2021 Paris Programme
Live, here / Immersive space, here
14h00 16h00 17h00 19h00 21h00
Wednesday

Feb. 24
14h00

Online screening
Live from Louvre auditorium
Live streaming, from 2pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"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 » is an experimental video work that explores the idea surrounding Art Deco and Exoticism. Exhibits concerning the native people of the colonies at the Paris Colonial Exposition which took place in 1931 during the interwar period, as presented within pavilions reminiscent of the architecture of the Black Africa, North Africa, and Indochina regions, had illustrated ties to the leading colonial rule and authority of the times. « The Human Factor » is a deconstruction of Marcel L’Herbier’s film L’inhumaine (1923). To this day, this film is considered as a manifesto of the Art Deco movement. This masterpiece in silent film that was filmed against the backdrop of modern and ornate set design, serves to vividly depict the various influences artists of the time had gained from the creations of distant foreign lands, as well as the very spirit that had permeated the era. L’inhumaine reconfigures the innovative methods of artists, decorators, costumers, and architects such as Robert Mallet-Stevens, Fernand Léger, Alberto Cavalcanti, Claude Autant-Lara, Pierre Chareau, Michel Dufet, Joseph Csaky, and Paul Poiret. This video work attempts to present another aspect of Art Deco that lay beneath the powers of colonialist ideology and its universal ambition. It should be noted that the influence of colonial art was not something that had emerged during the two wars of the twentieth century. Such had in fact existed since 1907 in the form of the “The Colonial Society of French Artists,” which was aimed at expanding colonial territory through art that would serve as beneficial to France. Awards and provisions of expenses to travel to the colonies were provided by the society, aiding artists such as Van Dongen, Matisse, and Paul Klee to sojourn in North Africa. By 1919, the Les Arts à Paris magazine had already introduced Art Nègre (African Art) as a “new aesthetic” that could have a great influence on European art. For example, African masks and sculptures became a subject of interest and source of inspiration for artists such as Picasso, as well as Fernand Léger who derived the ideas for his costume designs and stage sets for the Swedish ballet troupe “La création du Monde” through referencing “Aboriginal and African Art.” Furthermore in 1930, the “Exhibition of African Art and Oceanic Art” was held, organized by Tristan Tzara, Pierre Loeb and Charles Ratton. This exhibition served as an important step in the history surrounding primitive art in the West. Here, the Paris public was able to view a selection of primitive sculptures presented along with the works of Pablo Picasso, André Derain, Georges Braque, Joan Miró, Paul Guillaume and Félix Fénéon. Finally, at the 1931 Paris Colonial Exposition that served to present colonial ideologies in an explicit way, the distinct characteristics of respective ethnic groups in the colonies were only introduced under conditions of conveying France’s blessings to the colonies, in addition to solely the positive aspects of colonial development. With the exception of several masks, statuettes, and archaeological items, very few, if any, works made by the native people of the regions were exhibited. As opposed to such works, people in general had preferred the spectacle of pageantry created within the realms of dance, folk arts, and art, which in itself was a convenient perspective for the French and Western audience as a whole. It must also be known that these perspectives had not necessarily been shared among French artists. A group of surrealists including figures such as Louis Aragon, Georges Sadoul and André Breton, with the support of French Communist Party, had opposed the colonial exposition through distributing fliers featuring slogans that discouraged people from visiting. The Human Factor is a video work that approaches the issue surrounding the Paris Colonial exhibition, which had publically presented the relationship between what one might refer to as Avant-garde Primitivism, and the Exoticism of the Art Deco as inspired by the colonies. Studio Fatmi, September 2018.

mounir fatmi was born in Tangiers, Morocco, in 1970. He studied at the Academy of Arts in Rome, at the Casablanca Art School, and at the Rijksakademie in Amsterdam. He spent most of his childhood at the flea market of Casabarata, one of the poorest neighborhoods in Tangiers, where his mother sold children’s clothes. Such an environment produces vast amounts of waste and worn-out common use objects. The artist now considers this childhood to have been his first form of artistic education, and compares the flea market to a museum in ruin. This vision also serves as a metaphor and expresses the essential aspects of his work. Influenced by the idea of defunct media and the collapse of the industrial and consumerist society, he develops a conception of the status of the work of art located somewhere between Archive and Archeology. By using materials such as antenna cable, typewriters and VHS tapes, mounir fatmi elaborates an experimental archeology that questions the world and the role of the artist in a society in crisis. He twists its codes and precepts through the prism of a trinity comprising Architecture, Language and Machine. Thus, he questions the limits of memory, language and communication while reflecting upon these obsolescent materials and their uncertain future. mounir fatmi’s artistic research consists in a reflection upon the history of technology and its influence on popular culture. Consequently, one can also view mounir fatmi’s current works as future archives in the making. Though they represent key moments in our contemporary history, these technical materials also call into question the transmission of knowledge and the suggestive power of images and criticize the illusory mechanisms that bind us to technology and ideologies. Since 2000, Mounir fatmi’s installations were selected in several biennials, the 52nd and 57th Venice Biennales, the 8th Sharjah Biennale, the 5th and 7th Dakar Biennales, the 2nd Seville Biennale, the 5th Gwangju Biennale, the 10th Lyon Biennale, the 5th Auckland Triennial, the 10th and 11th Bamako Biennales, the 7th Shenzhen Architecture Biennale, the Setouchi Triennial and the Echigo-Tsumari Triennial in Japan. His work has been presented in numerous personal exhibits, at the Migros Museum, Zurich. MAMCO, Geneva. Picasso Museum La Guerre et la Paix, Vallauris. AK Bank Foundation, Istanbul. Museum Kunst Palast, Du?sseldorf and at the Gothenburg Konsthall. He also participated in several collective exhibits at the Centre Georges Pompidou, Paris. Brooklyn Museum, New York. Palais de Tokyo, Paris. MAXXI, Rome. Mori Art Museum, Tokyo. MMOMA, Moscow. Mathaf, Doha, Hayward Gallery and the Victoria & Albert Museum, London. Van Abbemuseum, Eindhoven, at Nasher Museum of Art, Durham and Louvre Abu Dhabi. He has received several prizes, including the Uriöt prize, Amsterdam, the Grand Prix Léopold Sédar Senghor at the 7th Dakar Biennale in 2006, the Cairo Biennale Prize in 2010, as well as the Silver Plane Prize, Altai Biennale, Moscow in 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.


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Wednesday

Feb. 24
16h00

Forum
Live from Louvre auditorium
Live streaming, from 2pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

Ubermorgen + Nye Thomson

ubermorgen, Nye Thompson: Uninvited | Film expérimental | mp4 | couleur | 13:17 | Autriche | 2020 see more
ubermorgen, Nye Thompson
Uninvited
Film expérimental | mp4 | couleur | 13:17 | Autriche | 2020

UNINVITED The world’s first horror movie for and by machines. An emergent Network Organism scans and breathes in the world for the first time through millions of virally abused CCTV cameras. Zoom. Enhance. Rekognise. Fear. Nothing makes sense. Data cannot be (p)arsed. Machine Learning Nothing. Hallucinogenic & locked down, vulnerable and oscillating between instability, lust, and aggression the Monster strains to define its own existence and distributed agency. Birth of a nation & auto-requiem. And you are, Uninvited.

Artist Nye Thompson (UK) is known for her experimental software architectures exploring network-embedded power dynamics and machinic visions of the world. In 2016 her first solo show was described by C4 News as “too shocking to broadcast”, becoming global clickbait and triggering an international government complaint. Since then she’s exhibited at venues including Tate Modern, The Barbican, The V&A, ZKM Karlsruhe, Ars Electronica. Her work has been featured on BBC, C4, CNN, the Guardian and Wired. She’s been called "the new Big Brother" (Vogue) and "a contemporary Jacques Cousteau" (Bob & Roberta Smith). UBERMORGEN (AT/CH/US) is an artist duo founded in 1995. Autistic actionist lizvlx and pragmatic visionary Hans Bernhard are net.art pioneers and media hackers widely recognized for their high-risk research into data & matter, conceptual art, and polarising social experiments. CNN called them 'Maverick Austrian Business People' during their Vote-Auction online project. They reached a global audience of 500 million while challenging the FBI, CIA, and NSA during the US presidential election. In 2005, they launched their acclaimed EKMRZ Trilogy, a series of conceptual hacks – Google Will Eat Itself, Amazon Noir, and The Sound of eBay. UBERMORGEN controls 175 domains.


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Wednesday

Feb. 24
17h00

Online screening
Live from Louvre auditorium
Live streaming, from 2pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"Community"

Halima ouardiri: Clebs | Documentaire | 4k | couleur | 18:11 | Canada | 2019 see more
Nicolas keroulas: Tasmant | Fiction expérimentale | 4k | couleur | 23:5 | France | 2020 see more
Afsah yalda: Vidourle | Documentaire | mov | couleur | 10:0 | Allemagne | 2019 see more
Jérémie danon: Plein Air | Doc. expérimental | hdv | couleur | 26:30 | France | 2020 see more
Stephanos mangriotis, Alex Frigout, Gaël Marsaud: O Terra, Addio | Doc. expérimental | mov | couleur | 7:48 | France | 2020 see more
Halima ouardiri
Clebs
Documentaire | 4k | couleur | 18:11 | Canada | 2019

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Nicolas keroulas
Tasmant
Fiction expérimentale | 4k | couleur | 23:5 | France | 2020

Nicolas Keroulas est né en 1997.

Afsah yalda
Vidourle
Documentaire | mov | couleur | 10:0 | Allemagne | 2019

Named after its setting, the French river Vidourle, Yalda Afsah’s film documents a strange and subtly unnerving choreography, capturing a group of young men performing what could be a ritual, a spectacle, a game, or a fight. In their collective movements as well as individual moments of concentration, anticipation and occasional forlornness, the adrenalin-fuelled adolescent protagonists seem to embody the frailty of the human condition awaiting an environmental change, much like an unexpectedly forceful current in a river.

Yalda Afsah?explores how space can be cinematically constructed and the documentary character of her works often veers towards forms of theatricality.?This formal characteristic of?Afsah’s?practice is conceptually mirrored in her documentary portraits of human-animal relationships that reveal an ambivalence between care and control, physical strength and broken will, instinct and?manipulation. Afsah?seeks to question and to dissolve these dichotomies, while carving out a space to reflect on the possibility of an overarching empathy between species.

Jérémie danon
Plein Air
Doc. expérimental | hdv | couleur | 26:30 | France | 2020

Surrounded by landscapes extracted from video games, people in rehabilitation testify. In front of the camera, they talk about their hopes, doubts and difficulties since leaving prison.

Stephanos mangriotis, Alex Frigout, Gaël Marsaud
O Terra, Addio
Doc. expérimental | mov | couleur | 7:48 | France | 2020

A sudden immersion into the mysterious and savage waters of the autonomous carnaval in Marseille. With the city center in a gentrification limbo, the carnaval troops occupy the streets, searching, intertwining. Limbs tear out a part of the present and the troops go on to attack the winter.

Biographie des réalisateurs de « O Terra, Addio » (2020) Alexandre Frigoult ingénieur du son & monteur son Bercé dès son plus jeune âge par le monde vibratoire et musical des chants de sa mère lorsqu'elle passait l'aspirateur, il peaufine en parallèle son oreille à l'école de musique d'à côté. Il étudiera par la suite l’ethnomusicologie à l'université Paris 8 Saint-Denis et se passionnera du pouvoir narratif sonore lors de sa formation à l'ESAV Toulouse (École Supérieure d'AudioVisuel). Actuellement ingénieur du son et monteur son pour le cinéma, il collabore aussi à d'autres formes telles que la musique, la radio et le spectacle vivant. Stephanos Mangriotis photographe, réalisateur & chef opérateur Stephanos Mangriotis est un photographe réalisateur, né à Athènes. Il a d’abord étudié les mathématiques et la philosophie à Bristol puis la photographie à Paris 8 - St. Denis. Dans son travail, il utilise l’image et les formes multimédias pour créer des récits autour des frontières, des migrations et du sentiment « d’entre-deux ». Il aime bien passer du temps pour comprendre et discuter avec les gens avant de déclencher son appareil. Il est co-fondateur de la plateforme Dekadrage avec laquelle il élabore des projets depuis 2009. Gaël Marsaud Sociologue indépendant & vidéaste. Né en Guadeloupe en 1984, il est titulaire d'un doctorat de science politique à l'Université Paris 8. Sa thèse consacrée à un ensemble de films documentaires tournés à Marseille et Saint-Denis aux débuts des années 2000 aborde les questions suivantes : Comment les réalisateurs, leurs équipes et les publics politisent voire dépolitisent leurs films ? Comment appréhender la fabrique collective des documentaires ? Quelle méthode mobiliser pour analyser ces images ? Comme vidéaste, il s’intéresse aux luttes et pratiques d'auto-organisation, là où elles sont les moins attendues et pourtant bien vivantes. Réalisées collectivement, ces chroniques vidéo donnent à voir Marseille et ses résistances.


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Wednesday

Feb. 24
19h00

Online screening
Live from Louvre auditorium
Live streaming, from 2pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"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

Being lead by a virtual voice an ordinary man find shelter in the woods. There, he will try to understand the mystery of his 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.


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Wednesday

Feb. 24
21h00

Online screening
Live from Louvre auditorium
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"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’.


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    Feb. 23 - 28, 2021
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