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Parcourez la liste complète des artistes présentés dans le cadre des Rencontres Internationales depuis 2004. Utilisez le filtre alphabétique pour affiner vos recherches.  mise à jours en cours 
Jean Taek park
Catalogue : 2013One Rainy Night | | hdcam | couleur | 10:1 | Coree du Sud | 2013
Jean Taek park
One Rainy Night
| hdcam | couleur | 10:1 | Coree du Sud | 2013

One man is on his way home where he could not feel at home. He dreams of fleeing away but in the same time tries to settle down by building a room within the house with laser beams. Looking into particles floating in the air which are not visible under normal light conditions he finds that the natural movements of air seems to resonate with his emotions.

Jean Taek Park is an architect. Born in Seoul 1975, he grew up in the time of rapid economic growth and mass construction. Places where he lived in had completely transformed. Naturally he became interested in architecture not as an iconic object nor a perfect shelter but rather as a time-space which one could emotionally attach to it. He uses film to discover a new dimension of time-space.

Kelvin Kyung Kun park
Catalogue : 2014A Dream of Iron | Vidéo | hdv | couleur et n&b | 100:0 | Coree du Sud | 2013
Kelvin Kyung Kun park
A Dream of Iron
Vidéo | hdv | couleur et n&b | 100:0 | Coree du Sud | 2013

A love story comes to an end when a woman sets out in search of a shamanic god. Director Kelvin Kyung Kun Park takes the trauma of a spurned lover as the starting point for his own search for a god. He makes several finds across various narrative strands – among whales in the sea, in a shipyard, at a steelworks. All of them are giants of their respective times: vast, sublime, godlike. Park’s imagery also evokes the divine: embers and steel, sparks and fire; people dwarved by huge cogwheels, robbed of their individuality. A brave new world in which workers produce modern industrial goods, even as industry has long since been producing the modern worker. Work is a god we have submitted to. Yet every existence is temporary and fleeting, which applies in equal measure to both relationships and gods. CHEOL-AE-KUM carries a unique signature. Park weaves together his different narrative strands into a complex documentary work of shamans and propellers, whales and industrial halls. His editing suite comes to resemble a piece of welding equipment, the soundtrack a commanding symphony of industrial noise, whale song, Gustav Mahler and shamanic songs.

Born in 1978 in Seoul, South Korea. He earned his BA in design and media arts from the University of California, Los Angeles and holds an MFA in film and video from the California Institute of the Arts. He is currently based in Seoul, working in the medium of film and video, photography and installations and as a lecturer.

Jayne parker
Catalogue : 2005Stationary Music | Film expérimental | | noir et blanc | 15:24 | Royaume-Uni | 2005
Jayne parker
Stationary Music
Film expérimental | | noir et blanc | 15:24 | Royaume-Uni | 2005

La Stationnairy music prend son nom du premier mouvement de la sonate 1 Stefan Wolpe composée en 1925. Cette sonate est introduite et jouée par sa fille, la pianiste Katharina Wolpe. La stationary music ne développe ni ne joue une music qui ne bouge pas : after the fire what Shall we do? ?firsT onE step; aFter thAt,aNother.? We?re alOne the music is difficuLt to Play. wE must work at it. In Memoriam S. W.`, accousituque par John Cage


Née en 1957 à Nottingham, Jayne PARKER a vécu et travaillé à Londres depuis 198µ0 ; Son intérêt dans la réalisation de film commence alors qu?elle étudie la sculpture au Collège des Arts de Canterburry et qu?elle continuait à l?Ecole des Beaux Arts de Slade dans le département des Media Expérimentaux. Elle a été chargée de cours temporaire au Goldsmith College de 1984 à 1988 et a enseigné à Slade depuis 1989. Son travail a été largement exposé nationalement et internationalement dans des institutions de premiers rangs, à la télévision et dans des festivals et films et de musique. En 1997,son film, Crystal Aquarium a reçut le grand prix au festival du film de la ville d?Oberhausen à Oberhausen Short Film Festival. Il se trouve aussi dans la Art Council Collection. En 2003, elle fut la réceptrice de la 1871 Fellowship, recherchant la relation entre le film et la musique, hôte de la Ruskin School of Drawing, des Instituts d?Art d?Oxford et de San Fransisco. La plupart de ces dernières ?uvres utilise une performance musicale.

Lucy parker
Catalogue : 2014Writers Group (Some Grit, Some Flames) | Doc. expérimental | hdv | couleur | 30:0 | Royaume-Uni | 2013
Lucy parker
Writers Group (Some Grit, Some Flames)
Doc. expérimental | hdv | couleur | 30:0 | Royaume-Uni | 2013

In this staged writers meeting members of the groups share their work; poetry and prose. The discussions unfold around the reception of their works demonstrating codes of criticism and politeness, selfhood and aspiration. The group replicates an autonomous gathering, each member having their own agenda for taking part. The intimacy of the camera, close-up to the characters, creates a feeling of being in the room. The guest, the viewer is invited to understand the sentiment of the members. This video developed from research into community writing groups associated with the Federation of Worker Writers and Community Publishers. The Federation was established in the 1970’s and created a network between groups UK wide, also making associations with groups abroad.

Lucy Parker live in London. Her film and video works take the starting point of contemporary and historic pedagogic situations to explore how ideas are disseminated between individuals. She is interested in ways collaboration can impact on the production and distribution of works. Her films have been shown at film festivals in the UK and Internationally, she has a Masters in Fine Art from Goldsmiths University. Lucy lectures in filmmkaing at Kingston University.

Claudio parodi
Catalogue : 2005Mu | Création sonore | 0 | | 13:59 | Italie | 2005
Claudio parodi
Mu
Création sonore | 0 | | 13:59 | Italie | 2005

Mu est une étude de manipulation du bruit produit par un magnétophone fonctionnant à vide.


L`italien Claudio Parodi a une formation de pianiste classique. Depuis quelques années il joue des instruments électroniques qu`il a lui-même construits ou modifiés et, plus récemment, des instruments à anches non-occidentaux. Il collabore avec de nombreux musiciens, danseurs, des poètes, des acteurs, des peintres, des vidéastes.

Tania parovic
Catalogue : 2007ATTENTATE | Film expérimental | dv | couleur et n&b | 10:40 | Allemagne | 2006
Tania parovic
ATTENTATE
Film expérimental | dv | couleur et n&b | 10:40 | Allemagne | 2006

Le terme attentat décrit le meurtre planifié, tenté ou réussi d'une figure symbolique. Le but d'un telle attaque n'est pas la mort d'une personne privée. Un attentat est la destruction du rôle de la personne en tant que personnage politique, sociale ou publique. Le projet assemble une collection d'attentats qui d'une manière ou d'une autre ont été documentés. Comme une série, de structure homogène, dans laquelle les différents aspects d'un attentat sont répertoriés, comme les scènes de crimes, la couverture des médias, les motifs, spéculations, deuils collectifs, victimes, commémorations d'attentats. Avec le coté série en tête il y a une sorte de jeu qui se déroule, procurant la possibilité de faire ressortir un aspect particulier d'un attentat, que ce soit la victime, le motif ou bien l'attentat en soi, et de s'en servir d'exemple. De la mise en série de ces attentats résulte en une corrélation continue entre les différents faits, un changement de thème entre les séries, qui en montre surtout leur caractère interchangeable. Ce n'est pas le sens d'une image ou d'un texte en particulier qui est important en le traitant artistiquement. Ce qui est plus important, ce sont les associations et les interprétations que font le public et les interactions entres les images.


Tania Perovic est ne en 1977 à Achen en Allemagne. Elle finit en 2002 son Diploma en communication à l'academy des Arts de Maastricht, holland, avec le film "0709". Entre 2003 et 2005, elle étudie a l'académie des arts de Cologne et travaille sur differents projets pour la televisiion. Elle recoit son diplome en 2006 pour "Attentate".

Agustín parra
Catalogue : 2008Autorretrato 2 | Performance | dv | couleur et n&b | 1:42 | Colombie | 2008
Agustín parra
Autorretrato 2
Performance | dv | couleur et n&b | 1:42 | Colombie | 2008

« Autorretrato » (« Autoportrait ») appartient à une série de performances vidéo qui explorent les techniques de base du dessin, en faisant le lien avec l?idée d?auto-représentation. La vidéo présente l'ombre d'une main qui essaie de dessiner son contour. Comme l'ombre est instable et immatérielle, le dessin essaie d'établir les limites de cette forme insaisissable, qui ne peuvent, par leur nature même, être fixées.


Né en 1964 le long de la côte caraïbe de la Colombie, Agustin Parra est auteur d'une thèse de doctorat sur la psychologie et l?art. Plus tard, il a obtenu également un doctorat en sculpture à l'Université du Pays Basque, en créant une méthodologie pour le développement de la créativité corporelle. À la même période, il était en résidence d?artiste à la Fondation Pistoletto (Italie). Agustin est professeur d'université depuis 1987 et enseigne actuellement à l'Université d?Antioquia de Medellin (Colombie).

Arnold pasquier
Catalogue : 2017O amor moderno | Vidéo | hdv | couleur | 8:52 | France | Brésil | 2017
Arnold pasquier
O amor moderno
Vidéo | hdv | couleur | 8:52 | France | Brésil | 2017

L'installation vidéo d'Arnold Pasquier fait partie d'une série qui vise à reflèter les conditions d'une expérience sentimentale en lien avec un paysage et à inventer la forme spectaculaire d'un amour contemporain. Deux paysages creusent une absence et révélent la possibilité d'une rencontre. D'une part, une sculpture monumentale couvre les ruines du village de Gibellina en Sicile, détruit par un tremblement de terre; d'autre part, une autoroute coupe irrémédiablement en deux un quartier d'immigrants italiens de la ville de Sao Paulo au Brésil. Ce cercueil blanc, ce moulage en béton débordant, offre une nouvelle scène pour exprimer - jour et nuit - un amour qui est en lui-même l'invention d'une forme d'amour.


Arnold Pasquier est né en 1968 à Paris. Dès ses études d’arts plastiques et de cinéma à l’Université Paris 1 Panthéon-Sorbonne, il réalise des essais en super 8 et vidéo dans lesquels il développe un univers de journaux filmés et de fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes en tant que documentariste et danseur. Ces expériences inaugurent la réalisation d’une oeuvre où la danse tient une place importante. En 1997, il intègre le Fresnoy, Studio national des arts contemporains. Arnold Pasquier est l’auteur de nombreux films, vidéos, documentaires, fictions, mises en scène de spectacles et émissions radiophoniques : son travail se dèveloppe au croisement de ces différentes disciplines. Ses films ont été présentés et primés dans de nombreux festivals de cinéma en France et à l’étranger (Festival du film de Locarno, Festival Côté Court à Pantin, Vidéodanse, Biennale de Busan, FIDMarseille, Rencontres Internationales Paris Berlin Madrid). En 2005, il est lauré d’une bourse Villa Médicis Hors les Murs et il réalise le film Celui qui aime a raison au Brésil, sorti en salle en 2006. Son film Notre amour est présenté en sélection officielle au Festival du film de Locarno en 2009. En 2012, il présente un court métrage intitulé L’Italie et, lauréat d’une résidence de réalisation du Festival Côté Court de Pantin, il achéve la réalisation d’un long métrage de fiction expérimentale, Si c’est une île, c’est la Sicile.

Arnold pasquier
Arnold pasquier
Catalogue : 2015Borobudur | Fiction | hdv | couleur et n&b | 80:0 | France | Italie | 2015
Arnold pasquier
Borobudur
Fiction | hdv | couleur et n&b | 80:0 | France | Italie | 2015

Federico est étudiant en architecture à Palerme. Il parcourt la ville à la recherche de bâtiments moderne qu’il dessine et photographie. Dans un parc, il rencontre un jeune homme, Borobudur, qui va lui ouvrir les portes d’une autre urbanité. Dans le sillage de ce garçon magique, Federico abandonne son quotidien et découvre une ville qui le métamorphose.


Arnold Pasquier est né à Paris en 1968. Dès ses études d’arts plastiques et de cinéma, il réalise des essais en Super 8 et en vidéo dans lesquels il développe un univers de journaux filmés et de fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes comme documentariste et comme danseur. Cette expérience marque la réalisation d’une œuvre où la danse tient une place importante. En 1997, il est reçu comme résident au Fresnoy, Studio national des arts contemporains à Tourcoing où il conçoit l’installation C’est ici que je donne des baisers. En 1999, il présente dans la Grande Nef du Fresnoy le spectacle C’est merveilleux pour 10 danseurs et acteurs. Il est l’auteur de nombreux films (fiction, documen- taire, art vidéo), de mises en scène de spectacles, de scénographies, d’émissions de radio pour les Ateliers de Création Radiophonique de France Culture. Son travail s’articule aux croisements de ces différentes disciplines. En 2004-2005, à la faveur d’une résidence de l’association française d’action artistique, programme, «Villa Médicis hors-les-murs», il réalise le film Celui qui aime a raison fiction de long métrage sortie en salle en 2006.Il collabore avec des cinéastes et des plasticiens comme cadreur ou monteur.

Catalogue : 2018L'amour moderne [allemagne] | Fiction | 4k | couleur | 10:44 | France | Brésil | 2018
Arnold pasquier
L'amour moderne [allemagne]
Fiction | 4k | couleur | 10:44 | France | Brésil | 2018

Après avoir fait l'amour, deux hommes étrangers l'un à l'autre communiquent en traduisant questions et réponses via un écran de téléphone. L'un est brésilien, l'autre allemand, et ce dernier quitte São Paulo le jour-même. S'embrasser encore une fois, puis embrasser la ville d'une étreinte qui retient l'instant d'une présence passagère.


Arnold Pasquier est l'auteur de plus de 70 films qui couvrent les champs de la fiction, du documentaire, de l`essai et du cinéma expérimental. Il est metteur en scène, producteur d`émissions radiophoniques, acteur et danseur. Il partage son activité entre projets personnels, enseignement et collaborations en tant que chef-opérateur et monteur. Dès ses études d'arts plastiques et de cinéma, il réalise des essais en Super 8 et en vidéo où il mêle journaux filmés et fictions. A vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes comme documentariste (Mathile Monnier, Josef Nadj, Dominique Boivin, Christian Rizzo) et comme danseur (Ami Garmon, Régis Huvier, Felix Ruckert, Julie Desprairies). En 1997, il est résident au Fresnoy, Studio national des arts contemporains à Tourcoing où il conçoit l'installation multimédia C'est ici que je donne des baisers et en 1999, il présente dans la Grande Nef le spectacle C'est merveilleux. En 2004, à la faveur d'une bourse «Villa Médicis hors-les-murs» de l'AFAA, il réalise au Brésil le film de long métrage Celui qui aime a raison. Cette expérience marque un intérêt pour la représentation de la ville et de l'architecture qui se développera avec L`Italie (2012)5, puis Borobudur (2015) et les 12 films de l`exposition Lina Bo Bardi, enseignements partagés (2017) présentés à l`école d`architecture de Paris-Belleville.

Gregor passens
Catalogue : 2006Wake up | Vidéo expérimentale | dv | couleur | 5:18 | Allemagne | Argentine | 2005
Gregor passens
Wake up
Vidéo expérimentale | dv | couleur | 5:18 | Allemagne | Argentine | 2005

Dans le cratère d'un volcan à Catamarca, Argentine, un feu d'artifice est allumé à l'aube, à 4000 mètres d'altitude.


Gregor Passens Né en 1974, vit et travaille à Munich et Buenos Aires, Argentine. Il a étudié à l'académie des arts de Munich, où il faisait partie du cours du professeur Nikolaus Gerhart; diplôme (2002). Bourses d'études (sélection): 2002 - 2003 bourse annuelle du DAAD, Buenos Aires, Argentine 2005 Maison internationale des artistes Villa Concordia, Bamberg 2006 Bourse américaine de Bavière Expositions (sélection): 2003 ?Verboden op het Werk te komen? W 139 à la Brakke Grond,Amsterdam; IIème Biennale de Tirana, Albanien; 2004 STUK, Louvain, Belgique; ?Xtreme Houses? Lothringer 13, Munich + Halle 14 fondation Federkiel, Leipzig;Muslim Mulliqi Prize? The Kosova Art Gallery, Pristina; 2005 ?A parasite showing? k-forum, Vienne,+ ARGE Galerie, Bozen;; Buenos días Santiago ? an exhibition as expedition, Museo de Arte Contemporaneo (curateur attitrudes), Santiago du Chili; 2006 VIDEOTHEKA, Kunsthalle de Vienne; ?Triumph?, El Basilisco, Buenos Aires; Open Space, Art Cologne, Cologne

Vijai patchineelam
Catalogue : 2014Part 2 | Vidéo | hdv | couleur | 15:31 | Brésil | 2014
Vijai patchineelam
Part 2
Vidéo | hdv | couleur | 15:31 | Brésil | 2014

Part 2 (2014) is a non-speech moving image work that puts into motion a succession of mostly nocturne images of an industrial landscape. Filmed in Jardim Canadá in the state of Minas Gerais (BRA), the project documents the material conditions on the ground of a once small rural town which has been radically industrialized in the last decade by the mining industry. The artist filmed several discarded objects and debris from several ad hoc landfills located in different sections of Jardim Canadá. Because of the region’s accelerated and under-planned transformation, it does not have a proper systemic waste management, and thus most of the trash and unwanted furniture of the inhabitants are thrown in vacant lots and at times set on fire. Part 2 follows the movement of a pack of street dogs at an eye level exploration of the landfills of Jardim Canadá.

Vijai Patchineelam (1983) was born in Brazil. He is a graduate from the School of Fine Arts at the Federal University of Rio de Janeiro, and a Master in Fine Arts at Konstfack University College of Stockholm, Sweden. Earlier this year he concluded a one-year research project at Jan van Eyck Academie in Maastricht, The Netherlands. Patchineelam mainly works with the mediums of video, photography and books. In 2013 he participated in the 18o Videobrasil Festival and opened two solo exhibitions in 2013. Recently the show Wild Attacks of Cynicism at Ignacio Liprandi Gallery in Buenos Aires, Argentina; and earlier that year the show Cut Corner at Seven Art Gallery in New Delhi, India.

Vijai patchineelam
Catalogue : 2015Resistir o passado, ignorar o futuro e a incapacidade de conter o presente | Doc. expérimental | hdv | couleur | 28:2 | Brésil | Pays-Bas | 2015
Vijai patchineelam
Resistir o passado, ignorar o futuro e a incapacidade de conter o presente
Doc. expérimental | hdv | couleur | 28:2 | Brésil | Pays-Bas | 2015

The video Resist the past, ignore the future and the incapacity of containing the present (2015) begins with a reflection on the installation Equilibrium I, II, III (1977) by artist Carlos Zilio. In order to construct a sort of script in accordance with the variation of cuts present in the installation. Where wooden planks are placed horizontally along the floor and placed in equilibrium from cuts made by metal saws that remains inserted into the wood. The title Resist the past, ignore the future and the incapacity of containing the present is distributed throughout the video in three sequences. Each sequence searches in different subjects forms of political engagement outside or in parallel to the main activity and the tension that is generated regarding your area of action because of this engagement. This search does not result in a didactic video but through a conceptual approaches that seek to decentralize the subject / topic as a means of generating linguistic material around the moving image. The video begins showing the assembly of the work Equilibrium I, II, III at the Museum Rio de Janeiro. The second sequence puts the viewer in two different but related situations, the first in at the end of what appears to be a lecture where the speakers answer audience questions on engagement in a march or other forms of mass protest. Soon after the viewer is placed along side a protest march in which the viewer does not see the march itself but the change in the landscape. Ending with a interview where activist Mahmoud Keshavarz and Amin reflect on a advertisement campaign for an job vacancy at a immigration detention center in Sweden, and how this ad ironically uses mobility and cultural diversity as positive gains for the future employee. In collaboration with Marhmoud Keshavarz, Amin Parsa and Carlos Zilio.

Vijai Patchineelam, born in 1983 in the city of Niterói, Brazil. Holds a Master in Research in Arts and Design at Sint Lucas University College of Art and Design, Antwerp, Belgium; an MFA at Konstfack University College of Arts Crafts and Design, Stockholm, Sweden and a BA in Industrial Design at the Federal University of Rio de Janeiro, Brazil. Held a research position at the Jan van Eyck Academie, Maastricht, Netherlands.

Chinmoyi patel
Catalogue : 2010Chin Goes to Stansted | Vidéo | dv | couleur | 2:36 | Inde | Royaume-Uni | 2009
Chinmoyi patel
Chin Goes to Stansted
Vidéo | dv | couleur | 2:36 | Inde | Royaume-Uni | 2009

Catalogue : 2014Oasis Grande-Tranquility | Vidéo | hdv | couleur | 3:57 | Inde | 2013
Chinmoyi patel
Oasis Grande-Tranquility
Vidéo | hdv | couleur | 3:57 | Inde | 2013

This is the first in an ongoing series of explorations on the changing rhythms of urban life, especially in India. In the era of `development` and `progress`, where a predominant and aspirational middle class is shaping the face of India, this work explores the role of the burgeoning construction industry and westernized concepts of `ideal`, `weekend` homes propagated by it. It is shot at a model/sample row house at a popular hillside holiday destination near Mumbai. It mimics the luxurious fantasy furnished and perpetuated by advertising. However, sudden movements or breaks serve to disrupt and make one question this fantasy.

Chinmoyi Patel works primarily with new media and currently teaches part time at Department of Fine Arts, South Gujarat University, Surat, India. She graduated with an MFA from Goldsmiths, University of London in 2009. In 2013 she organised (with Emma Hunt) and participated in the Paradise Lodge International Artists Residency in Mumbai/Lonavala. She has been artist-in-residence at Ondarte, Mexico (2012); Changdong Art Studio, National Museum of Contemporary Art, Seoul (2011) and Green Papaya Art Projects, Manila, Philippines (2011). In 2011 she was a finalist for the Celeste Art Prize. She has participated in several screenings and exhibitions, including OMG! Elephant in the Room!, Galleria M, Calcutta (2014); The Moving Image Project, UK (2014); Continuum, Video Art Network, Lagos (2013)/Belgrade Art Fair, Serbia (2012); Paradise Lodge @ Studio X, Mumbai (2013); AR Festival, Paju, South Korea (2012); “Shall We?” (Solo Project), Green Papaya Art Projects, Manila (2011); Rencontres Internationales Paris/Berlin/Madrid 2010, Centre Pompidou, Paris; ”Home”, Air Space Gallery, Stoke-on-Trent, UK (2010); Bloomberg New Contemporaries, Rochelle School, London/Cornerhouse Gallery, Manchester (2009).

Sara pathirane
Catalogue : 2018Holding Clouds | Vidéo | hdv | couleur | 9:40 | Finlande | 2018
Sara pathirane
Holding Clouds
Vidéo | hdv | couleur | 9:40 | Finlande | 2018

Holdind Clouds depicts a choreography on Huangshan the Yellow Mountain in China. The mount Huang is famous from the old chinese shan shui – mountain-water ink paintings. Still now the landscape gathers people to witness it. The view itself is often covered in clouds, only a peak of a mountain hovering in the sight. Still a thousand photos are taken there daily. People pose for photos infront of the landscape. The rythm of gestures done by the visitors, the reaching out, pointing, holding the air and touching the mountains formulates a choreography for the mountain. Chilean composer Fernando Munizag’s piece Mi última palabra china (My last Chinese word) binds the poses into a broken language, an attemp to get hold of tones and diftongs hidden in the grayscale of the moving clouds. The music is based on discoveries Munizaga made in the field of phonetic analysis of Mandarin language. There is a constant movement, with rather simple materials and gestures. All the harmony of the piece is based on strings’ natural harmonics.

Sara Pathirane’s work deals with the tradition of landscape painting and the problematics of taking a picture. As shooting locations for her videos she uses nature areas known from movies and paintings, shifting between the everyday and the fiction. She works with video, painting and live-installations. Pathirane lives and works in Helsinki. She has studied in the Finnish Academy of Fine Arts and Accademia Albertina in Torino. Her works have been shown for example at Taiga-Space, Saint-Petersburg (2016), Colombo Art Biennale (2016) and Kiasma (2010, 2013).

Lois patiÑo
Catalogue : 2012NA VIBRACIÓN | Doc. expérimental | hdv | couleur | 12:30 | Espagne | Islande | 2012
Lois patiÑo
NA VIBRACIÓN
Doc. expérimental | hdv | couleur | 12:30 | Espagne | Islande | 2012

A poetic journey through a primitive landscape, where the processes of formation of the Earth are present. The earth beats and vibrates. The human being, insignificant, is overwhelmed and reduced to a spectator of this natural force.

Lois Patiño was born in Vigo (Spain) in 1983. He combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA, in New York and with the Master in Cinema Documentary at Pompeu Fabra University in Barcelona. He has developed courses of videocreation under the guidance of Katherin Sieverding and different ateliers with artist and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor Erice, José Luis Guerín and Daniel Canogar.

Catalogue : 2011Ecos del bosque | Doc. expérimental | | couleur | 6:30 | Espagne | 2011
Lois patiÑo
Ecos del bosque
Doc. expérimental | | couleur | 6:30 | Espagne | 2011

From a conception of the forest as a mythical space we observe this landscape being transformed by the woodcutters. The fog´s atmosphere emphasize the idea of the spiritual linked to the Nature. The tree as a sacred symbol. The man is here observed from the distance, we keep the point of view of the forest being cut down. This suggest a reflection about the relationship between man and landscape. From a poetic look we try to find the revelation in the landscape, a perceptive look to the process of changing in the landscape. The woodcutters cut down one by one the tall trees as a mechanical action. Again the contrast of the mythical thought inspired by the Nature and the idea of the scientist progress by the machines.

LOIS PATIÑO (b. Spain, 1983) Lois Patiño studied Psychology at the Universidad Complutense of Madrid, and cinema at the NYFA of New York and the UdK of Berlin. He studied documentary cinema in Barcelona at the UPF. He has done workshops with directors and artists such as Pedro Costa, Joan Jonas, José Luis Guerín or Víctor Erice. He has worked with the filmmaker Mercedes Álvarez in her second film Future´s´Market. His works around identity and landcape have been exhibited in places such as Reina Sofía, Centre Georges Pompidou, CGAC, Casa Encendida, CGAI... and in festivals (Documenta Madrid, Festival de Las Palmas, Jihlava festival, VideoFormes, Big Screen Project New York...)

Catalogue : 2010PAISAJE-DISTANCIA | Vidéo expérimentale | dv | couleur | 14:0 | Espagne | 2010
Lois patiÑo
PAISAJE-DISTANCIA
Vidéo expérimentale | dv | couleur | 14:0 | Espagne | 2010

Distance-Landscape. The connection between observer and landscape at the contemplative experience. From the crossing of the proximity and the remoteness appears the notion of aura, following Walter Benjamin´s theories. The gaze is here building the landscape from the necessary distance. Defining it´s limits withLois Patiño Filmmaker and videoartist born in Vigo (España) in 1983. Currently he lives and works at Madrid. During his university years he combine psicolgy and cinema studies at Madrid. Subsequently he move to NY and Berlin to complety his training on cinema direction and videoart at the NYFA and the UdK respectively. In Barcelona he made a master´s degree in documentary films at the UpF. He have done workshops with filmmakers as Víctor Erice, Jose Luis Guerín, Isaki Lacuesta... and artists as Joan jonas, Bill Viola or Donald Kuspit. He collaborate with the cinema director Mercedes Álvarez in her second film. the total continuity of the Nature. An observer submerged in the trip of the look around the landscape. Resting the gaze on the details that makes up it´s totally. Focusing, approaching the look to the center of the image and coming back again with distance. In this doble way we aproach to the notion of aura.

Lois Patiño Filmmaker and videoartist born in Vigo (España) in 1983. Currently he lives and works at Madrid. During his university years he combine psicolgy and cinema studies at Madrid. Subsequently he move to NY and Berlin to complety his training on cinema direction and videoart at the NYFA and the UdK respectively. In Barcelona he made a master´s degree in documentary films at the UpF. He have done workshops with filmmakers as Víctor Erice, Jose Luis Guerín, Isaki Lacuesta... and artists as Joan jonas, Bill Viola or Donald Kuspit. He collaborate with the cinema director Mercedes Álvarez in her second film.

Catalogue : 2013Montaña en sombra | Doc. expérimental | | couleur | 14:0 | Espagne | 2012
Lois patiÑo
Montaña en sombra
Doc. expérimental | | couleur | 14:0 | Espagne | 2012

A poetic view into the relationship of immensity, between man and landscape. We contemplate, from the distance, the activity of the skiers on the snowy mountain. The pictorial image and the dark and dreamlike atmosphere transforms the space into something unreal, imprecise, converting it also in a tactile experience.

Lois Patiño was born in Vigo (Spain) in 1983. He combined his Psychology studies in the Complutense University of Madrid with cinema studies at TAI School. He followed his cinema education at NYFA, in New York and with the Master in Cinema Documentary at Pompeu Fabra University in Barcelona. He has developed courses of videocreation in the UdK of Berlin, and in different ateliers with artist and filmmakers such as Joan Jonas, Donald Kuspit, Pedro Costa, Víctor Erice, José Luis Guerín or Daniel Canogar. He has worked in collaboration with the director Mercedes Álvarez in her second feature film ?Futures Market?. His works have been shown in art centres screens such as Centro Cultura San Martín (Buenos Aires), Casa Encendida (Madrid), MARCO (Vigo), Luis Seoane Foundation(A Coruña)... and in international festivals as Locarno, Rotterdam, New York Film Festival, BAFICI, Oberhausen, Rome, Vila do Conde, Media City, Viennale, Clermont-Ferrand, Punto de Vista... With his work "Mountain in Shadow" won a Prize at the Oberhausen IFF, and at the Locarno IFF he recieved the prize for the best emerging director with his work "Costa da Morte", among others.

Ranko paukovic
Catalogue : 201890 Seconds in North Korea | Doc. expérimental | hdv | couleur | 14:57 | Croatie | 0
Ranko paukovic
90 Seconds in North Korea
Doc. expérimental | hdv | couleur | 14:57 | Croatie | 0

How do you shoot a documentary when you know that filming is not allowed? In 90 Seconds in North Korea, Ranko Paukovic filmed in slow motion, shooting secretly in 2-second intervals on a hi-speed camera that everyone else around him believed was an ordinary tourist stills camera. Each 2-second fragment created 20 seconds of slow motion footage. The result is a dreamlike yet breathtakingly normal montage of everyday street, road and beach life in a state that strictly controls what outsiders are allowed to see. A child plays with a toy car in the park, adults enjoy a game of cards in the park's picnic area; trucks drive along an empty road, the rays of the setting sun lend warmth to lush countryside, and a shower of rain falls on the streets of Pyongyang… As it was impossible to record any interviews or ambient sound, the soundtrack features a haunting and evocative sound design composed by the director, an accomplished sound editor. The pragmatic, necessary decision to shoot in slow motion lends the film a poetic quality: in Ranko's own words, "the form is born out of need".

Ranko Paukovic studied film at the Academy of Dramatic Art in his hometown of Zagreb, Croatia. After graduating, he worked as an assistant editor on large international co-productions. He moved to The Netherlands in 1991 and worked as a sound editor with prominent Dutch directors. In 1993 he set up his own sound studio, Editson, specialising in sound design, sound editing and film mixing for artistically ambitious projects. Still based in Amsterdam, Ranko is now in demand internationally. He has built up an impressive back catalogue of work including feature films, high-end television drama and documentaries. A few years ago, he made his debut as a director with the feature-length documentary Bijela Kuca (White House), about the unique white stone found on the island of Brac, Croatia and the people who earn a living from quarrying it. White House was shown at several international film festivals and broadcast by Croatian national television (HRT) and Al-Jazeera Balkans. His last documentary "The End of Darkness" about the last European female mine workers just premiered at Al-Jazeera Balkans Docs in Sarajevo. The film was supported by the Croatian Film Fund (HAVC). Ranko is also a visiting professor for the University of Zagreb, where he teaches sound design.

Nova paul
Catalogue : 2015Still Light | Vidéo | 16mm | couleur | 6:35 | Nouvelle-Zélande | 2015
Nova paul
Still Light
Vidéo | 16mm | couleur | 6:35 | Nouvelle-Zélande | 2015

Six Artists respond to the work of Joanna Margaret Paul is a programme of short moving image works by Nova Paul, Rachel Shearer, Sonya Lacey, Miranda Parkes, Shannon Te Ao and the collective Popular Productions. A prolific film-maker, poet, photographer and painter, the work of Joanna Paul (1955-2003) quietly observed the intimate poetics of the domestic and the modest grace of her bucolic surroundings. This programme presents an ambitious range of new moving image commissions shot at home, in industrial space, nature and using a microscope within salt letter form – each film celebrating the resonance of Paul’s work and offering the catalyst for a collection of new work by a range of contemporary New Zealand artists.

Nova Paul teaches studio moving image and art theory in the Visual Arts Department. Her film-making practice draws from early cinema, experimental film histories and fourth wave film discourse to consider the poetics and politics of place, self-determinacy and the image and the role of story telling in talking back to neo-liberal hegemonies. Her writing practice has focused on lens-based media and its relationship to whenua (land). In 2008 she co-edited PLACE: Local Knowledge and New Media Practice (Cambridge Scholars Publishing), a book that examines how on how long-held attachments to place are transforming in the new media context. In 2012 she published Form Next to Form Next to Form (Dent De Leone, UK and Clouds, NZ) this artist book won the 2013 Most Beautiful Book in Australisia (Monash University, Australia) Nova Paul`s 16mm films have screened nationally and internationally in film festivals and gallery programmes. This is not Dying (2010) has screened at Recontres Internationale, George Pompidou Centre, France, (2011), Rotterdam International Film Festival, (2011), New Zealand International Film Festival, (2010) City Gallery Wellington, (2010). Pink and White Terraces has screened at Whitechapel Gallery (UK) and was selected by Whitechapel Gallery for Artists` Films International at the Venice Biennale in 2013. The film has toured to Ballroom Marfa (USA), Fundacion Proa (Argentina), GAMeC - Galleria d`Arte Moderna e Contemporanea (Italy), Henie Onstad Kunstsenter (Norway), The Institute for the Readjustment of Clocks at the Koç Foundation (Turkey) from 2009-2010. Pink and White Terraces premiered at the Telecom International Film Festival, (2006) and was Telecom Prospect New Art, City Gallery, Wellington, New Zealand, 2007. Other film commissions include Our Future is in the Air (2007) for Martini Shot; New Artists Show, Artspace, Auckland and the World of Interiors (2008) for New Zealand Film Archive, Wellington. Nova Paul is of Te Uri Ro Roi and Te Parawhau /Ngā Puhi descent.

Thomas paulot
Catalogue : 2018Le ciel des bêtes | Doc. expérimental | hdv | couleur | 35:49 | France | Suisse | 2018
Thomas paulot
Le ciel des bêtes
Doc. expérimental | hdv | couleur | 35:49 | France | Suisse | 2018

Le chasseur ardennais part à la recherche d’images nocturnes grâce à ses pièges photographiques. L’astrophysicien au milieu du désert, utilise ses télescopes géants pour sonder les fins fonds du cosmos. Tous deux, à travers leurs territoires et leurs images partent à la quête de nouveaux mythes.


Thomas Paulot est né à Paris en 1991. Il obtient un Bachelor en fine art à Central Saint Martins de Londres lors duquel il développe une pratique interdisciplinaire principalement autour d’installations, de vidéos et de constructions scénographiques. Il dirige en 2016 un atelier avec des mineurs pluri-exclus à Paris durant lequel il réalise un film Au début du chemin de notre vie. Il coréalise le film Stardom lors de l’atelier Grand voyage à Bombay en Octobre 2016. il coréalise en 2017, Anarchie à Buchillon dans le cadre d’un atelier avec la Manufacture de Lausanne. Il sera diplômé du Master cinéma ECAL/HEAD en 2018 avec son film, Le ciel des bêtes.

Kristina paustian, film
Catalogue : 2015ZAPLYV (ЗАПЛЫВ) | Doc. expérimental | hdv | couleur | 77:50 | Russie | Allemagne | 2015
Kristina paustian , film
ZAPLYV (ЗАПЛЫВ)
Doc. expérimental | hdv | couleur | 77:50 | Russie | Allemagne | 2015

SWIMMERS is a sketch of an attempt to maintain collective belief on the border of cosmology and psychedelic trance theater. Run-down houses in an abandoned settlement in the southern corner of Russia. A controversial physicist, Boris Zolotov lives here. In the mid-1980s, Zolotov decided to leave the walls of the Soviet research institutions to follow his own beliefs. Today these take the form of hour-long swimming rituals and night-time theater performances. A group of people have collected around him, who choose to share his journey Like many in the group, the young Ekaterina was led here by the many questions which remained unanswered elsewhere. Together with Boris Zolotov, she discusses the concept of happiness in contemporary Russia.

Kristina Paustian, born 1985 in Omsk, Russia. 2003 she moved to Germany to study at the University of the Arts in Berlin. She worked as a director of photography and editor for other artists before starting out as a video artist herself. Today Paustian`s artistic practice covers video art, film and installations. In her art she always tries to find and preserve a particular human constant into cinematographic forms. This constant (if there is any) goes far beyond language barriers, geographical borders, collective and social concepts or political structures. SWIMMERS is her first feature film.

Temra pavlovic
Catalogue : 2015Vehicle | Vidéo | hdv | couleur | 9:40 | Pays-Bas | Mexique | 2014
Temra pavlovic
Vehicle
Vidéo | hdv | couleur | 9:40 | Pays-Bas | Mexique | 2014

Resting in the grass waiting for the rest, eating candy in the back of the truck. Driving on the bumpy road to where Paco arrives with his bebé on the Dinamo. Eating sugar cane.

Temra Pavlovic is an artist based in Amsterdam. She makes momental videos, sculptures and installations, and is a member of poetry group Oa4s (On all fours). Her work has been exhibited at e.g. Lodos gallery in Mexico City, Human Resources in Los Angeles, Les Rencontres Internationales in Paris, Interstate Projects in Brooklyn and Seventeen gallery in London.