Berlin 2020 Programme
2pm   3pm   5pm   7pm 8.30pm   10pm
Saturday

Aug. 29
2pm

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)

"Sensing Bodies"

Christoph oertli: Sensing Bodies | Doc. expérimental | 4k | couleur | 48:0 | Suisse | 2019 see more
Christoph oertli
Sensing Bodies
Doc. expérimental | 4k | couleur | 48:0 | Suisse | 2019

Le film traite de l‘utilisation de nos corps dans un environnement parfaitement structuré et construit. Le film se penche sur une société hautement organisée et explore les questions de l'expérience corporelle active par rapport à l'état statique de l‘expérience virtuelle. A quelle distance de la nature l‘homme peut-il vivre?

1962* Winterthur/Switzerland, lives and works in Basel/Switzerland. education ZHdK Zürich, Graphic design; Swiss Television Zürich, stage design; FHNW Basel, audiovisual design. from 1995: videotapes, video installations, documentary videos, video for dance and theater. Works 1995-97 on cruise-ships around the world, lives 1998-2000 in Montréal/Canada and 2002-07 in Paris, 2008-16 in Brussels. 2000-02 lecturer for video Fachhochschule Vorarlberg/Austria. from 2004 guest lecturer HSLU Lucerne/Switzerland.


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Christoph Oertli observes the use of our bodies in a perfectly structured and built environment. The film looks at a highly organised society and explores issues surrounding the active engagement of the body in relation to the static condition of virtual experience, and at what distance man can live from nature.


Saturday

Aug. 29
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)

"The Phantom Menace"

Matti harju: Elä naura rakasta | Doc. expérimental | hdv | couleur | 7:10 | Finlande | 2019 see more
Walid siti: The Troubled Bear and the Palace | Doc. expérimental | hdv | couleur | 10:53 | Iraq | 2019 see more
Roy samaha: Sun Rave | Vidéo | hdv | couleur | 11:0 | Liban | 2018 see more
Anya tsyrlina, Sid Iandovka: Horizõn | Film expérimental | 35mm | couleur | 7:0 | Suisse / USA | 2019 see more
Ana María gÓmez lÓpez: Cosmos and Paleontology | Doc. expérimental | 4k | couleur et n&b | 13:20 | Pays-Bas / Colombia | 2019 see more
Graeme arnfield: The Phantom Menace | Vidéo | 4k | couleur et n&b | 36:32 | Royaume-Uni | 2019 see more
Matti harju
Elä naura rakasta
Doc. expérimental | hdv | couleur | 7:10 | Finlande | 2019

Connections, directions and boundaries blurred and reorganized. Bitten cake, flames, vodafone, compression, concrete and unassuming round shapes.


Matti Harju (b. 1978, Finland) has screened at the Rotterdam, Locarno, Torino, BFI London, Edinburgh, AFI FEST Los Angeles and Clermont-Ferrand festivals and elsewhere. He studied at National Film and Television School, UK and Academy of Fine Arts in Finland.

Walid siti
The Troubled Bear and the Palace
Doc. expérimental | hdv | couleur | 10:53 | Iraq | 2019

The Troubled Bear and the Palace. 11 minuets. Walid Siti 2019. At the 7,000 ft peak of the Gara mountains in Kurdistan of Iraq, the remains of Saddam's palace, built in 1989, still stand. 29 years later, in March of 2018, two caged bears were escorted by a group of local media and Kurdish women forces to be ceremoniously freed at the helipad adjacent to the palace. Having lived dependently and in captivity throughout its life, the bears struggled to survive in the wild. One vanished whilst the other was at the mercy of the personnel that guard the telecommunication towers erected at the palace. The surreal juxtaposition of the stressed bear and the dilapidated palace, set amongst the magnificent mountains, encapsulates the tragedy of the people of this land throughout history, from the time of Gilgamesh to the present.


Walid Siti (b. 1954, Duhok, Kurdistan-Iraq). After graduating in 1976 from the Institute of Fine arts in Baghdad, Siti left Iraq to continue his arts education in Ljubljana, Slovenia before seeking political asylum in the UK in 1984 where he now lives and works. The work of Walid Siti traverses a complex terrain of memory and loss, in a world, which for him has been a place of constant change. The narrative of Siti’s experience, of a life lived far from but still deeply emotionally connected to the place of one’s birth, is one he shares with many exiles.

Roy samaha
Sun Rave
Vidéo | hdv | couleur | 11:0 | Liban | 2018

This video explores childhood anecdotes heard around an apartment, which until 1989, when a major solar storm erupted, had been inhabited by a strange couple. Some suspected them of being undercover agents while others said they were just some new age sorcerers. The work addresses the relationship between layers of history, outstanding events in nature and ancient cyphering of language; how the cycles of the Sun’s unpredictable release of energetic flares affect the magnetic fields of the earth and influence radio transmissions, communication and reason on a mass scale.


Roy Samaha is a Lebanese artist, living and working in Beirut. He explores the boundaries of filmic language, perception of reality and the memory of personal objects.

Anya tsyrlina, Sid Iandovka
Horizõn
Film expérimental | 35mm | couleur | 7:0 | Suisse | 2019

"An unremarkable random 70’s newsreel from the artists’ hometown in the Soviet Siberia forms the substrate for a relentless exploration of the representational and narratological technics: without ever collapsing into a ‘story’ or abstraction, horizõn recants the relationship between analog and digital, surface and reference, sense and experience, past and present" (Thomas Zummer)


Ana María gÓmez lÓpez
Cosmos and Paleontology
Doc. expérimental | 4k | couleur et n&b | 13:20 | Pays-Bas | 2019

Before the 1957 launch of Sputnik, Ivan Efremov, a Soviet paleontologist and science fiction writer, had already written about humans traveling through interstellar space and recovering fossils in galaxies thousands of light years away. Cosmos and Paleontology interweaves this farseeing prose with archival and present-day material of persons, objects, and locations related to Efremov, such as the Paleontological Institute in Moscow, where he penned several short stories and novels. Cosmos and Paleontology explores Efremov’s ideas of deep space and deep time, combining prehistoric skeletons with cosmonaut relics, footage of dinosaur excavations in the Gobi Desert with Soviet cinematic adaptations of future space travel. At its core, Cosmos and Paleontology is a journey with a man who envisioned ancient Earth and the far reaches of the universe alike, defying the known limits of primordial life and death both in this planet and beyond.


Ana María Gómez López (b. 1981, CO/US) creates short films and durational works based on critical research in history of science. She has participated in exhibitions at the Rijksmuseum Boerhaave, Fonds d’art contemporain Genève, Universiteitsmuseum Utrecht, and the deCordova Sculpture Park and Museum, among other institutions. Ana María was a former resident at the Rijksakademie van Beeldende Kunsten (2017-2018) and completed her MFA at the Yale University School of Art.

Graeme arnfield
The Phantom Menace
Vidéo | 4k | couleur et n&b | 36:32 | Royaume-Uni | 2019

Welcome to the age of cosmic radiation! In 2021 the Sun fell to its lowest point of activity since the birth of science. Its magnetic waves that once shield the Earth dramatically weakened. During this solar lull powerful intergalactic cosmic rays penetrated our atmosphere. Originating eons ago from the explosive remnants of dead stars these silent, invisible and highly charged particles were only noticed in their affect - in what they did to our bodies and to the technologies we thought we could rely upon. Compiling stories from the recent past of interaction with cosmic radiation at ever descending altitudes, “The Phantom Menace” is a techno driven stroboscopic climate fiction film written in conversation with various Amazon warehouse workers. Initially inspired by the proposed plans for the U.S government to install their fragile predictive supercomputers deep underground in order to protect them from these upcoming ancient alien invaders, the film uses once costly low-resolution scientific visualizations produced on these supercomputers to speculate on the role of image labour in the subterranean near future. Planes crashing, computers malfunctioning and elections going haywire - these were just the prequel to the future.


Graeme Arnfield (b. 1991, UK) is an artist filmmaker & curator living in London, raised in Cheshire, UK. Producing sensory essay films from found often viscerally embodied networked imagery his films use methods of investigative storytelling to explore issues of circulation, spectatorship and history. Research topics have included: the politics of digital networks, the material distribution of ecological matter such as peat and asbestos and the adaptive circulation of global and local histories. His work has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Berwick Film & Media Arts Festival, Sonic Acts Festival, European Media Arts Festival, Transmediale, IMPAKT Festival, Kasseler Dokfest, Plastik Festival, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA), Berlinische Gallerie, Signal Gallery, Whitechapel Gallery and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University and recently completed a film with FLAMIN.


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Matti Harju reorganises what is familiar to us into many connections, directions and blurred boundaries. High in the mountains in Kurdistan, Walid Siti films the release of a bear into the wild, in proximity to where Saddam Hussein had a palace built. The juxtaposition of the released wild animals with this abandoned building sums up the tragedy of this region’s inhabitants, from Gilgamesh until now. Roy Samaha revives an anecdote heard during his childhood: when a strange British couple arrived, the man and woman were alternately accused of being undercover agents, or spiritualists practising odd rituals. They disappeared during a solar storm, perhaps impacted by changes in the geomagnetic field. Anya Tsyrlina and Sid Iandovka resume newsreels filmed in the 70s in Siberia, in their hometown. This re-organisation lays the foundation for relentless exploration of past and narrative mechanisms. Graeme Arnfield prefigures the future. Magnetic waves no longer protect the Earth, cosmic rays penetrate the atmosphere, unbalancing our bodies and the technology thought to protect us. This stroboscopic and techno fiction incorporates snippets of conversations among Amazon employees and American government documents the intention of which was to bury supercomputers to protect them from any risk of invasion.


Saturday

Aug. 29
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)

"Deep Fake"

Filip markiewicz: Fake Fiction | Fiction expérimentale | hdv | couleur | 26:7 | Suisse | 2018 see more
Alan segal: Key, Washer, Coin | Doc. expérimental | 4k | couleur | 15:0 | Argentine | 2018 see more
Roswitha schuller, Markus Hanakam: The Emblematic Cabinet | Doc. expérimental | 4k | couleur | 11:39 | USA | 2019 see more
Zachary epcar: Billy | Fiction expérimentale | 16mm | couleur | 8:3 | USA | 2019 see more
Warren neidich, Assistant Director Ashiq Khondker: Pizzagate - From Rumor To Delusion | Vidéo | hdv | couleur | 20:20 | Allemagne | 2017 see more
Émilie brout, Maxime Marion: b0mb | Vidéo | hdv | couleur | 9:58 | France | 2018 see more
Filip markiewicz
Fake Fiction
Fiction expérimentale | hdv | couleur | 26:7 | Suisse | 2018

Fake Fiction is initially a theater play that became a film produced in 2017 by the Theater Basel. Filip Markiewicz wrote the dialogues in reference to the events that happened during the period of time, the terror attacks, the European mirgant crisis and the rise of populist movements and fake news...


Luxembourgeois d’origine polonaise, Filip Markiewicz (né en 1980) est un artiste multidisciplinaire qui s’ex- prime à travers différents médiums, dont le dessin, la vidéo et l’installation. Toujours en quête d’explications à nos vies quotidiennes, il explore l’omnipré- sence des images et met en perspective le message qu’elles véhiculent. Il soumet l’actualité à une approche critique et politique et, partant, souligne la vacuité de notre monde en surproduction visuelle où l’information devient la réalité plutôt que l’inverse. En 2015, Markiewicz a représenté le Grand-Duché de Luxembourg à la 56e Biennale de Venise avec Paradiso Lussemburgo.

Alan segal
Key, Washer, Coin
Doc. expérimental | 4k | couleur | 15:0 | Argentine | 2018

“Key, washer, coin” is a video piece that combines techniques from the reenactment, animation, music, and other fields to ruminates towards language and capitalist exchange. The formal and semantic languages of advertisements are dissected, breaking the marketing model down to its component parts, highlighting the complex capitalist infrastructure that fuels our economic reality. Advertisement shorts, graphic design pieces, marketing texts are rarely mistaken for art. That is due to a congenital wound: those forms cannot cover up their commercial nature, the evident and immediate presence of the money. The invisible hand of these disciplines is the labor of scientists, formal semantic researchers, cryptographers and engineers. By learning from these disciplines is it possible to create an original flowchart of resources; simultaneously critical, persuasive and disillusioning outcomes/pieces are expected.


Alan Segal is a Buenos Aires-based artist whose work has been shown nationally and internationally. Segal’s video work has been presented at film festivals such as the New York Film Festival, Viennale, Rencontres Internationales Paris/Berlin and, Mar del Plata International Film Festival. Among his recent group exhibitions are include Praising the surface at the Hesell Museum of Art (New York, USA), To push an ism at MAMBA (Buenos Aires Museum of Modern Art, Argentina), The Kitchen (New York, USA), A word is a shadow that falls on a lot of things at Ausstellungsraum Klingental (Basel, Switzerland), Desarticulaciones at Blau Projects (São Paulo, Brazil) and Variaciones sobre lo no mismo at MACBA (Buenos Aires Museum of Contemporary Art, Argentina). He also shows his work in international biennials; Visual Resonances at the BIENALSUR (the South America contemporary Art Biennial) and Draft Systems at The WRO Biennale (Wroclaw, Poland). As a film editor, Segal teamed up Gastón Solnicki for the films Kékszakállú (Argentina/Uruguay, 2016) and Introduzione all ‘Oscuro (Argentina/Austria, 2018). For his work in this film, he won the FIPRESCI award for the Best Editing at the Venice Film Festival. Segal studied at ENERC (Argentine National Film School), Skowhegan School of Painting and Sculpture (USA) and, UTDT Program for Artists (Argentina). He received his MFA from Bard College (USA).

Roswitha schuller, Markus Hanakam
The Emblematic Cabinet
Doc. expérimental | 4k | couleur | 11:39 | USA | 2019

More recently, the artist duo has looked at the artistic practice of the emblem. This is to consider an emblem as a variety of being a symbol, a trick, or a figure of thought. By so doing, Hanakam & Schuller rely on their profound examination of the formal language of everyday objects, liberating these from their context or their supposedly mysterious meanings. Inspired by the “Building Duke” research, Hanakam & Schuller worked on Duke University’s (Durham, NC) variety of architectural forms during their stay in spring 2019. In other words, the idea is to develop a short film featuring both physical architectural details of the campus buildings, and also virtually twisting these by means of a playful range of emblems.


Markus Hanakam (1979) and Roswitha Schuller (1984) both studied at the Universtiy of Applied Arts in Vienna. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Rencontres Internationales at Haus der Kulturen der Welt, Berlin and Palais de Tokyo, Paris, Eyebeam Center for Art and Technology, New York, , SIGGRAPH 2012 Los Angeles, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011 among others. Recently they have been visiting artists at Duke University, Durham, NC. The artefacts made by the two artists who live in Vienna are often shape-shifters, changing their exterior forms and reappearing in different contexts. As artists and researchers they are engaged in restructuring the visual art rulebook and building up idiosyncratic systemic orders and new visions of the world in their videos and objects. In the process they reflect and make ironic various historical and contemporary artistic strategies as well as their means of expression. They work primarily in the realm of video, interactive computer applications and applied forms of art.

Zachary epcar
Billy
Fiction expérimentale | 16mm | couleur | 8:3 | USA | 2019

The reenactment of a scene from a primetime soap opens this domestic psychodrama, an anxious look into the horrors of interior decoration and the boundless entanglement of things.


Zachary Epcar (b. San Francisco) is a filmmaker whose work has screened at the New York Film Festival, Toronto International Film Festival, International Film Festival Rotterdam, Museum of Contemporary Art Chicago, Pacific Film Archive, Ann Arbor Film Festival, Rencontres Internationales, Onion City, Images Festival, and elsewhere.

Warren neidich, Assistant Director Ashiq Khondker
Pizzagate - From Rumor To Delusion
Vidéo | hdv | couleur | 20:20 | Allemagne | 2017

We have now entered into a new era some have called the post-truth society characterized by a deluge of fictive mediated stories dubbed Fake News. One of these stories, Pizzagate concerns the conspiracy theory, circulated at the end of the Trump-Clinton presidential election, that accused Hillary Clinton and other members of her Democratic election committee of running a childhood sex ring in the basement of Comet Ping Pong pizza restaurant. As preposterous as this is, many people believed it and the story went viral. My PIZZAGATE: FROM RUMOR TO DELUSION as an experimental documentary which uses non-linear video editing techniques to collage extracted You Tube clips with real video taped footage collected on site at the Comet Ping Pong pizzeria investigates the conditions of our now planetary network existence to understand this event and its implications. I utilize the story of the delusional behavior of James Welch who drove up from North Carolina, shotgun in hand, to free the girls as an example of a generalized societal condition addicted to social media. I speculate that we have transitioned from Guy Debord’s Society of the Spectacle to what I am calling The Society of the Neuron in the Attention Economy.


- Theorist, film maker, composer and installation artist, Warren Neidich, who works between Los Angeles and Berlin, brings to any discussion platform a unique interdisciplinary position that he calls “trans-thinking”. The model explores the way cognition is mediated and acted upon by co-extensive cultural inputs consisting of an evolving socio-cultural-political milieu wherein various unequally distributed and contested discursive fields gather and entangle themselves with the plastic brain. The result being what Gilles Deleuze referred to as the image of thought. His works of art have been exhibited internationally including the Ludwig Museum, Cologne, The Whitney Museum, New York City, PS1 MOMA, Long Island City, The ICA London, LACMA, Los Angeles and many others. His one-person exhibition, Rumor to Delusion, premiered at the Zuecca Project Space, during the Venice Biennale, 2019. He is founder and director of the Saas-Fee Summer Institute of Art and is a recipient of the Vilem Flusser Theory Award, Transmediale, AHRB/ACE Arts and Science Research Fellowship, Bristol and The Fulbright Scholarship. Additionally he was former tutor in the departments of visual art, computer science and cultural studies at Goldsmith College London as well as recently serving at Professor of Art at the Weissensee Kunsthochschule, Berlin.

Émilie brout, Maxime Marion
b0mb
Vidéo | hdv | couleur | 9:58 | France | 2018

b0mb est une vidéo générative en ligne, différente à chaque visionnage et accessible via un site web dédié. Avec un rythme intense, elle présente un montage de plusieurs centaines d’images de toute nature présentes sur internet, défilant sur une bande son musicale où l’on entend la voix de Gregory Corso lisant son poème Bomb (1958). Déclaration d’amour à la plus terrible des technologies et métaphore de la nature autodestructrice de l’homme, le poème comporte une grande diversité de champs lexicaux lui conférant une dimension presque universelle. Figure de la Beat Generation, Corso cherche à produire ici une poésie où les phrases seraient absentes de perspective, construisant son texte via une juxtaposition de mots-clés les uns "contre" les autres. A partir du poème, les artistes ont alors effectué un travail de réduction d’écriture, de filtrage et d’interprétation, pour traduire son contenu en requêtes pour moteur de recherche tel que Google Image. Chaque image visible dans b0mb provient donc automatiquement du résultat d’une de ces requêtes, sélectionnée selon des algorithmes de popularité, et s’affiche de manière synchronisée avec le texte énoncé, par un montage au chemin de fer prédéfini. Si la durée et le son restent fixes, les images sont renouvelées à chaque visionnage, évoluant peu à peu dans le temps, au fil de l’actualité. La pièce se comporte telle un protocole automatique en ligne, puisant dans son environnement des visuels pour les donner à voir sous un autre jour le temps d’un instant. De par la grande diversité de sujets abordés dans le poème et la nature hétérogène des images (photographies amateur, publicités, cliparts, presse, différences de définition...), l’œuvre donne donc à voir une sorte d’instantané de la culture visuelle d’Internet. Par un enchaînement effréné d’images indifféremment anodines, belles ou terribles, elles rendent aussi compte de la violence qui peut s’en dégager.

Nés en 1984 et 1982 en France, Émilie Brout & Maxime Marion vivent et travaillent à Paris. Après des études à l’ENSA Nancy et l’ESA Aix-en-Provence, ils ont intégré deux ans le laboratoire de recherche EnsadLab de l’Ecole Nationale Supérieure des Arts Décoratifs de Paris, où a débuté leur collaboration. Leur travail a été lauréat du prix de la fondation François Schneider, Wattwiller et du prix du public Sciences Po pour l’art contemporain, Paris. Il a été soutenu par la Fondation des Artistes, la SCAM et le CNC, et fait notamment partie des collections des FRAC Ile-de-France, Aquitaine et Poitou-Charentes, de la CDAC Seine-Saint-Denis et de collections privées internationales (Alain Servais et de Goldschmidt, Bruxelles ; Plancius Collection, Amsterdam, Jonathon Carroll, Londres...). Il a été présenté en France et à l’étranger : MAC VAL, Vitry-sur-Seine ; Cité de la céramique, Sèvres ; IAC Villeurbanne ; Palais de Tokyo, Paris ; FRAC Haute-Normandie, Rouen ; Base sous-marine de Bordeaux ; 5th Moscow Biennale for Young Art ; Museum of Modern and Contemporary Art, Rijeka ; Carroll/Fletcher, Londres ; OCAT Shenzhen ; Daegu Art Museum ; Kunstraum LLC, New York ; Redline Contemporary Art Center, Denver... Ils ont récemment bénéficié d’expositions personnelles à la Chaufferie, Strasbourg (2019), à la galerie 22,48 m², Paris (2019), à la Villa du Parc, Annemasse (2018), au Pori Art Museum, Pori, Finlande (2018) et à la galerie Steve Turner, Los Angeles, Etats-Unis (2017). Ils seront également résidents en 2020 à la Kunsthal Gent en Belgique en 2020.


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Filip Markiewicz subjects current events to a political and critical approach and, consequently, highlights the hollowness of our world in a state of visual overproduction, where information becomes reality, rather than the reverse. In dialogue form, he refers to events in 2017: terrorist attacks, migration crisis, populist movements and fake news. Alan Segal dissects the form and semantics of advertising language, reducing marketing models into various components, exposing the capitalist infrastructure fuelling economic reality. Roswitha Schuller and Markus Hanakam read the architectural details of buildings at Duke University taking the symbols as figures of thought. Zachary Epcar recreates a scene from a domestic soap opera. He takes a concerned look at the interior decoration and endless jumble of things. Warren Neidich examines today’s post-truth society. From Guy Debord’s showbiz society, we have gone to a society of the neuron in an age of attention economy. During Pizzagate, in the last presidential elections in the United States, Hillary Clinton and members of the democratic party were accused of a paedophile ring, centered around the Comet Ping Pong pizzeria in Washington. Following a conspiracy theory that spiralled from rumour to delirium, a man went there with an assault rifle, and opened fire. Émilie Brout and Maxime Marion have resumed Gregory Corso’s poem, ‘Bomb’, written in 1958, an ironic ode to the atomic bomb. Each word of the poem sends a request to Google image, thereby producing a new work each time, a montage of several hundred images of all sorts from the internet.


Saturday

Aug. 29
7pm

Presentation performance
+ 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.

Ubermorgen, "Anticyclical"

Ubermogen: Anticyclical [an-tee-sahy-kli-kuh l] | offline and online presentation | 00:45:00 | Austria, Switzerland | 2020

UBERMORGEN will be in action showing thoughts and throwing words about ideas and practices of ‘networked organisms’, ‘machine curation’ and ‘hybrid landscapes’ and ‘multiple identities’.
One of the key issues of our time is to not conform to or follow the dominant cycles and to move in directions opposite (or onto other vectors) to that of the overall state of a system. Inspecting the philosophy and practical strategies of hybridisation and counter-cyclical strategies allow us to watch while the world is in panic and to act and disrupt while the world is seemingly calm.
Contemporary examples:
1) UNINVITED, a hybrid online/cloud/physical/mechatronic 'networked organism’
2) ’The Next Biennial Should be Curated by a Machine’ for the Liverpool Biennial and Whitney Museum of American Art
3) ‘Lundshawftan’, hybrid landscapes authored by a multiple identity called 'Lund Shaw'

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lizvlx [AT, 1973] and Hans Bernhard [CH/USA, 1971] of UBERMORGEN (1995) were an integral part of the 1990s digital avant-garde. They are outstanding and quintessential contemporary digital artists with an impressive track-record of works using dark technology, pop-aesthetics and conceptual strength and a global following and a strong influence on young artists. The radical strength of UBERMORGEN is their visual language combined with a relative understanding of space and time, their obsessive curiosity and their merciless experimental research-methods.
UBERMORGEN own 175+ websites and their oeuvre is stored in military-grade high-security Data Vaults deep in the Swiss Alps. Their work has been featured in over 3000 articles, news segments, books and reviews. CNN described them as 'maverick Austrian business people' and the New York Times called them 'simply brilliant’.
Recently they have shown their work in major international institutions such as the Centre Pompidou, MoMA/PS1, Sydney Biennale, MACBA Barcelona, New Museum New York, SFMoma, ICC Tokyo and the Gwangju Biennale and at numerous Art Fairs. Commissions include the Serpentine Galleries and the Whitney Museum and their works are held in numerous public and private collections. UBERMORGEN have received prestigious awards including the Swiss Art Award, ARCO Beep Award, Transmediale Award, Ars Electronica Award and the IBM Award.
Their main influences are Rammstein, Samantha Fox and XXXTentacion, Olanzapine & LSD, Kentucky Fried Chicken's Coconut Shrimps Deluxe and Viennese Actionism. They are currently holding the professorship for ‘Networks’ at the KHM Cologne.
http://ubermorgen.com 


Saturday

Aug. 29
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.

"What gets out of the ground"

flatform: Quello che verrà è solo una promessa | Vidéo | 4k | couleur | 22:0 | Italie / The Netherlands, New Zealand | 2019 see more
Christian barani: Lac Assal | Doc. expérimental | hdv | couleur | 15:12 | Djibouti | 2019 see more
Laura kraning, Blue Kraning: Las Breas | Doc. expérimental | 4k | couleur | 12:20 | USA | 2019 see more
Andrés davila: Sour Lake | Doc. expérimental | hdv | couleur | 14:40 | Colombie / Equateur | 2019 see more
Rosa barba: Aggregate States of Matters | Doc. expérimental | 4k | couleur | 21:22 | 0 | 2019 see more
flatform
Quello che verrà è solo una promessa
Vidéo | 4k | couleur | 22:0 | Italie | 2019

In the course of a long, slow take over Funafuti, both drought and floods appear in a constant uninterrupted rhythm. The state of flux between both type of events is reflected in the places and actions of the inhabitants making the island's extremes seem familiar: the air is riven with anticipation and surprise. The island of Funafuti, in the archipelago of Tuvalu, for some years now has become the stage for a unique phenomenon. Due to the unnatural warming of the sea, saltwater seeps into the subsoil bubbling up through the porous terrain provoking floods which put the future of life on this island at risk.


Flatform is a collective artist acting since 2006 and based in Milan and Berlin. Films by Flatform have been featured in several film festivals such as International Film Festival in Cannes, IFFR in Rotterdam, Venice Int’l Film Festival, IFFT in Toronto, Kurzfilmtage in Oberhausen, LOOP in Barcelona, Festival du Nouveau Cinema in Montreal, IFF in Melbourne, International Doc Film Festival in Jihlava among others. Works by Flatform have been shown in many museums and institutions including Hirshhorn Museum in Washington, Wexner Center for the Arts in Columbus, Centre Pompidou in Paris, MSU-Museum of Contemporary Art in Zagreb, MAXXI Museum in Rome, Haus der Kulturen der Welt in Berlin, Garage Museum of Contemporary Art in Moscow, Museu da Imagem e do Som in San Paolo. Selected Awards: Nashville Intl Film Festival, 2016; Go Shorts in Nijmegen, 2016; Jihlava Intl Doc Film Festival, 2015; 25FPS Zagreb, 2009; Screen Festival Oslo,2008

Christian barani
Lac Assal
Doc. expérimental | hdv | couleur | 15:12 | Djibouti | 2019

Dans la vallée du rift de Djibouti, dans le noir des roches volcaniques, des hommes attendent. Dans ce désert, quelques années auparavant, la production du sel organisait la vie. Depuis la concurrence a vaincu. Au bord du lac Assal, des résistants partent à la recherche de concrétions de sel en espérant les vendre aux quelques touristes qui viendraient contempler le bleu du lac.

Christian Barani est né en 1959, vit à Paris. Il construit une pratique qui associe le champ du documentaire à celui des Arts Visuels. Sa recherche se fonde sur un dispositif performatif qui engage un corps/caméra marchant dans l’espace. Il définit une règle du jeu qui compose avec le hasard et l’improvisation et génère des images sans à priori. Il filme là où les violences politiques et sociales oppressent, dressant un portrait au fil des temps des vaincus.

Laura kraning, Blue Kraning
Las Breas
Doc. expérimental | 4k | couleur | 12:20 | USA | 2019

LAS BREAS is an observational portrait of three tar pits, of which there are only six in the entire world. Situated in three distinct landscapes in Southern California – urban Los Angeles, the oil fields of the San Joaquin Valley, and Carpinteria Beach, LAS BREAS investigates the spaces between archiving the pre-historic and the contemporary industrial landscape. While skeletons of extinct megafauna and vintage animatronic beasts are on display in the heart of Hollywood, the sticky remains of ancient microscopic organisms seep to the surface of both land and sea. Of the earth, yet primordial and impenetrable, the bubbling tar that rises from the depths speaks of past extinction and human exploitation of the earth’s limited resources.


Laura Kraning’s moving image work has screened widely at international film festivals, museums, and galleries, such as the New York Film Festival’s Views from the Avant-Garde and Projections, International Film Festival Rotterdam, Edinburgh Film Festival, London Film Festival, Visions du Réel, MoMA’s Doc Fortnight, Art Toronto, Centre Pompidou, National Gallery of Art, and REDCAT Theater, among others. Her work has received awards at the 2010, 2015, and 2016 Ann Arbor Film Festival, 2016 Athens International Film Festival, and the 2018 Rencontres Internationales Sciences & Cinémas Film Festival. Blue Kraning’s documentary and narrative films have screened internationally at festivals and venues such as International Film Festival Rotterdam, Helsinki International Film Festival, Shanghai International Film Festival, Image Forum Festival, Ann Arbor Film Festival, Denver Film Festival, Nashville Film Festival, Festival du Nouveau Cinema, Los Angeles Filmforum, and the Walker Art Center. He has won numerous awards such as the IFP/Blockbuster Film Development Fund, The Morrow-Hues Screenwriting Award (finalist) and his television writing has garnered two Emmy Awards.

Andrés davila
Sour Lake
Doc. expérimental | hdv | couleur | 14:40 | Colombie | 2019

Inspiré du nom donné par la Texaco à un petit village d’Amazonie, Sour Lake explore les confluences, rencontres et déplacements géographiques, sociaux et imaginaires qui se sont noués depuis le XVIe siècle entre la forêt équatorienne et les Andes colombiennes.

Andrés Dávila est un réalisateur colombien. Il a obtenu en 2013 un master en cinéma et études audiovisuelles à l’Université Sorbonne Nouvelle. Il vit actuellement en Equateur.

Rosa barba
Aggregate States of Matters
Doc. expérimental | 4k | couleur | 21:22 | 0 | 2019

L’état des lieux met en évidence la relation ambiguë entre l’homme et la nature. Pour son nouveau film en 35 mm tourné au Pérou, Rosa Barba a travaillé avec des communautés qui sont touchées par la fonte d’un glacier et les temps géologiques qui sont mis à nu. Barba montre la lente disparition du glacier et la perception de ce fait au sein de la population Quechua des Andes. Tout en explorant les différents mythes locaux, elle souligne la possibilité de traduire les connaissances anciennes dans le temps présent.

Rosa Barba est née en 1972 en Italie, vit et travaille à Berlin. Elle a fait ses études à l'Académie des arts et médias de Cologne et à la Rijksakademie van Beeldende Kunsten à Amsterdam. Le travail de Barba est représenté dans de nombreuses collections internationales telles que la Collezione MAXXI Arte à Rome en Italie, la Collezione FRAC Piemonte à Vercelli en Italie, le Hamburger Bahnhof à Berlin, la Collection Lemaître à Londres, le musée d'art moderne Louisiana à Humlebæk au Danemark, le Museo di arte moderna e contemporanea di Trento e Rovereto à Rovereto, le Museo Centro de Arte Reina Sofía à Madrid, la Kunsthaus à Zurich, le MACBA à Barcelone, le Mambo à Bologne, le Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland en Allemagne, et Jumex à Mexico. Elle a participé à des expositions collectives, notamment au MASS MoCA aux États-Unis, à l'Akademie der Künste à Berlin, au Kunstmuseum du Liechtenstein à Vaduz, à la Cinémathèque Française à Paris, au WIELS à Bruxelles, au Museo Nacional Centro de Arte Reina Sofia à Madrid, au Swiss Institute à New York, à la 8e Biennale d'art contemporain de Berlin, à la Triennale internationale en arts des nouveaux médias 2014 à Pékin en Chine, à la 19e Biennale de Sidney, à la Biennale internationale d'art contemporain de Carthagène en Colombie, à la Biennale 2010 de Liverpool, aux 52e et 53e Biennales de Venise, à la 2e Biennale d'art contemporain de Thessalonique et à la Biennale de l'image en mouvement à Genève.


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Flatform films the island of Funafuti in the Tuvalu archipelago. Ocean warming causes the phenomenon of infiltration and upwelling of sea water. In the Djibouti Rift Valley, Christian Barani films volcanic rocks, the salt desert, and men who are waiting. Laura and Blue Kraning film three of the six existing natural tar wells in the world in modern industrial landscapes, in southern California. The boiling tar that rises to the surface bears testimony to the traces of a prehistoric world, extinctions and human exploitation of the earth and its limited resources. Andrés Davila explores Sour Lake, a village buried in the Amazon jungle. The name was given by Texaco in the 60s, inspired by the name of the oil town in Texas. The 16th century, marked the start of expeditions of Spanish conquistadores in search of Eldorado, these areas between the Ecuadorian forest and the Colombian Andes are home to many economic, ecological, political and territorial issues. Rosa Barba films the slow disappearance of a glacier in the Peruvian Andes. The Quechua population is directly affected, and geological periods are laid bare. By exploring various local myths, Rosa Barba highlights the possibility of interpreting ancient knowledge in a contemporary period.


Saturday

Aug. 29
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.

"Vague stars"

Shelly silver: A Tiny Place That is Hard to Touch | Fiction expérimentale | hdv | couleur | 39:40 | Japon / USA | 2019 see more
smith: Les Apocalyptiques | Fiction expérimentale | hdv | noir et blanc | 20:0 | France | 2019 see more
Mauro santini: Megrez (Vaghe stelle) | Vidéo | 4k | couleur | 7:20 | Italie | 2019 see more
Daan couzijn: Blood | Performance | 0 | | 5:0 | Pays-Bas | 0 see more
Shelly silver
A Tiny Place That is Hard to Touch
Fiction expérimentale | hdv | couleur | 39:40 | Japon | 2019

In a faceless apartment in Tatekawa, Tokyo, an American woman hires a Japanese woman to translate interviews about Japan’s declining birthrate. The American woman is presumptuous in her knowledge of Japan; the Japanese woman suffers from a self-professed excess of critical distance. They grate, fight, and crash together in love or lust, at which point their story gets hijacked into science fiction territory, as the translator interrupts their work sessions with stories from a world infected with the knowledge of its own demise. This neighborhood has already known devastation, having been wiped out the night of 9 March 1945 by American bombs. The third protagonist is the Tatekawa itself, the canal covered by an elevated highway that runs past the translator’s apartment, which gives the neighborhood its name. Reflecting back the concrete world in distorted patterns of blue, green, or glittering black, the Tatekawa transports a shifting procession of birds, shoes, condoms, crabs, plastic bags, flowers, big fish, little fish, death, life.


Shelly Silver is a New York based artist working with the still and moving image. Her work explores contested territories between public and private, narrative and documentary, and--increasingly in recent years--the watcher and the watched. She has exhibited worldwide, including at the Museum of Modern Art in New York, Tate Modern, Centre Georges Pompidou, the Museum of Contemporary Art in Los Angeles, the Yokohama Museum, the London ICA, and the London, the Singapore, New York, Moscow, and Berlin Film Festivals. Silver has received fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Her films have been broadcast by BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, and Atenor/Spain, among others, and she has been a fellow at the DAAD Artists Program in Berlin, the Japan/US Artist Program in Tokyo, Cité des Arts in Paris, and at the Lower Manhattan Cultural Council. Silver is Associate Professor and Director of Moving Image, Visual Arts Program, School of the Arts, Columbia University.

smith
Les Apocalyptiques
Fiction expérimentale | hdv | noir et blanc | 20:0 | France | 2019

Paris - temps incertain, temps de la fin. Une cycliste, cavalière d'une possible apocalypse, erre autour de la ville éteinte, déserte, muette - guettant d'hypothétiques survivances. La Samaritaine, cube blanc, désaffecté, semble s’offrir comme un refuge ; mais elle se révèle le théâtre d’univers parallèles où se décide, avec les quatre derniers vivants, le sens de l'effondrement en cours. Les personnages qui y vivent sont en “arrêt de mort”, suspendus entre deux états, traversant les possibles, pris dans une fin du monde sans cesse imminente, et pourtant sans cesse différée, et encore sans cesse recommencée. C’est le bâtiment même qui va incarner de manière vivante cet interstice travaillant toutes les apparitions qui semblent traverser le lieu. Ce sont les modalités fluctuantes de cet espace de la Samaritaine qui vont se déployer, amenant d’oracles SM en chansons nihilistes, de danses de séduction désespérées en rituels de mutation, la révélation claire qu’il n’y aura pas de révélation. Les fins du mondes et les croyances sont défaites. Il n'est plus question de fin du monde, mais de commencements d'autres mondes - par la métamorphose. Apocalypse nous-autres.

SMITH ?http://www.fillesducalvaire.com/artiste/smith/ Le travail de SMITH s’appréhende comme une observation des mues de l’identité humaine. La photographie y côtoie le cinéma, la vidéo, la chorégraphie, le bio-art, la sculpture et l’utilisation des nouvelles technologies, dans une exploration des combinaisons des approches scientifique et philosophique, ouvertes sur les potentiels de la fiction. Après l’obtention d’un Master de Philosophie à la Sorbonne, du diplôme de l’Ecole Nationale Supérieure de Photographie d’Arles, et du Fresnoy - Studio National des Arts Contemporains, SMITH engage l’écriture d’une thèse de doctorat, à l’UQAM (Montréal). Ses travaux furent présentés sous la forme d’expositions personnelles aux Rencontres internationales de la photographie d’Arles, à la galerie les Filles du Calvaire et au Palais de Toyko à Paris, au musée de la Photographie d’Helsinki en Finlande, mais aussi dans de nombreux pays d’Europe (Suisse, Suède, Autriche, Luxembourg, Allemagne, Espagne, Italie...), d’Asie (Chine, Cambodge, Corée du Sud) et d’Amérique Latine (Mexique, Chili, Uruguay) et aux USA. Sa première monographie, «Löyly», est parue aux éditions Filigranes en 2013, suivie de « Saturnium » aux éditions Actes Sud en 2017, et d’un livre d’entretien avec l’historienne de l’art Christine Ollier en 2017 aux éditions André Frère. Paraissent en 2018 puis 2019 deux autres livres de photographie : "Astroblème" (Filigranes) et "Valparaiso" (André Frère). Son premier et son second moyen-métrages, "Spectrographies" et "TRAUM", furent diffusés en festivals et cinémas en Europe. Ses performances artistiques et chorégraphiques furent présentées au Centre Pompidou, au Théâtre de la Cité Internationale avec le soutien de la Fondation Hermès – New Settings, au CND (Pantin), au Musée de la Danse (Rennes) et au CCN de Montpellier. SMITH travaille actuellement à l’élaboration de son nouveau projet-monde "Désidération", avec la Cellule Cosmiel (Lucien Raphmaj, Jean-Philippe Uzan, SMITH) et le studio DIPLOMATES, qui explore les liens entre l’humanité contemporaine et son cosmos originaire : http://www.desideration.space ** Lucien Raphmaj https://lucienraphmaj.wordpress.com/ Lucien Raphmaj, écrivain né d’une œuvre élaborée avec SMITH, a écrit avec lui le scénario de ses films, depuis "Spectrographies" (2015) jusqu’aux "Apocalyptiques" (2019) en passant par leurs projets multidisciplinaires tels que "TRAUM" (film, exposition, textes, vidéos, spectacle de danse). C’est cette écriture à mille voix, fruit d’un travail personnel, mais aussi expérience d’une spectralisation de l’écriture qui se laisse traverser par d’autres voix, qui est celle qu’il mène encore à travers l’univers des « Apocalyptiques ». Il participe, en tant que critique, à la revue culturelle en ligne Diacritik et tient un blog sur la latérature. Son premier ouvrage, "Blandine Volochot", paraît aux éditions Abrüpt en Janvier 2020.

Mauro santini
Megrez (Vaghe stelle)
Vidéo | 4k | couleur | 7:20 | Italie | 2019

“Vaghe stelle” is a seven-chaptered film, conceived as a musical album and composed of seven movements, which can be watched singly (like songs), or in the established order (like a record) or also mixing the films creating new combinations or possible narrations. The ‘songs’ are seven as the principal stars of the Ursa Major. It will be a nocturnal wandering with the starry sky as a reference: an earthly pilgrimage looking for epiphanies or the drift of a hypothetical interstellar trip.


Since 2000, Mauro Santini (Fano, Italy, 1965) has composed a series of video diaries, stories told in the first person about time, memory and the search for oneself. One of these, ‘Da lontano’, won the Italian competition at the 2002 Torino Film Festival. He has participated at the international film festivals of Locarno, Venezia, Oberhausen, Jeonju, Annecy, Rencontres Internationales Paris/Berlin, DocLisboa, Cinémas Différents Paris, Alchemy, Montpellier, Pesaro etc In 2006, he made the feature film Flòr da Baixa and participated in 2008 with different works at “La cité des yeux, une saison italienne”, about Italian avant-garde cinema from 1968 to 2008, which was organized by the Cinémathèque Française in Paris and curated by Nicole Brenez and Federico Rossin.

Daan couzijn
Blood
Performance | 0 | | 5:0 | Pays-Bas | 0


Daan Couzijn (Haarlem, 1994) is a multidisciplinary artist currently based in Amsterdam. After having studied singing at the Conservatory of Music in Rotterdam, he continued his studies at the Institute of Performative Arts in Maastricht where he graduated with a BA in Performance Art. Concluding his education, Couzijn graduated in June 2019 from a Post-Graduate program (Radical Cut-Up department) at the Sandberg Institute in Amsterdam, where he received the title of MA in Fine Art and Design. Couzijn is a creative all-rounder - musically skilled with a very strong eye for visual aesthetics who focuses on authenticity, existentialism and the way external influences (in particular digital influences such as social media) shape us. Often using the richness of the internet and the possibilities of technology as an inspiration for his works, Couzijn believes that every idea, every creation, is a combined effort of everything we've ever witnessed and experienced. Besides working as a professional actor/performance artist, he performs live with his own music under the pseudonym of Cousin. As Cousin, he creates minimalistic, electronic music combined with his own angelic vocals. More recently he also started exhibiting several audio/visual- ánd kinetic installation works, often using video and other digital media as an expressing tool.


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Shelly Silver films two women, in Tatekawa, a district of Tokyo. An American – presumptuous in her knowledge of Japan – hires a Japanese woman – who suffers from an excess of critical distance–, to translate interviews about Japan’s declining birth rate. They infuriate one another, fight, and are then overwhelmed by love or desire. The story turns into science fiction when the translator interrupts their work with stories from a world infected with the knowledge of its own demise. The neighbourhood already knew devastation in 1945 when it was wiped out by American bombs. The third protagonist is Tatekawa, a canal that gives its name to the neighbourhood, reflecting the world in distorted patterns. SMITH films an Apocalypse, on the verge of being the start of other worlds. La Samaritaine building in Paris is a sanctuary that becomes the scene of parallel worlds and metamorphosis. Mauro Santini creates a night walk, in the shape of Megrez, the weakest star in the Big Bear constellation, for a hypothetical journey through the stellar system. Daan Couzijn is an artist performer and singer. He creates minimalist electronic music combined with his own voice, and questions an addictive identity, a state of desire and otherness.