2021 Berlin Programme
2pm    4pm    6pm    8pm    8pm    10pm
Friday

Aug. 27
2pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"Sedimentations"

Ben rivers: The House Was Quiet | Film expérimental | 16mm | couleur | 4:25 | Royaume-Uni | 2020 see more
Ben rivers: Look Then Below | Film expérimental | 16mm | couleur | 22:30 | Royaume-Uni | 2019 see more
Charly nijensohn: Patagonian Ice Fields | Vidéo | hdv | couleur | 6:24 | Allemagne | 2020 see more
Eva l hoest: The Inmost Cell | Vidéo | 0 | couleur | 11:8 | Belgique | 2020 see more
Jasper coppes: Aasivissuit | Doc. expérimental | 4k | couleur | 23:30 | Groenland | 2020 see more
Ben rivers
The House Was Quiet
Film expérimental | 16mm | couleur | 4:25 | Royaume-Uni | 2020

The parts of a house: a door, the shabby ceiling, the wooden floorboards, the portrait of a little girl. And the crackling of the 16mm film on which they are printed, "concrete" like the objects he films and in opposition to the fading of things in the pixels of digital. The verses of a poem by Wallace Stevens accompany the images: "The house was quiet and the world was calm/the reader became the book/and the summer night was like being aware of the book". In the succession of verses - and in the repetition of the days locked in the house during the lockdown - the reader, the book, the house and the summer night become one, cradled by the crackling of the film.


Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Ben rivers
Look Then Below
Film expérimental | 16mm | couleur | 22:30 | Royaume-Uni | 2019

Ben Rivers' films study the otherworldly, looking for places and stories outside the daily conventions of reality. Look Then Below was filmed in a Somerset transformed into a coloured, mist-enveloped island in an oily ocean with a cave basking in a subterranean glow. Time seems to stand still there. After Slow Action and Urth, this is the final part of a trilogy developed with American SF author Mark von Schlegell.


Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Charly nijensohn
Patagonian Ice Fields
Vidéo | hdv | couleur | 6:24 | Allemagne | 2020

Video installation 2020 As everything stopped and the lockdown extended all over the planet, I dedicated myself to create new original music and review some historical works, with material that had been left out of the initial postproduction of the videos. In this way I approached again to the expedition in the Patagonian Ice Fields, a project that I made in collaboration with members of a rescue mountain team. Patagonia is dramatically affected by climate change and global warming. The glaciers are disappearing in front of our eyes. In this context, a group of persons find themselves lost in a labyrinth of ice. United and in solitude, they contemplate the collapse of their universe.


Charly Nijensohn (Buenos Aires, 1966) ist ein multidisziplinärer Künstler der in Berlin lebt und arbeitet. Seine künstlerische Arbeit ist vielschichtig. Nijensohn arbeitet an der Idee einer Konfrontation zwischen dem Menschsein und den natürlichen Kräften des Universums, die uns umgeben. Die Beziehung zwischen der menschlichen Figur und dem sie umgebenden Raum stellt einen Konflikt dar, der real und existenziell zugleich ist. Er vertrat Argentinien mit einer Einzelausstellung auf der 50. Biennale in Venedig. Nijensohns Arbeit wurde auf der BienalSur in Buenos Aires (2017) und der Mediations Biennale in Polen (2012) präsentiert. Er stellte auf der Valencia Biennale (2001) kuratiert von Peter Greenaway, der Singapur Biennale (2008) kuratiert von Fumio Nanjo und der Dojima River Biennale in Osaka (2009) aus. Er stellte auch auf vielen Festivals aus, darunter die Transmediale, Videobrasil in Sao Paulo, Rencontres Internationales im Haus der Kulturen der Welt (Berlin), Museo Nacional Centro de Arte Reina Sofia (Madrid) und Centre George Pompidou (Paris), Monitoring in Kassel, Visions of Nature, Kunst Haus Wien (2017/2018), Video Art in Latin America, States of Crisis, LAXART in Kalifornien (2017). Des Weiteren stellte er im Köller-Müller Museum (Windflower, Perceptions of Nature, 2011) in Otterlo, Museum Morsbroich (Radical Shift) in Leverkusen, der Akademie der Künste (Realidad y Utopía, Argentiniens künstlerischer Weg in die Gegenwart, 2011) in Berlin, Whitechapel Gallery (2010) in London, Políticas de la diferencia im Museo de Arte Latinoamericano (MALBA) und Latin America: Video Views - Latin American Artist of the Twentieth Century, Museum of Modern Art (MOMA) in New York aus.

Eva l hoest
The Inmost Cell
Vidéo | 0 | couleur | 11:8 | Belgique | 2020

The Inmost Cell is a new video work by Eva L’Hoest which takes its narrative from the traditional tales of the Daugava river and the ruins of its underwater islands, flooded on the creation of the Riga dam. Through the combination of various digital processes, L'Hoest turns her photographic reportage of the outskirts of Riga into three-dimensional fluid architectures. These lost elements of Latvian culture mark a site of synthesis between humans, nature and man-made ruins. In a fusion of the rural and the maritime landscape referencing the calenture, a maritime mirage where the sea becomes an inviting grassy field, the artist imbues the images with a shifting, hallucinatory quality. Across slow, contemplative tracking movements, its different realities merge as forms fall one after the other, and passageways are created between places and memory. Composer:John Also Bennett Voice:Iveta Pole Text:Eva L’Hoest & Eva Mancuso Acting Participation:Michael Debatty, Stav Yeini (Performer), Ausma (Choir) Support:Fédération Wallonie-Bruxelles & RIBOCA2 Commissioned by the 2nd Riga International Biennial of Contemporary Art


Eva L’Hoest (1991, Belgium) explores how all types of mental images, in particular memory and reminiscence, are able to reappear in a technological form.Piece by piece, the artist appropriates contemporary technology to reveal both their nature as extensions for capturing the world and their potential as an artistic medium. Her work was recently exhibited at FRAC Grand Large (Dunkerque), “Shapeshifters” at the Malmö Museum, the Riga International Biennial “And suddenly it all blossoms” curated by Rebecca Lamarche-Vadel, the Lyon Biennale “Where Water Comes Together with Other Water” curated by Palais de Tokyo, Lyon (France); The triennale of Okayama Art Summit 2019 “IF THE SNAKE” curated by Pierre Huyghe, Okayama (Japon); “Suspended time, Extended space”, Casino Luxembourg.

Jasper coppes
Aasivissuit
Doc. expérimental | 4k | couleur | 23:30 | Groenland | 2020

Recent footage of melting polar ice in Greenland as shown in the global mass media has represented the country as both the ground zero of climate crisis and a vast expanse for resource exploitation. The film Aasivissuit aims to provide a different view, showing instead the landscape and its inhabitants: focusing on people’s discussions about climate change and how they adapt in their complex relationship with the changing environment. The film follows two park rangers exploring the Greenlandic landscape. They exchange new and old knowledge of the land in their conversations. They talk about how ancient fertile sediment from Greenland is used to nurture exploited soil elsewhere and how microbes have found a way to deal with pollution. Drawing attention to the non-human presence within the landscape, the camera occasionally adopts the perspective of a fly or a raven, or dives into one of the holes in the melting ice cap where toxic metals collect. The film investigates how we can experience and perhaps understand these different perspectives.


Jasper Baldwin Coppes (1983, Amsterdam) is a visual artist who works in a diverse range of media such as films, sound performances, installations and writing. In these, Coppes explores the ways in which dominant narratives about the world and its inhabitants can be transformed. Controversial landscapes, other-than-human entities, silent objects and their presence have often been the core interests in his practice. Coppes graduated from the Gerrit Rietveld Academie in 2008 and was a fellow at the Jan van Eyck Academie in Maastricht in 2010 and 2011. He has participated in international exhibitions, film festivals and conferences and is a tutor at the Royal Academy of Art in The Hague and the Rietveld Academy in Amsterdam.


| | | : | |



| | | : | |



| | | : | |


Ben Rivers explores the ruined interior of a dark house where only fragments of a once bustling domestic scenario remain. In ‘Look Then Below’, the last film in a trilogy produced in partnership with the American science fiction author Mark von Schlegell, Ben Rivers films Somerset, transformed into a colourful and misty island, where time seems to stand still. Charly Nijensohn uses film archives from the Patagonia Ice Fields. Strange characters appear suspended in a labyrinth of ice, both united and solitary, they contemplate the collapse of their universe. Eva L'Hoest creates a landscape between reality and fantasy, starting from a river in Latvia, the Daugava, and submerged ruins during the creation of a dam. The suburbs of the city are fluid architectures, the outlines sketch a synthesis between man and nature. Jasper Coppes explores landscapes in Greenland and follows the discussions of its inhabitants on climate change and how they adapt to this changing environment.


Friday

Aug. 27
4pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"Fact checking"

Shwan dler qaradaki: The Golden Wish | Vidéo | mov | couleur | 5:29 | Iraq | 2019 see more
Mario pfeifer: Again | Noch einmal | Documentaire | 4k | couleur | 40:0 | Allemagne | 2018 see more
Noor abed, Mark Lotfy: One Night Stand | Doc. expérimental | mov | couleur | 24:0 | Egypte | 2019 see more
Riccardo giacconi: Ekphrasis | Doc. expérimental | mov | noir et blanc | 19:0 | Autriche | 2019 see more
Shwan dler qaradaki
The Golden Wish
Vidéo | mov | couleur | 5:29 | Iraq | 2019

The backstory for The Golden Wish is that the danish left government`s suggestion that the police could be able to seize jewelry and valuables from asylum seeker as they arrive in to the country. The jewelry and the valuebles would finance board and lodging for the newcomers. In connection with this project I have been to Iraq and visited two large refugee camps outside of Suleimaniah. The refugee camps are Arbar and Barika and they are located 29 km southeast of the city Suleimaniah. In all their are 32 000 refugees in both camps together. I was on the lookout in their local marked and contacted jewelry dealers and private persons in the area. I then buyed their gold jewelry, melted and casted it to a text based installation, formed to the sentence: “Everything will be ok”.


I am a artist that works within drawing, painting, installation, video and film. Thematically in several of my work I have worked with my own experiences as a Kurdish refugee, but my experiences can provide knowledge of universal issues that can be linked to being a human being on the run. I am originally from Iraqi Kurdistan, I completed a five-year art education before fleeing due to persecution in 1997. After a challenging escape through 11 countries, I came to Norway in December 1999 and completed art education here as well.

Mario pfeifer
Again | Noch einmal
Documentaire | 4k | couleur | 40:0 | Allemagne | 2018

A violent supermarket incident involving a refugee in East Germany is reenacted in a film studio. Ten citizens observe and comment on the case, which highlights the blurred distinction between civil courage and vigilante justice


Producer / Director Mario Pfeifer's (*1981, Dresden / Germany) films explore representational structures and conventions in the medium of film and video, in locations ranging from Mumbai to New York, from Brazil to the Atacama dessert, from Tierra del Fuego to East-Germany to the Western Sahara. He conceives each project out of a specific cultural situation, researches social-political backgrounds and weaves cross-cultural art historical, filmic, technological and political references into a richly layered practice.

Noor abed, Mark Lotfy
One Night Stand
Doc. expérimental | mov | couleur | 24:0 | Egypte | 2019

Directors: Noor Abed, Mark Lotfy Original title: One Night Stand Country: Palestine, Egypt The film is based on the filmmakers’ actual encounter with an unknown European man, one night in a bar in Beirut. It was a fighter on the road to join the Kurdish militia fighting in the war against the Islamic State on the territory of Syria. The conversation was secretly recorded on a cellphone and serves as the script for animated modeled situations and performative reconstructions of that night. The film is also a formal polemic on the apparent authenticity of the documentary and the possibilities of representation of reality by means of simulations and modeled situations.


Noor Abed (b.1988 Jerusalem) is an interdisciplinary artist and filmmaker. She creates multimedia works on the boundary of performance, film and new media. Her practice examines notions of choreography and the imaginary relationship of individuals, creating situations where social possibilities are both rehearsed and performed. Her current research is concerned with the concept of Myth and the form of Magic Realism - and its close relation with colonial and post-colonial discourses. Mark Lotfy (b. 1981 Alexandria) is an experimental filmmaker. He explores the boundary between fictional narratives, documentary film, and media art. His practice questions the everyday, the contingent and the virtual. His current research is concerned with notions of nationalism, fundamentalism, emotionalism and heroism - not only through their ideological and performative mechanisms, but also technological ones. He examines framed structures in which new alienated subjectivities are being produced.

Riccardo giacconi
Ekphrasis
Doc. expérimental | mov | noir et blanc | 19:0 | Autriche | 2019

The film takes its cues from the events between 1939 and 1943, when the native German-speaking people of South Tyrol were given the option of either emigrating to neighbouring Nazi Austria (and other Third Reich territories) or remaining in Fascist Italy and being forcibly integrated into the mainstream Italian culture, thereby losing their language and cultural heritage. This system, enforced after an agreement between Mussolini and Hitler, was called the “Option Agreement”. The film also evokes the aftermath of the Option Agreement, including episodes of tension, conflict and terrorism between ethnic communities. As in a session of hypnosis, a voice describes a series of situations in second person. Devoid of any references to dates, names or locations, the voice describes a set of images connected to pivotal moments in the conflictual genealogy of the South Tyrolean territory. An exploration of a series of photographs from different archives, the film composes a visual study on the history and landscape of a territory in-between.


Riccardo Giacconi has studied fine arts at the IUAV University of Venezia. His work has been exhibited in various institutions, such as Grazer Kunstverein (Graz), ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), Fondazione Sandretto Re Rebaudengo (Turin) and the 6. Moscow International Biennale for Young Art. He was artist-in-residence at the Centre international d'art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome, La Box (Bourges, France) and Künstlerhaus Büchsenhausen (Innsbruck, Austria). He presented his films at several festivals, including the New York Film Festival, Venice International Film Festival, International Film Festival Rotterdam, Visions du Réel and FID Marseille, where he won the Grand Prix of the International Competition in 2015. He co-founded the collective listening festival ‘Helicotrema’ and the audio storytelling studio ‘Botafuego’.


| | | : | |



| | | : | |



| | | : | |



| | | : | |


Shwan Dler Qaradaki buys and then melts down jewellery to make gold letters forming the expression "all will be well", thus questioning the degraded political approach to the value of human life, following the Danish government's plan in 2016 to seize the assets of refugees arriving in the country to pay for their living expenses. In a film studio, Mario Pfeifer reconstructs a violent incident involving a refugee who is later found tied to a tree and frozen to death. This drama, which took place in former East Germany, is narrated here by ten citizens, probing the notion of civil society, courage and denial. Questioning the apparent authenticity of documentary and the potential to represent reality by means of simulations, Noor Abed and Mark Lotfy retrace their meeting, in a Beirut bar, with a European man who is about to join the Kurdish militia at war with the Islamic state. The conversation, secretly recorded, serves as a scenario for animated model situations and performative re-enactments. Riccardo Giacconi is inspired by events between 1939 and 1943, following the "option agreement" between Mussolini and Hitler. German speakers in South Tyrol had a choice: emigrate to neighbouring Nazi Austria or stay in Fascist Italy and be forcibly integrated into the dominant Italian culture, losing their language and cultural heritage.


Friday

Aug. 27
6pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"Post-society"

Salomé lamas: EXTRACTION: THE RAFT OF THE MEDUSA | Fiction expérimentale | hdv | couleur | 10:0 | Portugal / Switzerland, Italy | 2020 see more
Larissa sansour, Søren Lind: al Mukhtabar | Vidéo expérimentale | 4k | noir et blanc | 28:0 | Royaume-Uni / Danemark | 2019 see more
Lesia vasylchenko: Zaraz | Fiction expérimentale | mov | couleur et n&b | 15:46 | Norvège | 2020 see more
Miguel mejias: The Foundation | Film expérimental | mov | couleur | 34:8 | Royaume-Uni | 2020 see more
Salomé lamas
EXTRACTION: THE RAFT OF THE MEDUSA
Fiction expérimentale | hdv | couleur | 10:0 | Portugal | 2020

Extraction: The Raft of the Medusa is a meditation on humanity’s massive redesign of the planet and a dystopic pamphlet on the anthropocene. Extraction: The Raft of the Medusa portrays a brief moment of euphoria as the drifting occupants on the raft, hoping and praying to be rescued, appear to glimpse a possibility of salvation. We can almost hear the hoarse cries through which they attempt to draw attention to their desperate plight, mustering a final ounce of strength before the void. This is their last chance of survival. Extraction: The Raft of the Medusa refers to the colonial paradigm, worldview, and technologies that mark out regions of high biodiversity in order to reduce life to its conversion into a resource through capitalism, with an enormous environmental and social impact. It is an allegory for states of emergency in environmental policy, climate and migration, with an ethical-political purpose.


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. 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. Lamas was granted several fellowships such as the Gardner Film Study Center Fellowship – Harvard University, Film Study Center-Harvard Fellowship, The Rockefeller Foundation – Bellagio Center, Brown Foundation – Dora Maar House, Fundación Botín, Fundação Calouste Gulbenkian, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Camargo Foundation, Berliner Künstlerprogramm des DAAD. She collaborates with Universidade Católica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Fúria and is represented by Galeria Miguel Nabinho and Kubikgallery. salomelamas.info

Larissa sansour, Søren Lind
al Mukhtabar
Vidéo expérimentale | 4k | noir et blanc | 28:0 | Royaume-Uni | 2019

In Vitro is set in the aftermath of an eco-disaster. An abandoned nuclear reactor under the biblical town of Bethlehem has been converted into an enormous orchard. Using heirloom seeds collected in the final days before the apocalypse, a group of scientists are preparing to replant the soil above. In the hospital wing of the underground compound, the orchard’s ailing founder, 70-year-old Dunia is lying in her deathbed, as 30-year-old Alia comes to visit her. Alia is born underground as part of a comprehensive cloning program and has never seen the town she’s destined to rebuild.


Larissa Sansour Larissa Sansour is a Palestinian artist/director. Central to her work is the tug and pull between fiction and reality. In her recent works, she uses science fiction to address social and political issues. Working mainly with film, Sansour also produces installations, photos and sculptures. Sansour’s work is shown in film festivals and museums worldwide. In 2019, she represents Denmark at the 58th Venice Biennial. She has shown her work at Tate Modern, MoMA, Centre Pompidou and the Istanbul Biennial as well as the Berlinale, Rotterdam International Film Festival and BFI London Film Festival. Recent solo exhibitions include Bluecoat in Liverpool, Dar El-Nimer in Beirut and Nikolaj Kunsthal in Copenhagen. Sansour lives and works in London. Filmography 2019 In Vitro, 28’, Spike Island/Odeh Films/CPH Visuals. 2016 In the Future They Ate From the Finest Porcelain, 30’, Film London/Spike Island/Redeye Film. 2012 Nation Estate, 9’ 04’’, sci-fi, Beofilm/Redeye Film. 2012 Feast of the Inhabitants, 15’, short film. 2011 Trespass the Salt, 10’, 3-screen experimental documentary, with Youmna Chlala. 2011 Falafel Road, 60’, experimental documentary, with Oreet Ashery. 2009 A Space Exodus, 5’ 24’’, sci-fi, Beofilm. 2008 SBARA, 8’30’’, short film. 2008 Run Lara Run, 2’, short film. 2007 Soup Over Bethlehem, 9’30’’, experimental documentary. 2006 Happy Days, 2’ 30’’, short film. 2005 Bethlehem Bandolero, 5’ 12’’, short film. portrait.LIND.jpg download Søren Lind Soren Lind (b. 1970) is a Danish author, director and scriptwriter. With a background in philosophy, Lind wrote books on mind, language and understanding before turning to film and fiction. He has published novels, shorts story collections and several children’s books. Lind screens and exhibits his films at museums, galleries and film festivals worldwide. Recent venues and festivals include the 58th Venice Biennial, MoMA (US), Barbican (UK), Nikolaj Kunsthal (DK), Berlinale (D), International Film Festival Rotterdam (NL) and BFI London Film Festival (UK). He lives and works in London. Filmography – director 2019 In Vitro, 28’, Spike Island/Odeh Films/CPH Visuals. 2016 In the Future They Ate From the Finest Porcelain, 30’, Film London/Spike Island/Redeye Film. Filmography – script 2019 In Vitro, 28’, Spike Island/Odeh Films/CPH Visuals. 2016 In the Future They Ate From the Finest Porcelain, 30’, Film London/Spike Island/Redeye Film. 2012 Nation Estate, 9’ 04’’, sci-fi, Beofilm/Redeye Film. 2012 Feast of the Inhabitants, 15’, short film. 2009 A Space Exodus, 5’ 24’’, sci-fi, Beofilm. 2007 Burnt by the Sun, 30’, children’s film, directed by Thomas Østgaard, Beofilm.

Lesia vasylchenko
Zaraz
Fiction expérimentale | mov | couleur et n&b | 15:46 | Norvège | 2020

"ZaraZ" is a sci-fi video essay within the framework of experimental cinema, chronopolitics, and philosophy. In the post-communist era, after the fall of the Berlin Wall and the collapse of the Soviet Union, discourses of the end of history emerged. Instead of past-present-future structure, we are witnessing a temporal shift into the Now, which is continuously melting into the future present. “ZaraZ” reflects on the consequences of acceleration and alienation in modern societies. It portrays brutalist architecture sites, built to implement a “promise” for a brighter future into public spaces; and urban landscapes damaged by industrialisation and economic growth. Nostalgia for the future is expressed in disintegrating architectural forms of public and private spaces, and the possibility of multiple presents emerging out of multiple pasts. "ZaraZ" investigates speculative temporalities of the city and explore relations between time and architecture; virtual, real, and actual; current modes of how we instrumentalize history and memory. In a world of a single urban temporal synchronicity, the question remains: What Times are responsible for the production of imagined futures?


Lesia Vasylchenko is a Kyiv-born artist based in Oslo. Her practice spans between installation, moving image and photography. Vasylchenko is a co-curator of the artist-run gallery space Podium and a founder of STRUKTURA. Time, a cross-disciplinary initiative for research and practice within the framework of visual arts, media archaeology, literature, and philosophy. She holds a degree in Journalism from the Taras Shevchenko National University of Kyiv and Fine Arts from Oslo National Academy of the Arts. Her works have been shown among others at Haugar Art Museum; Tenthaus Oslo; Berlin Transnational Queer Underground; The Wrong New Digital Art Biennale; Korea Queer Film Festival.

Miguel mejias
The Foundation
Film expérimental | mov | couleur | 34:8 | Royaume-Uni | 2020

Étant conduit par une voix virtuelle, un homme ordinaire trouve refuge dans les bois. Là, il tentera de comprendre le mystère de sa situation.

Miguel Mejías (Tenerife, Spain, 1991) studied in Madrid screenwriting after having the studies in sociology and communication. After miscellany of other jobs as driver, cultural promoter, stevedore, journey laborer, editor, historical restorer, He is currently a professor of cinema and literature in Sundsvall, Sweden. His work has been selected for international festivals as Trieste, Toulouse, Experimental Superstars, International Film Festival of Las Palmas, Málaga, Mostra de Cinema Mediterraneo, Ismailia, Bogotá or Buenos Aires.


| | | : | |



| | | : | |



| | | : | |



| | | : | |


Salomé Lamas proposes a contemporary vision of the Raft of the Medusa, a dystopian pamphlet on the Anthropocene and the massive exploitation of the planet by humanity, reducing life to its transformation into resources and goods. Larissa Sansour and Søren Lind imagine an in vitro world, the consequence of an ecological disaster, where an abandoned nuclear reactor beneath the biblical city of Bethlehem houses a huge orchard. A few days before the apocalypse, scientists had preserved a seed heritage, which they are preparing to replant on the surface. In a science fiction essay, Lesia Vasylchenko films landscapes altered by industrialisation, thus exploring the relationship between time and architecture. The disintegration of architectural forms in public and private spaces expresses nostalgia for a better future, underlining the instrumentalization of history and memory. In a depopulated world, Miguel Mejias follows a man who has found refuge in the woods, led by the impersonal voice of a virtual woman, the only representation of human warmth and desire.


Friday

Aug. 27
8pm

Special screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"The Tree House"

Anna fo: Sealed Faithful Halls | Vidéo expérimentale | hdcam | couleur | 3:0 | Chypre | 2020 see more
Quy Minh truong: Nha Cay | Doc. expérimental | 16mm | couleur et n&b | 84:4 | Chine / Singapore, Germany | 2019 see more
Anna fo
Sealed Faithful Halls
Vidéo expérimentale | hdcam | couleur | 3:0 | Chypre | 2020

“Sealed Faithful Halls” —a poem turned to an experimental film— refers to a series of videos that have been recorded in different locations, through a period of years, either as part of art projects (but were never used) or as a record of situations, feelings and moments in time, in order to be used for future art projects. This archival material, became the motivation of a video art piece, made during the pandemic of 2020, when movement was restricted and confinement was imposed; therefore no video was able to be recorded. Drawing inspiration from the rectangular forms of expressionist painter Mark Rothko, a juxtaposition of moving images and sounds was created, an illusion of situations, where real spaces are transformed into imaginary ones. Sealed Faithful Halls becomes a record of thoughts, feelings and ways in which an artist 'sees' everything that passes in front of her and the cause for the allegorical relationship of form-space, reality-illusion, language-text.


Anna Fo (Fotiadou) is a Cypriot multidisciplinary artist and educator with specialisation in video art and direction. She holds a Bachelor degree in Graphic Design and Fine Arts and a Master degree in Performance Design and Practice. Anna is a freelance graphic designer and awarded illustrator and has been working as a video artist, art director and director for various theatre plays, performances and dance shows, in Cyprus and in Europe. She is the co-writer of the awarded film “Pause” (Cyprus, Greece, 2017). Anna directed her first short film entitled “Drained” (Cyprus, USA, 2020) which will be released in 2021 and explores issues of femininity, abandonment and revenge through a contemporary re-tell of the myth of Clytemnestra. Anna has presented her artwork —both in solo and group exhibitions— in galleries, venues, festivals and biennials in Cyprus, Greece, Italy, Spain, Germany, France, UK, Netherlands, Austria and Mexico. She works in collective art projects and collaborates with artists of different practices and disciplines. Her artistic research focuses on the subject matter of reality and illusion by exploring conceptual frameworks of the duality juxtaposition between text and image, within an examination of performance, digital media and art placement in space.

Quy Minh truong
Nha Cay
Doc. expérimental | 16mm | couleur et n&b | 84:4 | Chine | 2019

"In Minh Quý Tr??ng’s striking second feature, a man living on Mars in the year 2045 examines footage brought back from his encounters with an indigenous community in the jungles of Vietnam. As he experiments, his thoughts drift from matters of identity, aesthetics, and the politics of imagemaking, to ritual burial practices, to the seen and unseen forces that shape cultures. Combining elements of science fiction and ethnography, The Tree House is a powerful exploration of how time and environment relate to our understanding of home.", 57th New York Film Festival. (filmlinc.org/nyff2019/films/the-tree-house/)


Tr??ng Minh Quý was born in 1990 in Buôn Ma Thu?t, a small city in the Central Highlands of Vietnam. Quý lives and works here and there in the vibrancy of memories and present moments, his narratives and images, lying between documentary and fiction, personal and impersonal, draw on the landscape of his homeland, childhood memories, and the historical context of Vietnam. In his films, he has experimented with combining abstract concepts-images with realistic improvisations during shooting. He is the alumnus of 2012 Asian Film Academy (Busan International Film Festival) and 2016 Berlinale Talents (Berlin International Film Festival). His films have been selected for international film festivals and exhibitions such as Locarno, New York, Clermont-Ferrand, Oberhausen, Rotterdam, Busan, Les Rencontres Internationales Paris&Berlin. He won the main Art Prize at the 20th VideoBrasil (Sao Paulo) in 2017. His second feature film, The Tree House, premiered in 72nd Locarno Film Festival (Filmmakers of The Present Competition, Swiss Critics Boccalino Award), where it was called as “Three of the festival's best premieres” by Mubi and “a singular entrancing ode to memory and filmmaking” by The Film Stage. The film continued to screen in 57th New York Film Festival (Projections), Viennale, Festival Des 3 Continents (Competition), Rotterdam International Film Festival (Bright Future Main Program), CPH:Dox (Artist &Auteur), Goteborg International Film Festival, among others. Currently Quý is taking his research on analog and new media at Le Fresnoy - National Studio of Arts in France.


| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |


Anna Fo reuses personal archival materials, combines them, and transforms real spaces into imaginary places. In an evocation of the past and the future, Quy Minh Truong questions the notions of belonging and culture, combining elements of science fiction and ethnography. A man living on Mars in the year 2045 examines images of his encounters with jungle inhabitants in Vietnam. His thoughts drift towards questions of identity, he imagines dwellings in the mountains as guardians of memory.


Friday

Aug. 27
8pm

Special screening
Haus der Kulturen der Welt | Westgarten
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
In case of bad weather, the outdoor programme will be moved indoors.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"How Long is Now"

Michael busch: How Long is Now | Doc. expérimental | 4k | couleur | 84:32 | Allemagne | 2020 see more
Michael busch
How Long is Now
Doc. expérimental | 4k | couleur | 84:32 | Allemagne | 2020

The human being in the net, an image that is paradigmatic for the entire work: Laocoon, the warner in front of the Trojan horse, as a sculpture he is already constricted by the snake, the snake connects him with his sons, together they form an ensemble of powerlessness. The warner in front of the poisoned gift of the future repeats what Pandora’s box has brought over mankind. The future that points out from this present holds dangers and hopes in equal measure. In HOW LONG IS NOW the spider’s web appears in a variety of ways. It is the imperial railway network that spreads colonialism, it is the data cables that lie in the sea between the continents, it is the algorithms that dominate trade and stock exchange, it is the gps system, the face recognition software, the distorted maps of the world. The human being in it struggles with his mortality, struggles with language, the concepts that shape thought and action, struggles with morality and struggles with its expansion in the technosphere. The film makes shameless use of the image reservoir of the twentieth century, casually quoting the history of the moving image and the history of its progressive virtualization. The image plane sometimes nestles close to the spoken narrative of the lectures, then again it expands the space of discourse, adds associations and situations, and networks itself with the heritage of the expanded present. For four years I have been participating in these events and produced a series of short cinema trailers to promote them. The clips are 30 second long experimental films in a stream of consciousness manner. With the visual archive that was created along these productions and the possibility to use the HKW archive, the idea arose to develop a long, full-length work from it. I wanted to create a space of possibilities in which questions about our present can be articulated, beyond the quickly googled answer


studied applied theatre science at Universitiy Gießen and fine arts and experimental film at University of Fine Arts, Berlin. Makes films and film performances. Worked as a film curator for Volksbühne Berlin theatre between 2003 and 2017, held a professorship for experimental film at University of Art, Berlin from 2007 to 2013. his works have been shown at International Film Festivals like Berlinale Forum Expanded, at Centre Pompidou, Paris, at Reina Sophia, Madrid, at Art Biennale Sao Paulo, at Torino International Film Festival, San Francisco, Edinburgh.


| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |


Michael Busch takes the mythological figure of Laocoon as a paradigm of modern man caught up in networks and information flows, who had warned of the dangers of bringing the Trojan horse into the city. Punished by the gods, Laocoon found himself trapped by a snake, his two sons at his feet, making him powerless to act. Contemporary examples include the imperial railway network that enabled colonial expansion, data cables that link continents across oceans, algorithms that dominate world trade, geolocation and facial recognition systems, and distorted world maps. Human beings caught up in such networks fight against mortality, against language, against concepts that shape thought and action, fight against morality and against expansion into the technosphere. The film draws from the supply of 20th century images, citing with flippancy the history of the moving image and the history of its progressive virtualisation.


Friday

Aug. 27
10pm

Special screening
Haus der Kulturen der Welt | Westgarten
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
In case of bad weather, the outdoor programme will be moved indoors.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"Telluric Drama"

Riar rizaldi: Kasiterit | Fiction expérimentale | hdv | couleur | 18:22 | Indonésie | 2019 see more
Nico Joana weber: Tropic Telecom | Vidéo expérimentale | 4k | couleur | 24:58 | France | 2020 see more
Mounir fatmi: The Human Factor | Vidéo expérimentale | mov | couleur | 15:57 | France | 2018 see more
Daniel theiler: Top Down Memory | Film expérimental | 4k | couleur | 12:20 | Allemagne | 2020 see more
Federico solmi: American Fables | Vidéo | mp4 | | 7:40 | USA | 2020 see more
Riar rizaldi
Kasiterit
Fiction expérimentale | hdv | couleur | 18:22 | Indonésie | 2019

One-third of the global tin supply is extracted from Bangka island in Indonesia. Tin is the most impacted mineral by the upcoming technological development, which includes artificial intelligence and technology for renewable energy. Natasha is a solar-powered A.I. voice, and in this film, they trace their genealogy and the truth of their origin; from the capital liquidity to labour dynamic. With their feminised voice—as quite often performed by other AI-powered voice assistants produced by tech-companies, Natasha narrates the emergence of tin in Bangka island and their existence from the perspective of tropical anthropology of nature, value theory, philosophy of time, genetic mutation, geopolitics, and automation.


Riar Rizaldi works as an artist and researcher. Born in Indonesia and currently based in Hong Kong. His main focus is on the relationship between capital and technology, extractivism, and theoretical fiction. Through his works, he questions the notion of image politics, materiality, media archaeology and unanticipated consequences of technologies. He is also actively composing and performing sonic-fiction using the methods of field recording and foley through programming language. Riar has also curated ARKIPEL Jakarta International Documentary & Experimental Film Festival — Penal Colony (2017), Internet of (No)Things (2018) at Jogja National Museum and co-curated Open Possibilities: 'There is not only one neat way to imagine our future' at JCC, Singapore & NTT ICC, Tokyo (2019-2020). His works have been shown at Locarno Film Festival, BFI Southbank London, International Film Festival Rotterdam, NTT InterCommunication Center Tokyo, and National Gallery of Indonesia amongst others.

Nico Joana weber
Tropic Telecom
Vidéo expérimentale | 4k | couleur | 24:58 | France | 2020

Tropic Telecom reflects contemporary Paris in its hybrid post-colonial reality. The film develops from the Palais de la Porte Dorée, which opened in 1931 on the occasion of the Paris Colonial Exhibition. It is the only building of the exhibition that was preserved after the end of the event, located in the southeast of the city bordering on the Périphérique. Its architectural style presents itself as a synthesis of the formerly modern Art Déco, as well as freely interpreted elements of native art and architectural styles. A crocodile basin is to be found in the still accessible aquarium of the palace that was used to showcase fish from the tropical colonies. As the film proceeds, an albino alligator that the basin houses today, embarks on a surreal journey. It leads the viewer through places of French colonial and migration history, as well as large brutalist and post-modern housing estates on the outskirts of Paris that were built from 1970 onwards and which stand for the residential utopia of a postcolonial Paris. A structure of images emerges that situates the ongoing aesthetic, political and social negotiation processes in a polyphonic communicative field.


Nico Joana Weber (*1983 in Bonn) lives and works in Ludwigshafen am Rhein, Germany. She studied Fine Art and Art History at Goldsmiths College London and completed her postgraduate studies at the Academy of Media Arts Cologne in 2013. By means of different artistic media such as video, installation, photography and drawing, she explores the aesthetic and political characteristics of architecture and landscape in transcultural contexts. Weber's work is fuelled by an unsteady search for historical traces and cultural processes of transformation and appropriation that doesn't arrive at simplistic solutions but rather focuses on zones of ambivalence. Nico Joana Weber has received numerous grants and awards, most notably the Villa Romana Prize (2016) and the Bonn Art Award (2019). Selected exhibitions and festivals include: Kunstmuseum, Bonn (2020), Kunstverein Kärnten, Klagenfurt (2019), Goethe Institute Bulgaria, Sofia (2019), Artothek, Cologne (2018), Temporary Gallery, Cologne (2017), Museum unter Tage, Bochum (2017), Skulpturenmuseum Glaskasten Marl (2017), Villa Romana, Florence (2016), Goethe Institute, Paris (2016), Aesthetica Short Film Festival, York (2015), International Short Film Festival Oberhausen (2015).

Mounir fatmi
The Human Factor
Vidéo expérimentale | mov | couleur | 15:57 | France | 2018

« The Human Factor » est une video expérimentale qui traite de l’art décoratif et de l’exotisme. Sur fond d’exposition coloniale internationale de 1931 à Paris qui s’est déroulé pen-dant l’entre deux guerres, certaines oeuvres indigènes des colonies côtoyaient celles des principales puissances coloniales de l’époque au sein de pavillons rappelant l’architecture de l’Afrique noir, de l’Afrique du nord, ou de l’Indochine. La vidéo « The Human Factor » décompose le film « L’inhumaine » de Marcel L’Hérbier (1923). Ce film est considéré encore aujourd’hui comme le manifeste de l’art dé-coratif. Ce chef d’œuvre du cinéma muet, tourné dans des décors modernes et spec-taculaires pour l’époque, retrace l’esprit du temps et les influences des artistes euro-péens par les créations venant des Art lointains. « L’inhumaine » regroupe de ma-nière inédite des artistes, décorateurs, costumiers et architectes, comme Robert Mallet-Stevens, Fernand Leger, Alberto Cavalcanti, Claude Autant-Lara, Pierre Chareau, Michel Dufet, Joseph Csaky et Paul Poiret. « The Human Factor » tente de montrer un autre aspect de l’Art décoratif, sous la puissance de l’idéologie coloniale et son ambition universelle. Il faut dire que l’influence de l’art colonial n’est pas nouvelle en cette période de l’entre deux guerres. Elle existait depuis 1907 sous le nom de « la société coloniale des artistes français », et dont le but était l’expansion coloniale par l’art, au profit de la France. Des prix et des bourses de voyages ont été attribué pour aider des artistes comme Van Dongen, Matisse ou Paul Klee à séjourner en Afrique du Nord. En 1919 la revue « Les Arts à Paris » parle déjà de l’art « nègre » comme d’ « Une esthétique nouvelle » qui risque d’influencer complètement l’art européen. Ainsi les masques et les sculptures africaines sont devenue de vrais objets de curiosité et d’inspirations pour des artistes comme Picasso, ou Fernand Léger qui a conçu tous les costumes et les décors du Ballet Suédois « La création du Monde » en s’inspirant de « l’Art indigène et africain ». Une autre exposition a été organisée en 1930 par Tristan Tzara, Pierre Loeb et Charles Ratton sous le titre « L’Exposition d’art africain et océanien ». Celle-ci constitue une étape primordiale dans l’histoire de l’appréhen-sion des arts premiers en occident. Le public parisien a pu voir alors des sculptures primitives exposées avec des œuvres de Pablo Picasso, André Derain, Georges Braque, Joan Miró, Paul Guillaume et Félix Fénéon. Puis vient finalement l’exposition coloniale de 1931 qui a affiché d’une manière claire l’idéologie coloniale n’évoquant les caractères originels des colonisés qu’à la condi-tion d’évoquer les bienfaits de la métropole et de ne montrer de la colonisation que les aspects positifs. A l’exception de quelques masques, statuettes et pièces archéologiques, les œuvres indigènes sont rares. On leur préfère en générale les spectacles de danses et de folklore, de ce fait dans le domaine artistique c’est le point de vue français et occidental qui fut privilégié. Il faut savoir aussi que cette vision n’a pas été partagée par l’ensemble des artistes français, puisque le groupe des surréalistes avec l’aide de Louis Aragon, Georges Sadoul et André Breton entre autres, a monté « L’Anti-exposition coloniale » sous l’égide du Part communiste français en diffusant un mot d’ordre sur le tract- « Ne visitez pas L’Exposition coloniale ». Ainsi la video « The Human Factor » aborde l’exposition coloniale qui a officialisé en quelque sorte le lien entre le primitivisme de l’avant garde et l’exotisme de l’art déco d’inspiration coloniale. Studio Fatmi, Septembre 2018.

mounir fatmi est né à Tanger au Maroc, en 1970. À l’âge de quatre ans, sa famille déménage à Casablanca. A dix-sept ans il part à Rome où il s’inscrit à l’école libre de nu et de gravure à l’académie des beaux-arts, puis à l’école des beaux arts de Casablanca et finalement à la Rijksakademie à Amsterdam. Il passe son enfance dans le marché aux puces du quartier Casabarata, un des quartiers le plus pauvres de la ville de Tanger où sa mère vendait des vêtements pour enfants. Un environnement qui multiplie jusqu’à l’excès les déchets et les objets de consommation en fin de vie. L’artiste voit par la suite cette enfance comme sa première éducation artistique et compare ce marché aux puces à un musée en ruine. Cette vision a également valeur de métaphore et exprime les aspects essentiels de son travail. Influencé par l’idée de médias morts et l’effondrement de la civilisation industrielle et consumériste, il développe une réflexion sur le statut de l’oeuvre d’art entre Archive et Archéologie. Il utilise des matériaux obsolètes tels que les câbles d’antenne, les anciennes machines à écrire, ou les cassettes VHS, et travaille sur la notion d’une archéologie expérimentale en examinant le rôle de l’artiste au sein d’une société en crise. Il joue des codes et préceptes de cette dernière sous le prisme de la trinité Langage, Architecture et Machine. Il interroge ainsi les limites de la mémoire, du langage et de la communication, tout en réfléchissant sur les matériaux en cours d’obsolescence et à leurs avenirs incertains. La recherche artistique de mounir fatmi, constitue une pensée sur l’histoire des technologies et leurs influences dans la culture populaire. BIOGRAPHIE Il faut voir ainsi dans ses oeuvres, de futures archives de médias en construction. Bien qu’ils marquent des moments clés de notre histoire contemporaine, ces matériaux techniques remettent également en question le transfert de connaissances, le pouvoir suggestif des images et critiquent les mécanismes illusoires qui nous lient à la technologie et aux idéologies. Depuis 2000, les installations de mounir fatmi ont été sélectionnées dans plusieurs biennales, la 52e et la 57e Biennale de Venise, la 8e Biennale de Sharjah, la 5e et la 7e biennale de Dakar, la 2e Biennale de Séville, la 5e Biennale de Gwangju, la 10e Biennale de Lyon, la 5e triennale d’Auckland, la 10e et 11e biennale de Bamako, la 7e Biennale d’architecture, Shenzhen, à la triennale de Setouchi et la triennale Echigo –Tsumari, au Japon. Son travail a été présenté au sein de nombreuses expositions personnelles, au Migros Museum fu?r Gegenwarskunst, Zu?rich. Mamco, Genève. Musée Picasso, la guerre et la paix, Vallauris. Fondation AK Bank, d’Istanbul. Museum Kunst Palast, Du?sseldorf et au Goteborg Konsthall. Il a participé à plusieurs expositions collectives au Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscou. Mathaf, Doha. Hayward Gallery et Victoria & Albert Museum, Londres. Van Abbemuseum, Eindhoven, au Nasher Museum of Art, Durham et au Louvre Abu Dhabi. Il a reçu plusieurs prix dont le Uriöt prize, Amsterdam, le Grand Prix Léopold Sédar Senghor de la 7e Biennale de Dakar en 2006, le prix de la Biennale du Caire, en 2010, ainsi que le Silver Plane Prize de la Biennale de l'Altai, Moscou en 2020.

Daniel theiler
Top Down Memory
Film expérimental | 4k | couleur | 12:20 | Allemagne | 2020

The work deals with the manipulation of history in the context of the reconstruction of the Berlin Palace (“Humboldtforum”). Starting from the confusions surrounding an alledged proclamation of a socialist republic from one of its balconies in 1918, the film examines other political events that occurred on balconies. Reenactments of iconic political and cultural events on the original balcony raise questions about authenticity and manipulation. Who is writing our history? How do we deal with our past? How does collective memory work? The balcony is the central motive of the work, representing hierarchies and power politics.


Daniel Theiler is a German-Turkish visual artist, filmmaker and architect. He graduated as Meisterschüler of Nina Fischer in Art and Media at UdK Berlin. Studies of art at Bauhaus University Weimar under Danica Daki? and at the School of the Art Institute of Chicago (MFA), and architecture at TU Berlin, ETH Zurich, and the University of Strathclyde Glasgow (Dipl.-Ing.). Daniel Theiler works with a variety of media ranging from video, photography and sculpture to public interventions. In his works, he examines the gaps between utopia and reality by challenging conventions and questioning the usual. Theiler lives and works in Berlin.

Federico solmi
American Fables
Vidéo | mp4 | | 7:40 | USA | 2020

“American Fables” Inspired by the legacies of real historical events and manufactured myths, American Fables, re-imagines through video vignettes some of the most celebrated moments in American History. I have long been influenced by the comically one-dimensional and inaccurate accounts of history common to most US textbooks, where ethnocentric perspectives create propagandistic narratives of American exceptionalism. Continuously, I find myself fascinated by the subjectivity of history, its vulnerability to partisan ideals and nationalism, rendering historical accounts more akin to folktales than facts. This inspired me to create my own library of counterfeit and re-imagined American History in an effort to submit my own voice into the ever expanding campaign of misinformation entrenched in Western rhetoric.


Federico Solmi (Italy, 1973) currently lives and works in New York. Solmi’s work utilizes bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society. His exhibitions often feature articulate installations composed of a variety of media including video, painting, drawing, and sculpture. Solmi uses his art as a vehicle to stimulate a visceral conversation with his audience, highlighting the contradictions and fallibility that characterize our time. Through his work, Solmi examines unconscious human impulses and desires in order to critique Western society's obsession with individual success and display contemporary relationships between nationalism, colonialism, religion, consumerism. By re-configuring historical narratives across eras, he creates social and political commentary works which disrupt the mythologies that define American society. Scanning his paintings into a game engine, Solmi’s videos confront the audience with his own absurd rewriting of past and present, merging dark humor and sense of the grotesque with new technologies. He creates a carnivalesque virtual reality where our leaders become puppets, animated by computer script and motion capture performance rather than string.


| | | : | |



| | | : | |



| | | : | |


In Indonesia, on the island of Bangka, which provides more than a third of the world’s supply of tin, Riar Rizaldi questions the relationship between mining and technology – artificial intelligence and renewable energies. A synthetic voice reflects on the theory of values, genetic mutations, and geopolitics. Nico Joana Weber explores contemporary Paris in a post-colonial hybrid reality. An albino alligator escapes from the Palais de la Porte Dorée, opened in 1931 for the Paris Colonial Exhibition, and embarks on a surrealist journey through places of colonial and migratory history, and large Brutalist and postmodern housing estates in the Parisian suburbs of the 1970s. Mounir Fatmi examines "L'inhumaine", a masterpiece of silent cinema directed in 1923 by Marcel L'Herbier, considered to be a manifesto of decorative art, and questions the relationship between Art Deco and exoticism. While L'Herbier's film retraces the spirit of the time and bears witness to the influence of ethnic art, a completely different aspect of the connection between primitivism and the decorative arts was affirmed at the colonial exhibition in Paris in 1931. In Berlin, from the balcony of the Humboldt Forum, from which the Socialist Republic was proclaimed in 1918, Daniel Theiler questions collective memory and the writing of history. The balcony is therefore a central motif, representing hierarchies and political power. Federico Solmi is inspired by historical events and myths in American history, examining the links between nation, consumption, capitalism and religion. Some of the most famous moments of this legacy are revived, highlighting the subjectivity of history, its vulnerability to partisan ideals and nationalism.


    August 25-29, 2021
    Programme per day
  • wed
    thu
    fri
    sat
    sun
WATCH THE LIVE