2020 Paris Programme
10am    2pm    4pm    6pm    6pm    8pm
Thursday

27 Feb.
10am

Bus tour
Exhibition visits
at Édouard-Manet Gallery,
and Le BAL
Departure in front of Cité internationale des arts, 18 rue de l’Hôtel de Ville - 75004 Paris / Subway: Pont Marie, line n°7 / Saint-Paul, line n°1
Free accress to any audience / Pass and accreditation: priority access

Breakfast + Exhibition visit

On February 26th and 27th Rencontres Internationales invites you to visit several art centres in the Île-de-France region, in collaboration with TRAM contemporary art network Paris/Île-de-France. After a lovely coffee and croissant a free shuttle bus will take you to an art centre to see an exhibition.

Thursday, February 27
Visit of the exhibition: "Anna Solal, Le jardin, La zone" at The Édouard-Manet Gallery, followed by the visit of the exhibition: "La bête : un conte moderne de Yasmina Benabderrahmane", at Le BAL.

Meet at 10am in the reception area of the Cité internationale des arts (18 rue de l’Hôtel de Ville, 75004 Paris) for a coffee and croissant beforehand. TAXITRAM free shuttle bus leaves at 10.30am. Returning at 2pm Grand Palais, making it possible to attend the first screenings of the day.


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Thursday

27 Feb.
2pm

Screening
Grand Palais auditorium
Entrance: Square Jean Perrin, avenue du Général Eisenhower - 75008 Paris
Subway: Franklin D. Roosevelt, lines 1 and 9 / Champs Élysées Clémenceau, lines 1 and 13
Free entry within the limit of available seats, reservation recommended
Pass and accreditation: priority access without reservation



"State of Play"

Derek taylor: Scenes from the Periphery | Film expérimental | super8 | noir et blanc | 2:50 | USA | 2019 see more
Gavin hipkins: The Valley | Vidéo | hdv | couleur et n&b | 14:18 | Royaume-Uni / New Zealand | 2019 see more
Miriam martÍn: La espada me la ha regalado | Doc. expérimental | hdv | couleur | 18:6 | Espagne | 2019 see more
Dirk peuker, Bettina Nürnberg: Elephant Bearing an Obelisk | Doc. expérimental | 16mm | couleur | 14:0 | Allemagne | 2018 see more
Rossella nisio: The Silent Ray | Vidéo | hdv | couleur | 18:1 | Pays-Bas | 2019 see more
Jorge jÁcome: Past Perfect | Vidéo expérimentale | hdv | couleur | 23:0 | Portugal | 2019 see more
Derek taylor
Scenes from the Periphery
Film expérimental | super8 | noir et blanc | 2:50 | USA | 2019

An aerial survey of the filmmaker’s place of origin, the film is a frame intensive search for home, place and direction. Edited in camera on Super 8, changing position two frames at a time, the movements of lines and masses offer a renewed look at this once lost but now rediscovered locale in a continuing quest for a sense of provenance.


Derek Taylor?s moving image work focuses on the intersection of documentary and experimental filmmaking, particularly as it relates to history and landscape. His work has been screened at a number of festivals both nationally and internationally. He studied film, video and new media at the School of the Art Institute of Chicago and currently lives and works in Connecticut (USA).

Gavin hipkins
The Valley
Vidéo | hdv | couleur et n&b | 14:18 | Royaume-Uni | 2019

Devon’s moors are the backdrop for this hybrid film that constructs an imaginary community and frames sentiments of belonging at a time when parochialism and nationalism are globally prevailing. Inspired by Arthur Conan Doyle’s The Hound of the Baskervilles, Hipkins grafts portraits of his forebears across Devon?s uncanny landscapes. A subtext of Doyle’s classic novel negotiates yearnings for a homecoming and a mythical ancestral land.


Gavin Hipkins (b. 1968) is a New Zealand-based artist. He holds a Master of Fine Arts from the University of British Columbia. He is currently Associate Professor at Elam School of Fine Arts at the University of Auckland. His work explores the nation state, particularly in colonised countries in an era of re-imagined communities and ideas of social and political utopia. His recent moving image works engage film as a cinematic art that blurs conventional genres of essay film, documentary and experimental narrative structures. His work has been exhibited widely over the last two decades. His solo exhibition The Homely will open at the Museum of Contemporary Art Australia, Sydney in July 2020. Recent exhibitions and screenings include: Videoex, Switzerland (2019); 9th Asia Pacific Triennial of Contemporary Art, Gallery of Modern Art, Brisbane, Australia (2018); International Film Festival Rotterdam (2018, 2015); International Short Film Festival Oberhausen (2017, 2016); The Jewish Museum, New York (2015); Museum of Arts and Design (MAD), New York (2014); City Art Centre, Edinburgh Art Festival (2014); Armory Film, New York (2012); Centre Pompidou, Paris (2011); Austrian Museum of Applied Art and Contemporary Art (MAK), Vienna, (2011).

Miriam martÍn
La espada me la ha regalado
Doc. expérimental | hdv | couleur | 18:6 | Espagne | 2019

La Casa de Campo est l'un des plus grands parcs publics du monde, une forêt en réalité. Pendant des siècles, ce ne fut que pour les rois et les reines. Dans les images, c'est 2019 : le vert de la terre qui brille à nouveau pour nous ou les restes des tranchées comme endormies ou l'usage imprévu des ponts et des bassins par les enfants. Dans les sons, 1936, la forêt coupée en deux, la défense de Madrid : « bourdonnements et explosions, rafales de mitrailleuses, claquement sec des fusils » ou le feu d'artillerie qui massacra la ville depuis les collines ou les mots de ceux qui inventèrent une révolution et un goût pour la vie bonne au milieu de tout ce vacarme.

Miriam Martín a consacré toute sa vie adulte et une partie de la précédente au cinéma. D'abord comme spectatrice, puis comme programmatrice dans diverses institutions. Et en organisant, de novembre 2012 à juillet 2018, le ciné-club Chantal, une expérience esthétique et politique à périodicité hebdomadaire.

Dirk peuker, Bettina Nürnberg
Elephant Bearing an Obelisk
Doc. expérimental | 16mm | couleur | 14:0 | Allemagne | 2018

Marbled paper blue, a book’s illustrations, the flicker of film’s materiality: these are just a few of the narrative devices that punctuate Bettina Nürnberg and Dirk Peuker’s essayist film tracing the atmospheric efects of Italian architect Carlo Scarpa’s significant buildings, including the Brion family cemetery. As homage the work continues the filmmakers’ interests in documenting architectural histories. What is significant about this more poetic rendering is how it follows the rhythm of the spatial forms and motifs of their subject: Scarpa took an apolitical stance and refused to make architecture during the reign of fascism in Italy (1922–43); in the years that followed however, he produced Venice’s modernist exemplars, arguably the most beautiful architectural works of modernism for how they create mental spaces embedded in and indebted to his phenomenal city. With awareness of their medium, Nürnberg and Peuker capture both the structure and freeforming style of Scarpa’s architecture: their camera is equally focused on the mood of the city, the flow of water, the mandala as dichotomous form—light casts shadows. In turn, the film oscillates between document and experimental realism. The punctuating book pages that were an inspiration for Scarpa and ofer a structuring means for the sensuality of the recorded images come from the Venetian treatise of 1499 ascribed to Poliphili, which loosely acts an inventory of life-forms and classical humanist thought while following the story of courtly love. The act of ceremony is important to the book and so it is to the film as it mediates on Scarpa’s constructions, anachronistic zones that cross life with death, only to return to life once more: the film flickers, the paper is left wet, a hand all blue rises from the ruins … (Laura Preston)


Bettina Nürnberg www.bettinanuernberg.de Bettina NÜRNBERG (1976, Germany) was educated in art and film in Hamburg and Berlin. The work of the Berlin-based artist has been screened and exhibited worldwide. Dirk Peuker www.dirkpeuker.de Dirk PEUKER (1970, Germany) studied film and art in Berlin and Vienna. The work of the experimental filmmaker and artist has been screened and exhibited worldwide.

Rossella nisio
The Silent Ray
Vidéo | hdv | couleur | 18:1 | Pays-Bas | 2019

The man’s presence lingers in the room that for years served as his study. Present and past intertwine as he follows threads of his memory and recalls events from the time of his participation in the colonial war against Ethiopia in 1935-36.


Rossella Nisio [IT] is a visual artist based in Rotterdam whose work has a strong focus on notions of memory, imagination and space. She has a background in the theory of cinema and performing arts; she pursued her practical training first within the field of documentary photography, eventually moving towards a more autonomous approach to still and moving image-making. She completed the advanced photography studies in Ar.Co in Lisbon in 2017 and earned an MA in Fine Art and Design at the Piet Zwart Institute in Rotterdam in 2019.

Jorge jÁcome
Past Perfect
Vidéo expérimentale | hdv | couleur | 23:0 | Portugal | 2019

"Many cities or countries have a distinct malaise. They are places that could be Portugal, so sunk in a painful longing of the past, and where each tension of the present is only the tip of an iceberg that is explained in successive retreats that can go straight until origin of the species, at least. This feeling common to many latitudes is often presented as a diagnosis, a denial of a painful present as opposed to the desire to return to a glorious past." Pedro Penim


Jorge Jácome was born in Viana do Castelo (Portugal) in 1988 and spent is childhood in Macau. He completed is degree in cinema in 2010 at Escola Superior de Teatro e Cinema and in 2016 graduated with ‘felicitations du jury’ from Le Fresnoy - Studio national des Arts Contemporains. His work is based on a strongly intuitive and sensorial process resulting in films made of narrative drifts, unexpected relationships and unusual encounters. His short films have been shown at film festivals in Portugal, Spain, France, Germany, Slovenia, Poland and Israel, and in retrospectives at the New Bedford Whaling Museum, Palais de Tokyo, Maison Européenne de la Photographie, CalArts - California Institute of the Arts and at Georgetown University.


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Thursday

27 Feb.
4pm

Screening
Grand Palais auditorium
Entrance: Square Jean Perrin, avenue du Général Eisenhower - 75008 Paris
Subway: Franklin D. Roosevelt, lines 1 and 9 / Champs Élysées Clémenceau, lines 1 and 13
Free entry within the limit of available seats, reservation recommended
Pass and accreditation: priority access without reservation



"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
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)


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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Thursday

27 Feb.
6pm

Partner exhibition, Opening
Institut suédois
11 rue Payenne - 75003 Paris
Subway: Saint Paul-Le Marais, line 1 / Chemin Vert, line 8
Free entry

"Annika Larsson - Fear of Flying"

Conceived as a series of experiments taking place in four individual homes, "Fear of Flying" explores virtual reality and its relationship to the control and rebellion of moving bodies and spirits.

Exhibition from February 27 to April 19, 2020
Wednesday – Sunday / 12:00 – 18:00
Closed on Monday and Tuesday

Working closely with four circles of family and friends, the film explores the blurred boundaries and paradoxical feelings of being simultaneously in and out of control, here and there, moved and in motion - states that are triggered by the complex system of interactions that take place between technology and our bodies, our nervous systems and our brains.

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This work is part of Annika Larsson's artistic research project Non-knowledge, Laughter and the Moving Image, funded by the Swedish Research Council and carried out in collaboration with RIA Stockholm and HFBK Hamburg.

Annika Larsson (born 1972, Stockholm) lives and works in Berlin and has been professor of temporal media at the University of Fine Arts Hamburg since 2018. Her latest sound performances have been shown at the Akademie der Künste Berlin (2019) and at the 58th Venice Biennale, Herkules Saal, Munich (2018) and the Schinkel Pavilion, Berlin (2017). He has had solo exhibitions at the Museo d'Arte Contemporanea di Roma, Rome (2014); Centre Velan, Turin; La Fabrica, Madrid (2010); Le Magasin, Grenoble (2005); Kunsthalle Nürnberg (2004); S.M.A.K., Gent (2002), among others. His works are represented in important art collections such as the Moderna Museet, Stockholm, S.M.A.K., Ghent, the Goetz Collection, Munich or the Museo de Arte Contemporáneo de Castilla y León.

Andréhn-Schiptjenko has been invited by the Swedish Institute to present three solo exhibitions of influential contemporary artists from Sweden. The third exhibition in this series is entitled Fear of Flying, a solo exhibition by Annika Larsson.


Thursday

27 Feb.
6pm

Screening
Grand Palais auditorium
Entrance: Square Jean Perrin, avenue du Général Eisenhower - 75008 Paris
Subway: Franklin D. Roosevelt, lines 1 and 9 / Champs Élysées Clémenceau, lines 1 and 13
Free entry within the limit of available seats, reservation recommended
Pass and accreditation: priority access without reservation



"Space and Time"

Thomas mohr: Matters of Time | Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2019 see more
daniel & clara: Notes from a Journey | Fiction expérimentale | hdv | couleur | 72:30 | Royaume-Uni | 2019 see more
Thomas mohr
Matters of Time
Vidéo | hdv | couleur | 12:35 | Pays-Bas | 2019

From Berlin to Hiroshima, from Hiroshima to Berlin. From Past to Now, from Now to Past. Connecting events, remembering the suffering of war and new beginnings. Observations. 7 identical defined time units each containing a series of 24 progressing intervals of shifting box systems descending from 25x25=625 to 2x2=4 images. The construction of each unit is exactly the same, the content of each unit is entirely individual. Walking through a winter night in Berlin, going from Miyajima island to Hiroshima, the experience of My Facebook Timeline Having devastating destruction in mind and reconstruction. Straight forward, up side down, rotating. Positive, negative. Complex layers, more complex layers. Text, subtext.


Biografy: Moving, changing, transformation, experience. Exploring processes of perception and memory systematically since the late 1980ties. From 1985 onwards a growing archive containing more then 500000 pictures and thousands screenshots regarding a wide range of events of transition from a collective meaning to very personal moments. Living and working in Amsterdam. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica/LInz, Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin

daniel & clara
Notes from a Journey
Fiction expérimentale | hdv | couleur | 72:30 | Royaume-Uni | 2019

"Notes From A Journey" uses images and sound captured whilst on a journey through the British landscape as the material for an exploration of the acts of looking/seeing listening/hearing. More than simply mapping a journey across the country, this film presents a map of the filmmakers' engagement with the images of the landscape. By reducing them to impressions, fragments, fictions and forms, the recorded images/sounds are transformed into “artefacts” which, when presented in the sequence of a film, activate narratives, ideas and sensations in the viewer. Central to the film are scenes shot at the Neolithic mound and stone circle of Avebury, motifs that speak of the long and complex relationship humans have to their environment and how through art and ritual we seek to understand our place in relation to it. Ultimately this film is a journey in itself – a first person encounter with the limits of perception, it exists in a place where both the recording device and the human senses are tested.


Daniel & Clara, two humans one artist on a journey of exploration of dimensions real and imagined, the results of which consist of moving image, photography and performance. In their current work they have been exploring the British landscape as a site for encounters with the mysterious, the eerie, the otherworldly and the unknown. As they say, “we seek to see with one eye open and one eye closed, sight turned simultaneously out towards the world and inward to the depths of the human experience.” In their work, images and sounds of the landscape become activators of narratives where past, present and the imagination intermingle. Their work has been exhibited and screened internationally at galleries and film festivals including Whitechapel Gallery, Kettle’s Yard, Fabrica Gallery, Close-up Cinema, BFI, Alchemy Film & Moving Image Festival, Doclisboa, Microcinema Artist Moving Image, Museu de Arte Moderna Rio de Janeiro, Black Box Farnham, Film Mutations Zagreb. In 2019 they launched Moving Image Artists (MIA), an organisation dedicated to supporting and cultivating contemporary moving image art and experimental film. This includes an online magazine, screenings and the Moving Image Salon, a monthly gathering for artists to meet, share and discuss their work. The Moving Image Salon takes place at Film and Video Umbrella, London. Several of their films are distributed online by Tao Films and Kinoscope. Films by Daniel & Clara are also included in the BFI National Archive.


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Thursday

27 Feb.
8pm

Screening
Grand Palais auditorium
Entrance: Square Jean Perrin, avenue du Général Eisenhower - 75008 Paris
Subway: Franklin D. Roosevelt, lines 1 and 9 / Champs Élysées Clémenceau, lines 1 and 13
Free entry within the limit of available seats, reservation recommended
Pass and accreditation: priority access without reservation



"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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