Paris 2019 Programme
10am  2.30pm  4pm   6pm   8pm
Friday

March 8
10am

Bus tous
Visit of art centres in Ile-de-France
Bétonsalon Centre for Art and Research,
and Crédac - Ivry 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.

Friday March 8
Visit of the exhibition: "Position latérale de sécurité", at Bétonsalon Bétonsalon Centre for Art and Research, followed by the visit of the exhibition: "Des attentions", at Crédac - Ivry 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 Louvre Auditorium, making it possible to attend the first screenings of the day.


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Friday

March 8
2.30pm

Screening
Louvre Auditorium
Rue de Rivoli - 75001 Paris / Subway: Palais-Royal Musée du Louvre, lines 1 and 7 / Pyramides, line 14
Free entry to all public on reservation
Pass and accreditation: priority accesss without reservation



Focus on Romania


Mona Vatamanu, Florin Tudor : Rite of Spring | Exp. film | 16mm | colour | 0:07:51 | Romania | 2010
Dan Mihaltianu : Divided Cities| | Video | super 8 | colour | 0:03:44 | Romania | 2013
Michele Bressan : Fifth, Sixth and Seventh Floor | Video | dv | colour | 0:04:27 | Romania | 2010
Daniel Nicolae Djamo : Pasari | Video | hdv | colour | 0:07:32 | Roumanie | 2014
Aurelia Mihai : Cento piedi | Exp. fiction | 16mm | colour | 0:11:07 | Romania | 2012
Pip Chodorov : The Stranger | Exp. fiction | 16mm | colour | 0:09:19 | USA, Romania | 2018
Alexandra Gulea : Valea Jiului - Notes | Exp. documentary | 16mm | colour | 0:13:30 | Romania | 2018

As part of the France-Romania season 2019
With the support of the Romanian Cultural Institute Paris

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Mona Vatamanu and Florin Tudor film a spring ritual where children in Romania burn poplar fluff. Dan Mihaltianu resumes views of Berlin and Bucharest between 1992 and 2013, divided into East and West. Michele Bressan films the apartment block opposite his building in the street that was his immediate environment for 17 years. Daniel Nicolae Djamo films a sunset in Loiret with a flight of migratory birds. Romanian immigrants can be heard talking. Aurelia Mihai addresses themes that animate contemporary Romanian society: identity, immigration. Her narrative is situated in the heart of Rome, an immigrant city for Romanians, near the Column of Trajan. Pip Chodorov tells a fairy tale in a Romanian mountain village. “Once upon a time” there were villagers and a stranger disturbed their community. Alexandra Gulea films children in the Jiu Valley, a former industrial zone. Their parents take to the roads heading west looking for work. They rarely herald their return.


Friday

March 8
4pm

Screening
Louvre Auditorium
Rue de Rivoli - 75001 Paris / Subway: Palais-Royal Musée du Louvre, lines 1 and 7 / Pyramides, line 14
Free entry to all public on reservation
Pass and accreditation: priority accesss without reservation



"Architectures"

Richard tuohy: China not China | Film expérimental | 16mm | couleur | 14:0 | Australie / Hong Kong, Taïwan | 2018 see more
Aurèle ferrier: Transitions | Vidéo | 4k | couleur | 12:48 | Suisse | 2017 see more
David kelley, Patty Chang: Spiritual Myopia | Film expérimental | hdv | couleur | 15:0 | USA | 2018 see more
Soufiane adel: La lumière tombe | Fiction expérimentale | 4k | couleur | 9:23 | France | 0 see more
Peter downsbrough: AND TO | Vidéo | hdv | noir et blanc | 3:1 | Belgique | 2018 see more
Salomé lamas: Terminal | Doc. expérimental | hdv | noir et blanc | 6:0 | Portugal | 2018 see more
Salomé lamas: Hangar | Doc. expérimental | hdv | noir et blanc | 8:0 | Portugal | 2018 see more
Salomé lamas: Metro | Doc. expérimental | 0 | noir et blanc | 9:0 | Portugal | 2018 see more
Richard tuohy
China not China
Film expérimental | 16mm | couleur | 14:0 | Australie | 2018

Hong Kong marked 20 years since its hand over; half way through the planned 40 year `one country, two systems` transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.


Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. Since 2009 he has been an active and vocal member of the international artist run film lab scene. In 2011 Richard and Dianna started the Artist Film Workshop which in 2012 became a membership based artist-run film lab, itself also part of the international labs network. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally. His films and film based performances have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has repeatedly toured Europe, North America and Asia presenting solo programs of his work and conducting experimental film-making workshops.

Aurèle ferrier
Transitions
Vidéo | 4k | couleur | 12:48 | Suisse | 2017

TRANSITIONS is a journey from the civilizing void of the desert to a maximal urban, capitalistic and hedonistic density, which in the case of Las Vegas assumes some bizarre expression. The film is a contemplation without any people or moving machines in it, focussing on the built and designed.


Aurèle Ferrier (*1975 in St.Gallen, CH) lives in Zurich. With his video and cinematic works, actions and interventions he explores the margins of civilization. His works have been presented in more than 30 countries and won, among others, a Grand Jury Award at Slamdance Film Festival.

David kelley, Patty Chang
Spiritual Myopia
Film expérimental | hdv | couleur | 15:0 | USA | 2018

Spiritual Myopia is a film dealing with the invisible labor and desire of the residents of the oil industry boom towns of Fort McMurray in the Canadian Tar Sands and the refining town of Port Arthur Texas. The two cities are terminal nodes of the proposed Keystone XL oil pipeline which would span the United States. Fort McMurray is the third largest oil deposit in the world. Its rapid pace of growth has meant a dearth of housing for its migrant workers. Port Arthur boasts the world’s largest concentration of oil refineries and its town center has nearly disintegrated from economic decline. These twin cities are related spatially as nodes in the same energy infrastructure, and temporally in their different stages of a boom or bust economy. Borrowing its title from Alfred Stieglitz’s photo Spiritual America, Spiritual Myopia speaks to the nearsightedness innate to hypercapitalism.


Spiritual Myopia is a collaboration between artists David Kelley and Patty Chang Patty Chang (Lives and works in Los Angeles, CA) Patty Chang is an artist working in performance, video, writing, and installation. Her work has a capacity to explore complex subjects nearly simultaneously, as does life. Her work has been exhibited nationwide and internationally at such institutions as the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; New Museum, New York; BAK, Basis voor actuele Kunst, Utrecht, the Netherlands; the Hammer Museum, Los Angeles; Fri Art Centre d’Art de Freibourg, Fribourg, Switzerland; Chinese Arts Centre, Manchester, England David Kelley (Lives in Los Angeles California, CA.) David Kelley’s work is a hybrid of experimental documentary and ethnographic practices that make use of imaginary, choreographic and performative strategies. His work has been shown in galleries throughout the world. Recently, he has had exhibitions at the Museum of Modern Art in New York, White Box in Portland Oregon, and Commonwealth and Council in Los Angeles. Other recent exhibitions include The Bank in Shanghai, New Art Center, the de Cordova Biennial in Boston, BAK in Utrecht, MAAP space in Brisbane Australia.

Soufiane adel
La lumière tombe
Fiction expérimentale | 4k | couleur | 9:23 | France | 0

Quelque part en Banlieue, dans un futur proche. La classe ouvrière n'existe plus. Vénus se rapproche de la terre. Un homme et son fils refont le monde.

Soufiane Adel est né en 1981 en Algérie et arrive en France à 8 ans. C`est en faisant une école de design, l'ENSCI - Les Ateliers, qu'il découvre le cinéma. En 2004, il décide de filmer son père : ce sera son premier court métrage, "Nuits closes", qui débutera au festival de Clermont-Ferrand. En 2007, il réalise "Kamel s`est suicidé six fois, son père est mort" qui a été sélectionné à la Quinzaine des Réalisateurs et à l'ACID à Cannes en 2008, ainsi que dans de nombreux festivals de par le monde. En 2009, il coréalise avec Angela Terrail, "Sur la tête de Bertha Boxcar", prix du jury au festival Silhouette (montré également à Clermont, Pantin, Ciné-banlieue, Indielisboa ...) et diffusé sur Arte. En 2013, il réalise son second documentaire "Go Forth" qui aborde l`histoire de sa grand-mère algérienne, projetés dans des dizaines de festivals internationaux (Cinéma du réel, Rencontres Internationales Paris-Berlin, Lussas, Montréal...). Son exploration de formes fictionnelles d`auto-filmage se poursuit avec "Vincent V" et "Les bonnes". En 2017, il met de nouveau en scène son père dans une fiction, "La Faim", puis dans l'essai "La lumière tombe", en 2018.

Peter downsbrough
AND TO
Vidéo | hdv | noir et blanc | 3:1 | Belgique | 2018

We don`t know where we are. We`re in a car, looking at other cars, roads, structures, tunnels – wasteland. Position? The Global Positioning System informs us, with its horde of satellites, orbiting Earth. Guiding us with its synthesised voice, transporting us, `translating` us. Telling us what to do. `After 250 meters, keep to the right on the Brudermühlstraße, then keep to the left.` (And so on, and so forth.)


Brussels-based Peter Downsbrough (born New Jersey, USA, 1940) has developed a highly distinctive, strongly cohesive body of work that includes sculpture, drawings, photographs, films, videos, books, wall pieces and room pieces, architectural maquettes, and sculptural interventions in public space. Frequently heightening his famously sparse visual vocabulary with an equally sparse linguistic component—often just a single word—Downsbrough calls attention to a vast landscape of structures both physical and social, cultural and political—that shape modern life.

Salomé lamas
Terminal
Doc. expérimental | hdv | noir et blanc | 6:0 | Portugal | 2018

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Salomé lamas
Hangar
Doc. expérimental | hdv | noir et blanc | 8:0 | Portugal | 2018

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Salomé lamas
Metro
Doc. expérimental | 0 | noir et blanc | 9:0 | Portugal | 2018

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Richard Tuohy deploys the temporal stratum of a city in an infinite number of images and movement. Aurèle Ferrier films the move from a desert to a city symbolic of capitalism and hedonism, a Las Vegas void of any presence. David Kelley and Patty Chang pass through two cities in Canada and Texas, that mark the departure and arrival of Keystone, a huge pipeline project, a symbol of hyper-capitalism. Soufiane Adel follows the dialogue between a father and his son, in a future where the working class no longer exists. Peter Downsbrough films cars, roads, structures and wastelands. A GPS system says ‘‘what now?’’ Salomé Lamas films three architectures that are emblematic of contemporary Portugal and its history.


Friday

March 8
6pm

Screening
Louvre Auditorium
Rue de Rivoli - 75001 Paris / Subway: Palais-Royal Musée du Louvre, lines 1 and 7 / Pyramides, line 14
Free entry to all public on reservation
Pass and accreditation: priority accesss without reservation



Carte blanche to Michael Snow

In the presence of Michael Snow and Peggy Gale. The screening will be followed by a conversation between them.

Michael snow: Reverberlin | Vidéo expérimentale | 0 | couleur | 55:0 | Canada | 2006 see more
Michael snow
Reverberlin
Vidéo expérimentale | 0 | couleur | 55:0 | Canada | 2006

Réalisé à partir d`un concert que Michael Snow a donné avec son ensemble d`improvisation CCMC au Kunst-Werke en 2002, Reverberlin est la première œuvre pour laquelle Snow, à la fois cinéaste et musicien de renom, a co-composé son et image. Avec des images vidéo numériques du CCMC jouant à travers le monde, Snow crée des contrepoints et des juxtapositions à l`enregistrement non mixé de 2002.

Michael Snow est né en 1929 à Toronto (Ontario), d’une mère francophone, excellente pianiste, dit-il d’elle, et d’un père anglophone. Alors qu’il débute en arrondissant ses fins de mois en jouant du jazz, il découvre Louis Armstrong, His Hot Five, et les mélodies sonores, particulièrement sensuelles de Jelly Roll Morton. Complètement autodidacte, il apprend la musique sans même savoir la lire. Son art est le fruit de l’improvisation et du hasard. Il commence à peindre puis sculpter dans les années 50, passant alors de la figuration à l’abstraction. Sa peinture se traduit bientôt dans une synthèse entre le sujet figuré et la surface de la toile. Il entre alors dans le cinéma par une première animation, A to Z, réalisée en 1956, qu’il qualifie comme « deux chaises qui baisent ». Quelques années plus tard, il crée l’une des oeuvres les plus marquantes de sa carrière et de l’histoire du cinéma (expérimental), Wavelength. Elle le catapulte hors de l’atelier du peintre, et devient source d’inspiration pour les principaux critiques et théoriciens du cinéma (Manny Farber, Jonas Mekas, Annette Michelson). Depuis les années 60, le travail de Snow se trouve à l’avant-garde de l’art visuel et du cinéma expérimental. Pluridisciplinaire, son oeuvre aborde tous les médiums et matériaux. Abordant les matérialités, l’épaisseur et la minceur. Si son cinéma se conjugue toujours à l’art et à la performance, il tend à l’éclatement des frontières. La Région centrale (1971) sera l’une de ses oeuvres phares, marquée par les prouesses d’une caméra multidirectionnelle, conçue spécialement pour son tournage. Il invite le spectateur à tourner avec la machine, suivre son mouvement, encourageant ainsi une réflexion sur la réalité et vérité supposée de l’image. Snow approfondit notre conscience de la vision humaine. Son oeuvre se révèle dans l’expérience sensorielle, elle se trouve au coeur même des systèmes sensibles, des contrastes et des impressions, en en accentuant les distinctions. Snow trouve son inspiration dans une philosophie de l’esprit et du langage. Ses films sont des rituels de passage, entre la perception pure et sa représentation, des jeux conceptuels et extatiques sur le temps et l’espace. Si son oeuvre pouvait se définir, elle serait un immense film-essai. Évoluant constamment avec les mouvements technologiques, témoin de la mutation des médiums, sa créativité est autant marquée par un art visuel, le cinéma et le son, se faisant chacun complémentaire de l’autre. Son travail est marqué par l’empreinte d’un temps, de l’histoire de l’art, plus encore par celle de ses méthodes. Après avoir obtenu le prix Molson en 1979 et le prix d’excellence de l’IR AC en 1989. Il devient Chevalier de l’Ordre des Arts et des Lettres en France en 1995. Il est récompensé du Prix du Gouverneur général en Arts visuels et en Arts médiatiques au Canada en 2000. Snow aura eu une carrière des plus internationales, son oeuvre traversant les plus grandes institutions, comme la Tate Modern, au Royaume-Uni, cette année. De nombreuses rétrospectives auront eu lieu dont notamment en 1978 au Musée des Beaux Arts du Canada à Ottawa qui s’installera ensuite au Centre Pompidou à Paris, au Kunstmuseum de Lucerne, au Museum Boijmans Van Beuningen, Rotterdam; au Rheinisches Landesmusuem, Bonn; au Musée des Beaux-Arts de Montréal; à la Vancouver Art Gallery. Il exposera au Musée d’Art contemporain de Tokyo (1988), au Centre national de la photographie de Paris, au Centre pour l’image contemporaine de Saint Gervais et au MAMCO de Genève. Depuis les années 2000, il aura exposé à la Arnolfini Gallery, Bristol au Royaume-Uni, au MoMA de New York, à la Whitney Biennial, à la Albright Know Art Gallery, au Philadelphia Museum of Art aux Etats Unis. Une rétrospective de sa filmographie s’est également tenue au Toronto Film Festival, au Canada, en 2015.


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Produced from a concert that Michael Snow gave with his improvisation ensemble CCMC at Kunst-Werke in 2002, Reverberlin is the first work for which Snow, a filmmaker and musician, composed both the sound and image. Snow creates counterpoints and juxtapositions in the 2002 unmixed recording with images of CCMC playing throughout the world.


Friday

March 8
8pm

Screening
Louvre Auditorium
Rue de Rivoli - 75001 Paris / Subway: Palais-Royal Musée du Louvre, lines 1 and 7 / Pyramides, line 14
Free entry to all public on reservation
Pass and accreditation: priority accesss without reservation



"Auguries"

Thomas paulot: Le ciel des bêtes | Doc. expérimental | hdv | couleur | 35:49 | Suisse | 2018 see more
Maya schweizer: Insolite | Vidéo | hdv | couleur | 12:16 | Allemagne / Italie | 2019 see more
Stéphanie roland: Deception Island | Vidéo | 4k | couleur | 14:0 | Belgique | 2017 see more
Persijn broersen, Margit Lukacs: Forest on Location | Vidéo | hdv | couleur | 11:42 | Pays-Bas | 2018 see more
Jasmina cibic: NADA: Act III - The Exhibition | Vidéo | 4k | couleur | 16:20 | Allemagne / United Kingdom | 2017 see more
Thomas paulot
Le ciel des bêtes
Doc. expérimental | hdv | couleur | 35:49 | Suisse | 2018

Le chasseur ardennais part à la recherche d’images nocturnes grâce à ses pièges photographiques. L’astrophysicien au milieu du désert, utilise ses télescopes géants pour sonder les fins fonds du cosmos. Tous deux, à travers leurs territoires et leurs images partent à la quête de nouveaux mythes.

Thomas Paulot est né à Paris en 1991. Il obtient un Bachelor en fine art à Central Saint Martins de Londres lors duquel il développe une pratique interdisciplinaire principalement autour d’installations, de vidéos et de constructions scénographiques. Il dirige en 2016 un atelier avec des mineurs pluri-exclus à Paris durant lequel il réalise un film Au début du chemin de notre vie. Il coréalise le film Stardom lors de l’atelier Grand voyage à Bombay en Octobre 2016. il coréalise en 2017, Anarchie à Buchillon dans le cadre d’un atelier avec la Manufacture de Lausanne. Il sera diplômé du Master cinéma ECAL/HEAD en 2018 avec son film, Le ciel des bêtes.

Maya schweizer
Insolite
Vidéo | hdv | couleur | 12:16 | Allemagne | 2019

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Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts. She received international grants and most recently Project grant "Lieux de Mémoire and Desire",Kulturstiftung des Freistaates Sachsen, 2015. The Exhibition sponsor from the Institut für Auslandsbeziehungen, TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; “Art | Memory | Place”, Irish Museum of Modern Art, IMMA, Dublin Ireland, “Der sterbende Soldat von Les Milles”, Kuns

Stéphanie roland
Deception Island
Vidéo | 4k | couleur | 14:0 | Belgique | 2017

L’expédition antarctique belge (1897-1899) a été un épisode audacieux de l’exploration du continent blanc. Après avoir approché de nouvelles terres et fait de nombreuses découvertes scientifiques, le bateau se retrouve coincé dans les glaces, pendant près de treize mois. Durant cet hivernage forcé, le manque de lumière de la nuit polaire a causé des maladies, des dépressions et même des cas de démences, au sein de l’équipage. "Deception Island" est une oeuvre multidisciplinaire - entre performance, film et installation - qui explore la face invisible d’un mythe de l’exploration belge et développe la narration d’un non-voyage paradoxal. Cet épisode, amputé de l’histoire officielle, est rejoué silencieusement par des acteurs dans le site industriel du "New Belgica", qui est le projet de construction d’un nouveau bateau, réplique à l’identique du "Belgica" (le bateau original de l’expédition s’est échoué dans les fonds marins). A la fois source d’inspiration du projet, espace de performance et décor du film, ce squelette de bateau peut être considéré comme une métaphore de la reconstitution historique, toujours en évolution, fragmentée et incomplète. L’usage exclusif du travelling tout au long du film immerge physiquement le spectateur dans un univers flottant et hypnotique.

Diplômée de l’ENSAV - La Cambre en communication visuelle, Stéphanie Roland (1984, Bruxelles) a également étudié les arts des médias à l’UDK-Universität der Künste, dans la classe d’Hito Steyerl. De nombreux prix et bourses lui ont été attribués, notamment la bourse de la Fondation de la Vocation, le Prix Médiatine (public) et le Full Contact Award du festival international de photographie SCAN de Tarragone. Elle a aussi été nominée pour le Prix HSBC Photographie, le prix Oskar Barnack Leica, Le Grand Prix Images du festival de Vevey et le Salomon Foundation Award. Elle expose régulièrement son travail à un niveau international. D’Amsterdam à Buenos Aires, de Berlin à Los Angeles, ses projets ont été présentés dans des institutions majeures telles que le Musée Benaki, le Botanique, la Biennale Internationale d’Art de Kampala et le Bozar. Breda Photo, Belfast Photo Festival, Manifesto, Encontros da Imagem, MOPLA et Unseen font partie des festivals dédiés à la Photographie auxquels elle a pris part. En 2017, elle est sélectionnée dans l’exposition de groupe du Pavillon de l’Antarctique pour la 57ème Biennale de Venise. Elle y expose son installation vidéo "Deception Island".

Persijn broersen, Margit Lukacs
Forest on Location
Vidéo | hdv | couleur | 11:42 | Pays-Bas | 2018

Broersen and Lukács construct a replica of Białowieża primeval forest. Roaming this virtual forest is Iranian opera singer Shahram Yazdani, who performs his version of Nature Boy, echoing Nat King Cole’s hit, which originated there. In Forest on Location, nature is viewed as a mirror, reflecting our own perception.


Persijn BROERSEN (1974, Netherlands) is a visual artist. Together with Margit Lukács he makes video art, which is exhibited worldwide. They live and work in Amsterdam. Some pieces of their work are highly narrative, almost autobiographical, while others demonstrate how the media makes it impossible for the viewer to critically reflect on images. In 2016, their short film Establishing Eden was selected in IFFR`s Tiger Awards Competition for Short Films.

Jasmina cibic
NADA: Act III - The Exhibition
Vidéo | 4k | couleur | 16:20 | Allemagne | 2017

Composed of quotes drawn from political discussions on German national representation at 20th Century’s World Expositions, The Exhibition creates an original conversation between three allegorical positions. The Curator, the Artist and Germania become a reflection of ideological deliberation facing a practical scruple: how to create an exhibition of the nation’s best artworks in order to affect society. Including words drawn from the opening address at the German Pavilion at Barcelona EXPO 1929, Goebbels’ ideas on casting out women from politics and post 2WW soft power deliberations, The Exhibition merges political rhetoric to arrive at what seems to be the only solution that guarantees the success of capital: banning the audience. Filmed within the villas Haus Esters and Lange, that Ludwig Mies van der Rohe built for the Krefeld silk barons in 1920s, The Exhibition uses the architecture which itself served as soft power realised: a theatrical frame and pedestal that went on to establish Mies as the architect that paved way for the theatricality of the concept of nation state and its visual branding.


Jasmina Cibic (b. Ljubljana 1979) is a London based artist who works in performance, installation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. Jasmina represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. Her recent exhibitions include solo shows at: DHC/Art Montreal, BALTIC Centre for Contemporary Art Gateshead, Museum Haus Esters Krefeld, Aarhus 2017, Esker Foundation Calgary, Museum of Contemporary Art Zagreb, Museum of Contemporary Art Belgrade, Museum of Contemporary Art Vojvodina, MGLC Ljubljana and Ludwig Museum Budapest along with group exhibitions at MOMA NY, MUMA Monash Museum, CCS BARD, Guangdong Museum of Art China, Pera Museum Istanbul, La Panacee Montpellier, City Gallery Wellington, MSUM Ljubljana, MNHA Luxembourg, Joanneum Museum Graz and California College of the Arts. Cibic’s films have been screened at FIAC Paris, Pula Film Festival, HKW Berlin, CCA Laznia, Les Rencontres Internationales Paris, Dokfest Kassel and Copenhagen International Documentary Festival. Jasmina Cibic has been shortlisted for the Jarman Award (2018) and was the winner of the MAC International Ulster Bank and Charlottenborg Fonden awards (2016).


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Thomas Paulot films hunters from the Ardennes and astrophysicists in their respective territories. Both are searching for new myths through their territories and images. Maya Schweizer presents a series of non-narrative images of Vesuvius, in an enumeration of places under great tension, under surveillance and covered with lava. Stéphanie Roland examines the fragmentary nature of any historical reconstitution, while exploring the invisible side of a myth of the exploration of a country. At the end of the 19th century, the Belgica, the Belgian Antarctic expedition boat, was trapped in ice for over a year. Persijn Broersen and Margit Lukacs simulate Białowieża forest, one of the last primeval forests in Europe. Jasmina Cibic stages three allegorical figures in a Mies van der Rohe Bauhaus villa: an exhibition curator, an artist and Germania. Through their discussion they become a reflection of ideological discussions on art, the nation state and architecture used as soft power.


    March 5-10, 2019
    Detailed programme
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