2021 Berlin Programme
2pm    4pm    6pm    8pm  
Sunday

Aug. 29
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

"Excess"

telcosystems: Testfilm #1 | Film expérimental | mov | couleur | 14:21 | Croatie | 2020 see more
Pia rÖnicke: The Times, replayed | Film expérimental | 16mm | couleur et n&b | 11:12 | Danemark | 2020 see more
Albert garcÍa-alzÓrriz: EYES / EYES / EYES / EYES | Doc. expérimental | 4k | couleur et n&b | 37:7 | Espagne | 2020 see more
Kamran sadeghi: Loss Less | Vidéo | mov | couleur | 22:53 | USA | 2020 see more
telcosystems
Testfilm #1
Film expérimental | mov | couleur | 14:21 | Croatie | 2020

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules?


Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior. Their films, installations and performances have been presented at IFFR, Holland Festival, Transmediale, Sonar, EMAF Osnabrück, Oberhausen, Edinburgh, Ann Arbor, Videoex, EYE Filmmuseum, De Appel, Wood Street Galleries, STRP Biennale, SXSW, Stedelijk Museum Amsterdam and many more.

Pia rÖnicke
The Times, replayed
Film expérimental | 16mm | couleur et n&b | 11:12 | Danemark | 2020

The Times, replayed unfolds in a time loop that is both enigmatic and very concrete. From an isolated room images of the world comes into appearance being both out of sync and in actuality with the news stream. The materiality of images are put into question, how they are contextualized and how they decompose, how rapidly the are rendered out of date or take one new meanings. Within this space an actual presence is slowly starting to emerge.


Pia Rönicke is an artist based in Copenhagen. In recent years, she has been investigating different botanical collections that show traces of colonial and geopolitical conditions. Her work is concerned with problems of space and spatial transformations. She is interested in the connection between work space and filmic space, and how we conceive historical matters in relationship to our daily activities. Rönicke often works with archives and the practice of collecting is a recurring theme in her artworks. Her artistic practice spans film, prints, sculptures, and objects, which together build narratives. Solo exhibitions, Drifting Woods, Gävle Art Center, Sweden, Word for Forest, Parallel Oaxaca, Mexico, 2018 The Cloud Document, Overgaden Institute of Contemporary Art, Copenhagen, 2017; The Pages of Day and Night, gb agency, Paris, 2015; Aurora, Museo Rufino Tamayo, Mexico City, 2012. Group exhibitions, film festivals, CPH:DOX, Copenhagen, 2018; FIDMarseille, 2018; Botany Under Influence, Apexart, New York, 2016; A story within a Story, Göteborg International Biennial for Contemporary Art, 2015, Buildering: Misbehaving the City, Contemporary Arts Center, Cincinnati, 2014; Rehabilitation, WIELS, Brussels, 2012; After Architecture, Centre d'Art Santa Mònica, Barcelona, 2010; Imagine Action, Lisson Gallery, London, 2008; Elephant Cemetery, Artists Space, New York, 2007; Anachronism, ARGOS, Brussels, 2007; GNS, Palais de Tokyo, Paris, 2003

Albert garcÍa-alzÓrriz
EYES / EYES / EYES / EYES
Doc. expérimental | 4k | couleur et n&b | 37:7 | Espagne | 2020

Des archives conservent les fragments de statues renversées. Dans un coin, un ventilateur berce l’atmosphère. L’air caresse les gestes mesurés des archivistes. Le vrombissement du moteur et l’interminable attente induisent le sommeil : Dans un rêve, militaires et civils sourient, inertes. (Tirs lointains, sifflement des balles et explosions). Dans un autre rêve, il n’y a que pierres, indifférence et oubli. (Rien de ce qui précède n’est réel ni vrai).

Albert García-Alzórriz (Barcelona, 1992). Master’s and bachelor’s graduate in Architecture from the Polytechnic University of Catalonia and bachelor’s graduate in Fine Arts from the University of Barcelona. He is currently undertaking the Master’s course in Contemporary Film and Audiovisual Studies at Pompeu Fabra University in Barcelona. His work as an artist and filmmaker has recently been exhibited at international events and festivals, including the 58th Biennale Arte in Venice, the 7th Taiwan International Video Art Exhibition in Taipei, the 31st FID Marseille, the 8th FID Buenos Aires and the 17th Documenta Madrid, as well as at public institutions such as the IVAM (Valencia) and the ECCO (Cádiz).

Kamran sadeghi
Loss Less
Vidéo | mov | couleur | 22:53 | USA | 2020

“Loss Less” is a site-specific audiovisual work recorded inside of the defunct nuclear cooling tower Satsop. In the 1970’s, the U.S. was more than 20 years into its nuclear power program. In Washington State, a consortium of public utilities began what was to be the largest single nuclear power project in the country’s history. The construction was suspended shortly before the facility was completed and what remains is a structure 129 meters across at the base, and rising to a height of nearly 152 meters. Kamran Sadeghi used its natural acoustics to compose and reshape sound, capturing the architectural integrity and holistic immediacy of the nuclear cooling tower, while symbolically removing its entire existence. Maintaining an emphasis on the sound, Sadeghi created a 3D abstraction from a still taken on location. The title ‘Loss Less’ is derived from the term lossless compression - a process that allows for the preservation and perfect reconstruction of data (audio). In this case the audio was not preserved, but intentionally degraded. The title also expresses the reality of catastrophic loss and destruction caused by nuclear energy, and the cry for less.


Kamran Sadeghi is an Iranian American musician, composer, record producer and interdisciplinary artist based in New York City. Recent solo album on LINE was recorded inside a defunct nuclear cooling tower, followed by a collaboration with installation artist Zimoun. Sadeghi’s diverse body of work can be attributed to his use of sound as a sculptural material.  An alchemist who is guided by thematic research, controlled experimentation and intuition while working with synthesis, acoustics and sound recording / processing technology. Sadeghi’s performances, soundtracks, collaborations and installations have been experienced at the ICA (Boston), DTW (NY), Corcoran Gallery of Art (DC), CTM Festival (DE), KW Gallery (DE), K11 Museum (Shanghai), MUDAM (Luxembourg), MuCEM (Marseille), Centre Pompidou (FR), Berghain (DE), KOW (DE), and Berlin Biennale (DE). Distinguished collaborators include American singer and poet Patti Smith, Ethiopian Jazz musician Mulatu Astatke, American photographer Nan Goldin and French-Swiss film director Jean-Luc Godard and choreographer Sasha Waltz. Recordings and productions are published on such labels as Sternberg Press, Vinyl Factory, LINE, Dragons Eye Recordings, Sacred Bones, Apollo Records and more.


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Telcosystems questions the impact of digital film technologies and their critical implications. The DCP, designed to exclude any possibility of human intervention, is hijacked here to experiment with its artistic potential. Using press photographs, Pia Rönicke unwinds a temporal loop, questioning the materiality of the images, which appear here both staggered and in line with current events. Albert García-Alzórriz filmed archival work on fragments of dismantled statues, examining the power of images, whether adored or violently rejected. Their history becomes the intrinsic history of violence and destruction. Kamran Sadeghi produced a sound performance inside the cooling tower of the unfinished Satsop nuclear power plant, which in the 1970s was the largest nuclear power project in the United States. The natural acoustics of this 152 metres high monumental structure became the material for the sound composition. The video, based on a photo taken on site, dissolves the space until it becomes an abstraction.


Sunday

Aug. 29
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

"Dialogues"

Pierrick mouton: Chapter 5 — The Sacred Forest | Film expérimental | mov | couleur | 18:55 | Bénin | 2019 see more
Deborah stratman: Vever (for Barbara) | Doc. expérimental | 16mm | couleur | 12:0 | Guatemala | 2019 see more
Wendelien van oldenborgh: Two Stones | Doc. expérimental | hdv | couleur | 61:15 | Allemagne | 2020 see more
Pierrick mouton
Chapter 5 — The Sacred Forest
Film expérimental | mov | couleur | 18:55 | Bénin | 2019

Il y a très longtemps, se trouver un vieille homme au village, qui garder jalousement un secret Certains soir de l'année, quand la lune était pleine Il s'asseyait devant l'arbre sacré. Les mains écartées il prononçait des paroles incantatoires jusqu'au bout de la nuit La foret tout entière s'animait Apres quoi, On raconte l'avoir vu à des centaines de kilomètres de là. Certains disent qu'il aurait le pouvoir de se téléreporter

Pierrick Mouton est un artiste et vidéaste, vivant à Paris. Son travail s’articule autour de systèmes de croyances, spirituels ou idéologiques à travers des films, des oeuvres sonores ou des objets, qu’il fait réaliser ou qu’il réalise lui même. Cette démarche est associée à une approche documentaire, et une immersion sur le long terme avec différents groupe de croyance et de pensée. Pierrick Mouton a récemment exposé à Salon de Montrouge (Paris), École d’architecture de la ville & des territoires (Paris Est), Clark House Initiative (Mumbai), Villa Belleville (Paris), Alliance Française (Chandigarh), Nunnery Gallery (London), Carrousel (London). Ses créations radiophoniques sont régulièrement diffusés sur France Culture et DUUU radio.

Deborah stratman
Vever (for Barbara)
Doc. expérimental | 16mm | couleur | 12:0 | Guatemala | 2019

A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti. A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.


Artist and filmmaker Deborah Stratman makes films and artworks that investigate power, control and belief, considering how places, ideas, and society are intertwined. Recent projects have addressed listening, freedom, surveillance, sinkholes, comets, raptors, orthoptera, levitation, exodus, sisterhood and faith. She lives in Chicago where teaches at the University of Illinois.

Wendelien van oldenborgh
Two Stones
Doc. expérimental | hdv | couleur | 61:15 | Allemagne | 2020

Two Stones explores the trajectories and ideals of the Bauhaus-trained, German architect Lotte Stam-Beese and the Caribbean activist and writer Hermina Huiswoud through dialogues and appearances by contemporary protagonists. Both Stam-Beese and Huiswoud spent time working in the Soviet Union in the early 1930s and both ended up being active in the Netherlands after WWII. Two Stones was filmed in the 1930s constructivist district of KhTZ in Kharkiv, Ukraine, the first large housing project on which Lotte Stam-Beese worked, and in Stam-Beese’s celebrated 1950s Pendrecht, designed during her period as Rotterdam’s main architect/urban planner. In the 1970s, Hermina Huiswoud was agitating against the Rotterdam housing rule, which limited Caribbean Dutch inhabitants to settle in any of the city’s districts if their presence would exceed 5% of the population. Resonances as well as dissonances between the distinct trajectories of the two women and their expectation from communist ideology, are sensed through thoughts and experiences of the protagonists, who all have a personal or professional relation to the issues at hand. Two Stones (2020), is a single image edit with two soundtracks played sequentially.


Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, which look at the structures that form and hinder us, she participated in various large biennials, and in smaller dedicated shows. Recent solo presentations include: tono lengua boca at CA2M Madrid 2019-20 and Fabra i Coats Barcelona 2020; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Van Oldenborgh has exhibited widely including at Kunsthall Wien 2020, Stedelijk Museum amsterdam 2020, the Chicago Architecture Biennial 2019, bauhaus imaginista, HKW Berlin, Zentrum Paul Klee Bern 2019 and SALT Istanbul 2020. Van Oldenborgh is a member of the (Dutch) Society for Arts and a recipient of the Dr. A.H. Heineken Prize for Art (2014). A monographic publication, Amateur, was published by Sternberg Press, Berlin; If I Can’t Dance, Amsterdam and The Showroom, London in 2016.


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Pierrick Mouton films a sacred forest, rites, and sculptures that shelter a soul in Benin. Based on film projects by Maya Deren and Barbara Hammer, Deborah Stratman brings together three generations of filmmakers in search of alternatives to the power structures to which they belong. Filmed at the furthest point of a motorbike trip Hammer made to Guatemala in 1975, the film is penetrated by Deren's reflections on failure during a trip to Haiti in the 1950s. Wendelien van Oldenborgh explores the trajectories, ideals and expectations of communism, the German architect Lotte Stam-Beese, who trained at the Bauhaus, and the Caribbean activist writer Hermina Huiswoud, both of whom worked in the Soviet Union in the early 1930s and were active in the Netherlands after World War II. "Two Stones" was filmed in neighbourhoods designed by Tam-Besse in Ukraine, in a 1930s constructivist neighbourhood and in Rotterdam, in the Pendrecht district, when she was the city's leading architect/planner. In the 1970s, Hermina Huiswoud campaigned against a regulation in Rotterdam that restricted access to housing for the Caribbean Dutch.


Sunday

Aug. 29
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

"Soap populism"

Zanic tin: Antiotpad | Fiction | dcp | | 18:6 | Croatie | 2020 see more
Pierre merejkowsky: L'état de notre urgence 4 | Vidéo | mov | couleur | 2:15 | France | 2019 see more
Zachary epcar: The Canyon | Fiction expérimentale | 16mm | couleur | 15:43 | USA | 2020 see more
Michelle deignan: Idiots | Animation | mov | noir et blanc | 2:7 | Royaume-Uni | 2020 see more
Tamar guimaraes, in collaboration with Luisa Cavanagh and Rusi Milán Pastori: Soap | Fiction | 4k | couleur | 53:50 | Allemagne | 2020 see more
Zanic tin
Antiotpad
Fiction | dcp | | 18:6 | Croatie | 2020

Somebody’s car is on fire. Somebody’s head got kicked in. Somebody got their mobile stolen. Will the troublesome adolescent break the vicious cycle of violence he might or might not have started himself?


Tin Žani? graduated from the National Film and Television School (NFTS) with an MA in Fiction Directing as a Croatian Audiovisual Centre scholar. Prior to NFTS, he finished BA studies in Film and Theatre Production in Zagreb. His first two short films Komba (2011) and Manja?a (2014) received awards and special mentions and were shown at A-list Film Festivals, TV and Film Markets such as International Film Festival Rotterdam, Clermont-Ferrand International Short Film Festival, Tampere Film Festival, Sarajevo Film Festival, Hamburg International Film Festival, Zagreb Film Festival, etc.

Pierre merejkowsky
L'état de notre urgence 4
Vidéo | mov | couleur | 2:15 | France | 2019

L'état de notre urgence 4 a été tourné à Paris pendant le premier confinement à 20 heures

J'ai réalisé une cinquantaine de films, certains ont été auto produits d'autres produits et diffusés dans des festivals et sur Arte Mon récit moi autobiographie 14 eme version a été publié par les éditions sens et tonka Chroniques palestiniennes et divers textes sur le virus ont été publiés par les éditions de l'obsidienne Certains de mes textes et films inédits sont diffusés dans le marché des collectionneurs.

Zachary epcar
The Canyon
Fiction expérimentale | 16mm | couleur | 15:43 | USA | 2020

A portrait of the urban residential complex as it slips into oblivion. No more beautiful babies, no more hand wrapped rattan chairs.


Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, and elsewhere.

Michelle deignan
Idiots
Animation | mov | noir et blanc | 2:7 | Royaume-Uni | 2020

Idiots combines words and beats into an apoplectic symphony. It's language is raw and jagged, stuttering onto the screen into rants, shouts and screams. This film is angry on your behalf.


Michelle Deignan makes moving image, photographic and print works, for gallery exhibition, for cinema and for other screening contexts. With moving images she creates factual and fictional narratives that present alternative experiences and understandings of identity and place. These films often feature the triumphs and failures of protagonists struggling to be seen, remembered or heard as they fight for agency. Michelle's moving image work is distributed by LUX. She is one of a group of international women artists who collectively produce The Crown Letter, online participatory art project that began in April 2020.

Tamar guimaraes, in collaboration with Luisa Cavanagh and Rusi Milán Pastori
Soap
Fiction | 4k | couleur | 53:50 | Allemagne | 2020

SOAP is a film in four episodes in which a group of isolated, left-winger urbanites imagine how to create a telenovela, or soap, to infiltrate the conspiratorial far right in Bolsonaro’s Brazil. Can a coalition of activists, artists and writers avoid tripping over their own assumptions and privileges to form something persuasive? Can they join forces to beat a populist system at their own game? SOAP is a collaboration between Tamar Guimara?es, Luisa Cavanagh and Rusi Milla?n Pastori and was filmed in Berlin and São Paulo during the first covid19 lockdown in 2020.


TAMAR GUIMARÃES (b. Belo Horizonte 1967, BR, lives and works in Berlin) is a visual artist working with film and other forms of time based media. She often works with actors alongside non-actors in semi-fictional films exploring socio-political dynamics both residual and contemporary, and situations within art, architecture and the institutions that present them. Her work has been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the 55th Venice Biennial; the LACMA (USA); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); The Renaissance Society (Chicago); the 7th Gwangju Biennial (SK); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR). Solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid and the Jeu de Paume Satellite, Paris. LUISA CAVANAGH (1979, Buenos Aires, Argentina) is a visual artist, colourist, and cinematographer. She studied Cinematography at National Film School. Focused on collaborative work, she joined 'Grupo Mexa' to develop the film/performance 'Cancionero Terminal 10Mg'. She is a co-founder of 'Eterno work in progress', an artist-run cine-club that explores the limits of cinema exhibition, live music and moving images. RUSI MILLÁN PASTORI (1976, Argentina) is a writer, film director and director of photography. Actual political scenarios are a common thread throughout his work, as chronicles that combine different situations and characters. He studied cinematography at the National School of Experimentation and Cinematographic Realization in Buenos Aires. He has directed short and medium-length films which were shown in festivals such as the BAFICI in Buenos Aires and at the 41st Mostra in São Paulo.


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Zanic Tin films an adolescent who both creates and undergoes a spiral of violence. A car is on fire. A face is hit. Someone's mobile phone is stolen. Pierre Merejkowsky carried out this "The State of Our Emergency 4" during the first lockdown, at 8 p.m., when people clapped out of their windows, establishing an "I" in the collective. Zachary Epcar explores an urban residential complex that is falling into oblivion. It seems that there are no more beautiful babies or hand-packed rattan chairs. The smoothest everyday objects seem to contain a threat. Michelle Deignan combines insults and abuse. The language is raw and ragged with ranting, shouting, and screaming bombarding the screen. Tamar Guimaraes, Luisa Cavanagh and Rusi Milán Pastori direct a series in four episodes, in which a group of urban youths imagine the creation of a telenovela to infiltrate the conspiratorial far right in Bolsonaro's Brazil. Can this coalition of activists, artists and writers avoid the trap of their own assumptions and privileges, and join forces to beat the populist system at its own game?


Sunday

Aug. 29
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

Closing session
Drink + Surprise screening

To close this Berlin 2021 edition, the Rencontres Internationales Paris/Berlin invites you to a surprise screening!

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    August 25-29, 2021
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