Programme Berlin 2016
15h00 16h00 17h00 19h00
Theatersaal
Auditorium
mercredi

16 mars
15h00

Projection
Haus der Kulturen der Welt / Theatersaal
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

"Technicolor"

Andrew lampert: El Adios Largos | Film exprimental | 16mm | couleur | 11:13 | USA | 2013 voir plus
Eske schlters: Title (Life goes on) | Vido | hdv | couleur | 12:0 | Allemagne | 2015 voir plus
Blake williams: Red Capriccio | Vido | hdv | couleur | 6:59 | Canada | 2014 voir plus
Les leveque: Nine Hamlet RGB | Vido | hdv | couleur | 5:55 | USA | 2015 voir plus
Andrew lampert
El Adios Largos
Film exprimental | 16mm | couleur | 11:13 | USA | 2013

In 1973, Robert Altman`s THE LONG GOODBYE was both a critical and commercial flop. Set in a time transposed, neo-noir Los Angeles, Elliott Gould`s bumbling performance as gumshoe Philip Marlowe left Raymond Chandler aficionados dismayed, as did Vilmos Zsigmond;s kinetic camera work and John Williams` cheeky score. The film quickly disappeared from theaters and was never shown on television. While the film was released on RCA`s short-lived Video Disc format in 1981, the movie has not been seen since. All known prints were destroyed, and the original production elements perished due to a leaky sprinkler system in a Culver City in 1983. THE LONG GOODBYE was written off as permanently lost, an all too important missing link from Altman`s greatest period. It has for years remained a film that is impossible to reassess. Filmmaker and archivist Andrew Lamperts serendipitously purchased a mysteriously film titled EL ADIOS LARGOS from a collector through the mail in 2002. Closer examination revealed that this 16mm, black and white, cropped, Spanish-language dubbed print was actually a reduction copy of Altmans 35mm, color, widescreen, English-language masterpiece. Knowing the importance of his discovery, Lampert and a team of volunteer preservationists, including colorization expert Jody Blyer, set out on a decade-plus mission to preserve this unearthed gem using the latest digital technology. Lampert has gone to extensive lengths to painstakingly produce the most authentic, thoroughly accurate version that can be made given the considerable difference in materials.


Andrew Lampert is at the forefront of a new generation of artists engaging with film, video and performance, revisiting and extending the dialogue around an expanded cinema. Lampert pursues the alchemy between artist, art, and audience in a public space, especially that of cinema. Bringing unscripted and chance elements into cinema`s veneer of control, and often working with found material, he foregrounds the contingency of film as a medium. Reveling in cinema as a performative environment, Lampert reclaims this space from a mass media culture to emphasize its potential for immediacy and accidentand to make each of his screenings and performances a one-of-a-kind event. Lampert explores the cinematic experience as content, experimenting with the physical spaces between projector, projectionist, audience and screen, and with the experiences made possible through their convergence. The cinema becomes a site of abstract and magical production in his performances, videos and films, as Lampert investigates the gap between an artwork`s private intent and its public reception. Lampert`s media works defy strict categorization as films or videos. His projects are unified in their emphasis on the frame around the edges of narrativethe genres and clichs in which he cloaks on-screen action, the happy accidents during production, and the unexpected events during a screening that shape the audience`s response and foreground human activity in the cinematic context. Lampert was born in St. Louis, Missouri in 1976. His work has been shown at the 2006 Whitney Biennial; The Getty Museum, Los Angeles; Mitchell Algus Gallery, New York; British Film Institute, London; The Kitchen, New York, and Light Industry, Brooklyn, amongst many other venues. Lampert`s work has also been featured in a number of international festivals, including the New York Film Festival and the Rotterdam International Film Festival. In addition to his work as an interdisciplinary artist, he is the Film Archivist at Anthology Film Archives in New York.

Eske schlters
Title (Life goes on)
Vido | hdv | couleur | 12:0 | Allemagne | 2015

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

Blake williams
Red Capriccio
Vido | hdv | couleur | 6:59 | Canada | 2014

An anaglyph 3D found footage film about machines and landscape that interlaces motion with stasis, crescendos with glissandos, and reds with blues. Its three movements depict a parked Chevy Caprice police vehicle, Montrals Turcot Interchange, and an empty rave room.


Blake Williams is a filmmaker, film critic, and PhD student living and working in Toronto. His films have shown at the Toronto International Film Festival, New York Film Festival, Internationale Kurzfilmtage Oberhausen, Images Festival, and the Pacific Film Archive.

Les leveque
Nine Hamlet RGB
Vido | hdv | couleur | 5:55 | USA | 2015

Nine Hamlet RGB engages a simple algorithm to destabilize the timing of the red, green and blue frame sequential display system while incorporating fragmented, appropriated to be or not to be excerpts from nine Hamlet films. The audio is the synced sound from the appropriated excerpts laced with low frequency binaural tonal pulsations. The physicality of the constructed optical and aural experience is seeking a mechanism of unconscious disarticulation. The ghosting of colors, evanesent Hamlets, and somatic tones are looking for a dream-work that can be ciphered, displaced, or not.


Les LeVeque works with digital and analog electronic technology. His projects include single and multi-channel videos and video/computer based installations. His projects have been exhibited and screened internationally. Video Data Bank distributes his single-channel video work. He is represented by Kerry Schuss Gallery in New York City.


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Andrew Lampert acquit en 2002 un film 16 mm noir et blanc, en espagnol, intitulé «El Adios Largos», qui s’est avéré être la seule trace existante du film «The Long Goodbye», réalisé par Robert Altman en 1973. Après dix ans de restauration, le film revit au travers de couleurs nouvelles. Eske Schlüters joue avec les illusions, et réalise une fiction documentaire au sujet de la réalisation d’un film jamais achevé produit par l’UFA dans les années 40. Blake Williams filme en 3D des machines et des paysages où s’entrechoquent mouvement et immobilité, les couleurs rouge et bleu. Les Leveque recycle des images extraites de neuf films inspirés d’Hamlet. Un algorithme disjoint le rouge, le vert et le bleu, provoquant un mécanisme de désarticulation inconsciente.


mercredi

16 mars
16h00

Projection
Haus der Kulturen der Welt / Theatersaal
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

"Discontinu"

Volker schreiner: Sites | Film exprimental | hdv | couleur et n&b | 8:20 | Allemagne | 2015 voir plus
Sophie roger: C'est donc un amoureux qui parle et qui dit : | Film exprimental | hdv | couleur | 6:15 | France | 2015 voir plus
Thomas mohr: Zu Hanne Darboven | Vido | hdv | couleur | 8:27 | Pays-Bas | 2014 voir plus
Damir ocko: TK | Film exprimental | 4k | couleur | 19:46 | Croatie | 2015 voir plus
Volker schreiner
Sites
Film exprimental | hdv | couleur et n&b | 8:20 | Allemagne | 2015

A filmic tryptic of three landscapes.


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

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

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

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

Thomas mohr
Zu Hanne Darboven
Vido | hdv | couleur | 8:27 | Pays-Bas | 2014

Is it possible to understand the work of the artist and composer Hanne Darboven (1941 - 2009) famous for her large scale installation containing thousands of drawings and notes? The project Zu / On Hanne Darboven is an exploration of herless known music in relation to her visual oeuvre. Abschliessend (In conclusion) is based on 1853 pictures handheld taken- as meticolous as possible - very close to the details of the works in the last space of the exhibition The order of time and things. The home studio of Hanne Darboven organised by the Museo Nacional Centro de Arte Reina Sofa and the Deichtorhallen Hamburg - Sammlung Falckenberg in collaboration with the Hanne Darboven. The music is the last part of Hanne Darbovens Requiem recorded in eleven volumes. The pictures are processed in still compositions frame by frame in a series of cycles increasingly compressing the original information.


Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and "films" referring inter alia to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. Working with computer-generated processes combined with manual execution based on a growing photo archive containing at this moment more then 500000 pictures regarding major and minor personal and historic events. Main themes recently the reverberation of historic incidents and and the intertwined relations of culture. Thomas Mohrs particular way of composing films since 2008 begins with smallest elements - taking single images. This material is processed in repetitive steps to higly compressed structures where the visual properties are almost dissolved. Since 2010 works specifically related to the body of work of Hanne Darboven. Now working on constructing an episodic memory covering the information of 30 years (1985-2015).

Damir ocko
TK
Film exprimental | 4k | couleur | 19:46 | Croatie | 2015

Departing form an eight part poem the artist constructs a complex polyphonic work in which poetry meets movements, sounds, silences, bodies, and endurability in order to project the ideas behind the work. Several topics constantly reoccurring through out the work are brought forward by a meticulously scored narration, in which pause and silence are equally important as the spoken or written word. Poem itself depicts on various images, starting as a morning song in which a question of a routine and a rotation turns the engine on for work to move towards more difficult imagery. People gather in dangerous constellations to act in violence, to observe silently, or to setup the false feeling of tranquillity which is constantly turned upside down by the various mechanisms of the film itself. Heavy things get stuck in the throat, stones used as tools and voices come to unrest.


Damir Očko (b. 1977, lives and works in Zagreb) is one of the most prominent Croatian artist of his generation. His videos, films, poetry and works on paper have been exhibited recently in Temple Bar Gallery in Dublin (2014), KM - Knstlerhaus Halle fr Kunst & Medien in Graz (2014), Yvon Lambert gallery in Paris (2013), Palais de Tokyo in Paris (2012), Galleria Tiziana Di Caro in Salerno (2012), and Kunsthalle Dusseldorf (2011). He participated in numerous collective exhibitions with institutions such as MUDAM, Luxembourg, FRAC Le Plateau in Paris, Kunsthalle Wien, and Museum of Contemporary Art in Zagreb among others. His works are part of many public and private collections around the world.


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Volker Schreiner traverse trois paysages au moyen de fragments de films. Sophie Roger regarde et dessine le paysage vu à travers les planches ajourées d’un grenier, et les pages arrachées des «Fragments d’un discours amoureux» de Roland Barthes. Thomas Mohr rend hommage au travail de composition musicale de l’artiste Hanne Darboven, connue pour ses installations monumentales, qui rassemblaient des milliers de dessins et de notes. A travers les ruptures et les répétitions entre les motifs, une composition sonore et visuelle infinie apparait. Damir Ocko construit un travail polyphonique complexe dans lequel la poésie rencontre des sons et des silences, une parole empêchée, des corps dans la confrontation et l’effort d’endurance.


mercredi

16 mars
17h00

Projection
Haus der Kulturen der Welt / Theatersaal
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

"Les mondes possibles"

Nova paul: Still Light | Vido | 16mm | couleur | 6:35 | Nouvelle-Zlande | 2015 voir plus
Halida boughriet: Des intgrations | Vido | hdv | couleur et n&b | 16:7 | France | 2015 voir plus
Julien dubuisson: Pavillon nocturne | Vido | hdv | noir et blanc | 5:45 | France | 2015 voir plus
Louis-cyprien rials: Mene, Mene, Tekel, Upharsin | Vido | hdv | couleur | 5:45 | Iraq | 2015 voir plus
Alex monteith: Cascade Cove in the Shadow of 150,000 Bones | Doc. exprimental | hdv | couleur et n&b | 13:0 | Nouvelle-Zlande / | 2015 voir plus
Salom lamas: The Tower | Vido | hdv | noir et blanc | 8:45 | Portugal | 2015 voir plus
Nova paul
Still Light
Vido | 16mm | couleur | 6:35 | Nouvelle-Zlande | 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 Pauls 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 Ko 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.


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Halida boughriet
Des intgrations
Vido | hdv | couleur et n&b | 16:7 | France | 2015

Dans le film Des intgrations , La mmoire collective officielle et la mmoire politique se figent, la limite de lamnsie voire de la ngation. Cest par le biais dun univers potique mais dsenchant que le film se propose de soulever des enjeux touchant la jeunesse contemporaine. Les personnages jouent sur une srie de correspondances qui rigent le film au rang de transfert visuel.

Artiste franaise et Algrienne . Anciennement diplme de LEcole Nationale Suprieure des Beaux Arts de Paris et du programme dchange de la SVA section cinma New York jusquen 2005. Halida Boughriet explore un large ventail de mdias travers ses oeuvres . Elle accorde une place centrale la performance, dont les structures de son langage artistique lui donne une varit de formes. Au carrefour dune proccupation esthtique, sociale et politique, ses pices sefforcent de saisir les tensions dans les relations humaines mis en vidence par la socit . Le corps est omniprsent , comme un instrument de geste potique.

Julien dubuisson
Pavillon nocturne
Vido | hdv | noir et blanc | 5:45 | France | 2015

Inspir par la pice dAlberto Giacometti Le Palais 4h du matin (1932), Pavillon nocturne est conu comme un petit thtre . Un thtre dans lequel les personnages ont t remplacs par des formes, lhistoire par les relations quelles entretiennent entre elles, les rcits quelles portent ainsi que leur inscription dans lhistoire de lart. La sculpture (la combinaison de six formes embotes) est une structure construite et close sur elle-mme, il ny a pas despace entre les pices aucun autre lment ne peut y entrer ni en sortir. A la fois white cube et black box theater, cette forme tiroirs se prsente sous la forme dune collection, un muse, une spulture, une abstraction, une mort. Un enfant assis sur le sol assemble les pices en pltre dun trange jeu de construction. Dans ses mains des formes (un visage, une pierre, une forme gomtrique, etc.) apparaissent et disparaissent progressivement par un systme dembotement rappelant le principe des poupes russes.

Julien Dubuisson est n en 1978 en France. Il est diplm de l`cole nationale suprieure des Beaux-arts de Paris en 2005 et participe depuis 2103 au programme de recherche 5/7de la Villa Arson. Son travail a fait lobjet de plusieurs expositions dont notamment: Basse df au Palais de Tokyo, Paris(2009) ; Dynasty au Palais de Tokyo / muse dArt moderne de la ville de Paris (2010); Parois au Parc culturel de Rentilly (2011); Agir dans ce paysage au Centre international dArt et du Paysage de l`le de Vassivire (2013); Natura Lapsa au Confort Moderne (2014); aux bois dormants au muse dpartemental dArt contemporain de Rochechouart (2014); L`Ordre des lucioles la Fondation d`entrepriseRicard (2015); laprs midi la Villa Arson (2015).

Louis-cyprien rials
Mene, Mene, Tekel, Upharsin
Vido | hdv | couleur | 5:45 | Iraq | 2015

Mene, Mene, Tekel, Upharsin est une vido tourne en 2015 en Irak, Kirkouk, quelques kilomtres de lEtat Islamique. Dans le champs ptrolier majeur de Baba Gurgur, un feu ternel brle, celui du Livre de Daniel, duquel Dieu sauve trois enfants juifs jets dans les flammes par le roi Nabuchodonosor car ils ne vnraient pas ses idoles. Cette succession de plans fixes montre la fois les installations ptrolires, menaants monstres de mtal perdus dans le dsert, et ce feu sacr inscrit dans un cercle, mythique punition dune idoltrie, et devenu lui-mme idole et objet de toutes les prdations contemporaines. Des gros plans de flammes, semblent sortir des voix, des choeurs, comme si le gaz et la chaleur dformant limage voulaient rendre cette dystopie mlodieuse. Discrtement mles la bande son, des choeurs de femmes en aramen, priant, enregistres pendant plusieurs mois dans des camps de rfugi du Nord de lIrak apportent la voix ncessaires des victimes les plus immdiates des conflits, donnant la profondeur biblique, archologique et spirituelle que ncessite la fois un tel lieu et le sentiment menaant, quasiment apocalyptique qui se dgage de ces flammes et que rvle le titre : Pes, Pes, Compt, divis.

N en 1981 Paris, Louis-Cyprien Rials tudi le thtre en France avant de dcouvrir la photographie au Japon, oui il a vcu plusieurs annes. En 2007, il entreprends un voyage sur les traces du peintre Hiroshige pour livrer une analyse comparative du paysage japonais dans le temps. Depuis son retour du Japon, en 2008, il vit entre Paris, Bruxelles et Berlin, tout en continuant ses voyages souvent dans des pays non-reconnus internationalement ou dans des zones interdites au public quil voit comme des parc naturels involontaires. Paralllement son oeuvre photographique, il travaille sur le minral et la relation que lhumain entretient avec les pierres images, livrant dans de grands tirages photographiques des paysages tirs des pierres, que lhumain se plait associer dautres formes, par le phnomne de paridolie. Le travail sur le paysage, sa profondeur, et linterprtation que nous avons de ses reprsentations est une partie importante du travail de lartiste, que ce soit dans des installations de projecteurs de dispositives gnrant des peintures-paysages, ou sa trilogie de vido sur le Dsert et la violence, termine en 2015 en Irak.

Alex monteith
Cascade Cove in the Shadow of 150,000 Bones
Doc. exprimental | hdv | couleur et n&b | 13:0 | Nouvelle-Zlande | 2015

SYNOPSIS Film essay recorded in Aotearoa / New Zealand`s Cascade Cove, Tamatea / Dusky Sound; one of the wettest places on earth. After he had sailed there for the first time in 1770, James Cook spent more than two months in Tamatea in Aotearoa on his second journey in 1773. Cascade Cove within Tamatea is also near to the sites of the earliest archeological digs of the lower fiords of Aotearoa. The Begg Brothers, then in the modern era, Peter Coutts, each made various archeological incursions looking for and removing both settler and Maori material culture from the area. This film compiles observations of the intensity of weather atmosphere as a physical expression of tension between elemental forces, as a way of approaching a contested past in which European research methods overran already existing Maori knowledge production about the area. This film is part of an ongoing series of work about this area of Aotearoa.


Alex Monteith Biography (1977-) born Belfast, Northern Ireland, resides Tamaki Makaurau, Aotearoa resides in Piha, Aotearoa Alex Monteiths works often explore the political dimensions of culture engaged in turmoil over land ownership, history and occupation. The works traverse political movements, contemporary sports, culture and social activities. Projects often take place in large-scale or extreme geographies. Recent surfing related actions connect the museum directly to local geography through participatory performance projects.

Salom lamas
The Tower
Vido | hdv | noir et blanc | 8:45 | Portugal | 2015

Maybe Koljas experiment of merging his body (human) with the tree (nature) venturing into a border zone between the earth and the sky is due to his purity of spirit, to the grandeur of the idiots, or the foolishness of the mystics; or is it all this together? Maybe it is a symptom of the enlightened or simply an elaborated suicide.


Salom Lamas (1987, Lisbon, Portugal) studied Cinema in Lisbon and Prague, MFA in Amsterdam and is a Ph.D candidate in film studies in Coimbra. She has been working with time-based image and has exhibited both in art spaces and film festivals. After a couple of short films, her debut film NO MANS LAND premiered internationally at Berlinale (Forum) and was exhibited in a number of other festivals. Lamas is a MacDowell Colony fellow, a Rockefeller Foundation Bellagio Center fellow and DAAD Berliner Knstlerprogramm fellow.


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Nova Paul scrute un intérieur, la lumière à travers l’espace, un temps comme arrêté. Juliane Jaschnow et Stefanie Schroeder entreprennent un voyage dans les régions industrielles de l’ex-Allemagne de l’Est. Les usines ferment et des centres de bien-être apparaissent, mais le passé est encore proche sous cette nouvelle surface. Halida Boughriet filme de jeunes adolescents, nous confronte à une mémoire collective et à une mémoire politique qui se figent. Julien Dubuisson conçoit «Pavillon nocturne» comme un petit théâtre inspiré de la pièce de Giacometti «Le Palais à 4h du matin» (1932), dans lequel les personnages ont été remplacés par des formes, composant une structure complexe et close. Louis-Cyprien Rials filme en Irak, à Kirkouk, les flammes qui surgissent à même le sol dans un champ pétrolier. En Nouvelle-Zélande, Alex Monteith se rend à la Cascade Cove, dans une baie proche des sites où ont été faites les premières fouilles archéologiques des fjords de Nouvelle-Zélande, à la recherche de vestiges des premiers colons et de la culture maorie. Salomé Lamas filme une jeune femme qui tente de se fondre avec la cime d’un arbre, à la frontière entre la terre et le ciel.


mercredi

16 mars
19h00

Projection
Haus der Kulturen der Welt / Theatersaal
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

"Espaces distants"

Juan Manuel echavarra: Silencio Invisible, Darwin and Una Leccin | Vido | hdv | couleur | 8:0 | Colombie | 2015 voir plus
Jussie nsana banimba: Bimbambukila | Vido | hdv | couleur | 6:1 | Congo (Brazzaville) | 2012 voir plus
Dominik ritszel: Pogłos | Vido | hdv | couleur | 14:30 | Pologne | 2015 voir plus
Hans op de beeck: Night Time (extended) | Animation | hdv | noir et blanc | 19:18 | Belgique | 2015 voir plus
Mike hoolboom: Scrapbook | Doc. exprimental | 16mm | noir et blanc | 18:0 | Canada | 2015 voir plus
Juan Manuel echavarra
Silencio Invisible, Darwin and Una Leccin
Vido | hdv | couleur | 8:0 | Colombie | 2015

Juan Manuel Echavarra parle de la guerre qui chappe au regard, dans les territoires reculs de Colombie. Les lieux, vides de toute prsence humaine, voquent lhistoire violente du pays et limpratif de nouveaux possibles. Jussie Nsana Banimba interroge la mmoire des murs de Brazzaville, qui deviennent des espaces tmoins, entre le pass et le prsent. Dominik Ritszel place le son comme protagoniste principal de son film, dans une ville devenue laboratoire de perception o la civilisation est en suspens. Hans Op de Beeck cre un film danimation partir de ses aquarelles, introduisant un degr de fiction supplmentaire dans ce qui nest jamais la reproduction dune ralit. Mike Hoolboom reprend les images filmes en 1967 par Jeffrey Paull, dans un hpital psychiatrique. Cinquante ans plus tard, il interroge Donna Washington, autiste et pensionnaire de cet hpital lpoque, qui raconte sa propre histoire partir des images du film.

Juan Manuel Echavarra was born in Medelln, Colombia in 1947. He resides in Bogot. A writer before becoming an artist, he published two novels, La gran catarata (Bogot: Editorial Arco, 1981) and Moros en la costa (Bogot: Ancora Editores, 1991). As of 2015 Echavarra has presented over thirty solo exhibitions and participated in well over a hundred group exhibitions, screenings and film festivals. His first solo gallery exhibition was in New York in 1998. Since then, his work has been shown at the Venice Biennale, the Korean Kwangju Biennial, Daros Latin America, Zurich, the Kiasma Museum of Contemporary Art in Helsinki, Finland at the Irish Museum of Modern Art in Dublin. As well as, El Museo del Barrio, New York, at the Muse du Quai Branly and the Cartier Foundation in Paris, France and at Sammlung Goetz at Haus der Kunst in Munich, Germany. His first solo museum exhibition in the U.S, Mouths of Ash, was organized by the North Dakota Museum of Art in 2005 and traveled to the Weatherspoon Museum of Art in 2006 and the Santa Fe Art Institute in 2007 2008. Hes had two very important shows in Colombia at the Ciudadela Educativa y Cultural Amrica in Puerto Berro as well as the Museo La Tertulia in Cali. In 2011 his works were shown in Tallinn, Stonia for the 15th Tallinn Print Triennial, in Tel Aviv, Israel at the Center for Contemporary Art, at the Museo de Antioquia in Medelln, Colombia and at the Museum of Latin American Art in Long Beach, California. In the next part of the year, his work was shown at the Bienal Do Mercosul in Porto Alegre, Brazil, Le Mois de la Photo Montreal in Canada and at the Centre for Contemporary Culture Strozzina in Florence, Itlay. In 2012, he was invited to the Sidney Biennale All Our Relations to show Silencios and Requiem NN. In 2015 he will show his work at the Muse dAquitaine in Bordeaux and at the Universit Catholique de Lovain in Belgium. His videos have been screened at many festivals and exhibitions throughout the world such as Colombia, the United States, Canada, Israel, England, France, Spain, Hungary, South Korea, Colombia, Argentina, Brazil, Mexico, Australia, Germany and Afghanistan. In 2013 he showed Rquiem NN, his first feature length film, a world premiere at the Festival Internacional de Cine de Cartagena followed by the North American premiere at the Museum of Modern Art (MoMA) in New York City.

Jussie nsana banimba
Bimbambukila
Vido | hdv | couleur | 6:1 | Congo (Brazzaville) | 2012

Ralise lors des Ateliers Sahm (Rencontre Internationale dArt Contemporain, qui se sont tenus du 15 novembre au 15 octobre 2012 Brazzaville, Bimbanbukila , premire vido de Jussie Nsana pose le problme de mmoire. Cette premire ralisation de lartiste nous emmne au cur de Brazzaville o lartiste magnifie le mur sous toutes ses coutures. Des murs qui deviennent des espaces tmoins, de ponts entre le pass et le prsent.

Jussie Nsana Banimba est ne Brazzaville en 1984 et elle vit et travaille actuellement Pointe-Noire. Elle est diplme de l`cole Nationale des Beaux Arts de Brazzaville, en arts plastiques. Elle se considre comme une artiste part entire et cre des peintures, des bandes dessines, et des vidos. Jussie particip octobre 2015 au Festival International de la Bande Dessin dAlger en Algrie. Elle a expose ses uvres en novembre 2015 l`exposition Soul Power au Muse-Galerie du Bassin du Congo Brazzaville, en 2014 l`exposition "Butsel" au Centre Culturel Basango Pointe-Noire; en 2013 l`Institut Franais du Congo (IFC) Pointe-Noire; en 2012 et 2013et 2015 elle a particip la 1re, 2e et 4e dition de la "Rencontre d`Art contemporain de Brazzaville" aux Ateliers SAHM. Comme elle-mme le dit, Jussie transporte dans son sac arts , ses passions les plus artistiques, la BD, la peinture et la vido. Engage avec la jeunesse, Jussie, avec une gnrosit hors du commun, transmet son savoir-faire et son amour pour lart aux enfants et aux jeunes dans son espace Nsana Arts Butsil.

Dominik ritszel
Pogłos
Vido | hdv | couleur | 14:30 | Pologne | 2015

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


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

Hans op de beeck
Night Time (extended)
Animation | hdv | noir et blanc | 19:18 | Belgique | 2015

"Night Time (extended)" - Hans Op de Beeck 2015 Full HD video, black and white, sound, 2015 (19 minutes 20 seconds) Night time (extended) is a dark, enigmatic animation without text based on a large series of monumental monochrome watercolours which Op de Beeck steadily realised over the past five years, in between all his other multidisciplinary projects. All the watercolours were painted by the artist at night in complete solitude and concentration.This nightly atmosphere is a tangible presence in the metropolitan landscapes, the images of nature, the buildings, interiors and characters which the artist brings to life in the film. "Night time (extended)" is conceived as a mysterious dream in which all proportions, perspectives and environments are fictitious. In this way, intimate close-ups are made to alternate with sweeping images; every image clearly and visibly the product of deliberate construction. The film is comforting and soothing, yet also exudes a sense of dormant danger and derailment, just as in the film noir tradition. Here, Op de Beeck brings together an anachronistic whole of both classical and distinctly contemporary themes into an effortless blend of both highly cultivated and more visceral subcultural elements.


Hans Op de Beeck produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder and silence. Over the past fifteen years Op de Beeck realized numerous monumental sensorial installations, in which he evoked what he describes as visual fictions: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters. Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels and Gooik, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, B (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonians Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); KunstmuseumThun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, D (2014), Op de Beeck participated in numerous group shows at institutions such as The Reina Sofia, Madrid, ES; the Scottsdale Museum of Contemporary Art, AZ, US; the Towada Art Center, Towada, JP; ZKM, Karlsruhe, DE; MACRO, Rome, IT; the Whitechapel Art Gallery, London, GB; PS1, New York, NY, US; Muse National dArtModerne, Centre Pompidou, Paris, FR; Wallraf-Richartz Museum, Kln, DE; Hangar Bicocca, Milano, IT; the Hara Museum of Contemporary Art, Tokyo, JP; 21C Museum, Louisville, Kentucky, US; The Drawing Center, New York, NY, US; Kunsthalle Wien, Vienna, AT; Shanghai Art Museum, Shanghai, CN; MAMBA, Buenos Aires, AR; Haus der Kunst, Munich, DE; MuseodArteModerna di Bologna, Bologna, IT; Kunstmuseum Bonn, Bonn DE, His work was invited for the Venice Biennale, Venice, IT; the Shanghai Biennale, Shanghai, CN; the Aichi Triennale, Aichi, JP; the Singapore Biennale, Singapore, SG; Art Summer University, Tate Modern, London, GB; the Kochi-Muziris Biennale, IN, and many other art events.

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

Lensed in Ohios 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


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Juan Manuel Echavarría parle de la guerre qui échappe au regard, dans les territoires reculés de Colombie. Les lieux, vides de toute présence humaine, évoquent l’histoire violente du pays et l’impératif de nouveaux possibles. Jussie Nsana Banimba interroge la mémoire des murs de Brazzaville, qui deviennent des espaces témoins, entre le passé et le présent. Dominik Ritszel place le son comme protagoniste principal de son film, dans une ville devenue laboratoire de perception où la civilisation est en suspens. Hans Op de Beeck crée un film d’animation à partir de ses aquarelles, introduisant un degré de fiction supplémentaire dans ce qui n’est jamais la reproduction d’une réalité. Mike Hoolboom reprend les images filmées en 1967 par Jeffrey Paull, dans un hôpital psychiatrique. Cinquante ans plus tard, il interroge Donna Washington, autiste et pensionnaire de cet hôpital à l’époque, qui raconte sa propre histoire à partir des images du film.


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