This award winning work creates discursive situations to facilitate in-depth and contemplative observation of the environmental decay of transitive sites in India, using media intervention and interactivity. The project aims to delineate the processes of decay and destruction of pastoral landscapes in the developing economies and societies. Taking point-of-departure from a perspective in the personal experience of forgetting and loss, being a native of the area myself (the artist), this large-scale project intends to reflect upon the interpenetration between locative and global cultures, decay in environmental and climatic integrity, disappearance of indigenous traditions and lapses in collective memory within the landscapes, by production and showcasing of the inter-media installation work. With a media anthropological approach, the project frames the gradual transfiguration with the help of media convergence, staging augmented and site-specific interpenetration between sound, video and still images. The work has been developed through a meticulous collection of audiovisual materials from various Indian locations in extensive fieldworks supported by Prince Claus Fund Amsterdam. This collection has been forming a digital archive expended for realizing the work.
Budhaditya Chattopadhyay is an Indian-born sound/media artist, researcher, writer and theorist, currently based in Europe. Chattopadhyay’s work questions the materiality, site-specificity and object-hood of sound, and addresses the aspects of contingency, contemplation, mindfulness and transcendence inherent in listening. His artistic practice intends to shift the emphasis from “object” to “situation” in the realm of sound. His sound-works are published by Gruenrekorder (Germany) and Touch (UK). Chattopadhyay is a Charles Wallace scholar, Prince Claus grantee and Falling Walls fellow, and has received several residencies and international awards, notably a First Prize in Computer and Electronic Music category of Computer Space festival 2014, Sofia, and an Honorary Mention at PRIX Ars Electronica 2011, Linz. Appearing in numerous exhibitions, concerts, conferences and festivals, Chattopadhyay’s sound and video works have been exhibited, performed or presented widely in Europe and Asia. Chattopadhyay has graduated from India’s national film school, specializing in sound, completed a Master of Arts degree in new media/sound art from Aarhus University, Denmark, and obtained a PhD degree in sound studies involving practice-based artistic research from Leiden University, The Netherlands.
This is a story of PEW （penis-eating worm), this is a herstory of all humans.
Chen Xi was born in Wuhan, China (1985), graduated from Jiangnan University(BA) in 2008, then graduated from ECNU(MA) in 2012. He currently works and lives in Beijing. Since 2013, Chen Xi’s artworks have included various medium, such as painting, video, animation, photography and onsite project.
Latency / Contemplation 1
Latency / Contemplation 1
In this video, Cho transforms the sea shore into a visual poem. His inner landscapes and his perception of the outer world come together in an abstract meditation about space and place, light, time and traveling. The video consists of heavily electronic distorted images which result in mainly horizontal lines and colour bars which are reminiscent of the horizontal lines of VHS video. At the same time, Cho pushes the image to the edge of abstraction through which its relation to painting comes to the fore; through the emphasis on the flatness of the image this work reminds us of colour field painting (Mark Rothko). The soundtrack consists of manipulated audio of sea sound, like waves and wind, also pushing to abstraction. To this `noise` a minimal, poetic piano sound is added which brings a melancholic sphere to the work. The montage is hardly felt since cuts seem to be absent: everything seems to be metamorphosed into one another. Through the contemplative quality of the sound as well as the image, this video becomes a wondrous experience.
Seoungho Cho was born in 1959 in S.Korea. He received his M.A. from New York Univ. He received a Rockefeller Foundation Fellowship. Cho`s solo exhibitions have included The Museum of Modern Art, NY, Montevideo, Amsterdam and LeeUm Museum of Modern Art, Seoul. His installations have been selected for the permanent collection at such as the Museum of Modern Art, NY; LeeUm Museum of Modern Art, Korea and at the Los Angeles International Airport. In 2012, Cho`s Buoy (2008) was presented as a massive multi-channel installation in Times Square NY, a collaboration between EAI and the Times Square Alliance. Cho`s tapes have been broadcast nationally and internationally. He lives in New York.
By the time the zoo is closing, detained animals feeling frustrated and confused. The only thing they can do is retaining a slight degree of consciousness, waiting for the changing of time. `Demos` is a lyrical assemblage of the observational footage collecting from various places. The film is an attempt to depict the gloom, the oppression and the surreal reality under the military regime since the coup in 2014.
Danaya Chulphuthiphong lives and works in Bangkok, Thailand. She holds a BA in Archaeology and MFA in Visual Arts. She started her career as a documentary photographer for a newspaper and a magazine. She is interested in lens-based arts and works with both still and moving images. In 2014, Danaya made her first short film `Night Watch` which has been selected for participation in the International Competition of the 61st International Short Film Festival Oberhausen, Experimenta India and won the Special Jury Prize from Fronteira, The International Documentary and Experimental Film Festival. The film was also screened as part of the 28th Images Festival, Hors Pistes Tokyo, Arkipel, KLEX, Pori Film Festival and the 26th Singapore International Film Festival. In 2016, Danaya released her second short film, `Demos` which has been selected for participation in Southeast Asian Short Film Competition of the 27th Singapore International Film Festival and won the BACC award from the 20th Thai Short Film and Video Festival.
Nada: Act I
Nada: Act I
Jasmina Cibic’s film trilogy NADA draws parallels between the construction of national culture and its use-value for political aims. The first chapter Nada: Act I fans out from a biographical thread of architect and artist Vjenceslav Richter, one of the key figures in charge of the visual representation of the Yugoslav state and his first and unrealized design for the Yugoslav Pavilion at the 1958 EXPO in Brussels. Cibic traced this architecture through archives and recreated the pavilion’s initial design as a musical instrument. In the film, a violinist constructs and continually tunes the instrument according to the Miraculous Mandarin, a musical composition for ballet written by Béla Bartók. This artwork was the one chosen to represent Yugoslavia at the most important dates of the pavilion itself – its National Days – whose role was to maximise the attention and the number of visitors. Paradoxically, this work was since its conception in 1917 marred by state censorship due to its explicit subject matter: a plot of a prostitute, her pimps and the client – roles which Cibic recasts in the following chapters of Nada into characters of Mother Nation, politicians and the artist in charge of national presentation.
Jasmina Cibic works in performance, instalation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. She represented Slovenia at the 55th Venice Biennial with the project “For Our Economy and Culture”. Her recent solo exhibitions include Esker Foundation Calgary, Museum of Contemporary Art Zagreb, Museum of Contemporary Art Belgrade, Museum of Contemporary Art Vojvodina, MGLC Ljubljana and Ludwig Museum Budapest along with group exhibitions at Hessel Museum, Pera Museum Istanbul, Museum of Modern Art Ljubljana, La Panacee Montpellier, City Gallery Wellington, MSUM+ Ljubljana, MNHA Luxembourg. Her films have recently been screened at Biennial of Moving Image Buenos Aires, Pula Film Festival, HKW Berlin, CCA Laznia, Les Rencontres Internationales Paris, Dokfest Kassel and Copenhagen International Documentary Festival. Cibic has been nominated for the Jarman Award (2016), Golden Cube Award (Dokfest 2016) and won the MAC International Ulster Bank Award (2016) and best International Artist at the Kunsthalle Charlottenburg(2016). Cibic’s upcoming solo exhibitions include NN Contemporary, Crawford Art Gallery Cork, Aarhus 2017, BALTIC Gateshead, Krefeld Museum and DHC Art Montreal.
Evil.66.2 The second video in a new trilogy within my larger "Evil”Series featuring selected quotes from the books of a well-known U.S. presidential candidate on a variety of subjects: from his rhetorical tactics, to his political opponents, to his views on borders, immigration, and other issues. Is all this a common tale of seduction and manipulation (or is it the self-deception of his supporters)?
Tony Cokes Bio Tony Cokes makes video and installation projects that reframe appropriated texts. The media works reflect upon capitalism, subjectivity, knowledge and pleasure. Sound always functions in his practice as a crucial, intertextual element, complicating minimal visuals. His works have been exhibited internationally at venues including Centre Georges Pompidou, Whitney Museum, Museum of Modern Art (NYC), SF MOMA, ZKM, Karlsruhe, Germany, and La Cinémathèque Française. Cokes has received fellowships from The Guggenheim Foundation, Rockefeller Foundation, and Getty Research Institute. He resides in Providence, RI where he is a Professor in the Department of Modern Culture and Media at Brown University.
Eyrie documents a visit to commemorative building built by the communist party in Bulgaria. This was a space for a body of people to gather, it is now empty and abandoned. The performance at the center of the work could be seen as suggestive of this lost commonality, and/or repurposing it as a space for speculation and play. Stephen Connolly
Stephen Connolly is a filmmaker
In September the child Frederico learns from his teacher that if the heart stops, people die. In October his mother notices a panorama of changing seasons and horizons. Still lives in motion in a small town.
Diogo Costa Amarante was born in Portugal where he graduated in Law. His first film “Jumate/Jumate” was selected in several international film festivals and was awarded best film in the Documentamadrid08 / Spain, Golden boll film festival / Turkey, and Reykjavik IFF. In 2009, Diogo participated in the Berlinale Talent Campus and directed his second documentary film “In January, perhaps” which was also selected in many festivals and won Jury Prize at the Documentamadrid09 and a special mention of the Jury in the SalinaDocFest 09 / Italy. “The White Roses”, Diogo’s Pre-thesis film, had its world premiere at the 64th Berlin International Film Festival in the Official Shorts Competition and was awarded in the Festival Européen du Film Court de Brest . Currently Diogo finished as a Fulbright Scholar his Master of Fine Arts at the New York University / Tisch School of the Arts and was funded to develop his first feature script, “Migrar pelas Sombras”.
Buried deep underground in an abandoned Russian broadcasting station located in the forest of Vilnius, Lithuania, an actor performs the role of a Red Army General to teach free-market values to a group of unemployed teenagers by subjecting them to an antagonistic history lesson on the Soviet occupation of the Baltic States.
Mike Crane is an artist raised in Bogotá, Colombia and currently based in New York. He is a graduate of the Cooper Union School of Art and studied at Hunter CUNY. Previous exhibitions include The Bass Museum of Art (Miami), Center for Contemporary Art Derry (Northern Ireland), FridayExit (Austria), Dublin City Gallery The Hugh Lane (Ireland), Chashama (New York), Carnegie International Lending Library of Transformazium (Pittsburg), The Banff Centre (Canada), and Silent Green Kulturquartier (Berlin). His work was most recently exhibited at the Bronx Museum Biennial, the Berlinale Forum Expanded and the Haus der Kulturen der Welt, Berlin. He was awarded the Brenda and Jamie Mackie Fellowship for Visual Arts at the Banff Centre, and the Foundation for Contemporary Arts Emergency Grant for his film installation at Chetham`s Library in Manchester, UK. In 2015, Crane was an artist in residence at the Triangle Arts Association in Brooklyn and the Rupert Centre in Vilnius, Lithuania. He is a recipient of a 2015 Creative Capital visual arts grant and is an artist in residence at the 2016-2017 Smack Mellon studio program in Brooklyn, NY.
DIAMONDS 5 min langage: anglais avec sst anglais Ghana Format: 4:3 PAL Qui est responsable d’un viol? La victime ou le violeur? La victime est-elle responsable d’avoir été au mauvais endroit au mauvais moment? Et ne pas avoir été vêtu(e) autrement ? Les diamants doivent être mis à l’abri et protégés des voleurs, explique l’éducateur dans ce film. Les éducateurs aident-ils ainsi les jeunes filles auxquelles ils s’adressent à se défendre et être plus fortes, ou manipulent-ils leurs possibles sentiments de culpabilité? Islamic and Christian Community À Bolgatanga au Ghana, Séminaire d’éducation de santé sexuelle Un film de Eléonore de Montesquiou Merci à to DeerHunter et Brent Klinkum
Eléonore de Montesquiou est née en 1970 à Paris, elle vit à Berlin et Tallinn. Son travail est basé sur une approche documentaire de la réalité, films (vidéos) dessins et textes. Ses collaborateurs sont à ce jour les compositeurs Peter Zinovieff, Phonic Psychomimesis, Helena Tulve, Tanja Kozlova, Lembe Lokk et Marcel Türkowsky; et les graphistes Aadam Kaarma, Heidi Sutterlütty, Ethan Burkhard et Jose Soares de Albergheria. Depuis 2007, Eléonore de Montesquiou mène un projet à long terme à la frontière Russie-Estonie „NA GRANE“ composé de films et publications. En 2005-2006, elle réalise ATOM CITIES en Estonie, films, dessins, publications et une pièce sonore réalisée pour les ACR de France culture, sur l’ex-ville soviétique close pour recherche nucléaire de Sillamäe, une ville habitée exclusivement par des Russes en Estonie. Lauréate de la villa Médicis Hors les Murs 2006, elle filme des femmes qui prennent régulièrement le train entre la Pologne et l’Allemagne pour aller travailler à Berlin. En 2008-2009, elle est résidente à Moscou (Senat Stipendium für Kulturaustausch). Depuis 2010, elle filme à la frontière entre l’Estonie et la Russie: Kreenholm (2010), Remember (2011), Notes (2015), Olga&Olga (2015).
Volva est le nom que Johannes Kepler a donné à la Terre, vue de l’espace, dans son texte « Somnium » considéré comme le premier ouvrage de science-fiction . Les observatoires étudient un passé lointain, suspendus dans un temps indéterminé, sans à peine faire attention à leur entourage. Centré sur l’observatoire du Pic du Midi, tourné en 16mm, Volva réfléchit aux rapports espace-temps qui s’établissent entre architecture, science et paysage. Suivant une chronologie solaire, les machines filmées tentent de capter un environnement proche ainsi qu’une série d’ondes semblant provenir des montagnes. L’absence de forme humaine laisse penser à un lieu contrôlé artificiellement. Les plans, entre intérieurs et extérieurs, conduisent le lieux à se confronter à un espace-temps parallèle d’où il semblerait provenir. Un nouveau territoire apparait alors entre l’architecture et le paysage qui l’entoure. Le film est construit dans le possible mouvement de cet espace qui se déplacerait dans divers temps à la fois, passé - présent - futur, et divers lieu, hors et sur Terre. En associant des représentations du réel, Volva vient explorer le rôle de l’image dans la construction du paysage contemporain.
«Transformant la recherche en une exploration du territoire à la première personne, Édouard Decam bâtit une méthodologie du vécu (…) le voyage est lié à un enracinement transitoire dans ces lieux où l`architecture est la partie essentielle d’un environnement qui ne peut être compris sans elle et où l’on a besoin du temps nécessaire pour comprendre l`espace.» Sonia Fernández Pan Édouard Decam est architecte de formation. Il collabore dans diverses agences entre la France et l’Espagne avant de se consacrer exclusivement à sa pratique artistique. En 2006 il est lauréat de la bourse de la Fondation EDF pour les jeunes architectes et réalise le projet photographique « Landscape scale » qui marquera la direction de ses futures recherches. Ses travaux, entre photographies, volumes construits et films, questionnent l’architecture, la science et le paysage. Ses recherches servent à construire la part impalpable de notre relation au naturel. Il s’inscrit dans une démarche d’identification des limites, des zones de contact entre l’espace et le temps, qui constituent des territoires. Aide à la création, résident de la Casa de Velázquez puis du Matadero Madrid, ses travaux ont été exposés en Europe et aux Etats-Unis. Il vit et travaille actuellement entre Bordeaux et Barcelone.
A Glimpse of Common Territory
A Glimpse of Common Territory
By exploring representation of time, movement, fact and fiction, `A Glimpse of Common Territory` tells of the unsettling distance between what we see, what we assume and what we know. Two aristocratic characters from an 1827 sci-fi novel, "The Mummy: a Tale of the Twenty Second Century", are invoked through the words of their author. We see them overlooking the landscape from an open platform within an uncanny architectural anomaly, a 127 metre cast concrete building in the centre of a housing estate. Together they confront a crisis, their new found awareness that what they perceive, see and control are completely fictitious. Though their negotiations are precarious they reach an understanding about how they can retain a semblance of control.
Deignan has exhibited her work in over 100 exhibitions, screenings and film festivals including: `New Work UK - Trust Yourself`, Whitechapel Gallery, London; `Europart - New Contemporary Art from Europe`, Vienna; `Terror and the Sublime: Art and Politics in an Age of Anxiety`, Crawford Art Gallery, Cork; `transmediale.08`, House of Cultures, Berlin; `Les Rencontres Internationale`, Gaîté Lyrique, Paris; Cork International Film Festival; `This Fanciful Digression`, CAN, Neuchatel, Switzerland; `Black Box Programme` at the Edinburgh Film Festival. Michelle Deignan`s moving image work is distributed by LUX.
Dark Utopia 2
Dark Utopia 2
This is a piece of works done according to my poem written in early 2014 (the following is the content). Letting every sentence of the poem burn at night at someplace outside the Fifth Ring Expressway, including the crossroads, the entrance to the village, the dam, the end of the roads, the demolition ruins, and the uninhabited villages…The poem is filled with plaint, depression, and hopelessness, burning at the places outside the Fifth Ring Expressway where the migrant workers live, the so-called antizens agglomeration area. In the daytime, the places are so noisy with tumultuous crowds in a harsh, dirty restaurants, inferior buildings, and frequent crimes. When Beijing, the great city, is expanding itself, this is a corner that might be easily forgotten. There are always many trucks carrying sandy soil and cement coming and going, for everything there is in a temporary and rough and mobile state, waiting for demolition at any time. The plaintive sentences are burnt in the fire, of some romance. However, the fire has the power to transform things: it burns the old things, but along with the burning, the seriousness and solemnity of the images and sounds of the poem are sublimated. In the darkness, these burnt sentences are not only whoops of one after another, but also the numerous sparks that have been devoured by the big city. They remind us of the A Single Spark Can Start a Prairie Fire, the works of great men.(writen by Deng Dafei)
DENG Dafei (b. 1975, Jinzhou, Liaoning Province, China) and HE Hai (b. 1974, Zhengzhou, Henan) currently live in Beijing, China and are co-collaborators under the name The Utopia Group. Using residencies as their primary vehicle to create artworks together, their yearlong project Family Museum, in 2008, at the Zendai Art Museum, Shanghai practiced the concept of ‘art venue outside of the gallery system’ and earned them much acclaim. DENG Dafei received an MFA in 2005 from the China Academy of Fine Art, Beijing, China and a BA in Art Education from Northeast Normal University, Changchun, Jilin, China. He was given the Shenzhou 19 Astronaut Award at the VIDEO Beijing Film Academy Multi-Media Festival and The Invisible Sword Award at the Yokohama Media Art Festival. He has shown in numerous exhibitions including: In Interaction, Yokohama Media Art Festival, 2007; 2nd Doland Exhibition of Young Artists, Doland Art Museum, Shanghai, 2006; Opening the Door and Seeing the Luck: International Hangzhou Contemporary Art Exhibition, Beicangmen Art Center, Wuxi, China, 2006; Long March Capital, Long March Art Space, Beijing, 2006; Fortune Video, Common Place, Hangzhou, China, 2006; Rule and Possible, Zhejiang Province Museum, Hangzhou, China, 2005; Seeing inside from Physical Body: Chinese Performance Art Document, Macao, 2005; Launch, Long March Art Space, Beijing, China, 2005; OBSESSION – Turkey Video Festival, X Gallery, Istanbul, Turkey, 2005; Follow Me: Chinese Contemporary Art Exhibition, Mori Museum, Tokyo, Japan, 2005; Transparent Box, SOHO, Beijing, 2005; Double Reading, Directions Art Gallery, Hangzhou, China, 2005. HE Hai received an MFA in Fine Art from Donghua University, Shanghai, a BA in Graphic Design from the Beijing Institute of Fashion Technology, as well as MA and BA degrees in Visual Art from the University of Marc Bloch, France where he is currently a Doctoral Candidate. He won the Annual Prize for the Best Exhibition in 2006 at the Looking up Luck show. He has shown in numerous exhibitions including: Shenzhen Mobile, Hangzhou Exhibition Center of Peace, Hangzhou, 2009; Two Points, Palazzo Frisacco, Tolmezzo, Italy, 2008; Family Museum Project, Shenzhen Free Art Creation Base, Shenzhen, 2008; Intrude: Art Life 366, ZenDai MOMA, Shanghai, 2008; Opening the Door and Seeing the Luck: International Hangzhou Contemporary Art Exhibition, Beicangmen Art Center, Wuxi, China, 2006; Looking up the Luck: International Hangzhou Contemporary Art Exhibition, Feng Shan Art Space, Hangzhou, 2006; Gift, Museum of Normal Institute of Hangzhou, Hangzhou, China, 2005; Body Measure, Place de Palait Universitaire, Strasbourg, France, 2005.
De les plus petites villes jusqu`á la grande, wide web: la promesse d`accomplissement est une omniprésente. Une excursion à l`Allemagne rurale et le noyau d`une société des désirs mondialisés.
Marlene Denningmann est un artiste cinéaste et vidéo basé à Hambourg et Berlin. Elle est co-fondateur de VETO Film.
Juchés sur un tabouret démesurément haut, des performeurs de stand-up comedy racontent des récits liés aux dents. À leurs pieds, imperturbable, une femme cyborg déclame le Manifeste Cyborg de Donna Haraway tandis qu’un musicien associe mélodies, noisemusic et sons issus de la préparation du projet conçu par Lili Reynaud Dewar. C’est la contre-culture américaine que l’artiste française convoque sur le plateau, et les luttes raciales, sociales et féministes s’entremêlent au fil des interventions des performeurs. Les images tournées à Memphis évoquent en creux la grève des éboueurs de 1968 (Sanitation Strike) et l’assassinat de Martin Luther King. Elles documentent aussi la conception des grillz pour les performeurs. Signe de revendication pour les rappeurs, incarnation de la résistance ou des inégalités sociales dans un pays au système de santé inique, les dents sont au cœur du projet et de l’espace scénographique. Les déchets qui emplissent les poubelles-dents racontent le processus collectif de maturation de la performance. Cette proposition joue des échelles et des formes en un va-et-vient entre les interventions performées, les images rapportées des États-Unis et les détails sculpturaux – jusqu’aux grillz arborés par les récitants. Lauréate du Prix Ricard pour l’art contemporain en 2013, Lili Reynaud Dewar développe une œuvre protéiforme reconnue sur la scène internationale. Son nouveau projet, DGMFS, s’inscrit dans le cadre du programme New Settings #6 de la Fondation d’entreprise Hermès qui en a soutenu la production et la diffusion au Théâtre Nanterre-Amandiers.
Le travail de Lili Reynaud-Dewar a fait l’objet de nombreuses expositions personnelles entre autres au New Museum à New York, à l’Index Fondation for Contemporary Arts à Stockholm, au Consortium de Dijon, au 21er Raum — Belvedere à Vienne, à Outpost à Norwich, au Magasin — Centre National d’Art Contemporain de Grenoble, à la kunsthalle Basel, à la Fondation Calder à New York (performance), à la Serpentine Cinema à Londres (performance), au FRAC Champagne-Ardenne à Reims. Elle a également participé à de nombreuses expositions collectives au Centre Pompidou, à la Fondation d’entreprise Ricard, au Palais de Tokyo et au Plateau à Paris, au CAPC de Bordeaux, au CAFAM à Pékin, au Logan Center for the Arts à Chicago, à la Kunsthalle Fribourg, à la Generali Foundation et au MAK à Vienne, au Witte de With à Rotterdam, dans le cadre de la Biennale de Lyon 2013 et de la 5ème Biennale de Berlin. Lili Reynaud-Dewar est lauréate du 15ème prix Fondation d’entreprise Ricard.
Authentic News of Invisible Things
Authentic News of Invisible Things
Authentic News of Invisible Things explores mechanisms of pretence and make-believe by focusing on military camouflage. Camouflage was first used at the end of the nineteenth century to help prevent armies from being detected by enemy forces. Colours and materials are used to conceal uniforms, vehicles and equipment and make them look like something else. Camouflage also extends to the construction of mock military equipment to confuse and deceive the enemy, generating a situation of alert. Examples of this include dummy tanks constructed using wooden structures or panels of chipboard, and then painted or decorated. Used already in the Second World War and to a lesser extent in WWI, these are still widespread: in the 1990s fibreglass models produced by an Italian company were successfully deployed in the Gulf War. Iveco Defence Vehicle (Iveco DV), part of the Fiat Group, headquartered in Bolzano, makes vehicles for military and civil defence purposes. The company receives orders directly from the Ministry of Defence to produce these vehicles and the production process and all related information is therefore covered by the Official Secrets Act. However once these vehicles are decommissioned they are no longer regarded as classified and can be used by the film industry, for marketing, entertainment and by private individuals. Indeed there are numerous collectors and theme parks in possession of working vehicles, also from foreign armies, that can be hired or tried out to get a taste of military life. It is therefore easy for the film industry to get hold of functioning, but unarmed vehicles, for use in battle scenes. The situation is therefore paradoxically subverted: real tanks enter the world of make-believe, while mock-ups are deployed in real-life conflict situations. Authentic News of Invisible Things sits on the dividing line between fact and fiction, with documentary-style scenes and a theatrical re-enactment. With the support of historic photographs and film footage from public and private collections, the video becomes a sort of short journey through the paradoxes of both history and contemporary life. One of the two key scenes of the video, which mingles performance art and cinema, has been shot in the historic city centre of Bolzano. A real-life, working tank drives through the city centre in broad daylight, with no prior warning to stage a paradox. Various cameramen hidden among the public filmed the action and people`s reactions. The other scene is a recreation of an archive photograph of a group of French civilians gathered around a wooden dummy tank made by the Germans and abandoned in Lille, the 20th of October 1918.
Rä di Martino (Rome, 1975) studied in London where she’s graduated with an MFA at the Slade School of Art and after spending a few years in New York she moved back to Italy. Her practice explores the passage of time, as well as the discrepancies that differentiate epic narratives from lived experiences. Her films have been shown at the Venice film Festival, Locarno film festival and Torino International Film Festivals amongst other and in Istitutions and museums such as: Moma-PS1, NY; Tate Modern, London; MCA Chicago; Museion, Bozen; Palazzo Grassi, Venice; Artists Space, New York. In 2014/15 she has participated to the Venice Film festival 2014, winning the SIAE award and Gillo Pontecorvo award, and a Nastro d’argento for best docufilm.
The Lost Object
The Lost Object
The Lost Object is the final video in a trilogy that examines the complex mechanisms of how we perceive the constructed nature of reality—and how this construction is performed, both in the realm our imagination and the one of film. As curator Cuauhtémoc Medina notes in a recent monograph dedicated to Diaz Morales’ work, the artist approaches film as a “factory of simulacra,” a conceptual thread that carries throughout his trilogy, which began with Insight (2012) and was followed by Suspension (2014). A slow, steady shot travels into the set of The Lost Object, accompanied by the din of a whirring film reel that seems to methodically introduce the viewer into a world of artifice: a soundstage containing the set of a curiously dated, yet nonetheless anonymous room. The scenario slowly begins to unravel, disarticulating both the language and apparatus of filmmaking. Following Jean Baudrillard’s notion that the world has disappeared behind its own representation and therefore its impossible to return to it, The Lost Object proposes a new world in which fiction and reality merge into one single element. In this universe, fiction is autonomous and auto-generates itself.
Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009
Those Shocking Shaking Days
Those Shocking Shaking Days
Peut-on, par les moyens du cinï¿½ma, figurer la guerre ? Cette question en ouvre mille autres, comme la guerre elle-mï¿½me porte mille masques. La guerre ici, c?est celle des Balkans dans les annï¿½es 1990 : une guerre Europï¿½enne, anachronique, dans laquelle les charniers et les camps de concentration contrastent avec l?arsenal high tech des conflits modernes, et surtout une guerre mï¿½diatisï¿½e dont les images insoutenables sont devenues banales dï¿½s que diffusï¿½es sur les ï¿½crans de tï¿½lï¿½vision. Analyse rebattue ? Certes non : pour redonner aux images et aux tï¿½moignages leur puissance perdue, mais aussi ï¿½ chacun ses responsabilitï¿½s dans un monde oï¿½ le mal n?est pas le seul fait des criminels de guerre, Selma Doborac, dans ce premier long-mï¿½trage, entreprend avec rigueur extrï¿½me de questionner toutes les maniï¿½res possibles de faire un film sur la guerre. Aux images de charnier se substituent celles, moins spectaculaires, filmï¿½es en vidï¿½o par les combattants eux-mï¿½mes, ou des plans tournï¿½s en 16mm montrant des maisons abandonnï¿½es, rendues ï¿½ la nature, appartenant aussi bien au prï¿½sent qu?au passï¿½. Dï¿½composant la fabrication de l?image de guerre par une suite de questions qui s?enchï¿½ssent sans fin, sous forme de sous-titres envahissants ou d?une voix-off aux faux airs de bulletin d?information, le narrateur dï¿½monte du mï¿½me coup les mï¿½canismes de perception, de comprï¿½hension, de mï¿½morialisation, et mï¿½me tout simplement de communication : remettant en cause jusqu?au langage cinï¿½matographique et transformant le film en une expï¿½rience unique, ï¿½ la fois thï¿½orique et autobiographique. (C.G.)
Selma Doborac est nÃ©e en 1982 en Bosnie-HerzÃ©govine. Elle reÃ§oit le prix Georges De Beauregard International et une mention spÃ©ciale pour le prix du premier film lors du FID Marseille 2016 pour cette oeuvre.
Blackface in a film about a secret war Experimental SA documentary challenges hidden memories of a faraway and forgotten fight Blackface and South Africa’s secret border war are exposed and explored in a poignant and troubling new film by Christo Doherty and Aryan Kaganof, which was shown in Cape Town and Joburg (South Africa) for the first time in June 2016. For 23 years from 1967 to 1989, young white men were conscripted to kill and die for apartheid during a long deadly war on the border of Namibia and Angola. In 2011, Doherty presented his ground-breaking BOS exhibition of constructed miniature models and blackfaced conscript portraits based on the rare photographs leaked from the conflict zone, often at great risk to the photographers at the time. Described by its directors as an ‘experimental psychic documentary’, Lamentation is a filmic response to Doherty`s BOS exhibition of physical suffering,traumatic memory and the border war. Doherty and Kaganof’s 18-minute film is a formal meditation on the traumatic memory of an illegal war in which tens of thousands of young white South African men were forced to participate and uncounted numbers of black Namibians were killed or injured. It is a contemporary attempt to explore one of the unexamined aspects of apartheid’s military misadventures, a conflict which killed and injured unknown numbers of civilians and well as soldiers and left a generation of men and women traumatised on both sides of the conflict. The film makers are not afraid to challenge and to shock. And they stress that the film is about memories and understanding for all participants and victims of the border war, not only SA soldiers. Lamentation’s delicate musical score, by leading South African composer Michael Blake, accompanies the camera’s slow movement up the uniformed chest of a solemn white model with painted black face, cutting to scan a miniature scene showing the mutilated corpse of a black Namibian civilian alongside an armoured SA military vehicle. Throughout the film, the disconcerting and shocking imagery is presented through an insistently choreographed interplay of cinematography and sound design. “We know this is difficult material, but interpreted and constructed images in art are an important way to reflect on a war which we don’t think South Africa has fully dealt with,” Doherty says. “Many white men, including myself, firmly shut the door on their army days, yet the SADF was a dark formative experience which we need to expose and understand.” White soldiers: black faces The filmmakers’ portrayal of white men in brown army uniform with black faces sparked controversy in South Africa, but the use of this make-up was a survival mechanism in the war. The blackface device in the film and in BOS is based on the combat body paint used as camouflage in the Angolan bush by apartheid’s soldiers, ironically known to the white troops as ‘black is beautiful’. “White faces painted black are currently taboo, but were very much part of a conscripted white soldier’s experience during South Africa’s war in Namibia and Angola,” Doherty says. The photographs in BOS, and now Lamentation, use re-enacted representations of this wartime practice, together with miniature reconstructions of scenes of battle and violence, to probe the psychological and ethical transformation of young men who joined in an involuntary battle against a hidden enemy. Beautiful music: origins of a difficult film The film emerged through Doherty and film-maker Aryan Kaganof`s mutual involvement with the hauntingly beautiful music by South African composer Michael Blake, Tombeau de Mosoeu Moerane(2011) for soprano birbyne and 5-track (or 2-track) tape. Written in homage to the little-known South African black composer Mosoeu Moerane, the film score features Lithuanian clarinet virtuoso Darius Klysis playing the birbyne, a simple keyless wooden wind instrument. The conclusion to the film is underscored by an extract from another composition by Michael Blake, his String Quartet No 1, performed by The Fitzwilliam String Quartet. Cinematographer Eran Tahor’s beautifully choreographed and achingly-slow camera movements match the cadences of Blake`s music and provide a powerful visual sense of the isolated and estranging experience of South Africa’s war on a distant and dangerous border. The editing and sound design by Aryan Kaganof bring together the music and the cinematography with strands of found audio, including a voice softly singing fragments of "Die Stem van Suid Afrika", the old National Anthem.
Christo Doherty Christo is Associate Professor of Digital Arts in the Wits School of Arts at Wits University. He is a photographer and artist with a keen interest in the visual representation of conflict and trauma. He was conscripted into the apartheid army at the age of 17. Aryan Kaganof Aryan Kaganof is a South African film maker, novelist, poet and fine artist. His extensive filmography includes Threnody for the Victims of Marikana, Decolonising Wits, Western 4.33, and Nicola’s First Orgasm. Aryan left SA aged 19 to avoid conscription into the apartheid army.
Un homme et une femme, qui vivent en marge de la société, se déplacent et se croisent entre espaces urbains et espaces naturels, à la recherche d’une liberté oubliée, en essayant péniblement de rester éveillés.
Tommaso Donati (Lugano, 1988 ) est un réalisateur et photographe. En 2013 il obtient un diplôme en cinema à l’ EICAR – The International Film School of Paris. Ces films et son œuvre photographique se concentrent sur la nature, le cycle de la vie et la relation entre homme et animal. Il partecipe à plusieurs festival comme le Festival du Film de Locarno, Torino Film Festival, Les Rencontres Internationales Paris/Berlin, FimmakerFest...