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.
Aobor El Mashhad (Crossover the Scene)
el shaer Ahmed
Aobor El Mashhad (Crossover the Scene)
Vidéo | hdv | couleur | 7:0 | Egypte | 2017

Exploring hybrid spaces that have been created through strategy games which reflect the relationships between the virtual and physical world. In these spaces, you have the opportunity to explore a different world or create your own with tools available within this space. This is how the controversy ended over how novelist Jules Verne extraordinary journeys were the end of its era, where it was said that it was no longer possible to travel to unknown places on earth. In “ other spaces ” man became wandering with space-time scenarios of different and unusual premise in the virtual worlds or redesigning the place with the concept of hybrid spaces in the virtual world but in reality. The project came through walking around the sites and places that got the trait of the hybrid space with the same hypothesis and tools of these spaces in the virtual world of strategy games in which i found several points that have this particular trait.The starting point was a refugee camp in Calais, northwestern France and the site of the Atlantic Wall in Dunkirk. The first part of the project has been carried out in France and the second part in cairo

Born in 1981, Ahmed El Shaer is a multi-disciplinary artist with a particular interest in digital technologies. His videos combine Machinima, stock footage, 3D animation and experimental soundscapes. His work has been highlighted in numerous exhibitions and festivals, among which; Art Game Demos -Festival Nuage Numérique Curated by: Isabelle Arvers Lyon-France 2017, 56th Venice Biennale, "In the Eye of the Thunderstorm" Collateral Event, Curated by: Martina Corgnati, Venice, Italy. “ Experiments in Arab Cinema ” at (Simon Fraser University) “ SFU ”, Vancouver, Canada, 2013 and (Rochester University) New York, USA, 2014. Bamako Biennale, Bamako National Museum, Bamako, Mali (2011). He is the recipient of numerous awards and has participated in several residency programs, such as: Cité internationale des arts Invited by Institut Francais, Paris-France 2016. Art Omi Artist-in-Residence New York, USA, the Pro Helvetia Artist-in-Residence cycle (Zurich, Switzerland, 2009) and the Summer Academy of Fine Arts (Salzburg, Austria, 2006 and 2007) and lately Fulbright Grant for 2018-2019.

Streetscapes [Dialogue]
emigholz Heinz
Streetscapes [Dialogue]
Doc. expérimental | 4k | couleur | 120:10 | Allemagne | 2017

There are streets, paths, motorways, alleys, boulevards and promenades. And there are life paths, intersections and dead ends. Two men sit on the shady raised platform of a brick building somewhere in Montevideo. They are submerged in a conversational marathon that never ceases throughout the entire film. The younger of the two is an analyst; the older man his analysand. Their nationalities are unclear; they speak a simple, internationally understandable English. They talk about a childhood among the ruins and the traumatised people of Germany shortly after the Second World War, about fleeing, about an obsessive interest in architecture and about manic writing. And they speak about work with the film camera, which is a technical instrument for the young analyst, but a lifeline for the old film director. The starting point of the six-day marathon is the psychological and physical block that prevents the director from starting a last great film, the Streetscapes saga. The conversation, which in a slow process dissolves the director’s block, takes place in changing places in extreme architectures. The camera, which portrays them both and sets them in relation to the architecture, becomes a third partner. The camera repeatedly disengages from where they are and explores the surrounding streets and neighbourhoods before returning to the two protagonists. The shell constructions of the Uruguayan builder Eliado Dieste where they sojourn resemble gigantic braincases and thus provide a framework for the site and the theme of the project that emerges in the course of their talk: trauma and architecture.

Né en 1948, l’artiste allemand poursuit des études de philosophie et des études littéraires à Hambourg. Il fonde la société cinématographique Pym Films en 1978 et devient professeur de cinéma expérimental à l’Université des arts de Berlin de 1993 à 2013. Co-fondateur de l’Institut pour Time-Based Media, il lance son propre cours en ‘’arts et medias’’ au sein de l’Université. Artiste freelance depuis 1973, Emigholz est monteur, écrivain, scénariste,réalisateur et journaliste. Depuis quinze ans, l’artiste expérimental allemand se dédie à une série de documentaires ambitieuse qui se concentre sur le travail visionnaire des architectes du 20ème siècle. C’est à travers l’image et l’architecture que l’artiste s’exprime, car selon lui ‘’l’Architecture projette l’espace. Les œuvres cinématographiques traduisent cet espace en images projetées dans le temps. Le cinéma est ensuite utilisé sous une nouvelle forme : comme un espace offert pour réfléchir sur les immeubles’’. A travers son travail, il cherche à développer chez le spectateur une meilleure connaissance des moments critiques de l’histoire de l’architecture. Entremêlant photographie et architecture, Emigholz questionne la notion de temps, d’espace et de narration. Réalisateur internationalement reconnu, Heinz Emigholz a remporté de nombreux prix : prix du ‘’meilleur scénario’’ et ‘’meilleur film’’ au German Film Critics Association Awards 2017, déjà salué dans le même festival par le prix spécial en 2001, 2008 et 2009 et en 1983 pour le prix du meilleur film ; prix du meilleur documentaire au Festival de Berlin (1988). Le réalisateur a aussi été nommé dans un grand nombre de festivals : Festival International du Court Métrage d’Oberhausen (2013), meilleure photgraphie et meilleur montage au German Film Critics Award (2017). Son oeuvre video a aussi été montrée dans de nombreuses institutions berlinoises, mais aussi à la Biennale de l’architecture (Venise, 2008), et notamment à Kassel, Toronto, Tel Aviv, ou encore Vienne.

Jeg Er Enorme Jævler
fassone Roberto
Jeg Er Enorme Jævler
Performance | hdv | couleur | 37:30 | Italie | 2016

“Jeg Er Enorme Jaevler I” is a video about the human incapability of expressing accurately their deepest feelings. It’s also a joint about depression, satanism, revenge and payback time. There is a lot of good music in it: Black Metal, Rap, Witch House and Bon Jovi. It’s full of 3d animations, texts and found footage too.

Lives and works in Asti. He makes works that explore and question the processes and the strategies regulating the production of contemporary artworks. In 2012 he created sibi, an instructions generator for the production of potential artworks. The software has been tested in workshops in collaboration with Universities and art institutions. In 2014 he presented Jeg Er Enorme Jaevler I, a 90 minutes movie in two parts and a performance. He has exhibited and performed his work at Carroll/Fletcher, London, ZHdK, Zurich, MARS Gallery, Melbourne, MAMbo, Bologna and Link Cabinet among many others. He was part of the Jury Selection of the 17th Japan Media Arts Festival and he has been recently selected for the Live Work Performance Act Award in Fies (Dro).

filippov Nikolay
Doc. expérimental | hdv | couleur | 3:50 | Russie | 2017

In "Bulba", a group of people is eating in KFC. The camera is a Peeping Tom now staring at everyday unseen: we will see the story of the whole process told by tonal shifts given in change-of-state glances and expressions. Under the rolling sound of spoken lines from "Taras Bulba", en epic novella by Nikolay Gogol, the figures are delicately melting in the expanded cultural background, the background always being neutral. Such projections are about to touch the constraints of natural perception, where the cultural mechanism is the editor-in-chief.

Nikolay Filippov was born and lives in Moscow. During his studies in theoretical and applied linguistics at Lomonosov Moscow State University he got involved in fieldwork project in Northern Udmurtia, studying beserman (a small ethnic group) language and contributed to the creation of beserman grammar and thesaurus. He also studied history and theory of cinema at the High School of Art Practices in RSUH. Being particularly interested in the philosophy of natural language, he has been developing a logical approach to cinematographic means since his debut "The Herbage", foсusing on fresh and raw areas of habitual speech and dramatic performance.

Elise FLORENTY, Marcel Türkowsky
Saboten to no Kaiwa (Conversation avec un cactus)
florenty Elise , Marcel Türkowsky
Saboten to no Kaiwa (Conversation avec un cactus)
Doc. expérimental | hdv | couleur | 45:0 | France | 2017

Mei, une toiyoïte de 30 ans, vient d’envoyer une lettre à son ami Toshi qui vit à Hambourg. Elle lui parle de haïkus, de souvenirs étranges de leur enfance et des dernières nuits d’été suffocantes où la fièvre dengue menace. Elle lui raconte aussi son dernier rêve empreint d’une atmosphère de complot d’Etat qui l’a conduit sur les traces du couple légendaire Hashimoto et de leur curieuse expérience, consistant à communiquer avec un cactus, via un détecteur de mensonge, afin qu’il devienne un éventuel témoin de crimes futurs.

Elise Florenty et 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 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 : “ Gennariello Due Volte ” à Naples (d’après “ Les lettres luthériennes ” de Pasolini), “ Holy Time In Eternity, Holy Eternity In Time ” au Mississippi (dans le comté Yoknapatawpha de Faulkner), “ The Sun Experiment ” à Donetsk en Ukraine (d’après “ Le chemin de l´Ether ” de Andreï Platonov) et “ A Short Organon For The Hero ” à Rio de Janeiro au Brésil (d`après “ Macunaíma ” de Mário de Andrade). 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.

Flora the Movie
garscia Kuba
Flora the Movie
Installation multimédia | hdv | couleur | 4:57 | Pologne | 2015

It is install_plantation or instant_plant or augmented plant. It is collection of objects and plants connected with moving mechanisms and multimedia devices like routers, usb hubs, lights, speakers. First, Im composing flora objects. Finding flowers, moss, bark, elements of nature and grow them in unusual pots, together with technology, electricity, lights. The goal is to create co-working life organism from different environments. Then, Im constructing kind of stage or altar from lost and found, DIY, elements, ready made objects, old fashion, destroyed furniture, audio-video recorders, computers etc. Next, Im adding projection mapping on interesting surfaces of composed objects (installation). Fitting animations to situations. Extending installation with another dimension and living structure - projection.

Born in 1988 in Krakow. He has graduated from Intermedia Department at Academy of Fine Arts in Krakow, Poland. Author of many multi-dimensional installations, immersive projects, install_plantations and digital flora. Works in the fields of postproduction, 3D mapping, interaction, objects collection, movement and design. Organizes, exhibitions and audio-visual performances. He marked the beginning of projection mapping movement in Poland and become influential and active person in new media community till now-days. He is trying to connect and explore all of the various codes of visual communication and their ability to process in order to apply them in specific urban spaces and/or exhibitions. Within the flexibility of visual language he creates multi-dimensional contemporary and site specific installations. Currently lives and works in Warsaw. His art was exhibited in galleries, festivals and other special events around Poland, Germany, Czech Republic, Slovakia, Israel, Great Britain, Sweden, Denmark. He is moderating audio visual experiences and animating people around visual art platform and gallery called K105K in Warsaw. He is co-founder of postproduction studio and flora and art lovers Project Utopia.

Yosr GASMI, Mauro Mazzocchi
I Want to Go Mad, Raving Mad -L.E.N.Z.-
gasmi Yosr , Mauro Mazzocchi
I Want to Go Mad, Raving Mad -L.E.N.Z.-
Fiction | hdv | noir et blanc | 379:19 | Tunisie | 2016

Une longue traversée des montagnes mène un inconnu chez une famille charitable. Le temps d`un séjour, l`étranger s`essaie à la vie, mais bientôt le chaos de la vie le rattrape. Je veux devenir fou, fou furieux -L.E.N.Z.- est une image-sonore née de la nouvelle de G.Bachner traitant de la schizophrénie de l`écrivain Lenz. Confronté à la folie du monde, une silhouette anonyme émerge pour traverser ce chaos. Elle trace une ligne de fuite qui ne cesse de se faire et se défaire. -L.E.N.Z.- est une histoire d`errance sans nom.

Mauro Mazzocchi, né en 1986 en Italie, est diplômé en philosophie et en théâtre. Dès l`âge de 15 ans, il réalise ses premiers moyens et courts métrages : La clarté transparente du cinéma, (Ach)ille, Artaud, etc,. Yosr Gasmi, née en 1984 en Tunisie, est une normalienne, diplômée en littérature françaises de l`Université Sorbonne Paris IV. Elle s`intéresse à l`image dans ses diverses expressions artistiques et scripturales. Les deux réalisateurs se considèrent comme une multiplicité technique et expressive. Ils travaillent ensemble dans la solitude de leur réflexion, s`occupant ainsi de tous les aspects de production, de réalisation et de postproduction cinématographiques. À partir de cette multiplicité technique se réalise l`expérimentation d`une création sans fragmentation des fonctions et sans hiérarchie, une expérimentation qui rend compte d`une anatomie hétérogène, d`une machine-cinéma dans son aspect le plus complet, avec la conscience des mouvements d`apparition et de disparition qui rythment discontinûment ses fonctions, à l`image d`un corps sans organe.

Bertrand GAUGUET
CHANTIER 3 - Pascal Battus-Bertrand Gauguet-Eric La Casa
gauguet Bertrand
CHANTIER 3 - Pascal Battus-Bertrand Gauguet-Eric La Casa
Doc. expérimental | hdv | couleur | 25:27 | France | 2017

Musiciens, Pascal Battus, Bertrand Gauguet et Eric La Casa engagent des sessions improvisées sur des sites de chantier depuis 2010. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants de recherche intuitifs avec le milieu dans lequel ils se trouvent alors. Jouant avec la rumeur des espaces, avec les multiples sons des machines qui tournent, avec les gestes produits par les ouvriers et les paroles entendues, ils suivent une ligne indéfinie qui peut pencher d’un côté ou de l’autre de l’approche acousticienne, psycho-acousticienne, du paysage sonore, de la musique ou encore (mais plus rarement) de l’anthropologie. Ils espèrent ainsi concevoir un dispositif d’attention à partir duquel intervenir. En 2013, ils ont exploré le site de la Philharmonie Cité de la musique à Paris. S’écartant d’une approche documentariste, le film Chantier 3 déplie davantage une cartographie subjective donnant à voir et à entendre des moments de “ présence discrète ”. Ou comment, en ouvrant des interactions avec une architecture en devenir, l’écoute et l’improvisation sont à même de proposer d’autres seuils perceptifs du chantier.

Bertrand Gauguet chemine dans une pratique impliquant sans hiérarchie le sonore et le musical : comme saxophoniste improvisateur, comme compositeur de musique électronique et comme collecteur de sons. Il est engagé depuis 2010 dans une recherche intuitive aux côtés d’Eric La Casa et Pascal Battus en conduisant des sessions improvisées sur des sites de CHANTIER. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants d’improvisation avec le milieu dans lequel les trois musiciens se trouvent alors. En 2018, deux albums (Chantier 1 et Chantier 4), un texte (Chantier II) et un film (Chantier III) constituent les marqueurs cartographiques de ce projet.

Philippe-aubert GAUTHIER, Tanya St-Pierre
La production fantôme
gauthier Philippe-aubert , Tanya St-Pierre
La production fantôme
Vidéo | hdv | couleur | 4:0 | Canada | 2016

"La production fantôme - The Phantom Production" est une oeuvre vidéo sous forme de diptyque. Un double écran présente en simultané une vidéo filmée et une vidéo de synthèse. Inspiré par le photo-réalisme (comment les marques ou imitations de caméra augmentent le réalisme des images de synthèse), c`est le mouvement de la caméra de la vidéo filmée qui est imitée par la vidéo de synthèse. Avec cette oeuvre et installation vidéo diptyques, les tensions entre séquences vidéo tournées et synthètiques proposent un processus de production cinématographique interrompu, ouvert à l`analyse critique. "La production fantôme - The Phantom Production" se décline de plusieurs façons : installation vidéo dyptique ou projection.

La pratique artistique de Philippe-Aubert Gauthier est consèquente de ses profils : artiste sonore, artiste en arts numériques, ingénieur mécanique junior, docteur en acoustique et professeur à lUniversité de Sherbrooke. Méthode artistique et savoir scientifique ou technique deviennent des matières brutes pour une démarche artistique réflexive liée aux implications et influences sociales, culturelles et historiques des technologies de communication et des médias. Tanya St-Pierre est artiste en arts visuels, sonores et numériques. En explorant les relations possibles entre les arts visuels ou numériques et la narration, elle transforme divers systèmes d'altération de la narration en propositions politiques et conceptuelles. On trouve dans ses oeuvres des traces déchirées de narrations et de fictions. Depuis 2003, leurs démarches se rencontrent dans des projets collaboratifs. Leurs intéréts et engagements respectifs sont abordés dans des échanges amenant des propositions artistiques hybrides qui résultent de joutes d'autocritiques et d'inventions en duo.

geenen Pieter
Doc. expérimental | hdv | couleur | 25:46 | Belgique | 2016

Around the southernmost tip of Europe, the European and African continent almost seem to meet. That`s why the Strait of Gibraltar is an important migration route, not only for the migratory birds spotted there, but also for refugees trying to reach Europe. At the Mirador del Estrecho panoramic lookout point tourists gather to take pictures of the stunning panorama, and comment on the view of Africa that they`re offered. mirador is centered around spectatorship and the act of watching itself. Like silent witnesses the tourist, the immigrant, the audience and the camera look at the landscape and indirectly at each other. They look to the other side, facing a continent that appears like a fata morgana. While being sold a dream in a world of increasing mobility and globalisation, this situation of `we` versus `they` and `here` versus `there` reveals the postcolonial gaze.

Pieter Geenen (°1979) lives and works in Brussels. He holds a master`s degree in photography and he`s a laureate of the international postgraduate program Transmedia at Sint-Lukas University College of Art and Design Brussels. His work has been presented at the International Film Festival Rotterdam, New York Film Festival, Hong Kong International Film Festival, VIDEOEX Zürich, Doclisboa, Images Festival Toronto, EMAF Osnabrück, EXiS Festival Seoul, FID Marseille, Rencontres Internationales Paris/Berlin/Madrid, M-Museum Leuven, La Capella Barcelona, Centre Pompidou-Metz, FRAC Basse-Normandie, ARGOS Centre for Art and Media Brussels and Médiathèque FMAC Geneva among others. He won the Input/Output Art Prize for emerging artists in 2007 and in 2011 he was awarded the first prize `Fondation Henri Servais` of the Art`Contest Art Prize. Work of Pieter Geenen is part of the collection of the Flemish Community, Colección Inelcom Madrid and different private collections. Together with audiovisual artists and filmmakers Sirah Foighel Brutman, Eitan Efrat and Meggy Rustamova he is a founding member of Messidor, a collective platform for reflection, production and distribution.

Schicht (Shift)
gerbaulet Alex
Schicht (Shift)
Documentaire | hdv | couleur et n&b | 28:30 | Allemagne | 2015

SCHICHT (SHIFT) unfolds the portrait of the filmmaker's family - brought to life by records from private archives - and embarks on a dizzying trip through the shrinking industrial city of Salzgitter, Germany. A city that is a cyborg with an iron skeleton and a heart beating 1000 metres deep under layers of soil and concrete. Mining, steel factory, model city. Upon the years 33 and 45, the first post-war generation projects itself into the future. Rudolf Gerbaulet completes his apprenticeship at the Reichswerke AG (formerly known as Hermann-Göring-Werk), works in the mine and at the Volkswagen plant. His wife Doris suffers from multiple sclerosis. Her diary is an expression of her slow disappearance. They name their first daughter after a singer: Alexandra. As a rebellious punk the daughter finds her own rhythm. Pulsating, sometimes breathless, the film follows the exposed stories. The filmed locations are attacked with archival material: propaganda, news, photos from family albums. Everything is subjected to the filmmaker's interpretation. A film between analysis and imagination, composed of the punk of the filmmaker's youth, accompanied by the roar of the steel mill and the noise of the highway. Interrupted by the cutting silence of abandoned mines, in which from 2020 nuclear waste will be dumped. Half-life of 24,000 years. 685 generations

Alex Gerbaulet, * 1977, artist, filmmaker and curator, lives and works in Berlin. Between 2000 and 2007 she studied Philosophy, Media Science and Fine Arts in Braunschweig (Germany) and Vienna. In 2008 she was awarded a scholarship from the Hans-Bückler-Foundation, in 2011 she was selected for Berlinale Talent Campus DOK Station, in 2012 she received a scholarship from the Mayor of Berlin (program for women artists) and in 2014 a grant from Art- und Culture-Foundation Stade (Germany). Between 2006 and 2011 she was a member of the Selection Committee of the Documentary Film- and Video-Festival in Kassel (Germany); 2012 and 2013 member of the Selection Committee of the European Media Art Festival (EMAF) in Osnabrück (Germany). From 2007-2011 she was staff member at the University of Arts in Braunschweig, 2012-2014 she tought at the University of Arts in Kassel. Since 2014 she works as a producer with Pong Film GmbH in Berlin. For her artwork the notion of documentarism gives an important impact. She has made several video-art projects among them BY LAND (2002), DATTERODE (2006), TATTOOED PRISONERS (2007) and ALREADY AFTERNOON (2009) in the art context. SCHICHT (SHIFT, 2015) is her first film specially for the cinema space. It was awarded with the prize for the best contribution to the German Competition at the International Short Film Fest Oberhausen, the First Film Award at FID Marseille, the German Film Critics Award 2015, the Award for Best Female Director at the Vienna Independent Shorts Festival 2016, the Jury Award of the German Competition at the International Short Film Festival Hamburg and was awarded 'Best Documentary Film' at the Moscow International EXperimental Film Festival 2016.

Due (Two)
giacconi Riccardo
Due (Two)
Doc. expérimental | 16mm | couleur | 16:55 | Italie | France | 2017

"Due" was shot in Milano 2, a residential neighbourhood located just outside Milano. Built as a utopian city between 1970 and 1979, Milano 2 was Silvio Berlusconi`s first ambitious project. It was in Milano 2 that TeleMilano, the first private Italian TV channel, started to broadcast, which made the area the bridgehead of the media and, later, political empire of Berlusconi. Milano 2, which nowadays may seem an ordinary suburban area, has functioned as a laboratory for a form-of-life which, in the decades of the Berlusconismo’s, spread nationally and left a long-lasting mark on Italian culture. The film includes an interview with Enrico Hoffer, the architect that designed the landscaping of the neighbourhood, as well as fragments from a 1974 publicity brochure advertising the real estate project.

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia, at UWE in Bristol and at New York University. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin). He was artist-in-residence at: Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). In 2016 he was awarded the ArteVisione video production prize, curated by Sky Arte and Careof. He presented his films at several festivals, including the New York Film Festival, the Venice International Film Festival, the International Film Festival Rotterdam, the Rome Film Festival, the Torino Film Festival, Visions du Réel and the FID Marseille International Film Festival, where he won the Grand Prix of the international competition in 2015. In 2007 he co-founded the collective Blauer Hase, with which he curates the periodical publication “Paesaggio” and the “Helicotrema” festival.

Travel Stop
gibisser Mike
Travel Stop
Film expérimental | 16mm | couleur | 19:0 | USA | 2017

Shot at the World’s Largest Truckstop in Walcott, Iowa, the film contemplates the interiors of a Midwestern highway rest stop, creating an essayistic portrait of a familiar site of travel and transience. With fixed attention toward the ideological overtones pressed to the surface in the objects for sale, Travel Stop examines how identity is called upon, regressed, emptied, overburdened, or parceled when traversing the non-places along the US interstate. “ That the world of things can open itself to reveal a secret life ” indeed to reveal a set of actions and hence a narrativity and history outside the given field of perceptionis a constant daydream that the miniature presents. This is the daydream of the microscope: the daydream of life inside life, of significance multiplied infinitely within significance.

Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work, often drawing together disparate subjects or time periods. In the past 10 years, he has completed two narrative features (Finally, Lillian and Dan and World of Facts), a feature film essay (The Day of Two Noons), as well as several experimental and non-fiction shorts. He has presented work at numerous galleries and festivals around the world, including the International Oberhausen Film Festival, the Harvard Film Archive, Tony Wight Gallery, Block Cinema, the AFI Film Festival, the Images Film Festival, the European Media Arts Festival, threewalls gallery, and the New York Film Festival. His work has been featured in Artforum, Variety, and Cinemascope, amongst other publications. He currently teaches at the University of Iowa and runs the Headroom Screening Series dedicated to bringing filmmakers to local audiences to present challenging and experimental new work.

Pierre-jean GILOUX
Invisible Cities
giloux Pierre-jean
Invisible Cities
Vidéo | hdv | couleur | 0:0 | France | Japon | 2017

Comme dans le roman éponyme d’Italo Calvino, ces Invisible Cities ravivent un imaginaire utopique, qui entrelace les villes et leur mémoire, les villes et le désir, le regard, les signes. La part invisible révélée par l’artiste et qui instaure un lien de connivence entre les quatre volets de cette tétralogie évoque la vision d’une autre planification urbaine, intimement liée aux architectures prospectives des Métabolistes. À la fin des années 50, ce groupe tenta de redéfinir la ville durable, en combinant l’esthétique brutaliste et la modularité organique, en liant intimement le bâti au cycle biologique de la croissance, de la pourriture et de la régénération.

Le travail de Pierre Jean Giloux se situe à la convergence de plusieurs pratiques : l’espace / volume et les images. Ses vidéos sont les résultats d’associations et hybridations d’images. Il développe par le biais des techniques numériques un travail de collage, montage, de compositions visuelles et sonores qui incluent parfois des séquences animées en 2 et 3 d. Les interventions graphiques sur les images lui permettent ainsi de modifier la perception du réel et ainsi de créer des “ mondes reconstruits “. Il aime faire cohabiter le virtuel et le réel dans le dessein d’établir un dialogue et de les questionner.

Birobidzhan Atlas
ginzburg Anton
Birobidzhan Atlas
Film expérimental | hdv | couleur | 21:22 | USA | 2017

"Birobidzhan Atlas" is a film exploring Jewish Autonomous Region, an area that is located in the Far East of the Russian Federation. Founded by the Soviet government in 1934, the Jewish Autonomous Region became an official self-determined Jewish entity long before the establishment of the State of Israel. The landscape had a harsh geography and climate: it was mountainous, covered with virgin forests of oak, pine and cedar, and also swamplands festering with mosquitoes, and any new settlers would have to build their lives from scratch in this underpopulated region on the border of contested Manchuria. Birobidzhan is a town and the administrative center of the Jewish Autonomous Region, Russia, located on the Trans-Siberian Railway, close to the border with China. It is named after the two rivers: the Bira and the Bidzhan, which are tributaries of the Amur. The city was planned by the second director of Bauhaus, Swiss architect Hannes Meyer, and established in 1931. Birobidzhan Atlas employs Aby Warburg’s method of “ montage-collision ”, to build a representation of the area through combination of historical archives and documentation of today’s landscape, the relationship between the utopian and the represented landscape.

Anton Ginzburg (b. 1974, St. Petersburg, Russia) is a New York-based artist and filmmaker, investigating historical narratives and poetic studies of place, representation, and post-Soviet identity. He earned a BFA from The New School for Social Research and MFA degree from Bard College, Milton Avery Graduate School of Arts, Annandale-on-Hudson, New York. His work has been shown at the 54th Venice Biennale, the Blaffer Art Museum at the University of Houston, Southern Alberta Art Gallery in Canada, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns in New York, Lille 3000 in Euralille, France, and the first and second Moscow Biennales. His films have been screened at the Whitechapel Gallery in London, Rotterdam International Film Festival (IFFR), Dallas Symphony Orchestra, Nasher Sculpture Center in Dallas, Les Rencontres Internationales in Paris, Haus der Kulturen der Welt in Berlin and New York Film Festival/Projections among others.

giolo Eva
Film expérimental | hdv | couleur | 23:41 | Belgique | 2016

Remote is a suggestive story. Portrait of a tender companionship in a secluded Irish countryside. Residing in the simplicity of the moment, the waiting and the repetition of days. This is a place where there is no space for imagining a future other than the perpetual repetition of the present. This is a place for survival, to be strong, alone with the wind, eyes burnt by the light. A place of unspoken tenderness, a landscape of silence and solitude in which there will always be someone.

Eva Giolo (b.1991 Brussels) is an audio visual artist. Her practice is predominantly made of filmic portraits that weave between fiction and documentary. They focus on individuals, almost always facing a certain kind of loneliness. She mainly focus on those individuals in their daily life, scripting and observing their actions and daily gestures through the camera. They often touch upon universal human themes and explore the relationship between loss, time and memory. But also the in-between language of the camera and the subject. Presenting memories, images and portraitures as something that can be manipulated and seen with multi-perspectives. Questioning the power of images is a recurrent theme and memories often stand as a central narrative. Giolo obtained a BA and MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent. She completed her music education at the Institute of Contemporary Music in London. Recent screenings and exhibitions include: Imagine Science Film Festival, New York; TAZ#17, Ostend; Côté court, Paris; International Film Festival Rotterdam; Blaa Galleri, Copenhagen; BOZAR, Brussels; Courtisane Film Festival, Ghent; Ishibiki Gallery, Kanazawa; In Out Film Festival, Gdansk among others. Giolo won the VAF Wildcard for experimental film (2016) and is a founding member of the small distribution and production platform elephy. Eva Giolo is a post-grad art resident at HISK in Ghent (2018-2020). She currently works and lives in Brussels.

Christoph GIRARDET
It Was Still Her Face
girardet Christoph
It Was Still Her Face
Film expérimental | hdv | noir et blanc | 8:0 | Allemagne | 2017

Portraits of women. And men, who are spellbound by them. The painted portraits, a recurring motif of film noir as well as European postwar cinema, aesthetically stand in a tradition of an outmoded academic style that is bent on striking likeness with the model. They are revenants, omens of absence, metaphors for loss and death, objects of desire and fixation, which mesmerize both the viewer in the movie and in front of the screen.

Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. filmography (single channel, selection) 1991 Schwertkampf 1993 Fieberrot 1996 Release 2001 Scratch 2002 Absence 2004 Fiction Artists (with Volker Schreiner) 2007 Pianoforte | Storyboard 2012 The Eternal Lesson | Dirigible 2014 Fabric 2015 Synthesis 2017 It Was Still Her Face collaborations with Matthias Müller 1999 Phoenix Tapes 2002 Manual | Beacon 2003 Play | Mirror 2006 Kristall 2009 Contre-jour | Maybe Siam 2011 Meteor 2013 Cut 2016 personne

Alexander GIRAV
The Night in All Things
girav Alexander
The Night in All Things
Doc. expérimental | hdv | couleur | 9:46 | USA | 2017

Somewhere, a young man is asleep, his room illuminated green by the flicker of his computer screensaver. Even the night sky resembles its digital replication. Anthropological observations on sleep in the age of technology, and the ways in which it substitutes natural environments.

Alexander Girav was born in Chicago in 1995 and now works as a cinematographer in Los Angeles. While a student at CalArts, he had his work screen at The Chicago International Film Festival and Valvidia International Film Festival. Upon receiving his BFA in Film/Video, Alex`s work has been selected to screen by Ann Arbor Film Festival and International Film Festival Rotterdam - among others.

Jean-luc GODARD
Le Livre d'Image
godard Jean-luc
Le Livre d'Image
Film expérimental | 4k | couleur | 85:0 | France | Suisse | 2018

Te souviens-tu encore comment nous entrainions autrefois notre pensée ? Le plus souvent nous partions d’un rêve … Nous nous demandions comment dans l’obscurité totale Peuvent surgir en nous des couleurs d’une telle intensité D’une voix douce et faible Disant de grandes choses D’importantes, étonnantes, de profondes et justes choses Image et parole On dirait un mauvais rêve écrit dans une nuit d’orage Sous les yeux de l’Occident Les paradis perdus La guerre est là …

De nationalité Suisse. Né le 3 décembre 1930 à Paris (France)

Pascal GRANDMAISON, Marie-Claire Blais
Le chemin de l'énigme
grandmaison Pascal , Marie-Claire Blais
Le chemin de l'énigme
Vidéo | 4k | couleur | 13:6 | Canada | 2017

N`ayant pas vécu l`Exposition universelle 1967 à Montreal, nous ressentons une sorte de vertige entre ce que l`évènement évoque aujourd`hui et l`absence de vestiges qui en témoignent. Une impression de vide qui nous incite à scruter attentivement le site de l`exposition universelle à la recherche d`indices révélateurs de son passé. L’image d`une archéologie matérielle inspiré de Walter Benjamin qui recherche dans la matière, les débris et les laissés pour contre, les traces d`une histoire qui émanerait jusqu`à nous. Pour tenter de cerner l`ampleur de ce décalage, nous nous sommes intéressés aux facteurs d’apparition et d’éffacement révélateurs des contradictions du site et de son histoire : la succession de déplacements de matière, d`additions et d`extractions, qui sont à l`origine de la création des îles Sainte-Hélène et Notre-Dame. La transformation radicale de la forme de l`île Sainte-Hélène, la dissolution de sa configuration ancienne et son artificialité actuelle, nous est apparue comme l`objet privilégié de notre désir d`en comprendre la portée actuelle. Les mouvements de remblais et de déblais de la matière sont transposés, dans le montage des séquences filmées, par la juxtaposition alternée d`une action performative et son contraire. Un jeu incarné par la confrontation de notre interprétation personnelle comme duo d`artistes. La réciprocité entre la spontanéité du geste de l`un et la transcription du cadrage de l`autre. " Il ne suffit pas que tout commence, il faut que tout se répète, une fois achevé les cycles des combinaisons possibles" Causes et raisons des îles désertes G. Deleuze

Pascal Grandmaison (1975-) est un artiste canadien qui vit et travaille à Montréal. Sa pratique explore les façons dont les images influencent la perception et la compréhension du concept de l’infini. Son travail fait l’objet de nombreuses expositions individuelles et collectives, incluant Expo 67 au Musée d’art contemporain de Montréal (2017), Intersections: Contemporary Artist Films au Audain Art Museum (Whistler, 2016), Installations au Musée national des beaux-arts du Québec (Québec, 2016), All membranes are porous à la Kamloops Art Gallery (2016) et La vie abstraite I à la galerie Diaz Contemporary (Toronto, 2015). Ses oeuvres filmiques sont présentées internationalement, notamment à la galerie Power Plant (Toronto, 2016), à la Haus de Kulturen des Welt (Berlin, 2014), au Palais de Tokyo (Paris, 2014) et au Centre Georges-Pompidou (Paris, 2011). Il est représenté par la Galerie René Blouin (Montréal) et la Galerie Eponyme (Bordeaux). Marie-Claire Blais vit à Montréal. Diplômée en architecture, elle se consacre à temps plein aux arts visuels. Ces dernières années elle a entrepris la production d`un ensemble d`oeuvres qui chacune à leur manière active les différentes façons que nous appréhendons forme (s) et espace et les organisons dans notre mémoire perceptuelle. Diffusion et diffraction de la lumière articulent un espace entre le spectateur et sa mise en action, délimitant le seuil entre eux, offrant une voie d`accès. L`artiste a présenté plusieurs expositions personnelles à la Galerie René Blouin de Montréal. Son travail a figuré dans des expositions au Canada et au Mexique, incluant, à la recherche d`Expo 67, Musée d`art contemporain de Montréal (2017), Road Wall Door, Diaz Contemporary, Toronto (2016), L’oeil et l’esprit, Musée d`art contemporain de Montréal (2015), Projet HoMa, Fondation Guido Molinari, Montréal (2013). Elle prépare pour novembre 2017, Entrouvrir, entrevoir, enclore, une exposition solo au Centre culturel canadien à Paris et Buveurs de Quintessences, une exposition collective à la Fonderie Darling (2018) et au Casino du Luxembourg (2019).

grba singh Marko
Fiction | hdv | couleur | 23:21 | Serbia | 2017

At the Gaomeigu Observatory in China, the Naxi people scan the sky, convinced they are the descendants of immortal beings living there, abandoned on earth to watch them. The telescope triggers their local legends, both old and new. There is a legend about the Leader who fed his people. There is a story about Sanduo, a folk tale hero from the Middle ages. Today, he is a skater in the big city. Two gods are in love, but a foreigner interferes.

Marko Grba Singh was born in 1988 in Belgrade, Yugoslavia. He is currently on his PhD studies in Film & TV directing, exploring docu-fiction. His first mid-length film Abdul & Hamza, won the Special Mention in the First film competition at FID Marseille 2015. He was a member of the student jury at the San Sebastian Film Festival in 2016. The newest film of his, Stars of Gaomeigu won Most innovative short film award at Visions du reel in 2017. He is the Artistic director of IDFF Beldocs.