Catalogue 2021
Parcourez ci-dessous le catalogue 2021 des Rencontres Internationales, ou effectuez une recherche dans les archives des oeuvres présentées depuis 2004. De nouveaux extraits vidéos sont régulièrement mis en ligne, les images et les textes sont également progressivement mis à jour.
Isabell Heimerdinger
Soon It Will Be Dark
isabell heimerdinger
Soon It Will Be Dark
Film expérimental | 4k | | 22:49 | Allemagne | 2020

Life on the island follows the changing pace of day and night. Where the only road seeps into the forest, the air gets warmer, more humid. Here, in the shade of tall trees, a man is at work with his tool. The sounds he produces blend in with the sounds of the all-embracing nature. His daily routine is directed by light and shadow until the sun sets. At night, at the other end of the road, his loneliness is softened by the voices of the others, next to the warming fire, until the first light.

Isabell Heimerdinger was born in Stuttgart, Germany. She studied sculpture at the Kunst-akademie Düsseldorf and received an MFA in photography at the California Institute of Arts in Los Angeles. During her years in Hollywood, she made a living working in special effects animation. Unsurprisingly her art work revolves around the conditions of filmmaking. In 2008, she shot her first narrative short film in France (Detour), followed by a series of experimenal films set in Beijing (Good Friends, Blind Date, Mr. Xu) and in Italy (Giorgio). While the settings of her films are always real, the stories and the characters that inhabit them are not. Isabell Heimerdinger lives and works in Berlin. Her films have been shown among other venues at Berlinische Galerie, Kino Arsenal, Centre George Pompidou, Art Film at Art Basel, Kunstmuseum St. Gallen and various international film festivals.

Ronja HEMM
For Your Sake
ronja hemm
For Your Sake
Documentaire | 4k | couleur | 37:56 | Allemagne | 2020

Two daughters of a Nepalese Tamang family are preparing to study abroad. Their hopes for a better life are high, but the price is immeasurable. They have to leave behind what is the Tamang people‘s greatest good: their family. The sisters seek a conversation with their mother and grandmother, who still live arduous lives following the old tradition.

Ronja Hemm grew up in Bamberg and studied time-based media at University of Applied Sciences in Mainz. During her studies she devoted herself mainly to documentary formats. The documentary film For Your Sake is her graduation film.

Margaux HENRY-THIEULLENT, en collaboration avec Molpé
margaux henry-thieullent , en collaboration avec Molpé
Vidéo expérimentale | mp4 | couleur | 2:10 | France | 2020

SUBLIME est un texte écrit en 2018 par la plasticienne Margaux Henry-Thieullent. Elle a ensuite donné carte blanche à la musicienne Molpé en 2019 pour la création musicale. En 2020, " Sublime", devient un projet a vocation immersive et expérimentale. À partir d'un travail de sculpture digitale sur iPhone, Margaux Henry-Thieullent réalise une série intitulée " Encore des Morceaux " de quatre vidéos toutes produites au début de la période de confinement en France. " Sublime", est la première vidéo de cette série. Elle questionne la construction de notre mémoire contemporaine laissant place à l’émergence de récits organiques. Dans le projet "Sublime", on assiste directement à l'éclatement de la caverne digitale. Notre société du spectacle navigue violemment au coeur de lieux oniriques, des théâtres virtuels où se désacralise le réel. D’autres perceptions du dehors se dessinent alors, certainement par nécessité, à la frontière d’un nouveau langage : celui qui nous rassemble encore.

Margaux Henry-Thieullent, est une artiste plasticienne française. Architecte, diplômée de Paris Malaquais en 2019, elle montre pour la première fois son travail de dessin la même année au salon DDessin sur Paris ainsi qu'au Festival Vrrraiment de Toulon. En octobre 2020, la Galerie 5un7 de Bordeaux présente son travailt. Dés la réouverture des lieux de culture, Margaux Henry-Thieullent participera à l'exposition collective, Vaste Monde #2 organisée par la Villa Beatrix Enea, Centre d'Art Contemporain d'Anglet. Elle travaille actuellement sur son premier solo show pour 2021 présenté à la Cité des Arts de Bayonne.

Linn Nora HENZ
She is leaving home
linn nora henz
She is leaving home
Film expérimental | mov | | 5:25 | Suisse | 0

Trouvaille. Une silhouette de fille dans des images d'archive de la Croix Rouge. Se tisse un voyage sensoriel vers elle, spéculation d'un désir d'échapper au vent, au monde désert, d’échapper au temps stagnant et de se découvrir femme.

Née en 1997 à Zürich, Linn Nora Henz intègre l'Université en lettres, puis l’Ecole cantonale d’art de Lausanne (ECAL) pour une année propédeutique artistique. Afin de s'orienter plus vers un cinéma d'art et d'essai, elle poursuit ses études à la Haute école d'art et de design Genève (HEAD), Department Cinéma avec une spécialisation en montage. Elle approfondit la création sonore en tant que médium propre, mais également pour de l’image. Outre cela, elle collabore dans des recherches curatoriales et multidisciplinaires.

Jürgen HILLE
space capsule III
jürgen hille
space capsule III
Vidéo expérimentale | mp4 | noir et blanc | 1:26 | Allemagne | 0 | 2020

Das Video ist ein künstlerischer Reflex auf die im letzten Jahr sich ereignenden Corona-Pandemie. Eine Fluss-Boje als passives, fixiertes Signalobjekt fülle ich mit Erinnerungsbildern und Bewegungsimpulsen. Eine Drohne steigt auf und ab.Menschen zeige ich als Masse in einem Fussballstadion und als kleine Urlaubsgruppe unter einem Sonnenschirm an einem verlassenen Strand.

1961 geboren in Düsseldorf, BRD 1980-86 Studium Freie Kunst, Kunstakademie Düsseldorf seit 1993 freie dokumentarisch-experimentelle Videoarbeiten.

Kitâb al-isfâr: Book of the Journey
baba hillman
Kitâb al-isfâr: Book of the Journey
Doc. expérimental | 16mm | couleur et n&b | 58:0 | Canada | Espagne | 2020

An immersive cinematic poem of a seven year journey of return, "Kitâb al-Isfâr: Book of the Journey," weaves together stories of near-death and mystical experience in Andalucia. When I was 19 I set out, hoping I could learn the meaning of life by "experiencing everything." I bought a car for 20 marks in a cafe in Ulm. I spray painted it yellow and green and drove it from Holland to Romania to Spain, sleeping in the back seat in a red blanket. Driving down to Malaga, at the crest of the mountains, the brakes went out. As the car sped down the mountain then crashed, I lost consciousness, followed by three days and nights of visions. What did I see, what did I understand? The Shaykh al-Akbar, sufi mystic and philosopher Ibn 'Arabi, writes that the journey only has true meaning if it brings a new beginning. In traveling, the heart becomes the goal of the journey. BH

Baba Hillman is an artist and filmmaker who grew up in Japan, Venezuela and Panama and works between France and the U.S.. Her films and performance works explore memory, history, perception and the poetics and politics of place, language, and the body. Her films have screened at festivals and museums including the Museum of Contemporary Art, Los Angeles, FIDMarseille, Edinburgh Film Festival, Anthology Film Archives, Ann Arbor Film Festival, National Gallery of Art, Washington D.C., Athens Avant Garde Film Festival, ICAIC Havana, Africa World Documentary Festival, Yaounde, MIX Brazil and European Media Art Festival, Osnabruck, among others.

gavin hipkins
Film expérimental | 4k | couleur et n&b | 14:45 | Nouvelle-Zélande | 2020

A young man’s letter to his mother, sent home to New Zealand from England during the First World War. London’s Royal Parks are the picturesque setting for revisiting empire, tourisms and longing in this hybrid film that features the artist’s grandfather’s photography and writings from his enlisted travels.

Gavin Hipkins is an Auckland-based artist. He holds a Master of Fine Arts from the University of British Columbia, Vancouver. He is currently Associate Professor in Fine Arts at Elam School of Fine Arts at the University of Auckland, New Zealand. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His recent moving image works engage film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. Hipkins has exhibited extensively in international exhibitions and film festivals including: 16th 25FPS International Experimental Film and Video Festival, International Competition, Zagreb (2020); Recontres Internationales Paris/Berlin (2020); 33rd Stuttgarter Filmwinter: Festival for Expanded Media, Stuttgart (2020); New Zealand International Film Festival (2020); Videoex, Zurich (2019); The 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen, International Competition (2017, 2016); The Jewish Museum, New York (2015); Museum of Arts and Design (MAD), New York (2014); Edinburgh Art Festival (2014).

Kerstin HONEIT
kerstin honeit
Vidéo expérimentale | 4k | couleur | 17:17 | Allemagne | Canada | 2019

Silo 5, once the largest granary in the world, was celebrated by architect Le Corbusier in 1927 as a glimpse towards a utopian modernity and an aesthetic future of architecture. Since the 1990’s Montreals gigantic silo complex has been an industrial ruin, far too big to be demolished. The abandoned granary, now an unintended monument to colonial global extractionism, marks as a place of storage the starting point for the video piece [?zi:lo]5. The work approaches different gestures and technologies of preservation and collection and therefore – simultaneously and inseparably – also questions of overwrite, delete or rewrite. Seen from the perspective of a near (queering) future, collections expose themselves as accumulations of gaps and omissions. These voids become resonating bodies, having the potential to open up spaces for other practices of intermediate storage.

Kerstin Honeit studied fine arts and stage design at the Berlin-Weissensee Art Academy. She lives in Berlin and is teaching media art at the Academy of Fine Arts in Leipzig. In her practice as an artist and filmmaker, she works at the interface of different forms of staging. Her artistic research focuses on the investigation of representation mechanisms in the production of hegemonic image worlds, especially in connection with cultural and linguistic modes of translation in the context of the moving image. Since 2006 she has been showing her work in exhibitions and at festivals. Exhibitions / Screenings (Selection): La Centrale Powerhouse, Montreal / HMKV, Dortmund / International Short Film Festival São Paulo, São Paulo / Ruhrtriennale, Bochum / Kunsthalle Rostock, Rostock / Neuer Berliner Kunstverein, Berlin / Off Biennale Cairo, Cairo / Videoart at Midnight, Berlin / MMOMA Moscow Museum of Modern Art, Moscow / Schwules Museum, Berlin / Fajr International Film Festival, Tehran / HKW, Berlin / Internationale Kurzfilmtage, Oberhausen / SixtyEight Art Institute, Copenhagen / Berlinische Galerie, Berlin / Les Complices*, Zurich / Videonale, Bonn / Gallery 400, Chicago / CCNY, New York / Arsenal – Institut für Film und Videokunst, Berlin

Krzysztof HONOWSKI
Beasts Of No Nation
krzysztof honowski
Beasts Of No Nation
Film expérimental | mov | couleur | 9:28 | Allemagne | 2019

An essay film about crowds, nationalism, and the loneliness of rollercoasters. Born in London to Polish immigrants and now living in Germany, Krzysztof Honowski is very confused by what is happening right now in the two countries that he comes from. Examining the roots of his own political disappointment Honowski, together with the German actress Laura Sundermann, attempts to create a narrative that “speaks for a generation”. This is of course impossible, and this parody of a grand narrative soon gets derailed by the small details of the everyday. Honowski and Sundermann’s narrator must instead confront their own cowardice, exhaustion, and disavowal.

Born in London in 1986, Krzysztof Honowski studied English Literature at the University of Cambridge, and completed his postgraduate studies in Art at the Slade School of Fine Art in London and the Academy of Media Arts (KHM) Cologne. He is a doctoral candidate in Art Theory at the Academy of Fine Arts Vienna. He has presented performances and exhibitions throughout Europe. These include 'Kustom Kar Kommandos Karaoke' (2015-16) at the Barbican London, Sound Acts Festival Athens, and a.m. London as well as 'And Now The Screen Is Struck By Lightning' at Tropez Berlin in 2019. Group presentations include Kunsthalle Düsseldorf, Art Cologne, and Jewish Museum Berlin. In 2019 his short film 'Beasts Of No Nation' had its world premiere at the Ruhrtriennale and was selected for the Official German competition at the International Short Film Festival Oberhausen 2020. In 2021 the film was chosen by the German Short Film Association for their Emerging Artists programme. A new installation will be presented at Kunstverein Leverkusen in 2021.

laura huertas millÁn
Documentaire | dcp | couleur | 24:45 | France | Colombie | 2019

Le rituel de fabrication de la poudre de coca verte (appelée « mambe » ou « Jiíbie ») dévoile un mythe ancestral de parenté, dont la transmission se fait par tradition orale. Dans la communauté amazonienne Muina Murui, la plante de coca n’est pas un produit de consommation, mais une interlocutrice sacrée, le coeur battant d’un corps collectif.

Laura Huertas Millán est une cinéaste et artiste française et colombienne, sa pratique se situe à lÊintersection entre le cinéma, lÊart contemporain et la recherche. Sélectionnées dans les grands festivals de cinéma tels que la Berlinale, Toronto International Film Festival, Rotterdam International Film Festival, New York Film Festival, et Cinéma du Réel, ses fluvres ont été primées dans des festivals tels que le Locarno Film Festival, FIDMarseille, Doclisboa, Videobrasil, parmi dÊautres. Plus de vingt rétrospectives et focus de son travail ont été organisées mondialement, dans des cinémathèques telles que le TIFF Lightbox de Toronto, la Film Archive de Harvard ou la cinémathèque de Bogota, et des festivals de cinéma majeurs comme Mar del Plata, les Rencontres du Documentaire de Montréal et Thessaloniki Doc. Ses dernières expositions personnelles ont eu lieu au MASP Sao Paulo, à la Maison des Arts de Malakoff et au Musée dÊArt Moderne de Medellin. Elle a également exposé et projeté ses films dans de nombreuses institutions renommées (Centre Pompidou, Jeu de Paume, Guggenheim Museum NY, Times Art Berlin) et dans le cadre de biennales (Liverpool, FRONT Triennial, Videobrasil, Videonnale). Ses fluvres font partie de collections privées et publiques (Kadist, CNAP, Banco de la República de Colombia, CIFO, FRAC Lorraine, parmi dÊautres). Huertas Millán détient un doctorat de pratique (programme SACRe), après avoir développé une recherche de pratique cinématographique autour de la ÿ fiction ethnographique Ÿ entre lÊUniversité PSL et le Sensory Ethnography Lab à lÊUniversité de Harvard. Elle travaille régulièrement comme enseignante. Depuis 2019, Huertas Millán et la commissaire Rachael Rakes forment un duo de recherche autour de lÊanthropologie critique, les esthétiques et les politiques de la rencontre.

Birgit JOHNSEN, Hanne Nielsen & Birgit Johnsen ( both directors)
Modern Escape
birgit johnsen , Hanne Nielsen & Birgit Johnsen ( both directors)
Modern Escape
Installation vidéo | 4k | couleur | 21:12 | Danemark | 2018

The video installation Modern Escape questioning the relation between the individual position and a global political context. We are preoccupied to examine our social behaviors and subjective relationship with both general historical issues and the different cultures we are part of. Time has blurred reality, art, living, exciting into a melting pot, where our POW has changed. The automated camera gaze takes over the photographer's empathetic gaze and starts all the way from the floor and ends in something that refers to a drone gaze. Tthe world is migrating, walls are shooting up in the same speed as refugee camps and now infections are spreading. The art room is transformed into a living room, where a TV includes reality by showing excerpts from TV news. At the same time, television commercials offer surveillance equipment and anti-theft devices to keep the world out: The living room turns into a safe guarded castle. However, the reality insist to penetrate.

Hanne Nielsen and Birgit Johnsen have a MFA from the Art Academi of Jutland.. They have worked and exhibited together with video, documentary and installations since 1993. Latest can be mentioned their solo exhibition is AT THE FENCE af Kunshal Viborg 2019, PROTECT/ RELEASE at Rôdasteen Kunsthall 2017, REVISIT a monographic exhibition at Overgaden 2018-19 as well as INCLUSION / EXLUSION at AROS art Museum 2017. They have received Carl Nielsen and Anne Marie Carl Nielsen’s Honorary Award in 2016, the Eckersberg Medal from the Royal Academy of Fine Art 2017 and latest The New Carlsberg Foundation`s Artist Grant in 2020.

Pauline JULIER, Nicolas Chapoulier
Tout Ira Bien
pauline julier , Nicolas Chapoulier
Tout Ira Bien
Vidéo expérimentale | 4k | couleur | 8:55 | Suisse | Italie | 2020

A la tombée de la nuit, un oracle volant s’avance et déroule un message.

Pauline Julier est artiste et cinéaste. Ses films ont été présentés dans des festivals, des centres d’art et des institutions du monde entier, parmi lesquels le Centre Pompidou à Paris, le Festival Loop à Barcelone, Visions du Réel à Nyon, DOCLisboa, le Tokyo Wonder Site à Tokyo, le Museum of Modern Art en Tanzanie, le Centre d’Art de Genève, à New York, Madrid, Berlin, Zagreb, Bucharest, à la Cinémathèque à Toronto ou encore au Pera Museum Musée à Istanbul. Elle a reçu le Swiss Federal Art Price à Art Basel en 2010 et elle a présenté une exposition solo au Centre Culturel Suisse de Paris en 2017. Cette année, elle participe à l’exposition de Bruno Latour, « Critical Zone » au ZKM et finit une résidence d’une année à l’Institut Suisse de Rome pour un nouveau cycle de recherches et films. Nicolas Chapoulier, co-réalisateur sur ce film, est directeur artistique de la compagnie « Les 3 points de suspension » avec laquelle il tourne mondialement. Auteur, comédien, acrobate, plasticien et metteur en scène, il assure la mise en scène et la direction artistique des spectacles Nié qui tamola, La grande Saga de la Françafrique (nominé aux Molières 2017) Looking for Paradise, et Squash . En 2011, il rédige Nié qui tamola au Editions Requins Marteaux, un roman graphique documentaire. En 2014, il est lauréat de la Fondation Beaumarchais/SACD Ministère de la Culture- Bourse à l’écriture, Ecrire pour la Rue pour le projet Looking for Paradise. En 2015, il fonde le collectif 3615 Dakota, qui réalise des performances urbaines avec lequel ils sont invités au pavillon français de la biennale de Venise d’architecture en 2019.

eleni kamma
Vidéo | mov | couleur | 8:20 | Chypre | Pays-Bas | 2020

MIGRATIE HD video, 9 min 26 sec, colour, stereo sound, 16:9, English and Flemish spoken, NL/BE, 2020 In Migratie (9min 26sec), humans and puppets come together to tell a parable on Migration by Flemish writer, director and performing artist Pieter De Buysser. The performers wear masks, distorted reproductions of their own faces. Interactions between puppets and humans serve the purpose of doing things that would be outrageous/not allowed in real (i.e. setting a politician on fire). All this creates a very weird, alienating effect, increasing its impact for the viewers. The exaggerated game between reality and imagination opens up further possibilities on how to act. Using the detour of the imaginary and the artificial to be able to speak directly, might be a better strategy for relating film as a construction to parrhesia. Made possible with the support of: Mondriaan Fund, Vlaams Audiovisueel Fonds, Grensverleggers, DeBuren, Provincie Limburg (The Netherlands), Centre d'art Le Lait MIGRATIE directed and produced by Eleni Kamma in co-production with JUBILEE with the support of the Mondriaan Fund, VAF Filmlab (development), Provincie Limburg (NL), Grensverleggers/deBuren and Le LAIT Art Centre Written by Pieter De Buysser Concept and creation puppets & masks Denise Castermans Cinematographer: Vincent Pinckaers Audio Engineer: Laszlo Umbreit Editor: Inneke Van Waeyenberghe Spoken by Martin O'Shea Voice Over Recorded by Harald Ansorge at Irrklang Ex-Refugee Joep Vossebeld Performers Shila Anaraki Joost Bakker Denise Castermans Sahra Huby Juliette Simone Schuffelen Peter Snellens Sam van der Velden Julie van der Velden Assistant Director Bernardo Zanotta Filmed at Flint Museum – The Eben-Ezer Tower © Eleni Kamma 2020

Eleni Kamma (Athens, 1973) is a visual artist, film maker and researcher. Her practice moves along a Moebius strip schema, that keeps circulating from her as individual artist to dialogical collaborations Kamma is based in both Maastricht and Brussels. She holds two nationalities, Greek and Cypriot. Due to her father’s refugee status in Greece and to the occupation of the northern part of Cyprus where her family originates, she experienced the feeling of ‘not properly belonging’ from an early age. This has led her to consider herself as a pároikos — someone living close to others as a temporary dweller — leaving her with questions of how to raise one’s voice in relation to one’s identity in times of migration and mobility. Whom and how to address? Kamma’s practice is informed by the inherent gaps, blind spots and contradictions within existing cultural narratives and structures. These involve issues of memory, authenticity and identity, often in the context of an increasingly paradoxical Europe. Since 2015, she is investigating parrhesia, the ancient Greek notion of the obligation to speak for the common good, even at personal risk. Kamma is part of the Brussels-based artist run organization Jubilee – Platform for artistic research and production.

Expedition Content
ernst karel , KUSUMARYATI Veronikia
Expedition Content
Doc. expérimental | dcp | couleur et n&b | 78:0 | USA | 2020

Synopsis (bref) Contenu d’expe?dition a e?te? cre?e? a? partir du fonds d’archives sonores de l’expe?dition Harvard Peabody en Nouvelle-Guine?e ne?erlandaise (1961). Dans cette rencontre avec le peuple Hubula (plus connu sous le nom de Dani), cette œuvre donne a? voir une image parallaxe des histoires croise?es de l’enregistrement de terrain, du film ethnographique, et du colonialisme. Synopsis (long) En 1961, le cine?aste Robert Gardner a organise? l’expe?dition Harvard Peabody en Nouvelle- Guine?e ne?erlandaise (aujourd’hui Papouasie occidentale). Finance?e par le gouvernement colonial ne?erlandais et des donateurs prive?s, et compose?e de plusieurs membres des plus riches familles des E?tats-Unis arme?s de came?ras 16 mm, d’appareils photographiques, de magne?tophones a? bobines et d’un microphone, l’expe?dition s’est installe?e pendant cinq mois dans la valle?e de Baliem, parmi les Hubula (e?galement connus sous le nom de Dani). Cette expe?dition a donne? lieu au ce?le?bre film de Gardner, Dead Birds, a? deux livres de photographies, au livre de Peter Matthiessen, Under the Mountain Wall, et a? deux monographies ethnographiques. Michael Rockefeller, membre de la quatrie?me ge?ne?ration de la famille Rockefeller (proprie?taire de la compagnie Standard Oil), e?tait charge? de la photographie et des enregistrements sonores dans et autour de l’univers des Hubulas. Contenu d’expe?dition est une œuvre sonore augmente?e compose?e de trente-sept heures d’enregistrements sur bande magne?tique, documentant l’e?trange rencontre entre l’expe?dition et le peuple hubula. Cette œuvre propose une re?flexion sur les complexes interactions historiques entre le de?veloppement de l’anthropologie multimodale, la vie des Hubulas, celle de Michael Rockefeller, et le processus colonial toujours en cours en Papouasie occidentale.

Ernst Karel (né en 1970 à Palo Alto, États-Unis) produit des œuvres sonores de plusieurs types : musique électroacoustique, œuvres documentaires expérimentales pour installations et performances à plusieurs bandes sonores, postproduction sonore pour films documentaires, et plus particulièrement pour le cinéma d’observation. Ces œuvres sont le plus souvent le résultat de pratiques d’enregistrement de terrain, et de composition à partir de tels enregistrements non manipulés. Dans le cadre du Laboratoire d’Ethnographie Sensorielle de l’Université de Harvard, Ernst Karel a travaillé avec de nombreux réalisateurs, enseignant également les techniques d’enregistrement de terrain dans le cadre de séminaires universitaires. Pendant le semestre d’automne de l’année 2019, il était chargé d’enseignement au Centre d’Ethnographie Expérimentale de l’Université de Pennsylvanie. Veronika Kusumaryati (née en 1980 à Bantul, en Indonésie) est une spécialiste d’anthropologie politique et d’anthropologie des médias travaillant en Papouasie occidentale. Ses travaux universitaires sont consacrés aux théories et à l’historiographie du colonialisme, de la décolonisation, et de la post-colonialité. Elle est également commissaire d’exposition indépendante et réalisatrice de films documentaires. Ceux-ci ont été projetés dans le cadre du Festival International du Film de Jakarta, du Festival international du court-métrage d’Oberhausen, et du Festival du Film de Tampere. Elle a étudié le cinéma et la théorie des médias à l’Institut des Arts de Jakarta, et a obtenu un doctorat en anthropologie àl’Université de Harvard. Elle etait membre du Laboratoire d’Ethnographie Sensorielle, et elle est actuellement stagiaire postdoctorale à la Georgetown University Edmund A. Walsh School of Foreign Service.

Katharina KASTNER
katharina kastner
Doc. expérimental | 16mm | couleur et n&b | 24:0 | Autriche | Belgique | 2019

Villa Empain was a passion, a vision, a plan, a home, an artwork. It is a heartfelt dream that was abandoned. Villa Empain, today, looks like it did in the 1930s, but it has turned into another entity held by the same fundament. Villa Empain exists between past and present, comprised of pieces of contemporary art within a single, unique piece of Art Déco and Bauhaus. It is a humble and enduring architectural body. It is a dichotomy of private mansion and public space. It is a conversation between a family’s history and an architect's dream, between a father's travelogue and an artist's performance, an encounter of water on stone, of charcoal on paper and of light on film. Concrete, marble, brick and steel: little else made by human hands seems as stable, as immutable as a building. Yet, the life of any structure is neither fixed nor timeless. Outliving their original purposes, buildings are forced to adapt to each succeeding age. To survive, they must become shapeshifters. Villa Empain's atmosphere is strange and full of wonders. The camera touches gently upon textures, as if to glimpse the moments they witnessed. There is a secret to unveil, but as with every good secret it evades us, it is elusive, we can never grasp it. This experimental short film is an attempt to find out about something that we cannot put our fingers on. So we put our fingers on wood, water, marble instead, and feel.

My interest in personal and political transformations led me to gain a Bachelor in Psychology and International Relations, before graduating from Doc Nomads, a travelling film school based in Lisbon, Budapest and Brussels. Throughout my career I was working as production manager and assistant director in documentary, fiction and advertising, and I was lucky that the projects took me to inspiring places in Africa, Australia, the US and Europe. My work is influenced by fragile environments and the people behind these. Drawing upon the idea of psychogeography, I am searching for traces, using analogue film to document and explore inner and outer transformations.

Vytautas KATKUS
Kolektyviniai sodai
vytautas katkus
Kolektyviniai sodai
Fiction | 16mm | couleur | 15:0 | Lituanie | 2019

Patriarchal masculinity seems to catch its last breath in the sun. A story about a cold relationship between a father and his son. Their bond, plagued by indifference, disintegrates completely. ?

Born in 1991 in Vilnius, Lithuania, Vytautas Katkus graduated with a Bachelor's Degree in cinematography from the Lithuanian Academy of Music and Theatre. He works as cinematographer in movies as well in video art projects. He won best young cinematographer award by Lithuanian Association of Cinematographers in 2014 and 2015. Since 2016 he is a member of Lithuanian Association of Cinematographers. ?Kolektyviniai sodai (Community Gardens), his debut short film, is selected at the 58th Semaine de la Critique.

The Initiation Well
chris kennedy
The Initiation Well
Film expérimental | super8 | noir et blanc | 3:30 | Canada | 2020

The Quinta da Regaleira in Sintra, Portugal is a huge estate that has two wells for performing initiation ceremonies built into the ground. This film takes us into one of them.

Chris Kennedy (b. 1977 Easton, Maryland, raised Cambridge, Maryland) is an independent filmmaker, film programmer and writer based in Toronto. He is the Executive Director of the Liaison of Independent Filmmakers of Toronto. He programmed for the Images Festival from 2003-06, Pleasure Dome from 2000-06 and for TIFF Cinematheque’s The Free Screen/Wavelengths from 2012-2019. He co-founded and co-programmed Early Monthly Segments from 2009 to 2018. His short experimental films have screened at over one hundred film festivals worldwide and have been featured in solo shows at the Canadian Film Institute, Los Angeles Film Forum, Nam June Paik Art Center, the La Plata Semana del Film Experimental and the Pacific Film Archive. His film “Watching the Detectives” won the Ken Burns Award for the Best of the Festival at the Ann Arbor Film Festival in 2018. He has presented the work of others in Belgium, Egypt, Germany, the US and Canada. He holds an MFA from the San Francisco Art Institute, where he was co-founder and host of a weekly film salon. His work as an artist and programmer operates in dialogue with the history of film as art, exploring the medium’s materiality in a contemporary context.

nicolas keroulas
Fiction expérimentale | 4k | couleur | 23:5 | France | 2020

Une nuit, un homme étrange apparaît. Arrivé non loin des côtes, il croise le chemin d’un fantôme qu’il se décide à suivre.

Nicolas Keroulas est né en 1997.

German Shepherds Need Heroes Too
roman selim khereddine
German Shepherds Need Heroes Too
Doc. expérimental | mp4 | couleur | 12:50 | Suisse | 2020

In "German Shepherds Need Heroes Too" Roman Selim Khereddine reflects on the popularity of German and Belgian shepherd dogs in Morocco. "Do you inherit your dog's violent history?" he asks, taking into account that these dogs have been used in military and police work ever since their standardization as breeds at the turn of the 20th century. The video-essay traces the history of these dogs as mediums in hierarchical relations between different human groups, ie., in concentration camps, colonies and civil rights protests. The human-animal relationship is portrayed here as one shaped primarily by violence and domination, while the potential for agency of both owner and dog is questioned. "How much of your violent history does your dog inherit", then? Found footage – videos uploaded to Youtube by Moroccan dog fanciers, and news clips – is combined with an essay, which appears as a series of captions. In his text, Khereddine draws from colonial history, Islamic tradition, popular/meme culture as well as his own experiences, memories and opinions.

Roman Selim Khereddine (b. 1989) holds Master Degrees in History and Fine Arts. He lives and works in Zurich, Switzerland.

Freja Sofie KIRK, Kjær Esben Weile
Industries of Freedom
freja sofie kirk , Kjær Esben Weile
Industries of Freedom
Doc. expérimental | mov | couleur | 13:36 | Danemark | 2020

Industries of Freedom portrays a group of dancers who work at the biggest EDM night club in the world - Privilege. The dancers are being lifted up in cranes, carried over a beach in the mouth of an inflatable shark, or are hovering under the ceiling in the club. We experience how their bodies transform into scenographic objects, that merge with the rest of the stage construction. In Industries of Freedom, the night club is presented both as a workplace with strictly defined roles and as a space wherein one can live out notions of freedom and ecstasy, which is nonetheless strictly choreographed by the commercial logics of the entertainment industry.

Esben Weile Kjær and Freja Sofie Kirk both work in visual arts with various medias including film, photography, sculpture and performance. For the past five years, they have collaborated on several film projects, exploring identity, pop culture and image production. Their work have been represented in The National Gallery of Denmark, ARoS Museum of Modern Art, Kunsthal Aarhus, Den Frie Centre of Contemporary Art, The Factory for Art and Design and featured on platforms such as i-D, Tissue Magazine, Indechs and Out Magazine. FREJA SOFIE KIRK BIO Freja Sofie Kirk (born 1990) is an artist based in Copenhagen. Working with video, photography and sculpture, and often in combination with each other, her work explores narratives, popular culture and how images generate meaning in contemporary society. Freja Sofie Kirk has a background in film and photography and through the work with two-dimensional representations of the world, she has attained a sincere interest in the meaning of images and also an urge to dissolve or transform them into material qualities. Her works contain a constant interplay, between materiality and the mechanic, the sensuous and its absence, reality and the unreal. They are simultaneously both visually seductive and disturbing, but none the less, are they an image of the symptoms that our present reality leaves us with. ESBEN WEILE KJÆR BIO Esben Weile Kjær (born 1992) is an artist based in Copenhagen. Spanning sculpture, video and performance, his work draws on the history of pop culture and pop music to investigate themes of nostalgia, authenticity, and generational anxiety. In an attentive though reckless visual language, he investigates today’s event economy, often focusing on marketing tactics and the aesthetics of the entertainment industry. Mainly to consider art’s relationship to its surrounding culture industries. As such, his work attempts to not only mimic other cultural modes of performance (such as those found in raves, protests, press conferences, and ballets), but become performative pop culture in its own right—often through interventions in public and commercial space, using props such as podiums, confetti canons, fences, and party lasers.

This Dance Has No End
foteini kotsopoulou
This Dance Has No End
Vidéo expérimentale | mp4 | noir et blanc | 10:58 | Grèce | Royaume-Uni | 2018

"What happens when someone dies is that we, the living, contain their memory within us ... They will live on in us, and we will celebrate them. And dance like there is no tomorrow". Diane Torr A dance dedicated to artist, drag king and gender activist Diane Torr who passed away in May 2017. A year to the day, I dance in a black room : a single shot fusing male and female as ode to life and death. Traditional urban zeybekiko dance of Rebetiko, exclusively danced by men -in the past- is danced by my hybrid manifestation - blended aspects of my identity. In silence, I hear Diane's words: "Take space with all your being. Own the space". I lift my arms and dance like there is no tomorrow as the camera follows. No edits or retakes : the aim is not to please or excite but to offer myself as site for collective unburdening. Credits: Performance/concept:Fenia Kotsopoulou Camera: Daz Disley

Fenia Kotsopoulou is a Greek cross-disciplinary, award-winning artist (performance (art), dance, video, photography), based in Lincoln (UK), holding a MFA in Choreographing Live Art from the University of Lincoln (UK), a BA Honours in Dance from the National Dance Academy of Rome (Italy), and a BA in Italian Language and Literature from the Aristotelian University of Thessaloniki (Greece). Over the course of the last 10 years, video making and photography became a dominant and persistent component of her artistic practice. Pivotal topics of recent projects include the body as gathering place of emotions and site of transformation, personal and collective memory, fragmentation, (de)construction of female identity, unbecoming, shame, hairiness and other issues. In the past few years, as (dance) performer, producer and visual practitioner, her works and the work of close-collaborator digital artist, Daz Disley, have been shown at a wide array of festivals and art platforms, encompassing the fields of dance, experimental performance, live-art and video-art, and receiving several prizes/awards. Alongside her practice, she is lecturer at the Master of Performance Practices at the university of ArtEZ (Netherlands) and, since 2016, she is artist-in-residence at x-church in Gainsborough (UK).