Programme Berlin 2018
1pm   2pm   4pm   5.30pm   7pm   9pm
Saturday

June 23
1pm

Screening
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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Saturday

June 23
2pm

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

"In Fragments"

In the presence of Jamie Buckley, Laura J. Padgett and Thadeusz Tischbein.

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


Brit Bunkley’s current art practice includes public art, sculpture, installation, and the creation of “impossible” moving and still images and architecture designed using computer 3D modelling, video and image editing programs, with content emphasising majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. In addition, he has received several grants and fellowships including a Wallace Trust grant in NZ; a New York State Fellowship (CAPS) grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. Recent international group exhibitions and screenings include Sanctioned Array-Other2 Specify at the White Box gallery in NYC, Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou and at the Reina Sofia National Museum, Madrid, Spain; The Haus der Kulturen der Welt, Berlin; FILE 2012 at the SESI' Cultural Centre Sao Paulo, Brazi;, the Berlin International Director’s Lounge 2014 and the Moscow Museum of Modern Art where he won an award. Bunkley’s most recent solo exhibition, Social Realism opened at the Sanderson Contemporary Art, Auckland, NZ November 2014- with forthcoming solo exhibition November 2015. Recent video exhibitions and festivals include FILE 2015; Fiesp Cultural Center, Sao Paulo, Brazil; the International Video Art Festival «Now&After» MINI VIDEO'15, Schusev Museum of Architecture, Moscow, Russia, and International short- and longfilm videodays 2015 and 2016, G.A.S-station, Berlin, 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

A few years ago my elder brother was killed by two men. One of the murderers escaped punishment while the second, who alone took the blame for the crime, was later released from prison for an exemplary behaviour. This made me decide to start a socio-artistic research regarding what “exemplary behaviour” means in the case of a murderer, when and how killers behave exemplarily. In summer 2014 I started to develop feature-length creative documentary “Exemplary Behaviuor”. Logline of the documentary says: The documentary explores the paradox of exemplary behaviour in murderers currently serving life sentences in Vilnius’ Lukišk?s prison and hoping to return to society. “Exemplary Behaviour” is a journey of transformation for the author, the murderers, and society who are searching for tolerance among humans. Now the documentary developed into a big scale socio-artistic transmedia project. “Exemplary Behaviour” is a project that seeks to create an emotionally and visually strong, thoughts provoking spaces that are meant to encourage tolerance to murderers. Tolerantia in Latin means ability to bear hardship, to be patient. Today many Europeans still tend to lack tolerance towards other ethnicities, immigrants, prisoners, unorthodox thinking, etc. In this project, the prisoner becomes a metaphor for “the other”. The main goal is to encourage tolerance of “others”. Video installation “Exemplary Behaviour” is an extended format of the documentary of the same title. It concentrates on a film element called healing sequence. Film’s healing sequences are hypnotic episodes, that are meant to awaken viewers’ imagination and are related to scientific phenomenon called “Prisoner’s Cinema”. Prisoner’s cinema is mainly reported by prisoners kept in dark cells for long periods of time. It’s an experience of seeing light without light actually entering the eye. It is a visual hallucination of light created by human brain that tries to compensate for lack of stimuli and the resulting monotony


Audrius Mickevi?ius is a Lithuanian film director, interdisciplinary artist (video art, photography, architecture, installations, graphics, sound, writing), and a professor in the Department of Media Art at the Vilnius Academy of Fine Arts, a guest lecturer in European universities. He completed his architectural sudies in Vilnius (1988) and visual communication studies in Copenhagen (1996). Audrius became obsessed with cinema at a young age. In 1983 he made his first 8 mm film “Requiem for Quartet”. Since then Audrius has made 17 more films. In recent years he created several experimental, documentary, and fiction films, which were screened in various international film festivals and MoMA, New York. Since 2010 the film director has been a member of the Lithuanian Filmmakers Union. He works and lives in Vilnius, Lithuania.


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Jamie Buckley films a concentration camp memorial and explores the archives of a woman who, as an adolescent, helped prisoners to pass on objects. Laura J. Padgett compiles archive images from post-war to 1972, broadcast by German radio and television, from Horkheimer buying a newspaper to Hannah Arendt during a conference. From scans and images filmed by drone, Brit Bunkley recreates dilapidated buildings, post-industrial structures located on the outskirts of metropolitan areas. The 3D-animated buildings are virtual entities simulating groups of memories. Thadeusz Tischbein questions the role of culture when death is represented: from religious relics to Stalinist mausoleums and stuffed animals. Jonathan Perel investigates, like a cartographer, Electras, planes used by Argentina’s dictatorship to throw opponents into the sea to make them disappear. Enrique Ramirez films two white beams that welcome travellers from the other side of the world to Finistère. Audrius Mickevicius examines, through his family history, notions of resilience and transformation of a crime.


Saturday

June 23
4pm

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

"Continuum"

In the presence of Maria Verstappen and Sebastian Diaz Morales.

Elias heuninck: Lightkeeping | Doc. expérimental | dcp | noir et blanc | 11:11 | Belgique | 2015 see more
Driessens & verstappen: Deep Dive | Création numérique | 0 | couleur | 7:35 | Pays-Bas | 2016 see more
Sebastian diaz morales: Pasajes IV | Vidéo | mov | couleur | 25:0 | Argentine | 2017 see more
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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Elias Heuninck questions the nature of digital images and creates a new image, created pixel by pixel. Driessens & Verstappen endlessly zoom into images and produce a continuous space where endless details emerge from the original image. With Sebastian Diaz Morales we follow a character that reconnects fragmented landscapes and explores the geography of a story that does not begin.


Saturday

June 23
5.30pm

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

"Architectures"

In the presence of Gerald Schauder and Pierre-Jean Giloux.

Gerald schauder: Skulptur21 | Installation multimédia | mov | | 3:30 | Allemagne | 2015 see more
Robbie cornelissen: The Number 9 Sessions | Animation | hdv | noir et blanc | 8:36 | Pays-Bas | 2017 see more
Pierre-jean giloux: Invisible Cities | Installation vidéo | mov | couleur | 0:0 | Japon / France | 2017 see more
Corinna schnitt: Vollendete Zukunft (Future Perfect) | Fiction expérimentale | hdv | couleur | 9:0 | Allemagne | 2016 see more
Bertrand gauguet: CHANTIER 3 - Pascal Battus-Bertrand Gauguet-Eric La Casa | Doc. expérimental | mov | couleur | 25:27 | France | 2017 see more
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 a.k.a. KABELTON, born and raised in Munich, socialized in Graz, now living in Cologne, produces media art, electronic music and electroacoustic compositions. He is working as a sound engineer for film and music

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

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Les dessins et vidéos de Robbie Cornelissen illustrent un univers parallèle au parfum de mondialisation où se mêle le familier et l’étrange. Il dépeint des structures architecturales extrêmement détaillées qui tantôt impressionnent de par leur immensité, présentent des perspectives vertigineuses ou étourdissent de par leur complexité. De ces espaces se dégage un vide angoissant que l’occasionnel ajout d’un personnage sans visage ne rend guère plus chaleureux, mais d’autant plus fascinant. Né à Utrecht, au Pays-Bas, en 1954, Robbie Cornelissen est reconnu comme l’un des dessinateurs néerlandais les plus importants de sa génération. Son œuvre a récemment fait l’objet d’un catalogue (The Capacious Memory, 2011) ainsi que de deux expositions majeures, soit au Gemeentemuseum Den Haag (La Haye) et au Centraal Museum (Utrecht).

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

Comme dans le roman éponyme d’Italo Calvino, ces Invisible Cities ravivent un imaginaire utopique, qui entrelace les villes et leur mémoire, les villes et le désir, le regard, les signes. La part invisible révélée par l’artiste – et qui instaure un lien de connivence entre les quatre volets de cette tétralogie — évoque la vision d’une autre planification urbaine, intimement liée aux architectures prospectives des Métabolistes. À la fin des années 50, ce groupe tenta de redéfinir la ville durable, en combinant l’esthétique brutaliste et la modularité organique, en liant intimement le bâti au cycle biologique de la croissance, de la pourriture et de la régénération.

Le travail de Pierre Jean Giloux se situe à la convergence de plusieurs pratiques : l’espace / volume et les images. Ses vidéos sont les résultats d’associations et hybridations d’images. Il développe par le biais des techniques numériques un travail de collage, montage, de compositions visuelles et sonores qui incluent parfois des séquences animées en 2 et 3 d. Les interventions graphiques sur les images lui permettent ainsi de modifier la perception du réel et ainsi de créer des « mondes reconstruits ». Il aime faire cohabiter le virtuel et le réel dans le dessein d’établir un dialogue et de les questionner. L’exposition /projection de ses films se font sous formes d’installations immersives, ou le spectateur est invité à déambuler à l’intérieur de dispositifs multi écrans. Les frontières entre images de synthèses et images réelles s’estompent et laissent libre cours au regardeur d’inventer sa propre narration. Il projette aussi ses films nonobandes dans le cadre de festivals vidéos et d’arts numériques.

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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Gerald Schauder transposes the temporal and rhythmic structure of Hans Richter’s experimental film Rhythmus 21 into space. Robbie Cornelissen deploys large, deserted and monumental architectural structures, where the gaze and imagination become lost. Pierre-Jean Giloux pursues a real and fictional journey in the region of Kansai, in Japan. The virtual recreation of part of Expo 70 unveils architectures worthy of science fiction works. Corinna Schnitt films characters that communicate by means of megaphones in the town hall square in Marl, Germany. Bertrand Gauguet examines the space of the Philharmonie building during its construction, explores its potential for sound and makes new structures emerge.


Saturday

June 23
7pm

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

"Surveillance"

In the presence of Jack Wolf, Alexander Schindler, Eva l’Hoest and Michiel Alberts.

Jack wolf, Alexander W. Schindler: In Camera Proceedings | Doc. expérimental | mov | couleur | 4:0 | Allemagne | 2017 see more
Eva l'hoest: Under Automata | Film expérimental | 4k | noir et blanc | 10:49 | Belgique | 2017 see more
Jon rafman: Poor Magic | Film expérimental | mp4 | couleur | 7:7 | Canada | 2017 see more
Fern silva: The Watchmen | Film expérimental | 16mm | couleur | 10:0 | USA | 2017 see more
Michiel alberts: Another Gate Before the Law | Vidéo expérimentale | mov | noir et blanc | 17:13 | 0 | 2017 see more
Noémi varga: A legvidámabb barakk (The Happiest Barrack) | Doc. expérimental | 4k | couleur | 15:53 | Royaume-Uni / Hungary | 2017 see more
Anna Ådahl: Default Character | Vidéo | mov | couleur | 13:32 | Suède / UK | 2016 see more
Jack wolf, Alexander W. Schindler
In Camera Proceedings
Doc. expérimental | mov | couleur | 4:0 | Allemagne | 2017

In Camera Proceedings is an intervention that challenges Googles Earth`s practice of scanning, modelling and storing our world. Google’s process involves a combination of aircraft imagery and satellite photos. These are pushed through image analysis and photogrammetry softwares that reconstruct 3D models of the area photographed. The 3D models created are stored on Google’s servers, they are not available for download. Our cities have been modelled digitised and then locked away. Google`s algorithms erase all inhabitants from these models. The digital world is not meant for human habitation. We can not change it edit it, or rebuild it. We can only passively observe. In Camera Proceedings challenges this. It does not accept Google`s policy. The work visualises the technical process of taking back our space, it`s a tutorial in how to take back our virtual world. A virtual drone is programmed to fly through Google Earth taking hundreds of pictures of the digital terrain. These photos are then run through the same algorithms as the images taken by Google`s aircraft. We scan the scan and then upload it to a server where any one can download it, own it and change it.


Jack Wolf is a media artist working with new and old technologies: computer games, web, film, animation, as well as print. His work examines contemporary issues such as migration, conflict, data, as well as technology itself. He holds a bachelor of arts from the University of the Arts, London, and a postgraduate degree in Art and Media from the Berlin University of Arts (UdK). Alexander Schindler is an assistant of the Vilém Flusser Archive at the Berlin University of the Arts (UdK). He is a master student of the study program “Communication in Social and Economic Contexts” at the UdK, where he focuses on media studies, philosophy and lens-based media technologies. He is currently interested in (post-)photography theory, especially the “Spatial Image“ as a result of the fusion of lens-based technologies and computer generated imaging.

Eva l'hoest
Under Automata
Film expérimental | 4k | noir et blanc | 10:49 | Belgique | 2017

Au-dessus de l`Atlantique, des dormeurs ont été scanné manuellement par l�??artiste le long du couloir d`un avion long-courrier. Le film se présente comme un lent travelling sur une réalité que l`on identifie immédiatement mais qui est déchirée par les failles du processus de captation. Les corps, les objets ne sont donc que partiellement recomposés par le logiciel et donnent lieu à un plan cinématographique ainsi qu`à la vision d`accidents de la substance-image. �?�

Eva L�??Hoest (1991, vit et travaille à Bruxelles), est issue d�??une génération qui est née en même temps que les développements exponentiels de ce qu�??il devient désuet d�??appeler « les nouvelles technologies ». Cette jeune artiste formée à l�??atelier Vidéo de l�??ESAVL-Académie des Beaux-Arts de Liège (Jacques-Louis Nyst) s`est très vite tournée vers l`exploration de pièces inédites en réalité virtuelle ainsi que des impressions 3D sur lesquelles elle intervient manuellement. Au fil de ses pièces, Eva L�??Hoest propose une analyse de la morbidité contenue au coeur du virtuel lorsqu�??il est débarrassé de ses oripeaux et de son pouvoir strictement illusionniste. Ce qui en résulte, c�??est une plongée fascinante dans une matière visuelle qui provient du travail conjoint de la main et de la machine. Performeuse d�??une nouvelle ère, l�??artiste s�??attache sans complexe à la beauté et au vertige des limites de l�??analyse électronique.

Jon rafman
Poor Magic
Film expérimental | mp4 | couleur | 7:7 | Canada | 2017

Jon Rafman’s Poor Magic is a vision of a post-human dystopia featuring animated 3-D bodies continuously tortured in abstract digital space. The video presents the viewer with a haunting programme of repeating motifs: a blue featureless avatar, a view from a colonoscopy, and ranks of identical figures crashing and toppling over each other, made with the help of crowd-simulation software. While a poetic lament, Poor Magic addresses the fragmented consciousness of a post-physical existence. The film shows a terrifying image of a future where all humanity is uploaded to a virtual purgatory and endlessly abused. Or perhaps it is also a brutal representation of the present moment and the effect that technology has on our flesh and psyche.


JON RAFMAN was born in 1981 in Montreal, Canada. He studied Philosophy and Literature at McGill University in Montreal and received an MFA from the School of the Art Institute of Chicago. His work explores the impact of technology on contemporary consciousness, incorporating the rich vocabulary of virtual worlds to create poetic narratives that critically engage with the present.   Rafman has had solo exhibitions at Sprüth Magers Berlin (2017), Stedelijk Museum, Amsterdam (2016), Westfälischer Kunstverein, Munster (2016), The Zabludowicz Collection, London (2015) and Musée d’art Contemporain de Montréal, Montréal (2015). His works have been featured in prominent international group exhibitions, including Art in the Age of the Internet, 1989-Today, ICA Boston (2018), Blind Faith, Haus Der Kunst, Munich (2018), Suspended Animation, Les Abattoirs, Toulouse (2017), Sharjah Biennial (2017), Berlin Biennial 9 (2016), and Manifesta Biennial for European Art 11 (2016). He recently created video for a production of Albert Ginastera’s opera Bomarzo at the Teatro Real, Madrid (2017). His films have been screened in festivals and exhibitions all over the world; notably the Rotterdam Film Festival (2015, 2016, 2018), the New York Film Festival (2015), and the Ann Arbor Film Festival (2017).

Fern silva
The Watchmen
Film expérimental | 16mm | couleur | 10:0 | USA | 2017

In The Watchmen, pulsating orbs, panopticons, roadside rest stops, and subterranean labyrinths confront the scope of human consequences and the entanglement of our seeking bodies. Regressions in missing time, caught in the act of captivity, confined to the carceral and perpetuated by movie sets, television sets, and alien encounters at bay. The corporeal cycle of control revolves as steadily as the sight of those who watch from above.


Fern Silva (b. 1982, USA/Portugal) is an artist who primarily works in 16mm. His films consider methods of narrative, ethnographic, and documentary filmmaking as the starting point for structural experimentation. He has created a body of film, video, and projection work that has been screened and performed at various festivals, galleries, museums and cinematheques including the Toronto, Berlin, Locarno, Rotterdam, New York, London, Melbourne, and Hong Kong International Film Festivals, Anthology Film Archives, Gene Siskel Film Center, Cinemateca Boliviana, Museum of Art Lima, Brooklyn Academy of Music, Museum of Contemporary Art Chicago, New Museum, Greater New York at MOMA P.S.1, and Cinema du Reel at the Centre Georges Pompidou. He has organized and curated screenings at venues including the Nightingale Cinema, Gallery 400, and DINCA Vision Quest in Chicago. His work has been featured in publications including Film Comment, Cinema Scope, Filmmaker Magazine, Millennium, and Senses of Cinema. He studied art and cinema at the Massachusetts College of Art and Bard College. He is Visiting Faculty at Bennington College and is based in New York.

Michiel alberts
Another Gate Before the Law
Vidéo expérimentale | mov | noir et blanc | 17:13 | 0 | 2017

Another Gate Before The Law (HDVideo, B&W, 17m13, Michiel Alberts, 2017) Michiel Alberts is currently working on a series of K. Films. The films relate to different short texts by F. Kafka. Michiel Alberts performs and films his actions in order to transform the stories into a visual image bringing it to current and existential scenery. The film Another Gate Before The Law refers to the text Before the Law, by F. Kafka. The film is a dark poetic image dealing with the present state of our time and to current human conditions.


MCHIEL ALBERTS / BIOGRAPHY (Born The Netherlands, 1972. Lives and Works in Antwerp, Belgium.) Michiel Alberts is a Visual artist working with the media Performance, Film and Photography. In his film works he focuses upon his performative presence, movements with duration or repetitive actions. Through the usage of single angel point, the audience is invited to experience a frozen state and relate to existential questions and human conditions. His films can be described as a still picture moving, a state of presence unresolved. ‘My physical presence functions as a performative tool to question human conditions, cosmic order, time and landscapes. Through forms of abstraction I bring my content from a specific happening, or a specific social context to a larger existential scenery.’ The Artist participated in several group exhibitions. ‘Part 1&2, The Introduction’, S.M.A.K. Gent and Dendermonde, Belgium (2015, 2013). ‘Magicgruppe Kulturobjekt’ at Ludwig Forum Aachen, Germany ( 2012) and at Extra City Antwerp, Belgium (2012), ‘A Serpentine Gesture and Other Prophecies’, FRAC Fonds Régional d’Art Contemporain de Lorraine, Metz, France, (2011). The artist also participated in the Group exhibition ‘El Manifesto De Santiago’ at Matucana Santiago, Chile (2007, curated by Philippe Van Cauteren) Solo Exhibitions/Projects include ‘Salutations’ at gallery Eva Steynen Deviations, Antwerp, Belgium (2014) the one-year trajectory at DeSingel Antwerp, Belgium (2009-2010), resulting in Photography, and performance. He performed without audience in the new Building at the Art campus deSingel, while under construction. At the opening, the artist presented a selection of his photographic material and gave a six hour-long live-Performance ‘Preparation for Leave-taking’ in order to complete the Project. At the Gemak Art institute in The Hague, the Netherlands and at the Playground Festival at Art Institute Stuk Leuven, Belgium (2008, curator Eva Wittocx) as well as at the Croxhapox in Gent, Belgium (2007). Michiel Alberts has studied Visual Art at the H.I.S.K. institute in Antwerp and Gent (2008). He also completed a Master of Arts at Dasarts in Amsterdam (2005) and completed the Acting School of Maastricht (1997)

Noémi varga
A legvidámabb barakk (The Happiest Barrack)
Doc. expérimental | 4k | couleur | 15:53 | Royaume-Uni | 2017

The Happiest Barrack is an experimental documentary, a chronicle of my maternal grandmother`s life in Soviet Hungary. It serves as a memento of times past and as a reminder of how socialism colonized the soul`s of a generation.


Noemi Varga is a filmmaker based between London and Budapest. She is a recent graduate of the Royal College of Art, where she specialised in Moving Image. Her work is mainly preoccupied with exploring the boundaries of conventional documentary filmmaking, applying the tools of cinematic storytelling to all her subjects.

Anna Ådahl
Default Character
Vidéo | mov | couleur | 13:32 | Suède | 2016

The film Default Character focuses on the vocabulary, tools and human representation of the softwares proposing and tracking the crowds behaviour, adressing the impact of how default settings produces an image of the algorithmically programmed human body. The film include images from online tutorials of crowd simulation programs ,human tracking devices and newly shot scenes (performed by dancer Pelle Andersson). The featured examples given by these tutorials and showreels are perfectly coordinated swarms, mass body crushes, camp sites and religious gatherings such as the Hadj in Mecka. Crowd simulations which are mainly used for crowd management and Hollywood production use a multi-agent simulation framework which is a computational methodology that allows building an artificial environment populated with autonomous agents which are capable of interacting with each other. The human tracking devices, track, study and accumulate statistics on our collective behaviour, while the crowd simulation proposes it. The voice over in the film, interlaces the tutors voice of informative instructions from the software tutorials with the artist´s personal voice and commentaries.


Anna Ã…dahl is an artist and researcher working in various mediums such as film, installations and performance. She uses the tools of assemblage and montage where found footage meets newly shot images and where ready-mades are used as props in spatial narratives. Her ongoing Fine Art practice-based PhD at the Royal College of Art in London, UK, adresses the aesthetics and politics of crowd simulations analyses, using the physical body as tool and reference, the identity and human representation in crowds generated and supervised by new computational technologies. Her works has been exhibited and presented internationally and she is also a member of the editorial team of OEI magazine.


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Jack Wolf and Alexander Schindler challenge Google’s policy. By rescanning 3D images from Google Earth, they take back these virtual spaces. Eva l’Hoest scans people sleeping on a transatlantic flight, producing a slow tracking shot about a reality plagued by flaws in the recording process. Work by hand and by machine, a filming performance, the bodies here are only partially reconstructed by the software, creating a substance/image. Jon Rafman proposes a post-human dystopia, produced from images from medical examinations and computer-generated crowd simulations. The film evokes a terrifying future. Or maybe it’s a brutal representation of the present and the effect that technology exerts on our body and our psyche. Fern Silva examines monitoring devices: the panopticon, roadside rest areas, underground tunnels, television sets where developments in the physical cycles of control are expressed. Michiel Alberts resumes Kafka’s ‘The Trial’. Based on performance work, he calls physical and performative images, existential scenes. A poetic and gloomy picture that evokes the state of society and the human condition. Noémi Varga chronicles the life of her maternal grandmother in communist Hungary, a reminder of past times and a memento of the way in which ideology determined a whole generation. Anna Ådahl studies the impact of recognition, monitoring and crowd behaviour software, examining the impact of these tracking devices that analyse our collective behaviour, and the political effects of this new digital and monitored community that we belong to.


Saturday

June 23
9pm

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

"Cultural Artifices"

In the presence of Bjørn Melhus, Rawane Nassif and Kerstin Honeit.

Bjørn melhus: Moon Over Da Nang | Doc. expérimental | mov | couleur | 15:0 | Allemagne | 2016 see more
Mauricio saenz: The Origin of Stones | Vidéo expérimentale | hdv | couleur et n&b | 4:53 | Mexique | 2016 see more
Dan boord, Luis Valdovino: A Feeling for Leaving | Doc. expérimental | mov | couleur et n&b | 9:28 | USA | 2017 see more
Rawane nassif: Sokun Al Sulhufat (Turtles Are Always Home) | Doc. expérimental | hdv | couleur | 11:39 | Liban / QATAR-CANADA | 2016 see more
Kerstin honeit: My Castle Your Castle | Doc. expérimental | dcp | couleur | 14:47 | Allemagne | 2017 see more
masbedo: Fragile | Vidéo | mov | couleur | 7:46 | Italie | 2016 see more
Dunne bryony: Things Stay for a While | Documentaire | mov | couleur | 10:0 | Egypte | 2017 see more
Bjørn melhus
Moon Over Da Nang
Doc. expérimental | mov | couleur | 15:0 | Allemagne | 2016

Towards the end of the 1960ies the world witnessed the war in Vietnam through what can still be called one of the largest ever TV war spectacles. At the very same time American astronauts looked down on Earth from the moon for the first time in human history. Although initially intended as affirming American dominance in the cold war this first view on the blue planet as whole created an image that quickly became the icon of ecological thought and central to a whole movement of counter culture. MOON OVER DA NANG draws these two contrasting media events together in Melhus’ own quirky and experimental quest to come to grips with the country’s post-socialist present in the throughway between the past and the future. Interviews with residents and dreamlike associative sequences are mixed with the documentation of the production process of a life-sized marble sculpture in Da Nang, a city in central Vietnam, which, 40 years after the end of the war in Vietnam, is being discovered by international investors for the tourism business. Traces of the past and of the war are gradually covered up by the construction of hotels and luxury resorts. At the end of the film the marble sculpture receives its finishing touches and turns out to be an Apollo astronaut.


Bjørn Melhus was born in Kirchheim unter Teck in 1966 and studied Fine Arts with a major in Film/Video at the Braunschweig University of Art from 1990 to 1997. He was a fellow of the DAAD at the California Institute of the Arts in Los Angeles and of the federal state of Lower Saxony in ISCP, New York. He participated in exhibitions at the Whitney Museum in New York, the 8th International Biennial of Istanbul, the Venice Biennial in (1998/2011), the FACT in Liverpool, the Serpentine Gallery in London, the Sprengel Museum in Hanover, the Ludwig Museum in Cologne, the ZKM in Karlsruhe, the Denver Art Museum, as well as others. Bjørn Melhus has been a professor of Fine Arts/Virtual Realities at the School of Art and Design Kassel since 2003. Bjørn Melhus has been living and working in Berlin since 1987. In his short films and installations, Bjørn Melhus focuses on general global ideas and trends, the critical reception of mass media, as well as the direct effects they have on people. He uses footage from film and television excessively and deconstructs stereotypical themes, figures and patterns of perception through means of exaggeration. At the same time, he breaks up a seemingly fixed relationship between media and audience, thus opening up the view on the essentials of human interaction.

Mauricio saenz
The Origin of Stones
Vidéo expérimentale | hdv | couleur et n&b | 4:53 | Mexique | 2016

“The origin of stones” questions the ideals of the past and their validity in the present through the decay and fall of monuments built to preserve a historic memory. With a text based on a debate that puts in doubt the efficiency of a scale used to document the proportion and appearance of archaeological remains, this work looks to ruins as elements of live content linked to the present and emphasizes the powerful yet fragile nature of the narratives of history. Thus, it mirrors the impossibility to imagine the promises of a future on the ruins of the recent past, representing in this way a model of a fallen utopia.


Mauricio Sáenz (b. 1977, Matamoros, Mexico) is a visual artist and filmmaker with a practice between experimental and docufiction. He obtained a master`s degree in artistic production from the Polytechnic University of Valencia in Spain and has exhibited his audiovisual work in festivals such as Stuttgarter Filmwinter and European Media Art Festival in Germany where he was also nominated for the Dialogpreis of the German Ministry of Foreign Affairs. He was recently nominated for the LOOP Discover Award in Barcelona for outstanding international video artists.

Dan boord, Luis Valdovino
A Feeling for Leaving
Doc. expérimental | mov | couleur et n&b | 9:28 | USA | 2017

Think “…of anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving.” ― Gertrude Stein Stay all night, stay a little longer, Dance all night, dance a little longer, Pull off your coat, throw it in the corner, Don`t see why you can`t stay a little longer. ― Lyrics by Bob Wills and Tommy Duncan In this video we see a world from a rearview mirror, passing along 19th century settlement trails, monuments, gas stations, deserts, dinners, postwar suburbs and a movie motel drive-in. Our histories are visible, mobile and vanishing. Landscapes rush by – Arizona, Colorado, New Mexico, and Utah. Destinations include a dinosaur along a highway, a ranch converted into a UFO observation park, an abandoned movie drive-in, a western parade in Wyoming and lonely stretches of road. There is music and radio along the way, communities floating among the airwaves. Ferde Grofé’s musical sunrise over the Grand Canyon accompanies a tourist’s panoramic journey meandering westward to the Westlake District of Daly City, California. Meanwhile, an immigrant embarks on a train trip across Amerika toward employment, belonging, and The Nature Theater of Oklahoma.


Biography/Dan Boord: Dan Boord is a Professor in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

Rawane nassif
Sokun Al Sulhufat (Turtles Are Always Home)
Doc. expérimental | hdv | couleur | 11:39 | Liban | 2016

I left Lebanon in 2006. For the past 10 years I lived in 7 countries, 10 cities, and 21 homes. I slept in 21 beds, cooked in 21 kitchens, cleaned 21 bathrooms, wrote on 21 desks and locked 21 doors behind me. I packed all of my life into two suitcases and a backpack. The rest stayed behind. Somebody somewhere uses my bed, somebody somewhere has my shoes, somebody somewhere maybe remembers me in those fragmented traces of mine. I was there. But now I am here. In Qatar. In a fake Venice with colorful houses. Houses have memories too. They hide them under their windowsills, tuck them in layers of paint and sometimes whisper them to birds passing by. I wonder whose memories will these houses keep. I live here but I am unable to leave a trace. I try to attach myself to the walls, dirty them, mark them… but I fail. They are constantly cleaned, watched and protected. I caress them instead. And I film them, lest I forget. Home is where the heart is, they say. I disagree. My heart is everywhere. It left with the music. Like a turtle, I am always home.


Rawane Nassif is a Lebanese/Canadian filmmaker and anthropologist. She works in research and films often addressing subjects such as space, traditions, identities, displacement and memory. Rawane has directed social documentaries and wrote a book on the politics of memory in Lebanon, worked with immigrants and indigenous people in Canada, conducted visual research on nomadic traditions in Kyrgyzstan, taught anthropological courses in Tajikistan, wrote children’s books based on oral histories in Honduras and worked as a film researcher with the Doha Film Institute and the National Museum of Qatar. Her short film, “Turtles are Always Home” screened at numerous film festivals including the Berlinale, AFI Docs, Toronto, Camden, and RIDM. She is currently completing a mentorship with the “Masters in Experimental Cinema, Creative Documentaries, and Video Creation” Program at the Transforming Arts Institute in Madrid.

Kerstin honeit
My Castle Your Castle
Doc. expérimental | dcp | couleur | 14:47 | Allemagne | 2017

my castle your castle Set up as a somewhat retro TV talk show my castle your castle operates from within the skeleton of the Prussian castle that is currently being re-built in the center of Berlin. Erected on the foundations of the dismantled GDR parliament building called Palace of the Republic, the castle is not only an imperialist architectural remake, in its future function as exhibition space for the ‘Ethnographic Collections’ of Berlins National Museums it literally embodies Germany’s legacies of colonial violence. The video engages with the building site as a stage for the material and social construction – as well as the queer contestation – of ‘nation’ and (white) ‘masculinity’: Interviewed by a talk show host over a piece of cake from porcelain dishes with reproductions of the castle and its disappeared counterpart, two construction workers evoke an opaque third in a language of structural matter. Peter Friedrich had supervised the construction (1973-76) of the Palast der Republik, and Gunter Teichert worked as the head of its deconstruction (2006-08). In the matter of fact conversation between the ‘makers of the palace’, their body of work – in other words architecture, political representation, memory – disintegrates in the builders’ jargon. However, the material and machinic vocabulary of construction site itself resonates the massive urban reconstructions, redistributions of properties and redefinitions of political meaning through architecture that have followed the disappearance of state socialisms in Europe. This vocabulary is emphasized and queered in short interludes to the talk show in which the talk show host, who is performed by the artist Kerstin Honeit herself incorporating elements of drag, appears sitting on a huge excavating machine or between metal poles that stabilize casts for concrete. (Text by Suza Husse)


Bio Kerstin Honeit was born in Berlin, where she still lives and works. She studied Fine Art and Theatre Design at the Kunsthochschule Weißensee in Berlin. Since 2014 Honeit has been teaching at the Kunsthochschule Kassel (künstlerische Mitarbeiterin, class of Bjørn Melhus). Using video works, performance and installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Her recent work has been shown at Berlinische Galerie - Museum of Modern Art, Haohaus Taipei, Stuttgarter Filmwinter - Festival for Expanded Media, Bärenzwinger Berlin, SixtyEight Art Institute Copenhagen, Kunstverein Leipzig, International Short Film Festival Oberhausen, Arsenal - Institut für Film u. Videokunst Berlin, Monitoring – Dokumentarfilm- u. Videofest Kassel, Neuer Berliner Kunstverein, Videonale.15 Kunstmuseum Bonn, Les Complices* Zurich, Gallery 400 Chicago, CCNY New York, Site Gallery Sheffield. www.kerstinhoneit.com

masbedo
Fragile
Vidéo | mov | couleur | 7:46 | Italie | 2016

The video, Fragile (2016) produced by the Museo Reale Galleria Sabauda in Turin, staged a young man`s visit to the gallery halls in the presence of a peacock. Walking among the masterpieces of antiquity, symbolic objects of archetypal beauty, the presence of the peacock underlines the essential precariousness of the living animal and its impairment that renders it inapt to represent its nature. The image is highly suggestive because it’s made even more dramatic due to the emptiness of the halls, facing the perpetual immobility of the painted characters. The main theme of these works is the concept of "cure": the old animal, object of the care of its master, is a metaphor of the combination of a faded vanity and the eternal journey into beauty, a trip defined by Rainer Maria Rilke as "the tremendous at its beginning." The fragility of art, to which the title of the work refers to, engages the observer`s gaze and warns of the necessity to provide protection of art and cultural heritage. A metaphor that reminds us of the need to preserve and care for our artistic and cultural heritage as a form of resistance to time and carelessness of man. In 2018, when Europe dedicates itself to Cultural Heritage, encouraging public institutions to celebrate their relevance and value for the cultural development of society, the artistic discourse by Masbedo is consistently aligned with this theme, showing how contemporary artists relate themselves with the art of the past and how history of art can be a source of inspiration for new generations.


MASBEDO (Nicolò Massazza, 1973, Milan - Iacopo Bedogni, 1970, Sarzana) started their journey in 1999, focusing on the potential of video art and video installation. Developed around the theme of incommunicability in contemporary society, their research has produced both, intimate works and more socio-political and anthropological-cultural productions. Their aesthetic approach presents pictorial aspects and the realization of their videos pursues the goal of involving the viewer in the space created by the moving images through immersive installations. Their work, in fact, is a synthesis of theatre, performance, space, architecture and video / cinema. They have been included in solo shows in important museums and foundations both in Italy and abroad, as well as in various film festivals, and their works are included in relevant private and public collections: MART, Rovereto, Italy; Fondazione Merz in Turin, Italy; GAM - Galleria d’Arte Moderna in Turin, Italy; MACRO - Museo di Arte Contemporanea in Rome, Italy; DA2 - Centro de Arte Contemporáneo, Salamanca, Spain; CAAM Centro Atlántico de Arte Moderna, Las Palmas, Spain; CAIRN Centre d’Art, Digne-les-bains, France; Tel Aviv Museum of Art, Israel.

Dunne bryony
Things Stay for a While
Documentaire | mov | couleur | 10:0 | Egypte | 2017

Ahmad Ali Badawi is a writer, translator, researcher and self-described “eternal student” who lives in Cairo. `Things Stay For A While` (2017) shadows Ahmad, inside his downtown apartment as he researches the evolution of bird wings. In pursuit of more particulars, he treks the streets, passing politically charged murals from the aftermath of the revolution to the city’s Agricultural Museum, which houses an array of taxidermied birds and other winged specimens. As he drifts from one display to the next, a visual analogy for the “eternal student” — meaning, one who has an insatiable desire for knowledge and intrigue — comes to pass: one specimen unexpectedly takes flight.


Bryony Dunne (1984) is an Irish Visual Artist based in Athens. Before relocating to Greece she lived and worked in Cairo for five years. Building on her background in documentary photography and visual anthropology, she explores the intersections between humanity and the natural world often merging documentary and fiction. Her work has been exhibited at places such as the Sharjah Art Biennial 13, The Irish Film Institute, Now and After Video Art Festival in Russia, London’s Mosaic Rooms, Goldsmiths University, Cairo’s Townhouse Gallery, The Gypsum Gallery and Athens Photography Festival in the Benaki Museum. Her films have gone on to receive several awards and are distributed by Videographe in Montreal and the Royal Anthropological Film Institute in London. Her latest creative documentary `Above the Law` (2018) was selected as Ireland’s official nomination for Euroconnection held at Clermont-Ferrand Film Festival and her photography work has been put forward for nomination for the prestigious FOAM Paul Huf Award 2018.


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Bjørn Melhus examines today’s post-socialist Vietnam by connecting two past media events: images from the Vietnam War in the 60s, the first war broadcast as a TV show, and, at the same time, the earth seen from the moon, an iconic image of global ecological awareness. Mauricio Saenz questions the value attributed to remnants of the past, and what remains of this ideal in the present. Past utopias seem unable to resist existing forces. Dan Boord and Luis Valdovino interpret Gertrude Stein’s idea according to which it is typically American to design a space overloaded with movement. Dan Boord and Luis Valdovino therefore present a world, from the footsteps of 19th century pioneers to remote drive-ins in landscapes in Utah or Arizona. Through reflections Rawane Nassif examines the Venice neighbourhood in Qatar. Kerstin Honeit proposes a retro talk show in a studio made of concrete and metal rods, the framework of a Prussian castle under construction on the site of the former East German Parliament. Masbedo addresses heritage and cultural transmission, and the fragile relationship with culture. In Cairo Dunne Bryony follows Ahmad Ali Badawi, a writer, translator and researcher, who describes himself as an eternal student. His surroundings, the spaces through which he passes, are indications of what remains, within the impermanence of lives and things.


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