Catalogue 2018-2019
Parcourez ci-dessous le catalogue 2018-2019 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.
Yafei QI
Life tells lies
qi Yafei
Life tells lies
Vidéo expérimentale | 4k | noir et blanc | 11:4 | Chine | 2017

The work focus on the social status of women and the wave of feminism raised in contemporary China in recent years. it discusses the conflict between the traditional ideas, the women that carried on from generation to generation and the contemporary feminism among young women. It were done with Yafei`s family members, filmed in the apartment where her parents lived. All the plots in the video are adapted from her observation of her grandma and mum's real life, and the imagination of her own future. Yafei is trying to weave an seemingly conforming woman's life to the social expectations.

Yafei Qi is a performance- & video-artist with a background in filmmaking and painting based in Berlin. Her work examines the clashes between cultural norms & traditional values and the mindset of a globalising Chinese society. Yafei received her BA in Film- and Video-Art at the China Central Academy of Fine Arts in 2011 and graduated with a MFA from Bergen Academy of Art and Design (KHIB) in 2016. In 2015, she spent six months at Emily Carr University, Vancouver. Her 2016 piece "Wearing the Fog" has been selected by various international films festivals and won - amongst other awards - "Best Experimental Film" at "The Broadway Film Festival" in Brooklyn, NY. In 2017, her performances "Life Tells Lies" and "I wonder why", as well as the resulting video-works, received international acclaim. Since then, Yafei has had museum exhibitions in Bergen, Shenzhen & Beijing.

Truong QUE CHI, Do Van Hoang
Drowning Dew
que chi Truong , Do Van Hoang
Drowning Dew
Fiction expérimentale | hdv | couleur | 38:0 | Viet nam | 2017

Biography of Truong Que Chi and Do Van Hoang : 1/ Truong Que Chi : Truong Que Chi is a filmmaker, artist and curator based in Hanoi. Her personal practice examines the spectacle of the everyday violence in Vietnam. She is currently a curator of Nhà Sàn Collective and also a film lecturer at the Hanoi University of Theatre and Cinema. Her works have been featured at various local and international film festivals, exhibitions, and symposiums including among others Asian Film Focus 2017: Time Machine, Objectifs- Centre for Photography and Film (Singapore); Skylines with flying people 3, NSC (Vietnam); South by Southeast. A Further Surface, Times Museum (China); Oberhausen International Film Festival (Germany), Torino Film Festival (Italy). Truong Que Chi graduated with a Master’s degree in Film Studies from University of Paris III: Sorbonne Nouvelle. 2/Do Van Hoang : Đỗ Văn Hoàng (1987) graduated from the University of Theatre and Cinema at Hanoi. Some of his works include: “Underneath it All” (documentary, 17m), “At Water’s Edge” (documentary, 17m), “A Film on Sofa” (short film, 17m), “A Silent Shout” (short film, 20m), “False Brillante” (short film, 22m), “Drowning Dew” (a collaboration with Art Labor Collective, co-director with Trương Quế Chi). His works have been shown at Hanoi Docfest, Yamagata Film Festival, Centre Pompidou, Times Museum.

Rita QUELHAS
A Minha Juventude
quelhas Rita
A Minha Juventude
Fiction | 0 | couleur | 26:35 | Portugal | 2017

In a teenage room, in some other time, somewhere in the 60`s in Portugal, is a young 16 year old girl that lives and breaths in there, accompanied by a 1 year old baby that crawls through the carpeted floor - her son. Only in this room can the young girl exist and dream, distant from the life she hears coming from the building`s backyard while she tries to escape from the presence of the baby, the reason of her confinement.

RITA QUELHAS Born in 1994 in Lisbon, Portugal. Graduated in Directing by Escola Superior de Teatro e Cinema (Lisbon Theatre and Film School) in 2015. She directed two short films: “Uivo”/“Howl” (DocLisboa `14, Panorama 2015, Montanha Pico Festival) and "A Minha Juventude"/ “My Youth” (IndieLisboa 2016, FILMADRID 2017 - Best Film Award from Young Jury, FEST - Honourable Mention National Prize). Quelhas interest in cinema manifests itself through essay writing as well. In 2017, her three-part essay “The Gaps and Detours in Madame De...” was published in the online Canadian magazine Offscreen. Besides directing her own films, she focuses in working with other directors in the editing department, such as Salomé Lamas or Ana Pérez-Quiroga and, in the direction department, with Marco Martins. Currently, Quelhas also works for the Portuguese theatre company Arena Ensemble, as assistant director and video assistant to Beatriz Batarda and Marco Martins.

Lou RAMBERT PREISS
Ici le chemin des ânes
rambert preiss Lou
Ici le chemin des ânes
Fiction | 0 | couleur | 22:0 | France | Suisse | 2018

Dans une grande carrière de roche, une explosion révèle un objet venu d’un autre temps.

Lou Rambert Preiss nait en 1993. Après une licence de Philosophie à la Sorbonne, il entre en Bachelor Cinéma à l’Ecole Cantonale d’Art de Lausanne. Il vit maintenant à Paris.

Stefan RAMIREZ PEREZ, Ramírez Pérez, Benjamin
CONFLUENCE
ramirez perez Stefan , Ramírez Pérez, Benjamin
CONFLUENCE
Doc. expérimental | dcp | couleur | 20:45 | Allemagne | 2018

CONFLUENCE centers around Serbian pop singer and former child star Doris Bizeti. In a mixture between pop and lecture performance Doris’ biography is conflated with histories of architectures in Belgrade.

Stefan Ramírez Pérez (*1988) was a participant at the residency program Schloss Ringenberg in 2018. He studied at the Academy of Media Arts Cologne from 2010 - 2017. His works have been screened at International Film Festival Rotterdam, International Short Film Festival Oberhausen, Visions du Réel Nyon and Julia Stoschek Collection Düsseldorf, among others. He had recent Group and Solo shows at Artothek Cologne, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul. He received the Chargesheimer Scholarship by the City of Cologne in 2018, and the Graduation Award by the Academy of Media Arts Cologne in 2017. Benjamin Ramírez Pérez (*1988, Germany) lives and works in Cologne. He studied at the Academy of Media Arts Cologne from 2009-2015 with Phil Collins, Matthias Müller and Julia Scher. He undertook the residency programme at de Ateliers from 2016 - 2018. His works have been screened at Locarno, Edinburgh, Toronto and Rotterdam International Film Festival, among others. He had recent Group and Solo shows at Artothek Cologne, Kunsthalle Recklinghausen, Kunstmuseum Bonn, Museum of Contemporary Art Belgrade and Alternative Space LOOP, Seoul.

Ivan RAMLJAK
Dom boraca
ramljak Ivan
Dom boraca
Documentaire | mov | couleur | 50:0 | Croatie | 2018

In 1974 communist authorities built the so-called ‘Memorial Home for WWII Resistance Fighters and Youth of Yugoslavia’ in Kumrovec, a tiny rural hometown of the legendary president Marshal Tito. In 1991, when Yugoslavia collapsed 11 years after Tito’s death and the Croatian War of Independence started, the Memorial Home was closed, and it remained closed until today. Several attempts to repurpose the building have failed. Still, some fighters remain...

Ivan Ramljak (born 1974) is a film critic, director and independent curator. He currently curates a short film program called Kratki utorak (‘Short Tuesday’) at cinema Tuškanac in Zagreb. So far, he has directed nine short films, four fiction ones in collaboration with Marko Škobalj, four documentaries and an experimental film. His most successful film so far was ‘Kino otok’ (Islands of Forgotten Cinemas) which was screened on more than 25 international festivals, and won 6 awards, including the FIPRESCI prize for Best Eastern European documentary at goEast FF in Wiesbaden. In 2016 he enrolled the master study of documentary directing at the Academy of Dramatic Art in Zagreb. ‘Home of the Resistance’ is his first medium length film.

Clémence RENAUD
Gloires et Déclins
renaud Clémence
Gloires et Déclins
Vidéo expérimentale | hdv | couleur | 15:30 | France | Japon | 2018

Au milieu des décors de la ville de Tokyo, des messages circulent par l`intermédiaire d`un signal rendu perceptible grâce à des objets génériques aux allures de sculptures. Un routeur wifi signale l'existence d'une ville en activité. La radio diffuse une voix qui annonce la météo du jour. Un objet rectangulaire blanc semblable à la forme d'un téléphone portable, glisse sur une surface en tissu aux imprimés faux bois. Un satellite en orbite géostationnaire au milieu des nuages synchronise son mouvement au rythme d`une respiration. La voix d'un GPS prend le relais et semble diriger enchaînement des images. La présence humaine est dématérialisée. Cette présence que l'on ne voit qu'à travers l'entité de la ville mais dont on entend les voix et les messages. Les corps ont pris la forme de ces objets sans fil qui relaient tout un tas d'informations. Des images nous reviennent en écho comme des repères, révélant petit à petit le chemin d`un signal jusqu'au point d'arrivée : L` île artificielle d`Odaïba construite sur des déchets. Gloires et Déclins invite le spectateur à observer les constructions d`un paysage contemporain, là où s`opère un glissement des identités.

Clémence Renaud est diplômée des Beaux-arts de Paris et lauréate du prix paris jeunes talents ; elle travaille d`abord dans le cadre de résidences en France puis décide de voyager et part vivre à Tokyo. Elle expose en Europe et au Japon. Elle élabore un travail sous forme de sculpture sonore, d`installation et de vidéo, au cœur duquel objets/sculptures et spectateurs se rencontrent et s`interpellent.

Oliver RESSLER, Zanny Begg
Anubumin
ressler Oliver , Zanny Begg
Anubumin
Documentaire | hdv | couleur | 18:0 | Autriche | 2017

The film focuses on Nauru, a tiny remote island in the Pacific with 10,000 inhabitants. The narration discusses different voids that have shaped the islands past and future. The largest void is a physical one, the island is a raised reef consisting of calcite and phosphate on a volcanic base, which since 1906 has been mined and exported to Australia, to fertilise the former colonisers’ farms. When phosphate extraction came to a stop in the 1980s, Nauru was bankrupt and 80 percent of the land area uninhabitable and infertile. In an attempt to generate income, in the 1990s Nauru became a prime money-laundering haven. After the disappearance of soil and money, today Nauru involves in the “disappearance of people” - housing one of Australia’s offshore refugee detention centres. In a reaction to the criticism on terrible human right situation in the detention centre, Nauru severely restricted access to the island. Four whistleblowers, who worked as doctors and nurses in the detention centre, describe the institutionalised human rights violations in the offshore detention. Today a new void threatens the island, rising sea-levels threaten the coastal edge, which is the only area left for its inhabitants to live.

Zanny Begg is a Sydney based artist whose work focuses on political activism and community. Her work is often collaborative inviting engagement with key themes such as resilience, financial disobedience and unthinking borders. Zanny has an experimental and research driven practice that works across film, performance, installation, activism and drawing. Zanny’s exhibitions include The Museum of Contemporary Art, Sydney, 2017; Sharjah Biennale, 2011; Istanbul Biennale, 2009. Oliver Ressler produces installations, projects in public space, and films on issues such as economics, democracy, global warming, forms of resistance and social alternatives. Solo exhibitions: Berkeley Art Museum, USA; Alexandria Contemporary Arts Forum, Egypt; Wyspa Institute of Art, Gdansk; Lentos Kunstmuseum, Linz; MNAC - National Museum of Contemporary Art, Bucharest; SALT Galata, Istanbul. Ressler is the first price winner of the Prix Thun for Art and Ethics Award in 2016.

Alex REYNOLDS
Esta puerta, esta ventana
reynolds Alex
Esta puerta, esta ventana
Doc. expérimental | hdv | couleur | 36:11 | Espagne | Belgique | 2017

In "This Door, This Window", choreographer Alma Söderberg and musician Nilo Gallego create a blind duet, investigating the boundaries of the individual in a relation. Where do "I" end and does "we" begin? How can we live together with our personal rhythms? How do we influence, steer or manipulate each other? How do we find or lose each other? The film sits somewhere between portaiture and sonic performance, the result of fantasizing with a calculated "and perverse" use of sound and rhythm in order to consciously invade, connect, and alter the body. It reflects on the theme of cohabitation through sound, thinking of living together as a matter of listening and of negotiating rhythms, earworms and boundaries when there are no doors or windows to keep out sound, or inversely, anything may serve as door or window.

ALEX REYNOLDS is an artist and filmmaker living in Brussels and Berlin. Honing into the intersection of portraiture and fiction, her films explore the expansive and invasive potential of point of view, empathy, and rhythm, often walking the line between tenderness and violence to insistently ask: how to live together? Recent exhibitions and projects include Querer parecer noche, Ca2m, Madrid, Every Object is a Thing but not every thing is an object, Hollybush Gardens, London; This Door, this Window, Estrany de la Mota, Barcelona; La timidite? des cimes, FRAC Lorraine, Metz; Playground Festival, Leuven; She is a Film, galería Marta Cervera, Madrid; Moving Image Contours: Points for a Surrounding Movement, Tabakalera, San Sebastián; We Can't Go Home Again, CAC, Vilnius; Elisabet, Lena, Tobias', National Music and Theatre Library of Sweden, Stockholm; A Trip to the Moon, Before and After Film, Bonniers Konsthall, Stockholm... Her films have been screened at festivals and programmes including FIDMarseille, Les Rencontres Internationales, Aesthetica Film Festival, Kunstfilmtage Düsseldorf, or Cinematek, Brussels.

Louis-cyprien RIALS
Resistance
rials Louis-cyprien
Resistance
Doc. expérimental | 4k | couleur | 5:30 | France | Lituanie | 2017

Louis-Cyprien Rials, Résistance, 2017. Vidéo. 5 min 30. Lituanie / Liban. Edition de 3 + 2 E.A Crédit : Louis-Cyprien Rials / son : Romain Poirier © photographie Le Curieux des arts Gilles Kraemer, Camera Camera, Nice, 23 novembre 2018. Remerciements l`artiste et Galerie Eric Mouchet Au Liban, près du village de Mleeta situé dans les montagne du sud-Liban, Tourist Landmark of the Resistance est un champ de bataille devenu musée du Hezbollah Libanais. Ouvert en 2010 au public, c’est un vaste complexe de bunkers et de collines, transformé en une subtile et étudiée mise en scène de la défaite d’Israël au Liban, en musée et en centre de propagande avec des obus, des carcasses rouillées de chars et de camions militaires. Des messages dans des mises en scène théâtralisantes.Lauréat du Prix SAM pour l`art contemporain 2017, Louis-Cyprien Rials bénéficie d`une exposition au Palais de Tokyo - 20 février au 12 mai 2019 -, commissariat d’Adélaïde Blanc. Il présentera le résultat de son travail lors de ses voyages en Ouganda, grâce à SAM Art Projects : Au bord de la route de Wakaliga.

Né en 1981 à Paris, Louis-Cyprien Rials découvre la photographie au Japon, où il s’installe plusieurs années. Il vit ensuite à Paris, Bruxelles et Berlin, tout en réalisant de longs déplacements dans des zones de conflits et des lieux interdits au public. À partir du début des années 2000, il emploie la photographie et la vidéo pour tenter de saisir et de raconter la violence sous-jacente à ces territoires. Louis-Cyprien Rials a présenté son travail dans plusieurs expositions collectives ainsi que dans le cadre d’expositions personnelles, notamment à Hestia (Belgrade, 2018), à la galerie Dohyang Lee (Paris, 2016) et à IDK Contemporary (Bruxelles, 2014). Au printemps 2019, il réalisera deux expositions : « Par la fenêtre brisée » à la galerie Eric Mouchet (Paris) et « Au pied du gouffre » à la galerie Dohyang Lee (Paris). Avec « Au bord de la route de Wakaliga » au Palais de Tokyo, ces expositions présentées simultanément à Paris formeront une trilogie.

Ben RIVERS
Trees Down Here
rivers Ben
Trees Down Here
Doc. expérimental | 16mm | couleur | 13:56 | Royaume-Uni | 2018

Trees are the silent characters, narrating the architecture and life of Churchill College (opened in 1960) through its natural history. 6’s Cowan Court (completed in 2016) inverted the spatial and material order of the picturesque Brutalism of the original college, shifting its mineral world of brick and shuttered concrete to timber. Cowan Court’s oak, both new and old, defines its structure and in turn encloses a central court filled with recently planted birch trees. The analogue materiality of Churchill College is matched by the film which, like the architecture and landscape, leaves traces of its own development. The human habitat is seen through nature ‘ swaying trees, lost animals, birds of prey, the seasons “ to create a new dreamlike environment in which any distinction between human life, architecture and nature is erased.

Ben Rivers studied Fine Art at Falmouth School of Art, initially in sculpture before moving into photography and super8 film. After his degree he taught himself 16mm filmmaking and hand-processing. His practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. He is the recipient of numerous prizes including: FIPRESCI International Critics Prize, 68th Venice Film Festival for his first feature film Two Years At Sea; the Baloise Art Prize, Art Basel 42, 2011; shortlisted for the Jarman Award 2010/2012; Paul Hamlyn Foundation Award for Artists, 2010. Recent exhibitions include: Slow Action, Hepworth Wakefield, 2012; Sack Barrow, Hayward Gallery, London, 2011; Slow Action, Mattâ’s Gallery, London and Gallery TPW, Toronto, 2011; A World Rattled of Habit, A Foundation, Liverpool, 2009. Artist-in-focus include Courtisane Festival; Pesaro International Film Festival; London Film Festival; Tirana Film Festival; Punto de Vista, Pamplona; Indielisboa and Milan Film Festival. In 1996 he co-founded Brighton Cinematheque which he then co-programmed through to its demise in 2006 “ renowned for screening a unique programme of film from its earliest days through to the latest artistâ’s film and video.

Stéphanie ROLAND
Deception Island
roland Stéphanie
Deception Island
Vidéo | 4k | couleur | 14:0 | Belgique | 2017

L’expédition antarctique belge (1897-1899) a été un épisode audacieux de l’exploration du continent blanc. Après avoir approché de nouvelles terres et fait de nombreuses découvertes scientifiques, le bateau se retrouve coincé dans les glaces, pendant près de treize mois. Durant cet hivernage forcé, le manque de lumière de la nuit polaire a causé des maladies, des dépressions et même des cas de démences, au sein de l’équipage. "Deception Island" est une oeuvre multidisciplinaire - entre performance, film et installation - qui explore la face invisible d’un mythe de l’exploration belge et développe la narration d’un non-voyage paradoxal. Cet épisode, amputé de l’histoire officielle, est rejoué silencieusement par des acteurs dans le site industriel du "New Belgica", qui est le projet de construction d’un nouveau bateau, réplique à l’identique du "Belgica" (le bateau original de l’expédition s’est échoué dans les fonds marins). A la fois source d’inspiration du projet, espace de performance et décor du film, ce squelette de bateau peut être considéré comme une métaphore de la reconstitution historique, toujours en évolution, fragmentée et incomplète. L’usage exclusif du travelling tout au long du film immerge physiquement le spectateur dans un univers flottant et hypnotique.

Diplômée de l’ENSAV - La Cambre en communication visuelle, Stéphanie Roland (1984, Bruxelles) a également étudié les arts des médias à l’UDK-Universität der Künste, dans la classe d’Hito Steyerl. De nombreux prix et bourses lui ont été attribués, notamment la bourse de la Fondation de la Vocation, le Prix Médiatine (public) et le Full Contact Award du festival international de photographie SCAN de Tarragone. Elle a aussi été nominée pour le Prix HSBC Photographie, le prix Oskar Barnack Leica, Le Grand Prix Images du festival de Vevey et le Salomon Foundation Award. Elle expose régulièrement son travail à un niveau international. D’Amsterdam à Buenos Aires, de Berlin à Los Angeles, ses projets ont été présentés dans des institutions majeures telles que le Musée Benaki, le Botanique, la Biennale Internationale d’Art de Kampala et le Bozar. Breda Photo, Belfast Photo Festival, Manifesto, Encontros da Imagem, MOPLA et Unseen font partie des festivals dédiés à la Photographie auxquels elle a pris part. En 2017, elle est sélectionnée dans l’exposition de groupe du Pavillon de l’Antarctique pour la 57ème Biennale de Venise. Elle y expose son installation vidéo "Deception Island".

Paul ROWLEY
L'Albero Rosso
rowley Paul
L'Albero Rosso
Doc. expérimental | mov | couleur | 21:0 | Irlande | USA | 2018

THE RED TREE / L`ALBERO ROSSO is short documentary that tells the little known history of Italian gay men being arrested and exiled to a remote island during Mussolini`s Fascist regime. In the film, an elderly man returns to the island of San Domino where 60 years before during the Fascist era he was imprisoned with hundreds of other men for being homosexual. As he walks the island alone, memories come back - of all-male dances in his home town in Sicily in the 1930s, of his beating and arrest, the difficulty of prison life on the island, the suffering of gay men under fascism, and their public humiliation after their return. And of this unique island where all the prisoners were gay, and the seeds of a community were first sown.

A visual artist and filmmaker, Paul began making films in 1995. Since then he has completed over forty shorts, documentaries, video installations, and experimental films, which have shown internationally from the Berlin Film Festival to San Francisco International to the Centre Pompidou.

Pia RÖNICKE
Word for Forest
rÖnicke Pia
Word for Forest
Film expérimental | 16mm | couleur et n&b | 22:30 | Danemark | 2018

Word for Forest is a cinematic journey that travels from the Botanical Garden in Copenhagen to Santiago Comaltepec in the mountains of Oaxaca. The film records a seed's displacement from Mexico, where it was collected by the botanist Frederik Liebmann in 1842, to the Botanical Garden in Copenhagen. The film returns to the plant`s original home, the unique habitat of the cloud forest. The cloud forest in this region has an exceptionally high biodiversity, where specific oaks and pines grow side by side with a rich plant life that is not found anywhere else. In Santiago Comaltepec, the forest is taken care of by the community, which has long resided in this area, but has not always had the right to use the land. Both the Spanish colonial empire and the Mexican state have previously demanded control over the forest. In the 1980s, the community fought for the forest's rights. Through "comunalidad", the forest became common land and only the naturally fallen wood can be logged. The film invites one to listen to the rhythms of the language and the sounds of the forest and to absorb the variations in the many ferns.

In recent years, I have been investigating different botanical collections. These plant collections show traces of geopolitical conditions not only within the practices of botany but also map out colonial territorializations. This work including, The Pages of Day and Night (2015) and The Cloud Document (2017) attempts to examine some of the consequences of botanical systemization.I am interested in how we conceive historical matters in relationship to our daily activities and the connection between workspace and filmic space. I often work with different kinds of archives and the practice of collecting is a recurring subject in my practice - The personal, ethical and political dimensions of it. I work with blind spots' that which contains spatial dimensions, and a set of coordinates of unnoticed, undisclosed material.

Sergii SABAKAR
Outwards
sabakar Sergii
Outwards
Animation | hdv | noir et blanc | 2:25 | Ukraine | 2016

The source for the "Outwards" are the fragments of the found footages of the manifestations and conflict situations. There are plenty of them in the Internet now and sometimes difficult to understand what is going on. For the animation I choose the moments of aggression, it is not clear whether it is a defense or an attack, but all gestures directed from itself. Media is a reality where gesture, protest, and violence also take place. The similar, even equivalent acts we observe not always the evidences of equality of situations. So the question is not only about the limits of the screen, but also about the limits of understanding what we see.

Sabakar Sergii is born in 1982 in Sumy, Ukraine. From 1997 to 2001 he studied at the Sumy College of Art and Culture And from 2001 to 2007 he was student of the National Academy of Fine Art and Architecture at Kiev. Since 2007 he has been attending a post graduate course there. He is based in Kiev.

Mateusz SADOWSKI
Ksztalt chwili
sadowski Mateusz
Ksztalt chwili
Animation | 4k | couleur | 7:17 | Pologne | 2018

During the realization of three-dimensional stop motion animation, Sadowski experimented with film, sculptural and photographic practice. “The Shape of The Moment” concentrates the complex experience of time and emotion, casts doubt on the habits of perception. Each perception is preceded by a process, carefully planned or quite random, reminiscent of the work of nature. The list of processes preceding the origin of record in the form of the last film by Sadowski is not clear at first glance. It doesn’t even require any explanations. However, over time, further layers of performances are exposed to us, offering insight into the nature of selected media and their modification. The action of time takes the form of one of many processes that determine our perception and the ways in which its object are presented to us.

Mateusz Sadowski b. 1984. Lives and works in Poznan, Poland. B.A. Photography (2007) and Intermedia M.A. (2010) graduated at the Academy of Fine Arts in Poznan. Winner of the scholarship `YOUNG POLAND` of the Ministry of Culture and National Heritage. Prize winner of 7th edition of Samsung Art Master Award 2010. Winner of the Chris Frayne Award for Best Animated Film at 54. Ann Arbor Film Festival in 2016. Currently he lectures at the Photography Department and completed PhD at the University of Arts in Poznan. Cooperates with Galeria Stereo.

Tulapop SAENJAROEN
A Room with a Coconut View
saenjaroen Tulapop
A Room with a Coconut View
Vidéo expérimentale | dcp | couleur | 28:25 | Thaïlande | 2018

A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya’s presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.

Tulapop Saenjaroen (b.1986)is an artist/filmmaker whose works encompass performance, video/film, and public projects. Tulapop holds an MFA from the Slade School of Art, University College London, and MA in Aesthetics and Politics program at the California Institute of Arts. He was a recipient of Experimental Film/Video Grant from Office of Contemporary Art and Culture, Ministry of Culture, Thailand. He also worked as an associate producer and a casting director for Anocha Suwichakornpong’s By the Time It Gets Dark (2016). His works have been selected to participate in exhibitions and screenings internationally including Locarno Festival, International Film Festival Rotterdam, International Short Film Festival Oberhausen, 25FPS Zagreb, Kasseler DokFest, FICVALDIVIA, Vancouver International Film Festival, Singapore International Film Festival, National Gallery of Art Vilnius, Asia Culture Center Gwangju, Institute of Contemporary Art London, Seoul International New Media Festival, Moscow International Biennale for Young Art, Centre for Chinese Contemporary Art Manchester, Korean National Film Archive; and won awards including from Internationale Kurzfilmtage Winterthur, Arkipel Festival Jakarta, Moscow International Experimental Film Festival.

Eléonore SAINTAGNAN
Une fille de Ouessant
saintagnan Eléonore
Une fille de Ouessant
Documentaire | 0 | couleur et n&b | 27:58 | France | 2018

L`île d`Ouessant est la plus à l`ouest, tout au bout de la pointe de la Bretagne. La dernière terre française avant l`Ame?rique... Autrefois, les hommes y travaillaient tous en mer, pour la pêche ou dans la marine, et de ce fait l`île e?tait peuple?e presque uniquement de femmes. En immersion sur cette terre, Eléonore Saintagnan plonge dans les archives, et dans un flottement entre rêve et re?alite?, s`identifie à Barba, une fille de Ouessant, dont le père a disparu en mer sans laisser de traces. Comment alors faire son deuil? Entre film de vacances, documentaire anthropologique et fiction, Une Fille de Ouessant prend la forme d`un conte ethnographique.

Azar SAIYAR
Monument of Distance
saiyar Azar
Monument of Distance
Vidéo | hdv | couleur | 6:57 | Finlande | 2018

Googoosh, a popular and loved Iranian-Azerbaijani singer, performs a version of the song Ayrılıq – Separation. The performance is from a 1970s television show and it has been copied several times from one videotape to another. Ayrılıq could be a love song but it is told that composer Ali Salimi (who as a young man had to leave Soviet Azerbaijan, move to Iran and leave many of his loved ones behind) wanted to make music about his sense of longing.

Azar Saiyar is Helsinki-based filmmaker and visual artist whose art has been shown at film and media art festivals, galleries, exhibitions, museums and from television. Currently she is working with a short film project called The Story of a Badly Behaving Child and Monument of Distance – a found footage piece on immigration and memory. She often uses archive materials and plays with images and words of collective memory to look towards the ways of looking, speaking, remembering, growing, conforming and telling stories. She also does collaborative works with other artists.

Rajee SAMARASINGHE
Pituvahalaya
samarasinghe Rajee
Pituvahalaya
Doc. expérimental | mov | couleur | 7:49 | Sri Lanka | 2018

Shot improvisationally in 2010, shortly after the end of the Sri Lankan civil war, this film takes a lyrical approach to examining recent history and the process of reconstruction in the post-war era. The visions of an exile are carried through an immoral silence, to an end both dubious and bittersweet.

Rajee Samarasinghe is an award-winning Sri Lankan filmmaker and visual artist. Some of his recent work examines contemporary ethnographic practices through associations of family and heritage. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Rajee`s work has been exhibited at venues internationally.

Talena SANDERS
Between my flesh and the world's fingers
sanders Talena
Between my flesh and the world's fingers
Doc. expérimental | 16mm | couleur et n&b | 31:0 | USA | 2018

Mary MacLane, the Wild Woman of Butte, Montana, published her diaries in 1902 and 1917. As an out queer and proto-feminist at the turn of the century, MacLane became notorious upon the publication of her 1902 diary, I Await the Devil’s Coming. She was whisked away from the industrial hellscape of her copper mining Montana hometown to a life in the public eye as an author, journalist, female film pioneer and always a provocateur - sending up social norms throughout her career, with a special focus on staid notions about women and sexuality. Between my flesh and the world’s fingers is an experimental essay and diary film primarily based on her published diaries and her film work. Though the film is not directly a personal film, the production is founded in part in the act of a woman telling her own story through that of another woman, a trailblazing figure from the past.

Talena Sanders makes moving image works that explore the development of individual and collective senses of identity in affinity groups. Her films and videos are informed by an interest in presenting the many ways that social institutions can shape individuals lives on both the broader geopolitical level and the most intimate, personal scales. A common starting point for developing new projects begins with an interest in interrogating narratives from histories and how historical records can influence senses of identity, especially as it relates to ideas of national and regional character. She believes there are endless means to present and interrogate materials from the real on the spectrum from nonfiction to narrative production approaches. Her work often places historical found/archival footage and audio in dialogue with contemporary media captured on location to question constructs of privilege and power in who gets authorized to tell the story of a shared experience. She holds an MFA from Duke University’s Experimental and Documentary Arts program and a BFA from the University of Kentucky. Her work has been screened, exhibited, and collected internationally, including at the New York Film Festival`s Views from the Avant-Garde, FID Marseille, Montreal International Documentary Festival, Fronteira Festival, Viennale, DokuFest Kosovo, BFI London Film Festival, and Southeastern Center for Contemporary Art. Her first feature documentary, Liahona, is distributed by Documentary Educational Resources and Doc Alliance. She has previously taught film and video production and film studies at Duke University and the University of Montana. She is currently an Assistant Professor of Communication and Media Studies at Sonoma State University.