Catalogue 2018-2019
Parcourez ci-dessous le catalogue 2018-2019 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.
David Enrique COGOLLO
Moriviví
cogollo David Enrique
Moriviví
Documentaire | hdv | couleur | 37:40 | Colombie | 0 | 2018

Synopsis, « Moriviví » Documentary 36:40 Min, 2017. An immersive film plunging us somewhere between reality and a certain expressionist estrangement in its disheveled portrait of a family. Moriviví reflects a social reality for some rural areas of Cuba, in which poverty, fear, violence, possession and even santería and superstitions take center stage in a day-to-day life that is lived on the edge. Brayan and Kiki are the third and fourth generations of their Cuban household. Situations of violence are the daily bread. Sometimes they have to take the role of the adults to avoid problems between real adults. In the middle of the countryside where the children live, they entertain a close relationship with nature. They breed animals that serve not only as food or pets, but also for the Santeria rituals they practice regularly.

Biography David Enrique Aguilera Cogollo Born in Barranquilla Colombia in 1991. Before making films, David studied Sociology in the human sciences school of the Rosary University in Bogotá, Colombia. Then he studied at the National School of Film of Bogotá. As soon as he finished his career, David began a master degree in alternative cinema at the International School of Film and TV of San Antonio de los Baños, Cuba. David crosses the boundaries of documentary and fiction in his work. Moriviví was filmed in Cuba as a final project

Ghost Mountain Ghost Shovel COLLECTIVE
Hello Brother
collective Ghost Mountain Ghost Shovel
Hello Brother
Vidéo expérimentale | hdv | couleur | 3:49 | Taiwan | 2018

The unknown village exists when the residents blink. The scenery of nothing. The identity of no one. The relationship of the dream two. The breeze travels through the subtropics of the tropics. A museum of no-name rocks. Hypnotic symbolic acts. Some weight in the pocket. Magnetic boy, the fog, the breeze doesn`t walk.

Val Lee has been the director of Ghost Mountain Ghost Shovel Art Collective (2009-Now) and creates live art works that builds constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-en-scène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream. "Hello Brother" is their only video.

Giorgiomaria CORNELIO
Nell'insonnia di avere in sorte la luce
cornelio Giorgiomaria
Nell'insonnia di avere in sorte la luce
Doc. expérimental | mp4 | couleur et n&b | 27:0 | Italie | Irlande | 2017

"Nell`insonnia di avere in sorte la luce" is a journey between Italy and Ireland, an atlas of different languages and places that display the possibilities of contemporary cinema as a place of endless exploration. This movie (filmed mostly in Ireland, in archaeological sites of interest as Hill of Tara or Glendalough) is an attempt to present an idea of cinema before the invention of cinema itself, connecting the mythical Ogham alphabet (engraved on the surface of the stones) with the practice of experimental cinema (cameraless movies) and also with Italian avant-garde artists like Antonio Burri, Paolo Gioli, Corrado Costa, Emilio Villa, Stefano Scodanibbio, Osvaldo Licini. By doing that, Giorgiomaria Cornelio and Lucamatteo Rossi tried to create a map of meanings, inspired by Aby Warburg`s "Mnemosyne Atlas".

Giorgiomaria Cornelio (14th January 1997) and Lucamatteo Rossi (3rd December 1996) founded the atlas Navegasión in 2016. The same year they presented the film “Every bush a god that burns” on the 52nd edition of the International Film Festival of Pesaro and won the ISPEC CINEMA Special Award Locarno 2016 (the film has been also included in the selection of Rencontres Internationales Paris/Berlin 2018). In parallel with their second film (Nell-insonnia di avere in sorte la luce”), they curated the exhibition “Like the grave of a stone, like the cradle of a star” which was hosted in the Italian gallery Philosofarte, in the Marienbad Film Festival and in Trinity College Dublin, where they both study. They also collaborated with Franko B in the performance “Playtime” and the collective exhibition “Young at heart, old on the skin”. Giorgiomaria is also a writer. His articles have been published in blogs and magazines such as ArtNoise, Nazione Indiana, Le Parole e le Cose, Anterem, Il Manifesto, Il Tascabile, Doppiozero. He is the curator of the online film catalogue “La Camera Ardente” (The burning Camera).

Dagmar DACHAUER
Competing for Sunlight: Ash
dachauer Dagmar
Competing for Sunlight: Ash
Vidéo | 4k | couleur | 4:43 | Autriche | 0 | 2017

`Competing for Sunlight` is a Short Dance Film Series, featuring protagonists of a range of different tree species and Dance, telling individual short stories. “The death of a species, especially a species as significant as the Ash, punches a hole not only in nature, but also in our culture”. - George Monbiot Starting in the early nineties in Eastern Europe, an Asian fungus has gradually conquered the European continent, infecting almost all ash trees. The symptoms are very severe, many cases leading to the death of most trees. As aresult, it is assumed that the ash tree in Europe will soon be close to extinct. Choreographer and dancer Dagmar Dachauer was inspired by the sad faith of the European ash tree, and linked it to personal loss in her own life. Finis est cinis: Ash is what remains. Ash is a eulogy for the ash tree and for Prasthan Dachauer, who passed away in 2016.

Dagmar Dachauer is a dancer, choreographer and filmmaker born in Linz, based in Brussels. She grew up in a lonely house in the Upper Austrian forest, a place that continuously inspires her work. She has studied Dance at Amsterdamse Hogeschool voor de Kunsten as well as at P.A.R.T.S. in Brussels. She founded the Austrian art association UMFUG, in which she realizes dance and theatre performances as well as film projects with collaborators coming from various backgrounds such as Ecology, Cinema, Theatre, Music and Sound Design. Her solo works about the Viennese Waltz (“Wunderbare Jahre” and “Wie soll ich das erklären”), as well as her dance films have received several awards and are touring internationally.

Chris Paul DANIELS
Northern Lights
daniels Chris Paul
Northern Lights
Vidéo expérimentale | super8 | couleur et n&b | 13:44 | Royaume-Uni | 0 | 2018

An inquisitive voice from the far future, or "visitor from another place", interrogates the traditions and artefacts of the Blackpool Illuminations, the annual light festival first established in 1879. The disembodied voice seeks to understand, but often confuses, Northern English vernacular and traditions against the current shifting political dialogue surrounding Britain's future; misunderstanding Blackpool's unique fantastical imagery as totemic remnants of a former era. Daniels presents his own contemporary 16mm and super-8 film observations as a found archive, and a script littered with word-play related to the local landscape and other seaside end-of-the-pier resorts. Co-comissioned by Grundy Art Gallery and ICA Art and Screen Network.

Chris Paul Daniels is an Artist and Filmmaker, based in Manchester. His work is characterised by experimental documentation of communal perspectives and memories regarding geographical location .He graduated from the Royal College of Art in 2010 and co-won the Deutsche Bank Award for Art with Maria Anastassiou for Unravel, the longest hand painted ?lm in Britain. This project resulted in one hundred public events across the UK including Tate Britain, BFI Southbank, Turner Contemporary and IKON Gallery. In December 2016, Unravel undertook a residency at the Whitney Museum of American Art in New York. His recent commissions include `SAFE` at HOME in Manchester, "A Tigers Skin" at CFCCA, and "One Square Mile" for Quays Culture (with Sam Meech). Screenings include the ICA, Hong Kong Arts Centre, Maxxi, Winnipeg Underground Film Festival and Flatpack Film Festival. His most recent film "Northern Lights" is a co-commission between ICA Art and Screen Network and Grundy Art Gallery. Chris is a Lecturer at Manchester School of Art.

Franck DAVID
pendant / during
david Franck
pendant / during
Film expérimental | hdv | couleur | 9:41 | France | 2017

Pendant que la voix de la SNCF fait des annonces sur le droit d`auteur, nous rencontrons guy Debord. Pendant que guy Debord disparait, nous expérimentons plusieurs niveaux de temps, façonnant la notion de création en un motif récurrent : un disque.

franckDavid est né le 13 août 1966 à Montreuil /s bois, est artiste, vit et travaille avec et depuis un 13", aime passionnément les chaussures, il voit et regarde au travers des verres rosés de ses lunettes de soleil qu`il ne quitte pas et se laisse souvent tenter par le silence..

Matthias DE GROOF
Diorama
de groof Matthias
Diorama
Documentaire | mov | couleur | 34:40 | Belgique | 2018

When the staff of the AfricaMuseum destroys the very dioramas they used to guard for decades, a colonial worldview is demolished. What remains are dead animals staring at you amidst ecocide. The violent destruction forms an allegory of museological and ecological relations. Diorama literally means “through that which is seen”. It is a window which wants to suggest life as truthful as possible through death. The diorama then, becomes a still life: a Vanitas. So still, that the sculptural becomes pictorial, until men enter the broken window and become part of the nature morte. Men animate death through caress and tear the animals loose from a morbid decorum that offered them verisimilitude of an obsolete landscape.

Dr. Matthias De Groof has a strong interest in film, Congo and (post)colonialism. He has a Master’s in Philosophy (HIW - KUL), International Relations (UCL) and Cinema Studies (UA). He studied African Studies at UMU (Uganda) and became a Fulbright and BAEF visiting scholar at NYU’s Tisch School of the Arts. His PhD in Cinema Studies looked at African cinema. As a Postdoctoral Fellow of the Research Foundation - Flanders (FWO), he studied postcolonial film theory at the Antwerp University where he also taught World Cinema, Aesthetics and Curating & Exhibiting. His scholarly work has been published in Third Text and Columbia University Press amongst others. He is regularly asked to talk and write in non-academic contexts and to curate film programs. His own films have been presented i.a. at the IFFR, Media City, Cannes Pan-African Film Festival and the San Francisco Art Institute. Currently, he works at the Collegium for Advanced Studies in Helsinki. His film-triptych on postcolonial museology (CobraFilms) and his book on Lumumba’s Iconography (Leuven University Press) are about to be published.

Eleonore DE MONTESQUIOU
Commando Sacko
de montesquiou Eleonore
Commando Sacko
Doc. expérimental | hdv | noir et blanc | 17:35 | France | Estonie | 0

Sacko, or "Commando" as the Estonian police called him, was detained in the Estonian prison of Harku, three years all in all. He had applied for asylum in Estonia, was released and put on the street in September 20. He took refuge "elsewhere" and talks. He tells about the treatment of the Harku detainees, the solitary confinement isolation cells, the injections, the oblivion of these people who cannot communicate.

Eléonore de Montesquiou’s 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 up rootedness. Eléonore is 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. A few years ago, she started working with asylum seekers from French speaking countries in Estonia.

Abri DE SWARDT
Ridder Thirst
de swardt Abri
Ridder Thirst
Fiction expérimentale | hdv | couleur et n&b | 13:38 | Afrique du sud | 2018

“Ridder Thirst” explores the restorative agency and limits of queer youth, facing white supremacist denialism with an inventory of its continued effects. De Swardt fantasises the First River, a primary marker of settler colonial inhabitation in South Africa, into disappearance, perceiving that “if the ocean is the space of coloniality, the river is that of settlement”. The work takes the span of the river as witness of extreme socio-political discrepancies: snaking from the mouth of the river at Macassar Beach - a former separate amenity for brown people - to Stellenbosch, the affluent university town central to the formulation of apartheid. Photographs of Afrikaner student couples captured at the river in the sixties and seventies by Alice Mertens, a Namibian-German ethnographic photographer who was the first tertiary tutor of the lens in South Africa, are reworked and called into question through a series of anti-monumental gestures, motion-tracked data on spatial and gender traumas, and dense voice-over narration that `unwrites` place. Here the vagaries of the archival gaze is met with the insatiability of eroticism as De Swardt occupies and inverts the “straight” canons of documentary photography and essay film, asking how we can unlearn historic images that seek to define us.

Abri de Swardt (b. 1988) is an artist and writer based in Johannesburg. He holds a MFA in Fine Art with distinction from Goldsmiths, University of London (2014), and was named one of the inaugural Young African Artists by Wanted Magazine. Recent exhibitions and screenings include “phula! phula!”, Africa Open Institute, Stellenbosch (2019); “The Difficulty of Saying I”, Rupert, Vilnius; “Coded Encounters”, Galeria Graça Brand?o, Lisbon; “writing for the eye, writing for the ear”, The Centre for the Less Good Idea, Johannesburg (all 2018); “These Rotten Words”, Chapter, Cardiff (2017); “Blend the Acclaim of Your Chant with the Timbrels”, Jerwood Space, London (2016); and “Men Gather, in Speech”, Cooper Gallery, Dundee (2015). De Swardt has held solo exhibitions at POOL, Johannesburg (2018); White Cubicle, London (2015); MOTInternational Projects, London (2013); and blank projects, Cape Town (2011). He has taught at Wits School of the Arts, and been published in Art Africa, How to Sleep Faster and Adjective. In 2019 he will contribute to “Radicalise Bauhaus - Perspectives from the Global South”, forthcoming from iwalewabooks, Bayreuth, and is a 2019/2020 artist-in-residence at Hordaland Kunstsenter, Bergen.

Claire DENIS
High Life
denis Claire
High Life
Fiction | 4k | couleur | 110:0 | France | 2018

Monte est le dernier survivant d’un groupe de criminels envoyés en dehors du système solaire pour devenir les cobayes d’une expérience hors normes au lieu d’être condamnés à mort. Pour lui tenir compagnie, il n’a que Willow un jeune bébé né dans le vaisseau mais l’espoir d’être sauvé un jour semble de plus en plus vain.

Claire Denis est née en 1948 à Paris et a suivi son enfance et son cursus scolaire en Afrique et plus particulièrement au Cameroun. Elle suit les affectations de son père, administrateur colonial, et se déplace d’un pays à l’autre, notamment au Djibouti et au Burkina Faso. En 1968, elle retourne en France et intègre l’IDHEC dont elle sort diplômée en 1972. A sa sortie de cette école, elle commence sa carrière dans le monde du cinéma comme assistante réalisateur. Elle dit n’avoir jamais vraiment pu s’intégrer, se sentant étrangère, déracinée en France. Elle collabore avec Robert Enrico sur deux de ses films, Le Vieux Fusil et L’Empreinte des Géants. Elle travaille ensuite comme assistante de Wim Wenders pour deux de ses films, Paris Texas et Les Ailes du Désir. Puis viendra Jim Jarmush avec lequel elle travaillera sur son film Down By Law en 1986. Elle aborde l’écriture et la réalisation de Chocolat, son premier long-métrage basé sur sa propre histoire au Cameroun, avec les encouragements de Wim Wenders. En 1990, elle enchaîne avec S’en fout la mort et fait montre d’un cinéma intimement lié au corps, au travers d’une tension entre la forme cinématographique et la violence qui le compose. Après J’ai pas sommeil, avec Béatrice Dalle en 1994 et US Go Home en 1996, elle figure en 1999 avec Nénette et Boni un couple frère-soeur qu’elle conçoit comme un amour franc, sans dû, ne craignant plus la séparation de la relation amoureuse. En 1999 elle réalise Beau Travail, portrait de la légion étrangère à Djibouti ; en 2001, Trouble Every Day ; en 2002, Vendredi soir ; en 2004, L’Intrus ; en 2008, 35 Rhums et en 2010, White Material, tourné dans le Cameroun de son enfance. Son cinéma prône l’image avant les mots. Les dialogues restent secondaires, faisant ainsi toute confiance à l’image, à la scène, au cadre. Claire Denis a reçu de nombreuses récompenses le long de sa carrière. En 1988, elle est nommée pour le César du meilleur premier film pour Chocolat ; en 1996, le Léopard D’or et le prix du jury oecuménique du Festival de Locarno pour Nénette et Boni ; en 2010, le prix Henry Langlois pour 35 Rhums. L’année 2013 marque le retour de Claire Denis au cinéma et au Festival de Cannes. Elle y présente dans la sélection Un certain regard Les Salauds, film noir dans lequel elle dirige Vincent Lindon (dix ans après Vendredi soir) et Chiara Mastroianni. Quatre ans plus tard, la réalisatrice engage Juliette Binoche pour Un beau soleil intérieur. L’histoire se focalise sur Isabelle, divorcée, un enfant, en quête d’un vrai amour. Elle est à nouveau présente au Festival de Cannes avec High Life, rassemblant Juliette Binoche et Robert Pattinson pour une mission spatiale hors normes. Claire Denis a réalisé trois documentaires : Man No Run, Cinéastes de notre temps - dans lequel elle rend hommage à Jacques Rivette -, Vers Mathilde. Elle a également joué dans Vénus Beauté et En avoir ou pas.

Sebastian DIAZ MORALES
Multiverse
diaz morales Sebastian
Multiverse
Vidéo | hdv | couleur | 10:0 | Argentine | Pays-Bas | 2018

1-channel video / 2k format / 10min / 2018 Soundscore Berend Dubbe & Gwendolyn Thomas / Photography Niels Boon / Special effects Arjan van Drunen / Production Bart van Dam Produced with financial support of the Mondriaan Fonds The multiverse (or metaverse) is a hypothetical group of multiple universes including the universe in which humans live. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, the physical laws and the constants that describe them. The different universes within the multiverse are called the "parallel universes", "other universes", or "alternative universes". #3 Multiverse is part of a series of videos which are ultimately sequences of a whole. Both a concept and a blurred narrative. The latter is not explicitly delineated in the course of the series but it is intuited. The sequences generate, rather than a narrative, a concept. All these sequences are thought to be shown on separate screens. In large and small shapes, vertically and horizontally they spread into one or various spaces in different combinations resembling an aleatory puzzle which ultimately takes a more clear and narrative shape in one last sequence/installation. The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. For something to be fantastic, it is not enough to be different from the real: also (and above all) it is necessary to mix inexplicably with the real thing. In more philosophical terms we can say that the fantastic is not the other of the same but its alteration: not the contradiction of the real, but its subversion. That is why the cinematic condition of the fantastic, which on the other hand can serve as an exact definition, is not at all in the production of real or supernatural beings, but in the fact that they affect what is recognized as real and natural through a contagion of the other who comes to seize the same in person. The feat made by the fantastic cinema does not consist only in this visible manifestation of the real as another. These are duplicated, in fact, and apparently paradoxically, by the work of an invocation of the Real as such, considered in its effective and singular existence; and in a way that is in itself quite strange. 1 The effects on this and the rest of the works had been recreated entirely on stage without the use of postproduction editing. 1 Clement Rosset, El Objeto Singular, Editorial Sexto Piso, 2007

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 Venice Biennale; 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

Tommaso DONATI
Monte Amiata
donati Tommaso
Monte Amiata
Fiction expérimentale | hdv | couleur | 22:29 | Suisse | 2018

Le Monte Amiata est un complexe résidentiel dans le quartier Gallaratese de Milan, conçu par les architectes Carlo Aymonino et Aldo Rossi à la fin des années 1960. Leur intention était de créer un microcosme paralléle, une sorte de ville alternative du futur. Ses habitants, en référence à sa couleur et à sa forme insolite, le surnomment le dinosaure rouge.

Né en 1988, son travail se partage entre le documentaire, le cinéma expérimental et la photographie où il explore les relations entre l’homme et le milieu naturel dans lequel ils vivent.

Yanyu DONG
Ayesha
dong Yanyu
Ayesha
Fiction expérimentale | 4k | couleur | 19:43 | Chine | Inde | 2018

An imaginary biography of my mother who, in her youth, dreamed of being a Bollywood dancer. In a lush fantasy through the heart of India, I reclaim her destiny and desires lost in another age.

Yanyu Dong is a Chinese visual artist currently based in Los Angeles. She uses video, photography, and performance as platforms to examine her cultural dissonance as an international artist. She received her BFA at the Tianjin Academy of Fine Arts and her MFA at the California Institute of the Arts. Her work has been exhibited at venues internationally.

James EDMONDS
A Return
edmonds James
A Return
Film expérimental | 16mm | couleur | 6:0 | Royaume-Uni | Allemagne | 2018

To return again. To re-align is the object of these visits, perhaps. Geography of origin becoming catalyst for an inner re-alignment with the secret, private, unspoken work of one's being. Peering into layers, sliding planes of windows and time, the fragmentary gesture of the dance. A series of rapid contrasts, a synthesis of elemental and everyday experience. Structures shift and intermingle, two worlds become one.

James Edmonds is a filmmaker and painter from England living in Berlin. His work is driven by a personal poetics which explores the intersection of the recorded image as a material, formal reality and subjective experience as a synthesis of everyday existence and memory. His films, paintings and sound works are sometimes combined in space along with found materials, suggesting complex overlapping subjectivities and landscapes. He has presented work at film festivals such as TIFF Toronto, NYFF New York, L'âge d'Or Brussels, Flex Fest Florida, Process Festival Riga and Fronteira Festival Brasil. Solo presentations have occurred at 3 137 Athens, Cinema Parenthèse Brussels, Nocturnal Reflections Milan, Auslands-Filme Berlin and Another Vacant Space Berlin. He occasionally also writes and since 2015 organises a film series in Berlin called Light Movement.

Maroan EL SANI, Nina Fischer
Freedom of Movement
el sani Maroan , Nina Fischer
Freedom of Movement
Doc. expérimental | hdcam | couleur et n&b | 9:45 | Allemagne | 2018

Evoking the Olympic marathon from Rome 1960, in which the Ethiopian runner Abebe Bikila conquered the African continent’s first gold medal, running barefoot and becoming a sporting legend and a symbol of the Africa that was freeing itself of colonialism, Fischer & el Sani have recontextualised amidst Rome’s controversial rationalist architecture, a new race involving refugees and immigrants staking a claim to their freedom of movement. Fischer & el Sani are examining the complexity of ideological, political and architectural implications of Bikila’s 1960’s Olympic gold medal run to this day.

Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. They have been working together since 1995. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at Uninversity of the Arts, Berlin. International art exhibitions and film festivals they have participated in include Berlinale - International Filmfestival Berlin, International Film Festival Rotterdam, Istanbul Film Festival, Sydney Biennale, Gwangju Biennale, Liverpool Biennial of Contemporary Art, Manifesta 4, Frankfurt, Media City Seoul Biennale, Aichi Triennale, and solo exhibitions e.g. at Tokyo Photographic Art Museum, Stedelijk Museum Bureau Amsterdam, Museum of Contemporary Art Hiroshima, K21 - Kunstsammlung Nordrhein Westfalen, Düsseldorf, Maxxi Museum, Rome.

Zachary EPCAR
Life After Love
epcar Zachary
Life After Love
Film expérimental | 16mm | couleur | 8:25 | USA | 2018

A shifting in the light of the lot, where parked cars become containers for a collective estrangement.

Zachary Epcar (b. 1987, San Francisco) has screened at the New York Film Festival - Projections, Pacific Film Archive, Ann Arbor Film Festival, San Francisco Cinematheque's Crossroads, Images Festival, Rencontres Internationales Paris / Berlin, the Rotterdam, Edinburgh, San Francisco International Film Festivals, and elsewhere. He studied at Bard College and is a current MFA candidate in the Film, Video, Animation, & New Genres program at the University of Wisconsin Milwaukee.

Lieselot EVERAERT
sans titre
everaert Lieselot
sans titre
Doc. expérimental | mp4 | couleur | 13:0 | Belgique | 2018

Untitled is a documentary in which four actors are waiting. While waiting in silence, their presence raises questions about the border between reality and fiction.

Lieselot Everaert (Bruges, 1993) is a Belgian filmmaker based in Ghent. She is currently finishing her Master of Fine Arts at KASK School of Arts in Ghent.

Ali EYAL

eyal Ali
Fiction | 0 | | 14:3 | Iraq | Liban | 2017

`Tonight’s programme` toys with history to construct a new realm in between, merging Duke Ellington’s 1963 performance at Khuld hall in Baghdad with Saddam’s bloody coup in the same space 16 years later. Eyal creates a fictional space to provide a different history and a different world for those victims in the hall, a gate of annunaki through which the dead and lost can reclaim their place. “Don’t let anyone kill your daughter in the underworld. don’t let your precious metal be alloyed with the dirt of the underworld. don’t let your precious lapis lazuli be split there with the mason’s stone. don’t let your boxwood be chopped up there with the carpenter’s wood.” – Words by inana of the underworld, the land of no return.

Ali Eyal`s (b. Baghdad, 1994) work spans across different media. He holds an undergraduate degree from the Institute of Fine Arts in Baghdad. His work explores the complex relationships between community and politics using different media such as video, photography and painting, in order to examine social attitudes, particularly in the context of Baghdad and Iraq. Eyal has exhibited in several group shows in Baghdad, Egypt, Lebanon, USA, Greece, and Cuba, among others.

Marco FERRAZZA
Parallel
ferrazza Marco
Parallel
Concert multimédia | mov | couleur | 20:0 | Italie | 2018

"Parallel" is the result of an audiovisual performance where electro-acoustic music meets the experimental video. Natural and sound landscapes are digitally reworked to research new narrative configurations. All sounds and video have been processed in real-time by the performer. Therefore, at the base of the work there are concrete sounds and landscape shots (or human artifacts in relationship with the landscape). Human being is part of nature but, at the same time, affirms its otherness respect to it, not only in creative (or destructive) terms, but also as the development of Consciousness towards goals free from the simple instinctual finality. If its destiny runs parallel to that of the universe, it is nevertheless bound to the destiny of the same existence.

Marco Ferrazza is a sound artist, composer of electroacoustic tracks and performer in experimental music. His pieces have been performed in various international electronic music festivals and then released on CD. In his work he constantly investigates the relationships between electronic arts and concrete music, field recordings and digital manipulation of sound, improvisation and new technologies. Visual imaginary collected in abstract tales: this is perhaps the emerging aspect from his last explorations in the field of sound, researches in which the continuous re-codifications of signs is drawn at the same time from the temptation of unlimited semiosis and the structural coherence of the musical composition.

Aurèle FERRIER
Transitions
ferrier Aurèle
Transitions
Vidéo | 4k | couleur | 12:48 | Suisse | 2017

TRANSITIONS is a journey from the civilizing void of the desert to a maximal urban, capitalistic and hedonistic density, which in the case of Las Vegas assumes some bizarre expression. The film is a contemplation without any people or moving machines in it, focussing on the built and designed.

Aurèle Ferrier (*1975 in St.Gallen, CH) lives in Zurich. With his video and cinematic works, actions and interventions he explores the margins of civilization. His works have been presented in more than 30 countries and won, among others, a Grand Jury Award at Slamdance Film Festival.

Constanze FISCHBECK, Daniel Kötter
Desert View
fischbeck Constanze , Daniel Kötter
Desert View
Documentaire | 4k | | 83:0 | Allemagne | Egypte | 2017

The film "Desert View" is dedicated to the study of building and living in the semi - built satellite city Madinaty, located in the desert east of Cairo. Madinaty is a fully privately owned city that, unlike a gated community, claims to be an open but self-contained and secure city. All public services are not provided by the state, but by the Arab real estate company Talaat Mustafa. The movie "Desert View" was made during a four-week residency, to which the filmmakers had invited the three-generation Barakat family from ashweyat (informal residential district) Bashtil as a sort of cinematic diary. The temporary residents of Madinaty, filmmaker and Barakat family, captured their observations and experiences of architecture and their use from their respective perspectives and cameras. Two external perspectives on the desert dreams of the Egyptian middle and upper classes. Also part of the project were discursive evenings, to which filmmakers and the Barakat family invited new and old neighbors, architects, artists and urbanists from Cairo to the living room of the villa. Here the different perspectives on the topic "How do we want to live?" were discussed and documented.

Constanze Fischbeck works as stage designer, filmmaker, curator and lecturer in the context of theatre and art. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres. She has been working with Daniel Kötter (since 2007 ) collectively conducting research and creating experimental documentaries. Their works include Benzin, a reconstruction of exchange systems in Lagos (2008), Making of History (2012) on reconstructions of history and memory and the work about space and place of theatre: state-theatre (2009-2014). She lives in Berlin.