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.
Kevin KELLY
Some acts around rocks and stones. (Part 1)
kelly Kevin
Some acts around rocks and stones. (Part 1)
Doc. expérimental | hdv | couleur et n&b | 16:2 | USA | 2017

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Eva Rocco KENELL
Trail
kenell Eva Rocco
Trail
Vidéo | mp4 | couleur | 24:6 | Suède | 2015

In this film about a falsified InterRail ticket, a chain of events and links arise which leads the filmmaker on a journey. Where fiction in a performative manner seems to materialize itself and create a piece of reality that seems to imitate fiction. The protagonist in the film is never to be seen, instead we follow her voice through staging and documents while the story is being mediated.

Eva Rocco Kenell (b. 1982 Växjö, Sweden) holds a BFA from Gerrit Rietveld Academy in Amsterdam and a MFA from Konstfack University of Arts and Craft, Stockholm where she graduated with the honorable Principal scholarship. Kenell’s artistic practice is based on a documentary ground, even though the intentions are rather to break down classical narratives and normative storytelling. Not only concepts surrounding fiction and reality are central, but also questions around which one of the two is creating the other. Kenell`s methodology consists of a research based practice with a focus on micro-histories, where she explores single events and where details in a story can become the new center and the place which the focus is transferred to. Kenell`s practice brings up notions concerning the role of the documentary, storytelling, concept of truth and imitation. And at the same time it opens up for questions around freedom of movement and counter-strategies.

Konrad KORABIEWSKI, Loðmfjörð Kristján
NS-12
korabiewski Konrad , Loðmfjörð Kristján
NS-12
Installation vidéo | hdv | couleur | 52:26 | Danemark | Islande | 2014

Title: NS-12 Authors: Kristjan Loðmfjorð (is) / Konrad Korabiewski (dk/pl/is) Form 1: Audio Visual installation for 8 channels, 1 subwoofer and 1 HD projector Form 2: DCP master with 5.1 audio for cinema/festival screening, 52 min. NS-12 (2014-2018) is audiovisual collaboration between the filmmaker Kristjan Loðmfjorð and the composer Konrad Korabiewski. Using the means of sound and image, NS-12 poetically portrays the fishing trawler Gullver NS-12 based in Seyðisfjorður, East Iceland. The trawler is a self-contained world; a space which functions both as workplace and as collective living arrangement, which is also personally and physically affective. For the people working on board the ship might be seen as a tool, but artistically it is perceived as a living organism, as a musical instrument triggering the senses, and as a visual landscape impressing with textures and colors. The constant sensation of motion from the heaviness and roughness of the rolling trawler conveys a state of confusion or reverie, like that triggered by seasickness. The ship itself is always in the foreground, with the life on board as the background. Thus NS-12 captures the moment of an everyday situation applying an expressionistic approach for an experimental outcome. It communicates the human spirit, essential for the experience of the trawler at sea with the ceaseless sound and vibrations of the engine. The original soundscape for the work is realized as a contemporary composition where all the sonic material is sourced from reality, whereas the imagery is mainly based of still-life recordings where visual perception shines above realism. Together the two mediums explore the complete body of the trawler as a visually intriguing labyrinth, where each room has its own way of carrying the sound from the engine. The complete work including sound and image is purely field recorded, accompanied with voiceover recordings performed by the Seyðisfjorður Church Choir and the fourth (and Europe`s first female) president of Iceland, Mrs. Vigdis Finnbogadottir. Recordings on board Gullver NS-12 took place during the period of September 2012 - December 2013. Methodology: In the research process, the artists went out on three tours on the trawler to capture sound and image in various seasons and weather conditions. The machinery and the captain’s diaries were also examined, extracting relevant texts. These transcripts were integrated into the final piece as subtitled and as read text, as they are very evocative and give an irrational sense of the trawler`s path: such as the ship`s state examination while in the dockyard, weather reports from out on open sea, injuries on board, and mechanical breakdowns. 8 channel installation: A sound and video installation preferably presented by itself in a separate exhibition room. This 8 channel installation configuration,referring to the 8 cylinders of the trawler´s engine aims at conveying the physical presence of the trawler´space. Presentation history: 14.10.15 QC-Montréal,Festival Nouveau Cinéma, screening 11.10.15 QC-Montréal, North American premiere Festival Nouveau Cinéma, screening 26.10.2014-31.01.2015 DE-Marl, Marl Media Art Awards 2014, installation and award nomination 04.12.2014 CL- Valparaiso / South American premiere: Tsonami Sound Art Festival, installation 27.06.2014 PL-Gdańsk / Polish premiere: Soundplay Festival, installation 17.06.2014 IS-Seyðisfjorður, Icelandic premiere: Skaftfell – Center for Visual Art , installation 17.05.2014 DE-Berlin DAADgalerie, installation & artists talk 15.05.2014 DE-Karlsruhe, German / European premiere: ZKM | Center for Art and Media Karlsruhe / Institute for Music and Acoustics, Sound Dome installation Credit list: Phonography and composition by Konrad Korabiewski Manuscript and cinematography by Kristjan Loðmfjorð Sound engineered at Institute for Music and Acoustics ZKM - Center for Art and Media Karlsruhe by Konrad Korabiewski with Anton Kossjanenko Voiceovers by: Mrs. Vigdis Finnbogadottir The Seyðisfjorður Church Choir The work is supported by: Cultural Council of East Iceland Visual Art Council Iceland Danish Composers Society Danish Arts Foundation ZKM - Center for Art and Media Karlsruhe Detailed work description is available as pdf here: http://www.korabiewski.com/wp-content/uploads/2017/09/NS-12.pdf

KONRAD KORABIEWSKI composer/sound/media artist http://korabiewski.com konrad@korabiewski.com Danish | Polish | Icelandic Konrad Korabiewski (1978) is an award-winning experimental composer, sound and media artist working worldwide and currently residing in Seyðisfjörður, East Iceland and California. Characterized by a marked tendency to transgress various genres and media, his sound art, film music, installations, radio, video and multi-media art works have a strong site- specific element. Konrad Korabiewski’s musical atmosphere is sombre and intense, demonstrating a precise attention to musical space; at times with a meditative character, where distortion expresses an emotional depth that demands and attracts attention in minimalistic scenarios of sound. Among many international prizes and grants in 2014 Konrad Korabiewski was awarded the prestige Berliner Künstlerprogramm des DAAD academic award & working grant and nominated for 2 Media Art Awards: European Sound Art Award (formerly known as Deutsche Klangkunst-Preis) and Marler Videokunst-Preis in Germany. He holds a Master in Electronic Music Composition from The Royal Academy of Music, Aarhus, Denmark. Konrad Korabiewski is founder and currently the director of Skálar | Sound Art | Experimental Music, Seyðisfjörður, East Iceland. He is an independent curator and Research Associate at Film and Digital Media Department of University of California, Santa Cruz. Also a key member of Danish Composers ́Society since 2004. Awards | nominations: 2014, NS-12, nomination for the Marl Video Art Award, Germany, 2014, The Art Book Orchestra, finalist in European Sound Art Award competition, Germany (formerly known as der Deutsche Klangkunst Preis) 2014, The Institute for Music and Acoustics – Zentrum für Kunst und Medientechnologie, awarded scholarship and residency 2013, Berliner Künstlerprogramm of the DAAD- Deutscher Akademischer Austausch Dienst awarded academic award, residency and working grant for 2014 2011, Skeyti, winning the international sound-art competition Europe A Sound Panorama 2011, Affected As Only A Human Been Can Be (interactive art book with integrated sound scape), nominated for Best Book-craft /art book of the Year, Denmark 2010, Affected As Only A Human Been Can Be (interactive art book with integrated sound scape) nominated for the Young Illustrators Award, Illustrative, Berlin, Germany 2005, Slowloop (animation video with sound scape ), winning first price at the film festi- val KRAKFFA, Cracow, Poland 2003, Lay Down (electro-acustic composition), finalist in Luigi Russolo Electro- acoustic Competition, Italy. Main education: 2012, Master degree in Electronic Music Composition, The Royal Academy of Music, Aarhus, Denmark.

Efthimis KOSEMUND SANIDIS
Astrometal
kosemund sanidis Efthimis
Astrometal
Fiction | 4k | couleur | 15:55 | Grèce | 2017

Two boys and a girl prepare for nightclubbing in the heart of Athens. Arriving, they face a deserted club, where music plays blaring but there is no one to listen. There, one by one falls asleep as they surrender themselves in a collective dream.

Born with dual Greek/German nationality, Efthimis Kosemund Sanidis studied Informatics Engineering, and then Contemporary Arts at Le Fresnoy - Studio National in France. His films have won acclaim at festivals around the world. His debut short film, ‘II’ (2014, 16’), won the Pack & Pitch award at Sarajevo while in development, followed by a world premiere in the Pardi di Domani section of the Locarno Film Festival. He shot his next two films, ‘Odette’ (2015, 16’) and ‘Unbuilt Light’ (2017, 29’), while in residency at Le Fresnoy, with the latter opening in competition in Sarajevo. ‘Astrometal` (2017, 15’) was nominated for a Golden Lion in the Orizzonti section of the 74th Venice International Film Festival.

Maria KOURKOUTA, Niki Giannari
Des Spectres hantent l'Europe
kourkouta Maria , Niki Giannari
Des Spectres hantent l'Europe
Documentaire | hdcam | couleur et n&b | 100:0 | Grèce | France | 2016

The daily life of migrants (Syrian, Kurdish, Pakistani, Afghani and other) in the camp of Idomeni, in Greece. People waiting in queues for food, tea and doctors; waiting to cross the border. One day, Europe closes the West Balkan Route for them once and for all. The «residents» of Idomeni decide, in their turn, to occupy the train tracks, blocking the trains that carry goods across the border.

Niki Giannari: Greek writer, born in 1968. Maria Kourkouta : Greek filmmaker born in 1982. She lives between France and Greece. Since 2008, she made several films, mostly on 16mm at different artist-run labs in France (such as L’Etna and L’Abominable) where she is still active as a member. Most of her films are distributed by Light Cone (Paris).

Ryan KUO
Family Maker
kuo Ryan
Family Maker
Création numérique | 0 | couleur | 0:0 | USA | 2017

Family Maker is a computer application that uses the macOS interface to convey family dynamics across cascading sequences of gray application windows that users operate in order to unlock mysteries of being in a family. The application might be read as a portrait of the artist’s family, but it doubles as a working model of family life, populated by windows with names such as Ego and Trauma that prompt association-making. The work has been conceived as a puzzle box to unlock and explore, and as a poetic support that can give form to the unnameable. Family Maker is assembled using a runtime engine, and its dynamics are simultaneously built and enacted. As such, the creative process itself is akin to diagramming and inhabiting the family. A user of the application experiences much of how it was made. Each clickable button and slider is loaded with references to past states and future consequences.  It is presented as a regular software application that can be multitasked with other tasks, such as monitoring email and scanning for viruses. As the family is a process, future versions may be created. The work is distributed by Left Gallery.

Ryan Kuo is based in New York and is currently a resident in the Queens Museum Studio Program. He received a Master of Science in Art, Culture and Technology from MIT in 2014. His work is often process-based and diagrammatic, utilizing techniques from video games, productivity software, web design, motion graphics, and sampling. It tends to invoke a person or people arguing. Among his current projects, Ryan is building an artist’s book about aspirational workflows, File: A User’s Manual, modeled after software guides for power users. His works and writing have most recently appeared at the Current Museum of Art (NYC), Equity Gallery (NYC), Front/Space (Kansas City), Spike Art Quarterly (Berlin), Goldsmiths (London), Carpenter Center for the Visual Arts (Cambridge, MA), Boston Cyberarts (Boston), MIT Media Lab (Cambridge, MA), and Minibar (Stockholm). He was a resident artist at Residency Unlimited (NYC) in 2017.

Ikuru KUWAJIMA
City of Transformers
kuwajima Ikuru
City of Transformers
Vidéo expérimentale | mov | couleur | 3:39 | Japon | Russie | 2016

The project is about the transforming cityscape of Kazan, the millennium old capital of the Republic of Tatarstan in Russia. With the brand-new buildings and anime costume characters “Transformers,” I visualized my impression of this fast-growing modern multicultural city, located in the middle Volga, about 600 km east from Moscow. In Kazan, newcomers would soon notice the futuristic bizarre architecture scattered around the city’s center. Those buildings are somewhat reminiscent of the contemporary but ambiguous glittering architecture in Kazakhstan’s capital Astana and Turkmenistan’s capital Ashgabat in Central Asia. In Kazan’s city center, visitors would also notice awkward-looking costume characters like ones from American-Japanese robot anime “Transformers,” giving out leaflets or getting pictures taken with kids for money. Kazan is home to Tatars, a predominantly-Islam Turkic people, but it is more complex and unique, as Tatar, Russian and Soviet cultures have been intertwined in the past centuries there. Now, western capitalism gets mixed with this cultural melting pot, bringing even “Transformers” to the city and turning parts of the cityscape a little Disneylandish. Kazan is still in the process of this intricate transformation. This project demonstrates my vision of this transforming multicultural city located near the edge of geographical Europe.

After growing up in Japan, studying in journalism in the University of Missouri, Columbia, and living in Romania for a year, Ikuru Kuwajima has been living and working on visual documentary and art projects mainly with photography in various post-Soviet countries (Ukraine, Kyrgyzstan, Kazakhstan and Russia) in the past 10 years. After three years in Kazan, he now lives in Moscow, Russia, continuing personal projects. His artist books “Tundra Kids” and “I, Oblomov” were published in Vienna in 2015 and in Moscow in 2017, respectably.

Eva L'HOEST
Under Automata
l'hoest Eva
Under Automata
Film expérimental | 4k | noir et blanc | 10:49 | Belgique | 2017

Au-dessus de l`Atlantique, des dormeurs ont été scanné manuellement par l’artiste le long du couloir d`un avion long-courrier. Le film se présente comme un lent travelling sur une réalité que l`on identifie immédiatement mais qui est déchirée par les failles du processus de captation. Les corps, les objets ne sont donc que partiellement recomposés par le logiciel et donnent lieu à un plan cinématographique ainsi qu`à la vision d`accidents de la substance-image. 


Eva L’Hoest (1991, vit et travaille à Bruxelles), est issue d’une génération qui est née en même temps que les développements exponentiels de ce qu’il devient désuet d’appeler « les nouvelles technologies ». Cette jeune artiste formée à l’atelier Vidéo de l’ESAVL-Académie des Beaux-Arts de Liège (Jacques-Louis Nyst) s`est très vite tournée vers l`exploration de pièces inédites en réalité virtuelle ainsi que des impressions 3D sur lesquelles elle intervient manuellement. Au fil de ses pièces, Eva L’Hoest propose une analyse de la morbidité contenue au coeur du virtuel lorsqu’il est débarrassé de ses oripeaux et de son pouvoir strictement illusionniste. Ce qui en résulte, c’est une plongée fascinante dans une matière visuelle qui provient du travail conjoint de la main et de la machine. Performeuse d’une nouvelle ère, l’artiste s’attache sans complexe à la beauté et au vertige des limites de l’analyse électronique.

LA DECANATURA, Elkin Calderón Guevara & Diego Piñeros García
Pluralia tantum bon bril
la decanatura , Elkin Calderón Guevara & Diego Piñeros García
Pluralia tantum bon bril
Vidéo expérimentale | hdv | couleur | 4:49 | Colombie | 2017

SYNOPSIS A Colombian video-contribution between the collective La Decanatura and the queer-artist Federica Burns presents the creation of the universe - the big bang - in a new way: Their work aims to subvert the lopsided vision of the white male sovereignty in the representation of the Creator in order to devise a god of ambiguity. As a hybrid being this god is neither male nor female but genderless, mestizo, playful, and plural has put on make-up and is dancing with a fire produced with a "Bon Bril" (kitchen steel wool sponges ) that is used as a fireworks in popular neighborhoods in Colombia and Brazil. Title: PLURALIA TANTUM BON BRIL Director: LA DECANATURA (Diego Piñeros García & Elkin Calderón) Production: LA DECANATURA (Diego Piñeros García & Elkin Calderón) Camera: Johannes Förster Edition: LA DECANATURA (Diego Piñeros García & Elkin Calderón) Actor: Abner Wagner a.k.a Federica Burns Makeup artist: Martín Ortegón Duration: 5 min Technical details: Recorded in 4K, final Version in Full HD, 1920 x 1080 stereo

LA DECANATURA. Collective formed by artists Elkin Calderón Guevara and Diego Piñeros García that seeks to generate new approaches to art from historical approaches and "foreign" disciplines that inquire hegemonic forms of knowledge and power. LA DECANATURA has been the winner of different awards for the development of artistic projects such as the Residence in Switzerland, Villa Ruffieaux of the Coincidence Program, Pro Helvetia, 2018. Plataforma Bogota Scholarship in art, Science and Technology 2017/18. They have exhibited individually at the Museum of Modern Art in Medellin, Caja Negra (Black Box) 2017. Also they have participated in the Regional Salon for Artists in the Central Zone 2015 and in the National Artists Salon, 2016. Their work "Centro Espacial Satelital de Colombia" has been shown in important festivals, winner of one of the prizes of the Videobrasil Festival 2017 and is part of the Art Collection of the Banco de la República in Colombia.

Petr LADEN
Tomorrow will be the same
laden Petr
Tomorrow will be the same
Film expérimental | dcp | couleur | 66:0 | Russie | 2017

Tomorrow will be the same Musical post-apocalyptic film, 1 hour 6 min Like august flies, trying to escape certain death, people before the apocalypse started to copulate, mindlessly and robotically. Insatiable lust reigned over senseless flesh. Slaps, slurps and moans echoed across lands. It lasted for a long time, until every single one was completely exhausted. Then time stopped. The final pause had come. Only two people remained untouched. Having merged, like Salmacis and Hermaphroditus, in music that gave them eternal life, they wander timeless, empty spaces. Their destiny - to save humanity. But humanity means nothing to them as it had failed to happen. Main characters of the movie, Kirill Shirokov and Sasha Elina, are real musicians and founders of `the same` ensemble, specialized in performing quite music related to certain space and time. During the film they perform music from ‘every day melodies’ series composed by Kirill Shirokov. In this way the film uses fictional form to discover reality of interactions inside russian contemporary art music. The movie is the first part of mini-series discovering the territory of contemporary art music.

Born 1982 in Moscow. Graduated Moscow Lomonosov State University department of Physics (2005), Moscow Rodchenko School of Photography and Multimedia (2009). Co-founder and member of Upward! community and Vidiot art group. Curator of ex-Brown stripe apartment gallery. Founder and program curator of the 7th Floor Radio. Main media: video film, performance, site-specific installation.

Salomé LAMAS
Ubi Sunt
lamas Salomé
Ubi Sunt
Fiction expérimentale | hdv | couleur | 23:0 | Portugal | 2017

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Ludivine LARGE-BESSETTE
Drop Out Bodies
large-bessette Ludivine
Drop Out Bodies
Film expérimental | 4k | couleur | 17:13 | France | 2017

Dans le silence et la monotonie d’une résidence pavillonnaire, des hommes, des femmes, debout devant leurs maisons se mettent à chuter de manière aléatoire et irrévocable. De la découverte des interprètes figés à leurs effondrements chorégraphiés, le film questionne la fatalité du corps humain ainsi que notre époque, nos responsabilités individuelles et collectives, par le biais d’une réinterprétation contemporaine de la danse macabre du Moyen-Âge.

Diplômée de La Femis en 2012, Ludivine Large-Bessette travaille sur l’image du corps. Que ce soit en jouant des codes cinématographiques, ou en créant des scènes surréalistes, il s’agit toujours d’interroger le spectateur sur la place du corps dans nos jeux sociaux et sur son rôle dans notre environnement contemporain. Ses œuvres ont été exposées, entre autres, au TanzFilmPlattform de Berlin, aux Instants Vidéo de Marseille, à La cité internationale des Arts à Paris et au 62e Salon de Montrouge.

Lasse LAU
Stem - Sound from the Tropical
lau Lasse
Stem - Sound from the Tropical
Vidéo expérimentale | hdv | couleur | 33:25 | Danemark | 2017

In the middle of Lisbon between Avenue Liberdade and the Natural History Museum lays a little gem of a garden, The Jardim Botânico da Universidade de Lisboa. It was inaugurated in 1873. The garden’s crown jewel is its subtropical collections which has a unique microclimate that enables unique tropical plants to survive. STEM is a film about the migration of plants and the beginning of botanical gardens decay. Years of neglects of the Lisbon University Garden have created a romantic environment where the garden is growing wild. The film investigates the displacement in migration and morphology of plants. And investigates some of the post-colonial environmental ramifications of transfer into new subjectivities of the"other." The film came together as is a collaboration between the filmmaker and the German sound artist Max Schneider. Together they traveled Brazil to sound record 17 unique plants. The film features an interview with professor James Clifford, author of "The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art" (1988), "Routes: Travel and Translation in the Late 20th Century" (1997), and Returns: Becoming Indigenous in the Twenty First Century" (2013).

Bio Lasse Lau Lasse Lau (born 1974, Denmark) is an award winning visual artist, filmmaker, and queer and social activist. His work addresses challenges and pitfalls in the relational readings of space. His most recent film, STEM - Sound of Tropism is a film about migration of plants and botanical gardens in decay. Years of neglects of the Lisbon University Garden have created a romantic environment enabling return to the wild. The film investigates subjectivity and morphology of plants in the spray of enlightenment and colonialism. His films has shown at Beirut Art Center, British Museum, BOZAR, Cimatheque, CPH:DOX, Darb 1718, Edith-Russ-Haus fur Medienkunst, Festival d`arts vidéo Clermont Farrand, Fotografisk Center, Green Lantern, Kunsthallen Nikolaj, Lumiar Cité, Malmö konsthall, Medrar for Contemporary Art, MOMA PS1, Museu Nacional de Arte Contemporânea Lisboa, Museum of Resistance Torino, OCAT, Smart Project Space, Zagreb Museum of Contemporary Art, Westfälische Kunstverein and WRO Media Art Biennale. Winning 1st prize at Fokus Videokunst Festival, and an honorary mentioning at Festival Der Nationen. Lasse Lau studied at the Whitney Museum Independent Study Program, Berlin University of Art and the Funen Academy of Fine Art in Denmark.

Sonia LEBER, Leber Sonia and Chesworth David
Earthwork
leber Sonia , Leber Sonia and Chesworth David
Earthwork
Installation vidéo | mov | couleur | 5:0 | Australie | 2016

Earthwork’s screen is positioned flat on the floor, facing upwards. The visitor, looking down, gets a bird’s-eye view of a suburban landscape in which there are destroyed buildings, damaged roads, fences, and gardens. The image suggests a world that has undergone massive disruption. It is unclear whether accident, entropic forces, or warfare has caused this result. Superimposed upon Earthwork’s devastated landscape is another smaller image that presents the viewer with an alternative framing the site. We see diagrams: symbols of what might be location coordinates, suggesting an ongoing search for boundaries, and an intention. The two images appear to be attempting to ‘line-up’, but this is never achieved. The title, Earthwork, references the American Land Art movement of the 1960s; Leber and Chesworth’s videowork further explores Robert Smithson’s concept of the ‘non-site’. A non-site is an artwork situated in a gallery that metaphorically represents a remote actual site. As Smithson suggests ‘the site is evading you all the while its directing you to it’.

Sonia Leber and David Chesworth are known for their distinctive installation artworks, using video, sound, architecture, and public participation. Developed through expansive research in places undergoing social change, Leber and Chesworth’s works are speculative and archaeological, responding to architectural, social, and technological settings. Exhibitions include ‘56th Venice Biennale: All the World’s Futures’ (2015) and ‘19th Biennale of Sydney: You Imagine What You Desire’ (2014). Solo exhibitions include ‘Architecture Makes Us’, Centre for Contemporary Photography, Melbourne (2018); ‘Zaum Tractor’, Fehily Contemporary, Melbourne (2014); and Gridchinhall, Moscow (2013); ‘The Way You Move Me’, Fehily Contemporary, Melbourne (2012); ‘Space-Shifter’, Detached/MONA FOMA, Hobart (2012); Perth Institute of Contemporary Arts (2011); and Conical, Melbourne (2009); and ‘Almost Always Everywhere Apparent’, Australian Centre for Contemporary Art, Melbourne (2007). Group exhibitions include ‘Looking at me through you’, Campbelltown Arts Centre, Sydney (2017); ‘Borders, Barriers, Walls’, Monash University Museum of Art (2016); Substation Contemporary Art Prize, Melbourne (winner, 2016); ‘Melbourne Now’, National Gallery of Victoria, Melbourne (2013-14); Gold Coast Art Prize (winner, 2014), Screengrab6 Award, Townsville (winner, 2014), ‘Cooperation Territory’, 16thLine Art Gallery, Rostov-on-Don, Russia (2013); ‘Spaced: Art Out of Place’, Fremantle Art Centre (2012); ‘Stealing the Senses’, Govett-Brewster Gallery, New Plymouth, New Zealand (2011).

Samuel LECOCQ
Fragility and obsolescence
lecocq Samuel
Fragility and obsolescence
Doc. expérimental | mov | couleur | 10:0 | France | 2017

En septembre 2016, le centre de prévention, d’insertion, et de citoyenneté (CIPC) ouvre ses portes. Il est désigné comme le premier centre de “deradicalisation” français. Ses moyens, son organisation, son existence sont constamment débattus. Son accès est restreint, ses alentours hyper-sécurisés, il est inaccessible aux journalistes encore moins aux artistes. Cette vidéo est le récit d’une tentative d’appréhension. La mise en place d’une stratégie narrative, dans le but de générer une Représentation de ce territoire physique, esthétique et philosophique. Marie-Jose Mondzain, dans son essai “Confiscation” propose une re-appropriation du terme clivant : “Deradicaliser”. Il devient, une fois extrait de sa définition réductrices (inverser une croyance extrémiste), le moyen de révéler fragilité et obsolescence dans le réel. C’est depuis ce postulat conceptuel que la vidéo est organisée, montée et réalisée.

Samuel Lecocq est né à Paris en 1992. Il vit et travaille à Bruxelles.

Jean François LECOURT, Thomas Auriol
Tir dans le miroir
lecourt Jean François , Thomas Auriol
Tir dans le miroir
Performance | 0 | couleur | 0:0 | France | 2010

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Heewon LEE
La pluie
lee Heewon
La pluie
Installation vidéo | 4k | couleur | 6:0 | Coree du Sud | France | 2017

LA PLUIE est une rencontre dans un paysage typique, dont l’apparente magie ne saurait faire oublier le drame de la situation. Des voix se font entendre. Qui sont-elles ? Peu à peu leur histoire nous est contée et leur présence semble flotter à nos côtés. Ce film est un hommage aux victimes de l’exploitation sexuelle en temps guère établie par le gouvernement japonais durant la seconde guerre mondiale. Les victimes n’ont pas encore été reconnues par le Japon. Elles sont Coréennes, Chinoises, Philippines, Thaïlandaises, Vietnamiennes, Malaisiennes, Indonésiennes… Ce projet n’intente pas un procès au Japon, mais se focalise sur la douleur humaine traduite métaphoriquement à travers la figure du fantôme et rend hommage à ces femmes. La réalité virtuelle est le moyen le plus approprié pour explorer la vision d’un spectre. Cette mise en forme, la multiplicité de modes de production qu’elle induit, permet d’envisager une immersion totale dans l’œuvre et créer une identification immédiate ; un flou entre les limites physiques et mentales du spectateur et des personnages. Le supplément d’informations que produit la VR enrichit l’environnement du spectateur et l’implique activement dans l’œuvre.

HeeWon Lee est née en 1978 en Corée du Sud. Après avoir étudié la mode à Séoul elle s’installe en France fin 2002 ; elle suit l’enseignement du français à l’université de Nancy II et poursuit son activité artistique. Elle entre à l’Ecole Nationale Supérieure d’Art de Nancy, option Communication Art Visuel, avant de conclure son parcours par un post diplôme au Fresnoy - Studio National des Arts Contemporains, à Tourcoing. Heewon Lee est une artiste multimédia qui développe une pratique artistique où se rencontre vidéo, graphisme, son et installation. Son travail inspiré par notre quotidien opère de légers déplacements qui nous plongent dans un univers fragile et onirique. Ses projets ont été primés et présentés à de nombreuses reprises : Jeunes Talents-Air France, la Diagonale des Arts- Biennale d’art contemporain, Busan International Video Festival, Vidéographie(s), Vidéoformes...et diffusés en France au Grand palais, Palais de Tokyo, Air France, Féstival Némo au 104 et La Gaîté Lyrique, BIAN II au Cinémathèque québécoise, Montréal, Digital life, à Rome, the Special Olympics World Winter Games PyeongChang, Nabi center, Corée du sud, Museum of Art Hong Wan, Beijing... Ses oeuvres sont régulièrement diffusées au Brésil, Canada, Corée du Sud, Maroc, Espagne, Italie, France…

Caroline LOITERING THEATRE, Loitering Theatre (Caroline Campbell & Nina McGowan)
Heston's Folly
loitering theatre Caroline , Loitering Theatre (Caroline Campbell & Nina McGowan)
Heston's Folly
Vidéo | mov | | 3:30 | Irlande | 2016

Heston`s Folly is based on the final iconic scene in Planet of the Apes (1968) when the protagonist - activist Margaretta D`Arcy (and the viewer) comes to the realisation that they have been living in the United States all the time. All our cities are nodes now. Mere switching addresses for the movement of capital to lightspeed. But the network architecture hides a cloaked hierarchy. We live in Empire’s feeder cities; our bodies moving in thrall to the packet data thirst of London and New York. Blind to our serfdom, we trace digital paths through the city; our clicking and swiping ever-feeding the foreign machines. Galway AD 3978. The space craft hurtles through time to crash. You disembark, to find a landscape ruled by silverbacks with monkey-mind. Humanity is a legend far left behind. Feature-length, you battle long and hard through sci-fi odyssey. Then, in your final scene - on a beach at the perimeter, you chance upon an Ozymandian ruin. Fall to your knees. In awe at the great reveal. This city too is built on Empire; and Empire, like its grand monuments, can always fall.

Caroline Campbell and Nina McGowan (alongside other collaborators including John Buckley and composer and sound designer Philip Stewart) have been working together since 2012 under the name of Loitering Theatre. Loitering Theatre work across video, text, performance and site-specific installation. Loitering Theatre seek to make the intangible of networks manifest and their work often engages with the hidden structures and abstractions of accelerated networked capitalism. Loitering Theatre use varied techniques to decode and oppose current systems of consensus reality – recent projects have mobilised the affective power of the culture industry’s expanded Hollywood blockbuster; or created radical synapses between future-present sci-fi technologies and lost systems of ancient ritual power. Along the way, time is stretched and bent and technology no longer develops along its linear path.

Stephan LUGBAUER
Eating Secrets
lugbauer Stephan
Eating Secrets
Film expérimental | 16mm | couleur | 8:41 | Autriche | 2017

In Eating Secrets, we bear witness to a mysterious ritual, based on psycho-magic exercises by the cult filmmaker Alejandro Jodorowsky. In psycho-magic, images are used as symbols to appear to the unconscious mind as real events. A similar thing can be said about the impression of films onto the soul. Haunted by a suggestive soundtrack from the recently deceased Mika Vainio (Pan Sonic) we enter into a dreamlike state, where time is fluid and the ritual is very real. This eight minute short film was shot on super 16mm in my studio and its adjacent garden.

Stephan Lugbauer (*1976, AUT) now lives and works in Paris, France and on the countryside in Austria. He studied Architecture at the Technical University Vienna, received his MFA at the Academy of Fine Arts, New Media Department, Vienna and was fellow of the MAK Schindler Residency, Los Angeles, the BMUKK Studio Resicency in Mexico City and of the Cité des Arts, Paris. He is co-founder of Saprophyt, an independent conceptual art-space and project (www.saprophyt. net). His work has been featured in several international exhibitions and festivals such as Hors Pistes, Centre George Pompidou, Paris; Les Rencontres Internationales Paris, Madrid, Berlin; Videobureau, Beijing and Guangzhou; Sigmund Freud-Museum, Vienna; MAK Center for Art and Architecture, Los Angeles; Kunsthalle, Vienna; CAAM, Las Palmas, Gran Canaria; Secession, Vienna. Stephan Lugbauer’s work analyses and interrogates the role of creation and artists. It re-evaluates the porosity of art, which is pervaded with contemporary political and economical areas.

Cecilia LUNDQVIST
En av dem (One of them)
lundqvist Cecilia
En av dem (One of them)
Animation | mov | | 1:53 | Suède | 2017

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Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours. My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Basir MAHMOOD
All voices are mine
mahmood Basir
All voices are mine
Doc. expérimental | 4k | couleur | 20:13 | Pakistan | 2017

The author intends to tell a story of another. The course of re-narration takes place in someone else’s setting of temporal and physical space. What had been carried through time is to be performed again from early morning into the late evening. Participants arrive remembering the performed sequences. The camera now observes recalling of a memory and then the process of forgetting the borrowed narrative. It witnesses a recreation and records it getting subsumed into the narrative that no one keeps but the non-participating initiator. As the narrative plays out, he stays and waits to observe a reconciliation. While waiting, he recalls a song he grew up listening to which had been written by his father for a film. Both the author and his father were and remain unaware of the settings in which the song was to be placed. The film was never made. -- Beginning in the closing years of the first decade of the new millennium, a new cinema began to emerge in Pakistan, which has inspired hopes of revival of the local film industry. The present author, however, disputes the “newness” of the reviving industry, arguing instead that the idea of a revival is implicit in a return to once was.. Lahore-based film industry, during its heyday was amongst the largest film industries in the world. However, beginning around 1977, the once vibrant film industry began a dramatic collapse into creative banality, intellectual decadence and popular irrelevance, marking its end. The new wave has clear differences from what once was. This new cinema wave is led, on the one hand, by a new generation of filmmakers, many of whom have been trained abroad; and on the other, by a generation of actors and technicians, most of whom began their careers on television, or have otherwise remained affiliated with the same. Yet, despite this recent influx of fresh talent, the broader industry itself remains beset by obsolete studios, equipment, cinematic techniques and, actors and extras. Even as the new cinema wave continues to blaze trails across Pakistani cinema skies, the old film industry has struggled to maintain its limited, almost peripheral, existence, with those affiliated with the Old Era now rendered redundant and without work. The author recollected the memories of actors, extras, writers, filmmakers and other associated with Old Era films. Today, many of whom live anonymously, and often carry other professions. With the collected recollections, the author has hoped to construct a narrative which explores ideas of abruptness, imperfection, resemblance, memory, and remembering and forgetting.

Basir Mahmood (b. 1985 Lahore, Pakistan) studied in Lahore at the Beaconhouse National University, and received a yearlong fellowship from Akademie Schloss Solitude in Stuttgart, Germany, in 2011. In order to engage with situations around him, he ponders upon embedded social and historical terrains of the ordinary, as well as his personal milieu. Using video, film or photograph, Mahmood weaves various threads of thoughts, findings and insights into poetic sequences and various forms of narratives. Since 2011, his works has been widely shown, including: The Garden of Eden, Palais de Tokyo, Paris, 2012; III Moscow International Biennale for Young Art, Russia, 2012; Inaugural Show, Broad Museum, Michigan State University, 2012; Asia Pacific Triennial (APT 7) at Queensland Art Gallery, Brisbane, 2012; Sharjah Biennial 11. (2013); At Intervals at Cooper Gallery Project Space, Duncan of Jordanstone College of Art & Design, 2014; Des hommes, des mondes at college des bernardins, Paris, 2014; Time of others, Museum of Contemporary Art Tokyo, 2015; Yinchuan Biennial, Yinchuan, 2016, China; “Syntax and Society” at The Abraaj Group Art Prize 2016, Dubai; Contour Biennale 8, Mechelen 2017 and Tableaux Vivants, Foundation Etrillard, Paris 2017, France. Mahmood has been awarded a Residency at the Rijksakademie van beeldende kunsten in Amsterdam (2016-2017) and commission from Sharjah Art Foundation.