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Isabelle solas
Catalogue : 2015PAS DE NOSTALGIE CAMARADES | Documentaire | hdv | couleur | 52:0 | France | 2015
Isabelle solas
PAS DE NOSTALGIE CAMARADES
Documentaire | hdv | couleur | 52:0 | France | 2015

Un prolongement du court-métrage de 15` de Isabelle Solas intitulé En un temps suspendu. A Bordeaux, la Bourse du Travail, qu`on appelait la "Maison du Peuple", semble endormie, oubliée de tous. Pourtant, dans le ventre de l`édifice, des femmes et des hommes militent, et s`interrogent sur la façon de maintenir à flot la lutte syndicale aujourd`hui. Orchestrés par la Mairie, des travaux de rénovation sont en cours. On ravale la façade pour redonner bonne mine au bâtiment, et on se félicite de défendre le "patrimoine" de la ville. Mais dans quel but ? Par soucis des conditions de travail des syndicalistes, affectataires des lieux ? Ou pour en faire un musée et raconter l`histoire d`une classe ouvrière qu`on préférerait voir sous vitrine, appartenant au passé ? Des artistes se glissent discrètement dans les murs pour investir l`ancienne salle de spectacle... Entre échafaudages, débats internes, concerts et projections sauvages, avant qu’il ne soit trop tard, chacun se prend à rêver à de nouveaux possibles.


ISABELLE SOLAS Isabelle Solas est réalisatrice et cadreuse. Suite à des études en anthropologie et en langues orientales, elle intègre la prestigieuse Ecole du Doc de Lussas, en 2005, où elle réalise Dorsale sur le proche Atlantique, et rencontre les différents acteurs issus de ce "village documentaire". Depuis, elle travaille comme cadreuse pour d`autres réalisateurs (Gilles Kerpen, Galés Moncomble, Anna Feillou). Elle réalise son premier long métrage Inventaire en 2009, diffusé à l`Utopia à Bordeaux, et au festival Traces De Vies 2009. Elle se consacre ensuite à la réalisation de films engagés, Anastasie, portrait d’une sans-papier, La Presqu’Île, portrait d’un SDF (Programmation au Festival Traces de Vie 2011), et Voisins, Rencontres et jardins cachés, documentaire sur la question du logement social à Begles, programmé en 2010 au Festival Traces de Vie. Elle travaille également comme vidéaste avec le collectif "Monts et Merveilles", autour d`expériences artistiques et participatives, dans Soupe 3, et Cocktail Manoir, en collaboration avec Florent Ghys, contrebassiste et compositeur, elle réalise des vidéos musicales, 4, et Déviation. Son long métrage Pas de Nostalgie Camarades, filmé dans les murs de la bourse du travail de Bordeaux, vient confirmer une envie de cinéma liée au huis clos et aux lieux délaissés, déjà présente dans Dorsale sur le proche Atlantique, Inventaire et En un temps suspendu.

Jan soldat
Catalogue : 2017Protokolle (Protocols) | Doc. expérimental | hdv | couleur | 20:0 | Allemagne | 2017
Jan soldat
Protokolle (Protocols)
Doc. expérimental | hdv | couleur | 20:0 | Allemagne | 2017

We all have dreams. What happens, however, when those longings radically intrude the taboo that society and culture impose upon us? A hair-raising psychological documentary by Jan Soldat portrays three men whose concealed fantasies will evoke disgust and shock in some viewers. The protagonists wish to be slaughtered, dismembered, and eaten. A more insightful audience member may find references to famous cannibalistic films (“Cannibal Holocaust,” “The Silence of the Lambs,” “Grimm Love”).

Born in Karl-Marx-Stadt (now Chemnitz) in 1984. He has been making short films at Chemnitzer Filmwerkstatt since 2006. He studied film and television directing at the Konrad Wolf College of Film and Television in Potsdam-Babelsberg. He has presented his film many times at Berlinale and the International Film Festival Rotterdam. He won the CineMAXXI Award for best short film at the 8th Rome Film Festival.

Federico solmi
Catalogue : 2008King Kong and the End of the World | 0 | dv | couleur | 4:27 | Italie | USA | 2006
Federico solmi
King Kong and the End of the World
0 | dv | couleur | 4:27 | Italie | USA | 2006

« King Kong and the End of the World » (2005-2006) est un film d?animation dessiné à la main, sensationnel et sarcastique, basé sur le film King Kong original, paru en 1933. Dans cette version, King Kong (interprété par l?alter ego de l?artiste) détruit New York en utilisant comme arme le Guggenheim Museum, avant de grimper en haut de l?Empire State Building où il urine, puis il mange des courtiers de Wall Street au déjeuner, et se bat avec la Statue de la Liberté dans l?arène de Time Square. L?artiste utilise King Kong comme allégorie du monde de l?art et de la frénésie d?argent de la culture urbaine. Dans ce monde, l?art lutte contre son rôle d?objet à vendre. Les idées sur la nature de l?argent, la technologie, le naturel envisagé comme « fait par l?homme », viennent se mêler au minutieux dessin à la main réalisé image après image.


Federico Solmi est né à Bologne (Italie) en 1973, vit et travaille actuellement à New York (USA). Ses expositions, qui combinent souvent des installations articulées, composées de différents médias comme la vidéo, la sculpture mécanique et la peinture, utilisent des couleurs brillantes et une esthétique satiriste pour offrir une image de la société actuelle sous forme d?une dystopie. Dans ses univers, le pouvoir est souvent la némésis, et se manifeste sous l?aspect elliptiques du Guggenheim Museum (« King Kong and the End of the World », vidéo, 2006) ou des chaussures Prada luisantes du Pape (« The Evil Empire », vidéo, 2007). L?artiste utilise des images issues de l?industrie du jeu vidéo, de la culture pop et d?Internet et en fait des collages avec une influence historique afin de produire des ?uvres d?art originales sur le sujet, apparemment disparate, en question. Ce qui résulte de la combinaison de tous ces éléments est un art humoristique, absurde, qui fait une critique cinglante de notre société contemporaine.

Catalogue : 2009Douche Bag City | Animation | dv | couleur | 8:0 | Italie | USA | 2009
Federico solmi
Douche Bag City
Animation | dv | couleur | 8:0 | Italie | USA | 2009

Douche Bag City is a video installation of 24 drawing animated film. It was conceived by the artist to be a satire about the current world economic crisis. The main character ?Dick Richman? is a greedy, dishonest, and selfish Wall Street employee who has been banished to live in Douche Bag City. Douche Bag City is a hopeless place, where the greedy villains of society are imprisoned for their atrocities committed against the community. The video is made of several chapters. In the final version of the installation, 24 videos/episodes will be playing simultaneously; each episode represents a mission for the main character. The ultimate goal of the protagonist ? Dick Richman? is to survive different challenges, but the drawing animated /video games are set by the artist in a way that the main character ?Dick Richman? cannot win. For each video I used a combination hand-made drawings, video game technologies, 3D and 2D animation. The installation was made in collaboration with Russell Lowe, an Australia-based 3D artist and professor at the New South Wales University in Sidney.

Federico Solmi was born in Bologna, Italy in April 1973 and currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, and sexually explicit, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Federico?s work has been featured in the following museums and Institutions for Contemporary art; Santa Fe Biennal (upcoming June 2010), Centre Pompidou, Paris, Drawing Center, New York; Haus der Kulturen der Welt, Berlin, National Center for Contemporary Art, Moscow, CA2M Centro de Arte Dos de Mayo, Madrid, Australian Center of Moving Images, Melbourne, Victoria Memorial Museum, Calcutta, India, Contemporary Art Center of Rouboix, Palazzo Delle Arti, Naples, Palazzo Delle Esposizioni, Rome, Italy.

Catalogue : 2012Song of Tyranny | Animation | hdv | couleur | 6:0 | Italie | USA | 2012
Federico solmi
Song of Tyranny
Animation | hdv | couleur | 6:0 | Italie | USA | 2012

"A Song of Tyranny", is the first video episode of the Trilogy entitled Chinese Democracy and The Last Day On Earth, a project by Federico Solmi, which was commissioned by the Guggenheim Foundation of New York after the artist was awarded the John Simon Guggenheim Fellowship for video. In this swarming animation, the artist investigates the self destructive nature of mankind through the examples of political dictatorship and authoritarian behaviors. Beyond the apparent Manichean character of such a vision, the video is articulated as a fictitious portrayal or the hagiography of an imaginary leader of the mid-21st century, idolized by his crowd of subjects. Solmi`s playful aesthetics integrate a series of visual metaphors to present viewers with a comedic-grotesque parabola on power and its excess. This sarcastic and irreverent tone allows Solmi to target the epitome of human folly, greed, and thirst for power, preventing a simple reproduction of the dichotomic good versus evil. A Song of Tyranny, centers on the protagonist in the phase of becoming a dictator while he is permeated with values and models that will influence his successive actions and decisions in the process of rising to power. Solmi?s complex technique combines traditional hand drawn animation with digital models, utilizing computer gaming engines. The result is an absolutely unique hand-made texture within a real-time 3D framework, created in collaboration with Australian based 3D artist, Russell Lowe.

Federico Solmi (Italy in 1973), currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, and sexually explicit, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. The artist uses images culled from the video game industry, pop culture, and the Internet and collages them with a historical influence to produce original artworks about the seemingly disparate subject at hand. The universe that Solmi likes to represent is the exaltation of a present that is crumbling apart. His work is a criticism of a system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Solmi?s videos were featured in the 54th Venice Biennial, in the exhibition entitled ?Italians do it better?. His work was included in the year 2010 at the Site Santa Fe Biennial, an exhibition curated by Sarah Lewis and Daniel Belasco. His work has been exhibited in the following museums and Institutions for Contemporary art; Centre Pompidou, Paris, Reina Sofia National Museum, Madrid, Drawing Center, New York; Haus der Kulturen der Welt, Berlin, CA2M Centro de Arte Dos de Mayo, Madrid, National Center for Contemporary Art, Moscow, Australian Center of Moving Images, Melbourne, Victoria Memorial Museum, Calcutta, India, Contemporary Art Center of Rouboix, Palazzo Delle Arti, Naples, Palazzo Delle Esposizioni, Rome, Italy. In addition, his video animations have been screened in several film and video festivals, such the Kassel Documentary film and video festival, Tina B, Prague, The London International animation festival, Loop Barcelona, IndieLisboa, Lisbon, Impakt Film and Video festival, Utrecht.

Catalogue : 2014Chinese Democracy and the last day on earth | Vidéo | hdv | couleur | 10:22 | Italie | 2012
Federico solmi
Chinese Democracy and the last day on earth
Vidéo | hdv | couleur | 10:22 | Italie | 2012

In Chinese Democracy and the Last Day on Earth Federico Solmi aims to lampoon the contemporary society and the self–destructive nature of mankind. In contrast with their playful faux-naïve aesthetics, the videos indict a male dominated, hierarchal world controlled by corrupt, arrogant dictators, politicians, businessmen as forces behind the disintegration of ethical and moral values.

BIOGRAPHY Federico Solmi (Italy, 1973) currently lives and works in New York. His exhibitions, which often combine articulate installations composed of different media such as video, drawings, mechanical sculptures and paintings, use bright colors and a satirical aesthetic to portray a dystopian vision of our present day society. Irreverent, surrealistic, the videos and the works by Federico Solmi are as he is: extravagant, rowdy and ironic. They are satires about the evilness and the vices that affect contemporary society and mankind. The artist uses images culled from the video game industry, pop culture, and the Internet and collages them with a historical influence to produce original artworks about the seemingly disparate subject at hand. The universe that Solmi likes to represent is the exaltation of a present that is crumbling apart. His work is a criticism of a system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. In the year 2009, Federico Solmi was awarded by the Guggenheim Foundation of New York with the John Simon Guggenheim Memorial Fellowship in the category Video & Audio. Solmi`s works has been exhibited in several international Biennials, such as First Shenzhen Animation Biennial in China (2013), the 54th Venice Biennial (2011), and Site Santa Fe Biennial in New Mexico (2010). His works have been exhibited and screened in the following museums and institutions for contemporary art: Centre De Pompidou, Palais De Tokyo, Paris; Drawing Center, New York; Reina Sofia National Museum, CA2M Centro De Arte Dos De Mayo (upcoming), Italian Cultural Institute, Madrid; Haus der Kulturen der Welt, Berlin; Herzliya Museum of Contemporary Arts, Israel; OCT Contemporary Art Terminal, Shanghai; Australian Center of Moving Images, Melbourne; Victoria Memorial Museum, Calcutta, India; Palazzo Delle Esposizioni, Rome, Palazzo Delle Belle Arti, Naples, Italy Solmi`s video have been screened in several film and video festivals around the world including the Kassel Documentary film and video festival; Tina B, Prague; Les Rencontres Internationales, Paris, Madrid, Berlin; The London International animation festival; Loop Barcelona and others. Federico Solmi has given lectures on his work in several universities and art schools in the United States and Europe, including Yale University in New Haven, School Of Visual Arts in New York, and Accademia di Belle Arti Brera and Universita` Cattolica in Milan.

Catalogue : 2016The Ballroom | Animation | hdv | couleur | 5:41 | Italie | USA | 2016
Federico solmi
The Ballroom
Animation | hdv | couleur | 5:41 | Italie | USA | 2016

THE BALLROOM With his typical sardonic and irreverent approach, Federico Solmi has orchestrated a masquerade between history’s most feared and beloved leaders in his latest work, ‘The Ballroom’. In the installation, videos display surreal vignettes of a lavish ballroom party that converge multiple narratives of gluttony, gossip, and over the top exuberance. The follies of each overly ambitious leader result in a chaotic festival of drinking, smoking, dancing, and feasting. A vain display of ridiculous costumes, shining with medals and jewelry, promote a visual disorder that coalesces with the indulgent antics of these powerful figures. Rather than reimagining history, the leaders enter into our conceited present-day celebrity culture. They call to fault our own complacency and perpetuation of skewed historical myths and perspectives.

Solmi’s elaborate installations combine 3D animation and video game technology with paintings, drawings, and kinetic sculptures. Bright colors and a satirical aesthetic portray a dystopian vision of our present day society. Through an intricate process in which technology and hand-painting merge into an organic whole, his unique approach renders the most loathed aspects of modern life. With garish imagery and mesmerizing movement, Solmi expresses a harsh criticism toward the system that approves and trusts without questioning the fragile foundation on which our culture and post-modernist society is based. Federico Solmi, (lives and works in New York). In the year 2009, Federico Solmi was awarded with the John Simon Guggenheim Memorial Fellowship in the category of Video & Audio by the Guggenheim Foundation of New York. He is currently a visiting Professor at Yale University School of Art, New Haven (CT). Solmi has been featured in solo museum exhibitions at the Haifa Museum of Art, Israel (2016) Museo de Arte Contemporaneo del Zulia, Maracaibo Venezuela (forthcoming), and the Centro Cultural Matucana 100, Santiago, Chile (2015). His work has been included in several international Biennials, including the Frankfurt B3 Biennial of Moving image (2015), the First Shenzhen Animation Biennial in China (2013), the 54th Venice Biennial (2011), and the Site Santa Fe Biennial in New Mexico (2010).

Helene sommer
Catalogue : 2006Das Gelaende | Vidéo expérimentale | dv | couleur | 7:56 | Norvège | Allemagne | 2005
Helene sommer
Das Gelaende
Vidéo expérimentale | dv | couleur | 7:56 | Norvège | Allemagne | 2005

Le but initial du voyage était d?observer la construction d?un parc d?attraction tropical en intérieur mais les intentions et les intérêts ont changé à mesure que le paysage déjà existant devenait inévitable. ?Das Gelände? suit la construction d?un parc d?attraction tropical dans un ancien hangar à avion qui se trouve dans une ancienne base militaire soviétique de la RDA. Dans la vidéo, on découvre l?histoire des lieux en même temps que l?on observe la construction d?un paysage artificiel en intérieur. A mesure que les locaux changent de fonction, les différentes couches de l?histoire se révèlent au grand jour. Le recyclage visible du paysage soulève la question de savoir si le parc d?attraction banalise, camoufle ou clarifie l?histoire des lieux. La vidéo est composée d?images tournées par des Webcams téléchargées sur une période de neuf mois, ainsi que de photographies et de vidéos rassemblées pendant la construction. L?histoire est racontée grâce à des sous-titres, laissant ainsi le son des paysages comme seul fond sonore.


Helene Sommer est née en 1978 à Oslo en Norvège. Elle a obtenu son diplôme à l?Académie des beaux-arts d?Oslo en 2003 et vit et travaille actuellement à Berlin ainsi qu?à Oslo. Elle travaille sur différent media comme la vidéo, la photographie, les textes et les installations.

Catalogue : 2007Persistence of vision | Art vidéo | dv | couleur | 11:0 | Norvège | 2007
Helene sommer
Persistence of vision
Art vidéo | dv | couleur | 11:0 | Norvège | 2007

'Persistence'* of vision est basé sur les archives vidéos amateur d'un homme de 90 ans de 1950 à nos jours. Le film est centré sur ses voyages, de NYC à l'Amérique du sud dans les années 50, au japon dans les années 60, l'Egypte dans les années 70 et au villages de retraite espagnoles dans les années 90. En déconstruisant et en rassemblant les film, un nouveau "travelogue" est créer dans lequel le temps et le lieu se mélangent. ?Persistence of vision?* étudie comment la mémoire et la perception fonctionnent par rapport à l'histoire et l'acte de documenter; l'usage de la camera comme manière de voir.


Helene Sommer est né en 1978 à Oslo, Norvège. Elle a étudié les arts appliqués a Oslo. En tant qu'artiste elle travaille principalement dans la vidéo, la photo, le texte et l'installation. Elle a expose dans plusieurs endroits en Europe ces dernières années. Elle avait récemment une résidence d'artiste à la Platform Garanti à Istanbul et est maintenant enseignante à l'Akademie Schloss Solitude de Stuttgart pour les disciplines Film/Vidéo/New Media.

Catalogue : 2012Great Piece of Turf | Vidéo | hdv | couleur | 25:0 | Norvège | USA | 2011
Helene sommer
Great Piece of Turf
Vidéo | hdv | couleur | 25:0 | Norvège | USA | 2011

The video Great Piece of Turf explores place through the narratives of plants. A piece of uncultivated, urban land in Los Angeles was mapped out by collecting the histories of its plants with the help of local biologists and botanists. The place is by a former freight switching facility and the Los Angeles River. Whether a weed from China brought during the Gold rush, a palm tree introduced in an attempt to create a vision of paradise or a native hallucinogenic - narratives are revealed reflecting the interwoven and fragmented layers of history and space. Sampled material from a range of sources such as educational films, commercials, television, documentaries and movies is included. The title is borrowed from Albrecht Dürers watercolor (Das große Rasenstück) from 1503 which is a study of a seemingly random group of wild plants.

Helene Sommer (b. Oslo, 1978) graduate from the Academy of Fine Arts in Oslo in 2003. In her works - which often takes the form of collages and compilations involving installation, video, text and photo - a common denominator is an interest in recontextualization, documentation and classification in relation to image production within subjects such as history and science. She has recently exhibited places such as Kunstnernes Hus (Oslo), Space for Art and Industry (NY), Kunstnerforbundet (Oslo), Motorenhalle Dresden, Grazer Kunstverein (Graz), De Appel (Amsterdam), University of Oslo, Neuer Berliner Kunstverein (Berlin), Chert Gallery (Berlin), Fotogalleriet (Oslo)

Wichanon somumjarn
Catalogue : 2015The Young Man Who Came From the Chee River | Fiction expérimentale | hdv | couleur | 16:38 | Thaïlande | 2015
Wichanon somumjarn
The Young Man Who Came From the Chee River
Fiction expérimentale | hdv | couleur | 16:38 | Thaïlande | 2015

Golf, a man who works as a debt claimer in Khonkaen. He wakes up early to work as usual. He meets many people including a desperate man in debt who falls critically ill. Golf is forced by the situation to weigh up between his professional duty and sense of moral.

Wichanon Somumjarn was born in Khon Kaen in 1982. While he was in the final year of studying engineering, he made a short film titled Phee Hong Nam (W.C.) The short won Honorable Mention at the Siam Cement Group Young Thai Artist Award 2005 in the film category. He then decided to leave his formal studies to pursue his dreams in the field of cinema. Wichanon was a participant in Asian Film Academy (AFA), Pusan International Film Festival 2009. In February 2010, Wichanon had also attended the Berlinale Talent Campus # 8 at the 60th Berlin International Film Festival, Germany. In November 2010, Wichanon had also attended the Next Master Tokyo Filmex 2010, Japan. His short film, Four Boys, White Whiskey and Grilled Mouse has been a major success on the international film festival circuit. It won Best Fiction award at the prestigious Tampere Film Festival in Finland in 2010. In April the Following Year, There was a Fire, is Wichanon’s first feature. In January 2012, it was selected for Tiger Awards Competition at International Film Festival Rotterdam 2012. Now Wichanon is developing his second feature called “Beer Girl”.

Kwang-ju son
Catalogue : 2007Amusement Epitome | Doc. expérimental | dv | couleur | 2:46 | Coree du Sud | 2006
Kwang-ju son
Amusement Epitome
Doc. expérimental | dv | couleur | 2:46 | Coree du Sud | 2006

Un après-midi en semaine à Everland, l'un des plus grands parcs d'attraction de Corée.


K. Son est née en Corée en 1970 et il a remporté deux prix au Pusan International Film Festival en tant que réalisatrice. Elle a présenté ses courts-métrages lors de festivals majeurs, comme par exemple à Pusan, à Rotterdam et à Oberhausen. Elle travaille actuellement en tant qu'artiste résident à la Rijksakademie d'Amsterdam, aux Pays-Bas.

Catalogue : 2016Characters Revisited | Doc. expérimental | 4k | couleur | 18:14 | Coree du Sud | 2016
Kwang-ju son
Characters Revisited
Doc. expérimental | 4k | couleur | 18:14 | Coree du Sud | 2016

The filmmaker begins to view CHARACTERS, her first feature film made in 2011, not from the outside as a product to be consumed, but from the inside, as an engaged performance of consciousness in and through which the story is both lost and regained in the actual process of filmmaking itself. Exploring the paradoxical boundary between two worlds, she focuses on the basic conditions of existence, identity and survival of an individual in a fictional world.

Since 2003 when she received the M.F.A. in Film/Video/New Media from the School of the Art Institute of Chicago, Kwang-Ju Son(b.1970) has presented her varied short projects of both film and video, at diverse venues & international film festivals.

Guston sondin-kung
Catalogue : 2015STUXNET in Denmark | Vidéo | 4k | couleur | 4:37 | USA | Danemark | 2015
Guston sondin-kung
STUXNET in Denmark
Vidéo | 4k | couleur | 4:37 | USA | Danemark | 2015

The Video work STUXNET in Denmark tells a hallucinatory realist fable about an unnamed intelligence officer who has participated in the cyber warfare attack against the Iranian Nuclear plant in Natanz from a hotel room in Copenhagen. What unfolds through the story is a dialogue about the fictive side of documents, participation and complicity in remote warfare, the trap of paranoia and the unattainable desire to be completely immune to mass surveillance. This video is based upon the real events of what has been termed the STUXNET virus, a cyber warfare weapon that was developed by a consortium of different government bodies as a way to disrupt the enrichment of uranium at the Iranian Nuclear plant in Natanz from 2010-2012. Cyber security experts have tracked the virus and discovered that one of the main control servers was located outside the city of Copenhagen, Denmark. It has been suggested by security analysts that because the control servers were located in Denmark then there would have been a forward operating command and control center set up in the country that was active during the time of the attack. An intelligence officer following standard operating procedure would have established this in a hotel and worked cloaked in what is referred to as a “security tent” that is specifically designed to create an electromagnetic shield around its exterior so as to disrupt any listening or watching devices.

Guston Sondin-Kung is a visual artist born in the USA and currently living in Copenhagen, Denmark. He works in a project-based manner primarily in the mediums of film/video, installation and writing. His artwork explores how historical narratives, memory, and ideology are constructed and influence our perception and thinking. Informed by marxist theory, psychoanalysis, postcolonial theory and feminism he is invested in deconstructing the complex intersections of race, class, and gender from a transnational perspective in order to pose alternative narratives and forms of representation. In addition to art institutions, he regularly presents his artworks and artistic research in academic, activist, educational and film festival contexts.

Ian soroka
Catalogue : 2008Nostalgia | Film expérimental | 16mm | couleur | 6:46 | USA | Tchèque (Rép.) | 2008
Ian soroka
Nostalgia
Film expérimental | 16mm | couleur | 6:46 | USA | Tchèque (Rép.) | 2008

La nostalgie est une émotion faite d?un patchwork de souvenirs cousus ensemble, qui crée un passé idéalisé. Par le biais de réflexions sur la banalité de la vie quotidienne, « Nostalgia » s?interroge sur la création d?émotions et d?atmosphères cinématographiques. Cette ?uvre veut construire un environnement cinématographique, afin de faire allusion non seulement à quelque chose de foncièrement humain, mais aussi à une histoire émotionnelle collective.


Ian Soroka est né à New York et a grandi au Colorado (USA). Il est diplômé de la Film and TV School de l?Academy of Performing Arts de Prague (République tchèque) et étudie actuellement l?Université du Colorado, à Boulder (USA).

Catalogue : 2011Nevada: Of Landscape and Longing | Doc. expérimental | 16mm | couleur | 15:0 | USA | 2011
Ian soroka
Nevada: Of Landscape and Longing
Doc. expérimental | 16mm | couleur | 15:0 | USA | 2011

NEVADA: Of Landscape and Longing is a reminiscence of a journey to the desert state of Nevada in the summer of 2009. It is a portrait of contemporary Nevada, which documents the region as a place of extremes. On the one hand, it is a land of notorious desolation and silence, while on the other it is a capital of excess, artifice, and paragon of the American economic collapse. Through the voyeuristic camera of outsiders, the film explores the death of the American frontier through Nevada, a place where contemporary notions of progress are wrestling with the West?s wild landscape and mythology.

Ian Soroka is a filmmaker and multimedia artist who was born in Brooklyn, New York and raised in the mountains of western Colorado, USA. He studied cinema and philosophy at the University of Colorado in Boulder (2009) and at the Film and Television School at the Academy of Performing Arts in Prague, Czech Republic (FAMU Int. 2008). His work has previously exhibited at Rencontres Internationales (2008-9), the Albuquerque Film Festival (2009), Insideout Gallery (2009). In 2009, Soroka was awarded the prestigious Princess Grace Foundation fellowship. He lives and works in Brooklyn, New York.

Belmin soylemez
Catalogue : 2006Bugun Istanbul ne kadar guzel | Vidéo expérimentale | dv | couleur | 5:30 | Turquie | 2005
Belmin soylemez
Bugun Istanbul ne kadar guzel
Vidéo expérimentale | dv | couleur | 5:30 | Turquie | 2005

`How Beautiful Istanbul is Today` (a.k.a Poster People) A la veille des élections locales, Istanbul s´habille d´une combinaison d´affiches, de bannières et de drapeaux spécifiques. La ville en est recouverte, comme d´un uniforme. Les différentes caractéristiques architecturales et socio-culturelles disparaissent. Des bus de ralliement sillonnent la ville avec la musique de leur campagne. C´est une sorte de frénésie temporaire, un paradoxe: ceux qui promettent d´embellir la ville sont ceux qui la défigurent. Les acteurs sont indissociables de cette mise en scène. Ils s´affichent tout sourire- plastique et slogans, certains exigeant, certains émotionnels. C´est comme si on votait plus pour des portraits sur des affiches que pour des candidats réels. Les slogans ne recouvrent pas seulement les rues principales mais aussi les petites rues, les vitrines, les arbres, les sites de construction, les immeubles, les lampadaires, les poubelles et même les panneaux de signalisation.


`BUGUN ISTANBUL NE KADAR GUZEL`- `HOW BEAUTIFUL ISTANBUL IS TODAY` - les réalisateurs BELMYN SÖYLEMEZ Née à Istanbul. Elle a travaillé comme écrivain publicitaire, éditrice, réalisatrice et productrice. Ses courts métrages et ses documentaires ont été récompensés lors de nombreux festivals nationaux et internationaux, et ont été diffusés à la télévision (sur ARTE, SVT (Suède), YLE (Finlande), SBS (Australie)). Ses films ont également été projetés lors d´exposition : "Call me Istanbul" au ZKM de Karlsruhe, Allemagne (2004), et "Free Kick" - la 9ème biennale d´Istanbul, 2005. Elle est aussi membre du Collectif Filmiste. Actuellement elle travaille sur le script de son premier long métrage et sur un projet photo intitulé "Foam" (Écume). HASMET TOPALOGLU Né en 1968, Haþmet Topaloglu a étudié l´administration d´entreprise mais il a passé plus de temps dans les cinémathèques et à la réalisation de courts métrages qu´en salle de classe. En 1993 il commence à travailler en temps que journaliste TV sur ATV, chaîne turque. Il travaille pour trois chaînes TV turques différentes sur une période de dix ans comme: reporter, producteur et présentateur. Il se concentre essentiellement sur les histoires humaines, des films et des documentaires TV. Il rédige également des critiques pour des quotidiens au début des années 90 ainsi qu' en 2002-2003. Depuis 2002 il travaille comme réalisateur/producteur freelance. Actuellement il réalise un documentaire vidéo sur le groupe punk turc "Rashit".

Gustav sparr
Catalogue : 2006Slide Projector: I.D. Roles Project | Animation | 0 | couleur | 27:46 | Suède | 2006
Gustav sparr
Slide Projector: I.D. Roles Project
Animation | 0 | couleur | 27:46 | Suède | 2006

A cast of clones are trapped inside a seminar room and subjected to a kind of presentation or slideshow. The slideshow features over a hundred images of board games, and seems to trigger, via a small mysterious ball of light, the audience of clones to sift through their notes and act out small, possibly internal or dreamlike, dramas. As the film progresses the identies start to get tangled and conflict arises, characters want to jump out of the system or structure, while some, seemingly in power, try to control the situation and preserve the order of things. The film unfolds and is driven trough the association and manipulation of symbols: One board game leads to the next and one identity refers to another in a sequential series of mind games that eats its own tail. The sub-stories of the film deal playfully and somewhat loosely with evolution, science, existentialism, and society, as well as mysticism and hierarchies. It is part of a larger artwork and film cycle begun in 2003 and scheduled for completion in 2007.

Gustav Sparr was born in 1977, grew up in the region of Stockholm, and currently lives and works in Umeå, Sweden. After having gradually shifted from sculpture, painting, and digital illustration, his work currently focuses on animation. References from popular culture, esotericism and scientific writings have been filtered through a rather direct visual language that hides many underlying and unorthodox connections of ideas. The most obvious framework or manifestation of these thought-experiments is through the both limiting and enriching world of board games and childlike acts, which are deciphered, re-interpreted and re-coded. The animations and images are concerned with questions about identity, self-image, structures, symbols, loops, surfaces, topology, vessels of information, lifeforms, and how thoughts and ideas are born and relate and mutate. Basically it's about the brain...

Isabell spengler
Catalogue : 2006Permanent Residents | Film expérimental | 16mm | couleur | 9:32 | Allemagne | USA | 2005
Isabell spengler
Permanent Residents
Film expérimental | 16mm | couleur | 9:32 | Allemagne | USA | 2005

Le film "Permanent Residents" associe un design vestimentaire extrême à une mise en scène de la réalité des activités quotidiennes dans le paysage urbain de Los Angeles. Les costumes renvoient à un monde imaginaire collectif contenant les concepts flous des icônes-pop, des mythes et des fictions sociales. Les protagonistes du film communiquent dans un language non-verbal qui se joue des distances spatiales. Leurs mouvements simultanés à des endroits différents se fondent dans une chorégraphie attirant notre attention sur les aspects visuels musicaux et abstraits du design de notre environnement. Portrait de l'influence d'une ville sur ses habitants.


Isabell Spengler, est née à Berlin (Allemagne). Elle a étudié le cinéma expérimental à l'Université des Arts de Berlin(Meisterschülerin 1999) et au California Institute of the Arts Valencial (Master of Fine Arts 2001). Elle obtint une bourse du DAAD ainsi qu'une bourse Estman Kodak. Elle enseigne actuellement le cinéma à l'Université des Arts de Berlin. Appartiennent à sa filmographie : "Psychic Tequila Tarot" (1998), ?Transformation in the Land of Enchantment? (2003) et ?The Natural Life of Mermaids? (2004). Ses films ont reçu des prix, notamment au Festival NoBudget à Hambourg, au Festival international du court-métrage à Gera et au Göttingen Low Budget Film Festival. Son travail a récemment été présenté lors du Los Angeles Film Forum, Cirrus Gallery à Los Angeles, Australian Center for Photografy à Sydney, the Museum Ludwig à Cologne et au KunstWerke Institute for Contemporary Art à Berlin.

Catalogue : 2007Syncpoint | Film expérimental | 16mm | couleur et n&b | 3:54 | Allemagne | 2007
Isabell spengler
Syncpoint
Film expérimental | 16mm | couleur et n&b | 3:54 | Allemagne | 2007

Translating a musical stage performance by the group "Larry Peacock" into the language of film, SYNCPOINT combines film images created directly on film leader with those created through normal exposure of 24 frames per second with a 16mm film camera. Central to this experimental music video is the image of the synchronization-point as a hole, derived from the film-technical synchronization method of punching a hole into the first exposed and keycode-numbered frame of a roll of film prior to its transfer to video. The image of the hole does not only mark a point in time, but is in connection with the photographically captured (percussion-) actions of the performers perceived either as a round mask of censorship or as a filled, dot-shaped image. Purposefully designed and random synchronicities between the visual and accustic events allow for a variety of interpretive connections. Larry Peacock is a feminist project with and about the performativity of electronic/pop music, reflecting gender politics and the role of the audience. The project not only destabilizes the normativity of binary gender categories, but also art categories such as ?high` and `low`, ?dance?, ?concert-performance?, and ?choreographic work?.

Isabell Spengler, born in Berlin, studied experimental film at the Universität der Künste in Berlin and at the California Institute of the Arts in Valencia. She was a recipent of a DAAD grant and a Eastman Kodak stipend. She currently teaches film at the Universität der Künste in Berlin. Her filmography includes "Psychic Tequila Tarot" (1998), ?Transformation in the Land of Enchantment? (2003), ?The Natural Life of Mermaids? (2004) and ?Permanent Residents? (2005). Her work including films, video installations and photography has recently been exhibited at Los Angeles Film Forum; Cirrus gallery, Los Angeles; Cerealart, Philadelphia; Taxter & Spengemann, New York; KunstWerke - Berlin e.V. - Institute for Comtemporary Art; Internationale Filmfestspiele Berlin (Berlinale 2007) and at the Museum Ludwig, Cologne, Germany. distribution & further information: http://www.fdk-berlin.de/en/arsenal-experimental/kuenstler/isabell-spengler.html

Isabell spengler, larry peacock
Catalogue : 2006Permanent Residents | Film expérimental | 16mm | couleur | 9:32 | Allemagne | USA | 2005
Isabell spengler , larry peacock
Permanent Residents
Film expérimental | 16mm | couleur | 9:32 | Allemagne | USA | 2005

Le film "Permanent Residents" associe un design vestimentaire extrême à une mise en scène de la réalité des activités quotidiennes dans le paysage urbain de Los Angeles. Les costumes renvoient à un monde imaginaire collectif contenant les concepts flous des icônes-pop, des mythes et des fictions sociales. Les protagonistes du film communiquent dans un language non-verbal qui se joue des distances spatiales. Leurs mouvements simultanés à des endroits différents se fondent dans une chorégraphie attirant notre attention sur les aspects visuels musicaux et abstraits du design de notre environnement. Portrait de l'influence d'une ville sur ses habitants.


Isabell Spengler, est née à Berlin (Allemagne). Elle a étudié le cinéma expérimental à l'Université des Arts de Berlin(Meisterschülerin 1999) et au California Institute of the Arts Valencial (Master of Fine Arts 2001). Elle obtint une bourse du DAAD ainsi qu'une bourse Estman Kodak. Elle enseigne actuellement le cinéma à l'Université des Arts de Berlin. Appartiennent à sa filmographie : "Psychic Tequila Tarot" (1998), ?Transformation in the Land of Enchantment? (2003) et ?The Natural Life of Mermaids? (2004). Ses films ont reçu des prix, notamment au Festival NoBudget à Hambourg, au Festival international du court-métrage à Gera et au Göttingen Low Budget Film Festival. Son travail a récemment été présenté lors du Los Angeles Film Forum, Cirrus Gallery à Los Angeles, Australian Center for Photografy à Sydney, the Museum Ludwig à Cologne et au KunstWerke Institute for Contemporary Art à Berlin.

Catalogue : 2007Syncpoint | Film expérimental | 16mm | couleur et n&b | 3:54 | Allemagne | 2007
Isabell spengler , larry peacock
Syncpoint
Film expérimental | 16mm | couleur et n&b | 3:54 | Allemagne | 2007

Translating a musical stage performance by the group "Larry Peacock" into the language of film, SYNCPOINT combines film images created directly on film leader with those created through normal exposure of 24 frames per second with a 16mm film camera. Central to this experimental music video is the image of the synchronization-point as a hole, derived from the film-technical synchronization method of punching a hole into the first exposed and keycode-numbered frame of a roll of film prior to its transfer to video. The image of the hole does not only mark a point in time, but is in connection with the photographically captured (percussion-) actions of the performers perceived either as a round mask of censorship or as a filled, dot-shaped image. Purposefully designed and random synchronicities between the visual and accustic events allow for a variety of interpretive connections. Larry Peacock is a feminist project with and about the performativity of electronic/pop music, reflecting gender politics and the role of the audience. The project not only destabilizes the normativity of binary gender categories, but also art categories such as ?high` and `low`, ?dance?, ?concert-performance?, and ?choreographic work?.

Isabell Spengler, born in Berlin, studied experimental film at the Universität der Künste in Berlin and at the California Institute of the Arts in Valencia. She was a recipent of a DAAD grant and a Eastman Kodak stipend. She currently teaches film at the Universität der Künste in Berlin. Her filmography includes "Psychic Tequila Tarot" (1998), ?Transformation in the Land of Enchantment? (2003), ?The Natural Life of Mermaids? (2004) and ?Permanent Residents? (2005). Her work including films, video installations and photography has recently been exhibited at Los Angeles Film Forum; Cirrus gallery, Los Angeles; Cerealart, Philadelphia; Taxter & Spengemann, New York; KunstWerke - Berlin e.V. - Institute for Comtemporary Art; Internationale Filmfestspiele Berlin (Berlinale 2007) and at the Museum Ludwig, Cologne, Germany. distribution & further information: http://www.fdk-berlin.de/en/arsenal-experimental/kuenstler/isabell-spengler.html

Andy spitz
Catalogue : 2005Voices across the fence | Documentaire | dv | couleur | 26:0 | Afrique du sud | 2002
Andy spitz
Voices across the fence
Documentaire | dv | couleur | 26:0 | Afrique du sud | 2002

La guerre civile du Mozambique a vu des centaines de réfugiés fuir le carnage acharné de la post-indépendance, sautant les clôtures et traversant le Parc National Kruger vers l?Afrique du Sud. Presque deux décennies plus tard, les clôtures sont toujours une barrière physique et psychologique divisant les familles. Par l?utilisation de messages vidéos filmés et transportés entre les deux pays, Voice Across The Fence leur permet de voir un aperçu de la vie de ceux qui les ont quittés ou de ceux qui sont restés derrière. Il est extrêmement difficile d?organiser la communication par-delà la clôture entre les membres d?une famille en Afrique de Sud et au Mozambique et le bouche à oreille est le moyen de communication le plus utilisé. L?autre solution la plus répandue pour communiquer est de risquer sa vie pendant deux ou trois jours de marche au travers du Parc National Kruger. Ce voyage expose les personnes à de dangereux animaux sauvages, à la déshydratation et aux arrestations par la police. Avec ce programme, une autre possibilité de communication leur a été donnée. En août 2000 et novembre 2001, des messages vidéos ont été enregistrés parmi les réfugiés du Mozambique vivant dans la région du Bushbuskridge en Afrique du Sud. Les messages ont fait le voyage au delà de la frontière et ont été amenés jusque dans le district reculé de Massinger, au Mozambique. Ils ont été projetés sur écran et des réponses vidéos ont été rapportés en Afrique du Sud. Ce documentaire présente cet échange de messages entre les familles qui furent séparées autrefois par la guerre et maintenant divisées par les temps changeants.


Juan Diego spoerer, håkan engström
Catalogue : 2008La Sombra de Don Roberto | Documentaire | dv | couleur | 27:0 | Chili | 2007
Juan Diego spoerer , håkan engström
La Sombra de Don Roberto
Documentaire | dv | couleur | 27:0 | Chili | 2007

Un jour comme un autre, un garçon fait un voyage avec sa famille à l?usine de salpêtre de Chacabuco, dans la vieille ville « creusée » dans le désert d?Antofagasta. Il marche à côté des bâtiments anciens... les années ont passé et, tout comme le vent, les jours et les heures se sont effacés. Le garçon est maintenant un adulte, un vieil homme solitaire, et ce vieil homme décide de s'installer à Chacabuco.


Juan Diego Spoerer est réalisateur indépendant et professeur de cinéma documentaire au Chili. Håkan Engström est ingénieur du son à la Radio Nationale de Suède. Ensemble, ils ont réalisé une vingtaine de documentaires pour la Radio Nationale de Suède, Engström en tant que producteur et Spoerer comme réalisateur. En 1999, Spoerer a reçu le Prix National de Journalisme de Suède, pour sa série de documentaires sur le Chili, et il a obtenu la deuxième place au Prix Europe du Documentaire de Berlin (Allemagne).

Gustavo spolidoro
Catalogue : 2009De Volta ao Quarto 666 | Documentaire | dv | couleur | 15:10 | Brésil | 2009
Gustavo spolidoro
De Volta ao Quarto 666
Documentaire | dv | couleur | 15:10 | Brésil | 2009

What is the future of cinema? In 1982, in Cannes, Wim Wenders invited many moviemakers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.

Inspired by his father, a cinemaniac, Gustavo Spolidoro started to explore the world of film early on and inspired by filmmakers like Rogério Sganzerla and Woody Allen started his career as a director.

Alcaeus spyrou
Catalogue : 2018Anina | Vidéo | hdv | couleur | 19:51 | Grèce | Royaume-Uni | 2017
Alcaeus spyrou
Anina
Vidéo | hdv | couleur | 19:51 | Grèce | Royaume-Uni | 2017

A container ship is not an inanimate object. The ship that travels thousands of miles on the high seas is full of life, stories, tragedy and hope. The harbours reached, the industrial landscape one encounters, the cargo that floats in an endless ocean. Anina is a psycho-geographic film-essay, documenting the ethnographic tendencies of the industrial landscape and its malevolent stature over the individual. The shipping industry’s ever-shifting landscape, affecting even this interaction you are having with this text, crafts its own mythology.

Alcaeus Spyrou (b.1991, Elbasan, Albania) is a visual artist working with the cinematic image. He was born on the day the fall of the Hoxha dictatorship in Albania. The conflict that ensued, forced his family to seek refuge in Athens, Greece. The frequent displacement and oscillation between the two topographies, would focus Alcaeus’s gaze towards the shifting landscape of migration. In his practice, Alcaeus utilizes a psychoanalytical scope on cinema to deconstruct the inter-dependent nature of the medium. Through this process, he searches for new dialects of the cinematic language. By combining the two antithetical genres of fiction and non-fiction he establishes connections with the alienated environment. He informs the mythologies of contemporary migration that reveal collective trauma as the substance of our intricate relations to the other.

Giulio squillacciotti, insom camilla
Catalogue : 2011Casi la mitad de la historia | Fiction | | couleur | 7:46 | Italie | 2011
Giulio squillacciotti , insom camilla
Casi la mitad de la historia
Fiction | | couleur | 7:46 | Italie | 2011

All the memory of the world is contained in an old Academy we don?t know the location and time. The quarrel between two men from two different generations is told through vocal notes as annotations for a possible story yet to be told. The argument stands in the chances History has to be written. How do these two persons can tell a story? How do they deal with what History already told and what is possible to add? How to tell something while is happening? A story telling method as an inheritance, to be passed on from Maestro to pupil in the aseptic spaces of an Academy. Looking for the right balance between tradition and the possible re-invention of it, as two different generations and their different approach to key words of the Historic Study. The voice leading us to these spaces has never a face, but her subjective eye has the right detach of the present on past issues. Shot for the double solo show of Antoni Muntadas and Giulio Squillacciotti in Rome (I) in 2011.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Catalogue : 2017Archipelago | Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017
Giulio squillacciotti , insom camilla
Archipelago
Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017

Archipelago is a journey through ancient myths, exorcism rituals, sounds and spirits. In the south of Iran, on a group of islands of the Persian Gulf, humans and spirits coexist since centuries. The culture and traditions of these Islands are the result of the encounters between the African Diaspora, the Arab Countries and Iran, generating a unique system of syncretic beliefs. Spirits of different heritages and origins, called Bād, the Persian word for wind, moving through the air, take possession of the islanders bodies and can only be quieted through a music ceremony called the Zār Ritual. Thanks to an unprecedented access given to foreign film makers, the Film showcases stories and landscapes of the islanders daily life within the frame of the Rituals, giving, through pounding drum rhythms and wailing vocal chorus, a rare and unexpected glimpse of the Islamic Republic of Iran.

Giulio Squillacciotti (Rome, Italy 1982). Artist, Film maker and researcher lives and works in Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome. He owns a MA in Visual Arts from the University of Architecture in Venice IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. His work is mainly oriented on storytelling, cultural apexes and the way traditions re- shape in new contexts. His research merges together ction and historical facts. Using lm, documentary, sound and performance, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture. His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou and Gayte Lyrique in Paris, the Berlin Haus der Kultur der Welt and (D), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), Istanbul 2010 European Capital of Culture, the Beirut Art Centre in Lebanon, the New York Photo Festival, the Dumbo Video and Columbia University in New York City and in the Official Competition at the 33rd and 35th Torino Film Festival Camilla Insom (Rome, Italy 1983). Anthropologist lives and works in Rome, Italy and Sulaimaniyah, Iraqi Kurdistan. After completing the MA in Cultural Anthropology at the University of Rome Sapienza, she’s currently a Phd candidate in Iranian Studies at University of Naples “ L`Orientale ”. Focus of her research is the modi cation of the category of sacred in different contexts through the analysis of ritual practices and their changing. In 2013 she researched the funerary practices of the Zoroastrian Parsi community of Bombay. Since 2014 her studies revolve around the Islam of the Kurds in Sulaimaniyah and Sangaw, Iraqi Kurdistan Kasnazaniyya, with particular reference to the Kasnazaniyya Su Brotherhood. She is in charge of the Anthropological Studies for the Italian Archaeological Mission in Iraqi Kurdistan (MAIKI) of “ Sapienza ” University of Rome, member of the Societas Iranologica Europea (SIE) and member of the International Institute of Kurdish Culture.

Catalogue : 2012RMHC 1989/1999 - Hardcore a Roma | Doc. expérimental | dv | couleur et n&b | 86:0 | Italie | 2011
Giulio squillacciotti , insom camilla
RMHC 1989/1999 - Hardcore a Roma
Doc. expérimental | dv | couleur et n&b | 86:0 | Italie | 2011

From the mid 80s until the end of the 90s, Rome was the scene of a local phenomenon linked to the music and lifestyle of American Punk/Hardcore. This is the story of those who were the first to import some musical and attitudinal features from the USA until they shaped a new tradition out of it in Rome. Shot in five years, following the Do It Yourself convictions, the film is a a socio-anthropological journey into the daily nowadays life of those who, back then, were struggling to set such spontaneous movement into the roman society and the already existing underground movement. An analysis on about 15 years of self-made life before the internet, featuring fanzines, early italian skateboarding, records, counter-culture, animalism, music, fashion, with a narrative structured through the juxtaposition of interviews and original footage. How notions of a foreign phenomenon can be imported before the internet, develop its own features based on the the local possibilities and become something else from the origin? How a tradition can be re-invented by moving the scenario of its happenings? www.rmhc-film.com

Giulio Squillacciotti was born in Rome (I) in 1982 and has been living in Ireland, Spain, U.S.A., and Turkey. He owns a BA in Medieval Art History from Rome University and a MA hons in Visual Arts from the Architecture School of Venice. He is an artist working mainly with film, video, photography, text and installations. This is his first feature documentary film. His work has been exhibited, presented and screened in various international locations like, among the others, the ENSBA in Paris and the Magasin CNAC in Grenoble (FR), the Columbia University in New York City, the New York Photo Festival 2012 and the M.I.T. in Boston (USA), the Fondazione Sandretto Re Rebaudengo in Turin and MAXXI Museum in Rome (I), the Haus der Kultur der Welt in Berlin and the Neues Museum in Weimar (D), the Manifesta 8 Venue in Murcia (E), the Prague Biennale (CZ). He lives between Milan (I) and Vienna (A).

Catalogue : 2011Zimmerreise | Fiction | super8 | couleur | 2:30 | Italie | Autriche | 2010
Giulio squillacciotti , insom camilla
Zimmerreise
Fiction | super8 | couleur | 2:30 | Italie | Autriche | 2010

A woman wanders around the 19th floor of a building, from an anonymous industrialized city. She has been told, through a series of cryptic indications, how to paint an imaginary landscape where to meet with the author of those letters. The geographical and physical distance with the person who is writing to her, can be reduced only through a methodic work of imagination and detach from what is surrounding her. The chance of traveling from a room, by seeing with eyes closed, to a place that exists only in both their minds. The difficult task is here expressed by the contradictory indications he gives her, as an explicit giving of what is a long distance communication with its time lapses. The strength to disclose the hitch can only be found in the accurate recollection of memories she has of their real encounters, once happened, far in time, but far, from where they both came.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Catalogue : 2018Visto due volte | Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017
Giulio squillacciotti , insom camilla
Visto due volte
Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017

In a school trip to the Cloister of Collegno, the biggest italian Insane Asylum closed in 1978, a class of teenagers visit the spaces as if they had been turned into a museum. Through the auxiliary help of an audio guide of apparently non-sense indications, the students shape a museum path which only exists around their steps.

Giulio Squillacciotti (Rome, Italy 19829. Artist, film-maker and researcher lives and works in Maastricht (NL). He is 2018/2019 Van Eyck Academie Residency Fellow and was part of the Dutch Pavilion at the 2018 Venice Architecture Biennale. Studied Medieval Art History in Barcelona and Rome, he later owned a MA hons in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture.

Giulio squillacciotti
Catalogue : 2011Casi la mitad de la historia | Fiction | | couleur | 7:46 | Italie | 2011
Giulio squillacciotti
Casi la mitad de la historia
Fiction | | couleur | 7:46 | Italie | 2011

All the memory of the world is contained in an old Academy we don?t know the location and time. The quarrel between two men from two different generations is told through vocal notes as annotations for a possible story yet to be told. The argument stands in the chances History has to be written. How do these two persons can tell a story? How do they deal with what History already told and what is possible to add? How to tell something while is happening? A story telling method as an inheritance, to be passed on from Maestro to pupil in the aseptic spaces of an Academy. Looking for the right balance between tradition and the possible re-invention of it, as two different generations and their different approach to key words of the Historic Study. The voice leading us to these spaces has never a face, but her subjective eye has the right detach of the present on past issues. Shot for the double solo show of Antoni Muntadas and Giulio Squillacciotti in Rome (I) in 2011.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Catalogue : 2017Archipelago | Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017
Giulio squillacciotti
Archipelago
Documentaire | hdv | couleur | 61:0 | Italie | Iran | 2017

Archipelago is a journey through ancient myths, exorcism rituals, sounds and spirits. In the south of Iran, on a group of islands of the Persian Gulf, humans and spirits coexist since centuries. The culture and traditions of these Islands are the result of the encounters between the African Diaspora, the Arab Countries and Iran, generating a unique system of syncretic beliefs. Spirits of different heritages and origins, called Bād, the Persian word for wind, moving through the air, take possession of the islanders bodies and can only be quieted through a music ceremony called the Zār Ritual. Thanks to an unprecedented access given to foreign film makers, the Film showcases stories and landscapes of the islanders daily life within the frame of the Rituals, giving, through pounding drum rhythms and wailing vocal chorus, a rare and unexpected glimpse of the Islamic Republic of Iran.

Giulio Squillacciotti (Rome, Italy 1982). Artist, Film maker and researcher lives and works in Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome. He owns a MA in Visual Arts from the University of Architecture in Venice IUAV, where he studied Art, Philosophy, Semiotics and Anthropology. His work is mainly oriented on storytelling, cultural apexes and the way traditions re- shape in new contexts. His research merges together ction and historical facts. Using lm, documentary, sound and performance, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture. His work has been exhibited and screened internationally at, among the others, Les Rencontres Internationales at Centre Pompidou and Gayte Lyrique in Paris, the Berlin Haus der Kultur der Welt and (D), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), Istanbul 2010 European Capital of Culture, the Beirut Art Centre in Lebanon, the New York Photo Festival, the Dumbo Video and Columbia University in New York City and in the Official Competition at the 33rd and 35th Torino Film Festival Camilla Insom (Rome, Italy 1983). Anthropologist lives and works in Rome, Italy and Sulaimaniyah, Iraqi Kurdistan. After completing the MA in Cultural Anthropology at the University of Rome Sapienza, she’s currently a Phd candidate in Iranian Studies at University of Naples “ L`Orientale ”. Focus of her research is the modi cation of the category of sacred in different contexts through the analysis of ritual practices and their changing. In 2013 she researched the funerary practices of the Zoroastrian Parsi community of Bombay. Since 2014 her studies revolve around the Islam of the Kurds in Sulaimaniyah and Sangaw, Iraqi Kurdistan Kasnazaniyya, with particular reference to the Kasnazaniyya Su Brotherhood. She is in charge of the Anthropological Studies for the Italian Archaeological Mission in Iraqi Kurdistan (MAIKI) of “ Sapienza ” University of Rome, member of the Societas Iranologica Europea (SIE) and member of the International Institute of Kurdish Culture.

Catalogue : 2012RMHC 1989/1999 - Hardcore a Roma | Doc. expérimental | dv | couleur et n&b | 86:0 | Italie | 2011
Giulio squillacciotti
RMHC 1989/1999 - Hardcore a Roma
Doc. expérimental | dv | couleur et n&b | 86:0 | Italie | 2011

From the mid 80s until the end of the 90s, Rome was the scene of a local phenomenon linked to the music and lifestyle of American Punk/Hardcore. This is the story of those who were the first to import some musical and attitudinal features from the USA until they shaped a new tradition out of it in Rome. Shot in five years, following the Do It Yourself convictions, the film is a a socio-anthropological journey into the daily nowadays life of those who, back then, were struggling to set such spontaneous movement into the roman society and the already existing underground movement. An analysis on about 15 years of self-made life before the internet, featuring fanzines, early italian skateboarding, records, counter-culture, animalism, music, fashion, with a narrative structured through the juxtaposition of interviews and original footage. How notions of a foreign phenomenon can be imported before the internet, develop its own features based on the the local possibilities and become something else from the origin? How a tradition can be re-invented by moving the scenario of its happenings? www.rmhc-film.com

Giulio Squillacciotti was born in Rome (I) in 1982 and has been living in Ireland, Spain, U.S.A., and Turkey. He owns a BA in Medieval Art History from Rome University and a MA hons in Visual Arts from the Architecture School of Venice. He is an artist working mainly with film, video, photography, text and installations. This is his first feature documentary film. His work has been exhibited, presented and screened in various international locations like, among the others, the ENSBA in Paris and the Magasin CNAC in Grenoble (FR), the Columbia University in New York City, the New York Photo Festival 2012 and the M.I.T. in Boston (USA), the Fondazione Sandretto Re Rebaudengo in Turin and MAXXI Museum in Rome (I), the Haus der Kultur der Welt in Berlin and the Neues Museum in Weimar (D), the Manifesta 8 Venue in Murcia (E), the Prague Biennale (CZ). He lives between Milan (I) and Vienna (A).

Catalogue : 2011Zimmerreise | Fiction | super8 | couleur | 2:30 | Italie | Autriche | 2010
Giulio squillacciotti
Zimmerreise
Fiction | super8 | couleur | 2:30 | Italie | Autriche | 2010

A woman wanders around the 19th floor of a building, from an anonymous industrialized city. She has been told, through a series of cryptic indications, how to paint an imaginary landscape where to meet with the author of those letters. The geographical and physical distance with the person who is writing to her, can be reduced only through a methodic work of imagination and detach from what is surrounding her. The chance of traveling from a room, by seeing with eyes closed, to a place that exists only in both their minds. The difficult task is here expressed by the contradictory indications he gives her, as an explicit giving of what is a long distance communication with its time lapses. The strength to disclose the hitch can only be found in the accurate recollection of memories she has of their real encounters, once happened, far in time, but far, from where they both came.

Giulio Squillacciotti (Rome, Italy 1982) studied Medieval Art History in Barcelona and Rome, where he got his BA from Sapienza University. He earned a Master?s Degree (hons) in Visual Arts from the School of Architecture in Venice in 2009, where he studied Philosophy, Semiotics and Anthropology. Once completed his studies he won, again in Venice, a one year residency at the Bevilacqua La Masa Foundation with the Ateliers Program. Never trained as an artist, neither a film maker, his work is mainly oriented on storytelling and cultural apexes and their possible reinvention in different contexts. He deals with the idea of tradition and the fictitious outlets of it, all spread through a system of layered meanings, which formally goes from film to documentary, from installation to live performing and talks. His works and talks have been shown and heard in New York and Boston (USA), Den Bosch (NL), Paris and Grenoble (FR), Istanbul (TR), Murcia (Manifesta 8, ES), Prague (CZ), Teheran (IR), Weimar (D); in Italy in Rome, Milan, Turin, Venice and Verona. He recently finished the editing of a feature documentary film (RMHC) on the punk/hardcore scene in Rome from the 80s and 90s.

Catalogue : 2018Visto due volte | Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017
Giulio squillacciotti
Visto due volte
Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017

In a school trip to the Cloister of Collegno, the biggest italian Insane Asylum closed in 1978, a class of teenagers visit the spaces as if they had been turned into a museum. Through the auxiliary help of an audio guide of apparently non-sense indications, the students shape a museum path which only exists around their steps.

Giulio Squillacciotti (Rome, Italy 19829. Artist, film-maker and researcher lives and works in Maastricht (NL). He is 2018/2019 Van Eyck Academie Residency Fellow and was part of the Dutch Pavilion at the 2018 Venice Architecture Biennale. Studied Medieval Art History in Barcelona and Rome, he later owned a MA hons in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture.

Richard squires
Catalogue : 2007PROGRAMME | Doc. expérimental | dv | couleur | 35:0 | Royaume-Uni | 2007
Richard squires
PROGRAMME
Doc. expérimental | dv | couleur | 35:0 | Royaume-Uni | 2007

PROGRAMME est l`aboutissement d`un projet basé sur l`hôpital de la Salpêtrière à Paris à l`initiative de l`artiste Richard Squires en 2003 : un travail de vidéo hybride qui alterne documentaire, dramatisation et essais sporadiques de communication hypnotique. A la fin du 18ième siècle, La Salpêtrière était le théâtre des ?leçons du mardi? du Docteur Charcot, des démonstrations dramatiques de l`hystérie salpêtrienne avec la participation des « patients vedettes » tels que Blanche Wittman. PROGRAMME explore les aspects de la pratique du neurologue qui impliquent manipulation, connivence ou simulation et réexamine l`histoire de la Salpêtrière en tant qu`institution de contrôle social pendant l`ancien régime. Entretiens avec historiens, reconstitutions fictionnelles, performances cataleptiques et un narrateur syphilitique se juxtaposent pour dépeindre un récit hystérique qui somme toute dévoile sa propre construction. Avec Véronique Leroux-Hugon (conservateur, Bibliothéque Charcot), Mary Bosworth, Thirza Vallois, Alexis Terry et Nick Ewans.


Richard Squires est un artiste visuel né en 1970 qui vit et travaille à Londres. Il a utilisé du film, de la vidéo, des installations et l'interactivité. C'est aussi un membre fondateur du projet de bandes-dessinées et d'art LET ME FEEL YOUR FINGER FIRST qui dissémine de l?animation, des bandes-dessinées mais aussi des travaux vivants comme sur internet. Ses travaux ont été présenté internationalement comme récemment à Whitechapel Gallery, Londres, Site Gallery, Sheffield, el le Centre d'Art contemporain de Basse-Normandie, France. En 2003 il eut une résidence à la cité internationale des arts, Paris, qui fût le catalyseur pour ses travaux sur la Salpetrière. Avec LMFYFF, il vient de finir Francis, une série animée pour la tv qu'il présente à travers le Royaume-Uni en Novembre avant de passer sur Channel 4 en Décembre 2007.

Maxence stamatiadis
Catalogue : 2016Période Killer | Doc. expérimental | hdv | couleur | 50:0 | France | 2015
Maxence stamatiadis
Période Killer
Doc. expérimental | hdv | couleur | 50:0 | France | 2015

Dans son HLM sur la Nationale 3, Edouard Mouradian, retraité et intraitable, ne supporte plus les vacheries du quotidien. Mais comment impunément étriper la fliquette qui verbalise, exploser à la grenade le voisin qui râle pour rien ou trucider le jeune gars qui arrache le sac de votre femme ? Edouard Mouradian en rêve beaucoup et à fond…


Maxence Stamatiadis, réalisateur né à Paris en 1988 Diplômé des Arts Décoratifs de Paris (ENSAD) en 2012. Il réalise plusieurs courts-métrages ainsi que des travaux photographiques durant ses études. En 2012, il part plusieurs mois à New York où il travaille comme assistant pour des réalisateurs tels que Abel Ferrara et les frères Safdie. Depuis 2013, il réalise des courts métrages, un moyen métrage et plusieurs vidéos experimentales. Il vit et travaille à Paris.

Annette stav johanssen
Catalogue : 2007HANG SAFELY DIE SLOWLY | Vidéo expérimentale | dv | couleur | 6:0 | Norvège | Suède | 2007
Annette stav johanssen
HANG SAFELY DIE SLOWLY
Vidéo expérimentale | dv | couleur | 6:0 | Norvège | Suède | 2007

Un numéro d'agence de media-exorcisme dans lequel l'imprévisibilité fonctionne comme la carte de développement. Une oeuvre qui challenge le comportement post- spéculatif ou les rôles et les personnages sont prédéterminés dans un script pré-écrit. C est une recherche de risque, des chances, de grands mouvement et des situation personnifiées, les réactions directs et une action continuelle. Le choix de la dramaturgie est une extraction de la pensée d'Aristote et d?Hollywood, ou l'essence de l'action et de la composition est toujours conduit par la gène et le conflit, planté dans l'histoire pré-écrite avec les personnages impliqués. La situation est Brechtienne, ou le film illustre ses illusions et à ce moment devient un effet de narration aliéné. Il n?y a qu'une règle, contrôler le système entier, être l'image intérieure et le cadre extérieur. Il n'y a qu'une pièce, la porte est fermée, vous devriez être en sécurité. NOUS, sanglés dans le système de la totalité informative, ceci est devenu un acte de formalité.


Annette Stav Johanssen, née en 1979 à Kristiansand en Norvège, vit et travaille à Malmö en Suède. Elle produit principalement des performances, des vidéos, écrit des textes et se produit en concert. Elle se sert souvent d'elle même comme sujet challengeant l'incarnation des situations et expérimente aussi beaucoup avec la voix (Hang Safely Die Slowly est pourtant un film muet). Elle est membre de la Fine Art Union en collaboration avec Synnove G. Wetten, une autre artiste norvégienne. Fine Art Union est un collaboration interdisciplinaire qui opère dans les dynamiques d'expressions spectaculaire rebondissantes contre des comportement analytique à l'aide de cinéma neo sci-fi et d'actions ritualisées.