Programme Berlin 2018
2pm   3pm   5pm   6pm   8pm  9.30pm
Thursday

June 21
2pm

Forum
Haus der Kulturen der Welt | Audi Foyer
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

Discussion and Coffee

We invite you to come for a coffee and listen to the invited artists who will discuss their work, research and ongoing projects with the Rencontres Internationales programming team. This is an informal and ideal opportunity to address the work of the artists in the programme before the screening.

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Thursday

June 21
3pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

"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 | mp4 | couleur et n&b | 1:6 | Kenya | 2016 see more
Mike hoolboom: Nursing history | Film expérimental | 0 | | 0:0 | Canada | 0 see more
Frederic nauczyciel: La Peau Vive [Skin Live] | Installation vidéo | mp4 | 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.

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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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 | 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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Jongkwan Paik examines images of protests, trying to pick out the presence of individuals. Shake draws a parallel between geological phenomena, resulting from tectonic activity, with the situation in Taiwan, at the frontiers of divergent political forces, and silenced by hidden powers, having determined its identity. Mont Tesprateep pays tribute to a missing friend while the military is still looking for him for desertion. Niyaz Saghari conducts a visual experiment: Ali Sarandibi’s Dadaist poetry is juxtaposed with Iranian women dancing. Jackie Karuti explores opportunities for freedom, while any notion of home seems beyond reach. Mike Hoolboom reworks a film extract found in Red Cross archives in Geneva where a nurse in Vietnam takes care of an injured person. Frédéric Nauczyciel proposes a study of bodies, tattoos and scarification that express and document what is not verbalised. The skin becomes a surface for narratives, a medium for inventing identities, for real and symbolic affiliations claimed on the fringes.


Thursday

June 21
5pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

"Ecology of images"

Eija-liisa ahtila: Tutkimuksia draaman ekologiasta (Studies on the Ecology of Drama) | Fiction expérimentale | dcp | couleur | 26:26 | Finlande | 2017 see more
Eija-liisa ahtila
Tutkimuksia draaman ekologiasta (Studies on the Ecology of Drama)
Fiction expérimentale | dcp | couleur | 26:26 | Finlande | 2017

SYNOPSIS VERSIONS SHORT SYNOPSIS (249 characters of max 255) The film uses the methods of presentation as a path to the company of other living beings. It expands upon the issues of ecological moving image narrative – the focus being on presentation, imaging and imagination in the context of the moving image. LONG SYNOPSIS (1193 characters of max 1200) The film uses the methods of presentation as a path to the company of other living beings. It expands upon the issues of ecological moving image narrative explored in her two previous works – the focus being on presentation, imaging and imagination in the context of the moving image. Film begins with a human actor walking into a forest park, where she introduces the themes of the work by conducting reduction exercises with the surroundings. Other performers include a bush, a juniper tree, a common swift, a horse, a brimstone butterfly, and a group of human acrobats. In her performance, the human actor-narrator makes use of the methods of the lecture-performance, thereby making room for other types of presentation. Making the ecology of drama visible requires the establishment of a reflexive distance and a representational dimension whereby the processes of technological recording and the expressive devices of the moving image can be made perceivable. The work employs the human body and its mimetic capacity as a tool to present the partial imaging between different creatures. - Becoming-alike, or imitation (mimicry), becomes an instrument for the representation of a living thing.


SHORT BIO Eija-Liisa Ahtila (1959, Hämeenlinna) is an artist and filmmaker. She works with moving image, making spatial multiple screen installations and short films. Her works have been exhibited in museums and biennales (eg.Tate Modern; MoMA NYC; JeP; Mori Art; Venice; Documenta, Kassel; Sao Paulo Biennale) and in the film festivals (eg. Berlin, Sundance, Venice) around the world. In 2011 she was appointed to the main jury of the Venice Film Festival and in 2013 she was the Chairwoman of the Jury in FIDMarseille. She studies at the KuVa Doctoral program. The starting point of her works and research is the eco-cinematic questions: how and with what kind of technology, drama and expressive devices can the image of our world be built in the present moment of ecological crisis.


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Eija-Liisa Ahtila conducts a study on narrative, using methods of representation as a path to other living beings. An actress walks through the countryside, where she introduces us to a reflection upon image and narrative. Other organisms take part in this performative reflection: a bird, horse, plant and butterfly.


Thursday

June 21
6pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

"Starting Over"

In the presence of Katie Davies, Fabian Altenried and Tommaso Donati.

Katie davies: The Separate System | Doc. expérimental | hdv | couleur | 23:9 | Royaume-Uni | 2017 see more
Denis pavlovic: Zwischen Gestern und Morgen (Between Yesterday and Tomorrow) | Documentaire | 16mm | couleur | 25:15 | Allemagne | 2016 see more
Fabian altenried: 1000 Smiles Per Hour | Fiction expérimentale | 4k | noir et blanc | 15:0 | Allemagne | 2016 see more
Tommaso donati: A Song from the Future | Doc. expérimental | hdcam | couleur | 17:29 | Suisse | 0 see more
Katie davies
The Separate System
Doc. expérimental | hdv | couleur | 23:9 | Royaume-Uni | 2017

At the end of 2014 the Ministry of Justice released an announcement stating that from January 2015, “every prisoner coming into custody will be asked if they have been a member of the armed forces” and that “prisons will be given new guidance about helping them during their sentence.” The announcement followed wide debate over the percentage of veterans in prison. Behind these policy contexts there also sits a wider public perception of the identity of the ‘veteran’ which exists in tension with the notion of the ‘offender’. The Separate System was collaboratively produced by veterans through workshops at two local prisons with artist Katie Davies. The piece investigates the spaces of the military, custody and ‘civilian’ life through the notion of work, an everyday activity that unites these worlds and is familiar to us all. The film communicates what we, as a civilian audience, perhaps do not understand about the unique set of relations, actions and responsibilities held by the people within these spaces. Created through FACT`s Adults Learning Programme, our work within the criminal justice system aims to approach the context of the prison system from a critically engaged position.


Katie Davies is a video artist exploring the construction of identities, their reflections and manipulations. Nationalism, violence and democracy form a central critique for her videos and installations, often focusing upon individuals and communities whose identities are dictated by the state; their agency to self-identify snared between political agendas and Sovereign violence. Katie is a Royal West of England Academician and was nominated for the 2016 Paul Hamlyn Award. She is a Jury member for the International competition, Short Film Festival Oberhausen, 2018 and has exhibited nationally and internationally including FACT Liverpool 2018, Kassel Dokfest, Bratislava International Film Festival and Oberhausen International Film Festival 2017 & 2015, Sarajevo Film Festival 2015, Border Visions, Connecticut, USA 2012 and The Istanbul Biennial 2009. She has contributed to several publications and her writing on practice-led research has been included in US and British publications. Katie is Senior Lecturer in Media & Cultural Production at The University of The West of England.

Denis pavlovic
Zwischen Gestern und Morgen (Between Yesterday and Tomorrow)
Documentaire | 16mm | couleur | 25:15 | Allemagne | 2016

The story of a man who came to Germany 17 years ago. It’s the 31.12.2017, a day in the life of Niaz Ahmadzai from Afghanistan. A never ending story of work, existence, love, familiy and an unfulfilled personality. The perfect integration of a fully functioning machine.


Born – 1987 – Stuttgart Freelancer – since 2010 – Documentary, Video, Image – Director, Concepts, DoP, Producer Internship – 2011 – Production Company: Kloos und Co. Medien – Berlin Internship – 2011 – Director: Rolf S. Wolkenstein – Berlin Work – 2011-2013 – Filmgalerie 451, DVD-rental – Stuttgart Bachelor of Arts – 2012- Film and Video – Merz Akademie – Stuttgart Studies – 2015 – Director / Documentary – Filmakademie Baden-Württemberg Work – 2016 – Editorial assistent – SWR Stuttgart Work – 2017 – Won the shortfilm-competition “Die Vermächtnisstudie”, developed by the Ministry of Foreign Affair Germany and produced the documentary “Schranke” together with the German Filmacademy.

Fabian altenried
1000 Smiles Per Hour
Fiction expérimentale | 4k | noir et blanc | 15:0 | Allemagne | 2016

1000 smiles per hour suive Esth, un saltimbanque androgyne, pendant un jour et une nuit a travers une ville côtier abandonée.

Fabian Altenried (*1987) is a director, writer and producer. He studied visual art at the Art Academy in Düsseldorf and philosophy in Berlin. Since 2013 he is part of the Berlin based independent production company Schuldenberg Films. His conceptual approach stems from his engagement with post-structuralism, identity and gender theories, performativity, theories of animality, and post-ideological leftism. Fabian has been an artist in residence of Gargonza Arts in 2013, a participant of Feature Expanded 2016 and Berlinale Talents 2017. His works have been supported by the FFA, werkleitz e.V., the Arts Foundation of North Rhine Westphalia, the Stiftung Kunstfonds, the Mondriaan Fonds et al. and have been shown at the Berlinale, the Sarajevo Film Festival, in Edinburgh, Rotterdam, and many other festivals and shows globally.

Tommaso donati
A Song from the Future
Doc. expérimental | hdcam | couleur | 17:29 | Suisse | 0

Un migrant somalien cherche abri dans les souterrains d`un immeuble près de la douane Suisse italien. Une chanson populaire de son pays réveille en lui l`envie de partir.

Né en 1988, Tommaso Donativit est diplômé de l’École internationale de création audiovisuelle et de réalisation (EICAR) à Paris. Son travail se partage entre le documentaire, le cinéma expérimental et la photographie où il explore les relations entre l’homme, l’animal et le milieu naturel dans lequel ils vivent.


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Katie Davies documents prisoners speaking, former members of the armed forces, and captures the link between order, detention, delinquency and return to civilian life. Denis Pavlovic films the present and the aspirations of Niaz Ahmadzai, a young Afghan refugee in Germany. With Fabian Altenried, we follow an androgynous acrobat, for a day and a night, in a deserted coastal town. At dusk, an encounter provides a moment of connection. Tommaso Donati films an unfathomable nostalgia. A Somalian migrant seeks shelter in the basement of building near a customs checkpoint. A popular song from his country awakens the desire to leave.


Thursday

June 21
8pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

"Manipulation"

In the presence of George Drivas and Carlos Aires.

Ivar veermÄe: Our Word Our Bond | Doc. expérimental | mov | couleur | 14:14 | Allemagne / England, Estonia | 2017 see more
Søren thilo funder: Swerve (You’re Gonna Die Up There) | Vidéo | hdv | | 10:0 | 0 | 2017 see more
Edward akrout, Jakob Boeskov: Quantum Political Feedback | Vidéo expérimentale | 0 | couleur | 8:0 | Royaume-Uni | 2017 see more
George drivas: Laboratory of Dilemmas | Vidéo | 4k | couleur | 10:38 | Grèce | 2017 see more
Carlos aires: Sweet Dreams Are Made of This | Vidéo | mp4 | couleur | 4:21 | Espagne | 2016 see more
Ivar veermÄe
Our Word Our Bond
Doc. expérimental | mov | couleur | 14:14 | Allemagne | 2017

The film is a journey of tracing the former Baltic Exchange´s building. 1903 it was built in neoclassical Edwardian style in the centre of London and 1992 destroyed by Provisional IRA´s biggest car bomb to the date. After the bombing there were plans to attach parts of Baltic Exchange´s house to a new building in the same location. Before dismantling it was fully documented and catalogued. These plans never materialized and in 2006 two estonian businessmen bought the facade and parts of the trade hall wanting it to be rebuilt in Tallinn. The stones were sent to Estonia, where they have stayed in shipping containers over 10 years (with the exeption of the facade sculptures, which were used in a project by estonian architects and artist in 2016). After the real estates developers won dispute with conservationists Foster and Partners iconic „Gherkin“ - Swiss Re-s building has been constructed in the former Baltic Exchange´s site. Tracing the stones and the story of former building – in Estonia and London – leads to unpredictable outcomes. For example – terrorist attack being economic consideration; real estate boom in London; redesign of city space by incorporating anti attack measures.


The work of visual artist Ivar Veermäe (born 1982 in Tallinn, Estonia; lives in Berlin) circles around questions of public and private space, mediation processes, architecture and infrastructure, information technology and networks. As a result of long-term artistic research by means of photography, film and sound, his works are presented in versatile ways (such as video, on-site installations, interactive works and performances, also in public space). Ivar Veermäe aims to document and analyze the infrastructure underlying our contemporary culture of data and information. Concentrating on physical and local presence, confronting it with its representations creates a possibility for questions and doubts. His interest lays in hidden or stealty qualities of various spaces and objects. He has had solo exhibitions in Edith-Russ-Haus, Oldenburg, Gallery im Turm, Berlin, Freies Museum Berlin, City Gallery of Tallinn and Hobusepea Gallery in Estonia, among others. His work has been exhibited in group exhibitions at transmediale Festival in HKW, Venice Architecture Biennale, Athens Digital Arts Festival, Moscow Biennale for Young Art, the Bozar in Brussels, the CNB Contemporánea in Buenos Aires, the Zentrum für Kunst und Urbanistic, Forum Factory and Kleine Humboldt Gallery in Berlin, the Art Museum of Estonia, Art Hall of Tallinn, the Estonian Contemporary Art Museum, the Latvian Centre for Contemporary Art, the Kulturhuset Bronden in Denmark, the Old Sugar Factory in Groningen, the Kunstverein Wolfsburg, the Kunstverein Kassel, the Pinnacles Gallery in Australia.

Søren thilo funder
Swerve (You’re Gonna Die Up There)
Vidéo | hdv | | 10:0 | 0 | 2017

Swerve (You’re Gonna Die Up There) sets out to reconstruct the illusion and history of cinema with an undertow of Cold War symbolism. It is only moments since the girl Regan Theresa MacNeil interrupted the party, addressing Captain Billy Cutshaw with the eerie forewarning: “You’re gonna die up there”. Now, the astronaut Billy Cutshaw – who first appeared in The Exorcist (1973) prior to a space mission, and later as mental patient in The Ninth Configuration (1980) – is driving through the dark streets of Washington DC. During this drive, he will meet his future self, who will convince him not to go to the moon. Against the background of this meeting, the work reflects on the psychological and also social and societal implications of space travel


Søren Thilo Funder’s works are carefully crafted cinematic mash-ups of diverse cultural fields and social histories. They serve as formal investigations into the power relations of modern day society and the truisms of written and unwritten history. Proposing new connections between historical, cultural and political matter, they open up new potential spaces – third places – for political contemplation and counter-memory.

Edward akrout, Jakob Boeskov
Quantum Political Feedback
Vidéo expérimentale | 0 | couleur | 8:0 | Royaume-Uni | 2017

In the video, the artists combine pseudoscience with repetition to investigate the connection between technology and truth. An E-meter device was exploited as a crude polygraph machine. Its pseudoscientific function is to "detect lies" in order to monitor a statement`s progression from lie to truth. Statements were read to and repeated by the participants. Through continuous repetition, the subjects built a relationship with the spoken words, which over time, matured into experiences and finally beliefs. All of the combined elements resulted in mettre en abîme the transformation of a political affirmation into a belief.


Edward Akrout is a Franco-British artist that works between London, New York and Paris. His practice, which largely includes painting, drawing and sculpting, is best described as abstract expressionism. Personal website: EdwardAkrout.com Representation: Lahd Gallery Jakob Boeskov is a Danish-Icelandic artist and filmmaker that works between New York and Copenhagen. Having graduated from The Royal Danish Academy of Fine Arts, his pieces have been shown in museums such as New Museum, Science Politiques, Moscow State Academy Art Institute and the Stedelijk Museum. Personal website: JakobBoeskov.com Representation: The Scandinavian Institute

George drivas
Laboratory of Dilemmas
Vidéo | 4k | couleur | 10:38 | Grèce | 2017

Laboratory of Dilemmas is a narrative video installation based on Aeschylus’ theatre play Iketides (Suppliant Women), which poses a dilemma between saving the Foreigner and maintaining the safety of the Native. Addressing current global sociopolitical issues, the work deals with the anguish, puzzlement, and confusion of individuals and social groups when called upon to address similar dilemmas. Aeschylus’ Iketides (Suppliant Women) is the first literary text in history that raises the issue of a persecuted group of people seeking for asylum. The Suppliants have left Egypt to avoid having to marry their first cousins and arrive at Argos seeking asylum from the King of the city. The King is then faced with a dilemma. If he helps the foreign women, he risks causing turmoil among his people and going to war with the Egyptians, who are after the Suppliants. But if he doesn’t help them, he will break the sacred laws of Hospitality and violate the principles of Law and Humanism, leaving the Suppliants to the mercy of their pursuers. Laboratory of Dilemmas focuses on the play’s dilemma through the excerpts of an unfinished documentary in the form of found footage about a scientific experiment. This experiment was never completed for unknown reasons, however the found excerpts of the unfinished documentary reveal today, after so many years, details of the experiment, as well as the hopes of the professor who envisioned it and the disagreements with his co-researchers.


George Drivas was born in Athens, Greece. He has represented Greece at the 57th Biennale di Venezia, 2017. Drivas is the recipient of numerous awards namely, Best Experimental Film Award at London Greek Film Festival, London, UK (2010), Special Mention at “Strange Screen”, Experimental Film and Video Festival, Macedonian Museum of Contemporary Art, Thessaloniki, Greece (2009), 2nd prize at VII Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006), 2nd prize at the Zebra International Poetry Film Festival, Berlin, Germany (2002) and Jury Award for Experimental Short Film at the New York Expo, NY, NY (2002). George Drivas’s work has been featured as a Solo Show at the National Museum of Contemporary Art, Athens (2018 and 2009) and La Galleria Nazionale, Rome, Italy, (2017) , as a tribute to him at the Lumen Quarterly Festival, Beijing, China (2017/18) and Athens’s International Film Festival (2014), and as part of a group exhibition or festival among others in “Resilient Futures”, Contemporary Art Center of Thessaloniki (CACT, 2018), “ANTIDORON- the EMST Collection”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Group Show, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Group Show, Transmediale Festival, Berlin, Germany (2014), “Art Projections”, Thessaloniki Biennale of Contemporary Art (2013), “Hybrid Stories”, Group Show, National Museum of Contemporary Art, Athens, Greece (2013), “Melancholy in Progress”, Video Art Exhibition, Hong-Gah Museum, Taipei City, Taiwan (2012), “FILE”, Electronic Language International Festival, FIESP Cultural Center, Sao Paulo, ?razil (2012), “Annual Exhibition”, Group Show, Center on Contemporary Art, Seattle, USA (2012), “Les Rencontres Internationales: New Cinema and Contemporary Art”, Centre Pompidou, Paris, France, “Polyglossia”, Onassis Cultural Centre, Athens, Greece (2011), “ECU”, European Independent Film Festival, Paris, France (2010); “Digital Wave”, Thessaloniki International Film Festival, Thessaloniki, Greece (2009); “Transexperiences Greece” at Space 798, Beijing, China (2008); “Young Greek Artists – In Present Tense” at the National Museum of Contemporary Art, Athens, Greece (2008); “Les Jeunes Cinéastes D’aujourd’hui” at the Centre Pompidou, Paris, France (2007); Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006); Poetry International Festival, Rotterdam, Netherlands (2003); and Dactyl Foundation for the Arts and Humanities, NY, NY (2002). George Drivas’s work is part of the Athens’s National Museum of Contemporary Art (EMST) collection.

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.


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Ivar Vermaë retraces the history of the former Baltic Exchange building, a global centre for maritime freight, built in 1903 in the centre of London, and destroyed in 1992 in the biggest IRA car bomb attack. Søren Thilo Funder embarks on the reconstruction of a wasted moment of narrative between two Hollywood fictions, ‘The Exorcist’ and ‘The Ninth Configuration’, between an illusion and the history of film. Edward Akrout and Jakob Boeskov combine pseudoscience and repetition, to test the connection between technology and the truth. Subjected to a lie detector, participants in the experiment repeat phrases. Political affirmation changes into belief. George Drivas is inspired by the tragedy of Aeschylus, ‘The Suppliants’, that presents the following dilemma: should the stranger be saved or the safety of the natives be maintained? It shows the anguish of individuals and social groups faced with this situation. Robert Todd films wind variations and the permanence of different structures, the contrast between immobility and movement. Carlos Aires films two men. Wearing anti-riot gear, they dance the tango in a 19th century palace in Madrid.


Thursday

June 21
9.30pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

"Cinema revisited"

In the presence of Carsten Aschmann and Maya Schweizer.

Vivian ostrovsky: DizzyMess | Film expérimental | super8 | couleur et n&b | 7:43 | USA | 2017 see more
Carsten aschmann: Updating Death | Film expérimental | dcp | couleur | 14:30 | Allemagne | 2017 see more
Christoph girardet: It Was Still Her Face | Film expérimental | mov | | 8:0 | Allemagne | 2017 see more
Cecilia lundqvist: En av dem (One of them) | Animation | mov | | 1:53 | Suède | 2017 see more
Maya schweizer: A Tall Tale | Fiction expérimentale | mov | couleur et n&b | 16:16 | Allemagne / Ireland | 2017 see more
Pink twins: Overlook | Animation | hdcam | couleur | 5:27 | Finlande | 2017 see more
Vivian ostrovsky
DizzyMess
Film expérimental | super8 | couleur et n&b | 7:43 | USA | 2017

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Cinéaste née à New York en 1945, Vivian Ostrovsky passe son enfance à Rio de Janeiro puis poursuit des études supérieures à Paris en psychologie ainsi qu`en cinéma. Elle co-fonde dans les années 1970 Ciné-Femmes, organisme dédié à la diffusion de films de femmes. Depuis 1980, Vivian Ostrovsky a réalisé plus de vingt films, la plupart tournés en Super 8, qui incluent souvent du found footage, des extraits de fictions, de documentaires, ou de home movies. Ses films exploitent le thème du déplacement et se situent, d`après Yann Beauvais, entre le "film journal" et le "film collage". Elle travaille également à la programmation du cinéma d`auteur et d`avant-garde du festival de film de Jérusalem. Son travail a connu de nombreuses rétrospectives et expositions dans les musées et les festivals à travers le monde ; à la fois pour ses films et ses " films- installations ".

Carsten aschmann
Updating Death
Film expérimental | dcp | couleur | 14:30 | Allemagne | 2017

the actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate—at once helpless and aggressive—through the that can no longer be changed.


carsten aschmann lives and works in hannover. he has studied at the hbk-braunschweig in the filmclass by büttenbender and birgit hein. Mainly he is a filmmaker, and a screenwriter. more info www.hula-offline.de

Christoph girardet
It Was Still Her Face
Film expérimental | mov | | 8:0 | Allemagne | 2017

Portraits of women. And men, who are spellbound by them. The painted portraits – a recurring motif of film noir as well as European postwar cinema – aesthetically stand in a tradition of an outmoded academic style that is bent on striking likeness with the model. They are revenants, omens of absence, metaphors for loss and death, objects of desire and fixation, which mesmerize both the viewer in the movie and in front of the screen.


Christoph Girardet, born in Langenhagen, Germany, in 1966. Lives in Hannover. Studied at the Braunschweig HBK. filmography (single channel, selection) 1991 Schwertkampf 1993 Fieberrot 1996 Release 2001 Scratch 2002 Absence 2004 Fiction Artists (with Volker Schreiner) 2007 Pianoforte | Storyboard 2012 The Eternal Lesson | Dirigible 2014 Fabric 2015 Synthesis 2017 It Was Still Her Face collaborations with Matthias Müller 1999 Phoenix Tapes 2002 Manual | Beacon 2003 Play | Mirror 2006 Kristall 2009 Contre-jour | Maybe Siam 2011 Meteor 2013 Cut 2016 personne

Cecilia lundqvist
En av dem (One of them)
Animation | mov | | 1:53 | Suède | 2017

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Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Maya schweizer
A Tall Tale
Fiction expérimentale | mov | couleur et n&b | 16:16 | Allemagne | 2017

Maya Schweizer (b.in Paris, France) lives and works in Berlin. She studied at the university, Aix-Marseille I, at the Academy of Visual Arts Leipzig and Berlin University of the Arts, where she graduated. Maya Schweizer exhibited at Kunstverein Leipzig (2017-2018), Drawing Room Hamburg (2017-2018), Irish Museum of Modern Art, Dublin (2016); Skulpturenmuseum Glaskasten Marl (2016); Nordstern Videokunstzentrum, Gelsenkirchen (2016); Staatliche Kunsthalle Baden-Baden (2015);GRASSI Museum für Angewandte Kunst Leipzig (2015); MWW Wrocław Contemporary Museum (2015). She recently screened at Videoart at Midnight, Berlin (2018), Traverses Vidéo, Toulouse (2018), Vancouver International Film Festival, Canada (2017), Cinema in viennacontemporary, Vienna, Austria (2017), in Oberhausen 63. International Kurzfilmtage Oberhausen (2017) and at the 67. Berlinale, Forum Expanded, Berlin (2017). She received the Research stipends from the Berlin Senat (2017), Research grant from Goethe Institute Neapels and the Fundazione Morra-Museo Nitsch, Naples (2017), and the residency at the Watchtower, Flutgraben, Berlin (2016-2017).

Pink twins
Overlook
Animation | hdcam | couleur | 5:27 | Finlande | 2017

Impossible architecture, an ancient burial ground and a lure for psychotic janitors were the building blocks of Overlook Hotel in Stanley Kubrick’s The Shining. In this story vignette, chaos animators Pink Twins add zero gravity and a rupture in space-time continuum to the mix and serve a taster of subtle cosmic horror.


Pink Twins is a duo of visual artists and electronic musicians, brothers Juha (b. 1978) and Vesa Vehviläinen (b. 1974), based in Helsinki, Finland. Active as Pink Twins since 1997, their videos work on the crossing of visual art and music. Live Pink Twins deliver improvised digital soundscapes, often combined with video screenings. Pink Twins have shown their works in exhibitions and festivals in all continents and performed audiovisual live shows through Europe, Americas, Asia and Australia.


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Vivian Ostrovsky questions the representation of vertigo in film, like a catalyst for strange, worrying, vacillating images, ranging from the psychological effect to the comic. Carsten Aschmann creates an unlikely post-mortem encounter between the actors Ledger, Walker and Hoffman. They try to make contact with each other but, aggressive and destitute, they navigate through what can no longer be changed. Christoph Girardet puts together portraits of women, a recurring motif of film noir and post-war cinema. They become spirits, omens of absence and metaphors for loss. Cecilia Lundqvist expresses concern regarding knowing that eternal life is not accessible to everyone. Maya Schweizer leads us into a landscape of ruins and references with Edgar Allan Poe, Orson Welles and other ghosts. The Pink Twins duo revisits an impossible architecture, that of Stanley Kubrick’s The Overlook Hotel in ‘The Shining’. Chaos reigns, with zero gravity. Disruption in the space-time continuum serves as a subtle cosmic horror.


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