Catalogue 2021
Parcourez ci-dessous le catalogue 2021 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.
UBERMORGEN, Nye Thompson
ubermorgen , Nye Thompson
Film expérimental | mp4 | couleur | 13:17 | Autriche | 2020

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

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

mother's day
andres felipe uribe cardenas
mother's day
Vidéo | mp4 | couleur | 2:49 | Colombie | 2020

The communication tactics of the Colombian government in the context of a chronic armed conflict have taken the social media channels to mansplaining ideology on a contemporary massive media level. Found in 2018, this ready-made video art piece shows the rhetoric of the patriarchal discourse of the so called “low intensity” war. Here, the army is celebrating mother’s day by using soldiers to make fanatical affective statements about the role of women in society using a religious heroic language very much symptomatic of a fascist regime. This cinematographic production makes direct quotations of the spectacular education of American action movies embodied by the military themselves. The Colombian official Army is the biggest armed group (and the only one legal) in the country. For almost two decades the Army has been investigated for committing systematic crimes against humanity. Journalistic revelations in 2008 that the security forces had extrajudicially executed dozens of young men from Soacha, a poor neighborhood near the capital Bogotá, forced the government to deny at first and then to finally acknowledge that the Army may be responsible. Besides the title, the translation subtitles and the disclaimer, neither the sound nor the video had been whatsoever edited.

ANDRÉS FELIPE URIBE CÁRDENAS Bogotá, 1982. Lives and studies in Berlin. Bildhauerei Diplom and Meisterschüler in KHB, Berlin. Fine Arts BA from UJTL, Colombia. Works on borderline conceptualism, poetry, multimedia povera and situationism. Has deliberately turned off more than one hundred television screens within the international public space during his career. Solo shows in Bogotá, Cali,Los Angeles and Berlin U-Bahn. DAAD Masters Studium Grant 2019, IDARTES Publishing grant 2018, Ministry of Culture Creation Grant 2016, Intensivsprachkurs Goethe Institut Grant 2012. Collective shows in Colombia, Mexico, Argentina, U.S.A., Portugal, France, Norway and Germany.

I Am Not Your Mother
sarnt utamachote
I Am Not Your Mother
Installation vidéo | mov | couleur | 15:0 | Thaïlande | Allemagne | 2020

"[...] where the colonizer undresses her, the native’s nakedness stares back at him both as the defiled image of his creation and as the indifferent gaze that says, “there was nothing - no secret - to be unveiled underneath my clothes. That secret is your phantasm” (Rey Chow, Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies, Bloomington, Indiana University Press, 1993) The touristic voyage gaze does not only create an object but also implies the desires and longings of the subject who stares and grasps. The westerners journey to know about oneself becomes a search for a counter-narrative where the new ‘orient’ is believed to provide the answer to lost origins and a shelter from problems. Many expect non-western persons to be passive and modest, available to offer them care and a sense of belonging. With the neocolonial structures such as global extractivism, backpacking-tourism, international corporates as the background, I aim let this video remind audiences of their possible participations in any of these, and to convey to audiences the uncanniness of these relationships; as if they were orphaned and were to be adopted by the indigenous "mother entities".

Sarnt UTAMACHOTE (1992, Thailand, he/they) is a queer filmmaker and curator. He studied Industrial Design (BA) at Chulalongkorn University, and Cinema Studies (BA) at the Freie Universität of Berlin. He co-founded collective “un.thai.tled” (of Thai-German diasporic critical creatives), through which he curates critical cultural exhibitions such as “Beyond the kitchen: Stories from the Thai Park” (2020) as well as film-screenings “un.thai.tled Film Festival Berlin” (2019-annual). He is part of the selected participants at Young Curators Workshop for 11th Berlin Biennale for Contemporary Art 2020. His film-related profession (as film producer/director/ editor) furthermore utilizes cinema as a means for social and imaginary engagement beyond social conditional realities. His video installation “I Am Not Your Mother” was commissioned and exhibited at International Rotterdam Film Festival and nominated for “R.D. Pestonji Award” for best short film in Bangkok 2020. He is the 2020 recipient of Queer Short Film Fund, granted by Xposed Queer Film Festival Berlin. Website:

michiel van bakel
Film expérimental | 4k | couleur et n&b | 5:10 | Pays-Bas | 2020

The natural and technological landscape in the Rotterdam port meet in a scouring way. This phenomenon is captured with a glass camera eye. A slightly more literal eye than usual in this analogy: the glass lens is hollow, hand-blown and only functions as a lens when filled with water. The water in the lens is extracted from the channel and sea on the spot. Small contaminants from the water are thus indirectly recorded as pollution particles that float through the water lens, just like the strings that everyone sometimes sees floating in front of his or her eye. The Dutch water landscape is photographed through the water from the landscape in front of us. The shooting technique used is just as hybrid as the subject itself. The camera is a DIY digital model with an old flatbed scanner as a light-sensitive plate. This produces miraculous time-space deformations, for example on the rotor blades of the windmills. These are not retrofitted filters, but deformations that take place inside the camera. Time proves to be all the more elastic. In addition, a game is played with the photographic image of the material world and its classical elements: water, earth, air and fire. Despite the corona crisis prevailing at the time of the shooting, the harbor appears to be an enormous living entity, a robot or a Leviathan with its own pulse of life.

Michiel van Bakel (1966, Deurne NL) studied astronomy (Leiden university) and psychology (Nijmegen university) for several years before he chose for autonomous visual art, at art school (Den Haag and Arnhem). Van Bakel expresses himself through film and videos, sculpture and installations. His work focuses on people and their surroundings, often resulting in a poetic reality. It conveys a fascination for the tension between man and technology, perception of time in our delicate man-made ecosystem. ‘When I look around, I see a lot of technology that aims to constrain reality in predictability, by categorizing and automating. I want to use technology to evoke wonder and transcend reality and predictability. I like to visualize things that were previously unseen and, in that sense, enrich my experience of reality. That is for me the incentive to make use of experimental video and animation techniques. Devices such as cameras, scanners and image processing algorithms I see as an extension of my senses. With these tools I manipulate images that are like anchors in time for me, but also images from my urban backyard: my 'condition urbaine.' Recurring themes are examining human perception, experiencing time, disorientation and instability.‘

jeroen van der stock
Doc. expérimental | mov | couleur et n&b | 10:0 | Belgique | Japon | 2020

'Hagibis' provides an abstract impression of living with severe weather conditions in a rapidly changing climate. It was recorded while Japan's strongest typhoon in over 60 years passed over the mainland.

Jeroen Van der Stock (°1979) is a Belgian-born filmmaker who earned his Masters in Audiovisual Arts from the Luca School of Arts in Brussels. In his work he often explores ideas around rejection, dysfunctionality and abandonment. Van der Stock his video works have been screened at film festivals including Rotterdam, Oberhausen, RIDM, Rencontres Internationales, CPH:DOX and Jeonju. His short film Night Horse won the Grand Prize at the Image Forum Festival and was nominated for the Found Footage Award at IFFR 2019. Van der Stock is currently living and working in Kanagawa, Japan. Filmography Hagibis (2021), Stone (2020), Night Horse (2019), The Execution (2019), Hello, we are watching you (2019), Dream Box (2017), Silent Visitors (2012), Wild Beast (2008)

Two Stones
wendelien van oldenborgh
Two Stones
Doc. expérimental | hdv | couleur | 61:15 | Pays-Bas | Allemagne | 2020

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

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

Petrus VAN STADEN, Malebogo, Tebogo
Heaven Reaches Down to Earth
petrus van staden , Malebogo, Tebogo
Heaven Reaches Down to Earth
Fiction | 4k | couleur | 10:0 | Afrique du sud | 2020

After Tau comes to a realization about their sexuality, it sets in motion a cascade of thoughts and emotions in Tumelo - nothing will ever be the same between them.

Tebogo Malebogo and Petrus van Staden are a filmmaking duo originally from South Africa.They are driven to tell stories in various shapes that explore and discuss the beautifully complicated and diverse world that we live in.

lesia vasylchenko
Fiction expérimentale | mov | couleur et n&b | 15:46 | Ukraine | Norvège | 2020

"ZaraZ" is a sci-fi video essay within the framework of experimental cinema, chronopolitics, and philosophy. In the post-communist era, after the fall of the Berlin Wall and the collapse of the Soviet Union, discourses of the end of history emerged. Instead of past-present-future structure, we are witnessing a temporal shift into the Now, which is continuously melting into the future present. “ZaraZ” reflects on the consequences of acceleration and alienation in modern societies. It portrays brutalist architecture sites, built to implement a “promise” for a brighter future into public spaces; and urban landscapes damaged by industrialisation and economic growth. Nostalgia for the future is expressed in disintegrating architectural forms of public and private spaces, and the possibility of multiple presents emerging out of multiple pasts. "ZaraZ" investigates speculative temporalities of the city and explore relations between time and architecture; virtual, real, and actual; current modes of how we instrumentalize history and memory. In a world of a single urban temporal synchronicity, the question remains: What Times are responsible for the production of imagined futures?

Lesia Vasylchenko is a Kyiv-born artist based in Oslo. Her practice spans between installation, moving image and photography. Vasylchenko is a co-curator of the artist-run gallery space Podium and a founder of STRUKTURA. Time, a cross-disciplinary initiative for research and practice within the framework of visual arts, media archaeology, literature, and philosophy. She holds a degree in Journalism from the Taras Shevchenko National University of Kyiv and Fine Arts from Oslo National Academy of the Arts. Her works have been shown among others at Haugar Art Museum; Tenthaus Oslo; Berlin Transnational Queer Underground; The Wrong New Digital Art Biennale; Korea Queer Film Festival.

Mona VATAMANU, Florin Tudor
Omnia Communia Deserta
mona vatamanu , Florin Tudor
Omnia Communia Deserta
Doc. expérimental | mp4 | couleur | 29:0 | Roumanie | 2020

The film investigates, analyses the theme of efficient modernity whose last consequence will be extinction, Ovidiu Tichindeleanu's speech having as background, motive, the post-apocalyptic present of the Omnia Hall, which thus acquires the meaning of a warning: we are again at the end of a road, that of the cult of production.

Mona V?t?manu (b. 1968) and Florin Tudor (b. 1974) work and live in Bucure?ti. Their practice consists of attentive observation and taking notice of material elements of reality. They often choose from it that which is ephemereal, small, marginal as dust, rust, fire, fluff from the tree’s seeds, soil. The work of the artists with such material can be a starting point for questioning social relations, technological and economic changes, political conflicts.

Vangjush VELLAHU
A Tool of Resistance
vangjush vellahu
A Tool of Resistance
Vidéo | hdv | couleur | 29:55 | Albanie | Allemagne | 2020

This two channel video installation is an introduction to what is happening in the West Bank, between Palestinians and the Israeli army. This video installation is designed to narrate the everyday reality of the Palestinians at large through the micro example of the city of Hebron and its resistance to the Israeli army. In order to be able to develop this narrative, the artist traveled to the region, where he came into contact with Human Rights Defenders, a local group who makes use of the camera and video footage as a tool of peaceful resistance. This video installation contains mostly footage filmed by the artist but includes also other archival materials, allowing this way an insight into the Palestinian history and reality. The work explores the role and nature of the camera and video especially in situations of conflicts and oppressions. This work is part of the ongoing series called "Fragments" that he has made, since 2015, in different territories affected by long years of frozen conflicts.

Vangjush Vellahu was born in 1987 in Pogradec, Albania and currently lives and works between Tirana and Berlin. In his work he is interested in travel as a medium to collect and tell stories. His works intertwine urban histories of entities that from an ideological and political stand point remain on the margins of recognition. In 2018 he published his first travelogue “Fragments I - Where stories cut across the land” that came along with his video solo show with the same title. His works have been exhibited, among others at: Times Art Center, Berlin, DE; Museu d´Història de Catalunya, Barcelona, ES; Museum of Modern and Contemporary Art, Rijeka, HR; Škuc Gallery, Ljubljana, SI; Hamburger Bahnhof, Berlin, DE; State Museum of Contemporary Art, Thessaloniki, GR; Museum of Contemporary Art, Acri, IT; National Gallery of Arts, Tirane, AL; National Historical Museum, Tirane, AL; National Gallery, Prague, CZ; etc.

bas verbruggen
Film expérimental | 4k | couleur | 17:45 | Belgique | 2020

In a deserted landscape where animals are affected by a distant rumble, a character emerges. Sinking deeper into the auditive world, sounds start to vibrate, time slowly loses its function and a storm rises. The character listens carefully as a dark tower seems to absorb his sonorous memories.

Bas Verbruggen (1997, Antwerp) started studying film at the KASK school of arts in Ghent, where he completed his master's degree in september 2020 with the film Environs. He is fascinated by absurd shapes in the everyday (Belgian) landscape, focuses on the experience of sound in cinema and usually makes his films individually and always from an audiovisual investigative point of view.

Matthieu VERDEIL, Dominique POUPARDIN, Jérémie VAN QUYNH
Dans l’armure d’Abraham
matthieu verdeil , Dominique POUPARDIN, Jérémie VAN QUYNH
Dans l’armure d’Abraham
Film expérimental | mov | couleur | 60:0 | France | 2020

Ve?tu d’une lourde armure me?die?vale, Abraham traverse la Bretagne a? pied, tel un Don Quichotte du XXIe sie?cle. Chemi- nant a? travers champs et fore?ts, villes et villages, cet anachronique et farfelu chevalier suscite l’e?bahissement de ceux qui croisent sa route. Il est accompagne? dans son pe?riple par le re?alisateur, son Sancho Panza, devant et derrie?re la ca- me?ra. Ensemble, ils vagabondent, acceptent le gi?te et le couvert qui leur sont offerts, ou bivouaquent sous les e?toiles. Peu a? peu, Abraham perd pied. Son armure devient sa Dulcine?e. Absorbe? par son œuvre, l’artiste s’efface finalement derrie?re le personnage qu’il a cre?e?. Seul reste un chevalier errant menant une que?te insense?e.

Depuis 1997, Matthieu Verdeil travaille avec de nombreuses socie?te?s de production pour la te?le?vision, la communication, les institutions et le web. Principalement en tant que chef-ope?rateur de prise de vue, mais e?galement en re?alisation et en montage. Son expe?rience est tre?s varie?es avec tous types de prestations, des tre?s gros e?ve?nements en direct (e?lection du Pape a? Rome en 2013) jusqu’au reportage seul en terre inconnues (Tour cycliste du Burkina Faso), en passant par les magazines te?le?, le documentaire, la communication culturelle, institutionnelle ou corporate... Son domaine de pre?dilection est le secteur culturel et artistique. Il a re?alise? des films de commande pour le MuCEM, la Friche Belle de Mai, le Centre National des Arts Plastiques, KLAP-maison pour la danse, le Palais de Tokyo, le CIRVA centre international de recherche sur le verre et les arts plastiques...

Michael VIENNE
michael vienne
Fiction expérimentale | 4k | couleur | 9:0 | Autriche | 2020

A strange pandemic / A stranded science fiction writer / A sequence haunted by lucid dreams, gentle speculations, and voices yet inaudible in the air.

Michael Vienne is a visual artist and experimental filmmaker based in Vienna. His work has been exhibited and projected internationally.

Viet VU
An Act Of Affection
viet vu
An Act Of Affection
Documentaire | mp4 | couleur | 16:0 | Viet nam | Portugal | 2020

While making a portrait of a single gay man in Lisbon, a filmmaker offers his character a little gift from the bottom of his heart. Not only capturing beautiful interactions between two individuals through a first-person perspective camera, this is also a film on the act of filming.

Viet Vu (Quang Trung Pham) used to be a film critic before breaking into filmmaking with his debut short of “Ant-Man”, 2018. The film won him “Purin Award for The Most Promising Filmmaker from South East Asia”. He has since then completed a series of shorts on memory, time and internal decolonization. His works have been shown at Locarno, Rotterdam, Tampere, Singapore among other film festivals. At present, Viet is finishing DOC NOMADS, his master program of documentary film directing across three different cities of Europe – Lisbon (Portugal), Budapest (Hungary) and Brussels (Belgium).

Matthijs VUIJK, Straub Sammie
What do I see when I see me
matthijs vuijk , Straub Sammie
What do I see when I see me
Doc. expérimental | mp4 | couleur | 3:23 | Pays-Bas | Afrique du sud | 2020

A young woman interacts with her own cyborg self. Freed from flesh and thoughts in cyberspace, the digital body extends the movements and expressions of her organic body. In this way, the young woman escapes earthly conventions around the female body.

Sammie Straub (1994, NL) is a multidisciplinary artist born and raised in Amsterdam. Sammie’s interests lie in visual culture, philosophy and music. In her visual works, performances and installations she looks for (fashion)aesthetics amidst societal political chaos and distractions. Her works contain elements of social criticism, styling, art-direction, music and graphic design. In her musical works Sammie has a preference for electronic music; breaks, wave, EBM and techno, transgressing boundaries of musical genres just like her origin transcends colonially defined borders and nations. Sammie is currently studying photography at the Willem de Kooning Academy in Rotterdam and philosophy at the University of Amsterdam. Matthijs Vuijk (1995, NL) has been studying photography at the Royal Academy of the Arts in Ghent, Belgium. After doing an internship with Dutch Filmmaker Lara Verheijden, Matthijs moved to Johannesburg, South Africa. There Matthijs finished an Honours in Film&Television at the University of the Witwatersrand (WITS), and participated in a collaborative VR project between the Filmuniversität Babelsberg and WITS. Matthijs has edited on Lara's new film Coco (2020), received regional funding from the province of Zeeland for his new documentary and is currently involved in different cultural initiatives in Johannesburg and Amsterdam.

Coal Mine in the Canary
beny wagner
Coal Mine in the Canary
Doc. expérimental | mp4 | couleur | 18:34 | Allemagne | Royaume-Uni | 2020

An essay film told through the body, 'Coal Mine in the Canary' explores the work of John Scott Haldane, the late 19th century physiologist whose experiments with respiration in atmospheric extremes led him to put canaries in coal mines as early indicators of air toxicity. The film explores this historical technique as a form of environmental control, one that would ultimately shape the possibilities of exchange between organisms and their surroundings, determined as a series of regulated variables. In the canary, Haldane developed a new paradigm: to modify an organism is a form of environmental control because there is no border at which the organism begins and the environment ends.

Beny Wagner is an artist, filmmaker, researcher and writer. Working in moving image, text, installation and lectures, he constructs non-linear narratives situated within the ever shifting threshold of the human body. ? He has presented his work in festivals, exhibitions and conferences internationally including: Berlinale, International Film Festival Rotterdam, Eye Film Museum, Haus der Kulturen der Welt, Media Art Biennale WRO, 5th and 6th Moscow Biennale for Young Art, Moscow International Experimental Film Festival, Plato Ostrava, Künstlerhaus Bremen, Kunsthalle Amsterdam, Sonic Acts, Impakt Festival, Berlin Atonal, Venice Biennale, White Columns among many others. His work has been featured in Artforum, Spike Magazine Quarterly, Frieze Magazine, Kaleidoscope Press, Flash Art and Die Zeit. His writing has been published in Valiz and Sonic Acts Press among others.

patrick wallochny
Doc. expérimental | mov | couleur | 4:27 | Allemagne | 2020

The gaze in “attractions” is focused on the animals. Any human activity seems strange. It forces its way into the otherwise equable way of life at Gori Park, ultimately calling into question the way humans constantly take it for granted that they are above nature.

Patrick Wallochny, born in Düsseldorf in 1990, is a filmmaker and video artist. He works as a director, editor and producer and lives in Berlin. His short films and site-specific audio and video installations move between documentary and fiction and try to playfully explore the limits of the medium. They are in dialogue with the cinema as well as with other art forms and pop culture. His eyes are on places as well as on people. On humour as on melancholy.

Intimate Distances
phillip warnell
Intimate Distances
Doc. expérimental | 4k | couleur | 61:0 | Royaume-Uni | USA | 2020

On a street corner in Queens, New York, an elderly, white-haired woman hovers, apparently waiting or looking for something – then starts approaching passersby. Miked up close, but viewed – surveillance-style – from distant rooftops, she asks them philosophical questions about turning points in their lives, sometimes eliciting candidly revealing answers from people who seemingly need to talk. She’s also seen up close at street level, viewed by a shaky nearby camera. And intermittently we hear the affectless voiceover of an English male reading an account of a prison spell. What exactly are we seeing? A documentary of sorts? A fiction stripped of its expected signposts? The woman is real-life casting director Martha Wollner, but the film never makes it clear what her mission is, what she hopes to learn, and what her relation is to the distant speaker (who may also be the distant observer). Echoing Coppola’s THE CONVERSATION, as well as works by Phillip Warnell’s fellow British experimental directors John Smith and Chris Petit, this is an enigmatic, elusive piece. Yet, as the title suggests, those moments when Wollner connects with the interiority of perfect strangers makes this an alluringly, unexpectedly compassionate guerrilla foray into urban experience. (Jonathan Romney)

Phillip Warnell is an artist-filmmaker, a writer, and the director of the Visible Institute, for research in film and photography, at Kingston University, London. He produces film works and texts exploring a range of philosophical and poetic thematics, also exploring ideas on human-animal relations. His most recent film, The Flying Proletarian (2017), premiered at CPH:DOX, Copenhagen International Documentary Film Festival, in March 2017. During his fellowship, Warnell is addressing a series of interconnected questions on “animality-cinemality-criminality,” involving engagement with film professionals and researchers relative to screen-based roles and exploring the relationship among appearance, measurement, and typecasting. He is also developing script-based ideas for a planned feature-length film, currently in development, that investigates ideas on misobservation and apparitions of other life-worlds, accessing archival material to inform and incorporate into the project. Warnell’s film work has been exhibited extensively, including recent screenings at the ICA in London, KW Institute for Contemporary Art, in Berlin, and Tate Modern, in London, as well as in such prestigious film festivals as the Locarno Festival, the New York Film Festival, and the Viennale. Previous exhibitions have included at the Moderna galerija, in Ljubljana, Slovenia; Sharjah Biennial, in United Arab Emirates; and Wellcome Collection, in London. His film Ming of Harlem: Twenty One Storeys in the Air (2014) won the 2014 Georges de Beauregard International Prize at FID International Film Festival Marseille and the 2015 Universities SIC Award at IndieLisboa.

Nico Joana WEBER
Tropic Telecom
nico joana weber
Tropic Telecom
Vidéo expérimentale | 4k | couleur | 24:58 | Allemagne | France | 2020

Tropic Telecom reflects contemporary Paris in its hybrid post-colonial reality. The film develops from the Palais de la Porte Dorée, which opened in 1931 on the occasion of the Paris Colonial Exhibition. It is the only building of the exhibition that was preserved after the end of the event, located in the southeast of the city bordering on the Périphérique. Its architectural style presents itself as a synthesis of the formerly modern Art Déco, as well as freely interpreted elements of native art and architectural styles. A crocodile basin is to be found in the still accessible aquarium of the palace that was used to showcase fish from the tropical colonies. As the film proceeds, an albino alligator that the basin houses today, embarks on a surreal journey. It leads the viewer through places of French colonial and migration history, as well as large brutalist and post-modern housing estates on the outskirts of Paris that were built from 1970 onwards and which stand for the residential utopia of a postcolonial Paris. A structure of images emerges that situates the ongoing aesthetic, political and social negotiation processes in a polyphonic communicative field.

Nico Joana Weber (*1983 in Bonn) lives and works in Ludwigshafen am Rhein, Germany. She studied Fine Art and Art History at Goldsmiths College London and completed her postgraduate studies at the Academy of Media Arts Cologne in 2013. By means of different artistic media such as video, installation, photography and drawing, she explores the aesthetic and political characteristics of architecture and landscape in transcultural contexts. Weber's work is fuelled by an unsteady search for historical traces and cultural processes of transformation and appropriation that doesn't arrive at simplistic solutions but rather focuses on zones of ambivalence. Nico Joana Weber has received numerous grants and awards, most notably the Villa Romana Prize (2016) and the Bonn Art Award (2019). Selected exhibitions and festivals include: Kunstmuseum, Bonn (2020), Kunstverein Kärnten, Klagenfurt (2019), Goethe Institute Bulgaria, Sofia (2019), Artothek, Cologne (2018), Temporary Gallery, Cologne (2017), Museum unter Tage, Bochum (2017), Skulpturenmuseum Glaskasten Marl (2017), Villa Romana, Florence (2016), Goethe Institute, Paris (2016), Aesthetica Short Film Festival, York (2015), International Short Film Festival Oberhausen (2015).

Effi WEISS, Amir Borenstein
effi weiss , Amir Borenstein
Documentaire | 0 | couleur | 75:0 | Belgique | 2020

Joué magnifiquement par eux-mêmes et sans scénario, CHANCE raconte la tentative nocturne de quatre jeunes soudanais, demandeurs d’asile, de rejoindre l’Angleterre depuis la Belgique. Filmé entièrement dans la remorque d’un camion, ce docu-fiction est une rencontre rare, privilégiée et profondément humaine avec quatre individus et avec une réalité trop souvent invisible.

Effi Weiss (née en Israël, 1971) et Amir Borenstein (né en Israël, 1969) sont un duo d’artistes-cinéastes qui travaillent ensemble depuis 1999. Leur travail croise différentes disciplines comme la vidéo, les installations et des projets participatifs. Leurs œuvres sont diffusées dans des musées, des centres d’Art contemporains et festivals. En dehors de leurs projets communs, ils animent aussi des ateliers avec des publics de toutes origines. CHANCE est leur troisième long métrage.

Chi-yu WU
chi-yu wu
Vidéo | mov | couleur | 16:4 | Taiwan | 2019

The conception of the work is based largely on prehistoric cave paintings on Sulawesi Island, as well as fossils and remains undiscovered or still undergoing excavation in East Asia, Southeast Asia and other regions. The creation of cave paintings marks the dawn of the intelligent creature discovering images for immersive experience. Species of different lineages can develop similar functions because of being in similar environments— what we call convergent evolution; different ethnicity groups, too, are able to develop consistent cognitive ability in similar spaces. As one of the oldest cave paintings, the painting at Leang-Leang cave had witnessed the beginning of consciousness, which happened across different locations in human history. It illustrates the common ground of humans and how they gradually evolve to share more similarities.

Wu Chi-Yu born in 1986, is an artist based in Taipei, Taiwan. Chi-Yu’s work has long been focusing on re-establishing the connections among humans, things, animals, and the ruined world left by technic capitalism. His practice revolves around the moving image, looking for contemporary narratives in lost memory through the reproducing of oral history and myths. He is also involved in different collaboration projects of installation, video installation, and performance.   The exhibitions he once participated include: The Ouroboros (TheCube Project Space, Taipei/ Casino Luxembourg, 2019); Serious Games (HOW Art Museum, Shanghai, 2019); 12th Shanghai Biennale: Proregress (Power Station of Art, Shanghai, 2018); Trans-Justice (MOCA, Taipei, 2018); Crush (Para Site, Hong Kong, 2018); Taipei Biennial (Taipei Fine Arts Museum, Taipei, 2016); The 2nd CAFAM Future Exhibition (CAFA Art Museum, Beijing 2015). His films have been screened at Short Film Program-Art Basel Hong Kong (2019); Beijing International Short Film Festival (2017); EXiS Festival (Seoul, 2017); Arkipel Festival (Jakarta, 2016). He had a solo show: 91 Square Meters of Time (TKG+ Project, Taipei, 2017) and was a resident artist at Rijksakademie van beeldende kunsten (2014-2015).