Berlin 2024 Programme
Temporary exhibition
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission
Each day, specific thematic ensembles are deployed in the space, looped on flatscreen monitors in the Audifoyer and projected in the Auditorium. An evolving and temporary exhibition where thematics unfold, alternate and question contemporary practices of the moving image.
From 2pm to 8pm | Audifoyer
"Generation"
Gavin Hipkins : Nature Writing - Experimental video | mov | color and b&w | 9:48 | New Zealand | 2022
Gavin Hipkins
Nature Writing
Experimental video | mov | color and b&w | 9:48 | New Zealand | 2022
Recorded at night with a humble camcorder over multiple excursions through indigenous and exotic flora, rhythmic observational studies chart real and imaginary wildernesses. Revisiting Thoreau’s Walden ideal, the sentimental appeal of taking an axe to the woods in white-settler colonies encounters postcolonial unease.
Gavin Hipkins (born 1968, Auckland, Aotearoa New Zealand) holds a Bachelor of Fine Arts from the University of Auckland and a Master of Fine Arts from the University of British Columbia, Vancouver. He is an Associate Professor of Fine Arts at Elam School of Fine Arts, the University of Auckland. His photography and moving image works interrogate how images create meaning through fragmentation and circulation. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His practice engages film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. Hipkins has exhibited widely in international exhibitions and film festivals including: CROSSROADS 2022, San Francisco Cinematheque (2022); Internationale Kurzfilmtage Winterthur, Switzerland (2021); 25FPS Festival, Zagreb (2020); Rencontres Internationales Paris/Berlin (2020); Videoex, Zurich (2019); The 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen (2017, 2016); The Jewish Museum, New York (2015); Edinburgh Art Festival (2014); Armory Film, New York (2012); Centre Pompidou, Paris (2011); Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, (2011).
Siyanda Marrengane : Go Slow, You'll See Better - Experimental video | mp4 | color | 3:8 | Swaziland, South Africa | 2022
Siyanda Marrengane
Go Slow, You'll See Better
Experimental video | mp4 | color | 3:8 | Swaziland, South Africa | 2022
go slow, you’ll see better is a journey of contemplation and transitioning between opposing states (of being). Revealing a landscape interspersed with vibrant colours of magenta and pink, this represents a bridge between excitement and calmness, chaos, and order. The shift in saturation mirrors the ever-changing nature of emotions, experiences, and personal narratives. Driving by and shooting out the window, the landscape becomes blurred and unblurred, evoking the sense of in-betweenness, which can prompt the feelings of familiarity and unfamiliarity, clarity, and vagueness. go slow, you’ll see better is everywhere and nowhere, collapsing both the temporal and the spatial.
Siyanda Marrengane is a Eswatini-born visual artist based in Johannesburg, South Africa. Kuba semkhatsini is a SiSwati phrase that can be translated as being caught in the middle of conflicting states of being, situations, conditions and more. Siyanda is interested in the notion of the in-between (kuba semkhatsini), a central component in her practice that encompasses personal and collective narratives and experiences. These are subsequently explored as ways of questioning, challenging and falsifying existing hegemonies. Unpacking and translating these through video, sound and installation, to create ambiguous spaces that are both imagined and real.
Ibrahim Quraishi : Camels Are Whispering - Experimental video | hdv | color | 7:0 | France, Germany | 2022
Ibrahim Quraishi
Camels are whispering
Experimental video | hdv | color | 7:0 | France, Germany | 2022
Camels are whispering I & II is a 2-channel video installation by Ibrahim Quraishi, exploring change in human relations. Heart of the work are 2 videos of the artist with his mother, questioning that impactful relation of self-identification. Around it we hear voices of artists, activists & thinkers; people who dare to go against the grain. People who take an exceptional position & don’t vote with the majority in times of trauma, conflict or change. In a cross cultural, transgender, cross historical mix of pre-recorded statements, these outsiders are talking about why they felt change is needed. The public will be learning, sometimes laughing or crying from accounts of the participants who tell short stories no longer than 3 minutes. The selected voices of artists, philosophers, activists are: Angela Davis, Judith Butler, Marina Abramovic, Serge Latouche, Nawal Al Saadawi, Noam Chomsky, Yuval Noah Harari, Assia Djebar, Hanna Schygulla, Jessica Ekomane, Komi Togbonou, Seyran Ate?, Yara Mekawei a.o. This video installation was conceived together with the ecological architectural collective, RaumlaborBerlin, winners of 2021Golden Lion Venice Biennale for Architecture. Sound compositions are by Eunice Martins, Heidrun Schramm, Mike Ladd and mixed by composer Norscq. Videographer & animation by Alex Weiss.
The art of Ibrahim Quraishi focuses on change, inter-cultural resistance of our socio-political realities. The ”2017 List of 50 most exciting artists in Europe right now/ART NET Survey” stated: "Quraishi is a visual artist whose work encompasses various media such as video, film, analog photography, painting & performance installations. Quraishi is characterised by a nomadic existence & divides his time between several cities across Europe & the Middle East. He consciously explores the dynamics of migration and he engages in research, teaching & creative work simultaneously in various cities & spaces”. Quraishi recently launched a research group on integrated ecology & artistic practice in Lahore called “Electric Rickshaw” with The School of Moving Images in Teheran. He is currently a member of the Fine Arts Department at Gerrit Rietveld Academy Amsterdam. He was guest professor at Netherlands Film Academy Amsterdam 2014-2017 & he thought at Art University of Amsterdam between 2007-2014. He is in the midst of finishing his first feature film “Holy Mama.”. He is a regular cultural columnist for taz, die Tageszeitung DE & counterpunch US. In 2021-22 he was fellow of Stiftung Kunstfonds Germany. Most recently, Kino Arsenal Berlin screened the rough cut of his film “Baumchen Wechsel Dich”about multiple notions on migration, children & identity.
Udval Altangerel : The Wind Carries Us Home - Experimental doc. | mov | color | 11:11 | Mongolia | 2022
Udval Altangerel
The Wind Carries Us Home
Experimental doc. | mov | color | 11:11 | Mongolia | 2022
Through rituals of birth and death, the filmmaker and her family reconnect with their ancestral land in the Gobi Desert.
Udval Altangerel is a Mongolian filmmaker based between Ulaanbaatar and Los Angeles. In her work she explores the themes of personal and national histories, language, and (home)land. Her work has screened at Locarno Film Festival, Images Festival, Alchemy Film & Moving Image Festival, and Tacoma Film Festival, where she received Honorable Mention for Best Documentary Short Film. She was selected to participate in Locarno Open Doors and the Flaherty Film Seminar. Udval received her MFA in Film Directing from California Institute of the Arts.
Jane Jin Kaisen : Halmang - Video | 4k | color | 13:13 | Denmark, Korea, South | 2023
Jane Jin Kaisen
Halmang
Video | 4k | color | 13:13 | Denmark, Korea, South | 2023
Halmang revolves around a group of eight women in their 70s and 80s. It is filmed by the coast of Jeju Island near a lava rock islet that used to serve as a shamanic shrine for the wind goddess Yongdeung Halmang. The women, who have worked and made a living together for most their lives as haenyeo sea divers, used to depart together for the sea from this very location. The title Halmang refers to this spiritual aspect as shamanic goddesses in Jeju are referred to as ‘halmang’ while also being the Jeju term for ‘grandmother’ and a respectful form of address for a woman. It was also from this area that Kaisen’s grandmother during her lifetime used to depart for the sea as a haenyeo sea diver. The film portrays the aging women’s lived experience, their community and spirituality connected to the sea, the wind and the island. Central to the work is its focus on the collective use and care for sochang; a white, long cotton cloth associated with female labor and a symbol of cycle of life and death and humans’ connection to the spirit world. The camera carefully registers their hands, gestures, and facial expressions as they meticulously tend to the fabric. As the piece unfolds, they start connecting the long rolls of sochang until it comes to form a large spiral enveloping the black lava rocks. The music is produced by Lior Suliman (also known as Dub Mentor) and is comprised of layers of on-site recordings, looped, interleaved and treated to create an immersive sound experience. It also features The Song of the Haenyeos by Gang Gyung Ja and Song of Haenyeo Preservation Association.
Jane Jin Kaisen is an artist, filmmaker, and Professor of the School of Media Arts, The Royal Danish Academy of Fine Arts. Spanning the mediums of video installation, experimental film, photography, performance, and text, her work is informed by extensive interdisciplinary research and long-term engagement with minoritarian communities. She is known for her visually striking, multilayered, performative, poetic, and multi-voiced feminist works through which past and present are brought into relation. Engaging topics such as memory, migration, borders, and translation, she activates the field where lived experience and embodied knowledge intersect with larger political histories. Kaisen is a recipient of is a recipient of the New Carlsberg Foundation Artist Grant (2023) and a 3-year work grant from the Danish Arts Foundation (2022) and awarded Exhibition of the Year 2020 by International Association of Art Critics, Denmark for the exhibition Community of Parting at Kunsthal Charlottenborg. She represented Korea at the 58th Venice Biennale and has exhibited and screened her artworks and films in a wide range of contexts internationally.
Thuy-han Nguyen-chi : Into The Violet Belly - Experimental fiction | 0 | color | 19:30 | Germany, Belgium | 2022
Thuy-han Nguyen-chi
Into The Violet Belly
Experimental fiction | 0 | color | 19:30 | Germany, Belgium | 2022
Thuy-Han Nguyen-Chi's film Into the Violet Belly is a striking work blending family lore, mythology, science fiction, and digital abstraction. The film captures the experimental collaboration between the artist and her mother, Thuyen Hoa, who survived a perilous sea journey while fleeing Vietnam after the end of the American War. The film oscillates seamlessly between multiple voices, visual registers, and timescales,—was it seven months or seven thousand years?—creating an image of multitudes: migrating bodies swimming in an infinite blue, depicted as both a massive digital swarm and tiny avatars.
Thuy-Han Nguyen-Chi is a Milky Way-based artist whose practice mutates in and out of film, sculpture, installation, performance, and interdisciplinary research. Her work explores the epistemological, aesthetic, and political possibilities of the moving image at the intersections of art and science, documentary and fiction, personal/prosthetic memory and individual/collective histories. Having studied Fine Arts at the Städelschule and Film at the School of the Art Institute of Chicago, she is currently pursuing PhD research in Film at the University of Westminster. Thuy-Han’s work has been presented in both the art and cinema context, including Akademie der Künste, Berlin; Atletika, Vilnius; Belvedere 21, Vienna; Centro di Musica Contemporanea di Milano, Milan; De Appel, Amsterdam; Gene Siskel Film Center, Chicago; Kunsthal Charlottenborg, Copenhagen; Kunsthall Trondheim, Trondheim; Museum für Moderne Kunst, Frankfurt; Museum of Contemporary Art and Design, Manila; Nottingham Contemporary, Nottingham; Sàn Art, Saigon; Villa Medici, Rome; Whitechapel Gallery, London; the 12th Berlin Biennale, Berlin; the 12th BlackStar Film Festival, Philadelphia; the 20th Copenhagen International Documentary Film Festival, Copenhagen; the 19th 25FPS International Experimental Film and Video Festival, Zagreb; the 60th New York Film Festival, New York; Rencontres Internationales, Paris; the 20th Reykjavík International Film Festival, Reykjavík; the 33rd Singapore International Film Festival, Singapore; among other spaces. She is working on her first feature-length film.
Gavin Hipkins films a forest at night, mapping real and imagined wilderness, and revisiting Thoreau's ideal of a human in communion with nature. In a landscape evoking a sense of in-between, Siyanda Marrengane takes us on a journey of contemplation and transition between opposing states of being, temporal and spatial. Ibrahim Quraishi films himself with his mother, questioning the mother-son relationship and the process of self-identification. In Mongolia, accompanied by the women of her family, Udval Altangerel films birth and death rituals, reconnecting with the ancestral land of the Gobi desert. In Korea, Jane Jin Kaisen films a group of eight women, aged between seventy and eighty, on the coast of Jeju Island, near an islet of lava rock that once served as a shamanic shrine to Yongdeung Halmang, the goddess of the wind. All their lives, they worked together as haenyeo - snorkelers - setting off from this very spot for their underwater fishing. The central element of the work is the collective use of "sochang", a long white cotton cloth associated with women's work, and symbolizing the cycle of life and death, as well as the link between humans and the spirit world. Thuy-Han Nguyen-Chi blends family history, mythology, science fiction and digital abstraction. The film traces the experimental collaboration between the artist and her mother, who survived a terrible sea voyage while fleeing Vietnam after the end of the war.
From 2pm to 5pm | Auditorium
"Communicating Spaces"
Jussi Eerola : Grasshopper - Experimental film | 4k | color | 9:0 | Finland | 2023
Jussi Eerola
Grasshopper
Experimental film | 4k | color | 9:0 | Finland | 2023
During the darkest hours of the night a small disco light appears and shines lights to empty business premises. A minimalistic musical.
Jussi Eerola has worked as a cinematographer on many internationally awarded films since 1992. His directional debut was a documentary about electro-hypersensitive people titled Refugees of Technocracy (2009). The Return of the Atom directed together with Mika Taanila premiered at TIFF 2015 and won the NORDIC:DOX Award at CPH:DOX in 2015. Eerola’s first minimalistic short film Blue Honda Civic premiered at IFFR in 2020 and continued to many international festivals receiving three awards. Eerola is a founding member of the production company Testifilmi Oy started 2014 together with Mika Taanila and visual artist duo IC-98 (Patrik Söderlund and Visa Suonpää). Testifilmi emphasizes the vast potential of cinematic possibilities over standard formats and storytelling.
Peter Maybury : On Being There - Experimental film | 4k | color and b&w | 60:0 | Ireland | 2022
Peter Maybury
On Being There
Experimental film | 4k | color and b&w | 60:0 | Ireland | 2022
On being there is a filmic encounter with the material and outputs of the office of Tom dePaor, drawing on 30 years of practice. There is the place itself. There are notebooks, drawings, prints, scale models, 35mm slides, photographs, films, files, books, writing. A diversity of materials and media, evidencing significant technological changes in production and reproduction. This is the raw material. The film is a rerecording, or sampling of this material, where scale, media, and modes of presentation and realisation merge. The linear transition from drawing to model to built landscape and documentation is disrupted. The film explores the permeability of the image. Animated or activated through movement and operation, everything can be superimposed, overlaid, or cut into. An audio-visual encounter with place, within the space of the screen and the loudspeaker.
Peter Maybury is an Irish multidisciplinary artist. His practice-based research encompasses works as an artist, graphic designer, filmmaker, publisher, writer, editor, curator, musician, and educator. He is a graduate of Central Saint Martins, London, and is a Doctoral Candidate at the Centre for Socially Engaged Practice-Based Research, TU Dublin. He has collaborated extensively with artists and institutions, editors and curators, on more than 200 art and architecture publications. Peter is a longstanding collaborator with Tom dePaor, making books, films, and works for exhibition. His film work includes Landfall (2020), an hour-long dual-screen film installation, and with dePaor the Gall films Drape (2018), and A Study (2015) made for exhibition at ETH Zurich. Peter is author of Make Ready (2015), and co-author with dePaor of Reservoir (2010) and Of (2012).
Céline Condorelli, Ben Rivers : After Work - Experimental film | 16mm | color | 13:18 | United Kingdom | 2022
Céline Condorelli, Ben Rivers
After Work
Experimental film | 16mm | color | 13:18 | United Kingdom | 2022
The process of making a playground is the starting point for a reflection on the relationship between work and free-time, highlighting the hidden labour of the production of culture by following the construction of Condorelli’s commission in South London. Jay Bernard wrote and recites the soundtrack.
Condorelli has produced an extensive body of work that develops different possibilities for living and working together, exploring notions such as public space, the commons, institutions, property relations. Condorelli’s practice is committed to a continuous exploration of the less explicit elements that compose the structures through which individuals encounter the world — be they cultural, economic, material, social or political – the apparatuses of visibility that are often taken for granted, and which the artist describes as “support structures”.
Céline Condorelli lives and works between London and Lisbon. A selection of exhibitions and projects include: Pentimenti (The Corrections), National Gallery, London, UK (2023); After Work, Talbot Rice Gallery, South London Gallery, UK (2022); Our Silver City 2094, Nottingham Contemporary, Nottingham, UK (2022); Dos años de vacaciones, TEA, Tenerife, Spain (2021); Deux ans de vacances, FRAC Lorraine – Metz, France (2020); Ground Control, Bildmuseet, Umeå, Sweden (2020); Singapore Biennial, Art Encounters Biennial, Timisoara, Romania (2019); Céline Condorelli, Kunsthaus Pasquart, Biel, Switzerland (2019); Host / Vært, Kunsthal Aarhus, Denmark (2019); Zanzibar (commissioned sculpture), King’s Cross Projects, London, UK (2019); Geometries, Locus Athens, Greece (2018); Anren Biennale, Chengdu, China (2018).
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, Matt’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 artist’s film and video.
From 5pm to 8pm | Auditorium
"Collective"
Erik Levine : The Guilty Sleep - Experimental video | 4k | color | 24:31 | USA | 2022
Erik Levine
The Guilty Sleep
Experimental video | 4k | color | 24:31 | USA | 2022
The Guilty Sleep, filmed during more than 75 overnight ride-along shifts with the police, illuminates urgent issues related to the current state of policing. It's a composed collage of raw, slow paced, and evocative imagery and sounds that frame polarities such as justice/injustice, observer/observed, confined/free, power/disempowered, and innocence/guilt. The video highlights the landscape behind these dualities and focuses on their complex relationship to one another.
Erik Levine was born in Los Angeles, California in 1960. He has exhibited widely in the United States and Europe, most recently at Ludwig Forum Aachen with a solo survey exhibition of his videos from the past 15 years. His work includes video, sculpture, and drawings, and is in the public collections of the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, Walker Art Center, Hirshhorn Museum and Sculpture Garden, and Des Moines Art Center, among several others. He has received numerous awards including a Guggenheim Fellowship and three Pollock–Krasner Foundation awards. In addition, he’s received two grants each from the National Endowment for the Arts, the New York Foundation for the Arts, the New York State Council on the Arts, and the Massachusetts Cultural Council, as well as grants from Awards in the Visual Arts, Nancy Graves Foundation, and the Jerome Foundation.
Ben Balcom : Looking Backward - Experimental doc. | 16mm | color and b&w | 10:0 | USA | 2022
Ben Balcom
Looking Backward
Experimental doc. | 16mm | color and b&w | 10:0 | USA | 2022
Filmed on the former grounds of Black Mountain College, Looking Backward is a brief elegy to the legacy of a utopian college and other impossible projects.
Ben Balcom is a filmmaker and educator currently living and working in Milwaukee, Wisconsin. He is an assistant professor at the University of Wisconsin-Milwaukee and is the co-founder and programmer of Microlights Cinema, an artist-run microcinema which has been operating since 2013 and has hosted artists from around the world. Recently, his films have taken a lyrical approach to documenting the spaces and legacies of now-defunct experimental schools. Prior to that he made a series of introspective landscape films that engaged with Milwaukee’s progressive political past and contemporary anxieties about the future. Earlier films used abstraction to explore the tensions between perception and communication, with a reflexive attention on the medium itself. These films have been exhibited around the world at venues and festivals such as The Museum of Moving Image, European Media Arts Festival, International Film Festival Rotterdam, IndieLisboa, Media City Film Festival, Alchemy Film, and Slamdance. The films have received awards at Onion City Film Festival, Athens International Film & Video Festival, and Ann Arbor Film Festival. Recently, Balcom was a fellow at the Center for 21st Century Studies at UW-Milwaukee.
Amin Zouiten : Nadir - Experimental doc. | 0 | color | 12:50 | Morocco, Sweden | 2022
Amin Zouiten
Nadir
Experimental doc. | 0 | color | 12:50 | Morocco, Sweden | 2022
Nadir takes place at Norra Grängesbergsgatan, a kilometer-long street just outside central Malmö. A place of sometimes conflicting cultural and political interests, which was once considered a “no-go zone” by the municipality, as well as cultural gentrification zone, can perhaps be described as an expressive and symphonic micro-city. Surrounded by several small-scale industries, established in the 1930s, there is a lingering scent from the nearby Pågen bread-factory. Here, a Baptist church gathers upstairs of an old production facility side by side with flowing neon from Arab furniture stores and carpet stores. In Nadir, the narratives surrounding the street are reformulated as “anti-narrative” through a series of sensorial sequences through and on the street.
Amin Zouiten, is a Swedish-Moroccan artist and filmmaker educated at the Academy of Fine Arts in Malmö and Akademie der bildenden Künste Wien. His works and films have been shown at, among others, Malmö Konsthall, Internationale Kurzfilmtage Oberhausen, Konsthall Charlottenborg, CPH:DOX, Tempo Documentary Festival.
Angelica Mesiti : Future Perfect Continuous - Video | hdv | black and white | 8:30 | Australia, France | 2022
Angelica Mesiti
Future Perfect Continuous
Video | hdv | black and white | 8:30 | Australia, France | 2022
Future Perfect Continuous is an invitation to meditate, to listen closely, and to consider the greater meaning of small gestures. In this work, Angelica Mesiti creates a crease in time and in memory, while offering an anchor to a transcendent idea of community. Future Perfect Continuous is based on a game usually taught to children in a classroom setting as a community building or drama-warm-up exercise. It involves a simple series hands gesture like rubbing, snapping, clapping, slapping that when repeated by the group generate a sound performance that convincingly mimics the sound of a rainstorm. For this video the ‘rain-storm’ activity is performed by a diverse group of young adults in their 20s, at the start of their adult life. 'We can imagine them leaving home and entering society, forming new communities'(1). ‘In my work I often explore the idea of the individual and the collective and how gesture and sound can be used to express a cultural experience or moment. I am interested in how this innocent game of imitating nature could also represent a turbulence that is part of the present. The performers become the weather’(2). 1 Kathleen Ritter 2 Angelica Mesiti
Angelica Mesiti is a multi-disciplinary artist based between Paris & Sydney. Her practice combines performance with video, sound and spatial installation to create immersive environments of absorption and contemplation. Mesiti has long been fascinated by performance: as a mode of storytelling and a means to express social ideas in physical form. In recent years she has been making videos that reveal how culture is manifested through non-linguistic forms of communication, and especially through vocabularies of sound and gesture.There is a focus in her work on the unquantifiable social role played by music — and, by extension, sound in general — in our relationship with the world. Mesiti’s work is regularly shown in museums and biennales internationally. Her work ASSEMBLY was the official Australian presentation at the 58th Venice Biennale (2019).
Jane Jin Kaisen : Burial Of This Order - Experimental film | 4k | color | 25:12 | Denmark, Korea, South | 2022
Jane Jin Kaisen
Burial of this Order
Experimental film | 4k | color | 25:12 | Denmark, Korea, South | 2022
A procession of non-conforming people – from musicians, artists and poets to anti-miliary activists, environmentalists and diasporic, queer and trans people – carry a coffin together through the ruins of what turns out to be an abandoned resort on the South Korean island of Jeju. It soon becomes clear that this is no traditional Confucian funeral. Age and gender roles are subverted, the coffin is draped in dark camouflage colours and the traditional portrait of the deceased is replaced by a black mirror. In the field between funeral ritual, political protest and carnival performance, the people in the procession who have come together to undo a world order built upon hierarchy and division, march through the ruins of capitalist modernity. Time and place begin to lose their stability as mythical Dokkaebi deities pass through the building and heavy rain and wind blow through its cavities. As if possessed the group, in a moment of revolutionary fervour, overthrows and dismantles the scaffolding of the prevailing order and other stories begin to take form. Jane Jin Kaisen’s interdisciplinary work not only activates Jeju’s violent history as a site of oppression and rebellion, but is a work with universal power.
Jane Jin Kaisen (born 1980 in Jeju Island, lives in Copenhagen) is a visual artist, filmmaker, and Professor of the School of Media Arts, The Royal Danish Academy of Fine Arts. Spanning the mediums of video installation, narrative experimental film, photographic installation, performance, and text, Kaisen’s artistic practice is informed by extensive interdisciplinary research and engagement with diverse communities. She is known for her visually striking, multilayered, performative, poetic, and multi-voiced feminist works through which past and present are brought into relation. Engaging topics such as memory, migration, borders, and translation, she activates the field where lived experience and embodied knowledge intersect with larger political histories. Through multi-year projects and collaborations, she has engaged topics such as transnational adoption, the Korean War and division, the Jeju April Third Massacre, and Cold War legacies. Another recurring focus revolves around nature and island spaces, cosmologies, feminist re-framings of myths, and engagement with ritual and spiritual practices. Working from the thresholds of mediums and forms, disciplines and sensibilities, her works negotiate and mediate the means of representation, resistance, and recognition, thus contouring alternative genealogies and sites of collective emergence. Kaisen is a recipient of the New Carlsberg Foundation Artist Grant (2023) and a 3-year work grant from the Danish Arts Foundation (2022). She represented Korea at the 58th Venice Biennale with the film installation Community of Parting (2019) alongside artists Hwayeon Nam and siren eun young jeong in the exhibition History Has Failed Us, but No Matter curated by Hyunjin Kim. She was awarded “Exhibition of the Year 2020” by AICA - International Association of Art Critics, Denmark for the exhibition Community of Parting at Kunsthal Charlottenborg. Kaisen has participated in the biennials of Liverpool, Gwangju, Anren, Jeju, among others. Recent solo exhibitions include Jane Jin Kaisen: Braiding and Mending at The Image Centre (2023), Of Specters or Returns at Le Bicolore (2023), Currents at Fotografisk Center (2023) Parallax Conjunctures at Museum of Contemporary Art Detroit (2021), Community of Parting at Art Sonje Center (2021) and Kunsthal Charlottenborg (2020). Other recent exhibitions and screenings: Dislocation Blues: Jane Jin Kaisen, Tate Modern (2023), Ceremony (Burial of an Undead World), Haus der Kulturen der Welt (2022), Checkpoint: Border view from Korea, Kunstmuseum Wolfsburg (2022), Unmoored Adrift Ashore, Or Gallery Vancouver (2022). She holds a PhD in artistic research from the University of Copenhagen, Department of Art and Cultural Studies, an MFA in Interdisciplinary Studio Art from the University of California Los Angeles, an MA in Art Theory and Media Art from The Royal Danish Academy of Fine Arts, and she participated in the Whitney Museum of American Art Independent Study Program. Other exhibition and screening venues include: Kunsthal Aarhus, Nikolaj Contemporary Art Center, The National Museum of Photography (DK), Haus der Kulturen der Welt, Berlinale, Kunstmuseum Wolfsburg, Times Art Center, Museum Ludwig, Videonale (DE), Asian Art Museum, Museum of Contemporary Art Los Angeles, Gana Art New York, DePaul Art Museum (USA), ARKO Art Center, Seoul Museum of Art, Incheon Art Platform, Seoul New Media Art Festival, Leeum Samsung Museum of Art, Asia Culture Center, Coreana Museum of Art, DMZ International Documentary Film Festival (KR), Silencio Club, Palais de Tokyo, Foundation Fiminco (FR), Malmö Konstmuseum, Malmö Konsthall, Inter Arts Center, Kalmar Art Museum (SE), Sørlandet Art Museum and Oslo Kunstforening (NO), Finnish Museum of Photography (FN), ParaSite (HK), Kyoto Arts Center, Kyoto Museum of Art, Fukouka Museum of Art, Yamagata International Documentary Film Festival, (JP), Times Museum Guangzhou, Beijing 798 Art Zone (CN), Kaohsiung Museum of Fine Art, Taiwan International Documentary Film Festival (TW), Museum of Contemporary Art and Design (PH), The National Gallery (Indonesia), and Townhouse Gallery (EG).
"Communicating Spaces" - From 2pm to 5pm
Jussi Eerola directs a minimalist musical. In the darkest hours of the night, a small discotheque appears and lights up empty commercial premises.
Peter Maybury dialogues with thirty years of Irish architect Tom dePaor's practice. The film's subject matter is made up of a variety of materials: notebooks, drawings, models, films and photographs, which are re-recorded by the film, superimposed, covered and cut out. The film explores the permeability of the image, and the sampling of this material, where scale, media, modes of presentation and realization merge.
Based on the process of building a playground commissioned from artist Céline Condorelli, Ben Rivers explores the relationship between work and free time.
"Collective" - From 5pm to 8pm
Erik Levine followed the police in his city for more than 75 nights, creating a composition of images and raw sounds that evoke the tension between justice and injustice, observer and observed, free and confined, innocence and guilt.
In the United States, in the mountains of North Carolina, Ben Balcom has created a tribute to a utopian school, Black Mountain College, an experimental university founded in 1933, directed by Josef Albers, and active until 1957, where Robert Rauschenberg, John Cage, Merce Cunningham and Cy Twombly studied.
In Sweden, in the suburbs of Malmö, Amin Zouiden Nadir films a street whose cultural and political situation is contradictory. Both a 'forbidden zone' and an area of gentrification, it is described as an expressive, symphonic micro-city, in a series of non-narrative, sensory sequences.
Angelica Mesiti explores the relationship between the individual and the collective, and how gesture and sound can be used to express a shared experience or cultural moment. In this piece, she creates a fold in time and memory, providing an anchor for a transcendent idea of community.
Jane Jin Kaisen forms a procession of non-conforming people - musicians, artists, poets, anti-militarist activists, ecologists, exiles, queer and trans people. Together they carry a coffin through the ruins of an abandoned seaside resort on the South Korean island of Jeju. Part funeral ritual, part political protest, part carnival spectacle, the members of the procession have come together to undo a world order based on hierarchy and division, and march through the ruins of capitalist modernity.
VR experiences
Haus der Kulturen der Welt | Audifoyer
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission
"Disrealities, collages and utopia"
The Rencontres Internationales Paris/Berlin invites you to experience 11 works in virtual reality. Gathered under the title "Disrealities, collages and utopia", the chosen works question our principles of reality, our daytime perceptions and our everyday representations.
Alexander Walmsley : Tirana Time Capsules - Experimental VR | 4k | color | 0:0 | United Kingdom, Albania | 2021
Alexander Walmsley
Tirana Time Capsules
Experimental VR | 4k | color | 0:0 | United Kingdom, Albania | 2021
The Tirana Time Capsules are a series of three virtual environments, accessible via web browser, that act as time capsules for three different neighbourhoods of Tirana in 2021. The chosen areas - 21 Dhjetori, Kombinat, and the Teatri i Gjelbërimit, an area of the Tirana Great Park - each embody different aspects of Tirana’s urban development over the past 100 years. Particularly since the early 2000s, this has been characterised by the gradual disappearance of public space as the building sector has increasingly become controlled by private interests. Drawing on the metaphor of the time capsule and employing so-called high-fidelity recording techniques such as photogrammetry and field recording, the work re-appropriates and re-constitutes these different areas of the city as virtual environments as a way of exploring the intersection of personal memory and community heritage. In addition, the work seeks to question the promises made by such recording technologies that claim to render and preserve reality as a high-fidelity digital copy: in short, what exactly is being preserved when we use these techniques of digital preservation?
Alexander Walmsley (b. 1992) is a media artist with a particular interest in the landscapes of the real and the virtual. In his practice, he investigates how our understanding of these landscapes is shifting, mediated by the new technological, environmental and social realities of the 21st century. His work is situated primarily between 3D, photography, animation, and XR. His recent work has been shown at the Daejeon Biennale of Arts and Sciences, Tirana Art Lab, Sharjah Art Foundation, The Photographers' Gallery, and VRHam! Festival. He was a commissioned artist for the Albanian pavilion of the 59th Venice Biennale and has taken part in residencies at the Tirana Art Lab, Albania, and Moskosel Creative Lab, Sweden, among others. Previously, he studied Anthropology and Archaeology at the Universities of Cambridge (UK) and Geneva (CH).
Ana Elena Tejera : Mosquito: Historia De Una Herida - VR 360 video | mp4 | color | 6:45 | Panama | 2022
Ana Elena Tejera
MOSQUITO: Historia de Una Herida
VR 360 video | mp4 | color | 6:45 | Panama | 2022
A red jaguar, roams the early morning in the jungle of Panama until his footsteps are disturbed by a metallic sound that opens a gap in the earth. He enters the wound, where machines build a Canal and the metallic music gives life to the yellow mosquitoes. The workers blue tearful voices murmur resilience, longing for a rebirth of the jaguar on the scar.
Panamanian multidisciplinary artist in the fields of film and performance. She was artist in residence at Le Fresnoy. She was chosen as Berlinale Talent 2023. She worked on the restoration of part of the Panamanian film archive at the Filmoteca de Catalunya and on the creation of the "Festival de la Memoria", a series of performative installations in urban spaces with political archive images and sound performance. Panquiaco, his first documentary film, premiered at the International Film Festival Rotterdam. His latest short film, A Love Song in Spanish, participated in the official competition at the Berlinale and at the MoMA. Her first virtual reality film Mosquito: A Wound Story premiered at the International Film Festival Rotterdam. She is preparing his next solo exhibition and performance with Solar Gallery and Batalha Centro de Cinema de Portugal (2023).
Loukia Alavanou : On The Way To Colonus - VR 360 video | mov | color | 20:0 | Greece | 2021
Loukia Alavanou
On the Way to Colonus
VR 360 video | mov | color | 20:0 | Greece | 2021
Blind Oedipus, in older age, left Thebes as an exile accompanied by Antigone, who was both his daughter and sister. They sought refuge in Colonus of Athens. What if the tragic hero of Sophocles’ play 'Oedipus at Colonus' was a Romani nomad residing in today’s post-industrial outskirts of western Athens? OTWTC is a ‘docufictional’ VR film cast with Romani amateurs who live at the ghettoised toxic wastelands of Thriasian Plain, where Sophocles’ wandering hero is meant to have passed from. Consisted of a spatial sound design (ambisonics), the film's audio incorporates location sounds recorded inside the dwellings that merge “high” and “low” culture, often carrying with them the “eerie echoes” of dubbed TV series, speaking themselves about “Oedipal conflicts”, ‘absent fathers’, ‘incest’, murder and death.
Loukia Alavanou is a moving image artist and filmmaker. She is representing Greece at the 59th Venice Art Biennale with the exhibition “Oedipus in Search of Colonus. Alavanou holds an MA in Photography from the RCA in London. She was the winner of the 5th Deste Prize. In recent years, after receiving international acclaim, she started to be involved with the production of VR films and founded the first VR production company in Greece. She held a retrospective exhibition at State of Concept, Athens in 2018. For the years 2021 and 2022 Alavanou is a fellow artist at ONX Studio, organised by Onassis USA and the New Museum in NY. Alavanou’s work has been presented by institutions and festivals including KANAL Centre Pompidou, Accelerator, Stockholm, Gucci Garden, Kino Der Kunst, Palais de BOZAR, Palais de Tokyo, Athens Biennale, Moscow Biennale, Fiorucci Art Trust, The Museum of Cycladic Art, Benaki Museum. Her films are part of numerous collections including the Onassis Collection, the Dakis Joannou Collection, The Center for Art and Media Karlsruhe/ ZKM, PCAI/ Polyeco Contemporary Art Initiative.
Nicolas Gebbe : Lockdown Dreamscape Vr - VR 360 video | 0 | color | 7:0 | Germany | 2021
Nicolas Gebbe
Lockdown Dreamscape VR
VR 360 video | 0 | color | 7:0 | Germany | 2021
When spending a lot of time at home in isolation, the walls begin to move. The sense of time fades, the days pass quietly, everything seems to repeat itself endlessly. Spaces, conversations, visual impressions and sounds merge and make everything seem like a long dream.
Nicolas Gebbe was born in London in 1986. He currently lives and works in Frankfurt am Main / Germany as a 3D artist, filmmaker and sound designer. 2018 he receives his art diploma at Hochschule für Gestaltung Offenbach with a film major. He focuses on experimental 3D animation and hybrid film formats. Since graduation, his animated short films have been screened on a variety of festivals such as Locarno Film Festival, Festival du Nouveau Cinèma Montreal and Ann Arbor Film Festival.
Timo Wright : Everyday Vrealities - Experimental VR | 4k | color | 0:0 | Finland | 2021
Timo Wright
Everyday Vrealities
Experimental VR | 4k | color | 0:0 | Finland | 2021
Everyday Vrealities is a virtual reality documentary about different kinds of families, homes and ways of life. The viewer can, using their VR-headset, walk freely around from home to home, and witness everyday scenes happening in front of them. The film consist of nine homes, each linked to another. The viewer can witness a father playing games with his daughter, a couple doing yoga, a mother helping her son do his homework, an elderly mother teaching her daughter how to make pottery, a kid doing somersaults, a family with their newborn etc. The viewer can also re-enter some of the rooms to see new scenes. In the film there are no interviews or backstories. It is not a film of big emotions, but more of reflections and observation. It is in a sense “slow tv”, with seemingly nothing much happening. We can using the free movement in the space to quietly observe an everyday event unfolding, and even revisit it later if we want. The combined length of all clips is around 50 minutes.
Timo Wright is a media artist based in Helsinki, Finland. Noteworthy exhibitions include e.g. Nakanojo Biennale, Nikolaj Kunsthal, Kunsthall Charlottenborg, Samuelis Baumgarte Galerie, Galerie Anhava, Helsinki Art Museum, Helsinki Design Museum, Amos Anderson Art Museum, Kunsthalle Helsinki as well as festivals such as IDFA, Slamdance, Nordisk Panorama and International Film Festival Rotterdam. His films have been shown at over 80 festivals and exhibitions worldwide.
Pascal Piron, Karolina Markiewicz : Metamorphosis - Experimental VR | 4k | color | 24:0 | Luxembourg | 2021
Pascal Piron, Karolina Markiewicz
Metamorphosis
Experimental VR | 4k | color | 24:0 | Luxembourg | 2021
METAMORPHOSIS is a location based experience in virtual reality. It thematises the state of fear, astonishment and need for human exchange, as well as the the new comprehension and the physical reduction of the world during an ontological rupture such as the Coronavirus pandemic. In History (from the Antique with the first plague to Modern times with the Spanish flu) every kind of epidemic or pandemic has brought significant changes in societies, people had to adapt and reinvent their lives exchanging as they could. The experience refers to this kind of societal metamorphosis that imply on one hand the awareness of a reduced and different environment as well as related to the exchange of different ideas about the future . For METAMORPHOSIS, different nature and urban places (outside and inside) have been scanned and recreated as 3D scenes in a point cloud aesthetic. These eight scenes form a large corridor that brings the visitor slowly through different stories and ideas. From naive, stunned to more elaborate projections about the future of existence.
Since 2013 Karolina Markiewicz (born in 1976 in Luxembourg, lives and works in Luxembourg) and Pascal Piron (born in 1981 in Luxembourg, lives and works in Luxembourg) have been developing a collaborative body of work that stretches across cinema, visual arts and theatre. At its centre lies the individual as part of the human community, torn between resignation and hope. In their poetically charged investigations, the two artists question contemporary myths and construct metaphorical narratives based on past events.
Monika Maslon : Control Negative - Experimental VR | 0 | color | 40:0 | Poland | 2022
Monika Maslon
Control Negative
Experimental VR | 0 | color | 40:0 | Poland | 2022
The CONTROL NEGATIVE experience is an exercise in a loss. Using VR technology, author Monika Mas?o? situates the viewer in an emotional state where frustration, helplessness, anger, and sadness are used to reveal basic human assumptions, including the illusory conviction of being fully in control of one's own life. The unreal world of the experience — a negative version of the real world — is a training space where you can better understand yourself and your emotions. The user is guided through seven chapters, which gradually move from physical activity to contemplation.
Dr. Monika Maslon (born 1982) - visual artist and art educator. She graduated from the Academy of Fine Arts in ?ód? and Ph.D. studies at the Film School in ?ód?, where she completed her Ph.D. thesis entitled “Do zobaczenia” (See you), under the supervision of Prof. Józef Robakowski. She is a lecturer at the University of Leipzig and the Maria Grzegorzewska University in Warsaw where she conducts classes with the students of the department of Arts education in fine arts. In 2014 she stayed at an artistic residence in Singapore, where she made an artistic project called “Comfort of Long-Distance Perceiving”. In 2016 she implemented the project “Template - a tool to learn how to use an image”, as a part of a scholarship awarded by the Ministry of Culture and National Heritage. The scope of her art activities is manifested mainly through realizations based on audiovisual material. She participated in numerous exhibitions and shows. She is the author of the VR experience - CONTROL NEGATIVE.
Omid Zarei, Anne Jeppesen : A Vocal Landscape - Experimental VR | 0 | color | 14:0 | Denmark, France | 2023
Omid Zarei, Anne Jeppesen
A Vocal Landscape
Experimental VR | 0 | color | 14:0 | Denmark, France | 2023
A Vocal Landscape is a hyperrealistic VR experience that explores the strange anatomy of a conversation between two people. In a dreamlike journey, the spectator travels through an ever-changing room depicting their associations and unspoken interactions.
Omid Zarei is a French-Iranian artist and XR producer on the quest to explore alternative ways of storytelling. He creates projects that blur the boundaries of different platforms, creating a space for collaboration between artists from a diverse range of disciplines. In 2015 he developed VR filmmaking workshop in Helsinki, one of the first VR focused workshops in Europe. He is the creator of the project Songs of Future Past, a re-imagined VR take on Opera. Anne Jeppesen is a Copenhagen-based producer with a focus on audio documentaries. She has produced audio productions for national radio, as well as immersive audio experiences for museums and theatre. With a background in classical music and musicology, Anne is driven by a never fading fascination for the richness of the human voice and is constantly seeking out new ways to work with vocal expressions. Their latest joint project “A Vocal Landscape” won an EPIC MegaGrants and a special prize in Vancouver International Film Festival for a collaboration with Microsoft Mixed Reality Capture Studio.
Federico Solmi : The Bacchanalian Ones - Experimental VR | 0 | color | 0:0 | USA | 2021
Federico Solmi
The Bacchanalian Ones
Experimental VR | 0 | color | 0:0 | USA | 2021
The Bacchanalian Ones, VR Experience for Oculus Quest 2 Inspired by ancient mythology, modern myth, and contemporary celebrity culture, The Bacchanalian Ones compares the historical myth with a satirical mash-up of the powerful self-absorbed who preen and wallow in a banal spectacle of their own creation. In a fantastically opulent setting of unrestrained hedonism, political, religious, and military leaders with ghoulish, bouffonesque appearances are surrounded by social elite sycophants like the devotees of the cults of Bacchus and Dionysus. Solmi’s phantasmagoric world of whirling space, jerking movement, and oscillating facades that strive to overwhelm the viewer’s visual field is pushed to extremes in a new interactive Virtual Reality installation. This work invites the visitor to enter the Bacchanal by donning a VR mask and manipulating two hand-held controllers in order to pick the perspective of one of his historical avatars. Newly empowered, and emboldened, the visitor is able to control the narrative, allowing them to experience the debauchery up close and personal through their embodiment of the avatar.
Federico Solmi was born in Bologna, Italy in 1973. Since 1999 he has lived and worked in New York. Solmi’s work utilizes bright colors and a satirical aesthetic to portray a dystopian vision of our present-day society. His exhibitions often feature articulate installations composed of a variety of media including virtual reality experiences, video installation, painting, drawing, and sculpture. Solmi uses his art as a vehicle to stimulate a robust conversation with his audience, highlighting the contradictions and fallibilities that characterize our time. In 2009, Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio. Solmi’s work was included in the 100-year anniversary exhibition of The Phillips Collection, Seeing Differently, and in the Smithsonian National Portrait Gallery’s traveling exhibition, Outwin 2019: ‘American Portraiture Today,’ as well as the inaugural exhibition of the Ocean Flower Museum Island in Hainan Province, Danzhou, China. From 2016 to 2019 Federico Solmi was visiting Professor at Yale University School of Art, and Yale School of Drama, New Haven CT. Solmi was appointed guest critic at the Yale University School of Art for 2022.
Wojciech Pus : Endless - Vr Segue - VR 360 video | 0 | color | 18:0 | Poland | 2022
Wojciech Pus
Endless - VR Segue
VR 360 video | 0 | color | 18:0 | Poland | 2022
A queer poem about gender transformations, hallucinogenic desires, and uncanny relationships. It’s past dawn, in an apartment inhabited by several figures. They are frozen in time, frozen in the movements they were making. They look at each other, caress each other, sleep, masturbate with VR helmets on their faces. In one magical moment, they come to life and start a languidly intoxicating party. In Wojciech Pu?’s essayistic 360° film, we follow several people of different genders and ethnic identities as they navigate a path through night, life, desire, and futility. Fragments of their stories are only fleetingly revealed in poetic speeches that resemble a verbal symphony rather than a narrative. The director builds the experience on hallucinogenic light work and uncomfortable camera movements. Will this party ever end, or have we found ourselves trapped with the characters in a labyrinth of existence that has no end?
Wojciech Pu? - filmmaker and artist. They work with moving images and sound. Their films/installations/live acts have been screened / exhibited / shown at Warsaw’s Museum of Modern Art, Haus der Kulturen der Welt in Berlin (Rencontres Internationales Paris/Berlin), ICA in London, Museé du Louvre in Paris (Rencontres Internationales Paris/Berlin), Foksal Gallery in Warsaw, Art Museum in Lodz, Urban Glass in New York, A:D: Curatorial in Berlin, Spike Art Magazine / Yvonne Lambert in Berlin and Exchange Gallery in Lodz. Professor at the Cinematography Department in Lodz Film School, Poland.
Doireann O'malley : New Maps Of Hyperspace - VR 360 video | 4k | color | 6:44 | Ireland | 2020
Doireann O'malley
New Maps of Hyperspace
VR 360 video | 4k | color | 6:44 | Ireland | 2020
The work is a parable on Alan Turing’s technological disembodiment, drawing on concepts from Terrence McKenna’s Hyperspace, an undoing of the matter of consciousness and technologies empty promises of liberation and progress. Imagining a future self calls for a dreaming of the kind Terence McKenna evokes in his essay New Maps of Hyperspace (1989) and from which this work formed the research. For McKenna the dream is “zero time” and “outside of history.” It is analogous to the speculative experience of hyperspace, a scifi term given to the space-time continuum in which it is possible to travel faster than light. In both states, time appears to stand still (Einstein’s theory of relativity tells us that the closer an object travels to the speed of light the slower time becomes). Dreaming can quickly turn to nightmare however, and the episodic repetition of history-as-nightmare can, at times, feel like farcical simulation. Finally this work touches on the yawning gaps between our wish for escape, human connection and approval — and our seemingly Sisyphean task of achieving any of it. Hyperspace is a notion from science fiction of a superluminal method of travel. It is typically described as an alternative “sub-region” of space co-existing with our own universe which may be entered using an energy field or otherdevice. In most fiction, hyperspace is described as a physical place that can be entered and exited. Whereas in the VR work the viewer is essentially trapped in blue screen of death, unable to escape. (Text by Thomas Butler)
Doireann O’Malley (born 1981 in Limerick, IE) is a multidisciplinary artist based in Berlin. Their research-led practice unites collaborative methodologies, healing and reparative movement, writing, and theory, with a strong technological emphasis on new media, virtual Reality, 3Dand film installation. O’Malley holds an MFA from University of Ulster in Belfast, UK. From 2021- 2022 held the position of Professor of Gender & Space at Akademie der bildenden Künste Wien. They were a research fellow at the Berliner Förderprogramm Künstlerische Forschung (2020-2021) and a participant of the BPA// Berlin programme for artists (2019-2020). They acted as a guest mentor on the The Live Arts MA / AdBK Nuremberg (2001) Their exhibitions, talks and screenings have been presented at IMMA, Dublin, IE; Art Institute, Basel, CH; Biennale Zielona Góra, PL; Goethe-Institut Montreal, CA; Goethe-Institut, NY, USA; Neuer Berliner Kunstverein (n.b.k.), Berlin, DE; National Sculpture Factory/Cork Film Festival, Cork, IE; GöteborgInternational Biennial for Contemporary Art, SE; Rencontres Internationales, Forum des Archives, Paris, FR & HKW, Berlin, DE; Mumok Kino, Vienna, AT; Dublin City Gallery, Dublin, IE; KW Institute for Contemporary Art, Berlin, DE; Berlin Art Prize, 2018, Berlin, DE; Edith-Russ-Haus für Medienkunst, Oldenburg, DE.
Screening
Haus der Kulturen der Welt | Safi Faye Hall
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission
"Transmitted Images"
Nadia Ghanem : Three Disappearances And A Song - Experimental film | 4k | color | 27:6 | Egypt | 2021
Nadia Ghanem
Three Disappearances and a Song
Experimental film | 4k | color | 27:6 | Egypt | 2021
As my grandfather's presence in the country becomes increasingly problematic, my mother gradually decides to never touch a camera again, my father becomes obsessively convinced of his own disappearance, and something almost miraculous happens in 1976 in Montreux: Nina Simone comes back from retirement. In Three Disappearances and a Song, I revisit the family archive, pick up my camera, and film 3 people struggling to find new ways to be: my mother, my father, and myself.
Nadia Ghanem is a filmmaker who lives and works in Cairo. She recently finished her first short film as a director Three Disappearances And A Song (2021) which premiered at the 43rd edition of the Cairo International Film Festival, Images Festival, Cinema Árabe Feminino in Brazil and received the best short film award at Gabes Cinema Fen (Tunisia) as well as the audience and Jury awards for best short film at Manassat Film Festival in Cairo. Nadia is currently working on her first feature Looking for Spiderman which received development awards from A Kiss in the Desert, Rawiyat film collective, Two Stories Production, Dox Box and is part of the Studio Seen program. In parallel to being a filmmaker, Nadia Ghanem curated film programs for the 24th edition of the Videoex festival in Basel and since 2022 is a programmer for the Panorama of the European Film organized by Zawya Arthouse Cinema in Cairo. She also works as a Program Manager at Medrar for Contemporary Art where she coordinated the 10th edition of the Cairo Video Festival.
Bradly Dever Treadaway : Beatings Of The Devil - Experimental video | mov | color | 7:19 | USA | 2022
Bradly Dever Treadaway
Beatings of the Devil
Experimental video | mov | color | 7:19 | USA | 2022
"Beatings Of The Devil" is based on the concept and weather event called sunshowers, or, as my grandmother would often say when it rained while the sun was shining, “The devil is beating his wife”. This wildly inappropriate, and outdated colloquial phrase, which resonated deeply within me as a child, provides a point of departure and interpretation for this work. Created through a series of shoots spanning over four years, the piece has evolved into a memorial to my mother, and a reckoning for my father, who recently lost his wife of 51 years. The piece premiered at the 2022 Art of Brooklyn Film Festival, and won the Vanguard Award for Best Experimental Short.
Bradly Dever Treadaway is a Brooklyn based artist, educator and curator utilizing lens-based image making, moving images, sound, sculpture, installation and performance to comment on the breakdown of intergenerational communication and broken familial links due to natural disaster, technological evolution, mental health challenges, societal shifts and the continuance of interpersonal detachment occurring within American communities. His work is visualized through archival interventions, recontextualizing the archive to serve as form, medium, subject matter and concept, elevating domestic ephemera and rituals while questioning material significance within the photographic medium. Treadaway creates memorials, monuments and mnemonic devices to illustrate ancestral collisions with contemporary responses. His work has been exhibited at the Whitney Museum of Art, the Center for Photography at Woodstock, The International Center of Photography,The Ogden Museum of Southern Art in New Orleans, Agora Gallery in Chelsea, NY, The Mobile Museum of Art, The Ospedale degli Innocenti in Florence, Italy, and the Lishui Museum of Photography in China. His film/video work has been screened at the New Orleans Film Festival, the Carnegie Museum of Art, the National Centre for Contemporary Art in Moscow, Russia, Union Docs, Anthology Film Archives, the Art of Brooklyn Film Festival, the Nashville Film Festival, the Coney Island Film Festival, and at the Brooklyn Arts Council’s Scene: Brooklyn. Treadaway’s work has been curated by Vince Aletti, Kevin Jerome Everson, Jon Feinstein and Julian Cox and is part of the permanent collections at The Center for Photography at Woodstock, The Ogden Museum of Southern Art, The Masur Museum of Art, the Ewing Gallery at the University of Tennessee, the Brooklyn Public Library and the Mobile Museum of Art. Treadaway has recently held residencies at Trestle Art Space and BRIC Media Arts in Brooklyn, Kutztown University in Pennsylvania and the Contemporary Arts Center at Woodside in NY.
Ana Vaz : A árvore - Experimental doc. | 16mm | color | 20:32 | Brazil | 2022
Ana Vaz
A árvore
Experimental doc. | 16mm | color | 20:32 | Brazil | 2022
Emerging from a regular and spontaneous practice of film, A Árvore is an encounter with and an homage to the filmmaker’s father Guilherme Vaz (1948-2018). Major Brazilian artist, composer, experimental musician and maestro, as well as one of the pioneers of conceptual and sound art in Brazil, his compositions often traverse the filmography of Ana Vaz in a constant dialogue between music, sound and place. Guilherme Vaz’s work is marked by his experience living at the recently inaugurated Brasília, where Ana was born, as well as the many years spent collaborating with remote indigenous communities in the Brazilian Amazon. A Árvore is a ghostly ritual woven through the fragments of a recorded conversation between father and daughter transposed to various significant geographies in life lines of both.
Ana Vaz (1986, Brazil) is an artist and filmmaker who works with cinema as an instrument. Her films, or rather her film-poems, travel through territories and events haunted by the perennial consequences of internal and external forms of colonialism, and their footprints on the earth as well as on human and different from human forms. Her practice can also take the shape of writing, critical pedagogy, installations, film programs or ephemeral events, which are expansions or developments of her films. Her works have been presented at film festivals, seminars and institutions such as Locarno Film Festival – Cineasti del presente; Berlinale Forum Expanded; IFFR, Rotterdam; Viennale; Palais de Tokyo, Paris; Pivô, São Paulo; Jeu de Paume, Paris; CPH:Dox; New York Film Festival – Projections; TIFF Wavelengths, Toronto; BFI, London; Cinéma du Réel, Paris; Tate Modern, London; LUX Moving Images, London; Tabakalera, San Sebastián; Whitechapel Gallery, London; MAM Museum of Modern Art, São Paulo; Matadero, Madrid; Jameel Arts Center, Dubai; Mostra de Cinema de São Paulo; Savvy Contemporary, Berlin; among others. She is a recipient of the Sundance Film Institute Nonfiction Grant (2019), the Film Society of Lincoln Center Kazuko Trust Award (2015), as well as grand prizes at Festival dei Popoli (2022), Entrevues Belfort (2022), FIDOCS (2022), Punto de Vista (2020), 25FPS (2020), Cinéma du Réel (2016), Media City Film Festival (2015), Fronteira Experimental and Documentary Film Festival (2015). Ana Vaz is also a founding member of the COYOTE collective, an interdisciplinary group working between ecology and political science through conceptual and experimental formats.
Teboho Joscha Edkins : Ghost - Experimental doc. | 4k | color | 8:41 | South Africa | 2023
Teboho Joscha Edkins
Ghost
Experimental doc. | 4k | color | 8:41 | South Africa | 2023
Ghosts is a short documentary film, in which ghosts, both real and imagined, haunt the lives of a rural community, in their small town in post-apartheid South Africa.
Teboho Edkins (*1980 in Tennessee, USA) grew up in Southern Africa and lives and works in Cape Town and Berlin. He studied photography and fine art at the Michaelis School of Fine Art, University of Cape Town, South Africa and film at Le Fresnoy Studio National des Arts Contemporains in Tourcoing, France. This was followed by a degree in directing at the Deutsche Film und Fernseh-akademie in Berlin (dffb). Teboho Edkins’s films have shown at many festivals, group and solo exhibitions, including at the Centre Pompidou, Paris; Tate Modern, London; South London Gallery; Haus der Kulturen der Welt, Berlin; Museum für Moderne Kunst, Frankfurt; Berlinische Galerie, Berlin; Weserburg-Museum für Moderne Kunst, Bremen; Museum of Modern Art, New York City. Some of the over 500 film festivals his films have screened at include the International Film Festival Berlin (Berlinale); International Short Film Festival, Oberhausen; and International Film Festival (IFFR), Rotterdam. His films have also been acquired by several public and private art collections including the Goetz Collection in Munich, von Kelternborn Collection in Frankfurt and the Collection KAI 10 | Arthena Foundation in Düsseldorf.
Silvia Maglioni, Graeme Thomson : Late Gestures - Experimental video | hdv | color and b&w | 24:0 | Italy, France | 2022
Silvia Maglioni, Graeme Thomson
Late Gestures
Experimental video | hdv | color and b&w | 24:0 | Italy, France | 2022
In his famous text titled "On Late Style: Music and Literature Against the Grain", Palestinian writer Edward Saïd explores how the late style of certain composers, writers and artists constitutes a space of creative freedom unmoored from the conventions of their epoch that opens onto new horizons of artistic expression. Inspired by these thoughts, “Late Gestures” is a journey through scenes taken from the later, often neglected films of a number of great filmmakers that in their prophetic untimeliness look towards new possibilities for cinema and the moving image. Silvia Maglioni and Graeme Thomson invite us to explore the hauntology of images through a shape-shifting montage of these “late cinematographic gestures”.
Silvia Maglioni & Graeme Thomson are filmmakers and artists whose works explore the porous borders between fiction and documentary, the visible and the invisible, cinema and installation, theory and practice. Their production includes the creation of films (both features and shorts), mixed-media installations, sound works, performances, radio shows, vernacular technologies and books. The artists often make use of cinema to reactivate lost, forgotten, silenced or neglected archives and histories and to create new modes of collective vision and engagement with contemporary thought and politics. In constant dialogue with literature, philosophy, music, science and the history of cinema their projects are research-based, process-oriented and trans-disciplinary. Their work has been presented at film festivals, in museums and independent art spaces worldwide.
Nadia Ghanem revisits the family archives and films three people struggling to find a new way of being: her mother, her father and herself. In 1976, while her father was convinced of her own demise, Nina Simone emerged from her silence for a concert in Montreux. Bradley Dever filmed his birthplace for four years, and the idea of a downpour in the sunlight runs through the film, which becomes a tribute to his mother. Like a ghostly ritual based on fragments of a conversation between a father and daughter, Ana Vaz pays tribute to her father, Guilherme Vaz, a Brazilian artist, composer and experimental musician who pioneered conceptual art and sound in Brazil. Toboho Edkins films the post-apartheid rural community of a small town in South Africa, where ghosts, real or imagined, haunt the living. Silvia Maglioni and Graeme Thomson travel through scenes taken from late films by great filmmakers. These 'late cinematic gestures', often little known, have a timelessness that opens up new possibilities.
Screening
Haus der Kulturen der Welt | Safi Faye Hall
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission
"Freud Musical"
Special session, Peggy Ahwesh
Peggy Ahwesh, Jacqueline Goss : Or119 - Experimental video | hdcam | color | 61:0 | USA | 2022
Peggy Ahwesh, Jacqueline Goss
OR119
Experimental video | hdcam | color | 61:0 | USA | 2022
OR119 is a theoretical musical based on the ideas of radical psychologist Wilhelm Reich who, as Freud’s favorite student, centered his study on the intersections of psychoanalysis and Marxism. Reich’s best work advocates for a re-imagining of family structure and gender roles, sexual liberation for younger people and the working poor and a deep understanding of the effect of fascisms on the body. OR119 is based on quotations by Reich set to song and also in imaginary conversations between Reich and a number of contemporary feminist thinkers. With a group of women friends in improvisation, we playfully examine the unsettled legacy of Reich and his surprisingly relevant dynamic with feminist thought. Reich proposed Orgone, a universal life energy (akin to Chi) based on sex and positive expression that Reich claims to have discovered, and here we grant him the honor of the next number on the periodic chart (OR119) for his discovery. The musical resonance and vibrations of the voices in song make manifest the invisible positive energy that Reich believed was universal. This is by no means a bio-pic! but it is a celebration of life's potential for immersion in nature, the cosmos and interactive energy.
PEGGY AHWESH has worked since the 70's in wide range of technologies and styles in an inquiry into feminism, cultural identity and genre. Featured in the Whitney Biennial (1991, 1995, 2002). Solo exhibitions include: Spike Island (2021); Kunsthall Stavanger (2022); Cleave (2019) Microscope Gallery, New York. Film retrospectives: Anthology Film Archives/NYC, Guggenheim Bilbao/Spain, New Media Fest Seoul/Korea, BFI/London and others. Ahwesh is Emeritus Professor from Bard College and al-Quds Bard College, West Bank, Palestine, where she taught media production and history. Collaborator JACQUELINE GOSS makes movies and web-based works that explore how political, cultural, and scientific systems change our sense of self through animation and live action in documentary and essay forms. Her work has shown at Eyebeam Atelier, The Wexner Center for the Arts and festivals in New York, London, Rotterdam. Goss has received awards from the Tribeca Film Institute, Creative Capital Foundation, the Rockefeller Foundation, Jerome Foundation, Herb Alpert Foundation, the United States Artist Award and the Berliner Kunstlerprogramm. Her videos are distributed by Video Data Bank in Chicago. She teaches Media at Bard College
In this musical and theoretical comedy, Peggy Ahwesh and Jacqueline Gross revisit the ideas of radical psychologist Wilhelm Reich, Freud's favourite pupil, who was interested in the intersections of psychoanalysis and Marxism, and sought to understand the effect of fascism on the body; he also advocated a new vision of family structure and gender roles, as well as sexual liberation for young people and the working poor. The songs feature quotations from Reich, and imaginary conversations between Reich and contemporary feminists such as Judith Butler, Hélène Cixous and Monique Wittig.
A pioneering artist, Peggy Ahwesh is an emblematic figure in contemporary video. She has worked since the 70's in wide range of technologies and styles in an inquiry into feminism, cultural identity and genre. Featured in the Whitney Biennial (1991, 1995, 2002). Solo exhibitions include: Spike Island (2021); Kunsthall Stavanger (2022); Cleave (2019) Microscope Gallery, New York. Film retrospectives: Anthology Film Archives/NYC, Guggenheim Bilbao/Spain, New Media Fest Seoul/Korea, BFI/London and others. Ahwesh is Emeritus Professor from Bard College and al-Quds Bard College, West Bank, Palestine, where she taught media production and history.
Collaborator Jacqueline Goss makes movies and web-based works that explore how political, cultural, and scientific systems change our sense of self through animation and live action in documentary and essay forms. Her work has shown at Eyebeam Atelier, The Wexner Center for the Arts and festivals in New York, London, Rotterdam. Goss has received awards from the Tribeca Film Institute, Creative Capital Foundation, the Rockefeller Foundation, Jerome Foundation, Herb Alpert Foundation, the United States Artist Award and the Berliner Kunstlerprogramm. Her videos are distributed by Video Data Bank in Chicago. She teaches Media at Bard College.
Forum
Haus der Kulturen der Welt | Safi Faye Hall
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission
Artist talks
The guest artists present their work and research, and talk about the state of their artistic practice in their countries, which are sometimes in transition or undergoing profound changes.Screening
Haus der Kulturen der Welt | Safi Faye Hall
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission
"The Obscure Object of Consciousness"
Benjamin Ramírez Pérez : Summer Heat An Early Frost - Experimental doc. | 16mm | color | 13:45 | Canada, Germany | 2021
Benjamin Ramírez Pérez
Summer Heat an Early Frost
Experimental doc. | 16mm | color | 13:45 | Canada, Germany | 2021
Created based on research conducted during a 2018 residency at LIFT (Liaison of Independent Filmmakers of Toronto), SUMMER HEAT AN EARLY FROST combines the narrative structures of film, documentation, photography, cinematographic staging, and interview into a collage on the organizational principles of our perception. Similar to a stream of consciousness formed of constantly expanding recordings that proceed as the common denominator between a partially sensory, partially mechanically narrative voice and a screen text that fluctuates in intervals between narration, commentary, and subtitle, the image flow comprises a number of visual resources: arranged rhythmically behind an archival setup of vintage pornographic magazines from the University of Toronto’s Sexual Representation Collection, the marked text passages on film theory are taken from a collection of essays by Russian formalists. A multi-layered and narrative complement is present in the form of excerpts from “An Early Frost” (1985)—the first mainstream TV feature film to address the emerging public, social, and political crisis surrounding the spread of HIV/AIDS as part of the everyday life of a US family. Quietly and with an almost static austerity, set pieces from early silent films of the 1920s such as those from Jean Epstein and Dziga Vertov are superimposed across from sexually fetishized sequences of self-produced montages from tooth and mouth recordings, only to be expanded upon in the form of a new cut expounding on the pornographic industry’s digital infrastructure. Massed like a cluster of findings from a multimedia, multi-thematic search for the internal logics of filmic and documentary mechanisms of production and affect—whose focus potentially also stretches to include the representation and repression of queer desire, longing, and craving—the montage opens up a different access to images and their language; a language whose essence is concealed in the multiplicity of the information gathered and which, transferred via data-mining technology into the artistic process of the film, facilitates the recognition of patterns of regularity and of hidden interrelations.
Benjamin Ramirez Perez, is visual artist working primarily with film, video and installation based in Cologne, Germany. He was a participant at De Ateliers Amsterdam from 2016-2018 and studied at the Academy of Media Arts Cologne from 2009–2015 with Julia Scher, Phil Collins and Matthias Mueller. His works have been screened at IFFR Rotterdam, Locarno, Edinburgh and Toronto International Film Festival, as well as Julia Stoschek Collection Du?sseldorf, Kurzfilmtage Oberhausen and Visions du Réel Nyon among others. He had group and solo exhibitions at Artothek Cologne, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade, de Ateliers Amsterdam, Gallery Markus Luettgen Duesseldorf, and more. In 2015 he was awarded the Chargesheimer Scholarship for Media Art by the City of Cologne and in 2013 he received the Prize of the German Association for Film Journalists.
Pamela Breda : The Shape Of Things To Come - Experimental fiction | hdv | color | 25:0 | Italy, France | 2022
Pamela Breda
The Shape of Things to Come
Experimental fiction | hdv | color | 25:0 | Italy, France | 2022
What is the future of life in a world ever more dominated by Artificial Intelligence Can we develop a sense of connection and empathy towards highly elaborated machines? In a time when the lines between humanity and technology blur, "The Shape of Things to Come" takes audiences on a journey of human-AI interaction that challenges our perceptions of identity, love, and ethics. The film follows the activities of a team of pioneering researchers pushing the boundaries of AI technology, seeking to develop an AI with the capacity to feel and understand emotions. As they delve deeper into the mysteries of human emotions, they confront ethical dilemmas, technical challenges, and unforeseen consequences. Tensions rise as the project advances. Some believe that bestowing AI with emotions could revolutionize healthcare, therapy, and human-AI partnerships, while others fear the potential risks and moral implications. " The Shape of Things to Come " explores profound questions about the nature of consciousness, the essence of humanity, and the ethical responsibilities that come with playing the role of creator. As the project's success seems within reach, the researchers must confront their own humanity and the consequences of their ambition.
Pamela Breda is an artist, filmmaker and researcher living between Turin and Vienna. She holds a MA in Visual Arts from IUAV University (IT) and a PhD in Visual Arts from Kingston University (UK). She was appointed artist and fellow in residence at several international art institutions, including Max Planck Institute For Empirical Aesthetics (Frankfurt, DE), Pratt Institute (New York, USA), Cité Internationale Des Arts (Paris, F), PROGR (Bern, CH) Botin Foundation (Santander, E). She was recipient of several art awards and fellowships, including IMèRA Fellowship (Marseille, F), Cantica 21 (MibaC, IT), Italian Council Award (MibaC, IT), Kingston University Phd Scholarship (Kingston, UK), Moving’Up (Turin, IT), JRC, Joint Research Center, European Commission (Ispra, IT), ‘Love Me Tender’, Stonefly Production Prize (Fabbrica del Vapore, Milano, IT), Italian Institute of Culture (Moscow, RU), Photography Award, IED, European Institute of Design (Venice, IT). Her film research explores the intersections of visual imaginaries, narratives, and stories that often remain on the fringes of mainstream consciousness. With a deep passion for shedding light on the voices and experiences of marginalized communities, her work dives into the complex web of human existence, particularly focusing on the clash between old and new technologies that shape worldviews.
Antti Tanttu : Noli Timere - Animation | 0 | black and white | 6:29 | Finland | 2022
Antti Tanttu
Noli Timere
Animation | 0 | black and white | 6:29 | Finland | 2022
Noli Timere is a work about the experience and emotion of fear or anxiety. What is common or private in those feelings and what do they have in common? The work contemplates on the collective fear and its elements. ?
Antti Tanttu was born in Malaga, Spain and currently lives and works in Helsinki. He studied at the Academy of Fine Arts in Helsinki between 1984–89. His works often deal with issues such as solitude, absence and longing. Tanttu has participated in solo and group exhibitions since 1986 in e.g. Gallery Heino in Helsinki, Sara Hildén Art Museum in Tampere, Finland and Norrtälje Kunsthalle in Sweden, as well as in festivals and events around the world.
Rita Barbosa : 2ª Pessoa - Video | 4k | color | 16:0 | Portugal | 2022
Rita Barbosa
2ª Pessoa
Video | 4k | color | 16:0 | Portugal | 2022
One day, an old water pipe caused a ceiling leak. On this ceiling, toxic mushrooms of the order Polyporales would grow. Sitting on the toilet, the lady of this house looks up and observes that magical and mysterious fungus, which is not an animal, nor a plant. The mushroom is the future, she thought.
1979. Graduated in Digital Arts, in Sound and Image Course, by the School of Arts of UCP (2002). She completed her training with courses and workshops such as the Maine Media Workshops Photography Management Workshop. She wrote and performed her first short film FRIENDS AFTER DARK [2016], that had it international premiere at the 69th Locarno Film Festival, and was screened at film festivals such as Curtas de Vila do Conde, Márgenes, Curtas de Verin, SACO - Oviedo Contemporary Audiovisual Week, FICA - Aguilar del Campo Film Festival, Cinema Jove, Luso Brasileiro de Santa Maria da Feira, and in other exhibitions of which Bilbao Arte stands out. She wrote and staged the film-performance AMIGOS IMAGINÁRIOS [2018], with the collaboration of Rui Lima, Sérgio Martins and Jonathan Saldanha, with a premiere scheduled at Teatro Rivoli (2019). In theater, dance and performance she collaborated in the creation, set design, visual design, video and dramaturgy of several projects, including TRÊS DEDOS ABAIXO DO JOELHO (2012), by Tiago Rodrigues, that won Best Play in 2012 by the SPA, presented internationally in Kunsten Festival Des Arts, De Internationale Keuze and Rotterdamse Schouwburg, STAGE, Théâtre de la Ville, Théâtre des Abbesses, Emilia Romagna Theater Fondazione, among others. She collaborated in the plays: SABOTAGEM (2015), by Lígia Soares, Miguel Castro Caldas and Sílvia Pinto Coelho; O ESPLÊNDIDO (2014), by Andresa Soares. She participated also in other performance projects, such as CELEBRAÇÃO (2012), a dance and performance program presented at Culturgest. She is a TV commercial director for Take It Easy since 2006, where she has made severaladvertisements brand campaigns: Compal, Luso, Matinal, Gallo, Médis, Banco Popular, Terra Nostra, Lidl, CGD, Optimus, ANF, Staples, PT, TMN, Planta, Unitel, Milaneza, RTP, etc. She directed documentary and experimental videos such as: ESFORÇOZINHO DA GENICA, SKATE NO PALÁCIO, POP FISH e GET BENT [2005], this one presented at the exhibition "J'en Rêve" at the Cartier Foundation Paris and at the festivals Imago, Video-Lisboa, Impakt Festival and Courtisane.
Dietmar Brehm : Hylo - Vision - Plus (version 1) - Experimental video | 0 | color | 3:18 | Austria | 2023
Dietmar Brehm
Hylo - Vision - Plus (Version 1)
Experimental video | 0 | color | 3:18 | Austria | 2023
Dietmar Brehm's Hylo-Vision-Plus. Version 1 is a minimalistic study of ecstatic moments and it is named after eye-drop medicine.
born in 1947 in Linz 1967-72 studied painting at the University of Fine Arts/Linz. Professor at the University of Fine Arts/Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad. 1974-1989: 74 Super8 films since 1990: 16mm films since 2000: video
Sandro Aguilar : O Teu Peso Em Ouro - Fiction | hdv | color | 26:0 | Portugal | 2022
Sandro Aguilar
O Teu Peso Em Ouro
Fiction | hdv | color | 26:0 | Portugal | 2022
Oscar, a renowned hypnotherapist, takes advantage of the last moments in his hotel room to say goodbye to the dazzling Mercedes and relieve old Norberto of his sorrows
Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998, he founded the production company O Som e a Fúria. His films have won awards at festivals such as La Biennale di Venezia, Locarno FF, Gijón, Oberhausen,Vila do Conde, Indielisboa FF and have been shown in the most relevant film festivals worldwide. Two times nominated for the EFA – Best European Short Film Award. Retrospectives of his work have been programmed at Rotterdam IFF, BAFICI, New York Film Festival, Arsenal-Berlin and Oberhausen FF. In 2013, he was invited into the renowned DAAD Artist Residency, Berlin
Benjamin Ramírez Pérez explores the archives of the Sexual Representation Collection at the University of Toronto, questioning the representation and repression of queer desire. Montage opens up a different access to images, like a collage revealing the organizing principles of our perception. Pamela Breda reflects on the interaction between humans and artificial intelligence, questioning our perception of identity, love and ethics, and develops a science-fiction narrative in which a team of researchers develops an AI capable of feeling and understanding emotions. Antti Tanttu questions what is common or individual in the experience of collective anxiety and fear. Rita Barbosa follows the story of a housewife who looks up and observes a magical and mysterious mushroom, neither animal nor plant. Recalling her past, she tells herself that the mushroom is the future. Dietmar Brehm creates a minimalist study of ecstatic moments. Sandro Aguilar follows Oscar, a renowned hypnotherapist, as he bids farewell to the dazzling Mercedes before leaving his hotel room, and relieves Norberto of his grief.
Screening
Haus der Kulturen der Welt | Safi Faye Hall
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission
"Obsada"
Special session, Wendelien van Oldenborgh
Wendelien Van Oldenborgh : Obsada - Experimental doc. | 4k | color | 34:23 | Netherlands, Poland | 2021
Wendelien Van Oldenborgh
Obsada
Experimental doc. | 4k | color | 34:23 | Netherlands, Poland | 2021
The Polish word “obsada" means "film cast” but can also mean "working party" - it connotes the distribution of work positions as well as placing of a plant in the ground. Wendelien van Oldenborgh’s obsada, is a collaboration with an all-female film crew, who are at the same time the film’s cast. It is an attempt to propose non-patriarchal narratives and methods of work. Involving a group of MA and PhD students from the ?ód? Film School, the change they strive for does not consist simply in replacing men with women in film production; rather, the work develops in an open and improvised process – sensitive to the context of the place and the polyphony of the team. The women’s individual and collective experiences resonate with locations in the Film School and in Muzeum Sztuki in ?ód?.
Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, always shown in specially developed architectural settings, she shows widely in the art and museum context. Recent solo presentations include: unset on-set at Museum of Contemporary art Tokyo (MOT) 2022/23, tono lengua boca at CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her work was recently included in Sonsbeek 20->24, Arnhem 2021; of bread, wine, cars, security and peace… at Kunsthalle Wien, 2020; Chicago Architecture Biennial 2019, Singapore Biennial 2019.
The Polish word “obsada" means "film cast” but can also mean "working party" - it connotes the distribution of work positions as well as placing of a plant in the ground. Wendelien van Oldenborgh’s obsada, is a collaboration with an all-female film crew, who are at the same time the film’s cast. It is an attempt to propose non-patriarchal narratives and methods of work. Involving a group of MA and PhD students from the Łódź Film School, the change they strive for does not consist simply in replacing men with women in film production; rather, the work develops in an open and improvised process – sensitive to the context of the place and the polyphony of the team. The women’s individual and collective experiences resonate with locations in the Film School and in Muzeum Sztuki in Łódź.
Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, always shown in specially developed architectural settings, she shows widely in the art and museum context. Recent solo presentations include: unset on-set at Museum of Contemporary art Tokyo (MOT) 2022/23, tono lengua boca at CA2M Madrid 2019-20; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Her work was recently included in Sonsbeek 20->24, Arnhem 2021; of bread, wine, cars, security and peace… at Kunsthalle Wien, 2020; Chicago Architecture Biennial 2019, Singapore Biennial 2019.
Screening
Haus der Kulturen der Welt | Safi Faye Hall
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission
"The Witnesses"
Miryam Charles : Tous Les Jours De Mai - Experimental doc. | 16mm | color | 6:44 | Canada | 2023
Miryam Charles
Tous les jours de Mai
Experimental doc. | 16mm | color | 6:44 | Canada | 2023
Following the shooting of a documentary on the death of her daughter, a mother reflects on her own life and especially on the passing of time.
From Haitian descent, Miryam Charles is a director, producer and cinematographer living in Montreal. She has produced several short and feature films. She is also the director of several short films. Her films have been presented in various festivals in Quebec and internationally. She has just completed the direction of her first feature film This House. Her work explores themes related to exile and the legacies of colonization.
Marina Stanimirovic : Des Carcasses De Tout - Experimental doc. | mov | color | 4:15 | France, Germany | 2022
Marina Stanimirovic
Des carcasses de tout
Experimental doc. | mov | color | 4:15 | France, Germany | 2022
Recorded in France and Germany, "CARCASSES OF ALL KINDS" is a wild recording of a discussion with my mother before it was too late. My mother, who was ill, told me about our first return to Bosnia and Herzegovina, the year following the end of the war. But this piece is not so much about war as about fragility, our memories, scars and departure. The voice and the words are used as sculptural material and mixed with additional recorded sounds. It uses recordings made in the cancerology department of the Argenteuil hospital center, rubbing of clothes, cutting of glass and metal, hammering, an industrial printer and vocals. Every summer, my mother used to cut lavender from her garden and place it in used stockings. After she died, I collected it all in the same bag. The video is a dive into that bag.
Marina Stanimirovic (1988, Argenteuil) is a French born artist based in Berlin. She studied Contemporary Jewellery at the Ecole Boulle, in Paris (2007 - 2011), and London, were she completed a Master at the Royal College of Arts (2011 - 2013). From violence against women to social disparities or dysfunctional economic systems she observes the ugly, the beautiful, the sad, the absurd and translate it through sculptures, installations, photography, video and sound experimentations. In 2022 she initiate DERIVAT, a platform that invites to reflect on the contemporary art market. Since 2023, she is part of the curatorial board of the project space Gr_und, Wedding Berlin.
Daryna Mamaisur : I Stumble Every Time I Hear From Kyiv - Documentary | mov | color | 17:17 | Ukraine | 2022
Daryna Mamaisur
I Stumble Every Time I Hear From Kyiv
Documentary | mov | color | 17:17 | Ukraine | 2022
“I have no words to say” is the phrase one can often hear when the reality of the war is so striking that language seems to be incapable to describe it. While studying in Brussels, Daryna Mamaisur is caught up in the russian full-scale invasion of her country. In the springtime, when chestnut trees are blooming at the same time in Brussels and Kyiv, she makes a film capturing that spring in the distance. Keeping a visual correspondence with a friend from Kyiv, she faces the question: while making a film about war, how to speak about the wound that is fresh and ongoing?
Daryna Mamaisur is a visual artist and filmmaker, born in Kyiv, Ukraine. Having a background in art theory and philosophy, she developed her practice at the intersection of different disciplines. Her works were related to transformations of public space, and landscape due to their connection to visual culture and memory. Besides, she is particularly interested in situations when language and vocal expression appear fragile and incapable of seizing reality. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking, based in Lisbon, Budapest and Brussels. Her films participated in the film festivals as Kassel Dokfest, Visions du Réel, FIDMarseille, Docudays UA etc.
Macbeth Ewan : Prison With Songbirds - Experimental doc. | 35mm | color | 12:30 | Netherlands | 2022
Macbeth Ewan
Prison with Songbirds
Experimental doc. | 35mm | color | 12:30 | Netherlands | 2022
An unseen narrator tells his experience of wrongful imprisonment in an unnamed country and his random release. Based on a letter sent to Amnesty International, by the filmmaker’s father, and a surreal interview given about it. ‘Prison with Songbirds’ is a documentary and fiction hybrid in which dream-nightmare and digital-celluloid collide.
Ewan Macbeth (born 1992, UK) is a Scottish artist filmmaker based in Rotterdam. After studying Fine Art Photography at Glasgow School of Art he did an MA in Lens-Based Media at The Piet Zwart Institute. His work has been seen in International Film Festival Rotterdam, Ji.hlava International Documentary Film Festival, EYE Filmmusuem Amsterdam, EMAF Osnabrück, CCA Glasgow, RSA Edinburgh; amongst others. He is currently a member of Time Window collective and developing his first feature film.
Kim Mooyoung : Hwang Ryong San - Experimental doc. | mov | color | 18:35 | Korea, South | 2021
Kim Mooyoung
Hwang Ryong San
Experimental doc. | mov | color | 18:35 | Korea, South | 2021
The film depicts the massacre of civilians in Geum-jeong-gul Cave in Gyeonggi-do in October 1950. This massacre, in which more than 153 people were killed in a village by South Korean military and police, was compensated by South Korean government in 1993 when it became known to the world through the efforts of the victims' bereaved families, but there is still no place for their remains in their home town.
As well as making movies, Kim Mooyoung also creates research-based media art, which is being exhibited in several countries. After four short films, SLOW DAY (2010), CONCRETE (2012), LAND WITHOUT PEOPLE (2016), and DAY AND NIGHT(2017), he directed his first feature film, NIGHT LIGHT (2018), which was invited to Busan International Film Festival 2018 and Seoul Independent Film Festival 2018.
Eliane Esther Bots : In Flow Of Words - Documentary | dcp | color | 22:15 | Netherlands | 2021
Eliane Esther Bots
In Flow of Words
Documentary | dcp | color | 22:15 | Netherlands | 2021
In Flow of Words follows the narratives of three interpreters of the International Criminal Tribunal for the former Yugoslavia. They interpreted shocking testimonies from witnesses, victims and perpetrators, without ever allowing their own emotions, feelings and personal histories to be present. Contrary to their position at the tribunal, this film places their voices and experiences center stage.
Eliane Esther Bots (1986, The Netherlands) graduated cum laude from the Master of Film at the Netherlands Film Academy in Amsterdam. Her films have been screened at ‘IDFA’ (NL) ‘Berlinale’, Berlin (DE), ‘Cinema du Reel’, Paris (FR), ‘New York Film Festival’ (USA), ‘International short film festival Oberhausen’ (DE), ‘Go Short’, Nijmegen (NL), Kassel Dokfest (DE). She works as a lecturer ‘Moving image’ at the University of the Arts in Utrecht (NL).
Myriam Charles films a mother reflecting on her own life and the passage of time after making a documentary about her daughter's death. Marina Stanimirovic records a conversation she had with her mother, who was ill, recounting their first return to Bosnia-Herzegovina, the year after the end of the war. The voices and words are used as sculptural material, cut up, edited and mixed with other recorded sounds from the cancer ward at the Argenteuil hospital. As a film student in Brussels at the time, Daryna Mamaisur kept up a visual correspondence with a friend in Kiev during the Russian invasion of Ukraine. The news was broadcasting the atrocities of war, and cinema seemed the least appropriate thing to do in the face of the ultimate danger to her loved ones. But the trees are blossoming at the same time in both towns, and the film attempts to capture this spring in the distance. Starting with a report written by his father to Amnesty International, detailing the torture he suffered in prison and his arbitrary release, Ewan Macbeth follows the story of the same experience of wrongful imprisonment, in an unnamed country, in a Kafkaesque world of nightmarish bureaucracy and a faceless state. Kim Mooyoung talks about the massacre of civilians in the Geum Geumjeong cave in October 1950, in which 153 people were killed by South Korean militia and police. The film questions the way in which memories survive in the present of South Korean society. Eliane Esther Bots follows the stories of three interpreters from the International Criminal Tribunal for the former Yugoslavia, where they interpreted the harrowing accounts of witnesses, victims and perpetrators, without ever allowing the slightest emotion to show through. The film places their voices and experiences in the foreground.