Programme Paris 2018
14h00 16h00 18h00 19h30 21h30

12 avril

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Métro : Temple, ligne 3 - République, lignes 3, 5, 8, 9 et 11
Entrée libre / Pass et accréditation: accès prioritaire


Jack wolf, Alexander W. Schindler: In Camera Proceedings | Doc. expérimental | mov | couleur | 4:0 | Allemagne | 2017 voir plus
Eva l'hoest: Under Automata | Film expérimental | 4k | noir et blanc | 10:49 | Belgique | 2017 voir plus
Jon rafman: Poor Magic | Film expérimental | mp4 | couleur | 7:7 | Canada | 2017 voir plus
Fern silva: The Watchmen | Film expérimental | 16mm | couleur | 10:0 | USA | 2017 voir plus
Michiel alberts: Another Gate Before the Law | Vidéo expérimentale | mov | noir et blanc | 17:13 | 0 | 2017 voir plus
Noémi varga: A legvidámabb barakk (The Happiest Barrack) | Doc. expérimental | 4k | couleur | 15:53 | Royaume-Uni / Hungary | 2017 voir plus
Anna Ådahl: Default Character | Vidéo | mov | couleur | 13:32 | Suède / UK | 2016 voir plus
Jack wolf, Alexander W. Schindler
In Camera Proceedings
Doc. expérimental | mov | couleur | 4:0 | Allemagne | 2017

In Camera Proceedings is an intervention that challenges Googles Earth`s practice of scanning, modelling and storing our world. Google’s process involves a combination of aircraft imagery and satellite photos. These are pushed through image analysis and photogrammetry softwares that reconstruct 3D models of the area photographed. The 3D models created are stored on Google’s servers, they are not available for download. Our cities have been modelled digitised and then locked away. Google`s algorithms erase all inhabitants from these models. The digital world is not meant for human habitation. We can not change it edit it, or rebuild it. We can only passively observe. In Camera Proceedings challenges this. It does not accept Google`s policy. The work visualises the technical process of taking back our space, it`s a tutorial in how to take back our virtual world. A virtual drone is programmed to fly through Google Earth taking hundreds of pictures of the digital terrain. These photos are then run through the same algorithms as the images taken by Google`s aircraft. We scan the scan and then upload it to a server where any one can download it, own it and change it.

Jack Wolf is a media artist working with new and old technologies: computer games, web, film, animation, as well as print. His work examines contemporary issues such as migration, conflict, data, as well as technology itself. He holds a bachelor of arts from the University of the Arts, London, and a postgraduate degree in Art and Media from the Berlin University of Arts (UdK). Alexander Schindler is an assistant of the Vilém Flusser Archive at the Berlin University of the Arts (UdK). He is a master student of the study program “Communication in Social and Economic Contexts” at the UdK, where he focuses on media studies, philosophy and lens-based media technologies. He is currently interested in (post-)photography theory, especially the “Spatial Image“ as a result of the fusion of lens-based technologies and computer generated imaging.

Eva l'hoest
Under Automata
Film expérimental | 4k | noir et blanc | 10:49 | Belgique | 2017

Au-dessus de l`Atlantique, des dormeurs ont été scanné manuellement par l�??artiste le long du couloir d`un avion long-courrier. Le film se présente comme un lent travelling sur une réalité que l`on identifie immédiatement mais qui est déchirée par les failles du processus de captation. Les corps, les objets ne sont donc que partiellement recomposés par le logiciel et donnent lieu à un plan cinématographique ainsi qu`à la vision d`accidents de la substance-image. �?�

Eva L�??Hoest (1991, vit et travaille à Bruxelles), est issue d�??une génération qui est née en même temps que les développements exponentiels de ce qu�??il devient désuet d�??appeler « les nouvelles technologies ». Cette jeune artiste formée à l�??atelier Vidéo de l�??ESAVL-Académie des Beaux-Arts de Liège (Jacques-Louis Nyst) s`est très vite tournée vers l`exploration de pièces inédites en réalité virtuelle ainsi que des impressions 3D sur lesquelles elle intervient manuellement. Au fil de ses pièces, Eva L�??Hoest propose une analyse de la morbidité contenue au coeur du virtuel lorsqu�??il est débarrassé de ses oripeaux et de son pouvoir strictement illusionniste. Ce qui en résulte, c�??est une plongée fascinante dans une matière visuelle qui provient du travail conjoint de la main et de la machine. Performeuse d�??une nouvelle ère, l�??artiste s�??attache sans complexe à la beauté et au vertige des limites de l�??analyse électronique.

Jon rafman
Poor Magic
Film expérimental | mp4 | couleur | 7:7 | Canada | 2017

Jon Rafman’s Poor Magic is a vision of a post-human dystopia featuring animated 3-D bodies continuously tortured in abstract digital space. The video presents the viewer with a haunting programme of repeating motifs: a blue featureless avatar, a view from a colonoscopy, and ranks of identical figures crashing and toppling over each other, made with the help of crowd-simulation software. While a poetic lament, Poor Magic addresses the fragmented consciousness of a post-physical existence. The film shows a terrifying image of a future where all humanity is uploaded to a virtual purgatory and endlessly abused. Or perhaps it is also a brutal representation of the present moment and the effect that technology has on our flesh and psyche.

JON RAFMAN was born in 1981 in Montreal, Canada. He studied Philosophy and Literature at McGill University in Montreal and received an MFA from the School of the Art Institute of Chicago. His work explores the impact of technology on contemporary consciousness, incorporating the rich vocabulary of virtual worlds to create poetic narratives that critically engage with the present.   Rafman has had solo exhibitions at Sprüth Magers Berlin (2017), Stedelijk Museum, Amsterdam (2016), Westfälischer Kunstverein, Munster (2016), The Zabludowicz Collection, London (2015) and Musée d’art Contemporain de Montréal, Montréal (2015). His works have been featured in prominent international group exhibitions, including Art in the Age of the Internet, 1989-Today, ICA Boston (2018), Blind Faith, Haus Der Kunst, Munich (2018), Suspended Animation, Les Abattoirs, Toulouse (2017), Sharjah Biennial (2017), Berlin Biennial 9 (2016), and Manifesta Biennial for European Art 11 (2016). He recently created video for a production of Albert Ginastera’s opera Bomarzo at the Teatro Real, Madrid (2017). His films have been screened in festivals and exhibitions all over the world; notably the Rotterdam Film Festival (2015, 2016, 2018), the New York Film Festival (2015), and the Ann Arbor Film Festival (2017).

Fern silva
The Watchmen
Film expérimental | 16mm | couleur | 10:0 | USA | 2017

In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Regressions in missing time, caught in the act of captivity, confined to the carceral and perpetuated by movie sets, television sets, and alien encounters at bay. The corporeal cycle of control revolves as steadily as the sight of those who watch from above.

Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques including the Toronto, Berlin, Locarno, Rotterdam, New York, London, Melbourne, and Hong Kong International Film Festivals, Anthology Film Archives, Gene Siskel Film Center, Cinemateca Boliviana, Museum of Art Lima, Brooklyn Academy of Music, Museum of Contemporary Art Chicago, New Museum, Greater New York at MOMA P.S.1, and Cinema du Reel at the Centre Georges Pompidou. He has organized and curated screenings at venues including the Nightingale Cinema, Gallery 400, and DINCA Vision Quest in Chicago. His work has been featured in publications including Film Comment, Cinema Scope, Filmmaker Magazine, Millennium, and Senses of Cinema. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York.

Michiel alberts
Another Gate Before the Law
Vidéo expérimentale | mov | noir et blanc | 17:13 | 0 | 2017

Another Gate Before The Law (HDVideo, B&W, 17m13, Michiel Alberts, 2017) Michiel Alberts is currently working on a series of K. Films. The films relate to different short texts by F. Kafka. Michiel Alberts performs and films his actions in order to transform the stories into a visual image bringing it to current and existential scenery. The film Another Gate Before The Law refers to the text Before the Law, by F. Kafka. The film is a dark poetic image dealing with the present state of our time and to current human conditions.

MCHIEL ALBERTS / BIOGRAPHY (Born The Netherlands, 1972. Lives and Works in Antwerp, Belgium.) Michiel Alberts is a Visual artist working with the media Performance, Film and Photography. In his film works he focuses upon his performative presence, movements with duration or repetitive actions. Through the usage of single angel point, the audience is invited to experience a frozen state and relate to existential questions and human conditions. His films can be described as a still picture moving, a state of presence unresolved. ‘My physical presence functions as a performative tool to question human conditions, cosmic order, time and landscapes. Through forms of abstraction I bring my content from a specific happening, or a specific social context to a larger existential scenery.’ The Artist participated in several group exhibitions. ‘Part 1&2, The Introduction’, S.M.A.K. Gent and Dendermonde, Belgium (2015, 2013). ‘Magicgruppe Kulturobjekt’ at Ludwig Forum Aachen, Germany ( 2012) and at Extra City Antwerp, Belgium (2012), ‘A Serpentine Gesture and Other Prophecies’, FRAC Fonds Régional d’Art Contemporain de Lorraine, Metz, France, (2011). The artist also participated in the Group exhibition ‘El Manifesto De Santiago’ at Matucana Santiago, Chile (2007, curated by Philippe Van Cauteren) Solo Exhibitions/Projects include ‘Salutations’ at gallery Eva Steynen Deviations, Antwerp, Belgium (2014) the one-year trajectory at DeSingel Antwerp, Belgium (2009-2010), resulting in Photography, and performance. He performed without audience in the new Building at the Art campus deSingel, while under construction. At the opening, the artist presented a selection of his photographic material and gave a six hour-long live-Performance ‘Preparation for Leave-taking’ in order to complete the Project. At the Gemak Art institute in The Hague, the Netherlands and at the Playground Festival at Art Institute Stuk Leuven, Belgium (2008, curator Eva Wittocx) as well as at the Croxhapox in Gent, Belgium (2007). Michiel Alberts has studied Visual Art at the H.I.S.K. institute in Antwerp and Gent (2008). He also completed a Master of Arts at Dasarts in Amsterdam (2005) and completed the Acting School of Maastricht (1997)

Noémi varga
A legvidámabb barakk (The Happiest Barrack)
Doc. expérimental | 4k | couleur | 15:53 | Royaume-Uni | 2017

The Happiest Barrack is an experimental documentary, a chronicle of my maternal grandmother`s life in Soviet Hungary. It serves as a memento of times past and as a reminder of how socialism colonized the soul`s of a generation.

Noemi Varga is a filmmaker based between London and Budapest. She is a recent graduate of the Royal College of Art, where she specialised in Moving Image. Her work is mainly preoccupied with exploring the boundaries of conventional documentary filmmaking, applying the tools of cinematic storytelling to all her subjects.

Anna Ådahl
Default Character
Vidéo | mov | couleur | 13:32 | Suède | 2016

The film Default Character focuses on the vocabulary, tools and human representation of the softwares proposing and tracking the crowds behaviour, adressing the impact of how default settings produces an image of the algorithmically programmed human body. The film include images from online tutorials of crowd simulation programs ,human tracking devices and newly shot scenes (performed by dancer Pelle Andersson). The featured examples given by these tutorials and showreels are perfectly coordinated swarms, mass body crushes, camp sites and religious gatherings such as the Hadj in Mecka. Crowd simulations which are mainly used for crowd management and Hollywood production use a multi-agent simulation framework which is a computational methodology that allows building an artificial environment populated with autonomous agents which are capable of interacting with each other. The human tracking devices, track, study and accumulate statistics on our collective behaviour, while the crowd simulation proposes it. The voice over in the film, interlaces the tutors voice of informative instructions from the software tutorials with the artist´s personal voice and commentaries.

Anna Ã…dahl is an artist and researcher working in various mediums such as film, installations and performance. She uses the tools of assemblage and montage where found footage meets newly shot images and where ready-mades are used as props in spatial narratives. Her ongoing Fine Art practice-based PhD at the Royal College of Art in London, UK, adresses the aesthetics and politics of crowd simulations analyses, using the physical body as tool and reference, the identity and human representation in crowds generated and supervised by new computational technologies. Her works has been exhibited and presented internationally and she is also a member of the editorial team of OEI magazine.

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Jack Wolf et Alexander Schindler renversent la politique de Google. En rescannant les images 3D de Google Earth, ils réalisent une réappropriation de ces espaces virtuels. Eva l’Hoest scanne des dormeurs dans un vol transatlantique, et réalise un lent travelling sur une réalité déchirée par les failles du processus de captation. A la fois travail de la main et de la machine, filmage performance, ici les corps ne sont que partiellement recomposés par le logiciel, créant une substance-image. Jon Rafman propose une dystopie post humaine, réalisée à partir d’image d’examens médicaux et d’un logiciel de simulation de mouvements de foule. Le film évoque un futur terrifiant. Ou peut-être s’agit-il de la représentation brutale du présent et de l’effet exercé par la technologie sur notre chair et notre psychè. Fern Silva interroge les dispositifs de surveillance : panoptiques, aires de repos, labyrinthes souterrains, plateaux de télévision, où s’expriment les évolutions des cycles corporels du contrôle. Michiel Alberts reprend « Le procès » de Kafka. Par un travail de performance, il appelle des images corporelles et performatives, des scènes existentielles. Une image poétique et sombre qui parle de l’état de la société et de la condition humaine. Noémi Varga réalise la chronique de la vie de sa grand-mère maternelle dans la Hongrie communiste, un mémento du temps passé et du souvenir de la manière dont l’idéologie a déterminé toute une génération. Anna Ådahl étudie l’impact des logiciels de reconnaissance, de suivi et de comportement des foules, examinant ainsi l’impact de ces dispositifs de localisation qui analysent nos comportements collectifs, et des effets politiques de cette nouvelle collectivité, numérisée et surveillée, dont nous sommes les membres.


12 avril

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Métro : Temple, ligne 3 - République, lignes 3, 5, 8, 9 et 11
Entrée libre / Pass et accréditation: accès prioritaire

"Espace public"

Piotr urbaniec: Mimicry | Performance | 0 | | 1:20 | Pologne | 2015 voir plus
Ikuru kuwajima: City of Transformers | Vidéo expérimentale | mov | couleur | 3:39 | Russie | 2016 voir plus
Arianne olthaar: Gesamtschule | Film expérimental | 16mm | couleur | 5:23 | Pays-Bas | 2016 voir plus
Myriam yates: Gander - Islands - Diptyque | Installation vidéo | hdv | couleur | 8:45 | Canada | 2017 voir plus
Riccardo giacconi: Due (Two) | Doc. expérimental | 16mm | couleur | 16:55 | France / Italy | 2017 voir plus
Stephen connolly: Machine Space | Doc. expérimental | mov | couleur et n&b | 37:14 | Royaume-Uni / USA | 2017 voir plus
Claudia hill, Stephane Leonard: Kon'voi' | Vidéo expérimentale | 4k | couleur | 9:23 | Allemagne | 2017 voir plus
Piotr urbaniec
Performance | 0 | | 1:20 | Pologne | 2015

A day during autumn, Krakow, Poland. I looked at the hedge and at one moment, suddenly, I felt the need to throw myself at him. It was a need dictated strictly by kinesthetic experience. A whim of immersion in the thicket that will absorb me into its lumps. Then it becomes a habit.

Piotr Urbaniec, born 1992 in Krakow. A graduate of the Academy of Fine Arts in Warsaw. He completed his master at the Studio of Spatial Activities (supervisor: prof. Miroslaw Balka). He did his BA at the Transmedia Studio at the Academy of Fine Arts in Krakow (supervisor: dr Bogdan Achimescu). In 2016, he held a residency organized by Residency Unlimited in New York as part of the 1st prize in the "Artistic Journey of Hestia" competition. He won the main prize of the Video Art Festival In Out 2016. In 2014 he won the Grand Prix in the Young Wolves competition. Winner of the Krakow City Art Scholarship. He presented his works at numerous group shows and film screenings in Poland and abroad. In 2016, he was invited by the CCA Ujazdowski Castle to organize an individual exhibition as part of Project Room project.

Ikuru kuwajima
City of Transformers
Vidéo expérimentale | mov | couleur | 3:39 | Russie | 2016

The project is about the transforming cityscape of Kazan, the millennium old capital of the Republic of Tatarstan in Russia. With the brand-new buildings and anime costume characters “Transformers,” I visualized my impression of this fast-growing modern multicultural city, located in the middle Volga, about 600 km east from Moscow. In Kazan, newcomers would soon notice the futuristic bizarre architecture scattered around the city’s center. Those buildings are somewhat reminiscent of the contemporary but ambiguous glittering architecture in Kazakhstan’s capital Astana and Turkmenistan’s capital Ashgabat in Central Asia. In Kazan’s city center, visitors would also notice awkward-looking costume characters like ones from American-Japanese robot anime “Transformers,” giving out leaflets or getting pictures taken with kids for money. Kazan is home to Tatars, a predominantly-Islam Turkic people, but it is more complex and unique, as Tatar, Russian and Soviet cultures have been intertwined in the past centuries there. Now, western capitalism gets mixed with this cultural melting pot, bringing even “Transformers” to the city and turning parts of the cityscape a little Disneylandish. Kazan is still in the process of this intricate transformation. This project demonstrates my vision of this transforming multicultural city located near the edge of geographical Europe.

After growing up in Japan, studying in journalism in the University of Missouri, Columbia, and living in Romania for a year, Ikuru Kuwajima has been living and working on visual documentary and art projects mainly with photography in various post-Soviet countries (Ukraine, Kyrgyzstan, Kazakhstan and Russia) in the past 10 years. After three years in Kazan, he now lives in Moscow, Russia, continuing personal projects. His artist books “Tundra Kids” and “I, Oblomov” were published in Vienna in 2015 and in Moscow in 2017, respectably.

Arianne olthaar
Film expérimental | 16mm | couleur | 5:23 | Pays-Bas | 2016

Images of a comprehensive school in West Germany that was built between 1972 and 1978. At the time it was very modern and progressive, both in the way of its education as well in its interior design. An example is the integrated disco in the cellar where up untill today schoolchildren can dance during their lunch break.

Arianne Olthaar (1970, Netherlands) is making experimental films, photographs and miniature models. Her work has a strong focus on the once-luxurious interiors of public spaces that were built in the 1970s and 80s, such as primate enclosures, dining cars, hotel nightclubs, discotheques, a school interior. Interiors that once represented an explicit modern luxury but nowadays have an aura of faded glory and are increasingly disappearing by renovation or demolishment. Her work has been presented in a variety of exhibitions as well as numerous international film festivals, including Cinematexas; Media City Film and Video Festival, Windsor; International Short Film Festival Oberhausen; EMAF Osnabrück; New York Film Festival; Onion City Experimental Film and Video Festival, Chicago; VIDEOEX; Zürich, International Film Festival Rotterdam; Rencontres Internationales, Paris/Berlin.

Myriam yates
Gander - Islands - Diptyque
Installation vidéo | hdv | couleur | 8:45 | Canada | 2017

Isolé sur l’île de Terre-Neuve (Canada), l`aéroport de Gander a joué un rôle essentiel à partir des années 1940 en tant qu`arrêt de ravitaillement pour les vols transatlantiques. Pendant la guerre froide, Gander était l`un des rares points de ravitaillement où les avions pouvaient s`arrêter en route depuis l`Europe de l`Est ou de l`Union soviétique vers Cuba. Dans le but de présenter une image progressiste du Canada, le terminal international fut aménagé à la fin des années 50 avec des meubles de designers influents de l`époque. Avec l`avènement des avions à plus longue portée dans les années 1960, Gander a diminué en importance. L`imposante zone internationale est aujourd`hui presqu’inoccupée, seuls y transitent les forces américaines et les jets privés. Gander Islands (diptyque) se concentre sur la salle des fumeurs du terminal. Pendant le tournage, déposée sur le sol, une boisson à peine entamée avec une écriture en arabe sur l`étiquette de la bouteille - rappelant l`utilisation du lieu par des soldats américains en provenance de missions. Leur présence est accentuée par des d`autocollants des diverses forces tactiques qu’ils représentent, posés çà et là dans le terminal. Les plans défilant en synchronicité sont proches d`une dérive, d`une rêverie d`un(e) hypothétique occupant(e).

Myriam Yates développe une pratique qui s’articule essentiellement autour de l’image (vidéographique, filmique ou photographique). Son œuvre se déploie sous forme de grandes projections, d’installations ou de séries photographiques. L’artiste s’intéresse à la relation entre les lieux et leur représentation, prenant souvent comme ancrage des sites modernes ou en transition, dont le statut singulier questionne les liens entre l’individu, la modernité et l’architecture. Ses œuvres ont été présentées lors d’évènements tels que Kassel Dokfest, Images Festival (Toronto), les Rencontres Internationales Paris/Berlin, le Mois de la Photo à Montréal et Nuit Blanche Toronto. Elles ont fait l’objet d’expositions individuelles et collectives, notamment au centre des pratiques de l’image Dazibao (Montréal), à la Galerie d’art Foreman de l’Université Bishop’s (Sherbrooke), au Hessel Museum of Art — CCS Bard (New York), au Musée d’art contemporain de Montréal, à OPTICA, un centre d’art contemporain (Montréal), à la Galerie de l’UQAM (Montréal). Un essai dans la revue Prefix Photo sur les architectures improbables a été consacré à ses œuvres vidéographiques ainsi qu’une exposition au Prefix ICA (Toronto). Elle remporte en 2015 le Prix Victor-Martyn-Lynch-Staunton (arts médiatiques) du Conseil des arts du Canada.

Riccardo giacconi
Due (Two)
Doc. expérimental | 16mm | couleur | 16:55 | France | 2017

"Due" was shot in Milano 2, a residential neighbourhood located just outside Milano. Built as a utopian city between 1970 and 1979, Milano 2 was Silvio Berlusconi`s first ambitious project. It was in Milano 2 that TeleMilano, the first private Italian TV channel, started to broadcast, which made the area the bridgehead of the media and, later, political empire of Berlusconi. Milano 2, which nowadays may seem an ordinary suburban area, has functioned as a laboratory for a form-of-life which, in the decades of the “Berlusconismo”, spread nationally and left a long-lasting mark on Italian culture. The film includes an interview with Enrico Hoffer, the architect that designed the landscaping of the neighbourhood, as well as fragments from a 1974 publicity brochure advertising the real estate project.

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia, at UWE in Bristol and at New York University. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin). He was artist-in-residence at: Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). In 2016 he was awarded the ArteVisione video production prize, curated by Sky Arte and Careof. He presented his films at several festivals, including the New York Film Festival, the Venice International Film Festival, the International Film Festival Rotterdam, the Rome Film Festival, the Torino Film Festival, Visions du Réel and the FID Marseille International Film Festival, where he won the Grand Prix of the international competition in 2015. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication ‘Paesaggio’ and the ‘Helicotrema’ festival.

Stephen connolly
Machine Space
Doc. expérimental | mov | couleur et n&b | 37:14 | Royaume-Uni | 2017

Machine Space is an essay film exploring a city as a machine; a place of movement and circulation. Using a kinetic approach, issues of space, race and finance frame the city of Machine Space. Residents in voice over testify how the city as a spatial and financial machine shapes their experience. The city is Detroit, a place that has changed from producing the means of movement to producing space itself.

Stephen Connolly is an artist filmmaker currently teaching Film at the University for the Creative Arts. His practice as research doctorate, entitled The Spatial Cinema, is the culmination of many years of moving image research into the negotiation of space and the material environment through film. His work has been shown in film and media festivals worldwide since 2004. He has been the recipient of prestigious production grants from FLAMIN and the Arts Council.

Claudia hill, Stephane Leonard
Vidéo expérimentale | 4k | couleur | 9:23 | Allemagne | 2017

Kŏnˈvoiˌ (The act of accompanying or escorting, especially for protective purposes.) A group of travellers of unknown origin arrive out of nowhere into an open landscape. Over the course of a day, they explore and scan the environment with their unique handmade triangular antennae. Through their sensual decoding of information and hypnotic choreography of sign language, a necessity of care for this strange and beautiful planet emerges…

Claudia Hill is a Berlin-based cross-disciplinary artist who makes objects that create possibilities for personal encounters and community. Hill’s work developed from a career in fashion presenting her collections between New York and Japan. As her designs expanded beyond the boundaries of the industry she made costumes for choreographer William Forsythe, The Wooster Group, and became a frequent collaborator with choreographer Meg Stuart. Her interventions range from performative designs to constructing large scale, textile based sculptures, and conceiving participatory actions for art centers such as Centre Pompidou Paris, and ZKM Center for Art and Media, Karlsruhe. Hill’s own artist film Kŏn′voi′ has been presented in several international film festivals. She is currently developing new work for Supernova, an artist group formed around Damaged Goods´ Sketches/Notebook (extended version) for the HAU Berlin 2018 season.

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Piotr Urbaniec a ressenti un jour le besoin de se précipiter dans une haie. Il reproduit cette expérience, comme autant de tentatives pour repousser l’espace. Ikuru Kuwajima filme Kazan, capitale millénaire de la République du Tatarstan, en Russie. Dans le centre ville à l’architecture ultra moderne, se promènent des Transformers. Censés représenter la modernité, ils donnent habituellement des prospectus, ou sont photographiés. Arianne Olthaar filme une école primaire abandonnée. Construite dans les années 70, elle représentait l’idéal de la vie en commun, du modernisme et des idées progressistes en Allemagne de l’Est. Myriam Yates filme l’aéroport de Gander, isolé sur l’île de Terre-Neuve, au Canada. Point de ravitaillement stratégique dans les années 40 pour les avions à destination de Cuba, il est aménagé dans les années 50 selon les critères les plus modernistes, afin de promouvoir une image progressiste du Canada. Riccardo Giacconi filme Milano 2, un quartier résidentiel des faubourgs de Milan, construit entre 1970 et 1979. Première réalisation d’ampleur de l’entrepreneur Berlusconi, il s’agit aussi de l’endroit où a été établie la première télévision privée italienne. Ce quartier est ainsi devenu le laboratoire de la politique berlusconienne et du mode de vie qu’elle proposait. Stephen Connolly explore la ville de Detroit comme lieu de mouvement et de circulation. Les résidents témoignent de la construction sociale de l’espace, et de cette ville, machine à la fois spatiale et financière, qui imprime sa forme à leur existence. Claudia Hill et Stephane Leonard filment un groupe de voyageurs. Sans origine, venus de nulle part, ils dessinent, dans une chorégraphie hypnotique, un territoire commun.


12 avril

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Métro : Temple, ligne 3 - République, lignes 3, 5, 8, 9 et 11
Entrée libre / Pass et accréditation: accès prioritaire


Ivar veermÄe: Our Word Our Bond | Doc. expérimental | mov | couleur | 14:14 | Allemagne / England, Estonia | 2017 voir plus
Søren thilo funder: Swerve (You’re Gonna Die Up There) | Vidéo | hdv | | 10:0 | 0 | 2017 voir plus
Edward akrout, Jakob Boeskov: Quantum Political Feedback | Vidéo expérimentale | 0 | couleur | 8:0 | Royaume-Uni | 2017 voir plus
George drivas: Laboratory of Dilemmas | Vidéo | 4k | couleur | 10:38 | Grèce | 2017 voir plus
Robert todd: Restless | Film expérimental | 0 | | 0:0 | 0 | 0 voir plus
Ivar veermÄe
Our Word Our Bond
Doc. expérimental | mov | couleur | 14:14 | Allemagne | 2017

The film is a journey of tracing the former Baltic Exchange´s building. 1903 it was built in neoclassical Edwardian style in the centre of London and 1992 destroyed by Provisional IRA´s biggest car bomb to the date. After the bombing there were plans to attach parts of Baltic Exchange´s house to a new building in the same location. Before dismantling it was fully documented and catalogued. These plans never materialized and in 2006 two estonian businessmen bought the facade and parts of the trade hall wanting it to be rebuilt in Tallinn. The stones were sent to Estonia, where they have stayed in shipping containers over 10 years (with the exeption of the facade sculptures, which were used in a project by estonian architects and artist in 2016). After the real estates developers won dispute with conservationists Foster and Partners iconic „Gherkin“ - Swiss Re-s building has been constructed in the former Baltic Exchange´s site. Tracing the stones and the story of former building – in Estonia and London – leads to unpredictable outcomes. For example – terrorist attack being economic consideration; real estate boom in London; redesign of city space by incorporating anti attack measures.

The work of visual artist Ivar Veermäe (born 1982 in Tallinn, Estonia; lives in Berlin) circles around questions of public and private space, mediation processes, architecture and infrastructure, information technology and networks. As a result of long-term artistic research by means of photography, film and sound, his works are presented in versatile ways (such as video, on-site installations, interactive works and performances, also in public space). Ivar Veermäe aims to document and analyze the infrastructure underlying our contemporary culture of data and information. Concentrating on physical and local presence, confronting it with its representations creates a possibility for questions and doubts. His interest lays in hidden or stealty qualities of various spaces and objects. He has had solo exhibitions in Edith-Russ-Haus, Oldenburg, Gallery im Turm, Berlin, Freies Museum Berlin, City Gallery of Tallinn and Hobusepea Gallery in Estonia, among others. His work has been exhibited in group exhibitions at transmediale Festival in HKW, Venice Architecture Biennale, Athens Digital Arts Festival, Moscow Biennale for Young Art, the Bozar in Brussels, the CNB Contemporánea in Buenos Aires, the Zentrum für Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Latvian Centre for Contemporary Art, the Kulturhuset Bronden in Denmark, the Old Sugar Factory in Groningen, the Kunstverein Wolfsburg, the Kunstverein Kassel, the Pinnacles Gallery in Australia.

Søren thilo funder
Swerve (You’re Gonna Die Up There)
Vidéo | hdv | | 10:0 | 0 | 2017


S�ren Thilo Funder?s works are carefully crafted cinematic mash-ups of diverse cultural fields and social histories. They serve as formal investigations into the power relations of modern day society and the truisms of written and unwritten history. Proposing new connections between historical, cultural and political matter, they open up new potential spaces ? third places ? for political contemplation and counter-memory.

Edward akrout, Jakob Boeskov
Quantum Political Feedback
Vidéo expérimentale | 0 | couleur | 8:0 | Royaume-Uni | 2017

In the video, the artists combine pseudoscience with repetition to investigate the connection between technology and truth. An E-meter device was exploited as a crude polygraph machine. Its pseudoscientific function is to "detect lies" in order to monitor a statement`s progression from lie to truth. Statements were read to and repeated by the participants. Through continuous repetition, the subjects built a relationship with the spoken words, which over time, matured into experiences and finally beliefs. All of the combined elements resulted in mettre en abîme the transformation of a political affirmation into a belief.

Edward Akrout is a Franco-British artist that works between London, New York and Paris. His practice, which largely includes painting, drawing and sculpting, is best described as abstract expressionism. Personal website: Representation: Lahd Gallery Jakob Boeskov is a Danish-Icelandic artist and filmmaker that works between New York and Copenhagen. Having graduated from The Royal Danish Academy of Fine Arts, his pieces have been shown in museums such as New Museum, Science Politiques, Moscow State Academy Art Institute and the Stedelijk Museum. Personal website: Representation: The Scandinavian Institute

George drivas
Laboratory of Dilemmas
Vidéo | 4k | couleur | 10:38 | Grèce | 2017

Laboratory of Dilemmas is a narrative video installation based on Aeschylus’ theatre play Iketides (Suppliant Women), which poses a dilemma between saving the Foreigner and maintaining the safety of the Native. Addressing current global sociopolitical issues, the work deals with the anguish, puzzlement, and confusion of individuals and social groups when called upon to address similar dilemmas. Aeschylus’ Iketides (Suppliant Women) is the first literary text in history that raises the issue of a persecuted group of people seeking for asylum. The Suppliants have left Egypt to avoid having to marry their first cousins and arrive at Argos seeking asylum from the King of the city. The King is then faced with a dilemma. If he helps the foreign women, he risks causing turmoil among his people and going to war with the Egyptians, who are after the Suppliants. But if he doesn’t help them, he will break the sacred laws of Hospitality and violate the principles of Law and Humanism, leaving the Suppliants to the mercy of their pursuers. Laboratory of Dilemmas focuses on the play’s dilemma through the excerpts of an unfinished documentary in the form of found footage about a scientific experiment. This experiment was never completed for unknown reasons, however the found excerpts of the unfinished documentary reveal today, after so many years, details of the experiment, as well as the hopes of the professor who envisioned it and the disagreements with his co-researchers.

George Drivas was born in Athens, Greece. He has represented Greece at the 57th Biennale di Venezia, 2017. Drivas is the recipient of numerous awards namely, Best Experimental Film Award at London Greek Film Festival, London, UK (2010), Special Mention at “Strange Screen”, Experimental Film and Video Festival, Macedonian Museum of Contemporary Art, Thessaloniki, Greece (2009), 2nd prize at VII Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006), 2nd prize at the Zebra International Poetry Film Festival, Berlin, Germany (2002) and Jury Award for Experimental Short Film at the New York Expo, NY, NY (2002). George Drivas’s work has been featured as a Solo Show at the National Museum of Contemporary Art, Athens (2018 and 2009) and La Galleria Nazionale, Rome, Italy, (2017) , as a tribute to him at the Lumen Quarterly Festival, Beijing, China (2017/18) and Athens’s International Film Festival (2014), and as part of a group exhibition or festival among others in “Resilient Futures”, Contemporary Art Center of Thessaloniki (CACT, 2018), “ANTIDORON- the EMST Collection”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Group Show, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Group Show, Transmediale Festival, Berlin, Germany (2014), “Art Projections”, Thessaloniki Biennale of Contemporary Art (2013), “Hybrid Stories”, Group Show, National Museum of Contemporary Art, Athens, Greece (2013), “Melancholy in Progress”, Video Art Exhibition, Hong-Gah Museum, Taipei City, Taiwan (2012), “FILE”, Electronic Language International Festival, FIESP Cultural Center, Sao Paulo, ?razil (2012), “Annual Exhibition”, Group Show, Center on Contemporary Art, Seattle, USA (2012), “Les Rencontres Internationales: New Cinema and Contemporary Art”, Centre Pompidou, Paris, France, “Polyglossia”, Onassis Cultural Centre, Athens, Greece (2011), “ECU”, European Independent Film Festival, Paris, France (2010); “Digital Wave”, Thessaloniki International Film Festival, Thessaloniki, Greece (2009); “Transexperiences Greece” at Space 798, Beijing, China (2008); “Young Greek Artists – In Present Tense” at the National Museum of Contemporary Art, Athens, Greece (2008); “Les Jeunes Cinéastes D’aujourd’hui” at the Centre Pompidou, Paris, France (2007); Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006); Poetry International Festival, Rotterdam, Netherlands (2003); and Dactyl Foundation for the Arts and Humanities, NY, NY (2002). George Drivas’s work is part of the Athens’s National Museum of Contemporary Art (EMST) collection.

Robert todd
Film expérimental | 0 | | 0:0 | 0 | 0

Changing winds, shifting moods, stirring, awaiting…

A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals including the Media City Festival, San Francisco International Film Festival, Rotterdam International Film Festival, New York Film Festival, Le Rencontres Internationale, Black Maria Film Festival, Nouveau Cinema in Montreal, Cinematheque Ontario, the Harvard Film Archive, Pacific Film Archive, the Paris Biennial, Slamdance Film Festival, and others. His films have won numerous festival prizes, grants, and artist’s awards. He teaches film production at Emerson College in Boston.

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Ivar Vermaë retrace l’histoire de l’ancien bâtiment du Baltic Exchange, bourse du fret maritime mondial, construit en 1903 dans le centre de Londres, et détruit en 1992 dans le plus grand attentat à la voiture piégée de l’IRA. Søren Thilo Funder entreprend la reconstruction d’un moment perdu de narration entre deux fictions hollywoodiennes, « L’exorciste » et « La neuvième configuration », entre illusion et histoire du cinéma. Edward Akrout et Jakob Boeskov combinent pseudoscience et répétition, pour effectuer une expérimentation sur la connexion qu’entretiennent la technologie et la vérité. Soumis à un détecteur de mensonge, les participants à l’expérience répètent des phrases. L’affirmation politique se transforme en croyance. George Drivas s’inspire de la tragédie d’Eschyle, « Les Suppliantes », qui présente le dilemme suivant : faut-il sauver l’étranger ou maintenir la sécurité des citoyens natifs ? Il montre l’angoisse des individus et des groupes sociaux face à une telle question. Robert Todd filme les variations du vent et la permanence de différentes structures, le contraste entre fixité et mouvement.


12 avril

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Métro : Temple, ligne 3 - République, lignes 3, 5, 8, 9 et 11
Entrée libre / Pass et accréditation: accès prioritaire

Séance spéciale

En partenariat avec Arte et La Lucarne
Véréna paravel, Lucien Castaing-Taylor: Somniloquies | 0 | 4k | couleur | 73:0 | Suisse | 2017 voir plus
Véréna paravel, Lucien Castaing-Taylor
0 | 4k | couleur | 73:0 | Suisse | 2017

Quand dormir devient un art, c'est la démarche tout à fait étonnante et inhabituelle des cinéastes Lucien Castaing-Taylor et Verena Parave. Ensemble ils restituent les rêves sonores obsessionnels d'un homme et filment des corps en veille aux contours indéfinis comme les limbes. Un documentaire entre deux dimensions.

Born in 1971 in Neuchâtel, Switzerland. She studied Anthropology at the École Nationale Supérieure des Mines in Paris and at the University of Toulouse. Since 2008, she has worked with Lucien Castaing-Taylor at the Sensory Ethnography Lab at Harvard.

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« Somniloquies » explore les rêves, désirs et vulnérabilités de l’être humain. Des corps endormis et sans surveillance sont filmés, pendant qu’une bande son diffuse les enregistrements des paroles nocturnes de Dion McGregor, compositeur américain, connu également pour ses somniloquies, rêves parlés, qui ont été enregistrés pendant plus de sept ans, dans les années 1970. Ses rêves hallucinatoires et sadiques accompagnent ici la caméra, qui oscille entre des prises de vues semblables à des caresses, et d’autres plus brutales qui semblent transpercer les corps.


12 avril

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Métro : Temple, ligne 3 - République, lignes 3, 5, 8, 9 et 11
Entrée libre / Pass et accréditation: accès prioritaire


Jürgen nefzger: The Cloud Machine | Vidéo expérimentale | hdv | couleur | 12:35 | France | 0 voir plus
Matthew verdon: Hyperthermia | Vidéo | hdv | couleur | 11:39 | Royaume-Uni | 2016 voir plus
Rosa barba: From Source to Poem | Film expérimental | 35mm | couleur | 12:0 | Allemagne | 2016 voir plus
Astrid de la chapelle: Uccello | Film expérimental | 16mm | couleur | 2:20 | France | 2016 voir plus
Erik bullot: Nouveau manuel de l'oiseleur | Film expérimental | hdv | | 11:51 | France | 2017 voir plus
Filip markiewicz: Celebration Club | Fiction expérimentale | mov | couleur | 23:10 | Royaume-Uni | 2017 voir plus
Johan grimonprez: Raymond Tallis | On Tickling | Vidéo expérimentale | mov | couleur | 8:0 | Pays-Bas | 2017 voir plus
Jürgen nefzger
The Cloud Machine
Vidéo expérimentale | hdv | couleur | 12:35 | France | 0

Jürgen Nefzger associe des projets filmiques à son oeuvre photographique centrée sur les rapports entre l�??homme et son environnement dominés par les logiques économiques. Avec The Cloud Machine, il présente un film réalisé au sein d�??une grande usine d�??incinération. Celle-ci vient éclairer son propos, avec cette notion de recyclage, de cycle dans lequel s�??inscrivent les sociétés contemporaines. Avec des pointes d�??humour, il nous fait partager le quotidien de ces hommes alimentant cette machine à nuages. En dehors des fumées que rejette l�??usine, il y a cette idée de boucle immuable induite par une logique consumériste portant les individus vers les centres commerciaux, achetant des produits qui nécessairement seront voués à la destruction. En découle ce constat: finalement, rien ne change malgré les aléas. La crise, mais quelle crise? O.Lecine

Né en 1968 à Fürth en Allemagne, Jürgen Nefzger vit et travaille en France depuis 1991, aujourd�??hui entre Paris et Nice. Diplômé de l�??�?cole Nationale Supérieure de la Photographie à Arles, il est depuis 2008 artiste enseignant, à l�??Ecole Supérieure d�??Art de Clermont Métropole puis à l�??Ecole Supérieure d�??Art de Aix-en-Provence. Il est représenté par la galerie Françoise Paviot, Paris, depuis 2001.�?� Jürgen Nefzger a obtenu le Prix Niépce pour l�??ensemble de son travail en 2008. Il est également lauréat de la Villa Médicis Hors les Murs et du Prix Photo du Jeu de Paume. La publication « Fluffy Clouds » a reçu le prix du livre photographique en Allemagne. Dans une veine documentaire, Jürgen Nefzger aborde des sujets relevant d�??une interrogation sur le paysage contemporain. Observateur critique d�??une société consommatrice, il porte son regard sur des paysages marqués par les activités économiques, industrielles et de loisir. Son travail photographique se construit par série, à la chambre photographique, et associe des projets filmés en numérique présentés au sein de ses expositions ou indépendamment. Il édite aussi ses travaux sous formes de livres, en portant une grande attention aux question de narration et de positionnement.

Matthew verdon
Vidéo | hdv | couleur | 11:39 | Royaume-Uni | 2016


Matthew Verdon was born in Brisbane, Australia, and currently lives/works in London. After completing studies in agricultural science and art, he has exhibited widely both throughout the United Kingdom and internationally.

Rosa barba
From Source to Poem
Film expérimental | 35mm | couleur | 12:0 | Allemagne | 2016

"From Source to Poem" is an invitation to think about the spaces in which history and cultural production is preserved in order to be passed on to future generations. On the one hand, it pursues Barba’s research initiated with "The Hidden Conference" (2010-2015) – a three-part film work exploring museum storages and whose title refers to imaginary conversations taking place between artworks inside these invisible spaces – on the other hand, it is a reflection about the obsession of preserving any output of western culture in any possible medium. "From Source to Poem" shifts the focus from artworks into archival storage: Shot at the National Audio-Visual Conservation Center of the Library of Congress in Culpeper, Virginia, and at an enormous solar power plant in the Mojave Desert in California, it juxtaposes images from the largest media archive worldwide with a study of rhythm, and images of cultural with those of industrial production. The film exposes the preservation of cultural outputs, but also their digitisation for the future. A vast number of the archives’ holdings are sound material; a sonic memory which is recovered and mixed in the soundtrack as a mean to set in motion otherwise unlikely dialogues. Filmed and screened on 35mm film, the work itself is preserved in one of the most durable archival forms.

“Rosa Barba’s work is a subtle interrogation into and co-option of industrial cinema-as-subject, via various kinds of what might be understood as “stagings”—of “the local,” the non-actor, gesture, genre, information, expertise and authority, the mundane—and removals from a social realism within which they were observed, and which qualifies them as components of the work, to be framed, redesigned, represented. The effect of which her work contests and recasts truth and fiction, myth and reality, metaphor and material to a disorientating degree, which ultimately extends into a conceptual practice.” (Ian White) Her work has been exhibited at prestigious institutions and biennials worldwide. Most recently, she has had solo exhibitions at Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid (2017); HangarBicocca, Milan (2017); Vienna Secession (2017); Malmö Konsthall (2017); CAPC musée d’art contemporain de Bordeaux, France (2016-2017); Schirn Kunsthalle Frankfurt (2016); Albertinum, Dresden (2015) and at the MIT List Visual Arts Center, Cambridge MA (2015). Barba’s work is part of numerous public collections and has been widely published, most recently, in the monographic books "Rosa Barba: From Source to Poem" (2017; published by Hatje Cantz) and "Rosa Barba: The Color Out of Space" (2016; published by MIT List Visual Arts Center/Dancing Foxes). Rosa Barba was awarded various prizes, amongst others the PIAC (International Prize for Contemporary Art) by the Prince Pierre de Monaco Foundation (2016).

Astrid de la chapelle
Film expérimental | 16mm | couleur | 2:20 | France | 2016

L'épopée sur branches et en sous-bois, télescope: nature, peinture: uccelli et Uccello. Le film tisse un dialogue avec des éléments photos et vidéos trouvés sur internet d'oiseaux et d'extraits de tableaux de Paolo Uccello.

Astrid de la Chapelle est réalisatrice, artiste et musicienne. Elle est née en 1983 à Paris. Dans ses films 16mm, dessins et projets éditoriaux, elle procède à des transcriptions entre médiums et à des reconstructions narratives en renouvelant les hiérarchies de récit et l’utilisation de documents. Son travail explore les potentiels qu’ouvre les espaces ou les paysages. Elle auto-édite le fanzine de science-fiction Futu et joue en parallèle dans le groupe de musique, Shrouded and the Dinner, avec quatre autres artistes et musiciens. Elle a étudié à l’Ecole nationale supérieure des Arts Décoratifs de Paris (diplômée en 2008), à la School of Visual Arts de New-York (USA) et à l’Ecole Supérieure des Arts Appliqués Duperré. Invitée par le Muséum national d’Histoire naturelle en 2017, elle a imaginé le cycle sur l’île de Pâques avec une sélection de films et de conférences.

Erik bullot
Nouveau manuel de l'oiseleur
Film expérimental | hdv | | 11:51 | France | 2017

Un oiseau est-il un document ? Les réserves d�??un musée de civilisation peuvent-elles être perçues comme un miroir aux alouettes ? S�??agit-il d�??�?uvrer à une libération du document, à l�??instar de la libération animale ? Telles sont les questions posées par ce film visionnaire et poétique, tourné dans les réserves du Mucem à Marseille.

�?rik Bullot est cinéaste et théoricien. Il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Ses films explorent les puissances poétiques et formelles du cinéma. Sa filmographie compte une trentaine de titres. Son travail a été présenté dans de nombreux festivals et musées, en France et à l�??étranger. Il a publié récemment �??Le Film et son double�?� (Mamco, 2017) et coordonné l�??ouvrage �??Du film performatif�?� (it: éditions, 2018). Il enseigne actuellement le cinéma à l`�?cole nationale supérieure d`art de Bourges (France).

Filip markiewicz
Celebration Club
Fiction expérimentale | mov | couleur | 23:10 | Royaume-Uni | 2017

Celebration Club (2017) is a film made over the course of one week in Northampton following the Brexit referendum.The film captures musicians of different generations and origins talking about the changing society and making music, including punk scholar Roy Wallace, rapper Phundo Art, avant-garde black metal band Denigrata and the Northampton Male Voice Choir performing Robbie William’s Angels in a local church.

Luxembourger of Polish origin, Filip Markiewicz (born in 1980) is a multidisciplinary artist expressing himself through drawing, video, music, theatre and installations thereby creating a visual body of work using diversified media. His work is not intending to be a kind of political activism, but rather to develop an almost surreal language consolidating different expressions. In 2015 Filip Markiewicz represented the Grand Duchy of Luxembourg at the 56th Venice Biennale with his project "Paradiso Lussemburgo". In 2017 he produced his first theater play "Fake Fiction" at the Theater Basel. In 2018, he will present his monographic exhibition "Celebration Factory" at the Casino Luxembourg - Forum d`Art Contemporain.

Johan grimonprez
Raymond Tallis | On Tickling
Vidéo expérimentale | mov | couleur | 8:0 | Pays-Bas | 2017

In this short film by Johan Grimonprez, philosopher/neurologist Raymond Tallis argues that consciousness is not an internal construct, but rather relational. Through the intriguing notion that humans are physically unable to tickle themselves, Tallis explores the philosophical notion that we become ourselves only through dialogue with others.

BIO JOHAN GRIMONPREZ Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of realities. Grimonprez`s curatorial projects have been exhibited at museums worldwide, including the Hammer Museum, Los Angeles; the Pinakothek der Moderne, Munich; and MoMA. His works are in the collections of Centre Georges Pompidou, Paris; the 21st Century Museum of Contemporary Art, Kanazawa; and Tate Modern, London. His feature films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009) and Shadow World (2016). Traveling the main festival circuit from the Berlinale, Tribeca to Sundance, they 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, and were also acquired by NBC Universal, ARTE, and BBC/FILM 4. He published several books, including Inflight (2000), Looking for Alfred (2007) and a reader titled It`s a Poor Sort of Memory that Only Works Backwards (2011) with contributions by Jodi Dean, Thomas Elsaesser, Tom McCarthy, Hans Ulrich Obrist, and Slavoj Žižek. He lectured widely, among others at the University de Saint-Denis (Paris 8), Kennedy School of Government at Harvard University`s Institute of Politics; Tate Modern; MoMA (New York); Columbia University; Massachusetts Institute of Technology (MIT); the Parliament of Bodies of Documenta 14, and he participated in the Whitney Museum Independent Study Program (New York). His recent film project (with investigative journalist Andrew Feinstein), Shadow World: Inside the Global Arms Trade, awarded a production grant from the Sundance Institute, premiered at the 2016 Tribeca IFF (New York). It went on to win the Best Documentary Feature Award at the 2016 Edinburgh International Film Festival, and will premiere its US broadcast on Independent Lens on PBS in autumn 2017. His artwork is represented by the Sean Kelly Gallery (New York), and the gallerie kamel mennour (Paris). See for more info.

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Jürgen Nefzger filme une usine d’incinération de déchets, nous faisant partager le quotidien des hommes alimentant cette machine à nuages, issue de la domination de la logique économique. Matthew Verdon explore des collections de musées conservées à température régulée. Le musée devient ici la forme d’un état idéal préservant la mémoire, en contraste avec la fragilité du vivant. Rosa Barba filme le plus grand centre de préservation au monde d’archives audiovisuelles, à Culperer, en Virginie, ainsi que la centrale solaire située dans le désert du Mojave, en Californie, réfléchissant ainsi sur le passage du temps, sa forme cyclique ou immobile. Astrid de la Chapelle monte et rythme des images d’oiseaux et de peintures d’Uccello, et propose un nouveau paysage animé. Erik Bullot filme les réserves du Mucem, à Marseille, et questionne leur finalité. Filip Markiewicz s’interroge sur le sens de la communauté, dans des situations d’après-crise. A Northampton, dans le Royaume-Uni post Brexit, il suit différentes générations de musiciens : un groupe punk, un rappeur, une chorale. Johan Grimonprez filme le philosophe et neurologue Raymond Tallis, qui développe l’idée d’une conscience relationnelle.