Catalogue 2017-2018
Below, browse the 2017-2018 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.
Martin BEAUREGARD
Another Day after Eternity
beauregard Martin
Another Day after Eternity
Installation vidéo | 4k | couleur | 8:38 | Canada | 2017

L'oeuvre rend visible une forme de résurgences de l'expèrience traumatique au sein de la création d'environnements 3D représentatifs de la vie domestique. Sans jamais montrer l'horreur des évènements, elle participe de processus de recontextualisation et réinterprétation d'archives web d'attentats terroristes, ceux survenus notamment à Paris (2016), Bruxelles (2016) et Istambul (2017). Elle engage l'expression d'une temporalité humaine écartelée entre la réalité de l'événement et sa médiation faisant signe quelque part entre la vie, le son et l'image.

Martin Beauregard est artiste professionnel et professeur-chercheur-créateur à l’Université du Québec en Abitibi-Témiscamingue. Martin Beauregard est diplémé de l’Université du Québec à Montréal (PhD en études et pratiques des arts) et de l’Université Paris 1 Panthéon Sorbonne (PhD en arts plastiques et musicologie), ainsi que de l’école des Beaux-arts de Bordeaux (Master en arts et médias). Son travail artistique a été présenté dans de nombreuses institutions, notamment au Musée des beaux-arts de Montréal (Montréal, Canada), Location One (New York, Etats-Unis), au Capc Musée d’art contemporain de Bordeaux (Bordeaux, France) et à l’Asahi Art Square (Tokyo, Japon).

Amanda BEECH
Covenant Transport, Move or Die
beech Amanda
Covenant Transport, Move or Die
Fiction expérimentale | hdv | couleur | 22:47 | Royaume-Uni | USA | 2015

1. Covenant Transport, Move or Die in its original form is a multi-channel video installation, presented here as one screen from this format. The work speaks directly to the mutual fantasies of mobility and non-place that have occupied the capitalist liberal imaginary as well as the world of leftist politics and contemporary art. The work features five characters that occupy the site of a wasteland making up a workerist crew of manager, worker, programmer, consumer, and dealer. In this parallel reality, derived from and cluttered with the detritus of our life as we know it, they program and mobilize the unrelenting movements of economies, states, culture and people. Using game show style methods of consensus building they wade through the terrain of global capitalist power to transcend the political stagnation of technology, industry and the mire of our present.

Amanda Beech is an artist and writer. Her work entangles narratives of power, reason and cause from philosophical theory, literature and real political events, exploring how the myths that seem necessary for an account of human agency are lived with, but can also be supplanted by a realist politics. Through entangling narratives of power and agency from philosophical theory, noir-ish narratives of TV shows like 24, CSI, the hard-boiled writing of James Ellroy and real political events, her artwork, in video, print and sculpture manifest an argument for a propositional art that executes another form of force to surpass the notion that art simply reflects and reproduces the status quo. The work traverses the aesthetic and philosophical paradigms of institutional, individualistic, metaphysical, rational and mythological authorities to propose a new realist politics of the artwork itself that can surpass the tragic consciousness and the ideal skepticism that has mutually championed and debilitated the value of art in Modern and contemporary culture. In this hard critique of liberal and neo-liberal cultural politics her work examines and produces the condition of language as force and the force of language with the weight of a commitment to a future

Louidgi BELTRAME
El Brujo
beltrame Louidgi
El Brujo
Film expérimental | 4k | couleur | 17:29 | France | Pérou | 2016

El Brujo, qui signifie “ le sorcier “ en espagnol est aussi le nom d’un site archéologique mochica. C’est sur cette plage de la côte péruvienne que l’artiste a tourné une partie de son film : le guérisseur José Levis Picón y rejoue la séquence finale du film de François Truffaut Les Quatre Cent Coups (1959) où le jeune héros Antoine Doinel, interprété par Jean-Pierre Léaud, s’enfuit vers le rivage. Le célèbre acteur français prend lui aussi part à l’oeuvre de Louidgi Beltrame, filmé à la dérive dans les rues de Paris. A travers ces transpositions, l’artiste orchestre une série de déplacements, une migration des personnages, des motifs et des époques : “Antoine Doinel est déplacé dans l’espace et dans le temps, mais aussi dans le langage. En Aymara, langue indienne vernaculaire, le passé se situe devant le locuteur et le futur derrièrere lui. “ Aux lignes géométriques du paysage péruvien fait de pyramides et d’excavations répond la structure du montage filmique composée de travellings et de plans panoramiques sur la musique modulaire et synthétique du morceau Triangle (1979) de Jacno.

Louidgi Beltrame est né en 1971 à Marseille. Il vit et travaille actuellement à Paris. Il a étudié à l’école supérieure d’art et de design à Marseille, au Fresnoy-Studio National des Arts Contemporains et à la Villa Arson de Nice. Dans son travail salué par le prix SAM en 2014, Louidgi Beltrame examine les processus de constitution d’archives et de documentation de l’organisation humaine à travers le 20ème siècle, en utilisant la fiction comme une possible façon d’appréhender l’histoire. Le travail de Louidgi Beltrame se développe autour d’une déconstruction des structures formelles et narratives du cinéma, envisagé comme médium avec sa syntaxe spécifique mais aussi comme force politique qui a influencé le développement du siècle dernier et d’une documentation de l’architecture moderniste et de ses vestiges. Il filme ainsi dans des endroits définis par leur relation paradigmatique à la modernité : Hiroshima, Rio de Janeiro, Brasilia, Chandigarh, Tchernobyl, ou Gunkanjima, île abandonnée au large de Nagasaki, vestige d’une ancienne cité charbonnière. Son travail, récemment exposé au Palais de Tokyo (2016), a été montré au Centre d’art Contemporain de Chelles (2010), au Musée d’art Moderne et Contemporain de Strasbourg (2008), au Pinchuk Art Center de Kiev (2007), à l’Atelier du jeu de Paume (Paris, 2006), au Musée d’art contemporain du Val-de-Marne, (France, 2005), au Centre Georges Pompidou, (Paris, 2005).

Amber BEMAK, Amber Bemak, Nadia Granados
Borderhole
bemak Amber , Amber Bemak, Nadia Granados
Borderhole
Vidéo | hdv | couleur | 14:0 | USA | Mexique | 2017

Borderhole takes place on a mythical border area between Colombia and the United States. We investigate the relationship between North and South America through the lens of the American Dream and the illumination of multiple tensions in and around the border. The piece explores imperialism, globalization through pop music, gender mutation in an international context, and the choreography of women’s bodies in relation to sociopolitical and ecosystems.

Nadia Granados is originally from Bogotá, and currently based in Mexico City. Her work explores the relationships between traditional pornography and violence and is both performative and technological, art and activism, and a mix of cabaret, intervention, and streaming video. In all of her work, she uses her body to detonate, opening up new pathways of action and shift consciences. Among the many awards she has received are the Franklin Furnace Fund, the 3rd Visual Arts Biennial Bogotá Prize, and the FONCA award for Colombia-Mexico artist residencies. Her work has been presented extensively and internationally. Amber Bemak teaches filmmaking at Southern Methodist University in Dallas, Texas, and her creative work is based in experimental and documentary film, as well as performance art. Amber’s work focuses on themes of Buddhist culture, performative explorations of the body in relation to greater political systems, and cross-cultural encounters in the context of globalization. Her feature and short films have played in numerous festivals internationally, and have been seen at venues including the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, SculptureCenter, and Oberhausen Film Festival. She has taught film theory and practice in India, Nepal, Kenya, Mexico, and the United States.

Fethi BENMOKHTAR
Crash
benmokhtar Fethi
Crash
Documentaire | hdv | couleur | 9:0 | Algérie | 2017

Collision est un film de Benmokhtar Fethi, basé sur la narration non linéaire. (France). Le film nous présente des éléments réels, sur la situation actuelle de la ville d'Oran. Des éléments sur la vie et la mort dans la ville à travers son histoire, son identité, sa religion et son entourage naturel. Le film contient trois chapitres. Le premier chapitre est dédié aux martyrs de la révolution, raconté par la grand-mère. Le deuxième chapitre est dédié aux victimes de la dècennie noire, raconté par la mère. Le troisième chapitre, dédiéà la relation des habitants avec leur ville, et au cycle de vie de la nature est raconté par la fille.

Andreas BOLM
Le Juge
bolm Andreas
Le Juge
Fiction | 4k | noir et blanc | 68:0 | Allemagne | 2017

- Vous ne saviez pas que vous lui donniez du poison ? - Je ne le savais pas. - Mais vous étiez au courant que le papier tue-mouches peut tuer un chat, n’est-ce pas ? Vous n’avez pas pensé qu’avec ça on peut même tuer un homme ? - Oui, je savais que c’était du poison, mais pas si fort que ça. Mots et paroles, fragments d’un procès : l’affaire des empoisonneuses. Des paysannes tuent leurs hommes. Sur les routes de Hongrie, un juge hanté par sa propre voix. Jacques Nolot est le juge itinérant obsédé et rattrapé par les griffes du passé. Un film noir et fantastique en base d’un fait divers.

Andreas Bolm, réalisateur né à Cologne (Allemagne). Après avoir travaillé comme ingénieur du son et musicien à Manchester (Grande-Bretagne), il se consacre à la photographie et la vidéo. En 1999, Andreas est engagé au département documentaire de l’Université du Film et Télévision de Munich. Andreas vit et travaille entre l’Allemagne, la Hongrie et la France. Ses films Ròzsa (2000), The Sleepers (2003), Jaba (2006), Tous les enfants sauf un (2008) et School Files (2012) ont été sélectionnés dans de nombreux festivals internationaux. Son film Jaba est présenté à la Cinéfondation à Cannes en 2006 et a reçu le prix "Golden Mikeldi" pour le meilleur film documentaire au festival international Zinebi de Bilbao. En 2009 Andreas est résident à la Cinéfondation Résidence du Festival de Cannes où il développe l’écriture de son film Die Wiedergänger/The Revenants (2013). Le film est projeté en première à la 63ème Berlinale, section Perspektive deutsches Kino et présenté au MoMa, New-York. Son deuxième long métrage Le Juge (2017) avec l’acteur français Jacques Nolot est inspiré d’un fait divers, l’affaire des empoisonneuses, qui a eu lieu dans un village en Hongrie.

Nicolas BOONE
Etage 39
boone Nicolas
Etage 39
Fiction expérimentale | 4k | couleur | 29:0 | France | 2017

Dans un espace indéterminé, face à des images de paysages vierges de toutes traces humaines, plages exotiques, montagnes ou déserts, forêt, littéraux et volcans, des X1 se déplacent. L’un d’eux, qu’on identifie vite comme une sorte de modérateur, entre et sort avec les autres. Il lance des sujets de conversation, les interrompt, les relance. Tous improvisent. 1 J’appelle ici les X les 10 personnages modèles au sens bressonien. ils ont étaient choisis pour leur grande éloquence ou leur imaginaire singulier.

A sa sortie des Beaux- Arts de Paris en 2001, Nicolas Boone réalise des tournages/performances, des “ films pour une fois “ sans caméra. Son travail, entre mise en scène et captation (où, parfois, le tournage devient le film lui-même) est protéiforme : série (BUP, 2007/2008), long métrage en coréalisation sorti en salle en 2013 (200%), films courts réunis dans un même programme (Les Dépossédés, 2012)... Ses films, qui ont fait l’objet d’une rétrospective intégrale au Vivo Art Center de Vancouver en 2011, ont été sélectionnés en maints festivals, à l’image du Rêve de Bailu (2013 ; présenté en 2015 au Festival international du film de Rotterdam et celui de Jeonju, ainsi qu’à IndieLisboa) ou encore de Hillbrow, présenté (entre autres) en 2014 au FID Marseille, au Festival Mostra Indies de Sao Paulo, au Festival du Nouveau Cinéma de Montréal (1er prix Loup Argenté), au festival “Entrevue “ de Belfort (prix du public, prix One+One, prix Camira) et, en 2015, au festival international du film court de Clermont-Ferrand ainsi qu’au Lago Film Fest (Italie ; Premier prix du jury). Ce film a également obtenu le Prix Scribe du cinéma en décembre 2014. A l’automne 2015, il a fait l’objet d’une installation à La Galerie de Noisy le Sec. Psaume, réalisé en 2015, a notamment été sélectionné au FID (Compétition française ; prix du CNAP et prix des lycéens), à la Viennale et aux RIDM. Le Rêve de Bailu, Hillbrow et Psaume ont été projetés à l’UnionDocs Center for Documentary Art (Brooklyn) en novembre 2015.

Dan BOORD, Luis Valdovino
A Feeling for Leaving
boord Dan , Luis Valdovino
A Feeling for Leaving
Doc. expérimental | hdv | couleur et n&b | 9:28 | USA | 2017

Thinkof anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving. "Gertrude Stein" Stay all night, stay a little longer, Dance all night, dance a little longer, Pull off your coat, throw it in the corner, Don`t see why you can`t stay a little longer. Lyrics by Bob Wills and Tommy Duncan In this video we see a world from a rearview mirror, passing along 19th century settlement trails, monuments, gas stations, deserts, dinners, postwar suburbs and a movie motel drive-in. Our histories are visible, mobile and vanishing. Landscapes rush by Arizona, Colorado, New Mexico, and Utah. Destinations include a dinosaur along a highway, a ranch converted into a UFO observation park, an abandoned movie drive-in, a western parade in Wyoming and lonely stretches of road. There is music and radio along the way, communities floating among the airwaves. Ferde Grofé’s musical sunrise over the Grand Canyon accompanies a tourist’s panoramic journey meandering westward to the Westlake District of Daly City, California. Meanwhile, an immigrant embarks on a train trip across Amerika toward employment, belonging, and The Nature Theater of Oklahoma.

Biography/Dan Boord: Dan Boord is a Professor in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

Adriana BRAVO, Ivanna Terrazas
Beso de chola (Chola Kiss)
bravo Adriana , Ivanna Terrazas
Beso de chola (Chola Kiss)
Vidéo | hdv | couleur | 4:0 | Bolivie | 2016

On connait cet art du détour que Sophie Roger pratique pour nous mener par des chemins inattendus avec l’amitié comme fil, déplié avec Le Point aveugle (FID 2012) ou Les Jardiniers du petit Paris (FID 2010). Ici ce sera, tissée tout en délicatesse à l’écran, l’amitié avec Mohamed, réfugié soudanais au Havre. Faite de partage, d’attention, d’écoute et de rire, et de vagues en vagues, celles du texte éponyme de Virginia Woolf qu’elle lui lit, à celle de Courbet au musée du Havre, qu’il animera de son regard. (FIDMarseille)

David BROGNON, Stéphanie Rollin
Mon heure de gloire
brognon David , Stéphanie Rollin
Mon heure de gloire
Doc. expérimental | hdv | couleur | 0:0 | Luxembourg | Belgique | 2017

David Brognon & Stéphanie Rollin ont représenté l’abandon de l'activité et l’interruption brutale du temps qui en découle, par des images de l’usine désertée, d’horloges figées, et des enfants des travailleurs cherchant un nouveau lieu de transmission.

Dan BROWNE
Palmerston Blvd.
browne Dan
Palmerston Blvd.
Film expérimental | 4k | couleur | 14:10 | Canada | 2017

In PALMERSTON BLVD., filmmaker Dan Browne invites the audience into the intimate space of his living room, in this portrait of a bay window recorded over the course of a year. Gradual shifts in the interior and exterior environments mark the passing of the seasons, a slow dance of objects and light juxtaposed by the rapid speeds of bodies and the urban landscape, revealing the processes inherent in all things. Meticulously constructed from over 250,000 images, PALMERSTON BLVD. offers an extended glimpse into the rituals of domestic life, demonstrating the uniqueness of everyday mundane activities. As time flows, we see the growth and development of the family’s first child, until eventually the home becomes an empty roomready to begin anew.

Dan BROWNE (b. 1982) is a filmmaker, photographer and multimedia artist based in Toronto, Canada. His works explore patterns, nature and sensory perception through dense and kinetic audio-visual forms. Traversing the intersections between cinema, installation, music, photography, painting and poetry, Dan’s works have been presented at over 100 festivals and venues worldwide, including Rotterdam International Film Festival, Art Cinema OFFoff, Diagonal Film Archive, Centre Pompidou, Festival du Nouveau Cinema, TIFF and Early Monthly Segments. Dan’s media practices also encompass live performances in collaboration with musicians, and video installations that have received public commissions in Toronto and Vancouver. Dan has also collaborated with other Canadian filmmakers, including Carl Brown, Peter Mettler, R. Bruce Elder, Michael Snow, and members of the Loop Collective. Dan is currently a PhD candidate in the York/Ryerson Joint Graduate Program in Communication and Culture, where he is completing a dissertation on decay aesthetics in contemporary avant-garde and experimental cinema. His works are available for rental through the Canadian Filmmakers Distribution Centre and Light Cone Paris.

Shirley BRUNO
Tezen
bruno Shirley
Tezen
Fiction expérimentale | hdv | couleur | 28:0 | USA | Haiti | 2016

A restless daughter meets a spirit who gives her pure water. Her family devours the delicious water until they begin to suspect more than the origin of its taste. A traditional folktale retold entirely featuring a cast of nonactors from one family made of three generations

Shirley Bruno's films draw from her Haitian heritage preserving and radicalizing her ancestral traditions and mythology. She creates modern myths that expose the slippery spaces between the material and metaphysical world, between collective memory and history. In her work she explores the everyday, the Sacred, and the intimate violence in the things left unsaid that mark us generation after generation. Shirley holds a Masters with Distinction from London Film School and a Masters II with Mention from Le Fresnoy - Studio National des Arts Contemporains where she was an artist fellow. She works alternately between New York, France, and Haiti.

Dunne BRYONY
Things Stay for a While
bryony Dunne
Things Stay for a While
Documentaire | hdv | couleur | 10:0 | Irlande | Egypte | 2017

Ahmad Ali Badawi is a writer, translator, researcher and self-described ” eternal student ” who lives in Cairo. `Things Stay For A While` (2017) shadows Ahmad, inside his downtown apartment as he researches the evolution of bird wings. In pursuit of more particulars, he treks the streets, passing politically charged murals from the aftermath of the revolution to the city’s Agricultural Museum, which houses an array of taxidermied birds and other winged specimens. As he drifts from one display to the next, a visual analogy for the “ eternal student ”“ meaning, one who has an insatiable desire for knowledge and intrigue”comes to pass: one specimen unexpectedly takes flight.

Bryony Dunne (1984) is an Irish Visual Artist based in Athens. Before relocating to Greece she lived and worked in Cairo for five years. Building on her background in documentary photography and visual anthropology, she explores the intersections between humanity and the natural world often merging documentary and fiction.

Rick BUCKLEY
Estuary à la mode
buckley Rick
Estuary à la mode
Vidéo | 4k | couleur | 5:15 | Royaume-Uni | 2016

In Plato’s “ Ion ”, poets are portrayed as passive and irrational instruments of the Muses and their craft created in a state of frenzied ecstasy and madness. The Muse has entered them and taken possession of them, using them as a mouthpiece. The poet being a chain of influences, just as the Muse takes possession of the poet, so the poet causes the rhapsode who recites the poetry and also enters into a frenzied state and in turn the rhapsode will put the audience into a wild Bacchic state. Thus a chain of magnetic influence leading back to the Muse. The Muse is likened to a magnet, which has an attractive force on the poet, who has an attractive force on the rhapsode and so on down the chain to the audience. Therefore a chain of creativity is established, with creativity only occurring if the poet is found in a passive irrational state. During this chain of influences under a frenzied state, the poet does not comprehend what he/she utters within his/her craft and thus unable in understanding the nature of the poetry. One could apply Plato’s notion of the Muse’s magnetic force and coupled with effects upon the poet in a chain of influences, to that of social media. Wherein the subject is drawn to the magnetic forces at play through the interaction with technological devices in the palm of the beholder “ The Muse performs for the technological device, the technological device performs for the muse ”. Within our digital age of the 21st century, the notion of the Muse as magnetic force, becomes blurred through an opiate-like state of influence, through our interaction with the technological device. “ Estuary a la mode ” attempts to evoke Plato’s notion of the Muse set within the febricity of our digital age.

Born Essex, UK 1962 1990-95 Studied Kunstakademie-Düsseldorf, Germany. Studied under Nam June Paik/Nan Hoover 1996 Videokunst Preis Bremen 1997 Kunstfonds Stipendium, Bonn 2000 Artist Residency, Bemis Centre for Contemporary Arts, Nebraska, USA 2003 Arts Council England Artist Grant 2013 CCA Andraxt, Mallorca, Spain, Artist Residency 2014 Arts Council England Artist Grant 2016 18th St Arts, Santa Monica, CA, Artist Residency CCA Andraxt, Mallorca, Spain, Artist Residency Arts Council England Artist Grant Berlin Senate for Cultural Affairs, Artist- Research Grant 2018 Berlin Senat Artist Catalogue- Grant

Jamie BUCKLEY
A Visitor
buckley Jamie
A Visitor
Doc. expérimental | hdv | couleur | 13:44 | Irlande | Allemagne | 2017

A Visitor, 2017, takes as a starting point the modernisation of a somewhat neglected memorial site at a former mass killing site in Germany. The video documents the replacement of older information panels and the changes to the landscape over an extended period of time. The video also draws on both a chance encounter with a beekeeper sent to contain and collect a “ stray ” swarm of honey bees at the site, and an archive interview conducted by historians at the nearby home of Maria Seidenberger. Seidenberger was a teenager at the time of the mass killings. She secretly helped concentration camp prisoners to smuggle and hide items that included clandestine photographs, letters, a heart and a death mask. The emerging portrait of the site exposes a multiplicity of narratives and reflects on themes such as subversion, guilt and remembrance. The persistence of material objects is questioned while resisting a linear view of history and memory.

Jamie Buckley is an artist who is originally from Kerry, Ireland but is now based in Munich, Germany. He completed an MFA at the University of Ulster, Belfast in 2012. Screenings and exhibitions include: LUX, London (2018); AMINI, Belfast (2017, 2015); Rencontres Internationales, Paris/Berlin (2014, 2012); Golden Thread Gallery, Belfast (2013); Bloomberg New Contemporaries, Institute of Contemporary Art, London and Liverpool Biennial, Liverpool (2012).

Erik BULLOT
Nouveau manuel de l'oiseleur
bullot Erik
Nouveau manuel de l'oiseleur
Film expérimental | hdv | couleur | 11:51 | France | 2017

Un oiseau est-il un document ? Les réserves d’un musée de civilisation peuvent-elles être perçues comme un miroir aux alouettes ? S’agit-il d’oeuvrer à une libération du document, à l’instar de la libération animale ? Telles sont les questions posées par ce film visionnaire et poétique, tourné dans les réserves du Mucem à Marseille.

Erik Bullot est cinéaste et théoricien. Il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Ses films explorent les puissances poétiques et formelles du cinéma. Sa filmographie compte une trentaine de titres. Son travail a été présenté dans de nombreux festivals et musées, en France et à l’étranger. Il a publié récemment “ Le Film et son double ” (Mamco, 2017) et coordonné l’ouvrage “ Du film performatif ” (it: éditions, 2018). Il enseigne actuellement le cinéma à l’école nationale supérieure d`art de Bourges (France).

Brit BUNKLEY
Ghost Shelter/6
bunkley Brit
Ghost Shelter/6
Vidéo expérimentale | hdv | couleur | 5:49 | Nouvelle-Zélande | 2017

Ghost Shelter/6: encompasses a variety of significant post-industrial structures all at the edge of metropolitan regions in various states of ruin. They are created from 3D scans and drone footage, rendered and animated in 3D as discrete virtual entities simulating islands of memory (as in Tarkovsky’s Solaris). 1.Chemiewerk Rüdersdorf, an abandoned chemical factory in the former German Democratic Republic 2.The Teufelsberg, a NSA listening station in Berlin built on top of a man-made hill constructed from the rubble of WW2 Berlin. 3.Immerath, a ghost town in western Germany removed in 2017 by the energy giant RWE for the expansion of their open cast coal mine, Garzweiler. 4.The Martha Project, a NZ open cast gold mine whose mining operations ground to a halt due a major landslide collapsing the north wall of the mine. 5.Domes of Case Grande, an incomplete and abandoned futuristic computer facility in Arizona. 6.The Sleeping Beauty Castle, the centrepiece of the California Disneyland Park, modelled on the late 19th century Neuschwanstein Castle in Bavaria, Germany.

Brit Bunkley’s current art practice includes public art, sculpture, installation, and the creation of “impossible” moving and still images and architecture designed using computer 3D modelling, video and image editing programs, with content emphasizing majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. In addition, he has received several grants and fellowships including a Wallace Trust grant in NZ; a New York State Fellowship (CAPS) grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. Recent international group exhibitions and screenings include Sanctioned Array-Other2 Specify at the White Box gallery in NYC, Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou and at the Reina Sofia National Museum, Madrid, Spain; The Haus der Kulturen der Welt, Berlin; FILE 2012 at the SESI' Cultural Centre Sao Paulo, Brazi;, the Berlin International Director?s Lounge 2014 and the Moscow Museum of Modern Art where he won an award. Bunkley?s most recent solo exhibition, Social Realism opened at the Sanderson Contemporary Art, Auckland, NZ November 2014- with forthcoming solo exhibition November 2015. Recent video exhibitions and festivals include FILE 2015; Fiesp Cultural Center, Sao Paulo, Brazil; the International Video Art Festival “ Now&After ” MINI VIDEO'15, Schusev Museum of Architecture, Moscow, Russia, and International short- and longfilm videodays 2015 and 2016, G.A.S-station, Berlin, Germany

Carlos CASAS
Faro (Lighthouse)
casas Carlos
Faro (Lighthouse)
Vidéo | hdv | couleur | 20:0 | Espagne | Italie | 2016

Faro is a portrait of the lighthouse of Santa Maria di Leuca (Italy), one of the last lighthouses in the south of the Mediterranean. The lighthouse illuminates the unknown, embraces the borders of the extreme lands. Every lighthouse possesses an identity, a light’s signature code that allows sailors to identify where they are: Santa Maria di Leuca has 3 light beams; its first beam offers half a second of light, followed by two and a half seconds of darkness, then half a second of light, followed by two and a half seconds of darkness, then once again half a second of light, and it finishes up with eight and a half seconds of darkness. And then the cycle starts all over again. Casas portrays its spirit, its behaviour and its evocative power. The artist studied the light, which in the Finis Terrae begins with the horizon and ends with a contrary rhythm regarding the lights switching on and off in the lighthouse in Santa Maria di Leuca.

Carlos Casas, Barcelona 1974, vit et travaille à Paris. Réalisateur de films et artiste visuel, ses oeuvres marient le film documentaire, le cinéma et les arts visuels et sonores contemporains. Ses trois derniers films ont remporté des prix dans des festivals du monde entier à Turin, Madrid, Buenos Aires, Mexico et certaines de ces réalisations en vidéo ont fait l’objet de présentations dans des expositions personnelles ou collectives. Casas a réalisé une trilogie filmique consacrée aux environnements les plus extrêmes de la planète: la Patagonie, la Mer d’Aral et la Sibérie. Avalanche, un projet en cours, a été présenté dans plusieurs musées et galeries en Europe. Il est le co-fondateur de Map Productions et du Label musical et vidéo Von Archives. Il a été directeur artistique de Colors Music and Films où il a développé des projets audiovisuels et de la recherche musicale dans diverses régions du monde. Il est professeur invité au Dartmouth College USA et ECAM Madrid. Ses oeuvres ont été présentées dans des musées et des espaces tels que La Tate Modern, Londres, le Palais de Tokyo a Paris, Hangar Bicocca a Milano, le Bozar a Bruxelles, l’Oi Futuro Rio de Janeiro, le MIS Sao Paolo, le Centre Pompidou, la Fondation Cartier, Paris, le Centre Cultura Contemporanea, Barcelone, Malba Buenos Aires, le GAM, Turin. Ses films ont été présentés dans des festivals comme le Festival du Film de Venise, le Festival du Film de Rotterdam, le FID Marseille, le BAFICI Buenos Aires, le Festival de Jeonju, la Corée du Sud, Documenta Madrid, FICCO Mexique et autres. En Mars 2017 il a presentee la Tate Modern son installation Sanctuary, part de sa recherche pour le film Cemetery.

Wim CATRYSSE
Outpost
catrysse Wim
Outpost
Doc. expérimental | 4k | couleur | 34:41 | Belgique | 2018

“ A transfixing look at how Belgian artist filmmaker Wim Catrysse surveys the dynamics of self-constructed, architectural settings or the fictitious characteristics of phenomenal environments ? dissecting subjectivity and thereby also the illusion of control. His films and video installations challenge both participants and viewers in a primordial way through the evocation of vertigo. This precondition of boundaries operates to expose the observer to underlying motives. His artistic approach combines intuition with technical reasoning, which often leads to complex, cinematographic image constructions. ”

Born 1973 in Leuven (BEL) Lives and works in Antwerpen (BEL) Studied at ESA St-Luc Bruxelles (BEL), Higher Institute for Fine Arts, Anvers( BEL) and The Glasgow School of Art (GBR)

Miryam CHARLES
Vers les colonies (Towards the colonies)
charles Miryam
Vers les colonies (Towards the colonies)
Fiction | 16mm | couleur | 5:0 | Canada | Haiti | 2016

Lorsqu’une jeune fille est retrouvée au large de la côte vénézuélienne, un médecin légiste tente de déterminer les causes du décés avant que le corps ne soit rapatrié.

Formé en cinéma à l’Université Concordia, Miryam Charles a produit et photographié les courts métrages,Danger of death, La boutique de forge, Full Love, Feu de Bengale et les longs métrages Le pays des âmes et Nouvelles, Nouvelles. Elle est la réalisatrice de Vole, vole tristesse, Vers les colonies, Une forteresse et Trois Atlas.

Io CHAVIARA, Michalis Kastanidis
Idomeni 2016
chaviara Io , Michalis Kastanidis
Idomeni 2016
Installation multimédia | hdv | couleur | 6:3 | Grèce | 2016

Idomeni 2016. A self organised camp was build by concentrated refugees-immigrants after the closure of the Macedonian border towards western Europe. Through a strict observational approach the video attempting to capture the relation between the refugee-immigrant and "the image of the refugee-immigrant " as it’s being constructed by the western world.

Io Chaviara is a visual artist. She has taken place in international exhibitions she has been co- curating workshops and documentary festivals in Athens and Beirut. Her artworks consist of essays, lectures performances, installations, curating projects and documentaries. Michalis Kastanidis is a film-maker and co-founder of Fabula Productions based in Athens, Greece. He has studied visual antropology and etnographic film in Barcelona (UB).