| BERLIN | 2010 | PROGRAMME | EN | Rencontres Internationales Paris/Berlin/Madrid | new cinema and contemporary art | Festival, film, video, multimedia, installation, net art, performance....


	HAUS DER KULTUREN DER WELT John-Foster-Dulles Allee 10, 10557 Berlin. Subway: lines S5, S7, S9, S75, station: Hauptbahnhof. Access map > click here FREE ENTRANCE

[FORUM]
FRIDAY, JULY 2
12:00 > Audi Foyer

PRESENTATIONS/DISCUSSIONS

The Rencontres Internationales invites you to a late convivial breakfast with artists and filmmakers. Every day, professionals, curators, museums directors or independant organizations will introduce their work and discuss with the audience.

• Fatma Colakoglu
Istanbul Pera Museum - Head of Film, Video and Performance Programming - Istanbul, Turkey
www.peramuzesi.org.tr

• Stephan Geene
b_books - Founder member - Berlin, Germany
www.b-books.de

• Gavin Jantjes
Oslo National Museum of Contemporary Art - Curator - Oslo, Norway
www.nasjonalmuseet.no

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	HAUS DER KULTUREN DER WELT John-Foster-Dulles Allee 10, 10557 Berlin. Subway: lines S5, S7, S9, S75, station: Hauptbahnhof. Access map > click here FREE ENTRANCE

Mario PFEIFER revisits the structures of an industrial building photographed in 1974 by Lewis Baltz, an american artist represented in “New Topographics”, a key exhibition in the history of photography. Peter DOWNSBROUGH films the Citroën garage at the Place d’Yser in Brussels, the legacy of an industrial architecture common to the inter world wars years. Hans OP DE BEECK shows us remembered spaces; not any specific sites, but the abstract, archetypal settings, as the common denominator of the many similar public places he has visited and experienced. Elise FLORENTY combines architecture, body and language, drawing inspiration from a poem by architect Frank Lloyd Wright. Sasha PIRKER films “Pearl M. Mackey Apartment House” in Los Angeles, built in 1939 by the architect Rudolph M. Schindler, colleague of Frank Lloyd Wright. Using a travelling shot, Jaime DE LA JARA brings out the complexity of an otherwise banal facade. Peter GIZZI et Natalia ALMADA, respectively filmmaker and poet, film the portrait of men and environments in Tanger.

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	HAUS DER KULTUREN DER WELT John-Foster-Dulles Allee 10, 10557 Berlin. Subway: lines S5, S7, S9, S75, station: Hauptbahnhof. Access map > click here FREE ENTRANCE

Julieta HANONO films uncertain places which become the material of intimate narratives. Floris SCHÖNFELD et Michaël SEWANDONO adapt extracts of novels by Paul Auster and Haruki Murakami and show the subtle tension which precedes the turning points in a narrative. Carlos TRONCOSO conducts an exercice in compensation, by inversing the conditions creating representations of social classes and reworking the stereotypes of the elite and working classes. Claire ANGELINI attaches herself to the image of a woman revisiting the places of her childhood in France, Tunisia and Algeria, and offers us a reflection on travelling across history by way of the places where we grow up.

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	HAUS DER KULTUREN DER WELT John-Foster-Dulles Allee 10, 10557 Berlin. Subway: lines S5, S7, S9, S75, station: Hauptbahnhof. Access map > click here FREE ENTRANCE

Gregg SMITH films a young man arriving in a village to attend a job interview. Despite having little experience, he is recommended by his friend’s wife who seems to have some influence. Yorgos TAXIARCHOPOULOS shows us a young man committing rebellious acts in a public place. Dustin FENELEY follows a salesman looking for new contacts. Tomas HENDRIKS films a man after a troubling discovery and shows the altering of his perception in a world which has lost all coherence. Patrick BERNATCHEZ is interested in the traits of a certain type of social schizophrenia between representation and abstraction. He takes us through a building destined to be demolished and haunted by its previous activity.

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	HAUS DER KULTUREN DER WELT John-Foster-Dulles Allee 10, 10557 Berlin. Subway: lines S5, S7, S9, S75, station: Hauptbahnhof. Access map > click here FREE ENTRANCE

[SCREENING]
FRIDAY, JULY 2
20:00 > Theatersaal

SPECIAL SCREENING: JONAS MEKAS

Jonas MEKAS: Notes on an american film Director at work: Martin Scorsese | Experimental documentary | color | 1:20:00 | USA | 2009

A video portrait of Martin Scorsese at work. Filmed in New York, Brooklyn and Boston during the filming of THE DEPARTED, in 2005.

Jonas Mekas was born in 1922 in the farming village of Semeniškiai, Lithuania. He currently lives and works in New York City. In 1944, he and his brother Adolfas were taken by the Nazis to a forced labor camp in Elmshorn, Germany. After the War he studied philosophy at the University of Mainz. At the end of 1949 the UN Refugee Organization brought both brothers to New York City, where they settled down in Brooklyn. Two weeks after his arrival in New York he borrowed money to buy his first Bolex camera and began to record brief moments of his life, getting
deeply involved in the American Avant-Garde film movement. In 1962 he founded the Film-Maker's Cooperative, and in 1964 the Film-Maker's Cinematheque (later part of the Anthology Film Archives). To this date he has published more than 20 books of prose and poetry. Mekas has also been active as an academic, teaching in various Institutions. More recently, in 2007, he completed a series of 365 short films released on the internet, one film every day. Since 2000, Mekas has expanded his work into the area of film installations, exhibiting at the Musee d'Art moderne de la Ville de Paris, the Moderna Museet (Stockholm), PS1 Contemporary Art Center MoMA, Documenta of Kassel, the Museum Ludwig in Coulogne, and the Venice Biennale. In 2007, the Jonas Mekas Center for the Visual Arts opened in Vilnius, Lithuania.

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	HAUS DER KULTUREN DER WELT John-Foster-Dulles Allee 10, 10557 Berlin. Subway: lines S5, S7, S9, S75, station: Hauptbahnhof. Access map > click here FREE ENTRANCE

In the garden of a villa facing the Mediterranean Sea, a man works on the Arabic translation of Oscar Wilde’s trial. Under the light of a summer night and throughout the following nights, the various protagonists of the trial come to see him. He plays each role, one after another and puts the aesthetic and political stakes of that struggle back into play. This verbal battle then appears as the last opus - precious and ferocious - of the English dandy.

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