2019 Berlin Programme
2pm    3pm    5pm    7pm    9pm    11pm
Friday

Aug. 23
2pm

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

Get together

We invite you to come for a coffee and listen to the invited artists who will discuss their work, research and ongoing projects with the Rencontres Internationales programming team. This is an informal and ideal opportunity to address the work of the artists in the programme before the screening.

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Friday

Aug. 23
3pm

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

"Architectures"

In the presence of Aurèle Ferrier.

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 | 2018 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 | 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.

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

Aug. 23
5pm

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

Focus on Romania

In the presence of Dan Mihaltianu, Pip Chodorov and Alexandra Gulea.

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 | Romania, France | 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

In the framwork of "Saison France-Roumanie 2019"

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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

Aug. 23
7pm

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

"Auguries"

In the presence of Maya Schweizer, Persijn Broersen and Margit Lukacs.

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 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.

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.

Friday

Aug. 23
9pm

Screening
Haus der Kulturen der Welt | Rooftop terrace *
* In case of bad weather, in Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: S5, S7, S9, S75, Hauptbahnhof station
Free entry

"Gender prototypes"

In the presence of Doireann O’Malley.

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

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


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

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

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


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

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

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


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

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

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


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

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

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


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


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

Friday

Aug. 23
11pm

Screening performance
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”.

    August 20-25, 2019
    Detailed programme
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