Catalogue 2020
Parcourez ci-dessous le catalogue 2020 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.
Stefanie SCHROEDER
40h, max. 2 Monate
stefanie schroeder
40h, max. 2 Monate
Doc. expérimental | hdv | couleur | 0:0 | Allemagne | 2017

To speed up the process of becoming an independent self-employed artist and to end my dependence on Hartz 4 unemployment benefit, I had to participate in a program for business optimization, carried out by a management consultancy that was engaged by the Jobcenter. My proposal to make a film documentation of the process was denied. I transformed recordings of conversations, hand-outs, correspondence, my dream diary and the pre-printed form F 5.5 into a scenario about my “project on the artistic business personality,” in which the role models of artist, entrepreneur and welfare recipient, all represented by myself, clash and make me grapple with their compatibility. What does optimization mean? Which language is used? How are my actions and how am I described, adapted and, if so, deformed?

Studies in art education, art history, communication science, Greifswald University. Organisation of WBS70, independent culture centre, Greifswald. Participant of art squat project prora.allinclusive Guest student in media art at HFG Karlsruhe. Exchange student at Villa Arson, Nice. Studies in photography at HGB Leipzig. Participant of Professional Media Master Class / PMMC LAB at Werkleitz e.V. Halle/Saale. Member of the Cinematic Initiative Leipzig FILZ https://filz.works/de/about. Supervisor/teacher for digital photography and image editing, Kulturbahnhof e.V. Markkleeberg. Participant of Pilot Programme for emerging filmmakers, MDM. www.schroederstefanie.de

Roswitha SCHULLER, Markus Hanakam
The Emblematic Cabinet
roswitha schuller , Markus Hanakam
The Emblematic Cabinet
Doc. expérimental | 4k | couleur | 11:39 | Autriche | USA | 2019

More recently, the artist duo has looked at the artistic practice of the emblem. This is to consider an emblem as a variety of being a symbol, a trick, or a figure of thought. By so doing, Hanakam & Schuller rely on their profound examination of the formal language of everyday objects, liberating these from their context or their supposedly mysterious meanings. Inspired by the “Building Duke” research, Hanakam & Schuller worked on Duke University’s (Durham, NC) variety of architectural forms during their stay in spring 2019. In other words, the idea is to develop a short film featuring both physical architectural details of the campus buildings, and also virtually twisting these by means of a playful range of emblems.

Markus Hanakam (1979) and Roswitha Schuller (1984) both studied at the Universtiy of Applied Arts in Vienna. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Rencontres Internationales at Haus der Kulturen der Welt, Berlin and Palais de Tokyo, Paris, Eyebeam Center for Art and Technology, New York, , SIGGRAPH 2012 Los Angeles, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011 among others. Recently they have been visiting artists at Duke University, Durham, NC. The artefacts made by the two artists who live in Vienna are often shape-shifters, changing their exterior forms and reappearing in different contexts. As artists and researchers they are engaged in restructuring the visual art rulebook and building up idiosyncratic systemic orders and new visions of the world in their videos and objects. In the process they reflect and make ironic various historical and contemporary artistic strategies as well as their means of expression. They work primarily in the realm of video, interactive computer applications and applied forms of art.

Jana SCHULZ
Golden Boys (Igdir, Maravilla, Monterey Park)
jana schulz
Golden Boys (Igdir, Maravilla, Monterey Park)
Vidéo | hdv | couleur | 17:33 | Allemagne | 2018

Der Titel Golden Boys leitet sich von den Golden Boy Promotions in Los Angeles ab. Sie nehmen junge Boxer unter Vertrag und organisieren monatlichen Kämpfe in der Stadt. Mit Golden Boys assoziiere ich eine Band, eine Gang oder eine andere Männergemeinschaft. Ich sehe das Boxen als eine Art Gemeinschaftsritual, junge Männer trainieren in kleinen Gruppen und sind als Sparringpartner körperlich eng verbunden. Mich interessiert ihr Zusammenschluss als eine Abgrenzung von ihrer Umgebung und als Eintritt in eine eigene Gegenwelt. Der Soziologe Loic Wacquant schreibt in seinem Buch Leben für den Ring. Boxen im amerikanischen Ghetto, dass die Sporthalle einer Entbanalisierung des Alltags gleicht. Mittels Trainingsroutine und Körpermodellierung bietet sie Zugang zu einer anderen Welt, in der sich Abenteuer, männliche Ehre und Prestige mischen. Gleichzeitig ist das Boxen eine der einsamsten und individuellsten Sportarten. Jeder steht allein im Ring, in minimaler Bekleidung. Der Körper ist das Kapital des Boxers, er wird eingesetzt im Kampf und unterliegt dabei einem hohen Verletzungsrisiko. Es ist eine Aufführung des Körperlichen auf erhöhter Bühne, umringt von Zuschauern. Hierin spiegelt sich die Sehnsucht wahrgenommen zu werden und der Wunsch, unsterblich zu sein. Boxen ist ein Kampf um Anerkennung. Wenn du ins Profigeschäft einsteigen willst, musst du es dorthin schaffen. In den USA, da bist du als Boxer noch wer, erzählt mir ein Protagonist aus Golden Boys Igdir. In dem Video begleite ich eine Gruppe junger Boxer aus Berlin zu Vergleichskämpfen in die Türkei. Die ersten beiden Szenen zeigen Alen Rahimic bei der Rasur, die ein Ritual vor jedem Amateurkampf ist. Den Amateurboxern ist es versagt mit Bart in den Ring zu steigen, weil er eine Verletzung im Gesicht verdecken kann. Im weiteren Verlauf sieht man die Jugendlichen bei ihren nächtlichen Treffen in der Hotellobby, die zu dieser späten Stunde von einem halb öffentlichen zu einem privaten Ort und somit zu einem Freiraum für die Gruppe wird. In Golden Boys Maravilla beobachte ich Andre Perez, Martin Urias und Raymond Otanes wie sie mal für mal eine steil ansteigende Straße in East Los Angeles hinauf rennen. Das road work ist Teil des Trainingsprogramms kurz vor ihrem Kampf in Mexiko. Am Ende der Straße steht – unscharf – eine Gruppe Männer, die an eine Gang denken lässt, die mit ihrer Präsenz das Viertel markiert und die Jüngeren vor äußeren Einflüssen abschirmt. Es sind die Trainer und Väter, die einer Kontrollinstanz gleich, ihre Zöglinge überwachen und hüten.We wanna keep them off the streets. Das Boxen soll ihre Söhne von der Straße fern halten. Gleichzeitig machen sie sich die Straße auf eine andere Weise zu eigen. Sie ist ihr Trainingsfeld. In Golden Boys Monterey Park ist Rico Ramos, ehemaliger Weltmeister im Bantamgewicht, einziger Protagonist. Er befindet sich in einer ‚gewohnten Ausnahmesituation‘, hat seine Wohnung und sein soziales Umfeld verlassen und lebt bei seinem Coach im Trainingscamp. In dieser letzten Phase vor dem Kampf wird sein Körper zur Rüstung und Waffe geformt. Mich interessiert der Moment der Isolation. Ramos sitzt wochenlang alleine vor dem Fernseher zwischen den drei täglichen Trainingseinheiten im Gym. Hier beobachte ich die Bewegungen des Körpers, Gestik und Mimik. Auf der Tonebene sind Stimmen und Musik aus dem Fernseher zu vernehmen. Es sind Fragmente, die eine Soundcollage ergeben, die zwischen Realität und Künstlichkeit changiert, ähnlich dem Körper im Raum, der sich in dem bunt aufflackernden Fernsehlicht bewegt. Das Boxen zeige ich in dem dreiteiligen Video nie explizit, vielmehr schwebt es wie ein Versprechen über den Köpfen der Protagonisten und ist verbindendes Element.

Jana Schulz (*1984 in Berlin) lebt und arbeitet in Berlin und Leipzig. 2018 schloss sie ihr Meisterschülerstudium bei Prof. Tina Bara an der Hochschule für Grafik und Buchkunst Leipzig ab. 2020 ist sie Teilnehmerin des Berlin Program for Artists, 2019 war sie mit einem Stipendium der Kulturstiftung des Freistaates Sachsen am International Studio & Curatorial Program in New York. 2018 erhielt sie das Villa Aurora Stipendium der Studienstiftung des deutschen Volkes und den Marion Ermer Preis. Schulz‘ Arbeiten wurden unter anderem im Eigen+Art Lab Berlin, bei Eigen+Art Leipzig, in der Anna Poterasu Gallery Bukarest, in der Kunsthalle Wien, im Museum der Bildenden Künste Leipzig und im Kunstquartier Bethanien Berlin gezeigt. Kommende Ausstellungen sind im Center for Photography Melbourne und im Kunstverein Bremerhaven. In ihren medienübergreifenden Arbeiten setzt sie sich mit Formen zwischenmenschlicher Kommunikation auseinander. In einer prozessualen Arbeitsweise beobachtet sie Strukturen und Dynamiken innerhalb sozialer Gruppen, reinszeniert einzelne Szenen und erweitert ihren dokumentarischen Ansatz um fiktive Elemente.

Frances SCOTT
PHX [X is for Xylonite]
frances scott
PHX [X is for Xylonite]
Film expérimental | 16mm | couleur et n&b | 12:44 | Royaume-Uni | 2019

In ‘PHX [X is for Xylonite]’, the first semi-synthetic plastics are considered through their relationship to the chemical and industrial development of photography and film, where cellulose nitrate was used as the base for film-stock until the mid-20th century and in props’ production. Against a collage of digital animation and hand-processed 16mm film, the soundtrack proposes a warped love song between the organic and synthetic, where human voices and recordings in shellac - lacquer obtained from the secretion of the Coccus Lacca insect - are transformed through a Vocoder. Scientist and laboratory technician, Dr. Miriam Wright, reads extracts from Roland Barthes? essay ?Plastics? (1957), colour experiments from a British Xylonite Company laboratory formula book (1888) and symptoms of plastics degradation; ?crazing?, ?yellowing? and ‘bloom’. Although Barthes suggests that plastic “embodies none of the genuine produce of the mineral world: foam, fibres, strata”, in ‘PHX’ plastics are proposed as strata; so that the layers that make up the film - its emulsion and plastic substrate - are made evident; like its material seams that will, in future sedimentary rock layers, signal our Anthropocene era and its flawed capitalist productions.

Frances Scott works with moving image, presented through screenings, installations, events and publications. Her work often considers material that exists around the periphery of the cinematic production and its apparatus, proposing films composed of their metonymic fragments. Recent exhibitions and screenings include: 'Projections', 57th New York Film Festival; New York (2019); Institute of Making, University College London (2019); Edge of Frame / London International Animation Festival, Close-Up Film Centre (2019); Nunnery Gallery, London (2019); Het Bos, Antwerp, Belgium (2018); The Bower, London (2018); Tate St Ives (2018); Annely Juda Fine Art / The Russian Club, London (2018); Yorkshire Sculpture Park / Art Licks (2017); Whitechapel Gallery (2015 /2017); Peninsula Arts / South West Film & Television Archive, Plymouth (2017); Focal Point Gallery, Southend (2016); and ‘Selected III’ videoclub FLAMIN screenings in the UK (2013) and USA (2014) including Anthology Film Archives, New York, Seattle International Film Festival, and LA Film Forum. Frances was recipient of the Stuart Croft Foundation Moving Image Award (2017) and associate artist at the Moving Image Research Centre (MIRC), University of East London (2018-2019). She is currently working on research towards her first long-form film, ‘Wendy’, a new film commissioned by TACO! (Thamesmead Arts and Culture Office), London.

Alan SEGAL
Key, Washer, Coin
alan segal
Key, Washer, Coin
Doc. expérimental | 4k | couleur | 15:0 | Argentine | 2018

“Key, washer, coin” is a video piece that combines techniques from the reenactment, animation, music, and other fields to ruminates towards language and capitalist exchange. The formal and semantic languages of advertisements are dissected, breaking the marketing model down to its component parts, highlighting the complex capitalist infrastructure that fuels our economic reality. Advertisement shorts, graphic design pieces, marketing texts are rarely mistaken for art. That is due to a congenital wound: those forms cannot cover up their commercial nature, the evident and immediate presence of the money. The invisible hand of these disciplines is the labor of scientists, formal semantic researchers, cryptographers and engineers. By learning from these disciplines is it possible to create an original flowchart of resources; simultaneously critical, persuasive and disillusioning outcomes/pieces are expected.

Alan Segal is a Buenos Aires-based artist whose work has been shown nationally and internationally. Segal’s video work has been presented at film festivals such as the New York Film Festival, Viennale, Rencontres Internationales Paris/Berlin and, Mar del Plata International Film Festival. Among his recent group exhibitions are include Praising the surface at the Hesell Museum of Art (New York, USA), To push an ism at MAMBA (Buenos Aires Museum of Modern Art, Argentina), The Kitchen (New York, USA), A word is a shadow that falls on a lot of things at Ausstellungsraum Klingental (Basel, Switzerland), Desarticulaciones at Blau Projects (São Paulo, Brazil) and Variaciones sobre lo no mismo at MACBA (Buenos Aires Museum of Contemporary Art, Argentina). He also shows his work in international biennials; Visual Resonances at the BIENALSUR (the South America contemporary Art Biennial) and Draft Systems at The WRO Biennale (Wroclaw, Poland). As a film editor, Segal teamed up Gastón Solnicki for the films Kékszakállú (Argentina/Uruguay, 2016) and Introduzione all ‘Oscuro (Argentina/Austria, 2018). For his work in this film, he won the FIPRESCI award for the Best Editing at the Venice Film Festival. Segal studied at ENERC (Argentine National Film School), Skowhegan School of Painting and Sculpture (USA) and, UTDT Program for Artists (Argentina). He received his MFA from Bard College (USA).

Lina SELANDER, Oscar Mangione
Överföringsdiagram nr 2
lina selander , Oscar Mangione
Överföringsdiagram nr 2
Film expérimental | 16mm | couleur | 10:30 | Suède | 2019

Man sees himself as nature’s interpreter and tamer. But nature does not care about meaning, and its power cannot actually be controlled. It therefore remains silent in the face of man’s increasingly reckless experiment, the catastrophic effects of which will ultimately afflict man himself. The camera follows a panda at Schönbrunner Zoo surrounded by pictures of the Great Wall of China. Silently the panda holds a bamboo brush to paper, makes some marks with ink—pictures—and is rewarded with carrots. How shall we interpret this artistic gesture? The video proceeds to a control room at a never-used nuclear power plant that illustrates yet another despotic panorama, one with the same silence and latent violence. The images are transferred from one context to another, created and recreated in relation to one another. To question what it means is only human, but in the long run probably irrelevant. Text: Lisa Rosendahl

Lina Selander (b. 1973 in Stockholm) lives and works in Stockholm, Sweden. Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are explored and weighed. She examines relationships between memory and perception, photography and film, and language and image. Lina Selander’s solo shows include Kunst Haus Wien; Argos – Centre for Art and Media, Brussels; Iniva, London; Moderna Museet, Stockholm; VOX – Centre de l’image contemporaine, Montréal. She was the Swedish representative at the Venice Biennale 2015. A selection of her group shows include: The Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Belgium. ++++ Oscar Mangione (b. 1971) 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 numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Shireen SENO
A Child Dies, a Child Plays, a Woman is Born, a Woman Dies, a Bird Arrives, a Bird Flies Off
shireen seno
A Child Dies, a Child Plays, a Woman is Born, a Woman Dies, a Bird Arrives, a Bird Flies Off
Vidéo | hdv | couleur | 4:46 | Philippines | 2018

"A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off", is a voyeuristic glimpse of both local birds and migratory ones that make the Philippine marshlands their home for a time.

Shireen Seno is a lens-based artist whose work addresses memory, history, and image-making, often in relation to the idea of home. She was born to a Filipino family in Japan, where she spent most of her childhood. She has had two solo exhibitions and is a 2018 recipient of the 13 Artists Award from the Cultural Center of the Philippines. Her photo zine Trunks, produced while in residency at Objectifs Centre for Photography and Filmmaking, has been exhibited widely. She started out in film shooting stills for Lav Diaz before going on to direct her debut feature, Big Boy (2012), shot entirely on Super 8. It premiered at Rotterdam and won Best First Film at the Festival de Cine Lima Independiente. Her second film, Nervous Translation (2018), is about a girl who finds out about a pen that can translate the thoughts and feelings of nervous people. It premiered in Hivos Tiger Competition in Rotterdam and won the NETPAC Award for Best Asian Film. Other awards include: Critics’ Prize at Olhar de Cinema - Curitiba International Film Festival, Asian New Talent Award for Best Script Writer at Shanghai International Film Festival, Jury Special Mention at Pacific Meridian International Film Festival of Asia-Pacific Countries in Vladivostok, and Silver Hanoman at Jogja-Netpac Asian Film Festival. It also screened at MoMA as part of New Directors/New Films, Tate Modern as part of their Artists’ Cinema program, and at the Tokyo Photographic Art Museum for Yebisu International Festival for Art & Alternative Visions.

Lina SIECKMANN, Miriam Gossing
Souvenir
lina sieckmann , Miriam Gossing
Souvenir
Doc. expérimental | 16mm | couleur | 20:50 | Allemagne | 2019

Souvenir explores the deserted inside of contemporary 36-hour- minicruise ferry ships between the Netherlands, Germany, Norway and the UK. As a low-budget replica of luxurious Caribbean cruises, the ship is in a constant state of transit, never arriving at a final destination. On board settings and décor bear reference to a European history of seafaring and trade while the actual ocean remains distant – in surveillance monitors, the on-board cinema and panoramic window fronts. A female voiceover is composed out of different interviews with seamen’s widows somewhere in between dialogue and inner monologue, circling around topics of distant love, fake luxury, colonial artifacts and a departure from society’s expectations. Starting from a documentary observation of the inside space, the limits of outer and inner reality become blurred over the course of the film. Single souvenirs as fetishized objects turn into a unified ornament as the point of view shifts from the individual to the collective. The film as a souvenir itself opens up memories of a colonial past, drawing a connection between the ship as the largest arsenal of imagination and the nautic space of the cinema.

As a directors duo they have produced several short films on 16-mm film, in which urban and private architecture, hyper-staged environment, subcultural individuals and the notion of desire are examined – combining documentary imagery with fiction and found footage.Their works are characterised by the depth of research and contact with communities and individuals, as well as by the clear lines in their approach to architecture and the worlds which shape desire, fear, anxiety, and alienation. There films have been awarded with numerous grants and scholarships and are shown internationally on film festivals and in art institutions, among them International Film Festival Rotterdam, Edinburgh International Film Festival, International Short Film Festival Oberhausen, Anthology Film Archives New York City, Hamburger Bahnhof – Museum für Gegenwart Berlin, MoMa Antwerp, Julia Stoschek Collection)

Shelly SILVER
Score for Joanna Kotze
shelly silver
Score for Joanna Kotze
Vidéo | hdv | couleur | 4:10 | USA | Italie | 2019

Shelly SILVER
A Tiny Place That is Hard to Touch
shelly silver
A Tiny Place That is Hard to Touch
Fiction expérimentale | hdv | couleur | 39:40 | USA | Japon | 2019

In a faceless apartment in Tatekawa, Tokyo, an American woman hires a Japanese woman to translate interviews about Japan’s declining birthrate. The American woman is presumptuous in her knowledge of Japan; the Japanese woman suffers from a self-professed excess of critical distance. They grate, fight, and crash together in love or lust, at which point their story gets hijacked into science fiction territory, as the translator interrupts their work sessions with stories from a world infected with the knowledge of its own demise. This neighborhood has already known devastation, having been wiped out the night of 9 March 1945 by American bombs. The third protagonist is the Tatekawa itself, the canal covered by an elevated highway that runs past the translator’s apartment, which gives the neighborhood its name. Reflecting back the concrete world in distorted patterns of blue, green, or glittering black, the Tatekawa transports a shifting procession of birds, shoes, condoms, crabs, plastic bags, flowers, big fish, little fish, death, life.

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.

Walid SITI
The Troubled Bear and the Palace
walid siti
The Troubled Bear and the Palace
Doc. expérimental | hdv | couleur | 10:53 | Royaume-Uni | Iraq | 2019

The Troubled Bear and the Palace. 11 minuets. Walid Siti 2019. At the 7,000 ft peak of the Gara mountains in Kurdistan of Iraq, the remains of Saddam's palace, built in 1989, still stand. 29 years later, in March of 2018, two caged bears were escorted by a group of local media and Kurdish women forces to be ceremoniously freed at the helipad adjacent to the palace. Having lived dependently and in captivity throughout its life, the bears struggled to survive in the wild. One vanished whilst the other was at the mercy of the personnel that guard the telecommunication towers erected at the palace. The surreal juxtaposition of the stressed bear and the dilapidated palace, set amongst the magnificent mountains, encapsulates the tragedy of the people of this land throughout history, from the time of Gilgamesh to the present.

Walid Siti (b. 1954, Duhok, Kurdistan-Iraq). After graduating in 1976 from the Institute of Fine arts in Baghdad, Siti left Iraq to continue his arts education in Ljubljana, Slovenia before seeking political asylum in the UK in 1984 where he now lives and works. The work of Walid Siti traverses a complex terrain of memory and loss, in a world, which for him has been a place of constant change. The narrative of Siti’s experience, of a life lived far from but still deeply emotionally connected to the place of one’s birth, is one he shares with many exiles.

SMITH
Les Apocalyptiques
smith
Les Apocalyptiques
Fiction expérimentale | hdv | noir et blanc | 20:0 | France | 2019

Paris - temps incertain, temps de la fin. Une cycliste, cavalière d'une possible apocalypse, erre autour de la ville éteinte, déserte, muette - guettant d'hypothétiques survivances. La Samaritaine, cube blanc, désaffecté, semble s’offrir comme un refuge ; mais elle se révèle le théâtre d’univers parallèles où se décide, avec les quatre derniers vivants, le sens de l'effondrement en cours. Les personnages qui y vivent sont en “arrêt de mort”, suspendus entre deux états, traversant les possibles, pris dans une fin du monde sans cesse imminente, et pourtant sans cesse différée, et encore sans cesse recommencée. C’est le bâtiment même qui va incarner de manière vivante cet interstice travaillant toutes les apparitions qui semblent traverser le lieu. Ce sont les modalités fluctuantes de cet espace de la Samaritaine qui vont se déployer, amenant d’oracles SM en chansons nihilistes, de danses de séduction désespérées en rituels de mutation, la révélation claire qu’il n’y aura pas de révélation. Les fins du mondes et les croyances sont défaites. Il n'est plus question de fin du monde, mais de commencements d'autres mondes - par la métamorphose. Apocalypse nous-autres.

SMITH ?http://www.fillesducalvaire.com/artiste/smith/ Le travail de SMITH s’appréhende comme une observation des mues de l’identité humaine. La photographie y côtoie le cinéma, la vidéo, la chorégraphie, le bio-art, la sculpture et l’utilisation des nouvelles technologies, dans une exploration des combinaisons des approches scientifique et philosophique, ouvertes sur les potentiels de la fiction. Après l’obtention d’un Master de Philosophie à la Sorbonne, du diplôme de l’Ecole Nationale Supérieure de Photographie d’Arles, et du Fresnoy - Studio National des Arts Contemporains, SMITH engage l’écriture d’une thèse de doctorat, à l’UQAM (Montréal). Ses travaux furent présentés sous la forme d’expositions personnelles aux Rencontres internationales de la photographie d’Arles, à la galerie les Filles du Calvaire et au Palais de Toyko à Paris, au musée de la Photographie d’Helsinki en Finlande, mais aussi dans de nombreux pays d’Europe (Suisse, Suède, Autriche, Luxembourg, Allemagne, Espagne, Italie...), d’Asie (Chine, Cambodge, Corée du Sud) et d’Amérique Latine (Mexique, Chili, Uruguay) et aux USA. Sa première monographie, «Löyly», est parue aux éditions Filigranes en 2013, suivie de « Saturnium » aux éditions Actes Sud en 2017, et d’un livre d’entretien avec l’historienne de l’art Christine Ollier en 2017 aux éditions André Frère. Paraissent en 2018 puis 2019 deux autres livres de photographie : "Astroblème" (Filigranes) et "Valparaiso" (André Frère). Son premier et son second moyen-métrages, "Spectrographies" et "TRAUM", furent diffusés en festivals et cinémas en Europe. Ses performances artistiques et chorégraphiques furent présentées au Centre Pompidou, au Théâtre de la Cité Internationale avec le soutien de la Fondation Hermès – New Settings, au CND (Pantin), au Musée de la Danse (Rennes) et au CCN de Montpellier. SMITH travaille actuellement à l’élaboration de son nouveau projet-monde "Désidération", avec la Cellule Cosmiel (Lucien Raphmaj, Jean-Philippe Uzan, SMITH) et le studio DIPLOMATES, qui explore les liens entre l’humanité contemporaine et son cosmos originaire : http://www.desideration.space ** Lucien Raphmaj https://lucienraphmaj.wordpress.com/ Lucien Raphmaj, écrivain né d’une œuvre élaborée avec SMITH, a écrit avec lui le scénario de ses films, depuis "Spectrographies" (2015) jusqu’aux "Apocalyptiques" (2019) en passant par leurs projets multidisciplinaires tels que "TRAUM" (film, exposition, textes, vidéos, spectacle de danse). C’est cette écriture à mille voix, fruit d’un travail personnel, mais aussi expérience d’une spectralisation de l’écriture qui se laisse traverser par d’autres voix, qui est celle qu’il mène encore à travers l’univers des « Apocalyptiques ». Il participe, en tant que critique, à la revue culturelle en ligne Diacritik et tient un blog sur la latérature. Son premier ouvrage, "Blandine Volochot", paraît aux éditions Abrüpt en Janvier 2020.

Giuseppe SPINA
Variazioni luminose nei cieli della città
giuseppe spina
Variazioni luminose nei cieli della città
Film expérimental | mov | couleur | 6:20 | Italie | 2019

A silent film composed of digital scans and blow-ups of Guido Horn D’Arturo’s photographic plates depicting Bologna’s skies.

Giuseppe Spina is an Italian filmmaker based in Bologna. His films have been screened at numerous international festivals, including International Film Festival Rotterdam, EMAF and Annecy’s IAFF. He is the co-founder of Nomadica, an international network of artists and intellectuals focused on experimental cinema.

Jakob STEENSEN
RE-ANIMATED
jakob steensen
RE-ANIMATED
VR expérimental | 4k | | 14:32 | Danemark | USA | 2019

RE-ANIMATED explores the intersections of extinction, preservation of immortality. It is a re-imagining of ornithologist Douglas H. Pratt’s memories of the now extinct Kaua’i ???? bird, as told to director Jakob Kudsk Steensen. In the work, a vast virtual landscape based on Kaua’i unfolds and transforms into a photorealistic new world for people to explore. 3D-scanned organic material sourced from both field work and the American Museum of Natural History, as well as real archival audio are all remixed together, alongside algorithmic music composed by Michael Riesman, Musical Director for the Philip Glass Ensemble. Plants, moss, and insects respond to the pulse of music generated in real-time, and the audience’s breath and voice organically impact the virtual atmosphere through the VR headset. As a slow-moving, poetic virtual environment, RE-ANIMATED ultimately investigates how we relate to nature irrevocably altered by human activity. It provokes fresh perspectives on our ecological future, which may become unbound by the physical conditions governing our present reality.

Jakob Kudsk Steensen (b. 1987) is a Danish artist based in New York concerned with how imagination, technology and ecology intertwine. His works range from immersive VR ecosystems to mixed reality installations bridging physical and digital worlds, which invite audiences to enter new ecological realities. He collaborates with NGO’s, residencies, scientists and artists from different fields and ventures on excursions where he collects organic material, which is digitised and converted into digital worlds with 3D scanners, photogrammetry, satellite data and computer game software. Inspired by ecology-oriented science fiction and conversations with biologists and ethnographers, his projects are ultimately virtual simulations populated by mythical beings existing in radical ecological scenarios. Kudsk Steensen has exhibited internationally at the 5th Trondheim Biennale for Art and Technology; the Carnegie Museum of Art; Serpentine Augmented Architecture, Serpentine Galleries; Jepson Center for the Arts; Time Square Midnight Moment; MAXXI Rome; FRIEZE London; Podium, and Ok Corral. He was shortlisted for the Future Generation Art Prize 2019, and as part of the awards program, he was invited to create and exhibit new installations of RE-ANIMATED (2017-18) in Kiev and the Venice Biennale. He has received awards from the Danish Arts Foundation, The Augustinus Foundation, the Lumen Arts Prize, The International Academy of Digital Arts and Sciences, Games for Change, the Lumiere Foundation, The Telly Awards, and Cinequest Festival. His work has shown at Sundance, TriBeCa and Cannes among other film festivals. Steensen is an alumni of NEW INC, a technology and culture incubator by The NEW MUSEUM, in NYC.

Annett STENZEL
a´´(Silence Song)
annett stenzel
a´´(Silence Song)
0 | hdv | couleur | 13:22 | Allemagne | 0 | 0

Dream women under themselves, Medusa sings.

Annett Stenzel is an artist and filmmaker. She studied art in the field of Room Glass and Object in Halle at the Burg Giebichenstein, Painting in Berlin at the Artschool KHB Weißensee, next to Medea Science and Philosophy as well as Indian and Persian languages at the Freie Universität and Humboldt-University Berlin, finally developing her artificial work in the field of Film in Hamburg at the School for Fine Arts. Inspired by composers and musicians work as well as by fashion design, she took 2019 a great influence in pushing her work in co-working with or including works of artists and designers to obtain freedom. She in her actual universal artwork Silence Song is focussed on urban places and female bodies and stories about different relations in special to her biography related locations. Stenzel showed her work internationally in group exhibitions in Germany, Denmark, Korea, Georgia, Bosnia i Herzegowina and Poland. She won the operare prize 2011 and got 2014 the short time fellowship for a stay in Teheran/Iran, as well as 2019 the Erasmus fellowship for the Royal College of Art Copenhagen/Denmark and since 2020 at the BA, Paris/France.

Axel STOCKBURGER
Red Stars
axel stockburger
Red Stars
Documentaire | 4k | couleur | 68:46 | Autriche | Russie | 2018

RED STARS (English) The essay film RED STARS focuses on Alexander Bogdanov’s science fiction novel „„Krasnaja Svesda” (Red Star)” from 1908, which envisions a utopian technologically advanced communist society on the planet Mars. The book was written in the aftermath of the Russian revolution of 1905, at a time when Bogdanov still held a central position in the Bolshevik movement and was a close confidant of Lenin and Gorky. There even exist rumors that draw connections between the title of the novel and the later adoption of the red star as the central symbol of the Russian soviet party. Apart from his literary work, Bogdanov was a natural scientist who, with his conception of tektology, contributed greatly to the epistemological development of soviet science and he devoted his interests to the research of blood transfusion. For the American theorist McKenzie Wark, Bogdanov is an important theoretical predecessor for the conceptualization of the relationships between ecological systems and political organization. He writes, “the Martians of Red Star already possess a global knowledge concord, frictionless data gathering, and computational power that Earthly climate science would finally acquire by the late twentieth century. With that infrastructure in place, the Martians found then what humans have found only now—that collective labor transforms nature at the level of the totality”. Bogdanovs utopian vision has had a strong impact on the soviet universe of science fiction. The film investigates core topics of Bogdanov’s pre-revolutionary socialist Utopia, such as issues related to collectivity, the role of language, gender relations, art, economy as well as education through a series of interviews with the anarchist and great grandson of Bogdanov, Alexander Malinofski, the feminist philosopher Alla Mitrafanova, the poet and linguist Pavel Arseynev, the Cosmism specialists Anastasia Gacheva and Anna Gorskaya, as well as the science fiction theorist Boris Klushnikov. The film also engages with the genre of science fiction as a central platform for the critical discussion of political and social subjects.

Axel Stockburger employs global popular culture, such as computer games, and blockbuster films as a starting point for the production of his videos and text works. His work engages with novel forms of participatory and fan culture that have emerged with the transition from traditional mass media like TV and Film towards the Internet. In his videos he focuses on concepts such as intellectual property, political issues in relation to the notion of the information economy as well as the changing role of audiences.

Marion TAMPON-LAJARRIETTE
Natura Naturata
marion tampon-lajarriette
Natura Naturata
Vidéo | hdv | couleur | 8:34 | France | Suisse | 2018

Dans la continuité d’un ensemble de projets réalisé au sein de musées d’art, d’archéologie et d’Histoire naturelle, l’artiste poursuit son travail de déplacement du visiteur et des collections qui basculent dans un registre fantastique souvent inspiré de la science-fiction. Natura Naturata met en scène un groupe de gymnastique pluri générationnel au sein des collections de cristaux, d’animaux et de coraux du Muséum d’Histoire Naturelle de Genève. Sur des fragments de texte murmurés ou chantés extraits de l’ouvrage Monadologie et Sociologie écrit par le philosophe et sociologue Gabriel Tarde en 1893, les images mettent en rythme ce qui constituait, selon Gilles Deleuze, une "dialectique de la différence et de la répétition qui fonde, sur toute une cosmologie, la possibilité d’une microsociologie". Ainsi s’agence en équilibre précaire une vision tardienne de l’univers mettant en relation les "sociétés animales, cellulaires, atomiques, et stellaires". L'ensemble des images a été réalisé dans les galeries permanentes du Muséum d'histoire naturelle de la ville de Genève. Merci pour leur soutien et participation.

Marion Tampon-Lajarriette (b.1982 in Paris) lives and works in Geneva. She received an MFA from the École Nationale Supérieure des Beaux-Arts de Lyon (France) in 2007 and an MA in Arts and New Media from the Haute École d’Art et de Design de Genève (HEAD) in 2008. She has had numerous solo exhibitions, including: Museo Villa Pia (Lugano, 2019); Les Brasseurs (Liège, 2015); Mois de la Photo Festival (Paris, 2012); Loop Art Fair (Barcelona, 2008). Her work has also been shown at the Palais de Tokyo, Paris; MAMCO, Geneva; Swiss Institute, New York City; Capture Photography Festival, Vancouver; and is part of the permanent collection at MAMCO, Geneva; MEP, Paris; NMNM, Monaco; the Francois Pinault Foundation; among others. In 2016-2017 she was awarded a residency at the Swiss Institute in Rome, and took part in the Swiss Art Awards in Basel. In 2013, she was awarded the Société des Arts grant and the FCAC-Geneva grant and residency in New York City. The artist’s second monograph, Echos, will be edited in March 2020 by Casa Grande (331 pages, texts by Mark Lewis, Lucille Ulrich, Valeria Venditti). She is represented by Galerie Laurence Bernard in Geneva.

Derek TAYLOR
Scenes from the Periphery
derek taylor
Scenes from the Periphery
Film expérimental | super8 | noir et blanc | 2:50 | USA | 2019

An aerial survey of the filmmaker’s place of origin, the film is a frame intensive search for home, place and direction. Edited in camera on Super 8, changing position two frames at a time, the movements of lines and masses offer a renewed look at this once lost but now rediscovered locale in a continuing quest for a sense of provenance.

Derek Taylor?s moving image work focuses on the intersection of documentary and experimental filmmaking, particularly as it relates to history and landscape. His work has been screened at a number of festivals both nationally and internationally. He studied film, video and new media at the School of the Art Institute of Chicago and currently lives and works in Connecticut (USA).

Philippe TERRIER-HERMANN, Alizée Berthet, Léna Besson
Alla ricerca degli Siculi
philippe terrier-hermann , Alizée Berthet, Léna Besson
Alla ricerca degli Siculi
Vidéo | hdv | couleur | 8:30 | France | Italie | 2019

La Sicile se situe en plein centre de la Méditerranée. Elle a été traversée par de multiples peuples dans son histoire. Elle fut sicule, phénicienne, grecque, arabe, normande puis italienne depuis 150 ans. De par sa situation géographique elle a toujours été un lien entre l'Europe et l'Afrique, entre l'Orient et l'Occident. Depuis quelques années elle est naturellement devenue l'une des portes d'entrée de l'immigration dite illégale en Europe.

Ce film collectif a été réalisé dans le cadre du programme de recherche "Fixer l'archipel" dirigé par Philippe Terrier-Hermann avec les étudiants de l'ISBA, de l'académie de Naples et de La Cambre, section photographie : Melio Lannuzel, Sarah Toscano, Léna Besson, Delphine Pecheux, Alizée Berthet, Sonia Lalaoui, Johanna Defranoux, Nina Jonsson Qi, Marjolaine Abaléa et les professeurs Hervé Charles et Géraldine Pastor-Loret.

Clarissa THIEME
Can't You See Them? - Repeat
clarissa thieme
Can't You See Them? - Repeat
Vidéo | 4k | couleur | 8:30 | Allemagne | 2019

Trauma prevents realities from aligning with themselves. Pain stops the puzzle pieces from fitting and forming a full picture, so the soul returns to the scene of its scarring over and over. Clarissa Thieme enters these loops of troubled remembrance: There is a video she found in the Hamdija Kresevljakovic Video Archive that collects footage of the siege of Sarajevo, filmed by Nedim Alikadic. It shows militia men by a river in a residential area. “Film them,” Alikadic is being urged by his companion. Handheld, the camera nervously moves, pans, and stutters as it seeks to connect to the threat before it. It is this particular camera movement that Thieme tracked with advanced digital image processing technology. The resultant meta-data now control an automatic arm and make it move a ray of light in exactly the same way the hand shifted the camera. Exactitude and ephemerality: extremes meet. The closer ones gets to the traumatic real, it seems, the more strongly it fractures and disperses over different planes of representation. Thieme enters the gap between them, widening it, while simultaneously pulling the fragments of reality together into one unsettling force-field. (Jan Verwoert)

clarissa thieme is an artist and filmmaker. working across film, photography, performance, installation and text, she combines documentary and fictional forms focussing on processes of memory, politics of identity and strategies of translation. her practice is research-based and often takes a collaborative approach. thieme studied Media Art at the University of the Arts Berlin (UdK), holds a MA in Cultural Studies And Aesthetic Practice, University Hildesheim and is research alumni of the Berlin Center for Advanced Studies in Arts and Sciences (BAS). she is based in berlin.

Eleni TOMADAKI-BALOMENOU
The Chair
eleni tomadaki-balomenou
The Chair
Animation | hdv | couleur | 0:39 | Grèce | Royaume-Uni | 2019

A chair with breaking legs, a seat that cannot be stabilised, a place that is not guaranteed. The chair is a short animation made for the RCA degree show showreel by Eleni Tomadaki, 2019.

Eleni Tomadaki is a Greek artist based in London. Using moving image, performance and text, her work researches Scurgriness through intersecting fiction and reality. Eleni is a Masters graduate of Royal College of Art 2019, she has shown work at Tate St Ives, South London Gallery, Uppsala Art Museum and Assembly Point amongst others.