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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 
Peter hoffmann
Catalogue : 2011La dernière année | Doc. expérimental | 16mm | noir et blanc | 78:0 | Allemagne | France | 2010
Peter hoffmann
La dernière année
Doc. expérimental | 16mm | noir et blanc | 78:0 | Allemagne | France | 2010

Gerard holthuis
Catalogue : 2005Careless Reef: 1. preface | Film expérimental | 16mm | noir et blanc | 3:50 | Pays-bas | 2004
Gerard holthuis
Careless Reef: 1. preface
Film expérimental | 16mm | noir et blanc | 3:50 | Pays-bas | 2004

"Preface" est un film sur notre vision des choses. Que voit-on dans un visage, et comment nous décodons ce que nous voyons. En introduction à "Careless reef", 6 films sur le monde sous la surface.


Gerard Holthuis est un cinéaste indépendant.

Barbara holub
Catalogue : 2008Make News Instead of | 0 | dv | couleur | 22:0 | Allemagne | Autriche | 2008
Barbara holub
Make News Instead of
0 | dv | couleur | 22:0 | Allemagne | Autriche | 2008

La double projection vidéo « Make news instead of » est basée sur la double projection diapositive d?une exposition de l?artiste, « More Opportunities », à l?Arts Center de Plymouth (Royaume-Uni) en 2007- 2008. Cette ?uvre traite de la question de la transformation de la ville de Plymouth, comme un exemple de changement d?une ville industrielle mise au service de l'économie, dans le contexte de la mondialisation. Il traite du changement d?identité rapide et radical d'une ville et ses habitants, dans un docu-fiction réalisé à partir du collage de matériaux divers, notamment « A Voyage to the Bottom of the Sea », film de Science-fiction de Irwin Allend (1961), un film-documentaire en 16 millimètres sur la grève du chantier naval de Plymouth du Southwest Filmarchive Plymouth (1969), « The Way We Live », documentaire de Jill Craigie sur l?architecte Abercrombie (1946), ou « More Opportunities », une manifestation mise en scène de Barbara Holub (2007).


Parallèlement à son travail d'artiste, la carrière de Barbara Holub comprend notamment la Présidence de la Sécession de Vienne depuis 2006-2007. De 2004-2007, elle a été membre du Comité d'Art Public de Basse-Autriche. En 1999, elle a créé la compagnie d'architecture et d'urbanisme Transparadiso, avec son associé Paul Rajakovics. Leur travail expérimental reflète l'architecture et le développement urbain dans le contexte des questions posées par la mondialisation, en même temps qu?il développe de nouveaux outils pour ce que Transparadiso appelle l?« urbanisme direct ». Parmi les récentes expositions de Barbara Holub, signalons notamment « This is a Gallery and a Gallery is Many Things » à l?Eastside Projects de Birmingham (Royaume-Uni), « Orientierungen » au Regionale 08 de Styria, « Periscope Elevator » à Amsterdam/Ijburg (Pays-Bas), « Ganz nah so fern » à Vienne (en collaboration avec Grita Insam Gallery), ou « More Opportunities » à l?Austrian Cultural Forum du London Festival of Architecture.

Heidrun holzfeind
Catalogue : 2009Friday Market | Installation vidéo | betaSP | couleur | 8:0 | Autriche | Egypte | 2008
Heidrun holzfeind
Friday Market
Installation vidéo | betaSP | couleur | 8:0 | Autriche | Egypte | 2008

LONG SHOT: In one long shot the camera travels along the section of Cairo?s Friday market that is set up on railroad tracks. Here, framed by the highway and the Al-Imam As Safi?i cemetery, every Friday locals and vendors from all over the city offer their products for sale, set up on tables or spread on the ground. The camera moves at a steady, slow paste along the tracks, like a train passing a closed down station. The people inhabiting the market ? the sellers and buyers, and the people living at its edge become the protagonist of the film, collapsing the borders between performance, documentary and fiction film. The slow paste of the shot allows the viewer?s attention to oscillate between the market in the foreground ? the goods for sale, the dynamics between sellers and buyers, and the many (informal) architectural layers of the housing area and cemetery directly behind. I am equally interested in the complex and multilayered architectural constructions as in the informal economy of the market. The range of products for sale questions our western concepts of what holds value, and the very notion and definition of a ?product? in itself: What we easily label as trash - useless or broken parts - are being recycled and offered for sale, a sign not only of desperation and economic need, but also of faith in the creativity of the buyer to find a possible new use for these items. MAKING-OF: The making-of documents the film shoot during the course of the day (from 6 am to the early afternoon when rain and a sandstorm hit the market) and offers glimpses into the socioeconomic context of the market, the location and its inhabitants through close ups of sellers, buyers and products, and short interviews with locals.

Heidrun Holzfeind studied at the Academy of Fine Arts in Vienna and at Cooper Union in New York. She lives and works in New York. solo exhibitions include CCA, Ujazdowski Castle, Warsaw (2010); De Vleeshal, Middelburg, The Netherlands (2009); Sala de Arte Público Siqueiros in Mexico City (2008), Galerie im Taxispalais, Innsbruck (2007); Lado b, MUCA Museum Mexico City (2005), Artists Space (project room), New York (2005), W139 in Amsterdam (2004) Recent group shows and screenings include CASM, Barcelona; Manifesta7, Trentino; Photocairo4, Cairo; MOMA, New York; Zendai Art Museum, Shanghai; Goethe Institute Dublin; OK Centrum Linz, Austria; Grazer Kunstverein; Festival der Regionen 2007; Exit Art, New York; Architecture Museum Basel; Salzburger Kunstverein, Austria; Bronx Museum of the Arts, New York; Swiss Institute New York; BAK Utrecht, and others. Festivals include European Media Arts Festival, Osnabruck; Assim Vivemos Festival Brazil, Rio de Janero & Brasília; Duisburger Filmwoche, Germany;
 Diagonale, Graz, Austria; Impakt Festival, Utrecht; Transmediale Festival Berlin; Videoart Center Tokyo; SKIF Festival, St. Petersburg; SNIFF Int. Short Filmfestival, Novo Mesto, Slovenia, and others.

Kerstin honeit
Catalogue : 2017My Castle Your Castle | Doc. expérimental | hdv | couleur | 14:47 | Allemagne | 2017
Kerstin honeit
My Castle Your Castle
Doc. expérimental | hdv | couleur | 14:47 | Allemagne | 2017

my castle your castle Set up as a somewhat retro TV talk show my castle your castle operates from within the skeleton of the Prussian castle that is currently being re-built in the center of Berlin. Erected on the foundations of the dismantled GDR parliament building called Palace of the Republic, the castle is not only an imperialist architectural remake, in its future function as exhibition space for the “ Ethnographic Collections ” of Berlins National Museums it literally embodies Germany’s legacies of colonial violence. The video engages with the building site as a stage for the material and social construction “ as well as the queer contestation ” of “ nation ” and (white) “ masculinity”: Interviewed by a talk show host over a piece of cake from porcelain dishes with reproductions of the castle and its disappeared counterpart, two construction workers evoke an opaque third in a language of structural matter. Peter Friedrich had supervised the construction (1973-76) of the Palast der Republik, and Gunter Teichert worked as the head of its deconstruction (2006-08). In the matter of fact conversation between the “ makers of the palace ”, their body of work “ in other words architecture, political representation, memory ” disintegrates in the builder’s jargon. However, the material and machinic vocabulary of construction site itself resonates the massive urban reconstructions, redistributions of properties and redefinitions of political meaning through architecture that have followed the disappearance of state socialisms in Europe. This vocabulary is emphasized and queered in short interludes to the talk show in which the talk show host, who is performed by the artist Kerstin Honeit herself incorporating elements of drag, appears sitting on a huge excavating machine or between metal poles that stabilize casts for concrete. (Text by Suza Husse)

Kerstin Honeit was born in Berlin, where she still lives and works. She studied Fine Art and Theatre Design at the Kunsthochschule Weissensee in Berlin. Since 2014 Honeit has been teaching at the Kunsthochschule Kassel (künstlerische Mitarbeiterin, class of Bjørn Melhus). Using video works, performance and installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Her recent work has been shown at Berlinische Galerie - Museum of Modern Art, Haohaus Taipei, Stuttgarter Filmwinter - Festival for Expanded Media, Bärenzwinger Berlin, SixtyEight Art Institute Copenhagen, Kunstverein Leipzig, International Short Film Festival Oberhausen, Arsenal - Institut für Film u. Videokunst Berlin, Monitoring Dokumentarfilm- u. Videofest Kassel, Neuer Berliner Kunstverein, Videonale.15 Kunstmuseum Bonn, Les Complices* Zurich, Gallery 400 Chicago, CCNY New York, Site Gallery Sheffield.

Catalogue : 2018PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS | Doc. expérimental | 4k | | 8:0 | Allemagne | 2018
Kerstin honeit
PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS
Doc. expérimental | 4k | | 8:0 | Allemagne | 2018

Since 2017 the Giant Panda Bears Meng Meng and Jiao Qing have been hired out to the Berlin Zoo from China to attract more visitors and to therefore increase profit. Unfortunately for the Berlin Zoo this advertising campaign did not work out as planned - in fact it worked backwards. Meng Meng, the female Panda will only walk backwards - probably protesting the fact that she is kept in captivity and in a totally different continent from her origins. But instead of rethinking the problematic concepts of zoos in general, international media is taking on a different debate: blaming Meng Meng’s behavior on the fact that she has not bred yet and is just looking for attention. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

Kerstin Honeit studied fine arts and stage design at the Berlin Weissensee School of Art. She has been teaching at Kunsthochschule Kassel since 2014. Using video works, performance an d installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Most recently, her works were shown at Off Biennale Cairo (2018); Videoart at Midnight, Berlin (2018); Moscow Museum of Modern Art (2018); La Centrale, Montreal (2018); Bärenzwinger, Berlin (2018); Schwules Museum, Berlin (2018); Rencontres Internationales Paris / Berlin (2018); International Short Film Festival Oberhausen (2017); Berlinische Galerie (2017); SixtyEight Art Institute, Copenhagen (2017).

Catalogue : 2020[zi:lo]5 | Vidéo expérimentale | 4k | couleur | 17:17 | Allemagne | Canada | 2019
Kerstin honeit
[zi:lo]5
Vidéo expérimentale | 4k | couleur | 17:17 | Allemagne | Canada | 2019

Silo 5, once the largest granary in the world, was celebrated by architect Le Corbusier in 1927 as a glimpse towards a utopian modernity and an aesthetic future of architecture. Since the 1990’s Montreals gigantic silo complex has been an industrial ruin, far too big to be demolished. The abandoned granary, now an unintended monument to colonial global extractionism, marks as a place of storage the starting point for the video piece [?zi:lo]5. The work approaches different gestures and technologies of preservation and collection and therefore – simultaneously and inseparably – also questions of overwrite, delete or rewrite. Seen from the perspective of a near (queering) future, collections expose themselves as accumulations of gaps and omissions. These voids become resonating bodies, having the potential to open up spaces for other practices of intermediate storage.

Kerstin Honeit studied fine arts and stage design at the Berlin-Weissensee Art Academy. She lives in Berlin and is teaching media art at the Academy of Fine Arts in Leipzig. In her practice as an artist and filmmaker, she works at the interface of different forms of staging. Her artistic research focuses on the investigation of representation mechanisms in the production of hegemonic image worlds, especially in connection with cultural and linguistic modes of translation in the context of the moving image. Since 2006 she has been showing her work in exhibitions and at festivals. Exhibitions / Screenings (Selection): La Centrale Powerhouse, Montreal / HMKV, Dortmund / International Short Film Festival São Paulo, São Paulo / Ruhrtriennale, Bochum / Kunsthalle Rostock, Rostock / Neuer Berliner Kunstverein, Berlin / Off Biennale Cairo, Cairo / Videoart at Midnight, Berlin / MMOMA Moscow Museum of Modern Art, Moscow / Schwules Museum, Berlin / Fajr International Film Festival, Tehran / HKW, Berlin / Internationale Kurzfilmtage, Oberhausen / SixtyEight Art Institute, Copenhagen / Berlinische Galerie, Berlin / Les Complices*, Zurich / Videonale, Bonn / Gallery 400, Chicago / CCNY, New York / Arsenal – Institut für Film und Videokunst, Berlin

Jun-yuan hong
Catalogue : 2019Where do you come from-1981 | Vidéo | 4k | couleur | 16:44 | Taiwan | 2019
Jun-yuan hong
Where do you come from-1981
Vidéo | 4k | couleur | 16:44 | Taiwan | 2019

The film consists of the photographic narratives of individuals’ polaroid pictures taken at the time of their birth, which is used as the intertwining signifiers. A few of the selected actors came from broken families and had similar life experiences as the concept expressed in this work. In other words, the subjects in the images are not only a semiotic interpretation of role-playing? but also a reiteration of life experiences that overlap with these actors. That is, the creative approach adopted constantly seeks subjects close to its own life trajectory as a way to realize internal, psychological imageries and spiritual restoration.

Jun-Yuan Hong was born in 1981 in Taiwan and is currently a candidate in the Doctoral Program in Art Creation and Theory of Tainan University of the Arts. Video has strong inner emotional problems. The main reason comes from his incomplete original family. Therefore, in the video, he likes to construct these tangled feelings through close-up, and look for people with similar family situations, let them be his elements of the image that respond to and express their emotional state of facing family problems through the encounters of these different living individuals.

Krzysztof honowski
Catalogue : 2020Beasts Of No Nation | Film expérimental | mov | couleur | 9:28 | Allemagne | 2019
Krzysztof honowski
Beasts Of No Nation
Film expérimental | mov | couleur | 9:28 | Allemagne | 2019

An essay film about crowds, nationalism, and the loneliness of rollercoasters. Born in London to Polish immigrants and now living in Germany, Krzysztof Honowski is very confused by what is happening right now in the two countries that he comes from. Examining the roots of his own political disappointment Honowski, together with the German actress Laura Sundermann, attempts to create a narrative that “speaks for a generation”. This is of course impossible, and this parody of a grand narrative soon gets derailed by the small details of the everyday. Honowski and Sundermann’s narrator must instead confront their own cowardice, exhaustion, and disavowal.

Born in London in 1986, Krzysztof Honowski studied English Literature at the University of Cambridge, and completed his postgraduate studies in Art at the Slade School of Fine Art in London and the Academy of Media Arts (KHM) Cologne. He is a doctoral candidate in Art Theory at the Academy of Fine Arts Vienna. He has presented performances and exhibitions throughout Europe. These include 'Kustom Kar Kommandos Karaoke' (2015-16) at the Barbican London, Sound Acts Festival Athens, and a.m. London as well as 'And Now The Screen Is Struck By Lightning' at Tropez Berlin in 2019. Group presentations include Kunsthalle Düsseldorf, Art Cologne, and Jewish Museum Berlin. In 2019 his short film 'Beasts Of No Nation' had its world premiere at the Ruhrtriennale and was selected for the Official German competition at the International Short Film Festival Oberhausen 2020. In 2021 the film was chosen by the German Short Film Association for their Emerging Artists programme. A new installation will be presented at Kunstverein Leverkusen in 2021.

Mike hoolboom
Catalogue : 2016Spectator | Film expérimental | super8 | couleur | 6:0 | Canada | 2017
Mike hoolboom
Spectator
Film expérimental | super8 | couleur | 6:0 | Canada | 2017

Is it the oldest dream? Giving birth to my father. Shot on a single starry afternoon.

Mike Hoolboom is a Canadian media artist living in Toronto.

Mike hoolboom
Catalogue : 2007Fascination | Vidéo expérimentale | dv | couleur et n&b | 70:0 | Canada | 2006
Mike hoolboom
Fascination
Vidéo expérimentale | dv | couleur et n&b | 70:0 | Canada | 2006

Artiste majeur de la scène canadienne des années 70, Collin Campbell, maître du "drag" dans ses vidéos, était un provocateur du genre. Bien plus qu`un simple portrait d`un artiste et de son époque, le film est une réflexion captivante sur le désir d`images et sur l`emprise qu`exercent celles-ci. Mike Hoolboom cinéaste expérimental prolifique et passionnant nous livre ici un film à la narration innovante et d`une exceptionnelle beauté. Mais "Fascination" est avant tout un film sur vous...

Mike Hoolbloom est un vidéaste et réalisateur canadien, souvent considéré comme l'un des réalisateurs expérimentaux les plus talentueux de sa génération. Il est l'auteur de deux livres : "Plague Years" (1998) et "Fringe Film in Canada" (2001). Co-fondateur du collectif de programmation Pleasure Dome, il a été directeur artistique du Images Festival et coordinateur de la section cinéma expérimental du Canadian Filmmakers Distribution Centre. Il a remporté plus de trente récompenses internationales. Ses ?uvres ont notamment été présentées au Musée d'Art Moderne, au Centre Pompidou et dans des festivals majeurs. Neuf retrospectives lui ont été consacrées, la dernière à Buenos Aires.

Mike hoolboom, alena koroleva
Catalogue : 2020Wax Museum | Vidéo expérimentale | mov | couleur | 11:0 | Canada | Russie | 2020
Mike hoolboom , alena koroleva
Wax Museum
Vidéo expérimentale | mov | couleur | 11:0 | Canada | Russie | 2020

In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.

Alena Koroleva is a multidisciplinary Russian artist and curator. Co-founder of Kinodot EFF, author of few short films and sound releases. Mike Hoolboom makes movies and writes.

Catalogue : 2020Judy Versus Capitalism | Vidéo expérimentale | super8 | couleur et n&b | 63:0 | Canada | 2020
Mike hoolboom , alena koroleva
Judy Versus Capitalism
Vidéo expérimentale | super8 | couleur et n&b | 63:0 | Canada | 2020

Radical feminist, street fighter, practical dreamer. This lyrical doc, shot in super 8, recounts Judy Rebick’s pivotal role in securing women’s rights over their own bodies in Canada. She lays out the key tenets of second wave feminism, even as a family time bomb threatens. The film closes with a harrowingly personal account of a divided self, and a startling embrace of mental illness as creativity.

Mike Hoolboom (1959, Toronto). Media artist and writer. He was schooled at the Funnel, Toronto's former underground movie palace, and has made more than 100 movies since 1980. He is the author/co/editor of 30 books. There have been 20 international retrospectives of his work, and he has won more than 80 festival awards, including the Best Short Film Award in Toronto IFF two times. In 2009 he received the Bell Award in Video Art, presented by the Canadian Council of Arts "for the exceptional contribution to the advancement of video art and practices in the country".

Catalogue : 2019I Touched Her Legs Remix | Vidéo | hdv | couleur et n&b | 0:0 | Canada | 2019
Mike hoolboom , alena koroleva
I Touched Her Legs Remix
Vidéo | hdv | couleur et n&b | 0:0 | Canada | 2019

Eva Marie Rodbro’s embedded ethnographic maestro short, originally made in Brownsville, Texas in 2010, is given a fan remake. Night vision animal life and teen hangouts conjure a temporary and fragile collective, while conversation fragments, alternately performed and raw, shouted and whispered, collide.

Mike Hoolboom began making movies in 1980. Making as practice, a daily application. Ongoing remixology. Since 2000 there has been a steady drip of found footage bio docs. The animating question of community: how can I help you? Interviews with media artists for 3 decades. Monographs and books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door.

Catalogue : 20183 Dreams of Horses | Vidéo | 16mm | couleur et n&b | 5:30 | Canada | 0 | 2018
Mike hoolboom , alena koroleva
3 Dreams of Horses
Vidéo | 16mm | couleur et n&b | 5:30 | Canada | 0 | 2018

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.

Mike Hoolboom is a Canadian media artist and writer.

Mike hoolboom
Catalogue : 2020Wax Museum | Vidéo expérimentale | mov | couleur | 11:0 | Canada | Russie | 2020
Mike hoolboom
Wax Museum
Vidéo expérimentale | mov | couleur | 11:0 | Canada | Russie | 2020

In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.

Alena Koroleva is a multidisciplinary Russian artist and curator. Co-founder of Kinodot EFF, author of few short films and sound releases. Mike Hoolboom makes movies and writes.

Catalogue : 2020Judy Versus Capitalism | Vidéo expérimentale | super8 | couleur et n&b | 63:0 | Canada | 2020
Mike hoolboom
Judy Versus Capitalism
Vidéo expérimentale | super8 | couleur et n&b | 63:0 | Canada | 2020

Radical feminist, street fighter, practical dreamer. This lyrical doc, shot in super 8, recounts Judy Rebick’s pivotal role in securing women’s rights over their own bodies in Canada. She lays out the key tenets of second wave feminism, even as a family time bomb threatens. The film closes with a harrowingly personal account of a divided self, and a startling embrace of mental illness as creativity.

Mike Hoolboom (1959, Toronto). Media artist and writer. He was schooled at the Funnel, Toronto's former underground movie palace, and has made more than 100 movies since 1980. He is the author/co/editor of 30 books. There have been 20 international retrospectives of his work, and he has won more than 80 festival awards, including the Best Short Film Award in Toronto IFF two times. In 2009 he received the Bell Award in Video Art, presented by the Canadian Council of Arts "for the exceptional contribution to the advancement of video art and practices in the country".

Catalogue : 2019I Touched Her Legs Remix | Vidéo | hdv | couleur et n&b | 0:0 | Canada | 2019
Mike hoolboom
I Touched Her Legs Remix
Vidéo | hdv | couleur et n&b | 0:0 | Canada | 2019

Eva Marie Rodbro’s embedded ethnographic maestro short, originally made in Brownsville, Texas in 2010, is given a fan remake. Night vision animal life and teen hangouts conjure a temporary and fragile collective, while conversation fragments, alternately performed and raw, shouted and whispered, collide.

Mike Hoolboom began making movies in 1980. Making as practice, a daily application. Ongoing remixology. Since 2000 there has been a steady drip of found footage bio docs. The animating question of community: how can I help you? Interviews with media artists for 3 decades. Monographs and books, written, edited, co-edited. Local ecologies. Volunteerism. Opening the door.

Catalogue : 20183 Dreams of Horses | Vidéo | 16mm | couleur et n&b | 5:30 | Canada | 0 | 2018
Mike hoolboom
3 Dreams of Horses
Vidéo | 16mm | couleur et n&b | 5:30 | Canada | 0 | 2018

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.

Mike Hoolboom is a Canadian media artist and writer.

Mike hoolboom
Catalogue : 2005Public lighting | Doc. expérimental | dv | couleur et n&b | 76:0 | Canada | 2004
Mike hoolboom
Public lighting
Doc. expérimental | dv | couleur et n&b | 76:0 | Canada | 2004

« Public Lighting est une méditation sur la photographie et la création d'images, qui peuvent capturer, remplacer nos expériences, et leur survivre. Le film est divisé en 7 parties. Chaque chapitre est une étude de cas, de différents types de personnalités identifiés par le jeune auteur, qui nous guide dans le prologue. Le premier, homme gay, nous emmène faire la tournée des bars et des restaurants, où il a vécu des ruptures amoureuses. Il nous raconte sur le mode ironique ses histoires avec ses ex amants. Un hommage à Philipp Glass est suivi, de manière plutôt incongrue, par Hey Madonna, lettre de confession adressée à la chanteuse par l'un de ses fans, séropositif. Amy célèbre un autre anniversaire, mais avoue qu?elle n?a aucun souvenir de ce qu?elle voit à la télévision. Ceci dit, au moins elle a une caméra : "Je prends des images non pour m?aider à me souvenir, mais pour enregistrer mes oublis" . Hiro vit sa vie à distance, et s'aventure rarement au-delà de l'objectif. Un jeune mannequin anxieux raconte des événements poignants de son passé. Peu de réalisateurs se réapproprient le footage de manière aussi forte : à la fois drôles et incisives, ces images nous ramènent à des parties de nous-mêmes. Le travail récent de Mike Hoolboom a une telle empathie avec la condition humaine qu'il nous parle directement au c?ur. » Mark Webber, London film festival


Mike Hoolboom vit et travaille à Toronto, vidéaste et cinéaste, il a aussi écrit plusieurs livres, dont Plague Years en 1998, et Fringe Film in Canada en 2001. Il est membre fondateur du collectif Pleasure Dome, et a travaillé comme directeur artistique de l?Images Festival et dans le comité de direction de Canadian Filmmakers Distribution, pour le cinéma expérimental. Son travail a été montré notamment au festival de Berlin, de Rotterdam, de Locarno. Il a eu plusieurs rétrospectives dans huit grandes villes européennes.

Catalogue : 2015Scrapbook | Doc. expérimental | 16mm | noir et blanc | 18:0 | Canada | 2015
Mike hoolboom
Scrapbook
Doc. expérimental | 16mm | noir et blanc | 18:0 | Canada | 2015

Lensed in Ohio’s Broadview Developmental Center in 1967 by secret camera genius and audio visual healer Jeffrey Paull, Scrapbook tells the story of audacious autistic Donna Washington in her own words, as she encounters pictures of one of her former selves fifty years later.

Born: Korean War, the pill, hydrogen bomb, playboy mansion. 1980s: Film emulsion fetish and diary salvos. Schooling at the Funnel: collective avant-geek cine utopia. 1990s: experimentalist features, transgressive psychodramas, questions of nationalism. 2000s: Seroconversion cyborg (life after death), film-to-video transcode: feature-length-found-footage bios. Fringe media archaeologist: copyleft author 7 books, co/editor 12 books. Curator: 30 programs + www.fringeonline.ca Occasional employments: artistic director Images Fest, fringe distribution Canadian Filmmakers. 80 film/vids, most redacted. 10 features. 70 awards, 15 international retrospectives. 3 lifetime achievement awards. www.mikehoolboom.com

Catalogue : 2017Nursing history | Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017
Mike hoolboom
Nursing history
Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017

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Mike Hoolboom is a Canadian artist working in film and video. He has made over eighty films and videos, though most have been withdrawn from circulation, approximately a dozen remain on view. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival (Toronto), Visions du Reel (Switzerland), Xenix (Switzerland), Cork International Festival (Ireland), Cinema de Balie (Amsterdam), Mediawave Festival (Hungary), Impakt Festival (Holland), Vila do Conde Festival (Portugal), Jihlava Documentary Festival (Czech Republic), Stuttgarter Filmwinter (Germany), Musée des Beaux-Arts de Caen (France), Sixpack Film (Vienna), the Buenos Aires International Festival (Argentina), Pacific Cinematheque (Canada) and A Million Different Loves Festival in Poland.

Devin horan
Catalogue : 2010BOUNDARY | Doc. expérimental | dv | couleur | 16:46 | USA | Lettonie | 2009
Devin horan
BOUNDARY
Doc. expérimental | dv | couleur | 16:46 | USA | Lettonie | 2009

Set among an isolated community in a remote landscape near the Russian border, BOUNDARY evokes a space of ambiguity, a psychogeography, an absence of personal histories. It is the first installment in a tetralogy of films based on a statement by Sadeq Hedayat: ?In life it is possible to become angelic, human, or animal. I have become none of these things.?

Born 1982 in the United States. Graduated in Art History from Columbia University in New York City. Worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift (Indigene d`Eurasie) as a camera assistant. BOUNDARY is his first film.

Catalogue : 2011Late and Deep | Fiction expérimentale | dv | couleur | 16:44 | USA | Norvège | 2011
Devin horan
Late and Deep
Fiction expérimentale | dv | couleur | 16:44 | USA | Norvège | 2011

Dark north. Beneath an expanse of sky, a night of flesh absorbed in fever.

Devin Horan was born 1982 in the United States. He got his diploma in Art History from Columbia University in New York City. He also worked for Lithuanian film-maker Sharunas Bartas on the film Eastern Drift as a camera assistant. ?Boundary? is his first film.

(la) horde
Catalogue : 2019Cultes | Vidéo | 4k | couleur | 15:0 | France | 2019
(la) horde
Cultes
Vidéo | 4k | couleur | 15:0 | France | 2019

Puissants terrains d’expérimentation, les corps se trouvent au cœur du nouveau film de (LA)HORDE, Cultes, imaginé comme une réflexion autour du phénoméne des festivals. "Peut-on encore vivre une expérience spirituelle dans ces nouveaux sanctuaires consuméristes ? Les spectateurs réussissent-ils à créer leur propre expérience subversive comme autant d'individus constituant une masse ?". Le film est un trip hallucine? au cœur d’une foule, d’une communaute? de corps soudés par leur amour de la musique, des corps qui dansent mais qui n’oublient jamais de ressentir.


Laura horelli
Catalogue : 2019Uutisten aika | Doc. expérimental | hdv | couleur et n&b | 39:11 | Finlande | 2019
Laura horelli
Uutisten aika
Doc. expérimental | hdv | couleur et n&b | 39:11 | Finlande | 2019

“Uutisten aika (Newstime)” is a found footage film, which discusses cultural differences, being an outsider, the Namibian independence struggle, and Finland’s long-term ties with the southern African country. The work consists entirely of archival material from the late 1960s to the early 1990s. TV-programs showing everyday life are set against a voice-over by Ellen Ndeshi Namhila reading from her autobiography “The Price of Freedom”. Namhila spent seven years in Tampere as a refugee on a scholarship, studying library science. She recounts her experiences, ranging from single parenthood to observations on missionaries in Namibia and the church in Finland. Everyday scenes manifest how Namhila possibly saw the fairly homogeneous Finnish society she lived in. News clips on the Namibian independence struggle frame the narrative. They feature SWAPO (The South West Africa People’s Organization) students, visiting politicians, and representatives of the United Nations and NGOs. Since Namibia was under the apartheid regime until 1990, archival material about the history of SWAPO can be found in countries where members of the liberation movement were in exile.

Laura Horelli (b. 1976, Helsinki) lives in Berlin and works with experimental documentary video. She is interested in representations and mediations of the past taking on a microhistorical approach. Her works have been exhibited internationally at the Venice Biennale (2001, 2009), Manifesta 5, (2004), ARS 11, Kiasma, Helsinki (2001, 2011), Galerie Barbara Weiss, Berlin (2003, 2007, 2011), Badischer Kunstverein, Karlsruhe (2014), Galerie für Gegenwartskunst E-WERK, Freiburg (2019) and JMAC Gallery, Katutura College of Arts, Windhoek (2019). She has participated in film festivals like Berlinale Forum Expanded (2017, 2018, 2019), Nordisk Panorama (2019), Docaviv (2019), ISFF Oberhausen (2018), BFI London Film Festival (2018), IndieLisboa (2017), Kasseler Dokfest (2013) and CPH:DOX (2009). In 2011, she received the Hannah Höch Prize for Young Artists. Her film “Namibia Today” received a honorary mention at the Festival CineMigrante, Buenos Aires (2018). Horelli was a visiting professor at the Academy of Fine Arts, Berlin (2007) and is a lecturer at the University of Cologne (since 2018).

Taeko horigome
Catalogue : 2005Facing the dragon | Film expérimental | super8 | couleur | 3:10 | Japon | USA | 2004
Taeko horigome
Facing the dragon
Film expérimental | super8 | couleur | 3:10 | Japon | USA | 2004

Je devais trouver un moyen par lequel ma personnalité consciente et mon côté obscur (inconscient) pouvaient coexister à l'intérieur de moi. J'ai décidé de regarder au plus profond de moi et de projeter cette image de mon côté obscur pour que je puisse l'observer. Pour rendre visible ce qui ne l'est pas.


Milad hosseini-mozari
Catalogue : 2017Standing Nymph and Man | Doc. expérimental | 4k | couleur | 17:22 | USA | 2017
Milad hosseini-mozari
Standing Nymph and Man
Doc. expérimental | 4k | couleur | 17:22 | USA | 2017

In the film Standing Nymph with Man, the Fine Arts Building in Chicago is the protagonist rather than the subject. Originally designed by Spencer Beman in 1884 as a soundproof structure for the Studebaker Company (horse carts and automobiles), the building has for many years been home to artists` studios and services for classical music. This sonic history and presence is constantly evoked in the film`s soundtrack, which brings to the forefront the reverberant acoustic qualities of the building. Another invisible yet audible presence is the occasional voice of the building`s cleaning woman who relates her personal encounters with the building. Her voice is in counterpoint to the elevator operator`s whistling, a leitmotif in the soundtrack that we hear only in reflection, since we only ever see him from behind. This insistence on an invisible yet highly palpable acousmatic presence creates a rich sonic world that embraces the film`s visual mixture of live action footage and LIDAR animation. These visual techniques focus on the details of both the surfaces of the building`s interiors and its three-dimensional forms, tying the intimate upper floors to the first-floor theater, uniting surface, volume, material, reverberation, and resonance, and articulating historical traces that surpass subjects or authors. Anonymity, in fact, permeates both the building and the film, from the anonymous painting that gives the film its title, to the cleaning woman who chooses to remain anonymous in the film`s making, to the numerous lesser known musicians practicing their craft in private behind closed doors that nonetheless allow the seepage of their intermingling music into the resonant hallways of the building.

Milad Mozari’s work moves through concepts of music, belief systems, absence, and structures. His research-based practice often starts with sound or spatial experiments, which then attempt to resonate physically, historically, and experientially. While studying for his BS in International Studies at the University of Utah, he began to make and exhibit work about language and place. He continued his studies at the School of the Art Institute of Chicago, where he received an MFA in the Department of Sound. His work has shown internationally at the Hong Kong Arts Centre, International Symposium of Electronic Arts, Chicago International Film Festival, Litmus Community Space, Chicago Cultural Center, the Studebaker Theater, Roots & Culture and Experimental Sound Studio. Fellowships and residencies include Asian Cultural Council Grant to individuals, ACRE, Tsung-Yeh Artist Village and soundpocket. He currently lives in Chicago where he teaches at SAIC in the Department of Architecture, Interior Architecture, and Designed Objects.

Nadia & Laila hotait
Catalogue : 2015The Night between Ali and I | Vidéo | 4k | couleur | 9:5 | Espagne | Liban | 2015
Nadia & Laila hotait
The Night between Ali and I
Vidéo | 4k | couleur | 9:5 | Espagne | Liban | 2015

“The night between Ali and I”, is a fictional reenactment of one of the key events that happened in Lebanese and Levantine contemporary History: the highjack of 39 hostages at the Bank of America in Beirut, on October 18th, 1973. In this event four armed young fellows from the Lebanese Socialist Revolutionary Movement entered the bank, in Downtown Beirut, and asked from the authorities ten million dollars for the Arab fight against Imperialism in the region and the release of a few Arab political prisoners. They also requested that their demands and manifesto be published in the newspaper. The installation displayed as a tryptich with three main voices: Amer Farrough, one of the 4 men, Mariam, Ali’s sister and our own narration of the events. The images evoke in a particular way what happened during the night of the 26 hours that lasted the hijack but very much as we imagine things happen during the assault, and how the interaction between hostages and guerrilla gunmen in our view with a particular dance, a “deconstructed” dabke.

A collaboration between Nadia Hotait and Laila Hotait. Nadia Hotait is a multimedia artist that has exhibited her work at different international venues among others the Zolla/Lieberman gallery in Chicago, the Biennial of Young art in Moscow, Isabel Igancio Gallery in Seville and Digital Marrakesh. Nadia is recipient of INJUVE art award and the Generaciones 2015 art award and previously she was funded by LaCaixa to study at the School of the Art Institute of Chicago. She studied her BA in audiovisual Communications in between Complutense University in Madrid and Waseda University in Tokyo. Laila Hotait is a filmmaker and artist with a PHD in audiovisual communications as a Fulbright grantee she studied filmmaking at San Francisco State University and her first film, Crayons of Askalan which was supported by AFAC in association with Sundance Documentary Institute, the DFI and Screen Instittute Beirut has played in over twenty international festivals.

Terrance houle
Maxime hourani
Catalogue : 2019New Sidon Sun | Doc. expérimental | hdv | couleur | 4:43 | Liban | 2018
Maxime hourani
New Sidon Sun
Doc. expérimental | hdv | couleur | 4:43 | Liban | 2018

In 1978, the Saudi-Lebanese contractor Rafiq Hariri who made his wealth at the service of the Saudi royal family after the 1970’s global oil crisis, returned to Lebanon at the beginning of the civil war to deploy, in the name of reconstruction, one of many transnational developments in the town of Kfar Falous. Petrodollar recycling is the allocation of incredible funds to the benefit of disputed or untimely developments. “New Sidon Sun” is a video installation that tries to interrogate this model of failed modernity by surveying absence in the the Kfar Falous Science Complex as a petrodollar spill.

Maxime Hourani (Beirut, 1982) is an artist and architect who works with time-based media. He explores in his work the poetics and politics of land transformation while locating affective encounters between the history of nature and the nature of history.

Martin howse, jonathan kemp
Catalogue : 2005ap02-gdapp | performance | 0 | | 15:0 | Royaume-Uni | 2005
Martin howse , jonathan kemp
ap02-gdapp
performance | 0 | | 15:0 | Royaume-Uni | 2005

Ap02 est une performance immersive fondée sur un maillage complexe de logiciels et d?ordinateurs modifiés qui rend perceptibles des systèmes informatiques sous-jacents. Le numérique rendu physique, audible, et visible au travers de systèmes de code complexes, dans les couches quasi géologiques de la machine. Les algorithmes des données enregistrées en direct, ap02 transforme l?espace de la performance en un laboratoire ouvert. En temps réel, jouant avec un équipement récupéré, altéré, modifié, amoncelé, à peine fonctionnel, et des logiciels qui deviennent physiquement perceptibles au travers de sons/bruits et images/signes. ap02 présente une performance complexe, structurée par des processus qui passent dans les machines; le flux symphonique d?un essai de mettre ensemble une systématique fuguée est joué contre/sur le bruit de la dislocation/l?effondrement et le crash des machines aux frontières désertées du contrôle.


ap (Martin Howse + Jonathan Kemp) a été créé en 1998, pour la recherche de développements de systèmes technologiques dans le domaine de l?art, en ayant recours à de nouveaux modes de description et de fonctionnement de logiciels et de systèmes informatiques (software et hardware), dont les implications sont politiques au sens large. ap est actif dans la création de systèmes numériques physiques ouverts, et réalise des performances dans le monde entier. Il développent des disques durs et des logiciels, et organise une conférence annuelle à Londres (24 mars 2006).