Catalogue 2015-2016
Parcourez ci-dessous le catalogue 2015-2016 des Rencontres Internationales, ou effectuez une recherche dans les archives des oeuvres présentées depuis 2004. De nouveaux extraits vidéos sont régulièrement mis en ligne, les images et les textes sont également progressivement mis à jour.
Marina GIOTI
AS TO POSTERITY
gioti Marina
AS TO POSTERITY
Doc. expérimental | hdv | couleur | 12:0 | Grèce | 2014

A collection of visual evidence from an Athens of the near future devoid of humans. Its inhabitants have mysteriously disappeared, leaving behind a tableau mourant of concrete, metal and plastic coexisting with with glorious marble and the local flora and fauna. Part science fiction, part archaeological mystery, the work offers a picturesque expedition of the new Greek ruins, through an apposition of findings that serve as hints for the fate of the film’s elusive protagonists, the -conspicuous by absence- Athenians.

Marina Gioti is a filmmaker/ visual artist based in Athens, Greece. She studied Chemical Engineering, Environmental Management (MSc), Filmmaking, and Media and Communication (MA) in Greece, UK and Belgium. Her films and installations have been screened and exhibited worldwide at both international film festivals (Toronto IFF, Transmediale, Jeonju, Viennale,Les Rencontres Internationales, etc.) and museums/ visual art platforms [Thessaloniki Biennial, Wrocklaw Media Art Biennial (Poland), the Whitechapel Gallery (London), Bozar (Βrussels)]. She is currently in post-production of her first feature, “The Invisible Hands”, a documentary set in Cairo, Egypt.

Alexander GLANDIEN
Making of
glandien Alexander
Making of
Doc. expérimental | hdv | couleur | 30:0 | Allemagne | Autriche | 2015

The film "Making of" takes work as a topic into focus, showing the various working areas of a contemporary art museum with all those activities which usually remain invisible for visitors. Shot from the perspective of a small filmcrew different kind of workflows are documented as well as the preparation for an upcoming exhibition, while the crew itself is constantly observed in their efforts to create this film. Director, cameraman and sound operator move through all areas of the The State Gallery in Linz in an almost performative way. The ongoing visible presence of the camera raises questions about the relationship between the documented actions, their authenticity and manipulation. The depicted reality becomes visible as part of a media construction.

Alexander Glandien was born in 1982 in Schwerin (Germany) and he works as an artist in Vienna. Since 2009 he is artistic and scientific assistant at the Art University Linz. After his studies at the University of Wismar he attended studio grants in Indonesia, Italy, the Netherlands and Spain. His works have been awarded with the Talent Award of Upper Austriaand the Klemens Brosch prize and they are part oft the art collections of the federal government of Austria, the province of Upper Austria, the contemporary art collection of the City of Vienna and the Albertina in Vienna. He has had numerous exhibitions, most recently at the State Gallery Linz, Galerie 5020 in Salzburg, at Kadmium Art Centre in Delft, at the Moscow Museum of Modern Art and at the Albuquerque Museum of Art and History.

Marco GODOY
The system / El sistema
godoy Marco
The system / El sistema
Vidéo | hdv | couleur | 2:30 | Espagne | Bolivie | 2014

On the 13th of November of 2014 a set speakers and a power generator was introduce in the In the Bolivian jungle, near the river Mamoré, an Amazonian affluent. For hours, El sistema (The system), a text by Eduardo Galeano was played on loop in the loud speakers. The uncontrollable and unpredictable forces of nature make the area of Trinidad a hardly habited region, one of the few areas that is still resisting the development of progress, progress understood as a destructive force.

Marco Godoy is a cross disciplinary artist currently working with photography, video and installation. Born in Madrid and now living in London he is MA in Photography at the Royal College of Art, after graduating from the UCM of Madrid and School of the Art Institute of Chicago. His work has been e exhibited internationally in galleries and institutions such as Dallas Museum of Contemporary Art, Matadero Madrid, Stedelijk Museum s-Hertogenbosch, Edinburgh Art Festival, Liverpool Biennial, ICA London, Palais de Tokyo or Whitechapel Gallery.

Elisa GÓMEZ ALVAREZ
Me Myself and I
gÓmez alvarez Elisa
Me Myself and I
Fiction expérimentale | mov | couleur | 5:13 | Allemagne | 2015

The experimental short film ME, MYSELF AND I directed by Elisa Gómez Alvarez (script and rea- lisation) and Nicolas Stephan Fischer (fashion-collection F65.0) is about a metro-sexual matrix at the old Berlin corner pub "Soldiner Eck“. With stylistic devices of Western, Science-Fiction and the CAMP-movement the film questions society-forced role models and male stereotypes. Based on a shared research the fashion-collection and the short film were simultaneously realised in a synergetic project at University of Arts Berlin 2015. Surrounded by fairy lights and plastic flowers three male figures meet at an old Berlin pub. Despite their identical appearance they distinguish by personality and clothing. There is a strained relationship between them. Mutely the men communicate with minimal gestures as they seem confused between desire and fear. Camouflage-like their outfits vanish in the lavis- hly decorated ambience. A strange meeting, an interaction between alive and dead things in a surreal space.

ELISA GÓMEZ ALVAREZ was born 1989 in Berlin. She studies Visual Communication at the University of Arts Berlin since 2012. Since September 2015 she is a fellows- hip holder in one of Germany‘s most important foundation „Studienstiftung des deutschen Volkes“. During her studies she visited the studio class „MEDIA ART“ by Prof. Maria Vedder and „Expanded Media“ by Prof. Anna Anders. Now she is taking part in the studio class „Experimental Film / Media Art“ by Prof. Nina Fischer. Initiating a variety of short films and video installations she is a versatilely en- gaged student at University of Arts Berlin. One of her most complex projects was the film opera by Bohuslav Martinů. She realised a mixed media video work for stage scenery. The jazz-opera was performed first in Berlin. (Première: 4th/5th of July 2014)

Philippe GRANDRIEUX
Meurtrière
grandrieux Philippe
Meurtrière
Film expérimental | hdv | couleur | 61:0 | France | 2015

L’objet de Meurtrière c’est La Chose. La Chose est insensée, folle, intenable, hystérique, grotesque, phobique, dangereuse, brutale, dévorante, sauvage, sexuelle, imprévisible, sidérante, frénétique, atroce, inquiète, effrayante, extatique, désirable, vulgaire, perverse, embarrassante, impudique, nerveuse, obscène, sacrée, sacrifiée, furieuse, meurtrière. Mais avant tout, La Chose est sans intention. Avec les danseuses : Émilia Giudicelli, Vilma Pitrinaite, Hélène Rocheteau, Francesca Ziviani.

Le travail de Philippe Grandrieux s’étend sur de nombreux territoires : fiction de long métrage, expérimentation télévisuelle, art vidéo, film de recherche, documentaire, installation. Son exigence artistique le mène à pousser chacun de ses domaines à leurs limites et se montre constamment inventive et radicale. Ses trois films de long métrage, Sombre (récompensé au festival de Locarno), La Vie nouvelle (présenté à la Tate Modern de Londres) et Un lac (primé à la Mostra de Venise) font référence en termes de photographie, de travail sur le son, d’expérimentation narrative et figurative. Sur des trames narratives pourtant linéaires voire sérielles (souvent le conte, la légende), ses films déploient un monde d’énergies, ancré dans les sensations et les affects. Depuis 2005 , ses fictions de long métrage, installations, documentaires, expérimentations télévisuelles, suscitent de nombreuses programmations monographiques. En janvier 2011, il réalise un portrait du cinéaste japonais Masao Adachi, premier portrait d’une série imaginée par Nicole Brenez et Philippe Grandrieux. Il se peut que la beauté ait renforcé notre résolution / Masao Adachi est programmé dans près de 50 festivals et universités. Il remporte, en 2011 le « New: Vision Award » au CPH:DOX de copenhague, en 2012 le « Grand Prix Expérimental » au Festival de Pantin et en 2013 le « Grand Prix du Documentaire » au Festival de Tripoli au Liban. En 2012 il entreprend la réalisation d’une trilogie dont l’objet est l’inquiétude . White Epilepsy en est le premier mouvement. Le film sera présenté en compétition internationale au FID Marseille 2012 puis au FICUNAM Mexico, au LINCOLN CENTER New-York, au Festival UNDERDOX Munich, au FNC Montréal... En 2013 le WHITNEY MUSEUM OF AMERICAN ART offre une «carte blanche» à Philippe Grandrieux dans le cadre du festival Walls and Bridges. Les deux premiers mouvements de sa trilogie y seront présentés : la version film de White Epilepsy ( avec 4 danseuses/danseurs) et la version performance de Meurtrière ( avec 4 danseuses). La version film de Meurtrière vient d’être présentée pour la première fois en compétition internationale au FID Marseille 2015 et vient de remporter le prix FNC LAB au FNC Montréal. Il vient de terminer Malgré la nuit, fiction de long métrage, avec Ariane Labed, Kristian Marr, Roxane Mesquida, Paul Hamy. Philippe Grandrieux bénéficie d’une bourse d’étude «The Radcliffe Institute Fellowship Program» à l’Université de Harvard pour l’année universitaire 2015-2016.

Mihai GRÉCU
The Reflection of Power
grÉcu Mihai
The Reflection of Power
Animation | 4k | couleur | 9:0 | Roumanie | France | 2015

Dans la capitale la plus secrète du monde la foule assiste à un spectacle alors qu`une catastrophe menace d`anéantir la ville...!

Mihai Grecu : plasticien et réalisateur de nationalité roumaine et hongroise; diplômé du Fresnoy, Studio National des Arts Contemporains, il vit et travaille à Paris. Oscillant entre art vidéo, cinéma et animation 3D, son imagerie singulière met en oeuvre, dans une atmosphère déshumanisée, des visions oniriques traversées par des objets parasitaires, architectures modifiées et personnagessymboles. Son travail est montré dans des nombreux festivals de film (Rotterdam, Festival du Nouveau Cinéma à Montréal, videobrasil) et expositions (“Dans la nuit, des images” au Grand Palais, “Labyrinth of my mind” au Cube, “Studio” à la Galerie Les filles du Calvaire, etc).!

Johan GRIMONPREZ
what i will
grimonprez Johan
what i will
Film expérimental | hdv | couleur | 1:11 | Belgique | USA | 2015

Reciting her own poetry, Jordanian-American poet Suheir Hammad’s voice carries the powerful force of dissent to find hope between the military parades and anti-aircraft guns. With what i will Johan Grimonprez provides glimpse of his upcoming feature documentary Shadow World based on Andrew Feinstein’s book The Shadow World: Inside the Global Arms Trade.

Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj Žižek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

Johan GRIMONPREZ
From Satin Island
grimonprez Johan
From Satin Island
Film expérimental | hdv | couleur | 3:23 | Belgique | 2015

A haunting collage of disaster and beauty, set to a shimmering track by Lights Out Asia, Johan Grimonprez in collaboration with acclaimed avant-garde novelist Tom McCarthy, based on an abstract from his latest book SATIN ISLAND.

Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj Žižek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

Maëlle GROSS
STRIKE A POSE
gross Maëlle
STRIKE A POSE
Vidéo | hdv | couleur | 17:20 | Suisse | 2014

Jouant sur la limite entre documentaire et œuvre vidéo, Strike a pose suit Ariane V., body-buildeuse et Docteur en science de la Vie d’origine belge vivant en Suisse. Durant 9 mois, Maëlle Gross a côtoyé Ariane. Cet investissement dans la durée avait pour but de créer une intimité entre l’artiste et son sujet, afin que ce dernier puisse entrer dans un processus de lâcher prise, gage de confiance. Au moyen d’interviews, de la danse et d’immersion dans le monde du bodybuilding, peu à peu nous nous rendons compte d’un état d’ambïguité du corps. Pousser les limites physiques, se détacher de sa propre enveloppe pour la traiter comme une sculpture. Arrivé au paroxysme de sa métamorphose, la protagoniste devient alors, hors-norme. Hors-norme des critères de beauté stéréotypée du corps genré auxquelles elle est associée. Une invitation à l’introspection subjective dans l’imagerie contrôlée du corps où la limite entre le raisonnable et l’excessif se fait de plus en plus petite au fur et à mesure de la transformation radical qu’Ariane a entrepris sur son corps.

Née le 20 novembre 1988 à Lausanne en Suisse, Maëlle Gross montre très jeune un intérêt particulier pour la photographie et la vidéo. Diplômée en 2013 de la Haute Ecole d’Art et Design de Genève, elle déménage ensuite à Londres et intègre la Goldsmiths University où elle obtient en 2015 son Master of Fine Art avec mention. Son travail a notamment été présenté lors du festival vidéo R4 à Paris, a participé à une performance collective à l’Institute of Contemporary Arts (ICA) de Londres ainsi qu`à la galerie Large Glass à Londres sous le collectif Almosthere. Aujourd’hui, Maëlle Gross vit et travaille entre Londres et Genève.

Adler GUERRIER
untitled - rhetoric that preaches revolution
guerrier Adler
untitled - rhetoric that preaches revolution
Doc. expérimental | hdv | couleur et n&b | 23:19 | Haiti | USA | 2008

Dans Untitled (Rhetoric that Preaches Revolution), je voulais faire une pièce qui se concentrerait sur la voix d’un groupe d’artistes et qui serait éclairée par les fondements structurels de leurs œuvres. L’accent est mis en partie sur ce qu’ils voudraient dire à la lumière des évènements mondiaux et régionaux. La pièce se base sur des enregistrements de journaux télévisés et des images assemblées des unes de la presse écrite relatant l’actualité, principalement de 1965 à 1968, comme Martin Luther King marchant vers Selma, Malcolm X en train de parler, des membres du Black Panther Party en confrontation avec les médias et la police, le soulèvement du Watts, des manifestants étudiants avec des revendications et des ouvriers en contestation. Lire ces images, d’un point de vue sympathisant, et les transformer en œuvres constituaient mon objectif général.

Adler Guerrier creates visual dialogue between a wunderkammer of materials and techniques. Guerrier improvises between form and function to nimbly subvert space and time in constructions of race, ethnicity, class, and culture. He calls upon the democratizing nature of collage and the authority of formal composition to designate to art history an axis of contemporary identity critique. Often chronicling the hybridity and juxtaposition in his immediate environs, Guerrier practices a contemporary flaneurie in an impending age of post-demography. Adler Guerrier was born in Port-au-Prince, Haiti and lives and works in Miami, FL, where he received a BFA at the New World School of the Arts. Guerrier recently had a solo exhibition at Perez Art Museum Miami, Miami, FL. He has exhibited work at Vizcaya Museum and Gardens, Miami, FL; The Bass Museum of Art, Miami, FL; Harn Musem of Art, Gainesville, FL; and The Whitney Biennial 2008. His works can be found in public collections including the Museum of Contemporary Art, North Miami, and the Studio Museum in Harlem, NY. His work has appeared in Art Forum, Art in America, The New York Times and ARTNews, among others.

Crispin GURHOLT
Please Kill Me Live Photo # 27
gurholt Crispin
Please Kill Me Live Photo # 27
Vidéo | hdv | couleur | 4:0 | Norvège | 2014

The film Please Kill Me is a personal expression of my own account around the time we live in, pointing out one of our greatest challenges: The market and capital domination in the world. When economic growth is the strongest driving force, we experience increasing economic, social, cultural and, not least, enormous environmental challenges. It is no longer human, ideological or religious ideals that govern, but material growth. The feeling is this: We find ourselves not in a crisis resulting in radical restructuring, but are caught in a loop of repetition and denial, where genuine change appears impossible. In no way whatsoever does art stand outside this static situation. It stands in the midst of it and has no power to act as a genuine opposing force. The constant striving for ‘the new’ cannot expel the feeling that things are at a stand-still; the admonishment to establish micro-utopias in the increasingly sleek art institutions proves merely to repeat the imperative that each and every person should tend his or her own garden – or network; the mantra to summon ‘critical discourse’ does not hinder one’s thoughts from first and foremost revolving complacently around oneself. We know we are sitting in the same boat, and since we all know it is sinking, we try to sit as still as possible, so that at the very least it sinks slower. This is the artist`s confrontation with himself, the art scene and a world gone crazy spinning around itself, trapped in an eternal loop of repetition. In Please Kill Me the staged models have been assigned the same roles as they play in reality: In the gallery space you find the artist, curator, critic and gallerist frozen in a position where they are confronted with the allegation that art is dead.

Crispin Gurholt (b. 1965) is a Norwegian artist based in Oslo and Berlin. The density of his work reflects his versatility and the range of his studies, which in turn are essential to the creation of the highly composite universes of his Live Photos. Gurholt studied at the National Academy of Art in Oslo and The New York Film School SCE. He also has a background in scenography and directing. Since 2012 he has been teaching at The Art School of Rogaland in Norway. His Live Photos represent the sum of a wide-ranging expertise that, combined with social comment, presents a compelling picture of our time. Crispin Gurholt has an international reputation. His work and installations have been shown in Venice, Rome, Paris, Berlin, London, Copenhagen, Turin, Madrid, Cologne and Havana, as well as a number of major Norwegian art institutions. Gurholt is a receiver of the Norwegian Artist Grant since 2010.

Simon GUSH
Calvin and Holiday
gush Simon
Calvin and Holiday
Vidéo | hdv | noir et blanc | 11:41 | Afrique du sud | 2015

Lazy Nigel explores the small industrial town of Nigel in the East Rand of Johannesburg during weekends. The video starts with its landscapes of industrial complexes and factories, devoid of employees. As the film and my filming -which took place over a number of weekends- progress, a variety of local activities are revealed. Many of the town industry employees leave to return to their families, who often lived elsewhere. I wanted look at what remained. The film explores laziness as a construct. I am interested in unpacking the fact that work is traditionally seen as the major locus of our identity. Time off from our jobs allows us to engage in other activities that may not be seen as productive in a traditional sense. These activities can be social, political or creative, allowing us to think of our value in different ways and, as such, offer new ways to think about our identity.

Simon Gush (b.1981, Pietermaritzburg), living in Johannesburg. He was a 2011 Fellow at the Gordon Institute for Performing and Creative Arts, University of Cape Town, and completed postgraduate studies at the Hoger Instituut van Schone Kunsten in Ghent, Belgium, in 2008. Solo shows include After Work at Galerie Jette Rudolph, Berlin and 9 o`clock, at the National Arts Festival, Grahamstown (both 2015), Red at the Goethe-Institut, Johannesburg (2014); 1st and 3rd at Galerie West, The Hague, and 4 for Four at SMAK, Ghent (both 2010), in addition to six previous exhibitions at Stevenson, Cape Town and Johannesburg. Group shows include Artists Engaged? Maybe at Fundação Calouste Gulbenkian, Lisbon (2014); the 2nd Montevideo Biennial, Uruguay (2014); My Joburg at La Maison Rouge, Paris, and the Staatliche Kunstsammlungen, Dresden (2013); Halakasha at the Standard Bank Gallery, Johannesburg (2010); 1910-2010: From Pierneef to Gugulective, Iziko South African National Gallery, Cape Town (2010) and the 2009 Luleå Summer Biennial, Sweden. In 2015 the academic workshop Red Assembly, with African Critical Inquiry Programme was held in East London around his exhibition Red. Gush was awarded the Jury prize at the Bamako Encounters Biennale (2015).

Matti HARJU, Joakim Pusenius
Tomorrow was Magnificent
harju Matti , Joakim Pusenius
Tomorrow was Magnificent
Fiction expérimentale | 4k | couleur | 15:25 | Finlande | 2015

We hear the past like a sentimental echo from times when we came together, the future like an answer to our needs, and the present like a silence in which we alone are standing still. Tomorrow was Magnificent was born out of this silence, as an end and a new beginning of nothing – apeiron.

Joakim Pusenius (b. 1984) graduated with an MFA from the Academy of Fine Arts in 2014. He also holds a BA in theoretical philosophy. Pusenius has exhibited in various galleries in Finland and his works have been shown at film screenings. Matti Harju (b. 1978) took his BA at the Institute of Design and Fine Arts in Lahti, studied at the National Film and Television School in the UK, and is now on the Master’s programme at the Academy of Fine Arts in Helsinki. His previous works have been shown at for example Rotterdam, Locarno, Edinburgh, BFI London and Torino film festivals.

Anthony HAUGHEY
UNresolved
haughey Anthony
UNresolved
Doc. expérimental | hdv | couleur | 17:22 | Irlande | Bosnie-Herzégovine | 2015

UNresolved reflects on the twentieth anniversary of genocide in Srebrenica, where in 1995 more than 8000 men and boys were systematically murdered by the Bosnian Serb army of Republika Srpska (VRS). The title relates to the UN Security Resolution 819, passed on the 16th April 1993 declaring Srebrenica as a ‘safe’ area for refugees – the prelude to what was the largest act of genocide in Europe since the holocaust. Following Haughey’s earlier work in Bosnia, between 1998-2002, he gained exclusive access to buildings and atrocity sites in Serb controlled territory, areas that have hitherto been off limits. Since completing the film in early 2015 the building where the Dutch UN was based has been renovated. As a result Unresolved is also an important historical document which captures the building in its original state. The film includes eyewitness accounts of massacre victims collated from archives such as Human Rights Watch and also directly from people encountered on research visits to Bosnia, with accounts of resistance and survival, testimonies from young Dutch soldiers who were serving in Srebrenica and conflicting accounts from UN personnel and Serb military commanders. The film explores ideological and political narratives informing this emerging and contested history.

Anthony Haughey is an artist and a lecturer in the Dublin Institute of Technology. He was Senior Research Fellow (2005-8) in Belfast School of Art, where he completed a PhD in 2009. His work has been widely exhibited and collected nationally and internationally, most recently Uncovering History, Kuunsthaus Graz, Excavation, Limerick City Gallery where he premiered his new film, Unresolved, Making History, Colombo Art Biennale Art of the Troubles, Ulster Museum, Belfast, Settlement, Belfast Exposed, Northern Ireland: 30 years of photography, the MAC and Belfast Exposed, New Irish Landscapes, Three Shadows Gallery, Beijing and Homelands, a major British Council exhibition touring South Asia. His work has been published in more than seventy publications, monographs include The Edge of Europe (1996), Disputed Territory (2006) and an artist’s book State (2011). His work is represented in many international public and private collections and he is an editorial advisor for the Routledge journal, Photographies. He was recipient of the Create Arts and Cultural Diversity Award 2014 and is currently working on a new film supported by a Projects Award from The Arts Council/An Chomhairle Ealaíon which will premiere in NYC in April 2016.

Mauro HERCE
Dead Slow Ahead
herce Mauro
Dead Slow Ahead
Documentaire | 4k | couleur | 74:0 | Espagne | France | 2015

A freighter crosses the ocean. The hypnotic rhythm of its pace reveals the continuous movement of the machinery devouring its workers: the old sailors’ gestures disappearing under the mechanical and impersonal pulse of the 21st century. Perhaps it is a boat adrift, or maybe just the last example of an endangered species with engines still running, unstoppable.

Born in Barcelona in 1976, Mauro Herce graduated in engineering and fine arts before enrolling in film school at the Escuela Internacional de Cine y TV in San Antonio de los Baños (Cuba) and the École nationale supérieure Louis-Lumière in Paris. He started his career as a director of photography and screenwriter on such films as Ocaso (2010), Arraianos (2012), A puerta fria (2012), El quinto evangelio de Gaspar Hauser (2013) and Slimane (2013). Dead Slow Ahead (2015) is his first feature film as a director.

Mike HOOLBOOM
Scrapbook
hoolboom Mike
Scrapbook
Doc. expérimental | 16mm | noir et blanc | 18:0 | Canada | 2015

Lensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull, Scrapbook tells the story of audacious autistic Donna Washington in her own words, as she encounters pictures of one of her former selves fifty years later.

Born: Korean War, the pill, hydrogen bomb, playboy mansion. 1980s: Film emulsion fetish and diary salvos. Schooling at the Funnel: collective avant-geek cine utopia. 1990s: experimentalist features, transgressive psychodramas, questions of nationalism. 2000s: Seroconversion cyborg (life after death), film-to-video transcode: feature-length-found-footage bios. Fringe media archaeologist: copyleft author 7 books, co/editor 12 books. Curator: 30 programs + www.fringeonline.ca Occasional employments: artistic director Images Fest, fringe distribution Canadian Filmmakers. 80 film/vids, most redacted. 10 features. 70 awards, 15 international retrospectives. 3 lifetime achievement awards. www.mikehoolboom.com

Nadia & Laila HOTAIT
The Night between Ali and I
hotait Nadia & Laila
The Night between Ali and I
Vidéo | 4k | couleur | 9:5 | Espagne | Liban | 2015

“The night between Ali and I”, is a fictional reenactment of one of the key events that happened in Lebanese and Levantine contemporary History: the highjack of 39 hostages at the Bank of America in Beirut, on October 18th, 1973. In this event four armed young fellows from the Lebanese Socialist Revolutionary Movement entered the bank, in Downtown Beirut, and asked from the authorities ten million dollars for the Arab fight against Imperialism in the region and the release of a few Arab political prisoners. They also requested that their demands and manifesto be published in the newspaper. The installation displayed as a tryptich with three main voices: Amer Farrough, one of the 4 men, Mariam, Ali’s sister and our own narration of the events. The images evoke in a particular way what happened during the night of the 26 hours that lasted the hijack but very much as we imagine things happen during the assault, and how the interaction between hostages and guerrilla gunmen in our view with a particular dance, a “deconstructed” dabke.

A collaboration between Nadia Hotait and Laila Hotait. Nadia Hotait is a multimedia artist that has exhibited her work at different international venues among others the Zolla/Lieberman gallery in Chicago, the Biennial of Young art in Moscow, Isabel Igancio Gallery in Seville and Digital Marrakesh. Nadia is recipient of INJUVE art award and the Generaciones 2015 art award and previously she was funded by LaCaixa to study at the School of the Art Institute of Chicago. She studied her BA in audiovisual Communications in between Complutense University in Madrid and Waseda University in Tokyo. Laila Hotait is a filmmaker and artist with a PHD in audiovisual communications as a Fulbright grantee she studied filmmaking at San Francisco State University and her first film, Crayons of Askalan which was supported by AFAC in association with Sundance Documentary Institute, the DFI and Screen Instittute Beirut has played in over twenty international festivals.

Juliane JASCHNOW, Schroeder Stefanie
[ˈdʊŋkl̩ˌdɔɪ̯ʧlant]
jaschnow Juliane , Schroeder Stefanie
[ˈdʊŋkl̩ˌdɔɪ̯ʧlant]
Doc. expérimental | hdv | couleur | 13:13 | Allemagne | 2015

In West Germany, ,,Dark Germany`` was a derisive term for reactionary regions of the country. Today it is mostly applied to former East Germany with its attempts to change its image: factories and chimneys are disappearing, wellness centers are popping up, sheep are grazing under solar panels. But recent past is stored close to the new surface. On a ghost train ride through the former GDR- industrial region around Halle/Bitterfeld, the Dunkeldeutschland-born filmmakers stumbling subjective camera is trying to find the right distance. Starting point of the journey is the former ORWO film factory, where people used to work in complete darkness.

Juliane Jaschnow: Studies in Fine Arts with Clemens von Wedemeyer and Joachim Brohm at the HGB Academy of Visual Arts in Leipzig. Bachelor’s degree in communication and media sciences from Leipzig University. DAAD scholarship to study at the Lomonosov Moscow State University in the field of journalism/photojournalism. Study abroad at the Academy of Fine Arts in Vienna with Thomas Heise. Professional Media Master Class and PMMC Lab of werkleitz Society. Member of the filmic initiative FILZ, Leipzig. Stefanie Schroeder: Studies in art education, art history, communication science, University of Greifswald.
Organisation of WBS70, independent culture centre, Greifswald. Guest student in media art, HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography, class of Joachim Brohm, academy of visual arts, HGB Leipzig. Professional Media Master Class and PMMC Lab, Werkleitz Gesellschaft Halle/Saale. Member of the filmic initiative FILZ, Leipzig. www.schroederstefanie.de

Nicolas JENKINS
Walk!
jenkins Nicolas
Walk!
Documentaire | hdv | couleur | 12:0 | Canada | USA | 2015

Voguing is a form of dance that was created on the streets and drag balls of Harlem by a subculture of young mostly poor, gay, trans, black and/or Latino’s in the 1980s. The Ballroom scene in which Voguing exists in is an art form that’s closely linked with ideas of fashion, luxury, and social and economic mobility. In the past few years the Voguing and Ballroom scene has seen a resurgence in its popularity spreading across the globe. No longer limited to members of American urban black and Latino gay communities it can be found as far away as Russia now. Historically the Ballroom scene included society`s most marginalized: minorities within minorities within minorities. In a world where they have been rejected, ballroom not only accepted these people for who they were, it celebrated them! While this resurgence in popularity is celebrated by many there is concern by some that with Voguing’s success in crossing over into the mainstream to communities of the "non marginalized" that there is a risk the dance may slowly be losing its connections to its roots. Featuring archival footage shot by the filmmaker himself from legendary Balls from the late 1980’s to the 2015. With the House of Pendavis, House of Chanel, House of Fields, Love Ball, House of Latex, and the House of Xtravaganza.

Nicolas Jenkins (a.k.a. Sterile Cowboys & Co.), is a filmmaker and former underground warehouse party promoter based in New York city. His films and videos have been shown extensively across North America and Europe. His work has also been broadcast on PBS television and screened at the Paris Pompidou Center and his experimental video “The Bridge” is part of the permanent collection of the National Gallery of Canada. While living in Montreal he established a name for himself as a pioneer in the underground warehouse party scene. Between 2000-2004 Jenkins produced a monthly cable show in New York going by the name PRODUCT (Diary of a Disco Dolly). Conceived as an anthropological urban study, PRODUCT became a public outlet for how fringe culture is produced and redistributed to the masses. Between 2005-2007 Nicolas collaborated with Genesis P-Orridge and PSYCHIC TV (PTV3) creating videos for their album and world tour. Between 2010-2013 he collaborated with modern dance choreographer Mei-Yin Ng creating visuals for her multimedia dance performances. His most recent collaboration has been with the House of Ladosha. He is currently working on a video installation centered around people in the LGBT community who do not assimilate.

Prapat JIWARANGSAN
Dok-Rak
jiwarangsan Prapat
Dok-Rak
Vidéo | hdv | couleur | 9:19 | Thaïlande | 2015

A) DJ Dok-Rak, a disc jockey for a radio station in Chiang Mai, lost her job after the National Peace and Order Maintaining Council shut down every single Red Shirt radio stations after the 2014 coup d`etat. Since then, her life has turned upside down. She becomes a taxi driver instead, yet still lulls the passengers with her own live session. B) Karen boy has to secrete himself working in a village in Chiang Mai due to his lack of identification document. He needs to be more cautious after the coup because he is afraid of being send back to Myanmar. C) The filmmaker invites Dok-Rak and the boy to a pond, a shelter where they can do things that they cannot do in real life. They seem like nonpermanent refugees who are looking forward to liberation and far-fetched freedom.

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, Baden and Hong Kong, while his videos have screened at international film events such as Canada’s Image Festival, Experimenta India and Singapore International Film Festival. From 2010 to 2011, Prapat’s work appeared at London’s Siobhan Davies Studios and Hockney Gallery. The following year, he held a solo show I Will Never Smile Again at Bangkok’s WTF Gallery, as well as participated in Politics of Me, a group exhibition at the Bangkok Art and Culture Centre. In 2013, his work appeared at two international exhibitions: first as part of Subjective Truth at Hong Kong’s 10 Chancery Lane Gallery, and later as part of Concept Context Contestation: Art and the Collective in Southeast Asia at the Bangkok Art and Culture Centre. In 2014, he had a solo exhibition at Kunstverein Baden, Austria. Currently, he is an artist-in-residence at Seoul Art Space Geumcheon, South Korea.

Lamia JOREIGE
And the living is easy
joreige Lamia
And the living is easy
Fiction | hdv | couleur | 75:0 | Liban | 2014

"Beyrouth, en 2011. La ville est plongée dans une étrange accalmie alors que la région autour s’embrase. A travers cinq personnages, principalement des acteurs non-professionnels, Lamia Joreige réalise un portrait unique de sa ville natale. Qu’il soit attaché commercial, musicien, étudiant, acteur, chacun livre son attachement profond à Beyrouth et sa difficulté ou impossibilité d’y vivre. Pendant plusieurs mois, la cinéaste leur a demandé de jouer des scènes qu’elle a imaginé en s’inspirant de leur vie amoureuse, professionnelle ou amicale. Elle a fictionnalisé leur quotidien, faisant ainsi ressortir leur malaise. Ces scènes ont été jouées dans les quartiers où ils habitent, dans les lieux qui leurs sont chers. La ville et leurs sentiments sont intimement imbriqués. Sous la beauté des images, sous l’apparente douceur de leur vie se profile l’angoisse de l’instabilité politique au Proche-Orient et la peur d’une guerre dévastatrice."

"Born in Lebanon in 1972, Lamia Joreige is a visual artist and filmmaker who lives and works in Beirut. She uses archival documents and fictitious elements to reflect on the relation between individual stories and collective history. She explores the possibilities of representation of the Lebanese wars and their aftermath, and Beirut, a city at the center of her imagery. Her work is essentially on time, the recordings of its trace and its effects on us."