Catalogue 2024

From the street, Li Eryang’s “Republic” is barely visible, a little room that appears to have been left as a tiny cavity between the surrounding houses. Despite its inconspicuous appearance from the outside, on the inside it’s huge. A hiding place, a home base and an experiment all rolled into one. With lots of time and passion, scarves and coloured light, Eryang has created a free space for himself and his “Cosmic Bros”. Anyone who comes by, comes by and becomes a citizen of a society with humanistic laws. The repressive social credit system of the People’s Republic is left at the door. With psychedelic music and a few mind-expanding drugs, hippiedom, capitalism and Xi Jinping can all be harmonised on a sofa and mattress. The money you need to live is under a little pyramid on the shelf. An economic miracle. But as it turns out, even here there’s no short cut, either to the idyll or to a just society. The experiment needs reworking. Jin Jiang’s documentary film shows the radical exit attempt of young adults as a tableau vivant: in the heart of Beijing, Chinese youngsters lounge and cuddle for their freedom.

Jin Jiang was born in Luoyang, Henan Province in 1989. In 2010, he was introduced to contemporary arts, and in 2013, his first solo exhibition “In the Field of Hope” was held. In 2015, he was hired to participate in the shooting and editing of a film, and in 2016, he began to make a film on his own. His film Shang’ajia earned the Grand Jury Prize at the 14th Beijing Independent Film Festival.

The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.

Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).

In 1962, Oscar Niemeyer was invited to conceive an international fairground in the city of Tripoli, Lebanon, which was never completed. To Remain in the No Longer looks at how architecture operates in this failed state. By examining the precarity of the project site that remains to this day, the film reflects on the country’s current socio-economic crisis. Employing archival materials, interviews, and 16mm and digital film, the experimental documentary explores the political and cultural forces that have come to bear on the site—from its halted construction to its imposed abandonment and attempted reappropriations. How has architecture been instrumentalized in the ongoing construction of a national narrative? What is the role of architects in shaping society within corrupt ecologies of power and failed financial engineering? Film becomes a plastic medium to reframe the positivism of urban masterplans and architectural monuments and formulate a social critique. Modern structures under threat of collapse stand in as protagonists to tell the story of a promised metropolis that never came to be, while the fairground acts as a lens to look at implicit collapse beyond the perimeter of the site.

Based between Beirut and Amsterdam, artist and filmmaker Joyce Joumaa earned a BFA in Film Studies from Concordia University in Canada. In 2021-2022, Joumaa had her first institutional solo show at the CCA The Canadian Centre for Architecture. Her work has shown at the Montreal Museum of Fine Arts, Fofa Gallery, the Sharjah Architecture Triennial and in the 2024 60th Venice Biennale.

Through multiple screens, men and women recount their most vivid dreams. The series of portraits becomes an exploration of the collective unconscious in a time of crisis.

Dragana Jovanovi? obtained a postgraduate degree at the Academy of Media Arts Cologne in Germany. Her studies focused on Film Directing and Writing. She also holds a bachelor's degree in Production from the Faculty of Dramatic Arts at the University of Arts Belgrade in Serbia. Her graduation short fictional film ON THE OTHER SIDE OF THE PILLOW A ROSE WAS BLOSSOMING (2018) was nominated by the German Film Academy for the First Steps Award and it was screened in numerous international film festivals such as Festival Premiers Plans d’Angers, ISFF Oberhausen, DRAMA ISFF, among others. Jovanovic’s films explore the collective unconscious by interpreting archetypes of folk and fairy tales and ancient mythology, and placing these narratives in contemporary contexts. Her focus centers on capturing her characters' inner worlds, revealing the interplay between their subconscious realms and their present-day realities. Her latest work, AURORA'S DREAM (2023), earned the Best Cinematography award for her own contribution. It premiered internationally at FID Marseille and continues to make its mark on the festival circuit.

The scripts are based on resources like instructional videos and management training tools, sales pitches and tutorials on stress management. Collaging and adapting elements from these and other sources, the work gives birth to a ‘subject’ who speaks with a double tongue, veering between the human and the digitally generated, and delivering a message that is simultaneously authoritative and incoherent, reassuring and vacuous.

Maren Dagny Juell is an artist working with moving image, installation and VR/AR. Maren was born in Oslo, Norway where she currently has a studio. She received her MA from Chelsea College of Art (London) in 2004. The last solo shows have been at Trondheim Center for Electronic Arts (2023), Tenthaus (2021), Atelier Nord Oslo (2019), Trafo Kunsthall (2018), Podium Oslo (2017) and Trøndelag Senter for Samtidskunst (2018). Work has been included in group shows at Bergen Center for Electronic Arts (2021), Astrup Fearnley Museum of Modern Art (2008) and Stavanger Kunstmuseum (2015) amongst others. Moving image works have been screened internationally like The Australian video Biennial in Melbourne( 2017 and 2019). She has participated in and made new works for various biennials including; Riga Photography Biennial (2020), Meta.Morf Trondheim international biennale for art and Technology (2022) and Art Encounters Biennial, Timisoara Romania (2023). In 2024 she won the Nordic Award category at Lumen Prize for “Human Resource the Musical”.

The war film "Inchon" was met with disastrous reviews upon its U.S. premiere in 1981, leading to the cancellation of its planned Korean premiere under the revised title "Oh! Inchon." The film's legacy is one of failure, plagued by propaganda, a desire for heroism, and financial, artistic, and ethical compromises that affected the production from start to finish. "Inchon" became a monumental box-office flop, receiving heavy criticism in both South Korea and the U.S., and is often remembered today as one of the worst movies ever made. In the years between 2009 and 2011, Julià embarked on a quest to gather fragments and first-hand accounts from Korea, the United States, and Italy—collecting the voices of those who witnessed, participated in, or were affected by the making of this ill-fated endeavor. This film revisits the elusive "Oh! Inchon," resurrecting along the way some remnants of Julià's 2011 “Notes on the Missing Oh.”

Film and video installations, photography, performance, and printed matter have been at the core of Adrià Julià’s practice. Julià studies the evasive language of images as a means of representation and reception of personal and collective historical events. His critique of opticality and visuality points to the reliance on images in the act of negotiating memory, resistance, displacement, and survival. Julià is currently investigating early photography and film technologies as they relate to processes of erosion and subjugation in the Americas. His solo exhibitions include “Not Even the Dead Will Survive” at Pinacoteca São Paulo, "Think of It as Money!" at Contemporary Art Center of University of California Irvine, "Conquest of the Useless" at La Virreina Centre de la Imatge in Barcelona, “Hot Iron” at the Miró Foundation of Barcelona, “Hot Iron Marginalia” at the Tabakalera in San Sebastian, “Indications for Another Place” at the Museo Tamayo in Mexico City, “La Villa Basque, Vernon, California” at the Orange County Museum of Art in Newport Beach and at Artists Space in New York City, “A Means of Passing the Time” at LAXART in Los Angeles, “No Place Like Home” at Seoul’s Insa Art Space, “Truc Trang Walls” at The Room Gallery University of California in Irvine, “Love. Destiny. Heroes.” at Dan Gunn in Berlin, “Cat on the Shoulder” at 18th Street Art Center in Santa Monica, “Notes on the Missing Oh” at Project Art Centre in Dublin, and “Ruinas del Habla” at Galería Soledad Lorenzo in Madrid. Julià has also participated in group shows at the Metropolitan Museum of Art in New York City, at the Museo Reina Sofía in Madrid at Witte de With in Rotterdam, at De Appel in Amsterdam, at Seoul’s Museum of Art, at the Generali Foundation in Vienna, and at the Akademie der Künste in Berlin. He participated in the 9th Lyon Biennial, the 29th São Paulo Biennial with the performance “Ruinas da Fala” at the Teatro Arena, the 7th Mercosul Biennial in Porto Alegre, the Jakarta Biennale XIII, and the Kochi-Muziris Biennale in 2014. In 2015, Adrià Julià was named a Guna S. Mundheim Visual Arts Fellow by the American Academy in Berlin. Through the years, he has received substantial grants from Art Matters, the American Center Foundation, the Botín Foundation, the California Community Foundation, and the La Caixa Fellowship program. In 2002, he was awarded the Altadis Prize. His work has been featured in Artforum, Frieze, Flash Art, X-Tra, the Los Angeles Times, The New York Times, Osmos, and Camera Austria, to mention few.

Lava is a love letter to things that cannot be written about: love, exciting piles of twigs, longing, a disappearing landscape, memories you can’t trust. Either writing hurts, or it is impossible to find the words. Lava is a continuation of the working group’s previous work Magma (2020). Both works deal with human relationships and ecology. The wishes for transformation, non-monogamy and boundless love, which were still partially smouldering under the surface, erupt in Lava, a video dealing with the end of a relationship.??

Jade Kallio is working with a variety of media including experimental cinema, performance and installation art. Their personal and collaborative works mix speculative fiction with everyday life. Kallio's works have been presented at festivals and institutions such as Europian Media Art Festival (2019, 2017), Beursschouwburg Art Center Brussels (2019), Kunsthalle Osnabrueck (2019), International Film Festival Rotterdam (2019, 2017), CCA derry (2016), HAM gallery (2017), Turku Art Museum (2017), Gallery Sinne (2017).

In Tbilisi, Georgia, an apartment tower sits in a liminal state, its construction halted at a critical juncture by the global pandemic. In its shadowy alcoves, Viktor, a legendary drag queen, and Tarzan, a teenage drifter, have embraced their collective purgatorial languor, subsisting on brief instances of intimacy. While intermittent television reports apprise them of developments from the outside world, it’s increasingly unclear whether they’re still inhabiting this plane of existence.

Felix Kalmenson (b. Saint Petersburg, Russia, 1987) is a non-binary artist, filmmaker, and producer. Their debut solo-feature 'Gamodi' was awarded 'Honorable Mention for Best Canadian Film' at Vancouver International Film Festival in 2023. Their films have screened in numerous international film festivals including at São Paulo International Film Festival, Vancouver International Film Festival, Festival du Nouveau Cinéma Montreal, Tampere Film Festival, Arkipel, Doclisboa, Sharjah Film Platform, Kasseler Dokfest, Berwick Film & Media Arts Fest and Media City Film Festival, winning awards including the Prix George at Internationale Kurzfilmtage Winterthur, 2020.

Against the backdrop of a sprawling half-constructed tower block in Tbilisi, Viktor, a local celebrity drag queen, and Tarzan, a drifting teenager, search for fleeting possibilities of intimacy in the vestiges of a collapsing world. Playing out meager tasks of survival in a restricted not so far future, Viktor and Tarzan slowly come to understand their environment as a vestibule of the afterlife. "In Tbilisi, Georgia, an apartment tower sits in a liminal state, its construction halted at a critical juncture by the global pandemic. In its shadowy alcoves, Viktor, a legendary drag queen, and Tarzan, a teenage drifter, have embraced their collective purgatorial languor, subsisting on brief instances of intimacy. While intermittent television reports apprise them of developments from the outside world, it’s increasingly unclear whether they’re still inhabiting this plane of existence. The first solo directorial effort from multihyphenate Felix Kalmenson (of the acclaimed Pejvak artist collective), Gamodi employs stunning chiaroscuro, exacting compositions, and intriguing sound design to conjure a legitimately dreamlike milieu. Practically every pristine shot in Kalmenson’s poetic fable invites admiration and rewards careful examination. Equally informed by the material and spiritual, Gamodi casts an enthralling spell as it unfurls, and lingers in the subconscious long after it draws to its haunting close.” - VIFF

Felix Kalmenson (b. Saint Petersburg, Russia, 1987) is a non-binary artist, filmmaker, and producer. Their debut solo-feature 'Gamodi' was awarded 'Honorable Mention for Best Canadian Film' at Vancouver International Film Festival in 2023. Their films have screened in numerous international film festivals including at São Paulo International Film Festival, Vancouver International Film Festival, Festival du Nouveau Cinéma Montreal, Tampere Film Festival, Arkipel, Doclisboa, Sharjah Film Platform, Kasseler Dokfest, Berwick Film & Media Arts Fest and Media City Film Festival, winning awards including the Prix George at Internationale Kurzfilmtage Winterthur, 2020. For the past 13 years they have been creating films between Georgia, Armenia, Turkey and Uzbekistan, at times collaborating with Iranian artist and filmmaker Rouzbeh Akhbari under the collective name 'Pejvak'. They are also an artist having exhibited internationally including; Villa Arson (Nice), MAC VAL (Paris), M HKA (Antwerp), Van Abbemueum (Eindhoven), Z33 (Hasselt), Kim? CAC (Riga), Blaffer Art Museum (Houston), ACAC (Aomori, Japan), and Museum Abteiberg (Germany). As Pejvak they were long-listed for the prestigious Sobey Art Award in 2023.

Au cœur du Burundi, rivalités et extrémisme ethnique entrainent des milliers de pertes de vies humaines depuis l’indépendance. Dans cette folie meurtrière que nous avons traversée, il y a eu des protecteurs de la vie. Au péril de la leur, ils ont caché, protégées des amis et des voisins de l’autre ethnie.

Depuis 15 ans, Diane KANEZA, combine le cinéma, la communication audiovisuelle et le journalisme. Passionnée de l’image, elle l’utilise pour raconter des histoires de Chez elle. Diplômée du Master 2 Cinéma Documentaire de Création, elle en sort avec le Film « Mon Identité ». Une œuvre mémoire qui condense toute son expertise en matière d’acuité du regard documentaire, de capacités de création à partir du réel... Elle cofonde et dirige l’agence de communication MIKADIE Production, qui fait la réalisation et la production des films institutionnels/auteurs et des outils de communication, depuis 2012. Chargée de la programmation du Festival International du Cinéma et de l’Audiovisuel du Burundi de 2013 à 2015, directrice du festival en 2016. Elle allie la production des œuvres audiovisuelles et cinématographique, depuis 2020, à la direction de la chaine de télévision « Burundi News Publication Télévision » (BNP TV). Transmettre, partager ont toujours été son leitmov de par les magazines : « Événement Culturel de la Semaine », « Bonne réponse » et « Notre Terre, Notre Héritage » ; qu’elle développait déjà au sein de la télévision Nationale de 2006 à fin 2011, en tant que Réalisatrice et Animatrice TV. Professeur visiteur au sein de deux universités de Bujumbura (Université Lumière de Bujumbura et Université du Lac Tanganyika), elle enseigne la « Production Documentaire », dans la faculté des sciences de la communication, option communication et conception audiovisuelle.

A landscape of electronic equipment leftovers, embedded in biting clouds of smoke, burnt earth and dirty water. In Agbogbloshie - one of the world's largest e-waste recycling sites in the middle of Accra - they were dismantled and burnt in order to return their metals to the industrial recycling cycles. In between, an observer who, by means of acoustic field research, investigates this place as a contact zone of complex global economic, social, power-political and technological processes and questions this from a spiritual perspective.

Elom 20ce is a musican and filmmaker based in Togo, West Africa. He uses art as a vessel to excavate the past, questioning the present and archiving the future. The link between the intimate, the spiritual and the political is at the heart of his work. He called himself a ”knocker of the invisible”. Musquiqui Chihying is a filmmaker based in Taipei and Berlin. Specialising in the use of multimedia such as film and sound, he investigates the human condition and environmental system in the age of global capitalisation and engages in the inquiry of and research on issues of subjectivity in contemporary social culture in the Global South. Gregor Kasper is an artist and filmmaker based in Berlin. Using a variety of media such as film / video, sound and installation, often in collaborative and participatory constellations, his artistic practice focuses on the construction and mediation of history and remembrance, social contemporary analyses in the context of global capitalism, and emancipative futures, pursuing the interrelations between personal approaches and social counter/hegemonic narratives and power relations.

Hiver, un samedi apre?s-midi. Alors que Tania avance difficilement dans la pre?paration de son exposition de fin d’e?tudes, elle rec?oit la visite de Michael, son amant marie?; Kylian, son petit ami qu’elle veut quitter; Nathalie, la veuve de son fre?re; et Yann, le nouveau compagnon de Nathalie. Leur visite est l’occasion pour Tania de refaire face aux moments de sa vie qu'elle avait laisse?s en suspens.

Né en 1993 à Miyazaki, Japon, vit et travaille à Tokyo. Diplômé de l’École Nationale Supérieure des Beaux-Arts, sous l’enseignement de Clément Cogitore et Angelica Mesiti, Shoichiro Kawashima travaille depuis 2023 en tant que producteur et réalisateur au Japon.

NON HUMAN is a film made from poems written in collaboration with an Artificial Intelligence (recurrent neural network) and five artists — York Chang, Marcus Civin, Tia-Simone Gardner, Viet Le, and Yvonne Rainer. Inspired by poet Muriel Rukeyser’s technique for writing The Book of the Dead (1937), a poem in which she directly quotes workers’ voices from congressional testimony about the Hawk’s Nest mining catastrophe that killed nearly 2000 miners, 80% of whom were Black workers. NON HUMAN was filmed in rural Vermont in disused marble, quarries, hospitals, and local artists’ studios and it presents leisure time and creative space as conditions to excavate the unwritten histories of labor, racism, and environmental destruction in local American communities. The generative AI used to write the script was trained with Rukeyser’s Collected Poems, the congressional testimony of workers that she quoted, and contemporary critical race and eco-feminist theories of Kathryn Yussof, Tavia Nyong’o, Saidiya Hartman, and Hortense Spillers. In Hartman’s essay The Dead Book Revisited she asks “how do we attend to black death? How do we find life where only the traces of destruction remain?” NON HUMAN’s critical AI writing machine, fed by historic documentary materials, poetry that witnesses to extractive capitalism and anti-black racism, speculates on Hartman’s question. Live performers in NON HUMAN include: sound engineer Ben Arindell, singer/song-writer Patrick Sargent, physician Jeffrey Yucht, critic Marcus Civin, sculptor Fred X Brownstein, and sound technician Jack Schlandt.

David Kelley is an artist working in photography, video, and installation. His recent projects explore the impacts of global capitalism, resource extraction, and evolving landscapes, combining elements of experimental documentary, ethnography, and avant-garde cinema to offer a perspective that is both grounded and speculative. His work has been shown nationally and internationally at venues such as the Museum of Modern Art in New York, Rencontres Internationales Paris/Berlin, Fotofest Biennial in Houston, Commonwealth and Council in Los Angeles, The Bank in Shanghai, and the Jim Thompson Art Center in Bangkok. Kelley holds an MFA from the University of California, Irvine, and was a resident of the Whitney Museum Independent Study Program. He is based in Los Angeles, where he is an Associate Professor of Fine Arts at the University of Southern California.

The Same Room investigates the dual nature of water, both as a destructive and life-giving force. In collaboration with the Deltares Institute, Minne Kersten recorded a self-made filmset of a bedroom in an industrial wave-tank, where it was deliberately flooded with water over three successive days. By inverting the use of the institute’s controlled environment originally intended to prevent flooding, she questions the human desire to control the course of nature. Furthermore, Kersten is interested in the state of paralysis and tranquility that can occur upon a catastrophe, opening up a space for thinking about the end as a transitional state rather than something final. By combining the personal space of a bedroom with the horrors of a flood, the work creates a powerful and emotional image that wavers between clarity and chaos.

Minne Kersten (b. 1993, Utrecht, NL) lives and works between Amsterdam and Paris. She works on installation, video and paintings in which ephemeral occurrences and the construction of reality is explored. Through her architectural environments, she speculates on how buildings can be receptive to stories and traumas by staging situations subjected to chaos, decay and deconstruction. She explores the traces of events left behind and questions them as witnesses to private stories retained by the walls that surround human life. Working across diverse media, she interweaves personal themes such as mourning, loss and memory with the collective domain of fiction, fables and symbols. Her work has been presented in numerous institutions including the CAPC Bordeaux 2024, Glasgow International 2024, Bonnefanten Museum 2023, 16th Lyon Biennale 2022, Stedelijk Museum Schiedam 2022, the Living Art Museum 2022, De Ateliers 2022, Hotel Maria Kapel 2021, among others. In 2022, she won the Volkskrant Visual Arts Audience Award and was nominated for the Royal Award of Modern Painting. She has been selected for residencies at De Ateliers 2018-2020, Triangle Astérides 2023 and Cité Internationale Des Arts 2024. She is represented by Annet Gelink Gallery in Amsterdam.

‘The End’ introduces Todd, an actor who has specialized in playing ill and dying patients in the context of medical practice situations for 30 years. Through documenting the scenography of a simulated hospital, a heart surgery on a plastic torso and Todd in an hotel room repeatedly falling to the floor - playing dead - ‘The End’ reflects on the way we use narratives to navigate reality. Layers of Todd’s voice and fragments from his scripts contribute to the blurring of lines between the fictitious and the actual, while elements of repetition in both speech and image remold ideas of linearity. In this way, ‘The End’ investigates the images, rituals and words associated with the certainty of death. It asks what space and shape it is granted — in the daily as well as on the screen - and how our emotional lives are continually shaped by the images we consume, leading us to turn to the language of fiction in the moments of our lives when we cannot find the words ourselves.

Freja Sofie Kirk (b. 1990) is a visual artist based in Copenhagen. Recent exhibitions includes Simian (DK), Kunsthal Charlottenborg (DK), Inter.pblc (DK), 5533 (TR), Copenhagen Contemporary (DK), Bianca D’Alessandro (DK), Kunstforeningen Gl. Strand (DK), Kunstverein Wiesen (DE). Her films have been screened at CPH:DOX, Rencontres Internationales Paris/Berlin, Oberhausen International Short Film Festival, Uppsala International Short Film Festival among others.

Pendant l’été 1928, Jean Epstein s’éloigne de Paris, découvre l’Archipel d’Ouessant et y installe son chantier de cinéma où il réalisera, avec les habitants des îles un premier film, « Finis Terrae ». Après « La Chute de la Maison Usher » il disait avoir le sentiment qu’il était impossible avec de l’irréel, de donner davantage l’impression du réel. Mais où commençait le réel ? Où commençait le cinéma ? Cent ans plus tard, où en étions-nous ?

Nicolas Klotz et Elisabeth Perceval ont réalisé 15 long-métrages - fictions et documentaires - toute une série de moyens métrages, de formats courts, de films expérimentaux, de vidéos, et des installations filmiques. A travers leurs films, ils développent un cinéma qui interroge autant la forme cinématographique que les bouleversements du monde contemporain. Entre 2000 et 2012, La Trilogie des Temps Modernes composée de Paria, La Blessure et La question humaine, suivie par Low Life, ont été présentés dans de nombreux festivals internationaux : La Quinzaine des Réalisateurs, le Festival de Locarno, le Festival de Toronto, La Viennale, le BAFICI Buenos Aires, le Festival du Nouveau Cinéma de Montréal, Le Festival de San Sebastian, Le Festival de New-York, de Chicago, de Londres, de Jeonju (Corée du sud), de Gijon, au FICUNAM (Mexique)... L’Héroïque Lande, la frontière brûle a été présenté en première mondiale au FID Marseille en juillet 2017 où il a reçu une mention spéciale. Suivi par Fugitif, où cours-tu ? pour la Lucarne d’ARTE en 2018. Entre 2015 et 2021, ils tournent et montent Nous disons révolution, présenté en première mondiale au FID Marseille l’été 2021.Un long-métrage transcontinental, librement inspiré des Feuilles Rouges de William Faulkner, filmé à Brazzaville, à Barcelone et à Sao Paulo. Présenté en première mondiale au FID Marseille l’été 2021. Du 3 décembre 2021 au 3 janvier 2022, le Centre Pompidou a consacré une retrospective à l’ensemble de leur travail - Nicolas Klotz et Elisabeth Perceval : Le cinéma en commun. Réunissant pour la première fois une cinquantaine de leurs œuvres : long-métrages, essais vidéo, documentaires, moyen et court-métrages, 3 installations, une exposition photographique. En hiver 2022, ils terminent Chant pour la ville enfouie, tourné dans les traces effacées de la Jungle de Calais. Le film est présenté en compétition au Festival de Locarno en été 2022. Ils présentent également au FID Marseille, So Long Michael, avec Michael Lonsdale, film tourné chez lui quelques mois avant sa disparition. A l’invitation du cinéaste philippin Lav Diaz, ils ont tourné Cosmoscide 2023, un film expérimental (22mn) de science-fiction, hanté par la menace d’une explosion nucléaire, tourné à Fécamp, où ils habitent. Ils travaillent actuellement sur les deux scénarios d’un diptyque se passant sur le même territoire, la lande qui abritait autrefois la Jungle de Calais. L’un de nos jours, le second en 2040 : Nos royaumes indociles et Quand le vert de la terre brillera de nouveau. Des rétrospectives leur sont consacrées à l’étranger, notamment à Buenos Aires, Lisbonne, San Sebastian, Rio de Janeiro, Sao Paulo, Montréal, Florence. La Viennale organise un programme d’une douzaine de leurs films pour l’édition 2023.

The film explores the interplay between the real and the imagined, the collective and the personal, and raises the question: how has collective memory of the Second World War been manipulated? Public commemoration, the aggressive patriotic indoctrination of children, and the cult of victory have shaped a war-centered identity and national narrative in Russia. In contrast, individual memories of those who lived through the Second World War often reflect its violence and tragedy. Could this discrepancy between individual and collective memory offer a way to challenge and break free from the nationalist narrative of the past?

Jeanna Kolesova (b. 1988, Moorland Village, Russia) is an artist, filmmaker, and researcher. Working across moving image, performance, web, installation, and text, their work explores the manipulation of history, information, and the impact of imperial technologies on bodies and landscapes. Kolesova studied documentary film and photography in St. Petersburg, interactive media at CalArts, and experimental film at the Berlin University of Arts. Their works have been exhibited in Prague, Berlin, Dresden, Baden-Baden, LA, Tokyo, and St.Petersburg. Kolesova has received the KUNSTFONDS (2024) and Karl Hofer (2023) scholarships and participated in the Berlin Goldrausch artist program (2024).

Mollies is a queer-feminist collective that had been living at a trailer park next to Ostkreuz in Berlin for nearly a decade. The Garden Cadences documents their last summer there before being evicted. Jone is ready to fly. She finds herself at the beginning of something new, but before she moves on, there needs to be a closure. Jone is one of Mollies, the queer-feminist collective that had been living for a decade at a trailer park next to Ostkreuz, Berlin. The Garden Cadences traces their last summer before being evicted.

Dane Komljen, born in 1986 in Banja Luka. He made three feature films, THE GARDEN CADENCES, AFTERWATER and ALL THE CITIES OF THE NORTH, and numerous shorts exploring notions of body, space, utopia and being together. His films were awarded at Festival del Film Locarno, IFF Rotterdam, Festival de Cannes, Sarajevo FF, New Horizons IFF, Festival de Sevilla and shown at Berlinale, Cinéma du Réel, FID Marseille, Toronto IFF, New York FF, FIC Valdivia, VIENNALE, Mar del Plata IFF, FICUNAM, Hong Kong IFF, CPH:DOX, Jeonju IFF, Art of the Real, 25 FPS and others. His work has been presented at the ICA in London, Volksbühne in Berlin, Centre Pompidou in Paris, Union Docs in New York, Lagos Biennale and elsewhere. He lives and works in Berlin.

A sadistic commander forces a group of actors pretending to be soldiers into acts of violence, while a film crew captures the chilling reality.

Vero Kompalic is a Venezuelan filmmaker, programmer and painter. She focuses her scholarship work on postcolonial feminist discourse, with publications on the sexual transgression of Breillat’s work and the radical cinema of Mariana Rondon. She served as an AP and writer on SUMMERTIME, which premiered at SUNDANCE and was theatrically released in 2021. In 2020 she founded DISCORDIA, an independent production company, with her longtime collaborators.

En exil, 7 ans loin de mon père et de mon pays, j'enregistre nos conversations téléphoniques. Il me parle du pays, de sa solitude. Mon écran nous unit et sépare, ma seule fenêtre. Mes souvenirs s'estompent, ma vie coupée, mon pays inaccessible.

Sara Kontar est une artiste, photographe et réalisatrice syrienne installée en France depuis 2016. Elle est titulaire d'un Master en cinéma d'animation de l'École Nationale Supérieure des Arts Décoratifs de Paris (ENSAD). Son travail englobe la photographie documentaire et artistique, avec des expositions internationales et une reconnaissance, notamment le prix Inge Morath. "3350 KM" est son premier documentaire expérimental, après avoir réalisé des œuvres vidéo expérimentales présentées dans des lieux tels que le Centre Pompidou et le Palais de Tokyo. Le travail de Kontar explore ses racines et l'expérience de l'exil, exprimant les émotions humaines d'une manière personnelle et intime. Elle est également la fondatrice d'"Al-Ayoun", un espace dédié aux conteurs visuels en Syrie et dans la diaspora.

Une ode à la danse, à la fête et à la joie. Des ami.e.s se retrouvent et cherchent d’où vient ce son qui semble provenir d’une fête au loin. Des fragments de mots retiennent notre attention mais c’est le son du synthétiseur qui constitue la véritable voix narratrice de NOZA CASSANDRA. NOZA CASSANDRA, zone où la fête éclôt, faisant danser nos désirs et dans nos désirs germent notre révolution. Que la fête soit et qu’elle n’en finisse pas. Danser et faire la fête deviennent alors des actes militants pour ancrer des communautés, les rendre visibles et les faire exister. Faire la fête c’est exister et tordre sous toutes ses formes notre rapport au réel et à l’imaginaire, épuiser nos perceptions comme pour trouver la faille dans la matrice du réel.

Sarah Konté est une artiste queer interdisciplinaire travaillant la vidéo, la photographie, la performance et les installations sonores, au prisme d’enregistrements et de compositions au synthétiseur modulaire. Diplômée de l’EHESS en Arts et Langages en 2020, des Beaux-Arts de Paris en 2022 et de CalArts à Los Angeles en 2022 également, son travail s’articule autour de la mémoire, de la perception et de ce que l’on voit lorsque l’on ferme les yeux. Elle décline l’idée du griot, conteur traditionnel d’Afrique de l’Ouest, en proposant une histoire qui n’est plus contée par le griot mais par l’audience elle-même qui peut composer le fil narratif comme bon lui semble. Tous les sens de lecture sont possibles. Son travail a été exposé à la Monnaie de Paris, à la galerie Greatorex St à Londres, au MOCA à Los Angeles, à la galerie Campeche à Mexico, à la galerie SALA à Los Angeles, à l’espace Aimé Césaire de Gennevilliers et aux Grandes Serres de Pantin. Elle a récemment reçu le prix Marguerite et Méthode Keskar de la Fondation de France, en 2023.