SATURDAY, JULY 4th

[FORUM, DEBATES]
> Auditorium


POLITIC OF CONTEMPORARY IMAGES
What use is done by artists and contemporary filmmakers of fictional devices and documentary work, and how cinematic language and elements of contemporary art articulate their work. Throughout this discussion, we will see with each participant, what, in their work, point out their peculiar relation to the real, and underline their politic relation to images.

SATURDAY, JULY 4th

[SCREENING]
> Auditorium


FORGERY

Jonathan SCHWARTZ: Copper green
Experimental film | 16mm | color | 00:03:00
USA | 2008 [•]

Vasco ARAUJO: Augusta
Video | dv | color | 00:08:55
Portugal/USA | 2008 [•]

François BUCHER: Samper
Video | dv | color | 00:17:30
Colombia | 2008 [•]

Rossella BISCOTTI: The undercover man
Exp. documentary | 16mm | black and white | 00:30:00
Italy/USA | 2008 [•]

Ken JACOBS: The scenic route
Experimental video | dv | color and b&w |00:25:00
USA | 2008 [•]

Political speeches and cinematographic effects. Jonathan Schwartz films an old picture of students and teachers, while a moved voice sings “Singing in the rain”. Vasco Araujo’s video is based on Aristophanes’ comedy “The Birds” and reflects on power abuses and political ideologies, through a conversation of two stone lions about a new place to live. Francois Bucher has the former president of Columbia, Ernesto Samper, re-read a speech he made in 1978. Rossella Biscotti interviews Joseph D. Pistone a.k.a. Donnie Brasco about his undercover operation inside the New York Mafia from 1976 to 1982. Ken Jacobs puts photo images into space, reintroduces time and re-opens images to tri-dimensionality.

SATURDAY, JULY 4th

[FORUM, DEBATES]
> Auditorium


WHAT IS CHANGING?
Current changes arising contemporary audiovisual and cinematic practices, and crossing lines observed since about 10 years between cinema and contemporary art, seem to be not only an esthetical shift, but a very deep change related to a new audiovisual paradigm.
During this discussion, different viewpoints will be crossed through actual examples. Participants will talk about how they interpret this shift, and which are its stakes.

Géraldine Gomez - Centre Pompidou
Curator - Paris, France
www.centrepompidou.fr

Berta Sichel - Museo Nacional Centro de Arte Reina Sofia
Director of the audiovisual department - Madrid, Spain
www.museoreinasofia.es

Valerie Smith - Haus der Kulturen der Welt
Head of Visual Arts Department - Berlin, Germany
www.hkw.de

Peter Weibel - ZKM Zentrum für Kunst und Medientechnologie
Director - Karlsruhe, Germany
www.zkm.de

SATURDAY, JULY 4th

[SCREENING]
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CARTE BLANCHE
TO PEDRO COSTA
German Première
In the presence of Pedro Costa

Pedro COSTA: Ne change rien
Documentary | black and white | 01:38:00
Portugal / France | 2009

"Ne change rien" was born as a result of the friendship uniting Jeanne Balibar, sound ingeneez Philippe Morel, and Pedro Costa. Jeanne Balibar,n the singer, from rehearsals to recording sessions, from rock concerts to classical singing lessons, from an attic in Sainte Marie-aux-Mines to the stage of a Tokyo café, from Johnny Guitar to Offencbach's La Périchole.

After studying editing and directing at the Film School of the Lisbon National Academy, Pedro Costa worked as an assistant director and then launched himself into directing his first short film, Cartas a Julia, en 1987. He then does a children's series for Portuguese television. His first feature film, Le Sang, caught the critics' attention in 1989, but went un-noticed by the public due to bad commercial distribution, as happened with the second, Down to Earth (1994), which did, however, establish his style and talent. In 1997 Ossos deals with the theme of unhappy childhood in a sober way, for which he is rewarded in Venice and Belfort. After this comes In Vanda's Room, a documentary which follows a drug addict's descent into hell. This is followed by Où gît votre sourire enfoui ? in which he pays tribute to Danièle Huillet and Jean-Marie Straub.

SATURDAY, JULY 4th

[SCREENING]
> Auditorium


LIMBO

Sergey PROVOROV: Skolzkaya gora (the slippery mountain)
Video | dv | color | 00:06:06
Russia | 2006 [•]

Fiona LINDRON: Jacky
Video | dv | color | 00:03:57
France | 2008 [•]

Maider FORTUNE: Curtain!
Video | hdv | black and white | 00:18:45
France | 2008 [•]

Patrick JOLLEY: Fall
Experimental film | 16mm | black and white | 00:11:00
Ireland | 2008 [•]

Jennet THOMAS: The man who went outside
Video | dv | color | 00:10:00
United Kingdom | 2008 [•]

Tobias Yves ZINTEL: Hell Hotel
Experimental fiction | hdv | color | 00:36:00
Germany/Germany, Italy, Czech Republic | 2007 [•]

Xenia Yvon LESNIEWSKI: Supersensibel
Animation | dv, betaSP | color | 00:02:30
Germany | 2008 [•]

Izebene OÑEDERRA: Hezurbeltak, a fossa común
Animation | 35mm | black and white | 00:04:30
Spain | 2007 [•]

In limbo, there exists an intermediate place, with strange creatures. Serge Provorov films men falling, who just keep slumping down. Their descent becomes the theme of the film. Fiona Lindron follows a silhouette, then a woman’s face only illuminated by flashes. She becomes a captive figure. With Maider Fortuné, shadows of childhood creatures and heroes parade in front of us, in a timeless space. Patrick Jolley creates a space where objects fall down, being violently thrown off camera. Thomas Jennet shows a man announcing the first man who will give birth, a futuristic fable and a critic on representation. Tobias Yves Zintel creates the «Hell Hotel”, inhabited by a crowd of characters, whose words are quotes and fragments taken from advertisement, history and philosophy. Form and content are determined by repetition. Xenia Yvon Lesniewski shows an animated character, whose speech is erotic, obscene and terrified. Izebene Oñederra animates a creature, whose name, according to an idiomatic Basque word, designated socially invisible people.