Hoolboom resumes a film by Eva Marie Rodbro, who filmed adolescents in Texas, in 2010. Visions of nocturnal animal life intertwine with images and fragments of conversations, as if to conjure up the temporary nature and fragility of this community. Two artists Javier Velazquez Cabrero and Xolisile Bongwana try to establish a work and negotiating process to produce a performance. Emmanuelle Laine and Benjamin Valenza conducted interviews with women working in an art centre. After an experimental writing stage, various testimonies are related in lip-sync, to turn it into a single voice, an allegory in the first person. The accounts are blended with archive images, fragments of performances by female artists, like many details of a collective art practice. Persijn Broersen and Margit Lukács explore the surface of digital image. Frank Sinatra’s song “All, or Nothing at All” becomes a rebel song, sung here by an opera singer split into digital avatars performing the choreography of West Side Story. Sini Pelkki invited four artists to discuss an image, who review the borders and limits by means of repetition and reinterpretation. To construct transient situations the collective Ghost Mountain Ghost Shovel asks characters to interpret a script comprising various scenarios. They thereby produce performative actions that they must choose and improvise, in the absence of any instructions. Maïder Fortuné and Annie Mac Donell combine fictional narrative, personal anecdotes and private conversations, to retrace the relationship, in the shape of a communicating vessel, between an art teacher and her student, whose performative and conceptual pieces are deeply intriguing. It is also a tribute to the works of Joan Jonas and Lygia Clark.


Sunday

Aug. 30
5pm

Exhibition + Live online
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Exhibition from 2pm to 8pm. Free admission at HKW (without registration)
To fulfil the distancing sanitary measures, you need to bring your own headphones to watch the works shown in the lobby. In case you forgot, headphones will be provided at the counter.
Live streaming in free access (without registration)

"Dante and the birds"

Tommaso donati: Je parle à mes démons | Doc. expérimental | hdv | couleur | 22:30 | Suisse | 2019 see more
Guy massaux: La selva oscura | Fiction expérimentale | 4k | couleur | 19:0 | Italie / Belgique | 2018 see more
Markus fiedler, Stanley Edward, Nanna Katrine Hansen, Thomas Elsted : Cast Away Souls | Documentaire | hdv | couleur | 34:14 | Allemagne / Denmark | 2019 see more
Philippe terrier-hermann, Alizée Berthet, Léna Besson: Alla ricerca degli Siculi | Vidéo | hdv | couleur | 8:30 | Italie | 2019 see more
Shireen seno: A Child Dies, a Child Plays, a Woman is Born, a Woman Dies, a Bird Arrives, a Bird Flies Off | Vidéo | hdv | couleur | 4:46 | Philippines | 2018 see more
Tommaso donati
Je parle à mes démons
Doc. expérimental | hdv | couleur | 22:30 | Suisse | 2019

Patrice est reclus dans la prison de Bois-d’Arcy. Comme autant un acteur et spectateur silencieux, il cache son drame à travers une routine faite des gestes quotidiens et des posture ambigues.

Tommaso Donati (1988, Suisse) vit et travaille à Lugano. Son travail explore le point de rencontre du documentaire, de la fiction expérimentale et de la photographie en racontant des histoires de marginalisation et de relations entre les gens et l'espace-nature dans lequel ils vivent.

Guy massaux
La selva oscura
Fiction expérimentale | 4k | couleur | 19:0 | Italie | 2018

La Selva oscura (La forêt obscure) film/vidéo, texte de Dante Alighieri, La Comédie, L’Enfer, Chant treizième (XIII) Préambule: Dans la forêt des suicidés, Dante et Virgile croisent deux formes humaines qui fuient devant eux, arrachant tout sur leur passage et brutalisant ainsi elles-mêmes leur chair jusqu’à ce que des chiennes faméliques (Harpyes) les rejoignent et les dépècent. Tel est le châtiment de ceux qui ont péché contre eux-mêmes par dissipation. Synopsis: Par une nuit obscure, A. et D. progressent, séparément, dans une forêt où nul sentier n’indique le chemin à suivre, où aucune issue ne se présente à eux. Ils se sont égarés, la forêt les retient. Ils surgissent de l’obscurité, débusqués par les éclairages qui les aveuglent. Un face-à-face s’installe entre eux et la forêt, à la présence des arbres répondent leurs propres regards et voix. A. s’est levé, D. de même, résonnent en eux les aboiements d’une meute de chiens qui progressivement se rapproche. Une course-poursuite est engagée où toute issue leur sera fatale.

Guy Massaux est artiste visuel, curateur d’exposition, professeur d’art à l’Académie des beaux-arts de Bruxelles. Après avoir consacré son travail d’artiste principalement à la peinture, il oriente, depuis plusieurs années, ses préoccupations de création autour de l’image en mouvement par l’écriture cinématographique, notamment à travers des dispositifs de vidéo-installations. Il a réalisé plusieurs courts métrages en langue italienne, La Selva Oscura (2018), Il Rifugio (2014) et "B.", film en cours de post-production (2020). Il partage ses principales activités et son emploi du temps entre l’Italie et la Belgique. Il collabore régulièrement avec Mirco Mencacci ingénieur du son. Créateur des univers sonores de films italiens tels que « Le Regard de Michel Ange (Lo Sguardo di Michelangelo) » de Michelangelo Antonioni, « Nos meilleures années (La Meglio gioventu)» de Marco Tullio Giordana ou encore «La Fenêtre d’en face» (Facing Windows) de Ferzan Ozpetec. Pour ses créations, il travaille sur une nouvelle manière de diffuser le son et développe le système du « son sphérique », utilisé pour la première fois dans le film « Le Regard de Michel Ange ».

Markus fiedler, Stanley Edward, Nanna Katrine Hansen, Thomas Elsted 
Cast Away Souls
Documentaire | hdv | couleur | 34:14 | Allemagne | 2019

Cast Away Souls looks at the political structures behind the conditions at the deportation centre Sjælsmark, as well as at the controversial methods used to push the centre's residents to leave Denmark voluntarily. Some call the methods inhumane, while others call them necessary. Through a conversation between the Sjælsmark unit manager Niels Johannessen and one of the residents, Stanley Edward, the film talks about everyday life under constant pressure and about a life where human rights and international conventions are put to the test. Cast Away Souls hits squarely home in one of today's great political discussions, not just about the conditions that children live in at Sjælsmark, but also more generally about human compassion and human rights at centres such as Sjælsmark.


Markus Fiedler, born 1972 in Hamburg/Germany, successfully completed his Studies of Psychology at the University of Hamburg in 2001. In addition he started the Studies of Visual Communication at the University of Fine Arts Hamburg (HfbK) between 1998 and 2003. From 2007 to 2011 he he completed the Postgraduate Studies of Audio-Visual Media / Film & TV at the Academy of Media Arts (KHM) in Cologne/Germany with his graduation film 'Elif's Boys', a 99min documentary about the story of three generations of men of a turkish-kurdish family who migrated to Germany. Since 2002 Fiedler is working as an independent filmmaker, mainly in the field of narrative documentaries. He has been working as screen printer, graphic artist and billsticker.

Philippe terrier-hermann, Alizée Berthet, Léna Besson
Alla ricerca degli Siculi
Vidéo | hdv | couleur | 8:30 | Italie | 2019

La Sicile se situe en plein centre de la Méditerranée. Elle a été traversée par de multiples peuples dans son histoire. Elle fut sicule, phénicienne, grecque, arabe, normande puis italienne depuis 150 ans. De par sa situation géographique elle a toujours été un lien entre l'Europe et l'Afrique, entre l'Orient et l'Occident. Depuis quelques années elle est naturellement devenue l'une des portes d'entrée de l'immigration dite illégale en Europe.

Ce film collectif a été réalisé dans le cadre du programme de recherche "Fixer l'archipel" dirigé par Philippe Terrier-Hermann avec les étudiants de l'ISBA, de l'académie de Naples et de La Cambre, section photographie : Melio Lannuzel, Sarah Toscano, Léna Besson, Delphine Pecheux, Alizée Berthet, Sonia Lalaoui, Johanna Defranoux, Nina Jonsson Qi, Marjolaine Abaléa et les professeurs Hervé Charles et Géraldine Pastor-Loret.

Shireen seno
A Child Dies, a Child Plays, a Woman is Born, a Woman Dies, a Bird Arrives, a Bird Flies Off
Vidéo | hdv | couleur | 4:46 | Philippines | 2018

"A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off", is a voyeuristic glimpse of both local birds and migratory ones that make the Philippine marshlands their home for a time.


Shireen Seno is a lens-based artist whose work addresses memory, history, and image-making, often in relation to the idea of home. She was born to a Filipino family in Japan, where she spent most of her childhood. She has had two solo exhibitions and is a 2018 recipient of the 13 Artists Award from the Cultural Center of the Philippines. Her photo zine Trunks, produced while in residency at Objectifs Centre for Photography and Filmmaking, has been exhibited widely. She started out in film shooting stills for Lav Diaz before going on to direct her debut feature, Big Boy (2012), shot entirely on Super 8. It premiered at Rotterdam and won Best First Film at the Festival de Cine Lima Independiente. Her second film, Nervous Translation (2018), is about a girl who finds out about a pen that can translate the thoughts and feelings of nervous people. It premiered in Hivos Tiger Competition in Rotterdam and won the NETPAC Award for Best Asian Film. Other awards include: Critics’ Prize at Olhar de Cinema - Curitiba International Film Festival, Asian New Talent Award for Best Script Writer at Shanghai International Film Festival, Jury Special Mention at Pacific Meridian International Film Festival of Asia-Pacific Countries in Vladivostok, and Silver Hanoman at Jogja-Netpac Asian Film Festival. It also screened at MoMA as part of New Directors/New Films, Tate Modern as part of their Artists’ Cinema program, and at the Tokyo Photographic Art Museum for Yebisu International Festival for Art & Alternative Visions.


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In Bois d’Arcy prison, Tommaso Donati films Patrice, a recluse. The drama is concealed through a routine comprised of everyday gestures and ambiguous situations. Guy Massaux resumes Canto XXIII from the Divine Comedy. The ‘dark forest’, the Forest of Suicides in Dante’s Inferno is the backdrop of endless wandering, as well as a reflection on the human condition and the crisis of humanism in the West. In Denmark, Markus Fiedler, Stanley Edward, Nanna Katrine Hansen and Thomas Elsted film the dialogue between a former resident and a manager from the administrative detention centre for rejected asylum seekers from Sjaelsmark. The film recounts everyday life in the centre, examines the coldness of the system and European policy regarding asylum seekers. Philippe Terrier-Hermann, Alizée Berthet and Léna Besson ponder the past and present in Sicily. Centrally positioned in the Mediterranean, numerous peoples have crossed the island over the course of its history. It was Siculian, Phoenician, Greek, Arab, Norman then Italian, for 150 years. It forms the link between Europe and Africa, between East and West. Shireen Seno observes the passage of migratory birds to the Philippines, making the marshes their home for a while, and who must continually adapt to survive.


Sunday

Aug. 30
5pm

Screening, q&a, discussion
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
This session is not being live streamed
Free admission at HKW, registration required (free tickets available from Wednesday 19th afternoon on)



We remind that live streaming is free access, without registration. Please use the free booking system for the required registrations at HKW only.

Closing screening
Carte blanche to Pedro Costa

The screening will be followed by a discussion with the filmmaker.

Pedro Costa: Vitalina Varela | Fiction | color | 2:04:00 | Portugal | 2019

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Vitalina Varela, 55-year-old, Cape Verdean, arrives in Lisbon three days after her husband’s funeral. She’s been waiting for her plane ticket for more than 25 years.

« After making "Colossal Youth" I had the feeling that I was spending most of my time with Ventura, in a man’s world, so I was happy when Vitalina appeared in my life halfway through the shooting of Horse Money, in the autumn of 2013. The encounter with Vitalina deserved a film, it was that simple for me. I also felt that this encounter could give me the chance to approach another side of the story of the Cape Verdean diaspora – the women’s side of the story.
[...] At the beginning of Vitalina Varela there was just Vitalina and her dramatic arrival in Lisbon, to her late husband’s house in the neighborhood of Cova da Moura. The film slowly began to take shape and evolve as I started visiting Vitalina and talking with her every day : she was telling me all about herself, her runaway husband Joaquim, her two children, her peasant life in Cape Verde, her immigrant life in Lisbon... I listened to her memories and suggested some directions we could take in the film. Vitalina accepted some ideas and naturally rejected others. And I kept doing my job : suggesting, adding, concentrating, getting it tighter and tighter. This way, we began to build an itinerary for this woman.
[...] Vitalina and I became friends and she agreed to play a supporting role alongside leading man Ventura in Horse Money, and the more I got to know Vitalina the more I knew that my next film would be with her and about her. I thought that she could be the star of a film about her own life, a film centered on her own memories and experiences, a sort of companion piece to Horse Money, with Vitalina as the main character and, perhaps, with Ventura in a supporting role. Actually, I started putting together this dreamed project with Vitalina while Horse Money was still in the shooting phase. I even got some funding for the Vitalina project, which I used to complete Horse Money. So, you see, Horse Money and Vitalina Varela are connected in many ways. They really are twin films.
[...] for me it’s about desperate people, it’s about their struggle – a struggle inwards into their most profound selves, and a struggle outwards against the wall that has been built around them, against the silence that has fallen over them. I’m working in a very disturbed, very disoriented community : these people used to be peasants in Cape Verde, then they migrated to Lisbon to work ; in Portugal they were mercilessly exploited, they needed the money... I don’t know in what stage of progress or defeat of capitalism we are in, right now... I know that I can only work with this confusion. It’s very risky and challenging, but I have no interest in safe scenarios.
 »

Pedro Costa (interview by Michael Guarneri, Debordements.fr, November 2019)


Sunday

Aug. 30

Closing screenings
2.30pm > 8pm

Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
These sessions are not streamed online
Free admission at HKW, registration required (free tickets available from Wednesday 19th afternoon on)

 

Carte blanche to Pedro Costa

To close the 2020 edition, Rencontres Internationales Paris/Berlin invites Pedro Costa for two exceptional screenings of "Vitalina Varela", at 2.30pm and 5pm. The 5pm screening will be followed by a discussion with the filmmaker.

Pedro Costa: Vitalina Varela | Fiction | color | 2:04:00 | Portugal | 2019

| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |


Vitalina Varela, 55-year-old, Cape Verdean, arrives in Lisbon three days after her husband’s funeral. She’s been waiting for her plane ticket for more than 25 years.

« After making "Colossal Youth" I had the feeling that I was spending most of my time with Ventura, in a man’s world, so I was happy when Vitalina appeared in my life halfway through the shooting of Horse Money, in the autumn of 2013. The encounter with Vitalina deserved a film, it was that simple for me. I also felt that this encounter could give me the chance to approach another side of the story of the Cape Verdean diaspora – the women’s side of the story.
[...] At the beginning of Vitalina Varela there was just Vitalina and her dramatic arrival in Lisbon, to her late husband’s house in the neighborhood of Cova da Moura. The film slowly began to take shape and evolve as I started visiting Vitalina and talking with her every day : she was telling me all about herself, her runaway husband Joaquim, her two children, her peasant life in Cape Verde, her immigrant life in Lisbon... I listened to her memories and suggested some directions we could take in the film. Vitalina accepted some ideas and naturally rejected others. And I kept doing my job : suggesting, adding, concentrating, getting it tighter and tighter. This way, we began to build an itinerary for this woman.
[...] Vitalina and I became friends and she agreed to play a supporting role alongside leading man Ventura in Horse Money, and the more I got to know Vitalina the more I knew that my next film would be with her and about her. I thought that she could be the star of a film about her own life, a film centered on her own memories and experiences, a sort of companion piece to Horse Money, with Vitalina as the main character and, perhaps, with Ventura in a supporting role. Actually, I started putting together this dreamed project with Vitalina while Horse Money was still in the shooting phase. I even got some funding for the Vitalina project, which I used to complete Horse Money. So, you see, Horse Money and Vitalina Varela are connected in many ways. They really are twin films.
[...] for me it’s about desperate people, it’s about their struggle – a struggle inwards into their most profound selves, and a struggle outwards against the wall that has been built around them, against the silence that has fallen over them. I’m working in a very disturbed, very disoriented community : these people used to be peasants in Cape Verde, then they migrated to Lisbon to work ; in Portugal they were mercilessly exploited, they needed the money... I don’t know in what stage of progress or defeat of capitalism we are in, right now... I know that I can only work with this confusion. It’s very risky and challenging, but I have no interest in safe scenarios.
 »

Pedro Costa (interview by Michael Guarneri, Debordements.fr, November 2019)