Paris 2019 Programme
10am   2pm   4pm   6pm   8pm

March 6

Bus tous
Visit of art centres in Ile-de-France
Malakoff contemporary art centre,
and Villa Vassilieff
Departure in front of Cité internationale des arts, 18 rue de l’Hôtel de Ville - 75004 Paris / Subway: Pont Marie, line n°7 / Saint-Paul, line n°1
Free accress to any audience / Pass and accreditation: priority access

Breakfast + Exhibition visit

On 6th, 7th and 8th March Rencontres Internationales invite you to visit several art centres in the Île-de-France region, in collaboration with TRAM contemporary art network Paris/Île-de-France. After a lovely coffee and croissant a free shuttle bus will take you to an art centre to see an exhibition.

Wednesday March 6
Visit of the exhibition: "Where is my friend’s house? Views on the Syrian contemporary scene" at Maison des arts, Malakoff contemporary art centre, followed by the visit of the exhibition: "Teo Hernándes: Shatter Appearances", at Villa Vassilieff.

Meet at 10am in the reception area of the Cité internationale des arts (18 rue de l’Hôtel de Ville, 75004 Paris) for a coffee and croissant beforehand. Free shuttle bus leaves at 10.30am. Returning at 2pm to Carreau du Temple, making it possible to attend the first screenings of the day.

| | | : | |

| | | : | |

| | | : | |

| | | : | |

| | | : | |

| | | : | |

| | | : | |

| | | : | |


March 6

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Subway: Temple, line 3 - République, lines 3, 5, 8, 9 and 11
Free entry to any audience / Pass and accreditation: priority access


Riccardo giacconi: Il corpo nero | Doc. expérimental | hdv | couleur | 5:37 | 0 | 2018 see more
Timo wright: Ex Nihilo | Doc. expérimental | 4k | noir et blanc | 8:20 | Finlande | 2018 see more
Benjamin tiven: The Mirrored Message | Doc. expérimental | hdv | couleur | 12:30 | Suède / USA | 2018 see more
Brit bunkley: Ghost Zone | Vidéo | hdv | couleur | 6:25 | 0 | 2018 see more
Andrew kotting: Their Randic Words Stagnate our Ponds | Vidéo | hdv | couleur | 8:40 | Royaume-Uni | 2018 see more
Yorgos zois: Third Kind | Fiction | 4k | couleur | 30:0 | Croatie | 2018 see more
Birgit johnsen, Hanne Nielsen: Outside is Present | Vidéo | 4k | couleur | 14:57 | 0 | 2017 see more
Riccardo giacconi
Il corpo nero
Doc. expérimental | hdv | couleur | 5:37 | 0 | 2018

In physics, a "black body" is an idealized physical body that absorbs all incident electromagnetic radiation, regardless of frequency or angle of incidence. An approximate depiction of a black body is a hole in the wall of a large cavity. Any light entering the hole is reflected indefinitely or absorbed inside and is unlikely to re-emerge, making the hole a nearly perfect absorber. The film has been edited as a palindrome, and it is composed of fragments from a conversation with particle physicist Alessio Del Dotto. The scientist outlines the concept of "black body" by narrating anecdotes about it: ultraviolet catastrophes, the first moments of the universe, Borges' Aleph and the double meaning of the Italian word "spettro".

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin) and at the 6. Moscow International Biennale for Young Art. He was artist-in-residence at the Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). He presented his films at several festivals, including the New York Film Festival, Venice International Film Festival, International Film Festival Rotterdam, Visions du Réel and FID Marseille, where he won the Grand Prix of the international competition in 2015.

Timo wright
Ex Nihilo
Doc. expérimental | 4k | noir et blanc | 8:20 | Finlande | 2018

Ex Nihilo is an experimental short documentary about life, death and our attempts to control them. It tells the stories of an advanced humanoid robot, a cryonics facility, where the brains of deceased people are held and of a ninternational seed vault, where crop seed from around the world are held frozen. The first film is about one of the most advanced humanoid robots, HUBO. It can walk on uneven terrain, drive a vehicle and operate different tools. The second film is about Oregon Cryonics, a cryonics organisation in Salem, Oregon, USA. At their facility human brains of deceased people are kept at very low temperatures. The third film is about the Svalbard Global Seed Vault, which s situated on the island of Spitsbergen midway between Norway and the North Pole. The vault holds seeds of more than 4000 different plant species at '18 °C. The crates of seeds from all around the world are kept side-by-side deep inside the frozen vault.

Timo Wright is a media artist based in Helsinki, Finland. Wright has graduated with MA degree from the Aalto University School of Art and Design in Helsinki in 2014. He has participated in domestic and international exhibitions since the mid 2000s including Kunsthall Charlottenborg (2017&2018), Samuelis Baumgarte Galerie (2017), Galerie Anhava (2016), Helsinki Art Museum (2013), Helsinki Design Museum (2012), Amos Anderson Art Museum (2012), Kunsthalle Helsinki (2012, 2010, 2009) and Helsinki Art Museum's Kluuvi Gallery (2012), as well as festivals such as IDFA, Slamdance, Nordisk Panorama, International Film Festival Rotterdam and Japan Media Arts Festival. His films have been shown at over 70 festivals and exhibitions worldwide.

Benjamin tiven
The Mirrored Message
Doc. expérimental | hdv | couleur | 12:30 | Suède | 2018

The Mirrored Message documents two scientists as they prototype a new device that transfers data between wireless computer networks and living plants. Observing their work from within a sealed electronics facility near Stockholm, we follow procedural steps in the device's programming and fabrication. The initially alien laboratory space slowly reveals itself as a kind of photographic darkroom, and we watch the light-sensitive production of the device's specialized circuitry. From the artificial air of this controlled lab we move to a coastal forest near the Baltic Sea, where the transmitter is installed for testing. Weather impedes the work. As the humans slowly fade from the scene, a living specimen comes online, finally addressable by a local network.

Benjamin Tiven is a filmmaker and the co-director of Library Stack. His films have screened at FID Marseille, Viennale, Rotterdam, Oberhausen, Courtisane, MUMOK, the Institute of Contemporary Art, Philadelphia, Delfina Foundation, London, Fotografisk, Copenhagen, the Museum of the Moving Image, NYC, and Arsenale Kino, Berlin.

Brit bunkley
Ghost Zone
Vidéo | hdv | couleur | 6:25 | 0 | 2018

Ghost Zone is an homage to Tarkovsky`s “Stalker” (1979) takes us on a journey to the original expedition into the ineffable aqueous “Zone” - where wishes may be granted to one’s detriment. Bunkley stitches together his own footage in such a way that the landscape and buildings resemble a magic realist post-apocalyptic wasteland. Photographic composites of two rural locations has been made a lot easier with the use of drone captured imagery in that they will accommodate points of view not accessible form the ground. From this data he uses photogrammetry 3D scanning to create his eerie works as “œislands of memory┝ - akin to the islands that feature in the science fiction film Solaris (1972) by Andrei Tarkovsky. (Photogrammetry uses multiple photographs placed within software that creates 3d printable meshes.) By extracting these images, the buildings are divorced from their surrounds while the videos resemble chunks of architecture and landscape made from an indefinable material floating in black cyberspace.Ultimately they refer to eschatology - the “end of time”.

Brit Bunkley is a New Zealand based artist whose art practice includes the proposal and construction of large scale outdoor sculptures, discrete objects, installations as well as the creation of ”impossible” moving and still images and architecture designed using computer 3D modelling, video editing and image editing programs. His work explores an oblique sense of paranoid apocalyptic fear tempered with a sense of whimsy and irony. International screenings include the White Box gallery in NYC and Rencontres Internationales Paris/Berlin (2016, 2018, 2019), and at the Cité Internationale des Arts in 2018. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017 and 2018. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival, and he was again included in «Now&After» at Moscow’s Artplay Design Center February 2018. Recent solo exhibitions include Ghost Shelter 17 at Te Uru, Titirangi, Auckland, The Happy Place- Sanderson Contemporary Art, Auckland and the Sarjeant Gallery, Whanganui, New Zealand in 2018.

Andrew kotting
Their Randic Words Stagnate our Ponds
Vidéo | hdv | couleur | 8:40 | Royaume-Uni | 2018

In a hinterland within the “elsewhere” a lone character meanders in search of meaning and understanding. Hither and dither doth he wander reflecting upon all things that came before and all things hereafter. The work is a companion piece to “ttingâ” latest feature film LEK AND THE DOGS and was shot in the Atacama desert in Chile. Produced to run on a loop in a gallery “space” or as a single screen the film exemplifies “ttings ability to take an idea and run with it until it spills over into the expanded cinematic “elsewhere”. With the beguiling presence of French performance artist Xavier Tchili and sublime cinematography by Nick Gordon-Smith the work is designed to be experienced within the pitch black and the sound up high.

Andrew ‘tting was born between the mountains and the sea in Elmstead Woods in 1959. After some early forays into market trading and scrap-metal dealing he travelled to Scandinavia to become a Lumberjack. He returned home in the 80’s to study for a BA Honours Degree in Fine Art at Ravensbourne College of Art and Design and then graduated with a Masters Degree from The Slade, London. He currently lives and works between Hastings in England and Fougax-et-Barrineuf in the French Pyrenees. He teaches part-time at the University for the Creative Arts where he is Professor of Time Based Media. He has made numerous experimental short films, which were awarded prizes at international film festivals. Gallivant (1996), was his first feature film, a road/home movie about his four-month journey around the coast of Britain, with his grandmother Gladys and his daughter Eden, which won the Channel 4 Prize at the Edinburgh Film Festival for Best Director and the Golden Ribbon Award in Rimini (Italy). The film went on in 2011 to be voted number 49 as Best British Film of all time by the UK publication Time Out. In 2001 he directed the first of his Earthworks Trilogy; This Filthy Earth, in 2009 Ivul, and in 2018 Lek And The Dogs. All three films were released theatrically throughout the UK and France. As well as exhibitions of his work in the UK he has also presented retrospectives of his work in Belgium, France, Germany, Holland, Ireland and Switzerland. His twenty-eight year oeuvre to date has moved from early live-art inflected, often absurdist pieces, through darkly comic shorts teasing out the melancholy surrealism at the heart of contemporary Englishness to eight resolutely independent feature films that take biography, landscape and journeys as springboards into the making of visually striking and structurally inventive enquiries into identity, belonging, history and notions of the folkloric.

Yorgos zois
Third Kind
Fiction | 4k | couleur | 30:0 | Croatie | 2018

Earth has been abandoned for a long time and humanity has found refuge in outer space. Three archaeologists return to Earth to investigate the origin of a mysterious five tone signal…

Yorgos Zois was born in Athens. He studied applied Math and Nuclear Physics in N.T.U.A. and film direction at Stavrakou Film School, Athens and at U.d.K, Berlin. His debut short film, Casus Belli, premiered at the 67th Venice Film Festival in 2010 and participated in the official competition of numerous international film festivals (Rotterdam, Clermont Ferrand, Tokyo Short Shorts, Palm Springs, LA Short Fest etc) winning multiple awards and distinctions. His second short film, Out of Frame, premiered at the 69th Venice Film Festival in 2012 and won the EFA award for the Best European short film and was nominated for Best Short film of the European Film Academy Awards 2012. His first feature, Interruption, premiered at the Orizzonti Competition of the 72nd Venice Film Festival

Birgit johnsen, Hanne Nielsen
Outside is Present
Vidéo | 4k | couleur | 14:57 | 0 | 2017

Outside is present is based on the often stereotype and one-sided media images from the world`s many focal points and from provincial places far out in the countryside. In Outside is present blend these two confrontational media representations, so a small village in Denmark is hereby transformed into one of the world`s focal points. The small well-known facets of the village thus change character in fictionalization and can either occur as everyday realisme, idyllic or scary, depending on the eye that looks: whether it is the individual in relation to the village, the village in relation to the capital, the capital in relation to the country or the country in relation to the world. A similar superfictional view of the world led Miguel de Cervantes` famous madman Don Quixote.

Birgit Johnsen & Hanne Nielsen are educated from the Art Academy of Jutland from 1991 and 1990 They have worked and exhibited together with video, documentary and installations since 1993 . Latest exhibition can REVISIT at Overgaden 2018, Protect/Release at Røda Sten Kunsthall 2017 and Inclusion / Exclusion ARoS 2014. In 2016 /17 they were received Carl Nielsen and Anne Marie Carl-Nielsens honorary award and with Eckersberg Medal, The Royal Academy of Fine Arts.

| | | : | |

Riccardo Giacconi engages in dialogue with an astrophysicist talking about black celestial bodies that are capable of absorbing any electromagnetic radiation. He describes catastrophes linked to ultraviolet radiation, the very first moments in time, The Aleph by Borges. Timo Wright’s documentary is about our attempts to control life and death. He films bizarre humanoid robots, a cryonics centre where human brains are preserved and the Svalbard Global Seed Vault, a vault containing over 4000 seeds from all over the world. Benjamin Tiven follows two scientists testing a device for data transfer between a computer network and plants, from their laboratory up to the Baltic coast. Brit Bunckley pays tribute to Tarkovsky, returning to the filming locations of Stalker where landscapes and buildings resemble a wasteland at the end of time. Andrew Kotting follows a character wandering in a deserted hinterland, void of any presence. Yorgos Zois films planet earth after man has abandoned it. Archaeologists return there to find the source of a mysterious signal. Birgit Johnsen and Hanne Nielsen pass through a Danish village examining central stereotypes and those on the periphery, universality and particularity.


March 6

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Subway: Temple, line 3 - République, lines 3, 5, 8, 9 and 11
Free entry to any audience / Pass and accreditation: priority access

"Language Machine"

Bjørn Erik haugen: The Pen is Mightier Than the Word | Vidéo | hdv | couleur | 5:6 | Norvège | 2017 see more
Guillaume aubry: The Gull Chewing Gum | Vidéo expérimentale | hdv | couleur | 10:0 | 0 | 2017 see more
Charlie tweed: Oporavak | Vidéo expérimentale | hdv | couleur | 4:40 | 0 | 2016 see more
Tobias Yves zintel: Breed and Educate | Doc. expérimental | hdv | couleur | 10:46 | Allemagne | 2018 see more
Paula muhr: Test-imony | Vidéo expérimentale | hdv | couleur | 5:5 | Allemagne | 2018 see more
Anna Ådahl: Di-Simulated Crowds | Fiction expérimentale | hdv | couleur et n&b | 13:0 | Suède | 2018 see more
Ross meckfessel: The Air of the Earth in Your Lungs | Film expérimental | 16mm | couleur | 11:0 | USA / Japan | 2018 see more
Giorgio orbi: INTHEMOUNTAINS | Documentaire | 4k | couleur | 26:26 | Italie | 2018 see more
Bjørn Erik haugen
The Pen is Mightier Than the Word
Vidéo | hdv | couleur | 5:6 | Norvège | 2017

In my video I problematize how how scientific research is published now and the changes and demands it is stands forward on regard to the Open Access-declaration and Sci-hub. I have concentrated my work on the idea of authorship, and in the near future when cognitive or artificial intelligence will curate, compile and find correlations over many research disciplines. This will be possible when research will gain open access. I think that we will see knowledge organized in new ways and in cross-disciplines. AI I have made a paraphrase on the old saying which is "The Pen is mightier than the Sword", that is central to my works proposed for this exhibition. The pen is here a metaphor for the Computer with AI / cognitive computing that can read and compile research material. It is not the person/author that is central, it is the knowledge that other can read/build upon that is important. The video is a mixture between documentary and a power-point presentation. In my works I often make archives, and work with several medias to make installations. Knowledge production, science-sociology and bio-politics are central in my artistic work. And I want with my works to make the viewer reflect on what they see/experience. I look upon art as knowledge-production. The ideological foundation for Open access to research I will focus on is the UN declaration of human rights article 27: "Every has the right freely to participate in the cultural life of the community, to enjoy the arts and to share in scientific advancement and its benefits." We know see that access to research is expensive and more difficult to access, and the privileged Universities has access while African/Asian and South-American Universities and their researchers and student must resort to criminal activities, copying articles from more privileged colleagues or from Sci-hub. This structure correlate to the same structure of wealth in the world. The video was screened at the Research Pavilion during the Venice Biennial in May 2017.

My name is Bjørn Erik Haugen, and I have an MA from the National Academy in Oslo 2007. Currently I am working on a phd at the Academy of Music in Oslo. I work mainly with sculpture, sound- and video installation. I work from a conceptual platform where the idea to the work comes before the material, media or way of expression. My works has been shown on the annual national autumn exhibition in Norway, and have been screened in Wienna, Barcelona, Sweden, Germany, England and in USA. I exhibited at Transmediale, 2012 I received«Honorary Mention» at Prix Ars Electronica 2012 in the section Digital Musics & Sound Art. One of my videos was screened at Rencontres Internacionales 2012 and at WRO International Media Art Biennale 2013. In 2014 I exhibited at Bucharest Biennial, ISCM 2014 and at Bristol Biennial. Last year I exhibited at Land-Shape, Arhus, Spring- exhibition, Fotogalleriet, Oslo, ISEA 2015, Vancouver and at 28. Festival Les Instants Vidéo, Marseille. In 2017 I had a solo- exhibition at Haugar Art Museum and presented a video-work at the Second Research Pavilion for the 2017 Venice Biennale. Last year I performed at Only Connect Festival, Klang Festival, Copenhagen and Blurred Edges, Hamburg, and participated on a group exhibition at Haugar Art Museum. This year I have a concert at Ultima 2019, and a solo exhibition at Khåk.

Guillaume aubry
The Gull Chewing Gum
Vidéo expérimentale | hdv | couleur | 10:0 | 0 | 2017

"The gull chewing gum" est un film qui propose la réactivation d`un principe cinématographique mis en place par l`artiste et réalisateur d`avant-garde anglais John Smith (né en 1952 à Walthamstow) et en particulier de son film "The girl chewing gum" (1976). Dans ce film qui montre l`activité d`un carrefour de Londres (traffic routier, passants...), l`artiste annonce en voix off l`ensemble des évènements quelques secondes avant qu`ils ne se passent, transformant ce carrefour banal en un grand set de cinéma hollywoodien. "The gull chewing gum" reprend un principe similaire, appliqué Ã une plage de granit rose située en Normandie, les mouettes, les cormorans, les poissons, les vagues... deviennent les acteurs principaux du paysage.

Guillaume AUBRY est architecte DPLG et artiste plasticien (post-diplôme de recherche La Seine des Beaux-Arts de Paris). Il est aujourd'hui artiste-chercheur du programme doctoral Radian. Sa thèse porte sur la pyromanie latente que cache notre plaisir collectif et "coupable" pour les couchers de soleil. Il est parallèlement PEA Professeur d'Enseignement Artistique, responsable du pôle Objet, espace, matériaux à l'Ecole des Beaux-Arts de Saint-Brieuc.

Charlie tweed
Vidéo expérimentale | hdv | couleur | 4:40 | 0 | 2016

Oporovak proposes a methodology for what it calls ‘information recovery and the solving of â integrity problems. Taking its inspiration from data recovery solutions and the language of achieving complete visibility via forms of HD technology and big data the film is part alternative software training video and part the voice of a subversive hybrid machine. It takes the intent of information restoration into a new context with its apparent ability to manipulate all sorts of digital and non-digital materials via its sentient interface and performative actions which apparently can operate at molecular level. The film utilises the voice of an unreliable narrator who acts to draw the viewer in and raise their awareness of inbuilt human desires for clarity and visibility and the desire to develop new forms of technology that can manipulate all sorts of digital and physical materials. The final section of the film looks towards a `sensing mechanism` that has the functionality to manipulate and alter any type of visual material at its source and the capability of connecting with and manipulating the subconscious of its viewers.

Charlie Tweed is an artist and academic based in Bristol, UK. He has a PhD in art practice (Kingston University) and an MFA in art practice (Goldsmiths College). His video, text and performance based works interrogate the affective qualities of digital technologies and their use in the control and management of populations and environments. He employ strategies of re-appropriation and speculative fiction, often taking on personas of anonymous collectives and hybrid machines, to outline subversive plans for enhancing and escaping control mechanisms and renegotiating relations between human and non human.

Tobias Yves zintel
Breed and Educate
Doc. expérimental | hdv | couleur | 10:46 | Allemagne | 2018

Tobias Yves Zintel greift in seinen filmischen und performativen Arbeiten auf Methoden und Mittel des Experimentalfilms, der Theaterinszenierung, der Musikproduktion und -aufführung sowie der Installationskunst zurück. Die so entstehenden Montagen beschreiben bewusst eine Grenzüberschreitung zwischen Fakt und Fiktion, zwischen Dokument und Fragment. Das zugrunde liegende Material rekurriert dabei stets auf Aspekte der Kunst- und Filmgeschichte, Philosophie und Naturwissenschaft wie auch der Alltags- und Popkultur. Bei den Arbeiten stehen Fragen der Subjektkonstitution im Zentrum – präziser: Die Handlungsweisen und Rituale sowie die Wissens- und Glaubenssysteme, welche den Prozess der Subjektwerdung begleiten.

Paula muhr
Vidéo expérimentale | hdv | couleur | 5:5 | Allemagne | 2018

The starting point of the work is a sound recording of an interview with a woman suffering from recurring spells of dissociative memory loss that arose in response to a repressed trauma. It appears that her body developed a coping strategy in response to the trauma that consisted of blocking her short-term memory of events that reminded her of the initial event. In the video, the fragments from the original soundtrack are juxtaposed with aural noise and with visual material that references current psychological research into post-traumatic stress disorder as well as theories of defense mechanisms related to basic emotions. The monochromatic colours that shift throughout the video are punctuated by short-duration images of slightly blurred and apparently mutually unrelated objects and gestures. These images symbolically reinterpret the visual material used in current research to uncover the nature of intrusive memories and the various objects that can trigger them. It appears that the potential threat lurks in anything that perceptually resembles an object unconsciously associated with the initial trauma. In a highly intuitive way, the video charts how the interviewee gradually comes to term with her trauma-induced memory loss.

Paula Muhr (1977, Serbia) is a visual artist and researcher based in Berlin, Germany. She studied photography and comparative literature in Belgrade (Serbia) and received her master’s degree from the Academy of Visual Arts in Leipzig. She is currently a Ph.D. Candidate at the Institute of Art History and Visual Studies of the Humboldt University in Berlin. Through her research-based artistic practice, Muhr examines socio-cultural strategies of constructing sexuality, gender, desire, and normality. Her work has been shown internationally in numerous solo and group exhibitions, including the Museum of Modern and Contemporary Art in Rijeka (Croatia), Fotogalerie Wien (Vienna, Austria), Kunsthalle der Sparkasse Leipzig (Germany), Fotogalleriet Format (Malmö, Sweden), Museo Municipal de Bellas Artes (Tenerife, Spain), Centre national de l’audiovisuel (Luxembourg), MAMAC (Liege, Belgium), Einstein Forum (Potsdam, Germany) and the Shenzhen Fine Art Institute (China). She received the Sittcomm Award for Central European Photography (Slovakia), the FEX Award for Experimental Photography (Dortmund, Germany) and was shortlisted for the Haus am Kleistpark Art Award (Berlin, Germany). She received grants by Pro Helvetia, ifa (Institute for Foreign Relations, Germany), as well as residencies at the Centre national de l’audiovisuel (Luxembourg), Shenzhen Fine Art Institute (China) and the City of Salzburg (Austria).

Anna Ådahl
Di-Simulated Crowds
Fiction expérimentale | hdv | couleur et n&b | 13:0 | Suède | 2018

"to conceal what one is, rather than to pretend to be what one is not" Film in triptych format with common soundtrack. Three channelled video. 13 mins. The film focuses on the vocabulary, tools and human representation in the various types of software that is used for modelling and tracking crowd behaviour. Featured in the film are examples from online crowd simulation tutorials: coordinated swarms, mass body crushes, campsites and religious gatherings such as the Hajj in Mecca. These examples are juxtaposed with newly shot scenes of gestures and postures drawn from the simulated crowd agent, the default character, pre-programed behaviour re-enacted by dancers and images from human tracking devices and. images from human tracking devices and The voice-over interlaces the information and the instructions from the software tutorials generated by a speechedit software/robot voice, with the artist's own voice and thoughts. The film addresses the aesthetics and politics of these softwares and tracking system where these digital tools used for monitoring today´s crowd flows and behaviour are becoming increasingly political while facing ethical dilemmas. Sheding new light on the digitisation and simulations of crowds, their interconnected technologies and their inherent potentiality to predict and model our future collective behaviour. This film is part of my ongoing research, practice-based PhD at the Royal College of Art in London, Prediciting Crowds. The aesthetics and politics of digitized and simulated crowds.

Anna Adahl is a visual artist and researcher working in various mediums such as film, installations, performance and collage. 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. In 2015 she started her practice-led PhD adressing the aesthetics and politics of digitized and simulated crowds. Over the past decade the notion and politics of crowds has been central in Anna Adahl's artistic practice. In numerous works she has been observing and examining the relationship between the individual and the mass as well as the language of the body in relation to the psychological, physical or political space that surrounds it. Within her current practice based research her focus has turned towards the conditions, the aesthetics and the politics of contemporary crowds, operating in a new computational realm. Her work has been presented and exhibited internationally including: Marabouparken Art Gallery, Stockholm (2018); Moderna Muséet, Stockolm (2018); Festival des Cinémas Differents et Experimentaux de Paris (2018); Nanjing International Art Festival, China (2017), Whitechapel Gallery, London, UK (2016); Lofoten International Arts Festival, Norway (2015); CCA Derry-Londonderry, Northern-Ireland, UK (2015); FRAC Champagne-Ardenne, Reims, France (2013).

Ross meckfessel
The Air of the Earth in Your Lungs
Film expérimental | 16mm | couleur | 11:0 | USA | 2018

Drones and GoPros survey the land while users roam digital forests, oceans, and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.

Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including Projections at the New York Film Festival, Wavelengths at Toronto International Film Festival, San Francisco Cinematheque's CROSSROADS Film Festival, Internationales Kurzfilm Festival Hamburg, Antimatter [Media Art], Iowa City International Documentary Film Festival, and The Artifact Small Format Film Festival where he was awarded best 16mm film.

Giorgio orbi
Documentaire | 4k | couleur | 26:26 | Italie | 2018

“Mountains look so beautiful that once you start looking at them you can’t stop. A glance lasts only a moment but it takes part of a whole metamorphosis” INTHEMOUNTAINS ponders over the role of the artist and the evolutionary dialogue with the mountain and its landscape; an essential role that welcomes the transformations of the contemporary mountain through the collective memory of underground dance music. Monte Pelmo is the starting point of the artist's journey of research. It was climbed by the first President of the London Alpine Club John Ball and witnessed the birth of alpinism in the Dolomites. The structure of the documentary has been progressively built through the vocal contributions of an on-air radio program over one year of broadcast on Radio Cortina, where Orbi invited guests in conversations about the landscape. Among many and different radio contributors, an artist Luigi Ontani, an astrologer Marco Pesatori, an editor Valerio Mannucci, an alpinist Pietro dal Prà and an architect Antonio de Rossi were selected by Orbi to feature as main characters in the documentary. The title of the project comes from “What the Thunder Said” the fifth section of The Waste Land by T. S. Eliot.

Giorgio Orbi (1977) is an Italian artist born in Rome. Before beginning to regularly exhibit his work in art spaces, he took part in the Italian underground music and art creative scene of the nineties. He is a writer, musician, filmmaker, photographer, visual artist and alpinist. In his work, Orbi has often related, through different media, with the concept of the mountain as both a natural and cultural “presence”.

Bjørn Erik Haugen reflects on the creation of new knowledge generated by combining the dissemination of scientific research with artificial intelligence devices that will compile and network this data. Guillaume Aubry proposes the revival of a cinematic device adopted by John Smith in his 1976 film ‘The Girl Chewing Gum’. A beach becomes a huge Hollywood film set. Charlie Tweed outlines a methodology for data recovery via a subversive hybrid machine that alters and manipulates it, used as educational software. The flip side to human desire for clarity and visibility is manipulation of the subconscious. Tobias Yves Zintel follows young teenagers in a collaborative performance. He examines the concepts of control and achieving independence in the education system. Questions surrounding learning in a mechanical, established and reproducible manner resuming systems used by the Prussian military academy in the 18th century. Paula Muhr focuses on the phenomena of post-traumatic stress. The soundtrack is the recording of the voice of a woman struggling with her memory; images appear, memories, potential reminders of the trauma. Anna Ådahl reflects upon the aesthetics and political implications of crowd modelling and simulation software, conceptualising our collective behaviour in the future. Ross Meckfessel offers a new 21st century version of the landscape film. In Dolomites, Giorgio Orbi sees the mountain as a natural and cultural presence, aspects of personal experiences as well as collective memory.


March 6

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Subway: Temple, line 3 - République, lines 3, 5, 8, 9 and 11
Free entry to any audience / Pass and accreditation: priority access

"Peripheral exhibition"

Mauricio freyre: Movimiento continuo | Doc. expérimental | hdv | couleur | 14:36 | Espagne | 2018 see more
Tommaso donati: Monte Amiata | Fiction expérimentale | hdv | couleur | 22:29 | Suisse | 2018 see more
ouazzani carrier: Exposition périphérique | Vidéo | hdv | couleur | 52:0 | 0 | 2018 see more
Mauricio freyre
Movimiento continuo
Doc. expérimental | hdv | couleur | 14:36 | Espagne | 2018

The history of an experimental housing project in Lima, conceived as an international competition, is the starting point of an exploration on the nature of transformation and hybridization in the context of the project of modernity in Perú. The unfinished housing complex designed in the late sixties gathered the architectural avant-garde of that time, incorporating notions of self-construction, metabolism and progressive growth to its architecture. Juxtaposing the briefing of the project, together with archival material of three sources, the film explores different sequences of formal procedures. Transfers, cuts and superpositions, in a sequence of permanent transformation, operate as transcriptions that explore various relations and configurations of the material, to displace a fixed point of view.

Mauricio Freyre (1976, Lima) is an artist and filmmaker, his projects revolve around structures and systems of ideas between the constructed and the projected, focusing on blind spots, dark areas, accidents and distortions, in the search of invisible narratives, metaphors, dimensions and forms of consciousness that were excluded and silenced. He is currently working on a project that studies the role of botanics, its agency within the colonial sciences, along with its role within the modern project in Peru; exploring the political and subversive dimension of the plant world in relation to a western epistemology. His films and installations have been part of different programs and exhibitions including FIC Valdivia, Haus der Kulturen der Welt, TENT Rotterdam, Unforseen Festival, Nederlands Film Festival, Film Museum Amsterdam, Fundación Telefonica.

Tommaso donati
Monte Amiata
Fiction expérimentale | hdv | couleur | 22:29 | Suisse | 2018

Le Monte Amiata est un complexe résidentiel dans le quartier Gallaratese de Milan, conçu par les architectes Carlo Aymonino et Aldo Rossi à la fin des années 1960. Leur intention était de créer un microcosme paralléle, une sorte de ville alternative du futur. Ses habitants, en référence à sa couleur et à sa forme insolite, le surnomment le dinosaure rouge.

Né en 1988, son travail se partage entre le documentaire, le cinéma expérimental et la photographie où il explore les relations entre l’homme et le milieu naturel dans lequel ils vivent.

ouazzani carrier
Exposition périphérique
Vidéo | hdv | couleur | 52:0 | 0 | 2018

"Exposition périphérique" est un voyage en voiture autour du périphérique extérieur parisien et des villes qui le bordent. Tel un inventaire des plantes qui habitent ce paysage de proche banlieue en pleine transformation du Grand Paris, cette fiction suit des jardiniers qui prennent soin des mauvaises herbes et plantes en pot, comme autant de propositions de résistance à l'urbanisation, et qui vivent dans les interstices laissés par la densification urbaine.

Vivant ensemble depuis 2015, Marie Ouazzani & Nicolas Carrier sont attentifs aux détails et aux ressources du quotidien. Qu`ils séjournent en Asie de l'Est, au Moyen-Orient ou en Europe, ils explorent chaque contexte à la recherche de fictions où se mêlent pollution, fantômes, ruines et économie. A partir de gestes et de situations simples, leurs vidéos et installations confrontent environnement et urbanisation afin de rééquilibrer les tensions de ces paysages. Récemment, leur travail a été présenté aux centres d'art de Mains d'Oeuvres, de la Villa Arson et du 3 bis f, au 61e Salon de Montrouge, à la 5e Biennale d'Odessa et à Darat al Funun en Jordanie.

| | | : | |

| | | : | |

| | | : | |

| | | : | |

| | | : | |

Mauricio Freyre tells the story of an experimental modernist social housing programme in Peru at the end of the 1960s. This cutting-edge and utopian project incorporated the concepts of metabolism, progressive construction and autonomous constructions within the architectural project. Tommaso Donati filmed Monte Amiata, a residential complex in the Gallaratese district of Milan, designed by the architects Carlo Aymonino and Aldo Rossi at the end of the 1960s. Their intention was to create a parallel microcosm, an alternative town of sorts for the future. Its inhabitants, in reference to the unusual colour and shape of the district, nicknamed it the red dinosaur. Ouazzani Carrier proposes a car journey around the Paris ring road. Through an inventory of the plants growing in this rapidly changing landscape, this observation of gardeners tending to the weeds is a resistance proposal.


March 6

Le Carreau du Temple
2 rue Perrée - 75003 Paris / Subway: Temple, line 3 - République, lines 3, 5, 8, 9 and 11
Free entry to any audience / Pass and accreditation: priority access


Nicolas tubery: Maquignon | Doc. expérimental | hdv | couleur | 17:54 | 0 | 2017 see more
Deborah stratman: Optimism | Doc. expérimental | super8 | couleur et n&b | 14:43 | 0 / USA | 2018 see more
Ben rivers: Trees Down Here | Doc. expérimental | 16mm | couleur | 13:56 | Royaume-Uni | 2018 see more
Tinne zenner: Translations | Doc. expérimental | 16mm | couleur | 20:20 | Groenland / Canada, Denmark | 2018 see more
Laura henno: Djo | Documentaire | 4k | couleur | 13:0 | France | 2018 see more
Nicolas tubery
Doc. expérimental | hdv | couleur | 17:54 | 0 | 2017

"Maquignon" se déroule à 80 kilomètres de Toulouse, aux Cammazes, une commune proche de la Montagne Noire. Là, il plonge dans l'atmosphère d'une foire aux chevaux en s'arrêtant sur les relations entre paysans et petits marchands de bestiaux "les maquignons", sur le langage des hommes et des animaux, parle? ou silencieux. Le film embrasse diffe?rents aspects de cet événement : aussi bien les négociations d'achat, la préparation et le soin des chevaux ou les moments de convivialité que les temps morts, quand la tension s'évapore.

Nicolas Tubéry est né en 1982 à Carcassonne. Il a étudié à l'Ecole Supérieure d'Art et de Céramique de Tarbes puis à l'Ecole Nationale Supérieure des beaux arts de Paris où il obtient le DNSAP. Sculpteur et vidéaste, Nicolas Tubéry conjugue les deux pratiques dans ses œuvres. Ses recherches récentes se concentrent sur le monde paysan d`où il vient : ses phénomènes atemporels, comme une foire aux chevaux, mais aussi plus conjoncturels comme les exploitations abandonnées par manque de repreneur. Quel que soit le sujet, il concentre son attention sur les gestes du travail, et sa fascination pour les détails est contagieuse. Observant tout en sculpteur, il adapte le matériel agricole en machinerie cinématographique, puis utilise les mêmes matériaux pour créer les structures monumentales dans lesquelles il projette ses films. Il parvient, avec affection et justesse, à donner une place à la ruralité dans l`art contemporain.

Deborah stratman
Doc. expérimental | super8 | couleur et n&b | 14:43 | 0 | 2018

Draw down the sun. Dig up the gold. The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, ore smelters, former city officials and a curious cliff-side luminous disc congregate to form a town portrait. Shot in location in the Yukon Territory. The disc that appears in the film was part of "Augural Pair", a set of public sculptures created by Stratman and artist Steven Badgett by invitation of the Klondike Institute of Arts and Culture "Natural and Manufactured" series. The works responded to ways value and speculation are connected to landscape and acts of removal.

Artist and filmmaker Deborah Stratman makes work that investigates power, control and belief, exploring how places, ideas, and society are intertwined. Her themes range widely, as do the mediums she uses to question them. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith.  She lives in Chicago where she teaches at the University of Illinois.

Ben rivers
Trees Down Here
Doc. expérimental | 16mm | couleur | 13:56 | Royaume-Uni | 2018

Trees are the silent characters, narrating the architecture and life of Churchill College (opened in 1960) through its natural history. 6’s Cowan Court (completed in 2016) inverted the spatial and material order of the picturesque Brutalism of the original college, shifting its mineral world of brick and shuttered concrete to timber. Cowan Court’s oak, both new and old, defines its structure and in turn encloses a central court filled with recently planted birch trees. The analogue materiality of Churchill College is matched by the film which, like the architecture and landscape, leaves traces of its own development. The human habitat is seen through nature ‘ swaying trees, lost animals, birds of prey, the seasons “ to create a new dreamlike environment in which any distinction between human life, architecture and nature is erased.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Tinne zenner
Doc. expérimental | 16mm | couleur | 20:20 | Groenland | 2018

Nutsigassat reflects on the power of language as a colonizer of foreign landscapes. The Danish names imposed on Greenland’s spaces and landscapes have historically been a part of Denmark’s engagement in the vast country in the North. A process, through which the mountains of Sermitsiaq and Kingittorsuaq that surround Nuuk were detached from both their semantic and geographical meaning. But also the physical signs of the fatal interventions of the past are legible in the concrete high-rises that replaced the small communities of the bygds along the coasts which were closed down by the Danish government in the 1960s and 70s. Even the manual mass production of tupilaks (sacred amulettos made of bones and horns) describe a cultural mutation of the mythical figure into a tourist object. Through a complex juxtaposition of text, voice and her beautiful 16mm film imagery, Zenner has created a critical work in which the majestic and vast vistas of Greenland defy the history imposed on them

Tinne Zenner is a visual artist and filmmaker based in Copenhagen. She holds an MFA from The Royal Danish Academy of Fine Arts. Working with analogue film, 3D-animation and spatial installation, her work explores the physical structures, in which layers of history, politics and collective memory are embedded. Her work has been shown at a number of international film festivals including Ann Arbor Film Festival, Projections at New York Film Festival, CPH:DOX, Courtisane, Image Forum Tokyo and EXiS in South Korea, and exhibited internationally at Reykjavik Art Museum, Nuuk Art Museum, Gothenburg Kunsthal, BOZAR Centre for Fine Arts Brussels as well as at Overgaden - Institute of Contemporary Art, Kunsthal Charlottenborg and Fotografisk Center in Copenhagen. Zenner is a co-founder and member of Sharna Pax, a film collective based in London and Copenhagen working between the fields of anthropology, documentary and visual arts.

Laura henno
Documentaire | 4k | couleur | 13:0 | France | 2018

Dans les Hauts de Mayotte, espace du secret, de la magie et de la fuite, hommes et chiens entretiennent un rapport filial, presque fusionnel d`espêces compagnes qui partagent un même territoire de transformation et d`autonomie. Smogi vit une relation particulière avec les chiens mais aussi avec la puissance des éléments, la nature et les esprits malins qui la peuple (les djinns). « Djo» croise différents régimes de croyance dans un syncrétisme sauvage à l`appel de la prière musulmane marque aussi le moment des retrouvailles avec les forces animistes et impures de la forêt.

Laura Henno a initialement une formation de photographe et sâinitie au cinéma au Fresnoy. Elle est lauréate du Prix Découverte des Rencontres Internationales de la Photographie d’Arles en 2007. Depuis plusieurs années, Laura Henno appuie sa démarche photographique et filmique sur les enjeux de la migration clandestine, aux Comores, sur de la réunion ou à Calais. Elle se confronte à la situation des migrants et des jeunes passeurs, avec une ambition documentaire réinvestissant le réel de potentiels de fictions et de récits. Les images qui en résultent provoquent un trouble et puisent dans les codes picturaux et cinématographiques. Elle a obtenu plusieurs prix pour son film Koropa, dont le Prix Egalité Diversité 2017 du Festival de court-métrage de Clermont-Ferrand et le Grand Prix du court-métrage 2016 aux Entrevues de Belfort. Son travail a été montré dans des nombreux musées en France et à l’étranger. Son travail photographique est représenté par la Galerie Les Filles du Calvaire.

| | | : | |

| | | : | |

| | | : | |

Nicolas Tubéry observes a horse fair, scrutinizes work gestures and discussions, as well as the spoken or unspoken language of the men and animals. Deborah Stratman portrays the inhabitants of a town in northern Canada. In the permanent shadow of the valley, this community seeks both gold and the sun. Ben Rivers films Churchill College, 1960s Brutalism architecture revamped with wood structures. Architecture and nature forge their own development, distinctions between human life, architecture and nature disappear. Tinne Zenner reflects on the colonised landscapes of Greenland. Danish names given to the mountains distance them from their geographic foothold, buildings constructed in the 1960s replace small communities, manuals for producing sacred amulets transform them into souvenirs for tourists. Laura Henno films a secret place in Mayotte seemingly governed by magic where men, nature and spirits share a special connection.  

    March 5-10, 2019
    Detailed programme
  • tue
Download on pdf