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.
Gregor PESCHKO
Nearly the Same Level as the Sea
peschko Gregor
Nearly the Same Level as the Sea
Vidéo | hdv | couleur | 5:59 | Allemagne | 2016

The video refers to the Venice biennial 2015 « All the World´s Futures » and deals with the site of the biennial and questions on localization and orientation. The images in the montage vary between subjective movements, Found Footage and documental perspectives and discuss the point of view of a spectator as prosumer. Transitions between signal and glare, transparency and overlay, keep the deserted images in the video at an intermediate level - An interplay between the flattening surface of the screen and the reference to the site.

Gregor Peschko, born in 1990 in Bonn, lives and works in Leipzig, Germany. He studied at the Academy for Visual Arts Leipzig in the classes of Astrid Klein, Clemens von Wedemeyer and Michael Riedel and finished his diploma in 2018.

Malin PETTERSSON ÖBERG
Modellarkivet (The Model Archive)
pettersson Öberg Malin
Modellarkivet (The Model Archive)
Vidéo | hdv | couleur | 20:0 | Suède | 2017

Who builds the city and for whom? How do we organize our lives together? Modellarkivet portrays the archive of architecture models at Stockholm’s Urban Planning Department, as a departure point for a tentative reflection on what it means to build a city. Through slow takes along the shelves of the archive we are confronted with stacked models and cast miniature buildings, fabricated and named according to a system envisioned in the 1960s, but never completed. The camera closeups reveal the room bit by bit, contributing to a confusion of scale and offering a possibility to imagine the city anew. A constantly moving camera forms the backdrop of a narrative, where questions, fragments and references are woven together. It touches upon diverse themes such as the city as a political space, the idea of utopia, archives and collecting, artefacts, language and words. The film was conceived for the exhibition The Promise at Index, The Swedish Contemporary Art Foundation, Stockholm, in 2017. It is distributed by Filmform and has so far only been screened in Stockholm.

Malin Pettersson Öberg (b. Falun, 1979) is a Swedish visual artist and filmmaker working in a variety of media. She holds a master’s degree in Fine art from Konstfack University in Stockholm (2007) and has studied video art and experimental film at ENSAD in Paris and the Royal Institute of Art in Stockholm (2011). Pettersson Öberguses essayist formats to explore how we perceive time and describe places and cultural or national identity. Through meditative and intimate works she sets focus on forgotten and overlooked aspects of our built environments, in order to open for new interpretations and evaluations of our surroundings. Since 2007, Pettersson Öberg has taken part in screenings and exhibitions in Sweden and abroad, a.o. at ArkDes (upcoming 2018), Index- The Swedish Contemporary Art Foundation (2017), Kalmar konstmuseum (2016), Iaspis (2015) and Bonniers Konsthall (2011, 2007) in Sweden and JD Centre of Art, India (2017), International Short Film Festival Oberhausen (2016, 2014) and the Swedish Institute in Paris (2012). Her films are distributed by Filmform - The Art Film & Video Archive. She is a teacher and co-organiser of the studio space Slakthusateljéerna since 2010 and a board member of the Nordic Art Association.

Pascal PIRON, Karolina Markiewicz
Okopowa, Warszawa
piron Pascal , Karolina Markiewicz
Okopowa, Warszawa
Film expérimental | hdv | couleur | 7:16 | Luxembourg | 2017

Among the insurgents of Warsaw, there is Kazia. A young Jewish woman whom the Nazis ended up killing. She now wanders in the cellars of the old ghetto, the Jewish cemetery, on Okopowa Street and tells bits of her memories. Memories that haunt.

Karolina Markiewicz (1976, Luxembourg) and Pascal Piron (1981, Luxembourg) work as an artist duo since 2013. Their 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 Markiewicz studied political science, philosophy and theatre and works as a film and theatre director. Pascal Piron studied visual arts and works as an artist and film director. Both work as teachers.

Ben POINTEKER
Impassenger
pointeker Ben
Impassenger
Vidéo expérimentale | hdv | couleur | 6:0 | Autriche | 2017

Impassenger présente un espace de résonance émotionnelle et, ce faisant, permet au cinéma de devenir haptique. Ce film explore la relation entre la proximité et la distance, et permet à l’objet de l’enquête de figer sa soumission.

Ben Pointeker is a visual artist and filmmaker based in Vienna. His work often sets in between film and photography and is concerned with poetics, patterns of narrative cinema, the notion of time, ambiguous realities and fantasy. Previously based in The Netherlands he graduated from Piet Zwart Institute and won the Prix de Rome basic award. He is also a graduate of the University of applied arts Vienna and was artist in residence at Wiels in Brussels, in Shanghai and most recently at Bòlit in Girona in the framework of The Spur. He has exhibited at institutions such as Secession Vienna, Kunstpavillon Innsbruck, Contemporary Art Center Vilnius, Filmmuseum Amsterdam and major film festivals.

Txuspo POYO
Expediente: Tunel de la Engaña (File: La Enagaña Tunnel)
poyo Txuspo
Expediente: Tunel de la Engaña (File: La Enagaña Tunnel)
Installation vidéo | hdv | couleur et n&b | 46:2 | Espagne | 2016

This project is an attempt at a residual image of the construction of the La Engaña tunnel. It is a fabric made from the threads of various intertwined stories expressed in fragments of memory, identity and history, inviting re-readings of an unfinished tale somewhere between fact and fiction. The La Engaña tunnel, with its 6,976 m length, was at the time the longest tunnel ever built in the Iberian Peninsula. This giant railway infrastructure lies between Burgos and Cantabria, and was the last stretch of an ambitious project to create a train link between the city of Santander and the Mediterranean coast. In 1941, the office in charge of public works deployed squads of political prisoners to the area. There they began building worker’s settlements, together with other laborers from all over Spain. The tunnel was completed in 1961, but the project was put on hold until 1985 when the government decided to abandon it. Inside the room, one screen shows the historic trepanning of a mountain and its interior bracing, rivalling in proficiency with a team of operatives who hollow out a pachyderm before mounting its inner frame. On the other screen, an elephant advances through the ruined remains of platforms, a station and the former worker’s homes before ending up inside the tunnel. The animal’s state connects with the accounts of survivors in terms of physicality, emotional charge and feelings of grief. On both screens, the actions of digging and emptying draw on the poems Digging by Seamus Heaney and The Hollow Men by T. S. Eliot, as if each were stationed Metaphorically at one of the tunnel’s extremes. A third screen in the hall depicts a recent action performed at the southern mouth of the La Engaña tunnel, now sealed off by a wall. A worker is engaged in restoring the missing letter « E ». Lodged inside the new « E » is a time capsule with the spoken testimonies of survivors who worked at both ends of the tunnel. This tunnel is a deep hole in the body of history, the inside of a belly emptied ofits organs, a cave, a dark abyss, a wound, but also the door that leads us to theunknown and an entrance to advance from, in spite of the warning.

Txuspo Poyo (1963, Alsasua, Navarra) holds a BA in Fine Arts from the University of the Basque Country (UPV). In 2001 he completed an ISCP residency sponsored by Fundación Marcelino Botín and also studied at the CADA center of New York University. In 2006 he received funding from Fundación Arte y Derecho and Fundación de las Artes de Valencia for his Delay Glass project, and the same year won the Premio Gure Artea of the Basque Government. In 2008, he was awarded first prize at the 10th Unión Fenosa International Exhibition. He has taken part in the Madrid Region’s 15th Image Symposium, and has been an invited speaker on master’s programs at the University of Cuenca and the UPV. He has held solo exhibitions in venues such as Museo Artium in Vitoria, Centre d’Art la Panera in Lleida, the Costa Rica Museum of Contemporary Art and Design and the Montcada Gallery of Fundació la Caixa in Barcelona. His group exhibitions include Geopolíticas de la animación showing at the CAAC in Seville and MARCO in Vigo; Les Rencontres Internationales Paris/Madrid/Berlin; the 2nd Angola Triennial; the FILE in São Paulo; Incógnitas at the Guggenheim Museum Bilbao; Cine y casi cine at the Reina Sofía in Madrid; Multitude at the Artist Space gallery in New York, and Fundación Sandretto Re Rebaudengo, in Guarene Turin, Italy.

Laure PROUVOST
DIT LEARN
prouvost Laure
DIT LEARN
Vidéo | hdv | couleur | 15:44 | France | Royaume-Uni | 2017

In 'DIT LEARN' the viewer is enticed into an abstract, pre-verbal condition from which to rediscover the learning of language, words and their associated meanings. With a fast-paced procession of objects and images, an accompanying aural and written narrative directly implicates the viewer.

Née à Croix en 1978, la vidéaste française part à Londres pour étudier au Central Saint Martins college of Art and Design, puis au Goldsmiths College où elle obtient un MFA et s’établit dans la capitale britannique. Elle devient l’assistante de l’artiste conceptuel John Latham, qui a lui-même enseigné à la Saint Martins jusqu’en 1966. Gagnante du Turner Prize (2013), Laure Prouvost est connue pour ses films et installations multimédias luxuriants et envoûtants. Intéressée par la confusion entre les récits linéaires et les associations attendues entre les mots, les images et les significations, elle a pu dire que dans ses œuvres «fiction et réalité étaient réellement enchevêtrés». A la fois séduisants et discordants, ses films sont constitués d’un riche et presque tangible assortiment d’images, de sons, de phrases lues et écrites, qui apparaissent et disparaissent dans une succession de plans rapides. Ces plans sont souvent nichés au coeur d’installations où prolifèrent un ensemble vertigineux d’objets trouvés, de sculptures, de peintures, de dessins, de meubles, de signes et d’assemblages architecturaux, construits sur les thèmes et l’imaginaire de ses films. Prouvost n’autorise pas de contemplation passive. A travers son travail, elle s’adresse souvent directement aux spectateurs, les précipitant dans ses visions imaginaires et indisciplinées. Elle expose en 2011 à la Tate Britain puis en 2012 à la Whitechapel Gallery de Londres ainsi qu’au Festival Paris Images de Toronto. En 2013, son œuvre est présente à la Biennale d’art contemporain de Lyon et à l’Institute of Contemporary Art de Londres. En 2014 elle met en place une performance au Grand Palais à l’occasion de la FIAC. Son œuvre sera aussi présentée aux Etats-Unis au Danspace de New York ainsi qu’au Laboratorio Arte Alameda de Mexico City la même année. En 2016, son œuvre fait l’objet d’expositions au Kunstmuseum Luzern en Suisse, au MMK Frankfurt en Allemagne, au Red Brick Art Museum à Beijing. En 2009 elle remporte l’EAST International Award. Elle gagne deux années de suite l’Oberhausen Short Film Festival. En 2011, elle remporte le Max Mara Art Prize for Women, grâce auquel elle effectue une résidence à la British School à Rome et à la fondation Pistoletto de Biella. En 2013, c’est le Turner Prize qu’elle remporte pour son film Wantee.

Joakim PUSENIUS
I Don't Know the River
pusenius Joakim
I Don't Know the River
Doc. expérimental | hdv | couleur | 27:44 | Finlande | 2016

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Joakim Pusenius (b. 1984) graduated (BFA & MFA) from Finnish School of Fine Arts in 2014. Before the arts school Pusenius studied in University of Helsinki theoretical philosophy, aesthetics and tv- and media studies (BA). Pusenius works mainly with moving image. In his artistic practise he is focusing on the means of the audiovisual medium by developing new ways of using camera and storytelling. He is interested in film making without a strict sense of storyline or the arch of drama. More likely he is interested in the dichotomy of the cinema: The possibility of cinemas metaphysical otherness and its capability of immersion. Eternal recurrence, existential solitude and disconnection by the modern technology are common themes in Pusenius` works. Last year Pusenius was working in Le Fresnoy - Studio National des arts Contemporains producing his most recent film work "Reste pour la nuit".

Yang QIU
Xiao Cheng Er Yue (A Gentle Night)
qiu Yang
Xiao Cheng Er Yue (A Gentle Night)
Fiction | 4k | couleur | 15:5 | Chine | 2017

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QIU Yang was born and raised in Changzhou, China. He studied film directing at the Victorian College of the Arts, Australia. His last short film A Gentle Night was selected for the 70th Festival de Cannes Short Film Competition in 2017. And in 2015, his short Under the Sun was selected for the 68th Festival de Cannes Cinéfondation competition and is now selected for more than 80 international film festivals, including the AFI Fest, New Directors/New Films, Clermont-Ferrand, Palm Springs and nominated for the 52nd Taipei Golden Horse Award. He has been chosen to participate the Taipei Golden Horse Film Academy, mentored by the legendary film master Hou Hsiao Hsien, as well as the Swatch Art Peace Hotel residency in Shanghai. He is currently developing his first feature project Under the Sun (same title as the short), which was selected for the CineMart 2016 and Cinéfondation Residence 2017.

Jon RAFMAN
Poor Magic
rafman Jon
Poor Magic
Film expérimental | hdv | couleur | 7:7 | Canada | 2017

Jon Rafman’s Poor Magic is a vision of a post-human dystopia featuring animated 3-D bodies continuously tortured in abstract digital space. The video presents the viewer with a haunting programme of repeating motifs: a blue featureless avatar, a view from a colonoscopy, and ranks of identical figures crashing and toppling over each other, made with the help of crowd-simulation software. While a poetic lament, Poor Magic addresses the fragmented consciousness of a post-physical existence. The film shows a terrifying image of a future where all humanity is uploaded to a virtual purgatory and endlessly abused. Or perhaps it is also a brutal representation of the present moment and the effect that technology has on our flesh and psyche.

Jon Rafman est né en 1981 au Canada, il habite et travaille à Montréal. Artiste, réalisateur et essayiste, il est diplômé de l’Institut des Arts de Chicago et de l’Université McGill (Montréal) en philosophie et littérature. Son travail est centré sur l’impact émotionnel, social et existentiel de la technologie sur la vie, présentant une vision mélancolique des relations sociales dans des communautés et réalités virtuelles contemporaines. Ses vidéos mettent en exergue la manière dont le caractère éphémère de la pop culture et des subcultures façonnent les désirs individuels et définissent ceux qui en sont les sujets. Le travail de Jon Rafman a été exposé lors d’expositions individuelles , notamment au Stedelijk Museum d’Amsterdam (2016), au Westfälischer Kunstverein de Münster (2016), au Musée d’art contemporain de Montréal (2015), à la Zabludowicz Collection, Londres (2015), et au Centre d’art contemporain de Tel Aviv. Il a également participé à de nombreuses expositions collectives, notamment à la 9ème Biennale de Berlin ; à la Manifesta 11 (2016) ; à la Kunsthalle de Vienne, dans l’exposition « The Future of Memory », (2015) ; au Fridericianum à Kassel dans l’exposition « Speculations on Anonymous Materials » (2015) ; à la Biennale de Lyon (2015) et à la Biennale de Moscou (2015). Il a également été présenté à la Saatchi Gallery de Londres et au Palais de Tokyo (2012). Il a obtenu le Prix d’excellence en arts visuels au Musée des Beaux-Arts de Montréal (2015), et son court métrage « Mainsqueeze » a été nominé au Tiger Award du festival de film de Rotterdam.

Lou RAMBERT PREISS
Les Zumains (Doller)
rambert preiss Lou
Les Zumains (Doller)
Fiction | hdv | couleur | 13:58 | France | Suisse | 2017

Jonathan, adolescent solitaire, se costume secrétement en sa chanteuse virtuelle préférée. Lorsqu’il trouve un semblable sur internet, il rêve d’une rencontre pour partager un peu d’humanité?

Lou naît en 1993. Après une licence de philosophie à Paris où il réalise son premier court métrage, 'Des Attachements', il entre en section Cinéma à l’Ecole cantonale d’art de Lausanne. Il réalise 'Les Zumains' dans le cadre de l’atelier fiction de deuxième année.

Sj RAMIR
In This Valley of Respite, My Last Breath...
ramir Sj
In This Valley of Respite, My Last Breath...
Vidéo expérimentale | hdv | couleur | 5:6 | Nouvelle-Zélande | Australie | 2017

A valley starved of light. Weariness. Fatigue. An offering of shelter; a surrender of breath...

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. His films have been exhibited at art galleries worldwide and screened at many prestigious film festivals including: the 67th Venice International Film Festival, International Film Festival Rotterdam (2009 and 2010), Edinburgh International Film Festival (2012 and 2013), Melbourne International Film Festival (2011) and the International Short Film Festival Oberhausen (2009).

Enrique RAMIREZ
Deux faisceaux blancs groupés et rotatifs
ramirez Enrique
Deux faisceaux blancs groupés et rotatifs
Fiction expérimentale | 4k | couleur | 24:41 | Chili | France | 2017

Il est dit que certaines tribus indiennes pensaient que nous marchions vers le passé avec l`avenir derrière nous, parce que le passé est quelque chose qui est en face de nous, nous pouvons le voir, alors que l`avenir serait derrière nous, comme un point aveugle, invisible et inconnu... Ils disaient que les tâches blanches (les étoiles) que nous apercevons dans le ciel étaient des trous par où la lumière de l`univers entrait et que l`obscurité n`y existait pas. La première chose que nous voyons, si nous arrivons depuis l`Amérique en bateau, est le sémaphore de Créac`h. nous pouvons voir une lumière qui annonce la terre proche, ce sont les yeux de l`ancien continent, le faisceau d`une étoile artificielle qui toutes les 10 secondes jette des éclairs de lumière pour montrer la voie aux voyageurs de la mer, qui viennent souvent du Nouveau Monde, ou de la fin du monde, le Finistère... L`autre bout du monde... Ces lumières indiquent la terre ou la fin de celle-ci, elles sont les signaux de référence du monde, les différentes constellations qui portent en elle la mémoire de leur propre lumière, indiquant leur passé et leur avenir... Dans le présent.

Enrique Ramírez est né en 1979 à Santiago du Chili. Vit et travaille à Paris (France) et Santiago (Chili). Il a étudié la musique populaire et le cinéma au Chili avant de rejoindre en 2007 le Studio National des Arts Contemporains-Le Fresnoy (Tourcoing, France). En 2013, il a remporté le prix des Amis du Palais de Tokyo, Paris, France. En 2014, il remporte le prix Loop fair, Barcelone. Il a notamment exposé au Le Palais de Tokyo, Centre Pompidou, Espace Culturel Louis Vuitton, IX Bienal international d`art, Bolivie; Museo Amparo, Puebla, Mexique; Musée de la mémoire, Santiago; Centre Culturel MATTA, Argentine, Buenos Aires et au Grand Café à  Saint-Nazaire. En 2017, il est invité par Christine Macel à  participer à  l`exposition "Viva Arte Viva" de la 57ème exposition internationale de la Biennale di Venezia.

Benjamin RAMÍREZ PÉREZ
Embellishments
ramÍrez pÉrez Benjamin
Embellishments
Film expérimental | 16mm | couleur | 7:50 | Allemagne | Pays-Bas | 2016

Reenactments of cinematic strategies, images and fantasies tied to sex work and stage performance are layered on top of each other, focusing on embellished surfaces of bodies, objects and architectures. They intertwine and form a new entity in a female drag performance referencing 1970s cinema, sex work activism and pop choreography, which was developed in collaboration with the performance artist Liad Hussein Kantorowicz.

Benjamin Ramírez Pérez is currently a participant of de Ateliers Amsterdam (2016-2018). He studied at the Academy of Media Arts Cologne from 2009-2015. His works have been screened at Locarno, Edinburgh, Rotterdam and Toronto International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn and Museum of Contemporary Art Belgrade.

Elise RASMUSSEN
A Poetic Truth in a Pathetic Fallacy
rasmussen Elise
A Poetic Truth in a Pathetic Fallacy
Doc. expérimental | hdv | couleur | 16:0 | Canada | Afrique du sud | 2017

A Poetic Truth in a Pathetic Fallacy considers ways in which human-kind has been fascinated by and has misinterpreted the rhinoceros, exploring the urgency to keep this genus from extinction while considering the lingering effects of colonialism and collection. Over the past decade the trafficking of rhino horns has gained popularity and both poaching and theft of vintage horns has risen dramatically. Horns were traditionally used in Eastern medicine and although scientists have concluded they have no health benefit, this has not dissuaded the market and its value has risen due to its newfound status as a luxury good. This is not the first time that the rhino has been misconstrued. In 1515 Albrecht Dürer created his famous woodcut based off of a written description of the rhinoceros. Although grossly inaccurate, his artwork served as the prototype for future depictions of rhinos up until the mid-19th century. In South Africa today, the lingering effects of colonialism and apartheid are at the root of poaching. In the male-dominated industry of wildlife protection, the Black Mambas [all female] Anti-Poaching Unit has been gaining international recognition for their efforts. Although beloved by the media, the Mambas risk their lives and struggle to support their families while protecting the wildlife that serves the interests of white landowners. This project is a multi-layered investigation into the link between globalization and extinction, using the poaching of the rhinoceros and its horn to speak about the relationship between bodies, labor, desire and the contested territory of representation.

Elise Rasmussen (born 1977, Edmonton, Canada; resides in Brooklyn, NY) is a research-based artist working in photography, video and performance. Her work has been exhibited, performed and screened at international venues including the Brooklyn Museum (NY), the Irish Museum of Modern Art (Dublin), CCS Bard Hessel Museum (Annandale-on-Hudson), Night Gallery (LA), Pioneer Works (NY), and Erin Stump Projects (Toronto). Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship (2007) and is a 2017-2018 artist in residence at LMCC’s Workspace program in Manhattan.

Oliver RESSLER
There are no Syrian refugees in Turkey
ressler Oliver
There are no Syrian refugees in Turkey
Doc. expérimental | 4k | couleur | 30:0 | Autriche | 2016

Refugees attempting to enter the European Union play a specific role in the relation between the EU and Turkey. The same European powers that routinely invoke “ human rights ” to justify military action in Africa and Asia (including the “ Middle East ”) deny all protection to survivors fleeing the slaughter they order. The EU border regime is responsible for tens of thousands of drownings in the Mediterranean, while Turkey has opened its borders to nearly three million refugees, more than all EU states combined. The film channels voices that not only go unheard but are quite unheard-of in the western “ refugee debate ” because if Europe is the center of the world, speakers like these couldn`t possibly exist. They are Syrian refugees who preferred not to seek a way into the EU, choosing to continue their lives in Istanbul instead. The Syrians describe their life as “ guests ” in the continent`s largest metropolis, which for 500+ years has sheltered survivors of wars and pogroms started by powers to its north and west. One thing they discuss at length is the difficulty of making a living in Istanbul. Another is the reluctance of the EU to admit more than a pitiful number of refugees, whom it treats collectively as a social pathogen, a mobile hazard to be isolated and “ made safe ”. All the conversations were recorded in Arabic in the days after the coup attempt in Turkey on 15 July 2016, which therefore also became a topic of the film. Quietly reversing the entire perspective of the “ efugee debate ”, the film develops a political analysis of Turkish and European politics from the standpoint of Syrian refugees. The speakers are not seen in the film. Their anonymity is maintained as a precaution against repression and unwanted consequences of all kinds. The interviews are combined with images made from long single shots taken in Istanbul. The words and images are accompanied by an experimental audio composition “ produced specifically for the film”which likewise bears witness to conditions of war and terror and to things left unsaid.

Oliver Ressler, born 1970, lives and works as an artist and filmmaker in Vienna, Austria, and produces exhibitions, projects in the public space, and films on issues such as economics, democracy, forms of resistance and social alternatives.

Fernando RESTELLI
Merodeo (Loitering)
restelli Fernando
Merodeo (Loitering)
Documentaire | hdv | couleur | 13:50 | Argentine | 2016

Provocative documentary that exposes a personal look at the stigmatization produced by police forces and the state in the current xenophobic heritage. Using found footage, the film seeks to establish a social monitoring map available through the Internet, while following the journey of two marauding through the night. One of them will surely be stopped.

Born in 1991, he currently lives and works in Cordoba, Argentina. A filmmaker and cinematographer, he studied at the Universidad de Cordoba. His short film Merodeo has received the Special Jury Prize in [23] FICValdivia and participated in several festivals. With his first feature film in progress, Construcciones, has participated in the Rough Cut Lab of the 49 Visions du Réel, the 31 MDQ Film Fest, DocMontevideo 2016 and the TransLAB 2015 of Festival Transcinema. In 2016 he received an scholarship to attend the IDFAcademy in Amsterdam, The Netherlands.

Lydia RIGAUX
Hoe kamelen leeuwen worden (How Camels Become Lions)
rigaux Lydia
Hoe kamelen leeuwen worden (How Camels Become Lions)
Fiction | 4k | couleur | 61:0 | Belgique | 2017

“ How camels become lions ” depicts the urge for freedom. Through 4 episodes we see 4 family members in a moment when they are tired of being a camel, as a beast of burden. They realise their tasks are meaningless and find themself in a spiritual desert. The camel wants to become a lion. A spirit that fights against the false values in order to find his own freedom. The title is based on “ Thus spoke Zarathustra ” by Friedrich Nietzsche. The character of Zarathustra confronts his audience with speeches. In his first speech he explains how you can become a free spirit through three transformations. The first stage is the one of the camel, willing to be controlled by others. During a second transformation, the camel becomes a lion, a rebel, who doesn’t allow anyone to tell him “ you shall ”. But, although the lion can react, he can’t create. For this, he needs to transform into a child. A child that thinks and acts independently of any structure. The characters of `How camels become lions` are in a transitional phase. Their state of discontent can be the beginning of a transformation to a lion, and who knows, afterwards, to a child.

Lydia Rigaux is a filmmaker born and living in Belgium. Her work navigates between fiction and documentary. An idea can start both from a fictional story or reality, yet during the process of making the film the line between those two becomes thinner due to the attempt to eliminate all false elements. Also the search of finding the “ right ” image to capture a situation or environment sweeps away that border. It appears to her that a certain moment or setting can only be captured in this one image, the “ right ” image. The dominance of this search controls the content and gives the film its own subject. In this way, the film creates its own reality.

Jessica Sarah RINLAND
Black Pond
rinland Jessica Sarah
Black Pond
Documentaire | 16mm | couleur et n&b | 43:0 | Argentine | Royaume-Uni | 2017

The film explores a common land in the south of England, and the natural history society who occupy it. After two years of filming, the rushes were shown to the society - their memories and responses were recorded and used as the film’s narration. The film does not give access to complete knowledge of the history of humans within the area. Instead, it explores more generally, human’s relationship with and within landscape and nature.

Argentine-British artist filmmaker, Jessica Sarah Rinland has exhibited work in galleries, cinemas, film festivals and universities internationally including New York Film Festival, BFI London Film Festival, Rotterdam, Oberhausen, Edinburgh International Film Festival and Bloomberg New Contemporaries. She has received grants from Arts Council England, Wellcome Trust, Elephant Trust and elsewhere. Residencies include MacDowell Colony, Kingston University, Locarno Academy and Berlinale Talents. Her most recent multi-screen, randomized installation We Account The Whale Immortal was exhibited at Somerset House, London in 2016.

Alberto RODRÍGUEZ COLLÍA
Ley Aurea (Golden Law)
rodrÍguez collÍa Alberto
Ley Aurea (Golden Law)
Vidéo expérimentale | hdv | couleur | 7:4 | Guatemala | Brésil | 2014

This video speaks about the exploitation and its institutionalized discrimination (economic and racial) and slavery. The location is Brazil, because this one of the most unequal countries worldwide and was the last to declare slavery illegal (Aurea Act of 1898).

Lives and works in Guatemala. With his work tries to explore the historical memory, sordid aspects of the human being and the ridicule of the societies that are imposed over others. He graduated as Engraver from Art School no. 10 of Madrid, with his final project received the Honourable mention at Aurelio Blanco awards. He was awarded with the residencies of FONCA / CASA of Oaxaca, Mexico; Des.Pacio of San Jose, Costa Rica, Fundaçao Armando Alvarez Penteado in Sao Paulo, Brazil, and AIT in Tokyo, Japan. Also participated in 32nd. Biennial of Ljubljana, in the XVI and XVII Biennial of Guatemala and the VII Central American Biennial. In 2007 he co-founded the TEGG, the only engraving workshop in Guatemala, where he teached and organized exhibitions related to graphic arts. From 2010 to 2014 he was in charge of the Cinematographic Art Center of the CCEG, coordinating films screenings and workshops of cinema. Rodriguez also coordinated the Contemporary Film Festival (MUCA) and has worked for the human rights oriented film festival “ Memoria, Verdad, Justicia ” since 2013. He participated in the films "Even the Sun has spots" that won "Prix Espérance" and "Honourable Mention" in the FID of Marseille.

Alicja ROGALSKA
What If As If
rogalska Alicja
What If As If
Vidéo expérimentale | hdv | couleur | 13:31 | Pologne | Royaume-Uni | 2017

What if As If explores legal fictions in international immigration law in collaboration with refugees, asylum seekers and immigrants based in the UK who trained as lawyers in their countries of origin. The video was filmed in a former courtroom and greenscreen, a device for filmic fiction, is used throughout. Legal fictions are used in legal reasoning when something is believed or assumed to be true - they allow for the law to be applied, without changing its text. For example, a refusal to accept an inheritance is legally possible if the inheritor is declared dead and having died before the person who left the legacy; another example is corporate personhood - i.e. treating companies as if they were persons. Immigration law is full of such artificial constructions: legal fictions of sovereignty, political community, the concept of entry, as well as fictions in welfare and employment law, and finally - citizenship and its terms and conditions. The lawyers` expertise and legal imagination combined with their personal, embodied experience of being exposed to the inherent contradictions and absurdities of immigration law, influences the way they see law in society. Legal fictions are used in the video as a vehicle for questioning existing legal structures, a tool for creative lawmaking and exploring speculative legal frameworks as possible resistance.

Alicja Rogalska is a multidisciplinary artist based in London and Warsaw and working internationally. She graduated with an MFA in Fine Art from Goldsmiths College and an MA in Cultural Studies from the University of Warsaw. In 2017 she was an artist in residence at KulturKontakt in Vienna and IASPIS - Swedish Arts Grants Committee`s International Programme in Stockholm. She was also a recipient of 2016-17 Artsadmin Bursary in London. Exhibitions include: For Beyond That Horizon Lies Another Horizon, Edith-Russ-Haus für Medienkunst (Oldenburg, 2017), Gotong Royong. Things We Do Together, Centre for Contemporary Art Ujazdowski Castle (Warsaw, 2017), Dreams and Dramas. Law as Literature, nGbK (Berlin, 2017), Social Design for Social Living, National Gallery (Jakarta, 2016), All Men Become Sisters, Muzeum Sztuki (Łódź, 2016); No Need For References, Kunsthalle Exnergasse (Vienna, 2015); Critical Juncture, Kochi-Muziris Biennale (Kochi, 2014); A Museum of Immortality, Ashkal Alwan (Beirut, 2014), IMS Project, Flat Time House (London, 2013); Melancholy In Progress, Hong-Gah Museum (Taipei, 2012); Jour de Fête, The Private Space Gallery / LOOP Festival (Barcelona, 2011); To Look is to Labour, Laden Für Nichts (Leipzig, 2010) and No Soul For Sale, Tate Modern (London, 2010).

Sophie ROGER
Les vagues
roger Sophie
Les vagues
Doc. expérimental | hdv | couleur | 18:0 | France | 2017

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