"Catalogue" is a series of 16mm films and videos that consider the time it takes to look at the objects for sale in a mainstream furniture catalogue of designer knock-offs. The catalogue presents de-saturated photographs of staged rooms shot and printed to resemble sets for film-noir era movies. This mediation hypothetically increases the objects` desirability by picturing them in a nostalgic historical moment that is, in fact, fictional. In these pictures, copies of designer furniture are indistinguishable from original pieces. The film is a documentary of the filmmaker’s looking; each cut was determined by the rise and decay of her interest in the object. Each film takes one volume of the 11-volume mail order catalogue as its subject. They can be screened as a set or individually. "Catalogue Vol.6" was shot with audio clips from a horror movie that mention the words "house," or particular rooms or parts of a house, playing in the studio while the film was being shot so that each shot acquired a random "soundtrack." Then the film clips were organized as a "tour" through the rooms of a house: foyer, living room, dining room, kitchen, study, bath, ending at the bedroom.
Dana Berman Duff’s artworks are included in the collections of the Museum of Modern Art and the New Museum of Contemporary Art in New York, the Phillips Collection (Washington DC), Brooklyn Museum (NYC), The Carnegie Museum (Pittsburgh), and a number of private collections. Her works in small format film and video have been screened in a number of festivals including the Toronto International Film Festival, International Film Festival Rotterdam, the Biennale de l’Image en Mouvement (Geneva), Edinburgh International Film Festival, ExIS (Seoul), Antimatter (Vancouver), San Francisco Cinematheque’s Crossroads, Experiments in Cinema (Albuquerque), Cairo International Film Festival, Timisoara Festival (Romania), Filmmakers Festival (Milan), Onion City Experimental Film Festival (Chicago), LaborBerlin microcinema (Berlin), Dortmund/Cologne International Women’s Film Festival, Seattle Filmforum, Echo Park Film Center (Los Angeles). The Gringas, (2013) was named Best Documentary Feature at the 2014 Mexico International Film Festival. Dana Berman Duff teaches at Otis College of Art and Design in Los Angeles and lives part-time in Mexico.
High in the mountains of Lesotho, Mosaku is anxiously awaiting the return of his older brother from an initiation ceremony. The initiates spend 5 months in a remote secrete location. When the boys return, they are grown men.
Teboho Edkins was born in the USA in 1980 and grew up in Lesotho, South Africa and also in Germany. He studied Fine Art at the University of Cape Town, followed by a 2-year post-graduate residency at le Fresnoy, studio national des arts contemporains in France and then a post-graduate film directing program at the dffb film academy in Berlin. His films show at film festivals, television, museums, win awards and have been acquired by private art collections. He currently lives between Berlin and Cape Town.
Spacious landscapes, a cloudless sky decorate the walls surrounding the little zoo in Palestine: Screaming illusoric allegories of freedom. The humans feed the animals and speak to them. A usual day. If it were not for the Giraffe, which was shot dead by the Israeli military; or for the Lions who are only allowed to be imported sterilized. Timidly the workers start talking about what it means to live and work under occupation.
Pary El-Qalqili is a writer, director and curator, based in Berlin. She studied Directing at the University of Television and Film Munich. Her first feature documentary THE TURTLE`S RAGE was released in German cinema in 2012 and won several awards on international film festivals, such as the Dubai International Film Festival, Visions du Réel in Nyon and the Al Jazeera Documentary Festival. The short documentary „ZOOLAND“ is her Diplom movie. For her artistic work she got support and scholarships by the Academy of Arts in Berlin, the Robert-Bosch-Stiftung and Künstlerinnenförderung Film/Video of the City of Berlin.
De 1884 à 1914, une étroite bande de terre située entre la colonie britannique de la Côte-de-l`Or et le Dahomey gouverné par la France faisait partie des possessions africaines de l`empire allemand. Le "Togoland" d`alors, qui comprenait le territoire du Togo et la partie orientale du Ghana d`aujourd`hui, a vu la première capitulation allemande de la Première Guerre mondiale. La présence européenne a durablement marqué les esprits et les souvenirs sont vifs, même plus d`un siècle après l`éviction forcée de l`un des principaux acteurs européens du "grand jeu colonial" et plus d`un demi-siècle après les indépendances africaines. Lomé - Adibo et Yendi (Ghana) - Kamina - Wahala : moments de quelques étapes au présent sur le chemin du passé... Langues originales : dagbani, anglais, ifè
1985-1997 : chroniqueur, auteur et producteur radio. 1995-2004 : chargé de programmes documentaires pour chaînes de télévision publiques et privées en France et Allemagne.
LA VILLA Etre dans sa maison L’été 2016, je filme le caveau familial à peine achevé. Cet ouvrage minimaliste, projet de mon père, est bâti dans le cimetière d`Oletta en Corse. Le marbre de Carrare, reflète dans sa permanence l`architecture du village dont certaines villégiatures.
Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris et Oletta (Corse). Elle est diplômée de l’Ecole d’Architecture de Marseille Luminy. Architecte et artiste, elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Depuis 2008 elle mène son activité d’architecte au sein du collectif L140. Elle enseigne l’art-vidéo à l’Université de Corse Pascal Paoli. Dans le prolongement des bâtiments qu’elle construit, ses films, vidéos et installations sont des architectures projectives révélant l’inconscient individuel ou collectif. Les références à la culture populaire sont présentes dans ses oeuvres dont l’univers part d’un regard alternativement amusé et grinçant sur le monde. Tout dans son travail est à la faveur des projections mentales. Chaque non-dit, chaque manque, chaque vide permet l’ambiguité. Les objets y sont transitionnels, faisant appel à la mémoire, à l’interprétation, au désir à la faveur d`un renversement du regard. Les mouvements de caméra sont synthétiques. S’ils ne suivent pas la trajectoire du corps qui porte la caméra ils s’opèrent grâce à un mécanisme présent sur place au moment du tournage.
Return to Forms
Return to Forms
A constellation of objects, each emerging into the soft peach-light void of an indeterminate condominium space.
Zachary Epcar (b. 1987, San Francisco) is a film and video maker based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, Les Rencontres Internationales Paris/Berlin, Images Festival, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.
Quatre hommes creusent sans relâche une montagne. De cette excavation née un palais aux mille couloirs et colonnades. L’homme et le calcaire s`affrontent au cœur d`un conflit d`échelle et de matières, en sort un lien unique et perceptible, une métaphore de ce que nous sommes, de nos origines.
Louise Ernandez est une jeune diplômée de la promotion 2015 de la section Photo-Vidéo de l’école Nationale Supérieur des Arts Décoratifs (ENSAD). Après 10 ans de pratique en autodidacte de la photographie argentique, elle a développé durant son cursus a l`Ensad son langage visuel vidéographique qui se compose lui aussi de lumières naturelles, cherchant la limite entre la réalité et l`abstrait. Elle explore dans celle-ci la dualité entre la présence et l`absence et la nostalgie qui s`en dégage.
Tout le monde aime le bord de la mer
Tout le monde aime le bord de la mer
A group of men are waiting at the fringes of a coastal woodland for the journey to Europe. They are in a temporal and spatial limbo. A film is shot there with the men playing themselves. The landscape changes and where they are is no longer their motherland. The water is not transparent, not clear. Myths from the colonial past collide with present times, memory survives.
Keina Espiñeira (1983, Spain) is a scholar and filmmaker. Her artistic work is related to borders, landscapes and mythologies. She holds a Master`s degree in Direction and Production of Documentary Films, awarded by DOCMA. She has also worked as social researcher in California, Netherlands, Spain and Morocco.
Song for Being Alone
Song for Being Alone
Song for Being Alone is a one shot video-performance where sounds and images are brought together within a physical place- no digital editing technique was used. In this space-related performance the sound builds up subtly along a mysterious corridor. The camera discovers this rather unusual place but also plays the role of the listener. The path it follows activate and pass by the sound. Space and distance create a unique sound piece - bounding together both mediums of sound and video in a unique perceptive experience.
Mélissa Faivre, born 1989 in France, is an experimental video artist based in Berlin. Her contemplative and mesmerising work seeks to provoke questions on the nature of perception. Exploring notions of movement, repetition, performance and memory, she creates images that present blended and distorted realities that seek to test the temporal and spatial co-ordinates foundational to the perceptive experience. Mélissa`s videos demand an active viewer prepared to engage with the images she presents. Guided by aspects of performance and action, her films reject easily apparent and conventional narrative structures in favour of a visual-poetic experience in itself.
Recycling materials with historic meaning are being put together by apprentices and professionals to erect a temporary event pavilion in front of the Bauhaus Archiv in Berlin. The determining architectural elements of the pavilion are about 100 meters of re-used steel windows from the original Bauhaus building in Dessau. The process is in its aspects a declaration of love for the ideas of the Bauhaus.
In their films, illustrations and educational / curatorial work the Berlin-based artist duo Faroqhi & Peretz choose various themes such as biography, architecture and history. Their work examines social issues and critically deals with the way images are being produced and received as well as how stories are being told. Anna Faroqhi is a filmmaker and illustrator. Haim Peretz is a technician and filmmaker. Their body of work contains films, texts and illustrations as well as educational works and has been presented internationally in museums and art events. Faroqhi & Peretz teach video for opera directors and singers at Hochschule für Musik „Hanns Eisler“ Berlin. They also are engaged in the education of film and illustration to children and adults at various public schools, museums and institutions. Here, they are part of the Arsenal Film Studios at the Arsenal Institute for Film and Video e.V., Berlin. Faroqhi & Peretz’ work has been shown Museum Hamburger Bahnhof Berlin, Saalbau Neukölln Berlin, Akademie der Künste Berlin, Martin-Gropius-Bau Berlin, Manifesta Italy, New York Film Archives, Goethe Institute Tel Aviv etc. The duo is currently working on a multimedia installation documenting refugee stories.
TERCEIRO ANDAR installation Diptych, 27min (the preview displays 2 extracts, 11min) Double projection + 1 Subtitles projection + Sound Original Languages: Fula, Portuguese(english subtitles) First exhibition: MUSEU GULBENKIAN, Modern Art Center | Lisbon 20 Oct 2016 - 23 Jan 2017 Central Lisbon, Bairro das Colónias, third floor. Fatumata and Aissato, the mother and the eldest daughter of a large family originally from Guinea-Bissau, discuss love and happiness. At 7pm, from the third to the fifth floor where I live, a regular sound, always the same, like the beating of a heart, reverberates through the building. The installation invites the viewer to the space of the word and the dialogue between the mother and the daughter,and to the physical and acoustic setting of the building where this family and the filmmaker live. As a poem, a story, a letter and a prayer are spoken, words travel from one language to another, from one speaker and one voice to another, creating connections. With the diptych Third Floor, in a migration to the exhibition space, Luciana Fina once again uses cinematography to question cinema’s narrative forms and matter. ------------- TERCEIRO ANDAR is also a documentary film (62min), that had its premiere in october 2016 at DOCLISBOA`16
Luciana Fina has worked in Lisbon since 1991. Following a long collaboration with Cinemateca Portuguesa as an independent programmer, she made her debut as a filmmaker in 1998. Since then she has developed a practice that frequently migrates from the cinema to the exhibition space, as she explores the possibilities and potential of film within the sphere of the arts. In 2003, she began a series of video portraits that came together in the "O Tempo de um Retrato" [Time for a Portrait] project. Her work has been shown internationally at festivals and exhibitions. Her most recent documentary, “In Medias Res” [In the Midst of Things], was awarded an Honourable Mention at the Temps d’Images Films on Art Award and the Best Portuguese Film Prize at the Arquiteturas Film Festival. In 2016 she presents a new installation work, the diptych TERCEIRO ANDAR, at Doclisboa ‘16, section Passages, Museu Calouste Gulbenkian, and she presents once again her first installation, CHANTportraits (2003), at Casa das Artes, Famalicão, and at Festival Temps d’Images, Lisbon. The film premiere of TERCEIRO ANDAR was at Doclisboa 2016, official selection in the portuguese competition.
I Live in Fear - Record of a Living Being After March 11
I Live in Fear - Record of a Living Being After March 11
For their movie “I Live in Fear After March 11”, Fischer & el Sani invited refugees who escaped from the aftereffects of the nuclear disaster in Fukushima, to a screening of Akira Kurosawa’s film “I live in fear - Record of a living being” (1955) to reevaluate Kurosawa’s concerns after the nuclear weapon tests at the Bikini Atoll in the 50’s. The screening triggered an identification-process of the fugitives with the protagonist of Kurosawas movie, as they recognized their desperate situation. It was followed by an experimental setup of cinematic improvisations with refugees and actors, focusing on the exploration of fears and uncertainties surrounding the nuclear catastrophy and ongoing threat of radiation.
Nina Fischer & Maroan el Sani are visual artists and filmmakers, based in Berlin. From 2007 until 2010 they have been Associate Professors for Film and Media Art at Sapporo City University, Japan. Since 2015 Nina Fischer is Professor for Experimental Film and Media Art at Uninversity of the Arts, Berlin. They have been recipients of the Karl-Hofer-Prize of the University of the Arts, Berlin and were awarded several artist in residence stipends e.g. at German Academy Villa Massimo, Rome, DAAD in Tokyo, Cité des Arts in Paris, Stedelijk Museum in Amsterdam and Villa Kamogawa, Kyoto. International exhibitions they have participated in include Gwangju Biennale 1995, 2002, 2008, Liverpool Biennial of Contemporary Art, 1999, Manifesta 4, Frankfurt 2002, Sydney Biennale 2002, 10th Istanbul Biennial 2007, Media City Seoul Biennale 2012 and 2014, Aichi Triennale, Curitiba Biennale 2013 and solo exhibitions at Metropolitan Museum of Photography, Tokyo, 1998, Yamaguchi Center for Arts and Media, 2005, Stedelijk Museum Bureau Amsterdam, 2007, Kunsthaus Glarus, 2009, Cobra Museum, Amstelveen, Museum of Contemporary Art Hiroshima, 2010, Austin Museum of Art - Arthouse, Austin, 2012, Mamam Recive 2013, MART, Dublin, 2014, Aargauer Kunsthaus, 2015 K21 -Kunstsammlung Nordrhein Westfalen, Düsseldorf, 2016, Maxxi Museum, Rome, 2017 www.fischerelsani.net
Three Funerals and Some Acts of Preservation
Three Funerals and Some Acts of Preservation
In this film, the narrator tells the story of the two burials of Michelangelo, considers the mortality of people and objects while the conservators at the Getty Museum clean the outdoor sculpture collection, and plans her own funeral. using as models funerals she`s attended and funerals she`s seen in movies.
Judy Fiskin is a photographer and video maker, who lives and works in Los Angeles. Her videos and films have been screened at international venues, including the Museum of Modern Art in New York, the International Documentary Festival Amsterdam and South by Southwest in Austin. Her photographs have been shown at museums and galleries around the world, including such venues as the Museum of Contemporary Art in Los Angeles, the Pompidou Center in Paris and the International Center for Photography in New York. She has been teaching at the California Institute of the Arts since 1977.
Screen Test 1 (Self-portrait)
Screen Test 1 (Self-portrait)
Laser-printed onto recycled 16mm film in 2015.
S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage. In addition to producing his own work, S.F. presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.
Une nuit d’été, dans un Japon plutôt tropical, plusieurs personnes isolées se retrouvent prises dans un jeu d’ombres et de lumières plus ou moins menaçants. Des opérateurs vêtus de noir semblent les manipuler alors qu’elles s’abandonnent à l’idée d’être des marionnettes. Pourtant ici pas de ventriloquisme, tout au plus quelques larmes, un rire caché derrière un cri, déchirant le silence de la nuit. Avec la participation de Junko (artiste-noise, membre de Hijokaidan)
Elise Florenty & Marcel Türkowsky partagent leurs connaissances théoriques du cinéma et de la musique pour réaliser des films créant un espace dans lequel la réalité rencontre les mythes, fables et utopies associés à un territoire donné ; enregistrant ainsi les survivances, trahisons et métamorphoses des résistances du passé. Chaque film s`ancre dans une géographie particulière, et convoque plusieurs signes historiques, politiques, mais aussi littéraires. Tous les films ont la particularité de suive un personnage marginal qui, dans sa solitude, délire de façon lucide le monde et le cosmos, et parvient par des moyens détournés, à se « brancher » sur le collectif.
The project Lost identities was born in early 2011 in the spaces of the psychiatric institutions in Italy. This research takes over from criminal photography of early Twentieth century and it is deeply characterized by archival and photographic research connected with the identity dimension The study of those documents and photographic plates showed features and aesthetic values closer to art than the psychiatric science. Artworks have been realized considering and respecting the original archival bonds, trying to investigate some of the mechanisms that have influenced the physical appearance/identity of the subjects studied. The study of documents such as folders and clinical diaries, personal letters, notes and diagnosis has been the main instrument for the realization of the works. The way patients were treated in the mental institutes has distorted, in many cases permanently, the human, both psychological and physical, identity. People considered "crazy", which actually were in many cases simply suffering of physical deformities or diseases have been transformed into something else. Common paralysis of the face becomes suddenly "imbecility", the anthropometric analysis derived from "Lombroso" has lead to diagnose infectious melancholy, amorality, delirium, paranoia. A metamorphosis which reflects who really the beasts are. These faces and bodies contain a heavy contrast to what life is supposed to be, the patients’ identities were stolen, distorted, warped and corroded, and lost. But still it is possible to see in their expressions the wish of an affirmation of life, of struggle and of that tough identity that challenged the eye of the camera. Photographs and video images that suddenly become instruments that instead of stealing can paradoxically give an identity long denied. The photographs of idiots, insane, freaks, maniacs, fools and madmen are not distant and unreal images, but actually only the mirror of ourselves.
Christian Fogarolli is an Italian artist born in 1983. He obtained in 2010 the Master Inside the image: study, diagnosis and restoration of antique, modern and contemporary paintings at the University of Verona and graduated the following year in Management and Conservation of Cultural Heritage at the University of Trento. The research of Christian Fogarolli is characterized by a strong interest in the nature of identity, particularly investigated through different perspectives, such as the archival research. He works with different media, such as environmental installations, photography, sculpture, video. The work shows connections with theories and scientific disciplines, that often and unconsciously, have used art to progress and become science. The artworks can be contextualized within a study on image and object perception in relation to subjectivity, probing ties with the abnormality and deviance. They pose questions about the abundance of heritage that we have and the use we offer them. He showed his research into events as dOCUMENTA(13) (2012); The Magnificent Obsession at the Museum of the Modern and Contemporary Art of Rovereto, MART (2013); 54° Biennal of Venice (2011); Artissima at Lingotto of Torino (2013/2015); Civic Gallery, Trento (2014); La Maison Rouge of Paris (2014); Artbrussels (2015/16); Foudation Museum Miniscalchi Erizzo (2015); de Appel arts centre of Amsterdam (2015); 5th Moscow International Biennale (2016); Hunterian Museum & Kalvin Hall Glasgow (2017). His works are in private and public collection as AGI Verona, Antoine de Galbert collection, Rotary Club International, dOCUMENTA’s archive Kassel, Hollander - Barzilaï Collection in Bruxelles, Intesa San Paolo Collection, Benetton Foundation.
Looking at two locations— the public sculpture White Square commemorating the founders of Tel Aviv, and the shrine of Palestinian village Salame in today’s Israeli Kafar Shalem—Orientation focuses on the ability of architectural material, and of sound and image, to register collective experience of forgetfulness. In 1989, the Israeli sculptor Dani Karavan, completed his sculpture White Square. The work was commissioned by the Municipality of Tel Aviv, and by the end of the building process Karavan decided to dedicate the sculpture to the founders of Tel Aviv—among whom his father Abraham Karavan, who was the city’s landscape architect for four decades from 1930’s onwards. The sculpture is composed of simple geometrical shapes and is made of white concrete, influenced by the International Style of early architecture in Tel Aviv. White Square—situated on the highest point in the area located in the eastern outskirts of Tel Aviv—overlooks through the skyscrapers all the way to the Mediterranean Sea in the west. The commonly used name of the hill on which White Square is exalted is pronounced in Arabic: “Giv’at Batih” (Watermelon Hill). The remains of the shrine of Salame, in today’s Tel Avivian neighbourhood Kfar Shalem is located a few hundred meters south of this hill. The abandoned dome-structure was once at the centre of the ancient Palestinian village Salame. The village, dating back to the 16th century up until 1948, was located on the highway from Jaffa Port to the mainland. During the ‘Nakba’ of 1948 it was occupied and depopulated by the Israeli Army and the new Zionist state. Weeks after expelling the Palestinian villagers from their land, the Israeli authorities—managing waves of Jewish immigration—re-inhabited the village with Yemenite Jews. Those, were settled in the original Palestinian stone houses. Today, decades later, the ownership of the land is still in dispute, and the Jewish-Israeli residents of Kfar Shalem are threatened with evacuation due to a construction-corporations’ plan to destroy the stone houses and to build a new profitable neighbourhood. Orientation is the second chapter in a series of works titled Gathering Series.
Sirah Foighel Brutmann and Eitan Efrat (both °1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the Audiovisual field. Living and working in Brussels. Their works have been shown in filmfestivals as IDFA and Rotterdam Film Festival (NL); Courtisane (BE); New Horizons (PL); on ARTE/WDR; exhibited in solo exhibitions at Kunsthalle Basel (CH) and Argos (BE), and group exhibitions in STUK (BE); EMAF (DE) and The Petah-Tikva Museum for Contemporary Arts (IL). Their works have been produced by Auguste Orts and Argos (BE) and distributed by EYE institute (NL), they have won prizes in IMAGES (CA) and Oberhausen Film Festival (DE). Sirah and Eitan have presented their work as featured artists at the 59th Flaherty Film Seminar (US), and have participated in artists talks and presentations in institutions such as FLACC, Genk, LUCA BFA class, Brussels, L`erg BFA class, Brussels, DocNomads 2014, and Bezalel MFA class, Tel Aviv. Sirah and Eitan`s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; and the temporality of narratives and memory. Sirah and Eitan are members of the artists-run collective Messidor
SET OUT 1
SET OUT 1
When does the fiction of a film start? Where do characters go when the movie is over? A story made of fragments and discarded footage from a film shooting. The camera examines the landscape of the mise-en-scène, looking for meaning in the elements that make up the picture.
Mauricio Freyre is an artist and filmmaker, graduated from Architecture and Fine Arts, based in Madrid. He uses the film medium to explore structures and systems of thought behind the constructed and projected. His projects and films have been exhibited at Haus der Kulturen der Welt (Berlin), Fundación Telefonica (Lima), TENT Museum (Rotterdam), W139 (Amsterdam), Nederlands Film Festival (Utrecht), FIC (Valdivia), Sunset Cinema (Luxemburg), Filmmuseum (Amsterdam), etc. He is currently a visiting teacher at The Berlage (Delft), KABK Royal Academie of Art (The Hague) and ETSAM Universidad Politécnica (Madrid).
Dans cette vidÃ©o faisant preuve dâ€™une simplicitÃ© des plus efficaces, lâ€™artiste de 24 ans Aslan Gaisumov nous plonge dans le conflit tragique auquel est confrontÃ©e sa TchÃ©tchÃ©nie natale. Ce document, en partie autobiographique, montre comment les familles tentent de fuir le pays en sâ€™entassant par douzaines dans de minuscules voitures. Le langage intuitif et poÃ©tique de Gaisumov vise Ã signifier les consÃ©quences de la guerre, associÃ©es Ã la perte des traditions et des repÃ¨res dâ€™identitÃ©. Lorsque la survie devient une nÃ©cessitÃ©, les constructions fragiles comme le langage, les contes de fÃ©e et les symboles disparaissent. La mÃ©moire et les histoires familiales se font rares et sont la plupart du temps perdues Ã jamais. Mais ceux qui parviennent Ã fuir, tel Gaisumov, reprÃ©sentent une nouvelle gÃ©nÃ©ration. On observe alors un nouveau leitmotiv, oÃ¹ le passÃ© et le prÃ©sent sâ€™entremÃªlent pour crÃ©er de nouveaux symboles et mÃ©taphores perpÃ©tuant la continuitÃ© dâ€™un peuple.
Aslan Gaisumov son parcours relÃ¨ve presque du miracle : aujourd`hui Ã¢gÃ© de 25 ans, l`artiste a grandi dans le nord du Caucase tchÃ©tchÃ¨ne, rÃ©gion marquÃ©e par la guerre civile et le terrorisme, et vÃ©cu sept ans dans un camp de rÃ©fugiÃ©s avec sa famille. A travers ses oeuvres marquantes, Aslan Gaisumov trouve le moyen de traiter son traumatisme et d`attirer l`attention sur la situation en TchÃ©tchÃ©nie.
People of No Consequence
People of No Consequence
Aslan Gaisumov développe une œuvre qui se nourrit de mémoire personnelle et collective, mais les transforme et les transcende aussi. Son travail se situe entre l’immédiateté visuelle et le commentaire social, entre le momentané et le monumental. Si elle se compose surtout de vidéo et d’installations incluant des objets trouvés ou confectionnés spécifiquement pour la pièce, Gaisumov expose parfois des photographies et des œuvres sur papier aussi. People of No Consequence est le titre que Gaisumov a choisi pour cette installation vidéo : un plan séquence de la première rencontre d’un groupe de personnes âgées qui ont toutes vécu la déportation de la totalité du peuple tchétchène vers l’Asie centrale en 1944, il y a 72 ans. Il réutilise le titre pour sa constellation de trois œuvres récentes, incluant la vidéo Volga (2015) et l’œuvre tridimensionnelle Household (2016).
Aslan Gaisumov son parcours relève presque du miracle : aujourd`hui âgé de 25 ans, l`artiste a grandi dans le nord du Caucase tchétchène, région marquée par la guerre civile et le terrorisme, et vécu sept ans dans un camp de réfugiés avec sa famille. A travers ses oeuvres marquantes, Aslan Gaisumov trouve le moyen de traiter son traumatisme et d`attirer l`attention sur la situation en Tchétchénie.
A voice-over tells the story of a sailor that dreams of a homeland he has never had; day after day the sailor constructs his new native land shaping it to his imagination. Inspired by Fernado Pessoa`s static drama "The Mariner" the video deals with the notion of what each of us addresses as home and foreign and at the same time with issues related to language and its translation. Playing with the perception of who is watching, confusing it and mixing it, whilst images of landscapes trick the eyes of the viewer creating shadow play illusions, the female voice speaks Na`vi, an invented language artificially created upon commission for the movie Avatar. Like a second voice, the subtitles suggest a relation established among words, images and imagination.
Giovanni Giaretta (Padua 1983) currently lives and works in Amsterdam. After graduating in Design and Production of Visual Arts at the University IUAV of Venice, he took part in a number of residency programs including: Dena Foundation for Contemporary Art in Paris in 2010; and most recently De Ateliers in Amsterdam. Giaretta’s work has been featured in exhibitions in Italy and abroad at diverse institutions and galleries such as: La Criée (Rennes, FR); Tegenboschvanvreden, (Amsterdam, NL); Foundation Botin (Santander, SP); Musée Départemental d’Art Contemporain de Rochechouart, (Rochechouart, FR); Fondazione Sandretto Re Rebaudengo, (Torino, IT); and Motive Gallery (Amsterdam, NL). His films have been shown at the International Film Festival of Rotterdam (Rotterdam, NL) and the T-Mobile New Horizons International Film Festival (Wroclaw, PL), among other festivals and screenings. His actual research is focusing on the relationship between perception and alteration during the night time. For the last year, to carry on such research Giaretta has been working as night porter in an hotel in Amsterdam. From 2015, he is also working as co-teacher at the Salzburg International Summer Academy.