2019 Berlin Programme
7 & 9pm 7.30 & 9.30pm 8.30pm 10 & 11pm 10.30pm 10.40pm
Tuesday

Aug. 20
7 & 9pm

Opening
Haus der Kulturen der Welt
7pm Vortragssaal | 9pm Rooftop terrace *
* In case of bad weather, the 9pm screening will be held in Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

Keynote + Opening screening

You are all warmly invited to the opening evening, starting at 7 pm, with free admission.

For its inaugural session, Rencontres Internationales Paris/Berlin invites you to discover a programme of 4 rare films in German première.

In the presence of Persijn Broersen, Margit Lukacs and Sebastian Diaz Morales

Persijn broersen, Margit Lukacs: Forest on Location | Vidéo | hdv | couleur | 11:42 | Pays-Bas | 2018 see more
Laura henno: Djo | Documentaire | 4k | couleur | 13:0 | France | 2018 see more
Soufiane adel: La lumière tombe | Fiction expérimentale | 4k | couleur | 9:23 | France | 2018 see more
Sebastian diaz morales: Multiverse | Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2018 see more
Persijn broersen, Margit Lukacs
Forest on Location
Vidéo | hdv | couleur | 11:42 | Pays-Bas | 2018

Broersen and Lukacs construct a replica of Bialowieza primeval forest. In this virtual forest is the avatar of Iranian operasinger Shahram Yazdani, who performs his version of Nat King Cole's 1948 hitsong Nature Boy, whose melody originated in Bialowieza. In Forest on Location, nature is viewed as a mirror, reflecting our own perception.


Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited for instance at the Biennale of Sydney (Australia), Rencontres internationales de la photographie d'Arles (France), Wuzhen Biennial Now Is The Time (China), Stedelijk Museum Amsterdam (Netherlands), FOAM Amsterdam (Netherlands), Antwerp contemporary art museum MUHKA (Belgium), Centre Pompidou (France), Shanghai World Expo (China), Kröller Müller (Netherlands)) and Casa Enscendida (Spain). Their films have been shown at various festivals including Oberhausen International Film Festival (Germany), LAForum (US), Kassel Dokumentar und Filmfestival (Germany), Rencontres Internationales Paris/Berlin (France/Germany), the New York International Film Festival (US), and Rotterdam International Film Festival and Amsterdam International Documentary Film Festival. Their film "Establishing Eden" was included in the 2016 Tiger Awards Competition for Short Films in Rotterdam Festival. In 2015, Stedelijk Museum Amsterdam acquired the site-specific work "Ruins in Reverse" (2015), specially made for the museum. Broersen & Lukács are represented by Galerie AKINCI, Amsterdam.

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

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

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

Soufiane adel
La lumière tombe
Fiction expérimentale | 4k | couleur | 9:23 | France | 2018

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.

Sebastian diaz morales
Multiverse
Vidéo | hdv | couleur | 10:0 | Pays-Bas | 2018

1-channel video / 2k format / 10min / 2018 Soundscore Berend Dubbe & Gwendolyn Thomas / Photography Niels Boon / Special effects Arjan van Drunen / Production Bart van Dam Produced with financial support of the Mondriaan Fonds The multiverse (or metaverse) is a hypothetical group of multiple universes including the universe in which humans live. Together, these universes comprise everything that exists: the entirety of space, time, matter, energy, the physical laws and the constants that describe them. The different universes within the multiverse are called the "parallel universes", "other universes", or "alternative universes". #3 Multiverse is part of a series of videos which are ultimately sequences of a whole. Both a concept and a blurred narrative. The latter is not explicitly delineated in the course of the series but it is intuited. The sequences generate, rather than a narrative, a concept. All these sequences are thought to be shown on separate screens. In large and small shapes, vertically and horizontally they spread into one or various spaces in different combinations resembling an aleatory puzzle which ultimately takes a more clear and narrative shape in one last sequence/installation. The serie Talk with Dust is composed of 8 video works and explores the idea of the fantastic or extraordinary. This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. For something to be fantastic, it is not enough to be different from the real: also (and above all) it is necessary to mix inexplicably with the real thing. In more philosophical terms we can say that the fantastic is not the other of the same but its alteration: not the contradiction of the real, but its subversion. That is why the cinematic condition of the fantastic, which on the other hand can serve as an exact definition, is not at all in the production of real or supernatural beings, but in the fact that they affect what is recognized as real and natural through a contagion of the other who comes to seize the same in person. The feat made by the fantastic cinema does not consist only in this visible manifestation of the real as another. These are duplicated, in fact, and apparently paradoxically, by the work of an invocation of the Real as such, considered in its effective and singular existence; and in a way that is in itself quite strange. 1 The effects on this and the rest of the works had been recreated entirely on stage without the use of postproduction editing. 1 Clement Rosset, El Objeto Singular, Editorial Sexto Piso, 2007


Sebastián Díaz Morales was born in Comodoro Rivadavia, Argentina, in 1975 and lives and works in Amsterdam. He attended the Universidad del Cine de Antín in Argentina from 1993-1999, the Rijksakademie van Beeldende Kunsten in Amsterdam from 2000-2001, and Le Fresnoy Studio des Arts Contemporains in Roubaix, France from 2003-2004. His work has been exhibited widely, including solo shows and presentations at Venice Biennale; Tate Modern, London; Center Pompidou, Paris; Miro Fundation, Barcelona; Stedelijk Museum Bureau Amsterdam; CAC, Vilnius; Le Fresnoy, Roubaix, France; Museum für Gegenwartskunst Siegen, Germany and group shows at De Appel, Amsterdam; Art in General, NY; Ludwin Museum Budapest, Bienale Sao Pablo; Biennale of Sydney; MUDAM, Luxemburg; Calouste Gulbenkian Foundation in Lisbon. His work is represented in numerous collections, including Center Pompidou, Paris; Tate modern, London; Fundacion Jumex, Mexico; Sandretto Foundation, Torino; Sammlung-Goetz, Munich; Fundacion de Arte Moderna, Museo Berardo, Lisboa; Kadist Foundation, San Francisco. He was a recipient of the Guggenheim Fellowship in 2009


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Persijn Broersen and Margit Lukacs simulate Białowieża forest, one of the last primeval forests in Europe. Laura Henno films a secret place in Mayotte seemingly governed by magic where men, nature and spirits share a special connection. Soufiane Adel follows the dialogue between a father and his son, in a future where the working class no longer exists. Sebastian Diaz Morales conveys the multiverse, a hypothetical group made up of potential worlds, including ours. Gathered together these universes are all encompassing: space in its entirety, time, matter, the laws of physics and the constants that characterise them. Here he examines the fantastic, defined as what is mixed up in an unexplained manner with the real thing.

Tuesday

Aug. 20
7.30 & 9.30pm

Opening
Haus der Kulturen der Welt | Room K1
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

"Contemporary Mythologies"

In the presence of Nadia Ranocchi and David Zamagni, Sara Pathirane, Jens Settergren and Ida Sønder Thorhauge, Katleen Vermeir and Ronny Heiremans.

Ghost Mountain Ghost Shovel collective: Hello Brother | Vidéo expérimentale | hdv | couleur | 3:49 | Taiwan / Thaïlande | 2018 see more
zapruder filmmakersgroup: Phoenix. Amore brucio | Vidéo | 4k | couleur | 12:0 | 0 | 2017 see more
Sara pathirane: Holding Clouds | Vidéo | hdv | couleur | 9:40 | Finlande / Chine | 2018 see more
piscine, Bergman & Salinas: Be A Pattern For The World | Vidéo | hdv | couleur | 5:48 | Danemark | 2018 see more
Lishan liu: Product ( VIDEO ) LISHAN ™ | Vidéo expérimentale | hdv | couleur | 2:20 | USA | 2018 see more
vermeir & heiremans: A Modest Proposal (in a Black Box) | Vidéo | hdv | couleur | 28:7 | Royaume-Uni | 2018 see more
Ghost Mountain Ghost Shovel collective
Hello Brother
Vidéo expérimentale | hdv | couleur | 3:49 | Taiwan | 2018

The unknown village exists when the residents blink. The scenery of nothing. The identity of no one. The relationship of the dream two. The breeze travels through the subtropics of the tropics. A museum of no-name rocks. Hypnotic symbolic acts. Some weight in the pocket. Magnetic boy, the fog, the breeze doesn`t walk.


Val Lee has been the director of Ghost Mountain Ghost Shovel Art Collective (2009-Now) and creates live art works that builds constructed ephemeral situations where the audience enters a poetic constellation of action script, installation, sound, hypnotic rhetoric, composite structure, mise-en-scène, and space. Their works currently focus on urban violence, political turmoil, body memories of the unusual state, and the diversified modes of psychological absorption and participation for public audiences. Through the continuous collaborations of friends from visual arts, performing arts, experimental music and activism, their interdisciplinary yet site-responsive works form some dialogue and resistance in a dream. "Hello Brother" is their only video.

zapruder filmmakersgroup
Phoenix. Amore brucio
Vidéo | 4k | couleur | 12:0 | 0 | 2017

At a novel workshop of the gods, Greek theater masks with Hollywood features are setting up a love engine. Phoenix. Amore brucio is the 7th of 12th episodes that Zapruder dedicates to the myth of Hercules.


ZAPRUDER is a group formed by David Zamagni, Nadia Ranocchi and Monaldo Moretti. It was founded in 2000 in Roncofreddo (Italy), where the collective’s headquarters still are. The group experiments in film, merging figurative, performative and cinematographic arts to provide a total visual experience, in the direction of a total visual experience. That’s the case with their ’chamber cinema’: video-installation projects where cinema and object are fused together, drawing on the technique of stereoscopic film ( or the illusion of three dimensions), as well as on expanded cinema. In 2011, Zapruder’s work received the 3D Persol Award at the Venice Film Festival. Along the years, the group has met Italian experimental theatre with productions in collaboration with Motus, Fanny & Alexander, Romeo Castellucci and Santarcangelo Festival. A large amount of their artistic process is dedicated to the sound design of their movies: the main soundtrack is made by performing foley effects and recording environmental sounds in order to produce a more dynamic and complex experience for the viewer. Their video installation Zeus Machine/Salita all’ Olimpo ( Zeus Machine/The conquering of Olympus) was awarded the Premio MAXXI 2016. Zapruder’s work has been presented internationally in festivals and performing arts venues: Venice Film Festival; Rotterdam Film festival; Rome Film Festival; Kurtzfilmtage Oberhausen; Biennale de l’image en mouvement, Geneva; Transmediale, Berlin; Netmage, Bologna; Triennale, Milan; Centre Pompidou, Paris. Among their solo exhibitions: Careof, Milan (2013); Galleria d’Arte Moderna e Contemporanea, Ferrara (2014); Marsèlleria, Milan (2014); Raum, Bologna (2014); Artopiagallery, Milan (2015); Kunstraum Walcheturm, Zurich (2015); Mega, Milan (2018), Gucci Garden, Firenze (2018). Among group exhibitions: Cineteca di Bologna, Bologna (2013); WRO Media Art Biennale, Wroclaw (2013); Aula Bunker, Rome (2014); PAC, Milan (2014); MAG Museo Alto Garda, Riva del Garda (2015); OCAT, Shanghai (2015); MAXXI, Rome (2016).

Sara pathirane
Holding Clouds
Vidéo | hdv | couleur | 9:40 | Finlande | 2018

Holdind Clouds depicts a choreography on Huangshan the Yellow Mountain in China. The mount Huang is famous from the old chinese shan shui – mountain-water ink paintings. Still now the landscape gathers people to witness it. The view itself is often covered in clouds, only a peak of a mountain hovering in the sight. Still a thousand photos are taken there daily. People pose for photos infront of the landscape. The rythm of gestures done by the visitors, the reaching out, pointing, holding the air and touching the mountains formulates a choreography for the mountain. Chilean composer Fernando Munizag’s piece Mi última palabra china (My last Chinese word) binds the poses into a broken language, an attemp to get hold of tones and diftongs hidden in the grayscale of the moving clouds. The music is based on discoveries Munizaga made in the field of phonetic analysis of Mandarin language. There is a constant movement, with rather simple materials and gestures. All the harmony of the piece is based on strings’ natural harmonics.


Sara Pathirane’s work deals with the tradition of landscape painting and the problematics of taking a picture. As shooting locations for her videos she uses nature areas known from movies and paintings, shifting between the everyday and the fiction. She works with video, painting and live-installations. Pathirane lives and works in Helsinki. She has studied in the Finnish Academy of Fine Arts and Accademia Albertina in Torino. Her works have been shown for example at Taiga-Space, Saint-Petersburg (2016), Colombo Art Biennale (2016) and Kiasma (2010, 2013).

piscine, Bergman & Salinas
Be A Pattern For The World
Vidéo | hdv | couleur | 5:48 | Danemark | 2018

Be a Pattern for the World is acollaboration between artist group Piscine (consisting of Mark Tholander, Jens Settergren & Ida Thorhauge) and the artist duo Aeron Bergman & Alejandra Salinas. Be a Pattern for the World circulates around the concept of the chameleon. The chameleon as an abstract machine: "The chameleon, maybe. It hovers, as a turbine. An object can be monitored better by the turbine. These days anything can be imitated." The chameleon most of all stands for shape-shifting and adaptability. Adapting patterns of a given environment, while at the same time creating new patterns in the given space. The ability of changing one's appearance as a response to one's surroundings. What can be seen and what cannot; blending in and standing out; becoming distinct while also becoming part of the given space. The chameleon is the abstract machine which initiates a production of subjectivity in the relation between the individual and the surroundings, the figure and the background, the shape and the pattern, as well as the singular and the univocal.


Piscine is an exhibition phenomenon that handles solo, group and collaborative situations: a hybrid apparatus that sometimes acts as an artist group and at other times acts as a curatorial unit. Current members are: Mark Tholander, Ida Sønder Thorhauge, and Jens Settergren. Aeron Bergman and Alejandra Salinas are an artist duo who co-founded Institute for New Connotative Action: an artist run initiative, and INCA Press.

Lishan liu
Product ( VIDEO ) LISHAN ™
Vidéo expérimentale | hdv | couleur | 2:20 | USA | 2018

Product ( VIDEO ) LISHAN ‘ is a series of three 30-second pseudo-ads by re-situating the 3 electronic devices for personal healthcare and beauty(a Clarisonic facial brush, a Philips air flosser and a Braun epilator) and interrupting the normal working of the “œmachinesâ”. The videos, loosely following the structure and aesthetic of the original product commercials, are aesthetically pleasing and entertaining. Subsequently, It entails the seductive irony of interwoven relationship among several spheres of commercial aesthetics, techno-fetishism and narcissism in contemporary consumerism. This series of videos has once shown in a screening in SVA Theater and arranged to play in between other artists` work, which functioned as TV commercials in terms of form. It conveys the artistâ’s satirical commentary on the attention span and art production strategies.


Liu makes video-based work. Her highly personal artistic practice, with a constant approach of de/recontextualization and conceptualization, reflects the globalized cultural environment accelerated by Internet (Techno-culture, consumption culture, pop culture and so on). Liu graduated from MFA Photography, Video and Related Media at School of Visual Arts. She has exhibited her work in both China and the US including Vacuum Gallery, Beijing(2017); Poor Image Art Center, online(2016); Rabbithole, New York; Flux Factory(2016); Fei Gallery, Guangzhou(2015); Shenzhen New Media Art Festival at The Value Factory(2014); Jinji Lake Art Museum, Suzhou(2014); Today Art Museum, Beijing(2014) and etc.

vermeir & heiremans
A Modest Proposal (in a Black Box)
Vidéo | hdv | couleur | 28:7 | Royaume-Uni | 2018

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…


The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)


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The Ghost Mountain Ghost Shovel collective produces collaborative performances involving symbolic acts, such as the wind crossing the tropics. Zapruder filmmakersgroup re-stage the Hollywood figure of James Dean as a contemporary Hercules. Greek theatre masks gather and grow in number. In “Holding Clouds” Sarah Pathirane choreographs self-representation around emptiness and landscape. Mass tourism entails thousands of photos suspended in the mist. The Piscine collective focuses on the chameleon, considered as an abstract machine adaptable to the environment and our times. Lishan Liu revisits the aesthetics of advertising, and presents technological fetishism in an ironic way. Katleen Vermeir and Ronny Heiremans discuss a new financial model with a lawyer, enabling a new ecosystem for the world of art to be generated. The museum buildings and their collections therefore generate additional profit, benefitting various stakeholders, investors, shareholders and workers in the art world. The lawyer’s assistant appears to take control of the artists’ house where the meeting takes place.

Tuesday

Aug. 20
8.30pm

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

Performance by Shahram Yazdani

in collaboration with Broersen & Lukács

Persijn Broersen and Margit Lukács commissioned Shahram Yazdani, an Iranian opera singer currently living in Berlin, to reinterpret Nat King Cole’s hitsong “Nature Boy” for their film “Forest on Location”. This film is centred on the last remains of primeval forest Bialowieza, of which they created a digital back-up.
“Nature Boy” was written by Eden Ahbez, a “Naturmensch’ who was inspired by the Wandervogel movement and lived below the L in the Hollywood Sign above Los Angeles. Later the melody was claimed by Herman Yablokoff, a Yiddish Broadway Theatre composer, who originated from a small town close to Bialowieza Forest. His song “Shvayg Main Harts”(Be Still My Heart), about a Russian immigrant living in America, is a lamentation of silent suffering.
Shahram Yazdani has created a Persian version of Nature Boy, in which a wise tree is talking to a wandering lost boy, as an antithesis to the often imperial relation with nature in Western culture.

Shahram Yazdani, in collaboration with Broersen & Lukács: [untitled performance] | 00:10:00 | Iran, Netherlands | 2019

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About Shahram Yazdani
Shahram Yazdani, born in 1986 in Iran (Kermanshah), is an opera singer currently living in Berlin. Growing up in Ahwaz with the opera records of his mother of Italian descent he learned to love Puccini and Verdi and many other great Italian composers. He studied music in Tehran and developed his singing technique with maestro Franco Tenelli who is a former opera singer and voice teacher in Georgia.
In 2017 he came to Berlin to pursue his career in Europe. He has performed both domestically and internationally in venues like Bethanien Berlin, FOAM Amsterdam, Heilig-Kreuz-Kirche Berlin, Iran (Tehran, Ahwaz, Shiraz) and Italy (Rome).
His compositional work and performance is featured in "Forest on Location", a film by Broersen & Lukacs, that is exhibited/ screened notably at Rencontres Internationales Paris/Berlin at Louvre auditorium in Paris, FOAM Amsterdam, Rencontres Internationales de la Photographie d'Arles, Rotterdam International Film Festival.

About Broersen & Lukacs
Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited for instance at the Biennale of Sydney (Australia), Rencontres internationales de la photographie d'Arles (France), Wuzhen Biennial Now Is The Time (China), Stedelijk Museum Amsterdam (Netherlands), FOAM Amsterdam (Netherlands), Antwerp contemporary art museum MUHKA (Belgium), Centre Pompidou (France), Shanghai World Expo (China), Kröller Müller (Netherlands)) and Casa Enscendida (Spain). Their films have been shown at various festivals including Oberhausen International Film Festival (Germany), LAForum (US), Kassel Dokumentar und Filmfestival (Germany), Rencontres Internationales Paris/Berlin (France/Germany), the New York International Film Festival (US), and Rotterdam International Film Festival and Amsterdam International Documentary Film Festival. Their film "Establishing Eden" was included in the 2016 Tiger Awards Competition for Short Films in Rotterdam Festival. In 2015, Stedelijk Museum Amsterdam acquired the site-specific work "Ruins in Reverse" (2015), specially made for the museum. Broersen & Lukács are represented by Galerie AKINCI, Amsterdam.

Tuesday

Aug. 20
10 & 11pm

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

"The Screening" (2019)

Outdoor screening performance by Ariane Michel

Due to the limited number of places, free tickets are to be collected on site during the evening at the information desk of the Haus der Kulturen der Welt.

Ariane Michel : The Screening (2019) | screening performance | 00:28:00 | France | 2007-2019

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The Screening is a performance that features a film. “One night, in a forest. Owls, furets, foxes... The usual activities of the beasts are disrupted by rays of lights: it’s a group of humans. They gather in front of a white surface onto which, when it’s dark again, shadows start moving.” This synopsis is both the narration of a performance, and the one of the film it features. An audience is guided into a forest by torchlight. They sit in a glade, before a screen, and a film projection starts. At first reminiscent of a wildlife film, as it progresses a certain continuity with the truth emerges, people having the feeling of watching themselves on screen. The film is a ‘mise en abyme’. Not quite a duplicate, it is rather a distorting mirror that stretches reality from behind the bushes.

About Ariane Michel
Ariane Michel was born in 1973 in Paris, where she lives and works. She studied at the École Nationale Supérieure des Arts Décoratifs in Paris, and developed her research at Pavillon - research lab of Palais de Tokyo. Whether she makes installations, performances or simple screenings, video (or film) is recurring in Ariane Michel’s work that intends to create perceptive experiences. Her work is shown in the contemporary art field as well as film world. Her films have been shown at Jeu de Paume national museum, FID Marseille, MoMA New York, Locarno International Film Festival, Anthology Film Archive, among other. Her feature film, “Les hommes”, that won the Grand Prize at FID Marseilles 2006, was released in 2008 in movie theatres. Her work was shown at Fondation Ricard, Shanghai Minsheng Art Museum, Museum of Modern Art of the City of Paris, Cartier Foundation for contemporary art, Centre Pompidou, Chengdu MOCA. In 2016, she directed “The forest of Gestures” at Cartier Foundation, an outdoor immersive audio experience. Her project “The Screening” was shown as at Art Basel 38, as well as in the Parc des Buttes-Chaumont in Paris during the Belleville Festival. For Rencontres Internationales Paris/Berlin 2019, she presents a new version of “The Screening”.

Tuesday

Aug. 20
10.30pm

Opening
Haus der Kulturen der Welt | Room K1
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

"Screen"

Christoph Girardet and Matthias Müller

As a counterpoint to the "Contemporary Mythologies" screening session, this film questions our fascination with projected images, the relationship between the viewer and the projection screen.

Christoph girardet, Matthias Müller: Screen | Vidéo | hdv | couleur et n&b | 17:30 | Allemagne | 2018 see more
Christoph girardet, Matthias Müller
Screen
Vidéo | hdv | couleur et n&b | 17:30 | Allemagne | 2018

"While he mused on the effect of the flowing sands, he was seized from time to time by hallucinations in which he himself began to move with the flow." -Kobo Abe Liminal zones. Floating particles. Fire, water, earth, air. Voices of fictional characters: sometimes suggestive, sometimes strict, leading the viewer away from the here and now. Who`s talking? The relationship between the hypnotized subject and the hypnotist is mirrored in the spectator`s relationship to the screen.


CHRISTOPH GIRARDET was born in Langenhagen, Germany, in 1966. He studied Fine Arts at the Braunschweig School of Art (Master´s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with Volker Schreiner beginning in 1994 and as of 1999 with Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York (2000) and the Villa Massimo stipend in Rome (2004). He lives and works in Hanover. MATTHIAS MÜLLER was born in Bielefeld, Germany in 1961. Müller is an artist working in film, video and photography. He is based in Bielefeld and Cologne, Germany. Studied Arts and German Literature at Bielefeld University and Fine Arts at HBK Braunschweig. Master’s degree. Since 2003, Professor in Experimental Film at Academy of Media Arts, KHM, Cologne. Müller organized numerous avant-garde film events such as the "Found Footage Film Festival" (1996 & 1999) and the first German festival of autobiographical films "Ich etc." (1998) and various touring programs. With his films and videos he has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin and Rotterdam. His work has also been featured in several group and solo exhibitions. His films and videos are part of the collections of institutions such as Centre Georges Pompidou, Paris, Museu d’Art Contemporani, Barcelona, Nederlands Film Museum, Amsterdam, Australian Centre For The Moving Image, Melbourne, Kunsthalle Bielefeld, the Goetz Collection, Munich, the collection of Isabelle and Jean-Conrad Lemaître, London, and Tate Modern, London.


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"While he mused on the effect of the flowing sands, he was seized from time to time by hallucinations in which he himself began to move with the flow." (Kobo Abe) Liminal zones. Floating particles. Fire, water, earth, air. Voices of fictional characters: sometimes suggestive, sometimes strict, leading the viewer away from the here and now. Who`s talking? The relationship between the hypnotized subject and the hypnotist is mirrored in the spectator`s relationship to the screen.

About Christoph Girardet
Christoph Girardet was born in Langenhagen, Germany, in 1966. He lives and works in Hanover. He studied Fine Arts at the Braunschweig School of Art (Master’s degree in 1994). Since 1989 he has produced video tapes, video installations and films, some of them in collaboration with Volker Schreiner beginning in 1994 and as of 1999 with Matthias Müller. He was awarded a stipend for the International Studio and Curatorial Program in New York and the Villa Massimo stipend in Rome. His work as been exhibited at Stedelijk Van Abbemuseum (Eindhoven) and MoMA/P.S.1 Contemporary Art Center in New York, Hanover Kunstverein and Sean Gallery New York, among others.

About Matthias Müller
Matthias Müller was born in Bielefeld, Germany in 1961. Müller is an artist working in film, video and photography. He is based in Bielefeld and Cologne, Germany. Studied Arts and German Literature at Bielefeld University and Fine Arts at HBK Braunschweig. Master’s degree. Since 2003, Professor in Experimental Film at Academy of Media Arts, KHM, Cologne. Müller organized numerous avant-garde film events such as the "Found Footage Film Festival" (1996 & 1999) and the first German festival of autobiographical films "Ich etc." (1998) and various touring programs. With his films and videos he has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin and Rotterdam. His work has also been featured in several group and solo exhibitions. His films and videos are part of the collections of institutions such as Centre Georges Pompidou, Paris, Museu d’Art Contemporani, Barcelona, Nederlands Film Museum, Amsterdam, Australian Centre For The Moving Image, Melbourne, Kunsthalle Bielefeld, the Goetz Collection, Munich, the collection of Isabelle and Jean-Conrad Lemaître, London, and Tate Modern, London.

Tuesday

Aug. 20
10.40pm

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

Mix live - Party
Mo Chan / DJ Kohlrabi (Team Pommes)

Mo Chan aka DJ Kohlrabi is exploring ocean of voice ∞ sound. Mo is VJ, swimming in colourful images. And there is Aiko Okamoto, playing within these identities, bringing visual art, music, space and people together.

https://mixcloud.com/mo_chan

    August 20-25, 2019
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