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.
Frédéric Dumond
moment saramaka
Vidéo expérimentale | mov | noir et blanc | 34:23 | France | 2024
Dans cette pièce vidéo, paysage d'écriture et de traduction, un poème dans une des langues du marronage, le saramaka, est le lieu de la rencontre : entre des locutrices de saramaka, Odet et Sobriena et l'auteur, entre l'hypothèse d'un texte et sa possibilité. Le poème se précise au fur et à mesure des allers et retours incessants entre Sobriena, sa mère et l'auteur, entre les différents niveaux de langue. Il s'agirait là comme d'une négociation au sens créaeur du terme, quand des mondes qui ne se connaissaient pas avant la rencontre apprennent l'un de l'autre. Ici, c'est ce que la langue coloniale projette qui est remis en chantier, et comment les voix s'accordent et transforment le poème pour qu'il soit et qu'il puisse exister dans les deux ensembles culturels, avec les adaptations nécessaires, parfois les renonciations que cela implique du côté de l'auteur. Ou comment se construit une forme en se déconstruisant. Quand l'autre, essentiel et germinal, transforme avec, à Cayenne, Sobriena Amoïda et, par téléphone, sa mère, Odeth Amoïda, à Kourou. résidence soutenue par la DAC Cayenne et l’Alliance Française de Cayenne.
Frédéric Dumond est plasticien et poète/auteur. II travaille à des textes et des dispositifs textuels dans des médiums multiples : vidéos, installations, performances, dessins, livres, etc. Il mène depuis de nombreuses années une recherche qui a pour objet les langues du monde et leurs liens avec le territoire, dont un projet de collecte dans le vivant du langage en langues autochtones, notamment au Mexique et en Colombie. Il séjourne dans des communautés racines, filme l’environnement, les gestes, les liens entre le milieu et ceux qui y vivent, et recueille des récits en langues amérindiennes qui documentent des cosmovisions, et constituent autant d’archives de langues fragilisées ou en danger. Cet ensemble de matières visuelles et sonores sont à la fois des archives déposées chez les communautés où séjourne l'auteur et se déploient en installations, notamment.
Camille Dumond
Prospect Center
Fiction expérimentale | hdcam | couleur | 25:0 | France, Suisse | 2024
Suite à la disparition de DJ, son ami réalisateur, Daryl séjourne au Prospect Center. C’est un lieu aux codes bien particuliers censé réunir les archives d'artistes et activistes défunt·es. Elle y retrouve HB, un ami commun, devenu jardinier du centre.
Camille Dumond est une artiste interdisciplinaire basée à Genève. Son travail mêle souvent des éléments réels et fictifs, et s'étend au film, à la sculpture et à l'installation pour explorer des thèmes liés au territoire, au travail et à la circulation des références culturelles. Ses récits, à la croisée des histoires personnelles et des enjeux socio-politiques, interrogent la manière dont les lieux et les structures façonnent les identités, abordant souvent le thème de l’appartenance. Son travail a été exposé en Suisse et à l’international, notamment au Centre d’art contemporain de Genève, au Palais de l’Athénée, à l’EAC les Halles, à Unanimous Consent, au CAN – Centre d’art de Neuchâtel, à la Biennale de Saint-Flour, au FRAC des Pays de la Loire, au Cube - independent art room, et à Glassbox. Entre 2016 et 2020, elle a effectué des résidences d’artistes à Paris, Marseille, Berlin et Rabat. Depuis 2020, elle coordonne un projet éditorial intitulé Entretiens pour un film, qui s'intéresse à la pratique des cinéastes et à la frontière entre réalité et fiction dans leurs territoires filmés. Depuis 2018, elle travaille au sein de collectifs axés sur les conditions professionnelles des travailleurs de l’art en Suisse et en France.
Victor Dupuis
Oiseau de passage
Fiction | dcp | couleur | 15:15 | France, Belgique | 2023
Alors que Rémy enregistre des sons dans la forêt, le chant mystérieux d’un oiseau attire son attention.
Victor Dupuis est né à Dunkerque et a grandi dans le nord de la France. Il a d’abord étudié le cinéma à Lille, puis la réalisation à l’Institut des Arts de Diffusion (IAD) en Belgique. À travers ses films, il tente de retranscrire des émotions et des ambiances liées à son adolescence à la campagne. Son film de fin d’études, "Oiseau de Passage", est sélectionné à la Berlinale 2024.
Chrystel Egal
STATEMENT
Doc. expérimental | mov | couleur et n&b | 2:37 | France | 2023
STATEMENT, mes essentiels Je frictionne les mots avec les images. Dans ma famille, on s’est toujours beaucoup écrit. On a toujours beaucoup photographié et filmé. Les lettres, messages, un livre avec une couleur pour chaque enfant. Films, photos, textes, des espaces à travers lesquels je me faufile. Images traces, anagrammes d’écart, de perte et de retrouvailles. Architecturer le vertige de mes voyages. Créer un espace refuge parmi les dérapages de vie. Créer des précipités visuels pour s’ôter des maux. Redécouvrir les images par la boucle. Ne pas suivre la ligne… C.=
Écrivaine, photographe, cinéaste. Chrystel Egal est une artiste pluridisciplinaire. Sa pratique artistique oscille entre l’exploration des expériences limites et une démarche introspective méditative. Ses installations mêlent photographies, films et textes. Elles, visent à “cartographier les centralités humaines”. Elles s’inscrivent dans un parcours initiatique où son « Je » est un désir profond de s’accorder avec l’Autre. En 1993, elle a inventé le "Portrait-fiction". Son travail s’articule autour du rapprochement des êtres. Cela passe d’une part par le corps [matériel] et d’autre part, par l’émotion [immatérielle]. D’un côté, le corps est sondé au travers d’expériences limites. Des initiations comme rituels de révélation : le risque, le travestissement, les laissés pour compte, la drogue. Le corps est considéré comme outil de perception du monde. Un champ d’expérimentations. Un lieu de mise à l’épreuve. En 1993, elle a inventé le "Portrait-fiction". Un autoportrait ouvert sur l'autre. De l’autre, l’émotion, la vibration, l’énergie et la lumière sont appréhendées comme moyens d’investigation de ce qui est au-delà du physique et qui révèle un autre langage. La série (my) mandalas, blancs sur noir, en est une expression. Ces calligrammes sont autant de tatouages intérieurs, palpitations de son existence. À la croisée de différents champs de l’art contemporain, elle a été tour à tour : Ecrivaine Kovalam Beach – New York est mon excès-Romans publiés aux éditions Actes Sud. Photographe, vidéaste avec plus de 40 films réalisés depuis 1993. Certains font partie de la collection de la Maison Européenne de la Photographie à Paris.
Samira Elagoz, Z Walsh
You can't get what you want but you can get me
Doc. expérimental | dcp | couleur et n&b | 13:0 | Finlande, Pays-Bas | 2024
A unique slideshow documenting two long-haired trans men falling madly in love. Over the course of one year, the artist couple Samira Elagoz & Z Walsh gathered photographs from real-life events such as their first kiss, meeting each other's parents, long-distance thirst traps, a beach wedding, and top surgery and its subsequent recovery. A sweet and steamy celebration of T4T love with life and art all tangled up.
Samira Elagoz is a Finnish/Egyptian transmasculine artist. He has toured in various international film, visual art, and performance contexts, and won several awards, including Silver Lion at the Venice Biennale Teatro in 2022. Elagoz combines performance art and film, creating his unique brand of “docu-fiction”. Z Walsh is a Brooklyn-based transmasculine artist focusing on photography. Z is known for his raw, intimate depictions of his subjects and himself. Throughout his work, Z is dedicated to elevating trans voices and combating transmasculine erasure.
Jonas Erler
Der Junge mit dem Perlenohrring
Fiction expérimentale | 16mm | couleur | 8:33 | Allemagne | 2023
The boy is familiar with his surroundings. His path is linear and without any detours. Slowly, doubts creep into his mind and he begins to question the status quo. Where does his path lead?
Jonas Erler is studying at the Academy of Fine Arts Leipzig (HGB) in the class of Heidi Specker. In 2022 he took part in the Connecting Talents program "Visegrád in Short(s)" of Filmfest Dresden under the mentorship of Csaba Bollók and in 2024 in the Oberhausen Seminar. He works closely with the Chemnitzer Filmwerkstatt. Currently he is working as assistant director for Luise Donschen.
Julian Ernst, Swan Lee
Shady Talks
Doc. expérimental | 4k | couleur | 93:43 | Allemagne, Autriche | 2024
Based on the fascination for amusement parks and their connection to cinema, the film ‘Shady Talk’ was realized that documents a fictitious amusement park. The script was written in the form of an exchange of letters. We sent each other texts from an autobiographical perspective over the course of a year. Invented memories of a visit to the thempark accompany the visual material as descriptive fragments. Documentary footage was shot in various amusement parks in Europe: in Park Duinrell in Alkmaar, in Disneyland in Paris, in Praterpark in Vienna, in Tibidabo in Barcelona and in Tivoli in Copenhagen. The examination of these places is initially focussed on showing empty scenes of these places that are normally filled with crowds of people. We are interested in the connection between our everyday surroundings and film as fiction. We want to move away from aesthetic concepts that are based on reality as a stage. The environment does not serve us as a stage for the narrative in the film, itself becomes the main protagonist. The film differs from the actual amusement park. We are more interested in the formal expression of film than using it as escapism, enabling the experience of fictional places.
Swan Lee is currently based in Amsterdam and Julian Ernst lives and works in Vienna. In 2019, Swan Lee and Julian Ernst founded a collective ‘cicada’. The name ‘cicada’ describes a creature that only begins to become noticeable at dusk. With its loud chirping, the insect lends a sound to this time of day, which takes place in a transitional moment of transformation from light to dark. Conceptually, the exhibition formats also move in an intermediate space. The duo develop their exhibition formats based on architectural structures or the mystical past of places. The immersive installations attempt to explore the boundaries between the conventional idea of a suitable environment for artistic works and cinematic stagings. The individual objects themselves often recede into the background and become pillars of the overall concept. Focusing on the communal, i.e. by creating spaces for people to come together. The creation of walk-in sceneries is often associated with the combination of different techniques and media to create a world that seems very far from ours and at the same time very close to ours. In this in between space of seeing and remaining unseen is used to create vivid, moving shots in physical space.
Deniz Eroglu
Hunter, Gatherer
Fiction | 4k | couleur | 49:10 | Danemark, Pays-Bas | 2023
A solitary traveller is journeying around the Balkans where he is making a 16mm film about the architecture of psychiatric hospitals in the region in preparation for a PhD proposal. As his journey progresses he changes his original plan and begins to fraternise with the patients, filming them instead. As he becomes more immersed in the environments he visits, he is eventually noticed by relatives in one of the hospitals. They decide to teach him a lesson and follow him out of town to a cave.
Deniz Eroglu (b. 1981, based in Berlin and Amsterdam) works with film, video, performance, sculpture. Thematically his work centres around cultural identity, human relations, the institutionalisation of life, Utopias, “enlightened“ individuals”, loneliness. His work has been shown at Stedelijk Museum; Sharjah Art Foundation; MMK; Staatliche Kunsthalle Baden-Baden; MAXXI Museum; Statens Museum for Kunst; ARKEN Museum; Kunstverein Harbuger Bahnhof; Kunstmuseum Brandts; The Marrakech Biennial and Kunsthalle Darmstadt.
Eteam
Our Non-Understanding of Everything #09
Vidéo expérimentale | hdv | couleur | 20:4 | Allemagne, USA | 2023
“Our Non-Understanding of Everything #09” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.
eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.
Eteam
Our Non-Understanding of Everything #12
Vidéo expérimentale | hdv | couleur | 11:28 | Allemagne, USA | 2023
“Our Non-Understanding of Everything #12” is part of a larger series that explores how the structures of architecture, semiconductors, and circuits become forms of expression reflecting hierarchies, cognitive processes, and relationships to the natural environment. The project is the daily practice of observation, questioning and switching perspectives in order to understand our relationship to our tech-devices and their existence in the world. Motivated by finding ways to imagine what our smart phones want from us and if we can communicate with them, we are using our natural and human built environments to possibly entertain, relax and stimulate the technical devices, that so profoundly influence our conception of the universe and our relation to it.
eteam uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetic universes. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, together we forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves in ships, black box theaters and horse-drawn wagons. They could not have done this without the support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020.
Tirtza Even
Parallel
Installation vidéo | mp4 | couleur | 10:0 | USA | 2024
Parallel (work in progress demo) tells the story of the fissure–the modes of blindness and longing, of not seeing and being unseen, of being together yet also apart–at the heart of an intimate exchange. The installation is constructed of an elongated strip of portraits which can be viewed from both front and back. On either side of the installation are displayed close-up faces of a range of individuals. Each of the individuals stares at a parallel figure sitting across from them, their back to the camera. The parallel figure’s face is visible from the reverse side of the installation, as is the back of the person we saw on the front side. Beyond the more immediate scene of the gaze exchange between the figures, we can see, through cracks in the wall behind them, a hint of an open landscape. At an almost undetectable speed, the two rows of portraits–those who are facing us and those who are not–drift along, and then off of the edge of the screen. New pairs continue to slip in endlessly. The pace of the rows’ drift (front and back), however, is slightly mismatched. This gap in the rate of their movement results in a subtle dissonance: the parallel figures slip away from each other as well as away from us. As they drift, they intermittently obscure the individuals they face. Short texts–segments of online messages written to an unknown other–are, at irregular intervals, read out loud by one of the visible characters. The same text might be performed by different people. Several distinct texts might be read by a few characters at once. The link between who we see and the story we associate with them is, thus, like their image, unsettled, interrupted and displaced. The video attached is a work in progress edit demonstrating two possible scales for the project's display.
An experimental documentary maker for over twenty years, Even has produced work which ranges from feature-length documentaries to multi-channel installation and interactive video work, and which, relying on almost imperceptible digital manipulation of slow and extended moments, aims to depict the less overt manifestations of complex, and at times extreme, social/political dynamics in specific locations (e.g. Palestine, Turkey, Spain, the U.S. and Germany, among others). Even’s work has been shown at the Museum of Modern Art, NY, at the Whitney Biennial, the Johannesburg Biennial, as well as in many galleries, museums and festivals in the U.S., Canada and Europe, including Doc Fortnight at MoMA, NY, Rotterdam Film Festival, RIDM Film Festival, Montreal, New York Video Festival, Lincoln Center. It has won numerous grants and awards, including 3ARTs Visual Arts and Next Level Awards, Fledgling Distribution Fund, Artadia Award, Media Arts Award, the Jerome Foundation, Individual Artists Program Awards, NYSCA, and many others; and has been purchased for the permanent collection of the Museum of Modern Art (NY) and the Jewish Museum (NY) among others. Even has been an invited guest at many conferences and university programs, including the Whitney Museum Seminar series, the Digital Flaherty Seminar, Open Doc Lab at MIT, SXSW Interactive Conference, Art Pace annual panel, ACM Multimedia and others. Her work is distributed by Heure Exquise, France and Video Data Bank (VDB). Even is Professor at the School of the Art Institute of Chicago’s Film, Video, New Media, and Animation department.
Maud Faivre, Marceau Boré
Modèle animal
Doc. expérimental | hdv | couleur | 51:18 | France | 2024
La mouche drosophile est un modèle parfait pour la vie en laboratoire, fabriquée en masse pour produire de la connaissance en masse. Elle vit, meurt, aime, dans le cylindre d’un tube de plastique. Dans une boîte plus grande, celle d’un centre de recherche du comportement animal, des humains produisent des expériences étonnantes avec ces insectes. Témoins de ces expériences, la perception que nous avons de ces animaux familiers est petit à petit transformée.
Maud Faivre (1986) Maud Faivre vit à Bruxelles et y travaille comme photographe. Ses projets photographiques s’intéressent au travail des autres (Les villes invisibles, avec des archéologues), au paysage de moyenne montage (Transjurassienne) ou aux oiseaux (Birding). Elle collabore régulièrement avec des architectes et des paysagistes sur des projets à long terme, et répond à des commandes publiques autour du paysage et de l’architecture. Depuis dix ans elle accompagne les e?tudiants de l’Ecole Le Septantecinq de Bruxelles - ou? elle a étudié - dans le Cantal pour y photographier le paysage, le ba?ti, les habitants, une ruralite?. Modèle animal, co-réalisé avec Marceau Boré, est son premier film. Marceau Boré (1986) Musicien et preneur de son, Marceau Boré s’initie a? l’ornithologie, sensibilise? par sa rencontre avec des naturalistes. Il sort du studio et des salles de concert pour chercher a? capter les sons de son environnement et recre?er des paysages sonores. C’est ainsi qu’il re?alise des cre?ations pour le cine?ma documentaire et démarre sa collaboration avec la photographe Maud Faivre, arpentant à deux les paysages et rencontrant les gens qui les défendent. Ensemble, ils réalisent leur premier film avec des éthologues, en huis clos, dans un centre de recherche fondamentale du CNRS où l’on étudie le comportement des insectes sociaux.
Ivan Faktor
Bol
Doc. expérimental | hdv | couleur | 22:14 | Croatie | 2024
Ivan Faktor decided to visualize his state with Parkinson's disease with a mobile phone camera. After 50 years of filmmaking, his passion for art and life persists. He is filming himself, his wife, the yard, the street, the studio, and the light attractions in his house. Faktor records everyday life but disrupts the daily structure by intervening in reality, using light or optical obstacles like his trembling fingers. Through interventions in documentary situations, he creates a surprising inner world of an artist imprisoned in space.
Ivan Faktor is a Croatian avantgarde artist. He is engaged with experimental film, photography, video and video installations. He has been shooting films and video works continuously since 1975. Since 1979, he has been participating in conceptualist actions and exhibitions, performances with video and film and setting up installations. He participated in 1995 at the 46th Biennale in Venice (A Casa/At Home 2), and in 2002 was the representative of Croatia at the 25th Biennial in Sao Paulo. He received numerous awards, both for his visual art and films.
Fantazio Fantazio ( Denys), Frederic Mainçon
je reviens dans 5 minutes
Documentaire | dcp | couleur et n&b | 90:0 | France | 2023
Ivan est professeur à la retraite. Il a connu la lutte armée dès l’âge de 13 ans. Il n’en parle jamais. Fabrice, son fils, est musicien et poète improvisateur connu sous le nom de Fantazio. Un gouffre semble séparer les deux hommes, mais lorsqu’ils montent ensemble sur scène, tandis que l’un joue de la contrebasse, l’autre retrouve ses talents d’orateur et le plaisir qu’il a connu au lycée de parler en public. Une caméra s’invite entre eux, comme pour mieux résoudre des énigmes enfouies. Mais Fantazio butte sur son projet : emmener Ivan à Bruxelles pour y visiter l’un de ses vieux compagnons de résistance. S’en suit un voyage, au travers un temps compté, parfois fait d’éternité.
Fantazio est né Fabrice Denys en 1972. A douze ans il se muni d’une contrebasse et crie ses fantômes en rejoignant les guerriers urbains du mouvement punk. Depuis il réalise six album, multiplie les rencontres artistiques et se produit en concert dans des scènes underground à travers l’Europe.Il parle de plus en plus dans ses concerts jusqu’a l’écriture d’un monologue autobiographique qu’il produit sur des scènes de théâtre, sans musique. Frédéric Mainçon est né en 1972 D’abord chef opérateur sur des fictions et des documentaires, Il se rapproche de l’art contemporain et contribue à fabriquer des images pour des plasticiens. Depuis 2005 il réalise des films documentaires. Par ailleurs musicien, ses sujets de prédilection sont la musique, les rapports filiaux, le déni, la dénégation, le post-colonialisme.
Syd Farrington
Descent
Film expérimental | 16mm | couleur | 6:0 | Royaume-Uni | 2023
Newly built high-rise buildings in multiple areas of accelerated regeneration across London are abstracted in a series of free-falling motions. Through this abstraction comes an attempted reclamation of London’s skyline.
Syd Farrington is an artist and filmmaker living and working in London. His work has been shown internationally at International Film Festival Rotterdam, London Short Film Festival and Kasseler Dokfest, among others. Working with film, his work explores the physical effect of contemporary capitalism on the changing landscape of London. Often using place and landscape as a starting point, He navigates the interrelation of personal and shared experience, drawing from the vast history of cinema and modes of structural filmmaking.
Laura Ferman
ROSINHA E OUTROS BICHOS DO MATO
Documentaire | dcp | couleur et n&b | 101:0 | Brésil, Portugal | 2023
In 1934, the Portuguese New State displayed, at the Portuguese Colonial Exhibition, the ultimate symbol of its virility in Rosinha, a native of what was then Portuguese Guinea. The film questions the idea of Portugal's so-called "gentle racism", by looking back at more than a century of colonial discourse.
Marta Pessoa was born in Lisbon in 1974. She studied cinema at the ESTC and has worked as Director of Photography since 1996. In 2013, she formed the production company TRÊS VINTÉNS along with Rita Palma and João Pinto Nogueira. Among other films, directed LISBON’S UNDER ARREST (2009), WARRIORS (2011), THE LURKING FEAR (2015), DAMSEL WARRIOR (2020), A NAME FOR WHAT I AM (2022) and ROSINHA AND OTHER WILD ANIMALS (2023).
Tor-finn Malum Fitje
Death Mother: As Above, So Below
Film expérimental | mov | | 4:4 | Norvège | 2024
This two-channel video draws its inspiration from Carl Jung's ideas of the near-death-experience, and the title refers to his archetype Death Mother. To the left you see a AI generated character dressed as an air stewardess, speaking intensely to the viewers. She has been given the deep voice of the Jungian analyst Joseph Lee. On the right screen we see real drone videos of fault ruptures caused by earthquakes, and hear sounds from inside the crust of the earth. In the vague relations between these two dream spaces - one floating on top of the other - there is a bizarre death fantasy unfolding. The underlying topic of the film can be found in the conflict between the artificial and the analogue, the vulgar and the sublime. The work won the artist BiT Elite price at Stipendutstillingen in 2024, Telemark Kunstsenter, Norway
Tor-Finn Malum Fitje is a video artist, writer and film teacher based in Oslo, Norway. He holds an MFA from the Royal Academy of Art in Stockholm, a BFA from Konstfack and a Bachelor in Film Production from Bergen University, specializing in directing. His work includes multi-channel video installations as well as feature length essay films. Malum Fitje has exhibited his films at The National Museum and Gallery of Photography in Oslo and the Museum of Modern Art in Stockholm
Soren Thilo Funder
Archipelago (No one is an island)
Fiction expérimentale | hdv | couleur | 37:5 | Danemark | 2023
Archipelago (No one is an island) splashes heedlessly into a fictional exploration of the high frequency trading firm Archipelago and its existence in the strange socio-political, socio-economical and psychological reality of the proliferating internet and lives lived in wireless connectivity. In this business realm, human activity, unfolding in virtual spaces and directed by algorithms, is mainly left to perform the rituals that gives the bodiless stream a body; performing the myths of human ingenuity and dominance; repeating the hierarchical patterns that represent human social activity. The dramatic structure of the two channel video work shapes an archipelago in itself. Every character inhabiting the depicted environment forms an island within herself, literally plugged into a closed circuit; AirPods in ear; screen glued to face. Islands that seem to react upon one another even across time particulars and image frames.
Soren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions insisting on new meaning forming in the thin membrane negotiating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement, temporal displacements and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He is Associate Professor at The Royal Danish Academy of the Arts. He has been artist-in-residence at ISCP in New York, Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. Previous exhibitions include solo presentations at Turku Museum of Art, Museum of Contemporary Art Zagreb, Tranen Contemporary Art Center, Overgaden – Institute for Contemporary Art and Den Frie - Centre for Contemporary Art, Copenhagen. He was furthermore represented at the 9th Bucharest Biennale, the 19th Biennale of Sydney, the 1st eva International Biennial of Visual Art, the 12th Istanbul Biennial, Manifesta 8 and the 6th International Liverpool Biennial. He recently finished his PhD in Artistic Research at The Art Academy - Department of Contemporary Art, University of Bergen, titled “Oceanic Horror - or How to Survive the Night in the Haunted Mansion of Absolute Capitalism”.
Christophe Gallois
L'écoute vagabonde
Documentaire | dcp | couleur | 23:18 | France | 0
Le monde de Dominique Petitgand est celui de l’écoute. Depuis trois décennies, l’artiste crée des pièces sonores qu’il diffuse à travers des disques, à la radio, lors de séances d’écoute se déroulant dans l’obscurité, selon le principe d’un « cinéma pour l’oreille », ou encore sous la forme d’installations déployées dans l’espace, dans des lieux d’exposition. Dans son travail de montage, des fragments de voix sont découpés, isolés, détachés de leur contexte, et associés à d’autres éléments vocaux, sonores ou musicaux. Ses œuvres portent attention au potentiel narratif que recèlent ces fragments de réel autant qu’aux « liens invisibles » qui les relient entre eux. Comment prolonger, à l’écran, l’expérience de ses œuvres ? Comment filmer l’écoute ? C’est à partir de ces interrogations que sont restitués trois moments de création et de diffusion : une séance d’écoute présentée au Musée des Beaux-Arts de Nancy ; un temps de travail autour de la table de montage, dans l’atelier de l’artiste ; une installation sonore, Les heures creuses, créée pour les espaces du T2G – Théâtre de Gennevilliers.
Christophe Gallois est, depuis 2007, curateur au Mudam Luxembourg. Il a été le commissaire de plusieurs expositions collectives d’envergure, parmi lesquelles « The Space of Words » (2009) et « L’Image papillon » (2013), et d’expositions personnelles d’artistes tels que Guillaume Leblon (2009), John Stezaker (2011), Sanja Ivekovic (2012), Fiona Tan (2016), Su-Mei Tse (2017), Jeff Wall (2018), Katinka Bock (2018), David Wojnarowicz (2019), LaToya Ruby Frazier (2019), Zoe Leonard (2022), Tacita Dean (2022) et Dayanita Singh (2023). Un nombre important de ces projets ont été développés en collaboration avec des institutions telles que le Taipei Fine Arts Museum, le Aargauer Kunsthaus, la Whitechapel Gallery à Londres, le Musée d’Art Moderne de Paris, le MCA Australia à Sydney, la Kunsthalle Mannheim ou encore le Whitney Museum of American Art à New York. Consacré au travail de Dominique Petitgand, « L’écoute vagabonde » est son premier court-métrage documentaire. Pensé comme un prolongement de sa pratique curatoriale, celui-ci poursuit un dialogue entamé avec l’artiste au milieu des années 2000 dans le cadre de plusieurs expositions de groupe et d’une exposition personnelle, ainsi que de la rédaction de textes et des entretiens.
Nicolás Garcés
Réplicas
Fiction expérimentale | mov | couleur | 13:49 | Colombie | 2024
In a land of musical rivers and omens coming from the heart of the jungle, a young man overhears a bird's song as a message of his fate. A dream-like contemplation of a man dissolving into a large common body.
Nicolás Garcés was born in Pasto, Colombia, and holds a degree in Filmmaking from the Universidad Nacional de Colombia. His work focuses on ethnographic explorations and experimental practices in audiovisual media, and has been screened in festivals such as MIDBO, Festival du Nouveau Cinéma de Montreal, FICCI, among others.
Dora García
(Revolución, cumple tu promesa) Amor Rojo
Doc. expérimental | 4k | couleur | 95:0 | Espagne, Belgique | 2024
Turn your love into a weapon. This film reads Soviet revolutionary and sexual activist Alexandra Kollontai’s writings on female sexuality and emancipation, on the abolition of the family and the need to “change hearts and minds”. This reading traces a complex web of connections between 20th century European Marxist feminism and 21st century Latin American transfeminisms, between personal and collective mourning, between a myriad of ways of understanding the feminine, and between the melancholic gaze of disenchantment and the furious, tender, and imperious demand that the Revolution, finally, fulfil its promise. (Revolution, fulfil your promise) Red Love (2024) is the sister film to Red Love (2023). The sounds and images from the original footage of Red Love have been completely re-edited, and a wealth of new archive material has been added, which is clearly inscribed with the urgency of militancy while tracing careful historical genealogies. This film is the result of 8 years of research going from Moscow Engels-Marx-Lenin archives to multiple personal, familiar, historical and activist archives in Mexico and Latin America. It is a collective work made by a team of researchers and artists of different nationalities. It wants to inscribe itself in the urgency of the tradition of militant film while at the same time tracing careful historical genealogies and projecting into the future.
Dora García lives and works in Oslo. She currently teaches at Oslo National Academy of the Arts, Norway. She has represented Spain at the Venice Biennale in 2011 and was present again in the Venice Biennale 2013. She took part in the 56th Venice International Art Exhibition, dOCUMENTA(13) and other international events such as Münster Sculpture Projects in 2007, Sydney Biennale 2008 and Sao Paulo Biennale 2010. Her work is largely performative and deals with issues related to community and individuality in contemporary society, exploring the political potential of marginal positions, paying homage to eccentric characters and antiheroes. These eccentric characters have often been the center of her film projects, such as The Deviant Majority (2010), The Joycean Society (2013) and Segunda Vez (2018).