Berlin 2020 Programme
3pm   5pm   8.30   10pm
Thursday

Aug. 27
3pm

Exhibition + Live online
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Exhibition from 2pm to 8pm. Free admission at HKW (without registration)
To fulfil the distancing sanitary measures, you need to bring your own headphones to watch the works shown in the lobby. In case you forgot, headphones will be provided at the counter.
Live streaming in free access (without registration)

"Psycho artifacts"

Daniel cockburn: God's Nightmares | Vidéo | hdv | couleur et n&b | 5:20 | Canada / United Kingdom | 2019 see more
Yan tomaszewski: The Good Breast and the Bad Breast | Documentaire | 4k | couleur | 22:22 | France | 2019 see more
Mike olenick: The Cure | Fiction expérimentale | hdv | couleur | 19:35 | USA | 2017 see more
Sergio caballero: Je te tiens | Fiction expérimentale | hdv | couleur | 21:30 | Espagne | 2019 see more
Julie gasemi: Traunstein | Fiction expérimentale | 4k | couleur | 20:16 | Belgique | 2019 see more
Daniel cockburn
God's Nightmares
Vidéo | hdv | couleur et n&b | 5:20 | Canada | 2019

Even the all-powerful creator of the universe has bad dreams from time to time. In God's Nightmares, A panoply of film clips illustrate God's interior monologue, in which he muses about his recurring nightmare of being an everyman.


Daniel Cockburn is a Canadian filmmaker based in the UK. His shorts have been the subject of an internationally touring retrospective, his feature film script The Engineers received the TIFF Telefilm Canada Pitch This! prize, and his feature You Are Here (2010) played Locarno, Toronto, and Rotterdam, and 40+ other festivals. Called "a major discovery" by the director of the Locarno Film Festival, You Are Here won the Jay Scott Award from the Toronto Film Critics Association and the top prize at the European Media Art Festival, for "trend-setting media art". It has been compared to the work of Charlie Kaufman, Jorge Luis Borges, and Philip K. Dick. He is currently adapting Mark Vonnegut’s memoir The Eden Express into a feature screenplay, and creating a new one-man multi-screen live show which will premiere at the Flatpack Festival in Birmingham in 2020.

Yan tomaszewski
The Good Breast and the Bad Breast
Documentaire | 4k | couleur | 22:22 | France | 2019

2002, Palm Springs, Californie : une incroyable maison d’architecte est rasée au bulldozer par un individu qui venait de l’acheter 2,5 millions de dollars. Construit en 1962, ce "bijou moderniste" situé sur un majestueux terrain de golf en plein désert, fut conçu par Richard Neutra pour héberger une grande collection d’art moderne et contemporain. En puisant dans l’intérêt de Neutra pour la psychanalyse et dans les rumeurs d’une vendetta personnelle de l’acheteur, le film mène l’enquête sur notre désir de protéger et de détruire la beauté. En écho à la théorie psychanalytique de Melanie Klein, la maison devient l’incarnation du bon sein encourageant et protégeant la créativité, tandis que l’acheteur incarne l’envie du mauvais sein destructeur.

Yan Tomaszewski est un artiste franco-polonais travaillant à la croisée de la sculpture, de l’installation et du cinéma. Son travail a été présenté lors d’expositions personnelles, notamment au Musée Archéologique de Cracovie (PL), au Musée de l’Air et de l’Espace au Bourget (FR), au Centre d’art contemporain Kronika à Bytom (PL), au Middelheim Museum à Anvers (BE), à la galerie Asymetria à Varsovie (PL) ou à Primo Piano à Paris (FR). Il a participé à de nombreuses expositions collectives, notamment à Artience (Daejeon, KR), au Fresnoy Studio national des arts contemporains (Tourcoing, FR), au Prix Sciences Po pour l’art contemporain (Paris, FR), à la Galerie municipale Arsenal (Poznan, PL), à Chapter II (Séoul, KR), à la Fondation Hippocrène (Paris, FR), à Chalet Society (Paris, FR) au Centre Pompidou (FR), à Manifesta 9 (Genk, BE), à la Saline Royale d’Arc et Senans (FR). Ses films ont été présentés au FID Marseille (FR) et à DocLisboa (PT).

Mike olenick
The Cure
Fiction expérimentale | hdv | couleur | 19:35 | USA | 2017

A mom cries, photos fly, cats spy, and bodies collide in this sci-fi soap opera about people who are desperately searching for ways to cure their fears of loneliness. Dad is dying, mom can’t sleep, and Nancy is determined to find a photograph so she can forget something that she saw. Linda relives a past trauma and fears what might happen while she is away from home. Meanwhile, her boyfriend Mark entertains a mysterious stranger, who is secretly conducting a deadly experiment.


Mike Olenick’s perverse films focus on memories, reproduction, appropriation, transformation, and forbidden desire. His films have screened at Slamdance, Fantasia International Film Festival, Fantastic Fest, Palm Springs ShortFest, Hamburg International Short Film Festival, and the World Wide Video Festival; streamed on MUBI; and won awards at the Slamdance, Ann Arbor, Big Muddy, and Chicago Underground film festivals. For nearly fifteen years Mike was a video editor in the Film/Video Studio residency program at the Wexner Center for the Arts. He’s worked as an editor on projects for Guy Maddin (including “Keyhole” and “The Forbidden Room”), the Quay Brothers, Sadie Benning, and Lucy Raven, among others. Since 2003 he has edited numerous films for Jennifer Reeder including “A Million Miles Away,” which screened at Sundance. He also edited her feature “Knives and Skin,” which premiered at the Berlin Film Festival and is distributed by IFC Midnight. Projects he has worked on as an editor are in the collections of MoMA, the Guggenheim, the Whitney, and the Tate. Mike has an MFA in Photography from the Cranbrook Academy of Art. In 2016 he was awarded a fellowship at the inaugural Shudder Labs.

Sergio caballero
Je te tiens
Fiction expérimentale | hdv | couleur | 21:30 | Espagne | 2019

The road trip of a mother and her daughter through strange worlds. The daughter wants to kill herself and the mother will try to talk her out of it.


Sergio Caballero is the co-director and art director of Sónar, festival of music, creativity & technology. His creativity and artistic restlessness has manifested itself across many creative fields, such as the composition of electronic music, visual arts and conceptual art, cinema and has found its platform across the media in the ever controversial and powerful Sónar advertising campaigns.

Julie gasemi
Traunstein
Fiction expérimentale | 4k | couleur | 20:16 | Belgique | 2019

Claire découvre qu’elle apparaît dans un film de mauvaise qualité trouvé sur internet. Elle se voit à la fenêtre de sa maison, accompagnée d’un homme qu’elle ne connaît pas. Ils ont l’air amoureux. Elle décide de partir à la recherche de cet inconnu, vers Traunstein.

Julie Gasemi vit et travaille à Bruxelles. Originaire du Hainaut en Belgique.


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Daniel Cockburn depicts a nightmare about God, dreaming that he is an ordinary man. Yan Tomaszewski revisits the destruction of the “Maslon House”, a modernist gem in the middle of the Californian desert, designed by Richard Neutra in 1962 to accommodate a large modern and contemporary art collection. In 2002, the house was bulldozed by an individual who bought it for 2.5 million dollars. Reflecting Melanie Klein’s psychoanalytical theory, Neutra’s interest in psychoanalysis, and rumours of a personal vendetta led by the buyer, the film investigates our desire to protect and destroy beauty. Mike Olenick produces a science fiction soap opera, a sinister experiment under the watchful eye of a cat spy. A mother cries, photos are flying and bodies colliding. People desperately seek ways of dealing with their fear of loneliness. Sergio Caballero portrays a mother and her daughter on a road trip, en route to strange places. Julie Gasemi and Nicolas Dufranne trace the research carried out by a woman, Claire. She discovers that she features in a bad quality film on the internet. She sees herself in the window of her house, accompanied by a man she doesn’t know. They appear to be in love. She decides to set off in search of this stranger, towards Traunstein.


Thursday

Aug. 27
5pm

Exhibition + Live online
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Exhibition from 2pm to 8pm. Free admission at HKW (without registration)
To fulfil the distancing sanitary measures, you need to bring your own headphones to watch the works shown in the lobby. In case you forgot, headphones will be provided at the counter.
Live streaming in free access (without registration)

"Alter ego"

Yoann lelong, B.Forgeard: Bangoura | Doc. expérimental | hdv | couleur | 9:0 | France | 2019 see more
Myrthe baptist: Caresse | Vidéo | hdv | couleur | 6:40 | Belgique | 2019 see more
Saddie choua: Today is the Shortest Day of the Year But Somehow Hanging Around With You All Day Makes it Seem Like the Longest | Vidéo | super8 | couleur | 11:45 | Allemagne | 2018 see more
Che-yu hsu: Single Copy | Vidéo | hdv | couleur | 21:17 | Taiwan | 2019 see more
Benjamin ramÍrez pÉrez: Despair | Film expérimental | 16mm | couleur | 21:50 | Allemagne / Netherlands | 2019 see more
Yoann lelong, B.Forgeard
Bangoura
Doc. expérimental | hdv | couleur | 9:0 | France | 2019

Angela et Marius, deux jeunes étudiants, ont accompagné un jeune migrant lors de son arrivée en France. A travers leur récit, nous découvrons le périple de Bangoura, jeune guinéen ayant fui son pays lorsqu'il avait 17 ans. Sur une production musicale composée de samples (notamment extraits de musiques traditionnelles issues de différentes immigrations françaises), l'œuvre questionne la manière dont chacun de nous se réapproprie un fait, un événement ou un récit en en abolissant son contexte, son passé, sa connaissance et sa mémoire collective. Ainsi, la vidéo propose au spectateur de s’approprier l’histoire de Bangoura en reprenant son récit à la manière d’un karaoké. De cette manière, le récit relaté offre de multiples interprétations et peut aussi bien symboliser une génération de migrants cherchant à survivre, critiquer une société capitaliste ou les instituions, décrire le portrait d'une jeunesse française ou encore interroger la connaissance que nous avons de l’immigration française.

Artiste plasticien diplômé de l'ENSAM, Yoann Lelong trouve son inspiration dans la danse, la recherche scientifique et la problématique de l'exclusion. Il explore la vidéo comme moyen de retranscrire une réalité transcendée, mêlant la poésie réaliste de ses sujets à une réalité sociale fragmentée. Son passage par l'Ecole Normale Supérieure de Cachan le forme à la physique quantique, point de départ d'une démarche artistique qui irrigue l’ensemble de ses travaux, et donne à ses œuvres une lecture sous-jacente plus métaphysique. De sa collaboration avec Amos Poe, pionnier dumouvement new-yorkais No Wave, naît PERSON(A), installation vidéo où s'entrelacent vingt-trois portraits filmés au 16mm. Une œuvre poétique où les éléments se distinguent, se répondent, puis se fondent dans un flou indistinct. Cette 1ère œuvre illustre dès lors le rapport distancié qu’entretient Yoann Lelong au réel et qui le pousse, à chaque nouvelle création, à saisir l'instant sans filtre et sans interprétation pour retranscrire et sublimer les sujets à l'état brut. Les sujets deviennent matière, le tout rejoignant le tout. A l'issue d'une résidence artistique à bord du voilier Tara Méditerranée en 2014, il crée PerceptConcept, à l'image du mouvement ondulaire et répétitif de l'expédition maritime : les gestes de l'équipage épousent le va-et-vient de la mer, au rythme de sons mécaniques ou organiques. Par la suite, il s'interrogera sur l'essence d'une création et plus particulièrement sur ce qui en fait son unicité en collaborant avec la chorégraphe Anne Nguyen et le musicien Les Gordon (2015). Le mouvement gestuel et sonore apparaît ainsi dans le travail de l’artiste comme une composante clé de toutes ses créations. La recherche de l’unicité à partir de fragments épars constitue, pour l’artiste, un cheminement permanent, un questionnement métaphysique qui explore, chaque fois, un nouveau terrain de création, tantôt attaché à une réalité sociale, tantôt abstrait.

Myrthe baptist
Caresse
Vidéo | hdv | couleur | 6:40 | Belgique | 2019

The camera leads our gaze closely across the surface of photographs. Small details of different moments become part of a movement: the searching, caressing gesture of filming. Projected on two adjoined screens, the images move together, towards each other and away again. The gaze becomes tactile, connecting what is seemingly separated by time, by distance and by the borders of the photographic image.


Myrthe Baptist (BE, 1994) is an artist and filmmaker based in Brussels. She works mainly with moving image, often starting from photographs, notes, letters and archival material. She has obtained a Master of Fine Arts at KASK School of Arts in Ghent.

Saddie choua
Today is the Shortest Day of the Year But Somehow Hanging Around With You All Day Makes it Seem Like the Longest
Vidéo | super8 | couleur | 11:45 | Allemagne | 2018

Dans ses films, Saddie Choua combine son propre matériel cinématographique avec des images trouvées, des documents d’archives visuels et textuels, provenant de diverses sources, telles que la télévision nationale, des programmes de loisirs, des vidéos musicales et des magazines. Dans sa pratique, Saddie Choua se concentre sur le rôle de l’image en mouvement dans les loisirs et la politique et leur influence sur l’image commune de l’Autre. Dans certains de ses projets, elle introduit du matériel autobiographique pour rechercher le rôle entre elle et cet Autre. Dans ses films et installations, Saddie Choua simule la conception des médias de masse vus du salon, créant ainsi une situation familière pour transmettre de nouvelles images qui suggèrent les complexités de l’Autre. Saddie Choua montre les structures de pouvoir derrière l’industrie de l’image actuelle et les préjugés et malentendus qu’elles provoquent.

Saddie Choua a étudié la sociologie à la VUB de Bruxelles. Elle participe actuellement au projet international de recherche et de discussion intitulé “Décolonisation perverse”, à l’Akademie der Künster der Welt à Cologne. Saddie Choua a été invitée pour les expositions personnelles suivantes (une sélection) : Le Joli Mois de Mai, Ten Weyngaert, Bruxelles, 2017 ; The Chouas - Work in Progress, MU.ZEE, Ostende, 2016 ; Great News. J’ai été élu félin de l’année, WIELS, 2014. Ses œuvres ont également été présentées dans les expositions de groupe, festivals et projections suivants (une sélection) : Festival Concreto, Fortaleza, 2017 ; Montrez-moi vos archives et je vous dirai qui est au pouvoir, KIOSK, Gand, 2017 ; Je crois qu’il y a une confusion chez vous. Vous croyez que moi je veux vous imiter, Kaaistudio’s, Bruxelles, 2017 ; The Chouas - A work in progress Episode #3, Human(art)istic festival, Beursschouwburg, Bruxelles, 2016 ; L’acte de fixer le soleil, Zwart Wild, Gand, 2016 ; Biënnale de Marrakech, Marrakech, 2016 ; Festival d’égalité, Vooruit, Gand, 2015 ; Été de la photographie, BOZAR, Bruxelles, 2014.

Che-yu hsu
Single Copy
Vidéo | hdv | couleur | 21:17 | Taiwan | 2019

I deploy the technique of 3D scanning on the body of the first conjoined twins in Taiwan and use it as materials to reenact their memory from the youth. In this work, I explore the layer of biopolitics and the demonstration of one’s memory. The first conjoined twins underwent the separation surgery in 1979 and the whole surgeon process was broadcast on TV. In that period, Taiwan was under martial law. Therefore, this surgery was often interpreted as a metaphor for the relationship between Taiwan and China. Forty years later, I revisit the iconic figures and reconstruct the narration of their memory within personal and public experiences. Back in 1979, in order to rehearse for the separation surgery, the hospital invited an artist to make a cast of the conjoined twins. However, because it was difficult to control the babies during the molding process, the attempt to make a cast was unsuccessful. In this project Single Copy, I have re-casted the body of the now 43-year old Chang Chung-I, and also use 3D scanning technology to archive his body. The data from the archive are then used as sources for capturing memories from Chang’s earlier life.


Hsu Che-Yu was born in Taipei in 1985. Earning his master’s degree from the Graduate Institute of Plastic Arts, Tainan National University of the Arts. From 2019 to 2020, he began to join the post-academic research programme HISK (Higher Insititute for Fine Art). Hsu Che-Yu works as an artist who primarily creates animations, videos and installations that feature the relations between media and memories. What matters to the artist is not simply the history of events traceable through media, but also the construction and visualization of memories, be they private or collective. The exhibitions he once participated include: 2020“International Film Festival Rotterdam”(Rotterdam), 2019 “HUGO BOSS ASIA ART” (Rockbund Art Museum, Shanghai), “Pre-biennale screening program- Seoul Mediacity Biennale 2020” (Seoul Cinema, Seoul), 2018 “Shanghai Biennale: Proregress” (Power Station of Art, Shanghai), “London Design Biennale: Emotional States” (Somerset House, London), “Osmosis Audiovisual Media festival” (CCI Fabrika, Moscow), 2017 “Asian Art Biennial: Negotiating the Future”(National Taiwan Museum, Taiwan), “EXiS, Experimental Film And Video Festiva” (Sonje Art Center , Seoul), “ifva Festival” (Hong Kong Arts Centre, Hong Kong), 2016“Public Spirits” (Center for Contempoary Art Ujazdowski Castle, Warsaw), “Time Test: International Video Art Research Exhibition” (CAFA Art Museum, Beijing)

Benjamin ramÍrez pÉrez
Despair
Film expérimental | 16mm | couleur | 21:50 | Allemagne | 2019

DESPAIR works with cinematic reenactments, which are connected in an associative collage-like layering into an experimental film, taking Rainer Werner Fassbinder’s film of the same title from 1977 as its starting point. Drawing on and digressing from various complementary sources such as Fassbinder’s contribution to "Germany in Autumn", David Cronenberg’s "Dead Ringers", the 1970s "Mission Impossible" TV-series as well as cel-animation, the theme of the cinematic double is explored and questions of identity, identification and alienation are raised alongside an inquiry into the political and cultural legacies of the German Autumn.


Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009–2015. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.


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Yoann Lelong and B. Forgeard accompany Bangoura, a young Guinean who came to France at the age of 17 and was subsequently helped by two students. The video portrays Bangoura’s story like a karaoke, providing various interpretations that could equally symbolise a generation of migrants trying to survive or build up a picture of French youth. Myrthe Baptist offers a tactile approach, examining photographs the details becoming motions. Saddie Choua examines power structures that stand behind the images and stereotypes they generate. Che-Yu Hsu explores the history and memory of a man, a Siamese twin surgically separated from his brother as a baby, that he links to a political memory of Taiwan. The surgery to separate them was broadcast on television, in 1979, and regarded a metaphor of the relations between China and Taiwan, then under martial law. Benjamin Ramírez Pérez, starting from material derived from films by Fassbinder, David Cronenberg, and the film “Mission Impossible”, explores issues surrounding cinematic double exposure, identity, identification and alienation, while reflecting on the cultural and political legacy of Fassbinder’s film that was released in 1977, “Germany in Autumn”, a time when the Red Army Faction was committing crimes in Germany.


Thursday

Aug. 27
8.30pm

Open air screening + Live online
Haus der Kulturen der Welt | Rooftop
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission at HKW, registration required. In case of bad weather, the outdoor screening will be cancelled and will only be broadcasted live online
Live streaming in free access (without registration)



We remind that live streaming is free access, without registration. Please use the free booking system for the required registrations at HKW only.

"Public space"

Kavich neang: Dey thmey phlauv kouch | Fiction | 4k | couleur | 15:21 | Cambodge / Malaysia | 2018 see more
Jana schulz: Golden Boys (Igdir, Maravilla, Monterey Park) | Vidéo | hdv | couleur | 17:33 | Allemagne / USA, Turkey | 2018 see more
Maria morina: Youth Part II | Documentaire | hdv | couleur | 2:13 | Russie | 2019 see more
Tommy malekoff: Desire Lines | Vidéo | hdv | couleur | 15:43 | 0 / USA | 2018 see more
Thomas depas: Hasbannium | Fiction expérimentale | 16mm | couleur | 0:0 | Belgique | 2018 see more
Julie chaffort: Summertime | Doc. expérimental | hdv | couleur | 24:36 | France | 2018 see more
Kavich neang
Dey thmey phlauv kouch
Fiction | 4k | couleur | 15:21 | Cambodge | 2018

Phnom Penh at night. Three young hip-hop dancers drive a single motorbike and stop on a muddy deserted road. Nick leaves the others to look for an iPhone he heard was lost in the area. Piseth and Thy discuss their hopes and doubts, and Piseth shows his best dance moves. They meet Leakhena, a young female street vendor whose cart is full of colors. 


Kavich NEANG (b. 1987, Phnom Penh, Cambodia) studied music and dance at a young age before graduating in professional design in 2013. In 2010, he directed his first short film, A Scale Boy, as part of a documentary film workshop led by Khmer-French filmmaker Rithy PANH, who also produced his 2013 mid-length documentary film Where I Go. In 2014, he co-founded the independent production company Anti-Archive along with Davy CHOU, Steve CHEN, and PARK Sungho. In 2015, he directed his first two short fictions, Three Wheels, which premiered at Busan, and Goodbye Phnom Penh. A third short fiction, New Land Broken Road, premiered at the 2018 Singapore International Film Festival and won prizes in Kyiv, Tacoma, and Kaohsiung. Kavich NEANG has also joined Busan’s Asian Film Academy, Locarno’s Summer Academy, Talents Tokyo, Docs by the Sea, Luang Prabang Talent Lab, and Cannes Cinéfondation’s Résidence. His 2019 documentary, Last Night I Saw You Smiling, won the NETPAC Award at IFF-Rotterdam, the Special Jury Prize at Jeonju, Best Image at Janela do Recife and two awards at Tokyo FilmEx. His impending first narrative feature, White Building, is now in post-production.

Jana schulz
Golden Boys (Igdir, Maravilla, Monterey Park)
Vidéo | hdv | couleur | 17:33 | Allemagne | 2018


Der Titel Golden Boys leitet sich von den Golden Boy Promotions in Los Angeles ab. Sie nehmen junge Boxer unter Vertrag und organisieren monatlichen Kämpfe in der Stadt. Mit Golden Boys assoziiere ich eine Band, eine Gang oder eine andere Männergemeinschaft. Ich sehe das Boxen als eine Art Gemeinschaftsritual, junge Männer trainieren in kleinen Gruppen und sind als Sparringpartner körperlich eng verbunden. Mich interessiert ihr Zusammenschluss als eine Abgrenzung von ihrer Umgebung und als Eintritt in eine eigene Gegenwelt. Der Soziologe Loic Wacquant schreibt in seinem Buch Leben für den Ring. Boxen im amerikanischen Ghetto, dass die Sporthalle einer Entbanalisierung des Alltags gleicht. Mittels Trainingsroutine und Körpermodellierung bietet sie Zugang zu einer anderen Welt, in der sich Abenteuer, männliche Ehre und Prestige mischen. Gleichzeitig ist das Boxen eine der einsamsten und individuellsten Sportarten. Jeder steht allein im Ring, in minimaler Bekleidung. Der Körper ist das Kapital des Boxers, er wird eingesetzt im Kampf und unterliegt dabei einem hohen Verletzungsrisiko. Es ist eine Aufführung des Körperlichen auf erhöhter Bühne, umringt von Zuschauern. Hierin spiegelt sich die Sehnsucht wahrgenommen zu werden und der Wunsch, unsterblich zu sein. Boxen ist ein Kampf um Anerkennung. Wenn du ins Profigeschäft einsteigen willst, musst du es dorthin schaffen. In den USA, da bist du als Boxer noch wer, erzählt mir ein Protagonist aus Golden Boys Igdir. In dem Video begleite ich eine Gruppe junger Boxer aus Berlin zu Vergleichskämpfen in die Türkei. Die ersten beiden Szenen zeigen Alen Rahimic bei der Rasur, die ein Ritual vor jedem Amateurkampf ist. Den Amateurboxern ist es versagt mit Bart in den Ring zu steigen, weil er eine Verletzung im Gesicht verdecken kann. Im weiteren Verlauf sieht man die Jugendlichen bei ihren nächtlichen Treffen in der Hotellobby, die zu dieser späten Stunde von einem halb öffentlichen zu einem privaten Ort und somit zu einem Freiraum für die Gruppe wird. In Golden Boys Maravilla beobachte ich Andre Perez, Martin Urias und Raymond Otanes wie sie mal für mal eine steil ansteigende Straße in East Los Angeles hinauf rennen. Das road work ist Teil des Trainingsprogramms kurz vor ihrem Kampf in Mexiko. Am Ende der Straße steht – unscharf – eine Gruppe Männer, die an eine Gang denken lässt, die mit ihrer Präsenz das Viertel markiert und die Jüngeren vor äußeren Einflüssen abschirmt. Es sind die Trainer und Väter, die einer Kontrollinstanz gleich, ihre Zöglinge überwachen und hüten.We wanna keep them off the streets. Das Boxen soll ihre Söhne von der Straße fern halten. Gleichzeitig machen sie sich die Straße auf eine andere Weise zu eigen. Sie ist ihr Trainingsfeld. In Golden Boys Monterey Park ist Rico Ramos, ehemaliger Weltmeister im Bantamgewicht, einziger Protagonist. Er befindet sich in einer ‚gewohnten Ausnahmesituation‘, hat seine Wohnung und sein soziales Umfeld verlassen und lebt bei seinem Coach im Trainingscamp. In dieser letzten Phase vor dem Kampf wird sein Körper zur Rüstung und Waffe geformt. Mich interessiert der Moment der Isolation. Ramos sitzt wochenlang alleine vor dem Fernseher zwischen den drei täglichen Trainingseinheiten im Gym. Hier beobachte ich die Bewegungen des Körpers, Gestik und Mimik. Auf der Tonebene sind Stimmen und Musik aus dem Fernseher zu vernehmen. Es sind Fragmente, die eine Soundcollage ergeben, die zwischen Realität und Künstlichkeit changiert, ähnlich dem Körper im Raum, der sich in dem bunt aufflackernden Fernsehlicht bewegt. Das Boxen zeige ich in dem dreiteiligen Video nie explizit, vielmehr schwebt es wie ein Versprechen über den Köpfen der Protagonisten und ist verbindendes Element.

Jana Schulz (*1984 in Berlin) lebt und arbeitet in Berlin und Leipzig. 2018 schloss sie ihr Meisterschülerstudium bei Prof. Tina Bara an der Hochschule für Grafik und Buchkunst Leipzig ab. 2020 ist sie Teilnehmerin des Berlin Program for Artists, 2019 war sie mit einem Stipendium der Kulturstiftung des Freistaates Sachsen am International Studio & Curatorial Program in New York. 2018 erhielt sie das Villa Aurora Stipendium der Studienstiftung des deutschen Volkes und den Marion Ermer Preis. Schulz‘ Arbeiten wurden unter anderem im Eigen+Art Lab Berlin, bei Eigen+Art Leipzig, in der Anna Poterasu Gallery Bukarest, in der Kunsthalle Wien, im Museum der Bildenden Künste Leipzig und im Kunstquartier Bethanien Berlin gezeigt. Kommende Ausstellungen sind im Center for Photography Melbourne und im Kunstverein Bremerhaven. In ihren medienübergreifenden Arbeiten setzt sie sich mit Formen zwischenmenschlicher Kommunikation auseinander. In einer prozessualen Arbeitsweise beobachtet sie Strukturen und Dynamiken innerhalb sozialer Gruppen, reinszeniert einzelne Szenen und erweitert ihren dokumentarischen Ansatz um fiktive Elemente.

Maria morina
Youth Part II
Documentaire | hdv | couleur | 2:13 | Russie | 2019

Until the beginning of the 1990s, there were no rap artists in Russia and the Soviet Union. In the middle of the 1990s, a lot of boys throughout Russia started performing hip hop music, many of them had ended up working on factories in the former closed cities. Filmmaker asked several former hip-hop musicians, some still having factory jobs, to remember their old rhythms silently, and paired it with a spontaneous hip hop jam of young people living near the factories of Nizhny Tagil and Yekaterinburg on a second screen. Their voices dissolve like smoke in the back streets of Ural cities, gigantic open-air factories.


Maria Morina is a Russian photographer and filmmaker. She is one of the authors of a cross-media project that took 9 years to produce - Grozny: Nine Cities. It explores specific aspects of the aftermath of the two Chechen wars. It has won several international awards, including Calvados Awards for War Correspondents, 2014, and Luma Rencontres Dummy Book Award Arles, 2017. While working with different mediums on the Grozny: Nine Cities project, Maria has turned to film-making. Maria Morina?s first full-length documentary film, Don?t Press Stop, about Rap musicians in Nizhny Tagil, a gigantic open-air factory in Russia, was released in 2017. It was selected for Lussas Documentary Film Festival, France and Russian Open Documentary Film Festival Artdocfest in 2017. Maria Morina has participated in numerous exhibitions and festivals in Russia and abroad. Her works are held in the Les Rencontres d’Arles and The Open Society Foundation collections.

Tommy malekoff
Desire Lines
Vidéo | hdv | couleur | 15:43 | 0 | 2018

Over the course of eighteen months, artist Tommy Malekoff travelled extensively throughout the United States, filming arranged events as well as natural patterns occurring in one of America's most ubiquitous and banal open spaces – the parking lot. His video, titled Desire Lines, is a fifteen minute loop with orchestrated sound that cycles through moments of strange spectacle. These flat, concrete grids behave as stages for all types of activation and rituals, positing a location for expression and a future of meaning.


Tommy Malekoff, born 1992 in South Boston, Virginia, lives and works in New York, NY. His film Desire Lines was exhibited this January at Morán Morán Gallery in Los Angeles.

Thomas depas
Hasbannium
Fiction expérimentale | 16mm | couleur | 0:0 | Belgique | 2018

Un gamin sur overboard sillonne la campagne, une camgirl se prépare pour le show, un étranger se faufile parmi les camions pendant que résonne dans le donjon le spleen d’un gamer. Une série d’évocations impressionnistes dessinent des séquences elliptiques dans un désert métaphorique : Hasbannium. Cette fiction expérimentale a pour point de départ la Hesbaye, une région agricole de Belgique composée d'horizons découverts, sans forêt, ni cours d'eau. À travers ces paysages, des personnages évoluent dans un univers de signes et de sens confus. Quand la tentation de disparaître où l’absence à soi et au monde esquissent des motifs granuleux.

Biographie Thomas Depas est né en 1985. À travers sa pratique, il manipule l’image par des opérations mécaniques, chimiques et de transcodages, cherchant la manière dont elle se structure afin d’en révéler la physicalité. Formé à l’image pixel, modulable et reconfigurable à l’infini puis à l’image argentique dans une pratique de laboratoire. Il développe un langage par médiation, entre autre de l’outil, de la machine et de l’information. Il entretient une approche sensorielle aux textures de l’image mouvement – Films et Art Digital, investiguant les relations entre la technique et le vivant. Cursus Vit et travaille actuellement à Bruxelles. Après l’ESA Saint-Luc, option Art Visuel de l’Espace, il intègre l’HELB-INRACI (Haute école libre de Bruxelles - Institut de Radioélectricité et de Cinématographie), d’où il sort diplômé en Cinématographie en 2012. Il intègre ensuite d’une part le LABO bxl, collectif de recherche et d’expérimentation autour du médium film et d’autre part le FABLAB de l’IMAL ( Interactive Media Art Laboratory). Il est diplomé du Fresnoy - Studio national des arts contemporain en 2019.

Julie chaffort
Summertime
Doc. expérimental | hdv | couleur | 24:36 | France | 2018

Une trentaine de personnes qui ne se connaissent pas acceptent de voyager ensemble pendant 5 jours et de tourner dans un film sans scénario préétabli. Chacun tiendra son propre rôle, vêtu de costumes choisi par la réalisatrice. Portraits de familles, blagues, danse, roller, chants se dévoilent aux spectateurs sous le regard d’un cheval tranquille et bienveillant.

Oeuvrant dans les champs du cinéma et de l’art contemporain, Julie Chaffort s’intéresse tout particulièrement à l’immensité et à la vacuité des territoires naturels, à leur aspect désertique et délaissé ; ses films et vidéos sont habités par une certaine lenteur, invitant à l’écoute et à la contemplation, mais jouant aussi sur les registres de l’absurde, de la chute, de la surprise et du décalage. Pour Julie Chaffort, le cinéma est un médium dominant, naturel, qu’elle choisit très tôt de développer, à l’école des beaux-arts de Bordeaux où elle étudie, puis auprès de Roy Andersson qu’elle assiste, et de Werner Herzog dont elle suit le séminaire à sa Rogue Film School. En 2013, elle expose au Centre International d’Art et du Paysage de Vassivière Hot-Dog, moyen-métrage qu’elle y a réalisé la même année en résidence. L’année suivante, elle présente sa première exposition personnelle Jour Blanc au Centre Clark de Montréal, avec des installations vidéos et sonores créées in situ. En résidence à Pollen à Monflanquin 2015, elle réalise le moyen-métrage La barque silencieuse ; ce film, "aussi facétieux qu’émouvant, aussi déroutant que respectueux de tout ce qui s’offre à voir et à entendre" pour Jean- Pierre Rehm, est sélectionné en 2016 en compétition française et premier film au FID Marseille. Il est également projeté à la galerie Thaddaeus Ropac à Paris Pantin lors de l’exposition “Jeune création 66ème édition” et remporte deux prix indépendants, avec deux expositions à la clé, l’une pour la Progress Gallery, Entre chiens et loups, et l’autre pour la galerie du Pavillon à Pantin, Les cowboys (également selectionné au FID en 2017). Julie Chaffort remporte aussi en 2015 le prix Bullukian et crée Somnambules, une exposition personnelle présentée à la fondation. L’artiste a été lauréate du prix "Talents Contemporains" 2015 de la fondation François Schneider pour l’oeuvre Montagnes Noires et obtient la même année, le prix Mezzanine Sud et expose au Musée des Abattoirs de Toulouse. Le film La barque silencieuse entre en 2017 dans la collection du FRAC Aquitaine et la vidéo Nostalgia dans celle du FRAC Occitanie Toulouse. Julie Chaffort vient d’être lauréate du prix Mécènes du Sud Montpellier-Sète. et d’obtenir une bourse à la création du CNAP pour la réalisation de son projet vidéo PRINTEMPS.


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Kavich Neang films young hip-hop dancers in the streets of Phnom Penh. They discuss their doubts and hopes. Jana Schulz studies young boxers as they wait and rest. The sport fades into the background, to make room for a review of the physical codes of masculinity, the fragile individuality of the young men and their relationships with each other. In a city in the Urals, face to face Maria Morina films young people doing hip hop, and workers reminiscing about the 90s in an open air factory. Tommy Malekoff travelled around the United States for 18 months, filming car parks, typically the most banal and widespread places in public space. This flat concrete surface is home to all sorts of rituals and various expressions, an opening to future significations. Thomas Depas crosses the Hesbaye, an agricultural region in Belgium, and, in the mist of this horizontal landscape, a peri-urban tragedy takes place. In this metaphorical desert, now Hasbannium, a world of symbols and confused meanings, characters shift between reality and fiction. Julie Chafort takes thirty people for a five-day journey, to three different places, in a film without a script. Each to their own role, under the watchful eye of a quiet and kind horse.


Thursday

Aug. 27
10pm

Open air screening + Live online
Haus der Kulturen der Welt | Rooftop
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission at HKW, registration required. In case of bad weather, the outdoor screening will be cancelled and will only be broadcasted live online
Live streaming in free access (without registration)



We remind that live streaming is free access, without registration. Please use the free booking system for the required registrations at HKW only.

"Post society"

Soren Thilo funder: The Watchers of Malheur (TWEET TWEET) | Fiction expérimentale | 4k | couleur | 22:5 | USA / Denmark | 2019 see more
Lina selander, Oscar Mangione: Överföringsdiagram nr 2 | Film expérimental | 16mm | couleur | 10:30 | Suède | 2019 see more
Christin berg: Stille Ab Hier | Doc. expérimental | 4k | couleur | 11:31 | Allemagne | 2019 see more
Katja pratschke, Gusztáv Hámos: Cities (Territories & Occupation) | Doc. expérimental | 4k | couleur et n&b | 29:50 | Allemagne | 2019 see more
Stijn demeulenaere, Jan Locus: Murmur | Doc. expérimental | 4k | noir et blanc | 10:21 | Belgique | 2019 see more
Soren Thilo funder
The Watchers of Malheur (TWEET TWEET)
Fiction expérimentale | 4k | couleur | 22:5 | USA | 2019

A series of intense political events at a wildlife reserve in Oregon USA are the focus of The Watchers of Malheur (TWEET TWEET). The work combines reportage with speculative fiction, political events with extended periods of waiting, wild nature with a digital sensory apparatus, and filmic construction with virtual transience. Photo-realistic camouflage, a motion capture studio with a horse and a Berlingo car, vast expanses of the American landscape, fetishized optic tech, and a pitiable animated Twitter bird are just a few of the many layers that comprise the transrealistic story of armed combat between ornithologists and militia members on the borders of the Malheur National Wildlife Refuge.


Soren Thilo Funder is a visual artist working primarily with video and installation. His works are mash-ups of popular fictions, cultural tropes and socio-political situations, projections and histories. They are narrative constructions insisting on new meaning forming in the thin membrane negotiating fictions from realities. Invested in written and unwritten histories, the paradoxes of societal engagement and a need for new nonlinear narratives, Thilo Funder proposes spaces for awry temporal, political and recollective encounters. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He is currently a Research Fellow at The Art Academy - Department of Contemporary Art, University of Bergen. He has been artist-in-residence at ISCP in New York, Künstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. Previous exhibitions include solo presentations at Turku Museum of Art, Museum of Contemporary Art Zagreb, Tranen Contemporary Art Center, Overgaden – Institute for Contemporary Art and Den Frie - Centre for Contemporary Art, Copenhagen, as well as the duo show “Little Lies” with David Claerbout at Yarat Contemporary Art Centre. He was furthermore represented at the 19th Biennale of Sydney, eva International Biennial of Visual Art - “After The Future”, 12th Istanbul Biennial, Manifesta 8 – Parallel Events and 6th International Liverpool Biennial.

Lina selander, Oscar Mangione
Överföringsdiagram nr 2
Film expérimental | 16mm | couleur | 10:30 | Suède | 2019

Man sees himself as nature’s interpreter and tamer. But nature does not care about meaning, and its power cannot actually be controlled. It therefore remains silent in the face of man’s increasingly reckless experiment, the catastrophic effects of which will ultimately afflict man himself. The camera follows a panda at Schönbrunner Zoo surrounded by pictures of the Great Wall of China. Silently the panda holds a bamboo brush to paper, makes some marks with ink—pictures—and is rewarded with carrots. How shall we interpret this artistic gesture? The video proceeds to a control room at a never-used nuclear power plant that illustrates yet another despotic panorama, one with the same silence and latent violence. The images are transferred from one context to another, created and recreated in relation to one another. To question what it means is only human, but in the long run probably irrelevant. Text: Lisa Rosendahl


Lina Selander (b. 1973 in Stockholm) lives and works in Stockholm, Sweden. Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are explored and weighed. She examines relationships between memory and perception, photography and film, and language and image. Lina Selander’s solo shows include Kunst Haus Wien; Argos – Centre for Art and Media, Brussels; Iniva, London; Moderna Museet, Stockholm; VOX – Centre de l’image contemporaine, Montréal. She was the Swedish representative at the Venice Biennale 2015. A selection of her group shows include: The Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Belgium. ++++ Oscar Mangione (b. 1971) works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in numerous exhibitions, performances and projects in venues such as the Reykjavík Arts Festival, the Museum of Modern Art in Stockholm and the Venice Biennale.

Christin berg
Stille Ab Hier
Doc. expérimental | 4k | couleur | 11:31 | Allemagne | 2019

From now on silence is a short film in which we observe characters who wander through empty building complexes of a city. They are the survivors of a time that is not separated from their places. Auras and real people blur into a questionable constellation of figures. The venues are office buildings and a disused theatre before its imminent demolition. Obscure moments of encounters and the return of walking and coming alternate. Silence from here observes these sceneries and is thus a contemporary document of a place that no longer exists.


Born in Berlin, Germany. 1982. Christin Berg graduated as Meisterschülerin of film in 2015 of Städelschule. She studied at UCL, Slade fine art media department 2013-2014. 2008 Diplom in Scenography and Set Design from the University of Applied Sciences and Arts Hanover.

Katja pratschke, Gusztáv Hámos
Cities (Territories & Occupation)
Doc. expérimental | 4k | couleur et n&b | 29:50 | Allemagne | 2019

Cities (Territories & Occupation) is about "the city" divided into districts, neighborhoods, zones and domains, marked by inner-city borderlines. The film investigates how cities emerge and change through inclusion and exclusion, migration, decay, destruction, demolition, relocation, displacement. Urban territories, districts are characterized by different social processes, business relationships, power relations, private affairs. We wonder how urban territories are formed and why they change? Who controls the city or how do the inhabitants create free spaces? Who owns the city?


Gusztáv Hámos, born in Budapest, lives in Berlin, is a media artist, curator and author. His oeuvre includes video, film, photography and installation and has been exhibited at Documenta, Biennale Venice, ZKM Karlsruhe, Ludwig Muzeum Budapest. His videos and films have been shown at Tate Modern London, SFMOMA, Videobrasil Sao Paulo, Palais de Tokyo Paris, Ernst Muzeum Budapest and Art Basel Miami. His work is in the Collections of The Museum of Modern Art NY, Centre Georges Pompidou Paris, Múzeum Ludwig Budapest, NBK Berlin and ZKM Karlsruhe. Katja Pratschke, is a media artist, curator and since 2006 has organised photofilm seasons with Gusztáv Hámos with whom she has collaborated since 1998. Her films and installations have been shown at Ludwig Muzeum Budapest, Akademie der Künste Berlin, IndieLisboa and the 63th Mostra Internazionale d’Arte Cinematografica di Venezia. She has received various awards and grants: german short film award, travel grant of the Hessische Kulturstiftung, Artist-in-Residence Istanbul, Dhaka, Venice and Kolkata.

Stijn demeulenaere, Jan Locus
Murmur
Doc. expérimental | 4k | noir et blanc | 10:21 | Belgique | 2019

Brussels was built on a swamp. Today, only one tiny part of Brussels is still officially a swamp. Although continually threatened by development the area stayed intact, largely due to being ensnared between two railroad tracks. Further enclosed by high-rise social housing and industrial areas just behind these railroads, the swamp is a mix of damp prairies and patches of bushes and trees. It’s home to a lot of small wildlife such as birds, rodents, bats, amphibians and even ringed snakes. A small green oasis, in the middle of a concrete landscape. Murmur is a collaboration between film maker Jan Locus and sound artist Stijn Demeulenaere. Just before first light, Jan and Stijn recorded the dawn chorus at the swamp. The city drone permeates the sound of the swamp, and a strange mix enfolds between the sound of an awakening nature and a human presence. Urban drone and bird song merge into an (un)familiar murmur presence in the twilight hour of the morning.


JAN LOCUS The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. He had exhibitions at FOMU Antwerp, Noorderlicht Photo Festival Groningen, Iklectik Art Lab London, De Brakke Grond Amsterdam, and Les Rencontres d’Arles. His photography books include “Mongolia”, “De Bewegende Stad”, and “Devoted.” Jans films have been shown at film festivals including IFFR Rotterdam, DokFest Kassel and International Short Film Festival Oberhausen. He lives and works in Brussels. STIJN DEMEULENAERE Stijn Demeulenaere is sound artist and field recordist. He creates installations, soundscapes, performances, and does sound design for dance and theatre. Stijn researches the relationship between identity, sound and listening. His work was shown at, among others, Concertgebouw Bruges, NIMk (NL), Den Frie (DK), STUK (BE), Kaaitheater (BE), New adventures in Sound Art (CA), and IFFR Rotterdam. His work was nominated for the LOOP Discovery Award, the European Sound Art Award, and it won prizes at the Engine Room International Sound Art Award and the Musica Soundscape Award. He lives and works in Brussels.


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Soren Thilo Funder combines photo-reportage and speculative fiction, recounting the occupation of an ornithological reserve in Oregon in 2016 by extreme right-wing armed militia. Lina Selander and Oscar Mangione go from a zoo to the control room of a nuclear power plant. Human beings believe that they interpret and tame nature, but nature has no stake in interpretations. Christin Berg walks through buildings in Berlin earmarked for destruction. Katja Pratschke and Gusztáv Hámos explore cities – Hamburg, Istanbul, Delhi –, that are becoming places for exploring urban territories, spanned by various social processes and power relations, subject to change through inclusion and exclusion, migration, destruction and travel. In this anticipation of future events, produced in contemporary cities, the question is “who do the cities belong to?”. Stijn Demeulenaere and Jan Locus observe by night the last remaining natural area of marshland in Brussels, hemmed in between buildings and railways. In these marshes, sounds from the biotope blends with the first signs of human activity.