Programme Paris
Jeudi 2 novembre 2023
Cinéma
Projection
Musée de la chasse et de la nature
62, rue des Archives - 75003 Paris
Métro : Hôtel de Ville, ligne 1 / Rambuteau, ligne 11 / Arts et Métiers, lignes 3 et 11 / Etienne Marcel, ligne 4
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"Hors monde"
Sherko Abbas : Silence Along The River - Doc. expérimental | mp4 | couleur | 7:0 | Iraq | 2021
Sherko Abbas
Silence Along the River
Doc. expérimental | mp4 | couleur | 7:0 | Iraq | 2021
In 1985 a group of Kurdish fighters, known as a "Peshmerga", on a mission to attack one of the army’s camps in the north of Iraq. They took the Sirwan river by a small raft to cross the area which was controlled by the Iraqi army. This footage is part of an old archive taken by my father Abbas Abdulrazaq, a former Kurdish fighter and cameraman. He accompanied this group of Peshmerga to document their activity during the mission. Despite all the risks they have taken, the battle didn’t happen. Consequently, my father filmed them when they were singing a song. I was very intrigued by his action, so I asked my father why this particular footage never showed before? He mockingly replayed who wishes to watch a film that has no fighting scenes?
Sherko Abbas is a Kurdish-Iraqi artist. He was born in Iran in 1978, where his family lived as refugees. They returned to Iraq when he was two years old. Abbas studied Fine Art in Sulaymaniyah, Iraq and earned a Master of Fine Arts degree from Goldsmiths College, University of London in 2015. His work explores sonic and visual memory, with a focus on modern memory that relies on recorded materials. Additionally, Abbas is interested in the current geopolitical situation in Iraq. Abbas’ works have been exhibited and screened internationally including at: Archaic, the Iraq pavilion at the 57th Venice biennale; Theater of Operations, MoMA PS1, New York; May Flames Pave the Way for You, Arsenal gallery, Bia?ystok; Push Festival, Manchester , UK; Towner International, Towner Eastbourne, Eastbourne; Speaking Across Mountains, Middle East Institute, Washington D.C.; Baghdad Mon Amour, Institut des Cultures d’Islam, Paris; Vernacularity, Alternativa Festival, Gdansk; Estrangement, The Showroom, London. Also, his moving image works were screened at the Independent Iraqi Film Festival's online screening, the 38th Kassel Documentary Film and Video Festival in Kassel, Germany, Aashra, Ashkal Alwan Online Film, Rencontres Internationales Paris/Berlin at the Louvre Auditorium in Paris, the Open City Documentary Combined Programme: What Rules The Invisible in London, Visit Festival Het Bos Ankerrui 5-7 in Antwerp, Belgium, Ruya Shop in Baghdad, and Shasha Movies online streaming. Abbas also works as a curator, organizer, and coordinator of cultural events. He was the operations manager for the "Post-war Culture in Iraq" project (2010) and curated the Clamour project (2016). In collaboration with curator Aneta Szy?ak, he researched and coordinated the "In-between Worlds: Kurdish Contemporary Artists" project. This resulted in a collection of artworks from over 30 Kurdish-Iraqi artists and a book. The collection is now part of the Imago Mundi collection under the auspices of the Fondazione Benetton Studi Ricerche in Treviso, Italy.
Sina Ataeian : Sand Storm - Vidéo | 4k | couleur | 5:0 | Allemagne, Iran | 2022
Sina Ataeian
Sand Storm
Vidéo | 4k | couleur | 5:0 | Allemagne, Iran | 2022
I come from Ahvaz in southern Iran, the capital of the oil industry. As a child I played football outside in more than 50°C. Ahvaz was officially the hottest city on Earth. The city was just 80km away from the frontline of the Iran-Iraq war. According to independent reports, Saddam Hussein had used chemical weapons 387 times in that region during eight years of war. The chemicals were made in the Soviet Union, East and West Germany. The mustard gas killed combatants and civilians alike and remained in the soil. After the war, and due to global warming, the city slowly became hotter and hotter. The chemically poisoned soil slowly dried out. The wind came and swept the dust up into the air. The fine dust pollution in Ahvaz is 52 times higher than the maximum tolerable limit for one’s health. Around 290 days a year there is a thick haze mixed with chemicals called ‘Sand Storms.’ Ahvaz then officially became the number one in yet another area: The most polluted city on earth. The moment the oil is depleted Ahvaz will become a ghost town. A big wave of climate migrants. A tsunami of cancer! For most people, an apocalyptic environmental catastrophe is still something that is coming in the future. For us, people from Ahvaz, it has already happened.
Sina Ataeian Dena is an Iranian-German filmmaker and artist. Sina lectures at the national university of film and television dffb, UdK University of arts Berlin, and Filmuniversität Potsdam. His video arts and photographs were exhibited at prestigious contemporary art museums such as Hamburger Bahnhof, Villa Merkel, Künstlerhaus Bethanien, Kunsthalle Baden-Baden. In 2015, his debut feature film “Paradise” was nominated for Golden Leopard in the main competition of Locarno Film Festival, and won two awards, Ecumenical Church Award and Art Peace Award, among many other festival attendees and awards around the world. In 2016, he was awarded a scholarship from Goethe Institut Villa Tarabya Istanbul. In 2018 he exhibited his first video works in the modern and contemporary art museum Villa Merkel together with Francis Alys and !Mediengruppe Bitnik. Sina was Dramaturge and associate producer of the documentary “Seven winters in Tehran” Steffi Niederzoll which won Best film of Perspective section and the Heinrich Böll prize Berlinale 2023, F-ACT award at CPH:DOX Copenhagen among ongoing festival attendees and further awards.
Natacha Nisic : Et N'être Que Brume - Film expérimental | 0 | couleur | 15:0 | France | 2023
Natacha Nisic
Et n'être que brume
Film expérimental | 0 | couleur | 15:0 | France | 2023
Dans la tour de la ville de Malakoff "Et n’être que brume » met en place le cadre expérimental d’une improvisation.Plongés dans les brumes, les êtres se révèlent. L’écran de la fumée permet une libération des affects car au sein du brouillard se logent les souvenirs, les torpeurs et les désirs. Le film est en hommage à la Crimée annexée depuis 2014 par la Russie.
Natacha Nisic is an artist and filmmaker. She weaves links between history, representation and memory and its implications in the political, social and cultural fields. She explores the invisible relationship between images, words, interpretation, symbol and ritual. Her work questions the nature of the image through different media: Super 8, 16MM, video, photography and drawing. She created The Crown Letter (2020), an international platform of women artists, in response to the Corona virus crisis. She directed “Rather Die Than Die” (2018) a documentary essay on the First World War and the art historian Aby Warburg as part of the commemorations of the Centenary of the First World War, and, for Arte, “Andrea’s Sky” (2014) on a Bavarian shaman initiated in South Korea. Natacha Nisic exhibits worldwide — recent exhibitions include, MNAV, Uruguay, 2023, Frise, Hambourg(2023), Leopold Hoesch Museum (2022), Centre Pompidou (2020), Sharjah Film Platform (2019), the Yebisu Film Festival, Tokyo (2018), the Media City Biennale in Seoul (2016), Bienal de la Imagen en mouvement in Buenos Aires, Munfret in Buenos Aires (2016). In 2014, about his highly acclaimed solo exhibition, Echo at the Jeu de Paume in Paris, the Art Press newspaper writes “His work offers a mediation on cultural differences, on the necessary struggle to consolidate memory against oblivion”. Natacha Nisic created the Children’s Memorial at the Shoah Memorial in Paris in 2005, questioning the question of the monument and its evolution over time. Nisic has obtained numerous scholarships and residencies, notably at the Villa Kujoyama, Tokyo in 2001 and 2016, at the Gyeonngi Creation Center, South Korea (2010) and at the Villa Medici, Rome in 2007. Education: Ecole Nationale Supérieure des Arts Décoratifs, Paris; Deutsche Film und Fernseh Akademie, Berlin; La Femis, Paris. Born in Grenoble, France, in 1967.
Gleb Sereda : Kros - Film expérimental | 0 | couleur | 52:0 | Russie | 2023
Gleb Sereda
Kros
Film expérimental | 0 | couleur | 52:0 | Russie | 2023
This is a metaphorical story about two young skaters who are trying to make sense of themselves in the world.
Sherko Abbas reprend des archives de son père qui, en 1985, avait suivi des combattants kurdes qui avaient pour mission d'attaquer un camp militaire dans le nord de l'Irak, mais la bataille n’a jamais eu lieu. Sina Ataeian a passé son enfance à Ahvaz, dans le sud de l'Iran, capitale de l'industrie pétrolière. Officiellement ville la plus chaude de la planète, elle est devenue également la ville la plus polluée au monde. Située à 80 km de la ligne de front de la guerre Iran-Irak, Saddam Hussein a utilisé des armes chimiques 387 fois dans cette région. Le gaz moutarde persiste dans le sol, et devient, environ 290 jours par an, une brume épaisse appelée « tempête de sable ». Natacha Nisic propose le cadre expérimental d’une improvisation dans un lieu clos plongé dans la brume. Corps et paroles se libèrent, comme une réminiscence du confinement et de la guerre. Gleb Sereda suit deux jeunes garçons qui cherchent leur place dans le monde, et semblent vivre l’adage russe : « Aller là, sans savoir où – trouver quelque chose, sans le savoir ».
Projection
Musée de la chasse et de la nature
62, rue des Archives - 75003 Paris
Métro : Hôtel de Ville, ligne 1 / Rambuteau, ligne 11 / Arts et Métiers, lignes 3 et 11 / Etienne Marcel, ligne 4
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"Non humain, trop humain"
Andro Eradze : Raised In The Dust - Vidéo | 4k | couleur | 7:45 | Georgie | 2022
Andro Eradze
Raised in the Dust
Vidéo | 4k | couleur | 7:45 | Georgie | 2022
Inspired by Donna Haraway and John Berger’s contemporary theories on interspecies relations, Andro Eradze fills the frames of his works with plants and animals poised to exceed their boundaries. His camera follows scenes on the cusp of something undefined: a smouldering campfire, a stormy forest of wind-whipped trees, a flooding football pitch. Accompanied by haunting, transcendent soundtracks, his films feel like a compilation of the transitional moments of a feature film, leaving the viewer with a sense of expansive anticipation. Eradze’s new video installation for The Milk of Dreams, titled Raised in the dust (2022), stems from the conclusion of classical Georgian poet Vazha-Pshavela’s The Snake Eater (1901). The poem’s protagonist has a supernatural talent for understanding the language of nature; he must decide between his connection to nature and his social responsibilities, ultimately bowing to the latter. Eradze’s film takes place in a forest. Taxidermized animals appear one by one, disturbed by an uproar of New Year’s Eve fireworks. Critical of the human carnival that is disruptive, toxic, and fatal for wildlife, Eradze’s film repositions fireworks as an entry point onto the dark and mythological side of the forest, a world of plants, animals, and phantoms.
Andro Eradze (b. 1993) lives and works in Tbilisi, Georgia. He studied at the Shota Rustaveli Film Academy, as well as CCA-T (Center of Contemporary Art Tbilisi) MFA program. His works meditate on the qualitative nature of images, still as well as moving. Working primarily in Georgia, Eradze experiments with introducing narratives to the outskirts of human habitation, in the literal and figurative sense. The feeling of an uncanny, non-anthropocentric presence in his works invites the viewer to the liminal space between the subjective and the visceral, between cognition, perception and the alien otherness of non-human experience. Animals, objects, plants, and digital artifacts permeate a sense of presence in a landscape that exists simultaneously parallel and entangled human experience. Eradze’s practice investigates the potentiality of animism as method. Photography, installations, experimental cinema practices and video blend into a project contemplating the fading present, in which the Anthropocene is faltering, and everything operates independently of it. Building upon the legacy of alternative approaches to reality—surrealism and magical realism—his images blur the distinction between the imaginary and the real.
Eteam : Our Non-understanding Of Everything 04 - Vidéo | hdv | couleur | 14:13 | Allemagne, USA | 2022
Eteam
Our Non-Understanding of Everything 04
Vidéo | hdv | couleur | 14:13 | Allemagne, USA | 2022
What is our relationship to our tech devices? How do smart devices exist in the world? What do we want from them? What do they want from us? "Our Non-Understanding of Everything" is a daily practice, where we observe and speculate of how our personal tech devices and their building parts exist in a possible future, shared between the architecture of circuitry, political thought and the wild and programmed parts of our natural environments. “Our Non-Understanding of Everything” signals a complete openness to learn, shift viewpoints, upturn embedded prejudices, discover, surprise and draw connections between phenomena and things that reside and operate in wildly diverse realms. The project aligns with non-representational ideas, in which events and encounters in the world are constituted through emergent, relational, and intangible complexities that cannot necessarily be articulated or contained within the particular ways we attempt to represent them.
eteam is a two people collaboration who uses video, performance, installation and writing to instigate and articulate encounters at the edges of diverging cultural, technical and aesthetical universes. Traversing over earthly planes they trigger communication, collaborations and transformations between humans, nature, and technologies. Through their artistic practice eteam finds ways to collaborate with people who operate on the edges of mainstream culture and the marketplace. They are drawn to those willing to experiment, cross genres and cultural boundaries, they forge proximity and make visible the interconnections we humans share with land, animals, plants, ghosts, deities and objects. Eteam’s work is land- and process-based, often long term, situational and happens in places they don’t inhabit permanently. Practicing art is their way to enter the “outside,” pay close attention to the details, while trying to understand the whole. Eteam’s narratives have screened internationally in video- and film festivals, they lectured in universities, presented in art galleries and museums and performed in the desert, on fields, in caves and on mountaintops, in ships, black box theaters and horse-drawn wagons. They could not have done this without the generous support of Creative Capital and The John Simon Guggenheim Memorial Foundation, Art in General, NYSCA, NYFA, Rhizome, CLUI, Taipei Artist Village, Eyebeam, Smack Mellon, Yaddo and MacDowell, the City College of New York, the Academy of Visual Art HKBU and the Fulbright Scholar Program, among many others. Their novel “Grabeland” was published by Nightboat Books in February 2020. They are represented by Gallery M29, Cologne Germany and Video Data Bank, Chicago.
Matthias MÜller, Christoph Girardet : No Animal - Vidéo expérimentale | 4k | couleur et n&b | 21:3 | Allemagne | 2022
Matthias MÜller, Christoph Girardet
No Animal
Vidéo expérimentale | 4k | couleur et n&b | 21:3 | Allemagne | 2022
Time and again, the feature film places animal actors at the side of its human protagonists – sometimes as loyal companions, sometimes as fierce opponents. However, its stagings do not only instrumentalise animals to release emotions, but also raise a fundamental question of our anthropocentric self-image: how to deal with the experience of the otherness of the animal?
Christoph Girardet, born in 1966, and Matthias Mu?ller, born in 1961, have been collaborating in film, video, photography, and installation since 1999. They had solo exhibitions at institutions such as FACT, Liverpool, Kunstverein Hannover and West, The Hague. They have participated in group shows at the Palais de Tokyo, Paris, Hirshhorn Museum, Washington, and Eye Filmmuseum, Amsterdam, among others. Both have taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin, Toronto, Locarno, Oberhausen and Rotterdam. Their work is included in several public and private collections.
Brit Bunkley : The Peaceable Kingdom - Vidéo expérimentale | mp4 | couleur | 5:28 | Nouvelle-Zélande, Espagne | 2023
Brit Bunkley
The Peaceable Kingdom
Vidéo expérimentale | mp4 | couleur | 5:28 | Nouvelle-Zélande, Espagne | 2023
“The Peaceable Kingdom” is a deep fake ontology. It is a dreamscape of various domestic and wild animals inhabiting human architectural spaces metaphorically and physically as both totems and discrete intelligent beings. The title is taken from a series of paintings by the Quaker minister and painter, Edward Hicks.
Brit Bunkley is a New Zealand-based artist and videographer whose practice includes the construction of large-scale outdoor sculpture and installations as well as the creation of ‘impossible’ moving and still images and architecture designed using 3D modeling, video editing, and image editing programs. Bunkley, an NZ/USA citizen, has also been a recipient of a National Endowment for the Arts fellowship and the Rome Prize Fellowship in the USA. International screenings include the White Box gallery in NYC and the Rencontres Internationales Paris/Berlin. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017, 2018, and 2019. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne, and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018, Docfest Kassel 2019 and Jihlava IDFF 2021 and 2022, Czech Republic. And Video Art Miden and Video Art Projects, Municipal Gallery of Thessaloniki, Thessaloniki, Greece, FILE SP 2023 exhibition and Hochkantfilmfest, Portrait -video on advertising billboards, Bremen, Germany in 2023 Recent group exhibitions include the “Stories of Rust”, Tauranga Art Gallery, Tauranga, NZ, and “Green Around'' in Taipei, Taiwan in 2019, the Auckland Botanic Gardens 2022 and “Sculpture on the Gulf” 2022, Auckland, NZ, the “2021 National Contemporary Art Award”, Waikato Museum, Waikato, NZ and “Visions in the Nunnery”, Bows Art/Nunnery Gallery, London in 2022. Recent solo exhibitions include Solo exhibitions include the Sarjeant Gallery, Whanganui, New Zealand in 2018, the Institut für Alles Mögliche/Stützpunkt Teufelsberg, Berlin 2019, The Rabbit Room, Napier, NZ 2022, at Scott Lawrie Gallery, Auckland New Zealand 2022, and aGallery, Whanganui, NZ.
Matthew Lax : A Tired Dog Is A Good Dog, Part One - Doc. expérimental | 4k | couleur | 20:0 | USA | 2022
Matthew Lax
A Tired Dog Is a Good Dog, Part One
Doc. expérimental | 4k | couleur | 20:0 | USA | 2022
A quadruplet raised on a collie farm explores human-dog behaviors through queer “puppy play,” leading to nuanced discoveries of how people treat people “like animals.”
Lax’s films and video installations have screened and been exhibited at venues including Viennale (Austria), IHME Contemporary (Helsinki), MIX New York and MIX Brasil (São Paulo), table (Chicago), Los Angeles Municipal Art Gallery (LAMAG), Los Angeles Contemporary Archive (LACA), Everson Museum of Art (Syracuse, NY), REDCAT, Film Forum, Winnipeg Underground Film Festival, The Drawing Center (New York), and CROSSROADS (San Francisco), among others. Lax’s organizational projects include those held at Anthology Film Archives (NY), Fellows of Contemporary Art (LA), and Human Resources LA. Lax’s writing has appeared in print and online publications including MARCH Journal, Los Angeles Review of Books (LARB), ArtPractical, and Texte Zur Kunst), as well a catalogue contribution with the Lawndale Art Center (Houston, TX) and a limited edition zine with Inga Books (Chicago).
Freja Sofie Kirk : Killing Kidding Colliding - Vidéo expérimentale | mov | couleur | 7:6 | Danemark | 2022
Freja Sofie Kirk
Killing Kidding Colliding
Vidéo expérimentale | mov | couleur | 7:6 | Danemark | 2022
A bird carries us swiftly through empty lobbies and offices of a bank in Frankfurt, until it collides with a glass façade and falls to the floor. In this way, ‘Killing Kidding Colliding’ shows glass as both a material and an ideological symbol, moving between transparency and reflection, making things visible but impossible to touch. Moving mechanically between the different spaces of the bank, it draws attention to its own technique, while looking at the power and ideology of modern architecture, and how its immediate openness, transparency and smoothness also contain an underlying and invisible volatility.
Freja Sofie Kirk is a visual artist based in Copenhagen. Working across video, photography and installation, and often in connection with each other, she looks at the inner mechanisms and contradictions of images. Her work takes the form of a continuous study of spatial and medial constructions, the violence they perform and the architecture they manifest. By utilizing the camera, Freja Sofie Kirk attempts to renegotiate the power relations inherent in both archi- tecture and image production.
Andro Eradze s'inspire de la conclusion du poème « Le mangeur de serpent » (1901) du poète géorgien classique Vaja Pshavéla. Le protagoniste du poème possède un talent surnaturel pour comprendre le langage de la nature ; il doit alors choisir entre ce lien et ses responsabilités sociales. Des animaux taxidermisés apparaissent dans une forêt les uns après les autres, dérangés par le vacarme des feux d'artifice de la Saint-Sylvestre. Le collectif Eteam pose la question de notre relation avec les appareils technologiques, en prenant en compte nos environnements construits et l’environnement naturel. Matthias Müller et Christoph Girardet interrogent, dans le champ du cinéma, la place des acteurs animaux aux côtés des protagonistes humains, tantôt fidèles compagnons, tantôt féroces adversaires. Ces mises en scène instrumentalisent le vivant pour provoquer des émotions, mais soulèvent également une question fondamentale sur la représentation anthropocentrée : comment envisager l'altérité de l'animal ? Brit Bunkley crée une fausse ontologie, un paysage de rêve dans lequel divers animaux domestiques et sauvages habitent des espaces architecturaux humains, métaphoriquement et physiquement, à la fois comme des totems et des êtres intelligents discrets. Matthew Lax, quadruplet ayant grandi dans une famille qui élevait des chiens colleys, explore les relations entre humains et chiens au travers de « jeux de chiots » queer, le conduisant à des découvertes pleines de nuances sur la façon dont les humains traitent les autres « comme des animaux ». Freja Sofie Kirk suit un oiseau, qui nous transporte à travers les halls et les bureaux vides d'une banque de Francfort, jusqu'à ce qu'il heurte une façade en verre et tombe sur le sol.
Séance spéciale
Musée de la chasse et de la nature
62, rue des Archives - 75003 Paris
Métro : Hôtel de Ville, ligne 1 / Rambuteau, ligne 11 / Arts et Métiers, lignes 3 et 11 / Etienne Marcel, ligne 4
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Accréditation professionnels et badge jeunes : accès gratuit prioritaire dans la limite des places disponibles
"Zone critique"
Kristina Norman : Thirst - Fiction expérimentale | 4k | couleur | 16:7 | Estonie | 2022
Kristina Norman
THIRST
Fiction expérimentale | 4k | couleur | 16:7 | Estonie | 2022
The film Thirst is a post-human choreography of machines and displaced plants. Millions of tons of Estonian peat end up in greenhouses in the Netherlands, where it is used as a soil substrate for tropical Phalaenopsis orchids. Meanwhile, local communities in Estonia are left with dry wells and a lack of drinking water as their fragile wetlands are drained for peat extraction. The orchids from the Netherlands then find their way back to supermarkets and homes in Estonia. It is a thirst for luxury and abundance that keeps the capitalist machinery running. Thirst is one episode from Kristina Norman’s Orchidelirium film trilogy. Commissioned for the Estonian Pavilion at the 59th International Art Exhibition – La Biennale di Venezia. Author and director: Kristina Norman Cinematographer: Erik Norkroos Composer: Märt-Matis Lill Choreographer and cast: Mari Mägi Produced by Rühm Pluss Null in collaboration with CCA Estonia
Kristina Norman (b.1979, lives and works in Tallinn) is an artist whose interdisciplinary work includes video installations, sculpture, and projects in the city space, as well as documentaries and performance. She is interested in the issues of collective memory, the memorial uses of the public space, but also the subtle sphere of the body politic that transgresses the boundaries between the public and the private. In 2009 she represented Estonia at the 53rd International Art Exhibition – La Biennale di Venezia, with a solo project; a multilayered mixed media installation entitled After-War. The project was a study of a conflict around the relocation of a Soviet monument in Tallinn. In 2022 at the 59th edition, the artist again represented Estonia with an ecocritical exhibition “Orchidelirium. An Appetite For Abundance”, a duo show with Bita Razavi, curated by Corina Apostol. Norman’s experimental film trilogy commissioned for the Estonian Pavilion, offers multiple ways to reflect on the legacies of colonialism from a specifically Eastern European perspective.
Michiel Van Bakel : What Wide Web? - Vidéo expérimentale | 4k | couleur et n&b | 5:0 | Pays-Bas | 2022
Michiel Van Bakel
What Wide Web?
Vidéo expérimentale | 4k | couleur et n&b | 5:0 | Pays-Bas | 2022
For some years Wood Wide Web is the magic phrase to describe the web of roots, fungi and bacteria helping to connect trees and plants to one another. In ‘What Wide Web?’ Van Bakel depicts the surreal wasteland of Rotterdam Maasvlakte and its forest of pylons. After a bumpy ride we zoom in on the improbable beauty germinating underneath high voltage lines, a living part of our world hardly ever noticed. The plants that grow below the energy-web are shown as in a digital herbarium. We can ask ourselves: are industry and nature evolving more into co-existence? Background info: Location: Rotterdam harbour, Beerweg Maasvlakte, a place that used to be a nature reserve called ‘de Beer’. Sound: Contact mics on humming power-pylons. Geophones in the earth on the spot that record the sound of falling raindrops. Camera: Animation of still photographs made with home-built scannercamera. Instead of bringing plants to a picture-scanner in his studio, the artist dragged the scanner on site over soil and green. “A forest ecology is a delicate one. If the forest perishes, its fauna may go with it. The Atshean word for world is also the word for forest.” Ursula K. Le Guin from The Word for World is Forest.
Michiel van Bakel studied astronomy, film/photography (Psychopolis; Frans Zwartjes) and psychology for several years before he chose for fine art, at art school. Van Bakel expresses himself artistically in film and videos, sculpture and installations. His work focuses on people and their surroundings, often resulting in a poetic reality. It conveys a fascination for the tension between humans and technology, and the perception of time in our disrupted ecosystems. Van Bakel lives and works in Rotterdam.
Coyote : New Centuries Are Rare - Doc. expérimental | 0 | couleur et n&b | 11:15 | Suède | 2022
Coyote
New Centuries Are Rare
Doc. expérimental | 0 | couleur et n&b | 11:15 | Suède | 2022
New Centuries Are Rare is a short film by the artist collective coyote (SWE/DK). The film explores the interlaced history of the former mining village Norberg in Sweden and the emblematic story of the electronic music scene at the turn of the last century. Sampling these intersections in time, New Centuries are Rare unfolds a journey through psychological, chemical and technological rhythms placed in close proximity to the grinding resistance present in the region’s past.
coyote is a multidisciplinary artist collective founded in 2017. Their collective practice is constantly in flux and moves between artistic and curatorial work. In addition to several self-produced exhibitions and projects, coyote have exhibited at Bizarro (DK), KØS - Museum of Art in Public Spaces (DK), Index - The Swedish Contemporary Art Foundation (SE), NSFW/SVILOVA (SE) and curated events at Filmform (SE), Moderna Museét (SE) and Bonamatic (DK) among others.
Sonia Levy : Creatures Of The Lines - Film expérimental | mov | couleur | 19:54 | France, Royaume-Uni | 2021
Sonia Levy
Creatures of the Lines
Film expérimental | mov | couleur | 19:54 | France, Royaume-Uni | 2021
Creatures of the Lines is an artist film and collaboration with anthropologist Heather Anne Swanson. It explores how desires for economic growth and linear progress have produced straightened forms in England’s watery terrains and asks what risks are associated with the conversion of once-curvy and braided worlds into a linearised landscape. Drawing on their longstanding research interests and conversations exploring the risks to and in aquatic ecologies with freshwater scientists, the film explores how English waterscapes have been transformed via the construction of canals. As arteries of British Empire, canals linked Indian cotton fields to domestic textile mills, facilitating vast ecological transformations from monoculture agriculture in the colonies to industrial discharges in England’s waters, soils, and air– and thus serve as a key site for exploring often-overlooked histories of colonial capitalism and their material presences in contemporary worlds. Attempting to work from within muddy, submerged sites, rather than from grand narratives or “god’s-eye” viewpoints, the work begins inside canals, telling stories from within the lines. Making use of the open-ended sensibilities of ethnography and natural history, it raises questions about ecological transformations and their ties to infra/structures of global political economy.
Sonia Levy's inquiry-led practice considers shifting modes of engagement with more-than-human worlds in light of prevailing Earthly precarity. Her work operates at the confluence of knowledge practices to interrogate Western expansionist and extractivist logics. She is the 2023-2024 recipient of the European Marine Board artist-in-residence programme. She was the 2022 selected artist of the S+T+ARTS4Water residency hosted by TBA21 in Venice and the 2021 commissioned artist at Radar Loughborough and Aarhus University's "Ecological Globalization Research Group". She has presented her work internationally, including shows and screenings at Ocean Space, Venice; Museo Thyssen, Madrid; Museo CA2M, Madrid; Sainsbury Centre, Norwich; ICA, London; The Showroom, London; Goldsmiths College, London; BALTIC, Gateshead; ZKM, Karlsruhe, Art Laboratory Berlin; HDKV, Heidelberg; Centre Pompidou, Paris; Musée de la Chasse et de la Nature, Paris; Muséum d'Histoire Naturelle, Paris, Verksmiðjan á Hjalteyri, Iceland Whale Museum, Iceland; Harvard Graduate School of Design, Cambridge USA; NYU Gallatin, New-York, Paris. Her work has been published by MIT Press and Thames & Hudson.
Devadeep Gupta : Normalisation Of A Disaster - Film expérimental | mp4 | couleur | 8:46 | Inde | 2020
Devadeep Gupta
Normalisation of a Disaster
Film expérimental | mp4 | couleur | 8:46 | Inde | 2020
While observing an isolated event of an artificial, industry-facilitated disaster, Normalisation of A Disaster makes a reflective commentary on the psyche of people in the vicinity of the site of disaster, albeit not immediately affected by it. Exploring the ideas of nonchalance, sensitization and casual tourism towards sites of disaster in a region plagued by disasters, this reflection includes the self of the artist, and his family, and hordes of ‘tourists’ attracted towards the light of the morbid spectacle. The Baghjan Oil Blowout happened on 27th of May 2020, which caught fire through a massive explosion on 9th of June 2020 after leaking gas in the atmosphere for two weeks, continued to burn for 6 months, before being finally doused on 15th of November, 2020. This artificial disaster in an Oil-India Limited owned site has caused the displacement of more than 1600 families who were in the vicinity of the site of gas blowout, and were being sheltered in makeshift relief camps in nearby areas.
Devadeep Gupta B. 1989 Guwahati, Assam, India I frame my artistic process as an exploration of regional ecological uncertainties through a critical examination of associated mainstream perspectives. Inspired by site-specific and vernacular occurrences, I delve into the intricate relationship between people and their land. My artistic practice encompasses the realms of film and sculpture, bridging the gap between conceptual and documentary approaches. Within this intersection, I am particularly interested in narratives that emerge from the convergence of mythology and contemporary experiences. Grounded in the rich cultural landscape of Assam, I draw inspiration from pragmatic practices, oral traditions, and folklore. Central to my artistic endeavors are performative processes that pay homage to meta-cultural practices. Through visual and conceptual stimuli, I incorporate elements of local community-led actions to portray the environmental changes specific to each site. Everyday rituals that have organically evolved as meta-cultural actions inspire the forms and expressions within my artistic practice. The outtakes of my process, realized as rhythmic sculptural forms are expressed through mediums of film, image and sculpture to illustrate these outcomes. ?
Adam James Smith : Frontier Phantom - Doc. expérimental | 0 | couleur | 24:37 | Royaume-Uni, USA | 2023
Adam James Smith
Frontier Phantom
Doc. expérimental | 0 | couleur | 24:37 | Royaume-Uni, USA | 2023
In the dead of winter, the gas flares and spectral sounds of an oil boom awaken the long-abandoned prairies and ghost towns of North Dakota.
Adam James Smith is a British filmmaker based in New York. His filmmaking practice spans rural and urban environments across China, Japan, and the United States. His first feature film, The Land of Many Palaces, on the Chinese "ghost city" of Ordos, participated in the Sundance Institute workshop and premiered at the 2015 Santa Barbara International Film Festival. The film then went on to screen at festivals and on television around the world, picking up awards in Moscow, Rome, and Kyoto. His follow-up film, Americaville, on the Chinese replica of Jackson Hole, Wyoming was sponsored by the Whicker's Foundation and the Asian Cinema Fund. The film was released in 2020 and has since been screened around the world at festivals and universities. Adam is currently completing a series of films documenting the diversity of the rural experience throughout the American heartland, including the country’s oldest Black rodeo in Okmulgee Invitational, the oil boom awakening the abandoned homesteads of North Dakota in Frontier Phantom, and Native American cowboys in Arapaho Pasture. Adam was educated in film at Stanford and anthropology at Cambridge, the latter of which he is currently an Affiliated Filmmaker at the university’s Visual Anthropology Lab.
Michiel van Bakel filme le terrain vague surréaliste de la Maasvlakte de Rotterdam et sa forêt de pylônes. Une improbable beauté germe sous les lignes à haute tension. Kristina Norman documente la façon dont des millions de tonnes de tourbe prélevées en Estonie finissent comme substrat à la culture d’orchidées tropicales dans des serres aux Pays-Bas, orchidées qui seront envoyées dans le monde entier, y compris en Estonie. Sonia Levy explore la façon dont les paysages aquatiques anglais ont été transformés par la construction de canaux à l’époque de l’Empire britannique. Véritables artères, ils reliaient les champs de coton indiens aux usines textiles nationales, et constituent aujourd’hui un matériau important pour saisir les effets négligés du capitalisme colonial sur les écosystèmes contemporains. En Inde, après l’explosion pétrolière de Baghjan en 2020, qui a provoqué d’immenses feux pendant plus de six mois et a entraîné le déplacement de 1 600 familles dans des camps de réfugiés, Devadeep Gupta réfléchit sur la psyché des personnes à proximité du lieu du désastre, habitants ou touristes attirés par la lumière du terrible spectacle. Dans le Dakota du Nord, en plein essor pétrolier, Adam James Smith filme au cœur de l'hiver les torchères et les bruits spectraux qui réveillent les villes fantômes et les prairies depuis longtemps abandonnées, offrant une vision apocalyptique d'une terre dépourvue de vie humaine, animale ou végétale, animée seulement par la spéculation sur les combustibles fossile.
Séance spéciale
Musée de la chasse et de la nature
62, rue des Archives - 75003 Paris
Métro : Hôtel de Ville, ligne 1 / Rambuteau, ligne 11 / Arts et Métiers, lignes 3 et 11 / Etienne Marcel, ligne 4
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"Présage"
Mauridi Primo : Mawe - Film expérimental | mov | couleur | 12:20 | Congo (RDC) | 2022
Mauridi Primo
Mawe
Film expérimental | mov | couleur | 12:20 | Congo (RDC) | 2022
Grâce à un rituel de réveil, Nyabhingi la déesse de l’abondance s’élève du Liangombe souffle Mazuku. Elle doit guérir Goma(Rd Congo) de la destruction et rétablir l’écologie balance. Avec ses guerriers, Ils sont témoins de la désolation causée par l’arrogance industrielle qui a profané la terre, invoquant la fureur de Lingombe, l’esprit de discipline qui corrige tous les torts. Lingombe crache du feu et Mahindule (lave) pour avertir le peuple de ses transgressions.
Mauridi Primo est un photographe et cinéaste originaire de Goma (RDC Congo). Comme un jeune artiste qu’il a fait son apprentissage pendant plusieurs années au centre culturel Yole Africa!, sous la supervision pédagogique et artistique de la cinéaste et activiste Petna Ndaliko Katondolo. il a participé IXes Jeux de la francophonie avec sa réalisation nommer (Mobembo). il a été avec son film Bila Mask au Festival film Congo in Harlem, et cette même année, il a remporté l’Académie Canon VII bourse. En avril 2022, il participe à la rencontre numérique internationale La Rencontre Internationale des Arts Numériques et Visuels à Abidjan.
Clara Jo : De Anima - Doc. expérimental | 0 | couleur | 29:35 | Allemagne, Myanmar | 2022
Clara Jo
De Anima
Doc. expérimental | 0 | couleur | 29:35 | Allemagne, Myanmar | 2022
"De Anima" spans documentary and animation and features a dreamlike narrative examining how various gendered, racialized, economic, and metabolic systems embedded within the global health system—which have become especially apparent during the COVID-19 crisis—drive fear of contamination from the nonhuman world. The work’s departure point is Jo’s 2018 field research in Myanmar with Smithsonian wildlife veterinarians who were hunting for new strains of coronavirus to predict their pandemic potential. The sacred caves depicted in "De Anima" are both high-risk interfaces as well as sites of spiritual encounter between humans and animals, science and religion, nature and politics—interfaces where ecosystems cross and feed into global conflict. This behind-the-scenes work had been underway for years, and sheds light on the inevitable: not of a why but an unknown when—offering an ominous prelude to the current global health crisis. Recorded in Myanmar, Kenya, and France, the images and sounds featured in "De Anima" that once felt so ‘far away’ now deeply resonate in the everyday. The work exposes subtexts that reveal deeper issues embedded within society at large, namely the neglect and treatment of health beyond the human in an era of accelerated globalization.
Clara Jo's work has been exhibited and screened her work at Gropius Bau (Berlin), Centre Pompidou (Paris), ARKO Art Center (Seoul), Royal Academy of Arts (London), 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). She has presented her work for talks at the Centre Pompidou (Paris), Stedelijk Museum (Amsterdam), and King’s College (London).
Eli CortiÑas : I‘ve Always Demanded More From The Sunset - Vidéo | mov | couleur et n&b | 4:0 | Espagne, Allemagne | 2022
Eli CortiÑas
I‘ve Always Demanded More From The Sunset
Vidéo | mov | couleur et n&b | 4:0 | Espagne, Allemagne | 2022
In the three channel video installation 'I’ve Always Demanded More From The Sunset' a mysterious female artificial intelligence warns us about humans being naturally drawn to killing. While navigating different sequences of breathing exercises to overcome fear and what seems to be an array of non human entities in a state of uncanniness and disbelief, different associations and questions beginn to appear: What stories lie in the forest? What arises in the ruins of man made devastation? An orchestrated symphony of mushrooms emerges from the ground like a poetic anticipation of post-human life.
Eli Cortiñas is a video artist of Cuban descent, born in Las Palmas de Gran Canaria. She was a guest professor at the Art Academy Kassel and the Art Academy Mainz and shared a professorship for Spatial Concepts with Candice Breitz at the University of Art Braunschweig from 2019 till 2022 Cortiñas has recently been appointed professor for Media Art at the Academy of Fine Arts Leipzig. She has received numerous grants and residencies, including Fundación Botín, Kunstfonds, Villa Massimo, Berlin Senate, Villa Sträuli, Goethe Institute, Kölnischer Kunstverein, Rupert and Karl Schmidt Rottluff among others. Cortiñas’ work has been presented in solo and group exhibitions at institutions such as Museum Ludwig, Kunsthalle Budapest, CAC Vilnius, SCHIRN Kunsthalle, SAVVY Contemporary, Kunstverein Braunschweig, Museum Marta Herford, Kunstraum Innsbruck, Centro Atlántico de Arte Moderno, Centre Georges Pompidou, Museum of Modern Art Moscow, Kunstmuseum Bonn and MUSAC et al., as well as in international Biennials and festivals such as Ural Industrial Biennial, Riga Biennale, Moscow International Biennale for Young Art, Mardin Biennale, International Short Film Festival Oberhausen, International Curtas Vila Do Conde and Nashville Film Festival et al. She lives and works in Berlin.
Egle Budvytyte : Songs From The Compost - Fiction expérimentale | mov | couleur | 28:8 | Lituanie, Pays-Bas | 2022
Egle Budvytyte
Songs from the Compost
Fiction expérimentale | mov | couleur | 28:8 | Lituanie, Pays-Bas | 2022
'Songs from the Compost: Mutating Bodies, Imploding Stars', shot in the pine forests and sand dunes of the Curonian Spit, is a hypnotic exploration of nonhuman forms of consciousness and different dimensions of symbiotic life: interdependence, surrender, death, and decay. The images gradually layer, alongside intimate lyrics of a song that channels the desires of an entity shapeshifting across different genders, voices, and beyond-human embodiments. Featuring a cast comprised of local youth, alongside performer and choreographer Mami Kang, the film unfolds through a specially conceived song, choreography and costumes. Horizontality in the choreography undoes the usual verticality of the human figure, unfurling her into the landscape.The performers’ bodies are sites of activity, though they’re often horizontal, pulled toward the earth and one another, moving through the forest, along the sand dunes and water. The song lyrics draw on the work and words of biologist Lynn Margulis, celebrating the role of bacteria in making life and the collaboration between the single-cell organisms possible, as well as concepts by the science-fiction author Octavia Butler, who employed tropes of symbiosis, mutation, and hybridity to challenge hierarchies and categorisation.
Egl? Budvytyt? (b. 1981, Lithuania) is an artist based in Amsterdam and Vilnius working at the intersection between visual and performing arts. She approaches movement and gesture as technologies for a possible subversion of normativity, gender and social roles and for dominant narratives governing public spaces. Her practice, spanning across songs, poetry, videos and performances, explores the persuasive power of collectivity, vulnerability and permeable relationships between bodies, audiences and the environment. Her work was shown amongst others at the 59th International Art Exhibition of La Biennale di Venezia, Vleeshal, Middelburg, NL, Riga International Biennial of Contemporary art (RIBOCA); Renaissance Society, Chicago, Lofoten International Art festival; Block Universe festival, London; Art Dubai commissions; Liste, Art Basel; 19th Biennale of Sydney; De Appel Arts Centre; CAC in Vilnius, and Stedeljik Museum in Amsterdam. Egle was resident at Le Pavillon, Palais de Tokyo (Paris, FR, 2012) and at Wiels, Contemporary art centre, (Brussels, BE, 2013).
Nelson Bourrec Carter : It's Coming From Inside The House - Fiction expérimentale | mp4 | couleur | 10:45 | France | 2022
Nelson Bourrec Carter
It's Coming from Inside the House
Fiction expérimentale | mp4 | couleur | 10:45 | France | 2022
A seemingly disembodied voice reflects on what it takes to survive, in a world modeled after a perception of reality far from what the one it experiences on a daily basis.
Nelson Bourrec Carter is a French-American filmmaker and visual artist. His practice combines photography, film, installation and performance while his research revolve around the links woven between real territories and fantasized landscapes, whether they be urban, peri-urban, or rural, influenced by the weight of popular imagery. His work focuses mainly on the influence of American iconography on identity construction and racial awareness, and operates from places whose hybridity, history or architecture lend themselves to a new interpretation. He demonstrates that these visual tropes are more interconnected than they appear and that they articulate questions of gender, race, and class, while raising the issue of which bodies - whether they are embodied or inscribed in a ghostlike manner within the architecture - occupy the spaces of representation in the American cultural economy. Nelson’s films have been shown in festivals such as New Directors/New Films, Entrevues Belfort, Vila do Conde or within institutions like the Cinémathèque Française or the Jeu de Paume.
Mauridi Primo reprend un ancien rituel de réveil lié au volcan Nyiragongo et à la déesse de l’abondance, pour explorer de nouvelles formes de mémoires intergénérationnelles et de mythologies dans un contexte urbain. Au départ de recherches sur de nouvelles souches de coronavirus dans des grottes sacrées au Myanmar – à la fois lieux à haut risque et sites spirituel où humains et animaux, science la religion, nature et politique se croisent –, Clara Jo présente un récit onirique examinant la manière dont divers systèmes (sexués, raciaux, économiques et métaboliques), intégrés au système de santé mondial, alimentent la peur de la contamination par le non humain. Eli Cortiñas fait parler une mystérieuse intelligence artificielle féminine qui nous met en garde contre l’attirance naturelle qu’éprouvent les humains pour le meurtre. Des champignons émergent du sol, comme une anticipation poétique de la vie post-humaine. Dans une chorégraphie horizontale, dans un paysage de forêt et de dunes, Egle Budvytyte explore des formes de conscience non humaines, ainsi que différentes dimensions de la vie symbiotique : l'interdépendance, l'abandon, la mort et la décomposition. Une chanson exprime les désirs d'une entité changeant de sexe, de voix et d'incarnation au-delà de l'humain. A partir de montage d’extraits de films, Nelson Bourrec Carter fait entendre une voix désincarnée qui réfléchit sur la finitude humaine, sur la possibilité de survit dans un monde modelé sur une réalité très éloignée du vécu quotidien.
Rétrospective
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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Rétrospective Yvonne Rainer (2/7)
Yvonne Rainer : Film About A Woman Who... - Fiction expérimentale | 16mm | noir et blanc | 0:0 | USA | 1974
Yvonne Rainer
Film About a Woman Who...
Fiction expérimentale | 16mm | noir et blanc | 0:0 | USA | 1974
Picking up where Lives of Performers left off, Rainer’s second, landmark feature tells the story of a woman whose sexual dissatisfaction masks an enormous anger, with Rainer needling at questions raised by contemporary feminism about the relationship between the representation of romantic clichés and sexual repression. Borrowing techniques from soap opera, the formally fractured yet exuberant Film About a Woman Who… combines voiceover, intertitles, simulated “still” images, and dinner-table discussions to provocative, often contradictory effect. Long silences and Babette Mangolte’s fluid black-and-white images only heighten the darting, doubt-ridden, highly dislocating drama. (Synopsis courtesy of The Metrograph.)
When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life
Reprenant là où son premier film, « Lives of Performers », s’arrêtait, le deuxième long métrage d’Yvonne Rainer raconte l'histoire d'une femme dont l'insatisfaction sexuelle masque une énorme colère. Yvonne Rainer s'attaque ici à des questions soulevées par le féminisme contemporain, notamment sur la relation entre représentation dans les clichés romantiques et répression sexuelle. Empruntant aux techniques du feuilleton, le film « About a Woman Who... », fracturé formellement, tout en étant exubérant, combine voix off, intertitres, simulation d’images fixes et discussions de coin de table, pour aboutir à un effet provocateur, souvent contradictoire.
Les longs silences et les images fluides en noir et blanc de Babette Mangolte ne font qu'accentuer ce drame fulgurant, plein de doutes et perturbant.
Yvonne Rainer est considérée comme l'une des artistes les plus influentes du XXe siècle. Figure pionnière du mouvement de l'avant-garde, sa carrière artistique s’est déployée sur plus de cinq décennies, tant dans le domaine de la danse que dans celui du cinéma.
Utilisant archives, reconstitutions, photographies et techniques audiovisuelles non conventionnelles, ses films mobilisent la théorie critique et les analyses érudites, tout en explorant des thèmes profondément personnels, politiques et sociaux.
En 1972, alors qu’elle réalise son premier long métrage, Yvonne Rainer, membre fondatrice du Judson Dance Theater, est déjà reconnue comme étant l’une des chorégraphes majeures de sa génération ; ses contributions au cinéma se révéleront tout aussi radicales. Ses films ont ouvert de nouvelles possibilités pour le langage cinématographique, avec de nouveaux agencements de la narration et du mélodrame, une syntaxe audiovisuelle disjonctive, mais aussi grâce à un esprit pince-sans-rire et à l’acuité de sa conscience politique.
Rétrospective
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
Entrée libre tout public dans la limite des places disponibles
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Rétrospective Yvonne Rainer (3/7)
Yvonne Rainer : Kristina Talking Pictures - Fiction expérimentale | 16mm | couleur | 90:0 | USA | 1976
Yvonne Rainer
Kristina Talking Pictures
Fiction expérimentale | 16mm | couleur | 90:0 | USA | 1976
“What Rainer was up to, after all, was the reinvention of melodrama as a genre, accented for the contemporary psyche.”—B. Ruby Rich. Namechecking both Virginia Woolf and Jean-Luc Godard in the film’s opening segment, Rainer continues to experiment in her elegiac, hybrid third feature with unshackling narrative from conventional representation, using the paradoxical feminine figure of a lion tamer, Kristina (played by several women, including Rainer herself), and a disjunctive audiovisual syntax that pushes avant-garde film grammar into thrillingly novel, expressive realms. Kristina arrives from Budapest to 1970s New York City, harboring hopes of becoming a dance choreographer, as well as romantic affections for an elusive sailor named Raoul.(Synopsis courtesy of The Metrograph.)
When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life.
En citant Virginia Woolf et Jean-Luc Godard dans la première partie de ce film – son troisième long métrage –, élégiaque et hybride, Yvonne Rainer prolonge son expérimentation filmique. Elle libère la narration de la représentation conventionnelle, utilise la figure féminine paradoxale d'une dompteuse de lions, Kristina (jouée par plusieurs femmes, dont Rainer elle-même), et adopte une syntaxe audiovisuelle disjonctive qui pousse la grammaire cinématographique d'avant-garde dans des champs d’expression d'une forte nouveauté. Partie de Budapest, Kristina arrive dans le New York des années 1970. Elle a l'espoir de devenir chorégraphe, et nourrit des sentiments amoureux pour un marin insaisissable nommé Raoul.
Yvonne Rainer est considérée comme l'une des artistes les plus influentes du XXe siècle. Figure pionnière du mouvement de l'avant-garde, sa carrière artistique s’est déployée sur plus de cinq décennies, tant dans le domaine de la danse que dans celui du cinéma.
Utilisant archives, reconstitutions, photographies et techniques audiovisuelles non conventionnelles, ses films mobilisent la théorie critique et les analyses érudites, tout en explorant des thèmes profondément personnels, politiques et sociaux.
En 1972, alors qu’elle réalise son premier long métrage, Yvonne Rainer, membre fondatrice du Judson Dance Theater, est déjà reconnue comme étant l’une des chorégraphes majeures de sa génération ; ses contributions au cinéma se révéleront tout aussi radicales. Ses films ont ouvert de nouvelles possibilités pour le langage cinématographique, avec de nouveaux agencements de la narration et du mélodrame, une syntaxe audiovisuelle disjonctive, mais aussi grâce à un esprit pince-sans-rire et à l’acuité de sa conscience politique.
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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"L'espace rêve"
Loic Vanderstichelen, Jean-Paul Jacquet : Ok Boomer - Fiction | 4k | couleur | 10:15 | Belgique | 2022
Loic Vanderstichelen, Jean-Paul Jacquet
OK boomer
Fiction | 4k | couleur | 10:15 | Belgique | 2022
C'est de l'été dernier que date le retour probable du lyrisme. Personne n'y pensait plus, on lui avait substitué la forme épique, on s'en était vite lassé et depuis on pataugeait dans celle dont je ne sais plus qui avait eu la pas très bonne idée de l'appelé dramatique. Tellement dramatique que tout était calme, jusqu'à cette après-midi à la campagne où nous pûmes constater les signes avant-coureurs de ce lyrisme tant convoité de quand l'artiste pre?sente son objet en rapport imme?diat avec lui-me?me. Il nous incombait dès lors d'adapter cette intuition remarquable vers quelque chose de plus rationnel et trouver un titre était la première chose à faire pour authentifier tout cela. D'où le trajet à la poste.
Loïc Vanderstichelen est un cinéaste qui vit et travaille à Bruxelles. Il réalise des films seuls ou en collaboration depuis 1993. Jean-Paul Jacquet est un historien de l’art qui vit et travaille à Bruxelles.
Claudia Joskowicz : La Niña De Sus Ojos - Vidéo | 4k | couleur | 18:32 | Bolivie, USA | 2022
Claudia Joskowicz
La niña de sus ojos
Vidéo | 4k | couleur | 18:32 | Bolivie, USA | 2022
La niña de sus ojos (2022) appropriates fragments of the Bolivian folk novel of the same name (Antonio Díaz Villamil, La Paz 1948), that formed an important part of the discourse popular amongst the Bolivian intellectual elites of the period directly preceding the 1952 revolution. The novel, still in use in national pedagogy today, reflects the misogynistic and racist lens that was, and still is, used to impart seemingly democratic projects in Bolivia. Using the house - and home - as a narrative device, along with descriptions of the novel's main characters and the contemporary city of El Alto, this work seeks to locate the viewer between the unrealistic stereotypes described in the book and the true context of El Alto, highlighting the void that still exists today, over half a century later, between political discourse and enacted change.
Claudia Joskowicz is an artist who works primarily with film, video, installation and digital media. Her practice centers on history and its narrative, considering how popular media circulates and shapes collective memory, contemporary history and social realities. Using long and slow video footage and oscillating between film and photography, she reproduces moments captured from global collective memories and personal stories (her own and others’) that have a historical dimension and are anchored in her native Latin American landscape. For most of her career, she has focused on the Latin American landscape, producing work in her home country of Bolivia and South America at large. Her early video work was staged as minimalist reenactments - with attention to the figure and the landscape and focusing on gesture and subtle movement - and has moved towards re-imagined cinematic stagings of landscapes, urban and otherwise, where nuanced political drama unfolds in real time. The landscape and built environment are main characters throughout her work, as are her medium’s structural elements, drawing attention to the media’s role in constructing historical events, and our memories of them. Joskowicz has exhibited widely in the United States and internationally and her work is in the permanent collections of the Guggenheim Museum, NY; the Kadist Foundation, San Francisco, the Cisneros Fontanals Foundation, Miami, and the Banco Central de la República, Bogotá. Joskowicz has received numerous awards and grants including a NYFA Fellowship in film/video, an Anonymous Was a Woman Award, a Cisneros Fontanals Foundation Mid-Career Artist’s Commission, a Guggenheim fellowship in film/video, and a Fulbright Scholar award. She has been a fellow at Yaddo, the Latin American Roaming Art Project, Oaxaca, Mexico, the Sacatar Institute, Bahia, Brazil, the AIM program at the Bronx Museum of the Arts, NY and the LMCC’s Workspace and Paris residencies.
Elisa Giardina Papa : U Scantu: A Disorderly Tale - Vidéo expérimentale | 4k | couleur | 13:0 | Italie | 2022
Elisa Giardina Papa
U Scantu: A Disorderly Tale
Vidéo expérimentale | 4k | couleur | 13:0 | Italie | 2022
“U Scantu”: A Disorderly Tale (2022), presented as a video installation at 59th International Art Exhibition of La Biennale di Venezia, reimagines the Sicilian, queer, multispecies myth of the "donne di fora" (“women from the outside and beside themselves”). Described as both magical and criminal, the "donne di fora" were said to possess both the feminine and masculine; the human and the animal; the benevolent and the vengeful. This film envisions the "donne di fora" as a gang of teenage “tuners” who ride through the utopian city of Gibellina Nuova (Sicily) on bikes customized with disruptive sound systems. The narrative voyage of the “tuners” is interspersed with poetic text and visual motifs from a 19th century collection of Sicilian fairy tales, Giardina Papa’s fragmented childhood memories of songs and stories told by her grandmother, and archival material from the Inquisition trials of the 16th and 17th centuries that criminalized women accused of being a "donne di fora". “U Scantu”: A Disorderly Tale repurposes the magical, ritualistic, and unruly as forces that generate an imagination beyond predetermined categories of humanness, chronological time, and mythological womanhood.
Elisa Giardina Papa’s research-based practice investigates the performance of gender, sexuality, and labor. Working across large scale video installations, drawings, sculptures, and theoretical texts, she documents how past and present forms of capitalism have extracted our capacities for labor and living—including sleep, intimacy, and emotion. With witty and poetic framing, her work calls attention to those parts of our lives, desires, and embodiments that remain radically unruly, untranslatable, and incomputable. Her work has been exhibited and screened at the 59th International Art Exhibition of La Biennale di Venezia (The Milk of Dreams), the Museum of Modern Art (MoMA’s Modern Mondays), the Whitney Museum (Sunrise/Sunset Commission), Seoul Mediacity Biennale 2018, Flaherty NYC, UnionDocs, and Pacific Film Archive (BAMPFA), among others. Giardina Papa received an MFA from RISD, and she is currently pursuing a PhD in film, media, and gender studies at the University of California Berkeley. She lives and works in New York and Sant’Ignazio, Sicily. Elisa Giardina Papa is also a founding member of the artist collective Radha May. Together with Bathsheba Okwenje and Nupur Mathur, they develop performances and art installations that reveal forgotten archives, hidden histories, and peripheral sites, exploring their relation to gender, and colonialism.
Baba Hillman : Mary Bauermeister: Light And Stone - Film expérimental | super8 | couleur | 3:45 | Canada, France | 2022
Baba Hillman
Mary Bauermeister: Light and Stone
Film expérimental | super8 | couleur | 3:45 | Canada, France | 2022
Remembering my last visit with Mary in her garden of light, trees, glass and stone.
Baba Hillman grew up in Japan, Venezuela and Panama and works between France and the U.S.. She received a B.A. in French Literature from Duke University and an M.F.A. in Film and Performance from the University of California, San Diego. Her films and performance works explore memory, history, perception and the poetics and politics of place, language, and the body. She was co-director of Teatro Movimento in Florence, studied with Etienne Decroux and Jean-Pierre Gorin, and is Professor Emerita of Film at Hampshire College in Amherst, Massachusetts. Her films have screened widely at festivals and museums including the Museum of Contemporary Art, Los Angeles, FIDMarseille, Edinburgh Film Festival, Rencontres Internationales Paris/Berlin, Ann Arbor Film Festival, National Gallery of Art, Washington D.C., Anthology Film Archives, ICAIC Havana, Africa World Documentary Festival, Yaounde, MIX Brazil, and European Media Art Festival, Osnabruck, among others. She has received awards and grants from the French Ministry of Culture, the Whiting Foundation, the California Arts Council, and the Italian city governments of Florence, Lecce and Certaldo. In 2020, Hillman’s film Kitâb al-Isfâr: Book of the Journey, a feature-length film about near-death and mystical experiences in Andalucia, premiered at the FIDMarseille film festival and was selected for the Athens Avant Garde Film Festival. Earlier films by Hillman include Decroux’s Garden, and 5 Cité de la Roquette, part of a series of films connected to return, place and disappearance.
Arun Mali : Krzywy Las - Vidéo | mov | noir et blanc | 3:40 | France | 2022
Arun Mali
Krzywy Las
Vidéo | mov | noir et blanc | 3:40 | France | 2022
Cette vidéo met en scène « La forêt aux arbres tordus » qui se situe en Pologne en bordure de la frontière nord allemande. À travers ce travail, j’observe la façon dont les traces d’un passé venant d’une légende ou d'un mythe, existent encore dans un temps contemporain. Cette forêt interroge et génère une forte dimension mystique, mystérieuse, imaginative et narrative. Est-ce une trace de la guerre, de la sorcellerie ou l’énergie d’un lieu qui a tordu si mystérieusement ces arbres ? Ou est-ce simplement l’action des Hommes ?
Artiste et réalisatrice, mon travail de l’image se situe entre la fiction, le cinéma documentaire et la vidéo d’art. Il questionne et explore les espaces en marges, en mouvements ou en conflits. Il interroge la façon dont l’être humain déraciné et déplacé arpente des zones de passages et de frontières, une façon mouvante d’habiter le monde, parfois fragile. J’explore les croyances, les rituels et les mythes dont les hommes se nourrissent pour vivre, survivre et construire leur identité.
Jalal Toufic, Graziella Rizkallah : Hong Kong, China, Solaris - Film expérimental | 0 | couleur | 10:0 | Iraq, Hong Kong | 2023
Jalal Toufic, Graziella Rizkallah
Hong Kong, China, Solaris
Film expérimental | 0 | couleur | 10:0 | Iraq, Hong Kong | 2023
« Jalal, la nuit dernière, j’ai rêvé de notre film. » « Quel film ? » « Celui sur lequel nous travaillons ces jours-ci. » « Hong Kong, Chine, Solaris ? » « Oui. » Peut-on faire un rêve dans lequel les souhaits, les plus profonds et inconscients sont exaucés par Solaris ou un équivalent de Solaris, l’océan extraterrestre hyperintelligent et sensible du film Solaris de Tarkovski qui exauce de tels souhaits ? Oui, si notre méta-souhait est de voir nos souhaits inconscients réalisés de la manière dont Solaris le fait plutôt que de la manière dont les rêves le font (par le biais de mécanismes tels que la condensation et le déplacement). Il faut cependant garder à l’esprit que, puisque les rêves sont des exaucements de souhaits, Solaris ou un équivalent de Solaris finirait par nous rendre incapables de rêver, insomniaques, car il rendrait les rêves superflus. En rêvant de Solaris ou d’un équivalent de Solaris, on rêverait d’un endroit où l’on ne peut pas rêver, où il n'y a pas de rêves.
Graziella Rizkallah est une réalisatrice libanaise. Ses vidéos ont été présentées à la 11ème Biennale de Sharjah, au Musée d’art moderne de San Francisco, au MAXXI, à la première Biennale d'Asie et à la 5ème Triennale de Guangzhou, à la 7ème Biennale d’urbanisme et d’architecture de Shenzhen, au Times Art Center de Berlin, à Darat al Funun (Amman) et au Beirut Art Center. Jalal Toufic est un penseur et un mortel à en mourir. Il est né en 1962 à Beyrouth ou à Bagdad et est mort avant de mourir en 1989 à Evanston, dans l’Illinois. Outre l’écriture de plus de dix livres, il a réalisé plus de dix films et vidéos, dont des films-essais et des films conceptuels, des courts métrages (7 minutes, 8 minutes, etc.), des longs métrages (110 minutes, 138 minutes, etc.) et des films « inhumainement » longs (72 heures, 50 heures), des vidéos qui sont des œuvres autonomes et d’autres qui font partie d’œuvres mixtes, des films qu’il a tournés et des films dont toutes les images sont tirées d’œuvres d’autres cinéastes (Hitchcock, Sokourov, Bergman, etc.). Son travail a été présenté aux 6ème, 10ème et 11ème Biennales de Sharjah, à la 9ème Biennale de Shanghai, à la 5ème Triennale de Guangzhou, au MoMA PS1, au Musée d’art moderne de San Francisco, au Centre Pompidou, au ZKM, à la Kunsthalle Fridericianum, au MAXXI, au Witte de With et aux Deichtorhallen de Hambourg.
Flatform : Approaches To A Theory Of Punctuation - Vidéo expérimentale | 4k | couleur | 5:42 | Italie, USA | 2023
Flatform
Approaches to a Theory of Punctuation
Vidéo expérimentale | 4k | couleur | 5:42 | Italie, USA | 2023
Approaches to a Theory of Punctuation speaks about quotes, punctuation and movement, all terms that have a musical connotation. In this work, the objects present in an internal environment reflect external places, and these reflections, like some sort of narration, are treated like quotes yet they are released from the expressive repetition that characterizes them. Here, the use of quotation marks as a visible and mental engine anticipates the landscape itself as a possible form of quotation. Furthermore, the continuously circling pan movement of the camera, is not treated as an autonomous essence, but becomes an interdependent system acting between the internal and external, capable of existing only by influencing other systems or objects. The internal is shot inside the house in which Flatform lived during the residency at Headlands Center for the Arts in Sausalito USA, and the external is shot in the bay outside. This film is dedicated to the memory of the american novelist Paul La Farge, narrating voice of the film.
Flatform is a collective artist based in Milan and Berlin, founded in 2006. Works by Flatform have been shown in many museums and institutions including, among others, Centre Pompidou in Paris, Hirshhorn Museum in Washington DC, Wexner Center for the Arts in Columbus Ohio, MAXXI Museum in Rome, Fondazione Prada in Milan, EMPAC Experimental Media and Performing Arts Center in Troy NY, Fondazione Sandretto Re Rebaudengo in Turin, Argos Centre for Arts in Bruxelles, Palazzo Grassi in Venice, MSU-Museum of Contemporary Art in Zagreb, Haus der Kulturen der Welt in Berlin, Cineteca Matadero in Madrid, Yerba Buena Center for the Arts in San Francisco, Eye Filmmuseum in Amsterdam, PAC in Milan, Museu da Imagem e do Som in San Paolo. Flatform has been invited in several film festivals including, among others, Quinzaine des Realisateurs de Cannes, Venice Intl. Film Festival, IFFR in Rotterdam, BFI Film Festival in London, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, Lo Schermo dell’Arte in Florence, IFF in Melbourne. Selected Awards: Go Shorts in Nijmegen 2020 and 2016; Nashville Intl Film Festival 2016, Jihlava Intl Doc Film Festival 2015, Lago Film festival 2010 in Lago, 25FPS 2009 in Zagreb, Screen Festival 2008 in Oslo.
Erin Johnson : To Be Sound Is To Be Solid - Doc. expérimental | mov | couleur | 15:0 | USA | 2022
Erin Johnson
To be Sound is to be Solid
Doc. expérimental | mov | couleur | 15:0 | USA | 2022
In To Be Sound Is to Be Solid (2022, 15 minutes), an oceanographer’s attempt to map the entire seafloor by 2030 parallels the filmmaker’s attempt to decipher the opaque queer history of a modernist seaside home through its complicated and circuitous floor plan.
Erin Johnson (b. 1985, US) is a visual artist and filmmaker based in New York who was recently named one of the "25 New Faces of Independent Film" by Filmmaker Magazine. Her short films and immersive installations explore notions of collectivity, dissent, and queer identity. In her shape-shifting videos, constellations of artists, biologists, and film extras address the imbrication of science and nationalism. Johnson received an MFA and Certificate in New Media from UC Berkeley in 2013, attended Skowhegan School of Painting & Sculpture in 2019, and recently completed residencies at Pioneer Works (Brooklyn, NY), Jan van Eyck Academie (Maastricht, NL), Lower Manhattan Community Council (LMCC), Hidrante (San Juan, PR), and Lighthouse Works (Fishers Island NY).
Loïc Vanderstichelen et Jean-Paul Jacquet réalisent une comédie satirique sur les rapports des hommes et des femmes à la technique et à l’histoire de l’art. Claudia Joskowicz utilise des fragments d’un roman populaire bolivien, qui impreignait le discours des élites boliviennes de la période précédant la révolution de 1952. Le roman, encore enseigné aujourd'hui au niveau national, reflète le point de vue misogyne et raciste utilisé en Bolivie jusqu’à aujourd’hui pour diffuser des projets d’apparence démocratique. Au départ de la culture orale, sicilienne et nord-africaine, et d’archives de l'Inquisition, Elisa Giardina Papa réimagine le mythe sicilien, queer et multi-espèces des « donne di fora », femmes décrites comme étant à la fois magiques et criminelles, censées posséder à la fois le féminin et le masculin, l'humain et l'animal, la bienveillance et la vengeance. Baba Hillman se souvient de sa dernière visite à l’artiste Mary Bauermeister, dans son jardin de lumière, d'arbres, de verre et de pierre. En Pologne, proche de la frontière avec l’Allemagne, Arun Mali filme « la forêt aux arbres tordus » et observe la façon dont les légendes et mythes du passé existent encore dans un temps présent. Jalal Toufic se réfère à Solaris, l'océan extraterrestre hyperintelligent et sensible du film de Tarkovski, qui exauce les souhaits les plus profonds. Mais, en rêvant de lui, on rêverait d'un endroit où l'on ne peut pas rêver, où il n'y a pas de rêves. Dans un environnement intérieur, Flatform filme des objets qui reflètent l’extérieur. Ces reflets deviennent une narration où le paysage devient une forme possible de citation. Erin Johnson trace un parallèle entre le projet d'un océanographe – cartographier l'ensemble du plancher océanique d'ici 2030 –, et sa propre tentative de déchiffrer l'histoire queer de sa maison moderniste en bord de mer, conçue en 1971 par un couple de femmes artistes.
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"Reconstitution"
Che-yu Hsu : The Making Of Crime Scenes - Doc. expérimental | 0 | couleur | 21:56 | Taiwan, France | 2022
Che-yu Hsu
The Making of Crime Scenes
Doc. expérimental | 0 | couleur | 21:56 | Taiwan, France | 2022
Starting from a gunman involved in a murder case, I seek to reflect the collective unconscious within society and politics through the gunman's multiple peculiar roles—a filmmaker, a killer, a gangster, and a patriot. In 1984, when Taiwan was still under Martial Law, a Taiwanese American writer Henry Liu was shot to death in his own house in the US by a Taiwanese assassin. Afterward, due to the intervention and investigation of the US government authorities, this case was eventually confirmed to be a political murder jointly committed by the Military Intelligence Bureau and the biggest mafia United Bamboo Gang in Taiwan, as the government paid the mafia to kill Henry Liu. The protagonist of this work, Wu Dun, is the assassin who fired the shot at the time. After the case was exposed, the Taiwanese authorities were pressured by the US, and Wu Dun was thus sentenced to life imprisonment. However, he was given amnesty and discharged from prison after six years. After he got out of prison, Wu Dun remained an important member of the United Bamboo Gang, and he established a film company as a producer with the support of his mafia influence, making several “wuxia films” – refers to specific traditional Chinese swordplay films. In this work, I revisited the film studio that was once used by Wu Dun and is now deserted to recompose the fragments of the political assassination and the scenes of wuxia films, and I cooperated with a 3D scanning team—their job is to provide forensic scanning service at crime scenes—to make a digital double of Wu Dun.
Hsu Che-Yu (b. 1985) is an artist based in Taipei and Amsterdam. Previously, Hsu obtained a master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts (Taiwan). Since 2019, he had participated in the residency program in HISK (Ghent, 2019–2020) and Le Fresnoy – Studio national des arts contemporains (Tourcoing, 2020–2022). In 2022, he begins his two-year art residency in Rijksakademie in Amsterdam. Hsu has solo exhibitions at Liang Gallery (Taipei, 2022), Vanguard Gallery (Shanghai, 2020), Taipei Fine Arts Museum (2015), Kuandu Museum of Fine Arts (Taipei, 2012), SAT Society for Arts and Technology (Montreal, 2012). He has participated in the Theater der Welt (Frankfurt, 2023), Bienal de São Paulo (2021), Seoul Mediacity Biennale (2021), Sonsbeek20?24 Quadrennial public program (2021), Techniques of Becoming (Württembergischer Kunstverein, Stuttgart, 2021), VIDEONALE.18 (2021), Shanghai Biennale (2018), London Design Biennale (2018), Asian Art Biennial (Taichung, 2017), and film festivals IFFR International Film Festival Rotterdam (2023, 2022, 2020, 2018), NYFF New York Film Festival (2020)and Rencontres Internationales Paris/Berlin (2020, 2019, 2018). He was awarded the Videonale Award of the Fluentum Collection (Kunstmuseum Bonn, 2021), the Loop Barcelona Video Art Production Award (Han Nefkens Foundation, 2020), the Taishin Annual Grand Prize (Taishin Bank Foundation for Arts and Culture, 2016), and was a finalist for HUGO BOSS ASIA ART (2019).
David Kelley : The Book Of The Dead - Doc. expérimental | 4k | couleur | 19:42 | USA | 2023
David Kelley
The Book of the Dead
Doc. expérimental | 4k | couleur | 19:42 | USA | 2023
The Book of the Dead is an experimental documentary meditating on the American poet Muriel Rukeyser’s poem about the Gauley Tunnel tragedy. In the 1930s in West Virginia, nearly 2,000 primarily Black migrant workers were sickened or killed by silicosis, a lung disease caused by breathing silica dust. Rukeyser travelled to West Virginia to meet workers and their families, in some cases, appropriating their words directly. The film revises her white characters to a predominately Black cast — more accurately reflecting the insidious racism prevalent in American society at the time. The film appropriates interviews with the poet, her unfinished screenplay, and worker’s testimony to U.S. Congress. Using actors, theatrical sets, and 3D generated backgrounds, the film produces a multisensory experience of Rukeyser’s process and the industrial tragedy. Unable to travel during the Covid-19 pandemic, Kelley designed the West Virginia mining sets in Unreal, a 3D gaming software and filmed actors at a green screen studio near his home in Los Angeles. The work's theme of failure to breathe poignantly resonates with the Covid-19 pandemic, and the final words turned protest chant of George Floyd: I can't breathe.
David Kelley (Born in Portland Oregon. Lives in Los Angeles California.) Kelley is an artist working with photography, video, and installation. His recent projects draw attention to the effects of global capitalism, resource extraction, and shifting physical and political landscapes. Influenced by a range of visual traditions, Kelley draws upon elements of experimental documentary, ethnography, performance, and avant-garde cinema. By working at the intersection of these strategies, he encourages an understanding of his subjects that is simultaneously direct and speculative. His work has been shown in galleries and museums nationally and internationally. Recent exhibitions include the Museum of Modern Art in New York and Fotofest Biennial, Houston. Other exhibitions include Commonwealth and Council in Los Angeles, The Bank in Shanghai, the de Cordova Biennial in Boston, BAK in Utrecht, MAAP space in Australia, and the Jim Thompson Art Center in Bangkok. Kelley received a Master of Fine Art from the University of California, Irvine, and was a 2010 -11 resident at the Whitney Museum of American Art Independent Study Program. He is currently based in Los Angeles, California, and is an Associate Professor of the Practice at the Roski School of Art and Design, University of Southern California.
Mario Pfeifer : Cell 5 – A Reconstruction - Documentaire | 4k | noir et blanc | 43:0 | Allemagne, Royaume-Uni | 2023
Mario Pfeifer
Cell 5 – A Reconstruction
Documentaire | 4k | noir et blanc | 43:0 | Allemagne, Royaume-Uni | 2023
On January 7th 2005 an asylum seeker, shackled at his hands and feet, dies in a fire in cell number five of a police station in Dessau, Germany. With “Cell 5” Mario Pfeifer reconstructs the case of Oury Jalloh’s death using legal documents, testimonies, audio-visual archives, and collaborates with the forensic expert Iain Peck to reproduce an accurate fire experiment. All in an attempt to answer: how could Oury Jalloh burn to death?
Mario Pfeifer ist a PRIX EUROPA nominated producer, director and visual artist whose interests intersect between political, social and anthropological issues. Mario works closely with communities, establishing intimate relationships from which he conceives his projects in collaboration with his protagonists. He graduated from the art academy Städelschule in Frankfurt am Main, studied with Stan Douglas at the University of the Arts in Berlin and was a Fulbright scholar in 2008 at the California Institute of the Arts, Mario is a recipient of DAAD fellowships in 2010 and 2012. Mario is an alumni of the European Creator’s Lab (2021), the Documentary Campus Masterschool (2019), the Feature Expanded Masterclass (2017), and a Berlinale Talent Campus alumni (2009). Mario Pfeifer’s installations were presented at the Power Plant Toronto; Museum of Modern Art, Berlin; Los Angeles County Museum of Art [LACMA], Los Angeles; MMK Museum fu?r Moderne Kunst Frankfurt am Main; Bundeskunsthalle Bonn; Neues Museum Nu?rnberg; Kunsthalle Winterthur; N.B.K. Neuer Berliner Kunstverein; Fotomuseum Winterthur; KOW, Berlin; Beursschouwburg, Brussels; MAAT Museum of Art, Architecture and Technology, Lisbon; KW Kunst-Werke, Berlin; CCA,Lagos; and his film presented at international Film Festivals in Amsterdam, Auckland, Berlin, Cologne, London, Madrid, Paris, Oberhausen, New York, Seoul and Toronto. He participated in the 3rd Montevideo Biennal (2016), the 11th Bienal do Mercosul (2018), the 10th Berlin Biennale (2018) as well as the 4th Mediterranean Biennale (2020). His works are hold in public and private museum collections at the Getty Center Los Angeles, Collection of Contemporary Art of the Federal Republic of Germany, Pinakothek der Moderne Munich, MMK Museum of Modern Art Frankfurt am Main, Fotomuseum Winterthur et.al. Mario has lectured and directed Masterclasses in Brazil, Chile, Czech Republic, Germany, India, Mexico, Poland, the U.K. and in the US. www.blackboardfilms.net/people
Che-Yu Hsu reconstitue l’histoire de Wu Dun, tueur à gage qui a assassiné en 1984 un écrivain américain d’origine taïwanaise et qui, à sa sortie de prison, est devenu producteur de cinéma. A travers les multiples rôles du tireur – cinéaste, tueur, gangster et patriote, il propose ainsi une réflexion sur l'inconscient collectif social et politique. David Kelley s’inspire du poème de Muriel Rukeyser sur une catastrophe industrielle survenue dans les années 1930, en Virginie-Occidentale, où près de 2 000 travailleurs migrants, essentiellement noirs, ont été malades ou tués par la silicose, une maladie qui affecte les poumons. Mario Pfeifer reconstitue la mort d'Oury Jalloh dans l'incendie de sa cellule au commissariat de Dessau, en Allemagne, le 7 janvier 2005. Demandeur d’asile, il avait les pieds et mains liés. Avec l’aide d’un expert médico-légal, la cellule est reproduite à l’échelle 1:1, ainsi que l’incendie.