Catalogue 2016-2017
Below, browse the 2016-2017 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.
Hayoun KWON
489 Years
kwon Hayoun
489 Years
Animation | hdv | couleur | 11:18 | Coree du Sud | 0 | 2016

489 Years a pour sujet la Zone Coréenne Démilitarisée (DMZ), créée en 1953, qui sépare physiquement la Corée du Nord et la Corée du Sud. La bande de terre est longue de 248 km, large d’environ 4km. Selon les données du Ministère de la Défense de la Corée du Sud publiées en 2010, il faudrait 489 années pour enlever toutes les mines qui ont été placées sur cette frontière. Le film repose sur le témoignage d’un ancien soldat de Corée du Sud. Il est le narrateur qui donne accès à un endroit où « l’homme est interdit et où la nature a repris ses droits ».

Hayoun Kwon est née en 1981 à Séoul, en Corée du Sud. Elle vit et travaille à Châteauneuf-sur-Cher, Paris et Séoul.

Eva LA COUR
Composite / De-Composited
la cour Eva
Composite / De-Composited
Film expérimental | 16mm | couleur | 3:0 | Danemark | Belgique | 2015

COMPOSITE / DE-COMPOSITED juxtaposes picturesque visions of authenticity in urban space with narratives of the High Arctic and the 20th century phantasmagoric medium of film. The short 16mm film is shot at a construction site in Brussels characterized by facadisme. In architecture, this is when a building is demolished and rebuilt from within while the exterior of the building is preserved. The film recording is merged with an account of mine extraction in mountain formations on Svalbard, and together the two elements form the story of creating an image: The film subtly addresses the relationship between planetary raw material and the landscape-as-image. Or, the relationship between the façade as raw material and the city as scenery.

Eva la Cour is a Danish visual artist and researcher with a background in fine arts as well as visual anthropology. She works with audio-visual and spatial forms of montage and display, performance and text, always negotiating with the surroundings in which her work actualizes. This reflects her general interest in notions such as fieldwork, skilled vision and mediation, which she particularly has investigated in relation to landscapes of narratives and raw materials in the Arctic terrain on Svalbard. Currently Eva la Cour lives and works in both Copenhagen and Gothenburg, where she is an artistic practice-based PhD candidate at Valand Academy of Art.

Jules LAGRANGE
Orion Aveugle
lagrange Jules
Orion Aveugle
Fiction expérimentale | hdv | couleur | 9:10 | France | 2016

Orion Aveugle, c`est l`histoire d`un rite funéraire vu à travers les yeux poussiéreux d`un cyborg. La temporalité et le contexte précis de cet événement appartenant au passé, lui sont inconnus. Ils ont disparus au profit d`une mémoire dense et disparate. Son implication et sa filiation aux sujets est inaccessible, perdues à jamais, dans la densité d`événements enregistrés au cours des siècles. Sa mémoire est donnée à voir, vidée de son sens. C`est l`histoire d`un être devenu le simple témoin, de sa propre nostalgie.

Jules Lagrange est un artiste français, né en 1989 à Besançon. Son travail se développe principalement dans l`élaboration de film de fiction. Ses recherches s`orientent autour de processus de réécriture et de jeu de réappropriation des codes cinématographique visant à ré-incarner et à re-sentimentaliser les corps et les affects représentés au cinéma. Il a étudié à l`institut of Art, Design and Technology de Dublin et à l`Ecole Nationale Supérieure des Beaux Arts de Lyon dont il est diplômé en 2014. En 2016, il intègre le post diplôme de l`ENSBA Lyon dirigé par François Piron. Son travail a été visible au travers d`expositions, notamment, à la Friche belle de Mai (Marseille), au Creux de l`enfer (Thiers) ou encore au Treize et à Glassbox (Paris). Ses films ont également était projeté au Festival International de Video de Camaguey (Cuba), au Frac Nord pas de Calais (Dunkerque), à Mains d`oeuvres (St Ouen) ou encore aux Musée des Confluences (Lyon). Il vit et travaille à Bruxelles.

Salomé LAMAS
Eldorado XXI
lamas Salomé
Eldorado XXI
Doc. expérimental | 0 | couleur | 126:0 | Portugal | Pérou | 2016

"Eldorado XXI" est une fable envoûtante et mystérieuse dont la vocation est de révéler une réalité ethnographique. Son décor est un village péruvien, qui s’avère être le lieu de vie humaine situé au point d’altitude le plus élevé au monde : La Rinconada y Cerro Lunar (5.500m), dans la Cordillère des Andes. La quête d’une illusion conduira une poignée d’hommes à la déchéance. Mus par des intérêts communs, ces individus disposent, pour affronter le monde contemporain, d’outils et de moyens égaux, comme le voulait la tradition dans des temps plus reculés.

Salomé Lamas (b.1987, Portugal) is a filmmaker whose work dissolves the apparent border between documentary and fiction. With an interest in the intrinsic relationship between storytelling, memory and history, Lamas uses the moving image to explore the traumatically repressed, seemingly unrepresentable or historically invisible – from the horrors of colonial violence to the landscapes of global capital. Her debut feature No Man’s Land [Terra de Ninguem] (2012) premiered internationally at Berlinale and went on to screen at many major international film festivals. Her short films have been presented in art and film institutions including Museum of Modern Art, New York; Guggenheim Bilbao; Hammer Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; Viennale, Vienna; Bozar Centre for Fine Arts, Brussels; and Biennial of Moving Images, Geneva. Lamas is currently a PhD candidate in film studies at the University of Coimbra, Portugal.

Salomé LAMAS
Ubi Sunt
lamas Salomé
Ubi Sunt
Fiction expérimentale | hdv | couleur | 23:0 | Portugal | 2017

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical). Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life`s transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary. The project hosts two performances - `One Life to Live` and `Requiem` by Christoph Both-Asmus and counts with the participation of CESA.

Salomé Lamas (b.1987, Portugal) is a filmmaker whose work dissolves the apparent border between documentary and fiction. With an interest in the intrinsic relationship between storytelling, memory and history, Lamas uses the moving image to explore the traumatically repressed, seemingly unrepresentable or historically invisible – from the horrors of colonial violence to the landscapes of global capital. Her debut feature No Man’s Land [Terra de Ninguem] (2012) premiered internationally at Berlinale and went on to screen at many major international film festivals. Her short films have been presented in art and film institutions including Museum of Modern Art, New York; Guggenheim Bilbao; Hammer Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; Viennale, Vienna; Bozar Centre for Fine Arts, Brussels; and Biennial of Moving Images, Geneva. Lamas is currently a PhD candidate in film studies at the University of Coimbra, Portugal.

Alyona LARIONOVA
Across Lips
larionova Alyona
Across Lips
Vidéo | hdv | couleur | 11:43 | Russie | Royaume-Uni | 2016

Pairing up jazz improvisation with the vastness of big data, Across Lips attempts to decode what it means to tell a story for a digital age. Framed by the gradual and comprehensive expansion of the Internet Archive, this film questions what it means to truly believe in something.

Alyona Larionova (b. 1988 Moscow) earned her MFA from the Slade School of Fine Art in 2013 and her BA in Photography from LCC in 2010. Her work has been exhibited internationally, including at HOW Art Museum in Wenzhou, II Moscow Biennial of Young Art, National Center for Contemporary Arts Moscow, Temnikova & Kasela, and Bermondsey Project Space, among others. The artist has recently premiered her latest film at Picturehouse cinema, supported by Outpost Norwich and Ed Atkins; the film was also nominated for Tenderflix 2016 Award, organised by Tenderpixel London.

Nina LASSILA
Did Van Gogh Get Laid Because of his Paintings?
lassila Nina
Did Van Gogh Get Laid Because of his Paintings?
Vidéo | hdv | noir et blanc | 5:45 | Finlande | Belgique | 2016

A semi critical and humorous review on the showing and hanging of Art. Do we make artworks to impress or for what reason? What is the purpose of art again? To impress sexual mates or to gain fame and richness? Could art be as sexy as muscles and money? Or could the artist actually be a respected figure in society?

Nina Lassila is a visual artist born 1974 in Helsinki, Finland currently living and working in Berlin and Belgium. Nina Lassila works mainly with video and performance. In many of her works she deals with questions of identity – specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of i.e supernatural phenomena, art and economic structures. She has taken part in several group shows and video festivals internationally.

Christine Lucy LATIMER
Still Feeling Blue About Colour Separation
latimer Christine Lucy
Still Feeling Blue About Colour Separation
Film expérimental | super8 | couleur | 2:8 | Canada | 2015

This film rephotographs over 200 internet-sourced images of ‘Macbeth ColorChecker’ cards on to super-8mm cyanotype emulsion. Macbeth Cards (precision tools in colour film processing), were a popular accessory for small-gauge Kodachrome filmmakers in the 1970`s. They have since been re-adopted by contemporary digital photographers, who use them to compare lighting scenarios on internet blogs and forums. Tracing the history of the colour calibration card through many lenses, I effectively remove all colours, save one. (Commissioned by The 8 Fest)

Christine Lucy Latimer is an interdisciplinary artist working with lens-based and time-based forms. Her work in the past decade has been featured across 5 continents in over 250 film festivals and gallery exhibitions. She currently lives and works in Toronto, Canada.

Joao LEAL
Chasms
leal Joao
Chasms
Vidéo | hdv | couleur | 8:34 | Portugal | 2016

A researcher trying to cope with his research, while avoiding narrative. Does he know where he is walking himself into? Will he be able to come out of it? A film so unsuccessful in resisting narrative as it is in finding answers.

B. Porto | Portugal | 1977. Practitioner and teacher. Participates in solo and group exhibitions since 2001. Won in 2005, ex-aequo, the "Pedro Miguel Frade" award, from the Portuguese Centre of Photography, with the work "Night Order”. PhD candidate at the University of South Wales in connection to the European Centre for Documentary Research. Has a degree in Audiovisual Communication Technology at the Polytechnic Institute of Porto, majoring in Photography. Worked in São João and D.Maria II Portuguese National Theatres, RTP television, “Casa da Música”. Full time assistant professor in the Department of Image Arts P.Porto | ESMAD.

Yoann LELONG
Génèse
lelong Yoann
Génèse
Doc. expérimental | hdv | couleur | 31:50 | France | 2016

Derrière tout œuvre artistique, se cache un travail de recherche foisonnant, un parcours irrégulier fait d`avancées et de doutes. Mettant en perspective le travail de 2 artistes aux disciplines différentes, le film retrace ces moments d`improvisations, de répétition ou d`hésitations qui font partie intégrante d`une œuvre en devenir. Aux mouvements des danseurs hip-hop de la chorégraphe Anne Nguyen (artiste associé à Chaillot), se superpose une oeuvre musicale du musicien Les Gordon (du label Kitsuné), 2 univers qui, bien que différents, viennent se compléter pour créer une forme nouvelle et singulière. Qu`il s`agisse d`une pièce dansée ou d`une œuvre de musique, l`impression d`aisance et de maîtrise que suscite la découverte de l`oeuvre aboutie est toujours flagrante. Quel processus de création derrière cette sensation de fluidité, de perfection ? Comment, d`une matière brute et spontanée, naît l`oeuvre future ? C`est par cet angle que le film tente de capter et de retranscrire la genèse d`une création artistique, nourri par les séances de travail et de répétition des danseurs, autant que par la l`oeuvre musicale composée sur le mode de l`improvisation. Questionnement, tentatives, ajustements, répétitions... Autant d`étapes nécessaires que requiert la création d`un projet artistique, mouvement permanent oscillant entre la projection initiale de l`artiste et le projet en devenir, matière polymorphe et versatile. Miroir de cette genèse continue, le film finit par lui-même devenir objet de son propos.

Yoann Lelong, né en 1985. Après avoir étudié la physique quantique au cours de son cursus universitaire, Yoann Lelong s`est progressivement tourné vers la création artistique en se formant au California Institute of Arts et en collaborant avec le pionnier du mouvement No wave New Yorkais, Amos Poe. Le travail de Yoann Lelong émerge d`une vision du monde où tous les éléments sont reliés et interagissent entre eux. Chaque élément est, pour lui, une abstraction issue d`une totalité de mouvement fluide (telle la notion d`holomouvement). Il adopte ainsi une approche centrée sur l`individu pour ensuite en dégager une structure systémique en s`intéressant aux interactions qu`un individu peut avoir avec un lieu, une ambiance ou d`autres personnes. En 2013, encouragé par Alain Cavalier, Yoann Lelong réalise le film PERSON(A). Il s`agit de 23 portraits entrelacés (dont ceux de Benoit Forgeard, Amos Poe et Lola Bessis). En 2014, il rejoint l’expédition Tara Méditerranée, dans le cadre d`une résidence artistique qui donnera lieu à l`installation vidéo PerceptConcept. En 2015, Yoann Lelong a réalisé des projets sur le thème de la transidentité et de l`insertion des personnes réfugiées en collaboration avec l’association Singa. En 2017, il prépare une nouvelle œuvre en relation avec le centre de pédopsychiatrie de l`hôpital La Pitié Salpêtrière.

Mehryl LEVISSE
Réalité
levisse Mehryl
Réalité
Fiction | hdv | couleur | 10:49 | France | 2016

Dans une routine déjà bien installée, le personnage commence sa journée en revêtant une combinaison intégrale en tricot. Cette mise en abyme d`un huit clos domestique le guidera tout au long de ses activités quotidiennes : lire, manger, nettoyer, brosser. Cette seconde peau le suivra jusqu`à la délivrance d`une nouvelle nuit dont il en oubliera même de la retirer. Le mystère de son identité perdurera dans la monotonie détricotée de ses journées.

Mehryl Levisse (né à Charleville-Mézières) est un artiste français qui explore les frontières, les enjeux sociologiques et les représentations archétypales du corps, au travers de médiums tels que la photographie, l’installation ou les pratiques performatives. Dans son travail le corps n`est pas une fin mais un commencement, un matériau malléable et adaptable aux idées. Mehryl Levisse se met en scène dans des environnements de fortune inspirés par son histoire familiale, la littérature, les expériences de vie, la philosophie, la musique, la mythologie, le cinéma, les cultures populaires et beaucoup d`autres sources encore... Ses environnements entre parodie sociale et pathétisme critique, prennent les codes du théâtre et utilisent le corps comme s’il était un objet. Mehryl Levisse considère son travail photographique comme la trace documentaire de situations s’étant déroulées dans l’intimité de son atelier. Il construit soigneusement et patiemment ses environnements pièce après pièce au sein de son espace de travail, dans la volonté permanente de n’utiliser aucune retouche informatique une fois la captation photographique réalisée. Il vit et travaille entre Paris et Raillicourt (Champagne-Ardenne), France.

Honglei LI, Xiying YANG
???
li Honglei , Xiying YANG
???
Animation | hdv | couleur | 16:10 | USA | 2016

Crossroads is a three-part animated series. Aesthetically, the series mixes the imagery of classical painting with socialist propaganda art, while its narrative fuses the idioms of Greek mythology with that of traditional Chinese ghost tales. The piece offers insight into many facets of China’s political and social condition, shedding light on the country’s decades-long struggle between westernization and insulation.

Taking an interdisciplinary approach to link Chinese cultural heritage with social and environmental research, Lily & Honglei, the immigrant artist collaborative produces cross-platform projects reflecting upon contemporary China in the context of a global age. Their multimedia artworks embrace both traditional art forms and new technologies such as digital animation, Virtual Reality in cyberspace, and Augmented Reality on mobile devices. Lily & Honglei’s artworks have been presented at numerous national and international venues for contemporary art or new media art, and receive support from The Jerome Foundation, Greater New York Arts Development Fund, The Andy Warhol Foundation for the Visual Arts via Creative Capital, New York Foundation for the Arts, Queens Arts Fund (QAF) in New York, Jamaica Center for Arts & Learning NY commission grant, name a few. Lily & Honglei`s multimedia projects are collected by The Rose Goldsen Archive of New Media Art, sponsored by The Division of Rare and Manuscript Collections at Cornell University. The awards they received include People`s Choice Award of Moving Paper Film Festival at Museum of Art & Design in New York, Creative Capital 2015 Award for Moving Image & Visual Arts, and NYFA Fellowship 2015 in Interdisciplinary Work.

Sasha LITVINTSEVA
Exile Exotic
litvintseva Sasha
Exile Exotic
Doc. expérimental | hdv | couleur | 14:10 | Royaume-Uni | 2015

Steeped in elliptical history and historical simulacra, Exile Exotic is set at a hotel that is a replica of the Kremlin. Narrating the exotic beginnings of my mother`s and my exile from Russia, the film serves as a platform for us to visit the Kremlin again, albeit by the side of a pool. Soundtracked by an operatic score reminiscent of the song of the sirens making Odysseus stray on his long journey home, our story reverberates throughout the scope of Russian history`s limiting of free movement of individuals. This film is a pilgrimage. This film comes in waves.

Sasha Litvintseva is an artist, filmmaker, researcher and curator based in London. Her work has been exhibited worldwide including Wroclaw Media Art Biennale, Poland, The Moscow Biennale for Young Art, Modern Art Museum Moscow, Institute of Contemporary Art, London, Kunstverein Gottingen, Ann Arbor Film Festival, Edinburgh Film Festival, Kasseler Dokfest, Cinema Du Reel, Paris, including solo shows and retrospective screenings at Union Docs, New York, Super Dakota gallery, Brussels, Courtisane Film Festival, Ghent, Close-Up Film Centre, London, Edinburgh Film Guild, Image/Movement, Berlin, among many others. A graduate of the Slade School of Fine Art she is currently working on a PhD proposing the concept of geological filmmaking at Goldsmiths, University of London, where she is a founding member of the Screen and Audiovisual Research Unit. She is also an independent curator of contemporary moving image and co-curator of the November Film Festival.

M+M
Dienstag + Donnerstag
m+m
Dienstag + Donnerstag
Installation vidéo | 16mm | couleur | 6:39 | Allemagne | 2015

M+M steht für die künstlerische Zusammenarbeit von Marc Weis, geb. 1965, und Martin De Mattia, geb. 1963. Das deutsch-luxembourgische Künstlerduo überschreitet in seinen Arbeiten die klassischen Gattungsgrenzen zwischen Film und Rauminstallation. Sie erhielten u.a. den Villa Massimo Preis Rom, das Stipendium Villa Aurora L.A oder den ADC Award. Einzelausstellungen fanden in den letzten Jahren statt u.a. im Museum für Fotografie, Berlin, im MAMBo - Museo d’Arte Moderna, Bologna, im Casino - Forum d’art Contemporain, Luxembourg, in der Galerie im Taxispalais, Innsbruck oder im Musée d’Art Contemporain, Montreal/Canada. Zudem waren sie in zahlreichen Gruppenausstellungen vertreten: u.a. Museum Folkwang, Essen, Biennale Venedig, Emscherkunst, Kunstmuseum Bonn, Neue Galerie, Graz, Haus der Kunst, München, Hamburger Kunsthalle.

Michael MACGARRY
Excuse Me, While I Disappear
macgarry Michael
Excuse Me, While I Disappear
Fiction | hdv | couleur | 19:10 | Afrique du sud | Angola | 2015

The film was shot on location in Kilamba Kiaxi, a new underpopulated city outside Luanda, Angola built by Chinese construction company CITIC and financed by Hong Kong-based China International Fund. The film follows a young municipal worker who lives by night in the old city centre of Luanda and works by day as a groundskeeper at the new city of Kilamba Kiaxi far away.

Michael MacGarry is a multi-award winning visual artist and filmmaker, having exhibited internationally for ten years including TATE Modern, Guggenheim Bilbao, 19th VideoBrasil, 62nd Short Film Festival Oberhausen, International Film Festival Rotterdam and Les Rencontres Internationales. He holds an MFA from the University of the Witwatersrand (2004). MacGarry has been researching narratives and histories of socio-economics, politics, forms and objects within the context of contemporary Africa for over a decade. Frequently focused on marking key registers of modernism – MacGarry creates sculptures, films, installations and photographs which look at the contextual specifics of things and their place; how they are simultaneously distributed both as ideas and as objects in the world. His sculptural work is formed through processes of grafting and mutation, to produce fictional hybrids principally designed to question systemic paradigms: sovereign nationality; logics of making and meaning; power relations; notions of value, equity and progress as well as the relationship between industrial technology and African resources. In his filmmaking and photographic work these macro concerns often take the form of micro narratives, personal memory and subtle identity politics in spaces where contemporary life is in a state of invention and flux.

Natalia MARIN SANCHO
New Madrid
marin sancho Natalia
New Madrid
Vidéo | 4k | couleur et n&b | 9:0 | Espagne | 2016

Jelena MARKOVIC
Durch
markovic Jelena
Durch
Fiction | hdv | couleur | 13:7 | Serbia | 0

I was overwhelmed by a sense of the wrongness of what was happening, or if not by the wrongness, then by the sheer pace of events. I felt that you would have been disappointed at how quickly I had accepted the news of your death, and how readily we had set in motion the machinery of memorialization. One minute i was looking forward to meet you in our old flat, headed home from a long time away; the next minute I came in and I was burying you.

Jelena Markovic holds a Bachelor`s Degree from Academy of Arts, University of Belgrade, and a Master`s Degree from Hochschule für bildende Kunste Hamburg, mentored by Angela Schanelec. Born 1987. in Belgrade, Serbia. Lives and works in Berlin, Germany.

Randa MAROUFI
La Grande Safae
maroufi Randa
La Grande Safae
Fiction expérimentale | 4k | couleur | 15:56 | Maroc | 2014

Le film s’inspire librement d’un personnage connu sous le nom de La Grande Safae. Travesti, il a passé une période de sa vie en tant qu’employé de maison dans ma famille, qui ignorait son identité sexuelle "réelle".

Née en 1987 à Casablanca (Maroc). Diplômée de l’Institut National des Beaux-Arts de Tétouan (Maroc), de l’École Supérieure des Beaux- Arts d’Angers (France) ainsi que du Fresnoy (France). Randa Maroufi s’intéresse à la mise en scène des corps dans l’espace public ou intime. Une démarche souvent politique, qui revendique l’ambiguïté pour questionner le statut des images. Son travail qui se traduit essentiellement à travers la photographie, la vidéo, l’installation, la performance et le son, a été présenté lors d’événements d’art contemporain et de cinéma majeurs tels que le Salon de Montrouge en 2015, la Biennale de Marrakech en 2014, les Rencontres photographiques de Bamako en 2015, Les Rencontres Internationales de Photographie de Fès en 2015, le Festival International du film de Rotterdam en 2016, le Museum of Modern Art à New York en 2016, le Dubai Photo Exhibition en 2016, le Brandts Museum à Odense en 2016... Elle vit et travaille entre le Maroc et la France.

Alberto MARTÍN MENACHO, Laura MORALES
Ziggurat
martÍn menacho Alberto , Laura MORALES
Ziggurat
Film expérimental | mov | couleur | 3:26 | Espagne | Suisse | 2015

Différents temps sont réunis sous les yeux d’un enfant. Aucune innocence n`habite son regard. Le Ziggurat est un édifice religieux mésopotamien.

Alberto Martín Menacho est un réalisateur et monteur espagnol. En 2014, il commence des études en cinéma à la HEAD – Genève. Laura Morales est photographe diplômée de l`école de photographie de Vevey. En 2014, elle commence des études en cinéma à la HEAD – Genève.

Pilar MATA DUPONT
Mountain
mata dupont Pilar
Mountain
Fiction expérimentale | hdv | couleur | 8:11 | Australie | Allemagne | 2015

Sigmund Freud and a Tyrant take a journey together on a boat into the mountains. My video work, ‘Mountain’, investigates Sigmund Freud’s connection to the neighbouring villages of Berchtesgaden and Schönau am Königssee, in Bavaria, Germany, where he often spent his holidays between the late 1800s and 1929. In a rented house in Schönau, Freud wrote his seminal work ‘The Interpretation of Dreams’ in 1898. The region is infamous as the base for the National Socialists. Hitler and Freud are reported to have been in the small village of Berchtesgaden at least twice in the 1920s at the same moment, a relatively unknown historical fact. In making ‘Mountain’, I have explored theories Freud examined in Group ‘Psychology and the Analysis of the Ego’ (1921), specifically his theories about mass psychology and the supplantation of the super-ego with the will of the Tyrant. His personal connection to the historical character of Hannibal, and neurosis about reaching Rome, alluded in ‘The Interpretation of Dreams’ (1899), are also reflected in the work. The footage was taken from a boat launched at Schönau am Königssee steered through the mountains to St Bartholomew. This trip was one Freud did almost daily, in a wooden boat rowed by ‘four strong local women’, while on holiday in the region.

Pilar Mata Dupont is an Argentinean/Australian artist based between Australia and the Netherlands working in video, installation, performance, and photography. Using highly theatrical and cinematic methods, she uses allegory and narrative to reimagine/rework histories and classical texts, and aims to create alternative readings that question the conditions of the construction of dominant narratives that shape history. In 2015, she won the Plymouth Contemporary Open in the UK, and the Wexner Center for the Arts residency prize at the `19th Contemporary Art Festival Sesc_Videobrasil` in São Paulo. Her solo exhibition, `Kaiho`, opened in the Rappu space at the Pori Art Museum, Finland in 2014. Other recent exhibition highlights include the `SeMA Biennale – Mediacity Seoul`, at the Seoul Museum of Art and `Salon Fluchthilfe`, at Secession in Vienna and Württembergischer Kunstverein, Stuttgart. In 2012 she was a recipient of a Mid-career Fellowship from the Western Australian Government. In collaboration with Tarryn Gill, she participated in the Sydney Biennale and won the Basil Sellers Art Prize in 2010, and as part of collective Hold Your Horses, she made work commissioned by the Akademie der Künste in Berlin in 2012 for the exhibition `Wagner 2013: Künstlerpositionen`.

Timo MENKE, Nils AGDLER
Flykten från fälten
menke Timo , Nils AGDLER
Flykten från fälten
Doc. expérimental | 16mm | couleur et n&b | 16:0 | Allemagne | Suède | 2005

Electricity is a natural but invisible component in modern life. The new and controversial phenomena electro-hypersensitivity, concerning oversensitivity against electro- magnetic fields from mobile telephony, power lines etc., drastically throw light upon our dependence on electricity. What would happen in our society if more and more people would become oversensitive? What would a society without electricity look like? The footage was mainly filmed with a spring-driven 16 mm camera, but we also used a digital video camera, some historical footage, and stills. The sound was recorded on an old tape recorder in order to minimize the electromagnetic stress during the interviews.

Timo Menke and photographer Nils Agdler have been engaged in several long-term collaborative projects. In their artistic practice they share a common interest in contemporary social phenomena, storytelling and history. Major projects include film works and installations on electrical hypersensitivity (Fugitives from the Fields, 2005), and commercial anonymous sperm donation (Made in Denmark, 2013 and Gifted Men, 2015). For more information on other works, projects and collaborations see the portfolio enclosed. Nils Agdler was born in Östersund, Sweden, in 1969. He lives and works in Stockholm since 1993, and is currently working as an artist and freelance photographer. Since 2006 he works part time as a teacher/photographer at Konstfack, Arts, Crafts & Design University College, Stockholm. Timo Menke was born in Germany. He lives and works as an artist/filmmaker in Sweden since 1988. He was a Senior Lecturer at the Department of Art at Konstfack, Stockholm, 2004–2014. He is also engaged as a Media Producer at Filmform Foundation, Stockholm. His work is represented at Moderna Museum, Stockholm, and is distributed by Filmform.