Programme Berlin 2019
13h00 15h00 17h00 19h00 21h00
samedi

24 août
13h00

Forum
Haus der Kulturen der Welt | Audifoyer
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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samedi

24 août
15h00

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

"Visions"

En présence de Mauro Santini, Natacha Nisic and Inger Lise Hansen.

Mauro santini: Vaghe Stelle - Mizar | Vidéo expérimentale | 4k | couleur | 11:0 | Italie | 2017 voir plus
Sarah vanagt: Alle de tranen / Toute larme / Every Tear | Doc. expérimental | hdv | couleur | 30:0 | Belgique | 2017 voir plus
Natacha nisic, en collaboration avec Ken Daimaru: Osoresan | Vidéo | hdv | couleur | 17:15 | Japon | 2018 voir plus
Inger Lise hansen: Tåke | Film expérimental | 16mm | couleur et n&b | 14:57 | 0 | 2018 voir plus
Sebastian diaz morales: Multiverse | Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2018 voir plus
Mauro santini
Vaghe Stelle - Mizar
Vidéo expérimentale | 4k | couleur | 11:0 | Italie | 2017

“Vaghe stele” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The “songs” are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.


Since 2000, Mauro Santini (Fano, Italy, 1965) has composed a series of video diaries, stories told in the first person about time, memory and the search for oneself. One of these, “Da lontano”, won the Italian competition at the 2002 Torino Film Festival. He has participated at the international film festivals of Locarno, Venezia, Oberhausen, Jeonju, Annecy, Rencontres Paris/Berlin, DocLisboa, Cinémas Différents Paris, Montpellier, Pesaro etc In 2006, he made the feature film Flòr da Baixa and participated in 2008 with different works at “La cité des yeux, une saison italienne”, about Italian avant-garde cinema from 1968 to 2008, which was organized by the Cinémathèque Française in Paris and curated by Nicole Brenez and Federico Rossin.

Sarah vanagt
Alle de tranen / Toute larme / Every Tear
Doc. expérimental | hdv | couleur | 30:0 | Belgique | 2017

In the 17th century, Antoni Van Leeuwenhoek, a draper from Delft, begins to make glass lenses, in order to better study the quality of his textile. He melts, drips and grinds small beads of glass. His tiny lenses are so bright and have such magnifying power that the draper seems to have entered a new dimension. Is he the first to see little moving “animals” in a drop of water? How to describe something that nobody ever saw before? In the film `Every Tear`, Sarah Vanagt starts a journey into her home city of Brussels, with Leeuwenhoek’s microscope in hand. She picks up bits and pieces on her road, and tries to find out what the first microscopic images may have looked like. She replaces the lens of her camera by the 17th-century lens. As she is filming, she wonders why we always look for shapes that we already know, whenever we are in the eye of the unknown.


Home News Work & Screenings Online Films About Contact Balthasar produces and presents the work of filmmaker Sarah Vanagt. Sarah Vanagt (1976) makes documentaries, video installations and photos, in which she combines her interest for history with her interest for (the origins of) cinema. Her work includes films such as After Years of Walking (2003), Little Figures (2003), Begin Began Begun (2005), Boulevard d`Ypres (2010), The Corridor (2010), Dust Breeding (2013); and video installations such as Les Mouchoirs de Kabila (2005), Power Cut (2007), Ash Tree (2007). Her work is shown at film festivals (FidMarseille, Viennale, Doclisboa, Idfa Amsterdam, Rencontres Internationales Paris/Madrid/Berlin, Hors Pistes Centre Pompidou), and in museums (Frankfurter Kunstverein, Fact Liverpool, NGBK Berlin, Shedhalle Zürich). The silent short film Girl with a fly (2013) was first shown at the 5th Biennale of Moscow. The films In Waking Hours (2015) and Still Holding Still (2015) premiered at the International Film Festival Rotterdam. The installation Showfish was presented in M HKA, the Museum for Contemporary Art of Antwerp in October 2016. Vanagt`s new film DIVINATIONS (2019) has it`s Belgian avant-premiere during the festival Courtisane in Ghent (3 April 2019)

Natacha nisic, en collaboration avec Ken Daimaru
Osoresan
Vidéo | hdv | couleur | 17:15 | Japon | 2018

OSORESAN Natacha Nisic & Daimaru Ken 3 channels installation, stereo sound, 17’, 2018 The Itako are women who train to become spiritual mediums in Northeast region of Japan and to evoke departed spirits for the living seeking to communicate with the dead. Most of them have visual disabilities and learn language and rites to describe a rich spiritual world entirely through oral communication. Our first meeting wit Nakamura Take took place in Hachinohe city in Jully 2015. Fiming a blind person is a challenge, in one hand, we would see what she would never share with us, and on the other hand, it seems that she « sees » things that we aslo don’t see. We met her two times in 2015 and in 2017. Each sequence was very short between clients who were regularely knocking at her door. Those fragments of her life, moments of remembering songs, rites and legends were too short to build up a large portrait. They became elements of a constellation we wanted to draw : balancing her humility and modesty versus the huge scale of the desaster which happened not so far fom a living region. Her way to travel in unknown countries of dead and spirits, using a treasure of words, notes, incantation, has been guiding own journey into the landscapes revealing the traces of the post catastrophy. (imprégnant par ses paroles chacune de nos visions des paysages que nous traversions). She told us the legend of «Oshirasama», the founding tail for Itakos, a cruel story of a father, a beloved daughter and a horse. As we crossed the city of Soma, we remembered the Horse Festival organized by the city just one year after the disaster. The horses are still there, waiting. The desire to make peace with the dead motivates each one visiting an Itako. What could help us to make our own peace with the heritage of the post catastrophy ? What kind of political individual gestures could face the large scale of political environmental decisons ? We still have to deal wih nuclear threat. As a symbol of fear, the mount Osoresan, a lansdcape of ashes, smoke and dark water, responds to the hyptnotic beauty of the fragmentation of alpha an beta rays displayed at the Rokkasho PR Center. Fear, to be acclimated must show a fascinating face, as Itakos used to be represented ; stranges, unreachable and dangerous figures of women. Witches. We discovered a touching, smily, opened woman. We realized that Take Nakamura is a monument of Japan history. Very precious, rare and fragile. With participation of Take Nakamura and Itakos of Osorezan Cast: Satoko Abe, Fumie Kubota, Yohei Kobayashi, Kyoko Takenaka, Mika Shigemori


Inger Lise hansen
Tåke
Film expérimental | 16mm | couleur et n&b | 14:57 | 0 | 2018

TÂKE is a landscape film capturing mysterious natural and man-made fog-obscured scenes in Beijing, Oslo, Azores and Newfoundland. The film observes the spectacle of fog through several different film- and video formats. It explores the behaviour of Super-8 and 16mm film alongside digital video against a visual obstacle. The variable formats are also used to create spatial shifts on the screen and work with ideas of obscured or filtered visions. Associations can be made between the grain in the film material and the tiny particles, or condensation nuclei, needed to form both fog and smog, such as pollen, sea salt, dust and particle pollution. In parallel to the image the soundtrack attempts to create an auditory fog. It compares the loss of visibility to the loss of audible frequencies. During the process of making the film the artist discovered that the way sound gets filtered in fog is similar to her own loss of hearing, where the high frequencies are no longer perceived. In the fog the tiny water droplets block the high frequencies from passing. The soundtrack is composed of sirens and signals, hearing tests samples and environmental sounds.


Inger Lise Hansen (b. 1963) is a visual artist with background in experimental film and animation. She studied Fine Art at University of East London (1989) and Central-St. Martin’s College of Art and Design (1991) and received a Master of Fine Art Filmmaking from San Francisco Art Institute in 1996. Since the nineties her film works has been screened in international institutions and galleries such as Tate Modern, National Gallery London, RI at Jeu de Paume Paris, Tokyo Photographic Art Museum and Malmö Konsthall. She has received a number of prizes from film festivals including Vienna Independent Shorts, Videoex, Ann Arbor and Oberhausen. Inger Lise lives and works in Oslo.

Sebastian diaz morales
Multiverse
Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2018

1-channel video / 2k format / 10min / 2018 Soundscore Berend Dubbe & Gwendolyn Thomas / Photography Niels Boon / Special effects Arjan van Drunen / Production Bart van Dam Produced with financial support of the Mondriaan Fonds The multiverse (or metaverse) is a hypothetical group of multiple universes including the universe in which humans live. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, the physical laws and the constants that describe them. The different universes within the multiverse are called the "parallel universes", "other universes", or "alternative universes". #3 Multiverse is part of a series of videos which are ultimately sequences of a whole. Both a concept and a blurred narrative. The latter is not explicitly delineated in the course of the series but it is intuited. The sequences generate, rather than a narrative, a concept. All these sequences are thought to be shown on separate screens. In large and small shapes, vertically and horizontally they spread into one or various spaces in different combinations resembling an aleatory puzzle which ultimately takes a more clear and narrative shape in one last sequence/installation. The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. For something to be fantastic, it is not enough to be different from the real: also (and above all) it is necessary to mix inexplicably with the real thing. In more philosophical terms we can say that the fantastic is not the other of the same but its alteration: not the contradiction of the real, but its subversion. That is why the cinematic condition of the fantastic, which on the other hand can serve as an exact definition, is not at all in the production of real or supernatural beings, but in the fact that they affect what is recognized as real and natural through a contagion of the other who comes to seize the same in person. The feat made by the fantastic cinema does not consist only in this visible manifestation of the real as another. These are duplicated, in fact, and apparently paradoxically, by the work of an invocation of the Real as such, considered in its effective and singular existence; and in a way that is in itself quite strange. 1 The effects on this and the rest of the works had been recreated entirely on stage without the use of postproduction editing. 1 Clement Rosset, El Objeto Singular, Editorial Sexto Piso, 2007


Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Venice Biennale; Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009


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Mauro Santini réalise un hommage à Mizar, étoile de la constellation de la Grande Ourse. Sarah Vanagt remplace la lentille de sa caméra par une lentille du 17ème siècle, et tente de redécouvrir ce à quoi pouvaient ressembler les premières images microscopiques. Alors qu’elle filme, elle se demande comment l’inventeur pouvait décrire ce que personne n’avait jamais vu. Natacha Nisic retrace sa rencontre avec Nakamura, une Itako, chamane japonaise, qui, aveugle, communique avec les morts pour aider les vivants à faire la paix avec les disparus. Inger Lise Hansen filme des paysages dans le brouillard à Beijing, Oslo, à Terre-Neuve et dans les Açores, observant comment différents formats film et vidéo réagissent face aux particules, et aux limites du visible. Sebastian Diaz Morales convoque le multiverse, groupe hypothétique composé de mondes possibles, incluant le nôtre. Réunis, ces univers comprennent tout ce qui existe : l’espace dans son entièreté, le temps, la matière, les lois physiques et les constantes qui les décrivent. Il interroge ici le fantastique, défini comme ce qui se confond de manière inexpliquée avec la chose réelle.

samedi

24 août
17h00

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

"Une histoire invisible du cinéma"

En présence de Elena Vogman, Clemens von Wedemeyer, Graeme Thomson and Silvia Maglioni.

Elena vogman, Clemens von Wedemeyer: Actors of Profane History | Vidéo | hdv | noir et blanc | 17:0 | Allemagne | 2017 voir plus
Nika autor: Newsreel 63 - The train of Shadows | Doc. expérimental | hdv | couleur et n&b | 39:0 | Slovénie | 2017 voir plus
Graeme thomson, Silvia Maglioni: Underwritten by Shadows Still | Film expérimental | hdv | couleur et n&b | 33:0 | France | 2017 voir plus
Elena vogman, Clemens von Wedemeyer
Actors of Profane History
Vidéo | hdv | noir et blanc | 17:0 | Allemagne | 2017

"Actors of Profane History" includes a series of recently discovered casting images from Sergei Eisenstein’s destroyed film "Bezhin Meadow," (1935-1937) preserved today at the Russian State Archive of Literature and Arts. It questions the interrelation between the cinematographic use of film extras, who usually appear only in the background of major cinema productions, and the possibility of acting in political history, in itself closely connected to the history of representation. In his films, Eisenstein worked almost entirely with non-professional actors, the so-called "tipazhes." Deriving from the French word "typage," the Russian “tipazh” was a concept for denoting a typical appearance, giving an immediate visual presence to the palpable characteristics of a social type. This reading of human appearance as evidence of social and political conditions elucidates parallels between cinema and criminalistic as well as physiognomic paradigms. Yet, in 1935, when Eisenstein was commissioned to shoot Bezhin Meadow, such “irregular types” were already banned from official screens. The censured and destroyed film tells the story of Pavlik Morozov, a fourteen year old pioneer who lived in the village of Gerasimovka and was killed in 1932 by his family after denouncing his father for being opposed to the collectivisation of the land. After the editing of the film went through at least two different versions, the production was definitively stopped in March 1937. The film was withdrawn and disappeared in the deposits of Mosfilm, where it was eventually destroyed in the bombing of Moscow during the Second World War. In 1967, Naum Kleiman and Sergei Jutkevic reconstructed a version of Bezhin Meadow based on a surviving sequence of individual frames.


Elena Vogman is an author, independent curator and postdoctoral fellow in the research project “Rhythm and Projection” at the Freie Universität in Berlin. Her book on "Sinnliches Denken: Eisensteins exzentrische Methode" (2018) has been published by diaphanes. Currently, she finishes her next book, "Dance of Values: Eisenstein’s Capital Project," which is forthcoming in the Fall of this year. Together with Marie Rebecchi and Till Gathmann she curated the exhibition “Sergei Eisenstein: The Anthropology of Rhythm” in 2017 at Nomas Foundation in Rome. In 2018, the trio curates the exhibition “Eccentric Values after Eisenstein” together at Espace Diaphanes in Berlin. Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Solo exhibitions include: 2016 Hamburger Kunsthalle; P.O.V. - Neuer Berliner Kunstverein; 2015 MCA Chicago; 2013 MAXXI, Museo nazionale delle arti del XXI secolo, Rom with the project “The Cast”, curated by Giulia Ferracci

Nika autor
Newsreel 63 - The train of Shadows
Doc. expérimental | hdv | couleur et n&b | 39:0 | Slovénie | 2017

Newsreel 63 follows newsreel-related practices and tries to position and understand a particular image a shred of video taken on the once famous Belgrade - Ljubljana rail-line, where refugees now travel not in couchettes but between the trains wheels. Newsreel 63 drifts into a visual investigation of railways and explores its historical, social and political narrative. The essayistic and associative elements of Newsreel 63 link this historical narrative to our pursuit of happiness, the idea of voyage in the current social constellation, where our longing for happiness is all too often tied to the idea of travelling somewhere or indeed the need to secure the means for mere basic survival.


Nika Autor finished her studies at the Academy of Fine Arts in Ljubljana (BA and MA) and finished her PhD in Practice at Academy of Fine Arts Vienna. Her practice is primarily based on experimental videos and documentary films, film essays, newsreels and spatial video and film installations. The focus of her work is a research of the invisibilities/ inaudibilities dealing with concealed topics of the forgotten past and the silenced present. Her work focuses on the production of particular images, specific constructions of collective memory as well as on personal/oral narratives and examines asylum and migration policies, workers rights and politics of memory. She is part of the collective Newsreel Front (Obzorniška Fronta), an informal collective of workers coming from the field of film theory and art practice.

Graeme thomson, Silvia Maglioni
Underwritten by Shadows Still
Film expérimental | hdv | couleur et n&b | 33:0 | France | 2017

"Underwritten by Shadows Still" is a film composed of subtitled photograms drawn from a wide range of films and accompanied by an electronic soundtrack containing sound samples that originate from spaces between voices. As the succession of subtitled stills passes before our eyes, a soundless voice begins to speak through the words printed on the images, forming a discourse that links them together, while gathering the characters into a dispersed community of ghostly apparitions. The narrative that traverses them soon begins to bifurcate into other lines, other voices which are no more than underwritten shadows yet which speak to us and to each other of their imprisonment, their desire to live, their dreams of escape. 


: Graeme Thomson & Silvia Maglioni are filmmakers and artists based in Paris. Their practice interrogates potential forms and fictions emerging from the ruins of the moving image and includes the creation of short and feature films, exhibitions, sound works, film-performances, radio shows, vernacular technologies and books. Their work often makes use of cinema in expanded form to reactivate lost or forgotten archives and histories and to create new modes of collective vision and engagement with contemporary thought and politics. Their work has been presented, screened and installed worldwide at international film festivals, museums, art spaces and alternative venues (including FID-Marseille, Bafici International Film Festival, Jihlava Film Festival, Festival Hors-Pistes, Doc`s Kinkdom, Il Vento del Cinema, Anthology Film Archives, European Media Art Festival, Eye Film Museum, Tate Britain, Serralves Museum, Centre Pompidou, MACBA, REDCAT, Ludwig Museum, The Showroom, KHOJ New Delhi, Museu de Arte Moderna de Bahia, Castello di Rivoli, Institute of Modern Art Brisbane, Whitechapel Gallery, Van Abbe Museum, CA2M). They are currently working on a new film, “Common Birds”.


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Elena Vogman et Clemens Von Wedemeyer reprennent des photographies récemment découvertes, provenant d’un casting du film censuré et détruit de Sergei Eisenstein, «Le Pré de Béjine», questionnant les interrelations entre l’utilisation de figurants et la possibilité d’agir dans l’histoire politique, elle-même étroitement connectée à l’histoire de la représentation. Dans ce film, Eisenstein a travaillé quasi exclusivement avec des acteurs non professionnels, des «tipazhes», concept dénotant l’apparence typique d’un certain type social, déjà bannis des écrans officiels en 1935. Le film racontait l’histoire de Pavlik Morozov, un pionnier de 14 ans, assassiné en 1932 par sa famille après avoir dénoncé son père, opposé à la collectivisation des terres. Nika Autor suit le chemin de fer de la ligne Belgrade-Ljubljana, et explore les discours historiques, sociaux et politiques développés sur ce sujet, ainsi que les images de l’histoire du cinéma et celles, actuelles, de migrants essayant de traverser l’Europe. Graeme Thomson et Silvia Maglioni assemblent des photogrammes de films sous-titrés. Les images défilent, une voix muettes commence à parler, formant un discours qui rassemble les personnages en une communauté dispersée d’apparitions fantomatiques. La narration qui traverse l’image commence alors à bifurquer vers d’autres lignes, d’autres voix qui ne sont rien de plus que les ombres écrites, mais qui nous parlent de leur emprisonnement, de leur désir de vivre, de leurs rêves de s’enfuir.

samedi

24 août
19h00

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

Séance spéciale - Segunda Vez

En présence de Dora García.

Dora garcÍa: Segunda Vez | Doc. expérimental | hdv | couleur | 94:0 | Belgique / Norvège | 2018 voir plus
Dora garcÍa
Segunda Vez
Doc. expérimental | hdv | couleur | 94:0 | Belgique | 2018

SYNOPSIS - Une phrase Segunda Vez se concentre sur la figure d’Oscar Masotta, dont les idées sur la psychanalyse, la politique et l’art a changé le paysage artistique du Buenos Aires des années 60 qui précédait la dictature. SYNOPSIS - Court Doria García mélange politique, psychanalyse et performance dans Segunda Vez (La deuxième fois). Ce faux documentaire se concentre sur la figure d’Oscar Masotta, un théoricien pivotante dans l’avant-garde argentine des années 50 aux années 70, sans pour autant se définir en tant que biopic. Le titre, Segunda Vez, puise son origine d’une histoire homonymique écrite par un contemporain de Masotta, Julio Cortazar, qui raconte le climat de psychose et d’incertitude causé par le trauma des disparitions en Argentine. SYNOPSIS - Long Doria García mélange politique, psychanalyse et performance dans Segunda Vez (La deuxième fois). Ce faux documentaire se concentre sur la figure d’Oscar Masotta, un théoricien pivotante dans l’avant-garde argentine des années 50 aux années 70, sans pour autant se définir en tant que biopic. Le titre, Segunda Vez, puise son origine d’une histoire homonymique écrite par un contemporain de Masotta, Julio Cortazar, qui raconte le climat de psychose et d’incertitude causé par le trauma des disparitions en Argentine. Dans Segunda Vez, García tisse une séquence de scènes d’apparences disparates qui se lient grace à l’acte de la répétition et de l’observation : des posters collés le long d’un mur annoncent leur propre transmission . Un message phantômatique dans une ville animée. Deux publics convergent à la cime d’une falaise, ils sont divisés dans leur connaissance du scénario auquel ils participent. Une personne, attachée de ses vêtements blancs et de cordes se voit être portée et laissée dans une forêt. La brève apparence d’un hélicoptère cause quelque peu d’excitation et de consternation. Un groupe de personnes pauvres et âgées est réuni sur un podium, payé pour enduré une lumière et du son violent pendant une heure pendant qu’un public les observe. Une bibliothèque réunit un groupe de lecteurs qui savent être observés. Suite à une série de convocations mystérieuses, des étrangers se parlent dans une salle d’attente, anticipant ce qu’il pourrait arriver. L’un d’entre eux vient d’être rappellé pour “la deuxième fois?.

Dora Garcià vit et travaille entre Barcelone et Oslo. Elle enseigne couramment à L’Académie Nationale des Arts d’Oslo et au HEAD de Genève, en Suisse. Elle est co-directrice des laboratoires d’Aubervilliers à Paris. Elle a représenté l’Espagne à la Biennale de Venise en 2011 et s’est représentée à nouveau en 2013 (évènements collatéraux). Elle a participé à la 56ème édition de l’Exposition Internationale d’Art de Venise, à la dOCUMENTA (13) et à d’autres évènements internationaux tels que le Münster Sculptur Projekts en 2007, la Biennale de Sydney de 2008 et la Biennale de Sao Paulo de 2010. Son travail est largement performatif et traite de questions relatives à la communauté et à l’individualité dans la société contemporaine. Elle explore le potentiel des positions marginales en rendant hommage à des personnages excentriques et à des anti- héros. Ces derniers ont souvent été au centre de ses projets cinématographiques, tels que The Deviant Majority (2010) et The Joycean Society (2013).


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Dora García entrecroise politique, psychanalyse et performance. Le film en apparence documentaire se centre sur la figure d’Oscar Masotta, théoricien majeur de l’avant-garde argentine des années 50-70. Les idées de Masotta sur la psychanalyse lacanienne, la politique et l’art, ont changé le paysage artistique du Buenos Aires des années 60, précédant la dictature qui a mis fin à cette avant-garde. «Segunda Vez» provient du titre éponyme d’un roman de Julio Cortazar, contemporain de Masotta, qui raconte le climat de psychose et d’incertitude causé par le trauma des disparitions en Argentine. Dora García combine des scènes apparemment disparates, cependant liées par la répétition et l’observation : un message spectral dans une ville agitée, deux publics qui convergent sur une falaise, la brève apparition d’un hélicoptère, un groupe de personnes pauvres et âgées rassemblées sur un podium, une bibliothèque où des lecteurs se savent surveillés, une salle d’attente où un jeune homme est appelé. Il doit y retourner une seconde fois.

samedi

24 août
21h00

Séance spéciale
Haus der Kulturen der Welt | Terrasse *
* En cas de mauvais temps, la séance aura lieu dans la Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

Carte blanche à Ulrike Ottinger
"Mr. Freedom"

En présence de Ulrike Ottinger.
En partenariat avec ARTE.

Pour sa carte blanche, la cinéaste Ulrike Ottinger présente "Mr. Freedom", un film qui l'a influencée, en correspondance avec son exposition à la Haus der Kulturen der Welt, "Paris Calligrammes : A Landscape of Memory by Ulrike Ottinger" (du 23 août au 10 octobre 2019). La satire politique de William Klein et sa vision critique de l'engagement militaire américain sont toujours d'actualité aujourd'hui.

William Klein: Mr Freedom | Fiction | 01:35:00 | couleur | France | 1969

Avec le personnage de bande dessinée Mr. Freedom, William Klein crée un super-héros américain qui a pour mission de sauver Paris du communisme. Les couloirs souterrains du métro deviennent le royaume absurde du roi Ubu où se croisent des figures telles que Red China Man, Russian Muzhik Man, Jesus et Mary pour traîter du capitalisme, du stalinisme, du maoïsme et du papisme. La fiction et la réalité, les idéologies et les modes du jour sont présentées en utilisant l'esthétique du Pop Art et de la bande dessinée. La satire politique de William Klein et sa vision critique de l'engagement militaire américain sont toujours d'actualité aujourd'hui.

Au sujet d'Ulrike Ottinger
Ulrike Ottinger a vécu comme artiste indépendante à Paris de 1962 à 1968 et y a exposé, par exemple, au Salon de la Jeune Peinture. Elle a suivi une formation en techniques de gravure dans l'atelier de Johnny Friedlaender et a suivi des cours d'histoire de l'art, d'études religieuses et d'ethnologie à la Sorbonne avec Claude Lévi-Strauss, Louis Althusser et Pierre Bourdieu. Avec son travail, elle a participé à de grandes expositions d'art telles que la Biennale de Venise, la Documenta et la Biennale de Berlin. En 2011, elle a réalisé l'exposition Floating Food à la Haus der Kulturen der Welt. Ses films ont reçu de nombreux prix dont le Prix du public à Montréal, le Prix du film allemand, le Prix de la critique allemande (pour ses documentaires en Chine). Die Künste - Der Alltag (1986), Prater (2008) et Chamisso's Shadow (2016). En 2011, Ulrike Ottinger a reçu le Prix Hannah Höch de la ville de Berlin pour l'ensemble de ses réalisations artistiques.

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    20 - 25 août 2019
    Programme complet
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