2019 Berlin Programme
1pm    3pm    5pm    7pm
Sunday

Aug. 25
1pm

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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Sunday

Aug. 25
3pm

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

"Defeated"

In the presence of Wiktoria Wojciechowska and Grzegorz Stefanski.

Wiktoria wojciechowska: Sparks | Doc. expérimental | hdv | couleur | 0:0 | 0 | 2019 see more
Mike hoolboom: 3 Dreams of Horses | Vidéo | 16mm | couleur et n&b | 5:30 | 0 | 2018 see more
Grzegorz stefanski: Restraint | Vidéo | hdv | noir et blanc | 1:0 | 0 | 2016 see more
Sergii sabakar: Outwards | Animation | hdv | noir et blanc | 2:25 | Ukraine | 2016 see more
Lina selander, Oscar MANGIONE: Diagram of Transfer No. 1 | Vidéo expérimentale | hdv | couleur et n&b | 8:30 | Suède | 2018 see more
Eshwarya grover: Memoirs of Saira & Salim | Documentaire | hdv | couleur | 13:40 | Inde | 2018 see more
Viet Hoai Son cao: Neon Sarcophagus | Doc. expérimental | hdv | couleur | 15:29 | Viet nam | 2018 see more
Wiktoria wojciechowska
Sparks
Doc. expérimental | hdv | couleur | 0:0 | 0 | 2019

Sparks is a multidimensional portrait of a forgotten but still raging contemporary European conflict: the war in Ukraine. Ukrainians are fighting each other, with government forces on one side and pro-Russian separatists on the other. Wiktoria Wojciechowska went in search of combatants and victims to recount its impact on the lives of ordinary people. The title, Sparks, refers to incandescent shrapnel that mercilessly pierces the walls of houses. Civilians living near the front call it ??????? or iskry, in Ukrainian. Looking up at a hail of burning fragments, they know it is already too late to seek shelter. The "sparks" signal death and fear. Combining photographs, collage, film, symbolic images of armed conflict with pictures and words collected from combatants, Sparks offers several perceptions of war.


Wiktoria Wojciechowska is a multimedia artist, working with photography, video, collage, installation and books. Born in 1991 in Lublin, Poland and graduated with honors from Academy of Fine Arts in Warsaw. Lives and works in Lublin and Paris. Wiktoria Wojciechowska was the 2015 winner of the Oskar Barnack Leica Newcomer Award for Short Flashes, portraits of drenched cyclists captured on the streets of Chinese's metropolis. Between 2014 and 2016, she accomplished Sparks, a portrait of the contemporary war in Ukraine, based on the stories of people living in a war-torn country. This series received several awards, such as Les Rencontres d'Arles 2108 New Discovery award's public prize, Madame Figaro prize and the Prix pour la Photographie, Fondation des Treilles. "Sparks" has been featured in numerous exhibitions such as Les Rencontres d'Arles 2018 in France; Jimei X Arles festival in Xiamen, China; Krakow Photomonth in Poland, The Museum of Photography in Riga, Latvia, Exhibition Bureau in Warsaw, Poland. Wiktoria Wojciechowska was also nominated for many prestigious grants such as Joop Swart Masterclass 2016, Unseen Young Talents, Lucie Foundation Emerging Artists, Visura Grant, Deutsche Börse Photography Foundation Prize (for the book Short Flashes) and Foam Paul Huf Award. She is a recipient of scholarships and grants of Polish Ministry of Culture and National Heritage and other institutions.

Mike hoolboom
3 Dreams of Horses
Vidéo | 16mm | couleur et n&b | 5:30 | 0 | 2018

Film is made out of gelatin that comes from horses. They’re waiting to be slaughtered, so that pictures can be made.


Mike Hoolboom is a Canadian media artist and writer.

Grzegorz stefanski
Restraint
Vidéo | hdv | noir et blanc | 1:0 | 0 | 2016

I created this work for Wola Museum in Warsaw. I was inspired by anonymous documentary photograph probably from 50` that puzzled me as very contemporary and unbelievably well staged as for a snapshot. I was thinking a lot about how language of “reality” changes over time and how it can be easily influenced reinterpreted. And then I relied that reenactments are very bodily reinterpretation of images, that they make individual bodies to be mediums of transformation meanings; and I realised that their growing popularity and superficial innocence frightens me. I decided to reenact this photograph I came across and asked members of historical re-enactment groups to do it. Later I also wrote accompanying essay in which I have put into words my interest in language of documentary in contemporary art


Grzegorz Stefanski, born in 1983 in Czluchow (PL), lives and works in Warsaw and London where he is currently an artist in residence at Sarabande Foundation. Before attending art school, he earned master’s degree in philosophy and made his artistic debut in with solo exhibition during Cracow Photomonth Festival in 2010. He concluded his artistic education at The Slade School of Fine Art in London and Miroslaw Balka’s Studio of Spatial Activities in Warsaw. In 2017 he won the Ivan Juritz Prize in London and the Grand Prix at the Biennale of Young Art in Poland. He has exhibited his works at the Whitechapel Gallery in London (2018), Museum of Modern Art in Warsaw (2018), Ujazdowski Castle Centre of Contemporary Art (2018), Manifesta 11 in Zurich (2016), Pastificio Cerere Foundation in Rome (2014) and the NY Art Book Fair at MoMA PS1 in New York (2010). He has collaborated, among others, with Nowy Teatr in Warsaw (2016), National Museum in Warsaw (2017), and Bunkier Sztuki Gallery of Contemporary Art in Cracow (2018).

Sergii sabakar
Outwards
Animation | hdv | noir et blanc | 2:25 | Ukraine | 2016

The source for the "Outwards" are the fragments of the found footages of the manifestations and conflict situations. There are plenty of them in the Internet now and sometimes difficult to understand what is going on. For the animation I choose the moments of aggression, it is not clear whether it is a defense or an attack, but all gestures directed from itself. Media is a reality where gesture, protest, and violence also take place. The similar, even equivalent acts we observe not always the evidences of equality of situations. So the question is not only about the limits of the screen, but also about the limits of understanding what we see.


Sabakar Sergii is born in 1982 in Sumy, Ukraine. From 1997 to 2001 he studied at the Sumy College of Art and Culture And from 2001 to 2007 he was student of the National Academy of Fine Art and Architecture at Kiev. Since 2007 he has been attending a post graduate course there. He is based in Kiev.

Lina selander, Oscar MANGIONE
Diagram of Transfer No. 1
Vidéo expérimentale | hdv | couleur et n&b | 8:30 | Suède | 2018

Artifacts from a Maoist life intersects with machines grinding books, the piecing together of destroyed DDR documents and children undergoing education. A comment on the earlier work “When the Sun Sets It’s All Red, Then It Disappears” from 2008.


Eshwarya grover
Memoirs of Saira & Salim
Documentaire | hdv | couleur | 13:40 | Inde | 2018

What happens when a family revisit a house they abandoned sixteen years ago? It wasn’t a decision where Saira & Salim had a choice. Would you be able to relive those delightful memories & conversations without the traumatic ones overpowering your emotions?


Eshwarya is a post graduate film student at National Institute of Design, India. She has studied architecture and believes that film is all about capturing the emotion of a space or creating a subconscious space and how people interact with it.

Viet Hoai Son cao
Neon Sarcophagus
Doc. expérimental | hdv | couleur | 15:29 | Viet nam | 2018

In a far away village Hai Hau of Vietnam, a group of Christians are building a spaceship to fly to the moon.


Cao Viet Hoai Son (Cao Viet Hoài S?n) was born in 1994, Hanoi, Vietnam. He was a film student in a collaborate course of Hanoi Academy of Theatre & Cinematography and Belgium Institut Supérieur des Arts. He is interested about human connections and inner desires


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Wiktoria Wojciechowska produces a multi-dimensional portrait of a contemporary armed conflict, the armed conflict in Ukraine between government forces and pro-Russian separatists. The title, Sparks, refers to smouldering shrapnel that penetrates the walls of the houses. Once seen it is already too late, the shrapnel represents fear and death. Mike Hoolboom uses extracts from old films with horses; the film is made out of gelatin that comes from horses. Horses are waiting to be slaughtered; then the film can be made. Grzegorz Stefanski re-enacts postures from documentary photographs in the 1950s. He asks the participants of the historical re-enactments to embody these gestures, therefore questioning the language of reality through time. Sergii Sabakar revamps and animates media images, questioning our vision. It becomes impossible to distinguish between gestures of attack and those of defence. Lina Selander and Oscar Mangione film artefacts from a Maoist life, intersected with machines to crush books shredding the writings of the former German Democratic Republic and schoolbooks. In India Eshwarya Grover documents the discussion between a couple returning to their old house, 16 years after being forced to abandon it. Viet Hoai Son Cao goes through Hai Hau, a small Vietnamese village, where a community is building a spaceship to go to the moon.

Sunday

Aug. 25
5pm

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

Special screening - Mariphasa

In the presence of 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

Aug. 25
7pm

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

Closing screening
Carte blanche to Claire Denis

Last year, Jean-Luc Godard's "Image Book" was the surprise, film screened in German premiere, at the closing of the 2018 Rencontres Internationales.
This year, for the closing of this 2019 edition, we warmly invite all of you to join us to discover a carte blanche to Claire Denis.


In the presence of Claire Denis.

Claire denis: High Life | Fiction | 4k | couleur | 110:0 | France | 2018 see more
Claire denis
High Life
Fiction | 4k | couleur | 110:0 | France | 2018

Monte est le dernier survivant d’un groupe de criminels envoyés en dehors du système solaire pour devenir les cobayes d’une expérience hors normes au lieu d’être condamnés à mort. Pour lui tenir compagnie, il n’a que Willow un jeune bébé né dans le vaisseau mais l’espoir d’être sauvé un jour semble de plus en plus vain.

Claire Denis est née en 1948 à Paris et a suivi son enfance et son cursus scolaire en Afrique et plus particulièrement au Cameroun. Elle suit les affectations de son père, administrateur colonial, et se déplace d’un pays à l’autre, notamment au Djibouti et au Burkina Faso. En 1968, elle retourne en France et intègre l’IDHEC dont elle sort diplômée en 1972. A sa sortie de cette école, elle commence sa carrière dans le monde du cinéma comme assistante réalisateur. Elle dit n’avoir jamais vraiment pu s’intégrer, se sentant étrangère, déracinée en France. Elle collabore avec Robert Enrico sur deux de ses films, Le Vieux Fusil et L’Empreinte des Géants. Elle travaille ensuite comme assistante de Wim Wenders pour deux de ses films, Paris Texas et Les Ailes du Désir. Puis viendra Jim Jarmush avec lequel elle travaillera sur son film Down By Law en 1986. Elle aborde l’écriture et la réalisation de Chocolat, son premier long-métrage basé sur sa propre histoire au Cameroun, avec les encouragements de Wim Wenders. En 1990, elle enchaîne avec S’en fout la mort et fait montre d’un cinéma intimement lié au corps, au travers d’une tension entre la forme cinématographique et la violence qui le compose. Après J’ai pas sommeil, avec Béatrice Dalle en 1994 et US Go Home en 1996, elle figure en 1999 avec Nénette et Boni un couple frère-soeur qu’elle conçoit comme un amour franc, sans dû, ne craignant plus la séparation de la relation amoureuse. En 1999 elle réalise Beau Travail, portrait de la légion étrangère à Djibouti ; en 2001, Trouble Every Day ; en 2002, Vendredi soir ; en 2004, L’Intrus ; en 2008, 35 Rhums et en 2010, White Material, tourné dans le Cameroun de son enfance. Son cinéma prône l’image avant les mots. Les dialogues restent secondaires, faisant ainsi toute confiance à l’image, à la scène, au cadre. Claire Denis a reçu de nombreuses récompenses le long de sa carrière. En 1988, elle est nommée pour le César du meilleur premier film pour Chocolat ; en 1996, le Léopard D’or et le prix du jury oecuménique du Festival de Locarno pour Nénette et Boni ; en 2010, le prix Henry Langlois pour 35 Rhums. L’année 2013 marque le retour de Claire Denis au cinéma et au Festival de Cannes. Elle y présente dans la sélection Un certain regard Les Salauds, film noir dans lequel elle dirige Vincent Lindon (dix ans après Vendredi soir) et Chiara Mastroianni. Quatre ans plus tard, la réalisatrice engage Juliette Binoche pour Un beau soleil intérieur. L’histoire se focalise sur Isabelle, divorcée, un enfant, en quête d’un vrai amour. Elle est à nouveau présente au Festival de Cannes avec High Life, rassemblant Juliette Binoche et Robert Pattinson pour une mission spatiale hors normes. Claire Denis a réalisé trois documentaires : Man No Run, Cinéastes de notre temps - dans lequel elle rend hommage à Jacques Rivette -, Vers Mathilde. Elle a également joué dans Vénus Beauté et En avoir ou pas.


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Monte is the last survivor of a group of criminals sent beyond the solar system to become the guinea pigs of an unusual experiment instead of being condemned to death. There is only Willow to keep him company, a young baby born in the spaceship. The hope of one day being saved seems to be increasingly in vain.

    August 20-25, 2019
    Detailed programme
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