Catalogue 2024
Below, browse the 2024 Rencontres Internationales catalogue, or search the archives of the works presented since 2004. New video clips are routinely posted and the images and text are regularly updated.
Sara Kontar
3350 KM
Doc. expérimental | hdcam | couleur | 13:0 | Syrie, France | 2023
En exil, 7 ans loin de mon père et de mon pays, j'enregistre nos conversations téléphoniques. Il me parle du pays, de sa solitude. Mon écran nous unit et sépare, ma seule fenêtre. Mes souvenirs s'estompent, ma vie coupée, mon pays inaccessible.
Sara Kontar est une artiste, photographe et réalisatrice syrienne installée en France depuis 2016. Elle est titulaire d'un Master en cinéma d'animation de l'École Nationale Supérieure des Arts Décoratifs de Paris (ENSAD). Son travail englobe la photographie documentaire et artistique, avec des expositions internationales et une reconnaissance, notamment le prix Inge Morath. "3350 KM" est son premier documentaire expérimental, après avoir réalisé des œuvres vidéo expérimentales présentées dans des lieux tels que le Centre Pompidou et le Palais de Tokyo. Le travail de Kontar explore ses racines et l'expérience de l'exil, exprimant les émotions humaines d'une manière personnelle et intime. Elle est également la fondatrice d'"Al-Ayoun", un espace dédié aux conteurs visuels en Syrie et dans la diaspora.
Sarah Konté
Noza Cassandra
Fiction expérimentale | 16mm | couleur | 38:58 | Sénégal, France | 2024
Une ode à la danse, à la fête et à la joie. Des ami.e.s se retrouvent et cherchent d’où vient ce son qui semble provenir d’une fête au loin. Des fragments de mots retiennent notre attention mais c’est le son du synthétiseur qui constitue la véritable voix narratrice de NOZA CASSANDRA. NOZA CASSANDRA, zone où la fête éclôt, faisant danser nos désirs et dans nos désirs germent notre révolution. Que la fête soit et qu’elle n’en finisse pas. Danser et faire la fête deviennent alors des actes militants pour ancrer des communautés, les rendre visibles et les faire exister. Faire la fête c’est exister et tordre sous toutes ses formes notre rapport au réel et à l’imaginaire, épuiser nos perceptions comme pour trouver la faille dans la matrice du réel.
Sarah Konté est une artiste queer interdisciplinaire travaillant la vidéo, la photographie, la performance et les installations sonores, au prisme d’enregistrements et de compositions au synthétiseur modulaire. Diplômée de l’EHESS en Arts et Langages en 2020, des Beaux-Arts de Paris en 2022 et de CalArts à Los Angeles en 2022 également, son travail s’articule autour de la mémoire, de la perception et de ce que l’on voit lorsque l’on ferme les yeux. Elle décline l’idée du griot, conteur traditionnel d’Afrique de l’Ouest, en proposant une histoire qui n’est plus contée par le griot mais par l’audience elle-même qui peut composer le fil narratif comme bon lui semble. Tous les sens de lecture sont possibles. Son travail a été exposé à la Monnaie de Paris, à la galerie Greatorex St à Londres, au MOCA à Los Angeles, à la galerie Campeche à Mexico, à la galerie SALA à Los Angeles, à l’espace Aimé Césaire de Gennevilliers et aux Grandes Serres de Pantin. Elle a récemment reçu le prix Marguerite et Méthode Keskar de la Fondation de France, en 2023.
Daniel Kötter
Landshaft
Documentaire | dcp | couleur | 96:42 | Allemagne | 2023
Can Kurucu, Mariam Aslanishvili, Jack Hogan, Matthias Planitzer
The Measures Taken
Vidéo expérimentale | mov | couleur | 30:0 | Turquie, Allemagne | 2023
Four communist agitators return from a successful mission in China to Moscow and are congratulated for their efforts by the Central Committee (The Control Chorus.) The four agitators, however, inform the committee that during their mission they were forced to kill a young comrade for their mission to succeed. The committee withholds its verdict until after the four agitators re-enact the events that led to the young comrade’s death. The agitators tell of how they were sent on a mission to educate and help organize the workers in China. The director of the party house (the last before the frontier) helps the four agitators and the young comrade in the obliteration of their true identities. They are told to keep concealed that they are communist, for their discovery would endanger the mission and their lives. However, once in China, the sights of injustice and oppression enrages the young comrade on several occasions, when he is time and time again not able to contain his passion, immediately acting to correct the wrongs he sees around him. As a result, he eventually exposes himself and proclaiming the teachings of the party. There, the agitators debate on what to do with him.
Can Kurucu is a filmmaker and artist focused on the sphere of the political image and its consequences. Can's work provides an insight into how digital images are made and what they represent, exploring the political and scientific elements that shape them, and reflecting on the image-making process and the deeper meanings behind the images within these broader contexts. Mariam Aslanishvili is an artist, photographer, and musician based in Berlin. Her artistic practice revolves around the exploration of human perception and the construction of realities, with a particular focus on translating personal experiences into the language of experimental cinema. Jack Hogan is a filmmaker from Waterford, Ireland. Their work focuses on the rich sociality of everyday life, foregrounding friendship and what constitutes good shared lives and places. Matthias Planitzer is a visual artist and doctor who explores scientific and political visual spheres and how they are rooted in their contexts.
La Ribot, Raquel Freire
Differentness
Fiction expérimentale | 4k | couleur | 31:8 | Espagne, Portugal | 2022
Dans les profondeurs de notre imagination, une forêt apparaît, animée par des plantes, des êtres humains et leurs fantasmes. Dans cette forêt millénaire, l'espace est partagé avec le vent. Ce lieu habité de fables est une réalité proche d'un rêve vivant. Ce qui est montré témoigne du désir de vivre et de danser. Differentness a été réalisé lors de la création du spectacle Happy Island, chorégraphie de La Ribot avec la compagnie Dançando com a Diferença. Création septembre 2018 au Grütli – Centre de production et de diffusion des Arts vivants, dans le cadre de La Bâtie-festival de Genève.
Née à Madrid, La Ribot vit à Genève et travaille à l’international. « La Ribot est danseuse, chorégraphe, réalisatrice et artiste visuelle. Son œuvre, apparue au sortir de la transition démocratique dans l’Espagne des années 1980, a profondément modifié le champ de la danse contemporaine. Elle défie les cadres et les formats de la scène comme du musée, empruntant librement aux vocabulaires du théâtre, des arts visuels, de la performance, du cinéma et de la vidéo pour opérer un déplacement conceptuel de la chorégraphie. Solos, explorations collaboratives, recherches avec des amateurs, installations et images en mouvement présentent dès lors les facettes d’une pratique protéiforme, qui ne cesse de mettre en jeu le droit du corps. » — Marcella Lista, écrivaine et commissaire d’exposition au département Nouveaux Médias du Centre Pompidou, Paris, 2020 L’œuvre chorégraphique et visuelle de La Ribot a été saluée par de nombreux prix, notamment le Lion d’or pour l’ensemble de sa carrière à la Biennale de la danse de Venise en 2020, le Grand Prix suisse de danse par l’Office fédéral de la culture en 2019, le Premio en Artes Plásticas de la Comunidad de Madrid (Espagne) en 2018, la Medalla de Oro al Merito en las Bellas Arte en Espagne en 2015, le Premio Nacional de Danza décerné par le Ministère de la Culture espagnol en 2000. Son travail chorégraphique a été présenté, entre autres, à la Tate Modern (Londres), au Théâtre de la Ville et au Centre Pompidou (Paris), au Musée Reina Sofia (Madrid), au Festival d’Automne à Paris, à la Triennale d’Aïchi (Nagoya, Japon), au Museu Serralves (Porto), à Art Unlimited – Art Basel, au S.M.A.K. (Gand), au MUAC (Museo Universitario de Arte Contemporáneo, Mexico DF). Son travail visuel fait partie des collections privées et publiques du Musée Reina Sofia (Madrid), du Centre Pompidou (Paris), du CNAP – Centre national des arts plastiques (Paris), du MUSAC (Museo de Arte Contemporáneo de Castilla y León), de l’Artium (Centro - Museo vasco de arte contemporáneo), des FRAC Lorraine et Franche-Comté, du FMAC — Collection d’art contemporain de la Ville de Genève...
Gonçalo Lamas
Andromaq
Fiction expérimentale | 4k | couleur | 30:23 | Portugal, France | 2023
Il était une fois, au printemps, des télescopes plantés au sol à l'affût des étoiles mourantes. La jeune Astyanax était là aussi, dans les hauteurs froides de cet oracle, un casque sur les oreilles comme toujours, écoutant une émission diffusée au loin. Un an après la guerre de Troie. Au cinéma, on écoute l'histoire d'un roi amoureux d'une reine dont l’épée a tué l'homme et le pays. Un enchaînement de dialogues où le désir se moque du devoir politique.
Gonçalo Lamas est un écrivain et artiste, né à Porto. Après avoir brièvement fait des études de cinéma, il a rejoint le programme de Beaux-Arts 4D à Central Saint Martins, dont il est sorti en 2017. À mi-parcours, il a passé un semestre à l'Universität der Künste Berlin, dans la classe de Hito Steyerl. En 2020, il a réalisé la performance "Boeing Nº 737-800 in F#m", présentée à Culturgest Porto. Le livre qui l'accompagne a été lancé à la 6e édition de la Artist Self-Publishers' Fair à Londres. Son premier film, "Granary Squares", a été présenté en compétition nationale lors de l'édition 2021 d'IndieLisboa. En 2022, la maison d'édition SPAM Press, basée à Glasgow, a édité son pamphlet de poésie "some times zero hours". Cette année, il a terminé le programme d'études au Fresnoy, dans le nord de la France.
Duy Le Ngoc
Cuôi giuong dây lên môt tiêng goi
Doc. expérimental | mov | couleur | 14:56 | Viet nam | 2023
Echoed in a memory-laden house are daily conversations between a mother and her two sons, all seemingly asleep. This autobiographical short, in a hybrid form, chronicles a personal memory from director Le Ngoc Duy's adolescence, using set design and reenactment to reconstruct his childhood home and featuring his mother’s voice as part of the cast.
LE Ngoc Duy (b. 2000) is a Vietnamese filmmaker and a member of A Sông Collective from Danang City. He was trained in filmmaking workshops by doc cicada and New Asian Filmmakers Collective in Cambodia. His works explore the subjects of family and homeland memories, queerness, and young adulthood, often set against historical backdrops and blending nonfictional and poetic elements within fictional narratives. "The House That Stays", Duy’s debut short film, was an official selection at Kaohsiung Film Festival, ZINEBI International Festival of Documentary and Short Film of Bilbao, Uppsala Short Film Festival, and Jogja-NETPAC Asian Film Festival. Currently, he is organizing and co-programming the Cinema Con Nha Ngheo project in Danang.
Pierre Lefrançois Vérove
Vigile
Fiction expérimentale | 4k | couleur | 12:28 | France | 2023
La nuit tombée, la ville n’existe plus que par halos. Vigile ou gardien, il faut alors veiller parmi les ombres, confondre la fatigue et le sommeil, nuit après nuit, scruter l’obscurité quitte à y ouvrir une brèche et réveiller l’invisible.
Pierre Lefrançois Vérove est né en 1989 et vit à Montreuil. Il a étudié aux beaux-arts de Paris-Cergy avant d’intégrer le Fresnoy, studio national des arts contemporains en 2021. Ses travaux, films et textes s’attachent aux marges visibles ou invisibles et à celles et ceux qui les peuplent. Une considération qui l’a mené à entrer dans le champ de la psychothérapie institutionnelle (La chambre de Paul, 2022) ou encore à tirer le fil des frontières européennes entre Paris et l’île de Lesbos en Grèce (Algèbre, 2019)
Thomas Leon
The Architecture of Grief
Fiction expérimentale | 4k | couleur | 8:30 | France | 2023
À partir d’un témoignage audio, la vidéo est à la fois une investigation et la mise en image d’un événement familial, personnel et violent. Elle cherche à décomposer, donner à voir et conduire le regardeur.euse dans l’expérience intime du processus de deuil. Le dessin, dans la variété de ses modes d’expression et ses modalité techniques diverses (dessin à la main, images de synthèse, formes hybrides), occupe une place centrale dans ce projet pour exprimer des processus psychiques tels que le trauma et le rapport à la mémoire, etc.
Thomas Léon développe sa pratique en fusionnant cinéma, arts graphiques et images issues des nouvelles technologies. Il crée des films, des installations vidéo et sonores immersives, ainsi que des dessins en grand format. Son oeuvre explore les interrelations entre mémoire, sensualité, expériences intimes et imaginaire, en s’appuyant sur des fictions, qu’elles soient sociales, urbanistiques, climatiques etc. Il s’inspire notamment de la science-fiction et de la littérature utopique et développe le plus souvent ses travaux par l’intermédiaire des outils contemporains de création d’images (modélisation 3D, IA, etc.). Il participe régulièrement à des projections ou expositions en France et à l’étranger: « Listening to Transparency » au Minsheng Art Museum de Shanghai (Chine, 2017), « Cruces Sonoros : Mundos Posibles » au MAC de Santiago de Chile (Chili, 2016), « Rendez-vous 11 » à l'Institut d'art contemporain à Villeurbanne (2011) et à la South African National Gallery à Cape Town (Afrique du Sud, 2012). Il a notamment suivi les résidences : Drawing Factory organisée par le CNAP et le Drawing Lab (Paris) en 2021 ; la résidence à Taiwan, organisée par le Grame, centre national de création musicale (Lyon) et le Digital Art Center (Taipei) en 2011. Ses oeuvres sont notamment présentes dans les collection du CNAP et de la Fondation Louis Vuitton. Thomas Léon vit et travaille à Montreuil.
Jesse Lerner
Manifesto
Doc. expérimental | super8 | couleur et n&b | 11:23 | USA, Mexique | 2023
In the spirit of the modernist vanguards of a century ago, three contemporary media artists read their manifestos. In English and Spanish, with subtitles in Spanish and English. Shot in super-8, 16mm, 35 mm and digital video. Available as a DCP or 16mm print. Running time: 11 minutes
Jesse Lerner is a documentary filmmaker, curator, and writer based in Los Angeles. His short films Natives (1991, with Scott Sterling), T.S.H. (2004), Magnavoz (2006), and Manifesto (2023), and the feature-length experimental documentaries Frontierland/ Fronterilandia (1995, with Rubén Ortiz-Torres), Ruins (1999), The American Egypt (2001), Atomic Sublime (2010), The Absent Stone (2013, with Sandra Rozental) and The Fragmentations Only Mean (2021, with Sara Harris) have won numerous prizes at film festivals in the United States, Latin America, and Japan, and have screened at the Museum of Modern Art in New York, the National Anthropology Museum in Mexico City, the Reina Sofía Museum in Madrid, and the Sundance, Rotterdam, and Los Angeles Film Festivals, among many other venues. Washington’s National Gallery, New York’s Anthology Film Archives, and Mexico’s Cineteca Nacional have presented mid-career surveys of his films. His books include The Maya of Modernism, F is for Phony: Fake Documentary and Truth’s Undoing (with Alexandra Juhasz), The Shock of Modernity, Ism Ism Ism: Experimental Cinema in Latin America (with Luciano Piazza), and The Catherwood Project (with Leandro Katz). His critical essays on photography, film, and video have appeared in Afterimage, Cabinet, Film History, History of Photography, La Pusmoderna, The Spectator, Visual Anthropology Review, Wide Angle, and other media arts journals, anthologies, and exhibition catalogues. As a curator, he has organized exhibitions for the Robert Flaherty Seminar, Mexico’s National Palace of Fine Arts, the MAK Center, and the Carrillo Gil Museum, as well as solo shows of Gala Porras-Kim, Manuel Álvarez Bravo, and Cannon Bernáldez. He is a professor in the Intercollegiate Media Studies program of the Claremont Colleges.
Erik Levine
MIDSENTENCE
Vidéo expérimentale | 4k | couleur | 32:15 | USA | 2024
MIDSENTENCE, filmed over five years inside a county jail, lays bare larger truths about incarceration, institutional authority, confinement, shame, guilt, and power dynamics between those in and out of uniform.
Erik Levine was born in Los Angeles, California in 1960. He has exhibited widely in the United States and Europe, most recently at Ludwig Forum Aachen with a solo survey exhibition of his videos from the past 15 years. His work includes video, sculpture, and drawings, and is in the public collections of the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, Walker Art Center, Hirshhorn Museum and Sculpture Garden, and Des Moines Art Center, among several others. He has received numerous awards including a Guggenheim Fellowship and three Pollock–Krasner Foundation awards. In addition, he’s received two grants each from the National Endowment for the Arts, the New York Foundation for the Arts, the New York State Council on the Arts, and the Massachusetts Cultural Council, as well as grants from Awards in the Visual Arts, Nancy Graves Foundation, and the Jerome Foundation.
Antonio Llamas
La insurrección que viene
Fiction expérimentale | digital | couleur | 24:17 | Espagne | 2023
On another day, a group of policemen guard the outskirts of a city. There is no one else on the streets. They wait for an order to go into action. However, that order never comes and a state of confusion and disorientation begins to take hold off them, until they forget what they were doing there.
So far his works have toured several international film festivals and contemporary art spaces such as FICVIÑA, Minsk, Curtocircuito, Riga IFF , Tabakalera Donosti or La Fábrica de Armas in Oviedo. "The Coming Insurrection" was selected as a project in the Focus Script 2022 of the Cannes Film Festival, and was also a beneficiary of one of the Visual Creation Grants of Matadero Madrid, having its international premiere in the Busan International Short Film Festival. Also, he is codirector of "A suburban mythology" (2024, an hybrid film premiered at Documenta Madrid. He is currently editing several projects and developing of his first feature film, "Laguna El Ministro".
Ausra Lukosiuniene
JUODA
Doc. expérimental | dcp | noir et blanc | 20:0 | France, Lituanie | 2024
Valdas is a talented architectural visionary who left his life unexpectedly ten years ago, and who did not fit into the standard architectural frameworks. As the architect of many of the Centre for Contemporary Art's exhibitions, he spent a large part of his life at the museum. It is here that the artist's daughter Elena walks, having to unload the artist's legacy from the museum. The visit becomes a tender farewell and a touch of her father's work, as well as the projects that were never realised. Dark matter is not only the title of the film, but also the title of the architect's last phase of work: a black as a hole in space sadness and Ozarinskas own words: "We haven't done anything more".
Graduated Russian Institute of Theatre, Music and Cinematography, directing. 1987m. 13 years as a director and producer for national TV. For many years worked in Lithuania as an executive producer for cultural events, film festivals, fashion days. Manager and shareholder of Impar reklama, advertising company, Commercial Director of radio station RADIOCENTER. In 2018 she founded Vegele Films. Lives in Europe.
M+m
Olympic Vertigo
VR vidéo 360 | | couleur | 5:50 | Luxembourg, Allemagne | 2023
Das VR-Projekt Olympic Vertigo läßt uns in eine Parallelwelt eintauchen, welche der realen Situation im Münchener Olympiapark nachempfunden ist, diese aber musikalisch wie narrativ erweitert. Die Besucher:innen werden überrascht von einer eigentümlichen Atmosphäre und bizarren virtuellen Gästen, menschengroße Gottesanbeterinnen. Der User hat durch seine Bewegungen die Möglichkeit dieses belebte Panorama und dabei fünf musikalische Zeitphasen der letzten 5 Jahrzehnte ausgiebig zu erforschen. Olympic Vertigo trägt gleichermaßen Züge einer halluzinatorischen Erinnerung und einer Zukunftsvision. Innerhalb ihrer musikalischen Ebenen, aber auch in einer unerklärlichen Bedrohung schwingt die Geschichte des Olympiaparks mit. Dieser Ort ist durch Ausgelassenheit bei Sportereignissen und Konzerten geprägt, aber auch durch eine unterschwellige Angst vor einer Zäsur der Gewalt, wie sie sich durch das terroristische Attentat von 1972 in unser kollektives Gedächtnis eingeschrieben hat.
M+M steht für die film-künstlerische Zusammenarbeit von Marc Weis und Martin De Mattia seit 1994. Das Duo lebt und arbeitet in München, Deutschland. Der künstlerische Schwerpunkt von M+M liegt auf narrativen Mehrkanal-Filminstallationen, die durch die Aufhebung linearer Erzählung ein komplett neues Zeitgefühl entstehen lassen. Diese Installationen wurden in einer Vielzahl internationaler Ausstellungen gezeigt. Aktuell arbeiten die Künstler an einer Makro-3D-Trilogie, in denen die Protagonistinnen von Gottesanbeterinnen und Stabheuschrecken dargestellt werden. Teilweise stößt das deutsch-luxemburgische Duo auch kooperative Prozesse an und lädt KünstlerInnen ein, auf aktuelle Fragestellungen zu reagieren. So entstand mit dem kollektiven Filmprojekt „The Scorpion’s Sting“ eine Neuinterpretation des politisch motivierten Buñuel Films „L’Âge d’Or“ (1930).
Mário Macedo, Vanja Vascarac
Cul-De-Sac
Fiction expérimentale | dcp | | 18:25 | Portugal, Croatie | 1980
A group of skaters take refuge in a shopping mall, making it their playground. As they spend time skating the empty hallways the stillness creeps in. It's a dead end.
Mário Macedo is graduated in 2010 in Sound and Image by the Portuguese Catholic University of Porto (UCP). In 2011 finished the film course at the European Film College in Denmark. Two of his short documentaries, ’Tio Rui’ (2011) and ‘Maria Sem Pecado’ (2016), premiered at DocLisboa Festival, having the latter won the National Grand Prix at FEST 2017 and consequentially shown at RTP, the Portuguese public television. Both films were also part of the New Visions of the Portuguese Cinema at the Portuguese Cinematheque in 2017. His first fiction short film ‘Terceiro Turno (Skin River)’ premiered in 2021 at Curtas Vila do Conde IFF in the National Competition and it won the award for Best Director. It also made its international premiere at Cairo Film Festival 2021. Has two new short films to release, 'Cul-de-sac' and 'Takvog Te Volim', co-productions between Croatia and Portugal. Right now, he's developing a new short film together with Dornaz Hajiha, part of Factory and will premiere at the Cannes Film Festival 2023. Also, he's preparing a feature film in Berlin, 'Purple Milkweed', together with Christian Tranberg, and finishing writing his first solo feature film 'The Robbery'. Will soon release his first photobook 'Running Away Into You' by the publisher Lebop. At the moment, he divides his time between Copenhagen, Zagreb, Berlin and Portugal. Vanja is a Croatian director with a BFA in Film and Television at Savannah College of Art and Design (USA). He directed several short films: Insomniac (2002, Cannes Film Festival/ Director's Fortnight), Wayking (2003), Carver is Dead (2012, Zagreb Film Festival) and Lora Wears Black (2019, Zagreb Film Festival). Vanja is experienced in directing TV commercials for leading brands such as T-Mobile, Vodafone, as well as for international clients such as Sony Asia Pacific. He participated in Berlinale Talent Campus and Sarajevo Talent Campus. He is developing his first feature film, Blok 62 (Ekran+, Connecting Cottbus).
Mário Macedo, n/a
Exotic Words Drifted
Fiction expérimentale | dcp | couleur | 15:0 | Portugal | 2023
Quote: "While I was watching you, exotic words drifted across the mirror of my mind as summer clouds drift across the sky". Unquote.
Sandro Aguilar (1974) studied film at the ESTC. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen,Vila do Conde, Indielisboa FF and shown in the most relevant festivals worldwide. Two times nominated for the EFA – Best european short film. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin and Oberhausen FF.
Parinda Mai
Blinded by Centuries
Vidéo | hdv | couleur | 13:0 | Thaïlande | 2022
Blinded by Centuries navigates the evolution of consciousness in a speculative ??post-human landscape. A generation adrift, existing between earthly and mythical realms, traces history to imagine a future before transformation. Inspired by short-format contemporary music videos, it is an auto-fictional retelling of the Buddhist folktale rooted in Southeast Asia called “Phra Ros Meri” (‘Twelve Sisters.’)
Parinda Mai, like many of her generation in Thailand, grew up with the story Twelve Sisters, communicated across platforms, from oral history to soap operas and cartoon animations. The project 12 Kalpas Tales is the artist’s personal search and reinterpretation of the moral of this story and its implications for the interconnected humanity. Blinded by Centuries emerges from this project, and is intended to capture the core energy of this myth that involves invading, exploiting, and destroying something, then leaving it behind to later try to rescue it with one’s ethics. In Blinded by Centuries an esoteric folktale is played out globally in contemporary terms. Project website: https://the12kalpastale.online/
Lera Malchenko, Oleksandr Hants and Lera Malchenko (fantastic little splash group)
see also: a set of compressed images and feelings
Installation multimédia | mp4 | couleur | 0:0 | Ukraine | 2023
Daryna Mamaisur
O Fumo do Fogo
Doc. expérimental | digital | noir et blanc | 21:40 | Ukraine | 2023
There is Portugal, there is the Portuguese language and there is a Ukrainian filmmaker who learns the language and approaches the role of the potential migrant. Between languages, between images from here and those from a country at war, a voice tries to put into words the state of longing.
Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. In her practice, she combines theoretical research, filmmaking and photography. Her main focus lies in the transformations of landscape and public spaces in relation to visual culture, memory and political ecology. Daryna’s two recent films were a personal journey around distance, migration and fragility within the language when it comes to describing the shocking reality of the war. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films and video works were screened in art exhibitions and participated in international film festivals such as Visions du Réel, FIDMarseille, Kassel Dokfest, DOK Leipzig, RIDM and others.
Melanie Manchot
Liquid Skin
Doc. expérimental | hdv | couleur | 23:19 | Allemagne | 2023
Filmed between dusk and dawn, Liquid Skin was filmed with nine women, who all perform night-time labour, across a wide variety of professions, including a baker, pole dancer, care worker, nightclub owner, cleaner etc. These women take us on a tour of night-time working environments, linked by history, economics and events shaping the post-industrial landscape of the Ruhr region in Germany. Through this choice of locations, the work links the nocturnal with questions on the subterranean, which is so present across this region with its thousands of kilometres of quiet tunnels underneath. The video consists of long, mostly single shot sequences each guided by one protagonist. Filming in black & white Infrared gives both the locations and the people a slightly abstracted and ghostly appearance, calling into question the specificity of each situation. Sound is integral to this work as it references industrial, technological, subterranean sounds of coal mining histories. The soundtrack is constructed from field recordings captured in each location but used in a non-diegetic way that consciously avoids synch sound. Visually the work aims to cross the dreamlike counter-logic of Lynch with urban spaces that may evoke Tarkovsky, Lang’s Metropolis or drawings by Escher.
London-based artist/filmmaker Melanie Manchot employs photography, film, video and sound to form sustained enquiries into our individual and collective identities. The work interrogates and employs acts of care, resistance and communality to engage in discourses on social and political urgencies of our societies. Her films investigate innovative forms of storytelling with an acute understanding of the power of filmmaking to speak to urgent issues and have profound impact. Manchot’s first feature film, STEPHEN, commissioned by Liverpool Biennial, addresses gambling, substance misuse, recovery and mental health through narrative fiction and documentary. It had its cinematic release through Modern Film in 2024 and continues to be shown in exhibitions as a multi-channel installation. Manchot is working towards her second feature film: Mount Makalu. She is shortlisted for the Jarman Award, UK. Her work is held in many public collections and was presented in a major survey show at museum MAC/VAL, Paris 2018. Selected solo exhibitions: STEPHEN, The Exchange, Penzance, 2024; Alpine Diskomiks, Parafin, London, 2022; Black Snow White Out, Museum Lumen, Italy, 2021; Mountainworks (Montafon), InnSitu, Innsbruck, Austria (2019); Open Stage/Back Stage, Kunsthaus Pasquart, Switzerland (2019); She completed her MA in Photography at The Royal College of Art in London in 1992.
Charalambos Margaritis
74
Animation | hdv | noir et blanc | 15:0 | Chypre | 2024
Un personnage inepte entreprend la tâche impossible de traiter la mémoire de l'invasion de l'armée turque en 1974 à Chypre et ses conséquences.
Charalambos Margaritis est diplômé de l'Ecole Nationale Supérieure de Beaux Arts de Paris. Il vit et travaille à Paphos; Chypre, où il a fondé Kimonos Animation Studio en 2015. Il enseigne l’animation et l’histoire de l’art dans le Département des Arts Graphiques et Multimédia de l’Ecole de Beaux Art et Arts Appliqués de l’Université Technologique de Chypre. En même temps, il poursuit sa recherche doctorale sur les techniques narratives expérimentales dans le film d’animation.