2016 Paris Programme
 3 pm   5 pm   6 pm
auditorium
grande salle
Sunday

Jan. 17
3 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

"Devices"

Stéphane pichard: Fécampoise | Vidéo | hdv | couleur | 2:49 | France | 2015 see more
Richard martin: Abcam | Vidéo | hdv | couleur | 7:54 | Canada | 2015 see more
Zachary epcar: Night Swells | Vidéo | hdv | couleur | 5:14 | USA | 2015 see more
Nicolas tubery: Deman la tonda | Doc. expérimental | hdv | couleur | 11:11 | France | 2015 see more
Pat collins, Whooley, Sharon: Fathom | Doc. expérimental | hdv | couleur et n&b | 21:30 | Irlande | 2013 see more
Sarah vanagt, Katrien Vanagt: In Waking Hours | Doc. expérimental | hdv | couleur | 18:13 | Belgique | 2015 see more
Jean-françois reverdy: Matière Première | Doc. expérimental | hdv | couleur | 26:2 | Mauritanie | 2015 see more
Stéphane pichard
Fécampoise
Vidéo | hdv | couleur | 2:49 | France | 2015

FECAMPOISE réuni plusieurs notes qui peuvent-être vues indépendamment ou par assemblage, vous verrez ici « J`ai pourtant bien essayé de te voir » et « Dites-moi que je rêve ». FECAMPOISE est un « docu-fanfare » comme on dit « docu-fiction », une sorte de comédie musicale. Voir les couvertures de survies -« Sound of music » (Y. Duyvendak)- qui dégringolent du plafond poussant les danseurs vers le quatrième mur jusqu`à ne plus pouvoir danser. Fin. Nous incluant, fin. Comme ces gens -« La fièvre dans le sang » (E. Kazan)- qui en 29, à Wall Street, se jetaient des tours. J`ai pourtant bien essayé de te voir.

Stéphane Pichard est né en 1968 à Nanterre. Diplômé en 1993 de l’ENSBA de Paris, il continue ses études à l’University of British Columbia dans le programme Master of Fine Arts, à Vancouver Canada, puis poursuit ses recherches à Paris VIII et à l’INA. Stéphane Pichard vit et travaille à Paris.

Richard martin
Abcam
Vidéo | hdv | couleur | 7:54 | Canada | 2015

A B C A M (or A & B Cam) explores a scene from a TV movie where the angles have been superimposed to reveal filmic conventions. It reveals the narrative, angles as well as the adjustments in performance to observe the process in its rawness and mesmerizing predictability. In conventional cinema we are only allowed to see what is presented and manipulated through the process of editing. This is a process as old as the medium itself. It is the essence of cinema. In the case of A B C A M, that process has been subverted and exposed to allow the audience to experience the conventions simultaneously and in real time. The manufactured certainty of the experience is undermined as we are encouraged to review both sides of the narrative, follow the narrative or perhaps, find a new narrative.


Richard Martin (MFA 2013 University of British Columbia) is a media artist living in Vancouver Canada. His short film work has appeared as official selections in prestigious venues such as Berlin International Film Festival, Oberhausen, Rencontres (Paris), Toronto International, EXiS (Korea), Ann Arbor, Athens (Ohio), and many more. He has also worked as a mainstream film and TV director and in that his work straddles conventional and experimental cinema, blending and upending convention with abstract intention, playfulness and occasionally, personal trauma.

Zachary epcar
Night Swells
Vidéo | hdv | couleur | 5:14 | USA | 2015

And you love that humid atmosphere/ And you look so lush under glass.


Zachary Epcar (b. 1987, San Francisco) is a film and video maker currently based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, FLEXfest, Images Festival, 25 FPS, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.

Nicolas tubery
Deman la tonda
Doc. expérimental | hdv | couleur | 11:11 | France | 2015

Le dispositif de tournage se développe autour de la lourde planche de bois sur laquelle le paysan y déposera ses brebis une après l`autre pour les aléger de leur laine. L`oeil des caméras disposées sur la structure d`acier accompagne de l’intérieur le déroulement de l’événement, s’appuyant sur les mouvements et les points de vue des barrières. Révélant une chorégraphie de l’effort et du travail des bêtes, Deman La Tonda propose en même-temps d’envisager les mécanismes de la vidéo et du sujet filmé comme un tout, un seul et même acte

Filmer, se faire le témoin d’une action particulière, prélever des morceaux du réel et les assembler, donner une autre vision du spectacle en partant du quotidien. Les films de Nicolas Tubéry sont des témoignages subjectifs sans débuts ni fins, la mise en forme d’une manière de voir et d’être face aux choses. Dans sa volonté de rendre compte d’une situation, d’une atmosphère spécifique, il n’hésite pas à confronter les oppositions. Deux approches cinématographiques contradictoires sont utilisées selon les oeuvres, à savoir la mise en scène minutieuse et toutes les contraintes techniques qui y sont liées, et le cinéma direct caméra au poing qui autorise plus de spontanéité. Dans les deux cas, le hors-champ prend une place aussi importante que l’image elle-même, il en devient indissociable pour tenter de saisir les films dans leur globalité. Ce qui est donné à voir n’est qu’une partie de ce qui doit être vu, le spectateur ne peut pas se contenter de regarder passivement, il est conduit à plonger hors du cadre. Parfois le sujet est ailleurs, comme dans Rodeo où cheval et cavalier sont quasiment absents de l’image, occupée à saisir l’environnement, capter ce qui gravite autour de l’action principale. Ou bien à l’inverse c’est l’ailleurs qui est rendu invisible. Emballeuse nous fait suivre, par plans très rapprochés, chacun des mouvements d’une machine à compacter les bottes de paille. Chaque centimètre carré de l’emballeuse est disséqué par de lents mouvements de caméra. Toute perspective est bannie, pas un aperçu de l’espace alentours ne filtre. Cette décontextualisation quasi permanente isole les personnes ou les objets pour en faire des centres d’attention inhabituels. On retrouve souvent, comme dans Tsukiji, les techniques propres au cinéma comme le ralenti, l’utilisation d’une bande sonore, la mise en place d’une tension grandissante qui mène au climax. Mais à l’inverse du cinéma ces effets sont vains, ils ne servent pas la narration mais valent pour eux-mêmes, influant sur la manière d’observer l’action qui se joue à l’écran. Ils permettent seulement de déclencher une appréhension chez le spectateur, qui par habitude des images rentre dans l’intrigue et s’attend à un déroulement logique, à une suite qui finalement n’arrive jamais. Nicolas Tubéry cherche ainsi à retranscrire une vision personnelle, nous montrer une chose sous un angle bien précis pour nous contraindre à regarder de la même manière que lui, en nous invitant à voir au-delà. Aurélien Pelletier,2011 Formellement très différentes les trois oeuvres de Nicolas Tubéry s’articulent autour du même axe : l’attente d’un évènement spectaculaire à venir, qui n’arrive pas. Gros plans, tensions palpables Nicolas Tubéry nous propose une réflexion en trois actes sur la grammaire cinématographique et plus particulièrement sur le cadrage. L`artiste en appelle à nos capacités de narration, tout en jouant avec nos attentes. Il laisse le mystère entier… partiellement, puisque les titres font figure de prétérition. Supporter pose la question des frontières entre réalité et fiction en mettant en scène des gestes expressifs pouvant fonctionner comme emblème. Rodéo travaille l’omniprésence du hors-champ à partir de la bande son. Ces deux films pourraient être engloutis tout entier dans Screen qui les place hors-champ, pour ne s’intéresser qu’au phénomène de la projection. Leila Simon pour Jeune Création 2011 Dans son installation vidéo, Nicolas Tubéry met en regard trois moments suspendus, plongeant le spectateur dans une véritable frustration. Littéralement « en attentes », l’œuvre autant que celui qui la regardent abandonnent toute action, toute résolution. Car ce tryptique Rodeo, Screen et Supporter mêlant un cadre de projection vide, une foule en attente d’un évenement et ce qui ressemble à la fin d’un spectacle offre trois temporalités « déviantes » qui se répondent et viennent s’amplifier en jouant sur l’incidence d’un temps non pas seulement révolu mais bien condamné à ne plus jamais “passer”. Guillaume Benoit pour Slash Magazine,2011

Pat collins, Whooley, Sharon
Fathom
Doc. expérimental | hdv | couleur et n&b | 21:30 | Irlande | 2013

The Fastnet Lighthouse is built on a pinnacle rock about 7km off the South West coast of Ireland. It is surrounded by water on all sides. `Fathom’ is a non-narrative, meditative film on isolation and thinking framed by this Lighthouse . The lightkeepers who worked here sometimes spent weeks at a time in their tower, out in the middle of the sea. In this film we are using the lighthouse to evoke the idea that, we are, in an important sense, the places that we inhabit.


Sharon Whooley and Pat Collins of Harvest Films have been making films for nearly 20 years. The films have been shown both nationally and internationally. Pat Collins wrote and directed his first feature film Silence in 2012. It was chosen by Geoff Andrew in ‘Sight and Sound’ magazine as one of his top 5 films for 2013. A CD of the sounds from ‘Silence’ , was launched in November 2015 by Farpoint Recordings. The Irish Film Institute hosted a mid-screen retrospective of Pat Collins` work in 2013. His second feature film, ‘Song of Granite’ on Irish traditional singer Joe Heaney starts shooting in March 2016. Sharon Whooley was co-writer on ‘Silence’ and ‘Song of Granite’. She is currently filming ‘Distance’ , a experimental film on memory and place for the Arts Council of Ireland. Most recently, `Fathom` was screened at the Institute of Contemporary Arts in London and at the Galway Arts Festival in Ireland.

Sarah vanagt, Katrien Vanagt
In Waking Hours
Doc. expérimental | hdv | couleur | 18:13 | Belgique | 2015

With the publication of the Ophthalmographia in 1632, the Amsterdam physician Vopiscus Fortunatus Plempius sheds new light on the age-old question of how seeing works. His answer is an invitation to experiment: Enter with me into a darkened room and prepare the eye of a freshly slaughtered cow. He emphasizes that anyone may carry out this experiment, at home, "demanding little effort and expense." “And you, standing in the darkened room, behind the eye, shall see a painting that perfectly represents all objects from the outside world,” promises Plempius. In the short film In Waking Hours we see historian Katrien Vanagt - who studied the Latin writings of this Plempius - cloaked in the skin of a 21st-century disciple of Plempius. Her cousin, filmmaker Sarah Vanagt, is there and captures how this modern "Plempia" meticulously follows her teacher`s instructions. Thus, in a dark kitchen in Brussels, they become witnesses at the birth of images upon the eye.


Sarah Vanagt (1976) makes documentaries, video installations and photos, in which she combines her interest for history with her interest for (the origins of) cinema. Her work includes films such as After Years of Walking (2003), Little Figures (2003), Begin Began Begun (2005), Boulevard d`Ypres (2010), The Corridor (2010), Dust Breeding (2013); and video installations such as Les Mouchoirs de Kabila (2005), Power Cut (2007), Ash Tree (2007). Her work is shown at film festivals (FidMarseille, Viennale, Doclisboa, Idfa Amsterdam, Rencontres Internationales Paris/Madrid/Berlin, Hors Pistes Centre Pompidou), and in museums (Frankfurter Kunstverein, Fact Liverpool, NGBK Berlin, Shedhalle Zürich). The silent short film Girl with a fly (2013) was first shown at the 5th Biennale of Moscow. The film In Waking Hours (2015) premiered at the International Film Festival Rotterdam. Vanagt`s most recent film Still holding still (2015) was first shown at Idfa Amsterdam, after its Belgian première on 22 October 2015 (Beursschouwburg, Brussels).

Jean-françois reverdy
Matière Première
Doc. expérimental | hdv | couleur | 26:2 | Mauritanie | 2015

"C’est un périple qui s’inscrit dans une région désertique, de l’exploitation des carrières de fer à l’acheminement du minerai jusqu’à l’Océan, à bord du plus long train du monde. Bientôt, les plages jonchées d’épaves annoncent la fin du voyage, tandis que s’amoncelle, sur les cargos amarrés, le précieux minerai, en partance pour les pays riches. Ce film utilise le dispositif antique du sténopé, technique des premières captures du réel : un simple trou dans une feuille opaque remplace l’objectif de la caméra. Une perception inhabituelle de la lumière du désert, de ses formes et de ses couleurs, des hommes et des machines qui l’habitent."

Chef opérateur notamment sur les documentaires « Escort » de Hélène De Crécy (2012), « United state of amnesia » de Nicolas Djian, « La consultation » de Hélène De Crécy, il réalise un essai "vidéo sténopé" en 2003 dans le cadre des ateliers de recherche d`Arte (Paul Ouazan). Il travaille actuellement comme chef opérateur pour des émissions de Canal Plus. » Matière Première » est son premier film.


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Sunday

Jan. 17
5 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

"Iconic"

Clément cogitore: sans titre | Vidéo | hdv | | 24:0 | France | 2014 see more
Adel abidin: Michael | Vidéo | hdv | couleur | 16:10 | Finlande | 2015 see more
Clément cogitore
sans titre
Vidéo | hdv | | 24:0 | France | 2014

Traversant tour à tour forêts, ruines baroques, tours de contrôle et catacombes romaines, “Sans titre” traite d’une communauté scientifique sur les traces d’un animal magique. Entre récit fantastique et rituel initiatique, cette vidéo mêle fresques paléochrétiennes et tablettes numériques, écrans de contrôle et chant des Sibilles. Dans une confrontation entre monde souterrain et aérien, archaïsme et nouvelles technologies, “Sans titre” interroge l’immuabilité du sens du récit et de l’image face à l’évolution des croyances.

Après des études à l’Ecole supérieure des arts décoratifs de Strasbourg, et au Fresnoy-Studio national des arts contemporains Clément Cogitore développe une pratique à mi-chemin entre cinéma et art contemporain. Mêlant films, vidéos, installations et photographies son travail questionne les modalités de cohabitations des hommes avec leurs images. Il y est le plus souvent question de rituels, de mémoire collective, de figuration du sacré ainsi que d’une certaine idée de la perméabilité des mondes. Ses films ont été sélectionnés dans de nombreux festivals internationaux (Cannes, Locarno, Lisbonne, Montréal…) et ont été récompensés à plusieurs reprises. Son travail a également été projeté et exposé dans de nombreux musées et centre d’arts (Palais de Tokyo, Centre Georges Pompidou – Paris, Eyebeam center New-York, Museum of fine arts – Boston…). Clément Cogitore a été récompensé en 2011 par le Grand prix du Salon de Montrouge, puis nommé pour l’année 2012 pensionnaire de l’Académie de France à Rome-Villa Médicis. En 2015 son premier long-métrage « Ni le ciel, Ni la terre » a été récompensé par le Prix de la Fondation Gan au Festival de Cannes – Semaine de la critique, et salué par la critique internationale. Né en 1983 à Colmar, Clément Cogitore vit et travaille entre Paris et Strasbourg.

Adel abidin
Michael
Vidéo | hdv | couleur | 16:10 | Finlande | 2015

“Michael” A video Installation Adel Abidin2014-2015 Introduction and statement: The pop culture’s influence on our contemporary world results in a life that is built of obsession with fame, youth and wealth. Celebrities like Hollywood actors or renowned pop singers are put on to a pedestal as our modern day messiahs. They do take active roles in our daily life, leading positions in the most effective organizations around the globe. Actors make a living bypretending and subsequently creating our children’s (and even ours) potential role models;as musicians do by composing a masterpiece that we meditate with. And at the end of the day, both the actors and the musicians, with the help of the mediatic elements of our popular culture, become more influential than the actual prophets themselves, even some of them end up having more followers than any other prophets. In the video, ”Michael”–as still being one of the universally celebrated icons of our time- is being interviewed after his resurrection. The answers he gives and the speech he makes is nothing but a compilation of his all time well-known songs’ lyrics. Therefore I am resurrecting him from the dead as a prophetic figure that unveils the universal truths about the world we live in. This false prophet is thrown on a television talk show, the ultimate pop culture altar. Due to the delicate nature of the interview and a characteristic plea for privacy, even in his afterlife, “Michael” has only agreed to do a private interview in a pseudo-talk show. Still, thousands of fans from around the world have gathered to view this ‘live’ broadcast on big screens in public spaces as in Times Square. Michael’s fansare there to have their questions answered by their hero live. “It has been a day almost of a religious anticipation,” states the reporter in Times Square. People gathered to witness the most historical moment of all times. Questionsrevolve around existential topics ofmysteries of death, afterlife and immortality. At the studio of “The 1-Show” in Manhattan, “Michael” sits opposite of“Mr. Paul Burke”, the host of the famous TV show. He is expectedto enlighten the crowds and make a confession of whatever he might be confessing right in front of the cameras and lights, while his fans are enduring the pain of their insatiable curiosity. The work goes beyond the limits by trying to convert the star into a fortune-teller, someone to interpret our future, and givetips to world leaders, prevent climate changes and advice on how to make a better world. The production and construction of Resurrection represents not only our innocence and our blind belief in prophetic symbols created by the elements of pop culture, but also our violent responses to such figures. Even after the death of such figures, we continue to follow them with an ill desire. Narrative style - ‘The 1-Show’ A lot of today’s popular culture has evolved around the mass media and it has created a strong link of dependency with ‘superstar’ celebrities. And although television is losing its’ leading exclusive role when compared to the use of the internet, it is still the only media that can gather hundreds and thousands of people in one place to follow unique, once in a lifetime live broadcasts such as Michael’s. Within this frame, the installation follows a format, imagery and a narration of an American talk show. Despite the supernatural feature of the interview, the footage presented in the installation is made to be completely realistic. This also applies to the appearance of ‘Michael’, the reactions of the crowds, the emotional yet professional mannerisms of the talk show host and the reporter in Times Square location. Additionally, the camera work mimics a one-to-one television talk show style, even including the raw documentary style of live footage from variouscities, which are brought to us by news anchors from all around in many different languages. Narrative elements: Live video within the installation consists of two main assets, 1) The studio interview with “Michael”. 2) Live coverage of people’s reactions from around the globe. Edits between the main assets as the interview progresses. The main narrative elements are: • Opening title sequence of the talk show
 • Introduction of the unique nature of ‘tonight’s show’ by the talk show host; “Mr. Paul Burke” including live links to our reporter “Mary”standing by the main selected spot“Times-square” in New York. • Introduction and entrée of the star guest “Michael” by the talk show host • Wide shots of big crowds gathered to watch the broadcast
 • Reactions from fans via live links
 • Questions posed to “Michael” by the talk show host
 • Questions posed to “Michael”by fans via live streaming channels and links
 • “Michael’s” response to the questions posed (quoting his own lyrics)
 • Final statement and farewell by “Michael”
 • Closing speech by the talk show host
 • Title sequence of the talk show


Adel Abidin was born in Baghdad in 1973, He did move to Helsinki in 2001 and lives there since then, Abidin joined the Finnish Art Academy in 2003 in order to do his Mater degree in fine Arts. during that time he switch his practice from full time painter to multimedia based practice, and since 2004 he started his career as a video and installation based artist. Abidin’s art uses various media such as videos, video installations, multi media sculptures and sound based installations and photography to explore the issues of the contemporary world that we are living in. His main point of departure is always linked to the intention to explore the complex relationship between visual art and politics & identity. Using a sharp palette of irony and humour always gravitated towards different social situations dealing with elusive experiences and cultural alienation. He uses his cross-cultural background (as an Iraqi artist living in Helsinki) to create a distinct visual language often laced with sarcasm and paradox, while maintaining an ultimately humanistic approach. This sarcasm used is nothing but a medium of provocation to serve the purpose of extending the mental borders of the artwork beyond the limits of the exhibition space. Always interested in creating opportunities to prolong the discussions beyond artwork by enabling the audience to convey mental elements from the work into their daily life. Moreover, he always finds the words ‘politics’ and ‘identity’ more than a terminology or a path that we travel in, as they unfold to other concepts like discrimination, mass media manipulation etc. Abidin presented his work at many Biennales such as: The 5th Guangzhou Triennial (2015); The 56th Venice Biennale- Iran Pavilion (2015); the Glasstress-The 56th International Art Exhibition– Venice Biennale (2015); Biennale of Contemporary Art of Bosnia (2013); 54th Venice Biennale- Iraq Pavilion (2011); 10th Sharjah Biennial (2011), 17th Biennale of Sydney (2010); 11th Cairo Biennale (2008); 4th Gothenburg Biennale (2007); 52nd Venice Biennale- Nordic Pavilion (2007); (Student workshop participation) 5th Istanbul Biennale (2005). Other participations such as: The Pera Museum, Istanbul; Aga Khan Museum, Toronto, Canada; Rapid Pulse International Performance Art Festival, Chicago, USA; Gwangju Museum of Art, South Korea; National Gallery of Victoria, Melbourne, Australia; The New Museum, New York, USA; MACRO-Museum, Rome, Louisiana Museum; Copenhagen, Station Museum, Houston; The Jerusalem show VII, Jerusalem; Hauser & Wirth Gallery, London; Mori Art Museum, Tokyo; Singapore Art Museum; Museum of Anthropology, Vancouver; Mead Gallery, UK; Palais de Tokyo; Arab World Institute, Paris; MOCCA, Toronto; Arts-Talks and Sensations, Abu Dhabi; MATHAF- Doha; Espace at Louis Vuitton. His solo exhibitions include: Lawrie Shabibi, Dubai, UAE (2015); Cover-Up!, Al Sultan Gallery, Kuwait (2015); Maraya Art Centre, Sharjah (2013), Lawrie Shabibi Gallery, Dubai (2013), ARTER- Space for Art, Istanbul (2012), Darat Al-Funun, Amman (2011), DA2- Centre of Contemporary Art in Salamanca, Spain (2010 ), KIASMA- Museum of Contemporary Art, Helsinki (2010), Association media Art gallery, Helsinki (2014). Abidin has received The Finland Prize for Visual Arts in (2015), Five Years Grant from The Art Council of Finland in (2013); Ars Fennica Prize Nominee 2011. Abidin has invited to be a visiting lecturer at many schools of Arts such as: College of Liberal Arts, Oregon State Uni. Portland, Oregon, USA (2010); The Art Academy of Helsinki (Kuva), (2015), LASALLE College of Arts, Singapore (2016); CalArts, California Institute of Arts, CA, USA (2016).


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Sunday

Jan. 17
6 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

"Post-traumatic"

Monira al qadiri: Behind the Sun | Vidéo | hdv | couleur | 10:0 | Koweït | 2013 see more
Johann lurf: Embargo | Vidéo | hdv | | 10:0 | Autriche | 2014 see more
Guston sondin-kung: STUXNET in Denmark | Vidéo | 4k | couleur | 4:37 | Danemark | Iran | 2015 see more
Nadia & Laila hotait: The Night between Ali and I | Vidéo | 4k | couleur | 9:5 | Liban | 2015 see more
Mariah garnett: Full Burn | Doc. expérimental | hdv | couleur | 20:0 | USA | 2015 see more
Johan grimonprez: From Satin Island | Film expérimental | hdv | couleur | 3:23 | Belgique | 2015 see more
Johan grimonprez: what i will | Film expérimental | hdv | couleur | 1:11 | USA | 2015 see more
Lydia moyer: The Forcing (no. 2) | Vidéo | hdv | couleur | 7:15 | USA | 2015 see more
Monira al qadiri
Behind the Sun
Vidéo | hdv | couleur | 10:0 | Koweït | 2013

After the first Gulf War in 1991, countless oil fields in Kuwait were set ablaze during the retreat of invading forces. Those months following the war were nothing short of the classic image of a biblical apocalypse: the earth belching fire and the black scorched sky felt like a portrait of hell as it should be, an almost romanticized vision of the end of the world. Werner Herzog, lured by the surrealism of this present-day hell, shot his docu-fiction film “Lessons of Darkness” there which placed images of the oil fires alongside Christian biblical texts and a Wagner soundtrack. Inspired by his endeavor, this video re-explores the cataclysmic event and attempts to expand its meaning, especially as the idea of imminent doom is even more omnipresent today. Amateur VHS video footage of the oil fires is juxtaposed with audio monologues from Islamic television programs of the same period. At the time, the tools used to represent religion were geared towards visualizing god through nature. Trees, waterfalls, mountains, and animals were the visual staple of religious media, and the narration was not that of the Koran, but of Arabic poetry recited by a skilled orator with a deep voice.


Monira Al Qadiri is a Kuwaiti visual artist and film maker born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East region stemming from poetry, music, art and religious practices. Her work explores the relationship between narcissism and masculinity, as well as other dysfunctional gender roles. She is currently expanding her practice towards social and political subjects. Al Qadiri has taken part in exhibitions and film screenings in Tokyo, Kuwait, Beirut, Dubai, Berlin, New York and Moscow among others. She is also part of the artist collective GCC, who has recently held a solo exhibition at MoMA PS1 in 2014.

Johann lurf
Embargo
Vidéo | hdv | | 10:0 | Autriche | 2014

Born in 1982 in Vienna Johann Lurf has studied at the Academy of Fine Arts in Vienna and the Slade School of Art in London. He graduated from Harun Farocki’s film class in 2009. He received the State Grant of Austria for Video- and Media Art and participated in the Artist-in-Residence Programs at the MAK Center for Arts and Architecture in Los Angeles 2011 and at the SAIC in Chicago 2015. His works have been internationally shown and awarded in numerous exhibitions and festivals.

Guston sondin-kung
STUXNET in Denmark
Vidéo | 4k | couleur | 4:37 | Danemark | 2015

The Video work STUXNET in Denmark tells a hallucinatory realist fable about an unnamed intelligence officer who has participated in the cyber warfare attack against the Iranian Nuclear plant in Natanz from a hotel room in Copenhagen. What unfolds through the story is a dialogue about the fictive side of documents, participation and complicity in remote warfare, the trap of paranoia and the unattainable desire to be completely immune to mass surveillance. This video is based upon the real events of what has been termed the STUXNET virus, a cyber warfare weapon that was developed by a consortium of different government bodies as a way to disrupt the enrichment of uranium at the Iranian Nuclear plant in Natanz from 2010-2012. Cyber security experts have tracked the virus and discovered that one of the main control servers was located outside the city of Copenhagen, Denmark. It has been suggested by security analysts that because the control servers were located in Denmark then there would have been a forward operating command and control center set up in the country that was active during the time of the attack. An intelligence officer following standard operating procedure would have established this in a hotel and worked cloaked in what is referred to as a “security tent” that is specifically designed to create an electromagnetic shield around its exterior so as to disrupt any listening or watching devices.


Guston Sondin-Kung is a visual artist born in the USA and currently living in Copenhagen, Denmark. He works in a project-based manner primarily in the mediums of film/video, installation and writing. His artwork explores how historical narratives, memory, and ideology are constructed and influence our perception and thinking. Informed by marxist theory, psychoanalysis, postcolonial theory and feminism he is invested in deconstructing the complex intersections of race, class, and gender from a transnational perspective in order to pose alternative narratives and forms of representation. In addition to art institutions, he regularly presents his artworks and artistic research in academic, activist, educational and film festival contexts.

Nadia & Laila hotait
The Night between Ali and I
Vidéo | 4k | couleur | 9:5 | Liban | 2015

“The night between Ali and I”, is a fictional reenactment of one of the key events that happened in Lebanese and Levantine contemporary History: the highjack of 39 hostages at the Bank of America in Beirut, on October 18th, 1973. In this event four armed young fellows from the Lebanese Socialist Revolutionary Movement entered the bank, in Downtown Beirut, and asked from the authorities ten million dollars for the Arab fight against Imperialism in the region and the release of a few Arab political prisoners. They also requested that their demands and manifesto be published in the newspaper. The installation displayed as a tryptich with three main voices: Amer Farrough, one of the 4 men, Mariam, Ali’s sister and our own narration of the events. The images evoke in a particular way what happened during the night of the 26 hours that lasted the hijack but very much as we imagine things happen during the assault, and how the interaction between hostages and guerrilla gunmen in our view with a particular dance, a “deconstructed” dabke.


A collaboration between Nadia Hotait and Laila Hotait. Nadia Hotait is a multimedia artist that has exhibited her work at different international venues among others the Zolla/Lieberman gallery in Chicago, the Biennial of Young art in Moscow, Isabel Igancio Gallery in Seville and Digital Marrakesh. Nadia is recipient of INJUVE art award and the Generaciones 2015 art award and previously she was funded by LaCaixa to study at the School of the Art Institute of Chicago. She studied her BA in audiovisual Communications in between Complutense University in Madrid and Waseda University in Tokyo. Laila Hotait is a filmmaker and artist with a PHD in audiovisual communications as a Fulbright grantee she studied filmmaking at San Francisco State University and her first film, Crayons of Askalan which was supported by AFAC in association with Sundance Documentary Institute, the DFI and Screen Instittute Beirut has played in over twenty international festivals.

Mariah garnett
Full Burn
Doc. expérimental | hdv | couleur | 20:0 | USA | 2015

Full Burn (20min, 2014), features U.S. war veterans who have all continued to test the limits of their physical abilities as civilians. Theses veterans, working as Hollywood stunt men, and one as massage therapist, describe relationships to the body, and how their experiences as soldiers have been carried back into their lives now. Named for the stunt restaged in the opening scene of this film, Full Burn pictures an ex-special ops marine set on fire in extreme slow motion, transforming the stunt into a ritualized reenactment of trauma. Full burn serves as a meditation on masculine duty and the emotional stakes of transcending fear. In 2014 it was exhibited as part of the Hammer Muesum`s Los Angeles Biennial, Made in LA, curated by Connie Butler and Michael Ned Holte. It was funded in part by The Hammer Museum and an FCA Emergency Grant.


Mariah Garnett mixes documentary, narrative and experimental filmmaking practices to make work that accesses existing people and communities beyond her immediate experience. Using source material that ranges from found text to iconic gay porn stars, Garnett often inserts herself into the films, creating cinematic allegories that codify and locate identity. Garnett holds an MFA from Calarts in Film/Video and a BA from Brown University in American Civilization. Her work has been screened internationally including: REDCAT (LA), White Columns (NY), SF MoMA (SF), Venice Bienniale (Swiss Off-site Pavillion), Rencontres Internationales (Paris, Madrid, Berlin, Beirut), Midway Contemporary Art (Minneapolis), Ann Arbor Film Festival (Ann Arbor), Kerstin Engholm Galerie (Vienna). In 2016 she has her first institutional solo show at the MAC in Belfast, Northern Ireland and her first solo show at a commercial art gallery in Los Angeles at ltd los angeles. In 2014, she was in residence at The Headlands Center for the Arts in Marin, and featured in Made in LA, the Hammer Museum`s biennial exhibition. The LA Times called her piece "Best in Show." She was awarded the Rema Hort Mann and CCF Emerging artist fellowships in 2014 and 2015.

Johan grimonprez
From Satin Island
Film expérimental | hdv | couleur | 3:23 | Belgique | 2015

A haunting collage of disaster and beauty, set to a shimmering track by Lights Out Asia, Johan Grimonprez in collaboration with acclaimed avant-garde novelist Tom McCarthy, based on an abstract from his latest book SATIN ISLAND.


Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj Žižek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

Johan grimonprez
what i will
Film expérimental | hdv | couleur | 1:11 | USA | 2015

Reciting her own poetry, Jordanian-American poet Suheir Hammad’s voice carries the powerful force of dissent to find hope between the military parades and anti-aircraft guns. With what i will Johan Grimonprez provides glimpse of his upcoming feature documentary Shadow World based on Andrew Feinstein’s book The Shadow World: Inside the Global Arms Trade.


Johan Grimonprez`s curatorial projects have been exhibited at museums worldwide, such as at the Hammer Museum (LA), the Pinakothek der Moderne (Munich) and, the MOMA (NY). His works are part of the permanent collections of major museums, including the Centre Georges Pompidou (Paris), the Kanazawa Art Museum (Japan) and Tate Modern (London). His award winning films include dial H-I-S-T-O-R-Y (1997) and Double Take (2009). Traveling the main festival circuit from the Berlinale to Sundance, they have garnered several Best Director awards, the 2005 ZKM International Media Award, a Spirit Award and the 2009 Black Pearl Award at the Abu Dhabi Film Festival. They have also been acquired by NBC Universal, ARTE, and FILM 4. In 2011 Hatje Cantz Verlag published a reader on his work entitled "It`s a poor sort of memory that only works backwards" with contributions by Jodi Dean, Thomas Elsaesser, Hans Ulrich Obrist and Slavoj Žižek. His distributors are Soda Pictures and Kino Lorber International. His artwork is represented by the Sean Kelly Gallery (New York) and the gallerie kamel mennour (Paris). His current film project The Shadow World: Inside the Global Arms Trade by author Andrew Feinstein, was awarded a development grant from the SUNDANCE INSTITUTE. His next film project How to Rewind your Dog is in development with the Flanders Audiovisual Fund and the European MEDIA Programme. Grimonprez divides his time between Brussels and New York, where he studied at the Whitney Museum Independent Study Program, and where he now lectures at the School of Visual Arts.

Lydia moyer
The Forcing (no. 2)
Vidéo | hdv | couleur | 7:15 | USA | 2015

Begun in the wake of recent (and ongoing) racial unrest in Ferguson, Missouri, USA, The Forcing (no. 2) is a meditation on power and the longing for deliverance in contemporary America. It combines original sound and video with appropriated content, observing no hierarchy of image quality or authorship.


Lydia Moyer is a visual artist and media maker who lives and works in the foothills of the Blue Ridge Mountains, USA. She directs the new media program in the art department at the University of Virginia where she is on the faculty. Her video and print work has been shown widely in the US and abroad.

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