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.
Petr LADEN
Tomorrow will be the same
laden Petr
Tomorrow will be the same
Fiction expérimentale | hdv | couleur | 66:0 | Russie | 0 | 2018

Humanity died of unstoppable lust. Time stopped. Only two stayed alive. They fill and form the emptiness around with quite sounds and pauses. Their destiny is to save humanity with the help of Petty and Gimmy living in their heads. It is a musical post-apocalyptic movie. First part of mini-series discovering the territory of russian contemporary art music in form of popular genre films (post-apocalyptic, horror, space opera, etc.). Film is based on real characters: Kirill Shirokov (composer) and Sasha Elina (music performer), founders of `the same` ensemble, specialized in performing quite music related to certain space and time. During the film they perform music pieces from ‘every day melodies’ series composed by Kirill Shirokov. Interaction of time and space in perception of the spectator constructs the center point of the video.

Artist and circus performer. Born 1982 in Moscow. Graduated Moscow Lomonosov State University department of Physics (2005), Moscow Rodchenko school of photography and multimedia (2009). Cofounder and member of Upward! community and Vidiot art group. Curator of ex-Brown stripe apartment gallery. Founder and program curator of the 7th Floor Radio. Part of Great Circus of Failure. Main media: video film, performance, site-specific installation.

Jules LAGRANGE
Beau Soleil
lagrange Jules
Beau Soleil
Film expérimental | super8 | couleur | 6:13 | France | 2018

Ce film a été réalisé en collaboration avec des enfants en situation de handicap mental. Beau Soleil est un film de science-fiction écrit à travers l`utilisation de jeu d`écriture surréaliste. Réalisé en Super8 couleur, il relate comment la disparition du soleil entraine la disparition de l`espèce humaine et la survivance de certaines espèces animales qui s`organisent alors en société.

Jules Lagrange (b. 1989, Besançon, France) is an artist who lives and works in Brussels. His practice manifests among others as fiction films. His research is organized around processes of rewriting and re-appropriation of the code of cinematic language with the aim to re-load and re-sentimentalize characters and emotions represented in cinema. He studied at the Institute of Art, Design and Technology in Dublin and at the National School of Fine Arts in Lyon, where he graduated in 2014. In 2016 he was an artist in residency at the postgraduate art program, directed by curator and critic François Piron, at the National School of Fine Arts in Lyon

Salomé LAMAS
Terminal
lamas Salomé
Terminal
Doc. expérimental | hdv | noir et blanc | 6:0 | Portugal | 2018

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Salomé LAMAS
Hangar
lamas Salomé
Hangar
Doc. expérimental | hdv | noir et blanc | 8:0 | Portugal | 2018

.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Salomé LAMAS
Metro
lamas Salomé
Metro
Doc. expérimental | 0 | noir et blanc | 9:0 | Portugal | 2018

.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Daniel LAUFER
Colour Memory
laufer Daniel
Colour Memory
Vidéo expérimentale | hdv | couleur et n&b | 13:13 | Allemagne | 2016

The protagonists in the film move through spaces like the desert, the city and the gallery space. All are production spaces of the film and combining different layers of time and contexts with each other. The Film follows the history of the gaze. The focus is on the phenomenon of the afterimage. This so-called phi-effect makes film sequences following a strong color stimulus appear in a complementary color. The effect is based on the fact that the retina continues to briefly perceive an image after the light stimulus and merges it with the following image. The sound sometimes refers to the previously perceived film still in some instances, letting the words speak at a different position. The brain requires a moment to connect what is heard with what is seen. Furthermore, the afterimage links different levels of time, the past with the present moment, which in the next instant is already the past again.

Daniel Laufer is an artist, filmmaker and curator, lives and works in Berlin. He has studied at the HBK-Braunschweig. Laufer is a recipient of the grant of the Arthur Boskamp Foundation for Space concepts, Stiftung Kunstfonds and the Berlin Senat among other awards.His exhibitions include: Artists Space, NYC; KM Gallery, Berlin; Galerie Kamm, Berlin, Kunstverein Harburger Bahnhof, Hamburg; Schaufenster, Kunstverein f. d. Rheinlande und Westfalen, Düsseldorf; Fridericianum, Kasseler Kunstverein, Kassel; KW Institute for Contemporary Art, Berlin; Jewish Museum Berlin, Kunstmuseum, Bonn; Van Gogh Museum, Amsterdam; Irish Museum of Modern Art, Dublin.

Matthew LAX
Fabricated in the Actual Arctic (After Nanook)
lax Matthew
Fabricated in the Actual Arctic (After Nanook)
Film expérimental | 16mm | noir et blanc | 3:10 | USA | 0 | 2018

A silent essay considers several key details of the production and legacy of Robert Flaherty`s seminal 1922 documentary, "Nanook of the North" (also known as, "A Story Of Life and Love In the Actual Arctic"). Critiquing notions around documentary and realism, the gaze, anthropology and institution, an image by an Inuk artist is discovered “missing” from the Museum of Modern Art (MOMA) collection.

Matthew Lax (b. Baltimore, Maryland, USA) is an artist, filmmaker and writer based in Los Angeles. His film and video work has been exhibited nationally and internationally in film festivals and art spaces including the Viennale (Austria), IHME Contemporary (Helsinki), MIX Brasil (São Paulo) and MIX New York, Los Angeles Municipal Art Gallery, Los Angeles Contemporary Archive (LACA) and the Everson Museum of Art (Syracuse, NY). He has organized curatorial projects with venues including Human Resources (LA), the Echo Park Film Center, Anthology Film Archives (New York, NY), etc. in addition to numerous pop-up exhibitions with various alternative spaces. His writing has appeared in various printed catalogs and publications including the Los Angeles Review of Books (LARB), Contemporary Art Review Los Angeles (CARLA), ArtPractical (San Francisco), and Art Observed (New York).

Gaetano LIBERTI
J
liberti Gaetano
J
Fiction | 4k | couleur et n&b | 44:14 | Italie | Bosnie-Herzégovine | 2018

Gaetano Liberti is an independent filmmaker with a background in visual art practices and acting, he received a Bachelor degree in Film Directing from the Film.factory - SFA in Sarajevo under the mentorship of Béla Tarr. From 2004 till 2012 he has been working as theatre performer in the productions of several Italian theatre companies. From 2005 he began to deepen the work with the image, producing video works, performances, installations and researching on new devices. Through a work on the boundaries and the language of the cinema-device he investigates the relationships between body, matter, memory, perception and the human mystery in general. His video works and installations have been presented internationally. His film “J? was premiered at FID Marseille 2018. He worked as DoP in the feature film “M-1” by Luciano Pèrez Savoy, winner of the Best International Documentary Award at the Torino Film Festival 2017 and Best Mexican Feature Length Documentary Award at the Monterrey International Film Festival 2018.

Gaetano Liberti is an independent filmmaker with a background in visual art practices and acting, he received a Bachelor degree in Film Directing from the Film.factory - SFA in Sarajevo under the mentorship of Béla Tarr. From 2004 till 2012 he has been working as theatre performer in the productions of several Italian theatre companies. From 2005 he began to deepen the work with the image, producing video works, performances, installations and researching on new devices. Through a work on the boundaries and the language of the cinema-device he investigates the relationships between body, matter, memory, perception and the human mystery in general. His video works and installations have been presented internationally. His film “J? was premiered at FID Marseille 2018. He worked as DoP in the feature film “M-1” by Luciano Pèrez Savoy, winner of the Best International Documentary Award at the Torino Film Festival 2017 and Best Mexican Feature Length Documentary Award at the Monterrey International Film Festival 2018.

Steffi LINDNER, Milanova, Lyoudmila
AGENS
lindner Steffi , Milanova, Lyoudmila
AGENS
Vidéo expérimentale | dcp | couleur | 17:56 | Allemagne | 2018

The work deals with the nature of ephemeral substances and its immanent processes and thus approaches the contrast between the materiality of fleetingness and the human need for control and rather clear forms. In AGENS, clouds and fog come and go, however only featured in interiors. Everyday scenes of the ephemeral - such as smoke from a cigarette, steam coming from a kettle or a dishwasher - gradually turn into peculiar cloud and fog phenomena. While becoming denser and more surreal, familiar vapors get increasingly detached from their conformed functionality. When their fleeting materiality meets the solid and clear structure of the architecture, it seems as though these textures slowly merge into each other. The inner driving force of the ongoing processes inherent in ephemeral substances becomes a mysterious protagonist.

Steffi Lindner grew up in Berlin, where she lives and works, creating videos, drawings, objects and installations. She finished her postgraduate studies at the Academy of Media Arts Cologne in 2013, has received various grants and fellowships and participated in exhibitions & festivals e.g. at Images Festival, Gallery YYZ (Toronto), Art Cologne, Erarta Motion Pictures (St. Petersburg), NADA Art Fair Miami, Liste Basel, Festival International Exit (Creteil), Interfilm-Festival (Berlin), Capla Kesting Fine Art Gallery (NYC). Lyoudmila Milanova was born in Varna, Bulgaria and has been living and working in Cologne, Germany since 2000. After achieving a M.A. degree in media science at the university in Cologne, she finished her postgraduate studies at the Academy of Media Arts Cologne 2011. In her artistic work she deals with natural phenomena, technology and time processes. Her installations and videos have been awarded numerous scholarships and grants, as well as internationally exhibited, including shows in Berlin, Seoul, Kyoto, New York, Rotterdam and Moscow.

Leandro Listorti
La película infinita
listorti Leandro
La película infinita
Doc. expérimental | 35mm | couleur et n&b | 55:0 | Argentine | 2018

La película infinita, the new film by Argentine filmmaker and curator of the film museum in Buenos Aires, Leandro Listorti, is an essay film about a parallel history of cinema, based on remains of Argentine films that were never completed. Edited by renowned filmmaker Felipe Guerrero (whose Oscuro animal premiered in IFFR`s Tiger Competition two years ago), it is a film created from fragments of other people`s films that somehow never really existed. As such, it is a cinematic Frankenstein, coming to life in front of our very own eyes. In a country where the remains are of fundamental importance in understanding the past, La película infinita offers a window to forgotten memories, and invites the viewer to evaluate its own culture and identity. The stories and the images, once considered unsuccessful, have now taken on a new meaning. Inert images and sounds never heard are finally opened up for fresh discovery.

Leandro Listorti was born in 1976 in Buenos Aires, Argentina. After graduating from Filmmaking School he attended workshops with filmmakers such as Patricio Guzman, Martín Rejtman, Pablo Reyero and Harun Farocki and shot a series of short films in Super 8 dealing with the ideas of travel and memory. In 2010 he finished his first film DEATH YOUTH, which screened in numerous festivals. He writes about film, teaches and since 2005 he is Film Programmer at Bafici Film Festival. He also worked as Assistant Director in several films. In 2012 he participated in Archivo Expandido (Expanded Archive) an expanded cinema experience screened in festivals such as Kunstenfestivaldesarts (Brussels) and S8 Mostra de Cine Periférico (Spain). He is one of the founders of A.R.C.A. (Regional Archive for Amateur Cinema), and one of the twenty five directors of INTERVENED EVENTS, produced by the Film Museum of Buenos Aires, Pablo Ducrós Hicken.

Lishan LIU
Product ( VIDEO ) LISHAN ™
liu Lishan
Product ( VIDEO ) LISHAN ™
Vidéo expérimentale | hdv | couleur | 2:20 | USA | 2018

Product ( VIDEO ) LISHAN ‘ is a series of three 30-second pseudo-ads by re-situating the 3 electronic devices for personal healthcare and beauty(a Clarisonic facial brush, a Philips air flosser and a Braun epilator) and interrupting the normal working of the “œmachinesâ”. The videos, loosely following the structure and aesthetic of the original product commercials, are aesthetically pleasing and entertaining. Subsequently, It entails the seductive irony of interwoven relationship among several spheres of commercial aesthetics, techno-fetishism and narcissism in contemporary consumerism. This series of videos has once shown in a screening in SVA Theater and arranged to play in between other artists` work, which functioned as TV commercials in terms of form. It conveys the artistâ’s satirical commentary on the attention span and art production strategies.

Liu makes video-based work. Her highly personal artistic practice, with a constant approach of de/recontextualization and conceptualization, reflects the globalized cultural environment accelerated by Internet (Techno-culture, consumption culture, pop culture and so on). Liu graduated from MFA Photography, Video and Related Media at School of Visual Arts. She has exhibited her work in both China and the US including Vacuum Gallery, Beijing(2017); Poor Image Art Center, online(2016); Rabbithole, New York; Flux Factory(2016); Fei Gallery, Guangzhou(2015); Shenzhen New Media Art Festival at The Value Factory(2014); Jinji Lake Art Museum, Suzhou(2014); Today Art Museum, Beijing(2014) and etc.

Arianna LODESERTO
Trentasette film per una casa
lodeserto Arianna
Trentasette film per una casa
Doc. expérimental | mov | couleur et n&b | 11:0 | Italie | 2017

Le fil rouge de l`urgence du logement nous a permis de découvrir l’intacte et flamboyante poésie d’un « cinéma mineur » (hétérogène et souvent immergée dans les archives) qui nous restitue la contre-histoire de l`architecture sociale romaine et de ses paradoxes. Un « cinéma tout de suite », tant expérimental qu’ « à l’écoute», composé de pellicules insurgées, joyeuses et conspiratrices, capables de secouer les formes consensuelles et standardisées de l’industrie du cinéma. Rushes silencieuses, reportages inachevés, petits plans de films souvent sans auteur (trouvés dans les fonds Aamod et Unitelefilm), ou d’auteurs refoulées rapidement de l`histoire du cinéma italien. Mais qui ont consacré au moins un regard à l’attente d’une maison.

Je suis photographe de formation et chercheuse précaire en théorie de l’image et archéologie des médias. Passionnée de montage et d’écriture, je m’intéresse aux documentaires de création et au cinéma expérimental, aux archives des mouvements, au tiers paysage et à l’architecture cosmique. Née au sud-est d’Italie, mais à l’esprit nomade, je tiens un carnet de voyage intitulé lisible en ligne. Mon court-métrage “Les maisons qu’on était? a été primé aux Building Bridges Emerging Filmmaker Awards (Minnesota-Etats Unis), IsReal, Festival di cinema del reale (Sardegna-ITALIE), Linz International Short Film Festival (Autriche) et au Family Film Project (Portugal), et sélectionné dans des festivals internationaux en Ecosse, Serbie, Croatie, Hongrie et en Espagne.

Birgit LUDWIG
The Partition
ludwig Birgit
The Partition
Fiction expérimentale | hdv | couleur | 21:21 | Luxembourg | Royaume-Uni | 2018

Blake awakes from a comatic episode for which there doesn't seem to be any explanation. Set in London, the film interweaves his and other characters' discontinued journeys marked by peculiar moments and encounters. At once sober and enigmatic, "The Partition" reflects on singularity, alienation and intangible windows in the wider context of a shifting techno-capitalist environment.

Birgit Ludwig (b. Luxembourg) is a filmmaker and artist based in London. Her films take the form of unconventional dramas or documentaries, interweaving realism and a poetic uncanny. She is a graduate of Central Saint Martins School of Art (BA Fine Art/Phoebe Llewellin Smith Scholarship Award) and Kingston University (MA Experimental Film).

Bernd LÜTZELER
_galore
lÜtzeler Bernd
_galore
Film expérimental | 4k | couleur | 8:30 | Allemagne | 2018

The streetscapes of contemporary Indian metros are largely dominated by products. The bazaar expands into all other parts of the city and claims a large percentage of the available public space. The vast majority of the local shops is lacking the facility of a shop window. Instead, their architecture can be described as a garage style, windowless, rectangular box, open to the front, with roller shutters to lock them at night. Stepping into such a shop can be like entering a complete new world: Many of them are literally filled with products galore up to the ceiling. The product itself serves as the interior design. Every day hundreds of busses with thousands of shop owners and their family members come from the surrounding villages and small towns into the city. Especially during the rush hours the market gets overrun by an avalanche of customers who seem to enjoy their high-density shopping experience. Shopping galore. Products galore. Profits galore.

Artist and filmmaker Bernd Lützeler lives and works between Berlin and Mumbai. In his works he explores techniques of moving image production and presentation in relation with their form and perception. Loops, found footage and jugaad (diy) technologies are an integral part of his films and expanded cinema works. His travels to Mumbai have a strong impact on his work that often looks into the aesthetics of popular Indian cinema and television within the urban context. His films have been shown at venues and festivals worldwide, including Centre Pompidou, Berlinale International Film Festival, Rotterdam, Ann Arbor Film Festival, Views from the Avant-Garde and many more. Bernd is an active member of the artist-run analogue filmlab LaborBerlin.

Keli Safia MAKSUD
I Remember When I Was A Soldier
maksud Keli Safia
I Remember When I Was A Soldier
Installation vidéo | mov | noir et blanc | 5:36 | Kenya | Canada | 2018

I Remember When I Was A Soldier is an experiment of memory put together through a collage of archival footage and sound taken from various war museums in the US and Britain. While in these archives, there exist overlaps and discontinuities that connect, through a lack of subjectivity, different non-white bodies, this work attempts to reconstruct the history of the millions of Africans who fought as soldiers during the WWII for the British. As Stuart Hall notes in “Cultural Identity and Diaspora”, the European presence is that which in visual representation has positioned the black subject within its dominant regimes of representation: the colonial discourse, the literatures of adventure and exploration, the ethnographic and travelling eye, the violent, pornographic languages of urban violence. Presence Europeenne is about exclusion, imposition and expropriation. As such, this work puts together a non-linear argument for how we perceive history and attempts to forge a new language about the WWII.

Keli Safia Maksud (b. 1985) is Kenyan-Tanzanian-Muslim-Christian visual artist based in Nairobi and Toronto. Concerned with the histories of the colonial encounter and its effects on memory, Maksud’s interdisciplinary practice uses multiple voices, rather than one narrator, to work towards destabilizing received histories about “African” identities. Maksud graduated from the Ontario College of Art and Design in 2007 and her works have been shown in galleries and venues in Kenya, South Korea, Brazil, Canada and the United States.

Luiza MARGAN
Monument Reflecting the City
margan Luiza
Monument Reflecting the City
Vidéo expérimentale | mov | couleur | 15:11 | Croatie | 2016

The video “Monument Reflecting the City” uses the red granite surface of the recently erected, politically controversial monument to the first Croatian president, as the main aesthetic and narrative element of the video. Placed on the main Riviera of the city of Split, the monument consists of a traditionally crafted bronze figure of a man resting his hand on the red granite cube, which is inspired by the national coat of arms. The visual structure of the video work is created through mathematically determined set of rules: the camera is always placed on the same four positions around the red cube of the monument, recording the reflective surface of each of its four sides for 30 seconds, at each full hour of one summer day - from dawn till sunset. The juxtaposition of the image and the sound composition which has been created specifically for the video, establishes the sensory codes that establish a sort of `haptic` of the work. This abstract coding create the visual poetics of the work, a sensation of a space beneath the red surface, space of the unknown or even of a “threat from within”. -- The red granite surface therefore becomes a "filter" through which we can peek into the public space, by observing the light changes and the reflections on it: the ghostly circulation of tourists, buses and ships in the area that are reflected on the surface. Through its conceptual poetics, the work joins the critical discourse on postwar politics of eastern Europe and the branding of conservative national identity through erasure of history and memory in public space, often through tactics of mass tourism and commodification of public space.

Luiza Margan is a visual artist who lives and works in Rijeka and Vienna. In her art practice, Margan researches the socio-economic complexities of public space and the shaping of cultural identities within it, by dissecting the visual and spatial codes that define it. She uses archives, field research and various found materials as the basis for her sculptural, printed and video works that are often presented in the form of multimedia exhibitions, screenings or performative actions in public space. Margan was awarded the OHO - Best Young Artist Award in Ljubljana/Slovenia in 2007, the THT & Museum of Contemporary Art Award in Zagreb in Croatia in 2012, the Hypo Noe Young Art Award in St. Polten, Austria in 2015. She has been artist in residence in various programs in Mexico City, South Korea, Istanbul, Paris, and Italy. Curently she is a fellow in residence at the Akademie Schloss Solitude in Stuttgart, German. Margan has exhibited in numerous solo and group exhibitions and has had works acquired by public collections like Museum of Contemporary Art - Belvedere 21 in Vienna, Generali Foundation - Museum der Moderne in Salzburg, Austria, Museum of Contemporary Art in Zagreb in Croatia, and Tobacco Museum in Ljubljana. Luiza Margan is a member of The Golden Pixel Cooperative, a nomadic platform of women artists working on the intersection between art and moving image, focusing on the research of documentary configurations.

Ivan MARKOVIC
Centar
markovic Ivan
Centar
Doc. expérimental | 4k | couleur | 48:26 | Serbia | 2018

A vast complex of corridors, atriums and halls: a congress center made to host thousands now stands almost abandoned. The architecture reflects a former idea of the future, while surfaces and materials testify to its end. Through their relentless effort, the maintenance workers shoulder the duty of restoring the space to what it was imagined to be. Their movements are unison, ritual but also their own. Sava Centar is a congress space completed in 1978. in Belgrade, Yugoslavia. It hosted hundreds of international meetings, including World Bank summits and a conference of the Non Aligned Movement. After the breakup of Yugoslavia, its capacities gradually became obsolete. It is now awaiting a privatisation and commercial reconstruction.

Ivan Markovi is a cinematographer and director born in Belgrade, Yugoslavia. He graduated from the Faculty of Drama arts in Belgrade, cinematography studies, in 2012. For his film and photography work, won “Erste Bank foundation” Award for best visual artist in 2014. Recently worked as a cinematographer on several feature films including “All the cities of the north” (director: Dane Komljen, premiered on Locarno Film festival 2016), “You have the night” (director: Ivan Salati, premiered on Venice Critics week 2018) and “Ich war zuhause, aber..” by director Angela Schanelec, which premiered in Berlinale Competition 2019. The short film “White Bird”, which he worked on as a cinematographer and co-director with Linfeng Wu, had its premiere on Berlinale Shorts 2016. In 2018 his experimental documentary film “Centar” had its premiere on Doclisboa Film festival. Lives and works between Belgrade and Berlin.

Fisnik MAXHUNI
La Vallée Heureuse
maxhuni Fisnik
La Vallée Heureuse
Fiction expérimentale | mp4 | couleur | 17:0 | Kosovo | Iran | 2017

Nord de l`Iran, 2017: un jeune homme entreprend une recherche fantastique d'une pierre mythique, réputée pour apporter le bonheur. Au travers de sa recherche pour l'atteindre, il croisera le chemin de tout ceux qui ont eu, comme lui, à traverser les épreuves pour espérer trouver cette fameuse pierre. En dressant un portrait intergénérationnel de l'Iran moderne, La Vallée Heureuse met en scène la quête mythique et universelle du bonheur.

Né en 1989 au Kosovo, ex-Yougoslavie. émigre en Suisse, à Neuchâtel en 1993. Réfugié politique et apatride jusqu'à l'obtention des nationalités suisse et kosovare en 2005. Durant ses études de Bachelor en Relations Internationales à l'Université de Genève, il commence à réaliser ses premiers essais filmiques. En 2012, il diplôme du Master en Géopolitique à King's College London. Il est membre de la "London Film Society". Durant ses séjours au Japon (2012, en qualité d'assistant en diplomatie à l'ambassade suisse à Tokyo), en Indonésie (2013) et Bolivie (2014), il expérimente davantage le processus du film. Depuis 2014, études Master en Cinéma, option réalisation, entre l'ECAL et la HEAD. Il réalise "Ministarstvo Sjecanja" en 2015, sous l'égide de Béla Tarr à Sarajevo. En 2015, il participe à la Baushtellë Artists Residence à Zürich, Belgrade et Prishtina au cours de laquelle il publie un court roman anthropologique sur la perception des racines et des origines à l`époque moderne. Diplôme en 2016 avec son film "Lost Exile", tourné au Kosovo et présenté en première mondiale au Festival du Film de Locarno où il remporte un prix du jury. Il est invité à plus de 30 festivals dont Clermont-Ferrand, Soleure, Tirana, Lisbon, Prizren, New Delhi, Villeurbanne, Montréal, Den Haag, Montevideo, Los Angeles. Il remporte une dizaine de prix avec son film. En 2016, il est invité à participer aux Masterclasses pour jeunes talents organisés dans le cadre du Zürich Film Festival. En 2017, il fonde Visceral Films et produit deux films qu'il réalise lui-même : "La Vallée Heureuse", court-métrage de fiction, co-produit et tourné en Iran. Le film sera présenté à Winterthur, Solothurn et en première internationale au Festival International du Film de Sao Paolo. Puis "Zvicra", long-métrage documentaire co-produit par la RTS (Radio Télévision Suisse) sur la question de la "double identité" albano-suisse. Actuellement, il écrit depuis début 2018, "La Terre de mes Entrailles", son premier long-métrage de fiction. Au même moment, il travaille comme réalisateur 2nd unit sur la nouvelle série télévisée de la RTS, "Helvetica". Avec "La Terre de mes Entrailles", il a été sélectionné dans le cadre des Talents Sarajevo en 2018, où il aura l'occasion de pitcher le projet, après avoir déjà fait l'exercice dans le cadre du Festival de Cannes 2018. On Culture and Tropics (2014) 12` Ministarstvo Sjecanja (2015) 15` Lost Exile (2016) 29` La Vallée Heureuse (2017) 18` Zvicra (2017) 70" La Terre de mes Entrailles (2019) 110"

Ross MECKFESSEL
The Air of the Earth in Your Lungs
meckfessel Ross
The Air of the Earth in Your Lungs
Film expérimental | 16mm | couleur | 11:0 | USA | 2018

Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including Projections at the New York Film Festival, Wavelengths at Toronto International Film Festival, San Francisco Cinematheque's CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Antimatter [Media Art], Iowa City International Documentary Film Festival, and The Artifact Small Format Film Festival where he was awarded best 16mm film.

Louisiana MEES
WAITHOOD
mees Louisiana
WAITHOOD
Fiction expérimentale | mov | couleur | 21:37 | Belgique | 2018

Athene 2018. 42% des jeunes sont au chômage. Cinq, jeune, non-acteurs attendent l’entrance de leur vie mature, indépendante. Ils represent leur vrai vie tandis qu’ils se bougent dans un narratief fictionelle. Dans cela ils jouent ensemble dans des Airbnb’s luxueux pour oublier leur futures futile. Regardant leur ville ils rêves d’autres mondes ou les choses peuvent être différents.

Louisiana Mees (06.12.1994, Hasselt, Belgium) lives and works in Bruxelles, Belgium. Her childhood was a patchwork of worldly journeys she made with her mother. Her youth was filled with dans lessons and theatre. In January 2019 she graduated as Master in the Audiovisual Arts with great distinction and announced one of the legates of the Royals Academie of Fine Arts (Ghent). Currently she is studying International Politics, Conflict and Development at UGent, Belgium.

Pol MERCHAN
Pirate Boys
merchan Pol
Pirate Boys
Doc. expérimental | super8 | couleur et n&b | 13:10 | Espagne | Allemagne | 2018

Kathy Acker`s writing, and a seminal portrait of her taken by intersex photographer Del LaGrace Volcano, provide a lens through which to explore trans subjectivity and the queering of cinema. Pol Merchan`s hybrid doc fluidly moves from the documentation of the punk era to a more performative exploration of gender.

Pol Merchan was born in Lleida, Spain, in 1980. In 2007, he obtained a degree in Fine Arts from the University of Barcelona and in 2014 an MA in Art in Context from the Berlin University of Arts. In 2017 he won the Xposed Queer Short Film Fund and the Research Fellowship from the Senate Department for Culture and Europe in Berlin, and in 2019 the Arbeitsstipendium from the Stiftung Kunstfonds. His experimental audio-visual work explore visual semantics and filmic practices, deconstructing technics of conventional filmmaking. Merchan uses the camera as an extension of his eye and body, making intimate works that emphasize the tactility of the film. His work has been seen internationally in art institutions including Museo Reina Sofia - Madrid, Anthology Film Archives - New York, Contemporary Culture Centre of Barcelona, The Institute of Contemporary Arts London, The Art Centre of La Panera - Lleida, Contemporary Art Centre - Vilnius, Beursschouwburg - Brussels, as well as at numerous Internationally Film Festivals such Hot Docs Canadian Documentary Festival, Ann Arbor Film Festival, Clermont-Ferrand Short Film Festival, Int. Kurz Fillmtage Oberhausen, Festival de Cine Guanajuato, Sao Paulo Short Film Festival, Stuttgarter Filmwinter - Festival for Expanded Media or Barcelona Independent Film Festival l'Alternativa.