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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 
Benjamin ramÍrez pÉrez
Catalogue : 2015A Fire in My Brain That Separates Us | Film expérimental | hdv | couleur | 17:10 | Allemagne | 2015
Benjamin ramÍrez pÉrez
A Fire in My Brain That Separates Us
Film expérimental | hdv | couleur | 17:10 | Allemagne | 2015

In an initially deserted room objects slowly begin to move; they are manipulated from the off-screen space, being pulled and dragged by strings, cables or the carpet. Thus a ‘ghostly’ choreography emerges, with the objects taking on a life of their own, vanishing and reappearing. The control of these processes from the off-screen is made visible, by showing the strings attached to the objects as well as parts of the acting persons on the edge of the frame. This is accompanied by superimposed subtitles, which consist of a collage of existing film dialogue: Lines from the sub-genre of ‘gaslighting’ films are combined, taking the eponymous Gaslight (1944) as a starting point. A text assemblage on seduction and betrayal unfolds. At the same time the ambient lighting of the room gradually becomes increasingly colored, reaching an almost excessive saturation point as off- and on-screen space become reversed and a muffled pop music penetrates the room. A kind of karaoke video comes into being with the music – like many elements of the film – taking on the notion of a copy of something vaguely familiar.

Benjamin Ramírez Pérez, born in Hutthurm, Germany. Lives and works in Cologne. Studied at the Academy of Media Arts Cologne from 2009–2015. His works have been screened at Locarno, Edinburgh and Toronto International Film Festival, among others. In 2013, he was awarded the Prize of the German Federal Association of Film Journalists for Best Experimental Short. In 2015, he received the Chargesheimer Scholarship for Media Arts by the City of Cologne.

Catalogue : 2016Body Snatcher | Film expérimental | 16mm | couleur | 17:18 | Allemagne | 2016
Benjamin ramÍrez pÉrez
Body Snatcher
Film expérimental | 16mm | couleur | 17:18 | Allemagne | 2016

Body Snatcher conflates new 16mm material and found footage from Barbara Loden‘s film Wanda (1970) into an abstract narrative. Loden‘s film shows a character that seemingly passively navigates the world, but at the same time fights for her own identity and challenges social norms through her refusal to function as expected: „Life is a mistery to her. She doesn’t know what she wants but she knows what she doesn’t want.“ Taking fragments of the film as a starting point, objects, props and surfaces from the film were recreated, visually isolated and filmed anew. In a kind of vacuum, an abstract and associative narration touching on emptiness, failure, and identity construction slowly unfolds. A sort of parasitic science fiction remake of Wanda emerges - a layer of meaning that lies behind the film‘s plot and surface is imagined and constructed, positioning disparate elements in relation to each other and forging connections between them.

Benjamin Ramírez Pérez lives and works in Amsterdam. He studied at the Academy of Media Arts Cologne from 2009 - 2015. He was awarded the German Film Critics’ Prize for Best Experimental Short in 2013. In 2015, he received the Chargesheimer Scholarship for Media Arts of the City of Cologne. Currently, he is a participant at De Ateliers in Amsterdam (2016 – 2018).

Catalogue : 2017Embellishments | Film expérimental | 16mm | couleur | 7:50 | Allemagne | Pays-Bas | 2016
Benjamin ramÍrez pÉrez
Film expérimental | 16mm | couleur | 7:50 | Allemagne | Pays-Bas | 2016

Reenactments of cinematic strategies, images and fantasies tied to sex work and stage performance are layered on top of each other, focusing on embellished surfaces of bodies, objects and architectures. They intertwine and form a new entity in a female drag performance referencing 1970s cinema, sex work activism and pop choreography, which was developed in collaboration with the performance artist Liad Hussein Kantorowicz.

Benjamin Ramírez Pérez is currently a participant of de Ateliers Amsterdam (2016-2018). He studied at the Academy of Media Arts Cologne from 2009-2015. His works have been screened at Locarno, Edinburgh, Rotterdam and Toronto International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn and Museum of Contemporary Art Belgrade.

Benjamin ramÍrez pÉrez
Catalogue : 2019Despair | Film expérimental | 16mm | couleur | 21:50 | Allemagne | 2019
Benjamin ramÍrez pÉrez
Film expérimental | 16mm | couleur | 21:50 | Allemagne | 2019

DESPAIR works with cinematic reenactments, which are connected in an associative collage-like layering into an experimental film, taking Rainer Werner Fassbinder’s film of the same title from 1977 as its starting point. Drawing on and digressing from various complementary sources such as Fassbinder’s contribution to "Germany in Autumn", David Cronenberg’s "Dead Ringers", the 1970s "Mission Impossible" TV-series as well as cel-animation, the theme of the cinematic double is explored and questions of identity, identification and alienation are raised alongside an inquiry into the political and cultural legacies of the German Autumn.

Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009–2015. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.

Ivan ramljak
Catalogue : 2018Dom boraca | Documentaire | mov | couleur | 50:0 | Croatie | 2018
Ivan ramljak
Dom boraca
Documentaire | mov | couleur | 50:0 | Croatie | 2018

In 1974 communist authorities built the so-called ‘Memorial Home for WWII Resistance Fighters and Youth of Yugoslavia’ in Kumrovec, a tiny rural hometown of the legendary president Marshal Tito. In 1991, when Yugoslavia collapsed 11 years after Tito’s death and the Croatian War of Independence started, the Memorial Home was closed, and it remained closed until today. Several attempts to repurpose the building have failed. Still, some fighters remain...

Ivan Ramljak (born 1974) is a film critic, director and independent curator. He currently curates a short film program called Kratki utorak (‘Short Tuesday’) at cinema Tuškanac in Zagreb. So far, he has directed nine short films, four fiction ones in collaboration with Marko Škobalj, four documentaries and an experimental film. His most successful film so far was ‘Kino otok’ (Islands of Forgotten Cinemas) which was screened on more than 25 international festivals, and won 6 awards, including the FIPRESCI prize for Best Eastern European documentary at goEast FF in Wiesbaden. In 2016 he enrolled the master study of documentary directing at the Academy of Dramatic Art in Zagreb. ‘Home of the Resistance’ is his first medium length film.

Steffen ramlow
Catalogue : 2006Une vie foraine ? ein offenes Leben | Doc. expérimental | dv | couleur | 78:0 | Allemagne | 2005
Steffen ramlow
Une vie foraine ? ein offenes Leben
Doc. expérimental | dv | couleur | 78:0 | Allemagne | 2005

Le film nous présente Christian Lagny, un ancien forain du sud de la France, oncle du cinéaste. Il vit à Canet, un petit village aux environs de Montpellier, seul dans une caravane auprès de sa mère. Son beau-frère Luc Archer, forain en activité, est le second personnage du film. Le point de départ du récit sont leurs discussions à propos de la profession de forain, des changements intervenus et des particularités de cette vie sur les routes. Parallèlement sont reflétés les souvenirs personnels que le cinéaste garde de ses étés passés dans les foires. Il part des premières impressions ressenties dans les fêtes de village d'aujourd'hui et entreprend un voyage visuel dans le temps qui le ramène, au cours d'un tournage de trois ans, toujours à son oncle. On fait alors la connaissance plus intime de Christian Lagny au fur et à mesure que les conversations entrent dans une dimension personnelle. C'est avec une grande franchise qu'il parle de ses positions, de ses souhaits et de ses erreurs. Pourquoi a-t-il arrêté le travail? Pourquoi vit-il seul? Comment voit-il l'évolution de la famille? Considère-t-il qu'il a échoué? Comment redevenir maître de sa vie? C'est une vie marquée par la tradition et le travail qui se déploie ici peu à peu, pleine de contradictions et d'anecdotes, empreinte d'une grande chaleur.

Steffen Ramlow est né en 1974 à Berlin. Après son bac, il a travaillé comme éclairagiste et accessoiriste pour plusieurs théâtres de Berlin, Hambourg et Wolgograd (Russie). Il a débuté sa formation artistique à l'université des arts de Berlin, où il a étudié la vidéo et la photographie avec Maria Vedder, le cinéma avec entre autres Harun Farocki, Klaus Wyborny et Heinz Emigholz. En 2004, il obtient son diplôme en création expérimentale des médias. Il a co-édité ?Der Taktstock? aux éditions Zsolnay en 2001 et a participé à de nombreuses expositions et programmations cinématographiques. Il a travaillé comme éclairagiste, photographe indépendant et cinéaste à Berlin .

Lynn rammal, -
Catalogue : 2019 | Documentaire | hdv | couleur | 19:19 | Liban | 2019
Lynn rammal , -
Documentaire | hdv | couleur | 19:19 | Liban | 2019

Je pars à la découverte de mon père, distant depuis des années, cherchant à rétablir notre relation boiteuse et longuement négligée.

Ayant étudiée le cinema à l'Université Saint Joseph de Beyrouth, Liban, je me présente comme étant une réalisatrice en herbe, qui cherche à communiquer sa propre perspective de la vie, à travers le documentaire.

Diego ramos
Catalogue : 2019Rua Guaipá | Vidéo | hdv | couleur | 5:2 | Brésil | 2019
Diego ramos
Rua Guaipá
Vidéo | hdv | couleur | 5:2 | Brésil | 2019

Today, those who pass the old Estrada do Corredor (Corridor Road), on the way to the station or coming back from work, see bars, automobile repair shops and commercial shops. On the sidewalk there are people working, waiting for the bus, looking at the street or the screen of the smartphone. To see everyday life, that one full of gestures, we should suspend time, almost to stillness. This is how the minimal expressiveness is revealed and the street is no longer a place of passage and becomes something similar to a tissue, which incorporates everything and everyone, day and night.

Diego Ramos is a historian (Unifesp-2018) and a visual artist. His research on the audiovisual area focuses on experimental cinema and video art. Among his various works, the highlights were the short films at ASIFF - African Smartphone International Film Festival (2018); DOBRA - International Experimental Film Festival (2018); V Fotoativa Projection Exhibition (2019).

Marco raparelli
Catalogue : 2007Ristorante Italia | Animation | dv | couleur | 4:36 | Italie | 2007
Marco raparelli
Ristorante Italia
Animation | dv | couleur | 4:36 | Italie | 2007

La narration est la caractéristique principale de la vidéo d'animation de Raparelli. Cependant, plutôt qu'un point de départ, c'est la conséquence de la déviation thématique qui est représentée par des images précises et des dessins qui transmettent ou évoques des sensations. La narration est une déviation libre et intemporelle d'une image qui est connectée à d'autres pour créer des micros-mondes infinis. Ristorante Italia - 2007 animation 4 minutes 36 secondes Une suite d'évènement inattendus, parfois rébarbatif, prend place dans un restaurant insalubre. Le spectateur est témoin de l'occurrence du roulement et activités quotidiennes qui se passe sans début ni fin. Seul l'éventuel arrivée de la soirée suggère un possible relâchement ou d'une trêve.

Marco Raparelli was born in Rome on 12 July 1975. He graduated at the Accademia di Belle Arti di Roma and studied animation at the College of Art of Loughborough, London. He collaborated to the satiric weekly magazine ?Cuore?, and afterwards worked for a period of time as author of comics. In his artist practice he employs drawing painting and stop-motion animation. He has exibited widely. Group show include ?Emporio? Via Farini(2001) Milan, ?Lavori in corso? curated by Roberto Pinto (2002) Milan, ?3500 cm? Rialto S.Ambrogio, Rome curated by Lorenzo Benedetti, Grand1th:Cult media ?Bastart contemporary, Bratislava (2006) , "Clearly Invisible", Consulta - Centre d`Art Santa Monica, Barcelona, (2007)curated by Filipa Ramos, ?Animotion? Gallery F15, Moss Norway curated by Bjorn Hegardt(2007), New Entry CareOf Milan curated by Chiara Agnello. Solo show include : ?Pina ti amo Catania? gallery Ugo Ferranti Rome, ?Restroom and other stories? gallery Sergio Tossi Firenze Curated by Raffaele Gavarro, ?As a drop of water on a K-way? Careof Milan, project with Norberto Dalmata and Scintilla Robina.

Catalogue : 2008Abandoned Dog | Animation | dv | couleur | 4:31 | Italie | 2008
Marco raparelli
Abandoned Dog
Animation | dv | couleur | 4:31 | Italie | 2008

Le récit constitue la caractéristique principale des animations de Marco Raparelli. Néanmoins, celui-ci n'est pas un point de départ, mais plutôt la conséquence d?une déviation de thèmes, provoqués par les sensations transmises à partir d'autres images ou dessins. Les animations sont des déviations d?images libres et improvisées, qui se relient les unes aux autres afin de créer des microcosmes infinis. L?animation la plus récente de Raparelli raconte l?histoire d?un chien abandonné qui, alors qu?il marche au bord de la mer, fait différentes aventures, rencontres des amis et ennemis et se confronte à de multiples situations abstraites. La vidéo fonctionne comme une sorte de métaphore de la vie dont le chien joue le protagoniste. Il est un paria qui doit faire face pour survivre au jour le jour. La bande-son de la vidéo consiste en une partition pour piano de Cosme McMoon. Dans les années 1940, McMoon a souvent accompagné la soprano américaine Florence Foster Jenkins, une riche héritière qui, tout en ayant des qualités vocales fort médiocres, a pu se produire grâce à sa richesse immense. McMoon et Foster Jenkins ont été de véritables phénomènes et leurs chansons absurdes ont servi comme bande-son aux images de la vidéo.

Marco Raparelli est né à Rome en 1975. Il a obtenu son diplôme à l'Accademia di Belle Arti de Rome (Italie) et a étudié l'animation au College of Art de Loughborough de Londres (Royaume-Uni). Il a collaboré à l'hebdomadaire satirique « Cuore », et travaillé ensuite pendant un temps comme auteur de bandes dessinées. Dans sa pratique artistique, il emploie la peinture, le dessin et les animations tridimensionnelles . De nombreuses expositions, tant collectives qu?individuelles, ont été consacrées à son travail, citons notamment « Clearly Invisible » à Consulta, Centre d?Art Santa Monica de Barcelone (Espagne) en 2007, « Animotion » à la Gallery F15 de Moss Norway (Norvège) en 2007, « Pina ti amo Catania » à Galerie Ugo Ferranti de Rome (Italie) en 2005, « As a drop of water on a K-way » au Careof de Milan (Italie) en 2007. Son livre « As a drop of water on a k-way », a été publié chez Fine Arts Unternehmen Books. Sa prochaine exposition individuelle aura lieu en janvier 2009, à la Galerie Umberto di Marino, à Naples (Italie).

Simone rapisarda casanova, simone rapisarda casanova
Catalogue : 2012EL ÁRBOL DE LAS FRESAS | Doc. expérimental | hdv | couleur | 71:0 | Canada | 2011
Simone rapisarda casanova , simone rapisarda casanova
Doc. expérimental | hdv | couleur | 71:0 | Canada | 2011

Filmed in the remote hamlet of Juan Antonio, Cuba, just before it was wiped out by a hurricane, El árbol de las fresas (The Strawberry Tree) tests the boundaries between anthropology, documentary and reverie while capturing the final sigh of one of Cuba`s last fishing villages. The villagers? ingeniousness and resilience, as well as their playful and irreverent relationship with the filmmaker, render a sensitive portrait of a unique culture into a reflection on documentary filmmaking and on humanity on the edge of time.

Simone Rapisarda Casanova is a former computer scientist. He grew up in rural Sicily and currently lives in Montreal, Canada. He holds a Master of Fine Arts in film production from York University in Toronto. El árbol de las fresas is his first feature film.

Paulo raposo
Catalogue : 2005Verbatim | Vidéo expérimentale | dv | couleur | 2:0 | Portugal | 2005
Paulo raposo
Vidéo expérimentale | dv | couleur | 2:0 | Portugal | 2005

??Verbatim?? A. Adjectif 1 direct, verbatim précisément les mêmes mots utilisés par un écrivain ou un locuteur ??un direct citation ?? ;??répété leur dialogue verbatim?? B Adverb 1 verbatim, mot à mot utilisant exactement les mêmes mots ; ??il répétait sa remarque verbatim?? ?verbatim? prend source dans le texte court de Marice Blanchot : ??La folie du jour??.

Paul Raposo est un artiste sonore et média basé à Lisbonne, au Portugal. Né en 1967, après des études de philosophie et de cinéma à Lisbonne, il a travaillé dans le médium de la performance live électronique et informatique, enregistrant et présentant ses ?uvres en France, en Allemagne, aux Etats-Unis, au Royaume-Uni, en Espagne, en Italie, aux Pays-Bas, au Portugal, dans les États Baltes. Il explore les déplacements ainsi que les interrelations entre les procédés numériques et les espaces architecturaux en utilisant des ordinateurs et des logiciels reconstruit par ses soins afin de créer des pédoncules sonores abstraits et délicats. Depuis la fin des années 90, il a commencé aussi à explorer les intersections entre le son et l?image et prenant avantage des possibilités du médium numérique Realtime aussi bien pour ses travaux individuels que pour ses ?uvres collectives. Il a "composé" des images pour de nombreux médias : installations, danse, performances, théâtre et projets intermédias. Raposo a réalisé des performances et collaboré avec de nombreux artistes dont Janel Schæfer, Jason Khn, Kaffe Mathews, Marc Behrens, Jgrwinch Zbiggniew Karkowski, Matt Rogalski, Carlos Santos, Carlos Zíngaro, Christopher Murphy, Koji Asano, Sara Kolster entre autres.

Peter Bo rappmund
Catalogue : 2012TECTONICS | Doc. expérimental | hdv | couleur | 60:0 | USA | Mexique | 2012
Peter Bo rappmund
Doc. expérimental | hdv | couleur | 60:0 | USA | Mexique | 2012

A refreshing antidote to the burgeoning genre of films that focus on illegal immigration and cross-border violence, Peter Bo Rappmund?s experimental portrait of the U.S.-Mexico boundary surveys this wide swath of land?s physical qualities and metaphysical quandaries with an artist?s gaze. The structure of Tectonics is dictated by the border itself, as Rappmund incrementally moves from the Gulf of Mexico bordering Texas, to the Pacific Ocean and California, capturing wide vistas of the American West, the Rio Grande, the monuments and memorials to (personal) histories, and, naturally, the fences and walls that have been escalating since the Bush Presidency. (The actual border appears in 95% of the shots.) Rappmund?s unique process involves shooting photos with a DSLR camera, usually one frame per second, then animating the images in post-production. This method yields jaw-dropping, high-resolution time-lapse photography, described by Thom Andersen as ?electronic Rothko.? (Rappmund shot Andersen?s Reconversão, showing later in the festival). At times, Tectonics resembles surveillance photography, and what?s present is just as important as what?s absent: the world?s most traversed border is also surely the most observed, with visible and hidden cameras, armed patrols, aerial surveillance, motion sensors, etc. Over his voiceover-less images, Rappmund lays a soundtrack that fills in the missing human presence, and deconstructs the sociopsychological image of the border in American society: though everyone has a view of the border, its reality remains unseen. [Mark Peranson, 04 | 08 | 2012]

Peter Bo Rappmund was born in Casper, Wyoming, and grew up in Golden, Colorado. He attended the University of Colorado at Boulder, Mills College, and holds graduate degrees in both music composition and film/video from CalArts. His work has screened at a variety of museums, galleries and festivals including: the Museum of Modern Art, New York; Anthology Film Archives; Ann Arbor Film Festival; New York Film Festival; Viennale; Locarno; REDCAT, White Box Gallery; Whitney Museum of American Art and the Vancouver, Bangkok, and Hong Kong International Film Festivals. This past summer, PBR held his first retrospective at the Laguna Art Museum, and completed work as principal photographer on Thom Andersen`s latest film about Pritzker Prize winning architect, Souto de Moura.

Catalogue : 2015TOPOPHILIA | Doc. expérimental | hdv | couleur | 60:0 | USA | 2015
Peter Bo rappmund
Doc. expérimental | hdv | couleur | 60:0 | USA | 2015

“In this exquisite study of the Trans-Alaska Pipeline—one of the world’s longest conduits for crude oil—Rappmund continues his experimentation with landscape and time-lapse photography. As the film follows the 800-mile pipeline from end to end, astonishing images and rhythms arise, capturing the complex intersections at which industrial and natural sublimes meet, and suggesting a new politics of the petro-image.” - MoMA Documentary Fortnight

Peter Bo Rappmund is a Texas-based artist whose practice relies on understanding both empirical and metaphysical properties of built and natural environments. He has exhibited his work at a variety of venues, including MoMA, New York; Anthology Film Archives; National Maritime Museum, London; REDCAT; the California Academy of Sciences; George Eastman Museum; the Whitney Museum of American Art; and the Locarno, New York, Vienna, CPH:DOX, Ann Arbor, and Hong Kong International Film Festivals. Rappmund held a solo exhibition at the Laguna Art Museum in 2012, and he is currently collaborating on Communion Los Angeles, a project about the 110 freeway in Southern California, with Adam R. Levine. PBR received his MFA from the school of music and school of film/video at CalArts.

Oday rasheed
Catalogue : 2005Underexposure | Fiction | 35mm | couleur | 67:0 | Iraq | 2004
Oday rasheed
Fiction | 35mm | couleur | 67:0 | Iraq | 2004

"Underexposure, a title that refers not only to the outdated film stock that was used to make the film, but also to the generation of Iraqis that have been isolated from the world for decades, takes an unprecedented, uncensored look into the lives, hearts, and minds of those living in Iraq during the tumultuous days after the fall of Saddam. Director Oday Rasheed has created a vivid world set against a real backdrop of war and upheaval. Friends, lovers, strangers and family members are woven together by the complexities of their new reality. The past is only a moment behind them, with the presence of death a constant companion into the future. Maysoun, the object of her brother and lover`s affections, finds solace in her sexuality. Hassan finds comfort in the belief that his films will outlive the cancer taking over his body. Homeless and alone with only his sacks of brightly colored rags, Nassir experiences his first taste of companionship and responsibility with the discovery of a dying Iraqi soldier. The first feature length film shot on location in Baghdad after the war, Underexposure blends reality and fiction to create a lyrical and textured work that captures the dizzying atmosphere of life during war and fiercely illuminates a part of the world long left in the dark."

Elise rasmussen
Catalogue : 2017A Poetic Truth in a Pathetic Fallacy | Doc. expérimental | hdv | couleur | 16:0 | Canada | Afrique du sud | 2017
Elise rasmussen
A Poetic Truth in a Pathetic Fallacy
Doc. expérimental | hdv | couleur | 16:0 | Canada | Afrique du sud | 2017

A Poetic Truth in a Pathetic Fallacy considers ways in which human-kind has been fascinated by and has misinterpreted the rhinoceros, exploring the urgency to keep this genus from extinction while considering the lingering effects of colonialism and collection. Over the past decade the trafficking of rhino horns has gained popularity and both poaching and theft of vintage horns has risen dramatically. Horns were traditionally used in Eastern medicine and although scientists have concluded they have no health benefit, this has not dissuaded the market and its value has risen due to its newfound status as a luxury good. This is not the first time that the rhino has been misconstrued. In 1515 Albrecht Dürer created his famous woodcut based off of a written description of the rhinoceros. Although grossly inaccurate, his artwork served as the prototype for future depictions of rhinos up until the mid-19th century. In South Africa today, the lingering effects of colonialism and apartheid are at the root of poaching. In the male-dominated industry of wildlife protection, the Black Mambas [all female] Anti-Poaching Unit has been gaining international recognition for their efforts. Although beloved by the media, the Mambas risk their lives and struggle to support their families while protecting the wildlife that serves the interests of white landowners. This project is a multi-layered investigation into the link between globalization and extinction, using the poaching of the rhinoceros and its horn to speak about the relationship between bodies, labor, desire and the contested territory of representation.

Elise Rasmussen (born 1977, Edmonton, Canada; resides in Brooklyn, NY) is a research-based artist working in photography, video and performance. Her work has been exhibited, performed and screened at international venues including the Brooklyn Museum (NY), the Irish Museum of Modern Art (Dublin), CCS Bard Hessel Museum (Annandale-on-Hudson), Night Gallery (LA), Pioneer Works (NY), and Erin Stump Projects (Toronto). Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship (2007) and is a 2017-2018 artist in residence at LMCC’s Workspace program in Manhattan.

Catalogue : 2020The Year Without a Summer | Film expérimental | 16mm | couleur | 20:5 | Canada | Indonésie | 2020
Elise rasmussen
The Year Without a Summer
Film expérimental | 16mm | couleur | 20:5 | Canada | Indonésie | 2020

The Year Without a Summer takes its title from a phenomenon that occurred in the summer of 1816 wherein many parts of the world experienced extreme weather conditions. Dramatic storms and colorful skies gave inspiration to Romantic art, as witnessed in works by J.M.W. Turner and Casper Friedrich; while poor harvests, economic decline and civil unrest influenced Mary Shelley’s writing of “Frankenstein” during her summer sojourn to Lake Geneva. A century and a half later it was discovered that the eruption of Mount Tambora on the island of Sumbawa in Indonesia was the cause of this erratic shift in the world’s weather patterns, causing a famine in Switzerland and speculation that the world was ending. Using this historical framework as a provocation, The Year Without a Summer re-examines the effects of this environmental anomaly, finding parallels with our current climate crises, while intertwining diaristic accounts of Mary Shelley and her circle, Sumbawan folklore, and my own reflections traveling to the same volcano and lake during the hottest summer on record.

Elise Rasmussen is a research-based artist working with lens-based media. She has exhibited, performed and screened her work internationally including venues such as the Brooklyn Museum, the Bronx Museum, Pioneer Works (New York), Night Gallery, JOAN (Los Angeles), Belvedere 21 (Vienna), Sharjah Art Foundation (UAE), Institute of Modern Art (Brisbane), Dazibao (Montreal), Art Gallery of Alberta (Edmonton), and the Doris McCarthy Gallery at the University of Toronto. Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship and has been an artist in residence at a number of institutions including the Irish Museum of Modern Art (Dublin), the Nirox Foundation (South Africa), La Becque (Switzerland), LMCC (New York), Shandaken Projects (Storm King), SOMA (Mexico City), the Banff Centre (Alberta) and was a 2016 Fellow in the Art & Law Program (New York). Elise has been written about in publications such as Art in America, BOMB Magazine, Hyperallergic, Canadian Art and the New Inquiry, and has received grants and awards from the Jerome Foundation, the Canada Council for the Arts, NYFA/NYSCA, Contact Photography Festival, and the American Austrian Foundation. Born in Edmonton, Canada, Elise is currently based in Los Angeles, USA.

Rodd rathjen
Catalogue : 2014Tau Seru | Fiction | hdv | couleur | 8:1 | Australie | 2013
Rodd rathjen
Tau Seru
Fiction | hdv | couleur | 8:1 | Australie | 2013

In the vastness of the Himalayas, a young nomad`s curiosity lies beyond the horizon.

Rodd Rathjen is an Australian born director raised in Colbinabbin, a small country town in central Victoria. Rodd completed a bachelor of Film and Television with Honours from the Victorian College of the Arts in 2010. His latest short film ‘Tau Seru’, had its World Premiere at Cannes as part of Critics Week 2013 and has screened at a number of festivals around the world. Rodd recently completed another short film with Screen Australia called ‘Sweat’ due for release in 2015. He is currently developing his first feature ‘Terra Australis’.

Birgit rathsmann
Catalogue : 2007White Out | Art vidéo | dv | couleur | 3:15 | Allemagne | USA | 2006
Birgit rathsmann
White Out
Art vidéo | dv | couleur | 3:15 | Allemagne | USA | 2006

"White Out" est un film d'animation en single channel réalisé à partir de photographies numériques. Il s'agit d'une expérience minimaliste dans laquelle les images d'une rencontre nocturne dans un parc de Brooklyn rappellent celle d'un film noir. Un blizzard en image numérique vient peu à peu envahir le cadre, jusqu'à ce que l'écran soit entièrement blanc.

Birgit Rathsmann a reçu des bourses de la NYSCA, de l'Illinois State Arts Council, du Colombia College, de la MacDowell Colony, de la Skowhegan School of Painting and Sculpture et de l'Atlantic Art Center. Ses vidéos ont remporté des prix au South by Southwest Film Fest, au Palm Springs Film Fest, au Telluride IndieFest, à Raindance et ont été montrées dans de nombreux festivals internationaux et dans de nombreux centres. Ses installations vidéo ont pu être vues au Bemis Center, à Omaha et à Kamiyama, au Japon. Elle enseigne l'animation numérique à la New York University et vit à Brooklyn, NY.

Miguel rato
Catalogue : 2014Meeting Point | Doc. expérimental | hdv | couleur | 10:4 | Portugal | 2014
Miguel rato
Meeting Point
Doc. expérimental | hdv | couleur | 10:4 | Portugal | 2014

The imagined city as a simulation takes over the real one. Desire and reality meet creating a new space with its own rules. Ever sprawling suburban areas, anonymous landscapes generated by computers, places with no memory, landmarks, residential projects. Staged scenery for action to take place. Mostly filmed in London, Meeting Point is a study of urban space and of its representations, the virtuality of contemporary public space and landscape.

Miguel Rato (1986, Lisbon) studied Sound and Image at ESAD Arts and Design School (Portugal) and Documentary Film at London College of Communication, University of the Arts London. His film and photography work has been exhibited in the United Kingdom, Peru, United States, Spain, Canada, Holland and Portugal.

David Jeremy rauschning
Catalogue : 2011Es sind noch Bilder übrig I | Doc. expérimental | dv | couleur | 7:45 | Allemagne | 2010
David Jeremy rauschning
Es sind noch Bilder übrig I
Doc. expérimental | dv | couleur | 7:45 | Allemagne | 2010

David J. Rauschning, geboren 1980 in Bergen auf Rügen. Ausbildung zum Film- & Videoeditor und Studium der Montage an der HFF ?Konrad Wolf? in Potsdam-Babelsberg. Schnitt von Dokumentationen, Werbung, Musikvideos für TV & Kino und preisgekrönten Kurzfilmen. Ab 2008 erste eigene Videoarbeiten und Gastvorlesungen an der HTW Dresden. Lebt und arbeitet in Berlin.

Mohd Naguib razak
Catalogue : 2006Glass enclosure: Tokyo invisible | Doc. expérimental | dv | couleur | 80:0 | Malaisie | 2005
Mohd Naguib razak
Glass enclosure: Tokyo invisible
Doc. expérimental | dv | couleur | 80:0 | Malaisie | 2005

Comme plongé dans un rêve récurrent, l'écrivain se réveille encore et encore dans une enceinte de verre. Il abaisse le regard et observe le flot de gens microscopiques circulant ici et là. Observant l'appel pressant de la nature, son va-et-vient. Est-ce ici son enceinte de vie? Est-ce là la leur? Et quand le crépuscule s'installe, ses émotions en font de même, elle montent, descendent, espèrent, souhaitent, entendent, écoutent. Cette ville, cette super grande ville. Tokyo. toh-kyoh. Il ne sait pas ce qu'il fait là, ne se rappelle pas si l?idée qui l'a amené jusqu'ici était bonne ou mauvaise. Ce n'est pas amusant d'être perdu tout seul à Tokyo. Il réfléchit. Puis des voix se font entendre. Elles parlent de solitude, de détresse, de calme désespoir. Rien de perdu dans la traduction, leur solitude résonne fort et clair. La même solitude qui étrangle son âme. Ces voix sont toujours là, mais voilà que certaines s'attardent, parlent d'espoir, de changement ou de gentillesse inattendue, diminuant d'intensité. L'écrivain se calme, il se rend. jusqu'à ce qu?il ne reste que...

MOHD NAGUIB RAZAK écrivain, réalisateur, producteur Après avoir débuté comme rédacteur publicitaire et journaliste pour des magazines, Mohd Naguib Razak s?implique dans la création artistique, se lançant dans tous genres de travaux avant-gardistes, allant de l'écriture poétique à la composition de romans graphiques, en passant par les performances de rue improvisées et les théâtres de jazz expérimentaux, avant de se résoudre à une carrière dans le film et la télévision. Il n?arrive toujours pas à se décider entre devenir écrivain, réalisateur ou producteur. Après avoir travaillé quatre ans dans la production télévisuelle, comme réalisateur et scénariste dans ASTRO, la première émission télévisée émise par satellite par la compagnie de réseaux malaisienne, et comme écrivain de long métrage dans Astro Shaw, il décide d'avancer à la recherche de nouveaux défis. Un petit film documentaire expérimental appelé « Anak Duyung » (L?Enfant de Sirène) l'emmène au Festival international du film documentaire de Yamagata en 1999 et cette expérience lui ouvre des portes sur le monde merveilleux du documentaire. 2001 est un tournant pour sa carrière : il est choisi pour écrire, produire et diriger un documentaire pour Discovery Channel. Le film, intitulé « The Boat-maker and the Sea » (Le Constructeur de navires et la Mer), a finalement été diffusé dans 80 millions de foyers à travers toute l'Asie et ultérieurement récompensé Meilleur Film-documentaire au Festival du film Malaisien en 2003. En 2002, il fait un séjour de six mois au Japon en 2002 en tant qu'artiste-résident de la Fondation de la Compagnie Japonaise. C'est là qu'il conçoit et filme « Glass Enclosure: Tokyo Invisible », documentaire de long métrage qui a participa à trois compétitions internationales (au 4ème Festival International du Documentaire de Taiwan en 2004, le 10ème It's all true-Festival du Film Documentaire de Sao Paulo et Rio de Janeiro en 2005, et la 2ème Documenta du Festival du film documentaire de Madrid en 2005). En 2005, il est brièvement Directeur Général au service des programmes de diffusion de l'union Asie-Pacific (ABU) à Kuala Lumpur. Responsable de l?organisation et de la coordination des différentes coproductions internationales, il s?occupe également des programmes d'échanges tels que les Prix ABU Télévision & Radio. Il fait partie à présent de la Fondation de la Compagnie Nippone pour le Public des Intellectuels d'Asie (API) et résidera un an à Tokyo afin de poursuivre des recherches pour un documentaire sur le thème de la spiritualité dans l'Utopie matérielle au Japon.

Maria-leena rÄihÄlÄ
Catalogue : 2006sans titre | Animation | | noir et blanc | 4:0 | Finlande | Allemagne | 2006
Maria-leena rÄihÄlÄ
sans titre
Animation | | noir et blanc | 4:0 | Finlande | Allemagne | 2006

The artist presents ten minimalist flash-animated drawings, trying to respect the original handmade ones. Together they build a series, but every small loop definitely has its own story: 001 is a female figure trying to fly out of his monitor 002 is a another female with a ghost in her head 003 in this third one she is trying to find a balance for her hat (or maybe better: her head) while her hands are only sticks 004 is a morning bird living in a spruce 005 is a female figure from the series "flirting with flowers". Her head is communicating with... 006 ...basil, which the artist saw last spring growing in his garden. He had the feeling that while coming trough the earth they were like small babies opening their mouths, hungry for life 007 is a girl who merges with her chair so that she looks like a strange animal (the artist thinks it might just be him sitting too much at home) 008 is the only male figure, he is called Boxer. He has a very sad end by a brave young woman 009 is a very angry young woman 010 is called "blähungen" (flatulence). These animations have a very simple self-made sound in the background (even some stolen pieces from Finnish folk-songs were used as a loop).

Maria-Leena Räihälä was born on July 16, 1964. After her art studies at the "Nordic Art School" (Kokkola, Finland 1984-87) she moved to Berlin and hit the underground art scene (e.g. her exhibition "Electric Angel" at the Fischbüro in 1988). The beginning techno movement both fascinated and inspired her. In the early 90s, for example, she made a lot of exhibitions at the legendary club "Ständige Vertretung". That brought her to experiments with electric pictures and multimedia installations with projections and huge photocopies of her drawings fitted perfectly with the music of the best DJs in the city. The base of her work was and continues to be drawings. For their digital versions Flash is still her favourite program no.2. Beside these she works with computer prints and large photocopies in order to produce room-filling installations. An example for this is last summer's "Morgenvogelstation", a sort of an audio-visual Gesamtkunstwerk. Huge prints of her drawings went together with pictures of historical bird song transcriptions by Heinz Thiessen (1887-1971). At the same time you could hear bird recordings by Veikko Neuvonen (Finland 1997). Eventually there were several concerts by the Berlin experimental group The RotTT under the name of "The Birds, Too". They played with all sorts of bird sounds and wore bird masks, which the artist had tailored for them. A select list where her exhibitions have been held includes: 2006 - Multimedia Happening, Berlin; Joint Exhibition, Neues Problem, Berlin 2005 - L.O.F.T, Berlin; Neues Problem, Berlin; Joint Exhibition, Gutleut 15 Ausstellungsraum, Frankfurt/Main, and Glue, Berlin; Joint Exhibition, 'Nothing except drawings Vol.2', QUARTAIR, Den Haag 2. Berliner Kunstsalon, Berlin 2004 - Joint Exhibition,Haus am Lützowplatz, Studiogalerie, Berlin; Joint Exhibition, Gallery Christa Burger, München; Hinterconti Gallery, Hamburg 2003 - Joint Exhibition, Neues Problem Gallery, Berlin 2002 - Emil Bock Institut, Berlin 2000 - Joint Exhibition, Pussy Galore, Berlin; Joint Exhibition, Neues Problem Gallery, Berlin 1999 - Joint Exhibition, Berlin Brandenburg Exhibition, Radio-Berlin 1998 - Haus am Lützowplatz, Studiogalerie, Berlin; Fruchtig Gallery, Frankfurt am Main; Walden Gallery, Berlin 1997 - Congress for Performance and Visual Art, Berlin 1995 - HTC Gallery, Berlin; Installation at Friseur, Berlin 1989 - Vanhan Galleria, Culture-Center, Helsinki, Finland; Kunsthaus Tacheles, Berlin 1988 - SoToDo Gallery, Berlin; Vincenz Scala Gallery, Berlin

Nanna rebekka, pernille lystlund matzen
Catalogue : 2019Furiernes Hus | Doc. expérimental | 16mm | couleur | 28:51 | Danemark | 2019
Nanna rebekka , pernille lystlund matzen
Furiernes Hus
Doc. expérimental | 16mm | couleur | 28:51 | Danemark | 2019

HOUSE OF FURIES is an institutional ghost story that takes its starting point in an unemployment centre in Copenhagen that recently went bankrupt. The empty basement premises have now been taken over by local departments of American test centres, where people can document their work skills to possible future employers. One hundred years ago, the same building was a workhouse, where the poor worked in exchange for board and lodging. In this mausoleum of idleness, a clairvoyant man wanders around and establishes an occult contact to the dreams and sufferings of the past, while a restless 16mm camera scans the empty corridors as if it was trying to map the tragic inner architecture of emptiness. Plastic plants, old ring binders and outdated Xerox machines are accompanied by the voices of the former job consultants who are now themselves unemployed. The film traces the historical connections between three different institutions for unemployment across the past hundred years, which still haunt the same historical building in the middle of Copenhagen. By drawing these connections, the film seeks to investigate - and lay bare - how our culture has dealt with unemployment and precarious working conditions across the past century.

Pernille Lystlund Matzen (b. 1986) and Nanna Rebekka (b. 1989) is a directing duo based in Copenhagen, Denmark. Their work concentrates on new documentary forms, video art and essayistic modes of filmmaking. In their collaborative, research-based practice, they seek to examine and unfold the untold stories that lie hidden in the monuments, buildings and material objects that surround us in our everyday life.

Nanna rebekka, pernille lystlund matzen
Catalogue : 2016Hestebetvinger | Vidéo | 4k | couleur | 15:0 | Danemark | 2015
Nanna rebekka , pernille lystlund matzen
Vidéo | 4k | couleur | 15:0 | Danemark | 2015

An easily overlooked T-junction in Copenhagen`s Sydhavn district is the location of a dramatic statue. In the midst of everyday urban space rises a bronze sculpture of a young man who is about to tame two unruly horses. The essay film ?Breaker of Horses? delves into the bronze sculpture and follows the hidden stories that are contained in the cast. This leads us back to the genesis of the sculpture in an antique Greek myth, to a Belgian Africa museum and deep into Europe`s colonial past. With formal nods to contemporary video artists such as Camille Henrot and Hito Steyerl, ?Breaker of Horses? is an overheated information flow of images, digital productions and archive material. The visual abundance is coloured by a soundtrack that alternately seethes with synthetic sound effects and detached bits of songs about the statue and its history. The film traces the copper material in the bronze sculpture back to the Congo, where extraction of copper through forced labour and slavelike conditions for the Congolese comprised one of the economical foundations for the Belgian King Leopold?s empire. Solidly placed in the era of today, ?Breaker of Horses? is a video work that turns to the past.

Nanna Rebekka is an independent filmmaker based in Copenhagen. Her work lies within the realm of hybrid fiction, documentary and video art. She has studied filmmaking at Center for Digital Arts and Experimental Media, University of Washington and at School of the Arts, Media, Performance & Design, York University. She is currently pursuing a masters degree in Visual Culture at University of Copenhagen. She is a former member of Copenhagen LGBTQ Film Festival. Pernille Lystlund Matzen (b. 1986) is an independent writer and filmmaker currently living in Copenhagen. Her work concentrates on new documentary forms, video art and essayistic modes of filmmaking. She holds a masters degree in Art History and Modern Culture from Columbia University, Universitat der Kunste, Berlin, and Copenhagen University. She currently works as an art critic at the Danish newspaper Information. Together, Nanna and Pernille have directed the short film `Breaker of Horses`.

Pedro rebelo
Catalogue : 2005Laut[omata].3 | création numérique | 0 | couleur et n&b | 9:0 | Portugal | Royaume-Uni | 2005
Pedro rebelo
création numérique | 0 | couleur et n&b | 9:0 | Portugal | Royaume-Uni | 2005

Laut[omata].3 est un travail semi génératif qui s?est développé à partir d?une activité de spectacle d?improvisation électronique et visuel. Il est fabriqué comme une manipulation de données numériques fondamentales sur des médias et construite à partir de samples et de models 3D. laut[omata] est une entité numérique qui prolonge la vie des interactions basiques de l'Homme ; c?est une entité qui tente de s'organiser elle-même grâce aux résidus numériques provenant des activités humaines. Ces résidus sont des structures comportementales initialement définies pour les stratégies d?interaction entre l?Homme et la machine.

Pedro Rebelo est un artiste et compositeur numérique né en 1972 au Portugal. Il travaille avec la musique électroacoustique, les médias numériques et les installations. Son approche de la composition musicale est enrichie par l?utilisation de l?improvisation et de structures interdisciplinaires. Il a été enrôlé dans plusieurs projets de collaboration avec des artistes visuels et a créé un large corps d??uvres explorant les relations entre l?architecture et la musique en créant des spectacles et des environnements d?installations. Cela inclut une série de pièces commandées à des solistes et des lives électroniques qui prennent comme base l?interprétation de certains espaces acoustiques. Dans le duo ?laut? avec le saxophoniste Franziska Schr?der, il explore les extensions des interfaces et le contrôle dans les pratiques de spectacles interactifs. Sa musique électroacoustique est programmée dans diveres compilations de CD (Sonic Circuits IV, Discontract III, Exploratory Music from. Portugal, ARiADA). Pedro conduit des recherches dans le domaine des médias numériques, des sons et compositions interactives. Ses écrits reflètent son approche du design et de la composition en articulant une pratique créative dans une compréhension plus large de la théorie culturelle. Pedro a eu un doctorat en composition à l?université d?Edinburgh et est en ce moment Directeur des Recherches au Sonic Art Research Center, à la Queen?s University de Belfast.