Programme Paris
Mardi 31 octobre 2023
Salle 1 : Auditorium
Salle 2 : Cinéma
Projection
Centre Wallonie Bruxelles | Auditorium
Entrée par le 46, rue Quincampoix - 75004 Paris
Métro: Rambuteau, ligne 11 / Les Halles, ligne 4 / Châtelet, lignes 1, 4, 7, 11 et 14
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"Fantômes"
Reetu Sattar : Shabnam - Film expérimental | 4k | couleur et n&b | 22:32 | Bangladesh | 2022
Reetu Sattar
Shabnam
Film expérimental | 4k | couleur et n&b | 22:32 | Bangladesh | 2022
Shabnam unfolded a research on my colonial history in relation to Muslin where I tried to visualize a certain nerve-racking situation when people from a certain part of the world reflect an accumulation of knowledge and wealth. Sometimes the monumental museum display gives a strange complexity. The difference between the one who needs to rumble around archives all around the world to connect the threads between past and present and one who gets everything compiled and labelled is an important one. By process, Shabnam is like a patchwork. The idea was cautiously extended over found images and sounds. Here, the Bangla language is a part of the sonic experience; that is why the subtitle is always coming later as part of an image. I think the sonic experience of the film is something to bear the uneasiness about unequal relationships and exchanges that we have in this world. The drawing of the Bangla letters or the sound of the language played a pivotal role in telling disturbed cartography. What was a work about cotton and lost heritage, has reached me to few questions. How do you visualize the feeling of ‘other’? How do you visualize the churn in your stomach when you find yourself in front of unresolved loss?
Reetu Sattar is an artist and film-maker, based in Dhaka, Bangladesh. Her practice, both performative and experimental in nature, questions human perception and imperceptible nature by re-examining history and the creation of knowledge. In a constant dialogue with immediate surroundings, her work engages with the poetics of environments and explores inner urges for change, perception, (re)relation to body and matter. Born in Dhaka Reetu works and lives in Dhaka. Her recent exhibitions include Istanbul Biennial, British Textile Biennial, International Film Festival Rotterdam, Liverpool Biennial, and Dhaka Art Summit as well as venues including the British Film Institute, London; Alserkal Avenue, Ishara Art Foundation, Dubai; Artspace, Sydney; Palais de Tokyo, Paris and NTU CCA Singapore. Her performances have been staged internationally at venues in London, Birmingham, Bangkok and Goa. Reetu’s first film premiered at International Film Festival Rotterdam, in 2019 and the second film Shabnam premiered at the latest IFFR. Reetu’s performance installation programmed in Spring 2020 will be presented at The Museum of Modern Art, New York on a date forthcoming. Reetu Sattar is a member of Britto Arts Trust, an artist collective based in Dhaka. She also works with Dhaka-based theatre group Prachyanat. Reetu is currently in an 11-month residency at Jan Van Eyck, Netherlands.
Mateo Vega : Center, Ring, Mall - Film expérimental | 16mm | couleur | 17:29 | Pérou, Pays-Bas | 2022
Mateo Vega
Center, Ring, Mall
Film expérimental | 16mm | couleur | 17:29 | Pérou, Pays-Bas | 2022
A multi-vocal triptych through peripheral sites of urban infrastructure: a data center, a ring road, and a run-down mall. All three sites were built with certain worldviews: visions of the future and promises of progress that didn't turn out to be the utopias they presented themselves as. Through multi-lingual texts, a site-specific soundtrack, 16mm and 3D images, the spaces and their implications are subjectively mapped, poeticized and questioned. A poetic materialism of decay, renewal, remembering and projecting, "Center, Ring, Mall" is perhaps a mourning, but one that desires and demands a rebirth.
Mateo Vega (1994) is a filmmaker and artist from Peru raised in Amsterdam, and a graduate of Sandberg Instituut, Amsterdam University College and The New School. The starting point of their work is the subjective experience of (urban) space, and the politics, histories and futurities embedded in landscapes, architecture and infrastructure. Their films and installations have been supported by Mondriaan Fund, Netherlands Film Fund, Amsterdam Fonds voor de Kunst, and shown at places like MoMA, Film at Lincoln Center, International Film Festival Rotterdam, Framer Framed, Amsterdam Museum, and Theater Rotterdam.
Riar Rizaldi : Notes From Gog Magog - Doc. expérimental | 0 | couleur | 19:32 | Indonésie | 2022
Riar Rizaldi
Notes from Gog Magog
Doc. expérimental | 0 | couleur | 19:32 | Indonésie | 2022
An exploration of the interconnection between ghost stories, tech company culture in South Korea, and the economy of logistics in Indonesia told through a notebook/premake film and dossier of an unmade techno-horror feature-length film set in between port in Jakarta and an unnamed employee assistance programme office in Seoul.
Riar Rizaldi works as an artist and filmmaker. He works predominantly with the medium of moving images and sound, both in the black-box of cinema settings as well spatial presentation as installation. His artistic practice focuses mostly on the relationship between capital and technology, labour and nature, worldviews, genre cinema, and the possibility of theoretical fiction. His works have been shown at various international film festivals (including Locarno, IFFR, FID Marseille, Viennale, BFI London, Cinema du Reel, Vancouver, etc) as well as Centre Pompidou Paris, NTT InterCommunication Center Tokyo, Taipei Biennial, Istanbul Biennial, Venice Architecture Biennale, Biennale Jogja, National Gallery of Indonesia, and other venues and institutions. In addition, solo exhibitions and focus program of his works had been held at Batalha Centro de Cinema, Porto and Centre de la photographie Genève amongst others.
Stefan Panhans, Andrea Winkler : Anima Overdrive - Vidéo expérimentale | hdv | couleur | 4:19 | Suisse, Allemagne | 2023
Stefan Panhans, Andrea Winkler
Anima Overdrive
Vidéo expérimentale | hdv | couleur | 4:19 | Suisse, Allemagne | 2023
I deliver everything! raps the 'delivery-anti-heroine' and 'delivers' the sound of a rebellious exhaustion in a world increasingly defined by algorithms and AI where everything seems to become a commodity and we all breathless suppliers
Stefan Panhans & Andrea Winkler are artists and filmmakers collaborating on films and video installations that are shown internationally at film and media festivals and in numerous solo and group exhibitions.
Sunder Aarti : Ghost Cut: Some Clear Pixels Amongst Many Black Boxes - Vidéo | mov | couleur | 22:11 | Inde | 2021
Sunder Aarti
Ghost Cut: Some Clear Pixels Amongst Many Black Boxes
Vidéo | mov | couleur | 22:11 | Inde | 2021
This film draws from conversations with Amazon Mturk workers and their relationship with the politics of the Mechanical Turk platform – the varying forms of transparencies and opacities that make the platform what it is. Focusing on the backend of AI and machine learning processes, the film investigates the relationships between the analogic, the digital and the terrestrial. What kind of work is required for smooth functioning of automation? Who does this backend work, where does it take place, and what does it entail? Using the very processes that workers help train on online platforms as material, recursions of different scales takes place, where we see language, the ability to define and speak clear English as central. A second focus is an exploration of the subjective nature of data gathering, processing and annotating, and the material infrastructures it is dependent on. In the absence of any fixed constants, context or averages, abstraction emerges as an important and forced tool.
Aarti Sunder’s research and practice lies at the crossroads of the digital humanities and contemporary art. She is interested in the fictions arising from investigating situated experiences and asking if these help us re-think the ways in which we understand technology and our relationship with it. So far she has focused on contemporary labour practices, fictional edges of protest, myth and digital-terrestrial play. Aarti’s interest is to problematize the determined linearity of ‘progress’ inscribed within the promise of the algorithm, technological prowess and a quantifiable future. Looking at globalised framework of precarious labour, non-human exhaustion and storytelling that lies at the strategic intersection of power, knowledge and aesthetics. Relooking at these intersections, she believes, can help us tell better stories, of fictions past, present and future. Among other places, Aarti will exhibit her work at the forthcoming 67th BFI London Film Festival and in collaboration with Doreen Mende at Albertinum of the State Collections of Art in Dresden. She has previously shown at Akademie der Kunst, Singapore Biennale 22, Hayy Jameel, MIT, Warehouse421, the Goethe Institute in Chicago, Kunstverein Leipzig, Bauhaus Imaginista, Alserkal Avenue, Ashkal Alwan, ISCP and the Museum of Yugoslav History. She has been the recipient of many grants and fellowships from MIT, Sommerakademie Paul Klee, Harvard FSC Film Center, Art Dubai and Ashkal Alwan and the Sharjah Art Foundation. Aarti Sunder works with video, drawing and text and sculpture.
Sattar Reetu interroge l’histoire coloniale du Bengladesh, au travers de la fabrication d’un tissu qui a joué un rôle essentiel, de la traite des esclaves à l'expansion du colonialisme. Elle interroge les privilèges de classe, l’accumulation de connaissances et de richesses, le façonnage de la culture et de l’identité. Mateo Vega filme des infrastructures urbaines dans des zones périphériques d’Amsterdam comme autant de ruines de l’optimisme capitaliste. Riar Rizaldi créé des connexions entre des histoires de fantômes, la culture des entreprises technologiques en Corée du Sud et l’économie de la logistique en Indonésie. Stefan Panhans et Andrea Winkler présentent l’anti-héroïne de la livraison, et son épuisement rebelle, rappé, dans un monde défini par les algorithmes et l'IA. Sunder Aarti filme la partie cachée des processus d'IA et du deep learning, et s'intéresse au cadre mondialisé du travail précaire. Elle interroge des travailleurs d'Amazon Mturk, qui réalisent les micro-tâches sous-payées nécessaires au fonctionnement de l'automatisation, et problématise la promesse de « progrès » portée par les algorithmes.
Projection
Centre Wallonie Bruxelles | Auditorium
Entrée par le 46, rue Quincampoix - 75004 Paris
Métro: Rambuteau, ligne 11 / Les Halles, ligne 4 / Châtelet, lignes 1, 4, 7, 11 et 14
Entrée libre tout public dans la limite des places disponibles
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"Cet obscur objet de la conscience"
Benjamin Ramírez Pérez : Summer Heat An Early Frost - Doc. expérimental | 16mm | couleur | 13:45 | Canada, Allemagne | 2021
Benjamin Ramírez Pérez
Summer Heat an Early Frost
Doc. expérimental | 16mm | couleur | 13:45 | Canada, Allemagne | 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 - Fiction expérimentale | hdv | couleur | 25:0 | Italie, France | 2022
Pamela Breda
The Shape of Things to Come
Fiction expérimentale | hdv | couleur | 25:0 | Italie, 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 | noir et blanc | 6:29 | Finlande | 2022
Antti Tanttu
Noli Timere
Animation | 0 | noir et blanc | 6:29 | Finlande | 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 - Vidéo | 4k | couleur | 16:0 | Portugal | 2022
Rita Barbosa
2ª Pessoa
Vidéo | 4k | couleur | 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) - Vidéo expérimentale | 0 | couleur | 3:18 | Autriche | 2023
Dietmar Brehm
Hylo - Vision - Plus (Version 1)
Vidéo expérimentale | 0 | couleur | 3:18 | Autriche | 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 | couleur | 26:0 | Portugal | 2022
Sandro Aguilar
O Teu Peso Em Ouro
Fiction | hdv | couleur | 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 explore les archives de la Sexual Representation Collection de l'Université de Toronto, et interroge la représentation et à la répression du désir queer. Le montage ouvre un accès différent aux images, tel un collage révélant les principes d'organisation de notre perception. Pamela Breda réfléchit à l’interaction entre l’humain et l'intelligence artificielle, qui remet en question notre perception de l'identité, de l'amour et de l'éthique, et développe un récit de science-fiction où une équipe de chercheurs développe une IA capable de ressentir et de comprendre les émotions. Antti Tanttu questionne ce qui est commun ou individuel dans l'expérience de l’anxiété et la peur collective. Rita Barbosa suit le récit d’une maîtresse de maison qui lève les yeux et observe un champignon magique et mystérieux, ni animal, ni plante. Se remémorant son passé, elle se dit que l’avenir, c’est le champignon. Dietmar Brehm réalise une étude minimaliste de moments extatiques. Sandro Aguilar suit Oscar, un hypnothérapeute de renom, qui avant de quitter sa chambre d’hôtel, dit adieu à l’éblouissante Mercedes, et soulage Norberto de ses chagrins.
Séance spéciale
Centre Wallonie Bruxelles | Auditorium
Entrée par le 46, rue Quincampoix - 75004 Paris
Métro: Rambuteau, ligne 11 / Les Halles, ligne 4 / Châtelet, lignes 1, 4, 7, 11 et 14
Entrée libre tout public dans la limite des places disponibles
Accréditation professionnels et badge jeunes : accès gratuit prioritaire dans la limite des places disponibles
"Non concordance"
Monira Al Qadiri : Crude Eye - Film expérimental | 4k | couleur | 10:0 | Koweït, Allemagne | 2022
Monira Al Qadiri
Crude Eye
Film expérimental | 4k | couleur | 10:0 | Koweït, Allemagne | 2022
Growing up in Kuwait close to an oil refinery by the sea, the artist would create stories for the distant petroleum operation while passing by on a traffic bridge. As she envisioned an expansive panorama of lights, fire, smoke, and towers, Al Qadiri imagined it was a city-metropolis—"filled with beings and phantoms from another world.” This dream-like film hearkens back to these childhood memories, fusing eerie, slow views of a reconstructed miniature refinery with lines from poems about city lights and industrial landscapes. Crude Eye blurs reality with speculative memory, and we are unable to tell if the scene is a real place or a fantasy. The artist says: “The work attempts to reconcile a sense of childlike wonder with the toxic environmental destruction that the refinery inherently represents.”
Monira Al Qadiri (b. 1983) is a Kuwaiti visual artist born in Senegal and educated in Japan. Spanning sculpture, installation, film and performance, Al Qadiri's multifaceted practice is mainly based on research into the cultural histories of the Gulf region. Her interpretation of the Gulf's so-called "petro-culture" is manifested through speculative scenarios that take inspiration from science fiction, autobiography, traditional practices and pop culture, resulting in uncanny and covertly subversive works. She is currently based in Berlin.
Hsin-yu Chen : Beigu Islet - Doc. expérimental | mov | couleur | 12:4 | Taiwan | 2022
Hsin-yu Chen
Beigu Islet
Doc. expérimental | mov | couleur | 12:4 | Taiwan | 2022
A voyage to the northern border of Taiwan — the eponymous Beigu Islet, a sea rock roughly 300sqft submerged under water half of the time — delves into regional histories, the gaze on borderline landscapes, and the ambivalent state of Taiwanese territory and subjectivity.
Hsin-Yu Chen is a filmmaker and artist currently based in Taipei, Taiwan. He works with experimental film, documentary, and moving image to explore the liminal space between seeing and being seen where subjectivity is implicated and constructed. Drawing on border landscapes, vision techniques, and embodied knowledge, he examines the intersection of the viewing body and the political subject. His work has been shown at 25 FPS, HR; Arkipel, ID; Festival ECRÃ, BR; and Alchemy Film and Moving Image Festival, UK. He has participated in the Oberhausen Seminar and residencies including RAIR Philadelphia and Cité Internationale des Arts, Paris.
Leonardo Pirondi : Visão Do Paraíso - Doc. expérimental | 16mm | couleur et n&b | 16:0 | Brésil, Royaume-Uni | 2022
Leonardo Pirondi
Visão do Paraíso
Doc. expérimental | 16mm | couleur et n&b | 16:0 | Brésil, Royaume-Uni | 2022
The great voyages to the "New World" were seen as expanding the frontiers of the visible and displacing those of the invisible. Therefore maps from that time render the real and imaginary. The film follows a voyage of the Brazilian Military in search of an imaginary island with the same name as their country. In the myth from 1483 Brazil, or Hy-Brazil, is known to exist to the west of Ireland and above the Fortunate Islands. ‘Visão do Paraíso’ is an examination of the capacity of the human imagination and computer simulations to construct environments. Amidst the fine threshold of the real, simulated, and imagined, the film analyzes the contemporary ideas of virtual reality and their ambition to expand the frontiers of the physical world into a "New World."
Leonardo Pirondi is a Brazilian filmmaker based in Los Angeles, São Paulo, and Porto. His films explore the infinite abyss between the multiple derived versions of reality through documentary, experimental, and narrative modes. Much of his work uses analog and digital manipulations on celluloid to examine the sociopolitical unfoldings of the intersections between imagination, science, myth, and technology. His films have been exhibited at various film festivals, institutions, and venues internationally, such as the International Film Festival Rotterdam, New York Film Festival, BFI London, Melbourne, Edinburgh, True/False, Ambulante, Curtas Vila do Conde, Guanajuato, Wexner Center, REDCAT, and others. Some of his work exists in the collection of Cinematheque of the Museum of Modern Art in Rio de Janeiro and The Film-Makers' Cooperative in New York. He holds a Film/Video degree from CalArts, is a Sundance Ignite Fellow, and is the recipient of the Allan Sekula Social Documentary Fund and the Tim Disney Prize for Excellence in the Storytelling Arts.
Jenni Toikka : Prelude Op. 28 No. 2 - Film expérimental | 16mm | couleur | 8:25 | Finlande | 2022
Jenni Toikka
Prelude Op. 28 No. 2
Film expérimental | 16mm | couleur | 8:25 | Finlande | 2022
During a single long shot, we see two people taking turns playing the piano and listening alternately. The piece is the same on both times - Preludi Op. 28 No. 2 by Chopin - but when the performer changes, the interpretation of the song changes along with the perspective from which the song and its performance are viewed. The uninterrupted playing and single shot capture the event in one temporal moment, but as the camera moves and two people change places, time is equally layered. The performer becomes the listener and the listener becomes the performer. In one of the key scenes of Ingmar Bergman's Autumn Sonata (1978), the mother and daughter take turns playing the very same Chopin's Prelude. It is a piece that both are familiar with, so they are able to settle into the position of the other as they listen and watch the other play. A situation like this raises questions about the sense of reciprocity, simultaneity and synaesthesia. Could the roles become mixed from viewer and listener to the object of the gaze and listening? When watching the other playing, can you feel your own hands and fingers on the keys?
Jenni Toikka (b. 1983) is a Helsinki-based visual artist working predominantly with moving images. Toikka graduated from the Academy of Fine Arts, Helsinki in 2012. She has had several solo exhibitions in Helsinki including at Sinne, Forum Box and Kluuvi Gallery. In autumn 2019, her work was shown in the solo exhibition Reel at HAM – Helsinki Art Museum. Jenni Toikka’s video pieces have been seen internationally in group exhibitions and at festivals. Her work is represented in the collections of the Saastamoinen Foundation, Espoo Modern Art museum EMMA and the Museum of Contemporary Art Kiasma.
Mareike Bernien, Gerbaulet, Alex : Sonne Unter Tage - Doc. expérimental | hdv | couleur | 39:0 | Allemagne | 2022
Mareike Bernien, Gerbaulet, Alex
Sonne Unter Tage
Doc. expérimental | hdv | couleur | 39:0 | Allemagne | 2022
A gravel path on the edge of a village. Between fields, across to a fence. Drawn into the map of former uranium mining areas in Saxony and Thuringia. From 1946 to 1990, the Soviet corporation SAG Wismut mined uranium there for the USSR's nuclear weapons program. Above ground, socialism shines towards the future, below, the ancient rocks radiate through the torn up earth. The GDR environmental movement throws a spotlight on the way. Night. Darkness. A group of people, a flashlight, a shovel. X-ray film is buried in the gravel. The ground exposes the film, leaving a trail of its invisible rays. The film SUN UNDER GROUND follows this trace horizontally through today's landscapes, marked by mining and redevelopment, and vertically through the ground as an archive. Deep drilling through space and time traces the sedimented narratives that surround the element of uranium materially, metaphorically, and geopolitically. How does it haunt the landscape? How does it connect with the ghost of socialism? What stories and biographies surround its excavation sites? How does it radiate into its recording media? How can the spectrum of the visible be shifted to bring its invisible radiation into the image, to make it audible or palpable?
Mareike Bernien is a Berlin based artist, filmmaker and teacher in the field of filmic research and critical archival practices. Since 2018 she has been part of the production platform pong film. 2020-21 she was a fellow in the Berlin Artistic Research Grant Programme/gkfd. With a media-archaeological approach, her artistic works question ideological certainties of representation, their material-technological preconditions and historical continuities. Her current films include: DEPTH OF FIELD (2017) and SUN UNDER GROUND (2022) both co-directed with Alex Gerbaulet. Alex Gerbaulet is a Berlin based artist, filmmaker and producer. Since 2014 she has been part of the production platform pong film. 2020-21 she was a fellow in the Berlin Artistic Research Grant Programme/gkfd. In her artistic work she explores, among other things, the imageability of reality and memory. Her films move between video art, essay and documentary film, between activist impetus and fictionalizing reflection. Her recent films include: THE SLEEPER (2018), as well as DEPTH OF FIELD (2017) and SUN UNDER GROUND (2022) both co-directed with Mareike Bernien.
Monira Al Qadiri convoque ses souvenirs d'enfance, mêlant des vues lentes d'une raffinerie miniature à un poème sur les lumières de la ville et les paysages industriels. Elle brouille ainsi la réalité avec des souvenirs spéculatifs, rendant indiscernables le lieu réel et le rêve. Hsin-Yu Chen filme l'îlot de Beigu, à la frontière nord de Taïwan. Ce rocher marin d'environ 300 mètres carrés, submergé la moitié du temps, interroge l’ambivalence de la subjectivité et du territoire taïwanais. Leonardo Pirondi évoque le voyage de militaires brésiliens à la recherche d'une île imaginaire portant le même nom que leur pays. Dans un mythe de 1483, le Brésil, ou Hy-Brazil, est connu pour exister à l'ouest de l'Irlande et au-dessus des îles Fortunées. En un plan continu, Jenni Toikka film deux femmes qui jouent alternativement un même morceau au piano, un prélude de Chopin. En Saxe et en Thuringe, dans des paysages marqués par l'exploitation minière, Mareike Bernien et Alex Gerbaulet suivent le tracé des anciennes zones d'extraction d'uranium pour le programme d'armement nucléaire de l'URSS. Le sol devient une archive.
Séance spéciale
Centre Wallonie Bruxelles | Auditorium
Entrée par le 46, rue Quincampoix - 75004 Paris
Métro: Rambuteau, ligne 11 / Les Halles, ligne 4 / Châtelet, lignes 1, 4, 7, 11 et 14
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"La monnaie vivante"
Jules Ramage : Ghostmarkets - Doc. expérimental | 0 | couleur | 6:24 | France | 2022
Jules Ramage
Ghostmarkets
Doc. expérimental | 0 | couleur | 6:24 | France | 2022
Ghostmarkets est né d’un travail de terrain ayant débuté en détention en septembre 2019 : prenant pour point de départ l’interdiction de toute transaction dans l’espace carcéral, dix hommes détenus s'engagent dans la création d'un réseau de production monétaire à l'intérieur des murs. Les débats menés à cette occasion témoignent de l'existence préalable d'un système économique invisible, basé sur l’échange de services, les dettes d'honneur et la performance de la masculinité. Alors qu'il dirige et capte ces échanges, Jules Ramage mesure progressivement la complexité de sa position : le protocole de vérification des cartes SD transforme son camescope en outil de surveillance. Les archives audios, vidéos et textuelles de cette expérience collective sont montées en un film "troué", marqué par l'extraction des voix de ses collaborateurs détenus, concentrant l'attention sur la matière, sa transformation et sa prise de valeur symbolique. Avec John Dow, Ben, Christophe, Brahli, Sparafucile, Youssef Rhnima, Philippe T., Ilich.
Jules Ramage (1987, France) est artiste visuel. Docteur en Sémiologie du Texte et de l’Image, il est aussi chercheur associé au laboratoire CERILAC d’Université Paris-Cité, et membre de la Cité du Genre, institut interdisciplinaire de recherche en études de genre. Il explore les relations de pouvoir mises en jeu dans les structures disciplinaires et institutionnelles. Depuis 2013, il poursuit un travail de terrain approfondi dans l’espace carcéral, où il implante des protocoles collaboratifs intégrant personnes détenues et surveillant-es. Son travail a été présenté en France, aux États-Unis, en Argentine, en Angleterre, en Espagne et en Allemagne. Il a été résident du CENTQUATRE-Paris, de la Cité internationale des arts, des Ateliers Médicis et du Fresnoy-studio national des arts contemporains. Pour Ghostmarkets, Jules Ramage collabore avec un groupe d’hommes détenus au sein de la maison centrale de Poissy, constitué en 2015 dans le cadre de la Section des Etudiants Empêchés, programme d’enseignement porté par l’université de Paris. Au fil des années, le groupe prend son autonomie et prend l’identité d’un collectif de recherche-création collaborative. Il comprend : John Dow, Ben, Christophe, Brahli, Sparafucile, Youssef Rhnima, Philippe T., Ilich.
Phillip Warnell : The Whole Nine Yards - Doc. expérimental | 0 | couleur | 16:0 | Royaume-Uni | 2023
Phillip Warnell
The Whole Nine Yards
Doc. expérimental | 0 | couleur | 16:0 | Royaume-Uni | 2023
Working with a redacted audio recording and transcript of an interview, The Whole Nine Yards explores the cool economy, loneliness and deep exposure of an anonymised New York drug dealer during his incarceration. However, his testimony, far from being police statement or court confession, is gleaned verbatim from a casting audition from a feature film (Good Time, Ben & Josh Safdie 2016) migrated into the project. He is now deceased. The recollections peak during a haunting attempted murder, nine dudes going 'the whole nine yards'. One of two new companion pieces to Intimate Distances (2020), it forms a new body of work that relates to the uneasy rapport between film-making and crime-making. This functions in a space where casting interview and crime testimonial become indiscernible, and can be received as either discarded testimony or audition as witness.
Phillip Warnell is an artist-filmmaker and writer from London, a first generation university graduate from a working class background. He produces cinematic and art works exploring a range of philosophical, poetic and sensorial thematics: ideas on human-animal relations, the political and cinematic imagination, the presence of those with prescient or extraordinary attributes and the poetics of bodily and life-world circumstances. His work is often performative, establishing elements for a film shoot as (part) event, resulting in an interplay between scripted, documented and (sometimes) precarious filming circumstances. Phillip Warnell is an academic, and has undertaken visiting professorships, fellowships and held posts at Harvard University (Film Study Center, 2017-18), Warwick University (UK) Art & History of Medicine, George Mason University (USA), University of Lincoln (UK) and Beijing Normal University (China) amongst others.
Rafaela Lopez : Showtime - Documentaire | mov | couleur | 39:10 | France, USA | 2022
Rafaela Lopez
Showtime
Documentaire | mov | couleur | 39:10 | France, USA | 2022
Le film suit pendant deux ans le quotidien d’un groupe de danseurs du métro new yorkais. Des trains à leurs domiciles, de leur lieu d’entrainement aux événements organisés par leur communauté, c'est un portrait de cinq individus et du milieu de la danse Hip Hop de New York. C’est aussi un portrait de la ville, de la société dans laquelle ils évoluent. Malgré les obstacles, leurs origines sociales et le racisme, ils sont déterminés à réussir et se débattent par tous leurs moyens contre un système méritocratique illusoire.
Rafaela Lopez (née en 1988 à Paris) est une artiste plasticienne travaillant à New York et à Paris. Son travail se déploir à travers des films, des performances, des sculptures, des dessins et des projets collaboratifs. Elle s'intéresse aux pratiques créatives marginalisées, aux cultures populaires et aux constructions socio-culturelles. Chacun de ses projets cherche un langage spécifique, adapté aux communautés impliquées, et questionne le rôle social de l’art. Rafaela Lopez a étudié au Royal College of Art (Londres), à la Villa Arson (Nice) et à l’École Nationale Supérieure des Arts Décoratifs de Paris. En 2015, elle est lauréate du Prix de la Région Sud à Art-O-Rama (Marseille), en 2017 de la bourse des Mécènes du Sud (Montpellier / Sète), en 2020 elle est nommée pour le Prix Sciences Po pour l'art contemporain (Paris), en 2021 elle est lauréate de la Fondation des Artistes et en 2022 du prix Social Practice Arts, organisé par le Centquatre, la Fondation Calouste Gulbenkian et les Fondations Edmond de Rothschild. Elle a exposé dans divers lieux en France et à létranger tels que Waissac Project (Wassaic, NY, 2022), le Consulat Grec de NY (NY, 2020), FLAX (Los Angeles, 2018), la Fondation Louis Vuitton (Paris, 2018), le Palais de Tokyo (Paris, 2017), le Centre National d'Art Contemporain de la Villa Arson (Nice, 2012, 2014, 2017), Studio Voltaire (Londres, 2015), le Camden Art Centre (Londres, 2015), Flat Time House(Londres, 2014, 2015). Elle a été artiste en résidence à FLAX (2018, Los Angeles), à la Villa Arson (2017, Nice), aux Laboratoires d'Aubervilliers (2017, invitée par Grace Ndiritu), à la Villa Lena (2015, Palaia) et à la Casa de Velázquez (2014, Madrid). Rafaela Lopez est l'ancienne présidente de DOC!, un espace artistique indépendant situé dans le nord de Paris.
Jonathas De Andrade : Olho Da Rua - Film expérimental | 4k | couleur | 25:13 | Brésil | 2022
Jonathas De Andrade
Olho da Rua
Film expérimental | 4k | couleur | 25:13 | Brésil | 2022
Starring a cast of 100 people, Olho da Rua (Out Loud) is divided into eight acts and presents performance propositions in front of the camera as exercises of the gaze. Simple actions are presented, such as looking and admiring oneself in front of a mirror, improvising an assembly and saying messages to the camera, representing a collective party making the public square a great stage, or facing the camera lens that it's the eye of the beholder, whether on the streets or on the movie screen when it's ready. Made in two days at Praça do Hipódromo, in Recife, the film is made up of a cast of homeless people, linked to public shelters and non-governmental initiatives to support the vulnerable population.
Jonathas de Andrade was born in Maceió, Brazil, in 1982, and studied communications at the Universidade Federal de Pernambuco, Recife. He works with installation, photography, and video to explore constructs of love and the process of urbanization, with particular emphasis on Brazil’s vibrant but often ignored northeast region. De Andrade’s series Love and Happiness in Marriage (Amor e Felicidade no Casamento, 2007) juxtaposes photographic portraits of a young couple with pages from a 1960s psychiatric textbook on love and marriage. What appear to be vintage shots are actually new images of contemporary actors, their treatment and combination framing the popular ideals of romance and family as bourgeois fictions. In 2 in 1 (2 em 1, 2010), diagrams and photographs of carpenters illustrate the process of converting two single beds into a double and also seem to offer functional instruction on how to “make” a couple. Tropical Hangover (Ressaca Tropical, 2009) also employs found material, in this case a salvaged diary that forms the basis for an installation in which a book’s pages are illustrated with original, vintage, and found photographs, offering a reflection on memory, modernity, and urban space. Since 2007, many of de Andrade’s ideas have been developed in collaboration with A Casa como Convém (The House as It Should Be), an artists’ collective that he founded with Cristiano Lenhardt and others in Recife. The group, which focuses on issues around tropical modern architecture, offers a valuable counterpoint to the dominant cultural axis of São Paulo and Rio de Janeiro. One example of the influence of collectivity and local community on de Andrade’s work is The Uprising (O Levante, 2012), for which the artist organized a horse-drawn cart race in the center of Recife. Also inspired by the town is De Andrade’s mural Nostalgia, a Class Sentiment (Nostalgia, Sentimiento de Classe, 2012). This work, constructed from 340 primary-colored geometric fiberglass tiles displayed in a segmented composition, reproduces a tiled panel in a Recife tropical modern house, and is shown opposite a vinyl text that quotes manifestos about modern life composed by two Brazilian architects of the 1960s and ’70s. Some of the tiles interrupt these texts, the suggestion of loss offering pointed comment on the failure of Brazil’s modernist project. De Andrade has had solo exhibitions at Instituto Cultural Itaú, São Paulo (2008); Instituto Cultural Banco Real, Recife (2009); Centro Cultural São Paulo (2010); Kunsthalle Lissabon, Lisbon (2013); and Musée d’art Contemporain de Montréal (2013). He participated in the group exhibitions When Attitudes Became Form Become Attitudes, CCA Wattis Institute for Contemporary Art, San Francisco; and Salvajes: Digesting Europe Piece by Piece, Traneudstillingen Exhibition Space, Copenhagen (both 2012); and EXPO 1: Rio, Museu de Arte Moderna de Rio de Janeiro; Love and Hate to Lygia Clark, Zach?ta National Gallery, Warsaw; HIWAR, Conversations in Amman, Darat al Funun, Amman, Jordan; My Third Land, Frankendael Foundation, Amsterdam; Imagine Brazil, Astrup Fearnley Museet, Oslo; La Bienal 2013: Here is where we jump, El Museo del Barrio, New York; and Moving: Norman Foster on Art, Carré d’Art, Musée d’Art Contemporain, Nîmes (all 2013). He participated in the Mercosul Biennial, Porto Alegre, Brazil (2009); São Paulo Biennial (2010); Sharjah Biennial, United Arab Emirates (2011); Istanbul Biennial (2011); New Museum Triennial: The Ungovernables, New York (2012); and Lyon Biennial (2013). De Andrade lives and works in Recife.
Jules Ramage collabore avec un groupe de détenus au sein de l’établissement pénitentiaire de Poissy, interrogeant les notions de valeurs et de sa circulation. Prenant pour point de départ l’interdiction de toute transaction dans l’espace carcéral, ils créent un réseau de production monétaire. Philippe Warnell travaille à partir d'un enregistrement audio qui explore la solitude d'un dealer new-yorkais anonyme pendant son incarcération, dans un espace où l'interview du casting et le témoignage d’un crime deviennent indiscernables. Rafaela Lopez réalise le portrait d’un groupe de danseurs du métro new yorkais, et celui de la ville dans laquelle ils évoluent. Malgré les obstacles, leurs origines sociales et le racisme, ils sont déterminés à réussir et se débattent contre un système méritocratique illusoire. Au Brésil, Jonathas de Andrade transforme l’espace public de Recife en une grande scène des performances réalisées en collaboration avec cent personnes sans abri.
Projection
Centre Wallonie Bruxelles | Cinéma
Entrée par le 46, rue Quincampoix - 75004 Paris
Métro: Rambuteau, ligne 11 / Les Halles, ligne 4 / Châtelet, lignes 1, 4, 7, 11 et 14
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"L'amour et son double"
Gianna Felicita Scholten : At Night By Horse - Fiction expérimentale | hdv | couleur et n&b | 11:48 | Suisse | 2023
Gianna Felicita Scholten
At Night by Horse
Fiction expérimentale | hdv | couleur et n&b | 11:48 | Suisse | 2023
Micki rides across the night through a palm forest. With the quiet and the loneliness, the repressed heartbreak pushes to the surface and Cassi becomes real. Like two homopolar magnets charged with their tangled traumas, they fail to find each other this time once again. But at dawn the wounds heal. Cassi disappears and the last video is deleted. But you can't force goodbyes, because feelings are real.
Gianna Scholten is a writer and filmmaker from Switzerland and Germany. She graduated from the German Film and Television Academy Berlin (dffb) in 2020 and continued her studies at the Academy of Media Arts Cologne (khm). During her time at the khm, she dedicated herself to creating film projects and radio plays. Her work has been awarded the Prix Alice Guy Prize of the FID Marseille and the New Signs Award of the Film Fest Lago.
Fabiola Torres-alzaga : The Uninvited - Film expérimental | 4k | noir et blanc | 12:2 | Mexique | 2023
Fabiola Torres-alzaga
The Uninvited
Film expérimental | 4k | noir et blanc | 12:2 | Mexique | 2023
With no visible human presence, we move through the interior of a house. Like all houses, it contains spaces of darkness and corners hidden from view. That house, that interior, hides its flat background of ephemeral construction. We are inside a set built to the limits of the frame that films it. That house was only a fragment of what it appears to be. “The Uninvited” is a short film not about what there is, but about what there could be. Cinema is an apparatus of power over the representations shown therein and the bonds of continuity of a society. “The Uninvited” shows a house haunted by those absences, its blind spots and the violence of its limits and exclusion that its representations have meant.
Fabiola Torres-Alzaga is a Mexican artist working in contemporary art. She studied photography at “The active school of photography” and visual arts at “La Esmeralda” in Mexico City. She has been investigating focus and nearsightedness present in the act of gazing, and its repercussions in our socio-spatial relationships. I have a keen interest in cinema and its articulations of space and time, as well as stage magic and its defiance of logic. Both disciplines comprise the basis of my research. Through them, I seek to expand the scope of the visible, creating illusionary worlds that intrude into real space, counter-spaces that claim inclusive folds within the rigid limits of patriarchy to generate Other possible relations. Her work has been shows at MUAC (Mexico City, 2021), Lille3000 (France, 2019), the Biennal FEMSA (Zacatecas, 2018), the Anthology Film Archives (New York, 2018), the Biennal of Moving Images (Buenos Aires, 2018), the Paul Kasmin Gallery (New York, 2018), Videoex , Maison des Arts de Malakoff (France, 2016), the Polytechnic Museum of Moscow (Russia, 2015), MARCO (Monterrey, 2015), Museum of El Chopo (Mexico City, 2014), Museum of Modern Art (Mexico City, 2014), Laboratorio Arte Alameda (Mexico City, 2011), the Center for Contemporary Art (Tel Aviv, 2006) and Sala de Arte Público Siqueiros (Mexico City, 2004), among others. She has published “Historias de la noche” (Stories of the night, ESPAC, 2019) a book/project in dialogue with cinema curator Mara Fortes, and a solo catalogue “Fabiola Torres-Alzaga: In between acts” (Museo Universitario del Chopo, 2015), she´s currently a member of the Fonca’s Sistema Nacional de Creadores.
Kamil Dossar : Insert Song - Film expérimental | mp4 | couleur | 11:9 | Danemark | 2022
Kamil Dossar
Insert Song
Film expérimental | mp4 | couleur | 11:9 | Danemark | 2022
A stage unfolds and a love song is sung displaced from it’s owner. INSERT SONG is video-essay meditating on music and semiotics in relation to love, and how love declarations are falling victim to the image.
Kamil Dossar (b. 1988) is a Danish artist currently based in Copenhagen. Dossar’s practice is rooted in an interest in themes concerning identity and how we relate to images in contemporary society. Central to his work is the relationship between identity and the loss of it, and exploring the image in relation to the imageless, as a son to political refugees. By investigating visual identity and semiotics he renegotiates the status of the image by rearranging it into new modes of associations.
Nicolaas Schmidt : First Time [the Time For All But Sunset - Violet] - Fiction expérimentale | 0 | couleur | 49:0 | Allemagne | 2021
Nicolaas Schmidt
First Time [The Time for All but Sunset - Violet]
Fiction expérimentale | 0 | couleur | 49:0 | Allemagne | 2021
We listen to music and are on the way. In doing so, we see things and the world differently than before. So that things don't always go on like this, but may become better: Two boys meet on a train ride. Something is born – not much and yet everything. Enjoy a Golden Hour Carousel Ride. A Common Sensations Music Movie.
Nicolaas Schmidt lives and works as Filmmaker, Video- and Concept Artist in Hamburg, Europe. He studied Fine Arts, Time Based Media and Visual Communication (Film) at Hamburg Academy of Fine Arts. His works are shown at international film festivals, exhibitions and other contingencies.
Gianna Felicita Scholten filme une traversée de nuit, dans une forêt de palmiers. Dans le calme et la solitude, un chagrin d'amour remonte à la surface. Fabiola Torres-Alzaga interroge le cinéma comme appareil de pouvoir sur les représentations sociales. Elle se déplace à l’intérieur d’une maison, qui n’est qu’un fragment de ce qu’elle semble être. Kamil Dossar propose une sémiotique de l'amour, à travers une chanson, une lettre à un cœur brisé. Nicolaas Schmidt filme la rencontre de deux garçons dans un train. Quelque chose est né, pas grand-chose, et pourtant tout. Une succession de morceaux musicaux dirige le film, dans une réciprocité de la relation entre image et musique. L’expérience de l’intimité dans l’espace public est transformée en une expérience cinématographique, enrichie d’une miniature narrative – une histoire d'amour.
Projection
Centre Wallonie Bruxelles | Cinéma
Entrée par le 46, rue Quincampoix - 75004 Paris
Métro: Rambuteau, ligne 11 / Les Halles, ligne 4 / Châtelet, lignes 1, 4, 7, 11 et 14
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"Espaces communicants"
Jussi Eerola : Grasshopper - Film expérimental | 4k | couleur | 9:0 | Finlande | 2023
Jussi Eerola
Grasshopper
Film expérimental | 4k | couleur | 9:0 | Finlande | 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 - Film expérimental | 4k | couleur et n&b | 60:0 | Irlande | 2022
Peter Maybury
On Being There
Film expérimental | 4k | couleur et n&b | 60:0 | Irlande | 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 - Film expérimental | 16mm | couleur | 13:18 | Royaume-Uni | 2022
Céline Condorelli, Ben Rivers
After Work
Film expérimental | 16mm | couleur | 13:18 | Royaume-Uni | 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.
Jussi Eerola réalise un comédie musicale minimaliste. Aux heures les plus sombres de la nuit, une petite discothèque apparaît et éclaire des locaux commerciaux vides. Peter Maybury dialogue avec trente années de la pratique de l’architecte irlandais Tom dePaor. La matière du film est constituée d’une diversité de matériaux : carnets, dessins, maquettes, films, photographies, qui sont réenregistrés par le film, superposés, recouverts, découpés. Le film explore la perméabilité de l'image, et l’échantillonnage de cette matière, où l'échelle, les supports, les modes de présentation et de réalisation se confondent. Au départ du processus de construction d’une aire de jeux commandée à l’artiste Céline Condorelli, Ben Rivers élabore une réflexion sur la relation entre le travail et le temps libre.
Séance spéciale
Centre Wallonie Bruxelles | Cinéma
Entrée par le 46, rue Quincampoix - 75004 Paris
Métro: Rambuteau, ligne 11 / Les Halles, ligne 4 / Châtelet, lignes 1, 4, 7, 11 et 14
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"Le cercle vide"
Younès Ben Slimane : We Knew How Beautiful They Were, These Islands - Doc. expérimental | hdcam | couleur | 20:0 | Tunisie, France | 2022
Younès Ben Slimane
We Knew How Beautiful They Were, These Islands
Doc. expérimental | hdcam | couleur | 20:0 | Tunisie, France | 2022
A lone figure digs a grave in the dead of night. With no dialogue – and no sound other than the wind, the crackling of a fire and the scrape of a shovel against dry earth – we are confronted with a dark and mysterious, possibly cursed, universe where every object seems haunted by a meaning we barely sense, but which seem to confirm our anxieties. The head of an old doll, a comb, a lipstick. Relics whose silent language speaks of the end of their former owners. At sea, in the desert. Younes Ben Slimane’s disturbingly beautiful and melancholic imagery is bathed in darkness and in a golden chiaroscuro, lit only by the stars and the lone grave diggers’ headlamps.
Younès Ben Slimane : Artiste et cinéaste tunisien, diplômé du Fresnoy – Studio national des arts contemporains en 2022. Ses films ont été sélectionnés dans des festivals internationaux parmi lesquels Locarno Film Festival, CPH:DOX, DokuFest, Festival dei Popoli. Il a reçu le a remporté le Tanit d'or aux journées cinématographiques de Carthage (2019), le Prix Studio Collector(2021) et le prix Loop Barcelona(2022).Son travail fait partie des collections d’institutions et de musées d’art notamment l’institut d'art contemporain, Villeurbanne/Rhône-Alpes (IAC), France et le Musée d'art contemporain de Barcelone, MACBA - Barcelone, Espagne. Actuellement, Younès Ben Slimane se consacre au développement de son prochain film grâce au programme Focus Script du Festival de Cannes.
Elie Maissin, Mieriën Coppens : Et Leurs Lettres - Documentaire | 0 | noir et blanc | 25:0 | Belgique | 2023
Elie Maissin, Mieriën Coppens
Et leurs lettres
Documentaire | 0 | noir et blanc | 25:0 | Belgique | 2023
Des centaines de lettres de convocation arrivent dans le ba?timent occupe? par La Voix des Sans Papiers. Avec soin, Kande? et Taslim trient et distribuent les lettres aux occupants qui devront comparai?tre devant le tribunal. Les jours se de?roulent comme d'habitude, les occupants restent vigilants. La nuit, dans une pie?ce au fond du couloir, ils re?pe?tent ensemble avec Modou, un occupant aguerri, comment comparai?tre devant un juge. Le jour du proce?s tout le monde se pre?sente au fur et a? mesure, dans les couloirs du tribunal re?sonnent les bruits d’une occupation.
Elie Maissin 1990° et Mieriën Coppens 1992° sont des cinéastes belges. Depuis 2015, ils documentent la lutte du collectif militant bruxellois " La Voix des Sans Papiers ". Depuis sept ans, Elie Maissin et Mieriën Coppens ont réalisé plusieurs courts métrages : Carry On, Almost At Rest, This House, We Are Stubborn, A new street, Caught In The Rain et And Their Letters. Ils recherchent un équilibre entre l'attestation d'une existence réelle et l'évocation d'autres possibilités d'existence.
Stéphanie Roland : Le Cercle Vide - Documentaire | hdv | couleur et n&b | 19:0 | Belgique, France | 2022
Stéphanie Roland
Le cercle vide
Documentaire | hdv | couleur et n&b | 19:0 | Belgique, France | 2022
Rien ne survit vraiment ici. Le fond est si profond qu’aucune lumière n’y pénètre jamais. Très peu de bateaux y passent. On ne sait pas quand les chutes auront lieu. Ce documentaire expérimental dresse le portrait d’un objet spatial et sa chute jusqu’aux ténèbres d’un cimetière spatial, une scientifique nous dévoile son attachement pour cet objet et l’absence d’images documentant ce lieu mystérieux. Voyage de Science-Fiction inversé, cet essai mélange archives réelles et fictives pour nous guider, tel un stalker, aux périphéries d’un lieu invisible.
Stéphanie Roland est une artiste visuelle et réalisatrice, basée à Bruxelles. Elle réalise des films et des installations qui explorent, entre le documentaire et l’imaginaire, les structures invisibles du monde occidental, les larges échelles du temps et les hyperobjets. ?Son travail est régulièrement présenté au niveau international, ses projets ont été inclus dans des expositions d'institutions majeures parmi lesquelles la Biennale de Venise, le Centre Pompidou, le musée du Louvre, le musée Benaki, la Biennale internationale d'art de Kampala, l’ISELP et le Wiels, entre autres.
Edouard Decam : Calibration - Film expérimental | 16mm | couleur | 15:49 | France, Espagne | 2023
Edouard Decam
Calibration
Film expérimental | 16mm | couleur | 15:49 | France, Espagne | 2023
« Tout a tendance à dériver avec le temps et perd de sa précision de façon périodique. Un ajustement assure que la précision reste au niveau requis. » Comme une invocation, une nécessité de calibration du paysage qui perdrait petit à petit sa condition naturelle, le film projette une nature mouvante, en constante modification et réajustement. Les niveaux de vents, hauteurs de neiges, les compositions physiques, géologiques, morphologiques et temporelles s’étalonnent lentement, la montagne s’équilibre. Dans la continuité de « Volva », film tourné en 2016 à l’observatoire astronomique du Pic du Midi, « Calibration » est une expérience physique de la nature, d’un temps vécu, en plein hiver, isolé dans un refuge de haute montagne durant trois semaines, au contact des aléas du vent, de la neige, des lumières et du temps.
Architecte de formation il collabore dans diverses agences avant de se consacrer exclusivement à sa pratique artistique. En 2006 il est lauréat de la bourse de la Fondation EDF pour les jeunes architectes. Il réalise le projet photographique Landscape scale sur les barrages des Pyrénées qui marquera la direction de ses futurs projets. Il centre ses recherches sur les relations qui se tissent entre l’architecture et le paysage, entre l’homme et la nature. Ses recherches tentent de construire la part impalpable de notre relation au naturel. Ses installations se développent entre photographies, vidéos et volumes construits. En 2016 il réalise son premier film, Volva à l’observatoire astronomique du Pic du Midi. Durant 3 semaines passées à 2871m, il capte inlassablement les traces du temps imprimés dans les expériences scientifiques, l’architecture du lieu et le paysage environnant. Nominé dans divers festivals, Volva est lauréat du prix LOOP Discover à Barcelone. Il intègre la collection du MACBA et du FRAC Normandie Caen. Il a été résident de la Casa de Velázquez et de l’Institut français. Ses travaux sont exposés en Europe, aux Etats-Unis et intègrent diverses collections publiques, FRAC, musées et Fondations. Il vit et travaille à Argut-Dessus, dans les Pyrénées.
Dans le cimetière de migrants de Zarzis, dans le sud de la Tunisie, Younès Ben Slimane filme un étranger qui accomplit un rituel nocturne, creusant délicatement les tombes et veillant sur les âmes au repos. Les objets laissés sur place parlent leur propre langage silencieux. Elie Maissin et Mieriën Coppens filment dans un bâtiment occupé par La Voix des Sans Papiers. Des centaines de lettres de convocation arrivent. Elles sont triées et distribuées aux occupants qui devront comparaître devant le tribunal. Stéphanie Roland dresse le portrait d’un objet spatial et retrace sa chute jusque dans une zone inaccessible. Le récit emprunte aux codes de science-fiction, inversés, mêlant archives réelles et fictives pour nous guider à la périphérie d’un lieu invisible. Edouard Decam propose une expérience physique de la nature, d’un temps vécu, en plein hiver, isolé dans un refuge de haute montagne. Le film projette une nature mouvante, en constante modification et réajustement. Les niveaux s’étalonnent lentement, la montagne s’équilibre.
Séance spéciale
Centre Wallonie Bruxelles | Cinéma
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"Le temps de l'innocence"
Thomas Mohr : St. Marien - Vidéo expérimentale | mov | couleur | 10:58 | Pays-Bas, Allemagne | 2023
Thomas Mohr
St. Marien
Vidéo expérimentale | mov | couleur | 10:58 | Pays-Bas, Allemagne | 2023
What role does childhood play in developing experience? How are personal present and past connected in the process of aging? The longing for the places of the personal past was the reason for a trip to Flensburg in 2001 a few weeks before 9/11. More than 2000 photos were taken in just a few days. It was only many years later that the negatives were digitized and it was only more than 20 years later that the need to process these recordings into a composition arose. The turbulent German-Danish history on both sides of today's border and the places of childhood come together in a whole where the past merges into one experience in the now. 3636 images are processed frame by frame in the first 3 movements. Each movement is containing 24 sequences of stills. The amount of images in the stills increases from 4 to 625 images simultaneously. After the first 3 movements the process is repeated towards the infinite to end in structures similar to the layers one would find in rock formations.
Thomas Mohr is exploring processes of perception and memory systematically in performance, painting, video, installations. From 1985 onwards a growing archive containing more then 600000 pictures regarding a wide range of events of transition from a collective meaning to very personal moments. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin, Projects with music at Stedelijk Museum, Orgelpark Amsterdam, Edith Russ Haus Oldenburg, CCAM / Scène Nationale de Vandœuvre. Michael Bonaventure , based in Edinburgh & Amsterdam, is composer, organist and collaborator in new and experimental music projects; Extended cyclic works predominate in his output including huge body of electronic and electro-acoustic pieces as well as instrumental and organ music. From a sonic universe deriving its inspiration from mysticism and ritual, natural and imaginary worlds, astronomical and supernatural phenomena.
Maximilian Bungarten : The Age Of Innocence - Fiction expérimentale | 0 | couleur | 20:0 | Allemagne | 2022
Maximilian Bungarten
The Age of Innocence
Fiction expérimentale | 0 | couleur | 20:0 | Allemagne | 2022
Lev works at a construction site in a new suburban residential area in Western Germany. But things change, friends will leave and the forest becomes a place of desire
Maximilian Bungarten born in 1993, in North Rhine-Westphalia, studies Documentaryfilm at HFF Munich and Université Paris VIII. Together with Camille Tricaud and Felix Herrmann, he founded the production company Benedetta Films. His award-winning short films have screened at numerous international film festivals including ISFF Clermont-Ferrand and art institutions like Schirn Kunsthalle Frankfurt.
Matti Harju : Ekstaasi - Fiction expérimentale | mov | couleur | 9:48 | Finlande | 2022
Matti Harju
Ekstaasi
Fiction expérimentale | mov | couleur | 9:48 | Finlande | 2022
Set in the darkest time of the year, a feverish and delirious film about a small and ever-shrinking island – the Ecstasy – located somewhere between the search for pleasure and the inherently destructive powers of capitalism.?
Matti Harju has screened work at the Rotterdam, Locarno, Kurzfilmtage Oberhausen, Torino, BFI London, Edinburgh, AFI FEST Los Angeles and Clermont-Ferrand film festivals among others. He studied film directing at the National Film and Television School (NFTS) in the UK and holds an MFA from the Finnish Academy of Fine Arts. His second feature, Fury, is currently in post-production.
Yentl De Baets : Burning Clouds - Fiction expérimentale | 0 | couleur | 17:24 | Belgique | 2021
Yentl De Baets
Burning Clouds
Fiction expérimentale | 0 | couleur | 17:24 | Belgique | 2021
A passing meteorite connects a roaming young woman, a burned-out factory worker and an unemployed young man during a long winter night. A portrait of the night and the people in it.
Yentl De Baets is a Ghent based director and cinematographer. He graduated at the film department of the KASK School of Arts in 2021 with his short experimental fiction film 'Burning Clouds'.
Julian Rabus : Magma - Fiction expérimentale | 0 | couleur | 14:0 | Suisse, Allemagne | 2022
Julian Rabus
Magma
Fiction expérimentale | 0 | couleur | 14:0 | Suisse, Allemagne | 2022
MAGMA is a method driven and improvisation based film project produced and directed by Julian Rabus. The shoot consists of long situations that last up to several hours and are filmed with up to four cameras. Actors are given space to behave without dramatic functions. Following intuitions opens a way to engage with certain psychological patterns and find narrative structures, which then manifest themselves in the editing and the viewer’s perception. In the film couples and peer groups try to find their way in everyday situations: they perform, reveal themselves, make themselves vulnerable, are insecure, fall in love or pretend to the others.
Julian Rabus works as a director and producer in the field of media art and narrative film since 2016. After he graduates from Academy of Fine Arts Munich in the class of Julian Rosefeldt he studied Film Directing at the California Institute of the Arts in Los Angeles and moved back to his hometown Berlin to finish his studies at the University of Arts in the Narrative Film class of Thomas Arslan.
Francisco Dias : Litoral - Fiction | 4k | couleur | 13:9 | Portugal | 2023
Francisco Dias
Litoral
Fiction | 4k | couleur | 13:9 | Portugal | 2023
One winter night, the sea threatens once again the tower block where two neighbours live. The next day, their children come to prompt them to leave everything behind.
Francisco Dias was born in 1999 in Porto, Portugal. In 2019, he lived and studied in Norway. In 2020, he completed the Bachelor's in Sound and Image and in 2023 the Master's in Cinema at Universidade Católica Portuguesa, having obtained scholarships for both courses. Rooted in his culture and personal experiences, his films focus on coming of age, human relationships and landscape. "I Don't Like 5 PM", winner of the Take One! competition at Curtas Vila do Conde International Film Festival, and "Coast" stand out in his filmography.
Thomas Mohr voyage sur les lieux de son enfance, en 2001, où il prend des milliers de photos en quelques jours. Vingt ans plus tard, 3636 images deviennent une composition de structures, similaires à celles que l’on trouve dans les formations rocheuses. Maximilian Bungarten observe la relation entre deux jeunes hommes, dans une zone résidentielle de la banlieue d’une ville allemande. Matti Harju raconte l’histoire d’une transaction d’Ecstasy, promesse toujours amenuisée, située quelque part entre la recherche du plaisir et le pouvoir intrinsèquement destructeur du capitalisme. Yentl De Baets fait un portrait de la nuit et des gens qui l’habitent. Trois personnes seules se croisent, dans le paysage vide d’une ville industrielle, alors qu’une météorite est annoncée. Julian Rabus interroge le processus de tournage d’un film. Il tente de saisir l’écart entre la vie personnelle des acteurs et leurs personnages de fiction, et les moments où l’origine des sentiments n'est plus discernable. Dans une petite ville côtière du nord du Portugal, Francisco Dias filme une tour où vivent deux femmes. L’érosion menace et la mer se rapproche.