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.
Emily RICHARDSON
Beach House
richardson Emily
Beach House
Doc. expérimental | hdv | couleur | 17:0 | Royaume-Uni | 2015

Beach House is a film about a unique example of rural modernism, built on the UK coast of Suffolk by architect John Penn. Penn was an architect, painter, musician and poet whose nine houses in East Suffolk are all built with uncompromising symmetry adhering to the points of the compass in their positioning in the landscape they use a limited language of materials and form that were influenced by his time spent working in California with Richard Neutra. They are Californian modernist pavilions in the Suffolk landscape. - Beach House is John Penn’s most uncompromising design in terms of idea as form. The film combines an archive film made by Penn himself on completion of the house with experimental sound recordings made during the same period and material recently filmed in the house to explore a convergence of filmic and architectural language and allow the viewer to piece together Beach House in its past and present forms.

Emily Richardson is a UK based filmmaker who creates film portraits of particular places. Her work focuses on sites in transition and covers an extraordinarily diverse range of landscapes including empty East London streets, forests, North Sea oil fields, post-war tower blocks, empty cinemas and Cold War military facilities. She is currently doing a practice-led PhD researching modern architectural space in artists’ film and video at the Royal College of Art in London. - Richardson’s films have been shown in galleries, museums and festivals internationally including Tintype, London; Tate Modern and Tate Britain, London, Pompidou Centre, Paris; Barbican Cinema, London; Anthology Film Archives, New York; Tulca 2012, Ireland; Maison Europeenne de la Photographie, Paris; Botkyrka Konsthall Sweden; The Wapping Project, London; Artprojx Cinema at the Armory Show, New York; FACT Liverpool; Danielle Arnaud, London; Wurttembergischer Kunstverein, Stuttgart; Uppsala Museum, Sweden and Venice, Edinburgh, BFI London, Rotterdam and New York Film Festivals. She was awarded the Gilles Dusein Prize, Paris 2009 in recognition of her films. Her films are distributed by Lux, London and Light Cone, Paris.

Dominik RITSZEL
Pogłos
ritszel Dominik
Pogłos
Vidéo | hdv | couleur | 14:30 | Pologne | 2015

Ritszel in his movie Reverb cleans view of audial perception. He introduce the viewer to his laboratory, spread through whole city. Process of the civilization has been reverse and for a moment, receiver gain privilege of sharpen hearing,. Sounds act on the same rules as they act in horror movies. They grow from what is known. They grow stronger and stronger, minute after minute. They become powerful and than they spread. Dynamic of the horror movie shows, that what scarry the most are not perfectly design monsters but minor, accumulative sounds. Creak of slowly opening wordrobe doors,expending floor planks under footsteps, TV which swich on itself, scraping, grating, crashing, and the most, sudden, ominous, dead silent.

Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphics in the Institute of Arts at the University of Silesia in Cieszyn and at the Academy of Fine Arts in Katowice, where he did graphic arts. His works were exhibited, among others, at international video art festivals Les Rencontres Internationales (Gaîté Lyrique, Palais de Tokyo, Paris), Proyector, International Video Art Festival (Spain, Italy, Portugal) and Video Art Review THE 02. He participated in group exhibitions - in the Show Off Section at the Krakow Photomonth Festival (2013), The increased Difficulty od Concretation in Prague (2015), What’s Hidden in National Gallery of Art (2015), Curators Network in the Museum of Contemporary Art (MOCAK) in Krakow (2012), Mum, I just really need to focus on my art right now in the Arsenał Gallery in Poznan (2012), among others, and in a joint exhibition presenting works of young Silesian artists Milk Teeth in the BWA Contemporary Art Gallery in Katowice (2013). He had individual exhibitions in the Centre for Contemporary Arts Kronika in Bytom, in Grey Gallery in Cieszyn, Grey House Gallery in Krakow and in the Silesian Museum in Katowice. He was chosen among the three finalists of the Talenty Trójki 2013 contest in the Visual Arts category, he was short-listed for the Grey House Foundation Prize. In 2014 he was granted the Young Poland Programme scholarship. In spring 2014 as an artist in residence he stayed in the A-I-R Laboratory in the Centre for Contemporary Art Ujazdowski Castle where he produced Versus, showed in Bank Pekao Project Room in Warsaw. In 2015 he participated in group exhibition Waiting for better times Curatorated by Magda Kardasz (Zachęta Project Room, Warsaw). During of the 8th edition of Biennale of Young Artists RYBIE OKO his video Reverb received special award. He has been crowned the 2015 winner of the Young European Artist Trieste Contemporanea Award. His next individual exhibition will take place in Studio Tomaseo (Italy) 26th of March.

Esteban RIVERA ARIZA
Die Versteinerten
rivera ariza Esteban
Die Versteinerten
Vidéo | hdv | couleur | 7:27 | Colombie | Allemagne | 2015

An interview with David Stodolsky, member of the Cryonics Institute, who guides us trough the Building-Monument built over the previous house of Walter Gropius in Dessau, Germany. Renovated by Bruno Fioretti Marquez Architects in 2008, the construction reproduces the original volume of Gropius` house. In the film, the house works as a metaphor of what is fossilized. The idea of Modernism remains in this case in a fossil state, and survives in time as a trace of what once was. This video is part of a reflection on the act of conservation (of ideas, of bodies) as a human activity.

Esteban Rivera, Bogotá, Colombia (1981). He is finishing his Master studies in Art and Media in the Arts University in Berlin (Universität der Künste, Berlin) under Prof. Ai Weiwei and also as student of Prof. Anna Anders. He studied Graphic Design and a Master in Arts in the National University of Colombia (Universidad Nacional de Colombia). He makes films and videoinstallation and currently works in Berlin.

Sophie ROGER
C'est donc un amoureux qui parle et qui dit :
roger Sophie
C'est donc un amoureux qui parle et qui dit :
Film expérimental | hdv | couleur | 6:15 | France | 2015

Pages arrachées du Fragment d`un discours amoureux de Roland Barthes dans un grenier de montagne. La réalisatrice regarde et dessine les paysages qu`elle voit au travers des planches ajourées. Un papillon la suit jusque dans la neige.

Depuis plusieurs années, le travail de Sophie Roger fait dialoguer dessin et vidéo, lectures et quotidien. Cinéma d`essayiste, elle travaille seule et prend le temps. Ses films arpentent ses territoires les plus intimes (maison, jardin) tout en gardant comme horizon une pensée de l`autre et de l`ailleurs.

Elske ROSENFELD
Ein bisschen eine komplexe Situation
rosenfeld Elske
Ein bisschen eine komplexe Situation
Doc. expérimental | hdv | couleur | 14:44 | Allemagne | Autriche | 2014

Content Summary/ Accompanying Info: This video is an intervention into footage from the first meeting of the Central Round Table of the GDR. The meeting took place on December 7th 1989 in East Berlin, two months after the beginning of mass demonstrations across the country. The Round Table was set up to bring together members of the established political parties and the newly formed oppositional groups on equal terms. A few hours into the meeting, proceedings are interrupted as a noisy demonstration approaches outside. In the ensuing 10-minute scene, participants try to decide on a collective response. Sounds from the demonstration can be heard ebbing and swelling outside the window, while the participants inside debate. The demonstrators are never seen, only heard. The 2-channel video shows the scene in its entirety. It unfolds as a series of interventions into the material that are themselves based on motions and gestures taken from the footage: pans, zooms, the shaking of the camera, the gestures and movements of the participants, the different qualities and sources of sound. These are amplified, repeated, looped, in order to confront and confound notions of inside and outside, language and body, representation and embodiment.

Biography: Elske Rosenfeld (b. 1974 in Halle/S., GDR) uses a variety of media to rework archival materials from the history of state socialism in Eastern Europe and to relate them to contemporary political forms. Recent works in the formats video, performance, and writing have focussed on the physical, gestural content of archival documents from situations of revolution or protest (Paris 1968, East Berlin 1989, Cairo 2011) – to address the body as a site and archive of political events. Various abstracted interventions into and around these materials reactivate political energies that were set loose in these instances and continue to reverberate into the present day. Rosenfeld lives and works in Berlin and Vienna. She holds a PhD-in-Practice from the Academy of Fine Arts in Vienna. Her work has been presented internationally at institutions including Forum Stadtpark/Steirischer Herbst 2015, Graz; Berlin Art Week 2014; Sarai Reader 09/Devi Art Foundation, Delhi; Vienna Art Week 2011; BAK, Utrecht; Shedhalle, Zürich; mumok kino, Vienna; Kunsthalle Exnergasse, Vienna; GfzK, Leipzig; tranzit, Cluj, Romania; the Education Programme of documenta13. She has taken part in international residencies, including the Visual Arts Residency at the Banff Centre for the Arts, Canada. Her texts have been published in/on eipcp.net, Reviews in Cultural Theory, Springerin – Hefte für Gegenwartskunst, and in a number of books and collections. She has been awarded a DOC-Fellowship of the Austrian Academy of Sciences, and project funding from the Programme for Arts-based Research/FWF, Austria. www.elskerosenfeld.net

Rajee SAMARASINGHE
An Appearance of Fortitude
samarasinghe Rajee
An Appearance of Fortitude
Film expérimental | hdv | couleur | 5:14 | Sri Lanka | USA | 2015

Part of an ongoing series of American psychogeographies, this particular piece investigates the idea of "remoteness," as two people establish a curious rapport in a sleepy Southern Californian suburb.

Rajee Samarasinghe is a Sri Lankan visual artist. His work often examines consciousness and impermanence. Some of his recent work develops questions into contemporary ethnographic practices. Rajee attended the University of California San Diego and is currently an MFA candidate at the California Institute of the Arts.

Heta SAUKKONEN
Powyłamywanymi
saukkonen Heta
Powyłamywanymi
Vidéo | hdv | noir et blanc | 10:42 | Finlande | 2015

Powyłamywanymi is an experimental video. The inspiration and the title comes from a polish tongue twister "Stół z powyłamywanymi nogami" meaning "a table with broken legs". The word in the title means breaking only in context of this sentence. Supposedly it dates back to the Soviet times when everything used to be more or less broken. Through repetitive breaking of different tables the work examines how absurd is constructed, but also fragilities of any given systems such as language, political structures or a human body.

Heta Saukkonen (b. 1990) has a Bachelor of Arts from Aalto University and currently completes master’s degrees in Photography at Aalto University and in Time and Space Arts at University of the Arts Helsinki. She works with mediums of video, photography and installation in the borderline between the visual and the verbal and is interested in the absurd, systems and the unexplainable.

Eske SCHLÜTERS
Title (Life goes on)
schlÜters Eske
Title (Life goes on)
Vidéo | hdv | couleur | 12:0 | Allemagne | 2015

Eske Schlüters geb. 1970 Studierte an der Hochschule für bildende Künste in Hamburg. Diplom 2004. Seither arbeitet sie als freie Künstlerin vor allen Dingen mit Bewegtbild. Sie hatte Gastprofessuren in Hamburg und Zürich und zahlreiche Stipendien (Kunstfonds Bonn, Villa Romana Preis, Künstlerstätte Bleckede) und diverse internationale Einzel- und Gruppenausstellungen (Kunstverein für die Rheinlande und Westfalen, Bundeskunsthalle Bonn, Frankfurter Kunstverein, Museum für Gegenwartskunst Siegen, Haus am Waldsee Berlin, Kunsthaus Hamburg)

Ira SCHNEIDER
Somewhere on Orchard Street
schneider Ira
Somewhere on Orchard Street
Doc. expérimental | 16mm | couleur | 8:6 | USA | Allemagne | 2015

I was a member of the Max`s Kansas City club 1966-1974.Andy Warhol hung out there until he got shot in 1968.The Velvet Underground continued to go there.Lou Reed & I often said hello.Larry Rivers,Mel Brooks,Janis Joplin, Lauren Hutton,Julian Schnabel sometimes talked.The maitre d`invited me to film an evening with his friends above a bridal gown shop on Orchard St.They somehow got fabrics from the shop. I brought my Bolex.

Ira Schneider made experimental films in the 60s, than independent video in `69, participated in the “First Group Video Art Exhibition” in NYC May `69 with “Wipe Cycle” video installation, makes his own kind of non-narrative videos, video performances, comedies and multi- monitor video installations. Recipient of Guggenheim Fellowship 1977, National Endowment for the Arts 1978, “Time Zones” video installation, Whitney Museum, NYC 1981, Fulbright Advanced Fellowship 1993. One of winners, Mediakunstpreis, ZKM, 2003. Recipient of the Hannah Hoech Prize, 2006, Berlin Exhibitions: “Video Skulptur” Cologne, Berlin 1989; “Max`s Kansas City Club Show”, Nikolaj Gallery, Copenhagen, 2004; Reina Sofia Museum, Madrid 2006 with “Manhattan Is An Island” video installation; Galerie Walden, Berlin 2007; Kunstpunkt, Berlin 2008; Rencontres International Film Festival, Paris, Madrid, Berlin 2008, 2009, 2010, 2011; “Changing Channels”, MuMoK, Vienna 2010; Prima Center and Freies Museum, both Berlin 2011. “Remote Control” ICA London; “The Whole Earth” exhibition, Haus der Kulturen der Welt, Berlin, April - July 2013; Zagreus Gallery, Berlin, 2014 video- and photo installation and cooking exotic menus. Award “Best Short Short Film” at the Paris Short Film Festival 2015 and award “Best Short Film” at the Berlin Short Film Festival 2015,best Experimental short film at the Paris IndependentFilm Festival,2015 Schneider has published two eBooks and two photography books 2014/15 and produced the video H2O #18.

Volker SCHREINER
Sites
schreiner Volker
Sites
Film expérimental | hdv | couleur et n&b | 8:20 | Allemagne | 2015

A filmic tryptic of three landscapes.

video works since 1988/ grants at the Cité Internationale des Arts Paris, the Deutsche Akademie Villa Massimo Rome/ lectureships at the HfG Karlsruhe and the HBK Braunschweig/ visiting professorships at the HBK Braunschweig and the Johannes-Gutenberg-Universitaet Mainz/ lectures, workshops and seminars a.o. in Rome, Istanbul, Casablanca, Jerusalem, Bangkok/ participation in numerous festivals and tours/ works owned a.o. by the NBK Berlin, the ZKM Karlsruhe, the Ludwig Museum Cologne, the Museum fuer Neue Kunst Karlsruhe, the Amsterdam Film Museum/ distribution by Heure Exquise! and Light Cone Paris/ internet: volkerschreiner.de

Roswitha SCHULLER, Markus Hanakam
Trickster
schuller Roswitha , Markus Hanakam
Trickster
Film expérimental | hdv | couleur | 13:15 | Autriche | Japon | 2014

In all chaos there is a cosmos, in all disorder a secret order. In C.G. Jungs sense the archetype as an object conduce to determination of a “big picture” - of wholeness - as a subject it serves as structure for universal and individual experiences. Like a role-play-gaming kit Markus Hanakam & Roswitha Schuller’s video-work Trickster provides a card index on archetypical places, figures, artifacts and actions; a mode of narration on a coherent world design. To support the layer of moving image a text layer is composed by assembling passages from a historical inventory catalogue of the National Gallery of Scotland. A traditional spectrum of subjects, mostly Genre painting like landscape and portrait, declares the semiotics of art historical reading and puts it into a gaming context.

Markus Hanakam was born 1979 in Essen, Germany. After studying two years at the University Essen (Faculty for Art and Design), 2000-2002, he graduated in 2006 with a Master degree in Art Education, 2009 Master degree in Sculpture and Multimedia from the University of Applied Art Vienna. Roswitha Schuller was born in 1984 in Friesach, Austria. She graduated 2007 with a Master degree in Art Education, 2009 Master degree in Sculpture and Multimedia from the University of Applied Art Vienna; she holds a Doctoral Degree in Art Sociology. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Videodumbo Festival 2013 at Eyebeam Center for Art and Technology, New York, Recontres Internationales 2012 at Palais de Tokyo, Paris, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011. They gained several awards like the MAK Schindler Fellowship in Los Angeles as well as an Artist in Residency at the Citè International des Art, Paris. Their short Film “INVASION” is awarded as Jury Selection Work at Japan Media Arts Festival 2012. Markus Hanakam & Roswitha Schuller have been visiting curators at Medienwerkstatt Wien 2014.

Maya SCHWEIZER
Le Soldat mourant des Milles
schweizer Maya
Le Soldat mourant des Milles
Film expérimental | hdv | couleur | 13:0 | France | Allemagne | 2014

A video work, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town`s center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.

Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts (with Lothar Baumgarten). Maya Schweizer works with diverse media: the focus of her work lies in the making of short films based on documentary material. „Identity, biography, politics, history and memory are recurring themes in Maya Schweizer’s photographs and videos... In general, the artist generates an incomplete tableau of collective memory and questions the way history is produced and visually recorded. „(Cynthia Krell). The artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial — a relation which traces back to the very beginnings of montage as it does to research findings by French historian Pierre Nora. Recurring moments in Schweizer’s multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen (KdFS), 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen (ifa), 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; Der sterbende Soldat von Les Milles, Kunsthalle Baden-Baden, Germany 2015. Edith Seeshow’s Notes at the Kunstverein Langenhagen, 2013. Metropolis. Report from China with Clemens von Wedemeyer at the Frankfurter Kunstverein, 2011. The Same Story Elsewhere at the Westfälisher Kunstverein, Münster, Germany, 2010. Schweizer was also involved in many international exhibitions, such as; Inside the City. Public Space and Free Space at the GAK, Bremen, Germany, 2015. Vot ken you mach ?, Muzeum Wspólczesne Wroclaw, Poland, 2015. Collection Alphabet at the Museum of Contemporary Art (GfZK), Leipzig, 2014. The city that doesn´t exist at Ludwig Forum, Aachen, 2012. Ambigous Being, Hong Gah Museum,Taipei 2012. Take me to your leader!, Kunstmuseum Bergen, Norway, 2011. Here and There, at the Wallace Gallery, New York and at the Oonagh Young Gallery, in Dublin, 2011. 15 Jahre Villa Aurora. Transatlantische Impulse, AdK - Akademie der Künste, Berlin, 2011. Of Other Spaces at the Bureau for Open Culture, Columbus, Ohio, USA 2011.

Lina SELANDER, Oscar Mangione
The Offspring Resembles the Parent
selander Lina , Oscar Mangione
The Offspring Resembles the Parent
Film expérimental | hdv | couleur et n&b | 13:44 | Suède | 2015

The Offspring Resembles the Parent (2015) is a new film made for the 2015 Venice Biennale. Like Selander’s earlier works, it takes as its starting point a specific event or situation of crisis within society—in this case the current economic state and our increasingly crumbling faith in the monetary systems, with links to the European situation during World War I and the interwar years. A major part of the film’s imagery consists of Notgeld—emergency banknotes—often colourful and with a strong visual impact, printed on paper or fabric. Their obviously fictitious character—they represent gigantic figures— points to the imperceptible flows within today’s digital economies. Not unlike language, economic value is built on an agreement, a mutual understanding. The fictitious reality of finance only reveals its relation to the human, the body, to work and to nature in a situation of crisis in which the human conditions and connections to colonialism and warfare become clear.

Lina Selander is one of Sweden’s most innovative moving image artists. Her films and installations often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selander’s process is similar to that of the scientist or poet. Each work constitutes a dense archive of facts and observations, occasionally in dialogue with other films, works of art or literature. The precise, rhythmic editing and use of sound in her films generate a unique temporality and strong internal pressure, and take intuitive leaps between associations and meanings. Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet, VOX - centre de l’image contemporaine, Montréal and in international group shows, biennales and festivals, for example in the Venice Biennale 2015, The Kiev Biennale, Seoul Media Art Biennale 2014, Manifesta 9-European Biennal of Contemporary Art 2012, and the Bucharest Biennale 4, 2010. .... Oscar Mangione works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in the following exhibitions, performances and projects: Överlämningen, Konsthall C, 2013; Suðurlandsvegur, The Reykjavík Arts Festival, 2012; The Spiral and the Square, Bonniers Konsthall, 2011/12; Geist in Therapy, The Studio, Moderna Museet, 2009; Role Critique, Iaspis at the Venice Biennale, 2009; Geist on Speed, Index, 2008.

Rafiqul SHUVO
Faster satiation, but only for Nevertheless behavior
shuvo Rafiqul
Faster satiation, but only for Nevertheless behavior
Film expérimental | hdv | noir et blanc | 6:38 | Bangladesh | 2014

A land of disaster and death, a land of Mourn, the political domination, social, cultural confliction are extreme , when the tragic events happen one after another and sufferings of people knows no bound , all these issues are never questioned. What are the connection do the people hold with nation?

Rafiqul Shuvo was born in 1982 in Dhaka, Bangladesh. He was from a national cricket academy and initially started his career as a cricketer but later on he moved in the field of visual arts and studied sculpture (B.F.A and M.F.A) in Dhaka University Faculty of Fine Arts .Back in 2012 he curated a major show named “Only God Can Judge Me” an art event in a abandoned factory which ran parallel to the Dhaka Art Summit. In the following year 2013 he curated another collective multimedia and avant-garde show called Mourn. He is the founder of ‘OGCJMart’ a non-organizational collective. He has, over the last ten years, participated in numerous exhibitions at home and abroad. He is a conceptual artist works in various media his practice mainly focusing on paintings, sculptures, videos and photography. Recently he is making several videos and finished working on of his first film.

Ludivine SIBELLE
Hérésies
sibelle Ludivine
Hérésies
Doc. expérimental | 16mm | couleur | 30:0 | France | 2015

Sur quels fondements les sociétés se construisent-elles? Pourquoi créons-nous des règles et pourquoi les suivons-nous? Quels risques lorsque les systèmes s’effondrent? Ce sont les questions que posent les deux protagonistes du film Hérésies; un juge ecclésiastique luttant contre le protestantisme en 1689 et un scientifique du 20ème siècle reconnu pour sa contribution aux recherches sur le chaos. Le prêtre et le scientifique progressent dans le récit comme nous circulons dans un rêve. Ils nous ouvrent leurs mondes, nous proposent leurs visions faites de mouvements célestes et de mécaniques naturelles, de paysages hostiles et fascinants, d’animaux mystérieux et inquiétants. Un récit à la fois historique, scientifique, et métaphorique se tisse dans un réseau d’images et de voix pour créer ce qui pourrait s’appeler une fable documentaire .

Née le 28 juin 1983 à Reims, Ludivine Sibelle a étudié la photographie et la vidéo entre 2004 et 2009 à l’Ecole Nationale Supérieure des Arts Visuels de La Cambre, à Bruxelles. En 2012, elle entre au Fresnoy, Studio national des arts contemporains, où elle réalise son premier film, un court-métrage entre documentaire et fiction qui s’intitule « Le sacrifice des géants ». Ce film peut se voir comme le premier chapitre d’une vaste réflexion entreprise par l’artiste sur la question des croyances et des fondements mythologiques de nos sociétés contemporaines. Cette recherche se prolonge à travers la réalisation d’un second court-métrage, Hérésies. Le film s`appuie sur deux récits, l`un scientifique, l`autre religieux et historique, créant une dialectique comme prétexte à s`interroger sur la complexité des systèmes, ceux de la nature, des planètes, mais aussi et surtout, ceux des hommes.

John SKOOG
VÄRN
skoog John
VÄRN
Doc. expérimental | 4k | | 14:45 | Suède | Danemark | 2014

In the early 1940’s the farm-worker Karl-Göran Persson started to fortify his small house in the flat farmlands of southern Sweden. He wanted to build a place where he and the people in the village could find refuge in the event of a Soviet invasion. He took any metal he could get cheap or for free from the neighboring farmers and used it as reinforcement for the cement casting of the house`s new exterior walls. Karl-Göran lived alone in the house and continued his re-construction until his death in 1975.

Working with film and video John Skoog follows in the tradition of Scandinavian film making through the use of stark landscapes and slow pacing. The poetic use of the Swedish landscape and powerful studies of character and emotion evoke memories of film works by cinema greats such as Victor Sjostrom and Mauritz Stiller. Skoog has been awarded the Baloise Art Prize, Art Basel (2014), ’1KM film scholarship’ from Stockholm Film festival (2013), the Hessische Kulturstiftung travel grant (2013), the ARS-VIVA Prize (2013/14), Malmö Art Museum 2013 Art Grant, Aase & Richard Björklund fund, and the ARTFILM Prize, Lichter International Film Festival (2013) and a one year working grant from Stiftung Kunstfonds, Bonn (2014). As part of winning the Ars-Viva Prize 2013/14, Skoog has shown at Neues Museum Weimar, MMK Museum fur Moderne Kunst Frankfurt am Main and GAM – Galleria civica d’arte moderna e contemporanea Torino. In 2015, as the winner of the Baloise Art Prize, Skoog will have two major solo exhibitions at Museum für Moderne Kunst (MMK), Frankfurt am Main and Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK). Born in Kvidinge 1985, Skoog graduated from the Staedelschule, Frankfurt in 2012. Selected shows and festivals include: Slow Return, MMK Museum fur Moderne Kunst Frankfurt am Main (2015); 65th Berlinale, Berlin (2015); Real DMZ Project 2014, Cheorwon-gun, Gangwon-do & Artsonje Center, Seoul (2014); Redoubt, Towner Contemporary Art Museum, Eastbourne (2014); A Time for Dreams: 4th Moscow International Biennale for Young Art, National Centre for Contemporary Arts (NCCA), Moscow (2014); Ars Viva Prize: Truth/Reality, MMK Museum fur Moderne Kunst Frankfurt am Main; GAM Galleria civica d’arte moderna e contemporanea, Turin (2014); Taming the Narrative, Basis as a part of b3 Biennale, Frankfurt am Main (2013); Echo Release, NKV Nassauischer Kunstverein Wiesbaden, Wiesbaden (2013); Internationale Kurzfilmtage Oberhausen (2014 & -13); Video_Dumbo, Eyebeam Art + Technology Center, New York (2013); Spectrum Rotterdam International Film Festival, Rotterdam (2013); Sent på Jorden, Art Lab Gnesta, Gnesta (2013); Indielisboa, Lisbon International Film Festival, Lisbon, (2014 & -12), Rencontres Internationales: Paris, Centre Pompidou, Paris, (2014 & -11). John Skoog lives and works in Frankfurt.

Dorothée SMITH
Spectrographies
smith Dorothée
Spectrographies
Fiction expérimentale | 4k | couleur | 59:0 | France | 2015

Au fil d’une nuit fantastique, un personnage arpente sans fin des avenues froides et nues, des institutions désertes, des non-lieux inhabités, en marche, en quête, solitaire - guettant les apparitions de fantômes venant se glisser dans son sillage. Suspendu aux télé-technologies (téléphone, puce électronique) de l’intime, il semble se nourrir de l’absence d’un être aimé, ailleurs, loin, intouchable, dont l’absence hante sa déambulation.

Dorothee Smith est une photographe née au milieu des années 80, c’est une enfant de la chute du mur de Berlin, cet évènement qui marque la fin d’une ère, celui de la guerre froide du capitalisme républicain contre le communisme soviétique, et le début d’une autre, celui de la guerre informelle entre l’occident judéo-chrétien et les extrémistes islamiques (Palestine, Irak, Iran, Afghanistan). C’est aussi l’enfant du mouvement queer, avec ses identités fleurissantes et sa nouvelle philosophie du corps. C’est encore et enfin l’enfant de la catastrophe de Tchernobyl, d’une planète maltraitée car trop polluée, d’une terre nucléaire menacée de destruction. C’est un peu ce court morceau d’histoire, qui a un peu plus de vingt ans maintenant, que l’on retrouve dans le sampling visuel de la photographe plasticienne.

Isabelle SOLAS
PAS DE NOSTALGIE CAMARADES
solas Isabelle
PAS DE NOSTALGIE CAMARADES
Documentaire | hdv | couleur | 52:0 | France | 2015

Un prolongement du court-métrage de 15` de Isabelle Solas intitulé En un temps suspendu. A Bordeaux, la Bourse du Travail, qu`on appelait la "Maison du Peuple", semble endormie, oubliée de tous. Pourtant, dans le ventre de l`édifice, des femmes et des hommes militent, et s`interrogent sur la façon de maintenir à flot la lutte syndicale aujourd`hui. Orchestrés par la Mairie, des travaux de rénovation sont en cours. On ravale la façade pour redonner bonne mine au bâtiment, et on se félicite de défendre le "patrimoine" de la ville. Mais dans quel but ? Par soucis des conditions de travail des syndicalistes, affectataires des lieux ? Ou pour en faire un musée et raconter l`histoire d`une classe ouvrière qu`on préférerait voir sous vitrine, appartenant au passé ? Des artistes se glissent discrètement dans les murs pour investir l`ancienne salle de spectacle... Entre échafaudages, débats internes, concerts et projections sauvages, avant qu’il ne soit trop tard, chacun se prend à rêver à de nouveaux possibles.

ISABELLE SOLAS Isabelle Solas est réalisatrice et cadreuse. Suite à des études en anthropologie et en langues orientales, elle intègre la prestigieuse Ecole du Doc de Lussas, en 2005, où elle réalise Dorsale sur le proche Atlantique, et rencontre les différents acteurs issus de ce "village documentaire". Depuis, elle travaille comme cadreuse pour d`autres réalisateurs (Gilles Kerpen, Galés Moncomble, Anna Feillou). Elle réalise son premier long métrage Inventaire en 2009, diffusé à l`Utopia à Bordeaux, et au festival Traces De Vies 2009. Elle se consacre ensuite à la réalisation de films engagés, Anastasie, portrait d’une sans-papier, La Presqu’Île, portrait d’un SDF (Programmation au Festival Traces de Vie 2011), et Voisins, Rencontres et jardins cachés, documentaire sur la question du logement social à Begles, programmé en 2010 au Festival Traces de Vie. Elle travaille également comme vidéaste avec le collectif "Monts et Merveilles", autour d`expériences artistiques et participatives, dans Soupe 3, et Cocktail Manoir, en collaboration avec Florent Ghys, contrebassiste et compositeur, elle réalise des vidéos musicales, 4, et Déviation. Son long métrage Pas de Nostalgie Camarades, filmé dans les murs de la bourse du travail de Bordeaux, vient confirmer une envie de cinéma liée au huis clos et aux lieux délaissés, déjà présente dans Dorsale sur le proche Atlantique, Inventaire et En un temps suspendu.

Wichanon SOMUMJARN
The Young Man Who Came From the Chee River
somumjarn Wichanon
The Young Man Who Came From the Chee River
Fiction expérimentale | hdv | couleur | 16:38 | Thaïlande | 2015

Golf, a man who works as a debt claimer in Khonkaen. He wakes up early to work as usual. He meets many people including a desperate man in debt who falls critically ill. Golf is forced by the situation to weigh up between his professional duty and sense of moral.

Wichanon Somumjarn was born in Khon Kaen in 1982. While he was in the final year of studying engineering, he made a short film titled Phee Hong Nam (W.C.) The short won Honorable Mention at the Siam Cement Group Young Thai Artist Award 2005 in the film category. He then decided to leave his formal studies to pursue his dreams in the field of cinema. Wichanon was a participant in Asian Film Academy (AFA), Pusan International Film Festival 2009. In February 2010, Wichanon had also attended the Berlinale Talent Campus # 8 at the 60th Berlin International Film Festival, Germany. In November 2010, Wichanon had also attended the Next Master Tokyo Filmex 2010, Japan. His short film, Four Boys, White Whiskey and Grilled Mouse has been a major success on the international film festival circuit. It won Best Fiction award at the prestigious Tampere Film Festival in Finland in 2010. In April the Following Year, There was a Fire, is Wichanon’s first feature. In January 2012, it was selected for Tiger Awards Competition at International Film Festival Rotterdam 2012. Now Wichanon is developing his second feature called “Beer Girl”.

Guston SONDIN-KUNG
STUXNET in Denmark
sondin-kung Guston
STUXNET in Denmark
Vidéo | 4k | couleur | 4:37 | USA | Danemark | 2015

The Video work STUXNET in Denmark tells a hallucinatory realist fable about an unnamed intelligence officer who has participated in the cyber warfare attack against the Iranian Nuclear plant in Natanz from a hotel room in Copenhagen. What unfolds through the story is a dialogue about the fictive side of documents, participation and complicity in remote warfare, the trap of paranoia and the unattainable desire to be completely immune to mass surveillance. This video is based upon the real events of what has been termed the STUXNET virus, a cyber warfare weapon that was developed by a consortium of different government bodies as a way to disrupt the enrichment of uranium at the Iranian Nuclear plant in Natanz from 2010-2012. Cyber security experts have tracked the virus and discovered that one of the main control servers was located outside the city of Copenhagen, Denmark. It has been suggested by security analysts that because the control servers were located in Denmark then there would have been a forward operating command and control center set up in the country that was active during the time of the attack. An intelligence officer following standard operating procedure would have established this in a hotel and worked cloaked in what is referred to as a “security tent” that is specifically designed to create an electromagnetic shield around its exterior so as to disrupt any listening or watching devices.

Guston Sondin-Kung is a visual artist born in the USA and currently living in Copenhagen, Denmark. He works in a project-based manner primarily in the mediums of film/video, installation and writing. His artwork explores how historical narratives, memory, and ideology are constructed and influence our perception and thinking. Informed by marxist theory, psychoanalysis, postcolonial theory and feminism he is invested in deconstructing the complex intersections of race, class, and gender from a transnational perspective in order to pose alternative narratives and forms of representation. In addition to art institutions, he regularly presents his artworks and artistic research in academic, activist, educational and film festival contexts.

Anastasis STRATAKIS
Restoration of King George II returning to Greece (1946)
stratakis Anastasis
Restoration of King George II returning to Greece (1946)
Vidéo | hdv | noir et blanc | 0:34 | Grèce | 2015

`Restoration of King George II returning to Greece (1946)`, 2014–15, is based on a small segment of a found footage of King George II ceremonially returning to Athens after his exile during World War II, laying a wreath upon the Tomb of the Unknown Soldier while accompanied by the royal family. This footage was originally incomplete, having `gaps` of multiple missing frames that were afterwards filled in with animation (a series of digital drawings made by hand) — completing the figure`s motion as imagined thus attempting an impersonal, though inevitably subjective, `restoration` of this historical document.

Anastasis Stratakis (b. 1985, Greek) lives and works between Athens and Thessaloniki, where he studied Painting at the Fine Arts School of the Aristotle University of Thessaloniki. Recent solo exhibitions include: ‘An Endless Present’, AD Gallery, Athens (2013); ‘THE HARD PROBLEM’, Donopoulos IFA, Thessaloniki (2013); ‘Ideas are to objects as constellations are to stars’, Les Yper Yper — physical/conceptual habitat, Thessaloniki (2013), while his next solo show is planned for 2016 at AD Gallery, Athens. Selected group exhibitions include: 13th Biennale de Lyon (2015); ‘Athen 1.0 - Eine Gruppenausstellung’, Galerie Biesenbach, Cologne (2014); 4th Thessaloniki Biennale of Contemporary Art (2014); ‘Afresh – A New Generation of Greek Artists’, National Museum of Contemporary Art (EMST), Athens (2013); ‘ΑΪΝ ΑΟΥΓΚΕΝΜΠΛΙΚ! - Vier junge griechische Künstler’, Beck & Eggeling, Düsseldorf (2012); ‘Drawing Room’, Omikron Gallery, Nicosia (2011). Selected residencies/workshops include: ‘Through the Image, Beyond the Image’, curated by Adrian Paci, Free Home University (FHU), Lecce (2013–14); 4th Thessaloniki Biennale of Contemporary Art: Young Artists’ Workshop, Thessaloniki (2013).