Catalogue 2015-2016
Parcourez ci-dessous le catalogue 2015-2016 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.
Jonathan CUMMINS
Out The Road (2011 - 2015) - Film 4
cummins Jonathan
Out The Road (2011 - 2015) - Film 4
Doc. expérimental | hdv | couleur | 37:29 | Irlande | 2015

‘Film 4’ is the final film in the video installation ‘Out the Road (2011 – 2015)’. The four-film installation is part of an extensive three-part film project by the artist that examines the impact of militant ideological belief on self, family and society through conversations since 2004 with members of the IRA and their families. The works aim to create discursive, and potentially agonistic, environments for civic and political discourse and democracy. The men who participated in previous works by the artist such as When I Leave These Landings (2004 – 2009) and Go Home (2010 – 2013), often refer to the impact that their decision to become involved in the IRA, and subsequent imprisonment, had on their families – ‘The women also did the time’, one of the men explained. Out the Road (2011 – 2014) examines the impact of involvement in a clandestine and paramilitary organisation on family through the perspectives of close family. In many cases, the partners were left to provide for themselves and young children in addition to having to offer ongoing support to partners who were in prison for as long as seventeen years; and who sometimes returned again, and again. On returning home, the men and their families faced significant challenges; relationships often floundered, old ways sometimes returned. The narratives of this four-part film-installation weave their way through loyalty, anger, stigma, hope, loss, pride, determination and longing. ‘Film 4’ addresses the inter-generational impact of involvement in political violence– in this case, the impact of a father’s involvement and imprisonment on his son.

Jonathan Cummins’ work is made for gallery and screen and has addressed themes including ideological belief, political violence and listening. Most notably through the film installations When I Leave These Landings 2004–2009, Go Home 2010–2013 and Out the Road 2012–2015. He has exhibited with Void, NCAD Gallery, Dublin City Gallery The Hugh Lane, Centre Culturel Irlandais Paris and at other locations and events. He has curated exhibitions for artists including Santiago Sierra, Eija-Liisa Ahtila, John Gerrard, Brian Maguire and Phil Collins. Jonathan graduated with an MFA in media art from UCLA where he also studied screenwriting. He studied sociology at Trinity College Dublin. He teaches with Belfast Art School.

Eden Without Eve
dana Levy
Eden Without Eve
Documentaire | hdv | couleur | 5:2 | Israel | USA | 2014

A short documentary about life in the Everglades National Park’s with it’s few residents. Living in the midst of a national park, they learn to exist with the the wild. As a woman filmmaker I observe these men almost like an anthropologist, observing how they interact with their surroundings. The only women that appear in the film are as still images in Lucky`s photographs, . He believes that women like having themselves put in a romantic, exotic, dangerous setting to be photographed.

Dana Levy was born in Tel Aviv and Lives and works in New York. She completed her Post graduate in Electronic Imaging at the Duncan of Jordanston College of Art Dundee University, Scotland, and holds a BA from Camberwell Art College London Awards include 2013 Beatrice Kolliner Young Artist Award from the Israel Museum, 2010 Dumbo Arts Festival best studio award, 2008 Young Israeli Artist Award, 2006 Hamburg Short Film festival jury award. Solo shows include at The Israel Museum, CCA Tel Aviv, Nicelle Beauchene Gallery New York . Her work has been screened at Tate London, Tribeca Film Festival,Oberhausen Film Festival and more. group shows include at the Biennial of Contemporary Art of Cartagena 2013, Bass Museum, Miami, Florida, Invisible Exports Gallery NYC , MOCA Cleveland, EVA International Bienniel , Israel Museum Jerusalem, Harn Museum of Art ,OK Contemporary Art, Linz Au and more Artist Residencies include AIRIE Everglades National Park, Wave Hill Workspace residency New, LMCC Workspace NYC, Le Havre/ New York. Regards croisés
Art Omi NY, I-park, Connecticut, Triangle Arts Association NY and more

Relatively Small Circles
de montesquiou Eleonore
Relatively Small Circles
Doc. expérimental | hdv | couleur et n&b | 9:35 | France | Russie | 2015

The film is a portrait or rather a monologue of Kyril Zinovieff. He was almost 100 years old when we discussed his feelings and opinions about Russia. Kyril left us last year, when he 105 years old, and it is about time that I share these momentsand thoughts of his. Kyril Zinovieff was born in 1910 in Saint Petersburg. 
He was a child during the Russian Revolution, when his family fled to Estonia and then moved to England. A British intelligence officer, Kyril Zinovieff wrote historical essays about Russia and translated Russian novels.

Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

Michelle DEIGNAN
Ways to Speculate
deignan Michelle
Ways to Speculate
Vidéo | hdv | couleur | 3:44 | Irlande | Royaume-Uni | 2014

Actual and virtual simulacra of historical European buildings, monuments and recreational spaces are presented in a tumultuous and fluctuating sonic landscape. This uncanny vision of past and present, depicting the instrumentalisation of places, is framed by two distinct voices. One languidly quotes lyrics from Kraftwerk’s Europe Endless (1977) the other earnestly performs excerpts from the introduction to the sci-fi novel, “The Mummy: A Tale of the Twenty Second Century” by Jane Webb Loudon (1827). Between them they proposes a progressive but unstable future where past dramas can easily be re-enacted.

Michelle Deignan (b. Dublin 1970) is an artist and filmmaker based in London. She has exhibited her work in over 60 national and international exhibitions, screenings and festivals including: `Public Space Ltd.`, Athens Media Art Festival;`transmediale`, House of Cultures, Berlin; `India Art Summit`, Delhi; The LUX and Cranford Collection Present: The World Turned Upside Down, Camden Arts Centre, London; `Terror and the Sublime: Art and Politics in an Age of Anxiety`, Crawford Art Gallery, Cork; `This Fanciful Digression`, CAN, Neuchatel, Switzerland. Michelle Deignan`s moving image work is distributed by LUX.

The Cusp of Your Credenza
delaney Anita
The Cusp of Your Credenza
Vidéo | 4k | couleur | 10:27 | Irlande | Royaume-Uni | 2015

The cusp of your credenza is a wandering speculation through various material encounters. A woman presents a number of scenarios that involve the ingestion or ejection of substances. From toenails to statuary, muffins to monuments, The Cusp of Your Credenza is looking for how we place ourselves bodily in a material world.

Working mainly in moving image, Anita Delaney graduated with BA Fine Art from IADT, Ireland in 2006 and MA Fine Art from Chelsea College, London in 2011. She has recently shown work at CCA, Glasgow, Whitechapel Gallery, London and the Royal Hibernian Academy, Dublin. In 2015 she was a recipient of an Arts Council Visual Arts Bursary Award which helps enable the production of new work.

diaz morales Sebastian
Vidéo | hdv | couleur | 12:0 | Argentine | Pays-Bas | 2015

The mind was dreaming. The world was its dream. Jorge Luis Borges It is in the nature of men to be absorbed by the future as if magnetized by timeless gravity, falling deeper and deeper into their own humanity. And if in Walter Benjamin’s angelus novus we picture his gaze of horror, shaken and frightened by what he sees as he gazes upon the past, the man in his fall evinces unperturbed passivity towards the future. As in a dream state, through that suspended fall the man’s mind is a container holding past, present and future in a single consciousness. It is in this construction, as in a dream, in his mind, where man envisions and shapes the world. Out there, there may be no more than void, and the fall may be eternal. Perhaps this is the reason why we recurrently dream about falling. Perhaps falling isn’t a dream at all—perhaps falling is what’s real.

Sebastian Diaz Morales was born in the Patagonian region of Argentina, in 1975 and studied both in Argentina at the Universidad del cine de Antín and at the Rijksakademie in Amsterdam. Morales’s video work blurs fiction and documentary genres and has been screened extensively at film festivals as well as in a gallery context. With its spliced footage and stills and jumbled observations, his work follows the tradition of Latin-American narrative film. Morales plays with the structure of narrative within his work, typically documenting and constructing journeys that explore social and political concerns. His work has been exhibited widely at many prominent venues—such as the Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Art in General, New York City; Ludwin Museum, Budapest; Bienale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; and the Calouste Gulbenkian Foundation, Lisbon—and is the permanent collections of the Centre Pompidou; Tate Modern; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon. In 2009 he was awarded with a Guggenheim Fellowship.

Alice DIOP
Vers la Tendresse
diop Alice
Vers la Tendresse
Documentaire | 4k | couleur | 39:0 | France | 2015

Vers la tendresse est un film documentaire qui explore l`intime du territoire masculin d’une cité de banlieue. En suivant l’errance d’une bande de jeunes hommes, nous arpentons un univers où les corps féminins ne sont plus que des silhouettes fantomatiques et virtuelles. Les déambulations des personnages nous mènent à l’intérieur de lieux quotidiens (salle de sport, hall d’immeuble, parking d’un centre commercial, appartement squatté) où nous traquerons la mise en scène de leur virilité ; tandis qu’en off des récits intimes dévoilent sans fard la part insoupçonnée de leurs histoires et de leurs personnalités.

Née en 1979 à Aulnay-sous-Bois (France), Alice Diop est tombée dans le documentaire malgré elle "c`est le fruit d`une heureuse rencontre avec un documentaire d`Eliane de Latour", rencontre qui lui permet de réaliser la force des messages pouvant être véhiculés dans les documentaires et la possibilité de croiser un regard sociologique à un traitement cinématographique. Alice s`intéresse à ceux que l`on ne voit pas, elle raconte la diversité culturelle. Pour Alice Diop, réaliser un bon documentaire consiste à "raconter des choses intelligentes en utilisant un biais artistique et humain. « Combattre les idées reçues pour faire avancer la société. » Alice Diop passe un DESS Image et société et intègre un atelier d`écriture à la Fémis. Réalisatrice pour L`Oeil et la Main (France 5), elle est auteure de documentaires. Alice Diop est lauréate de la Bourse "Auteur de documentaire" de la Fondation Jean-Luc Lagardère. Elle réalise en 2006 deux 52 minutes, Clichy pour l`exemple et La tour du monde. En 2007, Les sénégalaises et les sénégauloises. En 2011, son film La mort de Danton lui vaut plusieurs sélections en festivals et récompenses.

Daniel Nicolae DJAMO, Daniel Nicolae DJAMO
Territorial marking
djamo Daniel Nicolae , Daniel Nicolae DJAMO
Territorial marking
Vidéo | hdv | couleur | 19:44 | Roumanie | 2014

I’m marking the area surrounding the home of my mother in Nogent-sur-Vernisson (Loiret, France) with the flag of Romania. I marked a Romanian territory in France. My mother left the country when I was 20, being one of those who left in the first waves of immigration after the acceptance in the EU. She works as a doctor and has her own private business close to Montargis, France. The sound represents my mother’s reaction to a work I had planned to do in Paris, on July 14th, 2014. I wanted to take yellow graffiti spray and transform all of the French flags from Champs Elysee into Romanian ones.

Daniel Djamo (b.1987, Bucharest) is a young Romanian artist and film director, interested in personal and group histories and stories and in themes such as the national identity. He combines film with video art and installation with photography in order to evoke the past and to underline “the now.” Winner of the 2013 ESSL award CEE (offered by the ESSL museum), the 2013 Henkel Art.Award. Young artist prize CEE (given by mumok - Museum Moderner Kunst Stiftung Ludwig Wien - and KulturKontakt Austria) and the 2011 Grand Prize of the National University of Fine Arts from Bucharest. In 2015 he won Premio Combat’s Video art award at Museo Giovanni Fattori, in Livorno, Italy. Also, in 2015, Djamo won the Special Award for Documentary Film given by the Romanian Filmmakers Union, while also being nomineed for the 2015 Best Debut for a feature film (Opera Prima award) by the Romanian Filmmakers Union. Daniel had solo exhibitions in Glasgow (Briggait, 2014), Leipzig (KunstKraftWerk, 2015), Kassel (tokonoma, 2012), Vienna (Schleifmuhlgasse 12-14 Gallery, 2014), Bucharest (Anca Poterasu Gallery – 2014 and 2015, Victoria Art Gallery – 2013 and 2015), Timisoara (Calina Gallery, 2012) and Kuala Lumpur (WOLO and Wei-Ling Gallery, 2015).

Hidden in Plain Sight (Cache en Evidence)
dobai Sarah
Hidden in Plain Sight (Cache en Evidence)
Film expérimental | hdv | couleur | 14:41 | Royaume-Uni | 2015

Hidden in Plain Sight was commissioned by the Centre d’art et photographie de Lectoure. The film is based on fragments of Robert Bresson’s acclaimed film Pickpocket (1959). The work re-enacts short scenes from Bresson’s film in which the protagonists rehearse and perform the techniques that pickpockets use to avoid being caught. Accompanied by a voiced script written from the intimate perspective of one of the characters, the work was shot in the studio with a small group of non-professional actors. The film reflects on the position of the actor and the thief both of who rely on the arts of mimicry and deception. My interest in the figure of the pickpocket as represented by Bresson’s film was partly informed by about thinking about the banking industry and its routine use sleight of hand and misdirection to acquire what rightly belongs to us. Hidden in Plain Sight was originally conceived to be screened alongside a voice over performed live by an actor standing by the screen. It can also be shown as a projection work only where the voice over is made integral to the soundtrack of the film.

Sarah Dobai is an artist based in photography and film. Over recent years her production has also extended into publication and performance. The work engages with realism, artifice and illusion in relation to pictorial or cinematic conventions. Recent exhibitions and projects include the artist’s book The Overcoat, (Four Corners Books, Raven Row), The Vanishing Point in History, Centre d’art et photographie de Lectoure with Matthew Buckingham, Lina Selander and Eric Baudelaire. Her performance Study was commissioned by Whitechapel Art Gallery, London and Spike Island, Bristol. The film Twenty Second Hold will be shown next year at Bristol Museum and Art Gallery. The fixed frame 16mm work Nettlecombe showed both as an installation and projected work at multiples venues internationally including Tate Modern, FACT Liverpool, Site Gallery (Sheffield), Dundee Contemporary Arts, Kamloops Art Gallery, Canada, Kuandu Museum of Fine Art, Taipei. Other exhibitions include Theatres of the Real, Antwerp FotoMuseum, Darkside II, FotoMuseum Winterthur, Sarah Dobai: Photographs & Film works, Kettles Yard, and Above the City, Artist’s Space (solos), New York. Dobai completed a Masters in Fine Art at the University of British Columbia studying under Jeff wall and Mark Lewis. She lives and works in London.

Car Care
domin Lisa
Car Care
Doc. expérimental | 16mm | couleur et n&b | 11:45 | Allemagne | 2015

Cars were invented. Now they exist. We care about them. Therefor they drive. They still exist. I can see them. It’s like a glimpse to the past. Actually they don’t exist any more. This way of transport is still alive only with the help of enormous effort. Soon they won’t be here any more. The sound won’t be here. The smell won’t be here. But so far they are here, like dinosaur. There are different types. During the last century different cars were developed on different continents. Dreams got a shape. Or they are used pragmatical. Are these still the same old story of desires which are driving around then?

lives and works since 2012 in Dortmund, Germany before in Budapest, Istanbul and Berlin studies 2011-2012 „Meisterschülerin“ of Dörte Eißfeldt 2004–2009 Diploma Fine Arts, University of Art, Braunschweig, DE classes of Hannes Böhringer (Art Philosophy), Prof. Dörte Eißfeldt (photography and film), Guy Ben-Ner (Performance) 2007 visiting student at Moholy-Nagy University of Art and Design, Budapest, HU

Tommaso DONATI
donati Tommaso
Fiction expérimentale | hdv | couleur | 16:4 | Suisse | France | 2015

Une femme sdf partage sa vie avec son chien. Après sa fuite, elle s`égare sur les traces de l`animal, ;au même temps les gestes d`un gardien du musée de préhistoire se succèdent comme chaque jour. Unis par le même besoin primaire la femme, l`homme et l`animal se croisent et se déplacent à la recherche de quelque chose de plus élevé.

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.

Baba Dana Talks To The Wolves
doncheva Ralitsa
Baba Dana Talks To The Wolves
Doc. expérimental | 16mm | couleur | 10:38 | Bulgarie | Canada | 2015

Baba Dana Talks To The Wolves is an impressionistic portrait of Baba Dana, an 85 year-old Bulgarian woman who has chosen to spend her life in the mountains, away from people and cities. She lives in one of the oldest monasteries in Bulgaria, Zelenikovsky Monastery. Once known as a favorite place of repose for Bulgaria’s last Tzar, the place is now known as Baba Dana’s home.

Ralitsa Doncheva (b. 1987) is a Montréal-based filmmaker, originally from Bulgaria. A graduate from The Mel Hoppenheim School of Cinema in Montreal, she makes short films and video installations. Her recent works are focused between documentary and experimental cinema using analogue film techniques and photochemical processes.

doroszuk Wojtek
Doc. expérimental | hdv | couleur | 18:50 | Pologne | Congo (Brazzaville) | 2014

A man performs the same ritual every day: he cleans his shoes, dresses up in his shiny blue suit, wears his white gloves and grey hat, and spends his time walking around Brazzaville. His presence generates an absurd apparition in the urban chaos of the city, which reflects the imaginary produced by one of the up-most icons of pop culture.

Wojtek Doroszuk (b. 1980 in Poland) is a video artist based in Krakow, Poland and Rouen, France. He graduated from the Academy of Fine Arts in Kraków, Poland, Faculty of Painting, in 2006. His works have been shown in numerous solo and group shows in, among others, Centre for Contemporary Art Ujazdowski Castle (Warsaw), Zachęta National Gallery of Art (Warsaw), Museum of Modern Art (Warsaw), Location One (New York), Marina Abramovic Institute (San Francisco), The Stenersen Museum (Oslo), Joseph Tang Gallery (Paris) etc.

Southern for Pussy
drucker Zackary
Southern for Pussy
Fiction | hdv | couleur | 4:40 | USA | 2015

Over a long weekend, a mother and daughter discuss thinning vaginal walls and humiliate a handsome stranger.

Zackary Drucker is an independent artist, cultural producer, and trans woman who breaks down the way we think about gender, sexuality, and seeing. She has performed and exhibited her work internationally in museums, galleries, and film festivals including the Whitney Biennial 2014, MoMA PS1, Hammer Museum, Art Gallery of Ontario, MCA San Diego, and SF MoMA, among others. Drucker is an Emmy-nominated Producer for the docu-series This Is Me, as well as a Co-Producer on Golden Globe and Emmy-winning Transparent. She is a cast member on the E! docu-series I Am Cait.

Pavillon nocturne
dubuisson Julien
Pavillon nocturne
Vidéo | hdv | noir et blanc | 5:45 | France | 2015

Inspiré par la pièce d’Alberto Giacometti Le Palais à 4h du matin (1932), Pavillon nocturne est conçu comme un « petit théâtre ». Un théâtre dans lequel les personnages ont été remplacés par des formes, l’histoire par les relations qu’elles entretiennent entre elles, les récits qu’elles portent ainsi que leur inscription dans l’histoire de l’art. La sculpture (la combinaison de six formes emboîtées) est une structure construite et close sur elle-même, il n’y a pas d’espace entre les pièces aucun autre élément ne peut y entrer ni en sortir. A la fois «white cube» et «black box theater», cette forme à tiroirs se présente sous la forme d’une collection, un musée, une sépulture, une abstraction, une mort. Un enfant assis sur le sol assemble les pièces en plâtre d’un étrange jeu de construction. Dans ses mains des formes (un visage, une pierre, une forme géométrique, etc.) apparaissent et disparaissent progressivement par un système d’emboîtement rappelant le principe des poupées russes.

Julien Dubuisson est né en 1978 en France. Il est diplômé de l`École nationale supérieure des Beaux-arts de Paris en 2005 et participe depuis 2103 au programme de recherche 5/7de la Villa Arson. Son travail a fait l’objet de plusieurs expositions dont notamment : Basse déf au Palais de Tokyo, Paris (2009) ; Dynasty au Palais de Tokyo / musée d’Art moderne de la ville de Paris (2010) ; Parois au Parc culturel de Rentilly (2011) ; Agir dans ce paysage au Centre international d’Art et du Paysage de l`île de Vassivière (2013) ; Natura Lapsa au Confort Moderne (2014) ; aux bois dormants au musée départemental d’Art contemporain de Rochechouart (2014) ; L`Ordre des lucioles à la Fondation d`entreprise Ricard (2015) ; l’après midi à la Villa Arson (2015).

Sébastien DURANTÉ
Rendre à Cesar
durantÉ Sébastien
Rendre à Cesar
Fiction | hdv | couleur | 4:36 | France | 2013

4min36 – 2013 En 2007, les archéologues fouillent le fond du Rhône au bord des rives de la ville d’Arles découvrant un buste en marbre qu’ils identifient comme étant César. Face à cette découverte j’ai entrepris de sculpter mon propre buste dans le même matériau et de le jeter à l’eau, là ou les archéologues continuent les fouilles.

Chaque nouveau projet que j’entreprends nécessite que je m’immerge ; que j’interroge la façon de faire et de penser de tel ou tel artiste. J’aime ce challenge proche de celui du faussaire qui doit se plonger dans la technique et la vision d’un créateur. J’opère des déplacements à travers différents cadres (au sens Goffmanien), de façon à jouer avec le statut d’une œuvre d’art et celui de l’artiste. La transformation, la mise à mal d’un objet artistique, artisanal, archéologique permet une ouverture des champs et un déplacement des frontières entre ces différentes sphères. L’appropriation d’un objet ou d’une pièce passe par une transformation ou une greffe : un déplacement de forme, de matière ou d’espace trouble ses codes de lecture.

Diana DUTA
The Silver Tower
duta Diana
The Silver Tower
Vidéo | hdv | couleur | 10:6 | Roumanie | Royaume-Uni | 2015

The Silver Tower is a reconstruction, entirely from memory, of ‘The Black Tower’ (1987) by John Smith. Drawing on fragmented recollections, personal experience, and conversations with friends, the video tries to repeat or mimic moments, words or scenes from John Smith’s seminal video work, reflecting on memory, originality and the creative act in the process.

Diana Duta (b.1985) studied art at Piet Zwart Institute, Rotterdam and Sociocultural Linguistics at Goldsmiths University, London. She uses video, sound, music and writing for the creation of long-term projects which address the performative aspects of language in an experimental, often collaborative way. Diana’s work is concerned with the fallibility of human creation and relies on improvisation, fuzzy authorship and the creating of an atmosphere where things can flow in a collective effort.

easteal David
Fiction | 16mm | couleur | 12:45 | Australie | 2015

In the outer suburbs of Melbourne, a young man searches for an automotive apprenticeship.

David Easteal is a Melbourne based filmmaker. He studied law and literature at the University of Melbourne. His short films have screened at various international lm festivals, including New York, London, Chicago, Melbourne, Kiev, Sofia and Singapore.

Silencio Invisible, Darwin and Una Lección
echavarrÍa Juan Manuel
Silencio Invisible, Darwin and Una Lección
Vidéo | hdv | couleur | 8:0 | Colombie | 2015

Juan Manuel Echavarría parle de la guerre qui échappe au regard, dans les territoires reculés de Colombie. Les lieux, vides de toute présence humaine, évoquent l’histoire violente du pays et l’impératif de nouveaux possibles. Jussie Nsana Banimba interroge la mémoire des murs de Brazzaville, qui deviennent des espaces témoins, entre le passé et le présent. Dominik Ritszel place le son comme protagoniste principal de son film, dans une ville devenue laboratoire de perception où la civilisation est en suspens. Hans Op de Beeck crée un film d’animation à partir de ses aquarelles, introduisant un degré de fiction supplémentaire dans ce qui n’est jamais la reproduction d’une réalité. Mike Hoolboom reprend les images filmées en 1967 par Jeffrey Paull, dans un hôpital psychiatrique. Cinquante ans plus tard, il interroge Donna Washington, autiste et pensionnaire de cet hôpital à l’époque, qui raconte sa propre histoire à partir des images du film.

Juan Manuel Echavarría was born in Medellín, Colombia in 1947. He resides in Bogotá. A writer before becoming an artist, he published two novels, La gran catarata (Bogotá: Editorial Arco, 1981) and Moros en la costa (Bogotá: Ancora Editores, 1991). As of 2015 Echavarría has presented over thirty solo exhibitions and participated in well over a hundred group exhibitions, screenings and film festivals. His first solo gallery exhibition was in New York in 1998. Since then, his work has been shown at the Venice Biennale, the Korean Kwangju Biennial, Daros Latin America, Zurich, the Kiasma Museum of Contemporary Art in Helsinki, Finland at the Irish Museum of Modern Art in Dublin. As well as, El Museo del Barrio, New York, at the Musée du Quai Branly and the Cartier Foundation in Paris, France and at Sammlung Goetz at Haus der Kunst in Munich, Germany. His first solo museum exhibition in the U.S, Mouths of Ash, was organized by the North Dakota Museum of Art in 2005 and traveled to the Weatherspoon Museum of Art in 2006 and the Santa Fe Art Institute in 2007 – 2008. He’s had two very important shows in Colombia at the Ciudadela Educativa y Cultural América in Puerto Berrío as well as the Museo La Tertulia in Cali. In 2011 his works were shown in Tallinn, Stonia for the 15th Tallinn Print Triennial, in Tel Aviv, Israel at the Center for Contemporary Art, at the Museo de Antioquia in Medellín, Colombia and at the Museum of Latin American Art in Long Beach, California. In the next part of the year, his work was shown at the Bienal Do Mercosul in Porto Alegre, Brazil, Le Mois de la Photo à Montreal in Canada and at the Centre for Contemporary Culture Strozzina in Florence, Itlay. In 2012, he was invited to the Sidney Biennale All Our Relations to show Silencios and Requiem NN. In 2015 he will show his work at the Musée d’Aquitaine in Bordeaux and at the Université Catholique de Lovain in Belgium. His videos have been screened at many festivals and exhibitions throughout the world such as Colombia, the United States, Canada, Israel, England, France, Spain, Hungary, South Korea, Colombia, Argentina, Brazil, Mexico, Australia, Germany and Afghanistan. In 2013 he showed Réquiem NN, his first feature length film, a world premiere at the Festival Internacional de Cine de Cartagena followed by the North American premiere at the Museum of Modern Art (MoMA) in New York City.

Il Grattacielo Nuovo
epaminondi Mélissa
Il Grattacielo Nuovo
Film expérimental | hdv | couleur | 8:10 | France | Italie | 2015

La place Castello est surmontée de l’une des transformations urbaines les plus discutées de la ville de Sassari, construite par Fernando Clemente en 1965. Ce bâtiment, baptisé “Il Grattacielo Nuovo”, a été le premier édifice d’architecture moderne en Sardaigne. Le gratte-ciel est visible de tous les points de la ville, et jusqu’en 1970 une étoile filante lumineuse était installée à son sommet pendant les fêtes de Noël. Dans le même période, entre 1965 et 1970 l’homme a rejoint la Lune. Le film est une évocation de la chute des utopies. Deux plans séquences se succèdent : l’un suit le mouvement vertical de la nacelle électrique suspendue à la façade est du gratte-ciel en cours de rénovation ; l’autre, vue du ciel, traverse horizontalement la ville de Sassari depuis la campagne périurbaine jusqu’au centre historique de la place Castello. Sous la forme d’un karaoké la lecture de ces images est accompagnée par la chanson I want to know dans laquelle Adriano Celentano critique la société, son mode de vie et son urbanisme. Ce titre sort en 1976 dans les premières années d`existence de cette tour symbole de modernité. Sur la place Castello j’ai installé une sculpture représentant une étoile filante en métal. Elle est posée à l’horizontale au centre de la place à même le sol. Elle a été réalisée selon le dessin de l’artiste sarde Leonardo Boscani, faisant appel à son souvenir d’enfant.

Née en 1977 à Bastia, Mélissa Epaminondi est architecte et artiste, elle vit et travaille entre la Corse et Paris. Elle s’est engagée dans un processus de travail établissant des liens entre l’art et l’architecture au travers de la notion de projection. Son approche architecturale lui permet d’appréhender l’installation et l’art vidéo d’une manière singulière, questionnant le rapport entre le corps, l’architecture et le cinéma. Elle s’attache particulièrement aux espaces en lien avec l’intime. Depuis 2008 elle mène également son activité au sein du collectif l 140 (bureau de conception de projets d’art et d’architecture). Depuis 2013 Mélissa Epaminondi est représentée par la société de production Stanley White au sein de laquelle le producteur et historien d’art Fabien Danesi accompagne ses projets cinématographiques.

Zachary EPCAR
Night Swells
epcar Zachary
Night Swells
Vidéo | hdv | couleur | 5:14 | USA | 2015

And you love that humid atmosphere/ And you look so lush under glass.

Zachary Epcar (b. 1987, San Francisco) is a film and video maker currently based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, FLEXfest, Images Festival, 25 FPS, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.