Catalogue 2017-2018
Parcourez ci-dessous le catalogue 2017-2018 des Rencontres Internationales, ou effectuez une recherche dans les archives des oeuvres présentées depuis 2004. De nouveaux extraits vidéos sont régulièrement mis en ligne, les images et les textes sont également progressivement mis à jour.
Marcos AGUDELO, Róger Gómez
Fata Morgana
agudelo Marcos , Róger Gómez
Fata Morgana
Animation | hdv | noir et blanc | 0:57 | Nicaragua | 2017

“Fata Morgana” is a critical vision of a mega-project of infrastructure, an interoceanic channel crossing the entire country that is going to be built in Nicaragua by the transnational Chinese enterprise HKND. The negative impact over the local population and the environment represents a real danger for their sustainability. Thousands of citizens from the affected areas have protested against this project, which was approved without their consideration. “Fata Morgana” is an optical illusion where one perceives objects floating on the horizon, such as cars on a highway or ships at sea; we´re playing with such symbols in this drawn stop motion animation.

Marcos lives and survives in Managua, Nicaragua. He trained as an architected at the National Engineering University in Managua (1995-1999) and later specialized in the field in Barcelona with an emphasis on urban planning and sustainable tropical architecture (2005-2009). In 2006 he won the II Exhibit of Emerging Art in Central America organized by the Museum of Contemporary Art and Design in San José, Costa Rica and in 2008 he won first place at the VI Central American Visual Art Biennial. His pieces have been exhibited in the Latin American Pavilion at the Arsenale during the 55th International Art Exhibition in Venice, Italy (2013), the García Lorca Great Theatre of Havana during the 11th Havana Biennial (2012), New York?s Museo del Barrio as part of the ?The Street Files? exhibit (2011), Santo Domingo?s Museum of Modern Art during the I Caribbean International Triennial (2010), in two editions of the Central American Contemporary Art Biennial (Tegucigalpa 2008 and Managua 2010) as well as in several editions of the Nicaraguan Visual Art Biennial Fundación Ortèz-Gurdión (2005, 2007 and 2009), with mentions in 2007 and 2009. He has appeared in magazines like Exit-Express (Spain), Código (México) and ArtNexus (Colombia) and in anthologies like Us and Them, Young Ibero-American Artists (2010).

Eija-liisa AHTILA
Tutkimuksia draaman ekologiasta (Studies on the Ecology of Drama)
ahtila Eija-liisa
Tutkimuksia draaman ekologiasta (Studies on the Ecology of Drama)
Fiction expérimentale | 4k | couleur | 26:26 | Finlande | 2017

The film uses the methods of presentation as a path to the company of other living beings. It expands upon the issues of ecological moving image narrative, the focus being on presentation, imaging and imagination in the context of the moving image.

Née en Finlande en 1959, Eija-Liisa Ahtila vit et travaille à Helsinki. Elle a étudié à l’Université de Californie à Los Angeles, au London College of Priting et à l’Université d’Helsinki. Le travail d’Eija-Liisa Ahtila, installation et film, s’organise conceptuellement autour de la manière dont se construisent images, langages, fils narratifs et espaces. Après avoir examiné les aspects existentiels de l’adolescence et de la découverte de la sexualité, les difficultés des relations familiales, la désintégration mentale et la mort, dans travaux les plus récents, l’artiste questionne les procédés de perception et d’attribution de sens, entre autres à travers des thématiques liant réflexions sur la culture et aspects et existentiels, telles que le colonialisme, la foi et le post-humanisme. Elle a obtenu le prix ARTE Award pour le meilleur film européen au Festival International du Court Métrage d’Oberhausen (2012), le Grand prix du Festival Curtas Vila do Conde (2002), le Prix du meilleur court métrage nordique au Nordisk Panorama (2000). En 2011, elle a été membre du jury du Festival du film de Venise. En 2013, elle a été présidente du jury au FID Marseille. Son travail a été montré dans des musées et festivals, notamment au Musée Guggenheim de Bilbao, au Monderna Museet (Stokholm), à la DHC/Art Foundation for Contemporary Art (Montréal), au Jeu de Paume (Paris), au Museum of Modern Art (New York), au Museo d’Arte Moderna e Contemporanea (Bolzano, Italie), et à la Tate Modern (Londres). Ses films ont été projetés notamment au Festival international du film de Berlin, au Festival du film de Sundance, au Festival international du film de Venise.

Carlos AIRES
Sweet Dreams Are Made of This
aires Carlos
Sweet Dreams Are Made of This
Vidéo | hdv | couleur | 4:21 | Espagne | 2016

The video shows two policemen wearing Spanish anti-riot uniforms, dancing a tango version of the famous Eurhythmics 80´s song in the luxurious and extremely decorated ballroom space of the XIX century palace Museum Cerralbo in Madrid. The fantastic lyric of the song “ Sweet dreams are made of this ” is the central motor of the piece. The tango version cove song has been arranged by the bandoneon player Fernando Girdini and recorded exclusively for the video. In its origins, tango was mainly a dance between two men. Tango was the result of the cultural mix of locals with African, Italian and Hispanic immigrants. It was originally forbidden by the church and rejected by high society, which resulted in its development in poor suburbs and working-class slums. The video reflects about the last years crisis, 15M movement, the violent riots, Cataluña independency, brutality of Spanish police and military forces and the recent antidemocratic Spanish law ” Ley Mordaza ” (the Gag Rule), becoming illegal and punished to take photos or videos of police forces or use of the police uniforms without the Government’s permission. Desire, power, decadence and frustration: they shoot horses, don´t they?

Carlos Aires was born in Ronda, Spain in 1974. He obtained a bachelor in Fine Arts at the University of Granada in Spain. Upon graduating in 1997, he moved to the Netherlands and completed his postgraduate studies at Fontys Academy (Tilburg, Netherlands), HISK (Antwerp, Belgium) and Ohio State University (Ohio, USA). He was honored with prestigious grants and awards, including: OMI Residency (USA), Edith Fergus Gilmore Award (USA), Generation2008 Caja Madrid (Spain), Young Belgian Art Prize (Belgium), 1st Award Young Andalusian Artists (Spain), Fulbright (USA) and De Pont Atelier (the Netherlands). He has participated in numerous exhibitions in national and international institutions, such as: CAC (Malaga, Spain), MACBA (Barcelona, Spain), Boulder Museum of Contemporary Art (USA), Imperial Belvedere Palace (Vienna, Austria), MUSAC (Leon, Spain), BB6 Bucharest International Biennale (Bucharest, Romania), B.P.S. 22 (Charleroi, Belgium), 5th Thessaloniki Biennale (Thessaloniki , Greece), Museo de Arte Carrillo Gil (Mexico City, Mexico), Canada Contemporary Art Museum (Montreal, Canada). His work can be found within significant public collections: ARTIUM (Spain), MACBA (Spain), Fondation Francès (France), ARTER (Turkey), CAC (Spain), Maison Particulière (Belgium), Ministry of Culture of Spain, Progress Art (Saudi Arabia), National Belgium Bank (Belgium), 21c Museum (USA), MAK (Austria) among others.

Edward AKROUT, Jakob S. Boeskov
Quantum Political Feedback
akrout Edward , Jakob S. Boeskov
Quantum Political Feedback
Vidéo expérimentale | hdv | couleur | 8:0 | France | Royaume-Uni | 2017

In the video, the artists combine pseudoscience with repetition to investigate the connection between technology and truth. An E-meter device was exploited as a crude polygraph machine. Its pseudoscientific function is to "detect lies" in order to monitor a statement`s progression from lie to truth. Statements were read to and repeated by the participants. Through continuous repetition, the subjects built a relationship with the spoken words, which over time, matured into experiences and finally beliefs. All of the combined elements resulted in mettre en abîme the transformation of a political affirmation into a belief.

Edward Akrout is a Franco-British artist that works between London, New York and Paris. His practice, which largely includes painting, drawing and sculpting, is best described as abstract expressionism. Personal website: Representation: Lahd Gallery Jakob Boeskov is a Danish-Icelandic artist and filmmaker that works between New York and Copenhagen. Having graduated from The Royal Danish Academy of Fine Arts, his pieces have been shown in museums such as New Museum, Science Politiques, Moscow State Academy Art Institute and the Stedelijk Museum. Personal website: Representation: The Scandinavian Institute

The Craft
al qadiri Monira
The Craft
Film expérimental | hdv | couleur | 16:0 | Koweït | 2017

“ The Craft ”is a film that revolves around childish fictions laced with serious suspicions towards the real world. Using the lens of family history, the film dissects the artist’s own past to reexamine an uncanny relationship taking place in the shadows of her major life events: “ Were my parents conspiring with aliens behind my back ” Reality gradually disintegrates like quicksand around this central question, as paranoia and speculation begin to take hold. Futuristic architecture, popular culture, dream readings, junk food, alien abductions, geopolitics, international diplomacy, war and peace; all of these once solid staples of modern life now become tinted with a general sense of distrust, overshadowing everything. Like a ticking time bomb at the center of the nuclear family unit, the suspicion reaches a crescendo when the protagonist suddenly discovers that the American century has finally ended.

Monira Al Qadiri is a Kuwaiti visual artist born in Senegal and educated in Japan. In 2010, she received a Ph.D. in inter-media art from Tokyo University of the Arts, where her research was focused on the aesthetics of sadness in the Middle-East stemming from poetry, music, art and religious practices. Her work explores unconventional gender identities, petro-cultures and their possible futures, as well as the legacies of corruption. She is also part of the artist collective GCC, who held a solo exhibition at MoMA PS1 in New York (2014). Monira was recently based in Amsterdam, and underwent a two year artist residency at the Rijksakademie until the end of 2017.

Another Gate Before the Law
alberts Michiel
Another Gate Before the Law
Vidéo expérimentale | hdv | noir et blanc | 17:13 | Pays-Bas | 0 | 2017

Another Gate Before The Law (HDVideo, B&W, 17m13, Michiel Alberts, 2017) Michiel Alberts is currently working on a series of K. Films. The films relate to different short texts by F. Kafka. Michiel Alberts performs and films his actions in order to transform the stories into a visual image bringing it to current and existential scenery. The film Another Gate Before The Law refers to the text Before the Law, by F. Kafka. The film is a dark poetic image dealing with the present state of our time and to current human conditions.

(Born The Netherlands, 1972. Lives and Works in Antwerp, Belgium.) Michiel Alberts is a Visual artist working with the media Performance, Film and Photography. In his film works he focuses upon his performative presence, movements with duration or repetitive actions. Through the usage of single angel point, the audience is invited to experience a frozen state and relate to existential questions and human conditions. His films can be described as a still picture moving, a state of presence unresolved. “ My physical presence functions as a performative tool to question human conditions, cosmic order, time and landscapes. Through forms of abstraction I bring my content from a specific happening, or a specific social context to a larger existential scenery." Michiel Alberts has studied Visual Art at the H.I.S.K. institute in Antwerp and Gent (2008). He also completed a Master of Arts at Dasarts in Amsterdam (2005) and completed the Acting School of Maastricht (1997)

Summa summarum
alog Bon
Summa summarum
Film expérimental | hdv | couleur | 5:46 | Lituanie | 2017

The characteristics of our subconsciousness has its own model of reality. Human-being is trying to distinguish where simulation starts and ends. But the self-reflection of consciousness is full of absurdity itself... What is REAL? And what is REALLY happening?

2015 - present BA in Photography and Media art, Vilnius Academy of Arts (Lithuania) 2017.10 - 2018.02 Photography and Time-based arts, Bucharest national university of Arts (Romania) 2009 - 2013 BA in Creative industries, Vilnius Gediminas technical university (Lithuania) 2012 Spring semester - Multimedia, Tomas Bata university (Czech Republic)

1000 Smiles Per Hour
altenried Fabian
1000 Smiles Per Hour
Fiction expérimentale | 4k | noir et blanc | 15:0 | Allemagne | 2016

1000 smiles per hour suive Esth, un saltimbanque androgyne, pendant un jour et une nuit a travers une ville côtier abandonée.

Fabian Altenried (*1987) is a director, writer and producer. He studied visual art at the Art Academy in Düsseldorf and philosophy in Berlin. Since 2013 he is part of the Berlin based independent production company Schuldenberg Films. His conceptual approach stems from his engagement with post-structuralism, identity and gender theories, performativity, theories of animality, and post-ideological leftism. Fabian has been an artist in residence of Gargonza Arts in 2013, a participant of Feature Expanded 2016 and Berlinale Talents 2017. His works have been supported by the FFA, werkleitz e.V., the Arts Foundation of North Rhine Westphalia, the Stiftung Kunstfonds, the Mondriaan Fonds et al. and have been shown at the Berlinale, the Sarajevo Film Festival, in Edinburgh, Rotterdam, and many other festivals and shows globally.

Where Did It All Start?
anderson J Tobias
Where Did It All Start?
Animation | hdv | couleur | 1:10 | Suède | 2017

The simplest of questions. An overwhelming silence. The conundrum of existence.

Born in 1971. Grew up on Gotland in the Baltic Sea. Education includes the University Collage of Arts Crafts & Design as well as the Royal Collage of Art, both in Stockholm. Lives in Nacka just outside of Stockholm. Working mainly with video and animation and moving between narrative and non-narrative works. Has created around 40 films. Also experimenting with different forms of music and sound installations. Notable exhibitions include P.S.1 Contemporary Art Center in New York, Kunst-Werke Berlin, CaixaForum in Barcelona and Museo de Colecciones ICO in Madrid, as well as solo exhibitions at MMC Luka in Pula Croatia, ak28 in Stockholm and Uppsala Art Museum in Sweden.

Hanna Maria ANTTILA
Viimeiset linnut (Last Birds)
anttila Hanna Maria
Viimeiset linnut (Last Birds)
Documentaire | 4k | couleur | 15:10 | Finlande | 2016

Nuutajärvi glass factory was closed after operating for 200 years. What happens to a small locality that loses its livelihood in the hands of globalization? Experimental documentary revolves around a young glassblower Kirsi Anttila and her family.

Hanna Maria Anttila (b. 1974, Savonlinna, Finland) is an artist and a producer based in Helsinki. She studied at the Academy of Fine Arts in Helsinki Finland and at the School of Visual Arts in New York. Anttila is interested in how societal changes become visible in everyday life and its details. Careful composition, clarity of form and precise punctuation are characteristic to her work. Hanna Maria Anttila works as the director of AV-arkki, the Distribution Centre for Finnish Media Art in addition to her artistic work.

Lorenzo APOLLI
I compagni sconosciuti (The Unknown Companions)
apolli Lorenzo
I compagni sconosciuti (The Unknown Companions)
Doc. expérimental | 16mm | noir et blanc | 12:5 | Italie | 2015

Beyond the white boundary of wired fences, birch trees and snow, men living in solitude as the world crumbles.

Lorenzo Apolli was born in a small city in the North of Italy, where he studied music and visual arts. After graduating in architecture he entered a documentary film-making institute, focussing on visions from the past and trying to explore the possible, mutual contributions among sound and image in the use of archival materials. He currently works as a researcher in a multidisciplinary documentation centre specialising in contemporary history, for which in the last few years he has been rediscovering archives of still and moving images.

Reel Roll
arzabe Miguel
Reel Roll
Vidéo | hdv | couleur | 3:46 | USA | 2016

Discarded audio reels unfurl and weave together against a digital backdrop. A narrator tells the story of a Navajo boy who learns to weave from his grandmother.

Miguel Arzabe is a San Francisco-based visual artist who works across media, including painting, video, and paper weaving. Arzabe`s work has been featured in such festivals as Hors Pistes (Centre Pompidou, Paris) and the Festival du Nouveau Cinéma (Montreal); and in museums and galleries including RM Projects (Auckland), FIFI Projects (Mexico City), Marylhurst University (Oregon), Berkeley Art Museum, Albuquerque Museum of Art, the de Young Museum, and the San Francisco Museum of Modern Art. He has held many residencies including Headlands Center for the Arts, Montalvo Arts Center, and Santa Fe Art Institute. His work is included in the permanent collections of Facebook, YouTube, and the San Francisco Arts Commission, among others. He holds a BS from Carnegie Mellon University, an MS from Arizona State University, and an MFA from UC Berkeley.

Updating Death
aschmann Carsten
Updating Death
Film expérimental | 4k | couleur | 14:30 | Allemagne | 2017

The actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate—at once helpless and aggressive—through the that can no longer be changed.the actors Ledger, Walker & Hoffman try to establish contact with each other. In a volatile state between mind and consistent figure, they navigate “at once helpless and aggressive” through the that can no longer be changed.

carsten aschmann lives and works in hannover. he has studied at the hbk-braunschweig in the filmclass by büttenbender and birgit hein. Mainly he is a filmmaker, and a screenwriter. more info

Default Character
Ådahl Anna
Default Character
Vidéo | hdv | couleur | 13:32 | Suède | 2016

The film Default Character focuses on the vocabulary, tools and human representation of the softwares proposing and tracking the crowds behaviour, adressing the impact of how default settings produces an image of the algorithmically programmed human body. The film include images from online tutorials of crowd simulation programs ,human tracking devices and newly shot scenes (performed by dancer Pelle Andersson). The featured examples given by these tutorials and showreels are perfectly coordinated swarms, mass body crushes, camp sites and religious gatherings such as the Hadj in Mecka. Crowd simulations which are mainly used for crowd management and Hollywood production use a multi-agent simulation framework which is a computational methodology that allows building an artificial environment populated with autonomous agents which are capable of interacting with each other. The human tracking devices, track, study and accumulate statistics on our collective behaviour, while the crowd simulation proposes it. The voice over in the film, interlaces the tutors voice of informative instructions from the software tutorials with the artist´s personal voice and commentaries.

Anna Adahl is an artist and researcher working in various mediums such as film, installations and performance. She uses the tools of assemblage and montage where found footage meets newly shot images and where ready-mades are used as props in spatial narratives. Her ongoing Fine Art practice-based PhD at the Royal College of Art in London, UK, adresses the aesthetics and politics of crowd simulations analyses, using the physical body as tool and reference, the identity and human representation in crowds generated and supervised by new computational technologies. Her works has been exhibited and presented internationally and she is also a member of the editorial team of OEI magazine.

baiocchi Daria
Création sonore | hdv | couleur | 7:0 | Italie | 2016

The creative idea for this piece comes from the word “ Plasma ” that is often called the "Fourth State of Matter". Plasma is a distinct state of matter containing a significant number of electrically charged particles, a number sufficient to affect its electrical properties and behavior. Plasma also refers to the liquid component of blood that holds the blood cells in suspension. Energy, thunder and blood inspired my composition process. I started by recording some sounds with a new percussion instrument, called “ Sinori ”, a thunder-sheet, that have been processed with these images in my mind.

DARIA studied piano, classical composition and electronic music. Her compositions have been played in theaters and concert halls throughout the World and broadcast by several Radio stations (Holland National radio, France,Portugal, UK, USA etc). She also owns a degree in “Classical Literature” from the University of Bologna (Italy).

Christian BARANI
des êtres de poussière
barani Christian
des êtres de poussière
Doc. expérimental | hdv | couleur | 18:0 | France | Népal | 2018

Un point de départ : dans le Haut Mustang, une très vieille histoire se raconte dans le village de Ghemi. Malgré le courage et les combats des villageois, toutes les nuits, la démone Balmo et ses esprits détruisent les habitations du village. Épuisés, ils décident de demander l’aide d’un moine, le guru Rimpoche qui méditait dans la vallée. Rimpoche sort alors de sa méditation et accepte de combattre la démone. Durant sept nuits le combat fut monstrueux. Mais Rimpoche remporta la bataille. Aujourd’hui dans le pays népalais, la lutte contre les esprits qui détruisent sans cesse le pays continue. Malgré une révolution maoïste qui a abouti à la démocratie, à l’abolition de la monarchie, à l’écriture d’une nouvelle constitution, à l’égalité homme femme… le pays est toujours victime des esprits destructeurs et le peuple népalais continue sans cesse la lutte. Ce film tisse trois espaces narratifs : un chanteur népalais de musique traditionnelle qui improvise sur le thème des esprits destructeurs ; des traces d’une lutte, d’une révolution. Seuls des fragments, des images saccadées presque détruites résistent ; des ouvriers fabriquent des briques pour la construction des habitations dans la vallée de Katmandou.

Christian Barani est né en 1959, vit à Paris. Il termine ses études par une maîtrise de sciences économiques à la Faculté de Nice. Il construit une pratique qui associe le champ du documentaire à celui des Arts Visuels. Sa recherche se fonde sur un dispositif performatif qui engage un corps/caméra marchant dans l’espace. Il définit une règle du jeu qui compose avec le hasard et l’improvisation et génère des images sans à priori. Pas de scénario préalable. Durant le temps de la marche, tout se joue dans l’instant de la rencontre. Jamais une séquence n’est tournée deux fois. Ce qui est advenu et advenu. De cette expérience nait une œuvre protéiforme composée de films en salle, de films déployés dans l’espace d’exposition, d’installations vidéos, de projections performances et de photographies. Sur une période de 10 ans, il filme au Kazakhstan avec G. Reynard l’apparition de la post modernité et les transformations sociales de ce pays d’Ex Union Soviétique, il filme au Népal, en Namibie, en Éthiopie, à Chypre, à Dubaï, au Liban, en Géorgie... Il réalise en parallèle de nombreuses œuvres de commandes pour des musées comme la Maison Arthur Rimbaud à Charleville Mézières, l’Institut Royal des Sciences Naturelles de Bruxelles, le Centre de Culture Scientifiques de Rennes, Agora : Biennale d’Architecture de Bordeaux, le Mons Mémorial Museum en Belgique, Le Musée des Confluences à Lyon, La Cité de l’architecture et du patrimoine de Paris… De 1990 à 2006, à l’École Nationale Supérieure de Création Industrielle, il fonde et dirige le département Images en Mouvement, la cellule d’Expérimentation Image et Son- Xis- avec Jeff Guess et Extensions - dynamiques d’écritures avec frédéric dumond. De 2000 à 2010, il crée avec Véronique Barani et Sabine Massenet une structure de diffusion de films et vidéos d’artistes "estceunebonnenouvelle" qui va regrouper plus d’une centaine de réalisateurs et artistes internationaux. Cette collection comprend plus de 500 films.

From Source to Poem
barba Rosa
From Source to Poem
Film expérimental | 35mm | couleur | 12:0 | Italie | Allemagne | 2016

"From Source to Poem" is an invitation to think about the spaces in which history and cultural production is preserved in order to be passed on to future generations. On the one hand, it pursues Barba’s research initiated with "The Hidden Conference" (2010-2015) “a three-part film work exploring museum storages and whose title refers to imaginary conversations taking place between artworks inside these invisible spaces” on the other hand, it is a reflection about the obsession of preserving any output of western culture in any possible medium. "From Source to Poem" shifts the focus from artworks into archival storage: Shot at the National Audio-Visual Conservation Center of the Library of Congress in Culpeper, Virginia, and at an enormous solar power plant in the Mojave Desert in California, it juxtaposes images from the largest media archive worldwide with a study of rhythm, and images of cultural with those of industrial production. The film exposes the preservation of cultural outputs, but also their digitisation for the future. A vast number of the archive’s holdings are sound material; a sonic memory which is recovered and mixed in the soundtrack as a mean to set in motion otherwise unlikely dialogues. Filmed and screened on 35mm film, the work itself is preserved in one of the most durable archival forms.

Rosa Barba’s work is a subtle interrogation into and co-option of industrial cinema-as-subject, via various kinds of what might be understood as “stagings”—of “the local,” the non-actor, gesture, genre, information, expertise and authority, the mundane—and removals from a social realism within which they were observed, and which qualifies them as components of the work, to be framed, redesigned, represented. The effect of which her work contests and recasts truth and fiction, myth and reality, metaphor and material to a disorientating degree, which ultimately extends into a conceptual practice that also recasts the viewer’s own staging as an act of radical and exhilarating reversal – from being the receiver of an image (a subject of control) to being in and amongst its engine room/s, looking out. (Ian White)

Les Yeux bleus cheveux noirs
barbier Nora
Les Yeux bleus cheveux noirs
Fiction expérimentale | hdv | couleur | 14:31 | France | 2017

Deux amis se filment dans Shanghai. Librement inspiré du livre éponyme de Marguerite Duras, Les Yeux bleus cheveux noirs est un film sur le regard,le désir : une lutte silencieuse dans laquelle la retenue l’emporte sur ce qui est livré.

Nora Barbier est née en 1988. Après des études en philosophie contemporaine (Philmaster ENS et EHESS) et en études de genre (M2 de l’Université Paris 8 Saint-Denis), elle a travaillé comme attachée de production de cinéma pour Capricci. Sa première exposition personnelle, Life is so Easy, a eu lieu au Bazaar Compatible Program à Shanghai en 2016.

Perry BARD, Sullivan Richard
No Flak
bard Perry , Sullivan Richard
No Flak
Vidéo | hdv | couleur | 7:14 | Canada | USA | 2017

No Flak is a text animation that links the attitudes of Dada and the Theatre of the Absurd to the present moment. In the aftermath of an election where the internet offers the opportunity for rants on social media and absurd tweets from the U.S. president, the work scours past and present for bits of humor and philosophy

No FLAK is a collaboration with Richard Sullivan Born in Quebec City, living in NY, Perry Bard’s work is fueled by observations of her immediate environment and their interpretations in a global context. The space between fact and fiction, the role of technology, control of media, its proliferation in public space, play out in installations and videos presented internationally: at MoMA’s Documentary Fortnight, Toronto, Moscow, Rotterdam, IDFA International Film Festivals, at museums including Guggenheim Museum NY/Berlin, MoMA PS1, Reina Sofia, MOCA Zagreb and Bucharest. Her work was included in Sao Paolo, Montreal and Cartagena Biennials. Man With A Movie Camera:The Global Remake, a crowd sourced mashup of Vertov’s1929 film was named by Google one of the 106 most creative uses of the internet, won Honorary Mentions at Ars Electronica, Transitio_MX, Liedts-Meesen, was presented at Transmediale, File, Share media festivals, installed in over 70 venues including public LED displays in the UK and Australia. Richard Sullivan is a filmmaker working and living in New York City. His films have been shown at the Collective for Living Cinema, Millennium, Anthology Film Archives in NYC, the Reina Sofia Museum in Madrid and the Ann Arbor film Festival amongst others.

Un rêve chinois
bassaler Rémi
Un rêve chinois
Documentaire | hdv | couleur et n&b | 29:56 | France | 2016

En banlieue de Pékin, une communauté de Mongols s’occupe des chevaux de course d’un millionnaire chinois. Entre tâches répétitives et discussions nostalgiques, le temps semble figé. Pendant ce temps, le fantôme d’un cavalier Mongol d’une autre époque tente de retrouver les traces de sa Mongolie natale. De retour au haras, la vie de tous les jours semble de plus en plus vaine et absurde pour les travailleurs Mongols. Alors que leur patron Chinois attend avec impatience que le gouvernement chinois finisse par autoriser les paris sur les courses de chevaux, ils ne peuvent s’empêcher de fantasmer un retour dans leur région natale.

Originaire de Corrèze, Rémi s’installe à Paris pour étudier à Sciences Po. C’est à ce moment que le 7ème art entre dans sa vie. Il s’occupe du cinéclub de Sciences Po, créé un festival de court-métrage (Semaine du Cinéma de Sciences-Po) et monte un blog d’analyse de films. Il travaille ensuite pendant quelques mois aux côtés de Paulo Branco chez Alfama Films puis intègre le département réalisation de la Fémis en 2012. Dans une démarche d’expérimentation et d’essai, Rémi y réalise plusieurs courts-métrages de fiction et documentaire. En 2017, son documentaire de fin d’études est sélectionné aux Visions du Réel de Nyon en compétition internationale. Depuis la sortie de la Fémis, il travaille sur l’écriture de son premier long-métrage “ Merzouga “ (coproduit par Capricci et Fase Films) ainsi que sur deux nouveaux court-métrages.

A Kind of Bright Shadow
bazalgette Laura
A Kind of Bright Shadow
Fiction expérimentale | hdv | couleur | 14:27 | France | 2017

Une jeune femme s’enfonce progressivement dans la forêt. Le temps s’écoule. La nuit tombe. Bruissante de sons, profonde et suffocante, la nature disparaît peu à peu au profit d`une expérience sensible où l`invisible tente de se manifester. Le film envisage la forêt dans sa densité poétique et pénètre dans l’espace mental de la jeune femme où réel et irréel s’entremêlent. Plusieurs mondes se déploient en un mouvement continu tandis qu’elle, vivante et incertaine, agit au coeur de cette surface opaque et primitive.

Laura Bazalgette est née en 1983. Elle vit et travaille entre Paris et Bordeaux. Sa pratique englobe de multiples disciplines et tout particulièrement la réalisation, la mise en scène, le montage et la scénographie. Son travail questionne la notion de ligne narrative et articule une dramaturgie où coexistent fiction et réalité, visible et invisible, nature et artifice. La subjectivité, le temps, la plasticité d’une situation, sont autant de sujets de réflexions qui irriguent sa recherche. Elle réalise plusieurs films : A kind of bright shadow (2017), REM (2013, installation présentée à la Manufacture Atlantique), Intérieur (2012, Rencontres Internationales Paris-Berlin), L’exercice de la raison (2008). Depuis 2013, elle développe une recherche axée sur les écritures contemporaines avec la compagnie Fond Vert. En 2017, elle écrit et met en scène BEDFORD PARK (Manufacture Atlantique, Festival International des Arts de Bordeaux). En 2013, elle met en scène SÉRIES, performance d’après F. van Dixhoorn (Manufacture Atlantique, La Loge, Stichting Perdu). En septembre 2016, elle travaille auprès de Rodolphe Congé et Joris Lacoste sur le spectacle RENCONTRE AVEC UN HOMME HIDEUX d’après D.Foster Wallace (Théâtre de la Cité Internationale, Festival d’Automne).