Paris 2018 programme
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April 13

Centre Pompidou
Place Georges Pompidou - 75004 Paris / Subway: Hôtel de Ville, line n°1 / Les-Halles, line n°4 / Rambuteau, line n°11
Free entry / Pass/accreditation: priority access

Special screening
with Heinz Emigholz

Heinz emigholz: Streetscapes [Dialogue] | Doc. expérimental | 4k | couleur | 120:10 | Allemagne | 2017 see more
Heinz emigholz
Streetscapes [Dialogue]
Doc. expérimental | 4k | couleur | 120:10 | Allemagne | 2017

There are streets, paths, motorways, alleys, boulevards and promenades. And there are life paths, intersections and dead ends. Two men sit on the shady raised platform of a brick building somewhere in Montevideo. They are submerged in a conversational marathon that never ceases throughout the entire film. The younger of the two is an analyst; the older man his analysand. Their nationalities are unclear; they speak a simple, internationally understandable English. They talk about a childhood among the ruins and the traumatised people of Germany shortly after the Second World War, about fleeing, about an obsessive interest in architecture and about manic writing. And they speak about work with the film camera, which is a technical instrument for the young analyst, but a lifeline for the old film director. The starting point of the six-day marathon is the psychological and physical block that prevents the director from starting a last great film, the Streetscapes saga. The conversation, which in a slow process dissolves the director’s block, takes place in changing places in extreme architectures. The camera, which portrays them both and sets them in relation to the architecture, becomes a third partner. The camera repeatedly disengages from where they are and explores the surrounding streets and neighbourhoods before returning to the two protagonists. The shell constructions of the Uruguayan builder Eliado Dieste where they sojourn resemble gigantic braincases and thus provide a framework for the site and the theme of the project that emerges in the course of their talk: trauma and architecture.

Né en 1948, l’artiste allemand poursuit des études de philosophie et des études littéraires à Hambourg. Il fonde la société cinématographique Pym Films en 1978 et devient professeur de cinéma expérimental à l’Université des arts de Berlin de 1993 à 2013. Co-fondateur de l’Institut pour Time-Based Media, il lance son propre cours en ‘’arts et medias’’ au sein de l’Université. Artiste freelance depuis 1973, Emigholz est monteur, écrivain, scénariste,réalisateur et journaliste. Depuis quinze ans, l’artiste expérimental allemand se dédie à une série de documentaires ambitieuse qui se concentre sur le travail visionnaire des architectes du 20ème siècle. C’est à travers l’image et l’architecture que l’artiste s’exprime, car selon lui ‘’l’Architecture projette l’espace. Les œuvres cinématographiques traduisent cet espace en images projetées dans le temps. Le cinéma est ensuite utilisé sous une nouvelle forme : comme un espace offert pour réfléchir sur les immeubles’’. A travers son travail, il cherche à développer chez le spectateur une meilleure connaissance des moments critiques de l’histoire de l’architecture. Entremêlant photographie et architecture, Emigholz questionne la notion de temps, d’espace et de narration. Réalisateur internationalement reconnu, Heinz Emigholz a remporté de nombreux prix : prix du ‘’meilleur scénario’’ et ‘’meilleur film’’ au German Film Critics Association Awards 2017, déjà salué dans le même festival par le prix spécial en 2001, 2008 et 2009 et en 1983 pour le prix du meilleur film ; prix du meilleur documentaire au Festival de Berlin (1988). Le réalisateur a aussi été nommé dans un grand nombre de festivals : Festival International du Court Métrage d’Oberhausen (2013), meilleure photgraphie et meilleur montage au German Film Critics Award (2017). Son oeuvre video a aussi été montrée dans de nombreuses institutions berlinoises, mais aussi à la Biennale de l’architecture (Venise, 2008), et notamment à Kassel, Toronto, Tel Aviv, ou encore Vienne.

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April 13

Centre Pompidou
Place Georges Pompidou - 75004 Paris / Subway: Hôtel de Ville, line n°1 / Les-Halles, line n°4 / Rambuteau, line n°11
Free entry / Pass/accreditation: priority access

Carte blanche to Valie Export

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April 13

Cité internationale des arts
18 rue de l'Hôtel de Ville - 75004 Paris / Subway : Pont Marie, line n°7 / Saint-Paul, line n°1
Free entry / Pass and accreditation: priority access

"Pop hybridation"

la decanatura, Elkin Calderón Guevara & Diego Piñeros García: Pluralia tantum bon bril | Vidéo expérimentale | hdv | couleur | 4:49 | Colombie | 2017 see more
Adriana bravo, Ivanna Terrazas: Beso de chola (Chola Kiss) | Vidéo | hdv | couleur | 4:0 | Bolivie | 2016 see more
Scott fitzpatrick: Zombie, Pt. 1 | Film expérimental | super8 | couleur | 3:45 | Canada | 2017 see more
Carlos aires: Sweet Dreams Are Made of This | Vidéo | hdv | couleur | 4:21 | Espagne | 2016 see more
Akosua Adoma owusu: Mahogany Too | Vidéo expérimentale | super8 | couleur | 3:32 | USA | 2017 see more
la decanatura, Elkin Calderón Guevara & Diego Piñeros García
Pluralia tantum bon bril
Vidéo expérimentale | hdv | couleur | 4:49 | Colombie | 2017

SYNOPSIS A Colombian video-contribution between the collective La Decanatura and the queer-artist Federica Burns presents the creation of the universe - the big bang - in a new way: Their work aims to subvert the lopsided vision of the white male sovereignty in the representation of the Creator in order to devise a god of ambiguity. As a hybrid being this god is neither male nor female but genderless, mestizo, playful, and plural has put on make-up and is dancing with a fire produced with a "Bon Bril" (kitchen steel wool sponges ) that is used as a fireworks in popular neighborhoods in Colombia and Brazil. Title: PLURALIA TANTUM BON BRIL Director: LA DECANATURA (Diego Piñeros García & Elkin Calderón) Production: LA DECANATURA (Diego Piñeros García & Elkin Calderón) Camera: Johannes Förster Edition: LA DECANATURA (Diego Piñeros García & Elkin Calderón) Actor: Abner Wagner a.k.a Federica Burns Makeup artist: Martín Ortegón Duration: 5 min Technical details: Recorded in 4K, final Version in Full HD, 1920 x 1080 stereo

LA DECANATURA. Collective formed by artists Elkin Calderón Guevara and Diego Piñeros García that seeks to generate new approaches to art from historical approaches and "foreign" disciplines that inquire hegemonic forms of knowledge and power. LA DECANATURA has been the winner of different awards for the development of artistic projects such as the Residence in Switzerland, Villa Ruffieaux of the Coincidence Program, Pro Helvetia, 2018. Plataforma Bogota Scholarship in art, Science and Technology 2017/18. They have exhibited individually at the Museum of Modern Art in Medellin, Caja Negra (Black Box) 2017. Also they have participated in the Regional Salon for Artists in the Central Zone 2015 and in the National Artists Salon, 2016. Their work "Centro Espacial Satelital de Colombia" has been shown in important festivals, winner of one of the prizes of the Videobrasil Festival 2017 and is part of the Art Collection of the Banco de la República in Colombia.

Adriana bravo, Ivanna Terrazas
Beso de chola (Chola Kiss)
Vidéo | hdv | couleur | 4:0 | Bolivie | 2016

On connait cet art du détour que Sophie Roger pratique pour nous mener par des chemins inattendus avec l’amitié comme fil, déplié avec Le Point aveugle (FID 2012) ou Les Jardiniers du petit Paris (FID 2010). Ici ce sera, tissée tout en délicatesse à l’écran, l’amitié avec Mohamed, réfugié soudanais au Havre. Faite de partage, d’attention, d’écoute et de rire, et de vagues en vagues, celles du texte éponyme de Virginia Woolf qu’elle lui lit, à celle de Courbet au musée du Havre, qu’il animera de son regard. (FIDMarseille)

Scott fitzpatrick
Zombie, Pt. 1
Film expérimental | super8 | couleur | 3:45 | Canada | 2017

"He wrote that Leonard and Robert La Tourneaux actually had a relationship... I didn`t know that." A super 8mm film about hustling. Words by Will Brown; for Will Brown.

SF is a visual artist (Libra) from Winnipeg whose film and video work has screened at underground festivals and marginalized venues worldwide. He obtained his bachelor`s degree in Film Studies at the University of Manitoba and began conducting lo-fi moving image experiments in 2010. In addition to producing his own work, SF presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.

Carlos aires
Sweet Dreams Are Made of This
Vidéo | hdv | couleur | 4:21 | Espagne | 2016

The video shows two policemen wearing Spanish anti-riot uniforms, dancing a tango version of the famous Eurhythmics 80´s song in the luxurious and extremely decorated ballroom space of the XIX century palace Museum Cerralbo in Madrid. The fantastic lyric of the song “ Sweet dreams are made of this ” is the central motor of the piece. The tango version cove song has been arranged by the bandoneon player Fernando Girdini and recorded exclusively for the video. In its origins, tango was mainly a dance between two men. Tango was the result of the cultural mix of locals with African, Italian and Hispanic immigrants. It was originally forbidden by the church and rejected by high society, which resulted in its development in poor suburbs and working-class slums. The video reflects about the last years crisis, 15M movement, the violent riots, Cataluña independency, brutality of Spanish police and military forces and the recent antidemocratic Spanish law ” Ley Mordaza ” (the Gag Rule), becoming illegal and punished to take photos or videos of police forces or use of the police uniforms without the Government’s permission. Desire, power, decadence and frustration: they shoot horses, don´t they?

Carlos Aires was born in Ronda, Spain in 1974. He obtained a bachelor in Fine Arts at the University of Granada in Spain. Upon graduating in 1997, he moved to the Netherlands and completed his postgraduate studies at Fontys Academy (Tilburg, Netherlands), HISK (Antwerp, Belgium) and Ohio State University (Ohio, USA). He was honored with prestigious grants and awards, including: OMI Residency (USA), Edith Fergus Gilmore Award (USA), Generation2008 Caja Madrid (Spain), Young Belgian Art Prize (Belgium), 1st Award Young Andalusian Artists (Spain), Fulbright (USA) and De Pont Atelier (the Netherlands). He has participated in numerous exhibitions in national and international institutions, such as: CAC (Malaga, Spain), MACBA (Barcelona, Spain), Boulder Museum of Contemporary Art (USA), Imperial Belvedere Palace (Vienna, Austria), MUSAC (Leon, Spain), BB6 Bucharest International Biennale (Bucharest, Romania), B.P.S. 22 (Charleroi, Belgium), 5th Thessaloniki Biennale (Thessaloniki , Greece), Museo de Arte Carrillo Gil (Mexico City, Mexico), Canada Contemporary Art Museum (Montreal, Canada). His work can be found within significant public collections: ARTIUM (Spain), MACBA (Spain), Fondation Francès (France), ARTER (Turkey), CAC (Spain), Maison Particulière (Belgium), Ministry of Culture of Spain, Progress Art (Saudi Arabia), National Belgium Bank (Belgium), 21c Museum (USA), MAK (Austria) among others.

Akosua Adoma owusu
Mahogany Too
Vidéo expérimentale | super8 | couleur | 3:32 | USA | 2017

Mahogany Too takes the 1975 cult classic Mahogany “ a fashion-infused romantic drama” as its base. The film examines and revives Diana Ross`s iconic portrayal of Tracy Chambers. Analogue film provides vintage tones, which emphasises the essence of the character, re-creating Tracy’s qualities through fashion, modelling, and styling

Akosua Adoma Owusu (b. 1984) is a Ghanaian-American filmmaker, producer and cinematographer whose films address the collision of identities. Interpreting the notion of "double consciousness" coined by sociologist and civil rights activist W.E.B. Du Bois to define the experience of black Americans negotiating a sense of selfhood in the face of discrimination and cultural dislocation, Owusu aims to create a third cinematic space or consciousness. In her works, feminism, queerness and African identities interact in African, white American, and black American cultural environments. Owusu's films have screened internationally in festivals like Rotterdam, Locarno, Toronto, New Directors/New Films (New York) and the BFI London Film Festival. Her work is included in the collections of the Whitney Museum of American Art, the Centre Georges Pompidou, the Fowler Museum and the Indiana University Bloomington, home of the Black Film Center/Archive. Named by IndieWire as one of 6 pre-eminent Avant-Garde Female Filmmakers Who Redefined Cinema, she was a featured artist of the 56th Robert Flaherty Seminar programmed by renowned film curator and critic Dennis Lim. Her film "Kwaku Ananse" won the 2013 African Movie Academy Award. She has received fellowships and grants from the Guggenheim Foundation, the Knight Foundation, Creative Capital, the MacDowell Colony, the Camargo Foundation and most recently Goethe-Institut Vila Sul in Salvador-Bahia. Currently, she divides her time between Ghana and New York, where she works as a Visiting Assistant Professor at the Pratt Institute in Brooklyn.

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April 13

Cité internationale des arts
18 rue de l'Hôtel de Ville - 75004 Paris / Subway : Pont Marie, line n°7 / Saint-Paul, line n°1
Free entry / Pass and accreditation: priority access


Philippe-aubert gauthier, Tanya St-Pierre: La production fantôme | Vidéo | hdv | couleur | 4:0 | Canada | 2016 see more
Maya watanabe: Earthquakes | Vidéo expérimentale | hdv | couleur | 12:0 | Japon / Netherlands | 2017 see more
Sonia leber, David Chezworth: Earthwork | Vidéo | hdv | couleur | 5:0 | Australie | 2016 see more
Mónica martins nunes: Na cinza fica calor (The Ashes Remain Warm) | Doc. expérimental | hdv | couleur | 20:52 | Cap Vert (Îles du) / Portugal | 2016 see more
Pascal grandmaison, Marie-Claire Blais: Le chemin de l'énigme | Vidéo | 4k | couleur | 13:6 | Canada | 2017 see more
Arnold pasquier: O amor moderno | Vidéo | hdv | couleur | 8:52 | Brésil | 2017 see more
Vincent guilbert: Brutalement, le silence (Savagely, Silence) | Doc. expérimental | hdv | couleur et n&b | 20:30 | Japon | 2016 see more
Sj ramir: In This Valley of Respite, My Last Breath... | Vidéo expérimentale | hdv | couleur | 5:6 | Australie / New Zealand | 2017 see more
Philippe-aubert gauthier, Tanya St-Pierre
La production fantôme
Vidéo | hdv | couleur | 4:0 | Canada | 2016

"La production fantôme - The Phantom Production" est une oeuvre vidéo sous forme de diptyque. Un double écran présente en simultané une vidéo filmée et une vidéo de synthèse. Inspiré par le photo-réalisme (comment les marques ou imitations de caméra augmentent le réalisme des images de synthèse), c`est le mouvement de la caméra de la vidéo filmée qui est imitée par la vidéo de synthèse. Avec cette oeuvre et installation vidéo diptyques, les tensions entre séquences vidéo tournées et synthètiques proposent un processus de production cinématographique interrompu, ouvert à l`analyse critique. "La production fantôme - The Phantom Production" se décline de plusieurs façons : installation vidéo dyptique ou projection.

La pratique artistique de Philippe-Aubert Gauthier est consèquente de ses profils : artiste sonore, artiste en arts numériques, ingénieur mécanique junior, docteur en acoustique et professeur à lUniversité de Sherbrooke. Méthode artistique et savoir scientifique ou technique deviennent des matières brutes pour une démarche artistique réflexive liée aux implications et influences sociales, culturelles et historiques des technologies de communication et des médias. Tanya St-Pierre est artiste en arts visuels, sonores et numériques. En explorant les relations possibles entre les arts visuels ou numériques et la narration, elle transforme divers systèmes d'altération de la narration en propositions politiques et conceptuelles. On trouve dans ses oeuvres des traces déchirées de narrations et de fictions. Depuis 2003, leurs démarches se rencontrent dans des projets collaboratifs. Leurs intéréts et engagements respectifs sont abordés dans des échanges amenant des propositions artistiques hybrides qui résultent de joutes d'autocritiques et d'inventions en duo.

Maya watanabe
Vidéo expérimentale | hdv | couleur | 12:0 | Japon | 2017

An unnatural landscape appears in an empty theater. Without any human action, a series of events begin to unleash. The motionless scene is abruptly interrupted by artificial disasters. When the scenography breaks down and the staged landscape collapses, the inhabitants confront their extintion. As the long-shot continues, the remnants left behind appear again, inexplicably recomposed. The fundamental motivation is to explore the limits, one’s own limits, ethical limits, political limits, of control over others deaths.

Maya Watanabe is a Peruvian visual artist who works with video installations. Her work has been exhibited at: Palais de Tokyo, Matadero Madrid, Kadist Art Foundation, Das Fridericianum, Museo de Arte Contemporáneo de Lima, and Kyoto Art Center among others. She has been featured in festivals like Videobrasil, LOOP, FILE, Transitio MX, Madrid Abierto, Havana Film Festival, and Beijing Biennale. She has also collaborated as a set designer and audiovisual art director for theatre plays performed in Peru, Spain, Austria and Italy. Watanabe is based between Amsterdam and Madrid.

Sonia leber, David Chezworth
Vidéo | hdv | couleur | 5:0 | Australie | 2016

Earthwork’s screen is positioned flat on the floor, facing upwards. The visitor, looking down, gets a bird’s-eye view of a suburban landscape in which there are destroyed buildings, damaged roads, fences, and gardens. The image suggests a world that has undergone massive disruption. It is unclear whether accident, entropic forces, or warfare has caused this result. Superimposed upon Earthwork’s devastated landscape is another smaller image that presents the viewer with an alternative framing the site. We see diagrams: symbols of what might be location coordinates, suggesting an ongoing search for boundaries, and an intention. The two images appear to be attempting to “ line-up ”, but this is never achieved. The title, Earthwork, references the American Land Art movement of the 1960s; Leber and Chesworth’s videowork further explores Robert Smithson’s concept of the “ non-site ”. A non-site is an artwork situated in a gallery that metaphorically represents a remote actual site. As Smithson suggests “ the site is evading you all the while its directing you to it ”.

Sonia Leber and David Chesworth are known for their distinctive installation artworks, using video, sound, architecture, and public participation. Developed through expansive research in places undergoing social change, Leber and Chesworth’s works are speculative and archaeological, responding to architectural, social, and technological settings.

Mónica martins nunes
Na cinza fica calor (The Ashes Remain Warm)
Doc. expérimental | hdv | couleur | 20:52 | Cap Vert (Îles du) | 2016

“ Every morning when I go out of the door, he is the first one I see. He is the first to tell me good morning. ” “ He is a father. Although he is destroying us, he does not kill us. ” The villages of “ Chã das Caldeiras ” lie inside the caldera of the “ Pico do Fogo ” volcano in Cabo Verde. After losing everything they own on the last eruption, its inhabitants are forced to reconstruct their lives. A subjective visual tale on real loss, a symbiotic relationship and the possibility of the eternal return.

Monica Martins Nunes (1990, Lisbon) is a portuguese visual artist living and working in Berlin. After studying Sculpture in Faculdade de Belas-Artes - Lisbon University, she graduated in Fine Arts from the Universitat der Künste Berlin. In 2016 she became a Meisterschüler in the same institution and was subsequently awarded the Elsa-Neumann-Stipendium from the city of Berlin. "The Ashes Remain Warm" is her first moving image work and won the Golden Dove - International Competition Short Documentary at DOK Leipzig 2017.

Pascal grandmaison, Marie-Claire Blais
Le chemin de l'énigme
Vidéo | 4k | couleur | 13:6 | Canada | 2017

N`ayant pas vécu l`Exposition universelle 1967 à Montreal, nous ressentons une sorte de vertige entre ce que l`évènement évoque aujourd`hui et l`absence de vestiges qui en témoignent. Une impression de vide qui nous incite à scruter attentivement le site de l`exposition universelle à la recherche d`indices révélateurs de son passé. L’image d`une archéologie matérielle inspiré de Walter Benjamin qui recherche dans la matière, les débris et les laissés pour contre, les traces d`une histoire qui émanerait jusqu`à nous. Pour tenter de cerner l`ampleur de ce décalage, nous nous sommes intéressés aux facteurs d’apparition et d’éffacement révélateurs des contradictions du site et de son histoire : la succession de déplacements de matière, d`additions et d`extractions, qui sont à l`origine de la création des îles Sainte-Hélène et Notre-Dame. La transformation radicale de la forme de l`île Sainte-Hélène, la dissolution de sa configuration ancienne et son artificialité actuelle, nous est apparue comme l`objet privilégié de notre désir d`en comprendre la portée actuelle. Les mouvements de remblais et de déblais de la matière sont transposés, dans le montage des séquences filmées, par la juxtaposition alternée d`une action performative et son contraire. Un jeu incarné par la confrontation de notre interprétation personnelle comme duo d`artistes. La réciprocité entre la spontanéité du geste de l`un et la transcription du cadrage de l`autre. " Il ne suffit pas que tout commence, il faut que tout se répète, une fois achevé les cycles des combinaisons possibles" Causes et raisons des îles désertes G. Deleuze

Pascal Grandmaison (1975-) est un artiste canadien qui vit et travaille à Montréal. Sa pratique explore les façons dont les images influencent la perception et la compréhension du concept de l’infini. Son travail fait l’objet de nombreuses expositions individuelles et collectives, incluant Expo 67 au Musée d’art contemporain de Montréal (2017), Intersections: Contemporary Artist Films au Audain Art Museum (Whistler, 2016), Installations au Musée national des beaux-arts du Québec (Québec, 2016), All membranes are porous à la Kamloops Art Gallery (2016) et La vie abstraite I à la galerie Diaz Contemporary (Toronto, 2015). Ses oeuvres filmiques sont présentées internationalement, notamment à la galerie Power Plant (Toronto, 2016), à la Haus de Kulturen des Welt (Berlin, 2014), au Palais de Tokyo (Paris, 2014) et au Centre Georges-Pompidou (Paris, 2011). Il est représenté par la Galerie René Blouin (Montréal) et la Galerie Eponyme (Bordeaux). Marie-Claire Blais vit à Montréal. Diplômée en architecture, elle se consacre à temps plein aux arts visuels. Ces dernières années elle a entrepris la production d`un ensemble d`oeuvres qui chacune à leur manière active les différentes façons que nous appréhendons forme (s) et espace et les organisons dans notre mémoire perceptuelle. Diffusion et diffraction de la lumière articulent un espace entre le spectateur et sa mise en action, délimitant le seuil entre eux, offrant une voie d`accès. L`artiste a présenté plusieurs expositions personnelles à la Galerie René Blouin de Montréal. Son travail a figuré dans des expositions au Canada et au Mexique, incluant, à la recherche d`Expo 67, Musée d`art contemporain de Montréal (2017), Road Wall Door, Diaz Contemporary, Toronto (2016), L’oeil et l’esprit, Musée d`art contemporain de Montréal (2015), Projet HoMa, Fondation Guido Molinari, Montréal (2013). Elle prépare pour novembre 2017, Entrouvrir, entrevoir, enclore, une exposition solo au Centre culturel canadien à Paris et Buveurs de Quintessences, une exposition collective à la Fonderie Darling (2018) et au Casino du Luxembourg (2019).

Arnold pasquier
O amor moderno
Vidéo | hdv | couleur | 8:52 | Brésil | 2017

L'installation vidéo d'Arnold Pasquier fait partie d'une série qui vise à reflèter les conditions d'une expérience sentimentale en lien avec un paysage et à inventer la forme spectaculaire d'un amour contemporain. Deux paysages creusent une absence et révélent la possibilité d'une rencontre. D'une part, une sculpture monumentale couvre les ruines du village de Gibellina en Sicile, détruit par un tremblement de terre; d'autre part, une autoroute coupe irrémédiablement en deux un quartier d'immigrants italiens de la ville de Sao Paulo au Brésil. Ce cercueil blanc, ce moulage en béton débordant, offre une nouvelle scène pour exprimer - jour et nuit - un amour qui est en lui-même l'invention d'une forme d'amour.

Arnold Pasquier est né en 1968 à Paris. Dès ses études d’arts plastiques et de cinéma à l’Université Paris 1 Panthéon-Sorbonne, il réalise des essais en super 8 et vidéo dans lesquels il développe un univers de journaux filmés et de fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes en tant que documentariste et danseur. Ces expériences inaugurent la réalisation d’une oeuvre où la danse tient une place importante. En 1997, il intègre le Fresnoy, Studio national des arts contemporains. Arnold Pasquier est l’auteur de nombreux films, vidéos, documentaires, fictions, mises en scène de spectacles et émissions radiophoniques : son travail se dèveloppe au croisement de ces différentes disciplines. Ses films ont été présentés et primés dans de nombreux festivals de cinéma en France et à l’étranger (Festival du film de Locarno, Festival Côté Court à Pantin, Vidéodanse, Biennale de Busan, FIDMarseille, Rencontres Internationales Paris Berlin Madrid). En 2005, il est lauré d’une bourse Villa Médicis Hors les Murs et il réalise le film Celui qui aime a raison au Brésil, sorti en salle en 2006. Son film Notre amour est présenté en sélection officielle au Festival du film de Locarno en 2009. En 2012, il présente un court métrage intitulé L’Italie et, lauréat d’une résidence de réalisation du Festival Côté Court de Pantin, il achéve la réalisation d’un long métrage de fiction expérimentale, Si c’est une île, c’est la Sicile.

Vincent guilbert
Brutalement, le silence (Savagely, Silence)
Doc. expérimental | hdv | couleur et n&b | 20:30 | Japon | 2016

21 décembre 2015. Les images d’une caméra de surveillance montrent un renard à proximité de la cuve de confinement du réacteur no.2 de la centrale nucléaire de Fukushima..

Né en 1976 à Saint-Denis, France. Parallèlement à ses recherches sur la texture de l’image (qu’elle soit en pellicule, ou numérique) et le son, les thèmes développés à travers ses films sont essentiellement liés au Temps, à la mémoire et au fragment.

Sj ramir
In This Valley of Respite, My Last Breath...
Vidéo expérimentale | hdv | couleur | 5:6 | Australie | 2017

A valley starved of light. Weariness. Fatigue. An offering of shelter; a surrender of breath...

Originally a photographer, artist/filmmaker SJ.Ramir later moved to digital video - shooting scenes of lone figures moving across remote and isolated geographical landscapes. The landscapes and structures in his films are often a mix of real and/or constructed 3D models. The prominent style of his films came from early years of experimentation with custom-made lens filters. These filters enhanced video pixels and produced hazy, distorted images, which Ramir felt were visually suggestive of emotional states connected with a central theme in his work: isolation. His films have been exhibited at art galleries worldwide and screened at many prestigious film festivals including: the 67th Venice International Film Festival, International Film Festival Rotterdam (2009 and 2010), Edinburgh International Film Festival (2012 and 2013), Melbourne International Film Festival (2011) and the International Short Film Festival Oberhausen (2009).


April 13

Cité internationale des arts
18 rue de l'Hôtel de Ville - 75004 Paris / Subway : Pont Marie, line n°7 / Saint-Paul, line n°1
Free entry / Pass and accreditation: priority access

"Political body"

Jongkwan paik: La Noche Cíclica (Cyclical Night) | Doc. expérimental | hdv | couleur et n&b | 17:0 | Coree du Sud | 2016 see more
shake: Subduction Zones: Our Status Quo | Film expérimental | 4k | couleur | 4:8 | Taiwan | 2016 see more
Mont tesprateep: Song X | Fiction expérimentale | 16mm | noir et blanc | 20:19 | Thaïlande | 2017 see more
Niyaz saghari: The Tigger of the Cone | Film expérimental | super8 | noir et blanc | 2:22 | Iran | 2016 see more
Jackie karuti: There Are Worlds Out There They Never Told You About | Animation | hdv | couleur et n&b | 1:6 | Kenya | 2016 see more
Mike hoolboom: Nursing history | Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017 see more
Frederic nauczyciel: La Peau Vive [Skin Live] | Installation vidéo | hdv | couleur | 38:0 | France / USA | 2017 see more
Jongkwan paik
La Noche Cíclica (Cyclical Night)
Doc. expérimental | hdv | couleur et n&b | 17:0 | Coree du Sud | 2016

The time is out of joint. The ghost appears again in the dark of the night. “ The chain of memorial light is not absolutely broken, it is rather knotted in a different way ”

Born in 1982, South Korea. Studied Psychology and Electronics in college and received MFA in Film from the Graduate School of Communication and Arts at Yonsei University. Jongkwan continues to produce experimental films based on research with in-depth study of images.

Subduction Zones: Our Status Quo
Film expérimental | 4k | couleur | 4:8 | Taiwan | 2016

Located at the subduction zone where the Eurasian Plate converges with the Philippine Sea Plate, the island of Taiwan has developed a unique topography as a result of the downwelling tectonic activity. Similarly, Taiwan’s position at the boundaries of different political forces within the global geography, and the hidden forces exerted by political, economic, cultural, and ideological plates, have shaped its national identity. Taiwan’s unique landscape and geopolitical history serves as a theme for The Subduction Zone by Shake. Comprised of three short films entitled Our Status Quo, Our Story and Our Suite de Danses, the work traces the intersection of the tectonic plates and travel to Taipei’s Tatun Volcanoes; the Yuli to Antun section of the old railway line in Hualian that traverses the Eurasian Plate and Philippine Sea Plate; and to the Jili Badlands in Taitung. In the eyes of a geologist, these locations are ideal textbook examples of plate tectonics; but what Shake contemplates is whether these landscapes enable an imagining of the political struggles that have taken place on this island. How does an individual find a resting place within the conflicts of divergent social structures, political systems, and ideological modes? How can the status of the self be reimagined and the story of the self be told? In addition to landscapes, Shake also includes constructions of narrative elements in the film, such as archived historical documents, personal memoire, school activities, and cultural rituals, in the artistic practice of cinematic writing.

Cinematic writing (écriture cinématographique), is the initial creative approach that inspired Shake’s work. In order to experiment the possibility of narrative form, she plays with the plasticity of moving image to liberate the sense of sound and image, and then make them derived. Meanwhile, so as to resist the film’s rigid institutional mode of representation, in addition to the filming as the only manner, she also tries to work with other different medium and expression form to experiment. Recently, she tries to study Asian geopolitical history in her works. She has participated many international artist residency program, and presented her works in different countries.

Mont tesprateep
Song X
Fiction expérimentale | 16mm | noir et blanc | 20:19 | Thaïlande | 2017

A group of teenagers conducts a cremation ceremony for a man who is entering the afterlife while still being sought by the military for deserting. Shot on expired black-and-white film stock, the deteriorating image surface echoes life fading away in this tribute to the director`s friend.

MONT TESPRATEEP was born in Bangkok but raised in Isan (the northeastern region of Thailand). He graduated with a Master degree in Fine Art from Chelsea College of Arts in London. Since 2014, he has been working on a series of hand-processed 16mm and S-8 short films: Endless, Nameless (2014) and Song X (2017). His films has been shown at film festivals, including Locarno Festival, International Film Festival Rotterdam, BFI London Film Festival, Les Rencontres Internationales and etc. Mont received a completion grant from the programme `Frameworks`, International Film Festival Rotterdam to complete a new work `Confusion Is Next`, premiered at the festival in 2018. He is currently developing his first feature film project.

Niyaz saghari
The Tigger of the Cone
Film expérimental | super8 | noir et blanc | 2:22 | Iran | 2016

A Visual experimentation with the dadaist poetry of Ali Sarandibi which juxtaposes the outer, urban life in Tehran with the inner, softer life of its inhabitants

Niyaz Saghari is an Iranian born,UK based documentary maker. Her work is focused on the urban life in her home town of Tehran and Bristol where is based .

Jackie karuti
There Are Worlds Out There They Never Told You About
Animation | hdv | couleur et n&b | 1:6 | Kenya | 2016

There are worlds out there they never told you about, 2017 is a video that is part of a larger body of work under the same title. While rightfully addressing tragic stories of migration through water, the work viewed collectively through drawings and new media is also about reimagining freedom through the imagination and creation of fantastic worlds. Worlds that are less about occupying physical space but more about cultivating ways that one can be free in a place where home and freedom remain elusive.

Jackie Karuti is an artist based in Nairobi. Her practice is largely experimental and employs the use of new media through drawings, video, installations and performance art. Her work is founded on ideas around knowledge production & accessibility as well as the depths of possibility enabled by radical imagination. Karuti is the 2017 recipient of the Young Artist Award at the Cape Town Art Fair, an alumna of the Gasworks residency program in London as well as Asìko, a roaming Pan African art school designed to redress the frequently outdated or non-existent artistic and curatorial curricula at tertiary institutions across Africa. In 2017 she was shortlisted for the residency program at The Rijksakademie. Karuti has participated in several exhibitions & residencies, both locally & abroad as well as multidisciplinary projects such as curating the Out Film Festival-Nairobi (2016-2018). In 2017 she established the online platform, I’ve Been Working on Some MAGIC which seeks to engage Nairobi based visual artists in critical writing, collective curatorial projects as well as sharing audiovisual material. In 2018 Karuti’s work will debut at the 13th edition of the Dak’Art Biennial in Dakar, Senegal.

Mike hoolboom
Nursing history
Film expérimental | hdv | noir et blanc | 4:0 | Canada | 2017


Mike Hoolboom is a Canadian artist working in film and video. He has made over eighty films and videos, though most have been withdrawn from circulation, approximately a dozen remain on view. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival (Toronto), Visions du Reel (Switzerland), Xenix (Switzerland), Cork International Festival (Ireland), Cinema de Balie (Amsterdam), Mediawave Festival (Hungary), Impakt Festival (Holland), Vila do Conde Festival (Portugal), Jihlava Documentary Festival (Czech Republic), Stuttgarter Filmwinter (Germany), Musée des Beaux-Arts de Caen (France), Sixpack Film (Vienna), the Buenos Aires International Festival (Argentina), Pacific Cinematheque (Canada) and A Million Different Loves Festival in Poland.

Frederic nauczyciel
La Peau Vive [Skin Live]
Installation vidéo | hdv | couleur | 38:0 | France | 2017

J’ai invité dans le studio des complices de plusieurs années, issus de la communauté noire transgenre des deux territoires, et d’autres artistes connus ou inconnus, engagés dans des pratiques performatives, masculines et féminines, urbaines et savantes, waaking, krump, art performance, slam... Tous sont reliés par un désir puissant d’inventer leur identité et par une appartenance revendiquée aux marges, réelles et symboliques. Je leur ai proposé de filmer eux-mêmes leurs tatouages, leurs scarifications, leur peau, face à la caméra ; et ce faisant, à échantillonner, une partie de leur histoire.

Frédéric Nauczyciel est artiste visuel. Il vit à Paris et travaille entre Paris et Baltimore. Depuis 2011, il déploie des installations vidéos, des photographies et des performances qui relient les ghettos noirs de Baltimore et la périphérie parisienne, puisant dans la force de langages performatifs tel que le Voguing, les fanfares déambulatoires ou la langue des signes. Ses projets en cours sont des récits mettant en jeu la langue, la trans-communauté, la traversée des lignes de partage. Il développe l’idée d’un “ endroit de confiance “, un espace libre d’assignation où la singularité de chacun existe sans labellisation. Il a exposé au Musée de la Chasse à Paris (2012), au Mac/Val (2012), au Festival d’Avignon (2013), au Palau de la Virreina, Barcelone (2010), au FotoFest International, Houston (2015) entre autres. Ses films ont été montrés aux Rencontres Internationales Paris / Berlin, au Festival Distrital à Mexico City, au Palace Festival à Chicago, etc.

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