Programme Berlin 2016
13h00 15h00 16h00 17h00
Theatersaal
Auditorium
dimanche

20 mars
13h00

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

"Travailleurs"

Rafiqul shuvo: Faster satiation, but only for Nevertheless behavior | Film exprimental | hdv | noir et blanc | 6:38 | Bangladesh | 2014 voir plus
Frank koolen, Kasper Jacobs: Play Curacao | Doc. exprimental | hdv | couleur | 29:28 | Curaao | 2015 voir plus
Simon gush: Calvin and Holiday | Vido | hdv | noir et blanc | 11:41 | Afrique du sud | 2015 voir plus
Pleurad xhafa: Tireless Worker | Film exprimental | hdv | couleur | 42:57 | Albanie | 2015 voir plus
Rafiqul shuvo
Faster satiation, but only for Nevertheless behavior
Film exprimental | hdv | noir et blanc | 6:38 | Bangladesh | 2014

A land of disaster and death, a land of Mourn, the political domination, social, cultural confliction are extreme , when the tragic events happen one after another and sufferings of people knows no bound , all these issues are never questioned. What are the connection do the people hold with nation?


Rafiqul Shuvo was born in 1982 in Dhaka, Bangladesh. He was from a national cricket academy and initially started his career as a cricketer but later on he moved in the field of visual arts and studied sculpture (B.F.A and M.F.A) in Dhaka University Faculty of Fine Arts .Back in 2012 he curated a major show named Only God Can Judge Me an art event in a abandoned factory which ran parallel to the Dhaka Art Summit. In the following year 2013 he curated another collective multimedia and avant-garde show called Mourn. He is the founder of OGCJMart a non-organizational collective. He has, over the last ten years, participated in numerous exhibitions at home and abroad. He is a conceptual artist works in various media his practice mainly focusing on paintings, sculptures, videos and photography. Recently he is making several videos and finished working on of his first film.

Frank koolen, Kasper Jacobs
Play Curacao
Doc. exprimental | hdv | couleur | 29:28 | Curaao | 2015

In the experimental documentary Play Curacao (2015) contemporary games, social rituals and leisure typical for the Caribbean island of Curacao are thoroughly investigated through a mix of observations, discussions and performative acts. During a four month residency at the Instituto Buena Bista artists/filmmakers Kasper Jacobs and Frank Koolen followed a wide variety of sub-cultures and singletons in their free-time routines resulting in a personal taxonomy of the Caribbean Homo Ludens. Play Curacao offers a dynamic, absurd and playful insight in the versatile everyday society and culture of Curacao.


Kasper Jacobs and Frank koolen, both visual artists working in the field of film and photography, met in 2007 and since then have been assisting each other frequently in a range of individual projects. Through these collaborations they created a mutual frame of preference and understanding. Their shared interest in subcultures and the structures they create to frame their own reality form the fundament of `Play Curacao` and future projects. Kasper Jacobs (1981, Bergen, NL) studied at the Gerrit Rietveld Academie in Amsterdam. Frank Koolen (1978, Maastricht, NL) studied at the HKU in Utrecht, De Ateliers and the Rijksakademie van Beeldende Kunsten in Amsterdam.

Simon gush
Calvin and Holiday
Vido | hdv | noir et blanc | 11:41 | Afrique du sud | 2015

Lazy Nigel explores the small industrial town of Nigel in the East Rand of Johannesburg during weekends. The video starts with its landscapes of industrial complexes and factories, devoid of employees. As the film and my filming -which took place over a number of weekends- progress, a variety of local activities are revealed. Many of the town industry employees leave to return to their families, who often lived elsewhere. I wanted look at what remained. The film explores laziness as a construct. I am interested in unpacking the fact that work is traditionally seen as the major locus of our identity. Time off from our jobs allows us to engage in other activities that may not be seen as productive in a traditional sense. These activities can be social, political or creative, allowing us to think of our value in different ways and, as such, offer new ways to think about our identity.


Simon Gush (b.1981, Pietermaritzburg), living in Johannesburg. He was a 2011 Fellow at the Gordon Institute for Performing and Creative Arts, University of Cape Town, and completed postgraduate studies at the Hoger Instituut van Schone Kunsten in Ghent, Belgium, in 2008. Solo shows include After Work at Galerie Jette Rudolph, Berlin and 9 o`clock, at the National Arts Festival, Grahamstown (both 2015), Red at the Goethe-Institut, Johannesburg (2014); 1st and 3rd at Galerie West, The Hague, and 4 for Four at SMAK, Ghent (both 2010), in addition to six previous exhibitions at Stevenson, Cape Town and Johannesburg. Group shows include Artists Engaged? Maybe at Fundao Calouste Gulbenkian, Lisbon (2014); the 2nd Montevideo Biennial, Uruguay (2014); My Joburg at La Maison Rouge, Paris, and the Staatliche Kunstsammlungen, Dresden (2013); Halakasha at the Standard Bank Gallery, Johannesburg (2010); 1910-2010: From Pierneef to Gugulective, Iziko South African National Gallery, Cape Town (2010) and the 2009 Lule Summer Biennial, Sweden. In 2015 the academic workshop Red Assembly, with African Critical Inquiry Programme was held in East London around his exhibition Red. Gush was awarded the Jury prize at the Bamako Encounters Biennale (2015).

Pleurad xhafa
Tireless Worker
Film exprimental | hdv | couleur | 42:57 | Albanie | 2015

Haxhi Xhihani (Xhiku) was born in 1953. Since 1973 he has worked in the bunker factory "Josif Pashko" in Tirana, Albania. Qualified as a model worker in helping the collective work, he was decorated with the Medal of Honor "Tireless worker" by the brigadier of factory Jani Ciko. After the communist regime, a part of the factory was destroyed and what remained is privatized, becoming a factory that producing tile for the sidewalks. The owner of the factory is the former brigadier. Currently, Xhiku is paid 3 euro per day.


Pleurad Xhafa is an visual artist and filmmaker who lives and work in Tirana, Albania. After studies in Bologna, he graduated with an MFA at the Academy of Fine Arts, Bologna in 2012. Continues his research work in critically engaged and investigative conceptual practice. Through his work he attends to the legacies of conceptual and documentary approaches in art, making it relevant in the landscape of contemporary art research. He has participated in International group shows including: Every revolution is a throw of dice, Genoa, Italy (2006); Onufri Prize, Albania (2008); Tirana Biennale, Albania (2009); Berlin Biennale, Germany (2010); Lavoro/Work/Vore, Udine, Italy (2013); Ardhja Award, Tirana, Albania (2013); Shame on you, Celje, Slovenia (2015) His work as been awarded first prizes at Young Visual Artist Award in 2013 by Tirana Institute of Contemporary Art (T.I.C.A) and International studio & Curator Program (ISCP), New York.


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Rafiqul Shuvo filme des travailleurs dans un pays de dominations politiques, sociales et culturelles extrêmes, et s’interroge sur les connections entre les notions de peuple et de nation. Frank Koolen et Kasper Jacobs observent la vie à Curaçao, dans les Caraïbes, les rituels sociaux, les jeux contemporains et le temps des loisirs de l’homo ludens. Simon Gush traverse une petite ville industrielle dans les environs de Johannesburg, le weekend, alors vidée de ses travailleurs, et interroge les notions d’oisiveté et de productivité. Pleurad Xhafa suit Xhiku, un homme qui travaille depuis 1973 dans une usine de Tirana. Il a reçu la médaille d’honneur du «travailleur sans fatigue». Après la chute du régime communiste, l’usine a été privatisée, et l’ancien surveillant en est devenu le propriétaire. Xhiku est actuellement payé 3 euros par jour.


dimanche

20 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

"Sol miné"

Filipa csar: Sol min | Doc. exprimental | hdv | couleur | 34:0 | Portugal | 2014 voir plus
Filipa csar
Sol min
Doc. exprimental | hdv | couleur | 34:0 | Portugal | 2014

Dans ce film-essai qui fait partie d`un projet de recherche en cours, "People are the mountain", l`artiste portugaise Filipa Csar revisite le travail de l`agronome guinen Amilcar Cabral, de l`tude de l`rosion du sol de la rgion portugaise de l`Alentejo jusqu` son engagement comme l`un des leaders du Mouvement Africain de Libration. A ce chemin de pense se mle la documentation du site d`une mine d`or exprimentale, gre aujourd`hui par une compagnie canadienne et situe dans la mme zone qu`tudia Cabral l`poque. Le film explore les dfinitions prsentes et passes du sol comme une zone de dpt de la mmoire, de la trace et de l`exploitation.

Filipa Csar est ne au Portugal en 1975 ; elle vit et travaille Berlin. Elle a tudi la Facult des Arts de Porto et de Lisbonne, lAcadmie des Arts de Munich et a obtenu le Master Art in Context de lUniversit des Arts de Berlin (2007). Son travail interroge la relation poreuse entre limage anime et sa rception publique. Intresse aux aspects fictionnels du documentaire, et motive par un dsir de pointer le politique derrire limage anime, lartiste se situe entre le storytelling, la chronique, le documentaire et le film exprimental. Ses films F for Fake (2005), Rapport (2007), Le Passeur (2008), The Four Chambered Heart (2009), et Memograma (2010) ont t prsents la 8e Biennale dIstanbul, 2003 ; la Kunsthalle Wien, 2004 ; au Serralves Museum, 2005 ; au Festival International du Film de Locarno, 2005 ; la CAG- Contemporary Art Gallery, Vancouver, 2006 ; la Tate Modern, 2007 ; au St. Gallen Museum, 2007 ; au SF MOMA, San Francisco 2009 ; la 1re Biennale dArchitecture de Venise, la 29e Biennale de So Paulo et Manifesta 8, Cartagena.


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Dans ce film-essai qui fait partie d`un projet de recherche en cours, "People are the mountain", Filipa César revisite le travail de l`agronome guinéen Amilcar Cabral, de l`étude de l`érosion du sol de la région portugaise de l`Alentejo jusqu`à son engagement comme l`un des leaders du Mouvement Africain de Libération. A ce chemin de pensée se mêle la documentation du site d`une mine d`or expérimentale, gérée aujourd`hui par une compagnie canadienne et située dans la même zone qu`étudia Cabral à l`époque. Le film explore les définitions présentes et passées du sol comme une zone de dépôt de la mémoire, de la trace et de l`exploitation.


dimanche

20 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

"Iconique"

Clment cogitore: sans titre | Vido | hdv | | 24:0 | France | 2014 voir plus
Adel abidin: Michael | Vido | hdv | couleur | 16:10 | Finlande | 2015 voir plus
Clment cogitore
sans titre
Vido | hdv | | 24:0 | France | 2014

Traversant tour tour forts, ruines baroques, tours de contrle et catacombes romaines, Sans titre traite dune communaut scientifique sur les traces dun animal magique. Entre rcit fantastique et rituel initiatique, cette vido mle fresques palochrtiennes et tablettes numriques, crans de contrle et chant des Sibilles. Dans une confrontation entre monde souterrain et arien, archasme et nouvelles technologies, Sans titre interroge limmuabilit du sens du rcit et de limage face lvolution des croyances.

Aprs des tudes lEcole suprieure des arts dcoratifs de Strasbourg, et au Fresnoy-Studio national des arts contemporains Clment Cogitore dveloppe une pratique mi-chemin entre cinma et art contemporain. Mlant films, vidos, installations et photographies son travail questionne les modalits de cohabitations des hommes avec leurs images. Il y est le plus souvent question de rituels, de mmoire collective, de figuration du sacr ainsi que dune certaine ide de la permabilit des mondes. Ses films ont t slectionns dans de nombreux festivals internationaux (Cannes, Locarno, Lisbonne, Montral) et ont t rcompenss plusieurs reprises. Son travail a galement t projet et expos dans de nombreux muses et centre darts (Palais de Tokyo, Centre Georges Pompidou Paris, Eyebeam center New-York, Museum of fine arts Boston). Clment Cogitore a t rcompens en 2011 par le Grand prix du Salon de Montrouge, puis nomm pour lanne 2012 pensionnaire de lAcadmie de France Rome-Villa Mdicis. En 2015 son premier long-mtrage Ni le ciel, Ni la terre a t rcompens par le Prix de la Fondation Gan au Festival de Cannes Semaine de la critique, et salu par la critique internationale. N en 1983 Colmar, Clment Cogitore vit et travaille entre Paris et Strasbourg.

Adel abidin
Michael
Vido | hdv | couleur | 16:10 | Finlande | 2015

Michael A video Installation Adel Abidin2014-2015 Introduction and statement: The pop cultures influence on our contemporary world results in a life that is built of obsession with fame, youth and wealth. Celebrities like Hollywood actors or renowned pop singers are put on to a pedestal as our modern day messiahs. They do take active roles in our daily life, leading positions in the most effective organizations around the globe. Actors make a living bypretending and subsequently creating our childrens (and even ours) potential role models;as musicians do by composing a masterpiece that we meditate with. And at the end of the day, both the actors and the musicians, with the help of the mediatic elements of our popular culture, become more influential than the actual prophets themselves, even some of them end up having more followers than any other prophets. In the video, Michaelas still being one of the universally celebrated icons of our time- is being interviewed after his resurrection. The answers he gives and the speech he makes is nothing but a compilation of his all time well-known songs lyrics. Therefore I am resurrecting him from the dead as a prophetic figure that unveils the universal truths about the world we live in. This false prophet is thrown on a television talk show, the ultimate pop culture altar. Due to the delicate nature of the interview and a characteristic plea for privacy, even in his afterlife, Michael has only agreed to do a private interview in a pseudo-talk show. Still, thousands of fans from around the world have gathered to view this live broadcast on big screens in public spaces as in Times Square. Michaels fansare there to have their questions answered by their hero live. It has been a day almost of a religious anticipation, states the reporter in Times Square. People gathered to witness the most historical moment of all times. Questionsrevolve around existential topics ofmysteries of death, afterlife and immortality. At the studio of The 1-Show in Manhattan, Michael sits opposite ofMr. Paul Burke, the host of the famous TV show. He is expectedto enlighten the crowds and make a confession of whatever he might be confessing right in front of the cameras and lights, while his fans are enduring the pain of their insatiable curiosity. The work goes beyond the limits by trying to convert the star into a fortune-teller, someone to interpret our future, and givetips to world leaders, prevent climate changes and advice on how to make a better world. The production and construction of Resurrection represents not only our innocence and our blind belief in prophetic symbols created by the elements of pop culture, but also our violent responses to such figures. Even after the death of such figures, we continue to follow them with an ill desire. Narrative style - The 1-Show A lot of todays popular culture has evolved around the mass media and it has created a strong link of dependency with superstar celebrities. And although television is losing its leading exclusive role when compared to the use of the internet, it is still the only media that can gather hundreds and thousands of people in one place to follow unique, once in a lifetime live broadcasts such as Michaels. Within this frame, the installation follows a format, imagery and a narration of an American talk show. Despite the supernatural feature of the interview, the footage presented in the installation is made to be completely realistic. This also applies to the appearance of Michael, the reactions of the crowds, the emotional yet professional mannerisms of the talk show host and the reporter in Times Square location. Additionally, the camera work mimics a one-to-one television talk show style, even including the raw documentary style of live footage from variouscities, which are brought to us by news anchors from all around in many different languages. Narrative elements: Live video within the installation consists of two main assets, 1) The studio interview with Michael. 2) Live coverage of peoples reactions from around the globe. Edits between the main assets as the interview progresses. The main narrative elements are: Opening title sequence of the talk show
 Introduction of the unique nature of tonights show by the talk show host; Mr. Paul Burke including live links to our reporter Marystanding by the main selected spotTimes-square in New York. Introduction and entre of the star guest Michael by the talk show host Wide shots of big crowds gathered to watch the broadcast
 Reactions from fans via live links
 Questions posed to Michael by the talk show host
 Questions posed to Michaelby fans via live streaming channels and links
 Michaels response to the questions posed (quoting his own lyrics)
 Final statement and farewell by Michael
 Closing speech by the talk show host
 Title sequence of the talk show


Adel Abidin was born in Baghdad in 1973, He did move to Helsinki in 2001 and lives there since then, Abidin joined the Finnish Art Academy in 2003 in order to do his Mater degree in fine Arts. during that time he switch his practice from full time painter to multimedia based practice, and since 2004 he started his career as a video and installation based artist. Abidins art uses various media such as videos, video installations, multi media sculptures and sound based installations and photography to explore the issues of the contemporary world that we are living in. His main point of departure is always linked to the intention to explore the complex relationship between visual art and politics & identity. Using a sharp palette of irony and humour always gravitated towards different social situations dealing with elusive experiences and cultural alienation. He uses his cross-cultural background (as an Iraqi artist living in Helsinki) to create a distinct visual language often laced with sarcasm and paradox, while maintaining an ultimately humanistic approach. This sarcasm used is nothing but a medium of provocation to serve the purpose of extending the mental borders of the artwork beyond the limits of the exhibition space. Always interested in creating opportunities to prolong the discussions beyond artwork by enabling the audience to convey mental elements from the work into their daily life. Moreover, he always finds the words politics and identity more than a terminology or a path that we travel in, as they unfold to other concepts like discrimination, mass media manipulation etc. Abidin presented his work at many Biennales such as: The 5th Guangzhou Triennial (2015); The 56th Venice Biennale- Iran Pavilion (2015); the Glasstress-The 56th International Art Exhibition Venice Biennale (2015); Biennale of Contemporary Art of Bosnia (2013); 54th Venice Biennale- Iraq Pavilion (2011); 10th Sharjah Biennial (2011), 17th Biennale of Sydney (2010); 11th Cairo Biennale (2008); 4th Gothenburg Biennale (2007); 52nd Venice Biennale- Nordic Pavilion (2007); (Student workshop participation) 5th Istanbul Biennale (2005). Other participations such as: The Pera Museum, Istanbul; Aga Khan Museum, Toronto, Canada; Rapid Pulse International Performance Art Festival, Chicago, USA; Gwangju Museum of Art, South Korea; National Gallery of Victoria, Melbourne, Australia; The New Museum, New York, USA; MACRO-Museum, Rome, Louisiana Museum; Copenhagen, Station Museum, Houston; The Jerusalem show VII, Jerusalem; Hauser & Wirth Gallery, London; Mori Art Museum, Tokyo; Singapore Art Museum; Museum of Anthropology, Vancouver; Mead Gallery, UK; Palais de Tokyo; Arab World Institute, Paris; MOCCA, Toronto; Arts-Talks and Sensations, Abu Dhabi; MATHAF- Doha; Espace at Louis Vuitton. His solo exhibitions include: Lawrie Shabibi, Dubai, UAE (2015); Cover-Up!, Al Sultan Gallery, Kuwait (2015); Maraya Art Centre, Sharjah (2013), Lawrie Shabibi Gallery, Dubai (2013), ARTER- Space for Art, Istanbul (2012), Darat Al-Funun, Amman (2011), DA2- Centre of Contemporary Art in Salamanca, Spain (2010 ), KIASMA- Museum of Contemporary Art, Helsinki (2010), Association media Art gallery, Helsinki (2014). Abidin has received The Finland Prize for Visual Arts in (2015), Five Years Grant from The Art Council of Finland in (2013); Ars Fennica Prize Nominee 2011. Abidin has invited to be a visiting lecturer at many schools of Arts such as: College of Liberal Arts, Oregon State Uni. Portland, Oregon, USA (2010); The Art Academy of Helsinki (Kuva), (2015), LASALLE College of Arts, Singapore (2016); CalArts, California Institute of Arts, CA, USA (2016).


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Traversant tour à tour forêts, ruines baroques, tours de contrôle et catacombes romaines Clément Cogitore, dans “Sans titre”, traite d’une communauté scientifique sur les traces d’un animal magique. Dans une confrontation entre monde souterrain et aérien, archaïsme et nouvelles technologies, il interroge l’immuabilité du sens du récit et de l’image face à l’évolution des croyances. Adel Abidin interroge la puissance des icones contemporaines, et la croyance qu’elles génèrent, à travers la figure de Michael, interviewé après sa résurrection. Les réponses qu’il donne et le discours qu’il fait ne sont rien d’autre que la compilation de ses chansons les plus connues.


dimanche

20 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

"Post-traumatique"

Monira al qadiri: Behind the Sun | Vido | hdv | couleur | 10:0 | Kowet | 2013 voir plus
Johann lurf: Embargo | Vido | hdv | | 10:0 | Autriche | 2014 voir plus
Guston sondin-kung: STUXNET in Denmark | Vido | 4k | couleur | 4:37 | Danemark | Iran | 2015 voir plus
Nadia & Laila hotait: The Night between Ali and I | Vido | 4k | couleur | 9:5 | Liban | 2015 voir plus
Mariah garnett: Full Burn | Doc. exprimental | hdv | couleur | 20:0 | USA | 2015 voir plus
Johan grimonprez: From Satin Island | Film exprimental | hdv | couleur | 3:23 | Belgique | 2015 voir plus
Johan grimonprez: what i will | Film exprimental | hdv | couleur | 1:11 | USA | 2015 voir plus
Lydia moyer: The Forcing (no. 2) | Vido | hdv | couleur | 7:15 | USA | 2015 voir plus
Monira al qadiri
Behind the Sun
Vido | hdv | couleur | 10:0 | Kowet | 2013

After the first Gulf War in 1991, countless oil fields in Kuwait were set ablaze during the retreat of invading forces. Those months following the war were nothing short of the classic image of a biblical apocalypse: the earth belching fire and the black scorched sky felt like a portrait of hell as it should be, an almost romanticized vision of the end of the world. Werner Herzog, lured by the surrealism of this present-day hell, shot his docu-fiction film Lessons of Darkness there which placed images of the oil fires alongside Christian biblical texts and a Wagner soundtrack. Inspired by his endeavor, this video re-explores the cataclysmic event and attempts to expand its meaning, especially as the idea of imminent doom is even more omnipresent today. Amateur VHS video footage of the oil fires is juxtaposed with audio monologues from Islamic television programs of the same period. At the time, the tools used to represent religion were geared towards visualizing god through nature. Trees, waterfalls, mountains, and animals were the visual staple of religious media, and the narration was not that of the Koran, but of Arabic poetry recited by a skilled orator with a deep voice.


Monira Al Qadiri is a Kuwaiti visual artist and film maker born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East region stemming from poetry, music, art and religious practices. Her work explores the relationship between narcissism and masculinity, as well as other dysfunctional gender roles. She is currently expanding her practice towards social and political subjects. Al Qadiri has taken part in exhibitions and film screenings in Tokyo, Kuwait, Beirut, Dubai, Berlin, New York and Moscow among others. She is also part of the artist collective GCC, who has recently held a solo exhibition at MoMA PS1 in 2014.

Johann lurf
Embargo
Vido | hdv | | 10:0 | Autriche | 2014

Born in 1982 in Vienna Johann Lurf has studied at the Academy of Fine Arts in Vienna and the Slade School of Art in London. He graduated from Harun Farockis film class in 2009. He received the State Grant of Austria for Video- and Media Art and participated in the Artist-in-Residence Programs at the MAK Center for Arts and Architecture in Los Angeles 2011 and at the SAIC in Chicago 2015. His works have been internationally shown and awarded in numerous exhibitions and festivals.

Guston sondin-kung
STUXNET in Denmark
Vido | 4k | couleur | 4:37 | Danemark | 2015

The Video work STUXNET in Denmark tells a hallucinatory realist fable about an unnamed intelligence officer who has participated in the cyber warfare attack against the Iranian Nuclear plant in Natanz from a hotel room in Copenhagen. What unfolds through the story is a dialogue about the fictive side of documents, participation and complicity in remote warfare, the trap of paranoia and the unattainable desire to be completely immune to mass surveillance. This video is based upon the real events of what has been termed the STUXNET virus, a cyber warfare weapon that was developed by a consortium of different government bodies as a way to disrupt the enrichment of uranium at the Iranian Nuclear plant in Natanz from 2010-2012. Cyber security experts have tracked the virus and discovered that one of the main control servers was located outside the city of Copenhagen, Denmark. It has been suggested by security analysts that because the control servers were located in Denmark then there would have been a forward operating command and control center set up in the country that was active during the time of the attack. An intelligence officer following standard operating procedure would have established this in a hotel and worked cloaked in what is referred to as a security tent that is specifically designed to create an electromagnetic shield around its exterior so as to disrupt any listening or watching devices.


Guston Sondin-Kung is a visual artist born in the USA and currently living in Copenhagen, Denmark. He works in a project-based manner primarily in the mediums of film/video, installation and writing. His artwork explores how historical narratives, memory, and ideology are constructed and influence our perception and thinking. Informed by marxist theory, psychoanalysis, postcolonial theory and feminism he is invested in deconstructing the complex intersections of race, class, and gender from a transnational perspective in order to pose alternative narratives and forms of representation. In addition to art institutions, he regularly presents his artworks and artistic research in academic, activist, educational and film festival contexts.

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

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


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

Mariah garnett
Full Burn
Doc. exprimental | hdv | couleur | 20:0 | USA | 2015

Full Burn (20min, 2014), features U.S. war veterans who have all continued to test the limits of their physical abilities as civilians. Theses veterans, working as Hollywood stunt men, and one as massage therapist, describe relationships to the body, and how their experiences as soldiers have been carried back into their lives now. Named for the stunt restaged in the opening scene of this film, Full Burn pictures an ex-special ops marine set on fire in extreme slow motion, transforming the stunt into a ritualized reenactment of trauma. Full burn serves as a meditation on masculine duty and the emotional stakes of transcending fear. In 2014 it was exhibited as part of the Hammer Muesum`s Los Angeles Biennial, Made in LA, curated by Connie Butler and Michael Ned Holte. It was funded in part by The Hammer Museum and an FCA Emergency Grant.


Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including: REDCAT (LA), White Columns (NY), SF MoMA (SF), Venice Bienniale (Swiss Off-site Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beirut), Midway Contemporary Art (Minneapolis), Ann Arbor Film Festival (Ann Arbor), Kerstin Engholm Galerie (Vienna). In 2016 she has her first institutional solo show at the MAC in Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angeles. In 2014, she was in residence at The Headlands Center for the Arts in Marin, and featured in Made in LA, the Hammer Museum`s biennial exhibition. The LA Times called her piece "Best in Show." She was awarded the Rema Hort Mann and CCF Emerging artist fellowships in 2014 and 2015.

Johan grimonprez
From Satin Island
Film exprimental | hdv | couleur | 3:23 | Belgique | 2015

A haunting collage of disaster and beauty, set to a shimmering track by Lights Out Asia, Johan Grimonprez in collaboration with acclaimed avant-garde novelist Tom McCarthy, based on an abstract from his latest book SATIN ISLAND.


Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj iek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

Johan grimonprez
what i will
Film exprimental | hdv | couleur | 1:11 | USA | 2015

Reciting her own poetry, Jordanian-American poet Suheir Hammads voice carries the powerful force of dissent to find hope between the military parades and anti-aircraft guns. With what i will Johan Grimonprez provides glimpse of his upcoming feature documentary Shadow World based on Andrew Feinsteins book The Shadow World: Inside the Global Arms Trade.


Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj iek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

Lydia moyer
The Forcing (no. 2)
Vido | hdv | couleur | 7:15 | USA | 2015

Begun in the wake of recent (and ongoing) racial unrest in Ferguson, Missouri, USA, The Forcing (no. 2) is a meditation on power and the longing for deliverance in contemporary America. It combines original sound and video with appropriated content, observing no hierarchy of image quality or authorship.


Lydia Moyer is a visual artist and media maker who lives and works in the foothills of the Blue Ridge Mountains, USA. She directs the new media program in the art department at the University of Virginia where she is on the faculty. Her video and print work has been shown widely in the US and abroad.

Monira Al Qadiri reprend des images sur VHS de gisement de pétrole en feu, au Koweit, après la première guerre du Golfe, en 1991. Ces images, qui semblent venir de l’Apocalypse, sont accompagnées par la diffusion sonore de poèmes que la télévision diffusait à la même époque. Johann Lurf filme de nuit une fabrique d’armement et de drones à usage militaire en Autriche. Guston Sondin-Kung raconte la participation d’un officier de renseignement, depuis sa chambre d’hôtel au Danemark, à une cyber-attaque contre une centrale nucléaire iranienne. Nadia et Laila Hotait réinterprètent la prise d’otage qui eut lieu à la Bank of America, à Beyrouth, le 18 octobre 1973. Mariah Garnett filme des vétérans de guerre américains qui continuent à tester leurs limites physiques, une fois de retour dans le civil. En collaboration avec l’écrivain Tom McCarthy, Johan Grimonprez réalise, dans « From Satin Island», un obsédant collage de désastre et de beauté. Avec «What I will», nous entendons la voix de la poète jordano américaine Suheir Hammad, qui cherche l’espoir face aux parades militaires et aux fusils antiaériens. Lydia Moyer propose une méditation sur la liberté dans l’Amérique contemporaine, après les événements de Ferguson, dans le Missouri.


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