Paris 2018 programme
2pm 4pm 5.30 7pm
Sunday

April 15
2pm

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

"In fragment"

Jamie buckley: A Visitor | Doc. expérimental | mov | couleur | 13:44 | Allemagne | 2017 voir plus
Laura J. padgett: Solitaire | Film expérimental | 16mm | couleur et n&b | 2:19 | Allemagne | 2017 voir plus
Brit bunkley: Ghost Shelter/6 | Vidéo expérimentale | mp4 | couleur | 5:49 | Nouvelle-Zélande | 2017 voir plus
Thadeusz tischbein: Schneewittchen (Snow White) | Vidéo | mp4 | couleur et n&b | 19:40 | Allemagne / Czech Republic | 2017 voir plus
Jonathan perel: 5-T-2 Ushuaia | Doc. expérimental | 4k | couleur | 4:0 | Argentine | 2016 voir plus
Enrique ramirez: Deux faisceaux blancs groupés et rotatifs | Fiction expérimentale | 4k | couleur | 24:41 | France / Chili | 2017 voir plus
Audrius mickevicius: Pavyzdingas elgesys_2 (Exemplary Behaviour_2) | Installation vidéo | 4k | couleur | 10:0 | Lituanie | 2017 voir plus
Jamie buckley
A Visitor
Doc. expérimental | mov | couleur | 13:44 | Allemagne | 2017

A Visitor, 2017, takes as a starting point the modernisation of a somewhat neglected memorial site at a former mass killing site in Germany. The video documents the replacement of older information panels and the changes to the landscape over an extended period of time. The video also draws on both a chance encounter with a beekeeper sent to contain and collect a ‘stray’ swarm of honey bees at the site, and an archive interview conducted by historians at the nearby home of Maria Seidenberger. Seidenberger was a teenager at the time of the mass killings. She secretly helped concentration camp prisoners to smuggle and hide items that included clandestine photographs, letters, a heart and a death mask. The emerging portrait of the site exposes a multiplicity of narratives and reflects on themes such as subversion, guilt and remembrance. The persistence of material objects is questioned while resisting a linear view of history and memory.


Jamie Buckley is an artist who is originally from Kerry, Ireland but is now based in Munich, Germany. He completed an MFA at the University of Ulster, Belfast in 2012. Screenings and exhibitions include: LUX, London (2018); AMINI, Belfast (2017, 2015); Rencontres Internationales, Paris/Berlin (2014, 2012); Golden Thread Gallery, Belfast (2013); Bloomberg New Contemporaries, Institute of Contemporary Art, London and Liverpool Biennial, Liverpool (2012).

Laura J. padgett
Solitaire
Film expérimental | 16mm | couleur et n&b | 2:19 | Allemagne | 2017

SOLITAIRE We see Max Horkheimer buying newspapers, we hear Hannah Arendt speaking about the mother tongue and making the invisible tangible. We also see Frankfurt am Main during the great (re)construction boom of the 1960s. We see demonstrations on the Römerberg and the presence of the American Forces in the Federal Republic of Germany during the cold war as well as scenes after the apprehension of members of the Red Army Faction. Housing shortages, urban development, youth and their future, guest workers, consumer society: these topics are repeatedly presented and discussed in the Hessen Schau news program from this period. The film deals with the concept of democracy, of having a voice and the contiguity between private and public space. These boundaries, which are in the process of dissolving, are made clear the storytelling in this film as fundamental strands of our social being. Laura J. Padgett’s found footage film SOLITAIRE is made from documentary film material and radio broadcasts of the late 1950s until 1972. It was culled exclusively from the Hessian Broadcasting Corporation’s (hr) archives.


The artist’s work explores unoccupied spaces, both real and imaginary, to reveal truths that are often overlooked. Like her subject, her work itself occupies the spaces between photographic storytelling and installation, between language and image, between history and current affairs. While she uses photographic media the results are always more than photographic objects. Since the nineties Padgett has produced a wide-ranging body of work, adopting various genres such as architectural photography, still life and urban street photography while exploring our ideas of communal and cultural identity. Laura J. Padgett’s work is often displayed in public spaces and plays with scale, material and the way we interpret images and their relation to history. The breadth of her work demonstrates an ability to move fluidly between genres, based on her background in painting, art history and architecture. Born in Cambridge, USA, Laura J. Padgett studied painting, film and photography at Pratt Institute in Brooklyn New York. Her conceptual approach to her projects stems from this background. Her further studies in film and art history, with Peter Kubelka at the Städelschule and at the Goethe University in Frankfurt am Main, respectively, broadened her approach. Laura J. Padgett exhibits internationally, and her work can be found in state and corporate collections such as the DZ-Bank ArtCollection, Frankfurt am Main. Her work is in the permanent collections of Museo Museion, Bolzano, Museum für Kunst und Gewerbe Hamburg, Museum Wiesbaden and the Städel Museum, Frankfurt am Main. She is the 2017 recipient of the Marielies-Hess-Art Award. Laura J. Padgett lives and works in Frankfurt am Main.

Brit bunkley
Ghost Shelter/6
Vidéo expérimentale | mp4 | couleur | 5:49 | Nouvelle-Zélande | 2017

Ghost Shelter/6: encompasses a variety of significant post-industrial structures all at the edge of metropolitan regions in various states of ruin. They are created from 3D scans and drone footage, rendered and animated in 3D as discrete virtual entities simulating islands of memory (as in Tarkovsky’s Solaris). 1. Chemiewerk Rüdersdorf, an abandoned chemical factory in the former German Democratic Republic 2. The Teufelsberg, a NSA listening station in Berlin built on top of a man-made hill constructed from the rubble of WW2 Berlin. 3. Immerath, a ghost town in western Germany removed in 2017 by the energy giant RWE for the expansion of their open cast coal mine, Garzweiler. 4. The Martha Project, a NZ open cast gold mine whose mining operations ground to a halt due a major landslide collapsing the north wall of the mine. 5. Domes of Case Grande, an incomplete and abandoned futuristic computer facility in Arizona. 6. The Sleeping Beauty Castle, the centrepiece of the California Disneyland Park, modelled on the late 19th century Neuschwanstein Castle in Bavaria, Germany.


Thadeusz tischbein
Schneewittchen (Snow White)
Vidéo | mp4 | couleur et n&b | 19:40 | Allemagne | 2017

What role can culture play, when dead bodies are not burried after death, but being used for other purposes? „Snow White“ examines this question, using stalinist Mausoleums, preparated animals in Natural History Museums and relics in churches. What form of story telling is being used to hide actions and translate them?


Thadeusz Tischbein is a Germany-based video artist. He studied between 2008 and 2016 in Leipzig, Braunschweig (Germany) and Bucharest (Romania) with Candice Breitz, Clemens von Wedemeyer and Günther Selichar. His 2017 video essay SNOW WHITE (2K Cinemascope, 19:40 min) is a journey to the dead bodies in mausoleums, churches and museums. In THE ATLAS OF THE WOUNDED BUILDINGS (HD, 12:56 min, 2016) he is trying to examine narrations written in bullets holes. INVENTORY (HD, 16:9, 5:49 min) from 2015 is talking about the strange living room of so called office plants.

Jonathan perel
5-T-2 Ushuaia
Doc. expérimental | 4k | couleur | 4:0 | Argentine | 2016

Adolfo Scilingo was the only military officer to confess the dictatorship crimes. Among the details he gave of the way the genocide worked, throwing prisoners from planes into the water to their death, Scilingo specifies the model that was used in the flights he participated in: an Electra. Of the eight Electras that belonged to the Argentine Navy, five of them were bought in 1982. Only the three bought in 1973 could have been used in the flight that Scilingo describes. Those three Electras are at present in Argentina. This film of Jonathan Perel searches cartographically the traces of those planes.


Jonathan Perel, born in 1976, lives and works in Buenos Aires. He attended a degree in Arts at the Faculty of Philosophy and Letters (University of Buenos Aires). He directed the feature films Toponimia (2015), Tabula Rasa (2013), 17 Monumentos (2012) and El Predio (2010), and the short films Las Aguas del Olvido (2013), Los Murales (2011) and 5 (cinco) (2008). Two times awarded with the Metropolitan Fund for the Arts, his films have been screened and awarded in numerous international film festivals, such as: Viennale, IFFR Rotterdam, FIDMarseille (Prix Camira), BAFICI, YIDFF Yamagata, Rencontres Internationales Paris/Madrid/Berlin (Palais de Tokio & Haus der Kulturen der Welt), First Look (Museum of the Moving Image), Porto/Post/Doc, Underdox, La Havana.

Enrique ramirez
Deux faisceaux blancs groupés et rotatifs
Fiction expérimentale | 4k | couleur | 24:41 | France | 2017

Il est dit que certaines tribus indiennes pensaient que nous marchions vers le passé avec l`avenir derrière nous, parce que le passé est quelque chose qui est en face de nous, nous pouvons le voir, alors que l`avenir serait derrière nous, comme un point aveugle, invisible et inconnu... Ils disaient que les tâches blanches (les étoiles) que nous apercevons dans le ciel étaient des trous par où la lumière de l`univers entrait et que l`obscurité n`y existait pas. La première chose que nous voyons, si nous arrivons depuis l`Amérique en bateau, est le sémaphore de Créac`h. nous pouvons voir une lumière qui annonce la terre proche, ce sont les yeux de l`ancien continent, le faisceau d`une étoile artificielle qui toutes les 10 secondes jette des éclairs de lumière pour montrer la voie aux voyageurs de la mer, qui viennent souvent du Nouveau Monde, ou de la fin du monde, le Finistère... L`autre bout du monde... Ces lumières indiquent la terre ou la fin de celle-ci, elles sont les signaux de référence du monde, les différentes constellations qui portent en elle la mémoire de leur propre lumière, indiquant leur passé et leur avenir... Dans le présent.

Enrique Ramírez est né en 1979 à Santiago du Chili. Vit et travaille à Paris (France) et Santiago (Chili). Il a étudié la musique populaire et le cinéma au Chili avant de rejoindre en 2007 le Studio National des Arts Contemporains-Le Fresnoy (Tourcoing, France). En 2013, il a remporté le prix des Amis du Palais de Tokyo, Paris, France. En 2014, il remporte le prix Loop fair, Barcelone. Il a notamment exposé au Le Palais de Tokyo, Centre Pompidou, Espace Culturel Louis Vuitton, IX Bienal international d`art, Bolivie; Museo Amparo, Puebla, Mexique; Musée de la mémoire, Santiago; Centre Culturel MATTA, Argentine, Buenos Aires et au Grand Café à Saint-Nazaire. En 2017, il est invité par Christine Macel à participer à l`exposition "Viva Arte Viva" de la 57ème exposition internationale de la Biennale di Venezia.

Audrius mickevicius
Pavyzdingas elgesys_2 (Exemplary Behaviour_2)
Installation vidéo | 4k | couleur | 10:0 | Lituanie | 2017

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Sunday

April 15
4pm

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

"Continuum"

Elias heuninck: Lightkeeping | Doc. expérimental | dcp | noir et blanc | 11:11 | Belgique | 2015 voir plus
Driessens & verstappen: Deep Dive | Création numérique | 0 | couleur | 7:35 | Pays-Bas | 2016 voir plus
Sebastian diaz morales: Pasajes IV | Vidéo | mov | couleur | 25:0 | Argentine | 2017 voir plus
Elias heuninck
Lightkeeping
Doc. expérimental | dcp | noir et blanc | 11:11 | Belgique | 2015

Curious about creating a new image quality, Elias Heuninck made a digital camera. A very simple one. Instead of using a complex sensor to capture the whole image in a fraction of a second, it builds up the image pixel by pixel by making one simple measurement at a time. The camera starts at the top left corner and works its way to the bottom right one, just as you are reading this text. To get the information for each position, the camera shoots a short pulse of laser light towards its subject and waits for the light-echo to return. It is then able to find the distance between itself and the object that reflected the light. The collected measurements do not show anything recognisable yet. The data has to be translated first in order to be visible as a greyscale image. With an exposure time of four days (and up to four weeks), it is not the most practical camera around, but it allows Elias to work directly with the building blocks of the picture itself. The resulting images are digital by nature, yet the visual resemblance with prints from the early days of photography is striking. Whereas the conventional camera is a darkroom that captures light, this camera is more like a lighthouse. Since every point in the image is a distance measurement, the image becomes a map. The video is a slideshow of scenes and letters. The letters are selected from an archive of the correspondence of William Henry Fox Talbot, a pioneer in negative-positive photography.


Elias Heuninck (1986) studied media art at the School of Arts in Ghent. He got interested in the use of a contemporary form of the landscape-image for various experiments. His works do sometimes involve different media, but they always touch on the material of film and the notion of cinema. He gently disorients the audience by changing the perspective in space, on paper, or in a digital data file.

Driessens & verstappen
Deep Dive
Création numérique | 0 | couleur | 7:35 | Pays-Bas | 2016

Deep Dive offers an endless zoom into a picture, revealing an infinitely detailed imaginary world that emerges from the original image. While zooming, the image is constantly being refined in real-time, and the viewer can steer this process by tracking points of interest with the cursor. Each new `dive` starts with a randomly downloaded picture from the online WikiMedia archive.


The artists couple Driessens & Verstappen have worked together since 1990. They attempt an art in which spontaneous phenomena are created systematically. Art that is not entirely determined by the subjective choices of a human being, but instead is generated by autonomously operating processes. In addition to working with natural processes, the couple develops computer programs for artificial growth and evolution. An important source of inspiration are the self-organising processes in nature which continuously create original forms. Works of Driessens & Verstappen are in collections a.o. Centre Pompidou Paris, Stedelijk Museum Amsterdam, Museum Boijmans van Beuningen Rotterdam. They exhibited at museums and galleries a.o. Kröller-Müller Museum Otterlo, IVAM Institute Valencia, Neue Pinakothek München, Eyebeam New York, Young Projects Los Angeles. The artists couple gave presentations at conferences such as Siggraph Los Angeles, Second Iteration Melbourne. In 1999 and 2001 they have won the VIDA award with their Tickle robot projects in an international competition for Art & Artificial Life. In 2013 the couple received the Witteveen+Bos Art+Technology Award for their entire oeuvre. Driessens & Verstappen are represented by DAM gallery Berlin.

Sebastian diaz morales
Pasajes IV
Vidéo | mov | couleur | 25:0 | Argentine | 2017

In Pasajes IV the idea follows the same narrative, concept and structure as in the other videos from the series. In the previous three Pasajes video works a formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which are otherwise spatially disconnected from each other. This is the geography of a story expressed in an alteration of normalcy. In this formulation of Pasajes IV, the video explores the landscape of Patagonia. Crisscrossing this territory in search for differences within the landscape, a character as a guide, unites different territories disconnected in their geography, as essential pieces of a puzzle to understand this region’s present topography and history.


Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and now lives and works in Amsterdam, The Netherlands. He attended the Universidad del Cine de Antin in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001 and Le Fresnoy Studio des arts contemporains in Roubaix, France from 2003-2004. He has had solo exhibitions in the USA, Mexico, and numerous cities in Europe, and his work has been supported by a number of grants and awards. Díaz Morales uses a number of different formal strategies to create his videos, ranging from the digital manipulation of appropriated news clips to lengthy, film-like narrative works made from footage filmed by himself. Díaz Morales explores the relationship between large-scale socio-political power dynamics and individual action in works which create a sense of uneasiness for the viewer. His films are often somewhat surreal, establishing a tension between a depicted social reality and its representation in a visually abstract or fantasy-inflected way. Throughout his works, multiple forms of dependence are explored, including dependent relationships between people, the environment, and social structures. His work has been exhibited widely at many prominent venues—such as the Venice Biennale, VIVA ARTE VIVA; Tate Modern, London; Centre Pompidou; Stedelijk Museum and De Appel, Amsterdam; Le Fresnoy, Roubaix; CAC, Vilnius; Art in General, New York City; Ludwig Museum, Budapest; Biennale Sao Pablo; Biennale of Sydney; Miro Foundation, Barcelona; MUDAM, Luxemburg; and the Calouste Gulbenkian Foundation, Lisbon. His works can be found at the collections of the Centre Pompidou; Tate Modern; Fundación Jumex, Mexico; Sandretto Foundation, Torino; Constantini collection, Buenos Aires; Pinault Foundation, Paris; Sammlung-Goetz, Munich; and the Fundacion de Arte Moderna, Museo Berardo, Lisbon between others. In 2009 he was awarded with a Guggenheim Fellowship.


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Sunday

April 15
5.30pm

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

"Architectures"

Gerald schauder: Skulptur21 | Installation multimédia | mov | | 3:30 | Allemagne | 2015 voir plus
Robbie cornelissen: The Number 9 Sessions | Animation | hdv | noir et blanc | 8:36 | Pays-Bas | 2017 voir plus
Pierre-jean giloux: Invisible Cities | Installation vidéo | mov | couleur | 0:0 | Japon / France | 2017 voir plus
Corinna schnitt: Vollendete Zukunft (Future Perfect) | Fiction expérimentale | hdv | couleur | 9:0 | Allemagne | 2016 voir plus
Bertrand gauguet: CHANTIER 3 - Pascal Battus-Bertrand Gauguet-Eric La Casa | Doc. expérimental | mov | couleur | 25:27 | France | 2017 voir plus
Gerald schauder
Skulptur21
Installation multimédia | mov | | 3:30 | Allemagne | 2015

Skulptur21 is an 8 meter long sculpture made of wood, wire, carbon fiber and acrylic paint. It consists of individual hollow elements that are loosely assembled together, partly elevated on wires, on a specially constructed table. The different elements are painted white, light and dark grey, and black. The sculpture is a structural visualisation of Hans Richter‘s experimental film Rhythmus 21. The film, created around 1921, is considered a milestone in film history and is one of the first abstract films ever made. It consists of varying geometric elements that move within the pictorial frame of the screen and change in shape. The elements also change in size, giving the impression of movement towards and away from the viewer, thereby creating a feeling of depth. Skulptur21 shows this movement in space. In the sculpture, every element of the film is shown as a three- dimensional object. Size, position and colour of the elements correspond to those shown in the film. The viewer can physically retrace the elements of the lm by walking along the sculpture. One second of the 3-minute lm corresponds to about 5 cm of the 8 meter long sculpture. The lm can be seen in its entirety at one glance. The sculpture reveals relationships between the elements over the entire duration of the film. However, the translation of the film Rhythmus 21 into sculpture goes beyond a mere reinterpretation of the lm. Skulptur21 creates a connection between the time present in film and the space of architecture. In his paintings, Hans Richter was concerned with studying movement and rhythm. Taking as a basis musical theories, he started developing horizontal rolls depicting geometric elements that gradually change in shape and thus suggest movement. Skulptur21 can likewise be read as a musical score, a linear experimental notation that visualises dynamic proportions and progressions. In addition to o ering a new way of looking at the film Rhythmus 21, the aim of Skulptur21 is to enable the viewer to make their own personal discoveries and experiences, no matter what background or field they come from.


Gerald Schauder studierte an der TU Graz und am Institut für Elektronische Musik und Akustik in Graz sowie an der Kunsthochschule für Medien Köln. In seiner künstlerischen Arbeit setzt er sich vorwiegend, jedoch nicht ausschließlich, mit Hans Richters Experimentalfilm „Rhythmus 21“ auseinander. Daneben entstehen verschiedene Arbeiten im dreidimensionalen Raum, von Installation hin zu Skulptur. Dabei greift er auf unterschiedlichste Techniken zurück und erforscht Bezüge zwischen den verschiedenen Medien. Darüber hinaus arbeitet er im Bereich Musik und Audio Postproduktion und realisiert Kurzfilme.

Robbie cornelissen
The Number 9 Sessions
Animation | hdv | noir et blanc | 8:36 | Pays-Bas | 2017

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Pierre-jean giloux
Invisible Cities
Installation vidéo | mov | couleur | 0:0 | Japon | 2017


Corinna schnitt
Vollendete Zukunft (Future Perfect)
Fiction expérimentale | hdv | couleur | 9:0 | Allemagne | 2016

Eight protagonists distributed over Marls central Rathausplatz in front of the Skulpturenmuseum use megaphones to call out everyday phrases to each other as if they were carrying out a conversation:“Do you think he will have won the Lotto?“ or “You will have told me much about your experiences.“ Formulated in future perfect, these shouts play with the expectation that certain events will have happend by a certain time in the future. This construction has a distancing effect on the here and now and on the ease of normal everyday conversation, showing the extent to which a present experience is determined by expectations of the future. The use of megaphones seems antiquated today and thus deals ironically with present-day forms of communication. Like on the Web, banal experiences from one`s own life are communicated to an imaginary public without controls or personal contact. Marl`s Rathausplatz and the Skulpturenmuseum were constructed in the 1970s and document the city`structural rebirth, carried out with the goal of turning the urban core into a vibrant place and optimally combining diverse functions. Previously regarded as amuch lauded model solution, it is now obvious that the utopian promise of a city that radically deviates from traditional urban structures has not been fulfilled in the long run. Translation Michael Wolfson


Born in Duisburg, Germany, lives and works in Braunschweig. From 1986 to 1989 apprenticeship as a carver (diploma), Michelstadt, from 1989 to 1996 studies at the Hochschule für Gestaltung (Academy for Visual Communication), Offenbach, as well as at the Kunstakademie (Art Academy) in Düsseldorf (1995 Masterstudent). Since 2009 Professor for Film/Video at the University of Art Braunschweig.

Bertrand gauguet
CHANTIER 3 - Pascal Battus-Bertrand Gauguet-Eric La Casa
Doc. expérimental | mov | couleur | 25:27 | France | 2017

Musiciens, Pascal Battus, Bertrand Gauguet et Eric La Casa engagent des sessions improvisées sur des sites de chantier depuis 2010. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants de recherche intuitifs avec le milieu dans lequel ils se trouvent alors. Jouant avec la rumeur des espaces, avec les multiples sons des machines qui tournent, avec les gestes produits par les ouvriers et les paroles entendues, ils suivent une ligne indéfinie qui peut pencher d’un côté ou de l’autre de l’approche acousticienne, psycho-acousticienne, du paysage sonore, de la musique ou encore (mais plus rarement) de l’anthropologie. Ils espèrent ainsi concevoir un dispositif d’attention à partir duquel intervenir. En 2013, ils ont exploré le site de la Philharmonie – Cité de la musique à Paris. S’écartant d’une approche documentariste, le film Chantier 3 déplie davantage une cartographie subjective donnant à voir et à entendre des moments de « présence discrète ». Ou comment, en ouvrant des interactions avec une architecture en devenir, l’écoute et l’improvisation sont à même de proposer d’autres seuils perceptifs du chantier.

Bertrand Gauguet chemine dans une pratique impliquant sans hiérarchie le sonore et le musical : comme saxophoniste improvisateur, comme compositeur de musique électronique et comme collecteur de sons. Il est engagé depuis 2010 dans une recherche intuitive aux côtés d’Éric La Casa et Pascal Battus en conduisant des sessions improvisées sur des sites de CHANTIER. Ces sessions ne sont pas destinées à être données devant un public, elles se caractérisent plutôt comme des instants d’improvisation avec le milieu dans lequel les trois musiciens se trouvent alors. En 2018, deux albums (Chantier 1 et Chantier 4), un texte (Chantier II) et un film (Chantier III) constituent les marqueurs cartographiques de ce projet. http://www.bertrandgauguet.com/chantier


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Sunday

April 15
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

Closing screening
"Double portrait"

Carlos pereira: Histórias de Fantasmas (Ghost Stories) | Doc. expérimental | mp4 | couleur | 13:32 | Allemagne / Portugal | 2017 voir plus
Eleonore de montesquiou: Olga&Olga | Doc. expérimental | mov | noir et blanc | 29:39 | Russie | 0 voir plus
Mauro santini: Alkaid (Vaghe stelle) | Vidéo expérimentale | 4k | couleur | 6:12 | Italie | 2017 voir plus
Nora barbier: Les Yeux bleus cheveux noirs | Fiction expérimentale | mov | couleur | 14:31 | France | 2017 voir plus
Jean François lecourt, Thomas Auriol: Tir dans le miroir | Performance | 0 | couleur | 0:0 | France | 2010 voir plus
Kai kaljo: Isegi nimi on mõnikord sama (Even the Name Is Sometimes the Same) | Vidéo | mov | couleur | 1:55 | Estonie | 2017 voir plus
Louidgi beltrame: El Brujo | Film expérimental | 4k | couleur | 17:29 | Pérou | 2016 voir plus
Carlos pereira
Histórias de Fantasmas (Ghost Stories)
Doc. expérimental | mp4 | couleur | 13:32 | Allemagne | 2017

I. A storm in Berlin. Lightnings. The sound of thunders. II. Searching for a face in the dark. III. Inside an old Stasi building, a painter of ruins talks about being human.


Carlos Pereira (Lisbon, 1989) studied film directing in Lisbon (Escola Superior de Teatro e Cinema) and Barcelona (Escuela de Cine Bande à Part) and film studies in Stockholm (Stockholms Universitet). His films have been screened in festivals such as IndieLisboa, DocLisboa, Vila do Conde and Córtex and venues such as The Portuguese Cinematheque. Lives and works in Berlin, where he is as a member of the selection committee for Generation (Berlinale).

Eleonore de montesquiou
Olga&Olga
Doc. expérimental | mov | noir et blanc | 29:39 | Russie | 0

OLGA & OLGA 30 min., 2017 n&b langue: russe format: 16:9, HD avec : Olga Afanasyeva et Olga Tüvi musique : Tatjana Kozlova-Johannes montage son : Tammo Summera Olga et Olga vivent du côté russe de la frontière entre l`Estonie et la Russie. Les deux femmes sont meilleures amies depuis des décennies, depuis que les usines ont fermé dans le pays et qu’elles se sont retrouvées à faire les marchés. Le film est un double portrait des Olgas et tout particulièrement de leurs rapports aux hommes. Notre sujet favori est l’évolution de la situation spécifique des femmes lorsque l’environnement politique et économique du pays a radicalement changé. Héroïnes du film, elles se complètent parfaitement, l’une dramatique et pessimiste, l`autre beaucoup plus drôle. Ensemble, elles donnent une image complète des femmes de cette génération.

Eléonore de Montesquiou est née en 1970 à Paris, elle vit à Berlin et Tallinn. Son travail est basé sur une approche documentaire de la réalité, films (vidéos) dessins et textes. Ses collaborateurs sont à ce jour les compositeurs Peter Zinovieff, Phonic Psychomimesis, Helena Tulve, Tanja Kozlova, Lembe Lokk et Marcel Türkowsky; et les graphistes Aadam Kaarma, Heidi Sutterlütty, Ethan Burkhard et Jose Soares de Albergheria. Depuis 2007, Eléonore de Montesquiou mène un projet à long terme à la frontière Russie-Estonie „NA GRANE“ composé de films et publications. En 2005-2006, elle réalise ATOM CITIES en Estonie, films, dessins, publications et une pièce sonore réalisée pour les ACR de France culture, sur l’ex-ville soviétique close pour recherche nucléaire de Sillamäe, une ville habitée exclusivement par des Russes en Estonie. Lauréate de la villa Médicis Hors les Murs 2006, elle filme des femmes qui prennent régulièrement le train entre la Pologne et l’Allemagne pour aller travailler à Berlin. En 2008-2009, elle est résidente à Moscou (Senat Stipendium für Kulturaustausch). Depuis 2010, elle filme à la frontière entre l’Estonie et la Russie: Kreenholm (2010), Remember (2011), Notes (2015), Olga&Olga (2015). Ses premiers projets traitaient du rituel de la robe de mariée (1998, France), de la maternité: Swing, ma demeure (2003, Paris-Berlin) à la relation à la propriété privée „Minu maja on minu maa“ (2001, Estonie) et „Par exemple, Ebenthal“ (2004, Autriche). Avec Olga Olga Helena (2005, St-Pétersbourg), Eléonore de Montesquiou questionne le départ de réfugiés politiques et leur vie en exil, démarche qu’elle poursuit à présent avec les migrants qui arrivent en Estonie: Feu (2017), Le Général (2017), Sans retour (2017), Babylne (2017) Commando Sacko (2017).

Mauro santini
Alkaid (Vaghe stelle)
Vidéo expérimentale | 4k | couleur | 6:12 | Italie | 2017

“Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.


Since 2000, Mauro Santini (Fano, Italy, 1965) has composed a series of video diaries, stories told in the first person about time, memory and the search for oneself. One of these, ‘Da lontano’, won the Italian competition at the 2002 Torino Film Festival. He has participated at the international film festivals of Locarno, Venezia, Oberhausen, Jeonju, Annecy, Rencontres Paris/Berlin, DocLisboa, Cinémas Différents Paris, Montpellier, Pesaro etc In 2006, he made the feature film Flòr da Baixa and participated in 2008 with different works at “La cité des yeux, une saison italienne”, about Italian avant-garde cinema from 1968 to 2008, which was organized by the Cinémathèque Française in Paris and curated by Nicole Brenez and Federico Rossin.

Nora barbier
Les Yeux bleus cheveux noirs
Fiction expérimentale | mov | couleur | 14:31 | France | 2017

Deux amis se filment dans Shanghai. Librement inspiré du livre éponyme de Marguerite Duras, Les Yeux bleus cheveux noirs est un film sur le regard, le désir : une lutte silencieuse dans laquelle la retenue l’emporte sur ce qui est livré.

Nora Barbier est née en 1988. Après des études en philosophie contemporaine (Philmaster ENS et EHESS) et en études de genre (M2 de l’Université Paris 8 Saint-Denis), elle a travaillé comme attachée de production de cinéma pour Capricci. Sa première exposition personnelle, Life is so Easy, a eu lieu au Bazaar Compatible Program à Shanghai en 2016.

Jean François lecourt, Thomas Auriol
Tir dans le miroir
Performance | 0 | couleur | 0:0 | France | 2010

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Kai kaljo
Isegi nimi on mõnikord sama (Even the Name Is Sometimes the Same)
Vidéo | mov | couleur | 1:55 | Estonie | 2017

Among others, Kai Kaljo(1877-1906) lives on in my video "Even the Name is Sometimes the Same"(1877-2017). I don´t know if we are related or not, but does it really matter? The video was made in cooperation with the photo collection of the Tallinn town museum. In the corner of a very old photograph (made in 1877) of the Tallinn Old Town Harbor, there is a person sitting, very tired. For some unknown reason, I was overwhelmed by that person. She (or he) had no idea that photography existed so she never suspected being accidentally captured by someone´s camera, neither did she suspect that, for some reason, she would become so important for somebody after 140 years.


Kai Kaljo is an artist living and working in Tallinn, Estonia. She studied painting at the Estonian Academy of Arts. Since 1997, when she completed her first video "Loser", she mainly works in video. In 2006 – 2017, she used to work at Tallinn University as a professor for contemporary art. Her video work was often described as poetic, social, humorous/tragic. In recent years, she had been working with archival images and texts.

Louidgi beltrame
El Brujo
Film expérimental | 4k | couleur | 17:29 | Pérou | 2016

El Brujo, qui signifie « le sorcier » en espagnol, est aussi le nom d’un site archéologique mochica. C’est sur cette plage de la côte péruvienne que Louidgi Beltrame a tourné une partie de son film. Le curandero (chamane) José Levis Picón Saguma y rejoue la séquence finale du film de François Truffaut Les Quatre Cents Coups (1959) où le jeune héros Antoine Doinel, interprété par Jean-Pierre Léaud, s’enfuit vers le rivage. Suite à une Mesa - cérémonie de guérison liée au cactus psychoactif San Pedro - José Levis Picón Saguma prend en charge la place laissée vacante dans le dispositif cinématographique par l’acteur alors souffrant, resté en France. Après réception à distance de cette opération magique, Jean-Pierre Léaud rétabli est filmé à la dérive dans les rues de Paris suivant une trajectoire superposant les souvenirs du tournage des Quatre Cents Coups à une histoire subjective du cinéma de la Nouvelle-Vague. A travers ces transpositions, l’artiste orchestre une série de déplacements, une migration des personnages, des motifs et des époques. Aux lignes géométriques du paysage péruvien fait de pyramides et d’excavations répond ainsi la structure du montage filmique composée de travellings et de plans panoramiques sur la musique modulaire et synthétique du morceau Triangle (1979) de Jacno.

Louidgi Beltrame est né à Marseille en 1971. Il est aujourd’hui basé à Paris et a étudié à la Villa Arson de Nice et à l’Ecole Nationale Supérieure des Beaux-Arts de Marseille. De 1999 à 2001, il fut résident au Fresnoy, Studio National des Arts Contemporains à Tourcoing, puis au Pavillon, laboratoire de création du Palais de Tokyo. Depuis 2003, ses œuvres sont présentées dans de nombreuses expositions. Son travail a notamment fait l’objet d’expositions personnelles au Palais de Tokyo (Paris, 2015), au FRAC Basse-Normandie (Caen, 2015), au Kunstverein de Langenhagen (Allemagne, 2015), à la galerie Jousse Entreprise (Paris, 2008, 2012, 2014), à la Fondation d’entreprise Ricard (Paris, 2010), au centre d’art Les églises (Chelles, 2010), au musée d`Art moderne et contemporain de Strasbourg (2008) et au Jeu de Paume (Paris, 2006). En 2013, il a participé au programme de films conçu par Apichatpong Weerasethakul dans le cadre de la 11e Biennale de Sharjah ainsi qu’à de nombreux festivals dont le FID Marseille, Doclisboa et International Film Festival Rotterdam. Ses films ont fait l’objet de programmations spécifiques au Centre Georges Pompidou en conversation avec Pascal Beausse (Vidéo & Après, 2011) et au Louvre avec Catherine David (2013). Expositions collectives : notamment, Flatland, MRAC, Sérignan, 2016, Plagiar of Futuro, Hangar, Lisbonne, 2015, Michelangelo Antonioni, Cinémathèque Française, 2015, Double Jeu, Frac Centre, Orléans, 2014, Mutatis Mutandis, Secession, Vienne, 2012, Video, an Art History (1965-2010): A selection from the Centre Pompidou and the Singapore Art Museum Collections, 2011; Prisonniers du Soleil, Le Plateau, Paris, 2010.


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