Catalogue 2019
Below, browse the 2019 Rencontres Internationales catalogue, or search the archives of the works presented since 2004. New video clips are routinely posted and the images and text are regularly updated.
One Year Life Strata
maría molina peirÓ
One Year Life Strata
Installation vidéo | hdv | couleur | 0:0 | Espagne | 0 | 2018

During one year María Molina Peiró carried a wearable camera taking a photo every 30 seconds. The enormous collection of photos collected by the camera are shown in an online archive that instead of "remembering" creates a creative forgetting of the vast photo archive. One Year Life Strata proposes a visual metaphor of forgetting by transforming the digital images into what is likely the ultimate memory trace that will remain from us: The geological record. The project, in a sort of digital geology, mines the data from the strata and invite viewers to investigate one year of Maria Molina's life through an AI vision system, not concerned about personal memories but the collection of patterns and numbers they contain. In a society obsessed with recollection, data and monitoring One Year Life Strata addresses the disturbing territory of forgetting. Today that we have the tools to remember and archive almost everything, forgetting has become a term very close to death raising very similar fears. One Year Life Strata wants to overcome this fear and embrace forgetting in a game of time scales, where the speed of Digital Time is buried into a time difficult for us to grasp, the slow Deep Time.

María Molina is an audio-visual artist and filmmaker with a background in fine arts. She works in an open format mixing film, digital media and experimental animation. María Molina´s films and art works have been showcased in international museums like Haus der Kulturen der Welt (Berlin), EYE Film Museum (Amsterdam), MACBA (Museum of Modern Art Barcelona), Hong-Gah Museum (Taipei), Centre de Cultura Contemporània Barcelona (CCCB), MATADERO (Madrid) or Museum of Contemporary Art of Vojvodina (Serbia) among others. Her works has been featured in festivals like Rotterdam Film Festival, Art Futura (Barcelona), Taiwan Video Art Biennial, MADATAC (Madrid), VISS (Vienna International Film Festival) or Forecast Forum (Berlin). In her work she explores the increasingly blurred boundaries between material and digital realities. She is particularly interested in the convergences between different memory systems (from Geology to Digital Memory) and how the ubiquity and pervasive nature of Digital Technology is reframing our spatial and temporal perspective. Her films and installations often use metafiction, postproduction and geo-tools to unfold layered realities that connect humans, technology and nature. Her current research focuses on humanity's constant struggle with its temporal and spatial limitations, and how this struggle has driven civilisation and technology to change our relation with nature, time and our understanding of life itself.

Santiago MOSTYN
The Warming Plateau
santiago mostyn
The Warming Plateau
Film expérimental | 16mm | couleur et n&b | 12:0 | Royaume-Uni | Trinité & Tobago | 2017

The Warming Plateau is a film recorded on Tobago, an island unique among the former British West Indies in that much of its West African heritage survived the obliterating effects of slavery and exists in vibrant tradition long into the present day.  One segment of the film recalls the legend of Gang Gang Sarah, the ‘African slave witch’ who, wishing to return to her homeland, climbed the sacred Silk Cotton tree and tried to fly. But Gang Gang Sarah did not realise she had lost her powers of flight after eating salt, and fell to her death. The other segment of the film shows four men cutting their way through the jungle, making measurements, calling out to each other, working on something that comes into focus as a kind of land claim or marking of territory. The film as a whole is a portrait of the island as a sentient being, showing sites of past and present exploitation. 

Santiago Mostyn – born in San Francisco but with strong ties to Grenada, Zimbabwe and Trinidad & Tobago – currently lives in Sweden. Mostyn works and lives between these cultures, often creating a context for reflection on privilege, inclusion and utility. With his films, photographs and installations, he sets up a framework to test how wide or narrow the apparent divide is between different social spheres. He employs an intuitive creative process and points to a knowledge and history grounded in the body rather than the rational mind. Through his work, Mostyn creates a balance between intuition and reason, dreams and waking states, and offers the audience a fresh way of seeing and contextualizing their everyday experiences. Mostyn is a graduate of Yale University, Städelschule in Frankfurt, and the Royal Institute of Art in Stockholm. He is currently co-curator of “The Moderna Exhibition 2018: With the Future Behind Us”, Moderna Museet’s quadrennial survey of contemporary art in Sweden.

Paula MUHR
paula muhr
Vidéo expérimentale | hdv | couleur | 5:5 | Serbia | Allemagne | 2018

The starting point of the work is a sound recording of an interview with a woman suffering from recurring spells of dissociative memory loss that arose in response to a repressed trauma. It appears that her body developed a coping strategy in response to the trauma that consisted of blocking her short-term memory of events that reminded her of the initial event. In the video, the fragments from the original soundtrack are juxtaposed with aural noise and with visual material that references current psychological research into post-traumatic stress disorder as well as theories of defense mechanisms related to basic emotions. The monochromatic colours that shift throughout the video are punctuated by short-duration images of slightly blurred and apparently mutually unrelated objects and gestures. These images symbolically reinterpret the visual material used in current research to uncover the nature of intrusive memories and the various objects that can trigger them. It appears that the potential threat lurks in anything that perceptually resembles an object unconsciously associated with the initial trauma. In a highly intuitive way, the video charts how the interviewee gradually comes to term with her trauma-induced memory loss.

Paula Muhr (1977, Serbia) is a visual artist and researcher based in Berlin, Germany. She studied photography and comparative literature in Belgrade (Serbia) and received her master’s degree from the Academy of Visual Arts in Leipzig. She is currently a Ph.D. Candidate at the Institute of Art History and Visual Studies of the Humboldt University in Berlin. Through her research-based artistic practice, Muhr examines socio-cultural strategies of constructing sexuality, gender, desire, and normality. Her work has been shown internationally in numerous solo and group exhibitions, including the Museum of Modern and Contemporary Art in Rijeka (Croatia), Fotogalerie Wien (Vienna, Austria), Kunsthalle der Sparkasse Leipzig (Germany), Fotogalleriet Format (Malmö, Sweden), Museo Municipal de Bellas Artes (Tenerife, Spain), Centre national de l’audiovisuel (Luxembourg), MAMAC (Liege, Belgium), Einstein Forum (Potsdam, Germany) and the Shenzhen Fine Art Institute (China). She received the Sittcomm Award for Central European Photography (Slovakia), the FEX Award for Experimental Photography (Dortmund, Germany) and was shortlisted for the Haus am Kleistpark Art Award (Berlin, Germany). She received grants by Pro Helvetia, ifa (Institute for Foreign Relations, Germany), as well as residencies at the Centre national de l’audiovisuel (Luxembourg), Shenzhen Fine Art Institute (China) and the City of Salzburg (Austria).

Untitled (time)
julie murray
Untitled (time)
Vidéo expérimentale | hdv | couleur et n&b | 15:30 | Irlande | USA | 2018

Various reels of found 35mm movie film are pulled over a light box under the fixed gaze of video capture. Through veils of apparent motion, the movements of characters can be discerned and their motivations artfully speculated upon. An oblique tribute to Pere Portabella`s Vampir-Cuadecuc, narrative and plot in Untitled (time) are progressively subsumed in a switching and swaying abstraction to percussion rhythms crashed out on cymbals.

Julie Murray was born in Ireland and lives in the US. Her work has been included in many festivals including the New York Film Festival, Images, Rotterdam International Film Festival, and has been exhibited at the Whitney Biennial and more recently at Irish Film Institute/ AEMI Dublin. Her films are in the Academy of Motion Picture Arts and Sciences Film Archive, LA The Museum of Modern Art`s Film Archives, NY as well as the Whitney Museum of American Art. Prints of her 16mm films are also to be found in the Public Library`s Special Collections, New York. She likes this fact. Murray`s early super-8 films were selected for a National Film Preservation Foundation Award in 2014.

David MUTH
Process #01: Gold & Clouds
david muth
Process #01: Gold & Clouds
Animation | mov | couleur | 3:30 | Autriche | Finlande | 2018

According to the French poststructuralist philosopher Jean Baudrillard, everyday life unfolds in a system of signs, a "car" for example implies "driving pleasure", "progress", or "independence". Baudrillard plays with the re-articulation of theories of structural linguistics and semiotics - terms such as signifier and signified, coined by the Swiss linguist Ferdinand de Saussure. Following this approach, one can examine how the aircraft as an object or signifier has undertaken various shifts in meaning since its invention. Once it stood for technical progress and the latest evolutionary step in military technology - and technology per se meant military superiority in a post-industrial era marked by enthusiastic nationalism - then, since about the 70s (a date chosen knowingly arbitrarily), the airplane has been increasingly considered as an object which can be instrumentalised for terroristic activities with relative ease. Cheap flight deals offered by discount air lines, a development that began approximately in the 90ies, have made distances appear smaller and smaller (already before the plane has been co-symbol for globalisation), and in addition stripped "traveling by air" of its hitherto semi-luxurious connotation (the once fashionable term "Jet Set" now appears rather outdated). Finally, the aircraft has become a symbol for the rapidly progressing depletion of fossil fuels - natural resources that were created over geological time frames, now to be extracted in a crescendo of global consumption: the object plane has turned into one of the motors of man-made climate change, and the frequent traveler is confronted with the term "carbon footprint". For the subject or individual an aircraft offers the possibility of rapidly overcoming distances, in return for subjecting oneself to being "locked up" for a certain period - subjugating any sense of individual autonomy to total confidence in technology and the crew operating the aircraft (this can be seen as one of the reasons why the suicide of the German-Wing pilot in 2015 became such a collective traumatic experience). The video piece "Footnote #03: Gold & Clouds" aims to be a meditative reflection on the object "aircraft". It has been conceived during a stay at the Saari Residence in Mynämäki, Southwest Finland, and finalised during a residency at the Brno House of the Arts.

David Muth is an artist, musician and programmer. Having grown up in Salzburg, Austria, he relocated to the UK to study at Middlesex University, where he received an MA in Digital Arts. He currently lives and works in London, Vienna and Turku. His artistic practice combines conceptual and experimental approaches and is informed by his background in architecture. His projects range from installations and responsive environments, through video and photography, to composition and performance of music. Muth's work has been shown on numerous occasions internationally, with venues and events including the Musée d'Art Contemporain in Montreal, the Kiasma Museum of Modern Art in Helsinki, Ars Electronica in Linz, Le Cube in Paris, Laboral in Gijón, the Museo Reina Sofía in Madrid and the Museum of Modern Art Salzburg. Institutions he has taught at include Ravensbourne University of London and the Royal College of Art, and he currently lectures at Goldsmiths University of London.

City of Tales
arash nassiri
City of Tales
Film expérimental | 4k | couleur | 21:30 | France | 2017

SYNOPSIS COURT: La nuit, lors des célébrations du nouvel an perse au printemps, les habitants de Los Angeles deviennent les hôtes des souvenirs de Téhéran. Ils ne parlent plus anglais, mais un idiome persan. Les néons emplissent les rues de couleurs psychédéliques. Pendant cet intervalle, comme les anciennes techniques romaines du palais de la mémoire qui utilisaient la visualisation spatiale pour mémoriser l`information, l`espace matériel du territoire éphémère et mutant des rues de Los Angeles sert à accueillir la mémoire de Téhéran une dernière fois avant de disparaître. SYNOPSIS LONG : La nuit, les habitants de Los Angeles deviennent les hôtes des souvenirs de Téhéran. Ils ne parlent plus anglais, mais un idiome persan. Les néons emplissent les rues de couleurs psychédéliques. Ce territoire éphémère et mutant a été filmé lors des célébrations du Nouvel An persan au printemps. Pendant cet intervalle, les souvenirs de l`habitant de Téhéran sont restitués dans le paysage urbain de Los Angeles. Comme les anciennes techniques romaines du palais de la mémoire, qui utilisaient la visualisation spatiale pour mémoriser l`information, l`espace matériel des rues de Los Angeles sert à héberger la mémoire de Téhéran. La nouvelle année perse, cette parenthèse dans le temps, devient l`espace où cette ville de souvenirs se déploie une dernière fois dans les rues de Los Angeles avant de disparaître. Pour écrire ce film, Arash Nassiri a interviewé un groupe d`iraniens à travers l`Europe et l`Amérique du Nord qui vivaient à Téhéran dans les années soixante-dix. A cette époque, la ville iranienne était fortement influencée par la culture occidentale. Des architectes de Californie et de Los Angeles ont été chargés de construire l`urbanisme de Téhéran. Le sociologue avait l`habitude de décrire ce phénomène comme Téhéran-Los Angeles. Ce fantasme de la modernité occidentale s`est brusquement arrêté sur la révolution, ne se réalisant jamais pleinement et ne vivant plus que dans la mémoire des gens qui vivaient à Téhéran à cette époque. La nouvelle année perse, cette parenthèse dans le temps, devient l`espace où cette ville de souvenirs se déploie une dernière fois dans les rues de Los Angeles avant de disparaître.

Arash Nassiri est un jeune artiste franco-iranien né à Téhéran en 1986. Il vit et travaille à Paris. Après un passage aux Beaux-Arts de Paris, un échange à Berlin pour étudier la relation entre art et technologie, et une formation aux Arts-Décoratifs à Paris pour étudier la photographie et la vidéo, il termine ses études au prestigieux Fresnoy de Tourcoing. Arash Nassiri utilise des lieux comme cadres pour produire son travail, à la manière du Land Art. Ces lieux peuvent être très spécifiques, comme un bâtiment en ruine, ou une ville entière comme dans la vidéo TEHERAN-GELES, où Los Angeles est utilisée comme représentation de Téhéran. Est ainsi engagée une discussion entre deux pôles opposés : la matérialité et la virtualité du lieu. « J`aime imaginer mes projets en tant qu`ambassades. Ce sont des représentations d`espaces spéculatifs, où nos idéologies peuvent devenir visibles et malléables ». Ses films ont été présentés dans de nombreuses expositions et festivals en France et à l`étranger tels que la Triennale d`Istanbul (2010), la Biennale d`Architecture de Venise, la Biennale de Lyon dans le cadre du Palais du Tokyo, Le Parfait Flâneur (2015), Fundacio Sunnol, Barcelone (2016), le Musée de l`Himalaya de Shanghai (2016), et la Berlinale (2018). Arash Nassiri est lauréat du Prix de la presse - Les Enfants Terribles, Huy - Belgique (2014) ; le Prix du meilleur court métrage expérimental - festival Côté-Court Pantin, Paris (2014) ; et le RMIT University Award du meilleur court métrage expérimental - Melbourne Int. Film Festival, Australie (2015).

Elinor NECHEMYA, Elinor Nechemya
Ima Lanetzah
elinor nechemya , Elinor Nechemya
Ima Lanetzah
Doc. expérimental | 16mm | couleur | 13:52 | Israel | 2017

In a series of tableaus, a regal figure gazes over her lavish estate. Amidst the elaborate flora of her garden or the pristine china in her dining room, she appears as an elegant mirage and a symbol of timeless, enduring femininity.

Elinor Nechemya was born in Jerusalem, and studied film at Tel-Aviv`s Minshar School of Art. Her latest short `Everlasting MOM`, premiered at TIFF and screened at major Film Festivals such as Locarno and Palm Springs. Her diploma film `Off Season` was screened in International Film Festivals, among them Slamdance. Elinor is working on her debut feature film, which participated at the Berlinale Script Station. These days she completed the work of a new short - `Follow Me`, which will premiere in 2019. She was part of the 2018 Locarno Filmmakers Academy.

Natacha NISIC, en collaboration avec Ken Daimaru
natacha nisic , en collaboration avec Ken Daimaru
Vidéo | hdv | couleur | 17:15 | France | Japon | 2018

OSORESAN Natacha Nisic & Daimaru Ken 3 channels installation, stereo sound, 17’, 2018 The Itako are women who train to become spiritual mediums in Northeast region of Japan and to evoke departed spirits for the living seeking to communicate with the dead. Most of them have visual disabilities and learn language and rites to describe a rich spiritual world entirely through oral communication. Our first meeting wit Nakamura Take took place in Hachinohe city in Jully 2015. Fiming a blind person is a challenge, in one hand, we would see what she would never share with us, and on the other hand, it seems that she « sees » things that we aslo don’t see. We met her two times in 2015 and in 2017. Each sequence was very short between clients who were regularely knocking at her door. Those fragments of her life, moments of remembering songs, rites and legends were too short to build up a large portrait. They became elements of a constellation we wanted to draw : balancing her humility and modesty versus the huge scale of the desaster which happened not so far fom a living region. Her way to travel in unknown countries of dead and spirits, using a treasure of words, notes, incantation, has been guiding own journey into the landscapes revealing the traces of the post catastrophy. (imprégnant par ses paroles chacune de nos visions des paysages que nous traversions). She told us the legend of «Oshirasama», the founding tail for Itakos, a cruel story of a father, a beloved daughter and a horse. As we crossed the city of Soma, we remembered the Horse Festival organized by the city just one year after the disaster. The horses are still there, waiting. The desire to make peace with the dead motivates each one visiting an Itako. What could help us to make our own peace with the heritage of the post catastrophy ? What kind of political individual gestures could face the large scale of political environmental decisons ? We still have to deal wih nuclear threat. As a symbol of fear, the mount Osoresan, a lansdcape of ashes, smoke and dark water, responds to the hyptnotic beauty of the fragmentation of alpha an beta rays displayed at the Rokkasho PR Center. Fear, to be acclimated must show a fascinating face, as Itakos used to be represented ; stranges, unreachable and dangerous figures of women. Witches. We discovered a touching, smily, opened woman. We realized that Take Nakamura is a monument of Japan history. Very precious, rare and fragile. With participation of Take Nakamura and Itakos of Osorezan Cast: Satoko Abe, Fumie Kubota, Yohei Kobayashi, Kyoko Takenaka, Mika Shigemori

Timothy NOHE
Bell Labs Mosh
timothy nohe
Bell Labs Mosh
Vidéo expérimentale | mov | couleur | 5:12 | USA | 2018

This data-moshing work was created while in residence at Signal Culture, Owego, NY. Part of a video series that examines the early information age, this industrial film was produced at Bell Labs and represents early experiments in rendering human speech and the "Poem Fields" computer animation work of Stan Vanderbeek and Kenneth Knowlton. Many of the inventions predicted within this video area a reality and commonplace, as accessible as our mobile phone. The original industrial film was made available under Creative Commons license, at

Timothy Nohe is an artist, composer and educator engaging traditional and electronic media in civic life and public places. His work has been focused upon sustainability and place, and musical and video works for dance and live performance. Nohe has exhibited and performed his work in a range of national and international venues: ISEA: Paris and the Baltic Sea; Ars Electronica, Linz; the Danish Institute of Electro-Acoustic Music, Århus; Museu da Imagem e do Som, São Paulo; the Centre for Contemporary Arts, Glasgow; the Irish Museum of Modern Art, Dublin, the Museum of Contemporary Art, Sydney; the Oxfringe Festival, Oxford; Fed Square, Melbourne; the Baltimore Museum of Art; the Smithsonian Institution, Washington, D.C.; The National Aquarium, Baltimore; Eastern State Penitentiary, Philadelphia; and the Museum of Jewish Heritage, New York. He was the recipient of a 2006 Fulbright Senior Scholar Award from the Australian – American Fulbright Commission, and was awarded the Commission’s 2011 Fulbright Alumni Initiative Grant, which resulted in multiple exhibitions in the United States and Australia on view from 2012 – 2016. Nohe has been the recipient of five Maryland State Arts Council Awards, and a Creative Baltimore Award. A 2011 National Endowment for the Arts and William G. Baker Fund “Our Town Project – Creative Placemaking” grant supported his My Station North: Sounds Surrounding Us through the Station North Arts and Entertainment District. A 2015 Warnock Foundation grant recognized Nohe’s work as a “Social Innovator” in modeling urban forest stewardship. He was commissioned as an exhibiting artist for Light City 2017, Baltimore; the festival attracted 470,000 visitors. In November of 2017 he debuted a solo exhibition titled Voltage is Signal: Analog Video Works by Timothy Nohe at the Kohl Gallery at Washington College, Chestertown, Maryland. That solo exhibition will be on view in the Electronic Gallery at Salisbury University, Salisbury, MD July 16 – October 25, 2018. Nohe is the founding Director of the Center for Innovation, Creativity and Research in the Arts (CIRCA) and a tenured Professor of Visual Arts at UMBC. A committed citizen of the university, he served two terms as the President of the UMBC Faculty Senate and in other key leadership positions. Nohe was an Artist in Residence at the Centre for Creative Arts at La Trobe University from 2011 – 2014. He was granted and renewed in the rank of Adjunct Professor at La Trobe University, in the Faculty of Humanities and Social Sciences, 2011 – 2015. He currently serves on the editorial board of the international journal, Unlikely, which is based in Melbourne, Australia. In fall of 2018 Nohe will be producing an immersive 360º video documentary on Baltimore’s failing sewage system and its interface with the watershed.

Doireann O'MALLEY
Prototype I: Quantum Leaps in Trans* Semiotics through Psycho-Analytical Snail Serum
doireann o'malley
Prototype I: Quantum Leaps in Trans* Semiotics through Psycho-Analytical Snail Serum
Vidéo | 4k | couleur | 36:35 | Irlande | Allemagne | 2018

In Prototypes the viewer is guided sonically and visually through various dream- and land-scapes, observing psychoanalytic references to both shamanistic pasts and speculative futures that evoke alternate modes of existence. We meet the protagonists who interact with undefined technologies and it appears ambiguous as to whether they are rendering themselves in a virtual world, a potential future, or creating their present. In fact, throughout Prototypes there is little to distinguish between “the symbolic, the imaginary, and the real”. Psychoanalytic sessions emphasise a transgression of boundaries. The viewer becomes increasingly disoriented between the physical and dream worlds, where the psyche presents symbols as metaphors for psychological obstacles to overcome. Working with a cast of almost entirely non-professional actors in a collaborative process was integral to the work. Several of whom attended a dream workshop and shared their own dreams, which were then, too, woven into the script. In an exquisite corpse of unconscious connection, one protagonist’s dream depicts a tongue, abstracted and contrasted against the director’s own dream of tentacles growing from a stomach. One of the protagonists, Pol, professes that the experience of taking testosterone feels like being in a science fiction movie. Through an experiential understanding of the pliant body made available through bio-hacking, the protagonists begin to sense a form of liberation, a way to indirectly denounce systems of control. They experience an expanded potentiality to create for themselves new meanings and languages, new architectures. Pol’s analogy concretes what is alluded to throughout the film, that this depicted version of reality is one formerly unimaginable, consequently allowing us to further speculate on an abundance of potential futurities. A gay cruising scene suggests that the result of Pol’s bio-hacking allows him access into this formerly unimaginable reality.

Doireann O’Malley, born Limerick, Ireland 1981. Lives and works in Berlin, Germany. Prototypes was the winner of The Berlin Art Prize 2018 and has been exhibited in The Hugh Lane Gallery, Dublin, Edith Russ Haus für Medienkunst, Oldenburg and has been screened in Bobs Pogo Bar, KW, Berlin. Doireann is currently participating on The Berlin Program for Artists and has upcoming shows in Mexico City and the Göteborg Biennial.

Giorgio ORBI
giorgio orbi
Documentaire | 4k | couleur | 26:26 | Italie | 2018

“Mountains look so beautiful that once you start looking at them you can’t stop. A glance lasts only a moment but it takes part of a whole metamorphosis” INTHEMOUNTAINS ponders over the role of the artist and the evolutionary dialogue with the mountain and its landscape; an essential role that welcomes the transformations of the contemporary mountain through the collective memory of underground dance music. Monte Pelmo is the starting point of the artist's journey of research. It was climbed by the first President of the London Alpine Club John Ball and witnessed the birth of alpinism in the Dolomites. The structure of the documentary has been progressively built through the vocal contributions of an on-air radio program over one year of broadcast on Radio Cortina, where Orbi invited guests in conversations about the landscape. Among many and different radio contributors, an artist Luigi Ontani, an astrologer Marco Pesatori, an editor Valerio Mannucci, an alpinist Pietro dal Prà and an architect Antonio de Rossi were selected by Orbi to feature as main characters in the documentary. The title of the project comes from “What the Thunder Said” the fifth section of The Waste Land by T. S. Eliot.

Giorgio Orbi (1977) is an Italian artist born in Rome. Before beginning to regularly exhibit his work in art spaces, he took part in the Italian underground music and art creative scene of the nineties. He is a writer, musician, filmmaker, photographer, visual artist and alpinist. In his work, Orbi has often related, through different media, with the concept of the mountain as both a natural and cultural “presence”.

vivian ostrovsky
Doc. expérimental | hdv | noir et blanc | 6:20 | France | USA | 2018

Introspective et solitaire, Claire Lispector (1920-1977), écrivaine Ukrainienne et Brésilienne, est le personnage de ce film construit à partir d`une interview que la télévision n`a diffusée qu`aprés sa mort. Ce qu`elle disait en 1977 reste totalement pertinent et parle fort à tous ceux qui, comme moi, se sentent de plusieurs mondes.

Cinéaste née à New York en 1945, Vivian Ostrovsky passe son enfance à Rio de Janeiro puis poursuit des études supérieures à Paris en psychologie ainsi qu’en cinéma. Elle co-fonde dans les années 1970 Ciné-Femmes, organisme dédié à la diffusion de films de femmes. Depuis 1980, Vivian Ostrovsky a réalisé plus de vingt films, la plupart tournés en Super 8, qui incluent souvent du found footage, des extraits de fictions, de documentaires, ou de home movies. Ses films exploitent le thême du déplacement et se situent, d’aprés Yann Beauvais, entre le "film journal" et le "film collage". Elle travaille également à la programmation du cinéma d’auteur et d’avant-garde du festival de film de Jérusalem. Son travail a connu de nombreuses rétrospectives et expositions dans les musées et les festivals à travers le monde ; à la fois pour ses films et ses « films-installations ».

Exposition périphérique
ouazzani carrier
Exposition périphérique
Vidéo | hdv | couleur | 52:0 | France | 0 | 2018

"Exposition périphérique" est un voyage en voiture autour du périphérique extérieur parisien et des villes qui le bordent. Tel un inventaire des plantes qui habitent ce paysage de proche banlieue en pleine transformation du Grand Paris, cette fiction suit des jardiniers qui prennent soin des mauvaises herbes et plantes en pot, comme autant de propositions de résistance à l'urbanisation, et qui vivent dans les interstices laissés par la densification urbaine.

Vivant ensemble depuis 2015, Marie Ouazzani & Nicolas Carrier sont attentifs aux détails et aux ressources du quotidien. Qu`ils séjournent en Asie de l'Est, au Moyen-Orient ou en Europe, ils explorent chaque contexte à la recherche de fictions où se mêlent pollution, fantômes, ruines et économie. A partir de gestes et de situations simples, leurs vidéos et installations confrontent environnement et urbanisation afin de rééquilibrer les tensions de ces paysages. Récemment, leur travail a été présenté aux centres d'art de Mains d'Oeuvres, de la Villa Arson et du 3 bis f, au 61e Salon de Montrouge, à la 5e Biennale d'Odessa et à Darat al Funun en Jordanie.

Ferhat ÖZGÜR
ferhat ÖzgÜr
Vidéo expérimentale | hdcam | couleur | 10:11 | Turquie | 2016

Ferhat Ozgür, a Turkish artist, seeks to understand the relationship between the leader and the people in Conquest (2016), a two-channel video that documents a massive rally of Erdogan supporters at a stadium in Istanbul. The rally, which takes place on the anniversary of the capture of Constantinople by the Ottoman Turks in 1453, encourages the attendees (and those watching at home) to understand themselves as players in another spectacular triumph, fulfilling their historic destiny. In Ozgür's video, shots of attendees are interspersed with footage taken from the Turkish blockbuster Conquest 1453 (2012), which glorifies the Ottoman empire and Sultan Mehmet II's siege while expunging non-Turks from his army. In Conquest, as the crowd assembles on one screen, on the other shows Ozgür editing footage on his computer, casually splicing together shots of individuals in different settings and excising others, altering the scene in order to achieve a particular effect on the viewer-who might confuse the artifice for reality, and even turn the former into the latter. Alexander Provan, (Extracted text from They The People, Art in America, December 2017)

He graduated from Gazi University, Education Faculty, Department of Painting and Crafts. He obtained his master and Phd in Art degree in Hacettepe University Fine Arts Faculty Painting Department. His work has been shown in numerous venues including, Göteborg Konsthall, Georges Pompidou-Paris, Museum der Moderne Salzburg, Moderna Musset Malmö, IMMA-Dublin, MUMOK-Vienna, Pittsburg Modern Art Museum and Zabludowicz Foundation-London. Ozgür has solo shows in several institutions abroad such as MoMA PS1-New York, Michigan University Museum of Art and Marabouparken-Sweden. He took part in the 9th Busan Biennale (2018) 6th Berlin Biennale (2010) and 10th Istanbul Biennale (2007) Ozgür still works as a professor in Düzce University and he is a member of AICA (Association Internationale des Arts Critiqués). He lives in Istanbul and presented by The Pill-Istanbul.

Riley, Abi, Claire PAM-GRANT, MEEKEL, MEEKEL, Abi Meekel, Claire Meekel
Tomato Sauce Takeaway
riley, abi, claire pam-grant, meekel, meekel , Abi Meekel, Claire Meekel
Tomato Sauce Takeaway
Film expérimental | hdv | couleur | 4:13 | Afrique du sud | 0 | 2018

Tomato Sauce Takeaway is a four minute short film, shot in Johannesburg, South Africa. The film documents the final evening routines of a few urban life forms in Johannesburg city. It does so in a way that is observational, introspective and personal given our own relations to space, routines and urban loneliness. The mundanity of these acts highlights an absurdity in the city life routines we take for granted. The people and the city itself become characters in a narrative of the last things we do before retreating to residential respite.

Terrace House is a Johannesburg based artist collaboration between Abi Meekel, Riley Pam-Grant and Claire Meekel that began in early 2017 with an immersive video and sound installation titled "The Blue Exhibition". They predominantly but not exclusively work in video, light and sound installations. Since the collaboration's inception, Terrace House has exhibited "The Blue Exhibition" twice in Johannesburg, with the first iteration at a trendsetting club and exhibition space called Glory, and then again at the Fak'ugesi African Innovation Festival. In January 2018, Terrace House exhibited "The Blue Exhibition" in a solo show at Gallery MOMO Cape Town. Their most recent video and sound installation titled "Monument" was also shown at Gallery MOMO Cape Town in July 2018 as part of the gallery's forth annual video exhibition, Transmissions, and again in Johannesburg where they were invited to show "Monument" in launching the 99 Juta design showrooms space situated in Braamfontein, which is the cultural melting pot of Johannesburg. The short film, Tomato Sauce Takeaway, was filmed in 2018 and has not been screened as of yet.

L'amour moderne [allemagne]
arnold pasquier
L'amour moderne [allemagne]
Fiction | 4k | couleur | 10:44 | France | Brésil | 2018

Après avoir fait l'amour, deux hommes étrangers l'un à l'autre communiquent en traduisant questions et réponses via un écran de téléphone. L'un est brésilien, l'autre allemand, et ce dernier quitte São Paulo le jour-même. S'embrasser encore une fois, puis embrasser la ville d'une étreinte qui retient l'instant d'une présence passagère.

Arnold Pasquier est l'auteur de plus de 70 films qui couvrent les champs de la fiction, du documentaire, de l`essai et du cinéma expérimental. Il est metteur en scène, producteur d`émissions radiophoniques, acteur et danseur. Il partage son activité entre projets personnels, enseignement et collaborations en tant que chef-opérateur et monteur. Dès ses études d'arts plastiques et de cinéma, il réalise des essais en Super 8 et en vidéo où il mêle journaux filmés et fictions. A vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes comme documentariste (Mathile Monnier, Josef Nadj, Dominique Boivin, Christian Rizzo) et comme danseur (Ami Garmon, Régis Huvier, Felix Ruckert, Julie Desprairies). En 1997, il est résident au Fresnoy, Studio national des arts contemporains à Tourcoing où il conçoit l'installation multimédia C'est ici que je donne des baisers et en 1999, il présente dans la Grande Nef le spectacle C'est merveilleux. En 2004, à la faveur d'une bourse «Villa Médicis hors-les-murs» de l'AFAA, il réalise au Brésil le film de long métrage Celui qui aime a raison. Cette expérience marque un intérêt pour la représentation de la ville et de l'architecture qui se développera avec L`Italie (2012)5, puis Borobudur (2015) et les 12 films de l`exposition Lina Bo Bardi, enseignements partagés (2017) présentés à l`école d`architecture de Paris-Belleville.

Holding Clouds
sara pathirane
Holding Clouds
Vidéo | hdv | couleur | 9:40 | Finlande | 2018

Holdind Clouds depicts a choreography on Huangshan the Yellow Mountain in China. The mount Huang is famous from the old chinese shan shui – mountain-water ink paintings. Still now the landscape gathers people to witness it. The view itself is often covered in clouds, only a peak of a mountain hovering in the sight. Still a thousand photos are taken there daily. People pose for photos infront of the landscape. The rythm of gestures done by the visitors, the reaching out, pointing, holding the air and touching the mountains formulates a choreography for the mountain. Chilean composer Fernando Munizag’s piece Mi última palabra china (My last Chinese word) binds the poses into a broken language, an attemp to get hold of tones and diftongs hidden in the grayscale of the moving clouds. The music is based on discoveries Munizaga made in the field of phonetic analysis of Mandarin language. There is a constant movement, with rather simple materials and gestures. All the harmony of the piece is based on strings’ natural harmonics.

Sara Pathirane’s work deals with the tradition of landscape painting and the problematics of taking a picture. As shooting locations for her videos she uses nature areas known from movies and paintings, shifting between the everyday and the fiction. She works with video, painting and live-installations. Pathirane lives and works in Helsinki. She has studied in the Finnish Academy of Fine Arts and Accademia Albertina in Torino. Her works have been shown for example at Taiga-Space, Saint-Petersburg (2016), Colombo Art Biennale (2016) and Kiasma (2010, 2013).

90 Seconds in North Korea
ranko paukovic
90 Seconds in North Korea
Doc. expérimental | hdv | couleur | 14:57 | Croatie | 0

How do you shoot a documentary when you know that filming is not allowed? In 90 Seconds in North Korea, Ranko Paukovic filmed in slow motion, shooting secretly in 2-second intervals on a hi-speed camera that everyone else around him believed was an ordinary tourist stills camera. Each 2-second fragment created 20 seconds of slow motion footage. The result is a dreamlike yet breathtakingly normal montage of everyday street, road and beach life in a state that strictly controls what outsiders are allowed to see. A child plays with a toy car in the park, adults enjoy a game of cards in the park's picnic area; trucks drive along an empty road, the rays of the setting sun lend warmth to lush countryside, and a shower of rain falls on the streets of Pyongyang… As it was impossible to record any interviews or ambient sound, the soundtrack features a haunting and evocative sound design composed by the director, an accomplished sound editor. The pragmatic, necessary decision to shoot in slow motion lends the film a poetic quality: in Ranko's own words, "the form is born out of need".

Ranko Paukovic studied film at the Academy of Dramatic Art in his hometown of Zagreb, Croatia. After graduating, he worked as an assistant editor on large international co-productions. He moved to The Netherlands in 1991 and worked as a sound editor with prominent Dutch directors. In 1993 he set up his own sound studio, Editson, specialising in sound design, sound editing and film mixing for artistically ambitious projects. Still based in Amsterdam, Ranko is now in demand internationally. He has built up an impressive back catalogue of work including feature films, high-end television drama and documentaries. A few years ago, he made his debut as a director with the feature-length documentary Bijela Kuca (White House), about the unique white stone found on the island of Brac, Croatia and the people who earn a living from quarrying it. White House was shown at several international film festivals and broadcast by Croatian national television (HRT) and Al-Jazeera Balkans. His last documentary "The End of Darkness" about the last European female mine workers just premiered at Al-Jazeera Balkans Docs in Sarajevo. The film was supported by the Croatian Film Fund (HAVC). Ranko is also a visiting professor for the University of Zagreb, where he teaches sound design.

Le ciel des bêtes
thomas paulot
Le ciel des bêtes
Doc. expérimental | hdv | couleur | 35:49 | France | Suisse | 2018

Le chasseur ardennais part à la recherche d’images nocturnes grâce à ses pièges photographiques. L’astrophysicien au milieu du désert, utilise ses télescopes géants pour sonder les fins fonds du cosmos. Tous deux, à travers leurs territoires et leurs images partent à la quête de nouveaux mythes.

Thomas Paulot est né à Paris en 1991. Il obtient un Bachelor en fine art à Central Saint Martins de Londres lors duquel il développe une pratique interdisciplinaire principalement autour d’installations, de vidéos et de constructions scénographiques. Il dirige en 2016 un atelier avec des mineurs pluri-exclus à Paris durant lequel il réalise un film Au début du chemin de notre vie. Il coréalise le film Stardom lors de l’atelier Grand voyage à Bombay en Octobre 2016. il coréalise en 2017, Anarchie à Buchillon dans le cadre d’un atelier avec la Manufacture de Lausanne. Il sera diplômé du Master cinéma ECAL/HEAD en 2018 avec son film, Le ciel des bêtes.

Europe in Autumn - Polish Family
pascal piron , Karolina MARKIEWICZ
Europe in Autumn - Polish Family
Doc. expérimental | hdv | couleur | 8:41 | Luxembourg | 2018

Europa im Herbst - Polska Rodzinka (Europe in Autumn - Polish family) is a short portrait of a tormented Poland, a tormented and conflicted Europe in 2018. Not only populists raise their brutal voices but also right extremists reappear in a very quick rhythm like in the 30s. This experimental short documentary is the result of a journey through Poland where several families co-exist and argue: our own family, the one of the anti-fascist and pro-European protesters, the one of the police, the one of the musicians... The last ones reinterpret old pre-Second World War songs, written by polish Jews, in which people dance and die. Europa im Herbst - Polska Rodzinka is a short merry-go-round ride of our stay in Poland and in Europe in the summer of 2018.

Karolina Markiewicz and Pascal Piron's collaborative work creates links between film, visual arts and theatre. At the center is the individual person as part of a human community, oscillating between resignation and hope. Karolina studied political science, philosophy and theatre and works as a film and theatre director. Pascal studied visual arts and works as an artist and film director. Both work also as teachers. They are currently working on several cinematographic projects. Sublimation "an interactive installation based dance VR piece developed in collaboration with Yuko Kominami" butoh dancer, this project is selected among 12 international projects by the Mostra di Venezia for the the festival and the College Biennale Cinema VR. The duo works also on My Identity is this expanse! an installative VR piece on exile and resilience through poetry and The Living Witnesses, a documentary about anti-Semitism. Their former short films and films: Les Formidables, 2013 Mos Stellarium, 2015 - selected for the 56. Biennale di Venezia di Arte to represent Liechtenstein Side Effects of Reality (2016 - ongoing) - a series of short films on history and contemporary myths: De Rerum Natura, Artis, Kostas, Okopowa-Warszawa, La Figurine, Eos+Aeneas, To not be destroy by powder to the powder and the fist, Here Be Dragons, Europa im Herbst - Polska rodzinka.

PISCINE, Bergman & Salinas
Be A Pattern For The World
piscine , Bergman & Salinas
Be A Pattern For The World
Vidéo | hdv | couleur | 5:48 | Danemark | 2018

Be a Pattern for the World is acollaboration between artist group Piscine (consisting of Mark Tholander, Jens Settergren & Ida Thorhauge) and the artist duo Aeron Bergman & Alejandra Salinas. Be a Pattern for the World circulates around the concept of the chameleon. The chameleon as an abstract machine: "The chameleon, maybe. It hovers, as a turbine. An object can be monitored better by the turbine. These days anything can be imitated." The chameleon most of all stands for shape-shifting and adaptability. Adapting patterns of a given environment, while at the same time creating new patterns in the given space. The ability of changing one's appearance as a response to one's surroundings. What can be seen and what cannot; blending in and standing out; becoming distinct while also becoming part of the given space. The chameleon is the abstract machine which initiates a production of subjectivity in the relation between the individual and the surroundings, the figure and the background, the shape and the pattern, as well as the singular and the univocal.

Piscine is an exhibition phenomenon that handles solo, group and collaborative situations: a hybrid apparatus that sometimes acts as an artist group and at other times acts as a curatorial unit. Current members are: Mark Tholander, Ida Sønder Thorhauge, and Jens Settergren. Aeron Bergman and Alejandra Salinas are an artist duo who co-founded Institute for New Connotative Action: an artist run initiative, and INCA Press.