Programme Berlin 2018
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21 juin

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

Café discussion

Les Rencontres Internationales vous invitent pour un café et un moment de discussion avec les artistes invités qui parlent de leur réalisations, de leurs recherches et projets en cours, en dialogue avec les programmateurs de l'événement. Un moment informel pour aborder le travail des artistes de la programmation.

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21 juin

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

"Corps politique"

Jongkwan paik: La Noche Cíclica (Cyclical Night) | Doc. expérimental | hdv | couleur et n&b | 17:0 | Coree du Sud | 2016 voir plus
shake: Subduction Zones: Our Status Quo | Film expérimental | 4k | couleur | 4:8 | Taiwan | 2016 voir plus
Mont tesprateep: Song X | Fiction expérimentale | 16mm | noir et blanc | 20:19 | Thaïlande | 2017 voir plus
Niyaz saghari: The Tigger of the Cone | Film expérimental | super8 | noir et blanc | 2:22 | Iran | 2016 voir plus
Jackie karuti: There Are Worlds Out There They Never Told You About | Animation | hdv | couleur et n&b | 1:6 | Kenya | 2016 voir plus
Mike hoolboom: Nursing history | Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017 voir plus
Frederic nauczyciel: La Peau Vive [Skin Live] | Installation vidéo | hdv | couleur | 38:0 | France / USA | 2017 voir plus
Jongkwan paik
La Noche Cíclica (Cyclical Night)
Doc. expérimental | hdv | couleur et n&b | 17:0 | Coree du Sud | 2016

The time is out of joint. The ghost appears again in the dark of the night. “ The chain of memorial light is not absolutely broken, it is rather knotted in a different way ”

Born in 1982, South Korea. Studied Psychology and Electronics in college and received MFA in Film from the Graduate School of Communication and Arts at Yonsei University. Jongkwan continues to produce experimental films based on research with in-depth study of images.

Subduction Zones: Our Status Quo
Film expérimental | 4k | couleur | 4:8 | Taiwan | 2016

Located at the subduction zone where the Eurasian Plate converges with the Philippine Sea Plate, the island of Taiwan has developed a unique topography as a result of the downwelling tectonic activity. Similarly, Taiwan’s position at the boundaries of different political forces within the global geography, and the hidden forces exerted by political, economic, cultural, and ideological plates, have shaped its national identity. Taiwan’s unique landscape and geopolitical history serves as a theme for The Subduction Zone by Shake. Comprised of three short films entitled Our Status Quo, Our Story and Our Suite de Danses, the work traces the intersection of the tectonic plates and travel to Taipei’s Tatun Volcanoes; the Yuli to Antun section of the old railway line in Hualian that traverses the Eurasian Plate and Philippine Sea Plate; and to the Jili Badlands in Taitung. In the eyes of a geologist, these locations are ideal textbook examples of plate tectonics; but what Shake contemplates is whether these landscapes enable an imagining of the political struggles that have taken place on this island. How does an individual find a resting place within the conflicts of divergent social structures, political systems, and ideological modes? How can the status of the self be reimagined and the story of the self be told? In addition to landscapes, Shake also includes constructions of narrative elements in the film, such as archived historical documents, personal memoire, school activities, and cultural rituals, in the artistic practice of cinematic writing.

Cinematic writing (écriture cinématographique), is the initial creative approach that inspired Shake’s work. In order to experiment the possibility of narrative form, she plays with the plasticity of moving image to liberate the sense of sound and image, and then make them derived. Meanwhile, so as to resist the film’s rigid institutional mode of representation, in addition to the filming as the only manner, she also tries to work with other different medium and expression form to experiment. Recently, she tries to study Asian geopolitical history in her works. She has participated many international artist residency program, and presented her works in different countries.

Mont tesprateep
Song X
Fiction expérimentale | 16mm | noir et blanc | 20:19 | Thaïlande | 2017

A group of teenagers conducts a cremation ceremony for a man who is entering the afterlife while still being sought by the military for deserting. Shot on expired black-and-white film stock, the deteriorating image surface echoes life fading away in this tribute to the director`s friend.

MONT TESPRATEEP was born in Bangkok but raised in Isan (the northeastern region of Thailand). He graduated with a Master degree in Fine Art from Chelsea College of Arts in London. Since 2014, he has been working on a series of hand-processed 16mm and S-8 short films: Endless, Nameless (2014) and Song X (2017). His films has been shown at film festivals, including Locarno Festival, International Film Festival Rotterdam, BFI London Film Festival, Les Rencontres Internationales and etc. Mont received a completion grant from the programme `Frameworks`, International Film Festival Rotterdam to complete a new work `Confusion Is Next`, premiered at the festival in 2018. He is currently developing his first feature film project.

Niyaz saghari
The Tigger of the Cone
Film expérimental | super8 | noir et blanc | 2:22 | Iran | 2016

A Visual experimentation with the dadaist poetry of Ali Sarandibi which juxtaposes the outer, urban life in Tehran with the inner, softer life of its inhabitants

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based .

Jackie karuti
There Are Worlds Out There They Never Told You About
Animation | hdv | couleur et n&b | 1:6 | Kenya | 2016

There are worlds out there they never told you about, 2017 is a video that is part of a larger body of work under the same title. While rightfully addressing tragic stories of migration through water, the work viewed collectively through drawings and new media is also about reimagining freedom through the imagination and creation of fantastic worlds. Worlds that are less about occupying physical space but more about cultivating ways that one can be free in a place where home and freedom remain elusive.

Jackie Karuti is an artist based in Nairobi. Her practice is largely experimental and employs the use of new media through drawings, video, installations and performance art. Her work is founded on ideas around knowledge production & accessibility as well as the depths of possibility enabled by radical imagination. Karuti is the 2017 recipient of the Young Artist Award at the Cape Town Art Fair, an alumna of the Gasworks residency program in London as well as Asìko, a roaming Pan African art school designed to redress the frequently outdated or non-existent artistic and curatorial curricula at tertiary institutions across Africa. In 2017 she was shortlisted for the residency program at The Rijksakademie. Karuti has participated in several exhibitions & residencies, both locally & abroad as well as multidisciplinary projects such as curating the Out Film Festival-Nairobi (2016-2018). In 2017 she established the online platform, I’ve Been Working on Some MAGIC which seeks to engage Nairobi based visual artists in critical writing, collective curatorial projects as well as sharing audiovisual material. In 2018 Karuti’s work will debut at the 13th edition of the Dak’Art Biennial in Dakar, Senegal.

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


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

Frederic nauczyciel
La Peau Vive [Skin Live]
Installation vidéo | hdv | couleur | 38:0 | France | 2017

J’ai invité dans le studio des complices de plusieurs années, issus de la communauté noire transgenre des deux territoires, et d’autres artistes connus ou inconnus, engagés dans des pratiques performatives, masculines et féminines, urbaines et savantes, waaking, krump, art performance, slam... Tous sont reliés par un désir puissant d’inventer leur identité et par une appartenance revendiquée aux marges, réelles et symboliques. Je leur ai proposé de filmer eux-mêmes leurs tatouages, leurs scarifications, leur peau, face à la caméra ; et ce faisant, à échantillonner, une partie de leur histoire.

Frédéric Nauczyciel est artiste visuel. Il vit à Paris et travaille entre Paris et Baltimore. Depuis 2011, il déploie des installations vidéos, des photographies et des performances qui relient les ghettos noirs de Baltimore et la périphérie parisienne, puisant dans la force de langages performatifs tel que le Voguing, les fanfares déambulatoires ou la langue des signes. Ses projets en cours sont des récits mettant en jeu la langue, la trans-communauté, la traversée des lignes de partage. Il développe l’idée d’un “ endroit de confiance “, un espace libre d’assignation où la singularité de chacun existe sans labellisation. Il a exposé au Musée de la Chasse à Paris (2012), au Mac/Val (2012), au Festival d’Avignon (2013), au Palau de la Virreina, Barcelone (2010), au FotoFest International, Houston (2015) entre autres. Ses films ont été montrés aux Rencontres Internationales Paris / Berlin, au Festival Distrital à Mexico City, au Palace Festival à Chicago, etc.

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Jongkwan Paik scrute des images de manifestations, essayant d’en déplier les présences individuelles. Shake met en parallèle des phénomènes géologiques, résultant de l’activité tectonique, avec la situation de Taïwan, aux frontières de forces politiques divergentes, et mues par des forces cachées, ayant déterminé son identité. Mont Tesprateep rend hommage à un ami disparu, alors que les militaires sont toujours à sa recherche, pour désertion. Niyaz Saghari réalise une expérimentation visuelle, la poésie dadaïste d’Ali Sarandibi se juxtapose à des danses de femmes iraniennes. Jackie Karuti propose les possibilités de liberté, alors toute idée de foyer semble hors de portée. Mike Hoolboom retravaille l’extrait d’un film trouvé dans les archives de la Croix Rouge à Genève où une infirmière au Vietnam soigne un blessé. Frédéric Nauczyciel propose une étude de corps, de tatouages et de scarifications, qui écrivent et documentent ce que les voix ne disent pas. La peau devient surface de récits, support d’inventions d’identité, d’appartenances revendiquées aux marges, réelles et symboliques.


21 juin

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

"Ecologie des images"

Eija-liisa ahtila: Tutkimuksia draaman ekologiasta (Studies on the Ecology of Drama) | Fiction expérimentale | 4k | couleur | 26:26 | Finlande | 2017 voir plus
Eija-liisa ahtila
Tutkimuksia draaman ekologiasta (Studies on the Ecology of Drama)
Fiction expérimentale | 4k | couleur | 26:26 | Finlande | 2017

The film uses the methods of presentation as a path to the company of other living beings. It expands upon the issues of ecological moving image narrative, the focus being on presentation, imaging and imagination in the context of the moving image.

Née en Finlande en 1959, Eija-Liisa Ahtila vit et travaille à Helsinki. Elle a étudié à l’Université de Californie à Los Angeles, au London College of Priting et à l’Université d’Helsinki. Le travail d’Eija-Liisa Ahtila, installation et film, s’organise conceptuellement autour de la manière dont se construisent images, langages, fils narratifs et espaces. Après avoir examiné les aspects existentiels de l’adolescence et de la découverte de la sexualité, les difficultés des relations familiales, la désintégration mentale et la mort, dans travaux les plus récents, l’artiste questionne les procédés de perception et d’attribution de sens, entre autres à travers des thématiques liant réflexions sur la culture et aspects et existentiels, telles que le colonialisme, la foi et le post-humanisme. Elle a obtenu le prix ARTE Award pour le meilleur film européen au Festival International du Court Métrage d’Oberhausen (2012), le Grand prix du Festival Curtas Vila do Conde (2002), le Prix du meilleur court métrage nordique au Nordisk Panorama (2000). En 2011, elle a été membre du jury du Festival du film de Venise. En 2013, elle a été présidente du jury au FID Marseille. Son travail a été montré dans des musées et festivals, notamment au Musée Guggenheim de Bilbao, au Monderna Museet (Stokholm), à la DHC/Art Foundation for Contemporary Art (Montréal), au Jeu de Paume (Paris), au Museum of Modern Art (New York), au Museo d’Arte Moderna e Contemporanea (Bolzano, Italie), et à la Tate Modern (Londres). Ses films ont été projetés notamment au Festival international du film de Berlin, au Festival du film de Sundance, au Festival international du film de Venise.

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Eija-Liisa Ahtila réalise une étude sur la narration, utilisant les méthodes de représentation comme un chemin vers d’autres êtres vivants. Une actrice se promène dans la nature, où elle nous introduits à une réflexion sur l’image et la narration. D’autres organismes participent à cette réflexion performative : un oiseau, un cheval, une plante, un papillon.


21 juin

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


En présence de Katie Davies, Fabian Altenried et Tommaso Donati.

Katie davies: The Separate System | Doc. expérimental | hdv | couleur | 23:9 | Royaume-Uni | 2017 voir plus
Denis pavlovic: Zwischen Gestern und Morgen (Between Yesterday and Tomorrow) | Documentaire | 16mm | couleur | 25:15 | Allemagne | 2016 voir plus
Fabian altenried: 1000 Smiles Per Hour | Fiction expérimentale | 4k | noir et blanc | 15:0 | Allemagne | 2016 voir plus
Tommaso donati: A Song from the Future | Doc. expérimental | hdv | couleur | 17:29 | Suisse | 2017 voir plus
Katie davies
The Separate System
Doc. expérimental | hdv | couleur | 23:9 | Royaume-Uni | 2017

At the end of 2014 the Ministry of Justice released an announcement stating that from January 2015, “ every prisoner coming into custody will be asked if they have been a member of the armed forces ” and that “ prisons will be given new guidance about helping them during their sentence”. The announcement followed wide debate over the percentage of veterans in prison. Behind these policy contexts there also sits a wider public perception of the identity of the “ veteran ” which exists in tension with the notion of the “ offender ”. The Separate System was collaboratively produced by veterans through workshops at two local prisons with artist Katie Davies. The piece investigates the spaces of the military, custody and “ civilian ” life through the notion of work, an everyday activity that unites these worlds and is familiar to us all. The film communicates what we, as a civilian audience, perhaps do not understand about the unique set of relations, actions and responsibilities held by the people within these spaces. Created through FACT`s Adults Learning Programme, our work within the criminal justice system aims to approach the context of the prison system from a critically engaged position.

Katie Davies is a video artist exploring the construction of identities, their reflections and manipulations. Nationalism, violence and democracy form a central critique for her videos and installations, often focusing upon individuals and communities whose identities are dictated by the state; their agency to self-identify snared between political agendas and Sovereign violence. Katie is a Royal West of England Academician and was nominated for the 2016 Paul Hamlyn Award. She is a Jury member for the International competition, Short Film Festival Oberhausen, 2018 and has exhibited nationally and internationally including FACT Liverpool 2018, Kassel Dokfest, Bratislava International Film Festival and Oberhausen International Film Festival 2017 & 2015, Sarajevo Film Festival 2015, Border Visions, Connecticut, USA 2012 and The Istanbul Biennial 2009. She has contributed to several publications and her writing on practice-led research has been included in US and British publications. Katie is Senior Lecturer in Media & Cultural Production at The University of The West of England.

Denis pavlovic
Zwischen Gestern und Morgen (Between Yesterday and Tomorrow)
Documentaire | 16mm | couleur | 25:15 | Allemagne | 2016

The story of a man who came to Germany 17 years ago. It’s the 31.12.2017, a day in the life of Niaz Ahmadzai from Afghanistan. A never ending story of work, existence, love, familiy and an unfulfilled personality. The perfect integration of a fully functioning machine.

Denis Pavlovic, born in 1987 in Stuttgart, presented his first film "Smoother in 350ml" at the No Budget Festival in Tubingen in 2008. Thereupon he studied 3 years Film & Video at the Merz Akademie in Stuttgart. After his graduation he worked as an interne at the Documentary Production Company "Kloos und Co. Medien" in Berlin. In 2011 Denis accomplished his first long movie called "Paranoid Places" and in 2013 his second full-length documentary „Wo tanzen wir morgen" which celebrated its Premiere at the 19th Filmschau Baden-Wurttember Festival. In order to its success it was distributed via Teamwerk Stuttgart. Today Denis is studying documentary direction at the Filmakademie Baden- Wurttemberg and works as a freelancer filmmaker and artist. The main themes his films are about modern society in the midst of globalism and industrialism.

Fabian altenried
1000 Smiles Per Hour
Fiction expérimentale | 4k | noir et blanc | 15:0 | Allemagne | 2016

1000 smiles per hour suive Esth, un saltimbanque androgyne, pendant un jour et une nuit a travers une ville côtier abandonée.

Fabian Altenried (*1987) is a director, writer and producer. He studied visual art at the Art Academy in Düsseldorf and philosophy in Berlin. Since 2013 he is part of the Berlin based independent production company Schuldenberg Films. His conceptual approach stems from his engagement with post-structuralism, identity and gender theories, performativity, theories of animality, and post-ideological leftism. Fabian has been an artist in residence of Gargonza Arts in 2013, a participant of Feature Expanded 2016 and Berlinale Talents 2017. His works have been supported by the FFA, werkleitz e.V., the Arts Foundation of North Rhine Westphalia, the Stiftung Kunstfonds, the Mondriaan Fonds et al. and have been shown at the Berlinale, the Sarajevo Film Festival, in Edinburgh, Rotterdam, and many other festivals and shows globally.

Tommaso donati
A Song from the Future
Doc. expérimental | hdv | couleur | 17:29 | Suisse | 2017

Un migrant somalien cherche abri dans les souterrains d`un immeuble près de la douane Suisse italien. Une chanson populaire de son pays réveille en lui l`envie de partir.

Né en 1988, Tommaso Donati est diplômé de l’école internationale de création audiovisuelle et de réalisation (EICAR) à Paris. Son travail se partage entre le documentaire, le cinéma expérimental et la photographie où il explore les relations entre l’homme, l’animal et le milieu naturel dans lequel ils vivent.

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Katie Davies documente la parole de détenus, anciens membres des forces armées, et appréhende l’articulation entre ordre, détention, délinquance et retour à la vie civile. Denis Pavlovic filme le présent et les aspirations de Niaz Ahmadzai, un jeune Afghan réfugié en Allemagne. Avec Fabian Altenried, nous suivons un saltimbanque androgyne, pendant un jour et une nuit, dans une ville côtière déserte. Au crépuscule, une rencontre lui apporte un moment de connexion. Tommaso Donati filme une insondable nostalgie. Un migrant somalien cherche abri dans les souterrains d’un immeuble près d’un poste de douane. Une chanson populaire de son pays éveille en lui l’envie de partir.


21 juin

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


En présence de George Drivas et Carlos Aires.

Ivar veermÄe: Our Word Our Bond | Doc. expérimental | hdv | couleur | 14:14 | Allemagne / England | 2017 voir plus
Søren thilo funder: Swerve (You’re Gonna Die Up There) | Vidéo | hdv | | 10:0 | Danemark | 2017 voir plus
Edward akrout, Jakob S. Boeskov: Quantum Political Feedback | Vidéo expérimentale | hdv | couleur | 8:0 | Royaume-Uni | 2017 voir plus
George drivas: Laboratory of Dilemmas | Vidéo | 4k | couleur | 10:38 | Grèce | 2017 voir plus
Carlos aires: Sweet Dreams Are Made of This | Vidéo | hdv | couleur | 4:21 | Espagne | 2016 voir plus
Ivar veermÄe
Our Word Our Bond
Doc. expérimental | hdv | 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 | Danemark | 2017


Soren 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 S. Boeskov
Quantum Political Feedback
Vidéo expérimentale | hdv | 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 a étudié les sciences politiques et l’administration publique à l’Université Kapodistrian d’Athènes, avant de poursuivre sa formation avec un master en film et médias à l’université libre de Berlin. Il réside actuellement à Athènes. L’artiste réalise des vidéos combinant textes, vidéos et photographies. Il fait de la photographie un outil de surveillance, semblant toujours se cacher de ses sujets. A travers les thèmes qu’il aborde - l’aliénation, l’inclusion sociale, la promesse, ou la déception – il cherche à faire émerger les relations interpersonnelles d’une société sous surveillance. Il a été récompensé par de nombreux prix, dont celui du meilleur film expérimental au festival du film grec de Londres (2010), et une mention spéciale au festival de films et vidéos expérimentaux du Musée d’art contemporain de Macédoine (Grèce, 2009). Il a également obtenu un second prix au VIIème Media Art Forum, au XXVIIème festival international du film de Moscou en 2006, ainsi qu’au Zebra International Poetry Film Festival de Berlin (2002). Exposé notamment à « Antidoron – The EMST Collection » à Kassel en Allemagne (2017), son travail a été présenté par de nombreuses institutions, en Grèce (Musée national d’art contemporain d’Athènes en 2013 et 2009, Festival international du film d’Athènes en 2014, Biennale d’art contemporain de Thessalonique en 2013) ; au Festival du nouveau cinéma de Montréal (2015), à la Transmediale (Berlin, 2014) ; au Hong-Gah Museum de Taiwan (2012) ; au festival international Electronic Language FIESP au Cultural Center de Sao Paulo (2012), ou encore au Centre d’Art Contemporain de Seattle (2012).

Carlos aires
Sweet Dreams Are Made of This
Vidéo | hdv | couleur | 4:21 | Espagne | 2016

The video shows two policemen wearing Spanish anti-riot uniforms, dancing a tango version of the famous Eurhythmics 80´s song in the luxurious and extremely decorated ballroom space of the XIX century palace Museum Cerralbo in Madrid. The fantastic lyric of the song “ Sweet dreams are made of this ” is the central motor of the piece. The tango version cove song has been arranged by the bandoneon player Fernando Girdini and recorded exclusively for the video. In its origins, tango was mainly a dance between two men. Tango was the result of the cultural mix of locals with African, Italian and Hispanic immigrants. It was originally forbidden by the church and rejected by high society, which resulted in its development in poor suburbs and working-class slums. The video reflects about the last years crisis, 15M movement, the violent riots, Cataluña independency, brutality of Spanish police and military forces and the recent antidemocratic Spanish law ” Ley Mordaza ” (the Gag Rule), becoming illegal and punished to take photos or videos of police forces or use of the police uniforms without the Government’s permission. Desire, power, decadence and frustration: they shoot horses, don´t they?

Carlos Aires was born in Ronda, Spain in 1974. He obtained a bachelor in Fine Arts at the University of Granada in Spain. Upon graduating in 1997, he moved to the Netherlands and completed his postgraduate studies at Fontys Academy (Tilburg, Netherlands), HISK (Antwerp, Belgium) and Ohio State University (Ohio, USA). He was honored with prestigious grants and awards, including: OMI Residency (USA), Edith Fergus Gilmore Award (USA), Generation2008 Caja Madrid (Spain), Young Belgian Art Prize (Belgium), 1st Award Young Andalusian Artists (Spain), Fulbright (USA) and De Pont Atelier (the Netherlands). He has participated in numerous exhibitions in national and international institutions, such as: CAC (Malaga, Spain), MACBA (Barcelona, Spain), Boulder Museum of Contemporary Art (USA), Imperial Belvedere Palace (Vienna, Austria), MUSAC (Leon, Spain), BB6 Bucharest International Biennale (Bucharest, Romania), B.P.S. 22 (Charleroi, Belgium), 5th Thessaloniki Biennale (Thessaloniki , Greece), Museo de Arte Carrillo Gil (Mexico City, Mexico), Canada Contemporary Art Museum (Montreal, Canada). His work can be found within significant public collections: ARTIUM (Spain), MACBA (Spain), Fondation Francès (France), ARTER (Turkey), CAC (Spain), Maison Particulière (Belgium), Ministry of Culture of Spain, Progress Art (Saudi Arabia), National Belgium Bank (Belgium), 21c Museum (USA), MAK (Austria) among others.

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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. Carlos Aires filme deux hommes. Revêtus de l’uniforme anti-émeute, ils dansent le tango dans un palais madrilène du 19ème siècle.


21 juin

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

"Cinéma revisité"

En présence de Carsten Aschmann et Maya Schweizer.

Vivian ostrovsky: DizzyMess | Film expérimental | super8 | couleur et n&b | 7:43 | USA | 2017 voir plus
Carsten aschmann: Updating Death | Film expérimental | 4k | couleur | 14:30 | Allemagne | 2017 voir plus
Christoph girardet: It Was Still Her Face | Film expérimental | hdv | noir et blanc | 8:0 | Allemagne | 2017 voir plus
Cecilia lundqvist: En av dem (One of them) | Animation | hdv | couleur | 1:53 | Suède | 2017 voir plus
Maya schweizer: A Tall Tale | Fiction expérimentale | hdv | couleur et n&b | 16:16 | Allemagne / Ireland | 2017 voir plus
Pink twins: Overlook | Animation | hdcam | couleur | 5:27 | Finlande | 2017 voir plus
Vivian ostrovsky
Film expérimental | super8 | couleur et n&b | 7:43 | USA | 2017


Cinéaste née à New York en 1945, Vivian Ostrovsky passe son enfance à Rio de Janeiro puis poursuit des études supérieures à Paris en psychologie ainsi qu`en cinéma. Elle co-fonde dans les années 1970 Ciné-Femmes, organisme dédié à la diffusion de films de femmes. Depuis 1980, Vivian Ostrovsky a réalisé plus de vingt films, la plupart tournés en Super 8, qui incluent souvent du found footage, des extraits de fictions, de documentaires, ou de home movies. Ses films exploitent le thème du déplacement et se situent, d`après Yann Beauvais, entre le "film journal" et le "film collage". Elle travaille également à la programmation du cinéma d`auteur et d`avant-garde du festival de film de Jérusalem. Son travail a connu de nombreuses rétrospectives et expositions dans les musées et les festivals à travers le monde ; à la fois pour ses films et ses " films- installations ".

Carsten aschmann
Updating Death
Film expérimental | 4k | couleur | 14:30 | Allemagne | 2017

The actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate—at once helpless and aggressive—through the that can no longer be changed.the actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate “at once helpless and aggressive” through the that can no longer be changed.

carsten aschmann lives and works in hannover. he has studied at the hbk-braunschweig in the filmclass by büttenbender and birgit hein. Mainly he is a filmmaker, and a screenwriter. more info

Christoph girardet
It Was Still Her Face
Film expérimental | hdv | noir et blanc | 8:0 | Allemagne | 2017

Portraits of women. And men, who are spellbound by them. The painted portraits, a recurring motif of film noir as well as European postwar cinema, aesthetically stand in a tradition of an outmoded academic style that is bent on striking likeness with the model. They are revenants, omens of absence, metaphors for loss and death, objects of desire and fixation, which mesmerize both the viewer in the movie and in front of the screen.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. filmography (single channel, selection) 1991 Schwertkampf 1993 Fieberrot 1996 Release 2001 Scratch 2002 Absence 2004 Fiction Artists (with Volker Schreiner) 2007 Pianoforte | Storyboard 2012 The Eternal Lesson | Dirigible 2014 Fabric 2015 Synthesis 2017 It Was Still Her Face collaborations with Matthias Müller 1999 Phoenix Tapes 2002 Manual | Beacon 2003 Play | Mirror 2006 Kristall 2009 Contre-jour | Maybe Siam 2011 Meteor 2013 Cut 2016 personne

Cecilia lundqvist
En av dem (One of them)
Animation | hdv | couleur | 1:53 | Suède | 2017


Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Maya schweizer
A Tall Tale
Fiction expérimentale | hdv | couleur et n&b | 16:16 | Allemagne | 2017

Maya Schweizer ( Paris, France) lives and works in Berlin. She studied at the university, Aix-Marseille I, at the Academy of Visual Arts Leipzig and Berlin University of the Arts, where she graduated. Maya Schweizer exhibited at Kunstverein Leipzig (2017-2018), Drawing Room Hamburg (2017-2018), Irish Museum of Modern Art, Dublin (2016); Skulpturenmuseum Glaskasten Marl (2016); Nordstern Videokunstzentrum, Gelsenkirchen (2016); Staatliche Kunsthalle Baden-Baden (2015);GRASSI Museum für Angewandte Kunst Leipzig (2015); MWW Wroclaw Contemporary Museum (2015). She recently screened at Videoart at Midnight, Berlin (2018), Traverses Vidéo, Toulouse (2018), Vancouver International Film Festival, Canada (2017), Cinema in viennacontemporary, Vienna, Austria (2017), in Oberhausen 63. International Kurzfilmtage Oberhausen (2017) and at the 67. Berlinale, Forum Expanded, Berlin (2017). She received the Research stipends from the Berlin Senat (2017), Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Naples (2017), and the residency at the Watchtower, Flutgraben, Berlin (2016-2017).

Pink twins
Animation | hdcam | couleur | 5:27 | Finlande | 2017

Impossible architecture, an ancient burial ground and a lure for psychotic janitors were the building blocks of Overlook Hotel in Stanley Kubrick’s The Shining. In this story vignette, chaos animators Pink Twins add zero gravity and a rupture in space-time continuum to the mix and serve a taster of subtle cosmic horror.

Pink Twins is a duo of visual artists and electronic musicians, brothers Juha (b. 1978) and Vesa Vehviläinen (b. 1974), based in Helsinki, Finland. Active as Pink Twins since 1997, their videos work on the crossing of visual art and music. Live Pink Twins deliver improvised digital soundscapes, often combined with video screenings. Pink Twins have shown their works in exhibitions and festivals in all continents and performed audiovisual live shows through Europe, Americas, Asia and Australia.

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Vivian Ostrovsky interroge la représentation du vertige au cinéma, comme un catalyseur d’images étranges, inquiétantes, flottantes allant de l’effet psychologique au comique. Carsten Aschmann créé une rencontre post-mortem improbable entre les acteurs Ledger, Walker et Hoffman. Ils essayent d’entrer en contact les uns avec les autres mais, agressifs et démunis, ils naviguent dans ce qui ne peut plus être changé. Christoph Girardet agence des portraits de femme, comme motif récurrent dans le film noir et le cinéma d’après-guerre. Elles deviennent des revenantes, des présages de l’absence, des métaphores de la perte. Cecilia Lundqvist manifeste l’inquiétude de savoir que la vie éternelle n’est pas accessible à tous. Maya Schweizer nous conduit dans un paysage de ruines et de références, avec Edgar Allan Poe, Orson Welles et d’autres fantômes encore. Le duo Pink Twins revisite une architecture impossible, celle de l’Hôtel Overlook de Stanley Kubrick dans « Shining ». Le chaos s’anime, sous gravité zéro. La rupture dans le continuum spatio-temporel, sert ainsi une subtile horreur cosmique.

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