2016 Berlin Programme
7 pm 9 pm
Theatersaal
Auditorium
Wednesday

Mar. 16
7 pm

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

"Super-positions"

J Tobias anderson: Allt blir självklart, genomlyst | Animation | hdv | couleur | 2:30 | Suède | 2015 see more
Scott fitzpatrick: Immortal Cats #1 | Film expérimental | 35mm | couleur | 0:55 | Canada | 2015 see more
Naïmé perrette: Forebear Forward | Vidéo | hdv | couleur | 1:8 | Pays-Bas | 2014 see more
Alex anikina: Ostrannenie | Film expérimental | hdv | couleur | 8:13 | Royaume-Uni | 2015 see more
Laure prouvost: How To Make Money Religiously | Vidéo | hdv | couleur | 8:44 | Royaume-Uni | 2014 see more
Isiah medina: 88:88 | Doc. expérimental | 4k | couleur et n&b | 65:5 | Canada | 2015 see more
J Tobias anderson
Allt blir självklart, genomlyst
Animation | hdv | couleur | 2:30 | Suède | 2015

In a colorful setting, where thoughts and ideas aren’t necessarily black or white, a situation of non-communication is enacted. Two men and a woman are throwing their most inner thoughts at each other, but finding little solace in the others’ words. Communication can sometimes be unidirectional, even though a dialogue is taking place, and where certainty can be a comfort, perhaps skepticism and doubt should be the default.


Born in 1971. Grew up on Gotland in the Baltic Sea. Education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. Lives in Nacka just outside of Stockholm. Working mainly with video and animation and moving between narrative and non-narrative works. Has created around 40 films. Also experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Sweden.

Scott fitzpatrick
Immortal Cats #1
Film expérimental | 35mm | couleur | 0:55 | Canada | 2015

Quelle est votre plus grande ambition dans la vie? Laser-imprimée sur un film de 35mm recyclé en 2015.

S.F. is a visual artist (Libra) from YWG, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, also invested in photography, re-photography, kaleidoscope and collage.

Naïmé perrette
Forebear Forward
Vidéo | hdv | couleur | 1:8 | Pays-Bas | 2014

En mêlant mémoires familiales et images collectées sur internet, Forebear Forward et Work Hard Play Hard jouent sur le décalage entre des événements et leurs récits. Au premier plan, un grand-père relate des faits vécus par ses aïeux, accompagné par les commentaires de sa femme en hors-champs. Leurs échanges et l`arrière plan d`images d`archives ou de Google Street View se superposent aux histoires, accordant ainsi plus d`importance au contextes de narrations qu`à leurs sujets. Ces réappropriations de récits commentent avec humour le décalage générationnel, l`appartenance sociale, et le passage du drame à l`anecdote. Dans Forebear Forward,le grand-père se concentre sur une anecdote individuelle cocasse ayant eu lieu lors d`une dramatique explosion, tandis que sa femme désire surtout connaître le bilan des morts et rentrer chez elle. De son côté, la vidéaste invoque google pour inscrire cette histoire dans ses outils quotidiens de compréhension. Pour commenter le décalage social entre des matelots embarqués contre leur gré et le ton bourgeois et relativiste de ceux qui livrent ce récit, Work Hard Play Hard utilise des images de culturistes observés par le public comme s`ils étaient étrangers à leur propre espèce.

Using a range of time-based media including animation, video and installation, Naïmé Perrette in interested in layering narratives and subjectivities. In her documentary based works, she investigate the role of labour in the construction of young adults` identities. She follows individuals whose lives are shaped by physically or emotionally demanding activities to understand how they arrive to their own sense of empowerment. She conducts immersive research, interacting with isolated groups that are distant from her own experience but with whom she shares a larger cultural framework. Through this contrast she investigates systems of value and gender identity, in order to capture the multiple expressions of social relations and their borders. Graduated from the Ecole Nationale Supérieure des Arts Décoratifs of Paris in Cinema Animation in 2012, she was resident at the Rijksakademie van beeldende kunsten in Amsterdam in 2014-2015.

Alex anikina
Ostrannenie
Film expérimental | hdv | couleur | 8:13 | Royaume-Uni | 2015

Ostrannenie is a video-exploration of a territory and of the language belonging to it. It traces a history of imaginary lands from the times when the Earth rested on elephants’ backs to the current moment of Google Maps and glossy stock footage. The map of the world in the video becomes a field where the history of geographical discoveries is intertwined with the histories of the human imagination, with the camera’s eye and the gaps in language.


Alex Anikina is an artist-researcher who currently lives and works in London, working primarily with texts, language-based works, experimental films and objects. Her artistic and academic practices both revolve around the exploration of human relationship with technology and knowledge through experimental film. Her works are held in the collection of National Centre for Contemporary Arts, Moscow. Participated in VI Moscow Biennale of Contemporary Art and IV Moscow International Biennale for Young Art. Presented a paper and a video installation at DRHA 2014 at Greenwich University. Received Best Experimental Short award at the London Independent Film Festival (2014). Screenings include Open Eyes Filmfest Marburg, VideoJam at Salford, MAGIKALCHARM Experimental Video Festival (2014 and 2015) at Anthology Film Archives, New York, Athens International Film and Video Festival, FLEXfest, 10th Cologne International Videoart Festival, AOF International Film Festival, Berlin DLX festival.


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Laure prouvost
How To Make Money Religiously
Vidéo | hdv | couleur | 8:44 | Royaume-Uni | 2014

«How to Make Money Religiously» explore les possibilités multiples de la mémoire et de l’oubli, nous confronte aux caractérisitiques arbitraires du pouvoir et de la possession. Consommation, désir et syntaxe expressive des arnaques sur internet s’entrecroisent. Laure Prouvost interroge ainsi, à travers diverses strates, les glissements entre système et communication, et fait apparaître, comme par magie, des interprétations multiples, qui dépendent de la manière dont on perçoit ou dont on se rappelle l’histoire.

Laure Prouvost est née à Croix, près de Lille, en 1978. Elle étudie les arts plastiques et intègre une école d’art, l’institut Saint Luc de Tournai, en Belgique. En 1999, elle part à Londres afin d’étudier au Central Saint Martins College of Art and Design (CSM), et s’établit dans la capitale britannique. Elle devient l’assistante de l’un de ses enseignants à Saint Martins, l’artiste conceptuel John Latham, et poursuit ses études au Goldsmiths College. Ses oeuvres ont été exposées à l’Institute of Contemporary Arts et à la Tate Britain. En 2011, elle remporte le Max Mara Art Prize for Women, grâce auquel elle effectue une résidence à la British School at Rome et à la fondation Pistoletto de Biella. Peu connue en France, elle expose en 2013 à la Biennale d’art contemporain de Lyon. Son installation Wantee, présentée dans le cadre de l’exposition « Schwitters in Britain », est sélectionnée par le jury du prix Turner. Celui-ci est organisé par la Tate Britain et récompense chaque année un artiste contemporain de moins de cinquante ans, né ou travaillant au Royaume-Uni. À la surprise des critiques, il lui est décerné en décembre 2013. En 2014, le New Museum of Contemporary Art de New York accueille l’exposition « Laure Prouvost: For Forgetting », présentant une oeuvre inédite, qui mêle un collage mural, des sculptures, des installations vidéo et un film, intitulé «How to Make Money Religiously». En 2015, le musée départemental d’art contemporain de Rochechouart accueille sa première exposition monographique française, «On ira loin». Elle y présente notamment une création, «The Smoking Image», où elle met en scène des adolescents de la région confrontés au désoeuvrement, à l’âge des premiers désirs et au souhait d’indépendance.

Isiah medina
88:88
Doc. expérimental | 4k | couleur et n&b | 65:5 | Canada | 2015

You cannot pay your bill. – . Your heat and lights are cut off. -. You pay. The clocks initially flash 88:88, –:–. You set the clocks. You cannot pay. -. You pay. 88:88. –:–. Repeat. 88:88, –:–. Cut. -. You stop setting your clock to the time of the world. 88:88, –:– . Subtracted: – : you make do with suspension. 88:88, –:–, -.


Isiah Medina was born in 1991 and he lives in Toronto.


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J Tobias Anderson presents three lively characters discussing their innermost thoughts, pushing communication to the point of absurdity. Scott Fitzpatrick raises the question of ambition in life. A cat responds. Naïmé Perrette blends the tale of a family with images taken from the Internet, playing on the discrepancy between the actual events and their corresponding accounts. A grandfather recounts his ancestors’ experiences, accompanied by his wife commenting off camera. Alex Anikina explores a land and its inherent language, from the first maps of imaginary countries to contemporary image databases. Matthias Fitz uses flows of advertising images, stretching pixels and thus creating an alternative system of interpretation. Laure Prouvost creates a feeling of déjà vu, in the face and possession of power, and summons various interpretations of the same image. Isiah Medina questions a generation’s concerns, and films his friends from Winnipeg along with their questions about philosophy, love and poverty. This is an attempt to give meaning to chaos through fleeting shots, superimpositions and voiceovers that suddenly come to a halt.


Wednesday

Mar. 16
9 pm

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

"Spectrographies"

Benjamin ramÍrez pÉrez: A Fire in My Brain That Separates Us | Film expérimental | hdv | couleur | 17:10 | Allemagne | 2015 see more
Dorothée smith: Spectrographies | Fiction expérimentale | 4k | couleur | 59:0 | France | 2015 see more
Benjamin ramÍrez pÉrez
A Fire in My Brain That Separates Us
Film expérimental | hdv | couleur | 17:10 | Allemagne | 2015

In an initially deserted room objects slowly begin to move; they are manipulated from the off-screen space, being pulled and dragged by strings, cables or the carpet. Thus a ‘ghostly’ choreography emerges, with the objects taking on a life of their own, vanishing and reappearing. The control of these processes from the off-screen is made visible, by showing the strings attached to the objects as well as parts of the acting persons on the edge of the frame. This is accompanied by superimposed subtitles, which consist of a collage of existing film dialogue: Lines from the sub-genre of ‘gaslighting’ films are combined, taking the eponymous Gaslight (1944) as a starting point. A text assemblage on seduction and betrayal unfolds. At the same time the ambient lighting of the room gradually becomes increasingly colored, reaching an almost excessive saturation point as off- and on-screen space become reversed and a muffled pop music penetrates the room. A kind of karaoke video comes into being with the music – like many elements of the film – taking on the notion of a copy of something vaguely familiar.


Benjamin Ramírez Pérez, born in Hutthurm, Germany. Lives and works in Cologne. Studied at the Academy of Media Arts Cologne from 2009–2015. His works have been screened at Locarno, Edinburgh and Toronto International Film Festival, among others. In 2013, he was awarded the Prize of the German Federal Association of Film Journalists for Best Experimental Short. In 2015, he received the Chargesheimer Scholarship for Media Arts by the City of Cologne.

Dorothée smith
Spectrographies
Fiction expérimentale | 4k | couleur | 59:0 | France | 2015

Au fil d’une nuit fantastique, un personnage arpente sans fin des avenues froides et nues, des institutions désertes, des non-lieux inhabités, en marche, en quête, solitaire - guettant les apparitions de fantômes venant se glisser dans son sillage. Suspendu aux télé-technologies (téléphone, puce électronique) de l’intime, il semble se nourrir de l’absence d’un être aimé, ailleurs, loin, intouchable, dont l’absence hante sa déambulation.

Dorothee Smith est une photographe née au milieu des années 80, c’est une enfant de la chute du mur de Berlin, cet évènement qui marque la fin d’une ère, celui de la guerre froide du capitalisme républicain contre le communisme soviétique, et le début d’une autre, celui de la guerre informelle entre l’occident judéo-chrétien et les extrémistes islamiques (Palestine, Irak, Iran, Afghanistan). C’est aussi l’enfant du mouvement queer, avec ses identités fleurissantes et sa nouvelle philosophie du corps. C’est encore et enfin l’enfant de la catastrophe de Tchernobyl, d’une planète maltraitée car trop polluée, d’une terre nucléaire menacée de destruction. C’est un peu ce court morceau d’histoire, qui a un peu plus de vingt ans maintenant, que l’on retrouve dans le sampling visuel de la photographe plasticienne.


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In an empty house Benjamin Ramírez Pérez produces a spectral choreography of objects disappearing then reappearing, operated by a technician who remains off-camera. In ‘Spectrographies’ Dorothée Smith follows a troubled man seeking what others aim to avoid, a ghost. He tries to fill the emptiness left by the absence of a lost love. The film transposes Derrida’s idea, according to which cinema is the science of ghosts.


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