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.
Louidgi BELTRAME
El Brujo
beltrame Louidgi
El Brujo
Film expérimental | 4k | couleur | 17:29 | France | Pérou | 2016

El Brujo, qui signifie « le sorcier » en espagnol, est aussi le nom d’un site archéologique mochica. C’est sur cette plage de la côte péruvienne que Louidgi Beltrame a tourné une partie de son film. Le curandero (chamane) José Levis Picón Saguma y rejoue la séquence finale du film de François Truffaut Les Quatre Cents Coups (1959) où le jeune héros Antoine Doinel, interprété par Jean-Pierre Léaud, s’enfuit vers le rivage. Suite à une Mesa - cérémonie de guérison liée au cactus psychoactif San Pedro - José Levis Picón Saguma prend en charge la place laissée vacante dans le dispositif cinématographique par l’acteur alors souffrant, resté en France. Après réception à distance de cette opération magique, Jean-Pierre Léaud rétabli est filmé à la dérive dans les rues de Paris suivant une trajectoire superposant les souvenirs du tournage des Quatre Cents Coups à une histoire subjective du cinéma de la Nouvelle-Vague. A travers ces transpositions, l’artiste orchestre une série de déplacements, une migration des personnages, des motifs et des époques. Aux lignes géométriques du paysage péruvien fait de pyramides et d’excavations répond ainsi la structure du montage filmique composée de travellings et de plans panoramiques sur la musique modulaire et synthétique du morceau Triangle (1979) de Jacno.

Louidgi Beltrame est né à Marseille en 1971. Il est aujourd’hui basé à Paris et a étudié à la Villa Arson de Nice et à l’Ecole Nationale Supérieure des Beaux-Arts de Marseille. De 1999 à 2001, il fut résident au Fresnoy, Studio National des Arts Contemporains à Tourcoing, puis au Pavillon, laboratoire de création du Palais de Tokyo. Depuis 2003, ses œuvres sont présentées dans de nombreuses expositions. Son travail a notamment fait l’objet d’expositions personnelles au Palais de Tokyo (Paris, 2015), au FRAC Basse-Normandie (Caen, 2015), au Kunstverein de Langenhagen (Allemagne, 2015), à la galerie Jousse Entreprise (Paris, 2008, 2012, 2014), à la Fondation d’entreprise Ricard (Paris, 2010), au centre d’art Les églises (Chelles, 2010), au musée d`Art moderne et contemporain de Strasbourg (2008) et au Jeu de Paume (Paris, 2006). En 2013, il a participé au programme de films conçu par Apichatpong Weerasethakul dans le cadre de la 11e Biennale de Sharjah ainsi qu’à de nombreux festivals dont le FID Marseille, Doclisboa et International Film Festival Rotterdam. Ses films ont fait l’objet de programmations spécifiques au Centre Georges Pompidou en conversation avec Pascal Beausse (Vidéo & Après, 2011) et au Louvre avec Catherine David (2013). Expositions collectives : notamment, Flatland, MRAC, Sérignan, 2016, Plagiar of Futuro, Hangar, Lisbonne, 2015, Michelangelo Antonioni, Cinémathèque Française, 2015, Double Jeu, Frac Centre, Orléans, 2014, Mutatis Mutandis, Secession, Vienne, 2012, Video, an Art History (1965-2010): A selection from the Centre Pompidou and the Singapore Art Museum Collections, 2011; Prisonniers du Soleil, Le Plateau, Paris, 2010.

Amber BEMAK, Amber Bemak/Nadia Granados
Borderhole
bemak Amber , Amber Bemak/Nadia Granados
Borderhole
Vidéo expérimentale | mov | couleur | 14:0 | USA | Mexique | 2017

Borderhole takes place on a mythical border area between Colombia and the United States. We investigate the relationship between North and South America through the lens of the American Dream and the illumination of multiple tensions in and around the border. The piece explores imperialism, globalization through pop music, gender mutation in an international context, and the choreography of women’s bodies in relation to sociopolitical and ecosystems.

Nadia Granados is originally from Bogotá, and currently based in Mexico City. Her work explores the relationships between traditional pornography and violence and is both performative and technological, art and activism, and a mix of cabaret, intervention, and streaming video. In all of her work, she uses her body to detonate, opening up new pathways of action and shift consciences. Among the many awards she has received are the Franklin Furnace Fund, the 3rd Visual Arts Biennial Bogotá Prize, and the FONCA award for Colombia-Mexico artist residencies. Her work has been presented extensively and internationally. Amber Bemak teaches filmmaking at Southern Methodist University in Dallas, Texas, and her creative work is based in experimental and documentary film, as well as performance art. Amber’s work focuses on themes of Buddhist culture, performative explorations of the body in relation to greater political systems, and cross-cultural encounters in the context of globalization. Her feature and short films have played in numerous festivals internationally, and have been seen at venues including the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art, SculptureCenter, and Oberhausen Film Festival. She has taught film theory and practice in India, Nepal, Kenya, Mexico, and the United States.

Andreas BOLM
Le Juge
bolm Andreas
Le Juge
Fiction | dcp | noir et blanc | 68:0 | Allemagne | 2017

- Vous ne saviez pas que vous lui donniez du poison ?
 - Je ne le savais pas.
 - Mais vous étiez au courant que le papier tue-mouches peut tuer un chat, n’est-ce pas ? Vous n’avez pas pensé qu’avec ça on peut même tuer un homme ?
 - Oui… je savais que c’était du poison, mais pas si fort que ça. Mots et paroles, fragments d’un procès : l’affaire des empoisonneuses. Des paysannes tuent leurs hommes. Sur les routes de Hongrie, un juge hanté par sa propre voix. Jacques Nolot est le juge itinérant obsédé et rattrapé par les griffes du passé. Un film noir et fantastique en base d’un fait divers.

Andreas Bolm, réalisateur né à Cologne (Allemagne). Après avoir travaillé comme ingénieur du son et musicien à Manchester (Grande-Bretagne), il se consacre à la photographie et la vidéo. En 1999, Andreas est engagé au département documentaire de l’Université du Film et Télévision de Munich. Andreas vit et travaille entre l’Allemagne, la Hongrie et la France. Ses films Ròzsa (2000), The Sleepers (2003), Jaba (2006), Tous les enfants sauf un (2008) et School Files (2012) ont été sélectionnés dans de nombreux festivals internationaux. Son film Jaba est présenté à la Cinéfondation à Cannes en 2006 et a reçu le prix "Golden Mikeldi" pour le meilleur film documentaire au festival international Zinebi de Bilbao. En 2009 Andreas est résident à la Cinéfondation Résidence du Festival de Cannes où il développe l’écriture de son film Die Wiedergänger/The Revenants (2013). Le film est projeté en première à la 63ème Berlinale, section Perspektive deutsches Kino et présenté au MoMa, New-York.
 Son deuxième long métrage Le Juge (2017) avec l’acteur français Jacques Nolot est inspiré d’un fait divers, l’affaire des empoisonneuses, qui a eu lieu dans un village en Hongrie.

Nicolas BOONE
Etage 39
boone Nicolas
Etage 39
Fiction expérimentale | 4k | | 29:0 | France | 2017

Dans un espace indéterminé, face à des images de paysages vierges de toutes traces humaines, plages exotiques, montagnes ou déserts, forêt, littéraux et volcans, des X1 se déplacent. L’un d’eux, qu’on identifie vite comme une sorte de modérateur, entre et sort avec les autres. Il lance des sujets de conversation, les interrompt, les relance. Tous improvisent. 1 J’appelle ici les X les 10 personnages modèles au sens bressonien. ils ont étaient choisis pour leur grande éloquence ou leur imaginaire singulier.

A sa sortie des Beaux-¬ Arts de Paris en 2001, Nicolas Boone réalise des tournages/perfor-mances, des « films pour une fois » sans caméra. Son travail, entre mise en scène et captation (où, parfois, le tournage devient le film lui-¬même) est protéiforme : série (BUP, 2007/2008), long métrage en coréalisation sorti en salle en 2013 (200%), films courts réunis dans un même programme (Les Dépossédés, 2012)... Ses films, qui ont fait l’objet d’une rétrospective intégrale au Vivo Art Center de Vancouver en 2011, ont été sélectionnés en maints festivals, à l’image du Rêve de Bailu (2013 ; présenté en 2015 au Festival international du film de Rotterdam et celui de Jeonju, ainsi qu’à IndieLisboa) ou encore de Hillbrow, présenté (entre autres) en 2014 au FID Marseille, au Festival Mostra Indies de Sao Paulo, au Festival du Nouveau Cinéma de Montréal (1er prix Loup Argenté), au festival « Entrevue » de Belfort (prix du public, prix One+One, prix Camira) et, en 2015, au festival international du film court de Clermont-¬Ferrand ainsi qu’au Lago Film Fest (Italie ;; Premier prix du jury). Ce film a également obtenu le Prix Scribe du cinéma en décembre 2014. A l’automne 2015, il a fait l’objet d’une installation à La Galerie de Noisy-¬ le-¬ Sec. Psaume, réalisé en 2015, a notamment été sélectionné au FID (Compétition française ; prix du CNAP et prix des lycéens), à la Viennale et aux RIDM. Le Rêve de Bailu, Hillbrow et Psaume ont été projetés à l’UnionDocs Center for Documentary Art (Brooklyn) en novembre 2015.

Dan BOORD, Luis Valdovino
A Feeling for Leaving
boord Dan , Luis Valdovino
A Feeling for Leaving
Doc. expérimental | mov | couleur et n&b | 9:28 | USA | 2017

Think “…of anybody who goes anywhere or stays at home and is an American and you will realize that it is something strictly American to conceive a space that is filled with moving.” ― Gertrude Stein Stay all night, stay a little longer, Dance all night, dance a little longer, Pull off your coat, throw it in the corner, Don`t see why you can`t stay a little longer. ― Lyrics by Bob Wills and Tommy Duncan In this video we see a world from a rearview mirror, passing along 19th century settlement trails, monuments, gas stations, deserts, dinners, postwar suburbs and a movie motel drive-in. Our histories are visible, mobile and vanishing. Landscapes rush by – Arizona, Colorado, New Mexico, and Utah. Destinations include a dinosaur along a highway, a ranch converted into a UFO observation park, an abandoned movie drive-in, a western parade in Wyoming and lonely stretches of road. There is music and radio along the way, communities floating among the airwaves. Ferde Grofé’s musical sunrise over the Grand Canyon accompanies a tourist’s panoramic journey meandering westward to the Westlake District of Daly City, California. Meanwhile, an immigrant embarks on a train trip across Amerika toward employment, belonging, and The Nature Theater of Oklahoma.

Biography/Dan Boord: Dan Boord is a Professor 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.

Adriana BRAVO, Ivanna Terrazas
Beso de chola (Chola Kiss)
bravo Adriana , Ivanna Terrazas
Beso de chola (Chola Kiss)
Vidéo | mov | couleur | 4:0 | Bolivie | 2016

x

David BROGNON, Stéphanie Rollin
Mon heure de gloire
brognon David , Stéphanie Rollin
Mon heure de gloire
Doc. expérimental | 0 | | 0:0 | Luxembourg | Belgique | 0

Dan BROWNE
Palmerston Blvd.
browne Dan
Palmerston Blvd.
Film expérimental | 4k | couleur | 14:10 | Canada | 2017

In PALMERSTON BLVD., filmmaker Dan Browne invites the audience into the intimate space of his living room, in this portrait of a bay window recorded over the course of a year. Gradual shifts in the interior and exterior environments mark the passing of the seasons, a slow dance of objects and light juxtaposed by the rapid speeds of bodies and the urban landscape, revealing the processes inherent in all things. Meticulously constructed from over 250,000 images, PALMERSTON BLVD. offers an extended glimpse into the rituals of domestic life, demonstrating the uniqueness of everyday mundane activities. As time flows, we see the growth and development of the family’s first child, until eventually the home becomes an empty room—ready to begin anew.

Dan BROWNE (b. 1982) is a filmmaker, photographer and multimedia artist based in Toronto, Canada. His works explore patterns, nature and sensory perception through dense and kinetic audio-visual forms. Traversing the intersections between cinema, installation, music, photography, painting and poetry, Dan’s works have been presented at over 100 festivals and venues worldwide, including Rotterdam International Film Festival, Art Cinema OFFoff, Diagonal Film Archive, Centre Pompidou, Festival du Nouveau Cinema, TIFF and Early Monthly Segments. Dan’s media practices also encompass live performances in collaboration with musicians, and video installations that have received public commissions in Toronto and Vancouver. Dan has also collaborated with other Canadian filmmakers, including Carl Brown, Peter Mettler, R. Bruce Elder, Michael Snow, and members of the Loop Collective. Dan is currently a PhD candidate in the York/Ryerson Joint Graduate Program in Communication and Culture, where he is completing a dissertation on decay aesthetics in contemporary avant-garde and experimental cinema. His works are available for rental through the Canadian Filmmakers Distribution Centre and Light Cone Paris.

Shirley BRUNO
Tezen
bruno Shirley
Tezen
Fiction expérimentale | hdv | couleur | 28:0 | USA | Haiti | 2016

,

Dunne BRYONY
Things Stay for a While
bryony Dunne
Things Stay for a While
Documentaire | mov | couleur | 10:0 | Irlande | Egypte | 2017

Ahmad Ali Badawi is a writer, translator, researcher and self-described “eternal student” who lives in Cairo. `Things Stay For A While` (2017) shadows Ahmad, inside his downtown apartment as he researches the evolution of bird wings. In pursuit of more particulars, he treks the streets, passing politically charged murals from the aftermath of the revolution to the city’s Agricultural Museum, which houses an array of taxidermied birds and other winged specimens. As he drifts from one display to the next, a visual analogy for the “eternal student” — meaning, one who has an insatiable desire for knowledge and intrigue — comes to pass: one specimen unexpectedly takes flight.

Bryony Dunne (1984) is an Irish Visual Artist based in Athens. Before relocating to Greece she lived and worked in Cairo for five years. Building on her background in documentary photography and visual anthropology, she explores the intersections between humanity and the natural world often merging documentary and fiction. Her work has been exhibited at places such as the Sharjah Art Biennial 13, The Irish Film Institute, Now and After Video Art Festival in Russia, London’s Mosaic Rooms, Goldsmiths University, Cairo’s Townhouse Gallery, The Gypsum Gallery and Athens Photography Festival in the Benaki Museum. Her films have gone on to receive several awards and are distributed by Videographe in Montreal and the Royal Anthropological Film Institute in London. Her latest creative documentary `Above the Law` (2018) was selected as Ireland’s official nomination for Euroconnection held at Clermont-Ferrand Film Festival and her photography work has been put forward for nomination for the prestigious FOAM Paul Huf Award 2018.

Rick BUCKLEY
Estuary à la mode
buckley Rick
Estuary à la mode
Vidéo | 4k | couleur | 5:15 | Royaume-Uni | 2016

In Plato’s ‘Ion’, poets are portrayed as passive and irrational instruments of the Muses and their craft created in a state of frenzied ecstasy and madness. The Muse has entered them and taken possession of them, using them as a mouthpiece. The poet being a chain of influences, just as the Muse takes possession of the poet, so the poet causes the rhapsode who recites the poetry and also enters into a frenzied state and in turn the rhapsode will put the audience into a wild Bacchic state. Thus a chain of magnetic influence leading back to the Muse. The Muse is likened to a magnet, which has an attractive force on the poet, who has an attractive force on the rhapsode and so on down the chain to the audience. Therefore a chain of creativity is established, with creativity only occurring if the poet is found in a passive irrational state. During this chain of influences under a frenzied state, the poet does not comprehend what he/she utters within his/her craft and thus unable in understanding the nature of the poetry. One could apply Plato’s notion of the Muse’s magnetic force and coupled with effects upon the poet in a chain of influences, to that of social media. Wherein the subject is drawn to the magnetic forces at play through the interaction with technological devices in the palm of the beholder ‘The Muse performs for the technological device, the technological device performs for the muse’. Within our digital age of the 21st century, the notion of the Muse as magnetic force, becomes blurred through an opiate-like state of influence, through our interaction with the technological device. ‘Estuary a la mode’ attempts to evoke Plato’s notion of the Muse set within the febricity of our digital age.

Born Essex, UK 1962 1990-95 Studied Kunstakademie-Düsseldorf, Germany. Studied under Nam June Paik/Nan Hoover 1996 Videokunst Preis Bremen 1997 Kunstfonds Stipendium, Bonn 2000 Artist Residency, Bemis Centre for Contemporary Arts, Nebraska, USA 2003 Arts Council England Artist Grant 2013 CCA Andraxt, Mallorca, Spain, Artist Residency 2014 Arts Council England Artist Grant 2016 18th St Arts, Santa Monica, CA, Artist Residency CCA Andraxt, Mallorca, Spain, Artist Residency Arts Council England Artist Grant Berlin Senate for Cultural Affairs, Artist- Research Grant 2018 Berlin Senat Artist Catalogue- Grant

Jamie BUCKLEY
A Visitor
buckley Jamie
A Visitor
Doc. expérimental | mov | couleur | 13:44 | Irlande | Allemagne | 2017

A Visitor, 2017, takes as a starting point the modernisation of a somewhat neglected memorial site at a former mass killing site in Germany. The video documents the replacement of older information panels and the changes to the landscape over an extended period of time. The video also draws on both a chance encounter with a beekeeper sent to contain and collect a ‘stray’ swarm of honey bees at the site, and an archive interview conducted by historians at the nearby home of Maria Seidenberger. Seidenberger was a teenager at the time of the mass killings. She secretly helped concentration camp prisoners to smuggle and hide items that included clandestine photographs, letters, a heart and a death mask. The emerging portrait of the site exposes a multiplicity of narratives and reflects on themes such as subversion, guilt and remembrance. The persistence of material objects is questioned while resisting a linear view of history and memory.

Jamie Buckley is an artist who is originally from Kerry, Ireland but is now based in Munich, Germany. He completed an MFA at the University of Ulster, Belfast in 2012. Screenings and exhibitions include: LUX, London (2018); AMINI, Belfast (2017, 2015); Rencontres Internationales, Paris/Berlin (2014, 2012); Golden Thread Gallery, Belfast (2013); Bloomberg New Contemporaries, Institute of Contemporary Art, London and Liverpool Biennial, Liverpool (2012).

Erik BULLOT
Nouveau manuel de l'oiseleur
bullot Erik
Nouveau manuel de l'oiseleur
Film expérimental | hdv | | 11:51 | France | 2017

Un oiseau est-il un document ? Les réserves d’un musée de civilisation peuvent-elles être perçues comme un miroir aux alouettes ? S’agit-il d’œuvrer à une libération du document, à l’instar de la libération animale ? Telles sont les questions posées par ce film visionnaire et poétique, tourné dans les réserves du Mucem à Marseille.

Érik Bullot est cinéaste et théoricien. Il réalise des films à mi-chemin du film d`artiste, du documentaire et du cinéma expérimental. Ses films explorent les puissances poétiques et formelles du cinéma. Sa filmographie compte une trentaine de titres. Son travail a été présenté dans de nombreux festivals et musées, en France et à l’étranger. Il a publié récemment “Le Film et son double” (Mamco, 2017) et coordonné l’ouvrage “Du film performatif” (it: éditions, 2018). Il enseigne actuellement le cinéma à l`École nationale supérieure d`art de Bourges (France).

Brit BUNKLEY
Ghost Shelter/6
bunkley Brit
Ghost Shelter/6
Vidéo expérimentale | mp4 | couleur | 5:49 | Nouvelle-Zélande | 2017

Ghost Shelter/6: encompasses a variety of significant post-industrial structures all at the edge of metropolitan regions in various states of ruin. They are created from 3D scans and drone footage, rendered and animated in 3D as discrete virtual entities simulating islands of memory (as in Tarkovsky’s Solaris). 1. Chemiewerk Rüdersdorf, an abandoned chemical factory in the former German Democratic Republic 2. The Teufelsberg, a NSA listening station in Berlin built on top of a man-made hill constructed from the rubble of WW2 Berlin. 3. Immerath, a ghost town in western Germany removed in 2017 by the energy giant RWE for the expansion of their open cast coal mine, Garzweiler. 4. The Martha Project, a NZ open cast gold mine whose mining operations ground to a halt due a major landslide collapsing the north wall of the mine. 5. Domes of Case Grande, an incomplete and abandoned futuristic computer facility in Arizona. 6. The Sleeping Beauty Castle, the centrepiece of the California Disneyland Park, modelled on the late 19th century Neuschwanstein Castle in Bavaria, Germany.

Carlos CASAS
Faro
casas Carlos
Faro
Vidéo expérimentale | hdv | couleur | 20:0 | Espagne | Italie | 2016

Faro is a portrait of the lighthouse of Santa Maria di Leuca (Italy), one of the last lighthouses in the south of the Mediterranean. The lighthouse illuminates the unknown, embraces the borders of the extreme lands. Every lighthouse possesses an identity, a light–signature code that allows sailors to identify where they are: Santa Maria di Leuca has 3 light beams; its first beam offers half a second of light, followed by two and a half seconds of darkness, then half a second of light, followed by two and a half seconds of darkness, then once again half a second of light, and it finishes up with eight and a half seconds of darkness. And then the cycle starts all over again. Casas portrays its spirit, its behaviour and its evocative power. The artist studied the light, which in the Finis Terrae begins with the horizon and ends with a contrary rhythm regarding the lights switching on and off in the lighthouse in Santa Maria di Leuca.

Carlos Casas, Barcelona 1974, vit et travaille à Paris. Réalisateur de films et artiste visuel, ses oeuvres marient le film documentaire, le cinéma et les arts visuels et sonores contemporains. Ses trois derniers films ont remporté des prix dans des festivals du monde entier – à Turin, Madrid, Buenos Aires, Mexico – et certaines de ces réalisations en vidéo ont fait l’objet de présentations dans des expositions personnelles ou collectives. Casas a réalisé une trilogie filmique consacrée aux environnements les plus extrêmes de la planète: la Patagonie, la Mer d’Aral et la Sibérie. Avalanche, un projet en cours, a été présenté dans plusieurs musées et galeries en Europe. Il est le co-fondateur de Map Productions et du Label musical et vidéo Von Archives. Il a été directeur artistique de Colors Music and Films où il a développé des projets audiovisuels et de la recherche musicale dans diverses régions du monde. Il est professeur invité au Dartmouth College USA et ECAM Madrid. Ses œuvres ont été présentées dans des musées et des espaces tels que La Tate Modern, Londres, le Palais de Tokyo a Paris, Hangar Bicocca a Milano, le Bozar a Bruxelles, l’Oi Futuro Rio de Janeiro, le MIS Sao Paolo, le Centre Pompidou, la Fondation Cartier, Paris, le Centre Cultura Contemporanea, Barcelone, Malba Buenos Aires, le GAM, Turin. Ses films ont été présentés dans des festivals comme le Festival du Film de Venise, le Festival du Film de Rotterdam, le FID Marseille, le BAFICI Buenos Aires, le Festival de Jeonju, la Corée du Sud, Documenta Madrid, FICCO Mexique et autres. En Mars 2017 il a presentee la Tate Modern son installation Sanctuary, part de sa recherche pour le film Cemetery.

Wim CATRYSSE
Outpost
catrysse Wim
Outpost
Doc. expérimental | 4k | couleur | 34:41 | Belgique | 2018

.

Miryam CHARLES
Vers les colonies
charles Miryam
Vers les colonies
Fiction | 16mm | couleur | 5:0 | Canada | Haiti | 2016

Lorsqu`une jeune fille est retrouvée au large de la côte vénézuélienne, un médecin légiste tente de déterminer les causes du décès avant que le corps ne soit rapatrié.

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.

Io CHAVIARA, MICHALIS KASTANIDIS
IDOMENI 2016
chaviara Io , MICHALIS KASTANIDIS
IDOMENI 2016
Installation multimédia | mov | couleur | 6:3 | Grèce | 2016

Idomeni 2016. Α self organised camp was build by concentrated refugees-immigrants after the closure of the Macedonian border towards western Europe. Through a strict observational approach the video attempting to capture the relation between the refugee-immigrant and "the image of the refugee-immigrant " as it ’s being constructed by the western world.

Io Chaviara is a visual artist. She has taken place in international exhibitions she has been co- curating workshops and documentary festivals in Athens and Beirut. Her artworks consist of essays, lectures performances, installations, curating projects and documentaries. Michalis Kastanidis is a film-maker and co-founder of Fabula Productions based in Athens, Greece. He has studied visual antropology and etnographic film in Barcelona (UB).

Jasmina CIBIC
Nada: Act II
cibic Jasmina
Nada: Act II
Film expérimental | 4k | couleur | 13:1 | Slovénie | Royaume-Uni | 0

NADA: Act II restages a reimagined performance of Béla Bartók’s pantomime ballet The Miraculous Mandarin - as performed inside the Yugoslav Pavilion at the Brussels EXPO in 1958. With its scope to represent the country’s new aesthetic direction on Nations Day almost sixty years ago, the ballet score is here traced through scarce archives and re-invented and overwritten with new purpose in collaboration with the choreographer Lea Anderson. Based on a story by Melchior Lengyel, The Miraculous Mandarin constituted a peculiar choice for the National Day given that it possessed something of a scandalous reputation owing to its prurient narrative: three pimps make use of a prostitute to lure passing men into a room with the intention of robbing them. The titular Mandarin arrives, doomed to be the next victim. His “miraculousness” stems from his ability to withstand beating, suffocation, and stabbing without perishing, persisting always in his lust for the woman. Finally, she embraces him and he dies, sated. Bartók’s original characters – the pimps, prostitute and exotic Mandarin – are replaced with the archetypes of politicians, the ideal of Mother Nation, and that most easily abused of Modern practitioners: the Architect. In doing so, the ballet becomes an allegorical proposition through which to view European history: the thugs cast as the state’s bureaucrats and politicos, who deceive and enslave, destroying the desires of those who produce for the benefit of the nation or artistic idealism. Shot in the iconic Arne Jacobsen’s Aarhus City Hall NADA: Act II links across time and space various European models of statecraft, soft power and its framing.

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. Her work draws a parallel between the construction of national culture and its use value for political aims, encouraging the viewer to consider the timelessness of psychological and soft power mechanisms that authoritarian structures utilise in their own reinsertion and reinvention. Jasmina represented Slovenia at the 55th Venice Biennial with her project “For Our Economy and Culture”. Her recent exhibitions include solo shows at: BALTIC Gateshead, Museum Haus Esters Krefeld, National Museum of Art Macedonia, 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 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. In 2016 Jasmina Cibic has been nominated for the Jarman Award and was the winner of the MAC International Ulster Bank and Charlottenborg Fonden awards. Cibic’s upcoming exhibitions include solo exhibitions at DHC/ART Montreal and group exhibitions at MOMA, the Belgrade Biennial and Monash University Museum of Art. Her upcoming monograph NADA is published by Kerber Verlag and Kunstmuseen Krefeld. http://jasminacibic.org/

Daniel COCKBURN
The Argument (with annotations)
cockburn Daniel
The Argument (with annotations)
Fiction expérimentale | hdv | couleur et n&b | 19:55 | Canada | 2017

"The Argument (with annotations)" is an appropriated-footage essay about metaphor. Its unseen narrator`s line of thought takes us on an unstraight path past the works of T.S. Eliot, Homer, Groucho Marx, John Carpenter, Terence Davies, and Carl Reiner, plus some lackadaisical astronomy and a 1960s television series with a very distinctive font. There is also a riddle about mirrors that`s either the best riddle about mirrors you`ve ever heard or the worst one. That`s what the film is for a while, anyway. Then something else happens. "The Argument (with annotations)" performs a riff on the genres of the essay-film and the more recent “video essay”... a riff that calls its own narrator’s authority into question.

Daniel Cockburn is a Canadian filmmaker and moving-image artist. His shorts have been the subject of an internationally touring retrospective, and his feature "You Are Here" (2010) played Locarno, Toronto, and Rotterdam, and 40+ other festivals. Called "a major discovery" by the director of the Locarno Film Festival, "You Are Here" won the Jay Scott Award from the Toronto Film Critics Association and the top prize at the European Media Art Festival, for "trend-setting media art". It has been compared to the work of Charlie Kaufman, Jorge Luis Borges, and Philip K. Dick. It’s currently available on iTunes and in rotation on MUBI.com. Cockburn has been a resident of the DAAD Artists-in-Berlin filmmaker residency, and Guest Professor at HBK Hochschule für Bildende Künste in Braunschweig, Germany. He has been resident artist at IMPAKT (Utrecht) as part of the European Media Artists in Residence Exchange (EMARE), and has presented his live performances "All The Mistakes I`ve Made," parts 1 and 2, internationally. He is currently based in London, UK, where he was recently an Associate Artist in Residence at Acme Studios and is now the first Research Fellow in Film Practice at Queen Mary University of London.

Stephen CONNOLLY
Machine Space
connolly Stephen
Machine Space
Doc. expérimental | mov | couleur et n&b | 37:14 | Royaume-Uni | 2017

Machine Space is an essay film exploring a city as a machine; a place of movement and circulation. Using a kinetic approach, issues of space, race and finance frame the city of Machine Space. Residents in voice over testify how the city as a spatial and financial machine shapes their experience. The city is Detroit, a place that has changed from producing the means of movement to producing space itself.

Stephen Connolly is an artist filmmaker currently teaching Film at the University for the Creative Arts. His practice as research doctorate, entitled The Spatial Cinema, is the culmination of many years of moving image research into the negotiation of space and the material environment through film. His work has been shown in film and media festivals worldwide since 2004. He has been the recipient of prestigious production grants from FLAMIN and the Arts Council.