Catalogue 2017-2018
Parcourez ci-dessous le catalogue 2017-2018 des Rencontres Internationales, ou effectuez une recherche dans les archives des oeuvres présentées depuis 2004. De nouveaux extraits vidéos sont régulièrement mis en ligne, les images et les textes sont également progressivement mis à jour.
A Strange New Beauty
silver Shelly
A Strange New Beauty
Doc. expérimental | mov | couleur | 50:40 | USA | 0 | 2017

A Strange New Beauty, une intrusion perturbante dans les maisons luxueuses de la Silicon Valley. À l’aide d’une bande son agressive et d’un cadre éclaté par des vignettes et des inscriptions sur un écran noir, Silver révèle une violence sourde derrière la beauté clinquante et le calme trompeur des lieux. Aucune présence humaine dans le film, mais les riches demeures semblent renfermer une mémoire d’évènements inquiétants, porter les traces d’une sauvagerie en hors champ. Dans un même mouvement contradictoire, A Strange New Beauty joue des clichés invitant à la poursuite du bonheur, et déboulonne brutalement le mensonge du rêve américain. Charlotte Selb, Revue 24 Images

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and increasingly in recent years the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others. She has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program In Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of the Moving Image, Visual Arts Program, Columbia University.

Do You Speak Peking Opera?
skobeeva Natalia
Do You Speak Peking Opera?
Vidéo | mov | couleur | 6:5 | Belgique | Royaume-Uni | 2017

How post-contemporary critique of post-truth post-index post-everything could look or sound like? What tools are available when language renders meaning sense-less? Do You Speak Peking Opera? is an enquiry in the state of pre-emptive post-contemporaneity, open ended, delivered to you by artificial intelligence, provoking genuine physical reaction.

Natalia Skobeeva is an internationally recognised award winning artist, based in Deptford, whose hybrid experimental practice explores ideas of transnational and multicultural existence in the post-truth society. She is a graduate of MA Fine Art, Royal College of Art, London, UK Solo shows include  ‘This Territory is Time’ Espronceda Art Centre, Barcelona, ‘Horrors of Archiving’ in Objectief Exhibitions, Antwerp, ‘Carpets in St Petersburg, former Leningrad, former St Petersburg’ in the State Museum of Political History of Russia, St Petersburg, Camera Club London and Viewfinder gallery London, solo projects  in Moscow, Istanbul, Brussels, Berlin and London. Recent group exhibitions include Manifesta 11, LOOP festival Barcelona 2017, Tenderflix  2016, Bristol Biennale 2016, Vision in the nunnery 2016, 4th Moscow Biennale of Contemporary art, 15th WRO Media Art Biennale, Miden 2013 Festival of Video art, Retrospective of Now&After Video art festival among others. Awards: 2018 London Creative Network award 2017 ARTAGON III award 2016 Red Mansion prise 2016 Arts Council England, International Artist Development fund recipient. 2015 RCA award to attend the Opening of 2015 Venice Biennale April 2015,  March 2014 Cowley Manor Arts Award, selecting committee Millicent Wilner (director at the Gagosian Gallery) Jenni Lomax (director of Camden Arts Centre), Alex Sainsbury (director of Raven Row) January 2012, nominated for Corinthia Art Prize, selecting committee Jan Dalley (Arts Editor, Financial Times), Amanda Nevill (Director, British Film Institute), Ben Evans (Director, London Design Festival), Caroline Rush (CEO, British Fashion Council), Ed Vaizey (MP, Minister for Culture)

John SKOOG, Richard Vogel, David Skoog, Kettil Kasang
skoog John , Richard Vogel, David Skoog, Kettil Kasang
Doc. expérimental | 0 | couleur et n&b | 23:2 | Suède | 2017

The shadow of a tall and hunched man moves around a labyrinthine apartment full of bookcases, video tapes and plastic bags – like a modern Max Schreck who is restlessly looking for something that has been lost forever. The mystery and melancholy from Murnau’s vampire classic is preserved in John Skoog’s interpretation of ‘Nosferatu’, which is a (self-)portrait of the Swedish ‘outsider artist’ Richard Vogel, with whom Skoog has created his latest film work. A film that gives a new meaning and dignity to the concept of Scandinavian Expressionism by being filmed on an antiquated video format and copied from an antique video projector, whose three colours constantly threaten to dissolve the porous picture into a vacuum of abstraction. The recently deceased Vogel was a close friend of Skoog’s family, but lived a quiet life dedicated to accumulating hours of videotaped television shows and almost aggressively meaningless own projects, which in an almost lexical fashion document the welfare state’s invisible corners and waste products in countless works.

In his films, videos, and photography John Skoog combines research into history and everyday life with a poetic and fictional atmosphere that is grounded in the film and literary traditions. His work explores social contexts of individuals and communities; unpacking their complex relationship to collective rituals and historical forces, as well as to existential and natural scenarios of transition. Skoog’s works make clear references to mythological iconography; they remind us of the profane origins of myth and in this way they aim to demystify both nature and society.

Giulio SQUILLACCIOTTI, Insom Camilla
squillacciotti Giulio , Insom Camilla
Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017

Archipelago is a journey through ancient myths, exorcism rituals, sounds and spirits. In the south of Iran, on a group of islands of the Persian Gulf, humans and spirits coexist since centuries. The culture and traditions of these Islands are the result of the encounters between the African Diaspora, the Arab Countries and Iran, generating a unique system of syncretic beliefs. Spirits of different heritages and origins, called Bād, the Persian word for wind, moving through the air, take possession of the islanders bodies and can only be quieted through a music ceremony called the Zār Ritual. Thanks to an unprecedented access given to foreign film makers, the Film showcases stories and landscapes of the islanders daily life within the frame of the Rituals, giving, through pounding drum rhythms and wailing vocal chorus, a rare and unexpected glimpse of the Islamic Republic of Iran.

Giulio Squillacciotti (Rome, Italy 1982). Artist, Film maker and researcher lives and works in Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome. He owns a MA in Visual Arts from the University of Architecture in Venice IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. His work is mainly oriented on storytelling, cultural apexes and the way traditions re- shape in new contexts. His research merges together ction and historical facts. Using lm, documentary, sound and performance, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture. His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou and Gayte Lyrique in Paris, the Berlin Haus der Kultur der Welt and (D), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), Istanbul 2010 European Capital of Culture, the Beirut Art Centre in Lebanon, the New York Photo Festival, the Dumbo Video and Columbia University in New York City and in the Official Competition at the 33rd and 35th Torino Film Festival Camilla Insom (Rome, Italy 1983). Anthropologist lives and works in Rome, Italy and Sulaimaniyah, Iraqi Kurdistan. After completing the MA in Cultural Anthropology at the University of Rome Sapienza, she’s currently a Phd candidate in Iranian Studies at University of Naples “L`Orientale”. Focus of her research is the modi cation of the category of sacred in different contexts through the analysis of ritual practices and their changing. In 2013 she researched the funerary practices of the Zoroastrian Parsi community of Bombay. Since 2014 her studies revolve around the Islam of the Kurds in Sulaimaniyah and Sangaw, Iraqi Kurdistan Kasnazaniyya, with particular reference to the Kasnazaniyya Su Brotherhood. She is in charge of the Anthropological Studies for the Italian Archaeological Mission in Iraqi Kurdistan (MAIKI) of “Sapienza” University of Rome, member of the Societas Iranologica Europea (SIE) and member of the International Institute of Kurdish Culture.

suÁrez-quiÑones rivas Jorge
Fiction expérimentale | mov | noir et blanc | 54:55 | Espagne | 2016

“They arrive at Amijima. (…) This will be their place of death”. (Monzaemon Chikamatsu, Love Suicides at Amijima) Jorge Suárez-Quiñones sets out on an unusual adaptation of the famous bunraku play The Love Suicides at Amijima, written by Chikamatsu Monzaemon in 1720. This updated version holds on to the passionate, heartbreaking and bleak spirit of the original, adding to it an understanding of the lack of communication and the emptiness, so characteristic of the contemporary world. A hardly distinguishable figure walks through the fog. His is an odyssey of deeply romantic and tragic undertones across a mythical territory where he will encounter both sublimation and existentialist surrender. Besides intelligently threading references to classics such as Viaggio in Italia (Rossellini, 1954) or Double Suicide (Masahiro Shinoda, 1969), Jorge Suárez-Quiñones borrows elements from new prodigies of experimentalism, such as Encounters in Landscape (3x) (Salomé Lamas, 2012). Emotionally overwhelming, sublime in its use of landscape and white and black cinematography, Amijima is an absolute revelation. (Introduction by JAVIER H. ESTRADA)

Jorge Suárez-Quiñones Rivas (1992, León) is a Spanish filmmaker, videoartist and graduate in Architecture with a master in Audiovisual Contemporary Creation in VideoLAB (currently MasterLAV). His last film, “Amijima”, had its international premiered in International Film Festival Rotterdam 2017 after having its world premiere in the Official Competition of FILMADRID International Film Festival 2016, where it was awarded with the special mention of the youth jury. His films have been projected as well at MUSAC Contemporary Art Museum, CGAC Contemporary Art Museum, CGAI Image Art Center & Cinematheque, Curtocircuíto International Film Festival, ALCINE International Film Festival, Moscow Media Art Center “Now and After” or SixtyEight Art Institute Copenhagen, being part of the archive of Rencontres Internationales Paris-Berlin 2016, MUBI`s notebook (with his video-essay on Ozu`s cinema "The Eternal Virgin”, included among the best video-essays of 2017 in Sigh&Sound Magazine), Filmscalpel and the online cinema platform Márgenes. His crossed background, education and practice in both film and architecture has taken place in Madrid (Superior Technical School of Architecture of Madrid and MasterLAV · Master Course in Contemporary Audiovisual Creation, where he is currently teaching about “audio-video-essayist practice), Tokyo (University of Tokyo) and Shanghai (Tongji University).

Song X
tesprateep Mont
Song X
Fiction expérimentale | 16mm | noir et blanc | 20:19 | Thaïlande | 2017

A group of teenagers conducts a cremation ceremony for a man who is entering the afterlife while still being sought by the military for deserting. Shot on expired black-and-white film stock, the deteriorating image surface echoes life fading away in this tribute to the director`s friend.

MONT TESPRATEEP was born in Bangkok but raised in Isan (the northeastern region of Thailand). He graduated with a Master degree in Fine Art from Chelsea College of Arts in London. Since 2014, he has been working on a series of hand-processed 16mm and S-8 short films: Endless, Nameless (2014) and Song X (2017). His films has been shown at film festivals, including Locarno Festival, International Film Festival Rotterdam, BFI London Film Festival, Les Rencontres Internationales and etc. Mont received a completion grant from the programme `Frameworks`, International Film Festival Rotterdam to complete a new work `Confusion Is Next`, premiered at the festival in 2018. He is currently developing his first feature film project.

Swerve (You’re Gonna Die Up There)
thilo funder Søren
Swerve (You’re Gonna Die Up There)
Vidéo | hdv | | 10:0 | Danemark | 0 | 2017


Schneewittchen (Snow White)
tischbein Thadeusz
Schneewittchen (Snow White)
Vidéo | mp4 | couleur et n&b | 19:40 | Allemagne | 2017

What role can culture play, when dead bodies are not burried after death, but being used for other purposes? „Snow White“ examines this question, using stalinist Mausoleums, preparated animals in Natural History Museums and relics in churches. What form of story telling is being used to hide actions and translate them?

Thadeusz Tischbein is a Germany-based video artist. He studied between 2008 and 2016 in Leipzig, Braunschweig (Germany) and Bucharest (Romania) with Candice Breitz, Clemens von Wedemeyer and Günther Selichar. His 2017 video essay SNOW WHITE (2K Cinemascope, 19:40 min) is a journey to the dead bodies in mausoleums, churches and museums. In THE ATLAS OF THE WOUNDED BUILDINGS (HD, 12:56 min, 2016) he is trying to examine narrations written in bullets holes. INVENTORY (HD, 16:9, 5:49 min) from 2015 is talking about the strange living room of so called office plants.

Robert TODD
todd Robert
Film expérimental | 0 | | 0:0 | USA | 0 | 0

Richard TUOHY
tuohy Richard
Film expérimental | 16mm | noir et blanc | 9:0 | Australie | 2017

Jakarta traffic moves with the harmonious chaos of complex self organising entities everywhere. Through contact printer matteing techniques this mass transport becomes denser and denser until only the fluid futility of motion/motionlessness remains. Jakarta traffic stands as proof of the paradox of motion.

Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. In 2006 he, along with his partner Dianna Barrie, launched nanolab, a super 8 film processing laboratory in Australia. The establishment of this lab afforded the opportunity to set up darkrooms and install 16mm film processing and most importantly printing and sound recording equipment. Since 2009 he has been an active and vocal member of the international artist run film lab scene. Tuohy`s own works are firmly in the `hand-made` film tradition. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally. His films and film based performances have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has repeatedly toured Europe, North America and Asia presenting solo programs of his work and conducting experimental film-making workshops. He is the instigator of the AFW magazine Film Is and, along with Dianna Barrie and Sue K, was also a co-founder of the AIEFF experimental film festival in Melbourne.

Christin TURNER
What Happens to the Mountain
turner Christin
What Happens to the Mountain
Fiction expérimentale | hdcam | couleur | 12:9 | USA | 2016

“What Happens to the Mountain” draws upon literary sources, late night radio, and ancient legends to conjure a psycho-geographic experience in a sacred landscape. A long-distance driver, a drifter, journeys from a tenuous reality into a vision of the afterlife, called forth by the spirit of the mountain.

Christin Turner (1985, USA) is a filmmaker and artist based in Boulder, Colorado by way of Southern California. Her films navigate the psychological terrains of landscape, material, and image; they investigate the possibilities of cinema as a site for transcendence.

twins Pink
Animation | hdcam | couleur | 5:27 | Finlande | 2017

Impossible architecture, an ancient burial ground and a lure for psychotic janitors were the building blocks of Overlook Hotel in Stanley Kubrick’s The Shining. In this story vignette, chaos animators Pink Twins add zero gravity and a rupture in space-time continuum to the mix and serve a taster of subtle cosmic horror.

Pink Twins is a duo of visual artists and electronic musicians, brothers Juha (b. 1978) and Vesa Vehviläinen (b. 1974), based in Helsinki, Finland. Active as Pink Twins since 1997, their videos work on the crossing of visual art and music. Live Pink Twins deliver improvised digital soundscapes, often combined with video screenings. Pink Twins have shown their works in exhibitions and festivals in all continents and performed audiovisual live shows through Europe, Americas, Asia and Australia.

urbaniec Piotr
Performance | 0 | | 1:20 | Pologne | 2015

A day during autumn, Krakow, Poland. I looked at the hedge and at one moment, suddenly, I felt the need to throw myself at him. It was a need dictated strictly by kinesthetic experience. A whim of immersion in the thicket that will absorb me into its lumps. Then it becomes a habit.

Piotr Urbaniec, born 1992 in Krakow. A graduate of the Academy of Fine Arts in Warsaw. He completed his master at the Studio of Spatial Activities (supervisor: prof. Miroslaw Balka). He did his BA at the Transmedia Studio at the Academy of Fine Arts in Krakow (supervisor: dr Bogdan Achimescu). In 2016, he held a residency organized by Residency Unlimited in New York as part of the 1st prize in the "Artistic Journey of Hestia" competition. He won the main prize of the Video Art Festival In Out 2016. In 2014 he won the Grand Prix in the Young Wolves competition. Winner of the Krakow City Art Scholarship. He presented his works at numerous group shows and film screenings in Poland and abroad. In 2016, he was invited by the CCA Ujazdowski Castle to organize an individual exhibition as part of Project Room project.

Shift Symm
van den broek Zeno
Shift Symm
Performance multimédia | hdv | noir et blanc | 20:0 | Danemark | 2018

A legvidámabb barakk (The Happiest Barrack)
varga Noémi
A legvidámabb barakk (The Happiest Barrack)
Doc. expérimental | 4k | couleur | 15:53 | Hongrie | Royaume-Uni | 2017

The Happiest Barrack is an experimental documentary, a chronicle of my maternal grandmother`s life in Soviet Hungary. It serves as a memento of times past and as a reminder of how socialism colonized the soul`s of a generation.

Noemi Varga is a filmmaker based between London and Budapest. She is a recent graduate of the Royal College of Art, where she specialised in Moving Image. Her work is mainly preoccupied with exploring the boundaries of conventional documentary filmmaking, applying the tools of cinematic storytelling to all her subjects.

Our Word Our Bond
veermÄe Ivar
Our Word Our Bond
Doc. expérimental | mov | couleur | 14:14 | Estonie | Allemagne | 2017

The film is a journey of tracing the former Baltic Exchange´s building. 1903 it was built in neoclassical Edwardian style in the centre of London and 1992 destroyed by Provisional IRA´s biggest car bomb to the date. After the bombing there were plans to attach parts of Baltic Exchange´s house to a new building in the same location. Before dismantling it was fully documented and catalogued. These plans never materialized and in 2006 two estonian businessmen bought the facade and parts of the trade hall wanting it to be rebuilt in Tallinn. The stones were sent to Estonia, where they have stayed in shipping containers over 10 years (with the exeption of the facade sculptures, which were used in a project by estonian architects and artist in 2016). After the real estates developers won dispute with conservationists Foster and Partners iconic „Gherkin“ - Swiss Re-s building has been constructed in the former Baltic Exchange´s site. Tracing the stones and the story of former building – in Estonia and London – leads to unpredictable outcomes. For example – terrorist attack being economic consideration; real estate boom in London; redesign of city space by incorporating anti attack measures.

The work of visual artist Ivar Veermäe (born 1982 in Tallinn, Estonia; lives in Berlin) circles around questions of public and private space, mediation processes, architecture and infrastructure, information technology and networks. As a result of long-term artistic research by means of photography, film and sound, his works are presented in versatile ways (such as video, on-site installations, interactive works and performances, also in public space). Ivar Veermäe aims to document and analyze the infrastructure underlying our contemporary culture of data and information. Concentrating on physical and local presence, confronting it with its representations creates a possibility for questions and doubts. His interest lays in hidden or stealty qualities of various spaces and objects. He has had solo exhibitions in Edith-Russ-Haus, Oldenburg, Gallery im Turm, Berlin, Freies Museum Berlin, City Gallery of Tallinn and Hobusepea Gallery in Estonia, among others. His work has been exhibited in group exhibitions at transmediale Festival in HKW, Venice Architecture Biennale, Athens Digital Arts Festival, Moscow Biennale for Young Art, the Bozar in Brussels, the CNB Contemporánea in Buenos Aires, the Zentrum für Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Latvian Centre for Contemporary Art, the Kulturhuset Bronden in Denmark, the Old Sugar Factory in Groningen, the Kunstverein Wolfsburg, the Kunstverein Kassel, the Pinnacles Gallery in Australia.

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


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

Crack the Window
vered Snear
Crack the Window
Vidéo | mp4 | couleur | 17:40 | USA | 2016

In this work, I appropriate user tutorials as a genre in order to investigate the relationship between technology and culture. The work presents a teenage vlogger instructing how to use a fictive app.With media increasingly becoming more life-like and life increasingly adapting the logic of media, sleek interfaces of operating systems, internet browsers, and websites makes it difficult to stop, identify, and think critically about how these things actually structure and monopolize our experience — despite the misleading empowerment of “user-generated content” or “customizable” options. I am interested in interrupting this seemingly closer getting circuit and seeking not only to deconstruct the formal and instrumental aspects of Internet browsing, but also the identities that are constructed with and within it.

Vered Snear (b. Israel 1982) is an artist based in Toronto and Tel Aviv. Recent group exhibitions include: Superpositions, 21st Biennale of Sydney (in collaboration with Brook Andrew), Museum of Contemporary Art, Sydney (2018); Bronx Calling: The Fourth AIM Biennial, The Bronx Museum of the Arts, New York (2017); I can because you do, Participant Inc, New York (2016); Universum, The International Photography Festival, Jaffa, Israel (2016). Snear was a NYC Art + Law Fellow (2016) and part of the AIM Program, Bronx Museum (2017). She has undertaken residencies at Banff Centre, Canada (2016), MASS MoCA (2018), Vermont Studio Center (2018), and UNSW Art + Design, Australia (2018). Research-based artist Vered Snear investigates the role of visual and textual language to explore intricate relationships between media and ideology. Through her practice, she aims to challenge dominant narratives and representation as a tool that articulates subjectivities, affects, and desires. Working predominantly in video, installation, photography, and sculpture, Snear uses a combination of text and imagery from archives, television, video-sharing and social media that she reworks into fictional scenarios. These fictions hold the potential to create a space of re-imagination and agency.

Driessens & VERSTAPPEN
Deep Dive
verstappen Driessens &
Deep Dive
Création numérique | 0 | couleur | 7:35 | Pays-Bas | 2016

Deep Dive offers an endless zoom into a picture, revealing an infinitely detailed imaginary world that emerges from the original image. While zooming, the image is constantly being refined in real-time, and the viewer can steer this process by tracking points of interest with the cursor. Each new `dive` starts with a randomly downloaded picture from the online WikiMedia archive.

The artists couple Driessens & Verstappen have worked together since 1990. They attempt an art in which spontaneous phenomena are created systematically. Art that is not entirely determined by the subjective choices of a human being, but instead is generated by autonomously operating processes. In addition to working with natural processes, the couple develops computer programs for artificial growth and evolution. An important source of inspiration are the self-organising processes in nature which continuously create original forms. Works of Driessens & Verstappen are in collections a.o. Centre Pompidou Paris, Stedelijk Museum Amsterdam, Museum Boijmans van Beuningen Rotterdam. They exhibited at museums and galleries a.o. Kröller-Müller Museum Otterlo, IVAM Institute Valencia, Neue Pinakothek München, Eyebeam New York, Young Projects Los Angeles. The artists couple gave presentations at conferences such as Siggraph Los Angeles, Second Iteration Melbourne. In 1999 and 2001 they have won the VIDA award with their Tickle robot projects in an international competition for Art & Artificial Life. In 2013 the couple received the Witteveen+Bos Art+Technology Award for their entire oeuvre. Driessens & Verstappen are represented by DAM gallery Berlin.

watanabe Maya
Vidéo expérimentale | mov | couleur | 12:0 | Pérou | Japon | 2017

TECHNICAL DATA: Title: Earthquakes Author: Maya Watanabe Year: 2017 Length: 15min (9min looped) SYNOPSIS: An unnatural landscape appears in an empty theater. Without any human action, a series of events begin to unleash. The motionless scene is abruptly interrupted by artificial disasters. When the scenography breaks down and the staged landscape collapses, the inhabitants confront their extintion. As the long-shot continues, the remnants left behind appear again, inexplicably recomposed. The fundamental motivation is to explore the limits –one’s own limits, ethical limits, political limits– of control over others deaths. CONTRIBUTORS: Director: Maya Watanabe DOP: Sho Fujii Sound composer: German Popov Art director: Tadaya Miyashita Production Manager: Yoshio Miyamoto Coordination: Haruna Hirano, Kyoto Art Center

Maya Watanabe is a Peruvian visual artist who works with video installations. Her work has been exhibited at: Palais de Tokyo, Matadero Madrid, Kadist Art Foundation, Das Fridericianum, Museo de Arte Contemporáneo de Lima, and Kyoto Art Center among others. She has been featured in festivals like Videobrasil, LOOP, FILE, Transitio MX, Madrid Abierto, Havana Film Festival, and Beijing Biennale. She has also collaborated as a set designer and audiovisual art director for theatre plays performed in Peru, Spain, Austria and Italy. Watanabe is based between Amsterdam and Madrid.

Das Gestell
widmann Philip
Das Gestell
0 | super8 | couleur et n&b | 30:0 | Allemagne | 2017

A Japanese philosopher writes a letter to a famous German colleague. He asks the German to advise the Japanese people how to deal with the permeation of modern life by technology. More than 50 years later, the same issues are being discussed among academics and aspiring engineers. It is hard to grasp how humans and technology continue to coexist. Resorting to biographical trivia, mythological histories and the recounting of dreams is not helping them to see these issues any clearer. In the grainy images of the film, landscapes from an uncertain time appear, occasionally flooded by water and a cacophony of brass players. The uncontrollable finds its ways into a world that tries to minimise risks and thus creates new dangers.

Philip Widmann makes films, texts, film programs and occasionally collaborates in the field of performing arts. His film and video works have been shown in art spaces and film festivals internationally, among them the Wexner Center for the Arts, Berlin International Film Festival, International Film Festival Rotterdam, New York Film Festival, Yamagata International Documentary Film Festival, FID Marseille, CPH:DOX and Visions du Réel.