Paris 2019 Programme
10am   2pm   4pm   6pm  7.30pm  8pm

March 7

Bus tous
Visit of art centres in Ile-de-France
Chanot contemporary art centre
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.

Thursday March 7
Visit of the exhibition: "Ariane Loze, Nous ne sommes pas, nous devenons", at Chanot contemporary art centre

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 Forum des images, making it possible to attend the first screenings of the day.

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March 7

Forum des images
Forum des Halles, 2 Rue du cinéma - 75001 Paris / Subway : Les Halles, line 4 (exit Saint-Eustache, Place Carrée) and Châtelet, lines 1, 7 and 14 (exit Place Carrée)
Free entry to any audience / Pass and accreditation: priority access


Riley pam-grant, Abi Meekel, Claire Meekel: Tomato Sauce Takeaway | Film expérimental | hdv | couleur | 4:13 | 0 | 2018 see more
Zachary epcar: Life After Love | Film expérimental | 16mm | couleur | 8:25 | USA | 2018 see more
Alcaeus spyrou: Anina | Vidéo | hdv | couleur | 19:51 | Royaume-Uni | 2017 see more
Christian barani: Dans la fumée d'une peau | Doc. expérimental | hdv | couleur | 12:30 | Afrique du sud | 2018 see more
Daniel kÖtter: | Documentaire | hdv | couleur | 38:20 | Congo (RDC) / Nigeria | 2017 see more
Riley pam-grant, Abi Meekel, Claire Meekel
Tomato Sauce Takeaway
Film expérimental | hdv | couleur | 4:13 | 0 | 2018

Tomato Sauce Takeaway is a four minute short film, shot in Johannesburg, South Africa. The film documents the final evening routines of a few urban life forms in Johannesburg city. It does so in a way that is observational, introspective and personal given our own relations to space, routines and urban loneliness. The mundanity of these acts highlights an absurdity in the city life routines we take for granted. The people and the city itself become characters in a narrative of the last things we do before retreating to residential respite.

Terrace House is a Johannesburg based artist collaboration between Abi Meekel, Riley Pam-Grant and Claire Meekel that began in early 2017 with an immersive video and sound installation titled "The Blue Exhibition". They predominantly but not exclusively work in video, light and sound installations. Since the collaboration's inception, Terrace House has exhibited "The Blue Exhibition" twice in Johannesburg, with the first iteration at a trendsetting club and exhibition space called Glory, and then again at the Fak'ugesi African Innovation Festival. In January 2018, Terrace House exhibited "The Blue Exhibition" in a solo show at Gallery MOMO Cape Town. Their most recent video and sound installation titled "Monument" was also shown at Gallery MOMO Cape Town in July 2018 as part of the gallery's forth annual video exhibition, Transmissions, and again in Johannesburg where they were invited to show "Monument" in launching the 99 Juta design showrooms space situated in Braamfontein, which is the cultural melting pot of Johannesburg. The short film, Tomato Sauce Takeaway, was filmed in 2018 and has not been screened as of yet.

Zachary epcar
Life After Love
Film expérimental | 16mm | couleur | 8:25 | USA | 2018

A shifting in the light of the lot, where parked cars become containers for a collective estrangement.

Zachary Epcar (b. 1987, San Francisco) has screened at the New York Film Festival - Projections, Pacific Film Archive, Ann Arbor Film Festival, San Francisco Cinematheque's Crossroads, Images Festival, Rencontres Internationales Paris / Berlin, the Rotterdam, Edinburgh, San Francisco International Film Festivals, and elsewhere. He studied at Bard College and is a current MFA candidate in the Film, Video, Animation, & New Genres program at the University of Wisconsin Milwaukee.

Alcaeus spyrou
Vidéo | hdv | couleur | 19:51 | Royaume-Uni | 2017

A container ship is not an inanimate object. The ship that travels thousands of miles on the high seas is full of life, stories, tragedy and hope. The harbours reached, the industrial landscape one encounters, the cargo that floats in an endless ocean. Anina is a psycho-geographic film-essay, documenting the ethnographic tendencies of the industrial landscape and its malevolent stature over the individual. The shipping industry’s ever-shifting landscape, affecting even this interaction you are having with this text, crafts its own mythology.

Alcaeus Spyrou (b.1991, Elbasan, Albania) is a visual artist working with the cinematic image. He was born on the day the fall of the Hoxha dictatorship in Albania. The conflict that ensued, forced his family to seek refuge in Athens, Greece. The frequent displacement and oscillation between the two topographies, would focus Alcaeus’s gaze towards the shifting landscape of migration. In his practice, Alcaeus utilizes a psychoanalytical scope on cinema to deconstruct the inter-dependent nature of the medium. Through this process, he searches for new dialects of the cinematic language. By combining the two antithetical genres of fiction and non-fiction he establishes connections with the alienated environment. He informs the mythologies of contemporary migration that reveal collective trauma as the substance of our intricate relations to the other.

Christian barani
Dans la fumée d'une peau
Doc. expérimental | hdv | couleur | 12:30 | Afrique du sud | 2018

Daniel kÖtter
Documentaire | hdv | couleur | 38:20 | Congo (RDC) | 2017

The documentary is tracking the life cycle of a mobile phone. From its birth in the mines in the Kolwezi, DR Congo, to its manufacturing in Chinese factories in the Pearl River Delta to its use and death in the markets and recycling dumps in Lagos, Nigeria, the mobile phone camera sends images of its global journey to the viewer`s mobile phone display. It was filmed by miners, factory employees, dealers and electronic scrap collectors at the original locations in Congo, China and Nigeria. Four short documentary films show the work on the device that shapes our everyday life. China and Africa act as driving forces for the economic, political and cultural future of globalization and the mobile phone is their important link. Since 2013 Jochen Becker and Daniel Kötter have done research on cultural effects of the economic and political connections between China and the African continent.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten und verbinden Techniken des strukturalistischen Experimentalfilms mit performativen und dokumentarischen Elementen. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen die experimentellen Videokonzertperformances Falsche Freizeit (2010), Freizeitspektakel (2010), 'konomien des Handelns 1-3: KREDIT, RECHT, LIEBE (2013-16, alle mit Hannes Seidl), die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014 mit Constanze Fischbeck). Seine umfangreiche Film- und Textarbeit KATALOG (2013) entstand in 13 Ländern rund um das Mittelmeer mit einem besonderen Interesse an Praktiken des Raums. Visuelle Recherchen führen ihn immer wieder auf den afrikanischen Kontinent sowie in den Mittleren Osten. 2014-18 arbeitete er u.a. mit dem Kurator Jochen Becker (metroZones) an dem Recherche-, Ausstellungs- und Filmprojekt CHINAFRIKA. Under Construction. Sein Film "Hashti Tehran" (2017, HD, 60") gewann u.a. den Sonderpreis des Deutschen Kurzfilmpreises.

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Riley Pam-Grant, Abi Meekel and Claire Meekel film evening routines in Johannesburg, before going home, providing an introspective vision of individuals in a large city. Zachary Epcar captures moments of solitude, in the middle of traffic jams that are like temporary social complexes. Alcaeus Spyrou examines the contours and movement of a freighter with its containers, and portrays the shifting landscapes of migration. Christian Barani films men working at the edge of a large city. Daniel Kötter retraces the lifecycle of mobile phones, from mines in Kolwezi in the Democratic Republic of Congo, to their assembly in factories in China, to landfills in Lagos, Nigeria where their components are recycled.


March 7

Forum des images
Forum des Halles, 2 Rue du cinéma - 75001 Paris / Subway : Les Halles, line 4 (exit Saint-Eustache, Place Carrée) and Châtelet, lines 1, 7 and 14 (exit Place Carrée)
Free entry to any audience / Pass and accreditation: priority access

"Color portrait"

Matt jenkins: Helen Frankenthaller Radial Glow | Vidéo expérimentale | hdv | couleur | 3:36 | USA | 2015 see more
Vivian ostrovsky: Hiatus | Doc. expérimental | hdv | noir et blanc | 6:20 | USA | 2018 see more
Vincent guilbert: Gestures | Documentaire | hdv | couleur et n&b | 31:0 | 0 | 2017 see more
Shelly silver: This Film | Film expérimental | 16mm | noir et blanc | 6:53 | Allemagne | 2018 see more
Marco fontichiari: Primal | Vidéo expérimentale | hdv | couleur | 7:50 | Italie | 2017 see more
Paul heintz: Foyers | Doc. expérimental | hdv | couleur | 18:0 | France | 2018 see more
Dietmar brehm: Inside - The Color Version | Vidéo | hdv | couleur | 5:0 | Autriche | 2017 see more
Ivan argote: Reddishblue Memories | Doc. expérimental | 16mm | couleur | 11:52 | France | 2017 see more
Matt jenkins
Helen Frankenthaller Radial Glow
Vidéo expérimentale | hdv | couleur | 3:36 | USA | 2015

Akira Kurosawa said that "to be an artist means to never avert one`s eyes." Akira Kurosawa said that "to be an artist means to never avert one's eyes." This work was created as a teaching tool to inspire students in studio art courses that combine painting discourse with video art.

I am an Associate Professor of Art at Metropolitan State University of Denver. I teach courses such as performance art, socially engaged art, video art, environmental art, and internet art.

Vivian ostrovsky
Doc. expérimental | hdv | noir et blanc | 6:20 | USA | 2018

Introspective et solitaire, Claire Lispector (1920-1977), écrivaine Ukrainienne et Brésilienne, est le personnage de ce film construit à partir d`une interview que la télévision n`a diffusée qu`aprés sa mort. Ce qu`elle disait en 1977 reste totalement pertinent et parle fort à tous ceux qui, comme moi, se sentent de plusieurs mondes.

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

Vincent guilbert
Documentaire | hdv | couleur et n&b | 31:0 | 0 | 2017

Fragments d'une rencontre avec le musicien américain Loren Connors. Frôler les pulsations du temps, palper la matière, s'attarder sur l'imperceptible fragilité du geste...

Né en 1976 à Saint-Denis, France. Parallèlement à ses recherches sur la texture de l’image, les thèmes développés à travers ses films/photos sont essentiellement liés au Temps, à la mémoire et au fragment.

Shelly silver
This Film
Film expérimental | 16mm | noir et blanc | 6:53 | Allemagne | 2018

Filming is alchemy; preserving, seeing, devouring, cutting. Chopping the flow of images with a push of a button. It privileges a solitary unseen protagonist, choosing this over that and then that, it eats anything, not everything. The world hacked into fragments, jumps, frames. Kidnapped buildings gestures people animals happening now, again now, again now. The displacement of what was once to what is now seen carries the odor of end, regardless of the incessant movement of one frame to the next, a machine forcing the celluloid frames forced to run, jump, trip, turning it all into a sad slapstick -- slapstick also embodies heartbreak. A meeting with an old friend, possibly for the last time. [Or] a throwback to a kind of film I never made. But if I did, it would be a noisy film with silence.

Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

Marco fontichiari
Vidéo expérimentale | hdv | couleur | 7:50 | Italie | 2017

“Primal” is a video that documents the layers of individual memories and how events take place from a subjective point of view. The stories originate from encounters that the videomaker had during his 4293 KM walk across the USA.

Marco B. Fontichiari was born in 1992, he is currently working and living in Bologna, Italy. In 2018 he graduated in Film Studies from the Academy of Fine Arts of Bologna. His works are mainly video and performance pieces that question the relationship between human limits and absolute concepts. Marco has presented his work in several galleries and festivals among which, P420, 2016, Ibrida Festival, 2017, METACINEMA, 2017-2018, FILE Festival 2018.

Paul heintz
Doc. expérimental | hdv | couleur | 18:0 | France | 2018

Au rythme d’une dérive solitaire, un pyromane se livre. Entre vécu, rêve et imaginaire sa parole libère son rapport inconscient au feu.

Né en 1989 à Saint-Avold, diplômé des Beaux-Arts de Nancy, des Arts Décoratifs de Paris et du Fresnoy, studio national des arts contemporains. Son travail qui se traduit à travers l’objet, le son, la vidéo et l’installation a été présenté lors d’événements d’art contemporain tels que Paris Nuit Blanche et le Salon de Montrouge et des festivals de films comme le FID Marseille, Dok Leipzig, le Festival International du film de Rotterdam. EN : Paul was born in 1989 in Saint-Avold (France). He is a Fine Arts graduate from Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. His work goes through object, sound, video and installation. His first film "Non Contractual" was screened among others festival at RIDM, Indie Lisboa and FID. His last film "Hearths" premiered in 2018 at FIDMarseille and Dok Leipzig and was selected at Rotterdam 2019.

Dietmar brehm
Inside - The Color Version
Vidéo | hdv | couleur | 5:0 | Autriche | 2017

It hisses, it blinks. A virtual, two-dimensional anaglyph flickers in red and green, unfolding a visual space true to the Brehmian aesthetic. Concentratedly condensed collisions occur between everyday life and the world, being and performing, symbols and icons. A human skull, human bodies, Castle Grafenegg as an architectonic stand-in for the uncanny … Sex and crime, art and pop culture flicker at pixilated speed – the stuff of dreams – most penetrating however brief. The mundane alternates with the fetish, glimpsed in the blink of an eye, intersected by a long drag on a Chesterfield cigarette while the full-bodied, tube-amped slow-motion reverb sound of a guitar swings in the background.

Dietmar BREHM Born in 1947 in Linz. 1967-72 studied painting at the Academy of Fine Arts/Linz professor at the Academy in Linz. Since 1973 teaches at the Academy in Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad, various awards for his work.

Ivan argote
Reddishblue Memories
Doc. expérimental | 16mm | couleur | 11:52 | France | 2017

Reddishblue Memories by Iván Argote, uses the artist’s affective memories as part of an ongoing project of research and speculation based on a rumor associated with the history of George Eastman’s Kodak company, and its switch from Kodachrome to Ektachrome. This was allegedly done for ideological reasons : in the late 1960’s they realized that Kodachrome pictures turned reddish with time, and in the context of Cold War decided that the United States’ archives could not end up with the enemy’s color, and so developed the Ektachrome process, in which pictures eventually turn blue. The film, which was made in Ukraine as part of an art exhibition, is narrated simultaneously in Ukrainian by Oxana Shachko founder of Femen, and in Spanish by Ivan Argote himself. In the film, many issues concerning the relationship in between colors and politics raise, as orange revolution, white and black armies, purple and red revolutions in South America.

Iván Argote (Bogotá, 1983, lives in Paris) works explore the relationship in between history, politics and the construction of our own subjectivities. His films, sculptures, videos, collages, and public space installations temps to generate questions about how we relate to the others, to the state, to patrimony and traditions. His works are critics, sometimes anti-establishment, and deal with the idea of bringing affects to the politics, and politics to the affects with a strong and tender tone.

Matt Jenkins juxtaposes video footage and discussions about painting from bits of an interview with the artist Helen Frankenthaller. Vivian Ostrovsky reworks an interview with the Brazilian writer Claire Lispector, where she evokes the feeling of belonging to several worlds. Vincent Guilbert films an encounter with the American musician Loren Connors. There is a focus on particular moments, gestures and beat. Shelly Silver presents a fragmented world comprising burlesque as well as nostalgic memories and goodbyes. Marco Fontichiari documents crossing 2668 miles of the United States by foot. Multi-layered souvenirs that were experienced or collected create a new fiction. Paul Heintz examines the solitary drifting of a pyromaniac. Through the witnessed or imagined secrets he confides, an unconscious relationship with fire takes shape. Dietmar Brehm condenses images of everyday life and the world, with symbols and icons, like occurrences perceived in a blink of an eye. Ivan Argote discusses with one of the founders of the Femen movement. Relationships between colour and politics are addressed looking at Kodak and its use of colour in the 1960s.


March 7

Forum des images
Forum des Halles, 2 Rue du cinéma - 75001 Paris / Subway : Les Halles, line 4 (exit Saint-Eustache, Place Carrée) and Châtelet, lines 1, 7 and 14 (exit Place Carrée)
Free entry to any audience / Pass and accreditation: priority access

"And what the summer says"

Miryam charles: Une forteresse | Fiction expérimentale | 16mm | couleur | 7:0 | 0 | 2018 see more
Charlotte zhang: The Lining | Fiction expérimentale | hdv | couleur | 21:5 | USA | 2018 see more
Mate ugrin: Meanwhile | Fiction expérimentale | 4k | couleur | 17:55 | Croatie | 2017 see more
Birgit ludwig: The Partition | Fiction expérimentale | hdv | couleur | 21:21 | Royaume-Uni | 2018 see more
Payal kapadia: And What is the Summer Saying | Doc. expérimental | hdv | couleur et n&b | 23:0 | 0 | 2018 see more
Miryam charles
Une forteresse
Fiction expérimentale | 16mm | couleur | 7:0 | 0 | 2018

Aprés la mort de leur fille adoptive, un couple se rend en Haîti afin de retrouver les membres de sa famille. Sur place, ils font la connaissance d`un spécialiste de l`ADN qui posséderait le pouvoir de résurrection.

Formé en cinéma à l'Université Concordia, Miryam Charles a produit et photographié les courts métrages,Danger of death, La boutique de forge, Full Love, Feu de Bengale et les longs métrages Le pays des âmes et Nouvelles, Nouvelles. Elle est la réalisatrice de Vole, vole tristesse, Vers les colonies, Une forteresse et Trois Atlas.

Charlotte zhang
The Lining
Fiction expérimentale | hdv | couleur | 21:5 | USA | 2018

An experimental portrait of love and quiet sadness in the corners of Los Angeles. Zhang`s non-linear editing creates an intimate and poetic representation that flows in and out of narrative and documentarian conventions.

Charlotte Zhang (b. 1999) is a filmmaker and occasional writer from Vancouver Island, currently studying Film/Video at California Institute of the Arts.

Mate ugrin
Fiction expérimentale | 4k | couleur | 17:55 | Croatie | 2017

It's summer and the streets are almost empty in a small town. People gather at the public swimming pool. Two close friends are saying goodbye.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule fur bildende Kunste Hamburg). He is currently finishing the "Meisterschuler" program at the Berlin University of the Arts (Universitat der Kunste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

Birgit ludwig
The Partition
Fiction expérimentale | hdv | couleur | 21:21 | Royaume-Uni | 2018

Blake awakes from a comatic episode for which there doesn't seem to be any explanation. Set in London, the film interweaves his and other characters' discontinued journeys marked by peculiar moments and encounters. At once sober and enigmatic, "The Partition" reflects on singularity, alienation and intangible windows in the wider context of a shifting techno-capitalist environment.

Birgit Ludwig (b. Luxembourg) is a filmmaker and artist based in London. Her films take the form of unconventional dramas or documentaries, interweaving realism and a poetic uncanny. She is a graduate of Central Saint Martins School of Art (BA Fine Art/Phoebe Llewellin Smith Scholarship Award) and Kingston University (MA Experimental Film).

Payal kapadia
And What is the Summer Saying
Doc. expérimental | hdv | couleur et n&b | 23:0 | 0 | 2018

Namdeo has learnt to live off the forest from his father. He stares at the treetops, searching for honey. The wind blows and afternoon descends on the small village by the jungle. Women of the village, whisper little secrets of their lost loves. Never seen, and only heard. A strange smoke emits from the ground, like a dream of a time gone by.

Payal Kapadia is a Mumbai based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her work deals with that which is not easily visible, hidden somewhere in the folds of memory and dreams. It is between minor, ephemeral feminine gestures where she tries to find the truth that makes up her practice. Her much acclaimed short film Afternoon Clouds was India’s sole official selection in Cannes film Festival, 2017. This year, her experimental short And what was the Summer Saying had its world premiere at the prestigious Berlin International Film Festival (2018). It also received the prestigious Special Jury Prize at the International Documentary Film Festival of Amsterdam (2018). Kapadia’s experimental short The Last Mango Before Monsoon was premiered at Oberhausen International Film Festival (2015), where she was awarded FIPRESCI award and Special Jury Prize. The film got her acclaims around the world including awards like Best Film and Best Editing at Mumbai International Film Festival (2016), Toto Award for Young Indian Artist, and Special Mention at Filmadrid.

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Miryam Charles outlines the pursuit of a couple going to Haiti to find the family of their adopted daughter. Charlotte Zhang produces a non-linear portrait evading narrative. Mate Ugrin films the empty streets of a small Croatian town in summer: people hanging out around a swimming pool, two friends saying goodbye. Birgit Ludwig follows the discontinuous journey of a man in the streets of London, marked by meetings and specific moments. He has just come out of an unexplained coma. The city seems to reflect both the uniqueness and the alienation of individuals. Payal Kapadia films a child who has to learn to live off the forest in a jungle village. He scours the tops of the trees looking for honey. The village women whisper secrets about their lost loves, strange smoke rises from the ground like the fantasy of a bygone era.


March 7

Associated programme
Cité internationale des arts
18 rue de l'Hôtel de Ville - 75004 Paris / Subway: Pont Marie, line 7 / Saint-Paul, line 1
Free entry to any audience

Luise Schröder, Figures of Remembrance

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Figures of Remembrance is the presentation of selected videos by the artist Luise Schröder that is part of the associated programme between the Cité internationale des arts and Rencontres Internationales Paris/Berlin.
The screening will be followed by a discussion in English about the artist’s work as a whole and the relevance today of addressing narratives, memories and cultures of remembrance in contemporary art.
Luise Schröder studied photography and media arts at the Academy of Fine Arts Leipzig in Germany. As part of her art practice she addresses issues arising from ‘‘history in the making” from a present-day perspective. She focuses on the way in which cultures of remembrance and commemoration are influenced and shaped by political programmes, media and image production as well as the way in which this affects identities and communities.

Luise Schröder (Germany) is in residence at the Cité internationale des arts as part of the German Federal Ministry for Culture and Media programme.


March 7

Forum des images
Forum des Halles, 2 Rue du cinéma - 75001 Paris / Subway : Les Halles, line 4 (exit Saint-Eustache, Place Carrée) and Châtelet, lines 1, 7 and 14 (exit Place Carrée)
Free entry to any audience / Pass and accreditation: priority access

"Gender Prototypes"

Dagmar dachauer: Competing for Sunlight: Ash | Vidéo | 4k | couleur | 4:43 | 0 | 2017 see more
Laure prouvost: SHED_A_LIGHT | Vidéo | hdv | couleur | 17:57 | Belgique | 2018 see more
Abri de swardt: Ridder Thirst | Fiction expérimentale | hdv | couleur et n&b | 13:38 | Afrique du sud | 2018 see more
Agathe champsaur: Cowboy drags | Vidéo expérimentale | 35mm | couleur et n&b | 0:54 | USA | 2018 see more
Doireann o'malley: Prototype I: Quantum Leaps in Trans* Semiotics through Psycho-Analytical Snail Serum | Vidéo | 4k | couleur | 36:35 | Allemagne | 2018 see more
Dagmar dachauer
Competing for Sunlight: Ash
Vidéo | 4k | couleur | 4:43 | 0 | 2017

`Competing for Sunlight` is a Short Dance Film Series, featuring protagonists of a range of different tree species and Dance, telling individual short stories. “The death of a species, especially a species as significant as the Ash, punches a hole not only in nature, but also in our culture”. - George Monbiot Starting in the early nineties in Eastern Europe, an Asian fungus has gradually conquered the European continent, infecting almost all ash trees. The symptoms are very severe, many cases leading to the death of most trees. As aresult, it is assumed that the ash tree in Europe will soon be close to extinct. Choreographer and dancer Dagmar Dachauer was inspired by the sad faith of the European ash tree, and linked it to personal loss in her own life. Finis est cinis: Ash is what remains. Ash is a eulogy for the ash tree and for Prasthan Dachauer, who passed away in 2016.

Dagmar Dachauer is a dancer, choreographer and filmmaker born in Linz, based in Brussels. She grew up in a lonely house in the Upper Austrian forest, a place that continuously inspires her work. She has studied Dance at Amsterdamse Hogeschool voor de Kunsten as well as at P.A.R.T.S. in Brussels. She founded the Austrian art association UMFUG, in which she realizes dance and theatre performances as well as film projects with collaborators coming from various backgrounds such as Ecology, Cinema, Theatre, Music and Sound Design. Her solo works about the Viennese Waltz (“Wunderbare Jahre” and “Wie soll ich das erklären”), as well as her dance films have received several awards and are touring internationally.

Laure prouvost
Vidéo | hdv | couleur | 17:57 | Belgique | 2018

Shed A Light shows us a space where nature is purported to have taken over from humanity. Inspired by global warming, the filmed environment invites us to explore and celebrate ambiguity by being at once intimate and expansive. The video is an ode to diagonal lines, the transcending of limits and the joy of slipping over a fence to discover a wasteland. Or, a now-abandoned but marvelous garden, in which the artist has discovered a forgotten dystopic biological laboratory.

Laure Prouvost was born in 1978 in Croix-Lille, France. She lives and works in London, UK and Antwerp, Belgium. After receiving the Max Mara Prize for Women [2011], Prouvost was the first French artist to win the prestigious Turner Prize for contemporary British artists and/or living in Great Britain. Prouvost was a LUX Associate Artist 2008/9. Upcoming exhibitions include a major touring solo exhibition between Consortium Dijon, MMK Frankfurt and Kunstmuseum Luzern [2016] in addition to solo exhibitions at the Centre for Contemporary Art Laznia, Gdansk; Walker Art Centre, Minneapolis; Witte de With Center for Contemporary Art, Rotterdam [2017]; Hangar Biccoca, Milan; FRAC/Consortium, Dijon; and State of Concept, Athens [2016]. 2016 also includes residencies at Bogliasco Foundation, Genoa and at Fahrenheit for FLAX Foundation, Los Angeles. Recent solo exhibitions include A Way To Leak, Lick, Leek at Fahrenheit, Los Angeles [2016]; DER ÖFFENLICHKEIT: Laure Prouvost at Haus Der Kunst, Munich; Dear dirty dark drink drift down deep droll (in der dole) at carlier|gebauer, Berlin; Laure Prouvost: It, Heat, Hit, e-flux, New York; We Will Go Far, Musée départemental d’art contemporain de Rochechouart, Rochechouart; Burrow Me, Rupert, Vilinus; L’écran: Entre ici et Ailleurs, CAPC Musée d’Art Contemporain de Bordeaux, Bordeaux. Other selected solo exhibitions include The Meeting at MOT International, Brussels [2014]; Polpomotorino at Morra Greco Foundation, Naples [2014]; For Forgetting at New Museum, New York [2014]; From Wantee to Some Signs at Extra City Kunsthal, Antwerp [2014]; Laure Prouvost / Adam Chodzko at Tate Britain, London [2013]; Laure Prouvost at The Hepworth, Wakefield [2012].

Abri de swardt
Ridder Thirst
Fiction expérimentale | hdv | couleur et n&b | 13:38 | Afrique du sud | 2018

“Ridder Thirst” explores the restorative agency and limits of queer youth, facing white supremacist denialism with an inventory of its continued effects. De Swardt fantasises the First River, a primary marker of settler colonial inhabitation in South Africa, into disappearance, perceiving that “if the ocean is the space of coloniality, the river is that of settlement”. The work takes the span of the river as witness of extreme socio-political discrepancies: snaking from the mouth of the river at Macassar Beach - a former separate amenity for brown people - to Stellenbosch, the affluent university town central to the formulation of apartheid. Photographs of Afrikaner student couples captured at the river in the sixties and seventies by Alice Mertens, a Namibian-German ethnographic photographer who was the first tertiary tutor of the lens in South Africa, are reworked and called into question through a series of anti-monumental gestures, motion-tracked data on spatial and gender traumas, and dense voice-over narration that `unwrites` place. Here the vagaries of the archival gaze is met with the insatiability of eroticism as De Swardt occupies and inverts the “straight” canons of documentary photography and essay film, asking how we can unlearn historic images that seek to define us.

Abri de Swardt (b. 1988) is an artist and writer based in Johannesburg. He holds a MFA in Fine Art with distinction from Goldsmiths, University of London (2014), and was named one of the inaugural Young African Artists by Wanted Magazine. Recent exhibitions and screenings include “phula! phula!”, Africa Open Institute, Stellenbosch (2019); “The Difficulty of Saying I”, Rupert, Vilnius; “Coded Encounters”, Galeria Graça Brand?o, Lisbon; “writing for the eye, writing for the ear”, The Centre for the Less Good Idea, Johannesburg (all 2018); “These Rotten Words”, Chapter, Cardiff (2017); “Blend the Acclaim of Your Chant with the Timbrels”, Jerwood Space, London (2016); and “Men Gather, in Speech”, Cooper Gallery, Dundee (2015). De Swardt has held solo exhibitions at POOL, Johannesburg (2018); White Cubicle, London (2015); MOTInternational Projects, London (2013); and blank projects, Cape Town (2011). He has taught at Wits School of the Arts, and been published in Art Africa, How to Sleep Faster and Adjective. In 2019 he will contribute to “Radicalise Bauhaus - Perspectives from the Global South”, forthcoming from iwalewabooks, Bayreuth, and is a 2019/2020 artist-in-residence at Hordaland Kunstsenter, Bergen.

Agathe champsaur
Cowboy drags
Vidéo expérimentale | 35mm | couleur et n&b | 0:54 | USA | 2018

"Hair done/ boots on/ tell me this ain`t the usa" Surreal portraits of americans. The contrasts and extremes in nowadays austin, Texas`s life.

Documentary filmmaker and photographer. I live and work in Paris. I`m currently working on two documentaries in Lebanon, detailing the life of two different but very inspiring figures, Abdulrahman Katanani a Palestinian visual artist that broke free from palestinian camps through art, and Therese Basbous, a poet often known as Michel Basbous` wife.

Doireann o'malley
Prototype I: Quantum Leaps in Trans* Semiotics through Psycho-Analytical Snail Serum
Vidéo | 4k | couleur | 36:35 | Allemagne | 2018

In Prototypes the viewer is guided sonically and visually through various dream- and land-scapes, observing psychoanalytic references to both shamanistic pasts and speculative futures that evoke alternate modes of existence. We meet the protagonists who interact with undefined technologies and it appears ambiguous as to whether they are rendering themselves in a virtual world, a potential future, or creating their present. In fact, throughout Prototypes there is little to distinguish between “the symbolic, the imaginary, and the real”. Psychoanalytic sessions emphasise a transgression of boundaries. The viewer becomes increasingly disoriented between the physical and dream worlds, where the psyche presents symbols as metaphors for psychological obstacles to overcome. Working with a cast of almost entirely non-professional actors in a collaborative process was integral to the work. Several of whom attended a dream workshop and shared their own dreams, which were then, too, woven into the script. In an exquisite corpse of unconscious connection, one protagonist’s dream depicts a tongue, abstracted and contrasted against the director’s own dream of tentacles growing from a stomach. One of the protagonists, Pol, professes that the experience of taking testosterone feels like being in a science fiction movie. Through an experiential understanding of the pliant body made available through bio-hacking, the protagonists begin to sense a form of liberation, a way to indirectly denounce systems of control. They experience an expanded potentiality to create for themselves new meanings and languages, new architectures. Pol’s analogy concretes what is alluded to throughout the film, that this depicted version of reality is one formerly unimaginable, consequently allowing us to further speculate on an abundance of potential futurities. A gay cruising scene suggests that the result of Pol’s bio-hacking allows him access into this formerly unimaginable reality.

Doireann O’Malley, born Limerick, Ireland 1981. Lives and works in Berlin, Germany. Prototypes was the winner of The Berlin Art Prize 2018 and has been exhibited in The Hugh Lane Gallery, Dublin, Edith Russ Haus für Medienkunst, Oldenburg and has been screened in Bobs Pogo Bar, KW, Berlin. Doireann is currently participating on The Berlin Program for Artists and has upcoming shows in Mexico City and the Göteborg Biennial.

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Dagmar Dachauer performs amid ash trees doomed to disappear, leaving nothing but ashes. Laure Prouvost scrutinises a place where nature seems to have overtaken humanity. An abandoned dystopian biological laboratory environment invites us to celebrate the crossing of boundaries. Abri de Swardt assumes and inverts heterosexual models in documentary photography in a series of anti-monumental gestures, interrupted movements, expressions of gender and place-related trauma. He examines colonial history in South Africa and the potential to forget historical images. Agathe Champsauer presents a surreal portrait of the gendered body in Texas. Doireann O’Malley questions boundaries between genders, and embraces a complex area, free of categorisation. The protagonists in the film talk about the compromises and changes that living in a non-gendered world would involve.

    March 5-10, 2019
    Detailed programme
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