Catalogue 2018-2019
Below, browse the 2018-2019 Rencontres Internationales catalogue, or search the archives of the works presented since 2004. New video clips are routinely posted and the images and text are regularly updated.
Anastasis STRATAKIS
Colour Restoration of the Olympic Torch Lighting Ceremony, During the Greek Military Junta (1967)
stratakis Anastasis
Colour Restoration of the Olympic Torch Lighting Ceremony, During the Greek Military Junta (1967)
Animation | 16mm | couleur | 2:9 | Grèce | 0 | 2018

"Colour restoration of the Olympic torch lighting ceremony, during the Greek military Junta (1967)" is a video piece based on a found footage of the event described in the title "the Olympic torch lighting ceremony of the 1968 Olympics, filmed in Athens during the Greek dictatorship of 1967/74. The footage, initially black and white, has been painstakingly colourised, by hand-colouring each of its frames one by one. The result is a somewhat crude, awkward and ultimately less realistic documentation of the event. Even more so, when viewed as a restoration of a restoration, since the regime's own nationalistic aesthetic and propaganda iconography were based upon a grotesque revitalisation of the country's ancient past.

Anastasis Stratakis (b. 1985, Greek) lives and works between Thessaloniki and Athens. His work has been included in a number of international group exhibitions, including: "At the Beginning Was the Word", National Art Museum of China (NAMOC), Beijing, in collaboration with National Museum of Contemporary Art (EMST), Athens (2018); "Abracadabra", 6th Moscow International Biennale for Young Art, curated by Lucrezia Calabrò Visconti (2018); "Epilogue", Kunstverein Herdecke, curated by Apostolos Palavrakis (2017); "The Equilibrists", organised by the New Museum, New York and DESTE Foundation, Athens, in collaboration with the Benaki Museum, Athens, curated by Gary Carrion-Murayari and Helga Christoffersen with Massimiliano Gioni (2016); 13th Biennale de Lyon (2015); 4th Thessaloniki Biennale of Contemporary Art (2014); "Afresh: A New Generation of Greek Artists", National Museum of Contemporary Art (EMST), Athens (2013) and has been exhibited at institutions such as Musée d`art contemporain de Lyon (2016), Fondazione Giorgio Cini, Venice (2015) and MMCA : Macedonian Museum of Contemporary Art, Thessaloniki (2014). Works by Anastasis Stratakis are included in prominent private and institutional collections among which are the National Museum of Contemporary Art (EMST) Collection in Athens, the State Museum of Contemporary Art Collection in Thessaloniki, the Borusan Contemporary Collection in Istanbul and the Michael Haas Collection in Berlin.

Deborah STRATMAN
Optimism
stratman Deborah
Optimism
Doc. expérimental | super8 | couleur et n&b | 14:43 | USA | 0 | 2018

Draw down the sun. Dig up the gold. The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, ore smelters, former city officials and a curious cliff-side luminous disc congregate to form a town portrait. Shot in location in the Yukon Territory. The disc that appears in the film was part of "Augural Pair", a set of public sculptures created by Stratman and artist Steven Badgett by invitation of the Klondike Institute of Arts and Culture "Natural and Manufactured" series. The works responded to ways value and speculation are connected to landscape and acts of removal.

Artist and filmmaker Deborah Stratman makes work that investigates power, control and belief, exploring how places, ideas, and society are intertwined. Her themes range widely, as do the mediums she uses to question them. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith.  She lives in Chicago where she teaches at the University of Illinois.

Graeme THOMSON, Silvia Maglioni
Underwritten by Shadows Still
thomson Graeme , Silvia Maglioni
Underwritten by Shadows Still
Film expérimental | hdv | couleur et n&b | 33:0 | Royaume-Uni | France | 2017

"Underwritten by Shadows Still" is a film composed of subtitled photograms drawn from a wide range of films and accompanied by an electronic soundtrack containing sound samples that originate from spaces between voices. As the succession of subtitled stills passes before our eyes, a soundless voice begins to speak through the words printed on the images, forming a discourse that links them together, while gathering the characters into a dispersed community of ghostly apparitions. The narrative that traverses them soon begins to bifurcate into other lines, other voices which are no more than underwritten shadows yet which speak to us and to each other of their imprisonment, their desire to live, their dreams of escape. 

: Graeme Thomson & Silvia Maglioni are filmmakers and artists based in Paris. Their practice interrogates potential forms and fictions emerging from the ruins of the moving image and includes the creation of short and feature films, exhibitions, sound works, film-performances, radio shows, vernacular technologies and books. Their work often makes use of cinema in expanded form to reactivate lost or forgotten archives and histories and to create new modes of collective vision and engagement with contemporary thought and politics. Their work has been presented, screened and installed worldwide at international film festivals, museums, art spaces and alternative venues (including FID-Marseille, Bafici International Film Festival, Jihlava Film Festival, Festival Hors-Pistes, Doc`s Kinkdom, Il Vento del Cinema, Anthology Film Archives, European Media Art Festival, Eye Film Museum, Tate Britain, Serralves Museum, Centre Pompidou, MACBA, REDCAT, Ludwig Museum, The Showroom, KHOJ New Delhi, Museu de Arte Moderna de Bahia, Castello di Rivoli, Institute of Modern Art Brisbane, Whitechapel Gallery, Van Abbe Museum, CA2M). They are currently working on a new film, “Common Birds”.

Jol THOMSON
Deep Time Machine Learning
thomson Jol
Deep Time Machine Learning
Doc. expérimental | hdv | couleur | 5:59 | Canada | Allemagne | 2017

What can structuralist film techniques contribute in the age of machine vision? In the experimental film, a robot arm investigates a 200,000 year old hand axe and an 17th century mechanical calculator (the first fully functional four stage computation device), each are placed on an octagonal mirror. The robotic arm passes through interfaces of geology, archaeology, mechanics and computation and intimately explores its own coming into being as a product of human engineering. Excerpts from the latest EU Report to the Commission on Civil Law and Robotics, published in January 2017, punctuate the video, describing the need to define the subjectivity of intelligent machines, as well as their legal status and the liabilities that derive from their implementation. The critical, uncertain and undetermined state of intelligent machines’ subjecthood emerges through the eyes of a human society themselves struggling with this ecotechnical revolution, “that leaves no aspect of society untouched”. Crucially, the set is observed by an Artificial Intelligence object recognition device, or LiDAR - a form of sense which AI systems use to perceive their haptic environment. Deep Time Machine Learning was developed collaboratively with the laboratories of robotics and surface analytics at the Bosch Corporate Research and Advanced Engineering Campus and received support from the Natural History Museum, Stuttgart and the Phillip Matthäus-Hahn Museum, Kornwestheim. Jol Thomson’s experimental film elaborates a deep history of tool use from the Paleolithic era with a trajectory to the not-too distant future of algorithmic, AI governance. The explorations of this work contribute to a contemporary media ecology, a history and philosophy of technology in machine vision, and underpins the symbiotic relationship between agential forms of geology, technology, and “intelligent beings”.

Jol Thomson is an artist, sound designer, and researcher working in the interstices between critical theory, particle physics, environmental humanities, STS, and experimental music and moving image. He is currently pursuing a practice-led Phd at the University of Westminster, London. He received his meisterschüler in Fine Art from the Städelschule, Frankfurt in 2013. In 2016 he won the MERU Art*Science Award for his a/v composition G24|0v, a collaboration with the “coldest object in the observable universe”. He has participated in a number of international residencies, and in 2016-2017 he was a fellow of the Akademie Schloss Solitude, Stuttgart. Recent exhibitions include: Blind Faith: Between the Cognitive and the Visceral in Contemporary Art at the Haus Der Kunst, Munich (2018); Open Codes: Living in Digital Worlds, ZKM (Center for Art and Technology), Karlsruhe (2017-2018); and Quantum Real: Spectral Exchange at Exhibition Research Lab, Liverpool (2019).

Benjamin TIVEN
The Mirrored Message
tiven Benjamin
The Mirrored Message
Doc. expérimental | hdv | couleur | 12:30 | USA | Suède | 2018

The Mirrored Message documents two scientists as they prototype a new device that transfers data between wireless computer networks and living plants. Observing their work from within a sealed electronics facility near Stockholm, we follow procedural steps in the device's programming and fabrication. The initially alien laboratory space slowly reveals itself as a kind of photographic darkroom, and we watch the light-sensitive production of the device's specialized circuitry. From the artificial air of this controlled lab we move to a coastal forest near the Baltic Sea, where the transmitter is installed for testing. Weather impedes the work. As the humans slowly fade from the scene, a living specimen comes online, finally addressable by a local network.

Benjamin Tiven is a filmmaker and the co-director of Library Stack. His films have screened at FID Marseille, Viennale, Rotterdam, Oberhausen, Courtisane, MUMOK, the Institute of Contemporary Art, Philadelphia, Delfina Foundation, London, Fotografisk, Copenhagen, the Museum of the Moving Image, NYC, and Arsenale Kino, Berlin.

Ali TNANI
Even The Sun Has Rumors
tnani Ali
Even The Sun Has Rumors
Doc. expérimental | mov | couleur | 18:4 | Tunisie | 2017

Dans la ville minière de Redeyef (Tunisie), un lieu désaffecté mais encore chargé d'affects : l'Economat. Institué et géré par la Compagnie de Phosphate de Gafsa durant la période coloniale, ce lieu vide porte encore en ces murs les strates de l'ambivalence d'une histoire où les surfaces miroitent et racontent la venue, là où il n'y a rien, d'un paradis de confort pour une société accablée par l'enfer du travail de la mine. Mais en deçà des apparences, c'est une réalité plus obscure que l'Economat draine : celle de l'extension commerciale d'une mine qui exploite autant la terre que ses hommes. Lieu-vestige, l'Economat est un lieu d'une mémoire désertée mais qu'un regard vidéographique et poétique investit et remet au jour, par les clairs-obscurs d'un temps qui passe, par la voix d'un enfant vivant encore dans les souvenirs d'un homme de la mine, les espaces, les surfaces et les épaisseurs historiques d'un lieu fait récits.

Born in 1982 in Tunis, Ali Tnani is a Tunisian contemporary artist based in Tunis and Paris. He received his Masters in 2007 from the Institut Supérieur des Beaux-arts of Tunis and has since exhibited widely and participated in international residency programs. Tnani recently completed a two-year residency at the prestigious Cité Internationale des Arts in Paris. A leading practitioner in the field of conceptual art, Tnani is known for his multimedia installation work examining social issues in post-revolutionary Tunisia. With a practice that draws on installation, drawing, and photography, he explores the question of erasure and the negative in narratives of traces, memory and history in an era of hyper-connectivity. He has participated in various solo and group exhibitions internationally, including the 13th Biennial of Dakar, the Musée du Bardo in Tunis, PA the Plateforme de création contemporaine and Cité Internationale des Arts in Paris, La Terrasse Nanterre Art Space and le Château d'Oiron (France), the 5th Marrakech Biennial, the Musée de Carthage in Tunis, the Musée des Beaux-Arts de Mons (Belgium) and the Biennial of young artists from Europe and the Mediterranean in Skopje, Macedonia.

Brad TODD
dresden.cuba.clouds
todd Brad
dresden.cuba.clouds
Vidéo expérimentale | mp4 | | 3:15 | Canada | 0 | 2018

dresden.cuba.clouds is a generative video which incorporates imagery from the skies above the city of Dresden coupled with footage of clouded ice formations and video from the Museum of the Revolution in Havana. This small database of video is processed in realtime and is sensitive to a number of parameters derived from, and responsive to, an audio recording of the Cuban "sonic attacks" of 2017. The footage of the skies and ice in particular also speak to notions of veracity as they are indistinguishable from one another. As a number of the reported cases of aural and cerebral trauma were inaudible, so too is this work. The choice of imagery from Dresden is a nod to its primacy in the place it occupies in the historical record, most obviously as the site of the devastating aerial bombing campaign during WWII. It is also referencing Dresden`s post-war history as a center of the cold war headquarters of the east German KGB/Stasi security services, notorious for their psyops, whose legacy continues today, largely unseen (and unheard it would seem). As a parable, foil and metaphor for the machinations of power and policy, this work is intended as a mute and disquieting presence, background noise.

Brad Todd is an artist whose works span several fields of inquiry, principally involving the research/creation of responsive environments which implicate technology as a mirror, filter and catalyst for experience writ large in both an individually embodied sense and its attendant broader socio-political context. Having received an M.F.A. from Concordia University (Montréal), he began playing music in the post-punk band Sofa, which released the inaugural album and single on the critically acclaimed Constellation Records label. From the generative and reactive to the composed and performative, audio and sound design continues to play a key role in his works. Brad has received numerous grants and awards and has exhibited his works in galleries and media festivals in North America, South and Central America, Asia and Europe, including the 3rd Beijing International New Media Art Exhibition and Symposium in Beijing, Eyebeam, N.Y., Paços das artes, Sao Paulo, Brazil, The New Museum of Contemporary Art, N.Y., ISEA festivals in Nagoya, Japan, Belfast and Hong Kong and Cynet art in Germany. Presently he is an instructor in the Design and Computation Arts program at Concordia University in Montréal.

Nicolas TUBERY
Maquignon
tubery Nicolas
Maquignon
Doc. expérimental | hdv | couleur | 17:54 | France | 0 | 2017

"Maquignon" se déroule à 80 kilomètres de Toulouse, aux Cammazes, une commune proche de la Montagne Noire. Là, il plonge dans l'atmosphère d'une foire aux chevaux en s'arrêtant sur les relations entre paysans et petits marchands de bestiaux "les maquignons", sur le langage des hommes et des animaux, parle? ou silencieux. Le film embrasse diffe?rents aspects de cet événement : aussi bien les négociations d'achat, la préparation et le soin des chevaux ou les moments de convivialité que les temps morts, quand la tension s'évapore.

Nicolas Tubéry est né en 1982 à Carcassonne. Il a étudié à l'Ecole Supérieure d'Art et de Céramique de Tarbes puis à l'Ecole Nationale Supérieure des beaux arts de Paris où il obtient le DNSAP. Sculpteur et vidéaste, Nicolas Tubéry conjugue les deux pratiques dans ses œuvres. Ses recherches récentes se concentrent sur le monde paysan d`où il vient : ses phénomènes atemporels, comme une foire aux chevaux, mais aussi plus conjoncturels comme les exploitations abandonnées par manque de repreneur. Quel que soit le sujet, il concentre son attention sur les gestes du travail, et sa fascination pour les détails est contagieuse. Observant tout en sculpteur, il adapte le matériel agricole en machinerie cinématographique, puis utilise les mêmes matériaux pour créer les structures monumentales dans lesquelles il projette ses films. Il parvient, avec affection et justesse, à donner une place à la ruralité dans l`art contemporain.

Richard TUOHY
China not China
tuohy Richard
China not China
Film expérimental | 16mm | couleur | 14:0 | Australie | 2018

Hong Kong marked 20 years since its hand over; half way through the planned 40 year `one country, two systems` transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.

Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. Since 2009 he has been an active and vocal member of the international artist run film lab scene. In 2011 Richard and Dianna started the Artist Film Workshop which in 2012 became a membership based artist-run film lab, itself also part of the international labs network. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally. His films and film based performances have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has repeatedly toured Europe, North America and Asia presenting solo programs of his work and conducting experimental film-making workshops.

Dick TURNER
Totem & Taboo
turner Dick
Totem & Taboo
Performance multimédia | mp4 | couleur | 21:0 | USA | France | 2017

Totem and Taboo is an opera/recitative for Video projection, Grand Synthesized Orchestra in Playback, Dancer and Heldentenor. The work is based upon Sigmund Freud's classic text "Totem and Taboo". This book is presented by Freud as an inquiry into incest taboos found in primitive cultures. In fact Freud used the book to give a psychoanalytic hypothesis of the origins of religion. At the end of his book, Freud writes a short but highly colorful chapter describing what he calls "the primal scene" which led to the foundations of all religions: repressed sexual desire, murder and cannibalism. My opera takes Freud's hypothesis and plants it into a real world situation. I call this a "mise-en-chair" meaning literally "a putting into flesh" that is, the incarnation of the idea. I have created a synthesized orchestral version of the score which accompanies a projected video. There is a scene for a dancer which can either be performed live or in projection. The work is sung by a baritone-tenor, the so-called Heldentenor imagined by Richard Wagner. The composer performs this part. The practical needs for a performance are basic: A projector, a sound system and a screen (or simply a white wall) and a microphone. It can be performed on a stage or in a normal room. There are a few simple accessories, flowers, electric candles and a piece of astro-turf.

I was born in Baltimore, Maryland and now live in Paris, France. My work is centered upon the expression of ideas and human freedom. I have composed music since 1977. I have composed around 70 pieces for a large number of ensembles, from solo piano and cello to an opera for 45 individual players, also I have done electronic music performances, improvisation. I have given concerts continually since the early 1980's. I can give you endless examples of recordings. I have painted since 1978. I have hundreds of paintings and have given many expos and been in salons like Montrouge. I am represented by the Gallery Au Fil du Canal in Paris. I'd be happy to send examples of my work. I began making films in 1979. Two of my films have come out in France, in 2012 and 2016.

Charlie TWEED
Oporavak
tweed Charlie
Oporavak
Vidéo expérimentale | hdv | couleur | 4:40 | Royaume-Uni | 0 | 2016

Oporovak proposes a methodology for what it calls ‘information recovery and the solving of â integrity problems. Taking its inspiration from data recovery solutions and the language of achieving complete visibility via forms of HD technology and big data the film is part alternative software training video and part the voice of a subversive hybrid machine. It takes the intent of information restoration into a new context with its apparent ability to manipulate all sorts of digital and non-digital materials via its sentient interface and performative actions which apparently can operate at molecular level. The film utilises the voice of an unreliable narrator who acts to draw the viewer in and raise their awareness of inbuilt human desires for clarity and visibility and the desire to develop new forms of technology that can manipulate all sorts of digital and physical materials. The final section of the film looks towards a `sensing mechanism` that has the functionality to manipulate and alter any type of visual material at its source and the capability of connecting with and manipulating the subconscious of its viewers.

Charlie Tweed is an artist and academic based in Bristol, UK. He has a PhD in art practice (Kingston University) and an MFA in art practice (Goldsmiths College). His video, text and performance based works interrogate the affective qualities of digital technologies and their use in the control and management of populations and environments. He employ strategies of re-appropriation and speculative fiction, often taking on personas of anonymous collectives and hybrid machines, to outline subversive plans for enhancing and escaping control mechanisms and renegotiating relations between human and non human.

Paula TYLISZCZAK
I feel blue, they sense rose
tyliszczak Paula
I feel blue, they sense rose
Installation vidéo | mov | couleur | 9:0 | Pologne | Suisse | 2017

The video "I feel blue, they sense rose" questions the process of seeing by deconstructing the medical gaze. How does science remind us of women`s bodies? How can the appropriation of the female body be documented through medicine and its history? The artist confronted herself with knowledge by working with historical artifacts from the Medical Collection at the University of Zurich. This collaboration gave her the opportunity to explore history on a subjective and interactive level.

Paula Tyliszczak (*1986) grew up in France and Poland and has a background in the Arts and in the Humanities. After completing her Bachelor`s Degree in International Relations at the University of Warsaw, she moved to Switzerland and studied Fine Arts at the Zurich University of the Arts. She later followed a Master`s degree in Contemporary Arts Practice at the Bern University of the Arts. As an interdisciplinary artist, Paula Tyliszczak mainly works with video, sound and language. Guided by her interest in the body as a social construct, she develops works at the interface between art and science, as well as between subjectivity and objectivity.

Mate UGRIN
Meanwhile
ugrin Mate
Meanwhile
Fiction expérimentale | 4k | couleur | 17:55 | Croatie | 2017

It's summer and the streets are almost empty in a small town. People gather at the public swimming pool. Two close friends are saying goodbye.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule fur bildende Kunste Hamburg). He is currently finishing the "Meisterschuler" program at the Berlin University of the Arts (Universitat der Kunste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

Meltse VAN COILLIE
elepthantfish
van coillie Meltse
elepthantfish
Doc. expérimental | mov | couleur | 27:18 | Belgique | 2018

Nous nous trouvons sur un navire qui tangue sur une mer infinie. Chaque membre de l`équipage essaie à sa façon de faire face au vide spatio-temporel. L`imagination remonte petit à petit à la surface et reprend le gouvernail en main....

Meltse Van Coillie (°1992) is currently based in Antwerp. She studied Communicational Sciences at the University of Leuven, with a Master in Film Studies at the University of Ghent. Following these years full of theoretical research, she took part in the Erasmus Mundus Master DOC NOMADS - a course in documentary filmmaking to acquire more practical skills in the field. Lisbon and Budapest were the setting for the numerous films made during this course. In 2015 she moved back to Belgium and started to take classes at KASK, School of Arts in Ghent. In 2018 she graduated as Master in Audiovisual Arts with her graduation film `elephantfish`.

Sarah VANAGT
Alle de tranen / Toute larme / Every Tear
vanagt Sarah
Alle de tranen / Toute larme / Every Tear
Doc. expérimental | hdv | couleur | 30:0 | Belgique | 2017

In the 17th century, Antoni Van Leeuwenhoek, a draper from Delft, begins to make glass lenses, in order to better study the quality of his textile. He melts, drips and grinds small beads of glass. His tiny lenses are so bright and have such magnifying power that the draper seems to have entered a new dimension. Is he the first to see little moving “animals” in a drop of water? How to describe something that nobody ever saw before? In the film `Every Tear`, Sarah Vanagt starts a journey into her home city of Brussels, with Leeuwenhoek’s microscope in hand. She picks up bits and pieces on her road, and tries to find out what the first microscopic images may have looked like. She replaces the lens of her camera by the 17th-century lens. As she is filming, she wonders why we always look for shapes that we already know, whenever we are in the eye of the unknown.

Home News Work & Screenings Online Films About Contact Balthasar produces and presents the work of filmmaker Sarah Vanagt. Sarah Vanagt (1976) makes documentaries, video installations and photos, in which she combines her interest for history with her interest for (the origins of) cinema. Her work includes films such as After Years of Walking (2003), Little Figures (2003), Begin Began Begun (2005), Boulevard d`Ypres (2010), The Corridor (2010), Dust Breeding (2013); and video installations such as Les Mouchoirs de Kabila (2005), Power Cut (2007), Ash Tree (2007). Her work is shown at film festivals (FidMarseille, Viennale, Doclisboa, Idfa Amsterdam, Rencontres Internationales Paris/Madrid/Berlin, Hors Pistes Centre Pompidou), and in museums (Frankfurter Kunstverein, Fact Liverpool, NGBK Berlin, Shedhalle Zürich). The silent short film Girl with a fly (2013) was first shown at the 5th Biennale of Moscow. The films In Waking Hours (2015) and Still Holding Still (2015) premiered at the International Film Festival Rotterdam. The installation Showfish was presented in M HKA, the Museum for Contemporary Art of Antwerp in October 2016. Vanagt`s new film DIVINATIONS (2019) has it`s Belgian avant-premiere during the festival Courtisane in Ghent (3 April 2019)

Ana VEGA
Where Are We Going? (Hey Siri)
vega Ana
Where Are We Going? (Hey Siri)
Vidéo | hdv | couleur | 13:59 | Argentine | France | 2018

Voix flottantes dans un espace que l'on devine par oscillations. Sorti.es faire une course, les deux protagonistes s'égarent dans les contextes historiques de l'objet qu'elles.ils cherchent, s'émeuvent et se désillusionnent des rapports humains, passent du temps ensemble et se trouvent des compagnons de voyage. Une séquence en clair-obscur, abstraite et figurative, qui suit les trajets d'une conversation entre personnages invisibles et incorporels, le temps d'un itinéraire indécis. Where do you want to go? I'm sorry, I can' t answer that. Where are we going? Here's what I've found : _ Un jeune homme et sa mère, Robin, Siri, Siri, Chris C. et d'autres.

Ana Vega (née à Bahia Blanca, Argentine, 1987) est une artiste qui vit et travaille à Paris et Saint-Ouen. Elle a étudié à l'Ecole Nationale Supérieure des Beaux-Arts de Paris et à l'école Nationale Supérieure des Arts Appliqués et des Métiers d'Art de Paris ; à Carnegie Mellon University, Pittsburgh (USA) ; à Pittsburgh Filmmakers Center for the Arts, Pittsburgh (USA) ; au Centro Cultural Rojas (Buenos Aires). Elle participe à l'exposition collective « Mademoiselle » curatée par Tara Londi au Centre Régional d'Art Contemporain à Sète (2018-19). Son travail a été montré en 2017 à Arondit, Paris ; au Centre d'Art Contemporain Chanot (Clamart) ; à Arnaud Deschin Galerie (Paris) ; à Vidéobox#4, Carreau du Temple, Paris ; la La Salle de Bains, Lyon, FR ; Festival d'art vidéo de Carcassonne, Cinéma le Colisée, Carcassonne, FR ; et précédemment, notamment au 22 rue Muller, Paris, 2016 ; au Festival vidéo les Rencontres Internationales à la Gaîté Lyrique, Paris, 2016 ; au centre d`art Image/Imatge, Orthez, FR, 2015 ; au Palais des Beaux Arts, Paris 2015 ; à la galerie Escougnou-Cetraro, Paris, 2015 ; à Commonwealth & Council, Los Angeles, USA, 2014 ; Torrance Art Museum, Los Angeles, 2014 ; à la Fondation Ricard, Paris, 2014 ; à la Galerie Florence Loewy, Paris, 2013 ; au Centquatre, Paris, 2013 ; à la Dickerman Gallery, San Francisco, USA, 2013 ; au 58e Salon de Montrouge, Le Beffroi, Montrouge, FR, 2013 ; à la Fondation Rosenblum, Paris, 2012.

Devis VENTURELLI
Unframed
venturelli Devis
Unframed
Vidéo | hdv | couleur | 4:22 | Italie | 2018

In "Unframed", the city is object of observation from inside a nebula black, floating, cavernous, mysterious. As in the depths of a primordial cave, the urban overview is fragmented in a collage-city in form of video. The drone unveils the Milan urban fabric with its patterns, grains and densities: from historical city emerges a new contemporary skyline. "Unframed" investigates the possibility to create images with mobile and fluid outline, an aerial view, sinuous and oscillating, in an incessant fluctuation. "Unframed" documents the odeporic approach of the contemporary culture in which the perception is an idiomatic overview.

Born 1974 in Faenza, Italy. He lives and works in Milan, Italy. Multi-disciplinary artist and architect, in his practice he uses the languages of video, performance, sculpture and installation to document ephemeral architectures and temporary utopias. He has taken part in solo and group shows in institutions such as Lincoln Center for the Performing Arts, New York; Antology Film Archive, New York; PAC, Milan; Medialab-Prado, Madrid; Museo de Arte, Lima; Xinjiang Biennale; MACRO, Rome; Kulturhuset Museum, Stockholm; MMOMA - Moscow Museum of Modern Art, Moscow; Ace Gallery, Los Angeles; Angel Orensanz Foundation, New York; Istituto Italiano di Cultura, Amsterdam; Spazio Oberdan, Milan; Fondazione Sandretto Re Rebaudengo, Turin; Kunsthalle, Wien; Stadtgalerie, Kiel; Centre d'Art Santa Monica, Barcelona; Fondazione Merz, Turin; Kunstverein, Augsburg; National Museum, Wroclaw; Mart - Galleria Civica, Trento; Galleria Nazionale d'Arte Moderna, Rome. In 2013 he presented the film project Luciano Berio/Devis Venturelli/Tempo Reale. In My End is My Music produced by Fondazione Romaeuropa. His videos and experimental films have been screened in International Film Festivals including Dance on Camera Festival, Videoformes, 25FPS Experimental Film Festival, FIVA - Festival Internacional de Video Arte, Romaeuropa Festival, Tehran International Short Film Festival, Regensburg International Short Film Week, New Filmakers NY.

VERMEIR & HEIREMANS
A Modest Proposal (in a Black Box)
vermeir & heiremans
A Modest Proposal (in a Black Box)
Vidéo | hdv | couleur | 28:7 | Belgique | Royaume-Uni | 2018

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)

Elena VOGMAN, Clemens von Wedemeyer
Actors of Profane History
vogman Elena , Clemens von Wedemeyer
Actors of Profane History
Vidéo | hdv | noir et blanc | 17:0 | Russie | Allemagne | 2017

"Actors of Profane History" includes a series of recently discovered casting images from Sergei Eisenstein’s destroyed film "Bezhin Meadow," (1935-1937) preserved today at the Russian State Archive of Literature and Arts. It questions the interrelation between the cinematographic use of film extras, who usually appear only in the background of major cinema productions, and the possibility of acting in political history, in itself closely connected to the history of representation. In his films, Eisenstein worked almost entirely with non-professional actors, the so-called "tipazhes." Deriving from the French word "typage," the Russian “tipazh” was a concept for denoting a typical appearance, giving an immediate visual presence to the palpable characteristics of a social type. This reading of human appearance as evidence of social and political conditions elucidates parallels between cinema and criminalistic as well as physiognomic paradigms. Yet, in 1935, when Eisenstein was commissioned to shoot Bezhin Meadow, such “irregular types” were already banned from official screens. The censured and destroyed film tells the story of Pavlik Morozov, a fourteen year old pioneer who lived in the village of Gerasimovka and was killed in 1932 by his family after denouncing his father for being opposed to the collectivisation of the land. After the editing of the film went through at least two different versions, the production was definitively stopped in March 1937. The film was withdrawn and disappeared in the deposits of Mosfilm, where it was eventually destroyed in the bombing of Moscow during the Second World War. In 1967, Naum Kleiman and Sergei Jutkevic reconstructed a version of Bezhin Meadow based on a surviving sequence of individual frames.

Elena Vogman is an author, independent curator and postdoctoral fellow in the research project “Rhythm and Projection” at the Freie Universität in Berlin. Her book on "Sinnliches Denken: Eisensteins exzentrische Methode" (2018) has been published by diaphanes. Currently, she finishes her next book, "Dance of Values: Eisenstein’s Capital Project," which is forthcoming in the Fall of this year. Together with Marie Rebecchi and Till Gathmann she curated the exhibition “Sergei Eisenstein: The Anthropology of Rhythm” in 2017 at Nomas Foundation in Rome. In 2018, the trio curates the exhibition “Eccentric Values after Eisenstein” together at Espace Diaphanes in Berlin. Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Solo exhibitions include: 2016 Hamburger Kunsthalle; P.O.V. - Neuer Berliner Kunstverein; 2015 MCA Chicago; 2013 MAXXI, Museo nazionale delle arti del XXI secolo, Rom with the project “The Cast”, curated by Giulia Ferracci

Viet VU
Nguoi Kien
vu Viet
Nguoi Kien
Fiction | hdv | couleur | 26:19 | Viet nam | 2018

The daily life of a homosexual man whose body is inhabited by ants.

Viet Vu (Ph?m Quang Trung) is a newcomer in moving image. He was introduced to images in a workshop at Hanoi Doclab by artist Jamie Maxtone-Graham in 2016. So far he has made one image collection of "Mom-me" (2017 - group exihibition at Hanoi Manzi Art Space) and a short film of "Ant-Man" (2018). Viet likes to approach the sublimity in vision of humanity through his camera.

Beny WAGNER
Outside
wagner Beny
Outside
Film expérimental | mp4 | couleur | 14:0 | Allemagne | 2017

`Outside` traverses two cyclical metabolic paths in the attempt to forge a reciprocal relationship between the two. Moving from the metabolism of the human body to the metabolism of waste infrastructures, the film creates an inverted exchange wherein the concealment of waste inside the human body turns to the concealment of the human body inside waste. The boundary that divides waste from production would seem to contain an underlying set of moral implications. The film considers these as situated somewhere between law enforcement and class structure as defined through labor positions.

Wagner has exhibited his work and screened films world wide: International Film Festival Rotterdam, Media Art Biennale WRO, Movimenta Biennale (Nice), Rongwrong (Amsterdam), Haus der Kulturen der Welt (Berlin), Art Athina (Athens), Impakt Festival (Utrecht), 5th Moscow Biennale for Young Art, Eye Film Museum (Amsterdam), Venice Biennale, Plato (Ostrava), Import Projects (Berlin), Future Gallery (Berlin), Center (Berlin) among others. His work has been featured in Artforum, Spike Magazine Quarterly, Frieze Magazine, Kaleidoscope Press, and Die Zeit. He has published texts with Valiz, BLOCK Magazin and 60 pages. Wagner graduated with honors from Bard College, New York in 2008. He was a researcher at Jan van Eyck Academy, The Netherlands in 2015-6. He is currently a lecturer at Gerrit Rietveld Academy, Amsterdam, and has been a guest teacher at several other academies.