Paris 2019 Programme
2pm   4pm   6pm  6.30pm  8pm
Sunday

March 10
2pm

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



"Image-time"

María molina peirÓ: One Year Life Strata | Installation vidéo | hdv | couleur | 0:0 | 0 | 2018 see more
Daniel laufer: Colour Memory | Vidéo expérimentale | hdv | couleur et n&b | 13:13 | Allemagne | 2016 see more
Julie murray: Untitled (time) | Vidéo expérimentale | hdv | couleur et n&b | 15:30 | USA | 2018 see more
Ranko paukovic: 90 Seconds in North Korea | Doc. expérimental | hdv | couleur | 14:57 | Croatie / Pays-Bas | 0 see more
Azar saiyar: Monument of Distance | Vidéo | hdv | couleur | 6:57 | Finlande | 2018 see more
Sherko abbas: The Music of the Bush Era | Doc. expérimental | hdv | couleur | 7:3 | Iraq | 2017 see more
Lisa steele, Kim Tomczak: The Afternoon Knows What the Morning Never Suspected | Doc. expérimental | 4k | couleur et n&b | 21:0 | Canada | 2018 see more
María molina peirÓ
One Year Life Strata
Installation vidéo | hdv | couleur | 0:0 | 0 | 2018

During one year María Molina Peiró carried a wearable camera taking a photo every 30 seconds. The enormous collection of photos collected by the camera are shown in an online archive that instead of "remembering" creates a creative forgetting of the vast photo archive. One Year Life Strata proposes a visual metaphor of forgetting by transforming the digital images into what is likely the ultimate memory trace that will remain from us: The geological record. The project, in a sort of digital geology, mines the data from the strata and invite viewers to investigate one year of Maria Molina's life through an AI vision system, not concerned about personal memories but the collection of patterns and numbers they contain. In a society obsessed with recollection, data and monitoring One Year Life Strata addresses the disturbing territory of forgetting. Today that we have the tools to remember and archive almost everything, forgetting has become a term very close to death raising very similar fears. One Year Life Strata wants to overcome this fear and embrace forgetting in a game of time scales, where the speed of Digital Time is buried into a time difficult for us to grasp, the slow Deep Time.


María Molina is an audio-visual artist and filmmaker with a background in fine arts. She works in an open format mixing film, digital media and experimental animation. María Molina´s films and art works have been showcased in international museums like Haus der Kulturen der Welt (Berlin), EYE Film Museum (Amsterdam), MACBA (Museum of Modern Art Barcelona), Hong-Gah Museum (Taipei), Centre de Cultura Contemporània Barcelona (CCCB), MATADERO (Madrid) or Museum of Contemporary Art of Vojvodina (Serbia) among others. Her works has been featured in festivals like Rotterdam Film Festival, Art Futura (Barcelona), Taiwan Video Art Biennial, MADATAC (Madrid), VISS (Vienna International Film Festival) or Forecast Forum (Berlin). In her work she explores the increasingly blurred boundaries between material and digital realities. She is particularly interested in the convergences between different memory systems (from Geology to Digital Memory) and how the ubiquity and pervasive nature of Digital Technology is reframing our spatial and temporal perspective. Her films and installations often use metafiction, postproduction and geo-tools to unfold layered realities that connect humans, technology and nature. Her current research focuses on humanity's constant struggle with its temporal and spatial limitations, and how this struggle has driven civilisation and technology to change our relation with nature, time and our understanding of life itself.

Daniel laufer
Colour Memory
Vidéo expérimentale | hdv | couleur et n&b | 13:13 | Allemagne | 2016

The protagonists in the film move through spaces like the desert, the city and the gallery space. All are production spaces of the film and combining different layers of time and contexts with each other. The Film follows the history of the gaze. The focus is on the phenomenon of the afterimage. This so-called phi-effect makes film sequences following a strong color stimulus appear in a complementary color. The effect is based on the fact that the retina continues to briefly perceive an image after the light stimulus and merges it with the following image. The sound sometimes refers to the previously perceived film still in some instances, letting the words speak at a different position. The brain requires a moment to connect what is heard with what is seen. Furthermore, the afterimage links different levels of time, the past with the present moment, which in the next instant is already the past again.


Daniel Laufer is an artist, filmmaker and curator, lives and works in Berlin. He has studied at the HBK-Braunschweig. Laufer is a recipient of the grant of the Arthur Boskamp Foundation for Space concepts, Stiftung Kunstfonds and the Berlin Senat among other awards.His exhibitions include: Artists Space, NYC; KM Gallery, Berlin; Galerie Kamm, Berlin, Kunstverein Harburger Bahnhof, Hamburg; Schaufenster, Kunstverein f. d. Rheinlande und Westfalen, Düsseldorf; Fridericianum, Kasseler Kunstverein, Kassel; KW Institute for Contemporary Art, Berlin; Jewish Museum Berlin, Kunstmuseum, Bonn; Van Gogh Museum, Amsterdam; Irish Museum of Modern Art, Dublin.

Julie murray
Untitled (time)
Vidéo expérimentale | hdv | couleur et n&b | 15:30 | USA | 2018

Various reels of found 35mm movie film are pulled over a light box under the fixed gaze of video capture. Through veils of apparent motion, the movements of characters can be discerned and their motivations artfully speculated upon. An oblique tribute to Pere Portabella`s Vampir-Cuadecuc, narrative and plot in Untitled (time) are progressively subsumed in a switching and swaying abstraction to percussion rhythms crashed out on cymbals.


Julie Murray was born in Ireland and lives in the US. Her work has been included in many festivals including the New York Film Festival, Images, Rotterdam International Film Festival, and has been exhibited at the Whitney Biennial and more recently at Irish Film Institute/ AEMI Dublin. Her films are in the Academy of Motion Picture Arts and Sciences Film Archive, LA The Museum of Modern Art`s Film Archives, NY as well as the Whitney Museum of American Art. Prints of her 16mm films are also to be found in the Public Library`s Special Collections, New York. She likes this fact. Murray`s early super-8 films were selected for a National Film Preservation Foundation Award in 2014.

Ranko paukovic
90 Seconds in North Korea
Doc. expérimental | hdv | couleur | 14:57 | Croatie | 0

How do you shoot a documentary when you know that filming is not allowed? In 90 Seconds in North Korea, Ranko Paukovic filmed in slow motion, shooting secretly in 2-second intervals on a hi-speed camera that everyone else around him believed was an ordinary tourist stills camera. Each 2-second fragment created 20 seconds of slow motion footage. The result is a dreamlike yet breathtakingly normal montage of everyday street, road and beach life in a state that strictly controls what outsiders are allowed to see. A child plays with a toy car in the park, adults enjoy a game of cards in the park's picnic area; trucks drive along an empty road, the rays of the setting sun lend warmth to lush countryside, and a shower of rain falls on the streets of Pyongyang… As it was impossible to record any interviews or ambient sound, the soundtrack features a haunting and evocative sound design composed by the director, an accomplished sound editor. The pragmatic, necessary decision to shoot in slow motion lends the film a poetic quality: in Ranko's own words, "the form is born out of need".


Ranko Paukovic studied film at the Academy of Dramatic Art in his hometown of Zagreb, Croatia. After graduating, he worked as an assistant editor on large international co-productions. He moved to The Netherlands in 1991 and worked as a sound editor with prominent Dutch directors. In 1993 he set up his own sound studio, Editson, specialising in sound design, sound editing and film mixing for artistically ambitious projects. Still based in Amsterdam, Ranko is now in demand internationally. He has built up an impressive back catalogue of work including feature films, high-end television drama and documentaries. A few years ago, he made his debut as a director with the feature-length documentary Bijela Kuca (White House), about the unique white stone found on the island of Brac, Croatia and the people who earn a living from quarrying it. White House was shown at several international film festivals and broadcast by Croatian national television (HRT) and Al-Jazeera Balkans. His last documentary "The End of Darkness" about the last European female mine workers just premiered at Al-Jazeera Balkans Docs in Sarajevo. The film was supported by the Croatian Film Fund (HAVC). Ranko is also a visiting professor for the University of Zagreb, where he teaches sound design.

Azar saiyar
Monument of Distance
Vidéo | hdv | couleur | 6:57 | Finlande | 2018

Googoosh, a popular and loved Iranian-Azerbaijani singer, performs a version of the song Ayrılıq – Separation. The performance is from a 1970s television show and it has been copied several times from one videotape to another. Ayrılıq could be a love song but it is told that composer Ali Salimi (who as a young man had to leave Soviet Azerbaijan, move to Iran and leave many of his loved ones behind) wanted to make music about his sense of longing.


Azar Saiyar is Helsinki-based filmmaker and visual artist whose art has been shown at film and media art festivals, galleries, exhibitions, museums and from television. Currently she is working with a short film project called The Story of a Badly Behaving Child and Monument of Distance – a found footage piece on immigration and memory. She often uses archive materials and plays with images and words of collective memory to look towards the ways of looking, speaking, remembering, growing, conforming and telling stories. She also does collaborative works with other artists.

Sherko abbas
The Music of the Bush Era
Doc. expérimental | hdv | couleur | 7:3 | Iraq | 2017

The theme of music is represented by work of Kurdish-Iraqi filmmaker Sherko Abbas: The music of the Bush era. in a split-screen video, using footage shot by his sister, a cellist in the Iraqi National Symphony Orchestra, he demonstrates how in 2003 the US administration, instead of helping the orchestra to properly re-establish itself in Iraq, militarily airlifted the entire orchestra to Washington to perform once at the Kennedy Centre before President Bush. his film is critical of this futile propagandistic gesture, enacted in the shadow of the invasion in March of the year to promote neo-liberal values, and escape censure. The work was partially inspired by Slavoj Zizek's analysis in his Pervert's Guide to Ideology of the widespread ideological use of Beethoven's Ode to Joy from his Ninth Symphony.


Sherko Abbas Born in 1978, in Sulaymaniyah, Kurdish Autonomous Region, Iraq. Lives and works in United Kingdom. He studied Fine Art in Sulaymaniyah and graduated with Master of Fine arts at the Goldsmiths University of London in 2015. He employs the media of video, performance, text and sound in his practice dedicated to the sonic and visual memory and geopolitical situation of contemporary Iraq and Kurdistan in Particular. He has participated in many exhibitions including his work THE MUSIC OF BUSH ERA was Shown in last Iraqi pavilion (Archaic) in Venice Biennale 57th, the Bagdad mon amour in ICI Paris, Vernacularity, Alternativa International Visual Arts Festival in Gdansk, Poland and the Estrangement in showroom London, Freedom at the barricades? Vaxjo Art Hall, Vaxjo, Sweden.

Lisa steele, Kim Tomczak
The Afternoon Knows What the Morning Never Suspected
Doc. expérimental | 4k | couleur et n&b | 21:0 | Canada | 2018

The Afternoon Knows What the Morning Never Suspected. It is a 3-channel 22-minute work that opens with a brief history of the Vietnam War, assembled from historical documents and footage, and then proceeds to detail Canada's complicity in the conflict, drawing attention to the massive profit that Canadian companies made during this time. The work also references the American draft dodgers who settled in Canada in the late 1960s, creating a context for the connection to today with a mesmerizing drive down Yonge Street in 2017. It is an interesting time to re-examine Canada's self-view in relation to the Vietnam War: yes we took in the draft dodgers (the work makes ample reference to this) but we also profited from the war (in spite of the fact that these profits were strictly against our own laws). The work concludes with the on-screen presence of our two performers, each telling the other's life story: one a first generation Canadian, the child of a Serbian/Croatian marriage; the other born in Canada to Vietnamese immigrant parents.


Lisa Steele and Kim Tomczak have worked exclusively in collaboration since 1983, producing videotapes, performances and photo/text works. In 2009, Steele + Tomczak were awarded an Honourary Doctorate by the University of British Columbia (Okanagan); in 2005, a Governor General`s Award for Lifetime Achievement in Visual & Media Arts; in 1994 they received both a Toronto Arts Award and the Bell Canada prize for excellence in Video Art. They are co-founders of Vtape, an award-winning media arts centre established in 1983 in Toronto. Currently Steele is Artistic Director and Tomczak is Restoration and Collections Management Director. Both teach at the University of Toronto in The John H. Daniels Faculty of Architecture, Landscape, and Design. Major public art commissions include: Watertable (2009, and expanded in 2011) a light and sound installation under the Gardiner Expressway (a raised highway) that marks the original shoreline of Lake Ontario at the foot of historic Fort York; …bump in the night (Barrie) (2010) commissioned by McLaren Art Centre and installed in bus shelters; Falling Up (2006) a video work for the Winnipeg Art Gallery; Love Squared (2006) screened on the 2400 square foot video board at Yonge & Dundas Square in Toronto. A major survey of their work, The Long Time: the 21st century work of Steele + Tomczak, curated by Paul Wong (with a 84 page catalogue), opened at On Main Gallery and VIVO, Vancouver, BC in September 2012; the exhibition traveled to A Space Gallery, Toronto, ON (2013), the Art Gallery of Windsor, ON (2016-17), and Dalhousie University Art Gallery, Halifax, NS (2017). Legal Memory, their first feature-length work, has been shown in a number of film festivals since its release including: The Los Angeles Gay and Lesbian Festival, the Festival Internazionale Cinema Giovani (Turin, Italy), the Toronto Festival of Festivals and broadcast on TVOntario. In 1996, their work BLOOD RECORDS: written and annotated, received a world premiere at the Museum of Modern Art in New York and toured across Canada with a bi-lingual catalogue published by The Oakville Galleries. Recent solo exhibitions of their works have taken place at Anna Leonowens Gallery, Halifax, (2014); Le Mois de la Photo a Montreal (2011); WHARF Centre D`art contemporain, Herouxville-St. Clair, France (2010); Diaz Contemporary, Toronto (2009); Akademie Schloss Solitude, Stuttgart, (2009); Dazibao, Montreal (2008); the Canadian Cultural Centre, Paris (2003). Selected group exhibitions and screenings of their work include: Every. Now. Then. Reframing Nationhood, Art Gallery of Ontario (2017); Imago Mundi, Instituto Veneto di Scienze, Lettere e Arti, Venice, Italy (2017); La Biennale de Montréal, Musee d'art contemporain de Montréal (2014); Carbon 14: Climate is Culture, Royal Ontario Museum, Toronto (2013); STITCHES: Suzhou Fast Forward, Workshop, Toronto (2011); Empire of Dreams: phenomenology of the built environment at the Museum of Contemporary Canadian Art, Toronto (2010); a focus screening at EXIS: Experimental Film and Video Festival in Seoul, Korea (2010); the Berlin Film Festival, Forum Expanded (2009); Akbank Sanat, Istanbul (2009); TIFF (Toronto International Film Festival) Future Projections (2009); Sophia, Bulgaria at the Central Bath House (2008); a focus screening at Rencontres Internationales Paris/Berlin/Madrid (2006); Beyond/In Western New York, organized by Albright Knox Gallery, Buffalo (2005); Trivandrum Video Festival, New Delhi (2003); City of York Public Gallery, York, England (2000).


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María Molina Peiró has taken photos every 30 seconds for a year, creating a geological record focused not on personal memories, but on a collection of motifs, querying the fear of forgetting. Daniel Laufer films a protagonist in several places such as the desert, town and a gallery. The video alternates several levels of space and time, questioning the phenomenon of persistence of vision and the sense of the perceived. Julie Murray explores 35 mm film strips on a light box and videos them. Through veils that appear to be moving, movements are perceived, creating possible fictions. Ranko Paukovic prolongs several seconds of images filmed in North Korea. These snippets of everyday life seem to be from a dream. Azar Saiyar shows images of a famous Iranian singer in the 70s, Googoosh. She sings about love, separation and nostalgia. Sherko Abbas brings together fragments of video archives of his sister, a cellist, invited with the Iraqi National Symphony Orchestra to play before President Bush in 2003. Lisa Steele and Kim Tomczak question the history of the Vietnam War and examine the paradoxical role that Canada played in the conflict. Although a refuge for conscientious objectors, the country has however been blind to war profits made by certain companies.


Sunday

March 10
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



Special screening - Mariphasa

En présence de Sandro Aguilar.

Sandro aguilar: Mariphasa | Fiction | 4k | couleur | 87:0 | Portugal | 2018 see more
Sandro aguilar
Mariphasa
Fiction | 4k | couleur | 87:0 | Portugal | 2018

Paulo works as a night guard in a building site. He lost his daughter in dramatic circumstances and no regret would ever give him a sense of closure . He often sleeps in his lover`s house where he witnesses the repeated transgressions of an unstable neighbor. Everything threatens to crack.


Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema, in Lisbon. In 1998 he founded the production company O Som e a Fúria. His first fiction feature film was UPRISE (2008). MERCURY (2010) was in competition for the Tiger Awards for Short Films at IFFR 2011. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been screened in Torino, Belfort, Montreal, Clermont-Ferrand among others. Besides being a director, Aquilar is an editor and a producer. MARIPHASA is his second feature film.


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Sandro Aguilar films an enigmatic labyrinth where everything is at breaking point; the flip side of the world where everything converges. The obscure image cannot be determined. Paulo, working by night as a security guard on a building site lost his daughter in tragic circumstances and nothing can appease him. He often spends the night after his shift at the home of his lover, witnessing the repeated violations of an unstable neighbour. Through the looking glass the world stands still then it starts all over again.


Sunday

March 10
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



Special screening - Segunda Vez

In the presence of Dora García.

Dora garcÍa: Segunda Vez | Doc. expérimental | hdv | couleur | 94:0 | Belgique / Norvège | 2018 see more
Dora garcÍa
Segunda Vez
Doc. expérimental | hdv | couleur | 94:0 | Belgique | 2018

SYNOPSIS - Une phrase Segunda Vez se concentre sur la figure d’Oscar Masotta, dont les idées sur la psychanalyse, la politique et l’art a changé le paysage artistique du Buenos Aires des années 60 qui précédait la dictature. SYNOPSIS - Court Doria García mélange politique, psychanalyse et performance dans Segunda Vez (La deuxième fois). Ce faux documentaire se concentre sur la figure d’Oscar Masotta, un théoricien pivotante dans l’avant-garde argentine des années 50 aux années 70, sans pour autant se définir en tant que biopic. Le titre, Segunda Vez, puise son origine d’une histoire homonymique écrite par un contemporain de Masotta, Julio Cortazar, qui raconte le climat de psychose et d’incertitude causé par le trauma des disparitions en Argentine. SYNOPSIS - Long Doria García mélange politique, psychanalyse et performance dans Segunda Vez (La deuxième fois). Ce faux documentaire se concentre sur la figure d’Oscar Masotta, un théoricien pivotante dans l’avant-garde argentine des années 50 aux années 70, sans pour autant se définir en tant que biopic. Le titre, Segunda Vez, puise son origine d’une histoire homonymique écrite par un contemporain de Masotta, Julio Cortazar, qui raconte le climat de psychose et d’incertitude causé par le trauma des disparitions en Argentine. Dans Segunda Vez, García tisse une séquence de scènes d’apparences disparates qui se lient grace à l’acte de la répétition et de l’observation : des posters collés le long d’un mur annoncent leur propre transmission . Un message phantômatique dans une ville animée. Deux publics convergent à la cime d’une falaise, ils sont divisés dans leur connaissance du scénario auquel ils participent. Une personne, attachée de ses vêtements blancs et de cordes se voit être portée et laissée dans une forêt. La brève apparence d’un hélicoptère cause quelque peu d’excitation et de consternation. Un groupe de personnes pauvres et âgées est réuni sur un podium, payé pour enduré une lumière et du son violent pendant une heure pendant qu’un public les observe. Une bibliothèque réunit un groupe de lecteurs qui savent être observés. Suite à une série de convocations mystérieuses, des étrangers se parlent dans une salle d’attente, anticipant ce qu’il pourrait arriver. L’un d’entre eux vient d’être rappellé pour “la deuxième fois?.

Dora Garcià vit et travaille entre Barcelone et Oslo. Elle enseigne couramment à L’Académie Nationale des Arts d’Oslo et au HEAD de Genève, en Suisse. Elle est co-directrice des laboratoires d’Aubervilliers à Paris. Elle a représenté l’Espagne à la Biennale de Venise en 2011 et s’est représentée à nouveau en 2013 (évènements collatéraux). Elle a participé à la 56ème édition de l’Exposition Internationale d’Art de Venise, à la dOCUMENTA (13) et à d’autres évènements internationaux tels que le Münster Sculptur Projekts en 2007, la Biennale de Sydney de 2008 et la Biennale de Sao Paulo de 2010. Son travail est largement performatif et traite de questions relatives à la communauté et à l’individualité dans la société contemporaine. Elle explore le potentiel des positions marginales en rendant hommage à des personnages excentriques et à des anti- héros. Ces derniers ont souvent été au centre de ses projets cinématographiques, tels que The Deviant Majority (2010) et The Joycean Society (2013).


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Doria García intertwines politics, psychoanalysis and performance. This documentary-style film focuses on Oscar Masotta, an important theorist of the Argentine artistic vanguard in the 1950s-70s. Masotta’s ideas on Lacanian psychoanalysis, politics and art changed the Buenos Aires art scene in the 1960s, preceding the dictatorship that put an end to this vanguard. “Segunda Vez” comes from the eponymous title of a novel by Julio Cortazar, a contemporary of Masotta, depicting the climate of mass fear and uncertainty caused by the trauma of the disappearances in Argentina. Dora García combines seemingly disparate scenes that are however linked through repetition and observation: a spectral message in a disturbed town, two communities converging on a cliff, the brief appearance of a helicopter, a group of poor and elderly people gathered on a podium, a library where readers know they are being watched, a waiting room where a young man is called. He has to go back a second time.


Sunday

March 10
6.30pm

Performance
Centre Pompidou
Place Georges Pompidou - 75004 Paris / Métro: Hôtel de Ville, ligne 1 / Les-Halles, ligne 4 / Rambuteau, ligne 11
Entrance to the concert on reservation only
Live broadcast in the Forum of the Centre Pompidou: free access without reservation



The session is sold out. Booking for the performance of Michael Snow is closed. The performance will be Live broadcast in the forum of Centre Pompidou, in free access without reservation.

Care blanche to Michael Snow.
Solo piano concert

Part of Rencontres Internationales Paris/Berlin in collaboration with the film department of the Musée national d’art moderne, Centre Pompidou.

Michael Snow, Music for today | 00:30:00 | Canada |2019

The performance is in the museum exhibition space (permanent collection, 5th floor). Due to the limited number of places booking is essential for the concert.
Live broadcast of the concert in the Forum of the Centre Pompidou. Free public entry. Booking not required.

At the occasion of the piano concert of Michael Snow, the film collection department of the musée national d’art moderne presents the work 'A Casing Shelved' (1970) recently included in the collection. Conceived as an installation, the work is screened one time per hour (from 11AM to 8PM) in the screening room of the museum (permanent collection, 4th floor). Museum ticket is required, free for members.

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Michael Snow (born in 1929 in Toronto) started his career as a professional jazz pianist at the end of the 1940s before turning to painting, sculpture and film, developing an unspecified practice enjoying the freedom of various mediums. In 1967, he produced his first cinematic masterpiece, Wavelength, leaving a lasting mark on the history of formalism, Snow was able to declare in the facetious style for which he will always be remembered: “My paintings are made by a filmmaker, my sculptures by a musician, my films by a painter, my music by a filmmaker, my paintings by a sculptor, my sculptures by a filmmaker, my films by a musician, my music by a sculptor...that sometimes all work together. Furthermore, my paintings have largely been produced by a painter, my sculptures by a sculptor, my films by a filmmaker and my music by a musician. There is a tendency to purity in each of these media as separate undertakings.” Michael Snow, 1967, quoted in Michael Snow, exhib. cat. Paris, Musée national d'art moderne, 1979, p. 7.


Sunday

March 10
20h00

Screening, performance
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



Closing event + drink

You are all warmly invited to the closing evening, at the Louvre Auditorium from 8pm.

For its closing event, Rencontres Internationales Paris/Berlin invites you to discover a short film programme, followed by a multimedia concert by Thomas Köner, an international premiere.


Short film programme, in the presence of the artists
Zapruder filmmakersgroup : Phoenix. Amore brucio | colour | 0:12:00 | Italy | 2017
Christoph Girardet, Matthias Müller : Screen | colour and b&w | 0:17:30 | Germany | 2018

Thomas Köner - Live performance | 0:30:00 | Germany, France | 2019
Working at the crossroads between sound and visual arts, Thomas Köner, born in Germany in 1965, bestows his music with texture, colour, spatiality and a philosophical dimension. Composer of electronic and techno music and a producer, he creates live audiovisual performances and multimedia installations. His works invite the spectator/listener to venture into unknown territory where spatiotemporal data is subverted and perceptions heightened.

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    March 5-10, 2019
    Detailed programme
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