Programme Berlin 2016
15h00 17h00 19h00 21h00

18 mars

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


Adrian flury: A place I`ve never been | Film exprimental | 4k | couleur | 4:40 | Suisse | 2014 voir plus
Diego bruno: Galindez | Doc. exprimental | 4k | couleur | 21:56 | Argentine | 2015 voir plus
Miguel peres dos santos: Voices | Film exprimental | hdv | couleur et n&b | 18:48 | Pays-Bas | 2015 voir plus
Eduardo cachucho: Flatland | Vido | hdv | couleur et n&b | 8:5 | Belgique | 2014 voir plus
Can sungu: Replaying Home | Vido | hdv | couleur | 30:0 | Allemagne | 2013 voir plus
Adrian flury
A place I`ve never been
Film exprimental | 4k | couleur | 4:40 | Suisse | 2014

By sourcing multiple digital images of the same place from different archives this experiment in film makes use of frame by frame montage to discover hidden forms, patterns and references thereby giving new meaning to the prevailing redundancy of these pictures.

Adrian Flury was born in 1978 in Zug, Switzerland. He started out in an apprenticeship as an electrician, after which he studied animation at the Lucerne University of Arts. He has been working in the field of moving images since 2005.

Diego bruno
Doc. exprimental | 4k | couleur | 21:56 | Argentine | 2015

The film focuses on the formation and representation of ideology, the position of the intellectual, and forms of re-presentation, actualisation of historical complexities. Galindez departs from the theatre play El Señor Galindez, written by Argentine psychoanalyst, dramaturge and actor Eduardo Pavlovsky in 1972.

Born in 1978 in Argentina, Diego Bruno lives and works in Helsinki. He studied History of Art at the University of Buenos Aires, holds a BA in Fine Arts from the Escola Massana, Barcelona and an MFA in Fine Arts from the Finnish Academy of Fine Arts. Brunos work has been shown at Wiels Center for Contemporary Art, Brussels; Museum of Latin American Art, Buenos Aires; Centre d ́Art Santa Monica, Barcelona; Manifesta 08 Murcia; Hudson Valley Center for Contemporary Art, New York; Center for Contemporary Art Celje; Extra City, Antwerp; The Solo Project, Basel; Museum of Contemporary Art, Barcelona and Malmö Kunsthalle, among others.

Miguel peres dos santos
Film exprimental | hdv | couleur et n&b | 18:48 | Pays-Bas | 2015

That one is able to speak does not mean that one has a voice. In Voices, Miguel Peres do Santos constructs a comparison between the collective consciousness and a censored archive. Just like in our own lives, we choose to keep what we do not want to remember as far from our consciousness as we unconsciously can; the same method we apply on public archival material that we would rather not be confronted with as a societal whole. At the television archive of Beeld and Geluid, Miguel Peres dos Santos and Sharelly Emanuelson found a significant amount of footage relating to migration from the public television memory of the Netherlands. In it, the essence of the Dutch relation to the alleged other can be viewed. In Voices Peres dos Santos uses this material to try to find out if the perceived voiceless were really silent, and if those who do not have a voice today are only mute to the ones who refuse to listen.

Miguel Peres dos Santos (Lisboa, 1976) is an independent artistic researcher graduated in his MA in 2012 from the Royal University of the Arts in The Hague, The Netherlands. His work is frequently screened in The Netherlands, but also in Belgium, France, Denmark, Norway, Portugal and the U.S. He lectured in 2012 for the University College Leiden, and is a policy advisor for Foundation Focus. He currently lives and works in The Hague.

Eduardo cachucho
Vido | hdv | couleur et n&b | 8:5 | Belgique | 2014

Hendrik Verwoerd in an experiment he carried out in the 1930s named A Method for the Experimental Production of Emotions uses various combinations of colours and symbols to elicit in his test subjects various emotions. Verwoerd studied as a psychologist before ever entering into politics, even achieving a doctorate magna cum laude. His highly mediatic experiment goes on to succeed in its ambitions in creating: compassion, shame, embarrassment, malicious joy, anger and vexation. Flatland emerges from research into this experiment and how its outcomes could be overlaid onto the propaganda and media manipulation during the apartheid regime. Flatland takes the audience through a performance-lecture that traverses the research into the psychological experiments while overlaying juxtaposing them onto South Africas past and present. Simultaneously it makes a case for how language and emotion is used by politics today to control the masses.

Eduardo Cachucho is an artist and architect based in Brussels and Johannesburg. He is interested in how national, and trans-national, infrastructural developments can have long lasting rippling effects from their implementation. Delving into detailed historical research into specific topics, he collects references of historical events, documents, catalytic events, archival materials. These elements often find themselves in critical events that over time lose their importance, or blur their meanings and effects, or even change in their meaning of significance over the decades. His works act as interventions that reinforce or put into question these elements. Simultaneously his interest in performance and video work allow another entry-point into said research material and works, often being condensed into a performative action symbolising core elements of the research, presented as performance and video pieces within an installation.

Can sungu
Replaying Home
Vido | hdv | couleur | 30:0 | Allemagne | 2013

In the early 1980s, VHS video recorders had become widespread in Germany and in a very short time they were also well accepted by many Turkish immigrants there. The lack of sufficient German language skills, as well as the fact that the content of German television broadcasting was not targeting the Turkish audience at all, led Turkish immigrants increasingly to rent videotapes. The video nights were a sort of social event including neighbours and family. Watching videos was accepted as a pleasant and family-friendly alternative to going out and getting attached to German-dominated cultural life. A lot of Turkish video companies opened up in Germany and imported movies to transfer them on videotapes. Some of these companies also produced low-budget video movies targeting the Turkish audience in Germany. Due to digital revolution, these companies were not able compete against digital TV and online videos and closed one after another. Some of the movies which were only released on videotapes, are now in danger of disappearing forever. Replaying Home is a video collage including selected cuts from these Turkish movies shot in Germany during the 1970s and 1980s and invites on a journey through a fictive universe based on stereotypes, culture shock, Occidentalism, homesickness and the traumas of migrant life.

Can Sungu was born in Istanbul, Turkey, studied Film (BA) and Visual Communication Design (MFA) at Istanbul Bilgi University and at the Institute for Art in Context in Berlin University of Arts (MA), gave courses on film and video production, facilitated workshops and took part in various exhibitions in Europe, such as at transmediale`14, Museum of Modern and Contemporary Art Rijeka and Knstlerhaus Vienna. In 2014 he co-founded the project space bi`bak in Berlin-Wedding where he works as project manager, artist and curator.

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Adrian Flury recrée un espace continu à partir de milliers de clichés touristiques de sites d’Athènes repris d’internet, et les réanime grâce à la redondance des images et des points de vue. Diego Bruno s’interroge sur la formation et la structure de l’idéologie, le rôle des intellectuels, et la formes des représentations de l’histoire. Galindez a pour point de départ la pièce de théâtre «El Sen~or Galindez», écrite par le psychanalyste, auteur et acteur argentin Eduardo Pavlovsky en 1972. Miguel Peres dos Santos reprend et compile des extraits de la télévision publique des Pays-Bas des années 60, en rapport avec l’émigration et la perception de celui considéré comme « autre », établissant ainsi une comparaison entre conscience collective et archives censurées. Eduardo Cachucho interroge l’utilisation du langage et des émotions, couramment pratiquée par les hommes politiques en vue de contrôler les masses. Il reprend les conclusions des expérimentations psychologiques de Hendrik Verwoerd, qui écrivit dans les années 30 une « Méthode pour la production expérimentale des émotions» par l’utilisation de couleurs et de symboles. Can Sungu nous fait découvrir un univers fictif basé sur les stéréotypes, le choc culturel et les traumas de la vie d’immigré. «Replaying Home» est un collage vidéo d’extraits de films turcs tournés en Allemagne dans les années 70 et 80 spécialement à destination de la communauté turque, qui se réunissait pour voir ces films lors de soirées vidéo.


18 mars

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


Sirah foighel brutmann, Eitan Efrat: Nude Descending a Staircase | Vido | hdv | couleur | 18:30 | Belgique | 2015 voir plus
Maya schweizer: Le Soldat mourant des Milles | Film exprimental | hdv | couleur | 13:0 | Allemagne | 2014 voir plus
Galera perdida: The blind don't see black, they see nothing | Film exprimental | 16mm | noir et blanc | 5:41 | USA | 2015 voir plus
Armando lulaj: Recapitulation | Film exprimental | hdv | couleur et n&b | 13:0 | Italie | 2015 voir plus
Velibor bozovic: My Prisoner | Vido | hdv | couleur | 21:41 | Bosnie-Herzgovine | 2014 voir plus
Sirah foighel brutmann, Eitan Efrat
Nude Descending a Staircase
Vido | hdv | couleur | 18:30 | Belgique | 2015

The first part of Nude Descending a Staircase is a composition of clips found online that were made by visitorspilgrimsto the remote memorial site of Walter Benjamin in Portbou, Spain. Each of these individual registrations is anchored in the specificity of the location. They start with the arrival to Portbou, go through the small town up to the cemetery, and end in a dramatic descent down Dani Karavans iconic staircase, which was created as an homage to Walter Benjamin. The assembly this audiovisual material transforms the autonomous experiences into one collective trajectory, and entangles collective memory, experience and the production of images. The second part reveals another staircase, abandoned and barricaded, on a small stage-like platform, outside the former Espai Memorial Walter Benjamin. The second staircase modestly suggests an alternative mode of framing memory. The title, borrowed from Marcel Duchamps 1912 painting, proposes to dialogue Walter Benjamins writing on history and reproduction with Duchamps attemptin relation to the developments in photographyto capture movement autonomous from a body. Nude Descending a Staircase is the first chapter in a series of works titled Gathering Series.

Sirah Foighel Brutmann and Eitan Efrat (both 1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the Audiovisual field. Living and working in Brussels. Their works have been shown in film festivals as IDFA and Rotterdam Film Festival (NL); Courtisane (BE); New Horizons (PL); on ARTE/WDR; exhibited in solo exhibitions at Kunsthalle Basel (CH) and Argos (BE), and group exhibitions in STUK (BE); EMAF (DE) and The Petah-Tikva Museum for Contemporary Arts (IL). Their works have been produced by Auguste Orts and Argos (BE) and distributed by EYE institute (NL), they have won prizes in IMAGES (CA) and Oberhausen Film Festival (DE). Sirah and Eitan have presented their work as featured artists at the 59th Flaherty Film Seminar (US), and have participated in artists talks and presentations in institutions such as FLACC, Genk, LUCA BFA class, Brussels, L`erg BFA class, Brussels, DocNomads 2014, and Bezalel MFA class, Tel Aviv. Sirah and Eitan`s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images moving or still; the relations between spectatorship and history; and the temporality of narratives and memory. Sirah and Eitan are members of the artists-run collective Messidor

Maya schweizer
Le Soldat mourant des Milles
Film exprimental | hdv | couleur | 13:0 | Allemagne | 2014

A video work, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town`s center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.

Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts (with Lothar Baumgarten). Maya Schweizer works with diverse media: the focus of her work lies in the making of short films based on documentary material. Identity, biography, politics, history and memory are recurring themes in Maya Schweizers photographs and videos... In general, the artist generates an incomplete tableau of collective memory and questions the way history is produced and visually recorded. (Cynthia Krell). The artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial a relation which traces back to the very beginnings of montage as it does to research findings by French historian Pierre Nora. Recurring moments in Schweizers multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect. She received international grants and most recently Project grant "Lieux de Mmoire and Desire",Kulturstiftung des Freistaates Sachsen (KdFS), 2015. The Exhibition sponsor from the Institut fr Auslandsbeziehungen (ifa), TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; Der sterbende Soldat von Les Milles, Kunsthalle Baden-Baden, Germany 2015. Edith Seeshows Notes at the Kunstverein Langenhagen, 2013. Metropolis. Report from China with Clemens von Wedemeyer at the Frankfurter Kunstverein, 2011. The Same Story Elsewhere at the Westflisher Kunstverein, Mnster, Germany, 2010. Schweizer was also involved in many international exhibitions, such as; Inside the City. Public Space and Free Space at the GAK, Bremen, Germany, 2015. Vot ken you mach ?, Muzeum Wsplczesne Wroclaw, Poland, 2015. Collection Alphabet at the Museum of Contemporary Art (GfZK), Leipzig, 2014. The city that doesnt exist at Ludwig Forum, Aachen, 2012. Ambigous Being, Hong Gah Museum,Taipei 2012. Take me to your leader!, Kunstmuseum Bergen, Norway, 2011. Here and There, at the Wallace Gallery, New York and at the Oonagh Young Gallery, in Dublin, 2011. 15 Jahre Villa Aurora. Transatlantische Impulse, AdK - Akademie der Knste, Berlin, 2011. Of Other Spaces at the Bureau for Open Culture, Columbus, Ohio, USA 2011.

Galera perdida
The blind don't see black, they see nothing
Film exprimental | 16mm | noir et blanc | 5:41 | USA | 2015

This film marks an investigation into the halftone print. Specifically, the spherical and diamond pattern that makes up an image found commonly in offset printing. These tessellations form a corollary to the structure of language where each "dot" is akin to a phoneme. In linguistics, the collated phonemes make up a morphemewhat we can call a meaningful word. The dot in the halftone print functions much the same way. With these dots, the reach of an image is made possible, exploded and distributed for the masses. Its legibility is a consumable currency by being illustrative for accompanying texts. When enlarged, the text loosens its hinges on the atomized image. The dots establish a dominant vocabulary contingent only on one another. For The Blind Don`t see Black, They See Nothing, the poetics lie within the parts of a whole, hidden amidst a constituted body.

The artist collective Galera Perdida are known for their multidisciplinary practice that brings together an inquiry of traditional crafts and the absurd, typographical design with semantic operatives. Fundamental to their research are encounters with idiosyncratic found texts and humor, design principles and the moving image; these irrational sources form the basis of a sculptural vocabulary. The use of humor is just one of many interests that Galera Perdida pursue in their body of work. Textiles, dead languages, redundancy, negation, display and the gallery, glyphs, organic matter, and graphic design are among the multiple reference points. Their constellation of objects and situations formulate a place for these subjects to collide, interact, and push against one another while defining the decree that the production of an object is not a singular but collective act.

Armando lulaj
Film exprimental | hdv | couleur et n&b | 13:0 | Italie | 2015

On December 23, 1957, at 11:10 AM, a US Lockheed T-33 Shooting Star aircraft flown by Major Howard J. Curran left Chateauroux, France, heading for Naples, Italy. Above Turin, the aircraft radio failed and after hitting bad weather with strong winds, the plane veered off its flight path to end up, by mistake, in the sovereign airspace of the People`s Republic of Albania. At 1:28 PM, the intruder was intercepted by the Albanian Air Force Command, which instantly ordered two MiG-15 fighter jets to take off and identify it. By 3:50 PM, the fighters reported that they had spotted the intruder in the area around Rinas Airport, flying at 500-650 km/hr at an altitude of 150-200 m. Prompt countermeasures were taken. The airplane was forced to land and, to keep it from taking off again, the airport was locked down.

Born in 1980 in Tirana, Albania, Armando Lulaj is a writer of plays, texts on risk territory, film author, and producer of conflict images, orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context. Exhibitions include the Prague Biennial (2003; 2007), Tirana Biennial (2005), 4th Gothenburg Biennale (2007), the 6th Berlin Biennial (2010), the 63rd Berlinale International Film Festival (2013) and the 56th Venice Biennale - Albanian Pavilion (2015).

Velibor bozovic
My Prisoner
Vido | hdv | couleur | 21:41 | Bosnie-Herzgovine | 2014

My Prisoner is a video work that reconstructs the event that occurred on 3 April 1994 in war-torn Bosnia by intermixing archival footage with contemporary reimagining of the occasion. It shows a young man being escorted by an army intelligence officer to visit his imprisoned father. As the men travel side-by-side in the back seat of a car Shine on You Crazy Diamond by Pink Floyd begins to play on the car radio. The young man acknowledges the music and tries to make conversation but the officer does not even recognize the track. A composite of autobiography, documentary and fiction, My Prisoner navigates through the space where the historical, the personal and the fictional simultaneously interfere with and enhance one another.

Velibor Boović grew up in Sarajevo, Bosnia-Herzegovina. When he was in his twenties, the country of his youth became a war zone and he spent the duration of the siege of Sarajevo honing his survival skills. In 1999, Velibor moved to Montral where he worked, for eight years, as an engineer in aerospace industry until he gave up his engineering career to devote his time fully to art practice. Subsequently, Velibor completed a Master of Fine Arts degree in Studio Arts at Concordia University. He is the recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2015), Concordia International Mobility Award (2014), the Bourse de Matrise en Recherche from FRQSC - Fonds de recherche sur la socit et la culture Quebec (2012) and Roloff Beny Foundation Fellowship in Photography (2011). His work has been exhibited in the United States, Cuba, Canada, and Bosnia-Herzegovina. His images appeared in The New York Times, The Paris Review, Descant, International Herald Tribune, Chicago Tribune, Granta, BH Dani and others.

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Sirah Foighel Brutmann et Eitan Efrat interrogent la mémoire individuelle et collective, et la mise en scène de l’histoire. La vidéo se compose en partie de photographies prises par des visiteurs au mémorial de Walter Benjamin à Portbou. Maya Schweizer filme Les Milles, village au sud de la France, dans lequel se trouvait un camp d’internement et de déportation pendant la deuxième guerre mondiale. Les traces du passé affleurent. Galería Perdida examine les points qui composent une image imprimée, et les compare à la structure du langage, où chaque phonème est nécessaire à la constitution du sens. Armando Lulaj recompose l’histoire de l’avion américain obligé d’atterrir à l’aéroport de Rinas, le 23 décembre 1957, après avoir traversé l’espace aérien de la République populaire d’Albanie. Velibor Bozovic reconstruit sa journée du 3 avril 1994, durant laquelle, il a été, en tant que soldat de l’armée bosniaque, accompagné par un officier des renseignements militaires, pour rendre visite à son père, prisonnier de guerre de cette même armée. La rencontre a été filmée puis diffusée par la télévision, à une heure de grande écoute. 18 ans plus tard, Velibor Bozovic revisite ce document, s’interrogeant sur son statut de document de propagande, de document historique, de souvenir personnel.


18 mars

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


Frederic nauczyciel: Red Shoes | Installation vido | hdv | couleur | 4:17 | France | 2015 voir plus
Michelle deignan: Ways to Speculate | Vido | hdv | couleur | 3:44 | Royaume-Uni | 2014 voir plus
Jasmina cibic: Tear Down and Rebuild | Fiction exprimentale | 4k | couleur | 15:28 | Royaume-Uni | 2015 voir plus
Su-Mei tse: Pays de neige | Vido | hdv | couleur | 7:40 | Italie | 2015 voir plus
Sbastien durant: Rendre Cesar | Fiction | hdv | couleur | 4:36 | France | 2013 voir plus
Pierre-jean giloux: Metabolism | Fiction | hdv | couleur | 11:0 | Japon / Belgium | 2015 voir plus
Didier faustino: Exploring Dead Building 2.0 | Fiction exprimentale | hdv | couleur et n&b | 9:0 | Cuba | 2015 voir plus
Sasha pirker, Lotte Schreiber: Exhibition Talks | Doc. exprimental | 16mm | noir et blanc | 9:0 | Autriche | 2014 voir plus
Frederic nauczyciel
Red Shoes
Installation vido | hdv | couleur | 4:17 | France | 2015

Red Shoes est un rituel. Le vogueur Kendall Mugler (Paris) mets ses talons aiguille rouges, et remplit lespace dune nergie dite dramatique - cest dire : thtrale, sauvage, hautement technique, audacieuse.

Frdric Nauczyciel est un artiste visuel franais. Il travaille entre la France et les Etats-Unis. Nourri par la danse et le cinma, il ralise des photographies, des films et des performances. Il construit avec ses sujets des images collaboratives qui tendent vers une hybridation des formes. Il fait appel lexprience de la performance pour produire des images vivantes qui convient la prsence. Depuis 2011, il dploie son travail entre les ghettos noirs de Baltimore et la priphrie parisienne, puisant dans la force des langages performatifs tel que le voguing. Il expose en France (Muse de la Chasse Paris, Mac/Val, Et Photographique de Lectoure, Rencontres Internationales de Photographie dArles, Festival dAvignon, Centre Pompidou Paris), Barcelone (Palau de la Virreina), ou aux Etats-Unis (Washington, Houston, Baltimore et New York). Il est laurat en 2011 de la Villa Mdicis Programme Hors les Murs pour les Etats-Unis (Institut Franais), reoit en 2013 lAllocation de recherche du Centre National des Arts Plastiques et figure dans la collection du Fonds national dArt Contemporain (Public # Ceux qui nous regardent, Le temps devant et The Fire Flies, Baltimore). Il est en rsidence en Seine-Saint-Denis pour deux annes, de 2014 2016.

Michelle deignan
Ways to Speculate
Vido | hdv | couleur | 3:44 | Royaume-Uni | 2014

Actual and virtual simulacra of historical European buildings, monuments and recreational spaces are presented in a tumultuous and fluctuating sonic landscape. This uncanny vision of past and present, depicting the instrumentalisation of places, is framed by two distinct voices. One languidly quotes lyrics from Kraftwerks Europe Endless (1977) the other earnestly performs excerpts from the introduction to the sci-fi novel, The Mummy: A Tale of the Twenty Second Century by Jane Webb Loudon (1827). Between them they proposes a progressive but unstable future where past dramas can easily be re-enacted.

Michelle Deignan (b. Dublin 1970) is an artist and filmmaker based in London. She has exhibited her work in over 60 national and international exhibitions, screenings and festivals including: `Public Space Ltd.`, Athens Media Art Festival;`transmediale`, House of Cultures, Berlin; `India Art Summit`, Delhi; The LUX and Cranford Collection Present: The World Turned Upside Down, Camden Arts Centre, London; `Terror and the Sublime: Art and Politics in an Age of Anxiety`, Crawford Art Gallery, Cork; `This Fanciful Digression`, CAN, Neuchatel, Switzerland. Michelle Deignan`s moving image work is distributed by LUX.

Jasmina cibic
Tear Down and Rebuild
Fiction exprimentale | 4k | couleur | 15:28 | Royaume-Uni | 2015

Composed of various quotes - belonging to political speeches, debates and proclamations that extract and emphasize the iconoclasm of architecture, art and monuments the film creates an original conversation between four characters. A Nation Builder, a Pragmatist, a Conservationist and an Artist/Architect become a reflection of ideological deliberation facing a practical scruple. Including words drawn from Regans speech on the Berlin Wall, Prince Charless 1984 address at RIBA and Isis bloggers proclamation on the demolishment of temples, the films storyline uses language that endorses demolition and redesign, which were to aid the creation of new displays for ensuing nation-states or ideological positions throughout the 20th and 21st centuries. As the films narrative unfolds, the viewer is a witness to the final decision to demolish the fictitious building, the image of which is constructed in the spectators imagination through a collage of quotations on diverse, ideologically contrived and historically charged buildings, monuments, walls etc. that were to be or were knocked down - pointing to the universality and timelessness of the paradox of national and ideological representation and its icons.

1979, Ljubljana A London based artist working in installation, performance and photography. Cibic has begun making films in 2012 for her solo presentation of the Slovenian Pavilion at the 55th Venice Biennial. Cibic`s work is site and context specific, performative in nature and employs a range of activity, media and theatrical tactics to redefine or reconsider an existent environment and its politics. The basic gesture in Cibics artistic explorations is the dismantlement and careful analysis of the work of art, its representation, and its relationship to the viewer as she tries to operate inside the system she is investigating. The mechanisms and structures of the system thus often become integral parts of the practice, allowing the work to transcend the plane of art and the language of form. Her film works have been shown at Ludwig Museum Budapest, MSUB Belgrade, MGLC Ljubljana, Dokfest Kulturbahfhof Kassel, Haus der Kulturen der Welt Berlin, Les Rencontres Internationales - Gat Lyrique Paris, Copenhagen International Documentary Festival, Art Brussels Cinema Program and Nassauischer Kunstverein Wiesbaden. Her upcoming solo screenings include MSUM Ljubljana, Crawford Art Gallery Cork, the Artist Cinema at the Museum of Contemporary Art Zagreb.

Su-Mei tse
Pays de neige
Vido | hdv | couleur | 7:40 | Italie | 2015

Pays de neige (Snow Country), 2015 Une marche faisant le vide comme un moment de suspension, cet espace indfini semblable celle dune respiration avant tout commencement. Comme ce temps durant lequel la toile se prpare avant l`application de la peinture, comme celui pendant lequel la feuille blanche attend l`criture, ou lorsque la pense s`apprte devenir parole. Dans cette vido de Su-Mei Tse le balayage souligne le moment magique durant lequel on se prpare agir, se laisser emporter par ses dsirs, marcher dans la neige

Violoncelliste de formation et fille de musiciens professionnels, Su-Mei Tse dveloppe un univers plastique qui sexprime dans un vocabulaire de formes minimales o lharmonie simpose. Mettant en espace le son et la musique, elle exprime son regard sur le monde qui nous environne dans un tat desprit imprgn par la philosophie zen, avec la volont de figurer le son, de rendre palpable limpact physique et motionnel de la frquence sonore (M. Le sauvage). Jouant sur la relation des sens, elle ravive notre intuition dans des oeuvres qui apparaissent comme des moments de respiration. Marque aussi par la philosophie humaniste, Su-Mei Tse produit des pices qui mettent en exergue le chemin de lhomme vers lui-mme dans un rapport introspectif car si, comme le dit John Cage, le silence nexiste pas , il renvoie toutefois lcoute de soi. De ce positionnement, nat une ambiance mditative : les sens entrent en veil progressivement tandis que lquilibre apparat entre des elements organiques, matriels et culturels a priori inassimilables. Quant aux espaces, soustraits potiquement par son geste, ils se rvlent sous langle du sensible. (H. Lallier)

Sbastien durant
Rendre Cesar
Fiction | hdv | couleur | 4:36 | France | 2013

4min36 2013 En 2007, les archologues fouillent le fond du Rhne au bord des rives de la ville dArles dcouvrant un buste en marbre quils identifient comme tant Csar. Face cette dcouverte jai entrepris de sculpter mon propre buste dans le mme matriau et de le jeter leau, l ou les archologues continuent les fouilles.

Chaque nouveau projet que jentreprends ncessite que je mimmerge ; que jinterroge la faon de faire et de penser de tel ou tel artiste. Jaime ce challenge proche de celui du faussaire qui doit se plonger dans la technique et la vision dun crateur. Jopre des dplacements travers diffrents cadres (au sens Goffmanien), de faon jouer avec le statut dune uvre dart et celui de lartiste. La transformation, la mise mal dun objet artistique, artisanal, archologique permet une ouverture des champs et un dplacement des frontires entre ces diffrentes sphres. Lappropriation dun objet ou dune pice passe par une transformation ou une greffe : un dplacement de forme, de matire ou despace trouble ses codes de lecture.

Pierre-jean giloux
Fiction | hdv | couleur | 11:0 | Japon | 2015

Metabolism : Le point de dpart est la dcouverte dun photomontage de Arata Isozaki intitul Re-ruined Hiroshima. Cette image est une nigme : dans ce paysage dvast, deux grandes formes architectures se dessinent : ces structures constitues (on le suppose) par des dbris rcuprs dans les alentours, surplombent une ville mise terre. Les mtabolistes (un groupe durbanistes et darchitectes japonais autour dune mme vision : la ville du futur ) ont projet de reconstruire ce pays, de (lui) faonner une nouvelle identit. Ce fut une sorte dlan tendu vers lavenir, vers un futur dveloppement de lespace urbain qui devait rpondre aux flux des populations vers les centres urbains. Ils sinscrivirent nanmoins dans une continuit idoloqique traditionnelle faisant rfrence limage iconique du temple dIse . Le mtabolisme ft la dernire utopie moderniste du XXme sicle, cette dcouverte ma passionn et a suscit le dsir de faire ce film. Certains de leurs projets non raliss sont introduits dans ce film par le truchement des techniques numriques, dans le Tokyo de 2015. Jalons historiques et prsences fantomatiques inscrites dans les strates urbaines de la mgapole japonaise.

Quil soit filmique ou photographique, le travail de Pierre Jean Giloux dbute par le stade prparatoire du dessin, phases de recherches o la pense sorganise par strates, avant de passer la ralisation. Ses installations photographiques composes de suites dimages peuvent tre qualifies de storyboards agrandis . Ces dernires -le plus souvent exposes en milieux urbains- se confrontent aux rapports dchelles et questionnent le statut de limage au sein mme de la cit. Ses travaux vido sont les rsultats dassociations et hybridations dimages. Il dveloppe par le biais des techniques numriques un travail de collage, montage, de compositions visuelles et sonores qui incluent des squences animes en 2 et 3 d. Il aime faire cohabiter le virtuel et le rel dans le dessein dtablir un dialogue et de questionner notre rapport au rel et vice versa. En 2015, Pierre-Jean Giloux la Villa Kujoyama (Kyoto, Japon) o il ralise le quatrime et dernier volet de Invisible Cities intitul Station to Station. Ses installations vidos et ses films ont t exposs dans de nombreuses institutions et festivals, notamment le Centre Pompidou, le MAC VAL, le CREDAC, Comix Home Base de Hong Kong, au Kyoto Art Center, au Pavillon de lArsenal Paris.

Didier faustino
Exploring Dead Building 2.0
Fiction exprimentale | hdv | couleur et n&b | 9:0 | Cuba | 2015

Didier Faustino dresse le portrait dune jeunesse encage . cette exploration sonde lhistoire du btiment La Escuala de Ballet et les utopies de son architecte, Vittorio Garatti Cuba 1961 Au cours dune partie de golf, sur le terrain du club priv le plus pris, o tous les politiques se rendaient, les rvolutionnaires Fidel Castro et Che Guevara miment une partie en uniforme. Au cours de cette journe leur vient lide de crer sur ce magnifique site la plus grande cole dart dAmrique latine. Trois architectes se voient donc confier la conception de cinq btiments, dont la mise en oeuvre commencera la mme anne : lcole darts plastiques, lcole dart dramatique, lcole de ballet, lcole de musique et lcole de danse moderne. Cuba 1962 Dbut de lembargo des Etats-Unis sur Cuba et de la premire crise conomique du pays depuis le dbut du rgime castriste. Sur les cinq btiments, trois sont encore inachevs et font alors lobjet de pillage. Ces btiments meurent avant mme dexister ; cest le cas notamment de lcole de ballet, conue par larchitecte italien Vittorio Garatti. Le projet senrichi au contact de la libert et de la richesse du btiment, pour prendre la forme dune chorgraphie en dialogue avec lespace. Exploring Dead Buildings a alors mut en se fragmentant et dun unique vhicule nous sommes passs 3 systmes portatifs, projectifs et prothtiques. Dune narration monologique a merg un dialogue triptyque dans lequel se croisent des personnages htronymes dnus didentit. Loeuvre comme performance physique donne ensuite lieu une captation et cest alors la performance de la Bienale qui est fictionne et mise en scne. A WALKER TO EXPLORE DEAD BUILDINGS Dans une atmosphre tropicale, au lever du jour, sur les toits dune architecture aux courbes utopiques se dploie une chorgraphie de trois jeunes corps. Ces personnages mlancoliques au caractre htronyme arborent chacun un scaphandre mtallique, mtaphore dune jeunesse encage. Les camras places sur ces structures ainsi que celle qui gravite autour deux nous offrent les images de cette errance sur les ruines de la Escuela de Ballet de La Havane Cuba. Le film met ainsi en exergue lchec de cette utopie architecturale et culturelle. La performance, elle, souligne la mmoire dun futur voulu meilleur, mais aujourdhui rapport une architecture laisse sans usage. Ainsi les scnes claires et celles obscures sentrecoupent entre passages de lintrieur lextrieur,entre jour et nuit au service dune esthtique fictionnelle. LIGNE NARRATRICE ENTRETIEN AVEC VITTORIO GARRATTI Didier Faustino sadresse l architecte Vittorio Garratti, non pas pour quil lui raconte lhistoire de ce btiment, mais pour en capter son essence via lexprience de son crateur ; celle des extrmes et des utopies. Il linvite parler de sa jeunesse en cage, de ses illusions perdues ;de la Rvolution. Le projet senrichi au contact de la libert et de la richesse du btiment, pour prendre la forme dune chorgraphie en dialogue avec lespace. Exploring Dead Buildings a alors mut en se fragmentant et dun unique vhicule nous sommes passs 3 systmes portatifs, projectifs et prothtiques. Dune narration monologique a merg un dialogue triptyque dans lequel se croisent des personnages htronymes dnus didentit. Loeuvre comme performance physique donne ensuite lieu une captation et cest alors la performance de la Bienale qui est fictionne et mise en scne. A WALKER TO EXPLORE DEAD BUILDINGS Dans une atmosphre tropicale, au lever du jour, sur les toits dune architecture aux courbes utopiques se dploie une chorgraphie de trois jeunes corps. Ces personnages mlancoliques au caractre htronyme arborent chacun un scaphandre mtallique, mtaphore dune jeunesse encage. Les camras places sur ces structures ainsi que celle qui gravite autour deux nous offrent les images de cette errance sur les ruines de la Escuela de Ballet de La Havane Cuba. Le film met ainsi en exergue lchec de cette utopie architecturale et culturelle. La performance, elle, souligne la mmoire dun futur voulu meilleur, mais aujourdhui rapport une architecture laisse sans usage. Ainsi les scnes claires et celles obscures sentrecoupent entre passages de lintrieur lextrieur,entre jour et nuit au service dune esthtique fictionnelle. Didier Faustino sadresse l architecte Vittorio Garratti, non pas pour quil lui raconte lhistoire de ce btiment, mais pour en capter son essence via lexprience de son crateur ; celle des extrmes et des utopies. Il linvite parler de sa jeunesse en cage, de ses illusions perdues ;de la Rvolution.

Artiste et architecte franais, Didier Faustino travaille sur la relation entre corps et espace. la frontire entre art et architecture, sa pratique a dbut ds la fin de ses tudes en 1995. Son approche est multiforme, allant de linstallation lexprimentation, de la cration duvres plastiques subversives celle despaces propices lexacerbation des sens. Ses projets se caractrisent par leur dimension fictionnelle, leur regard critique, leur affranchissement des codes et leur capacit offrir des expriences indites au corps individuel et collectif. A ce titre, il a reu le Prix Dejean, Grande Mdaille dArgent de lAcadmie dArchitecture en 2010 pour lensemble de son uvre. Ses projets se caractrisent par leur dimension fictionnelle, leur regard critique, leur affranchissement des codes et leur capacit offrir des expriences indites au corps individuel et collectif. Plusieurs de ses uvres sont entres dans les collections de grandes institutions : MoMA, Fondation Calouste Gulbenkian, Fondation Serralves, Fonds National dArt Contemporain, Muse National dArt Moderne / Centre Georges Pompidou. Actuellement, Didier Faustino travaille sur plusieurs projets architecturaux : la cration d`une fondation et bibliothque Mexico City pour Alumnos 47, une maison domestique exprimentale en Espagne pour lditeur de maisons Solo Houses et un chai au Portugal pour le domaine Casa de Mouraz. Il consacre galement une partie de son temps lenseignement, et dirige notamment la Diploma Unit 2 la AA School de Londres depuis 2011. Depuis septembre 2015, il exerce la fonction de rdacteur en chef du magazine franais darchitecture et de design CREE.

Sasha pirker, Lotte Schreiber
Exhibition Talks
Doc. exprimental | 16mm | noir et blanc | 9:0 | Autriche | 2014

Wenn, wie Walter Benjamin behauptet hat, Gebude auf doppelte Art, durch Gebrauch und Wahrnehmung rezipiert werden, d.h. taktil und optisch, dann knnte man Sasha Pirkers und Lotte Schreibers Exhibition Talks als Versuch verstehen, diese doppelte Rezeptionsweise ein Stck weit zu entkoppeln. Whrend auf der Tonspur vom Gebrauch der Ausstellungsrume des Tiroler Architekturforums aut die Rede ist, von den Gegebenheiten der einzelnen Rume und den Mglichkeiten, sie fr eigene Bedrfnisse zu adaptieren, liefert die Bildspur fragmentarische, statische und in Schwarzwei gehaltene Ansichten derselben Rume, die allein schon deshalb im optischen Register verharren, weil sie ber die Montage zu keinem kohrenten Raumganzen verbunden werden. Anstatt die Gre der Rume und ihre gebaute Anordnung etwa ber einen Rundgang durch das Gebude zu "erzhlen", fngt die Kamera Details der Fassade und der Innenrume ein, die zum einen mit ihren klar gezogenen Linien und den vielfltigen Gelegenheiten zu Ein-, Aus- und Durchblicken von der Formensprache der klassischen Moderne zeugen, zum anderen diese Formensprache einem optischen Spiel von Licht und Schatten, von Grauwerten und Schwarzwei aussetzen, das die drei Dimensionen des Bauwerks grafisch auflst. Bestand die Pointe der doppelten Rezeptionsweise von Gebuden bei Benjamin in der bertragung auf die Wahrnehmungsbedingungen am Ort des Kinos (Zerstreuung statt Kontemplation), scheint die experimentelle Entkopplung von optischer Wahrnehmung und taktilem Gebrauch in Exhibition Talks einer anderen Logik zu folgen. Obwohl vom Bild strikt getrennt, suchen die Mglichkeiten des Gebrauchs nach Wegen ins Sichtbare. "Normalerweise ist der Eingang hier": Zu sehen ist eine ffnung, durch die Licht auf eine Wand fllt, whrend der brige Raum im Schatten versinkt. Die ffnung ist ein Fenster, sie knnte aber auch eine Tr sein bzw. ist sie gerade im Begriff, zu einer solchen zu werden. Von solchen bergngen handelt Exhibition Talks: vom Offenen, vom Beweglichen und Vernderlichen des gebauten Raums. (Vrth hner)

Sasha Pirker was born in Vienna, Austria in 1969 and works there as an artist and filmmaker. She studied Linguistics in Vienna and Paris. From 1995-2000 she worked as a curator of contemporary architecture at the Architecture Center Vienna (Az W). Since 2006 she has been a teaching member in the Video and Videoinstallation department at the University of Fine Arts in Vienna, Austria. Her films are distributed by sixpackfilm Vienna. She had a retrospective The Thinking Form at the VIENNALE International Film Festival in Vienna in 2011 and she is represented in Breaking Ground 60 years Experimental Cinema in Austria , which has toured as a film programme internationally since 2012. In 2010 her film The Future will not be Capitalist was part of the competition Orrizonti at the 67th Film Festival in Venice, Italy (Mostra Internazionale dArte Cinematografica, Venice/I). Other screenings and exhibitions include: Centre Georges Pompidou HORS PISTES 2011 Un Autre Mouvement des Images, the opening exhibition of 21er Haus/Belvedere Vienna Greater Prospects, Anthology Films Archives, New York/USA, Image Forum Festival, Tokyo/JPN, International Documentary Film Festival, London/UK, IFFR International Film Festival Rotterdam/NL, Antimatter Film Festival, Victoria, BC/CDN, Diagonale Festival of Austrian Film, Graz/A, Istanbul International Short Film Festival, Corona Cork Film Festival/IRL, 25 FPS International Short Experimental Film and Video Festival, Zagreb/HR, VIS Vienna Independent Shorts/A (Audience Award 2008), Iowa City Documentary Film Festival, Iowa/USA, Nashville Film Festival, Tennessee/USA, Dortmund/Kln Internationales Frauenfilmfestival/D, Cinma du Rel, Paris/F, Transmediale, Berlin/D, Denver International Film Festival, Colorado/USA, Uppsala International Short Film Festival/S, and Leeds International Film Festival/UK.

Fréderic Nauczyciel propose un rituel. Le vogueur Kendall Mugler met ses talons aiguille rouges, et remplit l’espace architectural d’une énergie théâtrale, sauvage, hautement technique, audacieuse. Dans un simulacre réel et virtuel de bâtiments historiques européens, Michelle Deignan fait parler deux voix distinctes, l’une cite des paroles de Kraftwerk, l’autre récite des extraits d’un roman de science-fiction écrit en 1827. Jasmina Cibic filme quatre personnages, dont la parole est constituée d’extraits de discours sur l’architecture. Elle interroge le lien entre architecture et idéologie. Su-Mei Tse entreprend une marche faisant le vide comme un moment de suspension, cet espace indéfini semblable à une respiration avant tout commencement. Sébastien Durante sculpte son propre buste, et le jette ensuite à l’eau pour la postérité. Pierre-Jean Giloux se réfère au Métabolisme, un mouvement architectural japonais des années 60, dernière utopie moderniste du XXème siècle. A la Havane, Didier Faustino filme le bâtiment de l’architecte italien Vittorio Garati, construit dans les années 60, pour une école de danse qui n’a jamais existé. Sasha Pirker et Lotte Schreiber filment les espaces d’exposition de l’Architektur Forum au Tyrol. La bande son décrit l’usage du bâtiment, alors que les images offrent des vues fragmentaires et statiques.


18 mars

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


Richard martin: Abcam | Vido | hdv | couleur | 7:54 | Canada | 2015 voir plus
Elisa gmez alvarez: Me Myself and I | Fiction exprimentale | mov | couleur | 5:13 | Allemagne | 2015 voir plus
Malle gross: STRIKE A POSE | Vido | hdv | couleur | 17:20 | Suisse | 2014 voir plus
Levy dana: Eden Without Eve | Documentaire | hdv | couleur | 5:2 | USA | 2014 voir plus
Zackary drucker: Southern for Pussy | Fiction | hdv | couleur | 4:40 | USA | 2015 voir plus
Eve sussman, Simon Lee: No Food No Money No Jewels | Vido | 4k | couleur | 9:38 | USA | 2014 voir plus
Ira schneider: Somewhere on Orchard Street | Doc. exprimental | 16mm | couleur | 8:6 | Allemagne | 2015 voir plus
Janis rafa: Three Farewells: The Last Burial | Fiction exprimentale | 4k | couleur | 24:0 | Pays-Bas | 2013 voir plus
Richard martin
Vido | hdv | couleur | 7:54 | Canada | 2015

A B C A M (or A & B Cam) explores a scene from a TV movie where the angles have been superimposed to reveal filmic conventions. It reveals the narrative, angles as well as the adjustments in performance to observe the process in its rawness and mesmerizing predictability. In conventional cinema we are only allowed to see what is presented and manipulated through the process of editing. This is a process as old as the medium itself. It is the essence of cinema. In the case of A B C A M, that process has been subverted and exposed to allow the audience to experience the conventions simultaneously and in real time. The manufactured certainty of the experience is undermined as we are encouraged to review both sides of the narrative, follow the narrative or perhaps, find a new narrative.

Richard Martin (MFA 2013 University of British Columbia) is a media artist living in Vancouver Canada. His short film work has appeared as official selections in prestigious venues such as Berlin International Film Festival, Oberhausen, Rencontres (Paris), Toronto International, EXiS (Korea), Ann Arbor, Athens (Ohio), and many more. He has also worked as a mainstream film and TV director and in that his work straddles conventional and experimental cinema, blending and upending convention with abstract intention, playfulness and occasionally, personal trauma.

Elisa gmez alvarez
Me Myself and I
Fiction exprimentale | mov | couleur | 5:13 | Allemagne | 2015

The experimental short film ME, MYSELF AND I directed by Elisa Gómez Alvarez (script and rea- lisation) and Nicolas Stephan Fischer (fashion-collection F65.0) is about a metro-sexual matrix at the old Berlin corner pub "Soldiner Eck. With stylistic devices of Western, Science-Fiction and the CAMP-movement the film questions society-forced role models and male stereotypes. Based on a shared research the fashion-collection and the short film were simultaneously realised in a synergetic project at University of Arts Berlin 2015. Surrounded by fairy lights and plastic flowers three male figures meet at an old Berlin pub. Despite their identical appearance they distinguish by personality and clothing. There is a strained relationship between them. Mutely the men communicate with minimal gestures as they seem confused between desire and fear. Camouflage-like their outfits vanish in the lavis- hly decorated ambience. A strange meeting, an interaction between alive and dead things in a surreal space.

ELISA GÓMEZ ALVAREZ was born 1989 in Berlin. She studies Visual Communication at the University of Arts Berlin since 2012. Since September 2015 she is a fellows- hip holder in one of Germanys most important foundation Studienstiftung des deutschen Volkes. During her studies she visited the studio class MEDIA ART by Prof. Maria Vedder and Expanded Media by Prof. Anna Anders. Now she is taking part in the studio class Experimental Film / Media Art by Prof. Nina Fischer. Initiating a variety of short films and video installations she is a versatilely en- gaged student at University of Arts Berlin. One of her most complex projects was the film opera by Bohuslav Martinů. She realised a mixed media video work for stage scenery. The jazz-opera was performed first in Berlin. (Première: 4th/5th of July 2014)

Malle gross
Vido | hdv | couleur | 17:20 | Suisse | 2014

Jouant sur la limite entre documentaire et uvre vido, Strike a pose suit Ariane V., body-buildeuse et Docteur en science de la Vie dorigine belge vivant en Suisse. Durant 9 mois, Malle Gross a ctoy Ariane. Cet investissement dans la dure avait pour but de crer une intimit entre lartiste et son sujet, afin que ce dernier puisse entrer dans un processus de lcher prise, gage de confiance. Au moyen dinterviews, de la danse et dimmersion dans le monde du bodybuilding, peu peu nous nous rendons compte dun tat dambguit du corps. Pousser les limites physiques, se dtacher de sa propre enveloppe pour la traiter comme une sculpture. Arriv au paroxysme de sa mtamorphose, la protagoniste devient alors, hors-norme. Hors-norme des critres de beaut strotype du corps genr auxquelles elle est associe. Une invitation lintrospection subjective dans limagerie contrle du corps o la limite entre le raisonnable et lexcessif se fait de plus en plus petite au fur et mesure de la transformation radical quAriane a entrepris sur son corps.

Ne le 20 novembre 1988 Lausanne en Suisse, Malle Gross montre trs jeune un intrt particulier pour la photographie et la vido. Diplme en 2013 de la Haute Ecole dArt et Design de Genve, elle dmnage ensuite Londres et intgre la Goldsmiths University o elle obtient en 2015 son Master of Fine Art avec mention. Son travail a notamment t prsent lors du festival vido R4 Paris, a particip une performance collective lInstitute of Contemporary Arts (ICA) de Londres ainsi qu` la galerie Large Glass Londres sous le collectif Almosthere. Aujourdhui, Malle Gross vit et travaille entre Londres et Genve.

Levy dana
Eden Without Eve
Documentaire | hdv | couleur | 5:2 | USA | 2014

A short documentary about life in the Everglades National Parks with its few residents. Living in the midst of a national park, they learn to exist with the the wild. As a woman filmmaker I observe these men almost like an anthropologist, observing how they interact with their surroundings. The only women that appear in the film are as still images in Lucky`s photographs, . He believes that women like having themselves put in a romantic, exotic, dangerous setting to be photographed.

Dana Levy was born in Tel Aviv and Lives and works in New York. She completed her Post graduate in Electronic Imaging at the Duncan of Jordanston College of Art Dundee University, Scotland, and holds a BA from Camberwell Art College London Awards include 2013 Beatrice Kolliner Young Artist Award from the Israel Museum, 2010 Dumbo Arts Festival best studio award, 2008 Young Israeli Artist Award, 2006 Hamburg Short Film festival jury award. Solo shows include at The Israel Museum, CCA Tel Aviv, Nicelle Beauchene Gallery New York . Her work has been screened at Tate London, Tribeca Film Festival,Oberhausen Film Festival and more. group shows include at the Biennial of Contemporary Art of Cartagena 2013, Bass Museum, Miami, Florida, Invisible Exports Gallery NYC , MOCA Cleveland, EVA International Bienniel , Israel Museum Jerusalem, Harn Museum of Art ,OK Contemporary Art, Linz Au and more Artist Residencies include AIRIE Everglades National Park, Wave Hill Workspace residency New, LMCC Workspace NYC, Le Havre/ New York. Regards croiss
Art Omi NY, I-park, Connecticut, Triangle Arts Association NY and more

Zackary drucker
Southern for Pussy
Fiction | hdv | couleur | 4:40 | USA | 2015

Over a long weekend, a mother and daughter discuss thinning vaginal walls and humiliate a handsome stranger.

Zackary Drucker is an independent artist, cultural producer, and trans woman who breaks down the way we think about gender, sexuality, and seeing. She has performed and exhibited her work internationally in museums, galleries, and film festivals including the Whitney Biennial 2014, MoMA PS1, Hammer Museum, Art Gallery of Ontario, MCA San Diego, and SF MoMA, among others. Drucker is an Emmy-nominated Producer for the docu-series This Is Me, as well as a Co-Producer on Golden Globe and Emmy-winning Transparent. She is a cast member on the E! docu-series I Am Cait.

Eve sussman, Simon Lee
No Food No Money No Jewels
Vido | 4k | couleur | 9:38 | USA | 2014

Eve Sussman is a Brooklyn-based artist and filmmaker who works independently and collectively with her partner Simon Lee and Rufus Corporation, founded in 2003. Along with Rape of the Sabine Women, and 89 Seconds at Alczar, that debuted at the Whitney Biennial, the company has collaborated on other projects including Yuris Office, and whiteonwhite:algorithmicnoir . Rufus Corporations works have been exhibited and screened internationally and are included in the collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Philadelphia Museum of Art, Philadelphia; The Margulies Collection, Miami; Fundacin La Caixa, Barcelona; and Centro Galego de Arte Contemporneo, Santiago de Compostela, Spain. whiteonwhite:algorithmicnoir was recently acquired for the permanent collection of the Smithsonian American Art Museum. Simon Lee works in photography, video and installation. His work is said to often be a powerful metaphor for the random flow of history and a low tech formal tour de force (Holland Cotter, New York Times). His 2010 film collaboration with Algis Kizys, Where is the Black Beast? (2010) was shown at the Sagamore Collection in Miami, Zebra Poetry Film Festival Berlin, IFC Center in New York, and was an official selection at the 2011 Rotterdam Film Festival. Together with Sussman, he co-founded the Wallabout Oyster Theater, a micro-theater space run out of their studios in Brooklyn. Lee has exhibited at the Brooklyn Museum of Art; The Berkshire Museum, MA; Roebling Hall, New York; the Moscow International Film Festival; Muse dArt Contemporain de Montreal; Poznan Biennale, Poland; The Rotunda Gallery, Brooklyn NY; Tinguely Museum, Basel, Switzerland; Espace Paul Ricard, Paris, France; and The Whitney Museum of American Art, New York. In addition to founding the Wallabout Oyster Theatre, Lee + Sussman have been producing for Jack+Leigh Ruby, to ex-con artists who are now directing videos including: Car Wash Incident

Ira schneider
Somewhere on Orchard Street
Doc. exprimental | 16mm | couleur | 8:6 | Allemagne | 2015

I was a member of the Max`s Kansas City club 1966-1974.Andy Warhol hung out there until he got shot in 1968.The Velvet Underground continued to go there.Lou Reed & I often said hello.Larry Rivers,Mel Brooks,Janis Joplin, Lauren Hutton,Julian Schnabel sometimes talked.The maitre d`invited me to film an evening with his friends above a bridal gown shop on Orchard St.They somehow got fabrics from the shop. I brought my Bolex.

Ira Schneider made experimental films in the 60s, than independent video in `69, participated in the First Group Video Art Exhibition in NYC May `69 with Wipe Cycle video installation, makes his own kind of non-narrative videos, video performances, comedies and multi- monitor video installations. Recipient of Guggenheim Fellowship 1977, National Endowment for the Arts 1978, Time Zones video installation, Whitney Museum, NYC 1981, Fulbright Advanced Fellowship 1993. One of winners, Mediakunstpreis, ZKM, 2003. Recipient of the Hannah Hoech Prize, 2006, Berlin Exhibitions: Video Skulptur Cologne, Berlin 1989; Max`s Kansas City Club Show, Nikolaj Gallery, Copenhagen, 2004; Reina Sofia Museum, Madrid 2006 with Manhattan Is An Island video installation; Galerie Walden, Berlin 2007; Kunstpunkt, Berlin 2008; Rencontres International Film Festival, Paris, Madrid, Berlin 2008, 2009, 2010, 2011; Changing Channels, MuMoK, Vienna 2010; Prima Center and Freies Museum, both Berlin 2011. Remote Control ICA London; The Whole Earth exhibition, Haus der Kulturen der Welt, Berlin, April - July 2013; Zagreus Gallery, Berlin, 2014 video- and photo installation and cooking exotic menus. Award Best Short Short Film at the Paris Short Film Festival 2015 and award Best Short Film at the Berlin Short Film Festival 2015,best Experimental short film at the Paris IndependentFilm Festival,2015 Schneider has published two eBooks and two photography books 2014/15 and produced the video H2O #18.

Janis rafa
Three Farewells: The Last Burial
Fiction exprimentale | 4k | couleur | 24:0 | Pays-Bas | 2013

SYNOPSIS Three Farewells: The Last Burial Janis Rafa The Last Burial proposes a visual approach on the concept of death and the fear of losing, outside the rigid anthropocentric understanding on human / non-human existence. It describes the moment of loss within the intimate space of a family house. The father and mother of this familial environment are silenced, in a state of mourning. Their sorrow is expressed through the form of water, rain or onions; visual symbolisms that take the characters into a timeless state of being and awareness, reflecting on the houses past. The Last Burial consists part of the Three Farewells (2013), a trilogy of burials produced by Janis Rafa, with the support of Amsterdams Fonds voor de Kunst Alexander S. Onassis Foundation Rijksakademie van beeldende kunsten.

BIO Janis Rafa Lives and works between Amsterdam and Athens. She completed her education in Fine Art (BA, MA, PhD) at the University of Leeds in Britain with scholarship by the Arts & Humanities Research Council. Her body of work spans from experimental-documentary practices, to video-essays, archival footage and most recently cinematic narratives and medium length films. She has recently completed the Rijksakademie van beeldende kunsten residency (2013-2014) in Amsterdam, with a scholarship by Onassis Foundation (GR). Her first solo exhibition was presented at Martin van Zomeren Gallery, Amsterdam, 2014. She currently presents work at EYE Film Institute, Close-Up: A New Generation of Film and Video Artists in the Netherlands (Jan-May 2015). She has participated in group exhibitions: VISIO European Program on Artists Moving Images 2015; 1st Research Pavilion, Venice Biennial, 2015; Art Rotterdam Projections, Kunstvereniging Diepenheim, 2015; Ce que raconte la solitude, ART-O-RAMA, 2014; Rijksakademie OPEN, 2013 2014, Manifesta 8, 2010; No Soul For Sale, Tate Modern, 2010. Her films and video works were screened at: Netherlands Film Festival, International Film Festival Rotterdam, BFI London, Cinema de la Nouvelle Lune, Curtas Vila do Conde, Gulf Film Festival Dubai, Capalbio Cinema, Project Space Leeds, and as part of Rencontres Internationales, 2010, at Centre National dArt Moderne Centre Georges Pompidou, Reina Sofia National Museum and Haus der Kulturen der Welt. Her work is part of Stedelijk Museum Amsterdam collection.

Richard Martin subvertit le processus du montage, et explore une séquence d’un téléfilm, et révèle les conventions dominantes du genre, avec sa prédictibilités crue et hypnotique. Elisa Gómez Alvarez démultiplie un personnage dont les avatars oscillent entre peur et désir. Maëlle Gross filme Ariane V., body-buildeuse et docteur en science de la vie, et propose une introspection dans l’imagerie du corps contrôlé, entre mesure et excès. Dana Levy rencontre quelques habitants du parc national des Everglades, semblables à des Adam sans Eve, pour qui les seules femmes présentes sont des images dans des publicités pour des cigarettes. Zackary Drucker se met en scène avec sa mère, elles discutent des noms donnés au vagin, et humilient un bel étranger qui sonne à leur porte. Avec Eve Sussman, des personnages étranges reprennent et jouent des fragments de paroles de personnages célèbres, de Lady Di à Janis Joplin, dans un décor d’usine qui se transforme en tribunal. Dans les années 60, Ira Schneider filme une fête improvisée à Orchard Street, organisée par les membres du Max’s Kansas City club, où le Velvet Underground a enregistré son premier album. Dans une maison, Janis Rafa filme un couple endeuillé, suspendus hors du temps. Leur chagrin entre en résonnance avec la pluie et les objets du quotidien.

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