Berlin 2015 programme
 3 pm   4 pm   6 pm   8 pm   9 pm 
Thursday

June 25
3 pm

Screening
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

Storm over London

Rajee samarasinghe: Untitled (Horse) | Doc. expérimental | hdv | noir et blanc | 4:23 | USA | 2014 see more
Julius ziz, Louis BENASSI: Storm over London | Fiction expérimentale | hdv | noir et blanc | 36:0 | USA | 2014 see more
Rajee samarasinghe
Untitled (Horse)
Doc. expérimental | hdv | noir et blanc | 4:23 | USA | 2014

A symbiotic collaboration in movie motion. After Muybridge.


Rajee Samarasinghe is a relatively young imagemaker, once upon a time Sri Lankan. He makes fake narratives and destructive formal experiments. He aspires to make videos of a respectable length and standard. Rajee attended the University of California, San Diego and is currently an MFA candidate at the California Institute of the Arts.

Julius ziz, Louis BENASSI
Storm over London
Fiction expérimentale | hdv | noir et blanc | 36:0 | USA | 2014

Storm over London is a film that seemingly uses the tropes of narrative however the film hesitates to make a conclusion instead it take us into a journey of speculation.There is a storm brewing in London, there are riots in the streets. Who is that person laying on the bed? And what's all this about a fly. Storm over London is an enigmatic,surrealist detective story with a touch of Kafka.


Julius Ziz born in Lithuania now works and lives in Paris. From 1992 till 1997 he worked at Anthology Film Archives (NYC) program curator and organizer. His films were shown in many international film festivals including Rotterdam, Edinbourgh, Nyon, Montreal, San Paulo, Karlovy Vary. His films are in collections of Museum of Modern Art(NYC), Cinemateque Francaise, The Oesterreichiscies Film Museum(Vienna),Marcel Duchamp Estate, Anthology Film Archives. Julius Ziz made over 20 short films and 3 full length documentary films including Meanwhile A Butterfly Flies, The Window, And Pig Was Born, Silence Sea and Marcel Duchamp Louis Benassi born in Glasgow 1961,lives and works in London. He began making experimental films in the early 90's. He went on to program and curate artistic films for several international film festivals including Edinbourgh International Film Festival, The Institute of Contemporary Art London and other London based institutions and cinemas. He is also visiting tutor at The Chelsea School of Art and The Royal College of Art London. Louis Benassi has exhibited his films and photographs frequently. He made Esoteria Hysteria (2000), Midnight deconstruction(2008), Black Umbrella(2011),The Arc Arial Trilogy(2011), Memories of an unbeaten childhood(2012 together with Julius Ziz), La La Leni(2013),B Movie(2013)

Thursday

June 25
4 pm

Screening
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

Replay

Thomas kneubÜhler: Forward Looking Statements | Doc. expérimental | hdv | couleur | 3:47 | Canada | 2014 see more
Ana vaz: Occidente | Doc. expérimental | | couleur | 15:20 | France | Portugal | 2014 see more
Carlos motta: NEFANDUS | VIDEO | hdv | couleur | 13:4 | Colombie | 2013 see more
Elke marhÖfer: prendas - ngangas - enquisos - machines {each part welcomes the other without saying} | Doc. expérimental | 16mm | couleur | 25:50 | Cuba | 2014 see more
Assila cherfi: Replay | Vidéo | jpeg animation | couleur | 1:31 | | Algérie | 2014 see more
Sj ramir: In This Valley, My Heart Is Buried Deep... | Film expérimental | hdv | couleur | 6:7 | Nouvelle-Zélande | 2014 see more
Louise botkay: Vertières I,II,III | Film expérimental | super8 | couleur | 9:36 | Haiti | 2014 see more
Thomas kneubÜhler
Forward Looking Statements
Doc. expérimental | hdv | couleur | 3:47 | Canada | 2014

A conference call by investors of a planned iron mine provides the soundtrack for a ride over the land which the company wants to exploit. The land in question is a traditional hunting ground for the Inuit community of Aupaluk, located in Canada's far North. The village has already been relocated in the 1980 and is now again under threat. The term "forward looking statements" is used in the world of investors to describe future events which are subject to certain risks and uncertainties.


Born in Solothurn, Switzerland, Thomas Kneubühler has been living in Canada since 2000. In 2003, he completed a Master’s degree in Studio Arts at Concordia University, Montreal. His work often deals with social issues and how technology is affecting people’s lives. His work has been presented in many exhibitions in both Europe and North America, most recently at the Québec Triennial at the Musée d’art contemporain de Montréal (2011), at the Centre culturel canadien, Paris (2012) and at the Centre Pasquart, Bienne (2014). In 2011 he was awarded the Pratt & Whitney Canada Prize of the Conseil des arts de Montréal, and in 2012 the Swiss Art Award by the Ministry of Culture Switzerland. «Whether it is the ambiguous boundaries of public and private space, the all-pervasive spectre of security surveillance or even the radiant, if dehumanizing, beauty of cityscapes, Kneubühler’s practice tellingly identifies the co-existing insecurities, uncertainties and subtle pleasures embedded in the structures of modern life.» (Bryne McLaughlin, Canadian Art)

Ana vaz
Occidente
Doc. expérimental | | couleur | 15:20 | France | 2014

Antiques become reproducible dinner sets, exotic birds become luxury currency, exploration becomes extreme-sport-tourism, monuments become geodata. A film-poem of an ecology of signs tracing a colonial history repeating itself: celebration and power relations, objects and fetishes, roots and branches, power and class relations in a struggle to find ones' place, ones' sitting around a table.


Ana Vaz is a Brazilian artist and filmmaker whose films, writing and performances look into the relationships between cinema and language through an anthropologics of dystopias & class relations. A graduate from the Royal Melbourne Institute of Technology and Le Fresnoy Studio National, Ana is presently engaged in an experimental research group in art and politics directed by Bruno Latour. Her films have been showed at a number of international film festivals including the New York Film Festival – Views, Visions du Réel, Ann Arbor, Images, Premiers Plans d’Angers, Femina International Film Festival (Special Jury Prize), Melbourne International Film Festival as well as solo and group shows at FRAC/Le Plateau (Paris), Museum of the Republic (Brasília), Salon Jeune Création (Paris),Temporary Gallery (Cologne), among others. Recently, her films have been shown retrospectively at the Melbourne Cinémathèque (Australia) & Void Gallery (Ireland).

Carlos motta
NEFANDUS
VIDEO | hdv | couleur | 13:4 | Colombie | 2013

In Nefandus two men travel by canoe down the Don Diego river in the Sierra Nevada de Santa Marta in the Colombian Caribbean, a landscape of “wild” beauty. The men, an indigenous man and a Spanish speaking man, tell stories about pecados nefandos [unspeakable sins, abominable crimes]; acts of sodomy that took place in the Americas during the conquest. It has been documented that Spanish conquistadores used sex as a weapon of domination, but what is known about homoerotic pre-Hispanic traditions? How did Christian morality, as taught by the Catholic missions and propagated through war during the Conquest, transform the natives’ relationship to sex? Nefandus attentively looks at the landscape, its movement and its sounds for clues of stories that remain untold and have been largely ignored and stigmatized in historical accounts.


Carlos Motta's interdisciplinary artistic practice includes the making of video essays, documentaries and online video archives. His early video Letter to My Father (Standing by the Fence) (2005) narrates the experience of living and working in New York City at the aftermath on 9/11 and focuses on the personal and political intersections of immigrants within that context. Motta is interested in questioning the structures of power that control and regulate civic life as well as hegemonic construction of historical narratives. One of his most recognized projects is We Who Feel Differently (2012), a comprehensive video archive of interviews with dozens of queer subjects that speak about the forty years of gay, lesbian, bisexual, trans, intersex and queer activism from a variety of social perspectives. The installation was first presented in a solo exhibition at New York's New Museum in 2012 to great acclaim. Motta's most recent video works Nefandus Trilogy will have its World Premiere at the 2014 International Film Festival Rotterdam's Tiger Awards Competition. Composed of three short films, Nefandus (winner of Catalonia Hotels Award for Best Video at LOOP, Barcelona, 2013), Naufragios and La visión de los vencidos, the trilogy exposes the imposition of the category `sexuality` onto indigenous cultures in the Americas during the Conquest and throughout the colonial period, based on moral and legal discourses of sin and crime. These works will also be presented at the First International Biennial of Contemporary Art of Cartagena de Indias in February.

Elke marhÖfer
prendas - ngangas - enquisos - machines {each part welcomes the other without saying}
Doc. expérimental | 16mm | couleur | 25:50 | Cuba | 2014

A film shot in Cuba. Not an anthropological film, nor a narrative documentary or a film essay, but certainly a film concerned with foreignness and difference. Mostly shot in the hilly communes of Yateras, searching for long disappeared clandestine settlements, so-called palenque, where African slaves, Taínos and Chinese forced laborers, freed themselves from colonial violence, the film narrates a sense of place, which is real and imaginary at the same time. It questions, if it possible to communicate something of the soul of a place, steeped in histories of revolution and dissidence, without relying on didacticism or storytelling, without taking recourse on hierarchical distinctions between the ordinary and the extraordinary, the animate and the inanimate, the macro and the micro? Wondering what heritage (colonial) anthropology leaves behind, or rather, if it is possible to escape from the systems of signification that constitute foreignness, without getting detached from the palpable realities of the world? What if there was a way to approach the foreign by relying on the affects of the world that pass through us, giving way to perceptive cartographies, mapping out nameless intensities and collective sensitivities, leaving space for the non-human, including vegetables and animals that colonized the New Land? In this film, Cuba does not appear as an “outside” to a “Western” inside, but as a sensible texture without anchor or vanishing point, where humans are a part of the composition rather than the principal element.


Elke Marhöfer, born in the year of the goat in Baracoa/Cuba, studied Fine Art at the University of the Arts in Berlin, at the School of the Art Institute of Chicago and at the Whitney Independent Study Program in New York City. Via the potentialities of moving image and suppositious writing Marhöfer works with notions of self-admitted foreignness, radical othering, heterogeneous perceptions of time, the ahistorical and disorientations of narratives. She revises notions of animal, vegetal and object relations. Since 2010 she pursues a PhD at the University of Gothenburg. Projects have received fellowships, grants, and generous support from Courtisane Festival Ghent, Images Film Festival Toronto, IASPIS Residency, Whitney Independent Study Program, Cité des Art International Paris. Art exhibitions include the Manufactura`s Studio Wuhan, FCAC Shanghai, the Houston Museum of Fine Arts, Museum für Gegenwartskunst Siegen and The Showroom, London.

Assila cherfi
Replay
Vidéo | jpeg animation | couleur | 1:31 | | 2014

Les images utilisées dans cette vidéo proviennent du milieu des années 50 : une guerre relatée par des images. On y voit des images des personnes qui vivaient la guerre, de personnes qui faisaient des images pendant cette guerre, de personnes qui voient des images d’elles-mêmes pendant la guerre, qui écoutent , qui raisonnent et qui interagissent. Ce triangle évoque le mécanisme de l’image médiatique : d’où elle provient, par qui elle est faite, à qui elle est destinée. Une attention particulière est réservée à ceux qui produisaient ces contenus : les photographes, cadreurs et preneurs de son de chaque camp qui ont nourri la même histoire en utilisant les mêmes outils.

Les travaux que je réalise sont basés sur la conception de projets structurels et formels autour des images et des sons, souvent à propos d’images et de sons. Diplômée en Graphisme à Alger puis en Vidéo à Milan, mes derniers projets réalisés ont été présentés lors d'événements dédiés à la vidéo et au nouveau cinéma, notamment à l’Espace Khiasma (Paris), au DOCVA (centre de documentation pour les arts visuels, Milan), le Beirut Art Center (Liban), Les Rencontres Internationales de Paris/Madrid/Berlin. Les projets collectifs de documentaires auxquels j'ai participé ont fait partie de la programmation du Torino Film Festival et du Milano Filmmaker Doc Festival (Italie), Picturie Générale I - II (Alger).

Sj ramir
In This Valley, My Heart Is Buried Deep...
Film expérimental | hdv | couleur | 6:7 | Nouvelle-Zélande | 2014

“On the morning of my death – just after sunrise, and before my spirit had departed, a mysterious figure entered the house... “ In This Valley My Heart Is Buried Deep, is an experimental narrative that uses a combination of visuals and text. Based on an actual dream, the video explores what it means to belong; connection to the land; connection to a place…


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 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. Ramir’s distinctive films have screened at numerous film festivals worldwide including the Venice International Film Festival, International Film Festival Rotterdam, Edinburgh International Film Festival and the Melbourne International Film Festival. He currently resides in Melbourne, Australia.

Louise botkay
Vertières I,II,III
Film expérimental | super8 | couleur | 9:36 | Haiti | 2014

Vertières est le nom d'un quartier de la ville du Cap-Haïtien où, en 1803, a eu lieu la grande bataille qui a fini par expulser l'armée de Napoléon de l`île, Haïti à ce moment devient le premier pays au monde a conquérir son indépendance face aux puissances colonialistes.

Formation: La FEMIS, école nationale du cinéma-France, (diplômée juin 2006) Faculté de Design à Rio (diplômée en 2000) Bourse Aprofundamento-Parque Lage RJ (2014) Louise Botkay réalise des films utilisant autant le télephonne portable, que la vidéo, les pellicules super-8, 16 et 35 millimètres qui souvent sont développées "artisanalement". Travail nomade,elle réalise des films en Haïti, au Congo, Niger, Tchad, Hollande, Françe et Brésil.. Ses films on été sélectionnés et primés en festivals comme le Festival 1er Plan d`Anger, le festival de Brive, le festival Janela international de Recife, le festival de curtas de São Paulo, entre autres. Son film "Mammah" a été exhibé à la Galerie Christopher Grimes (Santa Monica), au Yerba Buena Center for the Arts (São Francisco) et au MAM-Rio de Janeiro en 2013, dans l'expo collective SP8. Elle a reçu la bourse "Villa Hors les murs", de l'Institut Français, pour produire son plus récent travail réalisé en Acre, Amazonie Brésilienne avec le peuple Hunikui. Elle vit à Rio de Janeiro et travaille entre le Brésil et la France.

In the presence of Elke Marhöfer.
Thursday

June 25
6 pm

Screening
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

Out of site

Kay walkowiak: Minimal Vandalism | Video | hdv | couleur | 3:49 | Autriche | 2013 see more
Aglaia konrad: Das Haus | Film expérimental | 16mm | couleur | 21:40 | Autriche | 2014 see more
Robbrecht desmet: Am Egelsberg | Film expérimental | 16mm | couleur et n&b | 26:0 | Belgique | 2014 see more
Jamie buckley: DORF | Vidéo | hdv | couleur | 5:26 | Irlande | 2014 see more
Dan mihaltianu: In the Skin of a Srtay Dog | Film expérimental | super8 | couleur | 5:19 | | Romania | 2014 see more
Juliane henrich: schleifen | Vidéo | hdv | couleur | 5:50 | Allemagne | 2014 see more
Arash nassiri: Tehran-Geles | | | couleur | 18:10 | | 2014 see more
Arash nassiri: Tehran-Geles | | | couleur | 18:10 | | 2014 see more
Kay walkowiak
Minimal Vandalism
Video | hdv | couleur | 3:49 | Autriche | 2013

Touching art objects in an exhibition space is usually not allowed. Not so in Kay Walkowiak´s Minimal Vandalism, where this prohibition is practically stomped on. The setting, the Generali Foundation in Vienna is the epitome of a modernist exhibition building, which—as neutral White Cube-like shell—is meant to intervene as little as possible in the act of viewing art.. Well, other than the tube-like enfilade with the massive concrete wall running down the middle along which a parcours of minimalist sculptures is set up in Minimal Vandalism. And it truly is a parcours, as after a brief exposition, in which the jerky camera movements already lead us to suspect that something’s up, an entirely unexpected performance unfolds. In one of the few calm takes, a surveillance camera soon becomes visible and the show begins: a skateboarder (Kilian Martin) coming from the depths of the room makes his approach on three boards piled on top of one another, to subject the sculptures to a test of endurance, or skill. The “performer” relentlessly includes the objects in his acrobatics, regardless of the fact that they are art, gliding up onto them, sliding across their surfaces, and daringly jumping over them.


*1980 in Salzburg, lives and works in Vienna. Several Grants and awards; e.g. Artist in Residence Grant Banff(2014), Beijing(2013), Varansi (2013), Theodor Körner Preis (2010), Otto Prutscher award (2008), Fred Adlmüller scholarship (2006). He studied philosophy and psychology at the University of Vienna, photography and video art at the Academy of fine Arts, Vienna and art & communication and sculture & multimedia art at the University of Applied Arts, Vienna.

Aglaia konrad
Das Haus
Film expérimental | 16mm | couleur | 21:40 | Autriche | 2014

Das Haus deepens the exploration of sculptural architecture that Aglaia Konrad conducted with the series of 16mm films Concrete and Samples. Shot in a house designed by architect Juliaan Lampens in Sint-Martens-Latem (Belgium), the film resumes the artist’s interest on the possibilities of the cinematic medium to generate –rather than capture - an architectural experience. An experience which, in this film, surpasses the visual to mobilize bodily perception and even desire. Konrad’s editing carefully measures the doses of perceptual information it provides to our orientation drive in a process that departs from an initial willingness to orient oneself towards the pleasure of surrendering to disorientation and fragmentation. A disorientation that could be called “perverse” in the sense that Freud bestowed to the word –perverse pleasures are those which linger in the detour; in the resistance to result in a productive goal– insofar as the film replaces the production of a representation of space in favour of perceptive defamiliarization and tactile pleasure. Architecture and film are constantly looking at each other in a piece in which "angle", "transition", "cut", "sequence", "frame", " joint", " fold " and "rhythm" are notions that are spread from one discipline to the other as if the camera and editing would be reading the space as a composition score. There are two architectural comparisons that are often applied to filmmaking: the idea of cinema as a "window" and as “mirror". Das Haus, entangles and complicates those comparisons by treating windows as interfaces that blur the inside and outside and whose transparency acquires materiality, and by using mirrors as devices that disrupt form pushing it to a state of potentiality. In Das Haus the screen is no longer a window but rather a skin: for it is a body interface, a tactile surface and a membrane that is neither safe nor transparent because it reveals its inner cinematic compositional strategies.


Aglaia Konrad is a photography based artist living in Brussels whose work has focused mainly on metropolitan urban space. She has been advising researcher at the Jan Van Eyck Academy in Maastricht and is currently teaching at the Hogeschool Sint-Lukas in Brussels. She had presented her work in solo exhibitions in Siegen, Antwerp, Geneva, Graz, Cologne and New York, among other cities, as well as in international group shows such as Documenta X (1997), Cities on the Move (1998-1999) and Talking Cities (2006). Her work has been documented in several exhibitions catalogues and monographic publications such as 'Elasticity' (2002) and 'Iconocity' (2005). For her book 'Desert Cities' (2008) she received the Infinity award for the best photo book 2009 of the International Center for Photography, New York. The book 'Carrara' (2011) won the Fernand Baudin Prize 2011. Before the trilogy Concrete & Samples (2009-2010) she made the film Sculpture House (2008, 12'05") based on a house built in 1968 around Liège (BE) by Jacques Gillet, Felix Roulin and René Greisch.

Robbrecht desmet
Am Egelsberg
Film expérimental | 16mm | couleur et n&b | 26:0 | Belgique | 2014

Am Egelsberg is shot in Krefeld, a town in the Ruhr area in Germany. In the rolling landscape around this former industrial city, Robbrecht & Daem architects realized a striking pavilion, a temporary objet d’architecture based on a design for a golf course clubhouse by Mies van der Rohe, dating from 1930, which was never built. The film plays with the idea that the model leads the gaze towards the landscape but by doing so actually looks back at itself. The huge frames, windows without glass, ‘pull’ the landscape ‘inside’. But our gaze is also thrown back ‘inside’, via the textures and drawings in the wooden plates. These plates remind one of the original marble stone plates that Mies had in mind. The walls become screens as ‘masks’, as André Bazin wrote, ‘whose function is no less to hide reality than it is to reveal it’. The spaces in the film, through the device of the model, become extensions of cinematic space, (far) beyond the boundaries of the image. The 360° degree panorama that is at the heart of the film, showing the landscape without the model, unites ‘before’ and ‘after’ in the present. This film tries to be an imaginative, geo-temporal map of the intimate relationship between cinema and architecture.


Robbrecht Desmet (°1985) is a filmmaker. He studied Cinema and Fine Arts at the Sint Lukas College of Art & Design in Brussels. His films are portraits of landscapes, places and spaces that are in one way or another a substantial part of the memory of a specific artwork. His filmmaking is dedicated to a documentation of the life and afterlife of these artworks, their meaning and their history. His work was presented in screenings and exhibitions as Beyond The Picturesque (S.M.A.K. & Artcinema OFFoff), Documented Now! (de Brakke Grond, Amsterdam), Splav Meduze (Centre for Contemporary Art Celje) and filmfestivals like International Filmfestival Hamburg, Festival for Experimental Film in New York, ISELP Festival du Film sur l’Art Brussels and Courtisane Festival, International Film Festival Rotterdam and BFI London Film Festival. He has participated in residency programs such as Capacete Int. in Rio de Janeiro and Sao Paolo (Br), SIC SoundImageCulture workspace and FLACC workspace for visual artists (Genk, Belgium). He is a lecturer Film Studies at LUCA School of Arts in Brussels. Desmet is currently working on a new film under the working title Close Up in collaboration with Brussels based production platform Auguste Orts.

Jamie buckley
DORF
Vidéo | hdv | couleur | 5:26 | Irlande | 2014

DORF is the second film in a continuing series that concentrates on the grounds of the 1972 Munich Olympic Games. It is informed by a practice that is rooted in contemporary visual art but which draws on documentary filmmaking strategies. The film points to the site a few months after the events of ’72. This was the transitional “ghost town” that existed before the more permanent residents moved in. The site is also shown at an unspecified but possibly contemporary time, when it is a place seemingly full of life. The film clips act as spacial and temporal coordinates that are assembled as a sequence of ordered pairs. Themes that interest me are evident, such as migration, residential space, and the absence of spectacle. A narrative is not explicitly dictated, instead it is allowed to be unpacked by the viewer. The persistence of material objects is brought into question.


Jamie Buckley (b.1980) is an Irish artist based in Munich. He completed an MFA in 2012 with First Class Honours at the University of Ulster, Belfast. In 2005 he completed a BA in Fine Art at the Limerick School of Art and Design with First Class Honours. His work was selected for “Bloomberg New Contemporaries 2012” and was then shown as part of the Liverpool Biennial and at the ICA in London. His work was shown at Rencontres Internationales in Paris in December 2012 and in Berlin in June 2013. His work was selected for the Aesthetica Short Film Festival and longlisted for the Aesthetica Art Prize.

Dan mihaltianu
In the Skin of a Srtay Dog
Film expérimental | super8 | couleur | 5:19 | | 2014

In the Skin of a Stray Dog Of dogs and men, black and white film material shot between 1992-1994 and edited twenty years later, depicting the decay of the urban environment after the collapse of Communism in Bucharest and the alternative living in Berlin after the fall of the Wall.


Dan Mihaltianu is a cross-media artist, born 1954 in Bucharest, Romania, based in Bucharest, Berlin and Bergen. His artistic approach is concern with social, political and trans cultural aspects related to the permanent changes occuring in our society, by developing long term process-oriented-projects, among others: Field Archive (1979-1989), Nature of Light (1980-1989), Official History / Personal History (1984-1994), Liquid Matter (1993-2014), Divided Files (2001-2014), Plaques tournantes (2004-20014), Celluloids (1992-2014). Since the 1980s his work has been exhibited internationally in various art events, biennials,, museums, art centres and galleries from Europe, Asia, North and South America.

Juliane henrich
schleifen
Vidéo | hdv | couleur | 5:50 | Allemagne | 2014

A detailed study of the architecture in a small German village slowly reveals an uncanny sense of displacement, erasure and doubling. New houses line freshly paved streets that all have the suffix  '-neu' at the end. This journey ends on the outskirts of the village, opening onto the pit mine that will displace the old village.


Juliane Henrich, born 1983, studied at the University of the Arts Berlin with Heinz Emigholz and Thomas Arslan and at the Bezalel Academy of Arts and Design Jerusalem with Avi Mograbi and Efrat Shalem. All films are represented by Arsenal Disbribution (Arsenal – Institute for film and videoart e.V.) Her work has been shown at Berlinale/Forum Expanded, Berlinische Galerie, International Short Film Festival Oberhausen, The Images Festival and ZKM Karlsruhe among others.

Arash nassiri
Tehran-Geles
| | couleur | 18:10 | | 2014

Tehran-geles nous projette dans un paysage fantastique, dans laquelle les néons grésillants de la capitale iranienne s’incrustent de façon anarchique sur les vues aériennes des quartiers de Los-Angeles. En écho aux écritures publicitaires, les voix enregistrées depuis Skype témoignent du passé de Téhéran. La production de Tehran-geles a elle-même produit des ‘migrations’ audiovisuelles : les séquences aériennes tournées à Los Angeles et téléchargées par internet, les enseignes lumineuses filmées à Téhéran avant d’être transportées par avion vers la France dans un disque-dur. Les témoignages d’immigrés ont quant à eux été enregistrés par skype au rythme des décalages horaires.

Né en 1986 à Téhéran, Iran, Arash Nassiri vit et travaille à Paris. Diplômé des Arts Décoratifs de Paris en 2012, Arash a poursuivit sa formation au sein du Fresnoy, Studio National des Arts Contemporains. La formation d’Arash inclus également l’Ecole Nationale Supérieure des Beaux-Arts de Paris ainsi que l’Université des Arts de Berlin, où il a séjourné en 2010. Le travail d’Arash a été montré dans des expositions et festivals en France et à l’étranger, dont la Galerie du Crous en 2011, les expositions Panorama en 2013 et 2013, ainsi qu’à la Biennale d’Architecture de Venise lors de l’exposition « De l’objet à la ville » organisée par les Arts Décoratifs de Paris en 2010. En juillet 2014, son cernier projet a été distinguée dans le magasine culturel les Inrockuptibles. Arash a également reçu le Grand-Prix art vidéo au festival Côté Court Pantin ainsi que le prix des Amis du Fresnoy. Sa vidéo Tehran-Geles sera en compétition lors du festival BIEFF en Roumanie en décembre prochain.

Arash nassiri
Tehran-Geles
| | couleur | 18:10 | | 2014

Tehran-geles nous projette dans un paysage fantastique, dans laquelle les néons grésillants de la capitale iranienne s’incrustent de façon anarchique sur les vues aériennes des quartiers de Los-Angeles. En écho aux écritures publicitaires, les voix enregistrées depuis Skype témoignent du passé de Téhéran. La production de Tehran-geles a elle-même produit des ‘migrations’ audiovisuelles : les séquences aériennes tournées à Los Angeles et téléchargées par internet, les enseignes lumineuses filmées à Téhéran avant d’être transportées par avion vers la France dans un disque-dur. Les témoignages d’immigrés ont quant à eux été enregistrés par skype au rythme des décalages horaires.

Né en 1986 à Téhéran, Iran, Arash Nassiri vit et travaille à Paris. Diplômé des Arts Décoratifs de Paris en 2012, Arash a poursuivit sa formation au sein du Fresnoy, Studio National des Arts Contemporains. La formation d’Arash inclus également l’Ecole Nationale Supérieure des Beaux-Arts de Paris ainsi que l’Université des Arts de Berlin, où il a séjourné en 2010. Le travail d’Arash a été montré dans des expositions et festivals en France et à l’étranger, dont la Galerie du Crous en 2011, les expositions Panorama en 2013 et 2013, ainsi qu’à la Biennale d’Architecture de Venise lors de l’exposition « De l’objet à la ville » organisée par les Arts Décoratifs de Paris en 2010. En juillet 2014, son cernier projet a été distinguée dans le magasine culturel les Inrockuptibles. Arash a également reçu le Grand-Prix art vidéo au festival Côté Court Pantin ainsi que le prix des Amis du Fresnoy. Sa vidéo Tehran-Geles sera en compétition lors du festival BIEFF en Roumanie en décembre prochain.

In the presence of Dan Mihaltianu, Juliane Henrich, Kay Walkowiak and Jamie Buckley.
Thursday

June 25
8 pm

Screening
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

Special event - Claire Denis

Claire denis: Voilà l'enchaînement | | | | 29:39 | | 2014 see more
Claire denis
Voilà l'enchaînement
| | | 29:39 | | 2014

Filmer les mots de Christine Angot, des mots qui disent ce que nous oblitérons. Je dis cela, oblitérer, peut-être qu`il y aurait un mot meilleur pour exprimer cet enchainement inévitable que pressens sans doute l`homme noir. Ce piège.

In the presence of Claire Denis.
Thursday

June 25
9 pm

Screening
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

Lookout

Hans op de beeck: Before the rain(a village) | Doc. expérimental | hdv | couleur | 12:0 | Inde | 2013 see more
Eléonore de montesquiou: Horses People Time | | | | 16:12 | | France | 0 see more
Nick jordan, Cartwright, Jacob: Headlands Lookout | Doc. expérimental | hdv | couleur | 28:50 | USA | 2014 see more
Arturo lavorato, Felice D'AGOSTINO: In attesa dell'avvento | Doc. expérimental | hdv | couleur et n&b | 22:20 | Italie | 2011 see more
Hans op de beeck
Before the rain(a village)
Doc. expérimental | hdv | couleur | 12:0 | Inde | 2013

Before the Rain (A Village) shows us the daily events in this South Indian region, which combines a mineral, eroded landscape with rice fields, sheep herds and the impressive ruins of the Vijayanagara dynasty (1336-1565). During the rain season the artist stayed in the remote South Indian village, where humans and animals live together in small huts and sheds. He filmed only just before the onset of a new shower of rain—a time when the light becomes very diffuse and the sky becomes strangely, vaguely white. Oddly enough, as a result the Indian village bathes in a typically subdued, Western European light that is very unusual in the south of India. The film is constructed as a series of silent tableaux vivants that are filmed with a static, frontal camera on a tripod. Op de Beeck quite deliberately sought the small, everyday things we share beyond cultural borders, and consciously stayed away from the spectacular and that which is explicitly related to religion, mysticism or “being different”. Thus with this film he tried to create a sort of imaginary, universal village that speaks about how time silently passes in a small community, while avoiding the “exoticizing” glance of the idealizing idyll. The work invites a silent, sensory perception and reflection.


Hans Op de Beeck (° 1969 - Turnhout, Belgium) Lives and works in Brussels, Belgium Education/ Programs/ Awards 2009: Catholic University of Leuven Culture Prize 2009-2010 2006: Winner of the Prize Eugène Baie 2003-2005, Antwerp 2002-2003: Artist at the MoMA-P.S.1 Studio Program, New York 2001: Winner of the `Prix Jeune Peinture Belge 2001`, Palais des Beaux Arts, Brussels 1998-1999: Participant at the Rijksakademie, Amsterdam (post-MA) 1996-1997: Participant at The Higher Institute for Fine Arts-Flanders, Antwerp (post-MA) 1992-1996: Masters Degree in Visual Arts, Higher Institute Sint-Lukas, Brussels Situating the artist and his oeuvre Visual artist Hans Op de Beeck lives and works in Brussels, where he has developed his career through international exhibitions over the past ten years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing (short stories). It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects. The scale can vary from the size of a small watercolour to a large, three-dimensional installation of 300m2. The artist not only uses a very wide variety of media, but also deliberately employs a diversity of aesthetic forms, ranging from an economical, minimalist visual language to overloaded, exaggerated designs, always with the aim of articulating the content of the work as precisely as possible. Thematically, the work concentrates on our laborious and problematic relationship with time, space and each other. Op de Beeck shows the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from contemporary everyday life, aiming thereby to capture in his images the tragicomic absurdity of our postmodern existence. Key themes are the disappearance of distances, the disembodiment of the individual and the abstraction of time that have resulted from globalisation and the changes to our living environment that developments in media, automation and technology have brought about. Hans Op de Beeck sometimes calls his works "proposals"; they are irrefutably fictional, constructed and staged, leaving it up to the viewer whether to take the work seriously, as a sort of parallel reality, or immediately to put it into perspective, as no more than a visual construct. His work is nourished by a keen interest in social and cultural reflection. The artist also questions the difficult relationship between reality and representation, between what we see and what we want to believe, between what is and what we create for ourselves in order to make it easier to deal with our own insignificance and lack of identity. The visual output of that investigation often produces slumbering, insidious, melancholy and astonishing images.

Eléonore de montesquiou
Horses People Time
| | | 16:12 | | 0

«The seagulls are waking up, can you hear them? It’s really hard to believe that these are now two different cities with a border.» told Olga to Eduard on the roof of a collective housing building where she works as a lift supervisor. A white night in this border town between Estonia and Russia, Olga and Eduard are tired, they are waiting for the sun to rise. "Horse, people and time", Eduard refers to Lermontov’s poem "Borodino" and indeed at this time in this peculiar place, almost non existing, philosphy, politics, all possible topics are grasped and dealt with.


Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts, it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

Nick jordan, Cartwright, Jacob
Headlands Lookout
Doc. expérimental | hdv | couleur | 28:50 | USA | 2014

Headlands Lookout is an experimental documentary by collaborative artists Jacob Cartwright and Nick Jordan, centred a dramatic stretch of Pacific coastline at the entrance to San Francisco Bay. The film traverses the area’s cultural and natural landscape, presenting a ‘wild’ environment mediated by human activity. From fog-shrouded hills to singular details of place, Headlands Lookout presents literal and figurative echoes of the area`s history, as both a former military base and the home to the avant-garde artists, writers and activists of the post-war ‘San Francisco Renaissance’. Locations range from the functional architecture of concrete gun emplacements and Cold War missile sites to the dense woodland valley where nature is slowly reclaiming the derelict buildings of Druid Heights, a 1960s counterculture community, and home to abandoned, circular library of Zen philosopher Alan Watts. The film`s soundtrack features archive recordings of Alan Watts, and his ideas on ecology and society, alongside poetry by former Druid Heights residents Gary Snyder and Elsa Gidlow, and Bay Area poet Michael McClure. Headlands Lookout is punctuated throughout by contemporary call records to the Marin County Sheriff, offering glimpses of individual, human-scale dramas, set against a backdrop of ever-present nature and delineated landscapes.


Jacob Cartwright and Nick Jordan are artists based in Manchester, UK. Their work has been exhibited internationally, including at ICA, London; Centre for Contemporary Culture, Moscow; Academia de Cine, Madrid; and Musée du Quai Branly, Paris. Their collaborative practice is cross-disciplinary, encompassing video, drawing, painting, photography, objects, publications and events, often exploring the relationship between the natural world and our multifaceted cultural histories.

Arturo lavorato, Felice D'AGOSTINO
In attesa dell'avvento
Doc. expérimental | hdv | couleur et n&b | 22:20 | Italie | 2011

1861 - 1971 – 2011. Dates, but also firm props of the official rhetoric that formulates and reformulates the interpretation of actual history. 1861’s celebrations of Italian Unification see us now in this tough 2011, disclosing a strong emphasis that clashes against the unresolved Italian past. Playing with the banality of historical dates, the film wedges a third date Reggio Calabria’s 1971 revolt. Unsettling shadows coming back to disturb the order with which politicians wish to govern the present crisis.


Arturo Lavorato, born in 1974, and Felice d’Agostino, born in 1978, are film directors, directors of photography and editors. They co-directed all of their work in their home region, Calabria. Their films have been shown in many festivals (Cinéma du réel 2005 and 2006) and won awards around the world, including the Orrizonti prize at the 68th Mostra de Venezia and Best documentary at the Torino Film Festival in 2005.

In the presence of Eléonore de Montesquiou and Jacob Cartwright.
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