Blue Sky From Pain
Blue Sky From Pain
Un homme est enfermé sans savoir pourquoi. Ou est-il ? Pour combien de temps ? Par des images de centres de rétention de migrant abandonnés en Grèce et à travers une reconstruction d’un récit, Blue Sky from Pain nous plonge dans un univers clos, effacé, en ruines…
Stephanos Mangriotis is a freelance visual artist, living and working in Marseille. He was born in Athens and first studied Maths and Philosophy in Bristol before studying photography in Paris. In his projects, he uses photography, film and multimedia forms to create stories about immigration, borders and marginality. Besides his personal work, he also coordinates a photography workshop with people that suffer from mental illnesses with the association Dekadrage, based in Marseille. In the last years he has collaborated with social scientists in order to create cross disciplinary projects in the form of multimedia pieces and short films.
The Illinois Parables
The Illinois Parables
An experimental documentary comprised of regional vignettes about faith, force, technology and exodus. Eleven parables relay histories of settlement, removal, technological breakthrough, violence, messianism and resistance, all occurring somewhere in the state of Illinois. The state itself is a convenient structural ruse, allowing its histories to become allegories that explore how we are shaped by conviction and ideology. The Parables consider what might constitute a liturgical form. Not a sermon, but a form that questions what morality catalyzes. Technological and religious abstraction are linked and placed in conversation with governance.
Artist and filmmaker Deborah Stratman makes work that investigates issues of power, control and belief, exploring how places, ideas, and society are intertwined. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets and faith. She has exhibited internationally at venues including MoMA NY, Centre Pompidou, Hammer Museum, Mercer Union, Witte de With, the Whitney Biennial and festivals including Sundance, Viennale, CPH/DOX, Berlinale, Oberhausen, Ann Arbor, Full Frame and Rotterdam. Stratman is the recipient of Fulbright, Guggenheim and USA Collins fellowships, a Creative Capital grant and an Alpert Award. She lives in Chicago where she teaches at the University of Illinois.
The Coat loosely adapts Aristophanes’ The Birds from the Athens of 414 BC to contemporary Calabria. Here the two people who leave their home looking for a better life are a young man and his daughter arriving from Albania in search of a swimming coach who fled the collapse of Communism in the 1990s. They search for the coach among Italy’s Arbëresh community, descendants of an earlier Albanian exodus of the 1450s. Along the way the pair intercept two actors touring the rural south in an attempt to resuscitate the long dead street hero Punchinella. Here histories are invoked only to be folded in on themselves and diffused back through the Calabrian landscape. The characters, naive to the terrain that surrounds them rely predominantly on cartographies of their own desire while the birds fly overhead taunting their imprudence. Co written with, and employing professional and amateur actors, The Coat‘s itinerant figures don’t so much drive narrative as walk it slowly along.
CORIN SWORN was born in London, England, and raised in Toronto. She studied psychology and integrated media before earning her master’s at the Glasgow School of Art. Sworn has exhibited internationally, including at the Whitechapel Gallery, Tate Britain, the National Gallery of Canada, and the 2013 Venice and Sydney Biennials. Her film work has appeared at Rotterdam Film Festival and the Centre Pompidou. TONY ROMANO was born in Toronto and earned his B.F.A. from the Emily Carr Institute of Art and Design. His film installations have been exhibited internationally, with solo and group shows at MoMA, Night Gallery in Los Angeles, Articule in Montreal, Kulturhuset in Stockholm, and MOCCA and The Power Plant in Toronto.
A camera-less lettrist film about fear of flying, security checks and time zones. After returning from a trip to Tokyo, the protagonist is stuck at a hotel nearby the Helsinki airport. The use of various technical devices, slivers the time-management and modifies the jet-lagged consciousness.
Mika Taanila (s. 1965) is a filmmaker and visual artist based in Helsinki, Finland. He works with documentaries, experimental film and visual arts. Human engineering, utopias, failures and man-machines are recurring themes in his films and installations. Taanila’s works have been shown at major international group shows, such as Aichi Triennale (2013), dOCUMENTA (2012), Shanghai Biennale (2006), Berlin Biennale (2004), Manifesta (2002) and Istanbul Biennial (2001). Solo shows include the Museum of Contemporary Art Kiasma in Helsinki (2013–14), Contemporary Art Museum St. Louis (2013), TENT, Rotterdam (2013) and Galleria Heino, Helsinki (2010). Taanila’s short films have been screened altogether at more than 300 international film festivals and special events. In 2015, Taanila was awarded with the prestigious Ars Fennica Award, the biggest Finnish art award.
NARRATION links issues of social relevance, such as the systematic exploitation of workers on arab building sites, with questions of awareness and the perception of (constructed) narratives in our everyday lives. Different languages and associated concepts – such as imagination and seeing – are interleaved into a well arranged field of associations. In Taube`s work the "flow of images" becomes a symbol for the flux of visual concepts and the impossibility of them ever coming to a halt. The impact of the film is also due to the performance of its protagonists, who, at times far from playing a role, represent and reflect their own actions: the actor comes to represent the narrator on a stage.
Thomas Taube is a German video artist who is living and working in Leipzig. He studied from 2008 to 2014 at the Academy of Visual Arts (HGB) Leipzig and graduated from Prof. Clemens von Wedemeyer class with an honourable distinction. He is currently a „Meisterschüler“ of Clemens von Wedemeyer. From June until December 2016 Taube was resident at the ISCP in New York. The residency was sponsored by the Cultural Foundation of the Free state Saxony (KDFS). His video works are concept-based films which question obvious and seemingly self-evident circumstances of our daily lives.
Phases of Noon
Phases of Noon
Watching four species of paradise perform in four phases of noonlight reflecting on four film rolls, in four acts
A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.
With precisely composed filmic-tableaux and through minimal movements the work Carusel evokes the image of a post-apocalyptic playground, while somewhere outside or above various doomsday scenarios take their course. It is a setting of the Zeitgeist-phenomenon celebrated by our pop culture in graphic novels, computer games and television series in all of its enjoyment and pessimism. Carusel triggers trails of thought in-between mythical traditions and actual fear of the dark. In an elevator ride in one of the sequences, we eavesdrop a conversation of a family: Arguably, the rest of the world still standing. Carusel was shot in the damp caverns of a former Romanian salt mine which was reused as a bomb shelter in the second world war and is now refurbished as an erie underground amusement park. Though equipped with a carousel, ping-pong tables, a childrens’ playground and rowboats, the combination with large threatening steel structures and surreal light-objects still produce a gloomy atmosphere and ambience of fear. It seems that the mythical echos of the historically charged site are still abound, yet absurdly translated into an uncanny and bizarre „amusement park“. Marlies Wirth
Patrick Topitschnig is a Vienna based filmmaker and audio artist and also collaborates on theatre projects. After he finished his studies in Commercial Information Technology he studied Intermedia Art and Narrative Film in Vienna and Berlin under the likes of Bernhard Leitner, Erwin Wurm, Constanze Ruhm and Thomas Arslan. For his diploma in 2012 he produced the experimental video “Right to Hospitality”. He received several awards, such as the Fred Adelmueller Grant and the Ursula Blickle Preis for his video "Concision of the Whole" (2007) ("Zerschneidung des Ganzen"). In 2013 he was granted the STARTstipendium for video and media art (Austrian Federal Ministry for Culture and Arts). He works primarily with video and sound, often within installative contexts. His works center on direct physical experience and immediate reception of time, as well as on enduring and measuring the passing of time on a visual or on an acoustic basis. Permanent repetitions or continuous oscillations constitute a recurrent theme.
Mémoires d'une infirmière
Mémoires d'une infirmière
Existerait-il une fin à l’analyse, ou bien serions-nous condamnés, comme dans Mémoires d’une infirmière, à revivre et réexaminer les événements passés éternellement, néanmoins sous un nouvel angle ? Ce troisième volet d’une trilogie d’hybride de film et de théâtre, avec des marionnettes, se passe après la mort, dans un au-delà où la psychanalyse est obligatoire et s’avère être un processus infini. Sur la frontière flottant entre rêve et cauchemar, utopie et dystopie, la protagoniste : E recherche du sens de l’amour via le transfert envers son analyste, qu’elle perçoit comme un objet sauveteur et réparateur. Le psychanalyste est la marionnette de David Lynch et la marionnette de Larry David est à l’accueil du hall post-mortem. Synopsis option 2: Mémoires d’une infirmière est le troisième volet d’une trilogie de films avec des marionnettes. L’histoire se passe après la mort, dans un «au- delà» où la psychanalyse est obligatoire et s’avère être un processus infini. À travers le regard de la protagoniste: E, le film présente le rapport à la psychanalyse des différents personnages de sa vie, ainsi que sa recherche du sens de l’amour via le transfert envers l’analyste, qu’elle perçoit comme un objet sauveteur et réparateur. Afin de payer leurs séances post mortem, les protagonistes sont obligés de travailler pendant de longues nuits dans une usine, qui « produit » des mots qui défilent infiniment sur un ruban de production circulaire. Sur la frontière flottant entre rêve et cauchemar, utopie et dystopie, le film est une perspective à la fois critique et aimante du processus analytique. Le psychanalyste est la marionnette de David Lynch et la marionnette de Larry David est à l’acceuil du hall post-mortem.
Esther Toth, née à Budapest, est diplômée de l’École Nationale Supérieure des Beaux Arts. En 2010 elle a commencé une série de films avec des marionnettes : une exploration du processus psychanalytique, qui se suivra par un film sur Walter Benjamin. Les deux premiers volets de la trilogie (M’as-tu rêvé ou t’ai-je rêvé ? , Sisters, un cas classique) ont été présentés au Palais de Tokyo, Mémoires d’une infirmière au Freud Museum, à Londres, et il sera projeté au Centre Pompidou à Paris, à l’automne 2017.
Booked for Safekeeping
Booked for Safekeeping
Booked For Safekeeping addresses faltering outlets for the containment and expression of violent impulses, the reactionary bluster of discourse in contemporary society and the isolation and paranoia developing within American communities. Juxtaposed against the grace, rhythm and force inherent within the motions of a boxer engaged in battle with himself are archival images from a 1960 film produced by the Louisiana Association for Mental Health addressing the apprehension and incarceration of “disturbed” people. While investigating the propensity and commonality of violence, the piece alludes to the distressing shift in tone and approach regarding the policing of communities, wherein patience, compassion, and de-escalation are too often replaced with militaristic distance and aggressive control.
Bradly Dever Treadaway is a Brooklyn and New Orleans based artist and teacher utilizing lens-based image making, sculpture, installation and performance to comment on the breakdown of intergenerational communication. His work revolves around fleeting family histories visualized through archival interventions and elevated domestic rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to fading family histories using with personal and public archives, recontextualizing the archive to serve as form, medium, subject matter and concept. Treadaway is a Fulbright Scholar to Italy and works as both a Faculty member and the Digital Media Coordinator at The International Center of Photography in New York City. His work has been exhibited at the Whitney Museum of Art, Center for Photography at Woodstock, The International Center of Photography, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn.
Chinese Coin (Red Blood)
Chinese Coin (Red Blood)
UBERMORGEN Red Coin (Chinese Blood), 2015 Red Coin mining has recently made the People`s Republic of China the world`s largest Bitcoin producer. Mining requires exertion and it slowly makes new currency available at a rate that resembles the rate at which commodities like gold, copper, diamonds, nickel, rare earth, silver, uranium and zinc are mined from the ground. One of the reasons for the fast growth is the buildout of hydropower in the west of the country. The first petahash mining farms were built in Shanxi and Inner Mongolia where coal was cheap and plentiful, but cheap coal can’t compete with free water and now the farms are migrating en masse towards the west. uuuuuuuntitled.com/chinesecoin uuuuuuuntitled.com/chinesecoin/ChineseCoin_Text.pdf Video & Sound: Mike Huntemann Commissioned by NEoN (North East of North), 2015 Optimized for Dolby Surround 5.1 # Dolby 5.1 available upon request: officeR@ubermorgen.com #
UBERMORGEN lizvlx (AT, b. 1973) and Hans Bernhard (CH/USA, b. 1971) are European artists and net.art pioneers. They tenaciously convert code & language and concept & aesthetics into digital objects, software art, net.art, installation, new painting, videos, press-releases and actions. CNN described them as `maverick Austrian business people` during their Vote-Auction action and the New York Times called Google Will Eat Itself `simply brilliant’. Their main influences: Rammstein, Samantha Fox, Guns N’ Roses & Duran Duran, Olanzapine, LSD & Kentucky Fried Chicken`s Coconut Shrimps Deluxe. The have shown their work in major international institutions such as the Centre Pompidou, MoMA/PS1, Sydney Biennale, MACBA Barcelona, New Museum New York, SFMoma, ICC Tokyo, Gwangju Biennale and were commissioned by Serpentine Galleries London & Whitney Museum New York. UBERMORGEN currently holds the Professorship for Digital and Net-based Art in the Faculty of Art at the University of Art and Design Offenbach/Frankfurt http://ubermorgen.com https://en.wikipedia.org/wiki/Ubermorgen
Tough, initiative taking men, frail and defenceless women, Beretta guns and hoarse mafia boss voices. EXTRA MATERIAL is a behind-the-scenes film which closely studies the making of an artistically acclaimed mafia movie. The goal is to trigger a reflection on the content and attitudes that are reproduced in and throughout cinema.
Maximilien Van Aertryck (director) was born in 1989 in Paris and Axel Danielson (producer) in 1976 in Vittskövle. They collaborate at Plattform Produktion in Gothenburg since 2013, where they also work together with Ruben Östlund. “Our interest lies in the potential of the moving image and our ambition is that the images we produce have a critical and humorous approach to the stream of images that surround us.”
Ha terra! (Terre!)
Ha terra! (Terre!)
"Há terra !" est une rencontre, une chasse, un conte diachronique du regard et du devenir. Comme dans un jeu, comme dans une course-poursuite, le film oscille entre personnage et terre, terre et personnage, prédateur et proie.
Ana Vaz (b. 1986, Brasília) is an artist and filmmaker whose films and other expanded works speculate upon the relationships between self and other, myth and history through a cosmology of signs, references and perspectives. Assemblages of found and shot materials, her films combine ethnography and speculation in exploring the frictions and fictions imprinted upon both cultivated and savage environments and their multiple inhabitants. A graduate from the Royal Melbourne Institute of Technology and Le Fresnoy – Studio National des Arts Contemporains, Ana was also a member of SPEAP (SciencesPo School of Political Arts), a project conceived and directed by Bruno Latour. Recent screenings of her work include the New York Film Festival – Projections, TIFF Wavelenghts, CPH:DOX, Videobrasil, Courtisane, Cinéma du Réel and Lux Salon. In 2015, she was the recipient of the Kazuko Trust Award presented by the Film Society of Lincoln Center in recognition of artistic excellence and innovation in her moving-image work. Ana is also a founding member of the collective "Coyote" along with Tristan Bera, Nuno da Luz, Elida Hoëg and Clémence Seurat, a cross-disciplinary group working in the fields of ecology, anthropology, ethnology and political science through an array of crosscutting platforms.
The video Krisis is a reenactment of a facebook discussion among Russian and Ukrainian artists, which took place in December 2013 upon the tear-down of the statue of Lenin in Kiev during the early stages of the Maidan protests. The discussion unfolds at a pivoting point in modern history. In fact, it occurs at the very moment when History bursts into the scene as a force surpassing individual actors and dragging them into its course in an indefinite capacity somewhere between that of a witness and participant. Krisis should also be understood here as trial or judgment, where twelve jurors debate the meaning of the historical event but fail to pass a verdict. Just as with Pilate’s judgment of Jesus, the decision is not reached and the trial takes on “a continuous and implacable course, an incessant passing and progress through time.” The historical crisis is bound to last like trauma in psychoanalysis: separated from its original context, it reappears in pathological forms in every sphere and at every moment. Structurally and thematically it is a remake of the Sidney Lumet film “Twelve Angry Men.” This classic is an idealized image of the American democracy based on inclusiveness. In the film Krisis the situation is reversed: although the characters belong to the same circle or community, their positions are irreconcilable and mutually exclusive thus making a compromise impossible. There is no way out of this argument but to split apart. The film Krisis plays out a metaphor of a society divided by history, politics, and aesthetics. New challenges further polarize it and augment its internal contradictions revealing a crisis as a state of imminent threat that the society presents for itself.
Dimitri Venkov (born 1980) is a video artist and filmmaker working across art, film, and academic institutional contexts. His works have been presented at Vth Moscow Biennale, First Bergen Assembly, Hayward Gallery, Kino der Kunst, Documenta 14,Oberhausen and Moscow Film Festivals, and others. In 2012 he received the Young Artist Kandinsky Prize for his film Mad Mimes. He was nominated for the Moscow Innovation Prize and St. Petersburg Kuryokhin Prize. Dimitri is a professor of videoart at Moscow Rodchenko School of Photography and Multimedia and has lectured at Yale University, Moscow State University, Moscow Art and Multimedia Museum.
Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those ? The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.
João Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil. Lives and works in between Brazil and France . He has shown his work among other places at: New York Film Festival 2016(US) / Kinoforum São Paulo (BR) / Edinburgh International Film Festival (UK) / Uniondocs New York (US) / Art of the Real Lincoln Center (US) / Ann Harbor Film Fest (US) / FIDMarseille(FR) / Olhar de Cinema (BR) / Rencontres Int. du Documentaire de Montreal (CA) / Rencontres Internationales Paris/Berlin (FR/DE) / Museu da Imagem e do som de São Paulo (BR) / Anthology Film Archives(US) / CentrePompidou(FR) / Palais de Tokyo (FR) / MIS São Paulo (BR) / LABoral (ESP) / IndieLisboa(PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG)…
Die Pferde des Rittmeisters
Die Pferde des Rittmeisters
Born in 1974 in Göttingen, Germany. He lives and works in Berlin. Between 1996 and 1998 he studies photography and media at the Fachhochschule Bielefeld. In 1998 he transfers to the HGB Academy of Visual Arts Leipzig and graduates from Astrid Kleins’ class in 2002, followed by a master in 2005. In the same year he receives the Kunstpreis der Böttcherstrasse in Bremen. In 2006 he wins the German competition at Internationale Kurzfilmtage Oberhausen as well as the Karl-Schmidt-Rottluff-Stipendium. Wedemeyer exhibits at the Moscow Biennial in 2005 and at the Berlin Biennial in 2006. In 2008 he participates in Skulptur Projekte Münster. Solo exhibitions include Kölnischer Kunstverein and MoMA PS1, New York, in 2006, the Barbican Art Centre London in 2009 and the Frankfurter Kunstverein in 2011. He participates in documenta 13 in 2012.
Unknown Hours studies a precarious nightscape. An observer journeys down a main street in Chicago towards a neighborhood known for its nightlife. The moving image is slowed to reveal the intermittence of street lights and sports bar televisions. A camera peers into the moments between events.
Calum Walter is a filmmaker, artist and sound designer. He has a BFA from the University of Colorado where he studied filmmaking with an emphasis on sound, and later received a MFA from the School of the Art Institute of Chicago. He continues to do sound design and recording for his own films, and has collaborated with artists as cinematographer, sound recordist and designer. His work has screened widely at places including New York Film Festival, Toronto International Film Festival, Rotterdam International Film Festival, Slamdance, Ann Arbor Film Festival and the Big Ears Music Festival. He Teaches in the department of Radio/Television/Film at Northwestern University.
A single day spent in a motion-capture studio documenting actors, a director and technical crew provide the subject matter for this film. Using a cliché B-movie script, the studio Audiomotion test workflow patterns to standardise and improve the production process (e.g. adjusting cameras and monitors, rehearsing with equipment, transferring data etc.) The actor’s movements are recorded during the scene, followed by minute facial gestures (aided with face paint), and finally edited as 3D models. We see how technique and dialogue must change to avoid disrupting the motion-capture technology, how the actors choose their expressions (stylised, but with an emphasis on naturalism), what other jobs the actors may have, and how standards or ideal gestures are created via these technical methods.
Dan Ward is a filmmaker based in London.
"Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what remains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows." NICOLE BRENEZ
Colombian experimental filmmaker based in São Paulo, Brazil, has shown his films in galleries and festival in the Americas, Europa and Asia. His film "Zugang" was edited by Experiments in Cinema - DVD Collection - New Mexico, USA. In 2015 his film "Los (De)pendientes" was included in Artforum Magazine list of the best films of the year. His work received retrospective shows at Cinematheque of Rio de Janeiro, Museum of Modern Art of Medellin, Colombia and at La Neomudéjar Museum, Madrid-Spain. He defines his cinematic practice as the search of a perpetual becoming state of the image in relation with the cosmos, through the following formula: "I make cinema because I´m not a painter. I make cinema as a compositor would do."
Psycho- gymnastics, psycho-drama. A narrated animation in the form of a journal produced as a combination of drawings and graphics. An attempt to find visual equivalents for decomposition and mental deconstruction of personality/person as well as to show desperate efforts aiming at its reconstructing, merging. It’s a peculiar game of graphic representations of mental states which accompany daily struggle with reality, including questions such as: "who am I?, "what do I consist of?".
Born in 1972. Graduated from the of the Academy of Fine Arts in Kraków, Poland. Under the name of Moving Pictures Laboratory, he creates small audiovisual forms based on classic stop motion animation techniques. In his works, he explores the realm of emotional states and reactions to the stimuli of the outside world. He takes part in numerous film and video screenings and festivals.
68°53’02.0”N 3°00’36.6”E, Arctic Circle (boredoffshore.com)
68°53’02.0”N 3°00’36.6”E, Arctic Circle (boredoffshore.com)
The footage for this work is taken from a ROV underwater camera, flying along the seabed, mapping Internet fiber cables. Images an offshore ROV pilot would see 12 hours each day on his shift. The worker, on various trips to open water, spends months at sea, connected to the rest of the world by the same cables that the ROV`s camera is tracking. Boredom and loneliness comforted by the immediacy and instant gratification of the net: Online shopping on open water. A virtual flow of money, earned and spent at the same time: Adidas Originals Gazelles red, Bosch Home Professional hover, 5m per 3m Persian rug, a knitted Fred Perry jumper, Philips flatscreen TV ambilight.
Daniela Zahlner is born 1986 in Austria, she lives and works in Vienna and Glasgow.