2021 Paris Programme
12:30 13:00 15h00 17:00 19:00 21:00
Thursday

Feb. 25
12:30

Forum
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

Online tour

In partnership with TRAM Réseau art contemporain Paris/Île-de-France, the Rencontres Internationales Paris/Berlin invite you, on 25 and 26 February at 12.30 pm, to discover a selection of exhibitions and projects presented by seven member organisations of the network.

TRAM, Réseau art contemporain Paris / Ile-de-France (Contemporary art network Paris/Ile-de-France) in a non-profit network funded in 1981 gathering institutions committed to
the production and exhibition of contemporary art in and around Paris. These now 31 structures echo the visual arts scene’s vitality and diversity in this vast regional territory. Art centers, museums, art colleges and schools, artists ’collectives, foundations, public collections (Frac): they all engage in a broad spectrum of complementary actions, through production, exhibitions, collection, teaching, education, publishing, encouraging the practice of art, etc.

Session details
A selection made by TRAM Réseau art contemporain Paris/Île-de-France.
The session will be introduced by Marc Bembekoff, co-president of TRAM Réseau art contemporain Paris/Île-de-France and director of La Galerie, a contemporary art centre in Noisy-le-Sec.

Maubuisson Abbey, Saint-Ouen l'Aumône (95)
Charlotte Charbonnel, Geoscopia (scheduled until 14 March 2021)
Focus on Charlotte Charbonnel's exhibition with the exhibition visit Geoscopia - 12'47

Le BAL, Paris (75)
Miguel Rio Branco, Photographs 1968-1992 (scheduled until 14 March 2021)
Video visit of the exhibition by Alexis Fabry, co-curator of the exhibition with Diane - 1'53''

Centre photographique d'Île-de-France (CPIF), Pontault-Combault (77)
Abstract Photography (planned until 21 February 2021)
"Une œuvre, un souvenir", an unpublished story and short video about the exhibition La Photographie à l'épreuve de l'abstraction - 3'39''.

maison des arts, malakoff contemporary art centre, Malakoff (92)
Sound walks: Louise Pressager, you are the time, I am the place, of January 21st
to 5 April 2020
Sound walk [episode 2/6] from 3 April 2020, par Elsa Grégorio - 4'.
The colour yellow brought us to the space of "souvenirs" where we followed the adventures of the good student. Today we meet several characters, Let's cross identities, let's oscillate between the feminine and the masculine. I think I would dare to Louise Pressager confides in saying I love you in this song, for which Ferdinand has realized the composition.


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Thursday

Feb. 25
13:00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"The Tree House"

Anna fo: Sealed Faithful Halls | Vidéo expérimentale | hdcam | couleur | 3:0 | Chypre | 2020 see more
Quy Minh truong: Nha Cay | Doc. expérimental | 16mm | couleur et n&b | 84:4 | Chine / Singapore, Germany | 2019 see more
Anna fo
Sealed Faithful Halls
Vidéo expérimentale | hdcam | couleur | 3:0 | Chypre | 2020

“Sealed Faithful Halls” —a poem turned to an experimental film— refers to a series of videos that have been recorded in different locations, through a period of years, either as part of art projects (but were never used) or as a record of situations, feelings and moments in time, in order to be used for future art projects. This archival material, became the motivation of a video art piece, made during the pandemic of 2020, when movement was restricted and confinement was imposed; therefore no video was able to be recorded. Drawing inspiration from the rectangular forms of expressionist painter Mark Rothko, a juxtaposition of moving images and sounds was created, an illusion of situations, where real spaces are transformed into imaginary ones. Sealed Faithful Halls becomes a record of thoughts, feelings and ways in which an artist 'sees' everything that passes in front of her and the cause for the allegorical relationship of form-space, reality-illusion, language-text.

Anna Fo (Fotiadou) is a Cypriot multidisciplinary artist and educator with specialisation in video art and direction. She holds a Bachelor degree in Graphic Design and Fine Arts and a Master degree in Performance Design and Practice. Anna is a freelance graphic designer and awarded illustrator and has been working as a video artist, art director and director for various theatre plays, performances and dance shows, in Cyprus and in Europe. She is the co-writer of the awarded film “Pause” (Cyprus, Greece, 2017). Anna directed her first short film entitled “Drained” (Cyprus, USA, 2020) which will be released in 2021 and explores issues of femininity, abandonment and revenge through a contemporary re-tell of the myth of Clytemnestra. Anna has presented her artwork —both in solo and group exhibitions— in galleries, venues, festivals and biennials in Cyprus, Greece, Italy, Spain, Germany, France, UK, Netherlands, Austria and Mexico. She works in collective art projects and collaborates with artists of different practices and disciplines. Her artistic research focuses on the subject matter of reality and illusion by exploring conceptual frameworks of the duality juxtaposition between text and image, within an examination of performance, digital media and art placement in space.

Quy Minh truong
Nha Cay
Doc. expérimental | 16mm | couleur et n&b | 84:4 | Chine | 2019

"In Minh Quý Tr??ng’s striking second feature, a man living on Mars in the year 2045 examines footage brought back from his encounters with an indigenous community in the jungles of Vietnam. As he experiments, his thoughts drift from matters of identity, aesthetics, and the politics of imagemaking, to ritual burial practices, to the seen and unseen forces that shape cultures. Combining elements of science fiction and ethnography, The Tree House is a powerful exploration of how time and environment relate to our understanding of home.", 57th New York Film Festival. (filmlinc.org/nyff2019/films/the-tree-house/)

Tr??ng Minh Quý was born in 1990 in Buôn Ma Thu?t, a small city in the Central Highlands of Vietnam. Quý lives and works here and there in the vibrancy of memories and present moments, his narratives and images, lying between documentary and fiction, personal and impersonal, draw on the landscape of his homeland, childhood memories, and the historical context of Vietnam. In his films, he has experimented with combining abstract concepts-images with realistic improvisations during shooting. He is the alumnus of 2012 Asian Film Academy (Busan International Film Festival) and 2016 Berlinale Talents (Berlin International Film Festival). His films have been selected for international film festivals and exhibitions such as Locarno, New York, Clermont-Ferrand, Oberhausen, Rotterdam, Busan, Les Rencontres Internationales Paris&Berlin. He won the main Art Prize at the 20th VideoBrasil (Sao Paulo) in 2017. His second feature film, The Tree House, premiered in 72nd Locarno Film Festival (Filmmakers of The Present Competition, Swiss Critics Boccalino Award), where it was called as “Three of the festival's best premieres” by Mubi and “a singular entrancing ode to memory and filmmaking” by The Film Stage. The film continued to screen in 57th New York Film Festival (Projections), Viennale, Festival Des 3 Continents (Competition), Rotterdam International Film Festival (Bright Future Main Program), CPH:Dox (Artist &Auteur), Goteborg International Film Festival, among others. Currently Quý is taking his research on analog and new media at Le Fresnoy - National Studio of Arts in France.


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Anna Fo reuses personal archival materials, combines them, and transforms real spaces into imaginary places. In an evocation of the past and the future, Quy Minh Truong questions the notions of belonging and culture, combining elements of science fiction and ethnography. A man living on Mars in the year 2045 examines images of his encounters with jungle inhabitants in Vietnam. His thoughts drift towards questions of identity, he imagines dwellings in the mountains as guardians of memory.


Thursday

Feb. 25
15:00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"State of the rules"

Saulius baradinskas: Golden Minutes | Fiction | 16mm | couleur | 10:0 | Lituanie | 2019 see more
Mauricio arango: Seafarer | Film expérimental | mov | couleur | 26:0 | USA | 2020 see more
George drivas: Empirical Data 2.0 | Fiction expérimentale | hdv | noir et blanc | 30:0 | Grèce | 2019 see more
Pia bolognesi, Bursi Giulio: The Leaks of Venice | Doc. expérimental | dcp | couleur et n&b | 17:0 | Allemagne | 2020 see more
Saulius baradinskas
Golden Minutes
Fiction | 16mm | couleur | 10:0 | Lituanie | 2019

Driven to the edge by a huge debt and his impending divorce, a poetic accountant decides to kill himself but is rescued by a heart attack.

Saulius Baradinskas (born on September 19, 1990) is a film, commercial & music video director from Vilnius, Lithuania. ?Saulius is noticed for directing music videos that already got recognition in the Baltic states. In 2018 annual music video awards Saulius was selected as a best director of the year and won best music video award for directing.

Mauricio arango
Seafarer
Film expérimental | mov | couleur | 26:0 | USA | 2020

Seafarer is an experimental narrative film. It combines an essayistic style with field recordings, fragments of visual studies, experiments with actors, and fictionalized reflection on artistic production rooted in personal experience. It presents a single monologue over mostly long-take shots depicting quotidian moments shot across New York City: a sunset over the Hudson River; people at the beach; a film projected in a movie theater; golfers at a course in Chelsea Piers, and so on. The visual montage is linked by a ruminative, first-person voiceover by Miami-based singer, Little Annie, who performs the character of an anonymous film director. Her haunting words, spoken with humor and earnestness, offer a meditation on the cracks in her life as an artist. They touch on a variety of topics, including our ambiguous relation with capital, the complex relationship between actors and directors, the experience of being in a cinema, and the periods when new ideas are scarce. Seafarer keenly elicits tensions between observer and creator, and what is scripted and what is captured by chance.

Mauricio Arango was born in Bogotá, Colombia and lives and works in New York City. He is an alumnus of the Independent Study Program at the Whitney Museum and has participated in residences at Headlands Art Center in San Francisco, the MacDowell Artist Colony, USA; Museo El Barrio, New York. He earned and MFA from the University of Minnesota. His films have been screened at art and film festivals including New Directors/New Films at the Lincoln Film Society and The Museum of Modern Art, New York; Kino Der Kunst, Münich; VideoBrasil, Sao Paulo; FiD Marseille, Rencontres Internationales, Paris; IndieLisboa, Lisbon. He has received awards in the form of financial support from institutions including The Foundation For Contemporary Art, New York; RivieraLab Coproduction Fund, Mexico; Secretary of Culture, Colombia; Filmmakers Fund, Rooftop Films, New York; Matt Robert Arts, London; Bush Foundation For the Arts, Saint Paul, USA; The Jerome Foundation, New York; the National Fund for the Arts from the National Association of Latino Artists and Communities, USA; and The Minnesota State Arts Board, among others.

George drivas
Empirical Data 2.0
Fiction expérimentale | hdv | noir et blanc | 30:0 | Grèce | 2019

Empirical Data 2.0” is based on the personal experience of the georgian actor David Maltese as an immigrant in Greece, and his trajectory from entering the country to taking up acting. ?he protagonist of the film David Malteze, impersonates himself, at his first professional steps 10 years ago in one half of the screen. The reenactment of the actor’s real life is contrasted with a monologue held by himself, presented at the other half of the screen.

George Drivas was born in Athens, Greece. He has represented Greece at the 57th Biennale di Venezia, 2017. George Drivas’s work has been featured as a Solo Show at AnnexM / Megaron, Athens (2020), the National Museum of Contemporary Art, Athens (2018 and 2009) and La Galleria Nazionale, Rome, Italy, (2017) , as a tribute to him at the Lumen Quarterly Festival, Beijing, China (2017/18) and Athens’s International Film Festival (2014), and as part of a group exhibition or festival among others in “back forward rewind”, Media Art Lab, Moscow, Russia, “Imagined Communities”, 21st Biennial of Contemporary Art_Videobrasil, São Paulo, Brazil (2019-20), “Resilient Futures”, Contemporary Art Center of Thessaloniki (CACT, 2018), “ANTIDORON- the EMST Collection”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Transmediale Festival, Berlin, Germany (2014), “Art Projections”, Thessaloniki Biennale of Contemporary Art (2013), “Hybrid Stories”, National Museum of Contemporary Art, Athens, Greece (2013), “Melancholy in Progress”, Hong-Gah Museum, Taipei City, Taiwan (2012), “FILE”, Electronic Language International Festival, FIESP Cultural Center, Sao Paulo, ?razil (2012), Center on Contemporary Art, Seattle, USA (2012), “Polyglossia”, Onassis Cultural Centre, Athens, Greece (2011), “Digital Wave”, Thessaloniki International Film Festival, Thessaloniki, Greece (2009); “Young Greek Artists – In Present Tense”, National Museum of Contemporary Art, Athens, Greece (2008)and Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006)

Pia bolognesi, Bursi Giulio
The Leaks of Venice
Doc. expérimental | dcp | couleur et n&b | 17:0 | 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.


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Saulius Baradinskas features a man who seems to be escaping his fate, one grey day, in a Lithuanian city, in a society that seems to offer more alienation than compassion. Mauricio Arango proposes an experimental narrative, between scriptwriting and chance. It combines a reflection on artistic production with fragments of essays made with actors. George Drivas films the Georgian actor David Maltese, who recounts his journey as an immigrant in Greece, from his arrival in the country to his recognition as an actor. Time condenses and produces several levels of narration, the "I" becomes a form of armour that must be both worn and endured. In an old building in Venice, Pia Bolognesi and Giulio Bursi film a visitor who walks through the empty rooms of an exhibition by Alexander Kluge, and who discovers a fictitious architectural space reminiscent of an abandoned theatre set.


Thursday

Feb. 25
17:00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"In common"

Manuel billi: Guardarla negli occhi (La Regarder dans les yeux) | Doc. expérimental | hdv | couleur | 15:0 | France | 2020 see more
Zaur kourazov: Han Yu | Doc. expérimental | mov | couleur | 20:23 | Russie | 2019 see more
masbedo: Condivisione di un ricordo | Vidéo | mp4 | couleur | 13:13 | Italie | 2020 see more
Laura huertas millÁn: Jíibie | Documentaire | dcp | couleur | 24:45 | Colombie | 2019 see more
Noemi osselaer: Erpe-Mere | Doc. expérimental | dcp | | 20:44 | Belgique | 2020 see more
Manuel billi
Guardarla negli occhi (La Regarder dans les yeux)
Doc. expérimental | hdv | couleur | 15:0 | France | 2020

A day in a life of a family. A story of hands : hands that act, hands that assist, hands that dance till the end of the day.

Manuel Billi lives and works in Paris. Film critic and director, he has authored several essays on contemporary cinema. Since the year 2000, he has been collaborating with different Italian and French film magazines. In 2014 he directs his first experimental short film, Battre, enlever. His first fiction short, Ghosts of Yesterday (2017) has been premiered at the Venice Film Festival. Then, he alternates between fiction (ENTER, 2018, selected in more than twenty international festivals; Ten Times Love, 2020) and documentary (Guardarla negli occhi - La Regarder dans les yeux, official selection at the Mostra Internazionale del Nuovo Cinema di Pesaro 2020).

Zaur kourazov
Han Yu
Doc. expérimental | mov | couleur | 20:23 | Russie | 2019

In a village in Chechnya a mother and a daughter speak about the return of an acquaintance.

Zaur Kourazov (1994) graduated from KASK in 2019 magna cum laude with his work, TIME IS (2020). His work dwells on themes such as memory, (cultural) identity and friendships which stem from intercultural aspects. Feeling connected to his ethnic culture and the assimilated culture, his work resides in a unique position by exploring 'in betweenness,' a very intruiging space of understanding both worlds yet not fitting in either of them.

masbedo
Condivisione di un ricordo
Vidéo | mp4 | couleur | 13:13 | Italie | 2020

The major video screening set up echoes the documentary Condivisione di un ricordo: this work presents the operation which concerned Bergamo and the municipalities of the Val Seriana over the summer, in which numerous posters portraying Pellizza’s painting were displayed, thanks to the involvement of people encountered by the artists.

“The two artists have worked together since 1999, focusing on video art and installations. They express themselves through the language of video, in different forms such as performance, theater, installation, photography and recently cinema. In Italy they are recognized among the most important video artists and innovators in the field of contemporary art. Their artistic research has focused on the theme of incommunicability, highlighting the paradox of our communication society. This has led them to produce very intimate pieces alongside work with a greater anthropological, social, and political feel. They strive to engage their audience by using the moving image as an immersive installation. MASBEDO have also worked with video-performances to engage their audience within the creative space and gestures created by the video itself

Laura huertas millÁn
Jíibie
Documentaire | dcp | couleur | 24:45 | Colombie | 2019

The fabrication ritual of the green coca powder (called mambe or "Jiíbie") unveils an ancestral myth of kinship. In the Muiná-Muruí community, the coca plant is not a product, but a sacred interlocutor, the beating heart of a collective body.

Laura Huertas Millan is a French-Colombian filmmaker and visual artist, whose practise stands at the intersection between cinema, contemporary art and research. Selected in cinema festivals such as the Berlinale, Toronto International Film Festival (TIFF), Rotterdam International Film Festival, New York Film Festival and Cinéma du Réel, her films have earn prizes at the Locarno Film Festival, FIDMarseille, Doclisboa and Videobrasil, among others. More than twenty retrospectives and focus of her work have been organised around the globe, in cinematheques such as Toronto ?s TIFF Lightbox, Harvard ?s Film Archive or Bogota ?s cinematheque, and leading film festivals as Mar del Plata and Rencontres du Documentaire de Montreal. In the art field, her latest solo exhibitions were held at the MASP Sao Paulo, Maison des Arts de Malakoff and Medellin ?s Modern Art Museum. Her films have also been exhibited and screened in art institutions (Centre Pompidou Paris, Jeu de Paume, Guggenheim Museum NY, Times Art Berlin) and biennials (Liverpool, FRONT Triennial, Videobrasil, Videonnale). They are part of private and public collections (Kadist, CNAP, Banco de la República de Colombia, CIFO, FRAC Lorraine, and others). Huertas Millan holds a practise-based PhD on “Ethnographic Fictions” developed between PSL University (SACRe program) and the Sensory Ethnography Lab (Harvard University). She works as an educator in academic and alternative spaces. Since 2019, Huertas Millan is part of a research-based duo with curator and writer Rachael Rakes on critical anthropology and the aesthetics and politics of the encounter.

Noemi osselaer
Erpe-Mere
Doc. expérimental | dcp | | 20:44 | Belgique | 2020

Surrounded by the sound of nocturnal animals, a girl falls into a deep sleep. Gradually we are drawn into her dream, which unfolds into a cosmic journey through the meadows of Erpe-Mere, a rural community in Belgium.

Noemi Osselaer was born in Aalst, Belgium. She studied audiovisual arts at the Royal Academy of Fine Arts Ghent. Her graduation film ‘Erpe-Mere’ screened at several festivals including Dok Leipzig and IFFR. From January 2021 till December 2022 she will be a resident at the Higher Institute for Fine Arts (HISK) in Ghent.


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Manuel Billi films a day in the life of his family, in a tale of glances and hands: hands that act, hands that assist, hands that dance until the end of day. Zaur Kourazov returns to Chechnya for the first time, 18 years after the war. Confronted with the impossibility of recreating the exact scenes of his memories, he finds himself in an in-between situation, facing a paradoxical people with a constant desire for what has been. He then films a mother and her daughter in a village talking about the return of an acquaintance. Masbedo crosses the city of Bergamo, where posters of a painting by Pellizza have been placed in the public space. The process evokes an act of resistance to social inability to act. Here, art is linked to an idea, communicates it, and the need for utopias is reaffirmed. Laura Huertas Millán films the ritual of making coca powder in the Murui-Muina community in the Amazon. The coca plant is a sacred interlocutor, the beating heart of a collective body. Noemi Osselaer films a young girl, surrounded by the sounds of nocturnal animals, who falls into a deep sleep. We are drawn into her dream, which unfolds into a cosmic journey through the meadows of Erpe-Mere, a rural commune in Belgium.


Thursday

Feb. 25
19:00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"Soap populism"

Zanic tin: Antiotpad | Fiction | dcp | | 18:6 | Croatie | 2020 see more
Pierre merejkowsky: L'état de notre urgence 4 | Vidéo | mov | couleur | 2:15 | France | 2019 see more
Zachary epcar: The Canyon | Fiction expérimentale | 16mm | couleur | 15:43 | USA | 2020 see more
Michelle deignan: Idiots | Animation | mov | noir et blanc | 2:7 | Royaume-Uni | 2020 see more
Tamar guimaraes, in collaboration with Luisa Cavanagh and Rusi Milán Pastori: Soap | Fiction | 4k | couleur | 53:50 | Allemagne | 2020 see more
Zanic tin
Antiotpad
Fiction | dcp | | 18:6 | Croatie | 2020

Somebody’s car is on fire. Somebody’s head got kicked in. Somebody got their mobile stolen. Will the troublesome adolescent break the vicious cycle of violence he might or might not have started himself?

Tin Žani? graduated from the National Film and Television School (NFTS) with an MA in Fiction Directing as a Croatian Audiovisual Centre scholar. Prior to NFTS, he finished BA studies in Film and Theatre Production in Zagreb. His first two short films Komba (2011) and Manja?a (2014) received awards and special mentions and were shown at A-list Film Festivals, TV and Film Markets such as International Film Festival Rotterdam, Clermont-Ferrand International Short Film Festival, Tampere Film Festival, Sarajevo Film Festival, Hamburg International Film Festival, Zagreb Film Festival, etc.

Pierre merejkowsky
L'état de notre urgence 4
Vidéo | mov | couleur | 2:15 | France | 2019

L'état de notre urgence 4 a été tourné à Paris pendant le premier confinement à 20 heures


J'ai réalisé une cinquantaine de films, certains ont été auto produits d'autres produits et diffusés dans des festivals et sur Arte Mon récit moi autobiographie 14 eme version a été publié par les éditions sens et tonka Chroniques palestiniennes et divers textes sur le virus ont été publiés par les éditions de l'obsidienne Certains de mes textes et films inédits sont diffusés dans le marché des collectionneurs.

Zachary epcar
The Canyon
Fiction expérimentale | 16mm | couleur | 15:43 | USA | 2020

A portrait of the urban residential complex as it slips into oblivion. No more beautiful babies, no more hand wrapped rattan chairs.

Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, and elsewhere.

Michelle deignan
Idiots
Animation | mov | noir et blanc | 2:7 | Royaume-Uni | 2020

Idiots combines words and beats into an apoplectic symphony. It's language is raw and jagged, stuttering onto the screen into rants, shouts and screams. This film is angry on your behalf.

Michelle Deignan makes moving image, photographic and print works, for gallery exhibition, for cinema and for other screening contexts. With moving images she creates factual and fictional narratives that present alternative experiences and understandings of identity and place. These films often feature the triumphs and failures of protagonists struggling to be seen, remembered or heard as they fight for agency. Michelle's moving image work is distributed by LUX. She is one of a group of international women artists who collectively produce The Crown Letter, online participatory art project that began in April 2020.

Tamar guimaraes, in collaboration with Luisa Cavanagh and Rusi Milán Pastori
Soap
Fiction | 4k | couleur | 53:50 | Allemagne | 2020

SOAP is a film in four episodes in which a group of isolated, left-winger urbanites imagine how to create a telenovela, or soap, to infiltrate the conspiratorial far right in Bolsonaro’s Brazil. Can a coalition of activists, artists and writers avoid tripping over their own assumptions and privileges to form something persuasive? Can they join forces to beat a populist system at their own game? SOAP is a collaboration between Tamar Guimara?es, Luisa Cavanagh and Rusi Milla?n Pastori and was filmed in Berlin and São Paulo during the first covid19 lockdown in 2020.

TAMAR GUIMARÃES (b. Belo Horizonte 1967, BR, lives and works in Berlin) is a visual artist working with film and other forms of time based media. She often works with actors alongside non-actors in semi-fictional films exploring socio-political dynamics both residual and contemporary, and situations within art, architecture and the institutions that present them. Her work has been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the 55th Venice Biennial; the LACMA (USA); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); The Renaissance Society (Chicago); the 7th Gwangju Biennial (SK); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR). Solo exhibitions include Museo Nacional Centro de Arte Reina Sofia, Madrid and the Jeu de Paume Satellite, Paris. LUISA CAVANAGH (1979, Buenos Aires, Argentina) is a visual artist, colourist, and cinematographer. She studied Cinematography at National Film School. Focused on collaborative work, she joined 'Grupo Mexa' to develop the film/performance 'Cancionero Terminal 10Mg'. She is a co-founder of 'Eterno work in progress', an artist-run cine-club that explores the limits of cinema exhibition, live music and moving images. RUSI MILLÁN PASTORI (1976, Argentina) is a writer, film director and director of photography. Actual political scenarios are a common thread throughout his work, as chronicles that combine different situations and characters. He studied cinematography at the National School of Experimentation and Cinematographic Realization in Buenos Aires. He has directed short and medium-length films which were shown in festivals such as the BAFICI in Buenos Aires and at the 41st Mostra in São Paulo.


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Zanic Tin films an adolescent who both creates and undergoes a spiral of violence. A car is on fire. A face is hit. Someone's mobile phone is stolen. Pierre Merejkowsky carried out this "The State of Our Emergency 4" during the first lockdown, at 8 p.m., when people clapped out of their windows, establishing an "I" in the collective. Zachary Epcar explores an urban residential complex that is falling into oblivion. It seems that there are no more beautiful babies or hand-packed rattan chairs. The smoothest everyday objects seem to contain a threat. Michelle Deignan combines insults and abuse. The language is raw and ragged with ranting, shouting, and screaming bombarding the screen. Tamar Guimaraes, Luisa Cavanagh and Rusi Milán Pastori direct a series in four episodes, in which a group of urban youths imagine the creation of a telenovela to infiltrate the conspiratorial far right in Bolsonaro's Brazil. Can this coalition of activists, artists and writers avoid the trap of their own assumptions and privileges, and join forces to beat the populist system at its own game?


Thursday

Feb. 25
21:00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 11pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"Sedimentations"

Ben rivers: The House Was Quiet | Film expérimental | 16mm | couleur | 4:25 | Royaume-Uni | 2020 see more
Ben rivers: Look Then Below | Film expérimental | 16mm | couleur | 22:30 | Royaume-Uni | 2019 see more
Charly nijensohn: Patagonian Ice Fields | Vidéo | hdv | couleur | 6:24 | Allemagne | 2020 see more
Eva l hoest: The Inmost Cell | Vidéo | 0 | couleur | 11:8 | Belgique | 2020 see more
Jasper coppes: Aasivissuit | Doc. expérimental | 4k | couleur | 23:30 | Groenland | 2020 see more
Ben rivers
The House Was Quiet
Film expérimental | 16mm | couleur | 4:25 | Royaume-Uni | 2020

The parts of a house: a door, the shabby ceiling, the wooden floorboards, the portrait of a little girl. And the crackling of the 16mm film on which they are printed, "concrete" like the objects he films and in opposition to the fading of things in the pixels of digital. The verses of a poem by Wallace Stevens accompany the images: "The house was quiet and the world was calm/the reader became the book/and the summer night was like being aware of the book". In the succession of verses - and in the repetition of the days locked in the house during the lockdown - the reader, the book, the house and the summer night become one, cradled by the crackling of the film.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Ben rivers
Look Then Below
Film expérimental | 16mm | couleur | 22:30 | Royaume-Uni | 2019

Ben Rivers' films study the otherworldly, looking for places and stories outside the daily conventions of reality. Look Then Below was filmed in a Somerset transformed into a coloured, mist-enveloped island in an oily ocean with a cave basking in a subterranean glow. Time seems to stand still there. After Slow Action and Urth, this is the final part of a trilogy developed with American SF author Mark von Schlegell.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Charly nijensohn
Patagonian Ice Fields
Vidéo | hdv | couleur | 6:24 | Allemagne | 2020

Video installation 2020 As everything stopped and the lockdown extended all over the planet, I dedicated myself to create new original music and review some historical works, with material that had been left out of the initial postproduction of the videos. In this way I approached again to the expedition in the Patagonian Ice Fields, a project that I made in collaboration with members of a rescue mountain team. Patagonia is dramatically affected by climate change and global warming. The glaciers are disappearing in front of our eyes. In this context, a group of persons find themselves lost in a labyrinth of ice. United and in solitude, they contemplate the collapse of their universe.

Charly Nijensohn (Buenos Aires, 1966) ist ein multidisziplinärer Künstler der in Berlin lebt und arbeitet. Seine künstlerische Arbeit ist vielschichtig. Nijensohn arbeitet an der Idee einer Konfrontation zwischen dem Menschsein und den natürlichen Kräften des Universums, die uns umgeben. Die Beziehung zwischen der menschlichen Figur und dem sie umgebenden Raum stellt einen Konflikt dar, der real und existenziell zugleich ist. Er vertrat Argentinien mit einer Einzelausstellung auf der 50. Biennale in Venedig. Nijensohns Arbeit wurde auf der BienalSur in Buenos Aires (2017) und der Mediations Biennale in Polen (2012) präsentiert. Er stellte auf der Valencia Biennale (2001) kuratiert von Peter Greenaway, der Singapur Biennale (2008) kuratiert von Fumio Nanjo und der Dojima River Biennale in Osaka (2009) aus. Er stellte auch auf vielen Festivals aus, darunter die Transmediale, Videobrasil in Sao Paulo, Rencontres Internationales im Haus der Kulturen der Welt (Berlin), Museo Nacional Centro de Arte Reina Sofia (Madrid) und Centre George Pompidou (Paris), Monitoring in Kassel, Visions of Nature, Kunst Haus Wien (2017/2018), Video Art in Latin America, States of Crisis, LAXART in Kalifornien (2017). Des Weiteren stellte er im Köller-Müller Museum (Windflower, Perceptions of Nature, 2011) in Otterlo, Museum Morsbroich (Radical Shift) in Leverkusen, der Akademie der Künste (Realidad y Utopía, Argentiniens künstlerischer Weg in die Gegenwart, 2011) in Berlin, Whitechapel Gallery (2010) in London, Políticas de la diferencia im Museo de Arte Latinoamericano (MALBA) und Latin America: Video Views - Latin American Artist of the Twentieth Century, Museum of Modern Art (MOMA) in New York aus.

Eva l hoest
The Inmost Cell
Vidéo | 0 | couleur | 11:8 | Belgique | 2020

The Inmost Cell is a new video work by Eva L’Hoest which takes its narrative from the traditional tales of the Daugava river and the ruins of its underwater islands, flooded on the creation of the Riga dam. Through the combination of various digital processes, L'Hoest turns her photographic reportage of the outskirts of Riga into three-dimensional fluid architectures. These lost elements of Latvian culture mark a site of synthesis between humans, nature and man-made ruins. In a fusion of the rural and the maritime landscape referencing the calenture, a maritime mirage where the sea becomes an inviting grassy field, the artist imbues the images with a shifting, hallucinatory quality. Across slow, contemplative tracking movements, its different realities merge as forms fall one after the other, and passageways are created between places and memory. Composer:John Also Bennett Voice:Iveta Pole Text:Eva L’Hoest & Eva Mancuso Acting Participation:Michael Debatty, Stav Yeini (Performer), Ausma (Choir) Support:Fédération Wallonie-Bruxelles & RIBOCA2 Commissioned by the 2nd Riga International Biennial of Contemporary Art

Eva L’Hoest (1991, Belgium) explores how all types of mental images, in particular memory and reminiscence, are able to reappear in a technological form.Piece by piece, the artist appropriates contemporary technology to reveal both their nature as extensions for capturing the world and their potential as an artistic medium. Her work was recently exhibited at FRAC Grand Large (Dunkerque), “Shapeshifters” at the Malmö Museum, the Riga International Biennial “And suddenly it all blossoms” curated by Rebecca Lamarche-Vadel, the Lyon Biennale “Where Water Comes Together with Other Water” curated by Palais de Tokyo, Lyon (France); The triennale of Okayama Art Summit 2019 “IF THE SNAKE” curated by Pierre Huyghe, Okayama (Japon); “Suspended time, Extended space”, Casino Luxembourg.

Jasper coppes
Aasivissuit
Doc. expérimental | 4k | couleur | 23:30 | 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.


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Ben Rivers explores the ruined interior of a dark house where only fragments of a once bustling domestic scenario remain. In ‘Look Then Below’, the last film in a trilogy produced in partnership with the American science fiction author Mark von Schlegell, Ben Rivers films Somerset, transformed into a colourful and misty island, where time seems to stand still. Charly Nijensohn uses film archives from the Patagonia Ice Fields. Strange characters appear suspended in a labyrinth of ice, both united and solitary, they contemplate the collapse of their universe. Eva L'Hoest creates a landscape between reality and fantasy, starting from a river in Latvia, the Daugava, and submerged ruins during the creation of a dam. The suburbs of the city are fluid architectures, the outlines sketch a synthesis between man and nature. Jasper Coppes explores landscapes in Greenland and follows the discussions of its inhabitants on climate change and how they adapt to this changing environment.


    Feb. 23 - 28, 2021
    Programme per day
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