2021 Paris Programme
12:00 14:00 16:00 18:00
Sunday

Feb. 28
12:00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 8pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"Dialogues"

Pierrick mouton: Chapter 5 — The Sacred Forest | Film expérimental | mov | couleur | 18:55 | Bénin | 2019 see more
Deborah stratman: Vever (for Barbara) | Doc. expérimental | 16mm | couleur | 12:0 | Guatemala | 2019 see more
Wendelien van oldenborgh: Two Stones | Doc. expérimental | hdv | couleur | 61:15 | Allemagne | 2020 see more
Pierrick mouton
Chapter 5 — The Sacred Forest
Film expérimental | mov | couleur | 18:55 | Bénin | 2019

Il y a très longtemps, se trouver un vieille homme au village, qui garder jalousement un secret Certains soir de l'année, quand la lune était pleine Il s'asseyait devant l'arbre sacré. Les mains écartées il prononçait des paroles incantatoires jusqu'au bout de la nuit La foret tout entière s'animait Apres quoi, On raconte l'avoir vu à des centaines de kilomètres de là. Certains disent qu'il aurait le pouvoir de se téléreporter


Pierrick Mouton est un artiste et vidéaste, vivant à Paris. Son travail s’articule autour de systèmes de croyances, spirituels ou idéologiques à travers des films, des oeuvres sonores ou des objets, qu’il fait réaliser ou qu’il réalise lui même. Cette démarche est associée à une approche documentaire, et une immersion sur le long terme avec différents groupe de croyance et de pensée. Pierrick Mouton a récemment exposé à Salon de Montrouge (Paris), École d’architecture de la ville & des territoires (Paris Est), Clark House Initiative (Mumbai), Villa Belleville (Paris), Alliance Française (Chandigarh), Nunnery Gallery (London), Carrousel (London). Ses créations radiophoniques sont régulièrement diffusés sur France Culture et DUUU radio.

Deborah stratman
Vever (for Barbara)
Doc. expérimental | 16mm | couleur | 12:0 | Guatemala | 2019

A cross-generational binding of three filmmakers seeking alternative possibilities to power structures they’re inherently part of. The film grew out of abandoned film projects of Maya Deren and Barbara Hammer. Shot at the furthest point of a motorcycle trip Hammer took to Guatemala in 1975, and laced through with Deren’s reflections of failure, encounter and initiation in 1950s Haiti. A vever is a symbolic drawing used in Haitian Voodoo to invoke a Loa, or god.

Artist and filmmaker Deborah Stratman makes films and artworks that investigate power, control and belief, considering how places, ideas, and society are intertwined. Recent projects have addressed listening, freedom, surveillance, sinkholes, comets, raptors, orthoptera, levitation, exodus, sisterhood and faith. She lives in Chicago where teaches at the University of Illinois.

Wendelien van oldenborgh
Two Stones
Doc. expérimental | hdv | couleur | 61:15 | Allemagne | 2020

Two Stones explores the trajectories and ideals of the Bauhaus-trained, German architect Lotte Stam-Beese and the Caribbean activist and writer Hermina Huiswoud through dialogues and appearances by contemporary protagonists. Both Stam-Beese and Huiswoud spent time working in the Soviet Union in the early 1930s and both ended up being active in the Netherlands after WWII. Two Stones was filmed in the 1930s constructivist district of KhTZ in Kharkiv, Ukraine, the first large housing project on which Lotte Stam-Beese worked, and in Stam-Beese’s celebrated 1950s Pendrecht, designed during her period as Rotterdam’s main architect/urban planner. In the 1970s, Hermina Huiswoud was agitating against the Rotterdam housing rule, which limited Caribbean Dutch inhabitants to settle in any of the city’s districts if their presence would exceed 5% of the population. Resonances as well as dissonances between the distinct trajectories of the two women and their expectation from communist ideology, are sensed through thoughts and experiences of the protagonists, who all have a personal or professional relation to the issues at hand. Two Stones (2020), is a single image edit with two soundtracks played sequentially.

Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation, collaborating with participants in different scenarios, to co-produce the script. With these works, which look at the structures that form and hinder us, she participated in various large biennials, and in smaller dedicated shows. Recent solo presentations include: tono lengua boca at CA2M Madrid 2019-20 and Fabra i Coats Barcelona 2020; Cinema Olanda, at the Dutch Pavilion in the 57th Venice Biennial 2017. Van Oldenborgh has exhibited widely including at Kunsthall Wien 2020, Stedelijk Museum amsterdam 2020, the Chicago Architecture Biennial 2019, bauhaus imaginista, HKW Berlin, Zentrum Paul Klee Bern 2019 and SALT Istanbul 2020. Van Oldenborgh is a member of the (Dutch) Society for Arts and a recipient of the Dr. A.H. Heineken Prize for Art (2014). A monographic publication, Amateur, was published by Sternberg Press, Berlin; If I Can’t Dance, Amsterdam and The Showroom, London in 2016.


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Pierrick Mouton films a sacred forest, rites, and sculptures that shelter a soul in Benin. Based on film projects by Maya Deren and Barbara Hammer, Deborah Stratman brings together three generations of filmmakers in search of alternatives to the power structures to which they belong. Filmed at the furthest point of a motorbike trip Hammer made to Guatemala in 1975, the film is penetrated by Deren's reflections on failure during a trip to Haiti in the 1950s. Wendelien van Oldenborgh explores the trajectories, ideals and expectations of communism, the German architect Lotte Stam-Beese, who trained at the Bauhaus, and the Caribbean activist writer Hermina Huiswoud, both of whom worked in the Soviet Union in the early 1930s and were active in the Netherlands after World War II. "Two Stones" was filmed in neighbourhoods designed by Tam-Besse in Ukraine, in a 1930s constructivist neighbourhood and in Rotterdam, in the Pendrecht district, when she was the city's leading architect/planner. In the 1970s, Hermina Huiswoud campaigned against a regulation in Rotterdam that restricted access to housing for the Caribbean Dutch.


Sunday

Feb. 28
14:00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 8pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"Intimate Distances"

Francisca somigliana: Diamante | Fiction expérimentale | 4k | couleur | 7:29 | Argentine | 2020 see more
Liina siib: 25.02._26.02. | Doc. expérimental | hdv | couleur | 9:28 | Estonie | 2020 see more
Hoolboom mike, Alena Koroleva: Wax Museum | Vidéo expérimentale | mov | couleur | 11:0 | Russie | 2020 see more
Phillip warnell: Intimate Distances | Doc. expérimental | 4k | couleur | 61:0 | USA | 2020 see more
Francisca somigliana
Diamante
Fiction expérimentale | 4k | couleur | 7:29 | Argentine | 2020

Diamond is built as a game of reflections on the basis of a fact: a jewelry theft committed in Russia in 2018 allegedly committed by a criminal organization called Pink Panther.

Francisca Somigliana (Buenos Aires, 1992) studied Image and Sound design. She did the Film Program (2017) and the Artist Program (2020/21) of the Universidad Torcuato Di Tella. She was selected in 2019 to participate in the Biennial of Young Art. She participated in different shows and screenings such as Space between (CCR), Today I have permission to lie (UTDT), Program 2016 (Dahaus Studio), Satellite XIII (CHELA) and Cinematographic images and their path to freedom (UTDT)

Liina siib
25.02._26.02.
Doc. expérimental | hdv | couleur | 9:28 | Estonie | 2020

The video “25.02._26.02.” is part of Liina Siib's tragicomical installation “Huldufólk” (liinasiib.com/huldufolk-hidden-people/). “Huldufolk” means “hidden people” in Icelandic – these are supernatural beings who look and behave like normal people but have their own activities in their own parallel world. They can make themselves visible for humans who can see them through a colourful glass. The video is filmed on Sunday night and Monday morning in the streets and backyards in the centre of Reykjavik. The inspiration came from the short story “Sunday evening to Monday morning” of Ásta Sigurðardóttir (1951) who describes a journey of a drunken woman in the streets of Reykjavik and her alienation. The precise geographical location does not really matter in the video much more than perhaps recognizing longer lasting nights, cold and strong wind; depicted activities and related attributes can be found anywhere in the world. The film material has been collected in 2018 when the artist worked in the residency at The Steina and Woody Vasulka Archive at the National Gallery of Iceland.

Liina Siib has studied printmaking and photography at the Estonian Academy of Arts. In her artistic practice, she uses the means of film, video, photography and installation. Liina Siib is intrigued by various manifestations of people's everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. Siib combines her field observations with archival sources, historical accounts and various narratives circulating in the society as well as with psychoanalytic approaches and contemporary art and film theories. Liina Siib has held personal exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. In 2011 her art project “A Woman Takes Little Space“ represented Estonia at the 54th Venice Art Biennale. Her recent exhibition and film projects include Linda Vilde Museum at the E. Vilde Museum in Tallinn (2021), Huldufólk / Hidden People, Hobusepea Gallery, Tallinn (2020), Politics of Paradise, Tallinn Art Hall (2019), RIBOCA1 Riga Biennial (2018), Urban Symphony in E-minor, Sinne Gallery, Helsinki (2018). Since 2015, she works as the head and professor in the department of Graphic art at the Estonian Academy of Arts. Full CV at: liinasiib.com/biography/

Hoolboom mike, Alena Koroleva
Wax Museum
Vidéo expérimentale | mov | couleur | 11:0 | Russie | 2020

In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.

Alena Koroleva is a multidisciplinary Russian artist and curator. Co-founder of Kinodot EFF, author of few short films and sound releases. Mike Hoolboom makes movies and writes.

Phillip warnell
Intimate Distances
Doc. expérimental | 4k | couleur | 61:0 | USA | 2020

On a street corner in Queens, New York, an elderly, white-haired woman hovers, apparently waiting or looking for something – then starts approaching passersby. Miked up close, but viewed – surveillance-style – from distant rooftops, she asks them philosophical questions about turning points in their lives, sometimes eliciting candidly revealing answers from people who seemingly need to talk. She’s also seen up close at street level, viewed by a shaky nearby camera. And intermittently we hear the affectless voiceover of an English male reading an account of a prison spell. What exactly are we seeing? A documentary of sorts? A fiction stripped of its expected signposts? The woman is real-life casting director Martha Wollner, but the film never makes it clear what her mission is, what she hopes to learn, and what her relation is to the distant speaker (who may also be the distant observer). Echoing Coppola’s THE CONVERSATION, as well as works by Phillip Warnell’s fellow British experimental directors John Smith and Chris Petit, this is an enigmatic, elusive piece. Yet, as the title suggests, those moments when Wollner connects with the interiority of perfect strangers makes this an alluringly, unexpectedly compassionate guerrilla foray into urban experience. (Jonathan Romney)

Phillip Warnell is an artist-filmmaker, a writer, and the director of the Visible Institute, for research in film and photography, at Kingston University, London. He produces film works and texts exploring a range of philosophical and poetic thematics, also exploring ideas on human-animal relations. His most recent film, The Flying Proletarian (2017), premiered at CPH:DOX, Copenhagen International Documentary Film Festival, in March 2017. During his fellowship, Warnell is addressing a series of interconnected questions on “animality-cinemality-criminality,” involving engagement with film professionals and researchers relative to screen-based roles and exploring the relationship among appearance, measurement, and typecasting. He is also developing script-based ideas for a planned feature-length film, currently in development, that investigates ideas on misobservation and apparitions of other life-worlds, accessing archival material to inform and incorporate into the project. Warnell’s film work has been exhibited extensively, including recent screenings at the ICA in London, KW Institute for Contemporary Art, in Berlin, and Tate Modern, in London, as well as in such prestigious film festivals as the Locarno Festival, the New York Film Festival, and the Viennale. Previous exhibitions have included at the Moderna galerija, in Ljubljana, Slovenia; Sharjah Biennial, in United Arab Emirates; and Wellcome Collection, in London. His film Ming of Harlem: Twenty One Storeys in the Air (2014) won the 2014 Georges de Beauregard International Prize at FID International Film Festival Marseille and the 2015 Universities SIC Award at IndieLisboa.


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Francisca Somigliana develops a thinking game, between simulation and the principle of reality, by reconstructing the story of a jewellery robbery in Russia in 2018, allegedly committed by a criminal organisation called Pink Panther. Simulation becomes a method for rethinking the social rituals of production and representation, an alternative for reorganising reality. In a nocturnal journey, somewhere between alienation and tragicomedy, Liina Siib films the streets and backyards of the centre of Reykjavik, with the Icelandic "Huldufolk" in mind, supernatural beings that can only be seen through coloured glass. Mike Hoolboom and Alena Koroleva film fifteen scenes in Saint Petersburg featuring a young woman who seems to be renegotiating her pact with Russian capitalism. Phillip Warnell follows the famous casting director Martha Wollner to a crossroads in Queens, New York. Filmed from a distance reminiscent of surveillance cameras, she approaches passers-by, asking them intimate or philosophical questions.


Sunday

Feb. 28
16:00

Online screening
Live from Louvre auditorium
Live streaming, from 12pm to 8pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

"Recall"

Chia-yun wu: Darkness Within Darkness | Vidéo expérimentale | mov | couleur et n&b | 6:30 | Taiwan / Royaume-Uni | 2020 see more
Agustina comedi: Playback. Ensayo de una despedida | Doc. expérimental | 4k | couleur | 14:32 | Argentine | 2019 see more
Marine bikard: Coulisses | Animation | mp4 | couleur | 4:9 | France | 2020 see more
Christelle lheureux: 80 000 ans | Fiction | mp4 | couleur | 28:26 | 0 | 2020 see more
Gaelle boucand: Voin | Documentaire | mov | | 30:0 | Bulgarie | 0 see more
Chia-yun wu
Darkness Within Darkness
Vidéo expérimentale | mov | couleur et n&b | 6:30 | Taiwan | 2020

The work is a paper made video composed of digital image and physical material that delves into the essence of moving image. I divided the digital video into the film ratio of 24-frame-per-second. Through the process of digital transforming in printing and scanning, the re-composed video is in between movement and stillness, virtual and concrete, digital and material. The contrasts have thus been thus related to the Oriental philosophy of Taoism, "one body with two sides". With the video, I was trying to visualize the abstract natural law which denies description. Tao is empty yet inexhaustible, hidden but always present, a way of life yet not a locatable truth. darkness within darkness seeks, in the same way, to be comprises of the very contrast between the established (material) and the abstract (digital) through revealing the invisible time in image.

Wu Chia-Yun (b.1988, Taiwan) received an MA degree in Visual Communication from the Royal College of Art (London) and an MFA degree in Motion Picture from the National Taiwan University of Arts (Taipei). She is an artist and filmmaker based in Taipei, her work is a mixture of image, video, mixed media and installation, focusing on the topics of “human condition” and “the time of image”. Wu has been awarded as Emerging Artist Made in Taiwan by the Ministry of Culture (2017), First Prize of Kaohsiung Awards by the Kaohsiung Museum of Fine Arts (2019), and has had a solo exhibition at the National Taiwan Museum of Fine Arts (2019). Her works have also been internationally selected to the European Media Art Festival (2020), The European Independent Film Channel (2015), Shanghai international Film Festival (2014).

Agustina comedi
Playback. Ensayo de una despedida
Doc. expérimental | 4k | couleur | 14:32 | Argentine | 2019

In Córdoba, far away from Argentina’s capital city, the end of a military regime promises a spring that doesn’t last long. “La Delpi” is the only survivor from a group of transgender women and drag queens, who began to die of AIDS in the late 80’s. In a catholic and conservative city, the Kalas Group made their weapons and trenches out of improvised dresses and playbacks. Today the images of a unique and unknown footage are not only a farewell letter, but also a friendship manifesto.

Agustina Comedi (1986) Córdoba, Argentina. Screenwriter and Filmmaker. She studied Modern Literature. In 2017 her first film "Silence is a Falling Body" was premiered at IDFA. The film was multi-awarded and selected in more than 50 international festivals. Nowadays she's writing her second feature.

Marine bikard
Coulisses
Animation | mp4 | couleur | 4:9 | France | 2020

Coulisses, Stop-motion, 4 minutes Un mouvement de caméra comme un balancement de tête, de gauche à droite. Si bien qu’il y a toujours ce qui sort et ce qui entre dans le champ. Dans ce trajet, l’œil caméra croise un papier, du papier peint, et plus loin encore, un miroir dans lequel se reflètent papier-peint et papier.


née en 1988, diplômée de l’école nationale supérieure des beaux-arts de Paris en juillet 2020. Avant et en parallèle de ce cursus artistique, elle a travaillé comme sociologue et continue la réalisation d’enquêtes de terrain. Pendant ces cinq années passées à l’ENSBA de Paris, elle a travaillé dans les ateliers de Pascale Martine Tayou, Emmanuelle Huynh, Aurélie Pagès et Jean-Michel Alberola, et a régulièrement participé à des workshops de danse qui ont marqué son parcours, notamment sa rencontre avec la chorégraphe américaine Lisa Nelson. Depuis 2019, elle imagine des rencontres collectives pour explorer par dessin différentes manières d’être avec ce qui nous entoure. Actuellement en résidence à l’Embac de Châteauroux.

Christelle lheureux
80 000 ans
Fiction | mp4 | couleur | 28:26 | 0 | 2020

C’est l’été en Normandie. Céline travaille sur un chantier de fouilles et en profites pour passer un week-end dans son village d'enfance qu'elle n'a pas revu depuis longtemps. Ses recherches archéologiques se mêlent à des retrouvailles plus ou moins probables au fil de ses promenades.


Originaire de Normandie, Christelle Lheureux est cinéaste, artiste et enseignante. Elle vit à Paris et enseigne à la Haute école d’art et de design de Genève. Après une formation aux universités d’Amiens et de Paris VIII, aux Beaux-Arts de Grenoble et au Fresnoy, elle réalise de nombreuses installations vidéo dans les années 2000 et participe à de nombreuses expositions, biennales et résidences d’art contemporain en Europe et en Asie. Dans les années 2010, elle réalise plusieurs courts et moyens-métrages primés dans des festivals de cinéma. Elle prépare actuellement Le vent des crocodiles, son premier long-métrage avec Christmas in July (Julie Salvador), Dans le ventre de la baleine, un moyen métrage en Thaïlande avec Kidam (François-Pierre Clavel) et termine 80 000 ans, un court métrage en diptyque.

Gaelle boucand
Voin
Documentaire | mov | | 30:0 | Bulgarie | 0

Voin a grandi dans la Bulgarie communiste. Après vingt ans passés en Europe de l’Ouest, il retourne à Sofia sur les lieux de son enfance et de son adolescence. Son portrait se compose de lieu en lieu, de souvenir en anecdote. Du cou coupé du coq qui voulait l’énucléer aux rites d’initiation sexuelle dans la maison interdite, Voin campe les saynètes d’un roman d’apprentissage bataillien, cru et souverain. En racontant ses travestissements, il revendique aussi l’exercice d’une liberté, d’une agilité à se mouvoir dans le cours de l’Histoire. Voin l’imite, en hérite, et c’est l’Histoire qui transparaît dans une tonalité rafraîchie, une vitalité excentrique et mineure, loin des lieux communs du récit majoritaire. Et quand, penché sur le vide au 19e étage de la tour Tolstoï, le trentenaire contemple les barres d’immeubles du quartier Espoir de son enfance, son vertige est contagieux, et la sensation (dé)grisante. (Cyril Neyrat)


Artiste et cinéaste, sa pratique se concentre depuis dix ans sur la réalisation de documentaires au sein desquels les questions du portrait et du dispositif filmique tiennent une place centrale. En 2010, son premier film, Partis pour Croatan, sur une communauté de raveur, est exposé notamment au Musée d'Art Moderne de la ville de Paris. Son deuxième film, JJA — premier volet d'une trilogie — dresse le portrait d'un exilé fiscal en Suisse. Il reçoit la mention du Grand Prix de la compétition française au FID Marseille 2012 ainsi que le Grand Prix expérimental au festival Coté Court de Pantin, et est également diffusé au sein de multiples institutions artistiques internationales (Kunsthalle Mannheim, MAST Bologna, Kunstwerk Carlshütte). Depuis 2014, elle enseigne régulièrement à l'isdaT à Toulouse et réalise des films avec différentes écoles. En 2015, elle termine Changement de décor, deuxième volet de la trilogie initiée avec JJA, présenté notamment aux États généraux du film documentaire de Lussas, et cofonde la société Elinka Films. En 2020, J.A — qui vient clore la trilogie — est en compétition au Cinéma du Réel et son dernier film, Voin, portrait d'un homme à travers son retour en Bulgarie, reçoit le prix Alice Guy au FID Marseille.


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Chia-Yun Wu restructures movement and immobility, seeking to reveal the invisible time concealed within image. Agustina Comedi revisits images from the 1980s, filmed in a Catholic and conservative city in Argentina under the military regime. "La Delpi," the only survivor of a group of transsexual women and Drag Queens, tells the story of improvised playbacks, partying, love, and missing friends in that promised spring. The film becomes a farewell letter, but also a manifesto of friendship. Marine Bikard draws and animates the surface of a wall, and questions the relationship between the drawing, the camera-eye and the artist drawimg. One summer in Normandy, Christelle Lheureux intertwines as many characters as temporalities and attempts at remembrance. A young archaeologist works on an excavation site and takes the opportunity to spend a weekend in the village of her childhood. Her archaeological research resonates with the more or less likely reunions she makes during her walks. Gaelle Boucand follows Voin's return to Bulgaria as a teenager after twenty years in Western Europe. The portrait is created from place to place and from memory to anecdote. The ambiguous narrative is marked by gaps between intimate and collective memory.


Sunday

Feb. 28
18:00

Closing screening
Live from Louvre auditorium
Live streaming, from 12pm to 8pm, free: art-action.org/live_en
3D immersive space, free access: art-action.org/louvre_en

Carte blanche to Apichatpong Weerasethakul

To close the Paris 2021 edition, Rencontres Internationales Paris/Berlin invites Apichatpong Weerasethakul for a short carte blanche screening. A session about memory, love and resistance.

Mikhail Basov: Short Circuits | Exp. documentary | color | 00:18:41 | Russia | 2020
Apichatpong Weerasethakul: Ashes | Exp. documentary | color | 00:20:00 | Thailand | 2012

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    Feb. 23 - 28, 2021
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