Peut-on, par les moyens du cinï¿½ma, figurer la guerre ? Cette question en ouvre mille autres, comme la guerre elle-mï¿½me porte mille masques. La guerre ici, c?est celle des Balkans dans les annï¿½es 1990 : une guerre Europï¿½enne, anachronique, dans laquelle les charniers et les camps de concentration contrastent avec l?arsenal high tech des conflits modernes, et surtout une guerre mï¿½diatisï¿½e dont les images insoutenables sont devenues banales dï¿½s que diffusï¿½es sur les ï¿½crans de tï¿½lï¿½vision. Analyse rebattue ? Certes non : pour redonner aux images et aux tï¿½moignages leur puissance perdue, mais aussi ï¿½ chacun ses responsabilitï¿½s dans un monde oï¿½ le mal n?est pas le seul fait des criminels de guerre, Selma Doborac, dans ce premier long-mï¿½trage, entreprend avec rigueur extrï¿½me de questionner toutes les maniï¿½res possibles de faire un film sur la guerre. Aux images de charnier se substituent celles, moins spectaculaires, filmï¿½es en vidï¿½o par les combattants eux-mï¿½mes, ou des plans tournï¿½s en 16mm montrant des maisons abandonnï¿½es, rendues ï¿½ la nature, appartenant aussi bien au prï¿½sent qu?au passï¿½. Dï¿½composant la fabrication de l?image de guerre par une suite de questions qui s?enchï¿½ssent sans fin, sous forme de sous-titres envahissants ou d?une voix-off aux faux airs de bulletin d?information, le narrateur dï¿½monte du mï¿½me coup les mï¿½canismes de perception, de comprï¿½hension, de mï¿½morialisation, et mï¿½me tout simplement de communication : remettant en cause jusqu?au langage cinï¿½matographique et transformant le film en une expï¿½rience unique, ï¿½ la fois thï¿½orique et autobiographique. (C.G.)
Selma Doborac est nÃ©e en 1982 en Bosnie-HerzÃ©govine. Elle reÃ§oit le prix Georges De Beauregard International et une mention spÃ©ciale pour le prix du premier film lors du FID Marseille 2016 pour cette oeuvre.
Selma Doborac examines the problematic nature of any attempt at describing, at showing the complexity of war or of evil. Can a critical reflection of a war be achieved solely by visual or poetic means, or would it be advisable in such an undertaking to forego unambiguous words and images? At the beginning of the film, Selma Doborac asks the question: ‘which guerrilla force would you join if you had the choice between two styles of waging the fight?’ She reverts to VHS images, filmed in the 90s in Bosnia, during the war in Yugoslavia.
UBERMORGEN Red Coin (Chinese Blood), 2015 Red Coin mining has recently made the People`s Republic of China the world`s largest Bitcoin producer. Mining requires exertion and it slowly makes new currency available at a rate that resembles the rate at which commodities like gold, copper, diamonds, nickel, rare earth, silver, uranium and zinc are mined from the ground. One of the reasons for the fast growth is the buildout of hydropower in the west of the country. The first petahash mining farms were built in Shanxi and Inner Mongolia where coal was cheap and plentiful, but cheap coal can’t compete with free water and now the farms are migrating en masse towards the west. uuuuuuuntitled.com/chinesecoin uuuuuuuntitled.com/chinesecoin/ChineseCoin_Text.pdf Video & Sound: Mike Huntemann Commissioned by NEoN (North East of North), 2015 Optimized for Dolby Surround 5.1 # Dolby 5.1 available upon request: officeR@ubermorgen.com #
UBERMORGEN lizvlx (AT, b. 1973) and Hans Bernhard (CH/USA, b. 1971) are European artists and net.art pioneers. They tenaciously convert code & language and concept & aesthetics into digital objects, software art, net.art, installation, new painting, videos, press-releases and actions. CNN described them as `maverick Austrian business people` during their Vote-Auction action and the New York Times called Google Will Eat Itself `simply brilliant’. Their main influences: Rammstein, Samantha Fox, Guns N’ Roses & Duran Duran, Olanzapine, LSD & Kentucky Fried Chicken`s Coconut Shrimps Deluxe. The have shown their work in major international institutions such as the Centre Pompidou, MoMA/PS1, Sydney Biennale, MACBA Barcelona, New Museum New York, SFMoma, ICC Tokyo, Gwangju Biennale and were commissioned by Serpentine Galleries London & Whitney Museum New York. UBERMORGEN currently holds the Professorship for Digital and Net-based Art in the Faculty of Art at the University of Art and Design Offenbach/Frankfurt http://ubermorgen.com https://en.wikipedia.org/wiki/Ubermorgen
Pairing up jazz improvisation with the vastness of big data, Across Lips attempts to decode what it means to tell a story for a digital age. Framed by the gradual and comprehensive expansion of the Internet Archive, this film questions what it means to truly believe in something.
Alyona Larionova (b. 1988 Moscow) earned her MFA from the Slade School of Fine Art in 2013 and her BA in Photography from LCC in 2010. Her work has been exhibited internationally, including at HOW Art Museum in Wenzhou, II Moscow Biennial of Young Art, National Center for Contemporary Arts Moscow, Temnikova & Kasela, and Bermondsey Project Space, among others. The artist has recently premiered her latest film at Picturehouse cinema, supported by Outpost Norwich and Ed Atkins; the film was also nominated for Tenderflix 2016 Award, organised by Tenderpixel London.
Ubermorgen examines a virtual currency, of which China has become one of the main producers. This new currency attains rates nearing those of goods like gold or silver, its production requiring huge natural resources. Alyona Larionova tries to decode what a narrative is in the digital age, and reflects on belief systems. She creates tension between order and chaos, technology and mass data, faced with an impending disaster. Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.
Palestinian contemporary artist and filmmaker Shadi Habib Allah takes us with him on an unlikely journey of discovery – at gunpoint across the Sinai Peninsula, led by Bedouins who will force us across an unmapped terrain whose only signposts are the small stories they tell about the stakes of living, dying, and moving through this mysterious space. Stories, itineraries, directions, and allegiances become as blurred as the status of the Bedouins themselves, who remain unrecognized non citizens of this no man’s land, through which Habib Allah is led – behind the lines of military checkpoints, off the political, economic, and historical grid, a place where these desert outliers quietly continue their lineage with the help of snakes…
Born in Jerusalem, Palestine in 1977, Shadi Habib Allah received a BFA from Bezalel Academy of Arts and Design in 2003 and an MFA from Columbia University in 2010. His practice ranges from film, sculpture and drawing to installation. While each projects defines its own terms based on research and physical engagement, a common thread is opening up suggestive modes of navigation across circulation networks of people, technologies, objects, images and economy to examine ideas of use and value and the structures that hold them in place. He was twice awarded 2nd Prize for the Young Artist Award from the A.M. Qattan Foundation, and has attended residencies at Cittadelarte, Fondazione Pistoletto in Biella, Italy and Gasworks in London, England. He was nominated for the Luma Award 2011 and was the 2012 recipient of the Louis Comfort Tiffany Award. Habib Allah was a part of the fall residency program at Delfina Foundation in London, in October 2016. Habib Allah’s work has been exhibited at the New Museum Triennial (2015); Art Statements, Art Basel 43 (2012); Palestine c/o Venice, Venice Biennale (2009); the Riwaq Biennale, Ramallah (2009); and In Focus, Tate Modern, London (2007), amongst others. His Films have screened at the International Film Festival Rotterdam, Courtisane Festival Belgium, the 40th Norwegian Film Festival and 32nd Hamburg International Short Film Festival. Recent exhibitions include:I can call this progress to halt, Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA (2017); Black Box Screenings O Solitude, Beursschouwburg, Brussels, Belgium (forthcoming 2017);Daga`a, Green Art Gallery, Dubai, UAE (2017); House of Commons, Portikus, Frankfurt/Main, Germany (2016),Biscuits and Green Sox Maaike, Reena Spaulings Fine Art, New York, USA (2016)Shadi Habib Allah: 30KG Shine, Rodeo, London, UK (2015) The Verdant, Hacienda, Zurich, Switzerland (2015); Artists Space on Randall Island, Frieze Art Fair, New York, USA (2014); Empire State curated by Norman Rosenthal & Alex Gartenfeld, Palazzo delle Esposizioni, Rome, Italy (2013) & Galerie Thaddaeus Ropac, Paris, France (2013); Frozen Lakes, Artists Space, New York, USA (2013);Nouvelles Vagues, curated by Jason Waite and Antonia Alampi, Palais de Tokyo, Paris, France (2013). Shadi Habib Allah lives and works in New York.
A filmmaker turns forensic detective as she pieces together hundreds of photographs in search of what she believes to be a buried history, only to find herself inside the story she is researching. The Host investigates the activities of British Petroleum (BP) in Iran; a tale of power, imperial hubris and catastrophe. While the tectonic plates of geopolitical conspiracy shift in the background, the film asks us to look, and look again, at images produced by the oil company and personal photos taken by its British staff in Iran– including the filmmaker’s parents– not for what they show, but for what they betray. The Host is about the stories we tell about ourselves and others, the facts and fictions we live by - and their consequences.
Miranda Pennell originally trained in contemporary dance and later studied visual anthropology.Her short film and video works that explore performance and choreographies of the everyday, have been screened internationally including for broadcast. Her most recent moving-image work reworks colonial archives as the starting point for investigations into the colonial imaginary. Her film Why Colonel Bunny Was Killed (2010) was awarded best international film at the Images Festival, Toronto, and Courtisane Festival of Media Art, Ghent and is published on DVD by Filmarmalade. The Host (2015) is Pennell’s first feature length film. Selected screenings and exhibition of Pennell’s work includes mixed programs and group shows at Tate Britain (2014), Whitechapel Gallery (2015), Museum of Modern Art Vienna (2012), Kunsthaus Zurich (2015).
Shadi Habib Allah films a drive through the no man’s land of the Sinai Peninsula, guarded by armed Bedouins. Everything seems to take place outside political, economic or historic frameworks. The only rule seems to be to remain invisible and intangible. Miranda Pennell pieces together hundreds of photographs, investigating the activities of British Petroleum in Iran, in search of what she believes to be buried history. She becomes involved in a tale of power, catastrophe and British imperial hubris. The tectonic plates of geopolitical conspiracy shift in the background, but the film asks us to look, and look again, at the images produced by the oil company and by its staff in Iran, including the filmmaker’s parents, not for what they show, but for what they betray. ‘The Host’ is a film about the stories we tell, the facts and fictions we live by and their consequences.
A reflection on the artist’s own work, mirrored in a dialogue involving three secondhand characters. Together they make an honest evaluation of the artwork to reveal the harsh truth.
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.
This is a story of PEW （penis-eating worm), this is a herstory of all humans.
Chen Xi was born in Wuhan, China (1985), graduated from Jiangnan University(BA) in 2008, then graduated from ECNU(MA) in 2012. He currently works and lives in Beijing. Since 2013, Chen Xi’s artworks have included various medium, such as painting, video, animation, photography and onsite project.
"Catalogue" is a series of 16mm films and videos that consider the time it takes to look at the objects for sale in a mainstream furniture catalogue of designer knock-offs. The catalogue presents de-saturated photographs of staged rooms shot and printed to resemble sets for film-noir era movies. This mediation hypothetically increases the objects` desirability by picturing them in a nostalgic historical moment that is, in fact, fictional. In these pictures, copies of designer furniture are indistinguishable from original pieces. The film is a documentary of the filmmaker’s looking; each cut was determined by the rise and decay of her interest in the object. Each film takes one volume of the 11-volume mail order catalogue as its subject. They can be screened as a set or individually. "Catalogue Vol.6" was shot with audio clips from a horror movie that mention the words "house," or particular rooms or parts of a house, playing in the studio while the film was being shot so that each shot acquired a random "soundtrack." Then the film clips were organized as a "tour" through the rooms of a house: foyer, living room, dining room, kitchen, study, bath, ending at the bedroom.
Dana Berman Duff’s artworks are included in the collections of the Museum of Modern Art and the New Museum of Contemporary Art in New York, the Phillips Collection (Washington DC), Brooklyn Museum (NYC), The Carnegie Museum (Pittsburgh), and a number of private collections. Her works in small format film and video have been screened in a number of festivals including the Toronto International Film Festival, International Film Festival Rotterdam, the Biennale de l’Image en Mouvement (Geneva), Edinburgh International Film Festival, ExIS (Seoul), Antimatter (Vancouver), San Francisco Cinematheque’s Crossroads, Experiments in Cinema (Albuquerque), Cairo International Film Festival, Timisoara Festival (Romania), Filmmakers Festival (Milan), Onion City Experimental Film Festival (Chicago), LaborBerlin microcinema (Berlin), Dortmund/Cologne International Women’s Film Festival, Seattle Filmforum, Echo Park Film Center (Los Angeles). The Gringas, (2013) was named Best Documentary Feature at the 2014 Mexico International Film Festival. Dana Berman Duff teaches at Otis College of Art and Design in Los Angeles and lives part-time in Mexico.
A constellation of objects, each emerging into the soft peach-light void of an indeterminate condominium space.
Zachary Epcar (b. 1987, San Francisco) is a film and video maker based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, Les Rencontres Internationales Paris/Berlin, Images Festival, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.
Ses films sont des montages sensuels créés à partir de situations données. L’artiste développe en parallèle des clips à saynète réalisés de façon directe et spontanée, des oeuvres plus élaborées dans lesquelles elle produit des tissages visuels à partir de coupes franches et précises dans des séquences filmiques au long court. L’habillage, l’ornementation, la prise à partie du spectateur et la mise en difficulté du récit font parties intégrantes de ses créations. Lick In The Past a été réalisé dans le cadre de sa résidence à la Fahrenheit Flax Foundation (Los Angeles).
Laure Prouvost est née à Croix, en France. Elle vit et travaille à Londres. Lauréate du prestigieux Prix Turner en 2013 – la seule Française à l’avoir jamais gagné, s’empresse-t-on en général d’ajouter – Laure Prouvost est devenue l’une des artistes les plus reconnues et les plus en vogue de la scène internationale. Elle a déjà exposé à New-York, Pékin, Athènes, Mexico… et elle travaille officiellement entre Anvers et Londres.
A 17-min video commissioned by Ballroom Marfa for the Artist Film International program led by Whitechapel in London. This video depicts a journey through the Institute for New Feeling’s fabricated SEO Marketing campaign, a web of interconnected sites populated with training modules, news articles, facility tours, click bait and social networking sites all linking back to the Institute for New Feeling.
The Institute for New Feeling 3 person collective committed to the development of new ways of feeling, and ways of feeling new. As a group we assume the authoritative voice of the Institution, borrowing from the language of corporate branding as well as that of mainstream medicine, therapy, health and beauty. Our work takes the form of treatments, therapies, retreats and wellness products. We are interested in the wellness industry as a shifting, slippery intersection of capitalism, technological innovation, and the body. IfNf has recently shown work at Ballroom Marfa, TX, Istanbul Modern, Turkey,Museum of Modern Art, NY, MAAT, Lisbon, Whitechapel Gallery, London, Hammer Museum, Los Angeles, Fundacion PROA, Buenos Aires, Akademie Schloss Solitude, Stuttgart, Kevin Space, Vienna, Jardin Essential, Bruxelles, Recess, NY, and Akademie Schloss Solitude, Stuttgart.
A reflection on J. Tobias Anderson’s own work as an artist mirrored in a dialogue with three other animated characters: the personal, general and global. Xi Chen tells a story about robots, PEW, flesh eating penis worms. It is the tale of all humans in a creative futuristic hypothesis of the world. Dana Berman Duff reviews her own vision by looking at objects in a catalogue. Staged rooms imitate a suite of genre films. She recreates a house, accompanied by horror film soundtracks. Zachary Epcar scrutinises objects, each emerging into the anonymous pastel decor of an indeterminate condominium space. Laure Prouvost films adolescents in Los Angeles and in France. In a car park or in rural areas, they hold upbeat conversations, expressing a desire for freedom and their fantasies about an easy and comfortable life. Agnes Bolt, Scott Andrew and Nina Sarnelle have created the ‘Institute for New Feeling’, committed to experimentation and the development of new ways of feeling, undertaking the language of corporate branding, as well as mainstream discussions on beauty. The well-being industry is at the crossroads between capitalism and the body. We are in the position of a web user. Pop ups, image distortion and misappropriation become desirable spaces.