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

Changing winds, shifting moods, stirring, awaiting…

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals including the Media City Festival, San Francisco International Film Festival, Rotterdam International Film Festival, New York Film Festival, Le Rencontres Internationale, Black Maria Film Festival, Nouveau Cinema in Montreal, Cinematheque Ontario, the Harvard Film Archive, Pacific Film Archive, the Paris Biennial, Slamdance Film Festival, and others. His films have won numerous festival prizes, grants, and artist’s awards. He teaches film production at Emerson College in Boston.

Richard TUOHY
Pancoran
tuohy Richard
Pancoran
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.

Pink TWINS
Overlook
twins Pink
Overlook
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.

Piotr URBANIEC
Mimicry
urbaniec Piotr
Mimicry
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.

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

The Shift Symm collection is a series of brutal, abstract audiovisual constructions. Raw, exposed electronic textures collide in oscillating patterns of drift. Van den Broek’s sculptural sonic architecture plays on rigorous shifts of compositional symmetry – with results that are both hypnotic and evocative. Shifting is a key principle in the work. Visual and sonic elements – beats, lines and blocks – perpetually breach the symmetry of their arrangements, switch to new paths and start new trajectories. In chains of transformations, order gives way to controlled entropy. Shift Symm is presented as a video triptych, a live a/v performance and a digital album

Zeno van den Broek is a Dutch-born, Copenhagen-based composer and artist. Van den Broek works in a multi-sensory way to research and express physical, social and acoustic notions. He utilizes immaterial, digital and temporal means to create site and concept specific works. This trans-disciplinary method has a strong conceptual foundation, originating from Zeno his background in architecture, which enables him to comprehend and reveal the richness and complexity of spatial, visceral and physical perception. Zeno van den Broek has been commissioned work by various esteemed institutes and festivals such as the Gaudeamus Foundation, SPOR Festival and the Old Church of Amsterdam. He has presented work at venues and festivals such as International Film Festival Rotterdam, Fiber at CTM Vorspiel, Click Festival and Gaudeamus Festival. His work has been presented by among others: LIMA, VPRO Vrije Geluiden, Sedition and TheBillboardCollective – Los Angeles.

Noémi VARGA
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.

Mona VATAMANU, Florin Tudor
Copacul lui Gagarin
vatamanu Mona , Florin Tudor
Copacul lui Gagarin
Film expérimental | hdv | couleur | 22:50 | Roumanie | 2016

An interview with philosopher Ovidiu Tichindeleanu engages issues of space exploration, imagination and propaganda in the socialist utopia, the post-communist condition as liberal colonisation, linked – Ovidiu proposes – to other sites of decolonisation through a new historical consciousness. The protagonist's reflection departs from the unstable nature of today's ruins: these are the ruinous future of different pasts, of different messianisms, or modes of conceiving the notion of historical destination in the last decades. Ovidiu's analysis revolves around the reciprocal construction of pasts and futures, ideas of renewal or historical horizon, temporal or spatial 'elsewheres'. The backdrop for the conversation the film proposes is the Gagarin Youth Centre, in Chisinau, Moldavia, where most of the footage was filmed. Now deserted, and waiting to be replaced by a construction more adapted to today's oligarchic liberalism, the building reads like a palimpsest of unrealized historical projections, perhaps captured in the large mosaic of outer space labor: a worker ploughing the universe. "An entirely different history of the world was about to be written. The feeling and the memory of this divergence is still active and alive, and it is awakened in connection with those utopias that actually became daily life and are now the history of the people who grew up in the tradition of real socialism. But if the post-communist transition meant a colonisation, and if real socialism was partially an attempt to write a history divergent from that of Western modernity, then what is left of that, what is alive?" Ovidiu's insistence on communism as a heresy, as deviation from other forms of imagining the modern selfhood and society, may have left something behind, a residue that might activate its catalytic, transformative potential. In his words, this is "the power of a dream to bring people together and create another history".

Mona Vatamanu and Florin Tudor have been collaborating since 2001, producing mixed-media installations, actions, and videos through which they confront the traumatic legacy of Communism in their native Romania and Eastern Europe, while wrestling with the ongoing challenge of how to process history. Remnants of Socialist architecture figure prominently in their work, serving as visual evidence, in their words, of “the complicated situation of people living after these ideals failed.” While the Socialist past is the focus of most of their evocative installations and atmospheric films, Vatamanu and Tudor also find connections between the history they know intimately and struggles worldwide. In Rite of Spring (2010), for example, they film children burning the white fluff of the poplar tree, seeing in each mini-conflagration a symbol of renewal and of such incendiary and hopeful revolutionary movements as the Arab Spring.

Ivar VEERMÄE
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
Hyperthermia
verdon Matthew
Hyperthermia
Vidéo | hdv | couleur | 11:39 | Australie | Royaume-Uni | 2016

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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.

Snear VERED
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.

Maya WATANABE
Earthquakes
watanabe Maya
Earthquakes
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.

Philip WIDMANN
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.

Martine WIJCKAERT, Jacques ANDRE
INVENTAIRE AVANT DISPARITION
wijckaert Martine , Jacques ANDRE
INVENTAIRE AVANT DISPARITION
Vidéo expérimentale | hdv | couleur et n&b | 29:18 | Belgique | 2016

Tel un thriller miniature sans paroles mais nourri d'indices dans la composition sonore, ce film photographique entraine chacun dans un labyrinthe de connexions entre reliquats familiaux et traces ambigües de l'Histoire. "Inventaire avant disparition" est la reconstitution et partielle d’un film n’ayant jamais existé. Sa matière est faite de photographies d'objets hérités, mis en dépôt dans un atelier et explorés dans leur réunion éphémère par une photographe présente en off, en autoportraits troubles, confrontant sans concession son corps aux figures de son passé. L’association d’objets se tisse ici selon une histoire à tiroirs : la « table des objets », véritable promontoire sinon décor unique de cette nature morte en mouvement relie entre eux les portraits et personnages fantômes d’une histoire qui est celle de la part manquante. Elle est constituée de voyages entremêlés : voyage dans les restes du réel, voyage dans le domaine de l’hallucination entre lumière et poussière, voyage dans le domaine des spectres générationnels et autres. Mais ces voyages croisent également la réalité spectrale de l’Histoire : dans les archives familiales subsistent d’autres restes, ceux de la colonisation du Congo et ceux de la Seconde Guerre mondiale.

Martine Wijckaert, née à Bruges, travaillant à Bruxelles, auteur, metteur en scène, abordant depuis 2002 la photographie, et Jacques André, né en Bretagne, vivant entre Paris et la Belgique, réalisateur, metteur en scène, dramaturge et concepteur de dispositifs multimédia, tout deux formés à l'INSAS (Inst. Nat. Sup. des Arts du Spectacle, Bruxelles), collaborent depuis 2012, d'abord pour Enfer / alcool / traversée, vidéo intégrée dans Trilogie de l'Enfer, pièce de Martine Wijckaert (La Balsamine, Bruxelles, 2014, Théâtre de Liège, 2015), puis pour Inventaire avant disparition, -film photographique explorant la mémoire associée aux objets d'un héritage (2016).

Jack WOLF, Alexander W. Schindler
In Camera Proceedings
wolf Jack , Alexander W. Schindler
In Camera Proceedings
Doc. expérimental | mov | couleur | 4:0 | Allemagne | 2017

In Camera Proceedings is an intervention that challenges Googles Earth`s practice of scanning, modelling and storing our world. Google’s process involves a combination of aircraft imagery and satellite photos. These are pushed through image analysis and photogrammetry softwares that reconstruct 3D models of the area photographed. The 3D models created are stored on Google’s servers, they are not available for download. Our cities have been modelled digitised and then locked away. Google`s algorithms erase all inhabitants from these models. The digital world is not meant for human habitation. We can not change it edit it, or rebuild it. We can only passively observe. In Camera Proceedings challenges this. It does not accept Google`s policy. The work visualises the technical process of taking back our space, it`s a tutorial in how to take back our virtual world. A virtual drone is programmed to fly through Google Earth taking hundreds of pictures of the digital terrain. These photos are then run through the same algorithms as the images taken by Google`s aircraft. We scan the scan and then upload it to a server where any one can download it, own it and change it.

Jack Wolf is a media artist working with new and old technologies: computer games, web, film, animation, as well as print. His work examines contemporary issues such as migration, conflict, data, as well as technology itself. He holds a bachelor of arts from the University of the Arts, London, and a postgraduate degree in Art and Media from the Berlin University of Arts (UdK). Alexander Schindler is an assistant of the Vilém Flusser Archive at the Berlin University of the Arts (UdK). He is a master student of the study program “Communication in Social and Economic Contexts” at the UdK, where he focuses on media studies, philosophy and lens-based media technologies. He is currently interested in (post-)photography theory, especially the “Spatial Image“ as a result of the fusion of lens-based technologies and computer generated imaging.

Myriam YATES
Gander - Islands - Diptyque
yates Myriam
Gander - Islands - Diptyque
Installation vidéo | hdv | couleur | 8:45 | Canada | 2017

Isolé sur l’île de Terre-Neuve (Canada), l`aéroport de Gander a joué un rôle essentiel à partir des années 1940 en tant qu`arrêt de ravitaillement pour les vols transatlantiques. Pendant la guerre froide, Gander était l`un des rares points de ravitaillement où les avions pouvaient s`arrêter en route depuis l`Europe de l`Est ou de l`Union soviétique vers Cuba. Dans le but de présenter une image progressiste du Canada, le terminal international fut aménagé à la fin des années 50 avec des meubles de designers influents de l`époque. Avec l`avènement des avions à plus longue portée dans les années 1960, Gander a diminué en importance. L`imposante zone internationale est aujourd`hui presqu’inoccupée, seuls y transitent les forces américaines et les jets privés. Gander Islands (diptyque) se concentre sur la salle des fumeurs du terminal. Pendant le tournage, déposée sur le sol, une boisson à peine entamée avec une écriture en arabe sur l`étiquette de la bouteille - rappelant l`utilisation du lieu par des soldats américains en provenance de missions. Leur présence est accentuée par des d`autocollants des diverses forces tactiques qu’ils représentent, posés çà et là dans le terminal. Les plans défilant en synchronicité sont proches d`une dérive, d`une rêverie d`un(e) hypothétique occupant(e).

Myriam Yates développe une pratique qui s’articule essentiellement autour de l’image (vidéographique, filmique ou photographique). Son œuvre se déploie sous forme de grandes projections, d’installations ou de séries photographiques. L’artiste s’intéresse à la relation entre les lieux et leur représentation, prenant souvent comme ancrage des sites modernes ou en transition, dont le statut singulier questionne les liens entre l’individu, la modernité et l’architecture. Ses œuvres ont été présentées lors d’évènements tels que Kassel Dokfest, Images Festival (Toronto), les Rencontres Internationales Paris/Berlin, le Mois de la Photo à Montréal et Nuit Blanche Toronto. Elles ont fait l’objet d’expositions individuelles et collectives, notamment au centre des pratiques de l’image Dazibao (Montréal), à la Galerie d’art Foreman de l’Université Bishop’s (Sherbrooke), au Hessel Museum of Art — CCS Bard (New York), au Musée d’art contemporain de Montréal, à OPTICA, un centre d’art contemporain (Montréal), à la Galerie de l’UQAM (Montréal). Un essai dans la revue Prefix Photo sur les architectures improbables a été consacré à ses œuvres vidéographiques ainsi qu’une exposition au Prefix ICA (Toronto). Elle remporte en 2015 le Prix Victor-Martyn-Lynch-Staunton (arts médiatiques) du Conseil des arts du Canada.

Jad YOUSSEF
Al fayadan (The Flood)
youssef Jad
Al fayadan (The Flood)
Fiction | 4k | couleur | 19:48 | Liban | 2017

a video that attempts to portray an eerie study of seclusion, alienation in and through the image of the fugitive. the main character occupying the images is an anti-hero recluse who resides in a state of self-inflicted introspection. the character is transcended through a narrative thread of non-fiction moments and segments, into a cluster of morose stagnation and insistent malaise. *secrecy molds the morbid drifting of hatem, a man who works in privacy and lives his life accordingly. hatem hides more than he tells, clouding himself in a reclusive state of introspection.

born in 1989, I am an artist-filmmaker from beirut. I finished my bachelors in audiovisual studies, with a specialization in cinema, from saint joseph university, beirut in 2013 with my film “transmission”. afterwards, I went on to collaborate with ashkal alwan, which led to my 2014 ongoing film project titled “a thin soft layer of”. I graduated from the film masters program at the netherlands film academy in 2017 with a thesis exploring the self-alienation and seclusion that deviant members of society may inflict on themselves as an act of escapism. I’ve worked in different fields related to film, including cinematography, editing, sound, development, production as well as assembling my own process, first and foremost as a filmmaker, but also as a researcher.

Maya ZACK
Counterlight
zack Maya
Counterlight
Fiction expérimentale | 4k | couleur | 23:30 | Israel | 2016

The film “Counterlight” by Artist Maya Zack is the 3rd part of her award-winning Memory Trilogy following “Mother Economy” and “Black and White Rule”. “Counterlight” is a hypnotic journey into the depths of consciousness that follows the traces of poet Paul Celan, one of the greatest poets of the modern-postmodern era. A female archive researcher listens to extracts from original recordings by the poet and gradually changes from an archivist into an alchemist. She dissects in an almost surgical manner the archival materials – photographs, maps, documents and poems – that will enable her to reconstruct and resurrect the past and intervene in it till the boundaries between reality and documentation, past and present are blurred. In a surrealistic process, she penetrates the space of an old street photograph of 1937 Czernowitz and meets Celan’s mother who is baking challah bread in her kitchen, until her task transforms into female magic which leads to the creation of the “memory-golem.” In recent years, Zack researched Paul Celan’s world and creative process, through the actual as well as mythical female figures in his life. To these, she has interwoven images of death and birth and dedicated the film to the memory of her mother. Technical information: Film format: ProRes HD / DCP Duration: 23:30` Credits – cast and main crew: Director, writer Maya Zack Cinematography Stanislav Levor Actress Michal Weinberg Editing Yael Hersonski, Sasha Franklin, Amos Ponger. Edit Studios Tel Aviv Original music Ophir Leibovitch Soundtrack design & mix Shahaf Wagshall D.B. Sound studios Line producer Hagai Hirschfeld Credits – Production Support and Sponsors: The video was produced with the support of the Ostrovsky Family Fund; the Israel Lottery Council for Culture & Arts; Artis Grant Program; Outset Contemporary Art Fund; a grant from the Claims Conference; and Kronos Aerial Photography

Maya Zack (B. 1976, Israel) is a visual artist and filmmaker working with video, computerized visualizations, installation and drawing. Her work ties together themes of memory, history, virtuality and metaphysics. Zack is a lecturer in Bezalel Academy of Art and Design Jerusalem where she had graduated in 2000 .B.F.A Magna Cum Laude. She studied at the Tel Aviv University 2008-12 and in Kunsthochschule Berlin-Weissensee Student Exchange Program. Maya Zack had recently exhibited “Counterlight”, solo show at Tel Aviv Museum of Art and participated in the show “Das Kapital” in Hamburger Bahnhof Museum in Berlin. Her solo show “Counterlight” was exhibited in MLF gallery in Rome and her solo show “Memory Trilogy” was on view in MLF gallery in Brussels through March 2017. Previous solo shows include also The Shabbat Room - permanent installation at The Jewish Museum Vienna / Manifesta 10`s parallel projects, Taiga Space, St. Petersburg / CUC Gallery, Berlin/ Galerie Natalie Seroussi Paris / Alon Segev Gallery Tel Aviv. Previous group shows include also The 3rd Moscow International Biennale for Young Art / Daimler Collection, Berlin / The Israel Museum Jerusalem / The Jewish Museum Berlin / Petach Tikva Museum of Art / Herzliya Museum of Contemporary Art / The Haifa Museum of Art / Taxispalais, Innsbruck, Austria / Ursula Blickle foundation, Kraichtal, Germany / LACE L.A. / California Center for the Arts Museum Escondido / Figge von Rosen Galerie Cologne Zack`s work have earned a list of film awards and art prizes and is represented in public and private art collections.

Amina ZOUBIR
Last pop dance before darkness
zoubir Amina
Last pop dance before darkness
Installation vidéo | 16mm | couleur | 28:28 | France | Algérie | 2016

LAST POP DANCE BEFORE DAKNESS est une vidéo qui retrace les mouvements des corps des danseuses et danseurs, acrobates et virtuoses accompagnant des chanteurs magiques dans des scènes inédites, témoins des prémisses d’une modernité en danse disparue de nos jours en Algérie. C`est à travers une sélection de clips-vidéo des années 80, jalonnés d`annonces de concerts musicaux et spectacles de théâtre et cinéma, en guise d`objets de mémoire et de traces d`images provenant de cassettes VHS, qu`une espace temps lumineuse se dessine avant l`obscurité; permettant de se rendre compte de la liberté des corps et de la diversité et le foisonnement des genres musicaux qui se sont développés en Chaabi, Pop, Rock, Kabyle, Malhun, Houzi, Gnawi, Wahrani, Rai et Rap. Les musiques des années 80 sont effervescentes et partage le désir et le plaisir de la vie, jusqu`à ce que le destin des corps et des esprits soit ensevelit dans l’obscurantisme et le fondamentalisme islamique en Algérie, donnant lieu pendant les années 90 à un terrorisme fratricide, aveugle et destructeur des libertés des corps et des esprits.Cet objet filmique vidéo, nous invite à revivre une douce utopie de la dernière danse pop avant la noirceur des sentiments.

Vidéaste et artiste visuel, Amina Zoubir travaille sur les notions de corps dans des espaces spécifiques. Utilisant des corps d’objets et d’individus qui interagissent avec les espaces. Les œuvres questionnent les pensées sociales et historiques à partir des poétiques et des mythes, plus spécifiquement au Maghreb (Afrique du Nord). Elle a exposé son travail d’artiste dans plusieurs événements internationaux: BY14 au Musée des beaux-arts de Yakoutsk, Sibérie (Russie). Time is Love 7e édition, Commissionné par Kisito Assangni, Galerie Talmart, Paris (France), Pink Gallery, Seoul (South Korea), Vovatanya Gallery, Kharkiv (Ukraine), Photon - Centre for Contemporary Photography, Ljubljana (Slovenia), Torrance Art Museum, Torrance, California (USA). FEMLINK - WONDER, Commissionné par Véronique Sapin, Rollstone Gallery. Fitchburg, MA (USA), Fondation Artos, Nicosi (Chypre), TAC, Eindhoven (Pays-Bas). Centre Culturel Fran ais de Douala (Cameroun), Palazzo Leonardo darte contemporano, Turin (Italie), Cinémathéque de Tanger (Maroc).