Catalogue 2021
Below, browse the 2021 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.
Pia BOLOGNESI, Bursi Giulio
The Leaks of Venice
pia bolognesi , Bursi Giulio
The Leaks of Venice
Doc. expérimental | dcp | couleur et n&b | 17:0 | Italie | Allemagne | 2020

An old building in Venice hosts an exhibition, a visitor walks through empty rooms discovering a fictionalized architectural space that functions like an abandoned theatre set. While a city that is slowly drowning floods you with its obsessive presence on and off- screen, imagination can’t exceed reality. Inspired by Alexander Kluge’s oeuvre and his constellation of film and video works, the metanarrative framework of this exploration attempts to de-construct the subjective experience and liberate the cinematic energy from the horror vacui of the display.

Pia Bolognesi (PhD, b. 1981) is an independent curator, art historian and artist based in Berlin. With a background in Performing Arts, Film Theory and Visual and Environmental Studies, she has organized large scale installations, exhibitions and multidisciplinary projects for institutions including the Tate Modern London, MoMA New York, Centre Pompidou Paris, FNC Montreal, 56th Venice Biennale. Her works and installations have been presented at Wiels Bruxelles, Musée des Beaux-Arts de Montréal, Kyoto and Tokyo Universities of Art and Design, Deutsche KunstHalle Berlin and Triennale di Milano, among others. Giulio Bursi (PhD, b. 1978) is an independent film curator, dramaturg and film-maker based in Berlin. Educated in Film Theory, he has been assistant director of Jean-Marie Straub and Danièle Huillet. He realized a documentary feature (J’écoute!, 2007) and different shorts and installations collaborating with international institutions and film festivals like Austrian Film Museum, 56th Venice Biennale, MoMA To Save and Project New York, Turin Film Festival, Il Cinema Ritrovato Bologna, Berlinale, Festival du Nouveau Cinéma Montreal, GAM Turin. Pia Bolognesi and Giulio Bursi work together as Atelier Impopulaire since 2012. Their installations have been exhibited at Centre Pompidou, La Triennale di Milano, Kunsthaus Bregenz, GAM Santiago, The Mix Place, West Bund Art Space and Power Station of Art in Shanghai, Volksbühne Berlin, ZKM Karlsruhe, Tate Modern, Berlin Gallery Weekend, Rotterdam Film Festival. Atelier Impopulaire has developed site-specific projects internationally, collaborating with artists like Aldo Tambellini, Dries Van Noten, Morgan Fisher, Danièle Huillet & Jean-Marie Straub, Peter Tscherkassky, Margaret Honda, Experimental Jetset, Christopher Williams, Alexander Kluge.

andrea bordoli
Film expérimental | 16mm | couleur et n&b | 8:9 | Suisse | 2020

The requerimiento was a declaration by the Spanish monarchy of Castile's divine right to take possession of the New World's territories and to subjugate, exploit and, if necessary, fight the native inhabitants. This experimental 16mm short film explores the aesthetics of a mythological time and its archetypical creatures and materialities. In particular, following the trajectories of a serpent and a meteorite's fragment, REQUERIMIENTO develops an interwoven narration questioning human and nonhuman alterities in different epochs and cultures.

Andrea Bordoli holds a BA in Anthropology and Philosophy from the Université de Neuchâtel (2015), and a MA in Visual Anthropology from the University of Manchester (2017). He is currently based in Geneva, where he studies cinema at the Haute Ecole d'Art et Design (HEAD) while developing his own personal research at the intersection between anthropological theory, documentary cinema and visual art.

gaelle boucand
Documentaire | mov | | 30:0 | France | Bulgarie | 0

Voin a grandi dans la Bulgarie communiste. Après vingt ans passés en Europe de l’Ouest, il retourne à Sofia sur les lieux de son enfance et de son adolescence. Son portrait se compose de lieu en lieu, de souvenir en anecdote. Du cou coupé du coq qui voulait l’énucléer aux rites d’initiation sexuelle dans la maison interdite, Voin campe les saynètes d’un roman d’apprentissage bataillien, cru et souverain. En racontant ses travestissements, il revendique aussi l’exercice d’une liberté, d’une agilité à se mouvoir dans le cours de l’Histoire. Voin l’imite, en hérite, et c’est l’Histoire qui transparaît dans une tonalité rafraîchie, une vitalité excentrique et mineure, loin des lieux communs du récit majoritaire. Et quand, penché sur le vide au 19e étage de la tour Tolstoï, le trentenaire contemple les barres d’immeubles du quartier Espoir de son enfance, son vertige est contagieux, et la sensation (dé)grisante. (Cyril Neyrat)

Artiste et cinéaste, sa pratique se concentre depuis dix ans sur la réalisation de documentaires au sein desquels les questions du portrait et du dispositif filmique tiennent une place centrale. En 2010, son premier film, Partis pour Croatan, sur une communauté de raveur, est exposé notamment au Musée d'Art Moderne de la ville de Paris. Son deuxième film, JJA — premier volet d'une trilogie — dresse le portrait d'un exilé fiscal en Suisse. Il reçoit la mention du Grand Prix de la compétition française au FID Marseille 2012 ainsi que le Grand Prix expérimental au festival Coté Court de Pantin, et est également diffusé au sein de multiples institutions artistiques internationales (Kunsthalle Mannheim, MAST Bologna, Kunstwerk Carlshütte). Depuis 2014, elle enseigne régulièrement à l'isdaT à Toulouse et réalise des films avec différentes écoles. En 2015, elle termine Changement de décor, deuxième volet de la trilogie initiée avec JJA, présenté notamment aux États généraux du film documentaire de Lussas, et cofonde la société Elinka Films. En 2020, J.A — qui vient clore la trilogie — est en compétition au Cinéma du Réel et son dernier film, Voin, portrait d'un homme à travers son retour en Bulgarie, reçoit le prix Alice Guy au FID Marseille.

Martin BRAND
Causality and Meaning
martin brand
Causality and Meaning
Vidéo expérimentale | mov | couleur | 9:17 | Allemagne | 2020

CAUSALITY AND MEANING consists of a fast clocked sequence of a total of 635 image files, which – isolated against a white background – show logos, symbols, graphics, internet memes, illustrations and product images. In terms of content, questions arise on topics such as transhumanism, right-wing internet and meme culture, white supremacy, anti-feminism and men’s rights movement, macho culture and chauvinism, unbroken masculinity stereotypes, neoliberal consumption and violence-oriented entertainment culture. On the auditory level, a composition by the trombonist and experimental musician Matthias Muche, who lives in Cologne, can be heard, accompanied by spoken words by the British composer Anthony Moore. The sounds made with the trombone in connection with the distorted-sounding and not always understandable male voice of Moore seem to comment on the picture sequence or even to illustrate the content, sometimes they work against it in their own way and assert themselves as an autonomous part of the work.

Martin Brand was born in Bochum, Germany in 1975, and studied Art and German philology in Bochum and Dortmund until 2002. He lives and works in Cologne. In his artistic work, he deals with social and political issues, which he explores with filmic and photographic means. The starting point for him are often phenomena, that he finds disturbing, irritating and unsettling, but at the same time also attracts and fascinates him. Starting from the surface, he tries to reveal connections and structures, to look behind the façade, and ultimately to confront the viewer with a counterpart, challenging him to a critical confrontation. Topics such as youth and subculture, the search for identity, violence, gender stereotypes, orientation on role models, influence by mass media and advertising, group hierarchies and mechanisms are central to his work. His works have been shown at numerous exhibitions and festivals and are part of various art collections such as the Goetz Collection in Munich, the Museum Ostwall in Dortmund or the Hessisches Landesmuseum Darmstadt. He received project grants and scholarships and was awarded for his work several times.

Pamela BREDA
pamela breda
Vidéo expérimentale | dcp | couleur | 13:21 | Italie | 2020

“April” is a short experimental film inspired by the life of April Ashley, one of the first British to un¬dergo sex reassignment surgery on 12 May 1960, performed in Casablanca, Morocco, by doctor Georges Burou. After returning to Britain, Ashley began using the name April Ashley and became a successful fashion model, appearing in such publications as Vogue (photographed by David Bailey and winning a small role in the film “The Road to Hong Kong” directed by Norman Panama. After a friend sold her story to the media, in 1961 under the headline “’Her’ secret is out”, the Sunday People outed Ashley as a trans woman. She became a centre of attention and some scandal, and her film credit was instantly dropped. The scandal forced to live abroad for several years. She was given legal status as a woman only in 2006.

Pamela Breda is an artist and filmmaker living between Lon¬don and New York. She was recipient of several art awards and fellowships, including the Sirovich Family Fellowship (Pratt Institute, USA), Simultan Art Prize (PL), Cantica21 (IT), Italian Council Award (IT), Mo¬ving’Up Prize (IT), Italian Institute of Culture (RU). Her films have been screened internationally and presented at festivals and art venues such as “ECRA Film Festival” (Rio de Janeiro, Brazil), “Revolutions Per Minute Festival” (Boston, USA), “Digital Film Library”, Clermont- Fer¬rand Film Festival (Clermont-Ferrand, F), Cite Internatinale Des Arts, (Paris, F), “Vision Du Reel” Film Festival, Media Li¬brary (Nyon, CH), “Hazel Eye Film Festival” (Tennesse, USA), “The Bomb Art Factory Film Festival” (London, UK), Sohonya Art Center (Bangalore, I), Francesco Fabbri Foundation for Contemporary Art (Pieve di Soligo, IT), Bevilacqua La Masa Foundation (Venice, IT).

elsa brÈs
Film expérimental | 0 | couleur | 29:29 | France | 2020

Les premières tentatives de cartographier le delta du Mississippi remontent au début du 18e siècle. Milieu incontrôlable, fragile et mouvant en soi, il est depuis constamment transformé pour l'exploitation de ses ressources. Navigant entre les temps et les espaces, Sweat nous immerge progressivement entre les lignes des cartes, dans la part insubordonnée et fluctuante de ce territoire, en compagnie d'êtres vivants qui le peuplent.

Elsa Brès est diplômée du Fresnoy studio national et de l'école d'architecture de Paris-Belleville où elle a enseigné la théorie de l'architecture et du paysage. Ses films et installations s'attachent à des forces de résistance dans les paysages contemporains, et ont été montré dans des festivals et expositions, en France et à l'étranger, comme par exemple au FID Marseille, à 25FPS, au CRAC Occitanie, au Palais de Tokyo, à la Transmediale. Elle vit à Bréau, dans les Cévennes.

Semiotics of the City
daniel burkhardt
Semiotics of the City
Vidéo expérimentale | 4k | couleur | 4:3 | Allemagne | 2020

The city is not. Not because of a hypothetical, physical absence — the city is well present — but because it escapes naming. (Johannes Binotto and Andri Gerber)

Daniel Burkhardt studied Media Art at the Academy of Media Arts (KHM) in Cologne where he now lives and works. His video and audio visual installations playful and ingeniously expose human perception as the driving motor behind the construction of meaning.

Michael BUSCH
How Long is Now
michael busch
How Long is Now
Doc. expérimental | 4k | couleur | 84:32 | Allemagne | 2020

The human being in the net, an image that is paradigmatic for the entire work: Laocoon, the warner in front of the Trojan horse, as a sculpture he is already constricted by the snake, the snake connects him with his sons, together they form an ensemble of powerlessness. The warner in front of the poisoned gift of the future repeats what Pandora’s box has brought over mankind. The future that points out from this present holds dangers and hopes in equal measure. In HOW LONG IS NOW the spider’s web appears in a variety of ways. It is the imperial railway network that spreads colonialism, it is the data cables that lie in the sea between the continents, it is the algorithms that dominate trade and stock exchange, it is the gps system, the face recognition software, the distorted maps of the world. The human being in it struggles with his mortality, struggles with language, the concepts that shape thought and action, struggles with morality and struggles with its expansion in the technosphere. The film makes shameless use of the image reservoir of the twentieth century, casually quoting the history of the moving image and the history of its progressive virtualization. The image plane sometimes nestles close to the spoken narrative of the lectures, then again it expands the space of discourse, adds associations and situations, and networks itself with the heritage of the expanded present. For four years I have been participating in these events and produced a series of short cinema trailers to promote them. The clips are 30 second long experimental films in a stream of consciousness manner. With the visual archive that was created along these productions and the possibility to use the HKW archive, the idea arose to develop a long, full-length work from it. I wanted to create a space of possibilities in which questions about our present can be articulated, beyond the quickly googled answer

studied applied theatre science at Universitiy Gießen and fine arts and experimental film at University of Fine Arts, Berlin. Makes films and film performances. Worked as a film curator for Volksbühne Berlin theatre between 2003 and 2017, held a professorship for experimental film at University of Art, Berlin from 2007 to 2013. his works have been shown at International Film Festivals like Berlinale Forum Expanded, at Centre Pompidou, Paris, at Reina Sophia, Madrid, at Art Biennale Sao Paulo, at Torino International Film Festival, San Francisco, Edinburgh.

The First Few Moments of the First of January
eneos carka
The First Few Moments of the First of January
Film expérimental | mov | couleur | 12:39 | Albanie | 2020

Un film est projeté dans une chambre où dort une femme. Le personnage du film parle de l'avenir de l'humanité et ses paroles pénètrent dans la tête de la femme envahissant son subconscient.

Eneos Çarka (1996, Albanie) a commencé sa formation cinématographique à l'Université des Arts d'Albanie avec un diplôme en réalisation cinématographique. Il a reçu la bourse du Government Fund of Excellence pour étudier une maîtrise en études cinématographiques à l'University College London, où il a obtenu son diplôme avec distinction. Il fait actuellement partie de la 8e génération de DocNomads, un master conjoint Erasmus Mundus sur le documentaire créatif. Ses courts documentaires se concentrent sur les études de personnages et traitent souvent des thèmes de l'identité, de la migration et des relations familiales. Il porte une attention particulière aux problématiques des représentations expérimentant différentes approches du cinéma documentaire. Son premier long métrage documentaire est actuellement en post-production.

Here, Here
joanne cesario
Here, Here
Fiction expérimentale | mov | couleur | 18:32 | Philippines | 2019

Years after mining operations began, a once rugged and undisturbed town changes drastically. Koi, 22, returns home for the first time since leaving for college, and does so with an infected ear. He joins his mother Tonet in waiting for his father, both of them clueless as to whether his father could make it home alive after an accident in the extraction tunnel. As Koi reconnects with his hometown in slow decay, he fears the impending possibility of losing both his father and his hearing. Part fiction, part experiment, and purposefully blurring the distinction, Here, Here is a loose visual study on landscapes and terrains, both natural and beyond.

Joanne Cesario grew up in the Province of Batangas and moved to Metro Manila to pursue film studies at the University of the Philippines. Both her childhood experiences and political undertakings have deeply shaped her beliefs and sensibilities. Working across film, publication, and photography since 2013, she melds personal and collective histories on labor, female identity, and ever-shifting landscapes and spaces. In 2020, her first professional short film 'Here, Here' was selected to the Pardi di domani Competition of the Locarno Film Festival and was awarded with the Special Jury Prize at the 68th FAMAS Awards in the Philippines.

Filipa CÉSAR
Quantum Creole
filipa cÉsar
Quantum Creole
Film expérimental | hdv | couleur et n&b | 40:0 | Portugal | Allemagne | 2020



Emma CHARLES, James, Ben Evans
On A Clear Day You Can See the Revolution From Here
emma charles , James, Ben Evans
On A Clear Day You Can See the Revolution From Here
Doc. expérimental | 16mm | couleur | 64:14 | Royaume-Uni | 2020

On A Clear Day You Can See the Revolution From Here excavates layers of myth, geology and technology to reveal the shifting fault lines between a government, its people and their land. The film brings into focus contemporary processes of nation building and myth-making in Kazakhstan through an expansive journey across the remnants of Soviet technological infrastructures that haunt the landscape. Shot on 16mm, the camera is drawn across the Kazakh Steppe taking in locations that include mineral mines, the Eurasian Steppe, the STS decommissioned nuclear site and the newly constructed city of Nur-Sultan.

Emma Charles is a London based artist and filmmaker. Working with experimental approaches to moving image and sound, her research based practice navigates the field of non-fiction while engaging with recurring themes of technology, capitalism and landscape. Playing with the blurred lines between documentary and fiction, her work often reveals the artificiality of both the filmic environment and our lived experience. She has exhibited at Serpentine Galleries and ICA London; HKW, Berlin and Jeu de Paume, Paris. She has also screened her films at Sheffield DocFest, Vision du Réel, Dharamshala International Film Festival, Abandon Normal Devices and Impakt Festival. Emma was nominated for the New Talent Award for her film ‘White Mountain’ at Sheffield Doc/Fest in 2017. She is the recipient of a 2015 and 2017 Arts Council England award, British Council UK- China Connections Through Culture grant and The Elephant Trust fund. Charles’ films are held in two museum collections at Guangdong Museum of Art in China and The ZKM | Centre for Art and Media Karlsruhe in Germany. Emma holds an MA in Photography from the Royal College of Art. Ben Evans James is a filmmaker and curator whose work engages with narratives that lie outside landscapes constructed by global capital. He is the film curator at transmediale festival in Berlin, co-founded the London project space South Kiosk and is an AHRC funded PhD candidate under new media theorist Prof. Beryl Graham. His latest feature film On A Clear Day You Can See The Revolution From Here premiered at Visions du Réel in 2020. James is based between Vancouver and Berlin.

Che-wei CHEN
che-wei chen
Vidéo | 0 | couleur | 18:30 | Taiwan | 2020

In Spear, Che-Wei Chen collaborates with a friend who was diagnosed with dissociative disorder. The film starts with the individual experience. It attempts to transform the fragment of traumatic memory into an artistic way. During the shooting, it includes the scene of hypnosis that the subject suddenly switches between personality states. The film blurs the lines between documentary and fiction; likewise, it unfolds a compound experience intertwined with reality and fantasy. The film examines the human being under the state of discipline and the mute condition of language. We also gain an insight into the archetypes of trauma: violence, power, oppression and control technologies, etc.

Che-Wei Chen is a visual artist and filmmaker based in Taipei. His recent practice has focused on the subjectivity of people with mental disorders and reflected upon the complexity of contemporary conditions. He explores the boundaries between reality and fiction through multiple perspectives within complex structures and narratives. His work not only reveals the repressed collective unconscious but also re-examines the power and political structures underlying the social system. Besides, he also addresses issues such as postcolonialism, modernity, classification, biopolitics, etc.

Eviction in Shenzhen
seecum cheung
Eviction in Shenzhen
Doc. expérimental | hdv | couleur et n&b | 17:30 | Royaume-Uni | Pays-Bas | 2019

Eviction in Shenzhen (2019-Ongoing) is a long-term ethnographic series of experimental documentary films which follows the planned demolition of Cheung’s fathers ancestral village of Hubei in Shenzhen, China, as the government initiates a major redevelopment plan to take its place. The proposed project includes an impressive 830m tall skyscraper which is set to become the tallest building in the world. This will be accompanied with a modern shopping centre, restaurants, plus a small portion of Hubei Old Village preserved as a living museum and film location for hire. The new redevelopment will become one of China’s most prized architectural accomplishments, a visual spectacle, which pays homage to the economic miracle that is Shenzhen as the city which led China to its new position as a global economical and technological power. The film marks the eviction of the current tenants of the village who as low-income workers, are having to leave behind the cafes, food vendors, small businesses, residential homes and communities which they cultivated over a period of 10 – 20 years. Eviction in Shenzhen filmed over the course of this redevelopment period, will document these changes by recording the sociological make-up and ancient architecture of the village as it gradually disappears.  ? ??The film is currently in development and will proceed in chapters as the project develops. ‘Eviction in Shenzhen: Part 1’ (2019 – Version 1) captures the residents of the area during a visit to the area in May 2018. The next chapter filmed during February 2019 features the area taken during Chinese New Year, with a near 90% of residents now fully evicted.

Seecum Cheung is an artist, filmmaker and educator. She works with journalists and experts to conduct interviews with citizens, politicians and specialists in a bid to understand and reflect upon certain political moments in time. Films include interviews with politicians from the far and ultra-right in Germany with writer & journalist Richard Cooke & SBS Public Broadcasters (Interview with Lennart, 2016); coverage of the Dutch elections with writer & broadcaster Morgan Quaintance (The Dutch Window, 2017); a commission by NHS England with equality and human rights charity brap (Inequalities of BAME patients Cancer Care Study, 2018-19), and most recently, a long-term study of the gentrification of her father’s ancestral village (in Shenzhen, China) which began in April 2018 (Eviction in Shenzhen, 2019-ongoing). She currently teaches on the Social Practice Minor at Willem de Kooning Academie, Rotterdam.

Rehearsal of the Futures: Police Training Exercises
isaac chong wai
Rehearsal of the Futures: Police Training Exercises
Vidéo | mp4 | | 18:14 | Hong Kong | 2018

In Rehearsal of the Futures: Police Training Exercises (2018), Isaac Chong Wai choreographs the movement of uniformed riot police in a tortuously slow motion, imbuing their originally violent intentions with a paradoxical gentleness. Slowing down the aggressive attack and the collision of bodies, the posturing and movements struggle in between touching and hitting. These decelerated actions visualise the violence inflicted upon individuals by the collective power structures.

ISAAC CHONG WAI is a Berlin-based artist from Hong Kong. He works across a range of media, including performance, installation, painting, video, photography and multimedia. Influenced by personal events and global phenomena, he engages themes of collectivism and individualism, geopolitics, migration, historical trauma, identity politics and public spheres. Dealing with societal shifts, global tensions and collective wounds, he endeavors to transform the powerlessness—the unanswered demands, the suppression from authority and the denial of individual freedom—into resistance, rebellion and criticism of social systems. He had solo exhibitions at Bilsart, commissioned by Kulturakademie Tarabya and Zilberman (2021); Blindspot Gallery, Hong Kong (2019); Zilberman, Berlin (2019); Kunstraum München, Munich (2018); Goethe Institut Hongkong,  Hong Kong (2018); Bauhaus Museum, Weimar (2016). His work has been shown at National Museum of Modern and Contemporary Art, Seoul, Innsbruck Biennial and IFFR, Rotterdam (2020); Museum of Contemporary Art in Taipei and Guangdong Times Museum in Guangzhou (2019); M+ Museum and Para Site in Hong Kong (2018); Stiftung Brandenburger Tor and Haus der Kulturen der Welt in Berlin (2017); Deutsche Ku?nstlerbund, Berlin and Gwangju Media Art Festival (2016); Kunstfest Weimar and Macura Museum, Serbia (2015); Moscow Biennale for Young Art in Museum of Moscow (2014). He graduated from Academy of Visual Arts at Hong Kong Baptist University with a BA in Visual Arts and Bauhaus-Universität in Weimar, Germany, with a MFA in Public Art and New Artistic Strategies. 

vera chotzoglou
Vidéo | hdv | couleur | 8:24 | Grèce | 0

monstera deliciosa; an originally tropical plant, which is now very popular as an indoor plant, used as an aesthetic, decorative object. Inside our houses, they claim for their space, their freedom, their existence. In this work, monstera becomes a comparison with and the symbol of our very own internment experience, deriving from the recent lockdown. A state, for which we have not been prepared for, that brought a destabilization in various aspects, deviating us from our familiar course and directions. As if the world was blown away in a delirious drift and suddenly or better, violently, derailed, but in terms of a shocking, unexpected pause. In this narration video, the consecutive scenes of indoor life, shown in a back and forth motion, eliminate the perception of time and connote a disarray process, a state of turbulence or surprise, with the parallel narration, consisting in the protagonist plant’s features; inertia bodies, the monstera in an indoor tropical storm, wild animals in captivity, lighting bolts, along with an orgasm scene, a Luchador* getting prepared, footage from an athenian balcony during the lockdown period. The strobe lights used, tent to reveal the party echo and intensify the feeling that something is about to start. In this field of desire, reality, struggle, memory and expectation, a whole new perception of being developed. The accumulated tension that the state of hold has brought, leads to the persistent bodies’ preparation for wrestling and crash. Through the way we perceive the body, how we contemplate its inner rhythm, our physical beingness, this work aims to trace layers of now, potential and future options of (co) existence, as an “expedition chronicle”, about what is getting prepared and about the totally new emerging context, culture and daily life. *Luchador is the term used in Mexico for the professional wrestlers. Text Credits: Pavlina Kyrkou

Vera Chotzoglou is a Visual artist working with time based media. They are an Athens School of Fine arts’ BA & MFA graduate, Department of Visual Arts, Fine Arts & Art Education (2013-2018). They had studied in Academy of Fine Arts in Munich with an Erasmus+ scholarship. They was awarded with audience award for the shortfilm S W E A T at 22th Thessaloniki International GLAD Film Festival (2021) , SNF Artist Fellowship Award by Stavros Niarchos Foundation(2019) Scholarship to cover Degree Expenses from Athens School of Fine arts(2018) and audience award for the short film “Munich almost killed me ½” at 2th Piraeus Film Festival in Athens(2018) They has exhibited internationally at 22th Thessaloniki International GLAD Film Festival Thessaloniki-Greece (2021), Interface video art festival, Zagreb-Croatia (2020), 26th Athens International Film Festival (2020), Centrum Berlin, Berlin, Germany (2020), Eos Gallery (2019), Athens, A.Antonopoulou Gallery, Athens (2019), GRRL HAUS CINEMA, Berlin (2019), Hacker Porn Film Festival, Rome (2019), Platforms project, Athens (2019), Foto Wien, Austria (2019), 6th Athens Biennale, Athens, Greece,(2018) Inshort Film Festival, Lagos, Negiria (2018), Action Field Kodra, Thessaloniki (2018), 2th Pireus Film Festival,Athens (2018), Belleve di Monaco, Munich (2016), TAF Gallery, Athens (2013) et al. ?hey work may be found in private collections. Vera Chotzoglou lives and works between Athens & Berlin

Florinda CIUCIO
And yet I rise
florinda ciucio
And yet I rise
Film expérimental | mp4 | couleur | 7:20 | Belgique | Espagne | 2020

Five years ago, Amr moved from Syria to Madrid. During a stroll in the Royal Botanical Garden of his new home, surrounded by plants and trees from all over the world, he reflects on what it means for him to be The Other. 'And yet I rise' aims to translate the exchange of thoughts and conversations between Amr and the director into an organic synergy between Amr, the viewer and its reflective mind. Out of this grew a mosaic of the plants’ images emphasizing their catalogued character. Within this the garden becomes a metaphor for immigration, a very dense topic, while at the same time remaining a peaceful environment for reflection.

(°1993, Belgium) As the daughter of an Argentinian father and a Dutch/Belgian mother, Florinda has always been interested in the themes of culture and identity. Thus, she became quickly aware of the importance and beauty of intercultural understanding. This is also reflected in her work in which she searches for a common language through images and metaphors. She graduated in 2018 with a Masters Degree in Audiovisual Arts at the LUCA school of Arts in Brussels, with a focus on documentary imagery. Since then, her work travels through multidisciplinary platforms like art centers, film festivals and exhibitions. In 2019 she got selected to enter a trainee program initiated by the United Nations, in which she helped build an audiovisual language for a Spanish UN agency. Afterwards she got back to focus on the development of her own artistic practice, which resulted in 'And yet I rise' and a production grant of BREEDBEELD organization for an upcoming video installation project regarding the old super8 footage of her grandfather who was a shipman in Europe throughout the 50's.

Christophe CLAVERT
christophe clavert
Documentaire | mov | couleur | 58:0 | France | 2020

Calavera resumida
javier codesal pÉrez
Calavera resumida
Vidéo | mov | | 63:5 | Espagne | 2020

Calavera resumida - A Skull in Summary The artist Pedro Morales Elipe has been visiting El Prado Museum regularly since 1995 to draw from the paintings of the great masters. The result of this work, which is still ongoing, is gathered so far in 24 sketchbooks which have never been exhibited. These drawings are a rarity in relation to the rest of his work – painting and drawing – in particular because of their figurative dimension. The film Calavera resumida (A Skull in Summary) is both a look at the sketchbooks and a listening to the dialogue that the artist maintains with some works from the El Prado Museum and with his own artistic work. The line of the drawings and voice of the artists talking about them build a memory of painting, which is both a dream and an image of himself.

Javier Codesal is an artist of wide range and technics. His work covers proposals of a rich varied nature, which run with a great freedom and coherence between the word and the image. Installations, performances, photos, texts, poetry, films and videos are diverse means and tools he uses and merges in his projects. He has been developed a intense creative activity since 1983, year in which carry out his first video installation, Una televisión en un nicho (A Televisión Set in a Niche). Besides individual and colective expositions in Spain and another european and american countrys, he has participated in many film festivals. To date, Javier Codesal has published five poetry books and a book on film aesthetic entitled Dos películas (Two Films).

Agustina COMEDI
Playback. Ensayo de una despedida
agustina comedi
Playback. Ensayo de una despedida
Doc. expérimental | 4k | couleur | 14:32 | Argentine | 2019

In Córdoba, far away from Argentina’s capital city, the end of a military regime promises a spring that doesn’t last long. “La Delpi” is the only survivor from a group of transgender women and drag queens, who began to die of AIDS in the late 80’s. In a catholic and conservative city, the Kalas Group made their weapons and trenches out of improvised dresses and playbacks. Today the images of a unique and unknown footage are not only a farewell letter, but also a friendship manifesto.

Agustina Comedi (1986) Córdoba, Argentina. Screenwriter and Filmmaker. She studied Modern Literature. In 2017 her first film "Silence is a Falling Body" was premiered at IDFA. The film was multi-awarded and selected in more than 50 international festivals. Nowadays she's writing her second feature.

jasper coppes
Doc. expérimental | 4k | couleur | 23:30 | Pays-Bas | Groenland | 2020

Recent footage of melting polar ice in Greenland as shown in the global mass media has represented the country as both the ground zero of climate crisis and a vast expanse for resource exploitation. The film Aasivissuit aims to provide a different view, showing instead the landscape and its inhabitants: focusing on people’s discussions about climate change and how they adapt in their complex relationship with the changing environment. The film follows two park rangers exploring the Greenlandic landscape. They exchange new and old knowledge of the land in their conversations. They talk about how ancient fertile sediment from Greenland is used to nurture exploited soil elsewhere and how microbes have found a way to deal with pollution. Drawing attention to the non-human presence within the landscape, the camera occasionally adopts the perspective of a fly or a raven, or dives into one of the holes in the melting ice cap where toxic metals collect. The film investigates how we can experience and perhaps understand these different perspectives.

Jasper Baldwin Coppes (1983, Amsterdam) is a visual artist who works in a diverse range of media such as films, sound performances, installations and writing. In these, Coppes explores the ways in which dominant narratives about the world and its inhabitants can be transformed. Controversial landscapes, other-than-human entities, silent objects and their presence have often been the core interests in his practice. Coppes graduated from the Gerrit Rietveld Academie in 2008 and was a fellow at the Jan van Eyck Academie in Maastricht in 2010 and 2011. He has participated in international exhibitions, film festivals and conferences and is a tutor at the Royal Academy of Art in The Hague and the Rietveld Academy in Amsterdam.