2016 Paris Programme
2.30 pm 4.30 pm  6 pm   7 pm   9 pm
auditorium
grande salle
Saturday

Jan. 16
2.30 pm

Screening
Gaîté Lyrique / auditorium
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access

"Dispossessions"

Wojtek doroszuk: Prince | Doc. exprimental | hdv | couleur | 18:50 | Congo (Brazzaville) | 2014 see more
Rob todd: ICE | Film exprimental | 16mm | noir et blanc | 9:0 | USA | 2015 see more
Nicolas boone: Psaume | Fiction | 4k | couleur | 48:20 | Sngal | 2015 see more
Wojtek doroszuk
Prince
Doc. exprimental | hdv | couleur | 18:50 | Congo (Brazzaville) | 2014

A man performs the same ritual every day: he cleans his shoes, dresses up in his shiny blue suit, wears his white gloves and grey hat, and spends his time walking around Brazzaville. His presence generates an absurd apparition in the urban chaos of the city, which reflects the imaginary produced by one of the up-most icons of pop culture.


Wojtek Doroszuk (b. 1980 in Poland) is a video artist based in Krakow, Poland and Rouen, France. He graduated from the Academy of Fine Arts in Krakw, Poland, Faculty of Painting, in 2006. His works have been shown in numerous solo and group shows in, among others, Centre for Contemporary Art Ujazdowski Castle (Warsaw), Zachęta National Gallery of Art (Warsaw), Museum of Modern Art (Warsaw), Location One (New York), Marina Abramovic Institute (San Francisco), The Stenersen Museum (Oslo), Joseph Tang Gallery (Paris) etc.

Rob todd
ICE
Film exprimental | 16mm | noir et blanc | 9:0 | USA | 2015

Following the feel of black and white rising and falling through caverns and across plains.


A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Nicolas boone
Psaume
Fiction | 4k | couleur | 48:20 | Sngal | 2015

Dans un futur proche, les villages dune rgion subsaharienne sont dserts, seul les fous, les handicaps, les enfants soldats continuent errer sur ces terres arides. Dans un climat de survie, la vie sociale est rude.

A sa sortie des Beaux-Arts de Paris en 2001, Nicolas Boone ralise des tournages/perfor- mances, des films pour une fois sans camra. Son travail, entre mise en scne et captation (o, parfois, le tournage devient le film lui-mme) est protiforme : srie (BUP, 2007/2008), long mtrage en coralisation sorti en salle en 2013 (200%), films courts runis dans un mme programme (Les Dpossds, 2012)... Ses films, qui ont fait lobjet dune rtrospective intgrale au Vivo Art Center de Vancouver en 2011, ont t slectionns en maints festivals, limage du Rve de Bailu (2013 ;; prsent en 2015 au Festival international du film de Rotterdam et celui de Jeonju, ainsi qu IndieLisboa) ou encore de Hillbrow, prsent (entre autres) en 2014 au FID Marseille, au Festival Mostra Indies de Sao Paulo, au Festival du Nouveau Cinma de Montral (1er prix Loup Argent), au festival Entrevue de Belfort (prix du public, prix One+One, prix Camira) et, en 2015, au festival international du film court de Clermont-Ferrand ainsi quau Lago Film Fest (Italie ;; Premier prix du jury). Ce film a galement obtenu le Prix Scribe du cinma en dcembre 2014. A lautomne 2015, il a fait lobjet dune installation La Galerie de Noisy- le-Sec. Psaume, ralis en 2015, a notamment t slectionn au FID (Comptition franaise ;; prix du CNAP et prix des lycens), la Viennale et aux RIDM. Le Rve de Bailu, Hillbrow et Psaume ont t projets lUnionDocs Center for Documentary Art (Brooklyn) en novembre 2015. 2015 Psaume (48 min ;; Gagu-Chrif, Sngal) Dog Over (8 min ;; Paris ;; projet Europoly initi par le Goethe Institut) 2014 Hillbrow (32 min ;; Johannesburg) 2013 Les Dpossds (50 min ;; Togo, Qubec, Paris) Le Rve de Bailu (12 min ;; Bailu, Chine) 2010 200% (80 min ;; Saint-Fons Rhne-Alpes) 2009 Transbup (51 min ;; Ardche) 2008/07 Srie BUP (10 min ;; 9 pisodes) 2006 La Transhumance fantastique (54 min ;; Dordogne) 2005 La Nuit blanche des morts-vivants (30 min ;; Paris) Portail (40 min ;; Rgion Centre) 2004 Fuite (7 x 7 min ;; Lorraine) Plage de Cinma (14 min ;; Nord) 2003 Lost Movie (11 min ;; Pontoise Val d`Oise) 2002 Un film pour une fois (15 min ;; Paris)


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Saturday

Jan. 16
4.30 pm

Screening
Gaîté Lyrique / auditorium
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access

"Unresolved"

Cecilia lundqvist: Tilt | Animation | hdv | couleur | 5:6 | Sude | 2014 see more
Simon gerbaud, X: saVer | Vido | hdv | couleur | 5:0 | Mexique | 2014 see more
Brit bunkley: Oil Petals (Pillar of Cloud) | Vido exprimentale | hdv | couleur | 3:42 | Nouvelle-Zlande | 2015 see more
John skoog: VRN | Doc. exprimental | 4k | | 14:45 | Danemark | 2014 see more
Eleonore de montesquiou: Relatively Small Circles | Doc. exprimental | hdv | couleur et n&b | 9:35 | Russie | 2015 see more
Anthony haughey: UNresolved | Doc. exprimental | hdv | couleur | 17:22 | Bosnie-Herzgovine | 2015 see more
Cecilia lundqvist
Tilt
Animation | hdv | couleur | 5:6 | Sude | 2014

The animated video "Tilt" describes a deep relation that is abruptly broken up and as a result, the existing life is turned into ruin. The video is a contemplation of a human beings inability to comprehend its own transience.


Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from lifes darker and more destructive sides. Since 1994 Ive created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours.
My works have all been screened at numerous occations worldwide and Im represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Simon gerbaud, X
saVer
Vido | hdv | couleur | 5:0 | Mexique | 2014

Le projet saVer se compose de 10 vidos, il se prsente sous diffrentes formes (vidos, installations interactives, srigraphies et sculptures) qui sont aussi bien simultanes que discossies. saVer commence avec la fabrication d`animations courtes dans lesquelles on peut voire des objets disparatre peu peu (chaussure, ordinateur, chaise, rfrigrateur, crne animal). Pour raliser les squences animes, une photographie est prise chaque tape de destruction de l`objet (entre 60 et 900 photographies) qui est dcoup ou ponc afin de retirer de la matire. Chaque dcoupe est un trac, une faon de dessiner et il en rsulte une forme singulire, une invention par laquelle l`objet adopte une silhouette qui tait potentiellement en lui: on dit d`ailleurs d`un archologue qui dcouvre un site qu`il "l`invente", par la mise au jour d`une figure enfouie. Si ce travail de destruction ne respecte pas un schma ou un mode d`emploi prtablie, il permet pourtant de voire les traces du mode de conception et de fabrication des objets (coutures, assemblages, solutions techniques et mcaniques, ides et gestes). Le verbe savoir (saVer en espagnol) est le titre de ce projet, verbe double (sa/voir) qui met en lumire le rapport de la connaissance et de la vue.

Simon Gerbaud ( Auxerre, France, 1976) est artiste visuel. 
Aprs des tudes thoriques en Arts Appliqus la Sorbonne, il explore le dessin et lanimation de manire autodidacte en ralisant des courts mtrages, des flipbooks et des installations interactives. Il a entre autres particip des expositions et des festivals au Mexique, en Espagne, en France, en Hollande, en Russie, en Chine et en Iraq. Son court mtrage LIBER a reu plusieurs rcompenses: Meilleure animation mexicaine au CutOut Fest (Querretaro, Mexique, 2014) et au festival Animasivo (Mexico DF, 2015); son projet saVer a reu le Prix de l`oeuvre d`art numrique de l`anne de la SCAM (Paris, France, 2015). Il vt et travaille Mxico depuis 2005.

Brit bunkley
Oil Petals (Pillar of Cloud)
Vido exprimentale | hdv | couleur | 3:42 | Nouvelle-Zlande | 2015

Oil, ghost towns and dust devils are aligned as tropes of climate change. Tornado-like dust devils, as canaries in the coal mine, are increasingly common in hot, barren deserts and in drought stricken areas of the world. I imagined spilling flower petals into the path of dust devil so that it would create a colorful vortex of swirling petals. I recently found a few dust devils during each of my 3 trips to the California desert, but they are fast, dissipate quickly and mostly too far off the road to catchalways just ahead of my car. When I was ready to give up looking after my third desert trip and was focusing my camera on abandoned school, a well-formed small dust devil appeared about 10 meters to my right. I turned my camera on a tripod towards it, snatched a bag of flower petals that I had bought at LA`s flower district and ran into the small vortex dumping the contents. It grabbed the petals and dumped them over a nearby road.


Brit Bunkley is a New Zealand based artist whose current art practice includes public art, sculpture, installation, and video. He designs his work using digital 3D modelling, video and image editing programs emphasising majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. He is a recipient of a New York State Fellowship grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. He has completed more than a dozen temporary and permanent public art projects including the commission Hear My Train in Wanganui, New Zealand completed in 2012 and a public screening at the Oslo Central Station, Oslo Screen Festival in collaboration with Kunsthall Oslo, Oslo, Norway autumn 2013. Recent international group exhibitions and screenings include 2015 at the SESI` Cultural Centre Sao Paulo, Brazil, the Berlin International Directors Lounge 2014 and the Moscow Museum of Modern Art. Bunkleys most recent solo exhibition, The Happy Place opened at the Sanderson Contemporary Art, Auckland, NZ November 2014.

John skoog
VRN
Doc. exprimental | 4k | | 14:45 | Danemark | 2014

In the early 1940s the farm-worker Karl-Gran Persson started to fortify his small house in the flat farmlands of southern Sweden. He wanted to build a place where he and the people in the village could find refuge in the event of a Soviet invasion. He took any metal he could get cheap or for free from the neighboring farmers and used it as reinforcement for the cement casting of the house`s new exterior walls. Karl-Gran lived alone in the house and continued his re-construction until his death in 1975.


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: Slow Return, MMK Museum fur Moderne Kunst Frankfurt am Main (2015); 65th Berlinale, Berlin (2015); 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 Prize: Truth/Reality, MMK Museum fur Moderne Kunst Frankfurt am Main; GAM Galleria civica darte moderna e contemporanea, Turin (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); 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), Rencontres Internationales: Paris, Centre Pompidou, Paris, (2014 & -11). John Skoog lives and works in Frankfurt.

Eleonore de montesquiou
Relatively Small Circles
Doc. exprimental | hdv | couleur et n&b | 9:35 | Russie | 2015

The film is a portrait or rather a monologue of Kyril Zinovieff. He was almost 100 years old when we discussed his feelings and opinions about Russia. Kyril left us last year, when he 105 years old, and it is about time that I share these momentsand thoughts of his. Kyril Zinovieff was born in 1910 in Saint Petersburg. 
He was a child during the Russian Revolution, when his family fled to Estonia and then moved to England. A British intelligence officer, Kyril Zinovieff wrote historical essays about Russia and translated Russian novels.


Elonore 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. Elonore 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.

Anthony haughey
UNresolved
Doc. exprimental | hdv | couleur | 17:22 | Bosnie-Herzgovine | 2015

UNresolved reflects on the twentieth anniversary of genocide in Srebrenica, where in 1995 more than 8000 men and boys were systematically murdered by the Bosnian Serb army of Republika Srpska (VRS). The title relates to the UN Security Resolution 819, passed on the 16th April 1993 declaring Srebrenica as a safe area for refugees the prelude to what was the largest act of genocide in Europe since the holocaust. Following Haugheys earlier work in Bosnia, between 1998-2002, he gained exclusive access to buildings and atrocity sites in Serb controlled territory, areas that have hitherto been off limits. Since completing the film in early 2015 the building where the Dutch UN was based has been renovated. As a result Unresolved is also an important historical document which captures the building in its original state. The film includes eyewitness accounts of massacre victims collated from archives such as Human Rights Watch and also directly from people encountered on research visits to Bosnia, with accounts of resistance and survival, testimonies from young Dutch soldiers who were serving in Srebrenica and conflicting accounts from UN personnel and Serb military commanders. The film explores ideological and political narratives informing this emerging and contested history.


Anthony Haughey is an artist and a lecturer in the Dublin Institute of Technology. He was Senior Research Fellow (2005-8) in Belfast School of Art, where he completed a PhD in 2009. His work has been widely exhibited and collected nationally and internationally, most recently Uncovering History, Kuunsthaus Graz, Excavation, Limerick City Gallery where he premiered his new film, Unresolved, Making History, Colombo Art Biennale Art of the Troubles, Ulster Museum, Belfast, Settlement, Belfast Exposed, Northern Ireland: 30 years of photography, the MAC and Belfast Exposed, New Irish Landscapes, Three Shadows Gallery, Beijing and Homelands, a major British Council exhibition touring South Asia. His work has been published in more than seventy publications, monographs include The Edge of Europe (1996), Disputed Territory (2006) and an artists book State (2011). His work is represented in many international public and private collections and he is an editorial advisor for the Routledge journal, Photographies. He was recipient of the Create Arts and Cultural Diversity Award 2014 and is currently working on a new film supported by a Projects Award from The Arts Council/An Chomhairle Ealaon which will premiere in NYC in April 2016.


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Cecilia Lundqvist décrit l’incapacité de l’être humain à saisir la fugacité des choses. Simon Gerbaud fait progressivement disparaître des objets, dématérialisant l’existence des objets et la croyance que nous avons en eux. Brit Bunkley filme les tourbillons de poussière dans des villes abandonnées du désert californien. John Skoog filme la maison du fermier Karl-Göran Persson. Au début des années 40, celui-ci avait commencé à fortifier sa petite maison, pour offrir un refuge aux villageois en cas d’invasion soviétique. Eléonore de Montesquiou fait le portrait monologue de Kyril Zinovieff, alors âgé de 100 ans. Il livre ses impressions au sujet de la Russie. Né en 1910 à Saint Petersburg, enfant pendant la Révolution russe, sa famille s’enfuit en Estonie, puis s’établit en Angleterre, où il devient officier de renseignement et traducteur. Anthony Haughey explore les narrations idéologiques et politiques, et propose une réflexion sur le massacre de Srebrenica, en 1995, où plus de 8000 hommes ont été tués par l’armée de la République serbe de Bosnie.


Saturday

Jan. 16
6 pm

Forum
Gaîté Lyrique / auditorium
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access

Panel discussion
"Image politics"

Programmers, curators and heads of museums, art places and cinema centres, share their researches and projects, discuss with the audience.

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PARTICIPANTS :

Fabrice Montal, Cinema and new media programmer — Québec, Canada and international - La Cinemathèque québécoise, Canada

Emília Tavares, Curator - Museu Do Chiado - Museu Nacional de Arte Contemporanea, Portugal

Çelenk Bafra, Curator - Istanbul Modern, Turkey


Saturday

Jan. 16
7 pm

Screening
Gaîté Lyrique / auditorium
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access

"Night at museum"

Arthur flchard: La Smantique du mouvement | Fiction exprimentale | hdv | couleur | 2:35 | France | 2014 see more
Roswitha schuller, Markus Hanakam: Trickster | Film exprimental | hdv | couleur | 13:15 | Japon | 2014 see more
Bubi canal: Hologram | Fiction exprimentale | hdv | | 1:39 | USA | 2015 see more
Crispin gurholt: Please Kill Me Live Photo # 27 | Vido | hdv | couleur | 4:0 | Norvge | 2014 see more
Loic vanderstichelen, Loc Vanderstichelen | Jean-Paul Jacquet: La cascade | Fiction exprimentale | 4k | couleur | 17:40 | Belgique | 2015 see more
Alexander glandien: Making of | Doc. exprimental | hdv | couleur | 30:0 | Autriche | 2015 see more
zapruder, Zamagni David & Ranocchi Nadia: Speak in Tongues | Doc. exprimental | hdv | couleur | 22:0 | Italie | 2014 see more
Arthur flchard
La Smantique du mouvement
Fiction exprimentale | hdv | couleur | 2:35 | France | 2014

Misz en vidence du processus artistique du modle de robot tondeuse Automower 320. A travers les points, lignes, courbes, il envisage son jardin comme un mdium dexprimentation o pelouse coupe rime avec composition esthtique.

N la Fert Mace en 1988, Arthur Flchard vit et travaille entre Paris et Bagnoles de l`Orne. Aprs un baccalaurat STAV (science technique de l`agronomie et du vivant) au lyce agricole ST L Thre en 2009, il entre l`cole des Beaux-Arts d`Angers. Pendant ses trois premires annes, il exprimente les formats vidos et les logiciels de programmations. A cette priode, il se noue d`intimit avec les dfibrillateurs publics pour lesquels il crira un pamphlet et ralisera une installation pour son DNAP nomm La Transhumance Fantastique. Aprs l`obtention de celui-ci en 2012, il entre aux Beaux-Arts de Paris dans l`atelier Tania Bruguera. Pendant deux ans, son intrt sera particulirement centr sur la mcanologie et plus prcisment sur les objets mnagers intelligence sommaire. Il obtient son DNSEP en 2014.

Roswitha schuller, Markus Hanakam
Trickster
Film exprimental | hdv | couleur | 13:15 | Japon | 2014

In all chaos there is a cosmos, in all disorder a secret order. In C.G. Jungs sense the archetype as an object conduce to determination of a big picture - of wholeness - as a subject it serves as structure for universal and individual experiences. Like a role-play-gaming kit Markus Hanakam & Roswitha Schullers video-work Trickster provides a card index on archetypical places, figures, artifacts and actions; a mode of narration on a coherent world design. To support the layer of moving image a text layer is composed by assembling passages from a historical inventory catalogue of the National Gallery of Scotland. A traditional spectrum of subjects, mostly Genre painting like landscape and portrait, declares the semiotics of art historical reading and puts it into a gaming context.


Markus Hanakam was born 1979 in Essen, Germany. After studying two years at the University Essen (Faculty for Art and Design), 2000-2002, he graduated in 2006 with a Master degree in Art Education, 2009 Master degree in Sculpture and Multimedia from the University of Applied Art Vienna. Roswitha Schuller was born in 1984 in Friesach, Austria. She graduated 2007 with a Master degree in Art Education, 2009 Master degree in Sculpture and Multimedia from the University of Applied Art Vienna; she holds a Doctoral Degree in Art Sociology. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Videodumbo Festival 2013 at Eyebeam Center for Art and Technology, New York, Recontres Internationales 2012 at Palais de Tokyo, Paris, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011. They gained several awards like the MAK Schindler Fellowship in Los Angeles as well as an Artist in Residency at the Cit International des Art, Paris. Their short Film INVASION is awarded as Jury Selection Work at Japan Media Arts Festival 2012. Markus Hanakam & Roswitha Schuller have been visiting curators at Medienwerkstatt Wien 2014.

Bubi canal
Hologram
Fiction exprimentale | hdv | | 1:39 | USA | 2015

Bubi Canals video, Hologram, depicts characters who embark on a journey from darkness and fear to light and love. According to Bubi, "the external world of Hologram is a manifestation of the characters` subconscious. They communicate with each other through a choreography that transforms them." Bubi believes that optimism and illusion are contagious and hopes that his work will have a similarly transformative effect on the viewer. Like a hologram, the coherent totality of Bubis universe can be accessed through each of the works on view. Every piece activates a dimension where memory, imagination, and reality are mutable and inextricably linked.


Bubi Canal is a Spanish-born, American-based artist. His work combines different types of media and artistic methods, including photography, video and installation, and deals with recurring themes of wishes, dreams, love and magic. Canal was born in Santander, Spain, in 1980. He studied at the University of the Basque Country in Bilbao, focusing on audiovisual arts and sculpture. He relocated to Madrid in 2004 and New York in 2011. His work has been shown at venues like the Centre Pompidou (Paris), Eyebeam Art+Technology Center (New York), AMA Art Museum of the Americas (Washington D.C.), MATADERO (Madrid), ADDAYA Centro de Arte Contemporneo (Mallorca), CGAC Centro Gallego de Arte Contemporneo (Santiago), and La Casa Encendida (Madrid) among others. In 2012, he taught a workshop at ICI Independent Curators International in New York. Canals Special Moment show was exhibited at Munch Gallery in 2012, his first solo showing in New York. In 2014, his work was featured on the cover of The British Journal of Photography. He has issued several publications like Canal, Manual and Dreamtime. Bubi Canal lives and works in Brooklyn.

Crispin gurholt
Please Kill Me Live Photo # 27
Vido | hdv | couleur | 4:0 | Norvge | 2014

The film Please Kill Me is a personal expression of my own account around the time we live in, pointing out one of our greatest challenges: The market and capital domination in the world. When economic growth is the strongest driving force, we experience increasing economic, social, cultural and, not least, enormous environmental challenges. It is no longer human, ideological or religious ideals that govern, but material growth. The feeling is this: We find ourselves not in a crisis resulting in radical restructuring, but are caught in a loop of repetition and denial, where genuine change appears impossible. In no way whatsoever does art stand outside this static situation. It stands in the midst of it and has no power to act as a genuine opposing force. The constant striving for the new cannot expel the feeling that things are at a stand-still; the admonishment to establish micro-utopias in the increasingly sleek art institutions proves merely to repeat the imperative that each and every person should tend his or her own garden or network; the mantra to summon critical discourse does not hinder ones thoughts from first and foremost revolving complacently around oneself. We know we are sitting in the same boat, and since we all know it is sinking, we try to sit as still as possible, so that at the very least it sinks slower. This is the artist`s confrontation with himself, the art scene and a world gone crazy spinning around itself, trapped in an eternal loop of repetition. In Please Kill Me the staged models have been assigned the same roles as they play in reality: In the gallery space you find the artist, curator, critic and gallerist frozen in a position where they are confronted with the allegation that art is dead.


Crispin Gurholt (b. 1965) is a Norwegian artist based in Oslo and Berlin. The density of his work reflects his versatility and the range of his studies, which in turn are essential to the creation of the highly composite universes of his Live Photos. Gurholt studied at the National Academy of Art in Oslo and The New York Film School SCE. He also has a background in scenography and directing. Since 2012 he has been teaching at The Art School of Rogaland in Norway. His Live Photos represent the sum of a wide-ranging expertise that, combined with social comment, presents a compelling picture of our time. Crispin Gurholt has an international reputation. His work and installations have been shown in Venice, Rome, Paris, Berlin, London, Copenhagen, Turin, Madrid, Cologne and Havana, as well as a number of major Norwegian art institutions. Gurholt is a receiver of the Norwegian Artist Grant since 2010.

Loic vanderstichelen, Loc Vanderstichelen | Jean-Paul Jacquet
La cascade
Fiction exprimentale | 4k | couleur | 17:40 | Belgique | 2015

Norbert Piron, chercheur l`IRPA (Institut Royal du Patrimoine Artistique), est mandat par le muse des Beaux-Arts de Verviers afin de rpertorier la collection destine au nouveau Muse en construction et de prparer l`exposition inaugurale. Proche de la retraite, il fait de cette commande le point d`orgue de sa carrire. paul par son assistant, l`universitaire Randy Paniandy, il analyse minutieusement les uvres et tire des conclusions. Face au pragmatisme de Graldine Leroy, responsable de la communication des Muses de Verviers, son point de vue scientifique se heurte des sentiments motionnels exacerbs qui le conduiront une confusion mentale. Alors qu`il se trouve dans le creux de la vague, dstabilis face La Cascade de Gustave Courbet, une nymphe, vient lui apporter la solution tous ses problmes : une technologie rvolutionnaire qui offre au regardeur l`ubiquit, la possibilit d`une hyper vision raliste.

Loc Vanderstichelen est un cinaste indpendant qui vit et travaille Bruxelles. Jean-Paul Jacquet un historien de l`art qui vit et travaille Bruxelles.

Alexander glandien
Making of
Doc. exprimental | hdv | couleur | 30:0 | Autriche | 2015

The film "Making of" takes work as a topic into focus, showing the various working areas of a contemporary art museum with all those activities which usually remain invisible for visitors. Shot from the perspective of a small filmcrew different kind of workflows are documented as well as the preparation for an upcoming exhibition, while the crew itself is constantly observed in their efforts to create this film.Director, cameraman and sound operator move through all areas of the The State Gallery in Linz in an almost performative way. The ongoing visible presence of the camera raises questions about the relationship between the documented actions, their authenticity and manipulation. The depicted reality becomes visible as part of a media construction.


Alexander Glandien was born in 1982 in Schwerin (Germany) and he works as an artist in Vienna. Since 2009 he is artistic and scientific assistant at the Art University Linz. After his studies at the University of Wismar he attended studio grants in Indonesia, Italy, the Netherlands and Spain. His works have been awarded with the Talent Award of Upper Austriaand the Klemens Brosch prize and they are part oft the art collections of the federal government of Austria, the province of Upper Austria, the contemporary art collection of the City of Vienna and the Albertina in Vienna. He has had numerous exhibitions, most recently at the State Gallery Linz, Galerie 5020 in Salzburg, at Kadmium Art Centre in Delft, at the Moscow Museum of Modern Art and at the Albuquerque Museum of Art and History.

zapruder, Zamagni David & Ranocchi Nadia
Speak in Tongues
Doc. exprimental | hdv | couleur | 22:0 | Italie | 2014

Kitty came back home from on the island But kitty came on home without a name. To speak in tongues means to have the gift for mastering an unknown language while also being passed through by someone elses word. In this telescopic and panoramic film of fac-simile et exempla, circularity at first, leads us right into the 360 view of a battle scene where the past is frozen within a tourist museum-device and the viewers with their camera are the actual subject. In sequence, concentric holes open up: a horse is performing a dance stepping backward; a fortune teller takes guesses on future circumstances and retrospective ones; the bodies of two gymnasts extend through their tools of artifice and grace, then we are taken on a ride across a Little Venice in miniature empty like a movie set. This spiral comes full circle in the silence of a lonely hunter on a Apennines tromp-loeil, a simulation park with fake birds and a mimetic wildermann: a carousel of the artificial where solitude is sound and nature is impermeable. Proceeding by aphorisms, this film unfolds into a number of articulations and dimensions, all exceptionally true and false, like in an almanac of vision.


ZAPRUDERfilmmakersgroup is a collective formed by David Zamagni, Nadia Ranocchi and Monaldo Moretti. Founded in 2000 and based in the hills between Cesena and Rimini, the group is the author of film projects and art installations that have been shown in major international film and art festivals. Zapruders fervent production relies on a ferocious and comic analysis of the human condition whose tragic destiny becomes a metaphysical place where they explore the language of representation, forging a surreal and poetic portrait. The group film-projects are often flexible cinematic devices, which Zapruder defines as `Chamber Cinema` sort of incarnated environment and disembodied theatre, poised between visual and performing arts. Vision becomes experience of time, long shots prevail and draw a polycentric spatial scene that allow the eye to open on the enigma of vision rather than narrowing on the narrative anecdote. Zapruders projects are written and directed by David Zamagni and Nadia Ranocchi. David Zamagni ( b. 1971, Rimini) During his cinema studies in Bologna at DAMS, in 1994 he joins the theater company Motus to later become icon actor of the performance `Catrame` (1996). In 1998, with Enrico Casagrande and Daniela Nicol, is co-author of `Orlando Furioso` and in 1999 they are awarded the UBU prize as well as that of the magazine `Lo straniero`; in the same year he leaves Motus to pursue his interests in cinema. Nadia Ranocchi ( b. 1973, Rimini) After completing her studies in Psychology at the University of Bologna, in 1998 she starts working with David Zamagni on their movies and audiovisual projects. Monaldo Moretti (b. 1972, Recanati) joins them in 2000. He is Davids former classmate in highschool and later on over the DAMS years. As well as co-founder of the group Zapruder, he`s director of photography, actor and foley artist.


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Saturday

Jan. 16
9 pm

Screening
Gaîté Lyrique / auditorium
3 bis rue Papin - 75003 Paris / MSubway: Arts et Métiers, Réaumur Sébastopol - lines 3, 4, 11
Free entry / Pass and accreditation: priority access

"Architectures"

Frederic nauczyciel: Red Shoes | Installation vido | hdv | couleur | 4:17 | France | 2015 see more
Michelle deignan: Ways to Speculate | Vido | hdv | couleur | 3:44 | Royaume-Uni | 2014 see more
Jasmina cibic: Spielraum | Fiction exprimentale | 4k | couleur | 15:28 | Royaume-Uni | 2015 see more
Su-Mei tse: Pays de neige | Vido | hdv | couleur | 7:40 | Italie | 2015 see more
Sbastien durant: Rendre Cesar | Fiction | hdv | couleur | 4:36 | France | 2013 see more
Pierre-jean giloux: Metabolism | Fiction | hdv | couleur | 11:0 | Japon | Belgium | 2015 see more
Didier faustino: Exploring Dead Building 2.0 | Fiction exprimentale | hdv | couleur et n&b | 9:0 | Cuba | 2015 see more
Sasha pirker, Lotte Schreiber: Exhibition Talks | Doc. exprimental | 16mm | noir et blanc | 9:0 | Autriche | 2014 see more
Frederic nauczyciel
Red Shoes
Installation vido | hdv | couleur | 4:17 | France | 2015

Red Shoes est un rituel. Le vogueur Kendall Mugler (Paris) mets ses talons aiguille rouges, et remplit lespace dune nergie dite dramatique - cest dire : thtrale, sauvage, hautement technique, audacieuse.

Frdric Nauczyciel est un artiste visuel franais. Il travaille entre la France et les Etats-Unis. Nourri par la danse et le cinma, il ralise des photographies, des films et des performances. Il construit avec ses sujets des images collaboratives qui tendent vers une hybridation des formes. Il fait appel lexprience de la performance pour produire des images vivantes qui convient la prsence. Depuis 2011, il dploie son travail entre les ghettos noirs de Baltimore et la priphrie parisienne, puisant dans la force des langages performatifs tel que le voguing. Il expose en France (Muse de la Chasse Paris, Mac/Val, Et Photographique de Lectoure, Rencontres Internationales de Photographie dArles, Festival dAvignon, Centre Pompidou Paris), Barcelone (Palau de la Virreina), ou aux Etats-Unis (Washington, Houston, Baltimore et New York). Il est laurat en 2011 de la Villa Mdicis Programme Hors les Murs pour les Etats-Unis (Institut Franais), reoit en 2013 lAllocation de recherche du Centre National des Arts Plastiques et figure dans la collection du Fonds national dArt Contemporain (Public # Ceux qui nous regardent, Le temps devant et The Fire Flies, Baltimore). Il est en rsidence en Seine-Saint-Denis pour deux annes, de 2014 2016.

Michelle deignan
Ways to Speculate
Vido | hdv | couleur | 3:44 | Royaume-Uni | 2014

Actual and virtual simulacra of historical European buildings, monuments and recreational spaces are presented in a tumultuous and fluctuating sonic landscape. This uncanny vision of past and present, depicting the instrumentalisation of places, is framed by two distinct voices. One languidly quotes lyrics from Kraftwerks Europe Endless (1977) the other earnestly performs excerpts from the introduction to the sci-fi novel, The Mummy: A Tale of the Twenty Second Century by Jane Webb Loudon (1827). Between them they proposes a progressive but unstable future where past dramas can easily be re-enacted.


Michelle Deignan (b. Dublin 1970) is an artist and filmmaker based in London. She has exhibited her work in over 60 national and international exhibitions, screenings and festivals including: `Public Space Ltd.`, Athens Media Art Festival;`transmediale`, House of Cultures, Berlin; `India Art Summit`, Delhi; The LUX and Cranford Collection Present: The World Turned Upside Down, Camden Arts Centre, London; `Terror and the Sublime: Art and Politics in an Age of Anxiety`, Crawford Art Gallery, Cork; `This Fanciful Digression`, CAN, Neuchatel, Switzerland. Michelle Deignan`s moving image work is distributed by LUX.

Jasmina cibic
Spielraum
Fiction exprimentale | 4k | couleur | 15:28 | Royaume-Uni | 2015

Composed of various quotes - belonging to political speeches, debates and proclamations that extract and emphasize the iconoclasm of architecture, art and monuments the film creates an original conversation between four characters. A Nation Builder, a Pragmatist, a Conservationist and an Artist/Architect become a reflection of ideological deliberation facing a practical scruple. Including words drawn from Regans speech on the Berlin Wall, Prince Charless 1984 address at RIBA and Isis bloggers proclamation on the demolishment of temples, the films storyline uses language that endorses demolition and redesign, which were to aid the creation of new displays for ensuing nation-states or ideological positions throughout the 20th and 21st centuries. As the films narrative unfolds, the viewer is a witness to the final decision to demolish the fictitious building, the image of which is constructed in the spectators imagination through a collage of quotations on diverse, ideologically contrived and historically charged buildings, monuments, walls etc. that were to be or were knocked down - pointing to the universality and timelessness of the paradox of national and ideological representation and its icons.


1979, Ljubljana A London based artist working in installation, performance and photography. Cibic has begun making films in 2012 for her solo presentation of the Slovenian Pavilion at the 55th Venice Biennial. Cibic`s work is site and context specific, performative in nature and employs a range of activity, media and theatrical tactics to redefine or reconsider an existent environment and its politics. The basic gesture in Cibics artistic explorations is the dismantlement and careful analysis of the work of art, its representation, and its relationship to the viewer as she tries to operate inside the system she is investigating. The mechanisms and structures of the system thus often become integral parts of the practice, allowing the work to transcend the plane of art and the language of form. Her film works have been shown at Ludwig Museum Budapest, MSUB Belgrade, MGLC Ljubljana, Dokfest Kulturbahfhof Kassel, Haus der Kulturen der Welt Berlin, Les Rencontres Internationales - Gat Lyrique Paris, Copenhagen International Documentary Festival, Art Brussels Cinema Program and Nassauischer Kunstverein Wiesbaden. Her upcoming solo screenings include MSUM Ljubljana, Crawford Art Gallery Cork, the Artist Cinema at the Museum of Contemporary Art Zagreb.

Su-Mei tse
Pays de neige
Vido | hdv | couleur | 7:40 | Italie | 2015

Pays de neige (Snow Country), 2015 Une marche faisant le vide comme un moment de suspension, cet espace indfini semblable celle dune respiration avant tout commencement. Comme ce temps durant lequel la toile se prpare avant l`application de la peinture, comme celui pendant lequel la feuille blanche attend l`criture, ou lorsque la pense s`apprte devenir parole. Dans cette vido de Su-Mei Tse le balayage souligne le moment magique durant lequel on se prpare agir, se laisser emporter par ses dsirs, marcher dans la neige

Violoncelliste de formation et fille de musiciens professionnels, Su-Mei Tse dveloppe un univers plastique qui sexprime dans un vocabulaire de formes minimales o lharmonie simpose. Mettant en espace le son et la musique, elle exprime son regard sur le monde qui nous environne dans un tat desprit imprgn par la philosophie zen, avec la volont de figurer le son, de rendre palpable limpact physique et motionnel de la frquence sonore (M. Le sauvage). Jouant sur la relation des sens, elle ravive notre intuition dans des oeuvres qui apparaissent comme des moments de respiration. Marque aussi par la philosophie humaniste, Su-Mei Tse produit des pices qui mettent en exergue le chemin de lhomme vers lui-mme dans un rapport introspectif car si, comme le dit John Cage, le silence nexiste pas , il renvoie toutefois lcoute de soi. De ce positionnement, nat une ambiance mditative : les sens entrent en veil progressivement tandis que lquilibre apparat entre des elements organiques, matriels et culturels a priori inassimilables. Quant aux espaces, soustraits potiquement par son geste, ils se rvlent sous langle du sensible. (H. Lallier)

Sbastien durant
Rendre Cesar
Fiction | hdv | couleur | 4:36 | France | 2013

4min36 2013 En 2007, les archologues fouillent le fond du Rhne au bord des rives de la ville dArles dcouvrant un buste en marbre quils identifient comme tant Csar. Face cette dcouverte jai entrepris de sculpter mon propre buste dans le mme matriau et de le jeter leau, l ou les archologues continuent les fouilles.

Chaque nouveau projet que jentreprends ncessite que je mimmerge ; que jinterroge la faon de faire et de penser de tel ou tel artiste. Jaime ce challenge proche de celui du faussaire qui doit se plonger dans la technique et la vision dun crateur. Jopre des dplacements travers diffrents cadres (au sens Goffmanien), de faon jouer avec le statut dune uvre dart et celui de lartiste. La transformation, la mise mal dun objet artistique, artisanal, archologique permet une ouverture des champs et un dplacement des frontires entre ces diffrentes sphres. Lappropriation dun objet ou dune pice passe par une transformation ou une greffe : un dplacement de forme, de matire ou despace trouble ses codes de lecture.

Pierre-jean giloux
Metabolism
Fiction | hdv | couleur | 11:0 | Japon | 2015

Metabolism : Le point de dpart est la dcouverte dun photomontage de Arata Isozaki intitul Re-ruined Hiroshima. Cette image est une nigme : dans ce paysage dvast, deux grandes formes architectures se dessinent : ces structures constitues (on le suppose) par des dbris rcuprs dans les alentours, surplombent une ville mise terre. Les mtabolistes (un groupe durbanistes et darchitectes japonais autour dune mme vision : la ville du futur ) ont projet de reconstruire ce pays, de (lui) faonner une nouvelle identit. Ce fut une sorte dlan tendu vers lavenir, vers un futur dveloppement de lespace urbain qui devait rpondre aux flux des populations vers les centres urbains. Ils sinscrivirent nanmoins dans une continuit idoloqique traditionnelle faisant rfrence limage iconique du temple dIse . Le mtabolisme ft la dernire utopie moderniste du XXme sicle, cette dcouverte ma passionn et a suscit le dsir de faire ce film. Certains de leurs projets non raliss sont introduits dans ce film par le truchement des techniques numriques, dans le Tokyo de 2015. Jalons historiques et prsences fantomatiques inscrites dans les strates urbaines de la mgapole japonaise.

Quil soit filmique ou photographique, le travail de Pierre Jean Giloux dbute par le stade prparatoire du dessin, phases de recherches o la pense sorganise par strates, avant de passer la ralisation. Ses installations photographiques composes de suites dimages peuvent tre qualifies de storyboards agrandis . Ces dernires -le plus souvent exposes en milieux urbains- se confrontent aux rapports dchelles et questionnent le statut de limage au sein mme de la cit. Ses travaux vido sont les rsultats dassociations et hybridations dimages. Il dveloppe par le biais des techniques numriques un travail de collage, montage, de compositions visuelles et sonores qui incluent des squences animes en 2 et 3 d. Il aime faire cohabiter le virtuel et le rel dans le dessein dtablir un dialogue et de questionner notre rapport au rel et vice versa. En 2015, Pierre-Jean Giloux la Villa Kujoyama (Kyoto, Japon) o il ralise le quatrime et dernier volet de Invisible Cities intitul Station to Station. Ses installations vidos et ses films ont t exposs dans de nombreuses institutions et festivals, notamment le Centre Pompidou, le MAC VAL, le CREDAC, Comix Home Base de Hong Kong, au Kyoto Art Center, au Pavillon de lArsenal Paris.

Didier faustino
Exploring Dead Building 2.0
Fiction exprimentale | hdv | couleur et n&b | 9:0 | Cuba | 2015

Didier Faustino dresse le portrait dune jeunesse encage . cette exploration sonde lhistoire du btiment La Escuala de Ballet et les utopies de son architecte, Vittorio Garatti Cuba 1961 Au cours dune partie de golf, sur le terrain du club priv le plus pris, o tous les politiques se rendaient, les rvolutionnaires Fidel Castro et Che Guevara miment une partie en uniforme. Au cours de cette journe leur vient lide de crer sur ce magnifique site la plus grande cole dart dAmrique latine. Trois architectes se voient donc confier la conception de cinq btiments, dont la mise en oeuvre commencera la mme anne : lcole darts plastiques, lcole dart dramatique, lcole de ballet, lcole de musique et lcole de danse moderne. Cuba 1962 Dbut de lembargo des Etats-Unis sur Cuba et de la premire crise conomique du pays depuis le dbut du rgime castriste. Sur les cinq btiments, trois sont encore inachevs et font alors lobjet de pillage. Ces btiments meurent avant mme dexister ; cest le cas notamment de lcole de ballet, conue par larchitecte italien Vittorio Garatti. Le projet senrichi au contact de la libert et de la richesse du btiment, pour prendre la forme dune chorgraphie en dialogue avec lespace. Exploring Dead Buildings a alors mut en se fragmentant et dun unique vhicule nous sommes passs 3 systmes portatifs, projectifs et prothtiques. Dune narration monologique a merg un dialogue triptyque dans lequel se croisent des personnages htronymes dnus didentit. Loeuvre comme performance physique donne ensuite lieu une captation et cest alors la performance de la Bienale qui est fictionne et mise en scne. A WALKER TO EXPLORE DEAD BUILDINGS Dans une atmosphre tropicale, au lever du jour, sur les toits dune architecture aux courbes utopiques se dploie une chorgraphie de trois jeunes corps. Ces personnages mlancoliques au caractre htronyme arborent chacun un scaphandre mtallique, mtaphore dune jeunesse encage. Les camras places sur ces structures ainsi que celle qui gravite autour deux nous offrent les images de cette errance sur les ruines de la Escuela de Ballet de La Havane Cuba. Le film met ainsi en exergue lchec de cette utopie architecturale et culturelle. La performance, elle, souligne la mmoire dun futur voulu meilleur, mais aujourdhui rapport une architecture laisse sans usage. Ainsi les scnes claires et celles obscures sentrecoupent entre passages de lintrieur lextrieur,entre jour et nuit au service dune esthtique fictionnelle. LIGNE NARRATRICE ENTRETIEN AVEC VITTORIO GARRATTI Didier Faustino sadresse l architecte Vittorio Garratti, non pas pour quil lui raconte lhistoire de ce btiment, mais pour en capter son essence via lexprience de son crateur ; celle des extrmes et des utopies. Il linvite parler de sa jeunesse en cage, de ses illusions perdues ;de la Rvolution. Le projet senrichi au contact de la libert et de la richesse du btiment, pour prendre la forme dune chorgraphie en dialogue avec lespace. Exploring Dead Buildings a alors mut en se fragmentant et dun unique vhicule nous sommes passs 3 systmes portatifs, projectifs et prothtiques. Dune narration monologique a merg un dialogue triptyque dans lequel se croisent des personnages htronymes dnus didentit. Loeuvre comme performance physique donne ensuite lieu une captation et cest alors la performance de la Bienale qui est fictionne et mise en scne. A WALKER TO EXPLORE DEAD BUILDINGS Dans une atmosphre tropicale, au lever du jour, sur les toits dune architecture aux courbes utopiques se dploie une chorgraphie de trois jeunes corps. Ces personnages mlancoliques au caractre htronyme arborent chacun un scaphandre mtallique, mtaphore dune jeunesse encage. Les camras places sur ces structures ainsi que celle qui gravite autour deux nous offrent les images de cette errance sur les ruines de la Escuela de Ballet de La Havane Cuba. Le film met ainsi en exergue lchec de cette utopie architecturale et culturelle. La performance, elle, souligne la mmoire dun futur voulu meilleur, mais aujourdhui rapport une architecture laisse sans usage. Ainsi les scnes claires et celles obscures sentrecoupent entre passages de lintrieur lextrieur,entre jour et nuit au service dune esthtique fictionnelle. Didier Faustino sadresse l architecte Vittorio Garratti, non pas pour quil lui raconte lhistoire de ce btiment, mais pour en capter son essence via lexprience de son crateur ; celle des extrmes et des utopies. Il linvite parler de sa jeunesse en cage, de ses illusions perdues ;de la Rvolution.

Artiste et architecte franais, Didier Faustino travaille sur la relation entre corps et espace. la frontire entre art et architecture, sa pratique a dbut ds la fin de ses tudes en 1995. Son approche est multiforme, allant de linstallation lexprimentation, de la cration duvres plastiques subversives celle despaces propices lexacerbation des sens. Ses projets se caractrisent par leur dimension fictionnelle, leur regard critique, leur affranchissement des codes et leur capacit offrir des expriences indites au corps individuel et collectif. A ce titre, il a reu le Prix Dejean, Grande Mdaille dArgent de lAcadmie dArchitecture en 2010 pour lensemble de son uvre. Ses projets se caractrisent par leur dimension fictionnelle, leur regard critique, leur affranchissement des codes et leur capacit offrir des expriences indites au corps individuel et collectif. Plusieurs de ses uvres sont entres dans les collections de grandes institutions : MoMA, Fondation Calouste Gulbenkian, Fondation Serralves, Fonds National dArt Contemporain, Muse National dArt Moderne / Centre Georges Pompidou. Actuellement, Didier Faustino travaille sur plusieurs projets architecturaux : la cration d`une fondation et bibliothque Mexico City pour Alumnos 47, une maison domestique exprimentale en Espagne pour lditeur de maisons Solo Houses et un chai au Portugal pour le domaine Casa de Mouraz. Il consacre galement une partie de son temps lenseignement, et dirige notamment la Diploma Unit 2 la AA School de Londres depuis 2011. Depuis septembre 2015, il exerce la fonction de rdacteur en chef du magazine franais darchitecture et de design CREE.

Sasha pirker, Lotte Schreiber
Exhibition Talks
Doc. exprimental | 16mm | noir et blanc | 9:0 | Autriche | 2014


Wenn, wie Walter Benjamin behauptet hat, Gebude auf doppelte Art, durch Gebrauch und Wahrnehmung rezipiert werden, d.h. taktil und optisch, dann knnte man Sasha Pirkers und Lotte Schreibers Exhibition Talks als Versuch verstehen, diese doppelte Rezeptionsweise ein Stck weit zu entkoppeln. Whrend auf der Tonspur vom Gebrauch der Ausstellungsrume des Tiroler Architekturforums aut die Rede ist, von den Gegebenheiten der einzelnen Rume und den Mglichkeiten, sie fr eigene Bedrfnisse zu adaptieren, liefert die Bildspur fragmentarische, statische und in Schwarzwei gehaltene Ansichten derselben Rume, die allein schon deshalb im optischen Register verharren, weil sie ber die Montage zu keinem kohrenten Raumganzen verbunden werden. Anstatt die Gre der Rume und ihre gebaute Anordnung etwa ber einen Rundgang durch das Gebude zu "erzhlen", fngt die Kamera Details der Fassade und der Innenrume ein, die zum einen mit ihren klar gezogenen Linien und den vielfltigen Gelegenheiten zu Ein-, Aus- und Durchblicken von der Formensprache der klassischen Moderne zeugen, zum anderen diese Formensprache einem optischen Spiel von Licht und Schatten, von Grauwerten und Schwarzwei aussetzen, das die drei Dimensionen des Bauwerks grafisch auflst. Bestand die Pointe der doppelten Rezeptionsweise von Gebuden bei Benjamin in der bertragung auf die Wahrnehmungsbedingungen am Ort des Kinos (Zerstreuung statt Kontemplation), scheint die experimentelle Entkopplung von optischer Wahrnehmung und taktilem Gebrauch in Exhibition Talks einer anderen Logik zu folgen. Obwohl vom Bild strikt getrennt, suchen die Mglichkeiten des Gebrauchs nach Wegen ins Sichtbare. "Normalerweise ist der Eingang hier": Zu sehen ist eine ffnung, durch die Licht auf eine Wand fllt, whrend der brige Raum im Schatten versinkt. Die ffnung ist ein Fenster, sie knnte aber auch eine Tr sein bzw. ist sie gerade im Begriff, zu einer solchen zu werden. Von solchen bergngen handelt Exhibition Talks: vom Offenen, vom Beweglichen und Vernderlichen des gebauten Raums. (Vrth hner)

Sasha Pirker was born in Vienna, Austria in 1969 and works there as an artist and filmmaker. She studied Linguistics in Vienna and Paris. From 1995-2000 she worked as a curator of contemporary architecture at the Architecture Center Vienna (Az W). Since 2006 she has been a teaching member in the Video and Videoinstallation department at the University of Fine Arts in Vienna, Austria. Her films are distributed by sixpackfilm Vienna. She had a retrospective The Thinking Form at the VIENNALE International Film Festival in Vienna in 2011 and she is represented in Breaking Ground 60 years Experimental Cinema in Austria , which has toured as a film programme internationally since 2012. In 2010 her film The Future will not be Capitalist was part of the competition Orrizonti at the 67th Film Festival in Venice, Italy (Mostra Internazionale dArte Cinematografica, Venice/I). Other screenings and exhibitions include: Centre Georges Pompidou HORS PISTES 2011 Un Autre Mouvement des Images, the opening exhibition of 21er Haus/Belvedere Vienna Greater Prospects, Anthology Films Archives, New York/USA, Image Forum Festival, Tokyo/JPN, International Documentary Film Festival, London/UK, IFFR International Film Festival Rotterdam/NL, Antimatter Film Festival, Victoria, BC/CDN, Diagonale Festival of Austrian Film, Graz/A, Istanbul International Short Film Festival, Corona Cork Film Festival/IRL, 25 FPS International Short Experimental Film and Video Festival, Zagreb/HR, VIS Vienna Independent Shorts/A (Audience Award 2008), Iowa City Documentary Film Festival, Iowa/USA, Nashville Film Festival, Tennessee/USA, Dortmund/Kln Internationales Frauenfilmfestival/D, Cinma du Rel, Paris/F, Transmediale, Berlin/D, Denver International Film Festival, Colorado/USA, Uppsala International Short Film Festival/S, and Leeds International Film Festival/UK.

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