Programme 2018 Paris
2pm 3.30pm 5pm 6pm 7.30pm 9.30pm
Wednesday

April 11
2pm

Projection
Luminor Hôtel de Ville
20 Rue du Temple - 75004 Paris / Subway: Hôtel de Ville, line 1 - Rambuteau, line 11
Full price: 7€ / Saver price: 6€ / Pass: 15€

"To be in place"

Eva giolo: Remote | Film expérimental | hdcam | couleur | 23:41 | Belgique | 2016 voir plus
Barbara marcel: Arara | Vidéo | 4k | couleur | 9:36 | Allemagne / Brazil | 2017 voir plus
Lucia martinez: Mirador | Fiction | 0 | couleur | 14:0 | Suisse | 2016 voir plus
Jonathan schwartz: The Crack-Up | Film expérimental | 16mm | couleur | 18:0 | USA | 2017 voir plus
Eva giolo
Remote
Film expérimental | hdcam | couleur | 23:41 | Belgique | 2016

Remote is a suggestive story. Portrait of a tender companionship in a secluded Irish countryside. Residing in the simplicity of the moment, the waiting and the repetition of days. This is a place where there is no space for imagining a future other than the perpetual repetition of the present. This is a place for survival, to be strong, alone with the wind, eyes burnt by the light. A place of unspoken tenderness, a landscape of silence and solitude in which there will always be someone.


Eva Giolo (b.1991 Brussels) is an audio visual artist. Her practice is predominantly made of filmic portraits that weave between fiction and documentary. They focus on individuals, almost always facing a certain kind of loneliness. She mainly focus on those individuals in their daily life, scripting and observing their actions and daily gestures through the camera. They often touch upon universal human themes and explore the relationship between loss, time and memory. But also the in-between language of the camera and the subject. Presenting memories, images and portraitures as something that can be manipulated and seen with multi-perspectives. Questioning the power of images is a recurrent theme and memories often stand as a central narrative. Giolo obtained a BA and MA in Fine Arts at the Media Arts department of the Royal Academy of Arts (KASK), Ghent. She completed her music education at the Institute of Contemporary Music in London. Recent screenings and exhibitions include: Imagine Science Film Festival, New York; TAZ#17, Ostend; Côté court, Paris; International Film Festival Rotterdam; Blaa Galleri, Copenhagen; BOZAR, Brussels; Courtisane Film Festival, Ghent; Ishibiki Gallery, Kanazawa; In Out Film Festival, Gdansk among others. Giolo won the VAF Wildcard for experimental film (2016) and is a founding member of the small distribution and production platform elephy. Eva Giolo is a post-grad art resident at HISK in Ghent (2018-2020). She currently works and lives in Brussels.

Barbara marcel
Arara
Vidéo | 4k | couleur | 9:36 | Allemagne | 2017

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Barbara Marcel (Rio de Janeiro, 1985) is an artist and filmmaker, interested in the cultural roots of nature and the problematic heritage of colonial imagery. In her current artistic research PhD at the Bauhaus-University in Weimar, Marcel investigates the essayfilm as a historiographical tool for decolonial thinking with and through images, with the Botanical Garden Berlin-Dahlem and its tropical plants being her current material of study. Barbara Marcel is a scholarship holder of the Heinrich Böll Foundation and lives in Berlin. 



Lucia martinez
Mirador
Fiction | 0 | couleur | 14:0 | Suisse | 2016

Depuis un mirador, Lucas observe, effleure un monde qui se bâtit autour de lui. Libéré du foyer dans lequel il réside, le temps d’une journée, Lucas va se confronter à son réel, aux autres, qui vont lui renvoyer de lui même une image aussi mystérieuse qu’elle s’avère fragile.

Née en 1994, Lucia Martinez est une jeune réalisatrice suisse dont les films explorent le passage de l’enfance au monde adulte. N’utilisant pas d’interprètes professionnels, les fictions engendrées le sont à partir de son réel immédiat. Un frère, une voisine, des amis, peuvent devenir des interprètes le temps d’une fiction. Pour Lucia la fiction se glisse souvent dans les replis du réel, faisant émerger des fictions aussi minimales qu’elles sont essentielles.

Jonathan schwartz
The Crack-Up
Film expérimental | 16mm | couleur | 18:0 | USA | 2017

THE CRACK-UP “the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise” (F. Scott Fitzgerald – The Crack-Up, 1936) Glaciers take time and glaciers hold time immensely, with sorrow and not sorrow, worry and not worry. There is a light that casts on and cast out from within, `a persistent body of dense ice that is constantly moving under its own weight` and slowly dissolving, it sounds enormous, urgent.


Jonathan Schwartz lives in Vermont (usa) where his creative practice includes 16mm films, things that look like list-making and collecting as a mode of research, and teaching film/associative thinking. He has had solo screenings Austrian Film Museum, UnionDocs, SF Cinematheque, Cinema Project, TIFF/Free Screen, and more. His work has been included in many film festivals including New York, Ann Arbor, Rotterdam, Toronto, Punto de Vista, Recontres Internationales, Exis, and more.


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Wednesday

April 11
3.30pm

Projection
Luminor Hôtel de Ville
20 Rue du Temple - 75004 Paris / Subway: Hôtel de Ville, line 1 - Rambuteau, line 11
Full price: 7€ / Saver price: 6€ / Pass: 15€

"Economy, colonialism"

Miryam charles: Vers les colonies | Fiction | 16mm | couleur | 5:0 | Haiti / Canada | 2016 voir plus
Alberto rodrÍguez collÍa: Ley Aurea (Golden Law) | Vidéo expérimentale | mp4 | | 7:4 | Brésil / Guatemala | 2014 voir plus
Elise rasmussen: A Poetic Truth in a Pathetic Fallacy | Doc. expérimental | hdv | | 16:0 | Afrique du sud / Ireland/UK | 2017 voir plus
Lasse lau: Stem - Sound from the Tropical | Vidéo expérimentale | hdv | couleur | 33:25 | Danemark / Germany | 2017 voir plus
Miryam charles
Vers les colonies
Fiction | 16mm | couleur | 5:0 | Haiti | 2016

Lorsqu`une jeune fille est retrouvée au large de la côte vénézuélienne, un médecin légiste tente de déterminer les causes du décès avant que le corps ne soit rapatrié.

Formé en cinéma à l’Université Concordia, Miryam Charles a produit et photographié les courts métrages,Danger of death, La boutique de forge, Full Love, Feu de Bengale et les longs métrages Le pays des âmes et Nouvelles, Nouvelles. Elle est la réalisatrice de Vole, vole tristesse, Vers les colonies, Une forteresse et Trois Atlas.

Alberto rodrÍguez collÍa
Ley Aurea (Golden Law)
Vidéo expérimentale | mp4 | | 7:4 | Brésil | 2014

This video speaks about the exploitation and its institutionalized discrimination (economic and racial) and slavery. The location is Brazil, because this one of the most unequal countries worldwide and was the last to declare slavery illegal (Aurea Act of 1898).


Lives and works in Guatemala. With his work tries to explore the historical memory, sordid aspects of the human being and the ridicule of the societies that are imposed over others. He graduated as Engraver from Art School no. 10 of Madrid, with his final project received the Honourable mention at Aurelio Blanco awards. He was awarded with the residencies of FONCA / CASA of Oaxaca, Mexico; Des.Pacio of San Jose, Costa Rica, Fundaçao Armando Alvarez Penteado in Sao Paulo, Brazil, and AIT in Tokyo, Japan. Also participated in 32nd. Biennial of Ljubljana, in the XVI and XVII Biennial of Guatemala and the VII Central American Biennial. In 2007 he co-founded the TEGG, the only engraving workshop in Guatemala, where he teached and organized exhibitions related to graphic arts. From 2010 to 2014 he was in charge of the Cinematographic Art Center of the CCEG, coordinating films screenings and workshops of cinema. Rodriguez also coordinated the Contemporary Film Festival (MUCA) and has worked for the human rights oriented film festival “Memoria, Verdad, Justicia” since 2013. He participated in the films "Even the Sun has spots" that won "Prix Espérance" and "Honourable Mention" in the FID of Marseille.

Elise rasmussen
A Poetic Truth in a Pathetic Fallacy
Doc. expérimental | hdv | | 16:0 | Afrique du sud | 2017

A Poetic Truth in a Pathetic Fallacy considers ways in which human-kind has been fascinated by and has misinterpreted the rhinoceros, exploring the urgency to keep this genus from extinction while considering the lingering effects of colonialism and collection. Over the past decade the trafficking of rhino horns has gained popularity and both poaching and theft of vintage horns has risen dramatically. Horns were traditionally used in Eastern medicine and although scientists have concluded they have no health benefit, this has not dissuaded the market and its value has risen due to its newfound status as a luxury good. This is not the first time that the rhino has been misconstrued. In 1515 Albrecht Dürer created his famous woodcut based off of a written description of the rhinoceros. Although grossly inaccurate, his artwork served as the prototype for future depictions of rhinos up until the mid-19th century. In South Africa today, the lingering effects of colonialism and apartheid are at the root of poaching. In the male-dominated industry of wildlife protection, the Black Mambas [all female] Anti-Poaching Unit has been gaining international recognition for their efforts. Although beloved by the media, the Mambas risk their lives and struggle to support their families while protecting the wildlife that serves the interests of white landowners. This project is a multi-layered investigation into the link between globalization and extinction, using the poaching of the rhinoceros and its horn to speak about the relationship between bodies, labor, desire and the contested territory of representation.


Elise Rasmussen (born 1977, Edmonton, Canada; resides in Brooklyn, NY) is a research-based artist working in photography, video and performance. Her work has been exhibited, performed and screened at international venues including the Brooklyn Museum (NY), the Irish Museum of Modern Art (Dublin), CCS Bard Hessel Museum (Annandale-on-Hudson), Night Gallery (LA), Pioneer Works (NY), and Erin Stump Projects (Toronto). Elise received her MFA from the School of the Art Institute of Chicago on a Merit Scholarship (2007) and is a 2017-2018 artist in residence at LMCC’s Workspace program in Manhattan.

Lasse lau
Stem - Sound from the Tropical
Vidéo expérimentale | hdv | couleur | 33:25 | Danemark | 2017

In the middle of Lisbon between Avenue Liberdade and the Natural History Museum lays a little gem of a garden, The Jardim Botânico da Universidade de Lisboa. It was inaugurated in 1873. The garden’s crown jewel is its subtropical collections which has a unique microclimate that enables unique tropical plants to survive. STEM is a film about the migration of plants and the beginning of botanical gardens decay. Years of neglects of the Lisbon University Garden have created a romantic environment where the garden is growing wild. The film investigates the displacement in migration and morphology of plants. And investigates some of the post-colonial environmental ramifications of transfer into new subjectivities of the"other." The film came together as is a collaboration between the filmmaker and the German sound artist Max Schneider. Together they traveled Brazil to sound record 17 unique plants. The film features an interview with professor James Clifford, author of "The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art" (1988), "Routes: Travel and Translation in the Late 20th Century" (1997), and Returns: Becoming Indigenous in the Twenty First Century" (2013).


Bio Lasse Lau Lasse Lau (born 1974, Denmark) is an award winning visual artist, filmmaker, and queer and social activist. His work addresses challenges and pitfalls in the relational readings of space. His most recent film, STEM - Sound of Tropism is a film about migration of plants and botanical gardens in decay. Years of neglects of the Lisbon University Garden have created a romantic environment enabling return to the wild. The film investigates subjectivity and morphology of plants in the spray of enlightenment and colonialism. His films has shown at Beirut Art Center, British Museum, BOZAR, Cimatheque, CPH:DOX, Darb 1718, Edith-Russ-Haus fur Medienkunst, Festival d`arts vidéo Clermont Farrand, Fotografisk Center, Green Lantern, Kunsthallen Nikolaj, Lumiar Cité, Malmö konsthall, Medrar for Contemporary Art, MOMA PS1, Museu Nacional de Arte Contemporânea Lisboa, Museum of Resistance Torino, OCAT, Smart Project Space, Zagreb Museum of Contemporary Art, Westfälische Kunstverein and WRO Media Art Biennale. Winning 1st prize at Fokus Videokunst Festival, and an honorary mentioning at Festival Der Nationen. Lasse Lau studied at the Whitney Museum Independent Study Program, Berlin University of Art and the Funen Academy of Fine Art in Denmark.


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Wednesday

April 11
5pm

Projection
Luminor Hôtel de Ville
20 Rue du Temple - 75004 Paris / Subway: Hôtel de Ville, line 1 - Rambuteau, line 11
Full price: 7€ / Saver price: 6€ / Pass: 15€

"Partial fiction"

Randa maroufi: Stand-by Office | Doc. expérimental | hdv | couleur | 13:0 | Pays-Bas / France, Liban, Roumanie | 2017 voir plus
Alicja rogalska: What If As If | Vidéo expérimentale | mov | couleur | 13:31 | Royaume-Uni | 2017 voir plus
Jad youssef: Al fayadan (The Flood) | Fiction | 4k | couleur | 19:48 | Liban | 2017 voir plus
Randa maroufi
Stand-by Office
Doc. expérimental | hdv | couleur | 13:0 | Pays-Bas | 2017


Alicja rogalska
What If As If
Vidéo expérimentale | mov | couleur | 13:31 | Royaume-Uni | 2017

What if As If explores legal fictions in international immigration law in collaboration with refugees, asylum seekers and immigrants based in the UK who trained as lawyers in their countries of origin. The video was filmed in a former courtroom and greenscreen, a device for filmic fiction, is used throughout. Legal fictions are used in legal reasoning when something is believed or assumed to be true - they allow for the law to be applied, without changing its text. For example, a refusal to accept an inheritance is legally possible if the inheritor is declared dead and having died before the person who left the legacy; another example is corporate personhood - i.e. treating companies as if they were persons. Immigration law is full of such artificial constructions: legal fictions of sovereignty, political community, the concept of entry, as well as fictions in welfare and employment law, and finally - citizenship and its terms and conditions. The lawyers` expertise and legal imagination combined with their personal, embodied experience of being exposed to the inherent contradictions and absurdities of immigration law, influences the way they see law in society. Legal fictions are used in the video as a vehicle for questioning existing legal structures, a tool for creative lawmaking and exploring speculative legal frameworks as possible resistance.


Alicja Rogalska is a multidisciplinary artist based in London and Warsaw and working internationally. She graduated with an MFA in Fine Art from Goldsmiths College and an MA in Cultural Studies from the University of Warsaw. In 2017 she was an artist in residence at KulturKontakt in Vienna and IASPIS - Swedish Arts Grants Committee`s International Programme in Stockholm. She was also a recipient of 2016-17 Artsadmin Bursary in London. Exhibitions include: For Beyond That Horizon Lies Another Horizon, Edith-Russ-Haus für Medienkunst (Oldenburg, 2017), Gotong Royong. Things We Do Together, Centre for Contemporary Art Ujazdowski Castle (Warsaw, 2017), Dreams and Dramas. Law as Literature, nGbK (Berlin, 2017), Social Design for Social Living, National Gallery (Jakarta, 2016), All Men Become Sisters, Muzeum Sztuki (Łódź, 2016); No Need For References, Kunsthalle Exnergasse (Vienna, 2015); Critical Juncture, Kochi-Muziris Biennale (Kochi, 2014); A Museum of Immortality, Ashkal Alwan (Beirut, 2014), IMS Project, Flat Time House (London, 2013); Melancholy In Progress, Hong-Gah Museum (Taipei, 2012); Jour de Fête, The Private Space Gallery / LOOP Festival (Barcelona, 2011); To Look is to Labour, Laden Für Nichts (Leipzig, 2010) and No Soul For Sale, Tate Modern (London, 2010).

Jad youssef
Al fayadan (The Flood)
Fiction | 4k | couleur | 19:48 | Liban | 2017

a video that attempts to portray an eerie study of seclusion, alienation in and through the image of the fugitive. the main character occupying the images is an anti-hero recluse who resides in a state of self-inflicted introspection. the character is transcended through a narrative thread of non-fiction moments and segments, into a cluster of morose stagnation and insistent malaise. *secrecy molds the morbid drifting of hatem, a man who works in privacy and lives his life accordingly. hatem hides more than he tells, clouding himself in a reclusive state of introspection.


born in 1989, I am an artist-filmmaker from beirut. I finished my bachelors in audiovisual studies, with a specialization in cinema, from saint joseph university, beirut in 2013 with my film “transmission”. afterwards, I went on to collaborate with ashkal alwan, which led to my 2014 ongoing film project titled “a thin soft layer of”. I graduated from the film masters program at the netherlands film academy in 2017 with a thesis exploring the self-alienation and seclusion that deviant members of society may inflict on themselves as an act of escapism. I’ve worked in different fields related to film, including cinematography, editing, sound, development, production as well as assembling my own process, first and foremost as a filmmaker, but also as a researcher.


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Wednesday

April 11
6pm

Projection
Luminor Hôtel de Ville
20 Rue du Temple - 75004 Paris / Subway: Hôtel de Ville, line 1 - Rambuteau, line 11
Full price: 7€ / Saver price: 6€ / Pass: 15€

"Work value"

David brognon, Stéphanie Rollin: Mon heure de gloire | Doc. expérimental | 0 | | 0:0 | Belgique | 0 voir plus
Wim catrysse: Outpost | Doc. expérimental | 4k | couleur | 34:41 | Belgique | 2018 voir plus
Christian barani: des êtres de poussière | Doc. expérimental | hdv | couleur | 18:0 | Népal | 2018 voir plus
David brognon, Stéphanie Rollin
Mon heure de gloire
Doc. expérimental | 0 | | 0:0 | Belgique | 0


Wim catrysse
Outpost
Doc. expérimental | 4k | couleur | 34:41 | Belgique | 2018

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Christian barani
des êtres de poussière
Doc. expérimental | hdv | couleur | 18:0 | Népal | 2018



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Wednesday

April 11
7.30pm

Projection
Luminor Hôtel de Ville
20 Rue du Temple - 75004 Paris / Subway: Hôtel de Ville, line 1 - Rambuteau, line 11
Full price: 7€ / Saver price: 6€ / Pass: 15€

"No Exit"

Hans op de beeck: The Girl | Film expérimental | mp4 | couleur | 16:0 | Belgique | 2017 voir plus
Yang qiu: Xiao Cheng Er Yue (A Gentle Night) | Fiction | 4k | couleur | 15:5 | Chine | 2017 voir plus
Joakim pusenius: I Don't Know the River | Doc. expérimental | hdv | couleur | 27:44 | Finlande | 2016 voir plus
Ben pointeker: Impassenger | Vidéo expérimentale | mov | couleur | 6:0 | Autriche | 2017 voir plus
Salomé lamas: Ubi Sunt | Fiction expérimentale | hdv | couleur | 23:0 | Portugal | 2017 voir plus
Hans op de beeck
The Girl
Film expérimental | mp4 | couleur | 16:0 | Belgique | 2017

"The Girl" is a slow, suggestive, perception-oriented animated film in which the viewer is transported to the strange world of a silent, 14-year-old girl. The dreamy landscape images show a dark forest, a vast landfill, a gas station, a highway landscape, a meadow, a factory site and a mysterious lake. Amidst all this stands an old caravan. The scene seems to suggest that the protagonist leads a lonely life on these premises. For a further unspecified reason, she must at one time have left her parental home, which is presented to us at the beginning of the film, both in perfect condition, and later in a neglected, abandoned state. In a variety of different landscapes, we see the girl perform small acts such as gather usable waste or pick herbs. We often get to see her cargo bike; the vehicle she uses to gather the bear necessities in order to survive. Nighttime, breaking dawn, wind, rain, fog, cold and warming fire are present throughout the film. Occasionally, we get to see the girl – resting serenely – from up close, as if we were right beside her, and could feel her breath. At the end of the film we understand that she is resting on a raft in the lake, floating, passive, as a metaphor for surrender. An original soundtrack for the film was composed by Tom Pintens, on a text by the artist.


Hans Op de Beeck produces large installations, sculptures, films, drawings, paintings, photographs and texts. His work is a reflection on our complex society and the universal questions of meaning and mortality that resonate within it. He regards man as a being who stages the world around him in a tragi-comic way. Above all, Op de Beeck is keen to stimulate the viewers’ senses, and invite them to really experience the image. He seeks to create a form of visual fiction that delivers a moment of wonder and silence. Over the past twenty years Op de Beeck realized numerous monumental ‘sensorial’ installations, in which he evoked what he describes as ‘visual fictions’: tactile deserted spaces as an empty set for the viewer to walk through or sit down in, sculpted havens for introspection. In many of his films though, in contrast with those depopulated spaces, he prominently depicts anonymous characters. Hans Op de Beeck was born in Turnhout in 1969. He lives and works in Brussels and Gooik, Belgium. Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, B (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); Kunstmuseum Thun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, DE (2014), Screen Space, Melbourne, AU (2015); Château de Chimay, Chimay BE (2015); Espace 104, Paris, FR (2016); Kunstmuseum Wolfsburg, Wolfsburg, DE (2017); Fondazione Pino Pascali, Polignano a Mare, IT (2017); ._... Op de Beeck participated in numerous group shows at institutions such as The Reina Sofia, Madrid, ES; the Scottsdale Museum of Contemporary Art, AZ, US; the Towada Art Center, Towada, JP; ZKM, Karlsruhe, DE; MACRO, Rome, IT; the Whitechapel Art Gallery, London, GB; PS1, New York, NY, US; Musée National d’Art Moderne, Centre Pompidou, Paris, FR; Wallraf-Richartz Museum, Köln, DE; Hangar Bicocca, Milano, IT; the Hara Museum of Contemporary Art, Tokyo, JP; 21C Museum, Louisville, Kentucky, US; The Drawing Center, New York, NY, US; Kunsthalle Wien, Vienna, AT; Shanghai Art Museum, Shanghai, CN; MAMBA, Buenos Aires, AR; Haus der Kunst, Munich, DE; Museo d’Arte Moderna di Bologna, Bologna, IT; Kunstmuseum Bonn, Bonn, DE; Kunstraum Dornbirn, Dornbirn, AU; Museum Morsbroich, Leverkusen, DE; Den Frie Center of Contemporary Art, Copenhagen, DK; Royal Museum of Fine Arts, Brussels, BE; Frankfurter Kunstverein, Frankfurt, DE; … His work was invited for the Venice Biennale, Venice, IT; the Shanghai Biennale, Shanghai, CN; the Aichi Triennale, Aichi, JP; the Singapore Biennale, Singapore, SG; Art Summer University, Tate Modern, London, GB; the Kochi-Muziris Biennale, IN, Art Basel Miami Beach, and many other art events.

Yang qiu
Xiao Cheng Er Yue (A Gentle Night)
Fiction | 4k | couleur | 15:5 | Chine | 2017

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QIU Yang was born and raised in Changzhou, China. He studied film directing at the Victorian College of the Arts, Australia. His last short film A Gentle Night was selected for the 70th Festival de Cannes Short Film Competition in 2017. And in 2015, his short Under the Sun was selected for the 68th Festival de Cannes Cinéfondation competition and is now selected for more than 80 international film festivals, including the AFI Fest, New Directors/New Films, Clermont-Ferrand, Palm Springs and nominated for the 52nd Taipei Golden Horse Award. He has been chosen to participate the Taipei Golden Horse Film Academy, mentored by the legendary film master Hou Hsiao Hsien, as well as the Swatch Art Peace Hotel residency in Shanghai. He is currently developing his first feature project Under the Sun (same title as the short), which was selected for the CineMart 2016 and Cinéfondation Residence 2017.

Joakim pusenius
I Don't Know the River
Doc. expérimental | hdv | couleur | 27:44 | Finlande | 2016

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Joakim Pusenius (b. 1984) graduated (BFA & MFA) from Finnish School of Fine Arts in 2014. Before the arts school Pusenius studied in University of Helsinki theoretical philosophy, aesthetics and tv- and media studies (BA). Pusenius works mainly with moving image. In his artistic practise he is focusing on the means of the audiovisual medium by developing new ways of using camera and storytelling. He is interested in film making without a strict sense of storyline or the arch of drama. More likely he is interested in the dichotomy of the cinema: The possibility of cinemas metaphysical otherness and its capability of immersion. Eternal recurrence, existential solitude and disconnection by the modern technology are common themes in Pusenius` works. Last year Pusenius was working in Le Fresnoy - Studio National des arts Contemporains producing his most recent film work "Reste pour la nuit".

Ben pointeker
Impassenger
Vidéo expérimentale | mov | couleur | 6:0 | Autriche | 2017

Impassenger présente un espace de résonance émotionnelle et, ce faisant, permet au cinéma de devenir haptique. Ce film explore la relation entre la proximité et la distance, et permet à l’objet de l’enquête de figer sa soumission.

Ben Pointeker is a visual artist and filmmaker based in Vienna. His work often sets in between film and photography and is concerned with poetics, patterns of narrative cinema, the notion of time, ambiguous realities and fantasy. Previously based in The Netherlands he graduated from Piet Zwart Institute and won the Prix de Rome basic award. He is also a graduate of the University of applied arts Vienna and was artist in residence at Wiels in Brussels, in Shanghai and most recently at Bòlit in Girona in the framework of The Spur. He has exhibited at institutions such as Secession Vienna, Kunstpavillon Innsbruck, Contemporary Art Center Vilnius, Filmmuseum Amsterdam and major film festivals.

Salomé lamas
Ubi Sunt
Fiction expérimentale | hdv | couleur | 23:0 | Portugal | 2017

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Wednesday

April 11
9.30pm

Projection
Luminor Hôtel de Ville
20 Rue du Temple - 75004 Paris / Subway: Hôtel de Ville, line 1 - Rambuteau, line 11
Full price: 7€ / Saver price: 6€ / Pass: 15€

"Fiction machine"

Ryan kuo: Family Maker | Création numérique | 0 | couleur | 0:0 | USA | 2017 voir plus
Jan ijÄs: Sosiaalinen yhteys (Social Connection) | Fiction expérimentale | hdcam | couleur | 12:58 | Finlande | 2016 voir plus
Nicolas boone: Etage 39 | Fiction expérimentale | 4k | | 29:0 | France | 2017 voir plus
Monira al qadiri: The Craft | Film expérimental | mov | couleur | 16:0 | Koweït / Lebanon | 2017 voir plus
Ryan ruaidhri: Modern Props | Fiction expérimentale | mov | couleur | 9:30 | Royaume-Uni | 2017 voir plus
Mike gibisser: Travel Stop | Film expérimental | 16mm | couleur | 19:0 | USA | 2017 voir plus
Ryan kuo
Family Maker
Création numérique | 0 | couleur | 0:0 | USA | 2017

Family Maker is a computer application that uses the macOS interface to convey family dynamics across cascading sequences of gray application windows that users operate in order to unlock mysteries of being in a family. The application might be read as a portrait of the artist’s family, but it doubles as a working model of family life, populated by windows with names such as Ego and Trauma that prompt association-making. The work has been conceived as a puzzle box to unlock and explore, and as a poetic support that can give form to the unnameable. Family Maker is assembled using a runtime engine, and its dynamics are simultaneously built and enacted. As such, the creative process itself is akin to diagramming and inhabiting the family. A user of the application experiences much of how it was made. Each clickable button and slider is loaded with references to past states and future consequences.  It is presented as a regular software application that can be multitasked with other tasks, such as monitoring email and scanning for viruses. As the family is a process, future versions may be created. The work is distributed by Left Gallery.


Ryan Kuo is based in New York and is currently a resident in the Queens Museum Studio Program. He received a Master of Science in Art, Culture and Technology from MIT in 2014. His work is often process-based and diagrammatic, utilizing techniques from video games, productivity software, web design, motion graphics, and sampling. It tends to invoke a person or people arguing. Among his current projects, Ryan is building an artist’s book about aspirational workflows, File: A User’s Manual, modeled after software guides for power users. His works and writing have most recently appeared at the Current Museum of Art (NYC), Equity Gallery (NYC), Front/Space (Kansas City), Spike Art Quarterly (Berlin), Goldsmiths (London), Carpenter Center for the Visual Arts (Cambridge, MA), Boston Cyberarts (Boston), MIT Media Lab (Cambridge, MA), and Minibar (Stockholm). He was a resident artist at Residency Unlimited (NYC) in 2017.

Jan ijÄs
Sosiaalinen yhteys (Social Connection)
Fiction expérimentale | hdcam | couleur | 12:58 | Finlande | 2016

The film’s dialogue has been copied from online forums as is, with no editing. Many times these “faceless” online conversations end up to a very surreal limbo.


Media artist and filmmaker Jan Ijäs lives and works in Helsinki, Finland. Ijäs works with documentary, fiction and alternative film. The films of Ijäs deal with serious and difficult social themes, like migration into foreign and hostile societies. Ijäs`s films have been shown very widely abroad by over a hundred film festivals and as installations in museums and galleries.

Nicolas boone
Etage 39
Fiction expérimentale | 4k | | 29:0 | France | 2017

Dans un espace indéterminé, face à des images de paysages vierges de toutes traces humaines, plages exotiques, montagnes ou déserts, forêt, littéraux et volcans, des X1 se déplacent. L’un d’eux, qu’on identifie vite comme une sorte de modérateur, entre et sort avec les autres. Il lance des sujets de conversation, les interrompt, les relance. Tous improvisent. 1 J’appelle ici les X les 10 personnages modèles au sens bressonien. ils ont étaient choisis pour leur grande éloquence ou leur imaginaire singulier.

A sa sortie des Beaux-¬ Arts de Paris en 2001, Nicolas Boone réalise des tournages/perfor-mances, des « films pour une fois » sans caméra. Son travail, entre mise en scène et captation (où, parfois, le tournage devient le film lui-¬même) est protéiforme : série (BUP, 2007/2008), long métrage en coréalisation sorti en salle en 2013 (200%), films courts réunis dans un même programme (Les Dépossédés, 2012)... Ses films, qui ont fait l’objet d’une rétrospective intégrale au Vivo Art Center de Vancouver en 2011, ont été sélectionnés en maints festivals, à l’image du Rêve de Bailu (2013 ; présenté en 2015 au Festival international du film de Rotterdam et celui de Jeonju, ainsi qu’à IndieLisboa) ou encore de Hillbrow, présenté (entre autres) en 2014 au FID Marseille, au Festival Mostra Indies de Sao Paulo, au Festival du Nouveau Cinéma de Montréal (1er prix Loup Argenté), au festival « Entrevue » de Belfort (prix du public, prix One+One, prix Camira) et, en 2015, au festival international du film court de Clermont-¬Ferrand ainsi qu’au Lago Film Fest (Italie ;; Premier prix du jury). Ce film a également obtenu le Prix Scribe du cinéma en décembre 2014. A l’automne 2015, il a fait l’objet d’une installation à La Galerie de Noisy-¬ le-¬ Sec. Psaume, réalisé en 2015, a notamment été sélectionné au FID (Compétition française ; prix du CNAP et prix des lycéens), à la Viennale et aux RIDM. Le Rêve de Bailu, Hillbrow et Psaume ont été projetés à l’UnionDocs Center for Documentary Art (Brooklyn) en novembre 2015.

Monira al qadiri
The Craft
Film expérimental | mov | couleur | 16:0 | Koweït | 2017

“The Craft” is a film that revolves around childish fictions laced with serious suspicions towards the real world. Using the lens of family history, the film dissects the artist’s own past to reexamine an uncanny relationship taking place in the shadows of her major life events: “Were my parents conspiring with aliens behind my back?” Reality gradually disintegrates like quicksand around this central question, as paranoia and speculation begin to take hold. Futuristic architecture, popular culture, dream readings, junk food, alien abductions, geopolitics, international diplomacy, war and peace; all of these once solid staples of modern life now become tinted with a general sense of distrust, overshadowing everything. Like a ticking time bomb at the center of the nuclear family unit, the suspicion reaches a crescendo when the protagonist suddenly discovers that the American century has finally ended.


Monira Al Qadiri is a Kuwaiti visual artist 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 stemming from poetry, music, art and religious practices. Her work explores unconventional gender identities, petro-cultures and their possible futures, as well as the legacies of corruption. She is also part of the artist collective GCC, who held a solo exhibition at MoMA PS1 in New York (2014). Monira was recently based in Amsterdam, and underwent a two year artist residency at the Rijksakademie until the end of 2017. She has held solo exhibitions at the Sursock Museum, Beirut (2017), Gasworks, London (2017), Stroom Den Haag, the Hague (2017), ACUD Macht Neu, Berlin (2017), ATHR Gallery, Jeddah (2017), the Sultan Gallery, Kuwait (2011 & 2014), and Tokyo Wonder Site, Japan (2009). Her participation in collective international exhibitions includes: "Lets Talk about the Weather: Art & Ecology in a Time of Crisis" Sursock Museum, Beirut (2016), "Invisible Threads: Technology & its Discontents" NYU Abu Dhabi (2016), "DUST" CCA Warsaw, Poland (2015), "Whose Subject Am I?" Kunstverein Dusseldorf, Germany (2015), "Accented" Maraya Arts Center, Sharjah, UAE (2015), "The Return of Ghosts" Hong-Gah Museum, Taiwan (2014), "Never Never Land" Edge of Arabia Projects, London (2014), "Exposure" Beirut Art Center, Lebanon (2013), “X-Apartments” Home Works 6, Beirut, Lebanon (2013), “50/20” Sultan Gallery Kuwait (2011), “Paradiso” Watermill Center, New York (2010), “Tokyo Wonder Wall” Museum of Contemporary Art Tokyo Japan (2008), and “In Transition Russia” Moscow Center of Contemporary Art (2008). Her videos and short films have been screened at: Le Centre Pompidou (2016), Berlinale - Berlin International Film Festival (2014), "Where is My Territory?" Whitechapel Gallery, London (2014), "Parle Pour Toi" Marian Goodman Gallery, Paris (2014), Medrar Cairo Video Festival, Egypt (2014), “Aboveground Animation” New Museum, New York (2012), “Art Screen” Obrero, Sweden (2012), “Arab Shorts” Arsenale, Berlin (2012), and the Gulf Film Festival in Dubai (2008 & 2009) among others.

Ryan ruaidhri
Modern Props
Fiction expérimentale | mov | couleur | 9:30 | Royaume-Uni | 2017

“Modern Props” joins a pair of actors as they shop for furnishings and objects to decorate their characters’ new home. The department store, in which they shop, is in fact a TV and Film props warehouse; the objects are devoid of their original function, existing only to be photographed. As the couple traverses a multitude of environments; ancient Greek, British colonial, medieval, they begin to experience aesthetic disharmony. Conflicts around etymology, authenticity and concepts of perfection abrade at the relationship until eventually our couple breakup.


Approaching film from an art background, Ruaidhri entertains a distinctly humorous view on hyper-real, self-aware constructs, perpetually chasing a notion of authenticity that does not exist. Often disclosing methods of production and combining the sincere with the ironic, Ruaidhri continues to develop conceptually driven, narrative films for gallery and film festival exhibition.

Mike gibisser
Travel Stop
Film expérimental | 16mm | couleur | 19:0 | USA | 2017

Shot at the World’s Largest Truckstop in Walcott, Iowa, the film contemplates the interiors of a Midwestern highway rest stop, creating an essayistic portrait of a familiar site of travel and transience. With fixed attention toward the ideological overtones pressed to the surface in the objects for sale, Travel Stop examines how identity is called upon, regressed, emptied, overburdened, or parceled when traversing the non-places along the US interstate. “That the world of things can open itself to reveal a secret life—indeed to reveal a set of actions and hence a narrativity and history outside the given field of perception—is a constant daydream that the miniature presents. This is the daydream of the microscope: the daydream of life inside life, of significance multiplied infinitely within significance.” – Susan Stewart, On Longing


Mike Gibisser is a filmmaker and artist interested in navigating the indefinite lines between essay, narrative, experimental, and documentary work, often drawing together disparate subjects or time periods. In the past 10 years, he has completed two narrative features (Finally, Lillian and Dan and World of Facts), a feature film essay (The Day of Two Noons), as well as several experimental and non-fiction shorts. He has presented work at numerous galleries and festivals around the world, including the International Oberhausen Film Festival, the Harvard Film Archive, Tony Wight Gallery, Block Cinema, the AFI Film Festival, the Images Film Festival, the European Media Arts Festival, threewalls gallery, and the New York Film Festival. His work has been featured in Artforum, Variety, and Cinemascope, amongst other publications. He currently teaches at the University of Iowa and runs the Headroom Screening Series dedicated to bringing filmmakers to local audiences to present challenging and experimental new work.


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