Paris 2018 programme
2pm   5pm   7pm   8pm  10pm
Friday

April 13
2pm

Screening
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 voir plus
Heinz emigholz
Streetscapes [Dialogue]
Doc. expérimental | 4k | couleur | 120:10 | Allemagne | 2017



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Friday

April 13
5pm

Screening
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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Friday

April 13
7pm

Screening
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 voir plus
Adriana bravo, Ivanna Terrazas: Beso de chola (Chola Kiss) | Vidéo | mov | couleur | 4:0 | Bolivie | 2016 voir plus
Scott fitzpatrick: Zombie, Pt. 1 | Film expérimental | super8 | couleur | 3:45 | Canada | 2017 voir plus
Carlos aires: Sweet Dreams Are Made of This | Vidéo | mp4 | couleur | 4:21 | Espagne | 2016 voir plus
Akosua Adoma owusu: Mahogany Too | Vidéo expérimentale | super8 | couleur | 3:32 | USA | 2017 voir plus
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 | mov | couleur | 4:0 | Bolivie | 2016

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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 | mp4 | couleur | 4:21 | Espagne | 2016

Sweet Dreams are made of this Carlos AIres 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 is a Ghanaian-American filmmaker and producer whose films have screened worldwide in prestigious film festivals, museums, galleries, universities and microcinemas since 2005. Her work addresses the complexities of living as an African immigrant in the United States and experiencing a collision of identities resulting in 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. She has exhibited worldwide including Berlinale, Rotterdam, MoMA, BFI London Film Festival and San Francisco International Film Festival. In 2015, she was named by Indiewire as one of 6 Avant-Garde Female Filmmakers Who Redefined Cinema. Owusu is the recipient of many awards including an African Movie Academy Award, Creative Capital grant, Tribeca All Access grant and Guggenheim Memorial Foundation fellowship. Her work is included in the permanent collections of the Whitney Museum of American Art, the Centre Pompidou and the Fowler Museum. Owusu received her MFA in Film/Video and Art at the California Institute of the Arts. 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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Friday

April 13
8pm

Screening
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

"Shivering"

Philippe-aubert gauthier, Tanya St-Pierre: La production fantôme | Vidéo | mov | couleur | 4:0 | Canada | 2016 voir plus
Maya watanabe: Earthquakes | Vidéo expérimentale | mov | couleur | 12:0 | Japon / Netherlands | 2017 voir plus
Sonia leber, Leber Sonia and Chesworth David: Earthwork | Installation vidéo | mov | couleur | 5:0 | Australie | 2016 voir plus
Mónica martins nunes: Na cinza fica calor (The Ashes Remain Warm) | Doc. expérimental | mov | couleur | 20:52 | Cap Vert (Îles du) / Portugal/Germany | 2016 voir plus
Pascal grandmaison, Marie-Claire Blais: Le chemin de l'énigme | Vidéo expérimentale | 4k | couleur | 13:6 | Canada | 2017 voir plus
Arnold pasquier: O amor moderno [le jour la nuit] | Vidéo | hdv | couleur | 8:52 | Brésil | 2017 voir plus
Vincent guilbert: Kyôbô na made no chinmoku (Savagely, Silence) | Doc. expérimental | mov | couleur et n&b | 20:30 | Japon | 2016 voir plus
Sj ramir: In This Valley of Respite, My Last Breath... | Vidéo expérimentale | mov | couleur | 5:6 | Australie / New Zealand | 2017 voir plus
Philippe-aubert gauthier, Tanya St-Pierre
La production fantôme
Vidéo | mov | couleur | 4:0 | Canada | 2016

“La production fantôme – The Phantom Production“ est une installation 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 accroît 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 installation vidéo diptyque, les tensions entre séquences vidéo tournées et synthétiques proposent un processus de production cinématographique interrompu, ouvert à l`analyse critique. “La production fantôme – The Phantom Production“ peut être montrée de plusieurs façons : installation à deux canaux vidéo, installation à un canal, projection à deux canaux, projection à un canal.

Philippe-Aubert Gauthier : Philippe-Aubert Gauthier is a sound and digital artist, junior mechanical engineer and a researcher in acoustics (spatial sound reproduction). He holds an MSc and PhD in acoustics, and is currently a researcher for the Groupe d’Acoustique de l’Université de Sherbrooke (Canada). His artist’s statement is at the crossroads of the arts, sciences, technology and culture. Gauthier has received grants from the Canada Council for the Arts, Conseil des arts et des lettres du Québec, Natural Sciences and Engineering Research Council of Canada, Fonds de Recherche Nature et Technologie Québec and other organizations. Tanya St-Pierre : Tanya St-Pierre is a Graduate in visual arts from UQTR (Université du Québec à Trois-Rivières, Qc, Canada). Native of Gatineau (Quebec, Canada), she currently lives and works at Sherbrooke City (Qc, Canada). St-Pierre`s work have been supported by the CALQ and was shown in divers contexts in Canada, United States, Mexico, Morocco and in the United Kingdom. Also member of the performance duet NOÏZEFER CWU, since 2004, she participated in divers performance art and experimental music events.

Maya watanabe
Earthquakes
Vidéo expérimentale | mov | couleur | 12:0 | Japon | 2017

TECHNICAL DATA: Title: Earthquakes Author: Maya Watanabe Year: 2017 Length: 15min (9min looped) SYNOPSIS: 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. CONTRIBUTORS: Director: Maya Watanabe DOP: Sho Fujii Sound composer: German Popov Art director: Tadaya Miyashita Production Manager: Yoshio Miyamoto Coordination: Haruna Hirano, Kyoto Art Center


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, Leber Sonia and Chesworth David
Earthwork
Installation vidéo | mov | 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. Exhibitions include ‘56th Venice Biennale: All the World’s Futures’ (2015) and ‘19th Biennale of Sydney: You Imagine What You Desire’ (2014). Solo exhibitions include ‘Architecture Makes Us’, Centre for Contemporary Photography, Melbourne (2018); ‘Zaum Tractor’, Fehily Contemporary, Melbourne (2014); and Gridchinhall, Moscow (2013); ‘The Way You Move Me’, Fehily Contemporary, Melbourne (2012); ‘Space-Shifter’, Detached/MONA FOMA, Hobart (2012); Perth Institute of Contemporary Arts (2011); and Conical, Melbourne (2009); and ‘Almost Always Everywhere Apparent’, Australian Centre for Contemporary Art, Melbourne (2007). Group exhibitions include ‘Looking at me through you’, Campbelltown Arts Centre, Sydney (2017); ‘Borders, Barriers, Walls’, Monash University Museum of Art (2016); Substation Contemporary Art Prize, Melbourne (winner, 2016); ‘Melbourne Now’, National Gallery of Victoria, Melbourne (2013-14); Gold Coast Art Prize (winner, 2014), Screengrab6 Award, Townsville (winner, 2014), ‘Cooperation Territory’, 16thLine Art Gallery, Rostov-on-Don, Russia (2013); ‘Spaced: Art Out of Place’, Fremantle Art Centre (2012); ‘Stealing the Senses’, Govett-Brewster Gallery, New Plymouth, New Zealand (2011).

Mónica martins nunes
Na cinza fica calor (The Ashes Remain Warm)
Doc. expérimental | mov | 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.


Mónica 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 Universität der Künste Berlin. In 2016 she became a Meisterschüler in the same institution and was subsequently awarded the Elsa-Neumann-Stipendium (NaFöG) 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 expérimentale | 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. À 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’effacement 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

Film en co-realisation 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 œuvres 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 [le jour la nuit]
Vidéo | hdv | couleur | 8:52 | Brésil | 2017


Vincent guilbert
Kyôbô na made no chinmoku (Savagely, Silence)
Doc. expérimental | mov | 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 | mov | 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).


Friday

April 13
10pm

Screening
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 voir plus
shake: Subduction Zones: Our Status Quo | Film expérimental | 4k | couleur | 4:8 | Taiwan | 2016 voir plus
Mont tesprateep: Song X | Fiction expérimentale | 16mm | noir et blanc | 20:19 | Thaïlande | 2017 voir plus
Niyaz saghari: The Tigger of the Cone | Film expérimental | super8 | noir et blanc | 2:22 | Iran | 2016 voir plus
Jackie karuti: There Are Worlds Out There They Never Told You About | Animation | mp4 | couleur et n&b | 1:6 | Kenya | 2016 voir plus
Mike hoolboom: Nursing history | Film expérimental | 0 | | 0:0 | Canada | 0 voir plus
Frederic nauczyciel: La Peau Vive [Skin Live] | Installation vidéo | mp4 | couleur | 38:0 | France / USA | 2017 voir plus
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.

shake
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 | mp4 | 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 Àsìko, 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. Website: www.thirdroomstudios.com

Mike hoolboom
Nursing history
Film expérimental | 0 | | 0:0 | Canada | 0

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Frederic nauczyciel
La Peau Vive [Skin Live]
Installation vidéo | mp4 | 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. La Peau Vive est un film ralenti de corps qui s’auto-filment, sans parole. Seule persiste la respiration, caisse de résonnance, action organique du corps, rythme irrépressible du vivant. Fresque picturale, qui renvoie aux premiers gestes de l’art, à l’histoire de l’art, les corps écrivent et documentent ce que les voix ne disent pas. La peau devient l’espace d’écriture de récits, dans un aller-retour entre dissimulation et affirmation. La ville s’imprime dans les corps qui sont les sondes et les plaques sensibles de ses turbulences, en ajustements permanents. Nous entrons dans les paysages qu’elle dessine au hasard, mémoires ou auto-archives d’une passion, d’un deuil, d’une lutte pour tenir droit debout.

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. Frédéric Nauczyciel est artiste associé à la Cité des Arts et aux Ateliers Médicis.


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