Berlin 2015 programme
 1 pm   3 pm   5 pm   7 pm   9 pm 
Sunday

June 28
1 pm

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

Displacement

Anton ginzburg: Pan | Film exprimental | 16mm | couleur | 5:45 | USA | 2014 see more
Adam chodzko: Knots | Fiction exprimentale | hdv | couleur | 8:5 | Royaume-Uni | 2013 see more
Kent chan: Orphic Oracular | Fiction exprimentale | hdv | couleur | 10:16 | Singapour | 2014 see more
Louidgi beltrame: the walking tree | Doc. exprimental | 16mm | couleur | 35:0 | France | 2014 see more
Lina selander, Oscar Mangione: Silphium | Vido | hdv | noir et blanc | 22:9 | Allemagne | 2014 see more
Anton ginzburg
Pan
Film exprimental | 16mm | couleur | 5:45 | USA | 2014

The film Pan (2014) by Anton Ginzburg, explores the genealogy and interactions of reproduction technologies from 16mm film to video formats. It examines variations of the mechanical gaze and its disembodiment in relation to the architectural representation and historical context. The hybrid aura offers an interplay and reconsideration of temporal and spatial relationships.


Anton Ginzburg is a New Yorkbased artist and filmmaker who uses an array of historical and cultural references as starting points for his investigations into arts capacity to penetrate layers of the past and reflect on the contemporary experience. Born in 1974 in Saint Petersburg, Russia, Ginzburg received a classical arts education before immigrating to the United States in 1990. He earned a BFA from Parsons The New School for Design in 1997 and MFA degree from Bard College, Milton Avery Graduate School of Arts, Annandale-on-Hudson, New York. His art has been shown at the fifty-fourth Venice Biennale, Blaffer Art Museum at the University of Houston, Palais de Tokyo in Paris, the San Francisco Museum of Modern Art, White Columns in New York, Lille3000 in Euralille, France, the first and second Moscow Biennales, and the Cooper-Hewitt, Smithsonian Design Museum in New York. His work is represented in the permanent collections of the San Francisco Museum of Modern Art and the Moscow Museum of Modern Art, as well as in private collections around the world.

Adam chodzko
Knots
Fiction exprimentale | hdv | couleur | 8:5 | Royaume-Uni | 2013

In Knots, Adam Chodzko focuses on the remote but important relationship between the artist Kurt Schwitters, in the final years of his life in the late 1940s, living in poverty and exile in Englands Lake District, and J. Edgar Kaufmann, the wealthy owner of the Kaufman Department Store in Pittsburgh, USA. Kaufmann had arranged for money to be wired to Schwitters so that he could develop a new Merz structure. Chodzko plays with the desire to conclude and tie up the loose and disparate ends of this narrative. He imagines the now empty Merzbarn (Schwitters final work having been removed to a Newcastle museum in 1965) as a vacuum, sucking in thoughts, desires and matter; all caught up in the vortex of a dream-like surreality. Kaufmann had commissioned Frank Lloyd Wright to design his Pittsburgh office, a structure that itself was also later displaced from its source when donated to the Victoria & Albert Museum, London. Chodzko sees the interior spaces that Schwitters and Kaufmann worked within as unstable, flowing, collaged together, as though becoming a Merz themselves, whilst the form of the video also echoes this process of construction and deconstruction. Knots is a mesmerizing combination of fact and fiction, text and moving image building a story about longing, creation and fragmentation, endings and beginnings, networks of people and isolated individuals, separations and notions of home. It was commissioned by Tate Britain in 2012.


Adam Chodzkos art explores the interactions and possibilities of human behaviour by investigating the space between how we are and how we could be. Working across media, from video installation to subtle interventions, with a practice that is situated both within the gallery and the wider public realm, his work investigates and invents the possibilities of collective imagination through using a poetics of everyday life. By wondering how, through the visual, we might best engage with the existence of others he reveals the realities that emerge from the search for this knowledge. Chodzko's art proposes new relationships between our value and belief systems, exploring their effect on our communal and private spaces and the documents and fictions that control, describe and guide them. Working directly with the networks of people and places that surround him, often using forms of anthropology, Chodzko focuses on the relational politics of culture's edges, endings, displacements, transitions and disappearances through a provocative looking in the 'wrong' place; a search for knowledge through instability. His art is catalysed by imagining a collapse of the category of Art, requiring not only a new audience but also a new status for the art object. Chodzkos practice operates in the tight, poetic spaces he evolves between documentary and fantasy, conceptualism and surrealism, and public and private space, often engaging reflexively and directly with the role of the viewer. Intimate collections and ephemeral communities are frequently generated through his works; assemblies of owners of a particular jacket and a reunion of the children 'murdered' in a Pasolini film; a god look-alike contest; lighting technicians asked to advise on the light in heaven; a London gallery's archive given to a group of Kurdish asylum seekers to edit and hide outside the capital; the multi-faceted Design for a Carnival, the evolution of a ritual event for the future including Settlement, the legal purchase of a square foot of land as a gift to a stranger, Nightshift, a late night parade of nocturnal animals to the Frieze Art Fair, London and M-path, the collection and distribution of perception-changing footwear for gallery visitors. More recently a trilogy science fiction video and mixed media works, Hole, Around and Pyramid, have all explored, the idea of art becoming a vehicle for a communitys collective mythology, whilst Echo, The Pickers and Ghost elaborate these themes through excavating processes of memory, empathy and the imaginary. Because, 2013 (at Tate Britain) and We are Ready for your Arrival, 2013 (at Raven Row) further develop these ideas through manifestations of the unconscious relationships between individuals and groups; their excesses and disappearances. Born in 1965. Lives and works in Whitstable, Kent, UK. Since 1991 Chodzko has exhibited extensively in international solo and group exhibitions including: Raven Row, London; Tate Britain; Tate, St Ives; Museo d'Arte Moderna, Bologna (MAMBo); The Benaki Museum, Athens; Athens Biennale, Istanbul Biennale, Venice Biennale; Royal Academy, London; Deste Foundation, Athens; PS1, NY; Ikon Gallery, Birmingham, Kunstmuseum Luzern etc. Recent projects include commissions by Creative Time, New York, The Contemporary Art Society, Frieze Art Fair, and Hayward Gallery. In 2002 he received awards from the Hamlyn Foundation and the Foundation for Contemporary Art, New York, and in 2007 was awarded an AHRC Research Fellowship in the Film Department at the University of Kent, Canterbury. His work is in the collections of the Tate, The British Council, The British Film Institute, The Arts Council, APT, Auckland City Art Gallery, Contemporary Art Society Collection, The Creative Foundation, Frac Languedoc-Rousillon, GAM - Galleria dArte Moderna, Turin, Grizedale Arts, MAMBo - Museo dArte Moderna di Bologna, Plains Arts Museum, North Dakota, USA, Saatchi Collection, South London Gallery, Towner Gallery Eastbourne, and international private collections.

Kent chan
Orphic Oracular
Fiction exprimentale | hdv | couleur | 10:16 | Singapour | 2014

A woman follows a man through a man-made forest. Night falls and she narrates a tale that is at once distant yet familiar. The man she follows undergoes a transformation. Elsewhere we find a wanderer concocting a recipe and deep at night, in an empty amphitheatre a man performs with fire. Orphic Oracular, as its title suggests is a vision of a future that recalls the past.


Kent Chan (b. 1984) is an artist, filmmaker and curator based in Singapore and Amsterdam. His practice revolves around our encounters with art, fiction and cinema that explore the links between aesthetic experience and knowledge production. The works and practices of others often form the locus of his works, which examines the ambiguity that lies at the interstices of art (making) and daily life. His works have taken the form of film, text, situations and exhibitions. Trained as a filmmaker, filmmaking forms the basis of his work. Not merely in terms of medium, the cinematic as aesthetic and methodology underpins and informs his practice. Kent uses text and the image medium to construct narratives that investigate the inherent conflicts and issues within the subject matter that he examines. Areas of interest that his works have explored include notions of cultural identities, myths and modernity. His works has been shown internationally in both film festivals and exhibitions in Asia and Europe. He has held his solo exhibition at The Substation in Singapore. Recent group exhibitions include the 4th Taiwan International Video Art Exhibition 2014 and the Busan Biennale 2014.

Louidgi beltrame
the walking tree
Doc. exprimental | 16mm | couleur | 35:0 | France | 2014

Louidgi Beltrame filme en 16 mm un grand banyan situ dans le jardin botanique de Calcutta. Cet arbre, qui a la particularit de stendre en rhizome sur plusieurs centaines de mtres, est approch comme une fort de clones, un espace mtaphysique o des histoires refont surface : lhistoire de linvention et du dveloppement parallle de la photographie et de la tlgraphie dans le contexte de lInde colonise, le rve de Linn selon Foucault, des rminiscences du cinma Bengali de Ritwik Ghatak et de Satyajit Ray o rel et fiction se sont rencontrs.

Louidgi Beltrame est n Marseille en 1971. Il vit et travaille Paris. Le travail de Louidgi Beltrame se dveloppe autour dune documentation des modes dorganisation humaine dans lhistoire du 20me sicle. Il se dplace sur des sites dfinis par une relation paradigmatique la modernit : Hiroshima, Rio de Janeiro, Brasilia, Chandigarh, Tchernobyl ou encore la colonie minire de Gunkanjima au large de Nagasaki. Ses films - qui reposent sur lenregistrement du rel et la constitution dune archive - font appel la fiction comme une manire possible denvisager lHistoire.

Lina selander, Oscar Mangione
Silphium
Vido | hdv | noir et blanc | 22:9 | Allemagne | 2014

In the first sequences of Lina Selanders new film a story is told about the ancient, now extinct, plant silphium. The plant grew on the coast outside the North African town Cyrenea settlement of Greeks from the overpopulated island of Thera in 630 BCwhich became the main town in the Greek colony, situated in todays Libya. The plant was famous for its medical usage (it was used as a contraceptive and abortifacient) and for its richness in flavour, which made it the base of the colonys export. Its importance for the economic wealth was so crucial that the image of silphium was imprinted on the coins. When exploitation of the plant led to extinction, the city declined. As is often the case in Selanders works, the film builds on layers of images and meaning, layers that link history and pre-history to contemporary society, and in which nature as a prerequisite for life is one of the focal points. The human strive for development and expansion, the desire for control over nature, and above allvisual control, depiction and surveillance, is always met by another contradicting force. The nature looks back at us, its eyes emptya reoccurring image in Selanders film. In Silphium this double movement of visual and earthly mastery and its oppositeloss of visual control, awareness of vulnerabilityis first expressed in a shot of the famous 16th-century painting The Ambassadors by Hans Holbein. The ambassadors are depicted together with the emblems of wealth and superiority of the countries they are the representatives for. A contradicting image is hidden until you view the painting from a specific angle, but when you do a human skull becomes visible, the sign of mortality. Selander lets the image oscillate in and out of visibility; the painted image emerges as in a rupture of light in the dark whilst mumbling voices countnumbers, years maybe. The sound fragment is a loan from Chris Markers 1962 film La Jeteanother important point of reference. The films narrative tells the story of how a man is used in time travel experiments in order to save the world. He travels through sediments of memory and images, much in the same way as Selanders film, only to return to his beginning.


Lina Selander (b. 1973) lives and works in Stockholm, Sweden. She works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations in which these different medias converge and interrelate to one another. She is interested in the images ability and lack of ability to reproduce time, experience and memories and she explores how narration is created and how different techniques transform a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archaeology and authenticity. Selanders work has been shown at Index - The Swedish Contemporary Art Foundation, Moderna Museet, Kunsthall Trondheim and in international group shows such as Manifesta 9 in Genk, Belgium and the Bucharest Biennale 2010 and at Haus Kulturen der Welt, Berlin, Seoul International Media Art Biennale and upcoming exhibitions such as Momenta Art, New York, INIVA, London and she also representing Sweden in the 56th Venice Biennale 2015.

Sunday

June 28
3 pm

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

Workers

Christian barani: Prolgomne la lumire | Doc. exprimental | dv | couleur | 7:0 | Kazakhstan | 2013 see more
Chen Hung chiu: 大理石廠工人 | Doc. exprimental | hdv | couleur | 7:30 | | Taiwan | 2013 see more
Kevin Jerome everson: Workers Leaving the Job Site | Film exprimental | 16mm | couleur | 6:50 | USA | 2013 see more
Kevin Jerome everson: Tygers | Film exprimental | 16mm | noir et blanc | 2:0 | USA | 2014 see more
Simon gush, Gush: Iseeyou | Vido | hdv | noir et blanc | 13:52 | Afrique du sud | 2013 see more
Michael busch: Buch Der Gesichte, Kapitel 1-5 | Vido | hdv | couleur | 15:0 | Allemagne | 2014 see more
John skoog: Federsee | Doc. exprimental | hdv | couleur | 8:2 | Allemagne | 2014 see more
Eduardo williams: Ti qun rồi ! | Doc. exprimental | hdv | couleur | 29:0 | Argentine | 2014 see more
Christian barani
Prolgomne la lumire
Doc. exprimental | dv | couleur | 7:0 | Kazakhstan | 2013

KAZAKHSTAN. Mine de Kouzembaev dans les steppes de Karaganda. Durant l'poque sovitique, les mineurs bnficiaient dun trs grand respect de la part du rgime et de la population. Ce statut tait d aux nombreux sacrifices subis pour la construction du pays. Depuis la chute du mur, une socit librale est apparue. Avec lui, lindividualisme, le chmage et la crise. Les mines ferment les unes aprs les autres. Sur 28 mines prsentent dans la rgion, seules 8 sont encore en service. Dans la mine du hros Kouzembav, dans cet instant qui prcde la descente dans le noir, seule la lumire persiste pour honorer ces corps.

Christian Barani est n en 1959. Il construit une pratique qui associe le champ du documentaire celui des Arts Visuels. Dans le processus de ralisation, il est question dexprience engageant un corps/camra marchant dans lespace. Pour filmer, il se dfinit une rgle du jeu qui compose avec le hasard et limprovisation. Pas de scnario pralable. La marche est utilise comme un vecteur de rencontres. Tout se joue dans linstant. Au terme de lexprience, un matriau est rcolt. Il prendra diffrentes formes en fonction du projet venir, des lieux dexposition : film, installation, performance

Chen Hung chiu
大理石廠工人
Doc. exprimental | hdv | couleur | 7:30 | | 2013

The video shows two Tai labors in Hualien marble factory pushed a trolley used in the past particularly for mine district, today , this old style trolley has been replaced by the new style crane, Artist invites two labors walking back and forth through the old trolley that he gilded by covering gold leaves as a divinized presentation. This work therefore has blended and mixed the reality and memory in life like the layers of wrinkles and folds in the stratum, the viewer could create an archaeological journey from the imaginations in many aspects.


Chen-Hung Chiu creative works revolve around collecting those inadvertently hidden objects / people and legends surrounding him, as well as rewriting the ambiguous ties between these "anonymous identities" and the locality, in a sense analogous to the connections between body and building, city and cells, monuments and intimacy. Comparable to the process of remodeling monuments, he strips away the logic designed and rationalized by social structures in attempt to rename those that offer significance and meaning to each material. Yet, unlike the citations made through reminiscing in the past, his works are instead sincere observations which explore personal experience and logic. Important exhibitions Chiu participated in include the Liverpool Biennial: City States(2012), ThaiTai:A Measure of Understanding, Bangkok Art and Culture Centre(2012), Une terrible poetique, La Biennale de Lyon, Galerie Olivier Hong(2011), Arte da Taiwan, Museo di Arte Contemporanea di Villa Croce, Genova(2011), Taiwan Calling-The Phantom of Liberty, Mucsarnot Museum, Budapest(2010), etc. in 2012, he was also chosen as an artist in residence at Cite internationale des arts Paris for the 12th Visual Arts Talent Exchange Program conducted by the Taiwan Ministry of Culture.

Kevin Jerome everson
Workers Leaving the Job Site
Film exprimental | 16mm | couleur | 6:50 | USA | 2013

Workers Leaving the Job Site is another take on the Lumiere Brothers classic 1895 film. Shot in Columbus, Mississippi, the hometown of the filmmaker's parents.


Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Clevelands MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

Kevin Jerome everson
Tygers
Film exprimental | 16mm | noir et blanc | 2:0 | USA | 2014

Tygers (2014) is a glance at the fancy moves by the Mansfield Senior High football team in Mansfield, Ohio, the alma mater of the filmmaker.


Kevin Jerome Everson: Filmmaker Biography Kevin Jerome Everson (b.1965) was born and raised in Mansfield, Ohio. He has a MFA from Ohio University and a BFA from the University of Akron. He is currently a Professor of Art at the University of Virginia, Charlottesville. Everson was awarded the prestigious 2012 Alpert Award for Film/Video and was the subject in spring 2012 of a mid-career retrospective at Visions du Reel, Nyon Switzerland, a solo exhibition at the Whitney Museum of American Art in 2011 and a retrospective at Centre Pompidou in 2009. He is slated for a solo exhibition at the Clevelands MoCA in late 2014. His films have screened at 10 consecutive IFFR editions, since 2005. His artwork--paintings, sculptures, and photographs--and films, including six features (Spicebush, 2005; Cinnamon, 2006; The Golden Age of Fish, 2008; Erie, 2010; Quality Control, 2011; The Island of St. Matthews, 2013) and over 100 short form works, have been exhibited internationally. From April-September 2011, a solo exhibition of 17 short form works, More Than That: Films of Kevin Jerome Everson, was featured at the Whitney Museum of American Art. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011. The feature film Quality Control (2011) was included in the 2012 Whitney Biennial and the short Emergency Needs (2007) in the 2008 Whitney Biennial. Everson has received numerous fellowships and academic awards including the Guggenheim, NEA, American Academy Rome Prize, and grants and residences from Creative Capital, Hallwalls Contemporary Arts Center, Yaddo and MacDowell Colony.

Simon gush, Gush
Iseeyou
Vido | hdv | noir et blanc | 13:52 | Afrique du sud | 2013

The title of the film, Iseeyou, comes from the slogan of the first multi-racial trade union in South Africa. It is a meditation of the relationship of visibility to work. Exploring public monuments to work and workers in Johannesburg, it looks at how these have been celebrated in apartheid and post-apartheid South Africa through public art. The film suggests that this celebration is a way in which the conditions of work, and often the abuse of the rights of workers, is justified through the promotion of a work ethic.


Simon Gush was born in 1981 in Pietermaritzburg, and is currently based in Johannesburg. He was a laureate at the HISK (Higher Institute for Fine Arts) in Ghent, Belgium, in 2007/8 and a Gordon Institute of Performing and Creative Arts Fellow at the University of Cape Town in 2011. Solo exhibitions have taken place at the SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent (2010); and West, Den Haag, the Netherlands (2010); in addition to Stevenson Cape Town (2009, 2010 and 2013) and Johannesburg (2009 and 2011). Notable group exhibitions include My Joburg at La Maison Rouge, Paris,and the Staatliche Kunstsammlungen Dresden (2013); Present Unlimited, Sofia Contemporary, Fabrica 126, Sofia, Bulgaria (2012); Mind the System, Find the Gap, Z33, Hasselt, Belgium (2012); Connections, Kunsthalle Luzern, Luzern, Switzerland(2011); the 2009 Lule Summer Biennial, Sweden; and .za: Young Art from South Africa at Palazzo delle Papesse, Siena (2008). Alongside his artistic practice, Gush has collaborated in founding and facilitating a number of alternative temporary exhibition platforms, most notably the Parking Gallery, Johannesburg.

Michael busch
Buch Der Gesichte, Kapitel 1-5
Vido | hdv | couleur | 15:0 | Allemagne | 2014

"Gesichte" is an old fashioned german word, close to "Gesichter", which means "faces", but these faces are more of a vision, an image from a dream or a hallucination, it is about inner landscapes. The one who sees these phantoms is in a transcendent room, an undefined in-between. "Gesichte" also appears in the japanese Noh theatre plays, where real people meet ghosts, souls of the passed, that find no rest. The Visions Book - in Germany nearly a translation of "facebook" - is a collection of my obsession of this worlds in-between, merging worlds, overlapping worlds, overlapping like two green screen video images, not accurate enough to avoid the light greenish shimmer in the hair of the teenage model. The basis of this collection is the photographic still image, the frozen pose. The film is like a photobook in time, the "book" like part of it like a page of a facebook chronical, a pile of short clips, pix, texts, comments, in a boundless subjectivity.


Born in 1965, artist, filmmaker, he studied fine arts at University Of Fine Arts, Berlin 1993-98 and graduated at the class for experimental film and arts of Heinz Emigholz, 1999. From 2006 to 2011 he has been teaching film at Filmakademie Ludwigsburg. From 2007 to 2012 he held a professorship at University Of Fine Arts, Berlin in the "experimental film" class and works as a film music composer, script writer, editing consultant. His own films include WORDS FOR WINDOWS (1996, 15 min. WP Int Forum Des Jungen Films, Berlinale GER) HYPERBOOKS (1999, 38min, WP Int. Short Film Days Oberhausen GER) VIRTUAL VAMPIRE (1999; 92 min, WP Max Ophls Prize,Saarbrucken, GER) SEVEN HEAVENS (2005, 92min,WP Torino Int. Film Festival, I) THE ELECTRIC PARADISE (2010,208min, WP Int. Forum Expanded, Berlinale; GER) ERSTER SCHNEE (2014, 27 min, in postproduction) and the project VISIONS BOOK (2012-2014) Michael Busch lives and works in Berlin.

John skoog
Federsee
Doc. exprimental | hdv | couleur | 8:2 | Allemagne | 2014

A film that looks at the traditional folklore surrounding the celebration of Fasnet (carnival) in the small Schwabian town of Bad Buchau.


Working with film and video John Skoog follows in the tradition of Scandinavian film making through the use of stark landscapes and slow pacing. The poetic use of the Swedish landscape and powerful studies of character and emotion evoke memories of film works by cinema greats such as Victor Sjostrom and Mauritz Stiller. Skoog has been awarded the Baloise Art Prize, Art Basel (2014), 1KM film scholarship from Stockholm Film festival (2013), the Hessische Kulturstiftung travel grant (2013), the ARS-VIVA Prize (2013/14), Malm Art Museum 2013 Art Grant, Aase & Richard Bjrklund fund, and the ARTFILM Prize, Lichter International Film Festival (2013) and a one year working grant from Stiftung Kunstfonds, Bonn (2014). As part of winning the Ars-Viva Prize 2013/14, Skoog has shown at Neues Museum Weimar, MMK Museum fur Moderne Kunst Frankfurt am Main and GAM Galleria civica darte moderna e contemporanea Torino. In 2015, as the winner of the Baloise Art Prize, Skoog will have two major solo exhibitions at Museum fr Moderne Kunst (MMK), Frankfurt am Main and Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK). Born in Kvidinge 1985, Skoog graduated from the Staedelschule, Frankfurt in 2012. Selected shows and festivals include: Real DMZ Project 2014, Cheorwon-gun, Gangwon-do & Artsonje Center, Seoul (2014); Redoubt, Towner Contemporary Art Museum, Eastbourne (2014); A Time for Dreams: 4th Moscow International Biennale for Young Art, National Centre for Contemporary Arts (NCCA), Moscow (2014); Ars Viva Preis: Truth/Reality Bjrn Braun, John Skoog and Adrian Williams, MMK Museum fur Moderne Kunst Frankfurt am Main DE; GAM Galleria civica darte moderna e contemporanea, Turin IT (2014); Taming the Narrative, Basis as a part of b3 Biennale, Frankfurt am Main (2013); Echo Release, NKV Nassauischer Kunstverein Wiesbaden, Wiesbaden (2013); Internationale Kurzfilmtage Oberhausen (2014 & -13); Weltkulturen Museum, Frankfurt am Main (2013); Video_Dumbo, Eyebeam Art + Technology Center, New York (2013); Spectrum Rotterdam International Film Festival, Rotterdam (2013); Sent p Jorden, Art Lab Gnesta, Gnesta (2013); Indielisboa, Lisbon International Film Festival, Lisbon, (2014 & -12), Onde, Torino International Film Festival, (2011), Rencontres Internationales: Paris, Centre Pompidou, Paris, (2014 & -11), En passant (with et al.*), Schirn Kunsthalle, Frankfurt am Main, (2011), In the absence of Glenn Gould, Ludlow 38, Goethe Institute, New York City (2008) and PS1 Contemporary Art Center, Long Island City, New York, (2007), Malm1, Malm Konsthall, Malm (2004). John Skoog lives and works in Frankfurt.

Eduardo williams
Ti qun rồi !
Doc. exprimental | hdv | couleur | 29:0 | Argentine | 2014

Grimpez-l, sautons, les champs sont verts et les maisons grises. Nous sommes tous petits. Je sens que les pores de ma peau deviennent gants.

Eduardo Williams studied at the Universidad del Cine in Buenos Aires (Argentina), then at Le Fresnoy, Studio National des Arts Contemporains (France). Ti qun rồi ! (I Forgot !) is his sixth short film. He previously directed the following short films : Que Caigo ? (That I`m falling ?), 2013 El ruido de las estrellas me aturde (The sound of stars dazes me), 2012 Pude ver un puma (Could see a puma), 2011 Tan Atentos (Beware), 2010 Alguien los vio (They were seen), 2010

In the presence of Michael Busch.
Sunday

June 28
5 pm

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

On the other side

Manuel billi: Battre, enlever | Vido | hdv | couleur | 11:0 | Italie | 2014 see more
Jorunn myklebust syversen: Cyrk | Doc. exprimental | hdv | couleur | 20:19 | Norvge | 2014 see more
Cristina picchi: Zima | Doc. exprimental | hdv | couleur | 11:27 | Russie | 2013 see more
Pirre Edouard dumora: Evil Men Do | Doc. exprimental | | couleur | 50:0 | Maroc, USA | 2014 see more
Manuel billi
Battre, enlever
Vido | hdv | couleur | 11:0 | Italie | 2014

Maintenant, je suis partout Maintenant, je te suis partout . Des paupires qui souvrent et se ferment en battant le rythme dune rencontre amoureuse. Des captations de tlphone portable qui enlvent au rel le sentiment du vcu. "Battre, enlever" est un compte-rendu vraisemblable de faits qui nont pas eu lieu ou qui ont eu lieu autrement, le rcit dun amour qui bride et lve la fois.

Manuel Billi est crivain, scnariste et producteur. Co-fondateur du collectif d'artistes Le Gauche, il a ralis plusieurs courts-mtrages partir de captations de tlphone portable. Depuis 2013, il travaille avec Christian Merlhiot sur le scnario d'un long-mtrage de fiction.

Jorunn myklebust syversen
Cyrk
Doc. exprimental | hdv | couleur | 20:19 | Norvge | 2014

In Cyrk we meet the Circus Arnardo and the people who work there. The film stylises the life of the circus and its main character. Through the interplay of fact and fiction, the film investigates the tricks and devices used in our various forms of media and our different ways of perceiving the world. Cyrk wishes to challenge our need to understand and find meaning in the things we are asked to take on trust. Exploring the relationship between subjectivity and objectivity, between body and mind, the film conveys both the physical and the emotive aspects of the main characters story of grief and loss. Thematically, it revolves around the fear of meaninglessness as a human disposition, which we confront by seeking structure in the ideas of religion, ideology and culture. It also raises questions about the way this search for meaning, order and system on both the private and the social level can lead to the categorisation and stigmatisation of certain groups and individuals.


Jorunn Myklebust Syversen (b. 1978) graduated from Bergen National Academy of Art and Design in 2005. She lives in Oslo and is working in the field of film and videoart. She has participated in numerous international festivals, screenings and exhibitions and has received several national grants.

Cristina picchi
Zima
Doc. exprimental | hdv | couleur | 11:27 | Russie | 2013

A portrait of a season - a journey through North Russia and Siberia, through the feelings and thoughts of the people who have to cope with one of the world's harshest climates; a reality where the boundary between life and death is so thin that is sometimes almost nonexistent, where civilization constantly both fights and embraces nature and its timeless rules and rites. In these remote places, people, animals and nature itself become elements of a millennial yet unpredictable script, in which physical and mental endurance play an important role as much as chance does, where life and death constantly embrace each other. A reflection on fate, adaptation and the immutable cycles of existence.


Cristina Picchi (Lucca, 1981) is an award winning Italian filmmaker, writer and artist based in London. As a filmmaker she has directed and edited the short documentaries Zima (2013), Eyes On The Ground (2012), Under Your Skin (2011), Fragments of a Dream (2011) and The Disassociated (2011); her films have been screened in festivals and galleries worldwide. Her written work includes short stories and contributions to award-winning books. She holds a degree and an MA in European Literature from the University of Pisa and and a master`s degree in Screen Documentary from Goldsmiths University.

Pirre Edouard dumora
Evil Men Do
Doc. exprimental | | couleur | 50:0 | Maroc, USA | 2014

Un homme part dans le dsert du Sahara rechercher le Gant qui lui a sauv la vie. puis par sa qute, il s'croule sur le sable. Il se rveille,masqu, dans une fort amricaine.

Pierre Edouard Dumora explore les mythologies personnelles et le recours à limaginaire comme moyen de composer avec le réel. Ses films associent rves et visions, et mlent diffrents lieux, poques et mondes, souvent lis par la voix d'un conteur. Le son est l'lment central de son travail en ce qu'il transforme l'image, rvle l'invisible et ouvre de nouvelles dimensions dans l'espace et le temps. Pierre Edouard Dumora est diplm du Fresnoy.

In the presence of Pierre Edouard Dumora .
Sunday

June 28
7 pm

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

This instant

Halida boughriet: pandore | Vido | hdv | couleur | 8:44 | France | 2014 see more
Dominik ritszel: Film o szkole | Fiction exprimentale | hdv | couleur | 8:59 | Pologne | 2014 see more
Marta serna: SnakeBoy | Animation | hdv | noir et blanc | 0:34 | Espagne | 2014 see more
Justin schmitz: What Else Could This Be | Doc. exprimental | hdv | couleur | 20:9 | USA | 2013 see more
Dsire pfenninger: Ochs am Berg | Fiction | 16mm | couleur | 15:48 | Allemagne | 2014 see more
Josef dabernig: River Plate | Film exprimental | 35mm | noir et blanc | 16:0 | Italie | 2013 see more
Hannes schpbach: Instants | Documentaire exp. | 16mm | couleur | 16:0 | Suisse | 2012 see more
Halida boughriet
pandore
Vido | hdv | couleur | 8:44 | France | 2014

La vido Pandore se concentre sur un groupe social, enfants en marge du reste de la socit franaise. Portant un regard sombre et inquitant sur la ralit des rapports humains et aussi du systme mdiatique la violence qui en dcoule. Les protagonistes sont invits se dvoiler, tmoignant de leurs histoires qui renvoient limage dun pass et dun prsent "Mythe ou Ralit". Ils se mettent en scne dans des positions et postures artificielles, filmes par des squences au ralenti extrmement fluides. Enfin, La lumire travaille inviter le spectateur une curieuse contemplation dans lintimit dun espace clos et artificiel, dgageant une atmosphre irrelle et anormale.

Halida Boughriet est une artiste franaise dorigine algrienne. Anciennement diplme de lcole nationale suprieure des beaux-arts de Paris et du programme dchange de la SVA section cinma New York jusquen 2005. Halida Boughriet explore un large ventail de mdia travers ses uvres. Elle accorde une place centrale la performance, dont les structures de son langage artistique lui donne une varit de formes. Au carrefour dune proccupation esthtique, sociale et politique, ses pices sefforcent de saisir les tensions dans les relations humaines mises en vidence par la socit. Le corps est omniprsent, comme un instrument de geste potique exprimental. Ses uvres font partie de la collection Nouveaux Mdias du Centre Pompidou (Paris) et du muse MAC / VAL (Vitry -sur-Seine). Ses travaux ont t prsents dans de nombreuses expositions dont Elles@centrepompidou (2011, Paris), y compris au FIAC dAlger (2011, Algrie), lInstitut du Monde Arabe, (2012, Paris) pour lexposition Le corps dcouvert. En 2013, au Muse dArt et dHistoire de Saint-Denis (Seine-Saint-Denis) pour Chapelle vido # 4. Plus rcemment, elle participe Vido et aprs au Centre Pompidou et la Biennale internationale de DakArt 2014 (Dakar, Sngal).

Dominik ritszel
Film o szkole
Fiction exprimentale | hdv | couleur | 8:59 | Pologne | 2014

The video was recorded in primary school, which I graduated in 2003. This work is inspired by architectural elements in space of the school. I am mainly interested about functionality of certain spaces of the school, for example halls, passages, gyms, dressing room and also how institutional rules and statutes can take a form of game.


Dominik Ritszel was born in 1988 in Rybnik. He studied at the Faculty of Graphics in the Institute of Arts at the University of Silesia in Cieszyn and at the Academy of Fine Arts in Katowice, where he did graphic arts. His works were exhibited, among others, at international video art festivals Les Rencontres Internationales (Gat Lyrique, Palais de Tokyo, Paris) and Video Art Review THE 02 Spaces as a tool for shaping social attitudes. He participated in group exhibitions - in the Show Off Section at the Krakow Photomonth Festival (2013), Curators Network in the Museum of Contemporary Art (MOCAK) in Krakow (2012), Mum, I just really need to focus on my art right now in the Arsenał Gallery in Poznan (2012), among others, and in a joint exhibition presenting works of young Silesian artists Mleczne Zęby (Milk Teeth) in the BWA Contemporary Art Gallery in Katowice (2013). He had individual exhibitions in the Centre for Contemporary Arts Kronika in Bytom and in the Silesian Museum in Katowice. He was chosen among the three finalists of the Talenty Trjki 2013 contest in the Visual Arts category, he was short-listed for the Grey House Foundation Prize. In 2014 he was granted the Young Poland Programme scholarship. In spring 2014 as an artist in residence he stayed in the A-I-R Laboratory in the Centre for Contemporary Art Ujazdowski Castle where he produced Versus, showed in Ujazdowski Castle in Bank PEKO Project Room (Warsaw).

Marta serna
SnakeBoy
Animation | hdv | noir et blanc | 0:34 | Espagne | 2014

SnakeBoy is the first video of the serie Immaculate Dreams. Its an animated portrait of a real person who creates a fictionalised version of himself, in what represents a journey through his own dreams. It features SnakeBoy riding a snake as a cowboy, truly enjoying being in control of the situation. Immaculate Dreams is about the possibility of turning a dark or unpleasant journey into something luminous and flawless through the exorcism of staging. The main characters will have to stage some of their dreamlike experiences in order to carry out their own animated portrait of their dreams and hence portraying themselves in a more intimate, personal way.


Marta Serna. Visual artist. Graduated from Complutense University of Madrid (1993) with a degree in Fine Arts, majoring in Painting. She also studied Classical Dance at the Royal College of London, Spanish Dance at the Royal Conservatory of Crdoba and Oriental Dance. She has created stage sets for films, theatre and television, and has taken part with diferent dance companys In worshops and performances, including Contemporary Stage. As a visual artist she is concentrated on drawings and illustration, traditional animation video, mural Installations in vinyl and plastics sculptures . She has shown her work in Spain, U.K, France, Germany, Bulgary, Yugoslavia, Lebannon, Jordan, Algeria Mexico and USA. Sernas latest solo exhibition are: SnakeBoyOpen Studio, Madrid (2014),Abecedario para Monstruitos Rita Castellote Gallery, Madrid(2012) Misty Eyes & Mourning Stones Gallery Asm28 , Madrid ( 2011), Winter Tale Espacio Frgil, Madrid . Black Sparkle, Espacio Marzana, Bilbao, and Black Wings, Domus Artium, Salamanca, all of them in Spain (2010). Dark Delicate, Galeria Cubo Azul, Len (2009) Blood Breath, NO-ID Gallery, London, and Cruel butFair, Rosa Santos Gallery, Valencia (2008) Havoc Amazing Cosmic Trip, Proyect 142, London (2007) Havoc Oddity, Cubo Azul Gallery, Len. 2006) and the visual proyect Bloody Little Creatures in London for the musical group The Cure. In 2008 receives the Prize of Artstical Creation for the Madrid Community for the creation of traditional video animation Cat Power.

Justin schmitz
What Else Could This Be
Doc. exprimental | hdv | couleur | 20:9 | USA | 2013

What Else Could This Be is a portrait of a world that exists between childhood and adulthood. This is a view of American youth as seen in the strip malls, the backseats of cars, and the empty parking lots. These youth idly bide their time, waiting to grow up. This film is a meditation on youth, transition, and wanting to connect in the world.


Justin Schmitz is an artist living working in the Midwestern United States. He received a MFA from Yale University in 2013 and a BFA from Columbia College Chicago in 2004. He was awarded the Toby Devan Lewis Fellowship by the Yale University School of Art and the Tierney Fellowship for Excellence in Photography by the Tierney Family Foundation. Justin is also the recipient of The City of Chicago Community Artist Assistance Program Grant, The Union Civic and Art League Scholarship, and The Albert P. Wiesman Scholarship. He was a finalist for the Honickman First Book Prize at Duke Universitys Center for Documentary Studies and the Photography Book Now Prize. His work was part of The Museum of Contemporary Photographys Midwest Photography Project and the Indie Photo Book Library. Schmitz has exhibited around Chicago at C33, The Coat Check Gallery, Gardenfresh, Heaven Gallery, the Evanston Biennial, and Version Festival. His work has been exhibited elsewhere including The Aperture Foundation, Belfast School of Art, and Yale University School of Art. Schmitz is Currently the Photography Fellow at the Lamar Dodd School of Art at the University of Georgia.

Dsire pfenninger
Ochs am Berg
Fiction | 16mm | couleur | 15:48 | Allemagne | 2014

A rest stop docks the highway like a moonbase. Within this transit space a young man and a young woman drift in their orbits. A German love story.


After her first steps in the movie industry Dsire decided not to study film. After finishing studies in photo engineering and further filmexperiments she signed up for directing classes in Paris and Potsdam.

Josef dabernig
River Plate
Film exprimental | 35mm | noir et blanc | 16:0 | Italie | 2013

River Plate displays a micro society in a fragmented body-narration. Knees, shoulders, feet and bellies are signifiers of articulated human presence, revealing nothing else against a claustrophobic background of cement, stone and water.


Born 1956 in Ktschach-Mauthen, Austria. Visual artist, studied sculpture at the Academy of fine Aers, Vienna. Short films since 1994. Lives in Vienna

 Exhibitions include among others the 9. Gwangju Biennial (2012), the Venice Biennials (2003, 2001) and Manifesta 3, Ljubljana (2000). Film Festival participations at Locarno International Film Festival (2008, 2002), London Film Festival (2009), Mar del Plata International Film Festival (2011, 2007), Melbourne International Film Festival (2001), International Short Film Festival Oberhausen (2009, 2006), International Film Festival Rotterdam (2011, 2000), Toronto International Film Festival (2009, 2006) and Venice Film Festival (2011), where his short film Hypercrises has been nominated for the European Film Academy Award Monographs have been published by Kerber PhotoArt (2013), JRP|Ringier, Zurich (2008) and Verlag der Buchhandlung Walther Knig (2005).

Hannes schpbach
Instants
Documentaire exp. | 16mm | couleur | 16:0 | Suisse | 2012

Les instants arrivent, ils se manifestent pour nous et travers nous. Comme la jeune fille qui atterrit dans limage en desse du vent et dont les mouvements se figent en attitudes, en une suite dimages arrtes. Entre les instants, des relations, videntes ou imagines, se crent. Une main crit phrase aprs phrase dans un carnet, sinterrompt, recommence ; elle marque ainsi une boucle et un retour en arrire. Ce qui a t ressenti prend alors forme. Les petits heurts, les frictions et les pauses dans la succession des images composent ce corps dinstants qui produit un langage. H. S. (Traduction : Isabelle Ribadeau Dumas)

Hannes Schpbach was born in Winterthur (Switzerland) in 1965. He is a visual artist and writer. Since 1999 Schpbach has completed ten silent films. However, his artistic practice with elements of the cinematographic dates back to 1990, with spatial installations and serial paintings that can be experienced through movement. In the exhibition Stills and Movies at Kunsthalle Basel, 2009, a number of his large, connected series of paintings were shown for the first time. The exhibition also highlighted the conceptual interconnections between installations, performances, and films by Schpbach; they all entice movement and unfold through memory. Cat.: Hannes Schpbach: Cinema Elements, Films, Paintings, and Performances 19892008, Zurich: Scheidegger & Spiess, 2009, distributed in North America by Chicago University Press. His films have been presented at Museo Nacional Centro de Arte Reina Sofa, Madrid, Harvard Film Archive, Cambridge, Tate Modern, London (2009); CCCB Barcelona, Kunstmuseum Bern (2011); Centre Pompidou, Paris, Kunsthalle Vienna, LUX/ICA Biennial of Moving Images, London, Kunstmuseum Winterthur (2012); Arsenal, Berlin, School of the Art Institute of Chicago (Conversations at the Edge), Toronto International Film Festival, Whitechapel Gallery, London (2013); International Film Festival Rotterdam, Literaturhaus Zrich (2014).

In the presence of Halida Boughriet, Josef Dabernig and Hannes Schüpbach.
Sunday

June 28
9 pm

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

Closing screening

Phillip warnell: Ming of Harlem: Twenty One Storeys in the Air | Documentaire | | couleur | 70:0 | | USA | 2014 see more
Phillip warnell
Ming of Harlem: Twenty One Storeys in the Air
Documentaire | | couleur | 70:0 | | 2014

Ming of Harlem: Twenty One Storeys in the Air is an only-in-New-York account of Ming, Al, and Antoine Yates, who cohabited in a high-rise social housing apartment at Drew-Hamilton complex in Harlem for several years until 2003, when news of their dwelling caused a public outcry and collective outpouring of disbelief. On the discovery that Ming was a 500-pound pound Tiger and Al a seven-foot alligator, their story took on an astonishing dimension. The film frames Yatess recollections with a poetic study of Ming and Al, the predators presence combined with a text by philosopher Jean-Luc Nancy, reimagining the circumstances of the wild inside, animal names, strange territories, and human-animal relations.

Phillip Warnell is a filmmaker and academic based in London. He produces cinematic works exploring a range of philosophical ideas on human-animal relations and the poetics of bodily and life-world circumstances, where an interplay between film, politic and sensorium is played out. Augmented by interdisciplinary activities and partnership engagement, Warnell's recent output has involved an ongoing collaboration with philosopher and author Jean-Luc Nancy. His film work has screened internationally in festivals including: New York (NYFF, 2014); Vienna (Viennale, 2014); Marseille (FID, 2008, 09, 14); Amsterdam (IDFA, 2008, 14); Locarno (2012); Copenhagen (CPH-Dox, 2009, 14); Montreal (FNC, 2012, 14) and at curated screening programmes and exhibitions including Paris (Rencontres, 2008, 09, 12, 14); Sharjah Biennial (2013); Antwerp (Extra-City, 2014); Vienna (Fotogalerie, 2014); Tallinn (CCA, 2014). He has presented numerous performance-event works over an extended period, including at MACRO (Rome, 2004); ICA (London, 2006); Copenhagen (2009).

En présence du réalisateur.
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