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.
Eléonore SAINTAGNAN
Une fille de Ouessant
saintagnan Eléonore
Une fille de Ouessant
Documentaire | 0 | couleur et n&b | 27:58 | France | 2018

L`île d`Ouessant est la plus à l`ouest, tout au bout de la pointe de la Bretagne. La dernière terre française avant l`Ame?rique... Autrefois, les hommes y travaillaient tous en mer, pour la pêche ou dans la marine, et de ce fait l`île e?tait peuple?e presque uniquement de femmes. En immersion sur cette terre, Eléonore Saintagnan plonge dans les archives, et dans un flottement entre rêve et re?alite?, s`identifie à Barba, une fille de Ouessant, dont le père a disparu en mer sans laisser de traces. Comment alors faire son deuil? Entre film de vacances, documentaire anthropologique et fiction, Une Fille de Ouessant prend la forme d`un conte ethnographique.

Azar SAIYAR
Monument of Distance
saiyar Azar
Monument of Distance
Vidéo | hdv | couleur | 6:57 | Finlande | 2018

Googoosh, a popular and loved Iranian-Azerbaijani singer, performs a version of the song Ayrılıq – Separation. The performance is from a 1970s television show and it has been copied several times from one videotape to another. Ayrılıq could be a love song but it is told that composer Ali Salimi (who as a young man had to leave Soviet Azerbaijan, move to Iran and leave many of his loved ones behind) wanted to make music about his sense of longing.

Azar Saiyar is Helsinki-based filmmaker and visual artist whose art has been shown at film and media art festivals, galleries, exhibitions, museums and from television. Currently she is working with a short film project called The Story of a Badly Behaving Child and Monument of Distance – a found footage piece on immigration and memory. She often uses archive materials and plays with images and words of collective memory to look towards the ways of looking, speaking, remembering, growing, conforming and telling stories. She also does collaborative works with other artists.

Rajee SAMARASINGHE
Pituvahalaya
samarasinghe Rajee
Pituvahalaya
Doc. expérimental | mov | couleur | 7:49 | Sri Lanka | 2018

Shot improvisationally in 2010, shortly after the end of the Sri Lankan civil war, this film takes a lyrical approach to examining recent history and the process of reconstruction in the post-war era. The visions of an exile are carried through an immoral silence, to an end both dubious and bittersweet.

Rajee Samarasinghe is an award-winning Sri Lankan filmmaker and visual artist. Some of his recent work examines contemporary ethnographic practices through associations of family and heritage. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Rajee`s work has been exhibited at venues internationally.

Talena SANDERS
Between my flesh and the world's fingers
sanders Talena
Between my flesh and the world's fingers
Doc. expérimental | 16mm | couleur et n&b | 31:0 | USA | 2018

Mary MacLane, the Wild Woman of Butte, Montana, published her diaries in 1902 and 1917. As an out queer and proto-feminist at the turn of the century, MacLane became notorious upon the publication of her 1902 diary, I Await the Devil’s Coming. She was whisked away from the industrial hellscape of her copper mining Montana hometown to a life in the public eye as an author, journalist, female film pioneer and always a provocateur - sending up social norms throughout her career, with a special focus on staid notions about women and sexuality. Between my flesh and the world’s fingers is an experimental essay and diary film primarily based on her published diaries and her film work. Though the film is not directly a personal film, the production is founded in part in the act of a woman telling her own story through that of another woman, a trailblazing figure from the past.

Talena Sanders makes moving image works that explore the development of individual and collective senses of identity in affinity groups. Her films and videos are informed by an interest in presenting the many ways that social institutions can shape individuals lives on both the broader geopolitical level and the most intimate, personal scales. A common starting point for developing new projects begins with an interest in interrogating narratives from histories and how historical records can influence senses of identity, especially as it relates to ideas of national and regional character. She believes there are endless means to present and interrogate materials from the real on the spectrum from nonfiction to narrative production approaches. Her work often places historical found/archival footage and audio in dialogue with contemporary media captured on location to question constructs of privilege and power in who gets authorized to tell the story of a shared experience. She holds an MFA from Duke University’s Experimental and Documentary Arts program and a BFA from the University of Kentucky. Her work has been screened, exhibited, and collected internationally, including at the New York Film Festival`s Views from the Avant-Garde, FID Marseille, Montreal International Documentary Festival, Fronteira Festival, Viennale, DokuFest Kosovo, BFI London Film Festival, and Southeastern Center for Contemporary Art. Her first feature documentary, Liahona, is distributed by Documentary Educational Resources and Doc Alliance. She has previously taught film and video production and film studies at Duke University and the University of Montana. She is currently an Assistant Professor of Communication and Media Studies at Sonoma State University.

Mauro SANTINI
Vaghe Stelle - Mizar
santini Mauro
Vaghe Stelle - Mizar
Vidéo expérimentale | 4k | couleur | 11:0 | Italie | 2017

“Vaghe stele” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The “songs” are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.

Since 2000, Mauro Santini (Fano, Italy, 1965) has composed a series of video diaries, stories told in the first person about time, memory and the search for oneself. One of these, “Da lontano”, won the Italian competition at the 2002 Torino Film Festival. He has participated at the international film festivals of Locarno, Venezia, Oberhausen, Jeonju, Annecy, Rencontres Paris/Berlin, DocLisboa, Cinémas Différents Paris, Montpellier, Pesaro etc In 2006, he made the feature film Flòr da Baixa and participated in 2008 with different works at “La cité des yeux, une saison italienne”, about Italian avant-garde cinema from 1968 to 2008, which was organized by the Cinémathèque Française in Paris and curated by Nicole Brenez and Federico Rossin.

Davor SANVINCENTI
Skoro nista: i dalje noc
sanvincenti Davor
Skoro nista: i dalje noc
Film expérimental | 16mm | couleur et n&b | 12:0 | Croatie | 2017

Le film tourne autour de l'ampoule comme la Terre tourne autour du Soleil. La lumière rend le film visible. En orbite autour de la tragédie du film et de notre réalité, l'image résiste à la cruauté de l'expérimentation.

Davor Sanvincenti (1979) is a multimedia artist specifically interested in audiovisual phenomenology and anthropology of visual culture, particularly focused on the conditions and forms of human senses and perceptions. His artistic practice takes shape in the variety of media - film and video, photography, physical light and sound installations and live media performances. His work plays with the concept of illusion, exploring the possible boundaries of perception and the construction of experience. In 2010, he was recipient of the Radoslav Putar Award for the best Croatian artist under 35. Davor Sanvicenti`s work has been exhibited and presented internationally, including festivals like Rotterdam, Music Biennale - Zagreb, Rencontres Internationales - Paris/Berlin/Madrid, Device_Art Triennale - Montreal, LOOP - Barcelona, World Film Festival - Bangkok, 25FPS - Zagreb, VideoEX - Zurich and venues including Centre Georges Pompidou, Paris; ZKM, Karlsruhe; Lincoln Center, New York; Universal Museum Joanneum, Graz; Museo de Arte Contemporanea, Oaxaca; Camera Austria, Graz; FRAC Pays de la Loire, Carquefou; MoCA, Zagreb; NIU, Barcelona; La Triennale, Milano; Filmoteca Española, Madrid; Glassbox, Paris; Haus der Kulturen der Welt, Berlin.

Susanna SCHOENBERG
Deep Interview
schoenberg Susanna
Deep Interview
Performance multimédia | mov | couleur | 30:0 | Italie | Allemagne | 2018

Deep Interview represents a conversational situation : not based on identities, but comparing different language systems. The subject of the conversation is going to emerge due to asking questions taken from two different (complementary) contexts: the one mirroring the systemic "need" for monitoring the need for a picture of the EU borders, the other focussing on corresponding unmonitored substances, the needs and perspectives of asylum seekers. The origin of the video is the plot of a performance based on asking questions and dedicated to practices of (machine-like) monitoring. The origin of the performance plot is a particular text technique suitable technique for unpleasant objects of investigation, which treats them as very literally. Of the so-called deep interview we only experience the questions. On a more abstract, level Deep Interview enbodies the desire to treat (and deconstruct) the law and its both argumentative and operational logic as an image, shaped in order to define phenomena and entities to be managed.

Part of the artistic production methods of the media artist Susanna Schoenberg are experimental videos and video installations, public actions and camera setups. Her media practise focuses on the idea of emergence (of reality and forms of reality), intermediality and the techno-image. The contingent waiving of technical and conceptual control can be part of her "realistic" (image giving) strategy. In the last years she has been producing works explicitly dedicated to (machine-like) monitoring, in particular of the monitoring of the European borders.

Roswitha SCHULLER, Markus Hanakam
Mobile
schuller Roswitha , Markus Hanakam
Mobile
Vidéo expérimentale | 0 | couleur | 8:0 | Autriche | 2017

In the pieces by Hanakam & Schuller, the device is a recurring motif. That is to say, all that apparatus that is used to render optical imagery and also generate their specific formats, to control or trigger images or even manipulate them. The device - or gadget - is a type of artifact, a functional object that is charged with both everyday and mystical meaning. In their recent video piece Mobile, two hands move one object after the other into focus, creating an endless sequence of object chains. In his allegorical reference to a kind of Jacob’s ladder of the media, the video in the loop becomes a sort of perpetuum mobile. The mobile can also be understood as a mobile. The mobile device allows data to flow and data to be exchanged. The accompanying voice over with a computer-simulated voice reproduces several tracks from Tree of Technologies of the classic computer game Civilization that was released again in 2016, revealing the absurdity of the strictly linear development of technology and culture, as illustrated here by the game.

Many of the artifacts of Hanakam & Schuller, an artist duo that lives in Vienna, are shapeshifters, changing their outer form and then reappearing in a variety of contexts. As artists and explorers, Markus Hanakam and Roswitha Schuller redesign the rules of the fine arts for their own purposes and create unconventional arrangements and new world designs in videos and objects. They also work with applied artforms. Their works have been shown in Berlin’s Haus der Kulturen der Welt, the Eyebeam art and technology center in New York, Paris’ Palais de Tokyo, Moscow’s Garage Museum of Contemporary Culture, Vienna’s MAK, the MAK Center for Art and Architecture in Los Angeles, and Tokyo’s National Art Center.

Liv SCHULMAN
L'Obstruction
schulman Liv
L'Obstruction
Fiction expérimentale | 4k | couleur | 26:4 | Argentine | France | 2017

Dans son film L`Obstruction, Liv Schulman met en scène un jeune homme balbutiant et transpirant, qui tente tant bien que mal de raconter ses histoires. Baristats, industrie pharmaceutique, fourmis, poils, objets vibrants et dents tatouées en sont quelques protagonistes. Souffrant de la chaleur, du bruit ambiant et de la proximité envahissante de corps de pierres monumentaux, l`homme tente d`évaluer l`effet de ses paroles sur des spectateurs-acteurs silencieux et apparemment indifférents. Obsédé par sa capacité à nous convaincre, nous séduire ou nous faire rire, l`impuissance et l`anxiété - symptomatique de notre époque - sont ici tournées en dérision.

Liv Schulman observe la manière dont les sociétés contemporaines procèdent à l`aliénation des individus et des groupes sociaux. Les discours qui sont au cœur de ses pièces traitent de la place la subjectivité au sein de l`espace politique, de la difficulté à lui donner crédit. Ainsi donne-t-elle à voir une vraie télénovela à la télévision aussi bien que dans un musée. Elle nous fait adhérer à ses thèses en même temps qu`elle les saborde. Dans l`incrédule croyance de sa production, créer implique de faire l`expérience directe d`un milieu, d`un système, d`un sujet. Liv Schulman est née en 1985. Elle a grandi à Buenos Aires (Argentine) et vit et travaille à Paris. Elle a étudié à l`ENSAPC, Cergy, à la Goldsmiths University of London (Royaume-Uni), à l`UTDT, Buenos Aires et à l`ENSBA, Lyon. En 2018, elle est lauréate de la bourse de recherche ADAGP de la Villa Vassilieff et lauréate du prix Fondation d’entreprise Ricard.

Ani SCHULZE
Merchants Freely Enter
schulze Ani
Merchants Freely Enter
Vidéo expérimentale | 4k | couleur | 12:5 | Allemagne | 2017

The video Merchants Freely Enter explores new technologies to capture images and their impact on sight, representation and control on western landscape and nature. The picture and sound collage navigates through a world of an arcane imagination (costumes and masks), archaic appropriation (agriculture) and digital empowerment (drone mounted cameras). Similar to a visual archaeology of the future- the film calibrates the sight into an ongoing interplay between attraction and rejection.

Ani Schulze’s work has been shown in various screening programs, solo and group exhibitions, notably at Kölnischer Kunstverein, Cologne; Kunsthalle Schirn, Frankfurt; Oberhausen Short Film Festival; Galerie Nagel Draxler, Cologne; Extra City Kunsthal, Antwerpen; CEAAC, Strasbourg; Kunsthalle Darmstadt; Kunstverein Braunschweig; MMK- Museum für Moderne Kunst, Frankfurt and Museum für Neue Kunst, Freiburg. She received grants and residency opportunities by following institutions: Schloss Ringenberg, Kunststiftung NRW, Sitterwerk Sankt Gallen, RAVI Liège, AIR Antwerpen, MFJKS NRW, CEAAC- Centre Européen d`Actions Artistiques Contemporaines, Fondazione Bevilaqua La Masa. She received the innogy VISIT award to realize the project ‘Ancient Circuits’ in 2019.

Maya SCHWEIZER
Insolite
schweizer Maya
Insolite
Vidéo | hdv | couleur | 12:16 | France | Allemagne | 2019

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Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen, 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen, TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; “Art | Memory | Place”, Irish Museum of Modern Art, IMMA, Dublin Ireland, “Der sterbende Soldat von Les Milles”, Kuns

Robert SEIDEL, Esmark – Husby-klit Bk.
Esmark – Husby-klit Bk.
seidel Robert , Esmark – Husby-klit Bk.
Esmark – Husby-klit Bk.
Vidéo expérimentale | dcp | noir et blanc | 5:0 | Allemagne | 2017

The Band “Esmark” is a collaboration between the sound architect Nikolai von Sallwitz and the artist Alsen Rau. The music video by video artists Robert Seidel for the track “Husby-klit Bk.” is based on a live video performance, in which a modular video synthesizer generates mental spaces between floating and overwriting realities. The visual material is based on a convolute of geographical impressions, that are fused by the cinematic soundscape into a continuous stream of dissolving memories.

Robert Seidel’s projections, installations and experimental films have been shown in numerous international festivals, as well as at galleries and museums such as the ZKM Karlsruhe, Art Center Nabi Seoul and MOCA Taipei. He is interested in pushing the boundaries of abstracted beauty through cinematographic approaches, as well as ones drawn from science. By the organic interplay of structural, spatial and temporal concepts he creates an evolving complexity of multifaceted readings. Seidel lives in Berlin/Jena as artist and curator.

Lina SELANDER, Oscar MANGIONE
Diagram of Transfer No. 1
selander Lina , Oscar MANGIONE
Diagram of Transfer No. 1
Vidéo expérimentale | hdv | couleur et n&b | 8:30 | Suède | 2018

Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work “When the Sun Sets It’s All Red, Then It Disappears” from 2008.

Katia SEPULVEDA
Songwashing
sepulveda Katia
Songwashing
Vidéo | hdv | couleur | 5:0 | Allemagne | 0 | 2018

Ilan SERRUYA
Reunión
serruya Ilan
Reunión
Documentaire | mov | couleur | 65:0 | Espagne | 2018

“Reunion” is the encounter between a father and a son. A moment marked by landscape, distance and silence. Ilan is cutting his own hair. He is getting ready to travel to Reunion Island. There lives his father, Raphael. An island is a piece of land surrounded by water on all its parts. A reunion is the act of making two or more things coincide at one point, sometimes colliding with one another. This meeting between the father and the son is distinguished by the absence of words, by everyday gestures, by different body postures, by the expression of their faces and by the few sentences that articulate an attempt to resume what seems to be an impossible dialogue. Raphael smokes on the chair, studying his son with his eyes. He is breathing hard. Among them, a camera acts as an intermediary. It observes them together and separately. It is a mediation device: it restrains the dialogue, registers the look on their faces and records the silence. The camera favors the meeting to take place. It protects them from the past and places them only in the present. We do not know the reasons that led them to this situation, nor the time that happened since they last saw each other. We only know that they are there, in Reunion. A path in the forest. Roots in the ground. Fog and cracks.

Ilan Serruya grew up between the cities of Mar del Plata (Argentina) and Seville (Spain). He studied Fine Arts (Universidad Complutense de Madrid), holds a degree in Film Editing (Instituto del Cine de Madrid) and Master LAV (Audiovisual Laboratory of Creation and Contemporary Practice). His search as a visual artist go into focusing on to autobiographical events, and his works often reveal some found domestic material. His feature film “Reunion” (2018) was selected for Input 2018 -Space for tutoring and advising film projects organized by (S8) Mostra de Cinema Periférico-. “Reunion” had its world premiere at Doclisboa (International competition) and its Spanish premiere at Seville European Film Festival (Endless Revolutions competition). The world premiere of “What is a zeide for?” (2018) was held by Filmadrid International Film Festival. His short film “The lost distance” (2016) participated in cinema screenings at Guadalajara (Mexico), Rome (Italy), Prague (Czech Republic) or festivals like Una casa: Muestra de cine documental autobiográfico (Spain).

Melanie SHATZKY, Brian M. Cassidy
Interchange
shatzky Melanie , Brian M. Cassidy
Interchange
Doc. expérimental | hdv | couleur | 60:33 | Canada | 2018

Straddling the line between photography and cinema, Interchange is a near-wordless observational depiction of life alongside a stark and imposing Montreal highway. The film weaves portraits, landscapes, architecture and objects in its reflection on the city’s inhabitants, its traffic jams, the shipping of commercial goods and the nature of time itself. The highway portrayed in Interchange is less the subject of the film than its organizing structure: a large concrete heart, whose arteries intersect with the landscape and its residents in often startling ways, and serve as the framework for an extended meditation on the individual and their surroundings in the post-industrial age.

The films of Brian M. Cassidy and Melanie Shatzky have screened at the Berlin, Sundance, Toronto, Locarno and Rotterdam film festivals, The Museum of Modern Art, The National Gallery of Art, Le Musée de la Civilisation, ICA London, The Museum of the Moving Image and Lincoln Center. In 2012, they were nominated for a Gotham Award for Breakthrough Director and won Best New Director from Québec/Canada at the Montreal International Documentary Festival (RIDM). Their feature debut, Francine, was called “a small gem of bleak neorealist portraiture” by The New York Times and was selected as a New York Times Critics` Pick. Their documentary, The Patron Saints, was called "one of the most powerful Canadian documentaries of recent years" by POV Magazine. Cassidy & Shatzky also maintain an active photography practice and have had their work featured in ZeitMagazin, GUP Magazine, Der Greif, It`s Nice That, Wired, and FlakPhoto, among others. In 2015, The Montreal International Documentary Festival (RIDM) invited the duo to guest curate "A Photographer`s Eye: Photography & The Poetic Documentary", a special program about the intersection of photography and documentary film, which was showcased at La Cinémathèque Québécoise. Both Cassidy & Shatzky hold an MFA from The School of Visual Arts in NYC.

Shelly SILVER
This Film
silver Shelly
This Film
Film expérimental | 16mm | noir et blanc | 6:53 | USA | Allemagne | 2018

Filming is alchemy; preserving, seeing, devouring, cutting. Chopping the flow of images with a push of a button. It privileges a solitary unseen protagonist, choosing this over that and then that, it eats anything, not everything. The world hacked into fragments, jumps, frames. Kidnapped buildings gestures people animals happening now, again now, again now. The displacement of what was once to what is now seen carries the odor of end, regardless of the incessant movement of one frame to the next, a machine forcing the celluloid frames forced to run, jump, trip, turning it all into a sad slapstick -- slapstick also embodies heartbreak. A meeting with an old friend, possibly for the last time. [Or] a throwback to a kind of film I never made. But if I did, it would be a noisy film with silence.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

Thomas SIPP
Madrigal
sipp Thomas
Madrigal
Vidéo | hdv | couleur | 19:45 | France | 2018

Le poème épique du Tasse, "La Jérusalem délivrée" (1582), a influencé pendant plus de trois siècles les représentations de l’amour dans les arts en Europe. "Madrigal" nous fait découvrir trois oeuvres éblouissantes d’Annibale Carracci, Nicolas Poussin et Giambattista Tiepolo interprétant l’épisode de la relation amoureuse entre le chevalier Renaud et la magicienne Armide. L’oeil de la caméra caresse la surface sensuelle de la peinture guidé par la réflexion de l’historien de l’art Giovanni Careri sur les pouvoirs de l`image et sur ceux de l’amour.

Thomas Sipp réalise des films documentaires et des documentaires sonores. Il vit à Paris et à Toulouse, où il enseigne le cinéma et la vidéo à l’Ecole des beaux-arts. Il a réalisé de nombreux films documentaires diffusés sur les télévisions françaises et étrangères (France 3, Arte, Canal +, RTBF, TSR, Sky UK, TVE, Movistar, Avro, SVT1) et sur Internet (Radio France, Condé Nast et Arte Creative). Ses films ont été sélectionnés et primés dans de nombreux festivals (Festival du Réel à Paris, Visions du Réel à Nyons, Pariscience, DocScient Roma) ainsi qu’à la XXXème Biennale de São Paulo, au MAC de Marseille, au Musée Berardo de Lisbonne, etc. Il a collaboré régulièrement à l’émission de documentaires sonores « Surpris par la nuit » de Alain Veinstein sur France Culture. Il est notamment l’auteur des films ACD (1997), Hotel Humboldt (1999), Madame B. (2004), Les champignons pourront-ils sauver le monde ? (2012, co-réalisation) et des séries Sacrés Caractères ! (2014) et Safari Typo ! (2016).

Sam SMITH
Lithic Choreographies
smith Sam
Lithic Choreographies
Doc. expérimental | 4k | couleur et n&b | 51:0 | Australie | Suède | 2018

Lithic Choreographies (2018) is an experimental documentary shot on the Swedish island of Gotland. It mines historical data, mingling it with speculative fictions, to chronicle different chapters embedded to the island`s geological strata. Working with locals to ground the film`s investigations within the myriad communities of Gotland, Smith seeks to re-imagine our modes of engagement with and contributions to ecological assemblages. Scanning the landscape characterised by palaeo-sea-stacks, fossil coastlines, concrete production plants and limestone quarries, the film focuses a lens on minerals circulated in economic, cultural and agricultural contexts. Lithic Choreographies was commissioned by International Art Space for spaced 3: north by southeast and produced in collaboration with Baltic Art Center.

Sam Smith is a video installation and performance artist born in Sydney, Australia currently living and working in the UK. He has exhibited and performed widely at venues including at Gotland Konstmuseet; Sweden; Whitechapel Gallery, London; Plymouth Art Center, UK; Kunsthal Charlottenborg, Copenhagen; The Telfer Gallery for Glasgow International 2016; Centro de Artes Visuais, Coimbra, Portugal; Australian Centre for Moving Image, Melbourne; KW Institute for Contemporary Art, Berlin; Gallery of Contemporary Art, E-WERK, Freiburg; De Appel Arts Centre, Amsterdam; Art Gallery of New South Wales, Sydney; and the Institute of Contemporary Arts, London for the Artists` Film Biennial.

Michael SNOW
Reverberlin
snow Michael
Reverberlin
Vidéo expérimentale | 0 | couleur | 55:0 | Canada | 2006

Réalisé à partir d`un concert que Michael Snow a donné avec son ensemble d`improvisation CCMC au Kunst-Werke en 2002, Reverberlin est la première œuvre pour laquelle Snow, à la fois cinéaste et musicien de renom, a co-composé son et image. Avec des images vidéo numériques du CCMC jouant à travers le monde, Snow crée des contrepoints et des juxtapositions à l`enregistrement non mixé de 2002.

Michael Snow est né en 1929 à Toronto (Ontario), d’une mère francophone, excellente pianiste, dit-il d’elle, et d’un père anglophone. Alors qu’il débute en arrondissant ses fins de mois en jouant du jazz, il découvre Louis Armstrong, His Hot Five, et les mélodies sonores, particulièrement sensuelles de Jelly Roll Morton. Complètement autodidacte, il apprend la musique sans même savoir la lire. Son art est le fruit de l’improvisation et du hasard. Il commence à peindre puis sculpter dans les années 50, passant alors de la figuration à l’abstraction. Sa peinture se traduit bientôt dans une synthèse entre le sujet figuré et la surface de la toile. Il entre alors dans le cinéma par une première animation, A to Z, réalisée en 1956, qu’il qualifie comme « deux chaises qui baisent ». Quelques années plus tard, il crée l’une des oeuvres les plus marquantes de sa carrière et de l’histoire du cinéma (expérimental), Wavelength. Elle le catapulte hors de l’atelier du peintre, et devient source d’inspiration pour les principaux critiques et théoriciens du cinéma (Manny Farber, Jonas Mekas, Annette Michelson). Depuis les années 60, le travail de Snow se trouve à l’avant-garde de l’art visuel et du cinéma expérimental. Pluridisciplinaire, son oeuvre aborde tous les médiums et matériaux. Abordant les matérialités, l’épaisseur et la minceur. Si son cinéma se conjugue toujours à l’art et à la performance, il tend à l’éclatement des frontières. La Région centrale (1971) sera l’une de ses oeuvres phares, marquée par les prouesses d’une caméra multidirectionnelle, conçue spécialement pour son tournage. Il invite le spectateur à tourner avec la machine, suivre son mouvement, encourageant ainsi une réflexion sur la réalité et vérité supposée de l’image. Snow approfondit notre conscience de la vision humaine. Son oeuvre se révèle dans l’expérience sensorielle, elle se trouve au coeur même des systèmes sensibles, des contrastes et des impressions, en en accentuant les distinctions. Snow trouve son inspiration dans une philosophie de l’esprit et du langage. Ses films sont des rituels de passage, entre la perception pure et sa représentation, des jeux conceptuels et extatiques sur le temps et l’espace. Si son oeuvre pouvait se définir, elle serait un immense film-essai. Évoluant constamment avec les mouvements technologiques, témoin de la mutation des médiums, sa créativité est autant marquée par un art visuel, le cinéma et le son, se faisant chacun complémentaire de l’autre. Son travail est marqué par l’empreinte d’un temps, de l’histoire de l’art, plus encore par celle de ses méthodes. Après avoir obtenu le prix Molson en 1979 et le prix d’excellence de l’IR AC en 1989. Il devient Chevalier de l’Ordre des Arts et des Lettres en France en 1995. Il est récompensé du Prix du Gouverneur général en Arts visuels et en Arts médiatiques au Canada en 2000. Snow aura eu une carrière des plus internationales, son oeuvre traversant les plus grandes institutions, comme la Tate Modern, au Royaume-Uni, cette année. De nombreuses rétrospectives auront eu lieu dont notamment en 1978 au Musée des Beaux Arts du Canada à Ottawa qui s’installera ensuite au Centre Pompidou à Paris, au Kunstmuseum de Lucerne, au Museum Boijmans Van Beuningen, Rotterdam; au Rheinisches Landesmusuem, Bonn; au Musée des Beaux-Arts de Montréal; à la Vancouver Art Gallery. Il exposera au Musée d’Art contemporain de Tokyo (1988), au Centre national de la photographie de Paris, au Centre pour l’image contemporaine de Saint Gervais et au MAMCO de Genève. Depuis les années 2000, il aura exposé à la Arnolfini Gallery, Bristol au Royaume-Uni, au MoMA de New York, à la Whitney Biennial, à la Albright Know Art Gallery, au Philadelphia Museum of Art aux Etats Unis. Une rétrospective de sa filmographie s’est également tenue au Toronto Film Festival, au Canada, en 2015.

Adnan SOFTIC
Bigger Than Life
softic Adnan
Bigger Than Life
Documentaire | hdv | couleur | 29:55 | Allemagne | 2018

BIGGER THAN LIFE is a music film in four acts, based between fiction and documentation, between reality and wishful thinking. The focus is on the fabrication of national history through architecture and urban planning. In Skopje, the capital of Macedonia, a government plan costing several hundred million euros is creating a brand new, ancient city center. »Skopje 2014« is the name of the monumental construction plan, which wants to stage its capital as the cradle of ancient high civilization and as the origin of Europe. So far, some thirty government buildings and museums, as well as countless monuments in the classic style have been erected in the Macedonian capital, in an attempt to put Skopje on a par with Rome and Athens. In some cases, existing socialist structures were incorporated into the new builds. A city looks for a future in history, Macedonia is inventing itself as a nation with historical status based on a model of antiquity that never existed in that form. Would that be something new? Will we buy that (hi)story?

Adnan Softic is an author, visual artist and director. He studied Film and Aesthetic Theory at the University of Fine Arts of Hamburg, where he also taught as a professor of Film and Time Based Media. Softic? was recently awarded with the scholarships of the German Academy Rome Villa Massimo. The current lm "Bigger Than Life" won the 3sat Prize at the 64th International Short Film Festival Oberhausen.