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.
Jürgen HILLE
koi beam boats retina
hille Jürgen
koi beam boats retina
Vidéo expérimentale | mov | | 2:48 | Allemagne | 0

1961 in Düsseldorf geboren 1980-86 Studium Freie Kunst, Kunstakademie Düsseldorf 1983 Reisestipendium der Kunstakademie, Italien 1987 Arbeitsstipendium NRW, Schloss Ringenberg 1994 Arbeitsstipendium Schlesw.-Holstein, Künstlerhaus Selk 1995 Künstleraustausch Düsseldorf-Ein Hod, Israel 1999 Projektstipendium Kunstfonds e.V., Bonn (für Videoprojekt “HALDE”) 2018 Cites internationale des arts Paris (Gastatelier) Mitglied im Deutschen Künstlerbund

Philippine HOEGEN
Crossed Wires
hoegen Philippine
Crossed Wires
Doc. expérimental | hdv | couleur | 23:44 | Pays-Bas | Belgique | 2018

This document is an exploration of the Belgian art scene. It shows a series of conversations, with an informal, subjective mapping of the scene as a backdrop. In the conversations, questions are approached through the specificity of peoples' own trajectories: their practical, artistic or social paths, how such trajectories shaped certain practices and how these practices connect to the biotope of the art scene within its contemporary societal and political context. In preparation of the film numerous people were asked the question which persons, places or practices are important for them. We asked every interlocutor to suggest new interlocutors, so that every conversation generated new conversations. We let ourselves be guided by the suggestions we received, resulting finally in a varied assortment of interviewees. The notes for the informal preparatory conversations became the set for the film: they were drawn up on the walls, creating a haphazard, subjective mapping. The set functions as a performative space, as the interviewees are immersed in this unruly apparatus which they begin to correct, add on to, disagree with and debate

Philippine Hoegen is an artist living in Brussels. Her multi-stranded practice engages with issues of objectness and personhood, through the notion of versioning: How we create different versions of ourselves, the processes and technologies we use for that and what the existence of those multiple versions means for our understanding of self. Her work consists primarily of performance and performative interventions or events. She is researcher at CARADT, Avans University, NL; teacher at AKV St Joost, Breda and on an irregular basis mentor at apass, Brussels. Recent activities include: "Being as Becoming", a residency / exhibition and collaborative research project at Onomatopee, Eindhoven (2018); "Ventriloquists III", solo performance, at Plymouth University in the SAR conference Artistic Research Will Eat Itself and at the University of Twente in the conference Narrative Matters (2018); "Crossed Wires", a film commissioned by and launched at Art Brussels (2018); "The Many Machine", a performative collaborative event at AKV St Joost, Breda (2018). Recent publications include: "Ventriloquists III", a contribution to Proceedings 9th SAR Conference: Artistic Research Will Eat Itself (2018); "Body of Books: The BAS Collection", essay on the artists' run space BAS in Istanbul, published by Collectorspace, Inc, New York/Istanbul (2017).

Kerstin HONEIT
PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS
honeit Kerstin
PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS
Doc. expérimental | 4k | | 8:0 | Allemagne | 2018

Since 2017 the Giant Panda Bears Meng Meng and Jiao Qing have been hired out to the Berlin Zoo from China to attract more visitors and to therefore increase profit. Unfortunately for the Berlin Zoo this advertising campaign did not work out as planned - in fact it worked backwards. Meng Meng, the female Panda will only walk backwards - probably protesting the fact that she is kept in captivity and in a totally different continent from her origins. But instead of rethinking the problematic concepts of zoos in general, international media is taking on a different debate: blaming Meng Meng’s behavior on the fact that she has not bred yet and is just looking for attention. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

Kerstin Honeit studied fine arts and stage design at the Berlin Weissensee School of Art. She has been teaching at Kunsthochschule Kassel since 2014. Using video works, performance an d installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Most recently, her works were shown at Off Biennale Cairo (2018); Videoart at Midnight, Berlin (2018); Moscow Museum of Modern Art (2018); La Centrale, Montreal (2018); Bärenzwinger, Berlin (2018); Schwules Museum, Berlin (2018); Rencontres Internationales Paris / Berlin (2018); International Short Film Festival Oberhausen (2017); Berlinische Galerie (2017); SixtyEight Art Institute, Copenhagen (2017).

Mike HOOLBOOM
3 Dreams of Horses
hoolboom Mike
3 Dreams of Horses
Vidéo | 16mm | couleur et n&b | 5:30 | Canada | 0 | 2018

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.

Mike Hoolboom is a Canadian media artist and writer.

Che-yu HSU
Lacuna
hsu Che-yu
Lacuna
Vidéo | mov | couleur et n&b | 40:45 | Taiwan | 2018

This video is about my brother’s family memories in the form of animation, and extend from these memories to two criminal cases that took place in the surrounding area: one teenager was murdered, which happened at an Internet café where my brother often used to go to in his adolescent years, and this event was made into an illustration on the news. Another event also happened in my hometown; someone witnessed a dog wandering on the street, with a female’s head too rotten to be identified in its mouth. Police imagined and portrayed the female’s face before her death according to the shape of the skull. - The two events were separately made into portraitures on public media:a manga illustration made with 3D software by news media, and the portrait of the victim drawn with pencil by the police. I visited the police who produced the head profile of the female, as well as the storyboard director who made the news animation. By exploring their graphic techniques, I attempt to construct the images of my brother’s memories in my work.

Hsu Che-Yu was born in Taipei in 1985.Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. Now participate in post-academic research programme HISK (Higher Insititute for Fine Art) 2019-2020. Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective.

Yuk Yiu IP
HBG: HUMANS, BEASTS & GHOSTS
ip Yuk Yiu
HBG: HUMANS, BEASTS & GHOSTS
Création numérique | mov | couleur et n&b | 0:0 | Hong Kong | 2018

Inspired by the works of the Chinese literary master Qian Zhongshu, HBG: Humans, Beasts and Ghosts is an experimental video game, a playable life simulator in which the audience, assuming the role of God, facilitates the everyday being of the different worlds inhabited by humans, beasts and ghosts. The player can choose to act as an interventionist God, creating and destroying whimsically, or simply watching the worlds unfold with minimal or no interference. A literary adaptation in a digital and playable form, HBG is an allegorical play about human existence, its dilemma and other catastrophes.

IP Yuk-Yiu is an experimental filmmaker, media artist, art educator and independent curator. His works, ranging from experimental films, live performances, media installations to video games, have been showcased extensively at international venues and festivals, including European Media Art Festival, New York Film Festival (views from the avant-garde), the Image Festival, FILE Festival, VideoBrasil, Transmediale, NTT InterCommunication Center [ICC] and WRO media art Bienniale. He is the founder of the art.ware project, an independent curatorial initiative focusing on the promotion of new media art in Hong Kong. IP has over fifteen years of curatorial experience in film, video and media art. Currently he is Associate Professor at the School of Creative Media, City University of Hong Kong. His recent works explore hybrid creative forms that are informed by cinema, video games and media art practices.

Matt JENKINS
Helen Frankenthaller Radial Glow
jenkins Matt
Helen Frankenthaller Radial Glow
Vidéo expérimentale | hdv | couleur | 3:36 | USA | 2015

Akira Kurosawa said that "to be an artist means to never avert one`s eyes." Akira Kurosawa said that "to be an artist means to never avert one's eyes." This work was created as a teaching tool to inspire students in studio art courses that combine painting discourse with video art.

I am an Associate Professor of Art at Metropolitan State University of Denver. I teach courses such as performance art, socially engaged art, video art, environmental art, and internet art.

Dhia JERBI
Au pays des oranges tristes
jerbi Dhia
Au pays des oranges tristes
Documentaire | hdv | noir et blanc | 26:0 | Tunisie | France | 2018

C`est une lettre d`un père à son fils. Cette naissance questionne la paternité, l`exil et l`héritage dans un petit appartement qui devient, le temps d`un film, l`espace d`une rencontre de trois générations, séparées entre la Tunisie et la France.

Dhia Jerbi est un jeune cine?aste Tunisien, ne? en 1991 aux Emirates Arabes Unis, où ila grandi. Il est rentre? en Tunisie en 2003. Après son baccalaure?at et un an dans une e?cole d'inge?nieurs, il a change? d'orientation et s'est inscrit à l'Institut Supe?rieur d'Art Multime?dia de la Mannouba (Tunis) où il a obtenu une licence en re?alisation et e?criture cinématographique. A l'ISAMM il a réalisé? plusieurs films d'e?cole, notamment Marhouja. Il est ensuite parti en France pour s'inscrire à l'Ecole documentaire de Lussas où il a re?alise? trois films dont “Au pays des oranges tristes?. Le documentaire et la fiction s'entremêlent souvent dans ses films.

Prapat JIWARANGSAN
Destination Nowhere
jiwarangsan Prapat
Destination Nowhere
Doc. expérimental | hdv | couleur | 7:19 | Thaïlande | 2018

One day in Japan, a young man found out that a place he had thought his only home country rejected him. Destination Nowhere is a mix between an artist`s process of making a new artwork and a story about a young man who inspires the work. It`s also a story about Thailand, Japan, and the in-between world.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Tokyo, Seoul, Hong Kong and Rotterdam, while his videos have screened at international film events such as International Film Festival Rotterdam, Onion City Film Festival, Experimenta India, Open City Documentary Festival, Uppsala International Short Film Festival, and Singapore International Film Festival. From 2016 to 2019, Jiwarangsan’s work appeared at Japan’s Tokyo Arts and Space Hongo, Korea’s Seoul Art Space Geumcheon, Myanmar’s The Secretariat and the Singapore Art Museum. Recently, his installation made from nine 35mm slide projectors was exhibited at the International Film Festival Rotterdam.

Birgit JOHNSEN, Hanne Nielsen
Outside is Present
johnsen Birgit , Hanne Nielsen
Outside is Present
Vidéo | 4k | couleur | 14:57 | Danemark | 0 | 2017

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

Payal KAPADIA
And What is the Summer Saying
kapadia Payal
And What is the Summer Saying
Doc. expérimental | hdv | couleur et n&b | 23:0 | Inde | 0 | 2018

Namdeo has learnt to live off the forest from his father. He stares at the treetops, searching for honey. The wind blows and afternoon descends on the small village by the jungle. Women of the village, whisper little secrets of their lost loves. Never seen, and only heard. A strange smoke emits from the ground, like a dream of a time gone by.

Payal Kapadia is a Mumbai based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her work deals with that which is not easily visible, hidden somewhere in the folds of memory and dreams. It is between minor, ephemeral feminine gestures where she tries to find the truth that makes up her practice. Her much acclaimed short film Afternoon Clouds was India’s sole official selection in Cannes film Festival, 2017. This year, her experimental short And what was the Summer Saying had its world premiere at the prestigious Berlin International Film Festival (2018). It also received the prestigious Special Jury Prize at the International Documentary Film Festival of Amsterdam (2018). Kapadia’s experimental short The Last Mango Before Monsoon was premiered at Oberhausen International Film Festival (2015), where she was awarded FIPRESCI award and Special Jury Prize. The film got her acclaims around the world including awards like Best Film and Best Editing at Mumbai International Film Festival (2016), Toto Award for Young Indian Artist, and Special Mention at Filmadrid.

Doing KAREL
The King of Nogaria
karel Doing
The King of Nogaria
Doc. expérimental | super8 | couleur et n&b | 5:0 | Royaume-Uni | 2018

A speculative parable about a gentle autocrat of a non existent country. After running into trouble he starts a new life in the shadows of his kingdom. The film is a collage of super 8 footage from the artist`s personal archive gathered over the years.

Karel Doing is an independent filmmaker with a particular interest in Utopia. He has been creating films, performances and installations for almost 30 years, building a diverse oeuvre that balances between dream and reality and combines documentary with materiality. His work has been shown widely in cinemas, clubs, museums and galleries. He is currently based in Cambridge, UK.

Eszter KATALIN
Mária Vörösben
katalin Eszter
Mária Vörösben
Vidéo expérimentale | hdcam | couleur | 28:39 | Hongrie | Autriche | 2018

A woman visits a prison in the village of Márianosztra (Hungary) to find out more about the ongoing production of barbed wire by the inmates of the institution for various European border fences. Subsequently, she engages in a research about those women who were imprisoned there for being communists and antifascists between 1920 and 1944 at a time when it was run by nuns as a place to "re-discipline" the sentenced person through labor and prayer. The voice of a ghost belonging to a female political prisoner follows her as she is trying to connect past and present through gestures of mourning.

Eszter Katalin (born 1991, Budapest) is an artist based in Vienna. She has recently finished her master`s degree in Critical Studies at the Academy of Fine Arts in Vienna (2015-2018). In her works she focuses on the tensions between political struggles and their representation within a so-called critical artistic practice, departing frequently, but not solely, from Hungary’s social context as marked through its politics of memory and exclusion. Her latest works include her film MEGSZAKÍTÁS* Civil Aktivizmus Magyarországon (MEGSZAKÍTÁS* Civil Activism in Hungary, video in four parts, 76 min, 2017), Versammlung (Coming together, audio piece, 9 min, 2017) and Mária Vörösben (Mary in Red, video, 28:39 min, 2018).

David KELLEY, Patty Chang
Spiritual Myopia
kelley David , Patty Chang
Spiritual Myopia
Film expérimental | hdv | couleur | 15:0 | USA | 2018

Spiritual Myopia is a film dealing with the invisible labor and desire of the residents of the oil industry boom towns of Fort McMurray in the Canadian Tar Sands and the refining town of Port Arthur Texas. The two cities are terminal nodes of the proposed Keystone XL oil pipeline which would span the United States. Fort McMurray is the third largest oil deposit in the world. Its rapid pace of growth has meant a dearth of housing for its migrant workers. Port Arthur boasts the world’s largest concentration of oil refineries and its town center has nearly disintegrated from economic decline. These twin cities are related spatially as nodes in the same energy infrastructure, and temporally in their different stages of a boom or bust economy. Borrowing its title from Alfred Stieglitz’s photo Spiritual America, Spiritual Myopia speaks to the nearsightedness innate to hypercapitalism.

Spiritual Myopia is a collaboration between artists David Kelley and Patty Chang Patty Chang (Lives and works in Los Angeles, CA) Patty Chang is an artist working in performance, video, writing, and installation. Her work has a capacity to explore complex subjects nearly simultaneously, as does life. Her work has been exhibited nationwide and internationally at such institutions as the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; New Museum, New York; BAK, Basis voor actuele Kunst, Utrecht, the Netherlands; the Hammer Museum, Los Angeles; Fri Art Centre d’Art de Freibourg, Fribourg, Switzerland; Chinese Arts Centre, Manchester, England David Kelley (Lives in Los Angeles California, CA.) David Kelley’s work is a hybrid of experimental documentary and ethnographic practices that make use of imaginary, choreographic and performative strategies. His work has been shown in galleries throughout the world. Recently, he has had exhibitions at the Museum of Modern Art in New York, White Box in Portland Oregon, and Commonwealth and Council in Los Angeles. Other recent exhibitions include The Bank in Shanghai, New Art Center, the de Cordova Biennial in Boston, BAK in Utrecht, MAAP space in Brisbane Australia.

Ayoung KIM
Porosity Valley, Portable Holes
kim Ayoung
Porosity Valley, Portable Holes
Fiction expérimentale | hdv | couleur | 21:20 | Coree du Sud | Australie | 2017

Petra Genetrix, who lives in the imaginary space “Porosity Valley”, is a composition of minerals living in a gigantic and bizarre-looking rock crystal protruding from the rock face. As people - fascinated or overwhelmed by its bizarre figure - often visit Petra Genetrix to purify their thoughts, over the years Petra has developed into a kind of pseudo-mythical being, regardless of its own will. One day Petra faces a situation in which it must attempt to migrate to another rock platform due to an explosion that occurred in Porosity Valley. In the process, as a would-be migrant, Petra faces various realistic problems unimaginable for a divine being. It is subject to an interview to confirm that it is a being appropriate for migration, and placed in quarantine for 40 days to rule out the possibility it is carrying any viruses that may pose a threat to the new platform. Later, it is presented with the opinion that Porosity Valley could be duplicated, as Petra’s mythological function has been found by the Immigration Data Center to be favorable to humans…

Ayoung Kim applies remote imagination and speculation in order to reflect the incoherent and anomalous properties of life and of the world. By acquiring fictional narrative devices and rhetoric, Ayoung Kim evokes unfamiliar forms of reading, listening and thinking of the conditions of the world by focusing on unlikely encounters of ideas. Recently, Ayoung Kim has been endeavoring to graft and collide the fictional and the historical together through distorting reality via the tool of “histofuturism”. In terms of the context of the works, they often deal with the issues and notions of crossings, transnational activities, transpositions, transmissions, and the altering and changing of platforms. The subjects of those movements are either humans or non-humans, such as minerals or data particles. Ayoung Kim had solo shows at Ilmin Museum of Art, Seoul (2018); Melbourne Festival, Melbourne (2017); Palais de Tokyo, Paris (2016) and created a performance piece at the national opera house in Paris, Palais Garnier (2016). Group shows and performance events include Sharjah Film Platform, Sharjah (2019); Gwangju Biennale, Gwangju (2018); Kunsthal Aarhus, Aarhus (2018); MMCA, Seoul (2018); the 56th Venice Biennale, Venice (2015), among others.

Iztok KLANCAR
Safe Place
klancar Iztok
Safe Place
Installation vidéo | mp4 | couleur | 14:0 | Slovénie | Pays-Bas | 2017

"When external forces act on us, we retreat. We create a mental space. There, we can play.” Filmed on various location throughout Europe with the help of the young talent grant (Mondriaan fund), Safe Place is an atmospheric music piece set into an immersive visual experience. With the protagonists’ actions in nature and abstract elements, the video is a continuous flow of introspection. The landscapes suggest emotional streams of our inner world. The people are showing themselves in their playful, yet emotionally charged state of mind. They interact with nature by means of private rituals to release their hidden selves. Safe Place is an exploration into the lurking depths of our minds aiming to push the spectator into their own inner hidden places. Duration: 14 min Directed, filmed and edited by: Iztok Klančar Music: Lifecutter Starring: Atanas Petrov, Aphra Tesla, Aljaž Celarc Many thanks to: Simon Tanšek, Neven M. Agalma, Ariadne Urlus, Rob Philip, Gerda Postma, Antoine Latipau, Eva Pavlič Seifert, Ljubica Klančar, Andreea Dumitriu, Perri MacKenzie, Suzanne Somer, Rudnik Trbovlje Hrastnik, Fotoklub Hrastnik, The Bookstore Foundation and the cast.

I graduated as photographer at the KABK in The Hague in 2012 with the series My Men. It was was presented as a photo book and a video installation with sound. Although in its conception this work was documentary, the story was edited as a music video. Both edits, that of the book as well as the video have got a fictional turn to it. The video proved to be versatile, suitable for a gallery setting (GEM, Nederlands Fotomuseum), as well as a cinema (Het Nutshuis) or a temporary pop-up space (Metro station in Amsterdam). The next couple of years I continued to develop both video and photography, experimenting with different ways of presentations. Making snapshots was an integral part of my process. It enabled me to make order of the world and then edit out a theme. The following work was called Afterlife, with a broader theme of finding oneself in a changed world. It is about finding new structures, new rhythm, new logics to life. A life that seeks not to be conformed by our times where we are forced to buy ourselves an ideal lifestyle. Making Afterlife was about discovering a world that is mine, a new, yet familiar place. It resulted in a selection of sequences, printed on long paper rolls and a publication dummy which was also used as a portable installation. A body of work, called Reverence started to emerge from the second half of 2014 on. With Reverence I took further steps, making a music video for Lifecutter and exhibiting it in Showroom MAMA, together with photographs. The photographic part of the installation were diary snapshots. These were an initial step in my visual research, subject matters I narrowed down in the video. While photographs were an eclectic mixture of various encounters, impressions and landscapes, the video zoomed into a rather physical encounter with an attempt to visually depict the mental consequences of it. At that time, I also started with a short performance piece where I used video visuals as a backdrop and ambient. The texts are thoroughly edited diary entries, bundled into stories that convey an intense journey into myself, a deep introspection of what it means to be a sexual and sensitive being. When I obtained the young talent grant by Mondriaan Fund in 2016 I edited the massive library of snapshots into a new body of work, called Journal. The pictures are a relentless and a repetitive loop of same experiences, scavenging for endless impressions, for attention and love. Besides being shown online on different blogs, I also made a limited edition of the publication (shown at several photography events in Slovenia). Currently I am working on an edition of prints. With the help of the Mondriaan young talent grant in 2016 I filmed on different locations in Europe with various people from which the short film Safe Place was assembled. Safe Place is an atmospheric music piece set into an immersive visual experience. With the protagonists’ actions in nature and abstract elements, the video is a continuous flow of introspection. The landscapes suggest emotional streams of our inner world. The people are showing themselves in their playful, yet emotionally charged state of mind. They interact with nature by means of private rituals to release their hidden selves. In the lengthy process of making Safe Place, I significantly upgraded my technical skills - the camerawork, as well as editing. I learned how to work intensely one-on-one with the performers and create a safe space for experimentation within a set of parametres, such as an activity taking place, the styling and the location. A specialisation of mine has become setting a sensorical atmosphere by choosing the right environment in the outdoors, as well as specific light. Safe Place and other work I made subsequently has been used as visuals for the shows of Lifecutter. I also collaborated with the fashion Bas Kosters, making a set of visuals and social media videos for his last collection, called Hope. Acknowledging the queer feel of both of our work, I directed Bas into a comic depiction of sensuality (with food) which is one of my personal fetishes. The camera work, editing and sound are effectively adjusted to function well as visuals during his fashion show and on social media. This proves how my work is versatile and can be shown in different places, far outside the gallery world. After the young talent grant, I started teaching and coaching students of the department of Fashion Design at the HKU in Utrecht. This year, I also started teaching A/V at the department of Photography at the KABK in The Hague. My general approach to teaching is very flexible - the story or the atmosphere are the primary motivation on building of a film work. I never impose a certain format upon my students, but still teach them how to apply the basic ingredients of filmmaking to their projects, such as storyboard, camerawork, editing and sound.

Arthur KLEINJAN
ABOVE US ONLY SKY
kleinjan Arthur
ABOVE US ONLY SKY
Installation vidéo | mp4 | couleur et n&b | 27:30 | Pays-Bas | 2018

Arthur Kleinjan presents ABOVE US ONLY SKY, a large-scale video triptych. A narrator leads us into a magical-realist history that is bereft of fabrication. His story begins with an investigation into a plane crash in communist Czechoslovakia, which one woman survived after an unlikely fall from the air. This event becomes the point of entry to a dense web of seemingly unrelated events that appear to be deeply entangled. Kleinjan plays an intelligent game with the surreal logic of chance, the repetition of events, and synchronicity. `Above us only sky` questions the surreal logic of chance, repetition of events, and synchronicity. It blurs the boundaries that separate us from the past through a present that shifts and fluctuates between reality, imagination and speculation. Viewers become unsuspected witnesses to political defiance and reprisals where the past has informed the present and where natural, political and technological disasters, are followed by remarkable tales of survival.

Arthur Kleinjan is a Dutch visual artist working with the media of film and photography. He studied at the Willem de Kooning Academy Rotterdam and Rijksakademie in Amsterdam. His work, an exploration of visual perception is merged with a metaphysical sensation of place, identity and time as he transforms apparent lucid moments into layered visuals and narratives. The work of Arthur Kleinjan has been exhibited internationally, including solo exhibitions at The Essl Collection(Vienna, Austria), Western Front(Vancouver, Canada) and 2YK Gallery(Berlin, Germany). He has participated in exhibitions such as the Biennale of Busan (South Korea), in the Musée d`art contemporain de Montréal (Canada). His films has been screened at Clermond Ferrand Filmfestival(France), International Film festival Rotterdam(NL) and Museo Nacional de Arte Reina Sofia (Madrid, Spain).

Rainer KOMERS
BARSTOW, CALIFORNIA
komers Rainer
BARSTOW, CALIFORNIA
Documentaire | 4k | couleur | 76:0 | Allemagne | 2018

Troisième volet de The American West Trilogy (les deux premiers volets étant Nome Road System et Milltown, Montana (VdR, 2010)), ce film est un portrait poignant et complexe de la vie et des paysages du désert de Mojave. Par sa structure désarticulée qui évoque presque le "fingerpicking" minimaliste de John Fahey, tel un blues décharné perdu dans le temps, le film observe la façon dont la vie s`imbrique et s`écarte de la trame d`un mode de vie américain complètement oublié par les politiques de l`idéologie néolibérale. On y entend le poète et détenu Stanley »Spoon« Jackson, condamné en 1977 à perpétuité sans possibilité de libération conditio-nnelle et qui a séjourné dans plus d`une demi-douzaine de prisons californiennes, lire des passages de son autobiographie By Heart. Des images d`un monde imprégné par la pure mythologie américaine sont entrecou-pées et noyées dans la réalité et les conséquences brutales de politiques financières implacables. »Barstow, California« incarne assurément l`autre côté du rêve américain. Giona A. Nazzaro

Geboren 1944 in Guben. Filmstudium an der Kunstakademie Düsseldorf, Meisterschüler. Filmprojekte in Alaska, Indien, Japan, Jemen, Kalifornien, Lettland und Montana. »Barstow, California« wurde mit dem ARTE Dokumentarfilmpreis 2018 ausgezeichnet, »Nome Road System« mit dem Deutschen Kurzfilmpreis 2004, »B 224« mit dem Hessischen Filmpreis 2001, »Zigeuner in Duisburg« mit dem Preis der Deutschen Filmkritik 1980. Ruhrpreis für Kunst und Wissenschaft 2006. Masterclass IDF / Prag (2012); Videonale.scope Retrospektive / Köln (2014) http://www.videonale.org/en/VideonaleScope-2014; Iasi-Installation (2015) https://vimeo.com/135471613; Villa Kamogawa / Goethe-Institut Kyoto (2015) https://www.goethe.de/ins/jp/de/kul/res/sti/s15/rko.html. Festival-Screenings in 35 Ländern; Preise in Kanada, Frankreich, Polen und USA. Regie, Kamera, Word Art, Gedicht. Lebt in Berlin und Mülheim an der Ruhr.

Aglaia KONRAD
IL CRETTO
konrad Aglaia
IL CRETTO
Vidéo expérimentale | 16mm | couleur | 11:21 | Autriche | Belgique | 2018

In 1968, the island of Sicily suffered a huge earthquake that completely devastated several villages, including Gibellina. Il Grande Cretto, the intervention projected by the Italian artist Alberto Burri for the ruins of Gibellina, a small village in the western part of the Island. This intervention - which took over thirty years to complete, after successive interruptions and recommences - is for me the most crystalline and powerful implementation of what may be described, in an apparent paradox, as a contemporary monument. The radical aspect of this place is that the monument coincides with the memory of the event. It is therefore, a performative piece - a living monument. The monument is the place, on a 1:1 scale. Aglaia Konrad’s films are careful and rigorous approximations to certain places or realities. In her films she works with matter (light, sound, memory and perception), on the one hand, and with language (editing, rhythm and repetition) on the other. The 16mm film IL CRETTO (transferred to video), uses of a split-screen (recorded in- camera) and dual projection.

AGLAIA KONRAD Austrian, self-taught as an artist, lives in Brussels and teaches at the LUCA School of Arts. She participated in numerous international exhibitions such as Dokumenta X, 1997 in Kassel; "Cities on the Move" 1998 and 1999 (Bordeaux, New York, London, Helsinki, Wien); Shanghai Biennale 2000, "Gazes of Architecture on the Body", Tokyo Wonder Site and Museum of Contemporary Art, Kumamoto, "In the First Circle", Tapies Foundation Barcelona, EMINENT DOMAINS (proper names), Robert Miller Gallery, New York City; Hollein, MAK Vienna; The Brutalism Appreciation Society, HMKV Dortmund, 2009 a soloshow at the Museum of Contemporary Art in Siegen; Sainsbury Gallery Norwich; Fotohof Salzburg; STUK und Netwerk Aalst; in 2016 M Museum, Leuven. "Aglaia Konrad. From A to K", kam bei Koenig Books heraus. Published books: Elasticity (2002); Iconocity (2005); Desert Cities (2008); Carrara (2011 ); Zweimal Belichtet (2013); Aglaia Konrad: From A to K ; SCHAUBUCH: Skulptur (2017).

Andrew KOTTING
Their Randic Words Stagnate our Ponds
kotting Andrew
Their Randic Words Stagnate our Ponds
Vidéo | hdv | couleur | 8:40 | Royaume-Uni | 2018

In a hinterland within the “elsewhere” a lone character meanders in search of meaning and understanding. Hither and dither doth he wander reflecting upon all things that came before and all things hereafter. The work is a companion piece to “ttingâ” latest feature film LEK AND THE DOGS and was shot in the Atacama desert in Chile. Produced to run on a loop in a gallery “space” or as a single screen the film exemplifies “ttings ability to take an idea and run with it until it spills over into the expanded cinematic “elsewhere”. With the beguiling presence of French performance artist Xavier Tchili and sublime cinematography by Nick Gordon-Smith the work is designed to be experienced within the pitch black and the sound up high.

Andrew ‘tting was born between the mountains and the sea in Elmstead Woods in 1959. After some early forays into market trading and scrap-metal dealing he travelled to Scandinavia to become a Lumberjack. He returned home in the 80’s to study for a BA Honours Degree in Fine Art at Ravensbourne College of Art and Design and then graduated with a Masters Degree from The Slade, London. He currently lives and works between Hastings in England and Fougax-et-Barrineuf in the French Pyrenees. He teaches part-time at the University for the Creative Arts where he is Professor of Time Based Media. He has made numerous experimental short films, which were awarded prizes at international film festivals. Gallivant (1996), was his first feature film, a road/home movie about his four-month journey around the coast of Britain, with his grandmother Gladys and his daughter Eden, which won the Channel 4 Prize at the Edinburgh Film Festival for Best Director and the Golden Ribbon Award in Rimini (Italy). The film went on in 2011 to be voted number 49 as Best British Film of all time by the UK publication Time Out. In 2001 he directed the first of his Earthworks Trilogy; This Filthy Earth, in 2009 Ivul, and in 2018 Lek And The Dogs. All three films were released theatrically throughout the UK and France. As well as exhibitions of his work in the UK he has also presented retrospectives of his work in Belgium, France, Germany, Holland, Ireland and Switzerland. His twenty-eight year oeuvre to date has moved from early live-art inflected, often absurdist pieces, through darkly comic shorts teasing out the melancholy surrealism at the heart of contemporary Englishness to eight resolutely independent feature films that take biography, landscape and journeys as springboards into the making of visually striking and structurally inventive enquiries into identity, belonging, history and notions of the folkloric.

Daniel KÖTTER
Chinafrika.mobile
kÖtter Daniel
Chinafrika.mobile
Documentaire | hdv | couleur | 38:20 | Allemagne | Congo (RDC) | 2017

The documentary Chinafrika.mobile is tracking the life cycle of a mobile phone. From its birth in the mines in the Kolwezi, DR Congo, to its manufacturing in Chinese factories in the Pearl River Delta to its use and death in the markets and recycling dumps in Lagos, Nigeria, the mobile phone camera sends images of its global journey to the viewer`s mobile phone display. It was filmed by miners, factory employees, dealers and electronic scrap collectors at the original locations in Congo, China and Nigeria. Four short documentary films show the work on the device that shapes our everyday life. China and Africa act as driving forces for the economic, political and cultural future of globalization and the mobile phone is their important link. Since 2013 Jochen Becker and Daniel Kötter have done research on cultural effects of the economic and political connections between China and the African continent.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten und verbinden Techniken des strukturalistischen Experimentalfilms mit performativen und dokumentarischen Elementen. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen die experimentellen Videokonzertperformances Falsche Freizeit (2010), Freizeitspektakel (2010), 'konomien des Handelns 1-3: KREDIT, RECHT, LIEBE (2013-16, alle mit Hannes Seidl), die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014 mit Constanze Fischbeck). Seine umfangreiche Film- und Textarbeit KATALOG (2013) entstand in 13 Ländern rund um das Mittelmeer mit einem besonderen Interesse an Praktiken des Raums. Visuelle Recherchen führen ihn immer wieder auf den afrikanischen Kontinent sowie in den Mittleren Osten. 2014-18 arbeitete er u.a. mit dem Kurator Jochen Becker (metroZones) an dem Recherche-, Ausstellungs- und Filmprojekt CHINAFRIKA. Under Construction. Sein Film "Hashti Tehran" (2017, HD, 60") gewann u.a. den Sonderpreis des Deutschen Kurzfilmpreises.