2021 Berlin Programme
2pm    4pm    6pm    8pm    8pm    10pm
Saturday

Aug. 28
2pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"Community"

Halima ouardiri: Clebs | Documentaire | 4k | couleur | 18:11 | Canada | 2019 see more
Nicolas keroulas: Tasmant | Fiction expérimentale | 4k | couleur | 23:5 | France | 2020 see more
Yalda afsah: Vidourle | Documentaire | mov | couleur | 10:0 | Allemagne | 2019 see more
Jérémie danon: Plein Air | Doc. expérimental | hdv | couleur | 26:30 | France | 2020 see more
Stephanos mangriotis, Alex Frigout, Gaël Marsaud: O Terra, Addio | Doc. expérimental | mov | couleur | 7:48 | France | 2020 see more
Halima ouardiri
Clebs
Documentaire | 4k | couleur | 18:11 | Canada | 2019

Les pelages bruns, beiges, blancs et noirs se fondent à l’ocre de la terre et des murs inondés de soleil. Calme à l’heure du repos, l’endroit devient assourdissant quand vient le moment de nourrir les bêtes qui entament alors leur concert d’aboiements. Dans le refuge pour chiens errants d’Agadir au Maroc, plus de 750 animaux trouvent aide et protection en attendant d’être adoptés par une famille. Chaque journée ressemble à la suivante, rythmée par la seule distraction des repas. Avec un regard aussi empathique qu’alerte aux jeux de lumière et de textures, Halima Ouardiri observe la chorégraphie qui régit la vie de la population animale, dont le quotidien suspendu évoque l’attente bien plus tragique de millions d’êtres humains à la recherche d’une terre d’accueil.

Halima est une cinéaste Suisso-Marocaine qui travaille entre le Canada, le Maroc et la Suisse. Elle a reçu un B.A. en Science Politique et un B.F.A. en Film Production de la Mel Hoppenheim School of Cinema à Montréal. Son premier film Mokhtar, tourné en Super 16mm, a reçu un très bon accueil dans une centaine de festivals internationaux tel que Toronto, Berlin, Rotterdam et Dubaï, avant d’avoir été diffusé sur France 3, CBC et à la TSR. Le film a gagné de nombreuses distinctions, dont deux Prix de la Meilleure Réalisation et cinq Prix du Meilleur Film. Tourné dans un petit village du sud du Maroc, le film met en vedette les villageois, beaucoup de chèvres et un hibou. De tous les interprètes, seul le hibou est un acteur professionnel. Aujourd’hui, Halima passe au long avec Nico, un récit initiatique inspiré de son expérience comme garde du corps à Genève, sa ville natale, et avec le développement du scénario de La Camel Driving School.

Nicolas keroulas
Tasmant
Fiction expérimentale | 4k | couleur | 23:5 | France | 2020

Une nuit, un homme étrange apparaît. Arrivé non loin des côtes, il croise le chemin d’un fantôme qu’il se décide à suivre.

Nicolas Keroulas est né en 1997.

Yalda afsah
Vidourle
Documentaire | mov | couleur | 10:0 | Allemagne | 2019

Named after its setting, the French river Vidourle, Yalda Afsah’s film documents a strange and subtly unnerving choreography, capturing a group of young men performing what could be a ritual, a spectacle, a game, or a fight. In their collective movements as well as individual moments of concentration, anticipation and occasional forlornness, the adrenalin-fuelled adolescent protagonists seem to embody the frailty of the human condition awaiting an environmental change, much like an unexpectedly forceful current in a river.


Yalda Afsah?explores how space can be cinematically constructed and the documentary character of her works often veers towards forms of theatricality.?This formal characteristic of?Afsah’s?practice is conceptually mirrored in her documentary portraits of human-animal relationships that reveal an ambivalence between care and control, physical strength and broken will, instinct and?manipulation. Afsah?seeks to question and to dissolve these dichotomies, while carving out a space to reflect on the possibility of an overarching empathy between species.

Jérémie danon
Plein Air
Doc. expérimental | hdv | couleur | 26:30 | France | 2020

Au milieu d'espaces extraits de jeux vidéos, des personnes en réinsertion témoignent. Face caméra, ils évoquent leurs espoirs, leurs doutes et leurs difficultés depuis la sortie du milieu carcéral.

Stephanos mangriotis, Alex Frigout, Gaël Marsaud
O Terra, Addio
Doc. expérimental | mov | couleur | 7:48 | France | 2020

Une immersion dans les eaux sauvages et mystérieuses du Carnaval Indépendant de la Plaine et de Noailles. Sur fond d’aménagement de Marseille les foules carnavalesques se cherchent, basculent, s’entrelacent. Des bras déchirent le présent et la foule part à l’assaut de l’hiver.

Biographie des réalisateurs de « O Terra, Addio » (2020) Alexandre Frigoult ingénieur du son & monteur son Bercé dès son plus jeune âge par le monde vibratoire et musical des chants de sa mère lorsqu'elle passait l'aspirateur, il peaufine en parallèle son oreille à l'école de musique d'à côté. Il étudiera par la suite l’ethnomusicologie à l'université Paris 8 Saint-Denis et se passionnera du pouvoir narratif sonore lors de sa formation à l'ESAV Toulouse (École Supérieure d'AudioVisuel). Actuellement ingénieur du son et monteur son pour le cinéma, il collabore aussi à d'autres formes telles que la musique, la radio et le spectacle vivant. Stephanos Mangriotis photographe, réalisateur & chef opérateur Stephanos Mangriotis est un photographe réalisateur, né à Athènes. Il a d’abord étudié les mathématiques et la philosophie à Bristol puis la photographie à Paris 8 - St. Denis. Dans son travail, il utilise l’image et les formes multimédias pour créer des récits autour des frontières, des migrations et du sentiment « d’entre-deux ». Il aime bien passer du temps pour comprendre et discuter avec les gens avant de déclencher son appareil. Il est co-fondateur de la plateforme Dekadrage avec laquelle il élabore des projets depuis 2009. Gaël Marsaud Sociologue indépendant & vidéaste. Né en Guadeloupe en 1984, il est titulaire d'un doctorat de science politique à l'Université Paris 8. Sa thèse consacrée à un ensemble de films documentaires tournés à Marseille et Saint-Denis aux débuts des années 2000 aborde les questions suivantes : Comment les réalisateurs, leurs équipes et les publics politisent voire dépolitisent leurs films ? Comment appréhender la fabrique collective des documentaires ? Quelle méthode mobiliser pour analyser ces images ? Comme vidéaste, il s’intéresse aux luttes et pratiques d'auto-organisation, là où elles sont les moins attendues et pourtant bien vivantes. Réalisées collectivement, ces chroniques vidéo donnent à voir Marseille et ses résistances.


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Halima Ouardiri films a shelter for stray dogs in Agadir, Morocco, where more than 750 animals find help and protection while waiting to be adopted. He observes the routine that governs the lives of this animal population, whose uncertain daily life evokes the much more tragic expectation of millions of human beings in search of a welcoming place. Nicolas Keroulas films a strange man in the night and takes us to meet ghostly presences. Afsah Yalda documents a strange choreography in which a group of teenagers perform, in a river, what could be a ritual, a performance, a game or a fight. Jérémie Danon shifts the words of people undergoing social reintegration into virtual spaces extracted from video games. Transformed by the experience of incarceration, they confront a different freedom and look at the world from a fresh perspective. Stephanos Mangriotis, Alex Frigout and Gaël Marsaud cross the independent Carnaval de la Plaine and Noailles, neighbourhoods of Marseille in the process of redevelopment. The carnival crowds seek each other, shifting and intertwining.


Saturday

Aug. 28
4pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"Architectures"

Myriam yates: Filmer à  Dakar, présences singulières entre le sable, la ville et le delta | Installation vidéo | hdv | couleur | 12:33 | Canada | 2019 see more
Tommaso donati: Cligne-musette | Doc. expérimental | hdcam | couleur | 21:30 | Suisse | 2020 see more
Mélissa epaminondi, Esteban Ulrich: Deconstructing Niemeyer | Doc. expérimental | mp4 | couleur | 1:9 | France | 2020 see more
Mona vatamanu, Florin Tudor: Omnia Communia Deserta | Doc. expérimental | mp4 | couleur | 29:0 | Roumanie | 2020 see more
Giulio squillacciotti: What Has Left Since We Left | Fiction expérimentale | 4k | couleur | 21:15 | Pays-Bas | 2020 see more
Myriam yates
Filmer à  Dakar, présences singulières entre le sable, la ville et le delta
Installation vidéo | hdv | couleur | 12:33 | Canada | 2019

Filmer à Dakar, présences singulières entre le sable, la ville et le delta est un diptyque vidéo mettant en relation des espaces naturels, des espaces construits et leurs occupants. Les séquences formées par le diptyque tissent une trame dont l’agencement se renouvelle au gré des projections en boucle. D’une part un défilement de lieux tels que la ville en construction de Diamniadio ou des espaces en transition comme les espaces en démontage de la Biennale de Dakar dans l’ancien palais de justice. D’autre part, l’activité dense au cœur de la Corniche en bord de mer où la caméra avance dans le mouvement fluide des séances d’entraînements. Un jeune garçon à l’écart tente un «selfie». Circulant d’une projection à l’autre on se rend compte de la complémentarité de celles-ci : l’énergie déployée sur la Corniche magnétise les espaces vides, en transition, présentés dans l’autre écran. Ces deux projections dans lesquelles se déploient espaces intérieurs et extérieurs et leurs occupants, interpellent l’écologie du vivre ensemble, dont les paramètres sont en perpétuelle mouvance.

Les œuvres de Myriam Yates se déploient sous forme de grandes projections vidéographiques ou de séries photographiques. Elle privilégie une approche hybride de l’image entre une certaine forme de document et l’essai vidéo. Elle s’intéresse à la construction de l’espace public, aux jonctions entre l’aménagement et la nature ainsi qu’à la notion de territoire. Ses œuvres ont été présentées lors d’événements tels que Kassel Dokfest (Allemagne), Images Festival (Toronto), les Rencontres Internationales Paris/Berlin, le Mois de la Photo à Montréal et Nuit Blanche Toronto. Elles ont fait l’objet d’expositions individuelles et collectives, notamment à la Galerie d’art Foreman de l’Université Bishop’s (Sherbrooke), au Hessel Museum of Art — CCS Bard (New York), au Musée d’art contemporain de Montréal, à OPTICA, un centre d’art contemporain (Montréal), à Dazibao (Montréal). Un essai dans la revue Prefix Photo sur les architectures improbables a été consacré à ses œuvres vidéographiques accompagnant une exposition au Prefix ICA (Toronto). Elle remporte en 2015 le Prix Victor-Martyn-Lynch-Staunton (arts médiatiques) du Conseil des arts du Canada. Originaire de Montréal, elle vit présentement à Sherbrooke. Ses projets sont régulièrement financés par les Conseils des arts et des lettres du Québec et du Canada.

Tommaso donati
Cligne-musette
Doc. expérimental | hdcam | couleur | 21:30 | Suisse | 2020

Jusqu'au début du XXe siècle en France, le jeu de cache-cache était appelé cligne-musette. Dans un paysage hivernal, le film suit cinq enfants et un jeune homme qui errent seuls entre les bâtiments du quartier populaire de Valibout, situé dans la ville de province de Plaisir. Leurs chemins ne se croiseront pas, mais semblent destinés à connaître le même sort, celui d'être abandonnés à eux-mêmes, de se cacher et de ne pas être trouvés.

Né en 1988, Tommaso Donati vit et travaille à Lugano, en Suisse. Son travail combine une approche narrative avec le cinéma documentaire et s'articule autour du thème de la marginalité.

Mélissa epaminondi, Esteban Ulrich
Deconstructing Niemeyer
Doc. expérimental | mp4 | couleur | 1:9 | France | 2020

Sur une succession d'images documentant le chantier de remise en état de la coupole du siège du Parti Communiste Français, la voix de l'architecte brésilien Oscar Niemeyer traverse le temps pour nous dévoiler le cœur de son œuvre et de sa pensée.

Mélissa Epaminondi: Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris et Oletta (Corse). Elle est DPLG diplômée de l’Ecole d’Architecture de Luminy Marseille. Architecte et artiste, son travail reflète une vision sensible en même temps qu’une réflexion étayée sur les questions environnementales. Elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Esteban Ulrich: Née à Buenos Aires, Argentine, en 1975 il est formé dans des écoles françaises pour commencer sa carrière professionnelle chez Los Inrockuptibles, la version argentine du magazine français. Depuis, il se partage entre le journalisme, le cinéma, la photographie et l'expérimentation avec les nouvelles technologies appliquées à l'art et les médias. Il vit à Paris depuis 2015.

Mona vatamanu, Florin Tudor
Omnia Communia Deserta
Doc. expérimental | mp4 | couleur | 29:0 | Roumanie | 2020

The film investigates, analyses the theme of efficient modernity whose last consequence will be extinction, Ovidiu Tichindeleanu's speech having as background, motive, the post-apocalyptic present of the Omnia Hall, which thus acquires the meaning of a warning: we are again at the end of a road, that of the cult of production.


Mona V?t?manu (b. 1968) and Florin Tudor (b. 1974) work and live in Bucure?ti. Their practice consists of attentive observation and taking notice of material elements of reality. They often choose from it that which is ephemereal, small, marginal as dust, rust, fire, fluff from the tree’s seeds, soil. The work of the artists with such material can be a starting point for questioning social relations, technological and economic changes, political conflicts.

Giulio squillacciotti
What Has Left Since We Left
Fiction expérimentale | 4k | couleur | 21:15 | Pays-Bas | 2020

On February 7th 1992, the Treaty on European Union was signed in the Dutch city of Maastricht. Decades later, the representatives of the last three countries left in Europe meet again in the very same room where it was signed, this time to deliberate on the permanent shutdown of their Union. In what seems to be a looped therapy session, the three characters - helped by a British interpreter as a self-appointed analyst - try to deal with their feeling of loss. The conversation allows their political and personal bonds to be woven together metaphorically, compelling them to face their identity crisis and acknowledge what is left, what no longer is and what still could be of their Union.


Giulio Squillacciotti (Born in Rome, Italy 1982) Artist and film-maker lives and works between Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome, where he earned a BA in Humanities from Sapienza University and holds a MA in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, religion and popular culture. His work has been exhibited and screened internationally at, among the others, the Dutch Pavilion of the Venice Architecture Biennale, Les Rencontres Internationales at Centre Pompidou, Palais de Tokyo, La Fe?mis and Gayte Lyrique in Paris and Centre d’Art Contemporain de Brest (F), at the Berlin Haus der Kulturen der Welt and Neues Museum in Weimar (D), Screen Space in Melbourne (AU), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), AKV of Den Bosch (NL), Istanbul 2010 European Capital of Culture (TR), the Beirut Art Centre in Lebanon (RL), the New York Photo Festival, Dumbo Video and the Columbia University in New York City (USA), Art Institute of Boston (USA), the Los Angeles Now Instant Image Hall (USA), OCAT in Shanghai (PRC); in Italy at PAC, Triennale, MACRO, MAXXI, 16th Quadriennale of Rome, MAMbo, Sandretto Re Rebaudengo and at the Official Competition of the 33rd, 35th and 36th Torino Film Festival.


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In her video diptych, Myriam Yates connects natural spaces, built spaces and their occupants. The images of a city in mutation parade across the screen, images of Diamniadio and its former Palais de Justice, where the Dakar Biennale was held, then of the Corniche, on the seafront, the energy of which unfolds, calling into question the ecology of living together. Tommaso Donati films five children and a young man wandering alone between the buildings of the popular Valibout district in Plaisir in the Paris region. Their paths will not cross, but seem destined to meet the same fate, that of being left to their own devices, hiding and not being found. Mélissa Epaminondi and Esteban Ulrich document the dismantling of the ceiling and the replacement of the lights in the dome of the headquarters of the French Communist Party in Paris that was designed by Oscar Niemeyer. In a succession of images documenting the dome's restoration, the Brazilian architect's voice crosses time to reveal the heart of his work and thought. In Romania, Mona Vatamanu and Florin Tudor filmed the Omnia Hall, designed in 1967 to be a place for the party to meet. The Brutalist style building, the socialist modernist style and elements referring to folklore were to serve the ideology of Ceausescu's regime. The post-apocalyptic present of this Omnia Hall symbolises a warning: we are once again at the end of a road, that of the cult of production. Giulio Squillacciotti imagines a meeting in Maastricht, the city where the Treaty on European Union was signed in 1992, behind closed doors between the representatives of the last three countries remaining in the Union. The same actress plays the three representatives meeting in the very room where the treaty was signed, this time to deliberate on the end of the Union. As they try to cope with their sense of loss, the conversation seems to be caught in a continuous loop of indefinite resolution.


Saturday

Aug. 28
6pm

Screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

Special screening | Heinz Emigholz

Heinz emigholz: The Last City | Fiction | hdv | couleur | 100:0 | Allemagne | 2020 see more
Heinz emigholz
The Last City
Fiction | hdv | couleur | 100:0 | Allemagne | 2020

An archeologist and a weapons designer – who, in a prior life, knew each other as a filmmaker and a psychoanalyst – meet at an archeological excavation site in the Negev Desert and begin discussing love and war; a conversation they continue in the Israeli city of Be’er Sheva. The film then proceeds with changing actors in changing roles; a round dance that takes us to the cities of Athens, Berlin, Hong Kong and São Paulo. The characters include: an old artist, who meets his younger self; a mother, who lives with her two grown sons – a priest and a policeman; a Chinese woman and a Japanese woman; a curator and a cosmologist. Their dialogues deal with now obsolete social taboos, generational conflict, war guilt and cosmological musings. The architecture of each of the five cities serves as the third participant in the protagonists' dialogues, and completes their philosophical and metaphysical journeys.


Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: "Krieg der Augen, Kreuz der Sinne" (War of Eyes, Cross of Senses), "Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst" (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), "Normalsatz – Siebzehn Filme" (Ordinary Sentence – Seventeen Films) and "Das schwarze Schamquadrat" (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in "Die Republik" No. 68-71, 76-78, 89-91, 94-97 and 123-125); "Sense of Architecture" with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.


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An archeologist and a weapons designer – who, in a prior life, knew each other as a filmmaker and a psychoanalyst – meet at an archaeological excavation site in the Negev Desert and begin discussing love and war; a conversation they continue in the Israeli city of Be’er Sheva. The film then proceeds with changing actors in changing roles; a round dance that takes us to the cities of Athens, Berlin, Hong Kong and São Paulo. The characters include: an old artist, who meets his younger self; a mother, who lives with her two grown sons – a priest and a policeman; a Chinese woman and a Japanese woman; a curator and a cosmologist. Their dialogues deal with now obsolete social taboos, generational conflict, war guilt and cosmological musings. The architecture of each of the five cities serves as the third participant in the protagonists' dialogues, and completes their philosophical and metaphysical journeys. Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: "Krieg der Augen, Kreuz der Sinne" (War of Eyes, Cross of Senses), "Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst" (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), "Normalsatz – Siebzehn Filme" (Ordinary Sentence – Seventeen Films) and "Das schwarze Schamquadrat" (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in "Die Republik" No. 68-71, 76-78, 89-91, 94-97 and 123-125); "Sense of Architecture" with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.


Saturday

Aug. 28
8pm

Special screening
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"Common Birds"

Silvia maglioni, Graeme Thomson: Common Birds | Film expérimental | 4k | couleur et n&b | 84:0 | France / Greece | 2019 see more
Silvia maglioni, Graeme Thomson
Common Birds
Film expérimental | 4k | couleur et n&b | 84:0 | France | 2019

Deux athéniens décident de fuir leur ville pour échapper à la dette. Guidés par de mystérieux appels de corbeaux, ils parcourent la ville avant d’atteindre une zone de passage, où ils sont entraînés dans une forêt ancestrale : le Royaume des Oiseaux. Ils y rencontrent la Hoopoe, mi-oiseau mi-femme, qui devient leur traductrice. Au milieu des forces magiques de la forêt, les oiseaux vivent en partageant leurs ressources. La rencontre entre humains, oiseaux et forêt sera une révélation pour tout le monde. Plus de 2500 ans après sa création, COMMON BIRDS est une adaptation expérimentale des Oiseaux d’Aristophane. Entre une Athènes contemporaine marquée par la crise et la forêt primaire de La Gomera, entre grec ancien et silbo gomero (langue sifflée en voie de disparition qui fait partie d'une longue tradition de résistance), une histoire de fuite, de perte et de réenchantement dans un espace végétal époustouflant où de nouvelles alliances inter-espèces peuvent émerger.

Silvia MAGLIONI and GRAEME THOMSON are filmmakers and artists whose work explores the porous boundaries between fiction and documentary, cinema and the visual arts. Their work has been screened in festivals around the world, including FID-Marseille, IFF Rotterdam, Anthology Film Archives, Rencontres Internationales Paris-Berlin, Thessaloniki IFF, Berlin Critics Week, Bafici, Jihlava, Festival Hors-Pistes, Docs Kingdom.


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Silvia Maglioni and Graeme Thomson transpose and adapt Aristophanes' "The Birds", opening new fields of perception, a different relationship with the plant and animal world, and discover a relationship with language that goes beyond simple communication. Two Athenians flee their city to escape their debt. Guided by mysterious calls from crows, they travel through the city before reaching an area of passage, where they are drawn into an ancestral forest: the Kingdom of Birds. Between a contemporary Athens marked by crisis and the primary forest of La Gomera, the film is a tale of loss and re-enchantment.


Saturday

Aug. 28
8pm

Special screening
Haus der Kulturen der Welt | Westgarten
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
In case of bad weather, the outdoor programme will be moved indoors.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"Queer Landscapes"

Foteini kotsopoulou: This Dance Has No End | Vidéo expérimentale | mp4 | noir et blanc | 10:58 | Royaume-Uni | 2018 see more
Wojciech pus: Queer Landscapes | Segues from Endless | Fiction expérimentale | 4k | couleur | 22:13 | Pologne | 2020 see more
Michelle handelman: These Unruly and Ungovernable Selves | Vidéo expérimentale | 4k | couleur | 6:0 | USA | 2020 see more
Frances scott: Valentina | Film expérimental | 16mm | noir et blanc | 3:55 | Royaume-Uni | 2020 see more
Florian tscharf: Terms of Play | Installation vidéo | 4k | couleur | 6:51 | Allemagne | 2020 see more
Dagmar schÜrrer: Galaxy | Vidéo expérimentale | mov | couleur | 3:48 | Allemagne | 2020 see more
Jonathan saldanha: AFTER THE LAW | Fiction expérimentale | hdv | couleur | 27:0 | Portugal | 2020 see more
Foteini kotsopoulou
This Dance Has No End
Vidéo expérimentale | mp4 | noir et blanc | 10:58 | Royaume-Uni | 2018

"What happens when someone dies is that we, the living, contain their memory within us ... They will live on in us, and we will celebrate them. And dance like there is no tomorrow". Diane Torr A dance dedicated to artist, drag king and gender activist Diane Torr who passed away in May 2017. A year to the day, I dance in a black room : a single shot fusing male and female as ode to life and death. Traditional urban zeybekiko dance of Rebetiko, exclusively danced by men -in the past- is danced by my hybrid manifestation - blended aspects of my identity. In silence, I hear Diane's words: "Take space with all your being. Own the space". I lift my arms and dance like there is no tomorrow as the camera follows. No edits or retakes : the aim is not to please or excite but to offer myself as site for collective unburdening. Credits: Performance/concept:Fenia Kotsopoulou Camera: Daz Disley


Fenia Kotsopoulou is a Greek cross-disciplinary, award-winning artist (performance (art), dance, video, photography), based in Lincoln (UK), holding a MFA in Choreographing Live Art from the University of Lincoln (UK), a BA Honours in Dance from the National Dance Academy of Rome (Italy), and a BA in Italian Language and Literature from the Aristotelian University of Thessaloniki (Greece). Over the course of the last 10 years, video making and photography became a dominant and persistent component of her artistic practice. Pivotal topics of recent projects include the body as gathering place of emotions and site of transformation, personal and collective memory, fragmentation, (de)construction of female identity, unbecoming, shame, hairiness and other issues. In the past few years, as (dance) performer, producer and visual practitioner, her works and the work of close-collaborator digital artist, Daz Disley, have been shown at a wide array of festivals and art platforms, encompassing the fields of dance, experimental performance, live-art and video-art, and receiving several prizes/awards. Alongside her practice, she is lecturer at the Master of Performance Practices at the university of ArtEZ (Netherlands) and, since 2016, she is artist-in-residence at x-church in Gainsborough (UK).

Wojciech pus
Queer Landscapes | Segues from Endless
Fiction expérimentale | 4k | couleur | 22:13 | Pologne | 2020

“Queer Landscapes | Segues from Endless” is an experimental portrait of the character in the state of transition. Through their research the different characters and voices form a multilayered essay about queer intimacy, loneliness and resistance. This daydream plot becomes a choir of an oppressed identities, which become revolutionary and free. The essence of the film is based on the informal community of performers of different social backgrounds, gender identities, nationalities and migration status (Chile, France, Mexico, Poland, Ukraine). The combination of their personal stories, alongside fragments of literary works, films, memoirs, and dream notes creates a mosaic structure, situated in the genre of queer abstraction.


Wojciech Pu? is an artist engaged in various fields of art: film, theatre, visual arts, and opera. In his works he combines the aesthetics of experimental film with elements of light and video installations, giving them a cinematographic character. He has created an original, recognisable style, largely referring to rhythm, movement, and time, analysed by the artist using the medium of film. Pu? confronts the viewer with abstract representations having narrative potential, constructed with the use of montage and music. His works are on the verge of two realities – the actual one, and the one created by the film’s visuality.

Michelle handelman
These Unruly and Ungovernable Selves
Vidéo expérimentale | 4k | couleur | 6:0 | USA | 2020

Michelle Handelman’s new video piece, THESE UNRULY AND UNGOVERNABLE SELVES (The Lockdown), recontextualizes characters from her previous works into a hypnotic visual essay about the transfiguring of interiority during periods of isolation and fear. It takes as its starting point the coronavirus pandemic and filters it through theorist Jill Casid’s writings on the necrocene, and Walter Benjamin's writings from The Arcade’s Project, sliding between threshold and boundaries, considering how bioterrorism may not only be an intentional release of viruses, but it may also be what lives inside, our own fear that late stage capitalism uses to destroy us. Handelman's characters, who each have already struggled with existential questions of belonging and fear in her projects DORIAN, A CINEMATIC PERFUME (2009/11); IRMA VEP, THE LAST BREATH (2013/15); and HUSTLERS & EMPIRES (2018), are juxtaposed with found images and texts sourced during the pandemic to take on a new form that both denies and struggles with containment. Casid writes, “May none of us rest as we live our dying. May we not forget but actually do the work of reckoning with the still uncounted, of the crimes of the endless war we are still in.”


Michelle Handelman is a visual artist, filmmaker, and writer whose work pushes against the boundaries of gender, race and sexuality. Coming up through the years of the AIDS crisis and Culture Wars, Handelman has built a body of work that investigates the dark and uncomfortable spaces of queer identity. She is a Creative Capital awardee (2019); Guggenheim Fellow (2011); Art Matters Awardee (2011) and NYFA Fellow (2011). She has exhibited widely including the San Francisco Museum of Modern Art, Eli & Edythe Broad Art Museum, PERFORMA Biennial, MIT List Visual Arts Center, PARTICIPANT, INC, The Henry Art Gallery; Museum of Contemporary Art Chicago, Contemporary Arts Museum Houston, Guangzhou 53 Art Museum; Film at Lincoln Center, The British Film Institute, and Centre Georges Pompidou. During the 1990s, Handelman was based in San Francisco where she collaborated with Monte Cazazza, a pioneer of the Industrial music scene; directed the feature film BloodSisters: Leather, Dykes and Sadomasochism (1995), and performed in several films by Lynn Hershman-Leeson. Her work has been written about in Bomb Magazine, Artforum, Art in America, Filmmaker Magazine, and The New York Times, and is in many private collections including the Eli & Edythe Broad Art Museum; Kadist Art Foundation, Paris; di Rosa Foundation and Preserve; Zabludowicz Art Trust. She is based in Brooklyn and is a Professor in the Film, Media and Performing Arts department at Fashion Institute of Technology, NYC.

Frances scott
Valentina
Film expérimental | 16mm | noir et blanc | 3:55 | Royaume-Uni | 2020

‘Valentina’ is a prelude to ‘Wendy’, a speculative portrait of, and film fan-letter to, composer and musician Wendy Carlos – self-described as “The Original Synth”. In ‘Valentina’, an unedited 100ft reel of hand-processed 16mm film, shot in rehearsal, is used as a silent score for a reading. Performer and dancer Valentina Formenti recalls part of a transcribed interview with Carlos, later edited for publication in ‘Playboy’ in 1979. Whilst the magazine interview was seen as the first public announcement of Carlos’ gender transition, these absent passages, excluded from the final edit, include her connected interests in cartography, physics, mathematics’ transformations, astronomy, and her practice in solar eclipse photography. Valentina’s multiple voices are translated through Vocoder, and collaged with musician Tom Richards’ performance on Daphne Oram’s unrealised ‘Mini-Oramics’, to suggest a coming into being through sonic synthesis. ‘…imagining a world without gender, which is perhaps a world without genesis, but maybe also a world without end.” (Donna Haraway, ’A Manifesto for Cyborgs’, Socialist Review, no.80, 1985).


Frances Scott (b. 1981) is a London-based artist working with moving image. Her work considers the narratives and histories at the periphery of cinematic production and its apparatus, to produce films composed of their metonymic fragments. Her projects are often made in exchange with other specialists, groups and publics, and developed through research using online and physical archives and collections. She associates and composites diverse materials, analogue and digital film media, to create intricate scenarios that are both scripted and improvised. Her film work, informed by this collaborative and research-led process, takes multiple forms, through exhibitions to installations, screenings, events, broadcasts and publications, including recent presentations at: transmediale x CTM, Berlin; 57th New York Film Festival, Lincoln Center, New York; Edge of Frame & Close Up Film Centre, London; Het Bos, Antwerp; The Bower, London; Tate St Ives, Cornwall; Annely Juda Fine Art & The Russian Club, London; Whitechapel Gallery, London; Yorkshire Sculpture Park & Art Licks; South West Film & Television Archive, Plymouth; and Focal Point Gallery, Southend. Frances Scott was recipient of the Stuart Croft Foundation Moving Image Award (2017), and is currently working on a new film commissioned by TACO!, London for a solo exhibition and publication in 2022.

Florian tscharf
Terms of Play
Installation vidéo | 4k | couleur | 6:51 | Allemagne | 2020

In 'Terms of Play' 60 different training sentences were taken of the voice-cloning software 'Lyrebird IA' and recombined in a screenplay to form a dialogue. This dialogue was then interpreted by two actors. Each part was interpreted in a different emotion: some factual, some dramatic, some singing… The 2-channel video work deals with the processes of machine learning technologies which are playing an increasing role in film production. By appropriating and reinterpreting the training sentences (which the software itself has taken from publicly available texts, novels and essays), the work inverts these processes and reflects them critically.


Florian Tscharf (*1987 in Germany) is a video and media artist. He studied Media Design in Ravensburg, Directing at the Film Academy Baden-Württemberg and Screen Based Arts at the Bezalel Academy in Jerusalem. He lives and works in Berlin.

Dagmar schÜrrer
Galaxy
Vidéo expérimentale | mov | couleur | 3:48 | Allemagne | 2020

The narrator in the moving image work GALAXY is technology itself. The story is generated by an algorithm and offers an interpretation of the brief meeting of the two characters Touch and Long Swipe, an encounter of love and disappointment. Small deviations in the language and the narrative logic reveal our social imprint of how stories are expected to be told and how technology is programmed to follow these perceptions. The mise en scéne is a computer-generated galaxy of objects and images reminiscent of the organic, but dismembered and fragmented, reflecting on the possibility of creating new worlds and stories in digital space by following a subjective system of ordering.


Dagmar Schürrer is a media artist based in Berlin, Germany. The digital image, found and generated, is her material to form a visual language beyond analogue perception. She assembles found footage, digitally generated objects and animations, text, drawings and sound to form intricate video sound montages, presented on screen, as installations or combined with new technologies such as augmented reality. She holds a degree in Fine Art from Central Saint Martin´s College in London, UK. Her work has been exhibited internationally, amongst others at the New Contemporaries at the ICA London, the Moscow Biennale for Young Art, at the Museum of Waste in Changsha, China, the Transmediale Vorspiel in Berlin and LUX moving image London. Her videos have been screened at numerous festivals: SUPERNOVA in Denver, Seattle Film Festival, the Athens Digital Arts Festival, the Horn Experimental Film Festival in Israel, Tricky Women Festival in Vienna, or the Diagonale Film Festival in Graz. In recent years she received the Goldrausch Scholarship of the Senate of Berlin and was shortlisted for the Berlin Art Prize and the Tenderpixel Award in London.

Jonathan saldanha
AFTER THE LAW
Fiction expérimentale | hdv | couleur | 27:0 | Portugal | 2020

AFTER THE LAW is a courtroom short movie where a tribunal of humans and objects are contaminated by an untraceable virus. This judgement addresses an unknown accident that fractured the law and eroded speech. Trough a toxic mutation of roles and shapes, evidences, gestures and haptics the court colapses its capacity of deliberation. Shot in tape has a live performance, using a single camcorder, this court was designed has a cybernetic mechanism for haptic responses were collective drive, light, vibration, face recognition and empathy collide with a synthetic voice. All speech was generated with Google WaveNet, a generative model using neural networks to simulate human voices, this protocol was explored and accelerated to find moments were the voice of the machine breaks, stutters and drives glossolalia. In 2019 the images were used as a visual score for a group of deaf teenagers to interpret in an extended sine language, exploring the gaps of description and extending them to body description of this aphasic court. The coral voices were recorded through hipnose induced states, blending the surface frontiers that separate the body from its spatial resonators. A broken voice haunts a political paradox in a reversed bio engineering.


Jonathan Uliel Saldanha studied sculpture at the Faculty of Fine Arts of the University of Porto and devoted himself to studying the tabla - Indian percussion instrument - with the Hindu musical group Jugalbandi. He is the founder of the collective SOOPA, a visual, performative and sound laboratory, and Silorumor, a member of the Fujako duo and director of the group HHY & The Macumbas. Since 2010, he has composed several experimental sound pieces, co-created the pieces “Boca Wall”, “Shark” and “King Trilogy” and directed “Jungle Machine”, “Khorus Anima”, “The Well” and “Oxidation Machine”. , presented in venues such as Serralves, Porto - Rivoli Municipal Theater, Palais de Tokyo (Paris, France) and Accès (s) Festival (Billère, France). He collaborated with artists such as Carlos Zíngaro, Steve Mackay, Adrian Sherwood, Vera Mantero, Mark Stewart, João Fiadeiro among others, and as a musician, performed in festivals such as Nyege Nyege (Uganda), Unsound (Poland), Sónar (Spain). , Primavera Sound, Amplifest, Out.Fest, Circular, Million Party, Neopop, Tapettefest (France) and Elevate (Austria). In 2019 he presented the installation Vocoder & Camouflage (Vanishing Point: works from the António Cachola collection, Torreão Nascente Lisboa), the piece “Scotoma Cintilante”, for the blind choir and score-sculpture (Porto Catholic University, São Carlos Lisbon National Theater ) at the 2019 BoCa Biennial, and “Broken Field Atlantis” a light-sheet concert (Porto Municipal Theater: Rivoli). Also in 2018, a work that precedes this exhibition, he presented the play “SØMA” where a group of deaf teenagers translate in gesture the filming of an animist court, presented at Culturgest Lisboa and at the Porto Municipal Theater: Rivoli. At the same time, he presented the exhibitions “Behemoth Republic”, in the Sonic Geometry cycle in the Archipelago São Miguel Arts Center, in the Azores and “Dismorfia”, at the Catholic University of Porto.


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Foteini Kotsopoulou dances in memory of the Drag King artist Diane Torr. A unique shot merges man and woman, like an ode to life and death. The traditional Zeybekiko dance of the Rebetiko, originally danced only by men, is danced here by a hybrid expression of the artist. Wojciech Pus creates an experimental portrait of a person transitioning, queer abstraction. in a mosaic structure. Various characters and voices form a multi-layered essay on intimacy, loneliness and resistance. The film is made with an informal community of artists from different social backgrounds, gender identities, nationalities and migratory statuses. Michelle Handelman recontextualizes characters from her previous works, queer dystopias populated by characters who live, struggle and communicate beyond the artist's control. She analyses the evolution of interiority in times of loneliness and fear, in the isolation created by the coronavirus pandemic. The question of threshold and limit is considered through the writings of the theorist Jill Casid and Walter Benjamin. Frances Scott has created a speculative portrait of the electronic composer Wendy Carlos who went through a gender transition in 1973. A performer reinterprets parts of an interview with Carlos, published in "Playboy" in 1979, considered to be the first public announcement of her transition. The story is reworked with a synthetic voice as a sound score. Florian Tscharf hijacks standard phrases from voice cloning software, and recombines them into a scripted dialogue, performed by two actors. Dagmar Schürrer positions technology as the narrative origin of a love story, consequently generated automatically. Deviations in language and narrative logic appear and demonstrate the social imprint on technology. Jonathan Uliel Saldanha reconstructs the courtroom of a tribunal, where humans and objects are contaminated by an untraceable virus. The judgment is about an accident of unknown origin, which broke the law and diminished speech. A toxic mutation of roles, forms, evidence and gestures takes place, reducing the court's capacity for deliberation. The court becomes a cybernetic mechanism that comes up against a synthetic voice, generated with Google WaveNet, a generative model using neural networks to simulate human voices, until the machine's voice breaks. The images have been used as a visual score for a group of deaf teenagers, who in turn interpret the incomplete description of this aphasic court.


Saturday

Aug. 28
10pm

Special screening
Haus der Kulturen der Welt | Westgarten
John-Foster-Dulles Allee 10, 10557 Berlin / Subway: lines S5, S7, S9, S75, station: Hauptbahnhof
Free admission on site. No registration.
In case of bad weather, the outdoor programme will be moved indoors.
The GGG rule (tested-vaccinated-recovered) applies for this event.
Live streaming in free access here

"The Machine Man and Ecstasy"

Freja Sofie kirk, Kjær Esben Weile: Industries of Freedom | Doc. expérimental | mov | couleur | 13:36 | Danemark | 2020 see more
Pilvi takala: If Your Heart Wants It (Remix) | Vidéo | hdv | couleur | 15:21 | USA | 2002 see more
Thomas taube: Occident | Film expérimental | 4k | couleur | 30:48 | Allemagne | 2020 see more
Beny wagner: Coal Mine in the Canary | Doc. expérimental | mp4 | couleur | 18:34 | Royaume-Uni | 2020 see more
Jan locus: Masters of the Land | Vidéo expérimentale | 4k | couleur | 14:0 | Belgique | 2020 see more
Freja Sofie kirk, Kjær Esben Weile
Industries of Freedom
Doc. expérimental | mov | couleur | 13:36 | Danemark | 2020

Industries of Freedom portrays a group of dancers who work at the biggest EDM night club in the world - Privilege. The dancers are being lifted up in cranes, carried over a beach in the mouth of an inflatable shark, or are hovering under the ceiling in the club. We experience how their bodies transform into scenographic objects, that merge with the rest of the stage construction. In Industries of Freedom, the night club is presented both as a workplace with strictly defined roles and as a space wherein one can live out notions of freedom and ecstasy, which is nonetheless strictly choreographed by the commercial logics of the entertainment industry.


Esben Weile Kjær and Freja Sofie Kirk both work in visual arts with various medias including film, photography, sculpture and performance. For the past five years, they have collaborated on several film projects, exploring identity, pop culture and image production. Their work have been represented in The National Gallery of Denmark, ARoS Museum of Modern Art, Kunsthal Aarhus, Den Frie Centre of Contemporary Art, The Factory for Art and Design and featured on platforms such as i-D, Tissue Magazine, Indechs and Out Magazine. FREJA SOFIE KIRK BIO Freja Sofie Kirk (born 1990) is an artist based in Copenhagen. Working with video, photography and sculpture, and often in combination with each other, her work explores narratives, popular culture and how images generate meaning in contemporary society. Freja Sofie Kirk has a background in film and photography and through the work with two-dimensional representations of the world, she has attained a sincere interest in the meaning of images and also an urge to dissolve or transform them into material qualities. Her works contain a constant interplay, between materiality and the mechanic, the sensuous and its absence, reality and the unreal. They are simultaneously both visually seductive and disturbing, but none the less, are they an image of the symptoms that our present reality leaves us with. ESBEN WEILE KJÆR BIO Esben Weile Kjær (born 1992) is an artist based in Copenhagen. Spanning sculpture, video and performance, his work draws on the history of pop culture and pop music to investigate themes of nostalgia, authenticity, and generational anxiety. In an attentive though reckless visual language, he investigates today’s event economy, often focusing on marketing tactics and the aesthetics of the entertainment industry. Mainly to consider art’s relationship to its surrounding culture industries. As such, his work attempts to not only mimic other cultural modes of performance (such as those found in raves, protests, press conferences, and ballets), but become performative pop culture in its own right—often through interventions in public and commercial space, using props such as podiums, confetti canons, fences, and party lasers.

Pilvi takala
If Your Heart Wants It (Remix)
Vidéo | hdv | couleur | 15:21 | USA | 2002

Taking place annually in Helsinki, SLUSH is a three-day super event that aims to invigorate the tech-startup community by bringing together entrepreneurs with venture capitalists in a party-like environment. If your heart wants it (remix) is grounded in research Takala conducted at the 2018 edition of SLUSH. Together with an interdisciplinary team and camera crew, they fabricated a startup in order to gain entry.?


Pilvi Takala (b. 1981) lives and works between Berlin and Helsinki. Her video works are based on performative interventions in which she researches specific communities in order to process social structures and question the normative rules and truths of our behaviour in different contexts. Her works show that it is often possible to learn about the implicit rules of a social situation only by its disruption. Her work has been shown in MoMA PS1 and New Museum, Kiasma, Palais de Tokyo, Kunsthalle Basel, Manifesta 11, Witte de With, and the 9th Istanbul Biennial. Takala won the Dutch Prix de Rome in 2011 and the Emdash Award and Finnish State Prize for Visual Arts in 2013.

Thomas taube
Occident
Film expérimental | 4k | couleur | 30:48 | Allemagne | 2020

The world as we know it began in California in the last quarter of the century. The development of the high-speed motion photography becomes a lens for a larger story about the transformation of time and space. It is the base for what becomes later Hollywood and Silicon Valley both that most powerfully defined contemporary life says Rebecca Solnit. However, the world as we know it was also shaped by the European colonialism at the end of the 15th century. It defines our contemporary perspective on our so called norm and the relation amongst each other. It is also the origin of the cause why we are able to live how we live. It is the base for the division between the privileged and the others. Occident was the name of a horse, which motions became famous. Occident is also the definition of how the west differentiate itself from the rest of the world. It is the spine of what seems to be the normative and leads to the reason why it is not us, who drowns in the sea, who fabric our textiles, who dig for our ressources or who work in zones to extract toxic materials which are seemingly gone for long, but in reality are still around us as the people who are in touch with it. We live in a reality of present absent materials which are around us and defines the relation between a system’s different extensions.


Thomas Taube is a video artist living and working in Jena. He studied with Clemens von Wedemeyer and Candice Breitz. In his works, Thomas Taube detaches the medium of film from its linear and stringent narrative structures. With multi-channel installations, associative, reflective and surreal sequences Taube works against conventional cinematographic codes. Abolishing the immediacy of the medium through epic elements and discontinuous montage, his works aim to distinguish between seeing, observing, experiencing, and reflecting. His works are shown nationally and internationally in institutions such as the Museum der bildenden Künste Leipzig or the Center for Contemporary Photography Melbourne, in galleries and festivals, for example in the German Competition of the Internationale Kurzfilmtage Oberhausen or at Les Rencontres Internationales Paris/Berlin. He won the prize of the Leipziger Jahresausstellung 2015, the Marion Ermer Prize 2016 and received various scholarships such as the KDFS residency scholarship at the ISCP New York. His work can be found in various collections, including the Staatliche Kunstsammlung Dresden. He published "The Whirr of the Image Machine" in 2015 with Spector Books. Taube is currently represented by Reiter Galleries (Berlin/Leipzig).

Beny wagner
Coal Mine in the Canary
Doc. expérimental | mp4 | couleur | 18:34 | Royaume-Uni | 2020

An essay film told through the body, 'Coal Mine in the Canary' explores the work of John Scott Haldane, the late 19th century physiologist whose experiments with respiration in atmospheric extremes led him to put canaries in coal mines as early indicators of air toxicity. The film explores this historical technique as a form of environmental control, one that would ultimately shape the possibilities of exchange between organisms and their surroundings, determined as a series of regulated variables. In the canary, Haldane developed a new paradigm: to modify an organism is a form of environmental control because there is no border at which the organism begins and the environment ends.


Beny Wagner is an artist, filmmaker, researcher and writer. Working in moving image, text, installation and lectures, he constructs non-linear narratives situated within the ever shifting threshold of the human body. ? He has presented his work in festivals, exhibitions and conferences internationally including: Berlinale, International Film Festival Rotterdam, Eye Film Museum, Haus der Kulturen der Welt, Media Art Biennale WRO, 5th and 6th Moscow Biennale for Young Art, Moscow International Experimental Film Festival, Plato Ostrava, Künstlerhaus Bremen, Kunsthalle Amsterdam, Sonic Acts, Impakt Festival, Berlin Atonal, Venice Biennale, White Columns among many others. His work has been featured in Artforum, Spike Magazine Quarterly, Frieze Magazine, Kaleidoscope Press, Flash Art and Die Zeit. His writing has been published in Valiz and Sonic Acts Press among others.

Jan locus
Masters of the Land
Vidéo expérimentale | 4k | couleur | 14:0 | Belgique | 2020

Thanks to the rise of mining, post-communist Mongolia was the fastest growing economy in the world in 2012. However, the poor were not profiting from the booming industry, and climate change plus overgrazing were leading to vast desertification. According to Mongolian shamanistic belief, the earth and sky are connected. Violation of nature by men provokes the anger of the ruling spirits or the ‘masters of the land’ and leads to drought and pestilence. How does the population relate to its ancestors when desires threaten to upset the cosmic balance? The film opens with images shot in Baganuur and Nalaikh, once the largest coal mines in Mongolia. Fixed camera images of workers in the shadow of gigantic machines alternate with desolate landscapes and downtown Ulaanbaatar by day and by night. Intermediate texts cut the medium long shots. The first excerpt originates from the Hungarian poet Ferenc Juhasz. In 1957, under the influence of LSD, he experienced the painful initiation of a shaman. The second excerpt comes from a song by the shamaness Kyrgys Khurak. It deals with the evocation of lurking greed and inequality that might destroy nature – an aspect that implicitly refers to the climate crisis. (Ive Stevenheydens)


The long-term projects of photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. His books include Mongolia, De Bewegende Stad and Devoted. His films have been screened at IFFR Rotterdam (NL), DokFest Kassel (DE), Internationale Kurzfilmtage Oberhausen (DE), Rencontres Internationales Paris/Berlin (FR/DE), Asolo Art Film Festival (IT), Split International Festival of New Film (HR) and FIFA Montreal (CA) among others. He lives and works in Brussels.


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Freja Sofie Kirk and Kjær Esben Weile film dancers working in the world's largest nightclub in Ibiza. Their bodies are transformed into scenic elements, lifted by cranes and transported to a beach in the mouth of an inflatable shark. Pilvi Takala observes the specific start-up community at a large gathering in Helsinki and questions the structure of social norms and behaviour. Based on an encounter with an asbestos miner, Thomas Taube intersects various stories, dialogues and materials that assemble and disassemble, questioning the notion of the West. Beny Wagner revisits the work of John Scott Haldane, a late 19th century physiologist, who had the idea of putting canaries in coal mines as a "tool" for detecting air toxicity. The film explores this historical technique, a form of environmental control, which erases the boundary between an organism and its environment. Jan Locus visits what was once the largest coal mine in Mongolia. According to Mongolian shamanistic belief the earth and sky are linked, and humans violating nature causes spirits to be angry and leads to drought and plague.


    August 25-29, 2021
    Programme per day
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