Catalogue 2019
Parcourez ci-dessous le catalogue 2019 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.
Watch the Skies
dan boord , Luis VALDOVINO
Watch the Skies
Doc. expérimental | hdv | couleur | 5:38 | USA | 0 | 2018

Watch the Skies is an encounter with an unworldly past and present. It is likewise an encounter with the science fiction film music of the cold war. In 1951 a flying craft encircled the globe traveling at 4000 miles an hour and landed in Washington, D.C. to meet actress Patricia Neal. Meanwhile, at the North Pole a handful of American soldiers and civilians met the first invasion from another planet. As unlikely as it might seem, the origin of these occurrences may be found in what a pilot, flying near Mount Rainier, reportedly saw and what a rancher found northwest of Roswell, New Mexico in 1947. Watch the Skies is a road trip and rendezvous with the expanses of the unknown and the skies of New Mexico.

Biography/Dan Boord: Dan Boord is a Professor Emeritus in the Critical Media Practices Department at the University of Colorado, Boulder. He received grants from The Center for New Television, The Ohio Arts Council, WNET/WGBH and the Southwest Alternate Media Project. His work has been exhibited at the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; The Venice Biennale, Venice, Italy; Stedelijk Museum, Amsterdam, Holland; Centre Georges Pompidou, Paris, France; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Institute of Contemporary Art, London, England; Museo Nacional de Bellas Artes, Santiago, Chile; European Media Art Festival, Osnabruck, Germany; Toronto Film Festival, Toronto, Canada; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Edinburgh Film Festival, Scotland, and the Oberhausen Film Festival, Germany. His works are in the collections of The Museum of Modern Art, New York; Walker Art Center, Minneapolis and The Long Beach Museum , Long Beach, CA. Boord’s works have been broadcasted on WNET, New York and WGBH, Boston, presented at the International Public Television Conference in Stockholm and at the 50th Robert Flaherty Film Seminar. Biography/ Luis Valdovino: Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO. He has received grants from the American Film Institute, the National Endowment for the Arts, Arts International/N.E.A., Illinois Arts Council, Colorado Council for the Arts, and The Center for New Television, Chicago. His works have been included in numerous exhibitions including The Museum of Modern Art, New York; The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Venice Biennale, Venice, Italy; The Stedelijk Museum, Amsterdam, Holland; The Institute of Contemporary Art, London, England; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Centre Georges Pompidou, Paris, France; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; World Wide Video Festival, The Hague, Holland; Les Rencontres Internationales; Toronto Film Festival, Toronto, Canada; Edinburgh Film Festival, Scotland and Oberhausen Film Festival, Oberhausen, Germany. Valdovino’s videos have been presented at the 37th and 50th Robert Flaherty Film Seminar, The Kitchen, New York, and broadcasted on “Independent Focus” at WNET and Deep Dish Network, New York.

andrea bordoli
Doc. expérimental | mov | couleur | 18:5 | Suisse | 2018

The Depth Beneath, The Height Above consists in an exploration of the high alpine region of Robiei, southern Switzerland. Conceived as a sensory piece, the film particularly focuses on the existing relationships between the humans, animals, infrastructural and natural elements that compose Robiei`s specific landscape.

Andrea Bordoli holds a BA in Anthropology and Philosophy from the Université de Neuchâtel, and a MA in Visual Anthropology from the University of Manchester. He is currently based in Geneva, where he studies cinema at the Haute Ecole d`Art et Design (HEAD) while developing his own personal research at the intersection between anthropological theory, documentary cinema and visual art.

Dietmar BREHM
Inside - The Color Version
dietmar brehm
Inside - The Color Version
Vidéo | hdv | couleur | 5:0 | Autriche | 2017

It hisses, it blinks. A virtual, two-dimensional anaglyph flickers in red and green, unfolding a visual space true to the Brehmian aesthetic. Concentratedly condensed collisions occur between everyday life and the world, being and performing, symbols and icons. A human skull, human bodies, Castle Grafenegg as an architectonic stand-in for the uncanny … Sex and crime, art and pop culture flicker at pixilated speed – the stuff of dreams – most penetrating however brief. The mundane alternates with the fetish, glimpsed in the blink of an eye, intersected by a long drag on a Chesterfield cigarette while the full-bodied, tube-amped slow-motion reverb sound of a guitar swings in the background.

Dietmar BREHM Born in 1947 in Linz. 1967-72 studied painting at the Academy of Fine Arts/Linz professor at the Academy in Linz. Since 1973 teaches at the Academy in Linz. Drawing + painting, experimental films and photography. Numerous filmscreenings and exhibitions at home and abroad, various awards for his work.

Persijn BROERSEN, Margit Lukacs
Forest on Location
persijn broersen , Margit Lukacs
Forest on Location
Vidéo | hdv | couleur | 11:42 | Pays-Bas | 2018

Broersen and Lukacs construct a replica of Bialowieza primeval forest. In this virtual forest is the avatar of Iranian operasinger Shahram Yazdani, who performs his version of Nat King Cole's 1948 hitsong Nature Boy, whose melody originated in Bialowieza. In Forest on Location, nature is viewed as a mirror, reflecting our own perception.

Margit Lukács and Persijn Broersen are artists based in Amsterdam, working together since 2002. In today’s visual culture, fiction is usurping the place of reality. Broersen & Lukács respond to this by creating video animations presenting a parallel world of spectacular images that wholly absorb the viewer in which 'nature' functions as a mirror for our media-dictated culture. Their works, consisting of layered projections, digital animations and spatial installations, have been exhibited for instance at the Biennale of Sydney (Australia), Rencontres internationales de la photographie d'Arles (France), Wuzhen Biennial Now Is The Time (China), Stedelijk Museum Amsterdam (Netherlands), FOAM Amsterdam (Netherlands), Antwerp contemporary art museum MUHKA (Belgium), Centre Pompidou (France), Shanghai World Expo (China), Kröller Müller (Netherlands)) and Casa Enscendida (Spain). Their films have been shown at various festivals including Oberhausen International Film Festival (Germany), LAForum (US), Kassel Dokumentar und Filmfestival (Germany), Rencontres Internationales Paris/Berlin (France/Germany), the New York International Film Festival (US), and Rotterdam International Film Festival and Amsterdam International Documentary Film Festival. Their film "Establishing Eden" was included in the 2016 Tiger Awards Competition for Short Films in Rotterdam Festival. In 2015, Stedelijk Museum Amsterdam acquired the site-specific work "Ruins in Reverse" (2015), specially made for the museum. Broersen & Lukács are represented by Galerie AKINCI, Amsterdam.

bill brown
Film expérimental | 16mm | couleur | 6:18 | USA | 0 | 2018

Brown re-works 16mm footage that he shot years ago during a cross-country road trip from Chicago to Las Vegas. The spatial discontinuities of the road trip are rendered as visual continuities across three frames as Brown goes in search of the next town to fall in and out of love with.

Bill Brown is a media artist interested in ways landscape is interpreted, appropriated, and reconfigured according to human desires, memories, and dreams. His research interests include haunted houses, memorial architecture, and outsider archaeology. Brown's films have screened at venues around the world, including the Viennale, the Rotterdam Film Festival, the London Film Festival, the Sundance Film Festival, and Lincoln Center. He lives and works in North Carolina, USA.

Gabriel BULLEN
gabriel bullen
Film expérimental | super8 | couleur | 3:20 | Canada | Qatar | 2018

A nonlinear film examining U.S. artist Richard Serra`s enigmatic installation, "EAST-WEST/WEST-EAST", located in the Brouq Nature Reserve in Qatar. The film was shot on film with a Super 8 camera, with all edits executed in camera.

Gabriel Bullen is a Canadian filmmaker from Yellowknife, Northwest Territories, Canada. His filmography consists of short narrative, documentary, and animation. His fields of interest also include experimental film, storyboarding, and animation. He has shot with digital DSLR, Super 8 and Super 16mm, mobile phones and RED Epic Mysterium-X. He creates his own analogue VFX using old techniques with ink, milk, and a fish tank.

Ghost Zone
brit bunkley
Ghost Zone
Vidéo | hdv | couleur | 6:25 | Nouvelle-Zélande | 0 | 2018

Ghost Zone is an homage to Tarkovsky`s “Stalker” (1979) takes us on a journey to the original expedition into the ineffable aqueous “Zone” - where wishes may be granted to one’s detriment. Bunkley stitches together his own footage in such a way that the landscape and buildings resemble a magic realist post-apocalyptic wasteland. Photographic composites of two rural locations has been made a lot easier with the use of drone captured imagery in that they will accommodate points of view not accessible form the ground. From this data he uses photogrammetry 3D scanning to create his eerie works as “œislands of memory┝ - akin to the islands that feature in the science fiction film Solaris (1972) by Andrei Tarkovsky. (Photogrammetry uses multiple photographs placed within software that creates 3d printable meshes.) By extracting these images, the buildings are divorced from their surrounds while the videos resemble chunks of architecture and landscape made from an indefinable material floating in black cyberspace.Ultimately they refer to eschatology - the “end of time”.

Brit Bunkley is a New Zealand based artist whose art practice includes the proposal and construction of large scale outdoor sculptures, discrete objects, installations as well as the creation of ”impossible” moving and still images and architecture designed using computer 3D modelling, video editing and image editing programs. His work explores an oblique sense of paranoid apocalyptic fear tempered with a sense of whimsy and irony. International screenings include the White Box gallery in NYC and Rencontres Internationales Paris/Berlin (2016, 2018, 2019), and at the Cité Internationale des Arts in 2018. He took part in the Athens Digital Arts Festival and File Sao Paolo 2017 and 2018. Bunkley screened his video, Ghost Shelter/6 at The Federation Square Big Screen, Channels Festival 2017, Melbourne and at the Oberhausen Short Film Festival, Oberhausen, Germany in 2018. In 2012 Bunkley was an award winner at the Moscow Museum of Modern Art for the «Now&After» Festival, and he was again included in «Now&After» at Moscow’s Artplay Design Center February 2018. Recent solo exhibitions include Ghost Shelter 17 at Te Uru, Titirangi, Auckland, The Happy Place- Sanderson Contemporary Art, Auckland and the Sarjeant Gallery, Whanganui, New Zealand in 2018.

Las fuerzas
paola buontempo
Las fuerzas
Documentaire | 0 | couleur | 17:40 | Argentine | 2018

Las fuerzas follows a group of future jockeys. Under a school logic, with methods and forms of assimilation similar to any other kind of learning system, the material to be modeled is the body. A body that is complemented by an other, a small body that should not grow, of a latent fragility, always about to break.

Degree in Audiovisual Arts from the National University of La Plata, Argentina. Her short films Las Instancias del Vértigo (2010), Los Animales (2012), Las Fuerzas (2018) were screened at Cinéma du Réel, BAFICI, Film Society Lincoln Center, FICUNAM, FIC Valdivia, La Habana, among others. She was part of the Film Laboratory of Universidad Di Tella, coordinated by Martín Rejtman and Andrés Di Tella. Currently, she´s developing her first feature, The breed of swift.

john butler
Animation | mp4 | couleur | 3:24 | Royaume-Uni | 2018

The self-driven collides with the self-driving. This scenario depicts a scene from the gig economy, where a Deliveroo gets hit by a self-driving car, and misses her allocated delivery time. As punishment for underperformance, she is dragged to the underworld, where she faces the judgement of the market. She is sentenced to the `Schuldturm`, a spectral debtor`s prison until she can repay her debt to the economy.

John Butler CV Born Dublin 1959 1977-1981 Diploma in Drawing and Painting (1981) Duncan of Jordanstone College of Art, Dundee. 1983- 1984 Community artist, Arts Action, Dundee 1986-1987 Illustrator and display designer, Dundee botanic gardens. 1988-1989 Post graduate diploma in Electronic Imaging (highly commended) at Duncan of Jordanstone College of Art, Dundee. 1989-1995 Television graphic designer at Scope Picture Productions/Edit 123. 1995-1997 3D designer Glasgow Herald internet division . 1997-2017 Freelance 3D animator. 2001-2005 Part time lecturer 3d animation and multimedia, James Watt College Selected works World Peace Thru Free Trade 1989 Leisure Society 1990 The Dream of Freedom 1994 Zerotime 2003 Human Trial 2005 The Ethical Governor 2010 Refusnik 2013 The Utility Curve 2015 Children of the Null 2016 Unparent 2017 The Dependency Loop 2018 Gallery Shows V-Topia Tramway, Glasgow1994 ISEA 98 Manchester Science Museum 1998 Lovebytes, Sheffield 2002 Niet Normaal, Amsterdam2009 Gaming in Waziristan, Beaconsfield, London2011 Artificial Indifference, Glasgow University2012 Exchange Rates, Bushwick2014 Touching the Void, Crate Art Centre Margate 2017 Siren Servers. Sonica Glassgow 2017 Broadcast Works World Peace BBC2 (The Dazzling Image) 1990 Leisure Society BBC 2 (Not Necessarily) 1991 B-Creatures, Channel 4 2000 Workgroup Alpha, E4 2001 Festivals Edinburgh Film Festival Impakt Festival ( Utrecht) Transmediale (Berlin) Videonale (Bonn) Vipfilm (Berlin) Sarajevo Film Festival Raindance( London) EMAF (Osnabruk) PKD Film Festival (New York The Solid State Cinema Supernova, Denver Dokfest Kassel

Clarissa CAMPOLINA, Luiz Pretti
Os que se vão
clarissa campolina , Luiz Pretti
Os que se vão
Fiction expérimentale | dcp | couleur | 23:11 | Brésil | 2018

A man caught in the verge of freedom. He penetrates a city where the boundaries between reality and dream disappear. He crosses the landscape without belonging to it anymore. A farewell before departing.

Clarissa is based in Belo Horizonte, Brazil. Partner of the Anavilhana production company and member of Teia until 2014. She directed documentaries, instalations, short and feature films. In 2015, the DAAD – Art Residency Programm held a retrospective of her work at Arsenal Cinema (Berlin, Germany). Her last short, Solon, won the prize for Best Cinematography in Brasilia Film Festival and earned Clarissa the FT/Oppenheimer Funds Emerging Voices Award.

Viet Hoai Son CAO
Neon Sarcophagus
viet hoai son cao
Neon Sarcophagus
Doc. expérimental | hdv | couleur | 15:29 | Viet nam | 2018

In a far away village Hai Hau of Vietnam, a group of Christians are building a spaceship to fly to the moon.

Cao Viet Hoai Son (Cao Viet Hoài S?n) was born in 1994, Hanoi, Vietnam. He was a film student in a collaborate course of Hanoi Academy of Theatre & Cinematography and Belgium Institut Supérieur des Arts. He is interested about human connections and inner desires

Out of the gardens
quimu casalprim
Out of the gardens
Doc. expérimental | dcp | couleur | 82:0 | Allemagne | 2018

A paradise is emerging on earth. It is neither a dream nor a utopian delusion but an opportunity for a new kind of society. A step beyond the human as it has been known. A step we don't dare to consummate.

Born in Catalonia and based in Germany. Studies of philosophy, philology and media art in Barcelona and Cologne. Shorts selected and awarded in Clermont-Ferrand and Oberhausen among others. "Out of the gardens" is his first full-length film, premiered at the international competition of FID Marseille.

Vincent CERAUDO, SC Ceraudo
The Observatory
vincent ceraudo , SC Ceraudo
The Observatory
Vidéo expérimentale | mov | | 18:0 | France | 0

Il existe une manière de percevoir les choses ou de les observer qui n’implique pas les yeux. Quelque chose qui occulte le regard et qui va au-delà de la vision ordinaire. Le projet se déroule en une succession d’expériences filmées dans l’observatoire Camille Flammarion, à Juvisy-sur-Orge. L’idée conductrice du film repose sur les rapports entre la télépathie et l’astronomie, corrélat mystérieux qui hanta jusque la fin de sa vie les recherches du scientifique français Camille Flammarion (1842-1925). The Observatory est une exploration filmique qui fonctionne comme une tentative de réactivation du lieu. Les transmissions de pensées reflètent alors de manière métaphorique la structure du film, mais deviennent aussi au fur et à mesure son langage propre. La caméra enregistre et sonde au-delà du tangible, et le montage ne dépend pas d’un récit au sens strict mais plutôt des relations et des coïncidences qui se sont établies lors du passage de chacun dans cet observatoire. Il s’agit d’abord de faire éprouver à celui qui regarde le film, les tremblements et les incertitudes suscités par l’expérience télépathique, ou encore les vacillements du sentiment de réalité et d’identité qu’elle entraîne. Le spectateur est alors invité à pénétrer dans l’intimité du lieu et des personnages qui l’explorent, au travers de la synchronicité d’évènements qui les dépassent. Le 18 janvier 2016, un groupe composé d’une médium, de scientifiques et d’enquêteurs paranormaux est invité dans un observatoire en banlieue parisienne. Pendant plusieurs jours, ils tentent d’explorer le lieu au travers de leurs aptitudes spécifiques. Ignorant tout de cet observatoire, chacun réactive à sa manière l’histoire de ce lieu. Cet enregistrement vidéo constitue et documente cette expérience.

Vincent Ceraudo (1986, France) vit et travaille à Rotterdam. Son travail met en jeu la perception, la construction du réel, du rationalisme, de la culture et du capitalisme. A partir de divers enregistrements et images, videos, films, installations, photographies et textes, son travail est une tentative de révéler qui pourrais exister en dehors du dispositifs sensoriel humain. Son travail interroge un espace liminal qui existe dans l`écart qui sépare la perception et la réalité dite objective. Vincent a étudié à la Villa Arson à Nice, au Fresnoy Studio National des Arts Contemporains. Il est un résident de De Ateliers à Amsterdam (2016-2018) ainsi qu`un membre de la Skowhegan School of Painting and Sculpture, USA (2016) Son travail a été exposé à l`international comme récemment en 2018 Lo schermo Dell’Arte Film Festival à Florence en Italie, à la Fondazione Antonio Ratti à Como en Italie, à De Ateliers à Amsterdam, à la Station gare des mines à Paris, en 2017 à la faculté des sciences à Turin ( avec the institut of things to come et la Fondazione Sandretto Re Rebaudengo), à la Maison Européenne de la Photographie à Paris, au centre d`Art de la VIlla Arson à Nice, au Centre Pompidou à Paris, au Skoweghan program space a New York, comme artiste invité au 62 ème Salon de Montrouge, à la cité des Arts à Paris, au Fresnou Studi National des Arts Contemporains, en 2015 au Palais de Tokyo, à la Fabricca Del Vapore à Milan, comme artiste invité de la foire Art-O-Rama à Marseille, à la Fondation Botin à Santander en Espagne, au MUMA Monsah university Museum à Melbourne en Australie. Vincent est finaliste en 2016 du Fresnoy studio collector prize, un lauréat de la bourse des Mécènes du Sud à Marseille en 2015, lauréat de la bourse de la Caza De Velazquez à Madrid, un lauréat du premier prix du show-room à Marseille durant la foire Art-O-rama à Marseille. Son travail fait partie de prestigieuses collections publiques et privées en France, en Italie, en Belgique et aux Pays-Bas.

julie chaffort
Fiction | mov | couleur | 32:48 | France | 2018

HUNT_ Figurant. Personne chargée de tenir un emploi secondaire, généralement muet, et, le plus souvent, dans un groupe tenant le même rôle. Par analogie Personne qui, dans la société, tient un rôle dont l’importance n’est qu’apparente et non effective. Ce qui caractérise le plus le travail de Julie Chaffort, c’est le refus des figurants. Même ceux qui nous tournent le dos, ceux qui marchent trop loin pour que l’on distingue leurs traits ou ceux qui se dissimulent derrière les fougères, ceux qui apparaissent masqués ou ceux qui conservent le silence, tous ceux-là sont des personnages et non des figurants. Et même le buisson aux reflets roux, qui rampe sous la pluie. C’est toute la grâce du film de Julie Chaffort de nous rappeler que chaque détail est signifiant : les frottements que les gants des boxeurs produisent quand ils s’entraînent à ne pas prendre de coups, le rythme doux des gouttes de pluie dans les arbres de la forêt, les gestes de goéland dans les violents rouleaux océaniques pour continuer à résister. "Hunt" est un film réalisé avec des jeunes en situation de rupture et des habitants du pays basque.

Les vidéos de Julie Chaffort mirent le paysage, le toisent et le parcourent ; on y croise des hommes au destin tragique et des héros aussi beaux que les chants qui les accompagnent – peut être pour en donner la mesure. Les gestes accomplis sont tout à la fois drôles et absurdes, l’avenir toujours incertain et les paroles s’envolent, attrapées par les branches d’une forêt ou englouties dans les eaux d’un lac. La vacuité des territoires impose à l’artiste des images qu’elle fait naître de façon sensible, voire irraisonnée. L’artiste ouvre des univers parallèles, atemporels et insituables, où le monde se signale à nous par ses infimes déplacements et l’infinité de ses signaux – étrangement menaçants. Aussi l’artiste réussit-elle l’exploit de ramener le sujet humain au même niveau que le paysage dans lequel il se trouve ; changeants et imprévisibles, l’un comme l’autre communiquent au-delà du langage, à l’aide de signes pluriels et non autoritaires que les films nous invitent à recomposer. Pour Julie Chaffort, le cinéma est un médium dominant, naturel, qu’elle choisit très tôt de développer, à l’école des beaux-arts de Bordeaux où elle étudie, puis auprès de Roy Andersson qu’elle assiste, et de Werner Herzog dont elle suit le séminaire à sa Rogue Film School à New-York. En 2015, elle réalise le moyen-métrage La barque silencieuse, sélectionné en 2016 en compétition française et premier film au FID Marseille. Il est également projeté à la galerie Thaddaeus Ropac à Paris Pantin lors de l’exposition Jeune création 66ème édition et remporte deux prix indépendants. Julie Chaffort obtient en 2015 le prix Bullukian, puis le prix «Talents Contemporains 2015 » de la fondation François Schneider. Elle obtient l’année suivante le prix Mezzanine Sud et en 2018, elle est lauréate du prix Mécènes du Sud Montpellier/Sète.

Cowboy drags
agathe champsaur
Cowboy drags
Vidéo expérimentale | 35mm | couleur et n&b | 0:54 | France | USA | 2018

"Hair done/ boots on/ tell me this ain`t the usa" Surreal portraits of americans. The contrasts and extremes in nowadays austin, Texas`s life.

Documentary filmmaker and photographer. I live and work in Paris. I`m currently working on two documentaries in Lebanon, detailing the life of two different but very inspiring figures, Abdulrahman Katanani a Palestinian visual artist that broke free from palestinian camps through art, and Therese Basbous, a poet often known as Michel Basbous` wife.

Une forteresse
miryam charles
Une forteresse
Fiction expérimentale | 16mm | couleur | 7:0 | Canada | 0 | 2018

Aprés la mort de leur fille adoptive, un couple se rend en Haîti afin de retrouver les membres de sa famille. Sur place, ils font la connaissance d`un spécialiste de l`ADN qui posséderait le pouvoir de résurrection.

Formé en cinéma à l'Université Concordia, Miryam Charles a produit et photographié les courts métrages,Danger of death, La boutique de forge, Full Love, Feu de Bengale et les longs métrages Le pays des âmes et Nouvelles, Nouvelles. Elle est la réalisatrice de Vole, vole tristesse, Vers les colonies, Une forteresse et Trois Atlas.

Pip Chodorov
The Stranger
pip chodorov
The Stranger
Fiction expérimentale | 16mm | couleur | 9:19 | USA | Roumanie | 2018

Romanian fairy tales usually start with the sentence: “Once upon a time something happened, if it hadn’t happened it couldn’t be told”. In this fairy tale, a stranger visits the remote mountain village of Slon. This film was made at an annual ten-day filmmaking residency in Slon. As a stranger myself, first time to Romania, with only four days to shoot and four days to edit, I wrote this modern-day fairy tale to coincide with my fantasy idea of what my unpredictable visit to the village would be like.

Pip Chodorov. Born April 13, 1965 in New York. Filmmaking and music composition since 1972. Studied cognitive science at the University of Rochester, NY and film semiotics at the University of Paris, France. Work in film distribution - previously Orion Classics, NYC; UGC, Paris; Light Cone, Paris; and, currently, Re:Voir Video, Paris, which he founded in 1994 and The Film Gallery, the first art gallery devoted excusively to experimental film. He is also co-founder of L`Abominable, a cooperative do-it-yourself film lab in Paris, and the moderator of the internet-based forum on experimental film, FrameWorks.

Jasmina CIBIC
NADA: Act III - The Exhibition
jasmina cibic
NADA: Act III - The Exhibition
Vidéo | 4k | couleur | 16:20 | Slovénie | Allemagne | 2017

Composed of quotes drawn from political discussions on German national representation at 20th Century’s World Expositions, The Exhibition creates an original conversation between three allegorical positions. The Curator, the Artist and Germania become a reflection of ideological deliberation facing a practical scruple: how to create an exhibition of the nation’s best artworks in order to affect society. Including words drawn from the opening address at the German Pavilion at Barcelona EXPO 1929, Goebbels’ ideas on casting out women from politics and post 2WW soft power deliberations, The Exhibition merges political rhetoric to arrive at what seems to be the only solution that guarantees the success of capital: banning the audience. Filmed within the villas Haus Esters and Lange, that Ludwig Mies van der Rohe built for the Krefeld silk barons in 1920s, The Exhibition uses the architecture which itself served as soft power realised: a theatrical frame and pedestal that went on to establish Mies as the architect that paved way for the theatricality of the concept of nation state and its visual branding.

Jasmina Cibic (b. Ljubljana 1979) is a London based artist who works in performance, installation and film, employing a range of activity, media and theatrical tactics to redefine or reconsider a specific ideological formation and its framing devices such as art and architecture. Jasmina represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. Her recent exhibitions include solo shows at: DHC/Art Montreal, BALTIC Centre for Contemporary Art Gateshead, Museum Haus Esters Krefeld, Aarhus 2017, Esker Foundation Calgary, Museum of Contemporary Art Zagreb, Museum of Contemporary Art Belgrade, Museum of Contemporary Art Vojvodina, MGLC Ljubljana and Ludwig Museum Budapest along with group exhibitions at MOMA NY, MUMA Monash Museum, CCS BARD, Guangdong Museum of Art China, Pera Museum Istanbul, La Panacee Montpellier, City Gallery Wellington, MSUM Ljubljana, MNHA Luxembourg, Joanneum Museum Graz and California College of the Arts. Cibic’s films have been screened at FIAC Paris, Pula Film Festival, HKW Berlin, CCA Laznia, Les Rencontres Internationales Paris, Dokfest Kassel and Copenhagen International Documentary Festival. Jasmina Cibic has been shortlisted for the Jarman Award (2018) and was the winner of the MAC International Ulster Bank and Charlottenborg Fonden awards (2016).

mariangela ciccarello
Installation vidéo | hdv | couleur | 5:25 | Italie | USA | 2017

The existence of a battleground implies a larger war going on and an inherent lack of a resolution. Even within a single battle, the balance can shift, things can change or evolve, and be regarded from a different perspective. Rules and roles can be surpassed. Gesture is crucial in this regard as "the process of making a means visible as such" (Agamben).

Mariangela Ciccarello is a moving image artist and filmmaker whose work has been exhibited at the Festival del film Locarno, Torino Film Festival, Edinburgh International Film Festival, The Film Society of Lincoln Center's "Art of the Real" and Harvard Art Museum. In 2017 she participated in the Mediterranea 18 Biennale. Her work has been supported by the Roberto Cimetta Fund, New York State Council on the Arts, and the Valletta 2018 Foundation.

eva claus
Film expérimental | 16mm | | 3:15 | Belgique | Autriche | 2018

I am living close to the sea. There is a time to film and a time to do nothing. While I am sleeping my days away I can hear the waves breaking, I see the moon coming up like the sun and the rainbows are coming out of the water, so close.

Eva Claus (Belgium) is working primarily with 16mm film. Educated in photography at the Royal Academy of Fine Arts, Ghent, Belgium and at the Friedl Kubelka School for independent film in Vienna, Austria. Her films have been screened in various places over the world. Eva currently lives and works in Brussels.

David Enrique COGOLLO
david enrique cogollo
Documentaire | hdv | couleur | 37:40 | Colombie | 0 | 2018

Synopsis, « Moriviví » Documentary 36:40 Min, 2017. An immersive film plunging us somewhere between reality and a certain expressionist estrangement in its disheveled portrait of a family. Moriviví reflects a social reality for some rural areas of Cuba, in which poverty, fear, violence, possession and even santería and superstitions take center stage in a day-to-day life that is lived on the edge. Brayan and Kiki are the third and fourth generations of their Cuban household. Situations of violence are the daily bread. Sometimes they have to take the role of the adults to avoid problems between real adults. In the middle of the countryside where the children live, they entertain a close relationship with nature. They breed animals that serve not only as food or pets, but also for the Santeria rituals they practice regularly.

Biography David Enrique Aguilera Cogollo Born in Barranquilla Colombia in 1991. Before making films, David studied Sociology in the human sciences school of the Rosary University in Bogotá, Colombia. Then he studied at the National School of Film of Bogotá. As soon as he finished his career, David began a master degree in alternative cinema at the International School of Film and TV of San Antonio de los Baños, Cuba. David crosses the boundaries of documentary and fiction in his work. Moriviví was filmed in Cuba as a final project