Laser-printed onto recycled 16mm film in 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. In addition to producing his own work, S.F. presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.
It’s about oriental rugs. It’s about strangers and swindlers. It’s about Sweden. It’s about you and me.
Axel Petersén, born 1979 in Stockholm, is a visual artist and filmmaker who has made a variety of feature and short films, video and photography installations; exhibiting in galleries, institutions, filmfestivals and cinemas worldwide. He’s is educated at FAMU, Academy of Performing Arts in Prague, the Royal Institute of Art in Stockholm and the Mountain School of Arts in Los Angeles.
Reinke proposes a new holiday with the motto MORE RAGE LESS DISGUST: David Wojnarowicz Week and takes us through his seven days of celebration of the life of artist, writer and AIDS activist, David Wojnarowicz. Plankton, Kafka, Bette Davis, Wednesday afternoon visits with friends, more plankton, burning villages, Hollis Frampton, Sammy Davis Jr. as a libidinal machine producing sadness, opera, disembowelment, poetry.
Steve Reinke is an artist and writer best known for his monologue-based video essays, which are widely screened and collected. Originally from Canada, he know lives in Chicago and teaches in the department of Art, Theory, Practice at Northwestern.
Scott Fitzpatrick produces a self-portrait, laser printed onto 16mm film. Axel Petersén produces the portrait of Mustafa Arhan, a famous oriental carpet seller, living in Sweden, the protagonist and victim of a scam, reflecting the history of a country, and of everyone. Steve Reinke paints a portrait of the artist, writer and activist David Wojnarowicz in seven days, celebrating his own disparate and poetic life. It’s about Wednesday visits with his friends, villages on fire, Kafka, Bette Davis, Hollis Frampton and Sammy Davis Jr. transformed into a libidinal machine producing sadness, opera, disembowelment and poetry.
Debout devant une fenêtre, un jeune garçon, refait méthodiquement le même geste : observer son ombre portée dessinée par le soleil, placer une bille de verre dans la ligne de partage entre la pénombre et la lumière, au point limite où son corps s’esquisse. Quelques billes alignées suggèrent la répétition de ce rituel solitaire mois après mois, année après année. Ce geste simple offre une mesure littérale et appliquée de l’écoulement du temps, une sorte de gnomon archaïque et incarné. Temps cosmique versus temps de la vie. Entre jeu d’enfant et première gravité née d’une conscience du passage du temps, ce geste répété conserve sa poésie et son mystère. L’enfant tente-t-il d’enrayer l’inexorable course du temps par cette limite dérisoire posée sur sa silhouette ? Souhaite-t-il, tel un petit poucet signifier chaque étape de son parcours de vie pour mieux la rappeler à sa mémoire dans le futur ou générer son propre récit d’anticipation ? Le film esquisse un parcours initiatique, une sorte de parabole sobre et sublime sur notre propre temporalité et la vanité de nos actions. Hélène Guenin, Directrice, Mamac, Nice
David Brognon, né en 1978 à Messancy (B), et Stéphanie Rollin, née en 1980 à Luxembourg, vivent et travaillent à Paris et Luxembourg. Lauréats en 2013 du Best Solo Show à Art Brussels et finalistes en 2015 du Prix Fondation Entreprise Ricard à Paris, David Brognon et Stéphanie Rollin manipulent ainsi un matériau sociétal brut, souvent marginal, dont les motifs récurrents sont l’enfermement, l’attente et le contrôle. Des systèmes de confinement qu’ils confrontent à leurs propres systèmes de réfraction de la réalité. Avec Fate will Tear us Apart, les lignes de destinées recueillies dans la paume de consommateurs de drogues dures irradient les murs dans un éclair de néon. Le duo capte des étincelles avec des dispositifs qui mettent en tension permanente l’invisible et la lumière, l’intangible et le physique. Avec Cosmographia (Gorée Island), ils réalisent une pièce folle et monumentale qui archive physiquement la réalité de l’île: centimètre par centimètre, pendant 6 jours, les 2,4km du tracé de l’île sont décalqués sur papier. Leurs travaux font partis de plusieurs collections publiques : The Israel Museum - Jerusalem / MAC’S - Grand-Hornu, Belgium / Collection MUDAM, Luxembourg / FRAC (Alsace, Poitou-Charentes, Lorraine), France, ....
DIAMONDS 5 min langage: anglais avec sst anglais Ghana Format: 4:3 PAL Qui est responsable d’un viol? La victime ou le violeur? La victime est-elle responsable d’avoir été au mauvais endroit au mauvais moment? Et ne pas avoir été vêtu(e) autrement ? Les diamants doivent être mis à l’abri et protégés des voleurs, explique l’éducateur dans ce film. Les éducateurs aident-ils ainsi les jeunes filles auxquelles ils s’adressent à se défendre et être plus fortes, ou manipulent-ils leurs possibles sentiments de culpabilité? Islamic and Christian Community À Bolgatanga au Ghana, Séminaire d’éducation de santé sexuelle Un film de Eléonore de Montesquiou Merci à to DeerHunter et Brent Klinkum
Eléonore de Montesquiou est née en 1970 à Paris, elle vit à Berlin et Tallinn. Son travail est basé sur une approche documentaire de la réalité, films (vidéos) dessins et textes. Ses collaborateurs sont à ce jour les compositeurs Peter Zinovieff, Phonic Psychomimesis, Helena Tulve, Tanja Kozlova, Lembe Lokk et Marcel Türkowsky; et les graphistes Aadam Kaarma, Heidi Sutterlütty, Ethan Burkhard et Jose Soares de Albergheria. Depuis 2007, Eléonore de Montesquiou mène un projet à long terme à la frontière Russie-Estonie „NA GRANE“ composé de films et publications. En 2005-2006, elle réalise ATOM CITIES en Estonie, films, dessins, publications et une pièce sonore réalisée pour les ACR de France culture, sur l’ex-ville soviétique close pour recherche nucléaire de Sillamäe, une ville habitée exclusivement par des Russes en Estonie. Lauréate de la villa Médicis Hors les Murs 2006, elle filme des femmes qui prennent régulièrement le train entre la Pologne et l’Allemagne pour aller travailler à Berlin. En 2008-2009, elle est résidente à Moscou (Senat Stipendium für Kulturaustausch). Depuis 2010, elle filme à la frontière entre l’Estonie et la Russie: Kreenholm (2010), Remember (2011), Notes (2015), Olga&Olga (2015).
Away From Here is a look at young people growing up in the strip malls, skate parks, back seats, and empty parking lots of the American suburban landscape. This film explores the chasm between childhood and adulthood. In this film a young girl describes a dream in which she can fly. The description of her dream is the basis for exploring the world she and her peers inhabit. This film is a meditation on the reality of dreaming.
Born Peoria, Il 1981 Justin Schmitz is an artist living and working in Chicago, Il USA. He received a MFA from Yale University in 2013 and a BFA from Columbia College Chicago in 2004. He was awarded the Toby Devan Lewis Fellowship by the Yale University School of Art and the Tierney Fellowship for Excellence in Photography by the Tierney Family Foundation. Justin is also the recipient of The City of Chicago Community Artist Assistance Program Grant, The Union Civic and Art League Scholarship, and The Albert P. Wiesman Scholarship. He was a finalist for the Honickman First Book Prize at Duke University’s Center for Documentary Studies and the Photography Book Now Prize. His work has been included in The Museum of Contemporary Photography’s Midwest Photography Project and the Indie Photo Book Library. Schmitz has exhibited throughout Chicago at Johalla Projects, Gardenfresh, Heaven Gallery, the Evanston Biennial, and Version Festival. His work as also been exhibited at M+B Gallery in Los Angeles, The Aperture Foundation in New York, and Les Rencontres Internationales New Cinema and Contemporary Art Festival in Paris and Berlin.
“And all, all, all was nice and good” is the last sentence sung by a chorus of middle aged men that opens “You are the Center of the World”. A horse walks around, the hooves clatter in the courtyard of a pretty detached house. The three young men look around, wander through the deserted streets. Finally, they find themselves in a living room and remain in there. All they can do is wait and listen to the silence. Where are all the other people? Out there, something is wrong, for sure. The small town becomes a stage for the three local teenagers, who are looked at by the camera and „act acting“. Explicitly cinematic visual references are created, where the characters move and perform in.
Julia Charlotte Richter (*1982 in Gießen, Germany) is a video artist. She studied Fine Art in Kassel (Germany), Portsmouth (UK) and Braunschweig (Germany). Julia Charlotte Richter’s works have been shown internationally in numerous screenings and exhibitions, including Museum Folkwang Essen, Manege Moscow, Georgian National Museum Tbilisi, Goethe Institute Chicago, Toronto, Ankara etc., Filmfestival “Max-Ophüls- Preis” Saarbrücken and the “B3 Biennial of the Moving Image” Frankfurt. She received different scholarships such as the residency “Young Art in Essen” (Kunstring Folkwang/Kunsthaus Essen) in 2012 or a working grant by the Stiftung Kunstfonds in 2014. Her film “You are the Center of the World” (2015) was funded by the Bösenberg-Foundation. In 2017 she received a project grant by the Kunststiftung NRW as well as a travel grant by the Hessische Kulturstiftung.
Buried deep underground in an abandoned Russian broadcasting station located in the forest of Vilnius, Lithuania, an actor performs the role of a Red Army General to teach free-market values to a group of unemployed teenagers by subjecting them to an antagonistic history lesson on the Soviet occupation of the Baltic States.
Mike Crane is an artist raised in Bogotá, Colombia and currently based in New York. He is a graduate of the Cooper Union School of Art and studied at Hunter CUNY. Previous exhibitions include The Bass Museum of Art (Miami), Center for Contemporary Art Derry (Northern Ireland), FridayExit (Austria), Dublin City Gallery The Hugh Lane (Ireland), Chashama (New York), Carnegie International Lending Library of Transformazium (Pittsburg), The Banff Centre (Canada), and Silent Green Kulturquartier (Berlin). His work was most recently exhibited at the Bronx Museum Biennial, the Berlinale Forum Expanded and the Haus der Kulturen der Welt, Berlin. He was awarded the Brenda and Jamie Mackie Fellowship for Visual Arts at the Banff Centre, and the Foundation for Contemporary Arts Emergency Grant for his film installation at Chetham`s Library in Manchester, UK. In 2015, Crane was an artist in residence at the Triangle Arts Association in Brooklyn and the Rupert Centre in Vilnius, Lithuania. He is a recipient of a 2015 Creative Capital visual arts grant and is an artist in residence at the 2016-2017 Smack Mellon studio program in Brooklyn, NY.
Stéphanie Rollin and David Brognon film a young boy lining up glass marbles, providing a literal and applied measure of the passage of time. In Ghana, Eleonore de Montesquiou confronts images of young people with ambiguous discourse about aggression and the accountability of the victim. Justin Schmitz films teenagers in the blurry landscapes of American suburbs, and observes the tentative borderline between adolescence and adulthood. Julia Charlotte Richter follows three boys in the deserted streets of a residential city. They become the protagonists of a fictional scene, following a catastrophe. Mike Crane films a leisure centre located in a former Soviet building in Lithuania. An actor plays the role of a Red Army General, teaches his idle teenage audience about the values of a market economy, and gives them a history lesson about Soviet occupation in the Baltic States.
A photograph circulates, showing five men staring out of a window. Actually, only four look out; the last man breaks protocol and looks at the camera. The light has a soft glow. The stage is a bombed building. All five men wear military fatigues; the color must have been olive green.Snapped by a Magnum photographer in 1982, the image is a teasing enigma. Arabic newspapers claim it as evidence of Bangladeshi fighters in the PLO (Fatah faction). Go a little deeper into the memory hole and sediments will darken the third world international. Still, the light was beautiful. Abu Ammar is Coming continues The Young Man Was project’s exploration of the 1970s revolutionary left as a form of tragic utopia. Previous chapters have shown at the 2015 Venice Biennale, the Museum of Modern Art (New York), and the 2011 Sharjah Biennial.[Abu Ammar was the nom de guerre of Yasser Arafat. His Fatah faction of PLO fascinated Bangladesh JSD (National Socialist Party) leader Major Jalil, despite the sharper Marxist tendencies of the George Habash faction.] Picture credit: Volunteers from Bangladesh fighting with Palestinians, 1982 © Chris Steele-Perkins / Magnum Photos The Young Man Was project examines the failures of radical, armed leftist movements of the 1970s. The protagonists often display misrecognition, ending up as an “accidental trojan horse” carrying tragic results to the countries in question (from Japanese hijackers commandeering Dhaka airport for “solidarity,” to migrant labor pipelines transformed into PLO “volunteers”). In spite of its failures, Mohaiemen’s reading of the potential of international left solidarity is still, always, one of hope. The first part (United Red Army, 2011) reconstructs the 1977 hijacking of Japan Airlines Flight 472 through a series of crisply polite negotiation tapes. The second film (Afsan’s Long Day, 2014) addresses the misrecognition of Marxist ideologies from the perspective of a young historian (Afsan Chowdhury, whose diary entry gives the series its name), slaloming between Bangladesh’s summer of tigers, and the German Autumn associated with the Rote Armee Fraktion. The third film (Last Man in Dhaka Central, 2015) traces, in reverse, the journey of Peter Custers, a Dutch journalist jailed in Bangladesh in 1975, accused of belonging to an underground armed Maoist group. A more recent short film, Abu Ammar is Coming (2016), digs into the illusions of a press photograph of “PLO fighters” taken by Chris Steele-Perkins for Magnum. In the form of Peter Custers, who unfortunately passed away in 2015, many of the questions of The Young Man Was project take a personal form. What lies behind utopian hope, especially within the idea of socialism, against the weight of history and experience? What also of the men who survived those terrible times, unlike so many of their comrades, and now spend their waning days in solitary apartments, writing down memories? What was such a man then, and how does he remember himself today? Was he John Reed, recording the Russian Revolution, in the last free moment before the Thermidor? What does it mean to be a survivor and witness—the last man standing on the eve of another collapse, surveying the wreckage of the socialist dream in the middle of a horrific present that teeters on the cusp of the Anthropocene?
Naeem Mohaiemen is a writer and visual artist. Since 2006, he has worked on "The Young Man Was," a series of projects on the 1970s radical left. The first two films in this sequence are "United Red Army" (2012), which premiered at Sharjah Biennial, IDFA, and Hot Docs, and "Afsan`s Long Day" (2014), which premiered at MoMA, New York, and Oberhausen. He is researching the third installment, "Last Man In Dhaka Central" (2015). The project has been supported by grants from Creative Capital, Creative Time, Franklin Furnace, Rhizome, Puffin Foundation, and Arts Network Asia. He is a 2014 Guggenheim Fellow. The works are also in private collections, as well as the permanent collection of the Tate Modern and the British Museum.
And on a Different Note is a navigation of an attempt to carve out a personal space amid an inescapable sonic shield created primarily by prime time political talk shows with their indistinguishable, absurd and at times undecipherable rhetoric/ noises. Equally repulsive and addictive, these noises travel across geographies gradually constituting an integral part of a self-created map of exile.
Mohammad Shawky Hassan studied philosophy, film directing and cinema studies at The American University in Cairo, The Academy of Cinematic Arts & Sciences and Columbia University. His films include balaghany ayyoha al malek al sa’eed/ it was related to me (2011), On a Day like Today (2012) and Wa Ala Sa’eeden Akhar/ And on a Different Note (2015). He presented film programs at the Oberhausen Short Film Festival, Anthology Film Archives, The New York Public Library and UnionDocs, and was running the Network of Arab Arthouse Screens (NAAS)till 2016.
This epistolary short film invites us into the unsettling life of a young Ghanaian man struggling to reconcile his love for his mother with his love for same-sex desire amid the increased tensions incited by same-sex politics in Ghana. Focused on a letter that is ultimately filled with hesitation and uncertainty, Reluctantly Queer both disrobes and questions what it means to be queer for this man in this time and space.
Akosua Adoma Owusu (born January 1, 1984) is a Ghanaian-American avant-garde filmmaker and producer whose films have screened worldwide in prestigious film festivals, museums, galleries, universities and microcinemas since 2005. Her work addresses the collision of identities, where the African immigrant located in the United States has a "triple consciousness.” Owusu interprets Du Bois’ notion of double consciousness and creates a third identity or consciousness, representing the diverse consciousness of women and African immigrants interacting in African, white American, and black American culture. Named by Indiewire as one of the 6 Avant-Garde Female Filmmakers Who Redefined Cinema, and one of The Huffington Post‘s Black Artists: 30 Contemporary Art Makers Under 40 You Should Know, Akosua Adoma Owusu is a MacDowell Colony Fellow and a Guggenheim Fellow. Founded in 2007, her company, Obibini Pictures, LLC has produced award-winning films including Reluctantly Queer and Kwaku Ananse, which received the 2013 African Movie Academy Award for Best Short Film. Reluctantly Queer was nominated for the Golden Bear and Teddy Award at the Berlinale, Berlin International Film Festival in 2016. In 2010, Owusu was a featured artist at the 56th Robert Flaherty Film Seminar. Artforum listed Me Broni Ba as one of 2010’s top ten films. Her work is included in the permanent collections of the Whitney Museum of American Art, the Fowler Museum, Yale University Film Study Center, and Indiana University Bloomington, home of the Black Film Center/Archive. She’s received support from Creative Capital, Tribeca All Access, IFP, Focus Features Africa First, the Art Matters Foundation, the Camargo Foundation and the Berlinale World Cinema Fund. Owusu holds MFA degrees in Film & Video and Fine Art from California Institute of the Arts and received her BA in Media Studies and Studio Art with distinction from the University of Virginia, where she studied under the mentorship of prolific avant-garde filmmaker, Kevin Jerome Everson.
A group of men are waiting at the fringes of a coastal woodland for the journey to Europe. They are in a temporal and spatial limbo. A film is shot there with the men playing themselves. The landscape changes and where they are is no longer their motherland. The water is not transparent, not clear. Myths from the colonial past collide with present times, memory survives.
Keina Espiñeira (1983, Spain) is a scholar and filmmaker. Her artistic work is related to borders, landscapes and mythologies. She holds a Master`s degree in Direction and Production of Documentary Films, awarded by DOCMA. She has also worked as social researcher in California, Netherlands, Spain and Morocco.
In the video “Orbs” we see two persons playing with an old armillary sphere. This old tool is a model of objects in the sky, one of the oldest astronomical instruments in the world, one of the first models ever made. Representing the heavens with the sun as center, it is known as Copernican armillary. By a simple gesture of moving the armillary rings as heavens, one can demonstrate how the stars move. We see the two people moving the stars and by that they are moved by the stars.
Liina Siib is a visual artist who lives in Tallinn, Estonia. She holds an MA in photography from the Estonian Academy of Arts. The themes of her works range from femininity and social space to different manifestations of people’s everyday practices, to work and leisure time routines. She works with video, installation, photography and performance. Liina Siib has had solo exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. Her works have been presented at a number of exhibitions and festivals in Europe, Asia and the USA. In 2011, Liina Siib represented Estonia at the 54th Venice Art Biennale with her project “A Woman Takes Little Space”. She has also curated art and culture projects in Estonia, the UK and Belgium. Since 2015, she works as the Professor of Graphic Art at the Estonian Academy of Arts. Please see more at: liinasiib.com
THERE IS A HAPPY LAND FURTHER AWAAY (20 mins, S16, col/b+w, 2015) There Is A Happy Land Further Awaay (2015), captures the landscapes of the remote volcanic Republic of Vanuatu archipelago, before they were devastated by Cyclone Pam in early 2015, the footage becoming a ghostly document of an ecosystem now irrevocably altered. A hesitant female voice reads a poem by Henri Michaux, recounting a life lived in a distant land, full of faltering and mistakes. Island imagery of active volcanoes, underwater WW2 debris, children playing, and wrecked boats transform into intangible digital recollections of the island, made on the opposite side of the world. Images of the eroded land merge with eroding film, a lone figure on a boat drifts at sea.
Ben Rivers (born in 1972) is an artist and experimental filmmaker based in London. His work has been shown in many film festivals and galleries around the world and has won numerous awards. His work ranges from themes about exploring unknown wilderness territories to candid and intimate portrayals of real-life subjects. Rivers`s practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. Rivers uses near-antique cameras and hand develops the 16 mm film, which shows the evidence of the elements it has been exposed to – the materiality of this medium forming part of the narrative.
Naeem Mohaiemen explores the tragic utopia of the Revolutionary Left Party in the 70s, snapped by a Magnum photographer in 1982, where Bengali fighters seem to have joined the struggle of the PLO in Lebanon. Mohammad Shawky Hassan recreates an exile map, from images taken in the United States and absurd and indecipherable snippets of patriotic Egyptian conversation. Akosua Adoma Owusu directs an epistolary film. A young man in the United States writes to his mother in Ghana, he strives to reconcile his love for her with his desire for men. Keina Espiñeira films men on the coast waiting to travel to Europe. This beach is in a state of limbo, without spatial or temporal reference. Myths from the colonial past come up against the present, where memory lives on. Ben Rivers examines the landscape of the volcanic archipelago of Vanuatu before it is destroyed by cyclone Pam. In a faltering voice, a woman reads a poem by Henri Michaux about a distant country. These images become the ghostly vestige of an irreparably damaged ecosystem.
In 1980 an extraordinary demonstration hit the streets of the Brazilian city of Sorocaba. Under the military dictatorship, a court had outlawed kisses that undermined public morals. The ruling by Judge Manuel Moralles, which punished such kisses with jail terms, described them this way: Some kisses are libidinous and therefore obscene, like a kiss on the neck, on the private parts, etc., and like the cinematographic kiss in which the labial mucosa come together in an unsophismable expansion of sensuality. The city responded by becoming one huge kissodrome. Never had people kissed so much. Prohibition sparked desire and many were those who out of simple curiosity wanted a taste of the unsophismable kiss. "February 8. GENERAL SMOOCH" by Eduardo Galeano. From: "Children of the Days," first edition published in Mexico by Siglo XXI Editores Mexico, 2012.Translation copyright Mark Fried, Pinguin Books, London 2013.
Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of the viewer. Informed by an archaeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.
In 1515 Machiavelli stated that it would be better for the Prince to be feared, than loved. Some 500 years later, Michael Hardt, political philosopher and co-author of Empire, Multitude and Commonwealth, asks what it would mean to base a political system on love, rather than on fear. How can we transform a society that is increasingly defined by a permanent state of war and cultivated by an industry of fear? How can we realize the paradigm shift necessary to move away from a reality that depends on the exploitation of people and the cult of privatising public resources? Hardt looks for an answer in what he calls `the commons’, by which he refers not only to natural resources, but also to the languages we create- and the relationships we conceive together. In the dystopian city-state Alphaville, of Godard`s eponymous film, all words and concepts relating to the idea of love and affection have been banned. When actress Anna Karina tries to express her feelings, she has to reinvent the words, for the concept of love is foreign to her. Like the protagonist in Alphaville, Hardt suggests that we need to redefine the tools to act politically together. Hardt embarks on a journey to identify the transformative powers of the ongoing struggle to re-invent democracy. Within this struggle he understands `the commons` as an antidote against a society run by fear; an inspiration for a paradigm that is based on dialogue and cooperation.
Johan Grimonprez’s critically acclaimed work dances on the borders of practice and theory, art and cinema, documentary and fiction, demanding a double take on the part of theviewer. Informed by an archeology of present-day media, his work seeks out the tension between the intimate and the bigger picture of globalization. It questions our contemporary sublime, one framed by a fear industry that has infected political and social dialogue. By suggesting new narratives through which to tell a story, his work emphasizes a multiplicity of histories and realties.
Juchés sur un tabouret démesurément haut, des performeurs de stand-up comedy racontent des récits liés aux dents. À leurs pieds, imperturbable, une femme cyborg déclame le Manifeste Cyborg de Donna Haraway tandis qu’un musicien associe mélodies, noisemusic et sons issus de la préparation du projet conçu par Lili Reynaud Dewar. C’est la contre-culture américaine que l’artiste française convoque sur le plateau, et les luttes raciales, sociales et féministes s’entremêlent au fil des interventions des performeurs. Les images tournées à Memphis évoquent en creux la grève des éboueurs de 1968 (Sanitation Strike) et l’assassinat de Martin Luther King. Elles documentent aussi la conception des grillz pour les performeurs. Signe de revendication pour les rappeurs, incarnation de la résistance ou des inégalités sociales dans un pays au système de santé inique, les dents sont au cœur du projet et de l’espace scénographique. Les déchets qui emplissent les poubelles-dents racontent le processus collectif de maturation de la performance. Cette proposition joue des échelles et des formes en un va-et-vient entre les interventions performées, les images rapportées des États-Unis et les détails sculpturaux – jusqu’aux grillz arborés par les récitants. Lauréate du Prix Ricard pour l’art contemporain en 2013, Lili Reynaud Dewar développe une œuvre protéiforme reconnue sur la scène internationale. Son nouveau projet, DGMFS, s’inscrit dans le cadre du programme New Settings #6 de la Fondation d’entreprise Hermès qui en a soutenu la production et la diffusion au Théâtre Nanterre-Amandiers.
Le travail de Lili Reynaud-Dewar a fait l’objet de nombreuses expositions personnelles entre autres au New Museum à New York, à l’Index Fondation for Contemporary Arts à Stockholm, au Consortium de Dijon, au 21er Raum — Belvedere à Vienne, à Outpost à Norwich, au Magasin — Centre National d’Art Contemporain de Grenoble, à la kunsthalle Basel, à la Fondation Calder à New York (performance), à la Serpentine Cinema à Londres (performance), au FRAC Champagne-Ardenne à Reims. Elle a également participé à de nombreuses expositions collectives au Centre Pompidou, à la Fondation d’entreprise Ricard, au Palais de Tokyo et au Plateau à Paris, au CAPC de Bordeaux, au CAFAM à Pékin, au Logan Center for the Arts à Chicago, à la Kunsthalle Fribourg, à la Generali Foundation et au MAK à Vienne, au Witte de With à Rotterdam, dans le cadre de la Biennale de Lyon 2013 et de la 5ème Biennale de Berlin. Lili Reynaud-Dewar est lauréate du 15ème prix Fondation d’entreprise Ricard.
Johan Grimonprez conveys the demonstration that took place, in Sorocaba, in Brazil under military dictatorship at the time in the 80s. A judge banned any kissing in public, with the penalty of a prison sentence. The town responded with a huge ‘kissodrome’. In ‘Every Day Words Disappear’, he gives the floor to Michael Hardt, an American political philosophy theorist, who raises questions regarding the means of transforming a society defined by a permanent state of war, fuelled by the industry of fear, in a reality which depends on the exploitation of people and the cult of the privatisation of common goods. In contrast to Machiavelli’s quote, according to which it is preferable for the Prince to be feared rather than to be loved. Lili Reynaud Dewar reflects upon the appropriation of objects, cultural and social identities. In this film, science fiction, rap and discourse on emancipation intersect in the specific cultural and political context of the city of Memphis, once the historic epicentre of slavery, and centre of the fight for African-American civil rights.
Peter Downsbrough (1940, New Brunswick, N.J.) fait des études d?achitecture et d?art. Au milieu des années 1960, après quelques années de travail et d?exploration de divers matériaux, notamment le carton, le bois, l?acier, le plomb et les tubes de néon, sa pratique a évolué et trouve une forme différente, en 1970, dans les ?uvres "Two Pipes" (outside), "Two Dowels" (inside) et "Two Lines" (on paper).A la même époque, il commence à prendre des photographies de ses pièces. En prenant en photo sous différents angles et avec différentes distances, il commence graduellement à se concentrer sur les "coupes" existantes du paysage urbain. Certaines de ses photographies ont été publiées dans des livres, d?autres apparaissent dans des magazines, mais elles n?ont pas été exposées avant 1980. A partir de 1977, Downsbrough réalise plusieurs vidéos et des cassettes audio. Il a fait un disque en 1978 qui est sorti en 1982. Cherchant à étendre son vocabulaire pictural, il développe une série d??uvres avec des dés. En 1980, sur le Spectacolor Board de Time Square à New York, il réalise une pièce, un spot de 30 secondes s?allumant une fois l?heure pendant quatre jours, une performance qu?il documente dans un court-métrage « 7 come 11 ». Autour de 1980, il commence également à utiliser des cartes postales, en y dessinant deux lignes, suivi ensuite par l?utilisation de mots. Le travail avec des maquettes comme un moyen d?explorer l?espace et la structure commence vers 1983. Downsbrough a réalisé sa première commande publique à Rennes (France) en 1983 pour un espace mural. Le film "Occupied" a été produit en 2000, dis ans après qu?il a été conçu. Depuis, plusieurs films, tournés avec une caméra numérique, ont été édités en DVD. Aujourd?hui toutes ces disciplines font partie de son champ d?activité. L?intérêt de Downsbrough pour l?architecture industrielle prend beaucoup de forme. Plus souvent, la "préservation" signifie la survie formelle d?un film ou d?une série photo. Ses films et ses photos capturent toujours une réalité industrielle ou (sub)urbaine qui disparaîtra un jour où l?autre ou sera sujet à des réaménagements ? comme c?est le cas dans le Manhattan de la fin des années 1970 ou dans les zones industrielles de Kent, en Angleterre.
Skull Island is an ongoing series of video works, lectures and installations that use the fictional island from the various versions of King Kong as analogies for hypothetical image environments. Each island provides a means of manifesting and examining an introspective image space that reflects the sociopolitical contexts of its audience. The cultural and technological developments displayed within each version of the film define relative positions from which the viewer can question their current perceived surroundings. After being captured by a camera crew within this otherwise inaccessible territory, Kong escapes into the physical context to confront the audience with their internal fears and shared cultural constructs.
Graham Kelly (b. 1982, Ayr, Scotland) is an artist and writer based in Rotterdam and Brussels. Previous exhibitions, screenings and lectures include: Transmission Gallery (Glasgow), Intermedia (Glasgow), Generator Projects (Dundee), Kino der Kunst (Munich), TENT (Rotterdam), EYE Film Museum (Amsterdam) and the 2016 Moscow International Biennale for Young Art. He graduated from the Glasgow School of Art in 2009 with a Masters in Research and with a Masters in Fine Art in 2014 from the Piet Zwart Institute, Rotterdam. He was a resident at the Jan van Eyck Academy in Maastricht between 2015 and 2016 and is the recipient of the Mondriaan Fonds Werkbijdrage Jong Talent and Centrum Beeldende Kunst O&O subsidies and a Scottish Arts Council Creative and Professional Development Award.
A single day spent in a motion-capture studio documenting actors, a director and technical crew provide the subject matter for this film. Using a cliché B-movie script, the studio Audiomotion test workflow patterns to standardise and improve the production process (e.g. adjusting cameras and monitors, rehearsing with equipment, transferring data etc.) The actor’s movements are recorded during the scene, followed by minute facial gestures (aided with face paint), and finally edited as 3D models. We see how technique and dialogue must change to avoid disrupting the motion-capture technology, how the actors choose their expressions (stylised, but with an emphasis on naturalism), what other jobs the actors may have, and how standards or ideal gestures are created via these technical methods.
Dan Ward is a filmmaker based in London.
Jeu de Paume depicts a court tennis match at the Château de Fontainebleau, France, set in 1907. The stop-motion animation, filmed with a robotic hand-held camera, reflects the asymmetrical design of the court and the irregular rhythm of the game.
Joshua Mosley is Professor of Fine Arts in the School of Design at the University of Pennsylvania. He received his M.F.A. and B.F.A. from The School of the Art Institute of Chicago. Joshua is a recipient of fellowships including the Joseph H. Hazen Rome Prize, the Pew Fellowship in the Arts, and the Louis Comfort Tiffany Foundation Award. His work has exhibited and screened at the 2014 Whitney Biennial, the 2007 Venice Biennale, the Wexner Center for the Arts, the Museum of Modern Art, NY, the Modern Art Museum of Fort Worth, the Museum für Gegenwartskunst in Basel, Switzerland, the Art Institute of Chicago, the Bruce Museum, the Reina Sofia in Madrid, the Philadelphia Museum of Art, Donald Young Gallery, the Indianapolis Museum of Art, the Fabric Workshop and Museum, the Institute of Contemporary Art Philadelphia, the SITE Santa Fe Eighth International Biennial, and the Museum of Contemporary Art San Diego.
The Third Degree is a single scene film exploring a close-ups of skin scars resulting from third degree burns filmed through an installation of broken mirrors reflecting the crew and the whole background process while filming the scars, thus integrating the subject of the camera with the process of filming itself. The Third Degree was made as a response to questions that emerged due the particularly violent way the previous film TK was filmed. The term "Third Degree" has an ambiguous meaning in the English language: it is a way to classify a burn of a very strong degree, but it can also signify a process of extorting a confession under violence. Set in motion by such violent interpretations and perspectives, film tries to critically, yet poetically, cut through the collective haze that blurs relations between means of production, control and the subject itself, giving rise to alternative methods of understanding as a reflection determined at the same time by social, political and aesthetic parameters.
Damir Očko was born in 1977 in Zagreb, where he lives and works. A graduate from the Academy of Fine Arts in Zagreb. Očko has exhibited on solo exhibitions at DAZIBAO, Montreal, Palais de Tokyo in Paris, Künstlerhaus Halle für Kunst und Medien in Graz and Kunsthalle Dusseldorf, Temple Bar Gallery and Studios in Dublin among other places. He participated in numerous group exhibitions internationally with institutions such as, MUDAM in Luxembourg, FRAC le Plateau, Württembergischer Kunstverein Stuttgart, Germany, Kunsthalle Vienna, among others. His works can be found in the collections of Louis Vuitton Foundation for Creation and CNAP – Centre national des arts plastiques in Paris or at the MUDAM in Luxembourg. Damir Očko was representing Croatia in the 56th Venice Biennale with a solo exhibition "Studies on Shivering / The Third Degree.
The Lost Object is the final video in a trilogy that examines the complex mechanisms of how we perceive the constructed nature of reality—and how this construction is performed, both in the realm our imagination and the one of film. As curator Cuauhtémoc Medina notes in a recent monograph dedicated to Diaz Morales’ work, the artist approaches film as a “factory of simulacra,” a conceptual thread that carries throughout his trilogy, which began with Insight (2012) and was followed by Suspension (2014). A slow, steady shot travels into the set of The Lost Object, accompanied by the din of a whirring film reel that seems to methodically introduce the viewer into a world of artifice: a soundstage containing the set of a curiously dated, yet nonetheless anonymous room. The scenario slowly begins to unravel, disarticulating both the language and apparatus of filmmaking. Following Jean Baudrillard’s notion that the world has disappeared behind its own representation and therefore its impossible to return to it, The Lost Object proposes a new world in which fiction and reality merge into one single element. In this universe, fiction is autonomous and auto-generates itself.
Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009
Based on images taken in an airport, the symbol of a global society, Peter Downsbrough examines the act of filming and the structuring of language in moving images. Graham Kelly examines cultural and technological developments in contemporary image. Based on different film versions of ‘King Kong’, he highlights the preponderant importance of the socio-political context in which the public receives these images. Dan Ward documents the shooting of motion capture. Everything in the studio is made to standardise the implementation process. Joshua Mosley uses animation to recreate a game of real tennis that took place at the Château de Fontainebleau, in 1907. With skilled editing, he resumes the idiosyncratic moments of hesitation, the different degrees of concentration and what he calls ‘human consciousness’. Damir Ocko explores the mechanism of a film set where third degree burns are filmed. In English the term ‘third degree’ means both a very bad burn and a confession obtained through torture. Sebastian Diaz Morales examines the mechanisms through which we perceive the constructed nature of reality. Fiction and reality merge; fiction appears to self-generate.