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Constanze FISCHBECK, Daniel Kötter
Desert View
Constanze fischbeck , Daniel Kötter
Desert View
Documentaire | 4k | | 83:0 | Allemagne | Egypte | 2017

The film "Desert View" is dedicated to the study of building and living in the semi - built satellite city Madinaty, located in the desert east of Cairo. Madinaty is a fully privately owned city that, unlike a gated community, claims to be an open but self-contained and secure city. All public services are not provided by the state, but by the Arab real estate company Talaat Mustafa. The movie "Desert View" was made during a four-week residency, to which the filmmakers had invited the three-generation Barakat family from ashweyat (informal residential district) Bashtil as a sort of cinematic diary. The temporary residents of Madinaty, filmmaker and Barakat family, captured their observations and experiences of architecture and their use from their respective perspectives and cameras. Two external perspectives on the desert dreams of the Egyptian middle and upper classes. Also part of the project were discursive evenings, to which filmmakers and the Barakat family invited new and old neighbors, architects, artists and urbanists from Cairo to the living room of the villa. Here the different perspectives on the topic "How do we want to live?" were discussed and documented.

Constanze Fischbeck works as stage designer, filmmaker, curator and lecturer in the context of theatre and art. Her artwork is based on the space and present of specific locations. In her films she investigates the interference of documentary and staged moments in the urban context. Her work was presented at various festivals, art institutes and theatres. She has been working with Daniel Kötter (since 2007 ) collectively conducting research and creating experimental documentaries. Their works include Benzin, a reconstruction of exchange systems in Lagos (2008), Making of History (2012) on reconstructions of history and memory and the work about space and place of theatre: state-theatre (2009-2014). She lives in Berlin.

Mauricio FREYRE
Movimiento continuo
Mauricio freyre
Movimiento continuo
Doc. expérimental | hdv | couleur | 14:36 | Pérou | Espagne | 2018

The history of an experimental housing project in Lima, conceived as an international competition, is the starting point of an exploration on the nature of transformation and hybridization in the context of the project of modernity in Perú. The unfinished housing complex designed in the late sixties gathered the architectural avant-garde of that time, incorporating notions of self-construction, metabolism and progressive growth to its architecture. Juxtaposing the briefing of the project, together with archival material of three sources, the film explores different sequences of formal procedures. Transfers, cuts and superpositions, in a sequence of permanent transformation, operate as transcriptions that explore various relations and configurations of the material, to displace a fixed point of view.

Mauricio Freyre (1976, Lima) is an artist and filmmaker, his projects revolve around structures and systems of ideas between the constructed and the projected, focusing on blind spots, dark areas, accidents and distortions, in the search of invisible narratives, metaphors, dimensions and forms of consciousness that were excluded and silenced. He is currently working on a project that studies the role of botanics, its agency within the colonial sciences, along with its role within the modern project in Peru; exploring the political and subversive dimension of the plant world in relation to a western epistemology. His films and installations have been part of different programs and exhibitions including FIC Valdivia, Haus der Kulturen der Welt, TENT Rotterdam, Unforseen Festival, Nederlands Film Festival, Film Museum Amsterdam, Fundación Telefonica.

Dora GARCÍA
Segunda Vez
Dora garcÍa
Segunda Vez
Doc. expérimental | hdv | couleur | 94:0 | Espagne | Belgique | 2018

SYNOPSIS - Une phrase Segunda Vez se concentre sur la figure d’Oscar Masotta, dont les idées sur la psychanalyse, la politique et l’art a changé le paysage artistique du Buenos Aires des années 60 qui précédait la dictature. SYNOPSIS - Court Doria García mélange politique, psychanalyse et performance dans Segunda Vez (La deuxième fois). Ce faux documentaire se concentre sur la figure d’Oscar Masotta, un théoricien pivotante dans l’avant-garde argentine des années 50 aux années 70, sans pour autant se définir en tant que biopic. Le titre, Segunda Vez, puise son origine d’une histoire homonymique écrite par un contemporain de Masotta, Julio Cortazar, qui raconte le climat de psychose et d’incertitude causé par le trauma des disparitions en Argentine. SYNOPSIS - Long Doria García mélange politique, psychanalyse et performance dans Segunda Vez (La deuxième fois). Ce faux documentaire se concentre sur la figure d’Oscar Masotta, un théoricien pivotante dans l’avant-garde argentine des années 50 aux années 70, sans pour autant se définir en tant que biopic. Le titre, Segunda Vez, puise son origine d’une histoire homonymique écrite par un contemporain de Masotta, Julio Cortazar, qui raconte le climat de psychose et d’incertitude causé par le trauma des disparitions en Argentine. Dans Segunda Vez, García tisse une séquence de scènes d’apparences disparates qui se lient grace à l’acte de la répétition et de l’observation : des posters collés le long d’un mur annoncent leur propre transmission . Un message phantômatique dans une ville animée. Deux publics convergent à la cime d’une falaise, ils sont divisés dans leur connaissance du scénario auquel ils participent. Une personne, attachée de ses vêtements blancs et de cordes se voit être portée et laissée dans une forêt. La brève apparence d’un hélicoptère cause quelque peu d’excitation et de consternation. Un groupe de personnes pauvres et âgées est réuni sur un podium, payé pour enduré une lumière et du son violent pendant une heure pendant qu’un public les observe. Une bibliothèque réunit un groupe de lecteurs qui savent être observés. Suite à une série de convocations mystérieuses, des étrangers se parlent dans une salle d’attente, anticipant ce qu’il pourrait arriver. L’un d’entre eux vient d’être rappellé pour “la deuxième fois?.

Dora Garcià vit et travaille entre Barcelone et Oslo. Elle enseigne couramment à L’Académie Nationale des Arts d’Oslo et au HEAD de Genève, en Suisse. Elle est co-directrice des laboratoires d’Aubervilliers à Paris. Elle a représenté l’Espagne à la Biennale de Venise en 2011 et s’est représentée à nouveau en 2013 (évènements collatéraux). Elle a participé à la 56ème édition de l’Exposition Internationale d’Art de Venise, à la dOCUMENTA (13) et à d’autres évènements internationaux tels que le Münster Sculptur Projekts en 2007, la Biennale de Sydney de 2008 et la Biennale de Sao Paulo de 2010. Son travail est largement performatif et traite de questions relatives à la communauté et à l’individualité dans la société contemporaine. Elle explore le potentiel des positions marginales en rendant hommage à des personnages excentriques et à des anti- héros. Ces derniers ont souvent été au centre de ses projets cinématographiques, tels que The Deviant Majority (2010) et The Joycean Society (2013).

Riccardo GIACCONI
Il corpo nero
Riccardo giacconi
Il corpo nero
Doc. expérimental | hdv | couleur | 5:37 | Italie | 0 | 2018

In physics, a "black body" is an idealized physical body that absorbs all incident electromagnetic radiation, regardless of frequency or angle of incidence. An approximate depiction of a black body is a hole in the wall of a large cavity. Any light entering the hole is reflected indefinitely or absorbed inside and is unlikely to re-emerge, making the hole a nearly perfect absorber. The film has been edited as a palindrome, and it is composed of fragments from a conversation with particle physicist Alessio Del Dotto. The scientist outlines the concept of "black body" by narrating anecdotes about it: ultraviolet catastrophes, the first moments of the universe, Borges' Aleph and the double meaning of the Italian word "spettro".

Riccardo Giacconi has studied fine arts at the University IUAV of Venezia. His work has been exhibited in various institutions, such as ar/ge kunst (Bolzano), MAC (Belfast), WUK Kunsthalle Exnergasse (Vienna), FRAC Champagne-Ardenne (Reims), tranzitdisplay (Prague), MAXXI (Rome), Fondazione Sandretto Re Rebaudengo (Turin) and at the 6. Moscow International Biennale for Young Art. He was artist-in-residence at the Centre international d`art et du paysage (Vassivière, France), lugar a dudas (Cali, Colombia), MACRO Museum of Contemporary Art of Rome and La Box (Bourges). He presented his films at several festivals, including the New York Film Festival, Venice International Film Festival, International Film Festival Rotterdam, Visions du Réel and FID Marseille, where he won the Grand Prix of the international competition in 2015.

Eshwarya GROVER
Memoirs of Saira & Salim
Eshwarya grover
Memoirs of Saira & Salim
Documentaire | hdv | couleur | 13:40 | Inde | 2018

What happens when a family revisit a house they abandoned sixteen years ago? It wasn’t a decision where Saira & Salim had a choice. Would you be able to relive those delightful memories & conversations without the traumatic ones overpowering your emotions?

Eshwarya is a post graduate film student at National Institute of Design, India. She has studied architecture and believes that film is all about capturing the emotion of a space or creating a subconscious space and how people interact with it.

Vincent GUILBERT
Gestures
Vincent guilbert
Gestures
Documentaire | hdv | couleur et n&b | 31:0 | France | 0 | 2017

Fragments d'une rencontre avec le musicien américain Loren Connors. Frôler les pulsations du temps, palper la matière, s'attarder sur l'imperceptible fragilité du geste...

Né en 1976 à Saint-Denis, France. Parallèlement à ses recherches sur la texture de l’image, les thèmes développés à travers ses films/photos sont essentiellement liés au Temps, à la mémoire et au fragment.

Alexandra GULEA
Valea Jiului - Notes
Alexandra gulea
Valea Jiului - Notes
Doc. expérimental | 16mm | couleur | 13:30 | Roumanie | 2018

Children of the Jiu Valley are familiar with roads. Theirs but especially those of the adults. Roads through the tunnel, the mountains or the Valley. All the roads seem made to leave as well as to return. The parents of these children, once the inhabitants of an old industrial area of Romania, take now long roads to reach the West, wherever they may find work. They return too seldomly. They send money. Their children are a lot like orphans. Many of them experience depression. Some choose to take the fatal road to Paradise or Hell. Maybe with the hope of coming back to a kinder vale.

ALEXANDRA GULEA (1970, Bucuresti, Romania), graduated in 1997 at ENSBA in Paris. She studied documentary film at Munich Film School and since 1999 directed Documentary Films: “Anonymous”- 11`, 2000 International competition Kurzfilmtage Oberhausen, Prize fff bayern, Munich Documentary FF, Minority Prize Mediawave, Hungary . “God plays Sax, the Devil Violin” 45`, 2004, German Short Film Prize, Golden Key, Kassel, Best Student Film, Molodist, Ukraine, DAAD Prize, Germany, Prix du Film Long, Les Ecrans Documentaires, France, Mention Henry Langlois, Poitiers. IFF Rotterdam, Cinema du Reel Paris, IDFF München, IDAFF Leipzig, IKF Oberhausen, MoMA. “Today I was Young and Pretty” 52`, 2008, Festival dei Popoli, Firenze, Italy , Cronograf, Moldova, IFF Györ, Ungary, TIFF, Romania, MNAC, Romania, Institut Culturel Francais, Romania. Short films : « Wooden Boy » 10’, 2017, Rencontres Internationales Paris - Berlin, IKF Oberhausen. « Valea Jiului - Notes » 13’, 2018, Bucharest Experimental FF, Astra Sibiu, Prize for the Best German Film, IKF Oberhausen. As Fiction films she directed and edited: “The fourth wall"- 17`, 2001 with Werner Schroeter, IKF Oberhausen. “Hacker”, 5 x 52 min. TV-fiction, 2003. She wrote, directed and co-edited her first feature “Matei Child Miner” 2013 Nominated for the “Big Screen Award” IFF Rotterdam, Premio “Lino Micciché”, “Young Critics Award” at Pesaro IFF Italy. Prize at Regiofun IFF, Katowice, Poland. Cinema Jove Valencia IFF Spain, Zlin IFF Czech Republic, TIFF Romania, Anonimul Romania, FF Edu, Evreux, France. IWFF, Köln. Werkstatt Kino, München.

Mathieu Johan Hans HANSEN
Le Monde Perdu
Mathieu Johan Hans hansen
Le Monde Perdu
Doc. expérimental | mov | couleur | 19:11 | Danemark | 2018

In Le Monde Perdu time is slowed down as the camera moves through a local Zoo, the childhood home and a Planetarium. Merging these man-made sceneries into one setting the film comes to offer a reflection on personal and collective memory as well as our longing for belonging.

Mathieu J.H. Hansen is a Master student at the Royal Danish Academy of Fine Arts. In his work, he often merges larger cinematic constructions and fictional elements with smaller personal stories and documentary film archives, dealing with themes such as nostalgia, time and man-made nature.

Paul HEINTZ
Foyers
Paul heintz
Foyers
Doc. expérimental | hdv | couleur | 18:0 | France | 2018

Au rythme d’une dérive solitaire, un pyromane se livre. Entre vécu, rêve et imaginaire sa parole libère son rapport inconscient au feu.

Né en 1989 à Saint-Avold, diplômé des Beaux-Arts de Nancy, des Arts Décoratifs de Paris et du Fresnoy, studio national des arts contemporains. Son travail qui se traduit à travers l’objet, le son, la vidéo et l’installation a été présenté lors d’événements d’art contemporain tels que Paris Nuit Blanche et le Salon de Montrouge et des festivals de films comme le FID Marseille, Dok Leipzig, le Festival International du film de Rotterdam. EN : Paul was born in 1989 in Saint-Avold (France). He is a Fine Arts graduate from Beaux-Arts de Nancy, Arts Décoratifs de Paris and Le Fresnoy, studio national des arts contemporains. His work goes through object, sound, video and installation. His first film "Non Contractual" was screened among others festival at RIDM, Indie Lisboa and FID. His last film "Hearths" premiered in 2018 at FIDMarseille and Dok Leipzig and was selected at Rotterdam 2019.

Laura HENNO
Djo
Laura henno
Djo
Documentaire | 4k | couleur | 13:0 | France | 2018

Dans les Hauts de Mayotte, espace du secret, de la magie et de la fuite, hommes et chiens entretiennent un rapport filial, presque fusionnel d`espêces compagnes qui partagent un même territoire de transformation et d`autonomie. Smogi vit une relation particulière avec les chiens mais aussi avec la puissance des éléments, la nature et les esprits malins qui la peuple (les djinns). « Djo» croise différents régimes de croyance dans un syncrétisme sauvage à l`appel de la prière musulmane marque aussi le moment des retrouvailles avec les forces animistes et impures de la forêt.

Laura Henno a initialement une formation de photographe et sâinitie au cinéma au Fresnoy. Elle est lauréate du Prix Découverte des Rencontres Internationales de la Photographie d’Arles en 2007. Depuis plusieurs années, Laura Henno appuie sa démarche photographique et filmique sur les enjeux de la migration clandestine, aux Comores, sur de la réunion ou à Calais. Elle se confronte à la situation des migrants et des jeunes passeurs, avec une ambition documentaire réinvestissant le réel de potentiels de fictions et de récits. Les images qui en résultent provoquent un trouble et puisent dans les codes picturaux et cinématographiques. Elle a obtenu plusieurs prix pour son film Koropa, dont le Prix Egalité Diversité 2017 du Festival de court-métrage de Clermont-Ferrand et le Grand Prix du court-métrage 2016 aux Entrevues de Belfort. Son travail a été montré dans des nombreux musées en France et à l’étranger. Son travail photographique est représenté par la Galerie Les Filles du Calvaire.

Philippine HOEGEN
Crossed Wires
Philippine hoegen
Crossed Wires
Doc. expérimental | hdv | couleur | 23:44 | Pays-Bas | Belgique | 2018

This document is an exploration of the Belgian art scene. It shows a series of conversations, with an informal, subjective mapping of the scene as a backdrop. In the conversations, questions are approached through the specificity of peoples' own trajectories: their practical, artistic or social paths, how such trajectories shaped certain practices and how these practices connect to the biotope of the art scene within its contemporary societal and political context. In preparation of the film numerous people were asked the question which persons, places or practices are important for them. We asked every interlocutor to suggest new interlocutors, so that every conversation generated new conversations. We let ourselves be guided by the suggestions we received, resulting finally in a varied assortment of interviewees. The notes for the informal preparatory conversations became the set for the film: they were drawn up on the walls, creating a haphazard, subjective mapping. The set functions as a performative space, as the interviewees are immersed in this unruly apparatus which they begin to correct, add on to, disagree with and debate

Philippine Hoegen is an artist living in Brussels. Her multi-stranded practice engages with issues of objectness and personhood, through the notion of versioning: How we create different versions of ourselves, the processes and technologies we use for that and what the existence of those multiple versions means for our understanding of self. Her work consists primarily of performance and performative interventions or events. She is researcher at CARADT, Avans University, NL; teacher at AKV St Joost, Breda and on an irregular basis mentor at apass, Brussels. Recent activities include: "Being as Becoming", a residency / exhibition and collaborative research project at Onomatopee, Eindhoven (2018); "Ventriloquists III", solo performance, at Plymouth University in the SAR conference Artistic Research Will Eat Itself and at the University of Twente in the conference Narrative Matters (2018); "Crossed Wires", a film commissioned by and launched at Art Brussels (2018); "The Many Machine", a performative collaborative event at AKV St Joost, Breda (2018). Recent publications include: "Ventriloquists III", a contribution to Proceedings 9th SAR Conference: Artistic Research Will Eat Itself (2018); "Body of Books: The BAS Collection", essay on the artists' run space BAS in Istanbul, published by Collectorspace, Inc, New York/Istanbul (2017).

Kerstin HONEIT
PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS
Kerstin honeit
PANDA MOONWALK or WHY MENG MENG WALKS BACKWARDS
Doc. expérimental | 4k | | 8:0 | Allemagne | 2018

Since 2017 the Giant Panda Bears Meng Meng and Jiao Qing have been hired out to the Berlin Zoo from China to attract more visitors and to therefore increase profit. Unfortunately for the Berlin Zoo this advertising campaign did not work out as planned - in fact it worked backwards. Meng Meng, the female Panda will only walk backwards - probably protesting the fact that she is kept in captivity and in a totally different continent from her origins. But instead of rethinking the problematic concepts of zoos in general, international media is taking on a different debate: blaming Meng Meng’s behavior on the fact that she has not bred yet and is just looking for attention. Kerstin Honeit’s video aligns Meng Meng’s protest with other performances of protesting bodies using movement in public space to address grievances.

Kerstin Honeit studied fine arts and stage design at the Berlin Weissensee School of Art. She has been teaching at Kunsthochschule Kassel since 2014. Using video works, performance an d installations in her artistic research, Honeit examines worlds of hegemonic image production in the media of information technology and pop culture. Intervening at the boundaries of representation and reception, she questions the construction of social norms. Most recently, her works were shown at Off Biennale Cairo (2018); Videoart at Midnight, Berlin (2018); Moscow Museum of Modern Art (2018); La Centrale, Montreal (2018); Bärenzwinger, Berlin (2018); Schwules Museum, Berlin (2018); Rencontres Internationales Paris / Berlin (2018); International Short Film Festival Oberhausen (2017); Berlinische Galerie (2017); SixtyEight Art Institute, Copenhagen (2017).

Dhia JERBI
Au pays des oranges tristes
Dhia jerbi
Au pays des oranges tristes
Documentaire | hdv | noir et blanc | 26:0 | Tunisie | France | 2018

C`est une lettre d`un père à son fils. Cette naissance questionne la paternité, l`exil et l`héritage dans un petit appartement qui devient, le temps d`un film, l`espace d`une rencontre de trois générations, séparées entre la Tunisie et la France.

Dhia Jerbi est un jeune cine?aste Tunisien, ne? en 1991 aux Emirates Arabes Unis, où ila grandi. Il est rentre? en Tunisie en 2003. Après son baccalaure?at et un an dans une e?cole d'inge?nieurs, il a change? d'orientation et s'est inscrit à l'Institut Supe?rieur d'Art Multime?dia de la Mannouba (Tunis) où il a obtenu une licence en re?alisation et e?criture cinématographique. A l'ISAMM il a réalisé? plusieurs films d'e?cole, notamment Marhouja. Il est ensuite parti en France pour s'inscrire à l'Ecole documentaire de Lussas où il a re?alise? trois films dont “Au pays des oranges tristes?. Le documentaire et la fiction s'entremêlent souvent dans ses films.

Prapat JIWARANGSAN
Destination Nowhere
Prapat jiwarangsan
Destination Nowhere
Doc. expérimental | hdv | couleur | 7:19 | Thaïlande | 2018

One day in Japan, a young man found out that a place he had thought his only home country rejected him. Destination Nowhere is a mix between an artist`s process of making a new artwork and a story about a young man who inspires the work. It`s also a story about Thailand, Japan, and the in-between world.

Prapat Jiwarangsan (b.1979, Bangkok) is a multidisciplinary artist and filmmaker who received his M.A. in Fine Arts from London’s Royal College of Art in 2011. In a unique, interdisciplinary practice, he usually returns to themes such as memory, political history, and nationalism, especially in Thai society. His installations have appeared in Bangkok, London, Tokyo, Seoul, Hong Kong and Rotterdam, while his videos have screened at international film events such as International Film Festival Rotterdam, Onion City Film Festival, Experimenta India, Open City Documentary Festival, Uppsala International Short Film Festival, and Singapore International Film Festival. From 2016 to 2019, Jiwarangsan’s work appeared at Japan’s Tokyo Arts and Space Hongo, Korea’s Seoul Art Space Geumcheon, Myanmar’s The Secretariat and the Singapore Art Museum. Recently, his installation made from nine 35mm slide projectors was exhibited at the International Film Festival Rotterdam.

Payal KAPADIA
And What is the Summer Saying
Payal kapadia
And What is the Summer Saying
Doc. expérimental | hdv | couleur et n&b | 23:0 | Inde | 0 | 2018

Namdeo has learnt to live off the forest from his father. He stares at the treetops, searching for honey. The wind blows and afternoon descends on the small village by the jungle. Women of the village, whisper little secrets of their lost loves. Never seen, and only heard. A strange smoke emits from the ground, like a dream of a time gone by.

Payal Kapadia is a Mumbai based filmmaker and artist. She studied Film Direction at the Film & Television Institute of India. Her work deals with that which is not easily visible, hidden somewhere in the folds of memory and dreams. It is between minor, ephemeral feminine gestures where she tries to find the truth that makes up her practice. Her much acclaimed short film Afternoon Clouds was India’s sole official selection in Cannes film Festival, 2017. This year, her experimental short And what was the Summer Saying had its world premiere at the prestigious Berlin International Film Festival (2018). It also received the prestigious Special Jury Prize at the International Documentary Film Festival of Amsterdam (2018). Kapadia’s experimental short The Last Mango Before Monsoon was premiered at Oberhausen International Film Festival (2015), where she was awarded FIPRESCI award and Special Jury Prize. The film got her acclaims around the world including awards like Best Film and Best Editing at Mumbai International Film Festival (2016), Toto Award for Young Indian Artist, and Special Mention at Filmadrid.

Doing KAREL
The King of Nogaria
Doing karel
The King of Nogaria
Doc. expérimental | super8 | couleur et n&b | 5:0 | Royaume-Uni | 2018

A speculative parable about a gentle autocrat of a non existent country. After running into trouble he starts a new life in the shadows of his kingdom. The film is a collage of super 8 footage from the artist`s personal archive gathered over the years.

Karel Doing is an independent filmmaker with a particular interest in Utopia. He has been creating films, performances and installations for almost 30 years, building a diverse oeuvre that balances between dream and reality and combines documentary with materiality. His work has been shown widely in cinemas, clubs, museums and galleries. He is currently based in Cambridge, UK.

Rainer KOMERS
BARSTOW, CALIFORNIA
Rainer komers
BARSTOW, CALIFORNIA
Documentaire | 4k | couleur | 76:0 | Allemagne | 2018

Troisième volet de The American West Trilogy (les deux premiers volets étant Nome Road System et Milltown, Montana (VdR, 2010)), ce film est un portrait poignant et complexe de la vie et des paysages du désert de Mojave. Par sa structure désarticulée qui évoque presque le "fingerpicking" minimaliste de John Fahey, tel un blues décharné perdu dans le temps, le film observe la façon dont la vie s`imbrique et s`écarte de la trame d`un mode de vie américain complètement oublié par les politiques de l`idéologie néolibérale. On y entend le poète et détenu Stanley »Spoon« Jackson, condamné en 1977 à perpétuité sans possibilité de libération conditio-nnelle et qui a séjourné dans plus d`une demi-douzaine de prisons californiennes, lire des passages de son autobiographie By Heart. Des images d`un monde imprégné par la pure mythologie américaine sont entrecou-pées et noyées dans la réalité et les conséquences brutales de politiques financières implacables. »Barstow, California« incarne assurément l`autre côté du rêve américain. Giona A. Nazzaro

Geboren 1944 in Guben. Filmstudium an der Kunstakademie Düsseldorf, Meisterschüler. Filmprojekte in Alaska, Indien, Japan, Jemen, Kalifornien, Lettland und Montana. »Barstow, California« wurde mit dem ARTE Dokumentarfilmpreis 2018 ausgezeichnet, »Nome Road System« mit dem Deutschen Kurzfilmpreis 2004, »B 224« mit dem Hessischen Filmpreis 2001, »Zigeuner in Duisburg« mit dem Preis der Deutschen Filmkritik 1980. Ruhrpreis für Kunst und Wissenschaft 2006. Masterclass IDF / Prag (2012); Videonale.scope Retrospektive / Köln (2014) http://www.videonale.org/en/VideonaleScope-2014; Iasi-Installation (2015) https://vimeo.com/135471613; Villa Kamogawa / Goethe-Institut Kyoto (2015) https://www.goethe.de/ins/jp/de/kul/res/sti/s15/rko.html. Festival-Screenings in 35 Ländern; Preise in Kanada, Frankreich, Polen und USA. Regie, Kamera, Word Art, Gedicht. Lebt in Berlin und Mülheim an der Ruhr.

Daniel KÖTTER
Chinafrika.mobile
Daniel kÖtter
Chinafrika.mobile
Documentaire | hdv | couleur | 38:20 | Allemagne | Congo (RDC) | 2017

The documentary Chinafrika.mobile is tracking the life cycle of a mobile phone. From its birth in the mines in the Kolwezi, DR Congo, to its manufacturing in Chinese factories in the Pearl River Delta to its use and death in the markets and recycling dumps in Lagos, Nigeria, the mobile phone camera sends images of its global journey to the viewer`s mobile phone display. It was filmed by miners, factory employees, dealers and electronic scrap collectors at the original locations in Congo, China and Nigeria. Four short documentary films show the work on the device that shapes our everyday life. China and Africa act as driving forces for the economic, political and cultural future of globalization and the mobile phone is their important link. Since 2013 Jochen Becker and Daniel Kötter have done research on cultural effects of the economic and political connections between China and the African continent.

Daniel Kötter ist ein international tätiger Filmemacher und Musiktheater-Regisseur. Seine Arbeiten changieren zwischen verschiedenen medialen und institutionellen Kontexten und verbinden Techniken des strukturalistischen Experimentalfilms mit performativen und dokumentarischen Elementen. Sie wurden weltweit auf zahlreichen Film- und Videokunstfestivals, in Galerien, Theatern und Konzerthäusern gezeigt. Zu seinen Hauptwerken zählen die experimentellen Videokonzertperformances Falsche Freizeit (2010), Freizeitspektakel (2010), 'konomien des Handelns 1-3: KREDIT, RECHT, LIEBE (2013-16, alle mit Hannes Seidl), die Mehrkanal-Trilogie Arbeit und Freizeit (2009-2011) sowie die Film-, Performance- und Diskursreihe state-theatre über die Bedingungen des Performativen in den Städten Lagos, Teheran, Berlin, Detroit, Beirut, Mönchengladbach (2009-2014 mit Constanze Fischbeck). Seine umfangreiche Film- und Textarbeit KATALOG (2013) entstand in 13 Ländern rund um das Mittelmeer mit einem besonderen Interesse an Praktiken des Raums. Visuelle Recherchen führen ihn immer wieder auf den afrikanischen Kontinent sowie in den Mittleren Osten. 2014-18 arbeitete er u.a. mit dem Kurator Jochen Becker (metroZones) an dem Recherche-, Ausstellungs- und Filmprojekt CHINAFRIKA. Under Construction. Sein Film "Hashti Tehran" (2017, HD, 60") gewann u.a. den Sonderpreis des Deutschen Kurzfilmpreises.

Salomé LAMAS
Terminal
Salomé lamas
Terminal
Doc. expérimental | hdv | noir et blanc | 6:0 | Portugal | 2018

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Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Salomé LAMAS
Hangar
Salomé lamas
Hangar
Doc. expérimental | hdv | noir et blanc | 8:0 | Portugal | 2018

.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.

Salomé LAMAS
Metro
Salomé lamas
Metro
Doc. expérimental | 0 | noir et blanc | 9:0 | Portugal | 2018

.

Salomé Lamas (Lisbon) studied cinema in Lisbon and Prague, visual arts in Amsterdam and is a Ph.D candidate in contemporary art studies in Coimbra. Her work has been screened both in art venues and film festivals such as Berlinale, BAFICI, Museo Arte Reina Sofia, FIAC, MNAC “ Museu do Chiado, DocLisboa, Cinema du Réel, Visions du Réel, MoMA “Museum of Modern Art, Museo Guggenheim Bilbao, Harvard Film Archive, Museum of Moving Images NY, Jewish Museum NY, Fid Marseille, Arsenal Institut fur film und videokunst, Viennale, Culturgest, CCB - Centro Cultural de Belàm, Hong Kong FF, Museu Serralves, Tate Modern, CPH: DOX, Centre d’Art Contemporain de Genêve, Bozar , Tabakalera, ICA London, TBA 21 Foundation, Mostra de Sào Paulo, CAC Vilnius, MALBA, FAEMA, SESC Sào Paulo, MAAT, La Biennale di Venezia Architettura, among others. Lamas was granted several fellowships such as The Gardner Film Study Center Fellowship “ Harvard University, The Rockefeller Foundation “Bellagio Center, Fundaço Calouste Gulbenkian, Fondacion Botà¬n, Sundance, Bogliasco Foundation, The MacDowell Colony, Yaddo, Berliner Kànstlerprogramm des DAAD. She collaborates with Universidade Catàlica Portuguesa and Elias Querejeta Zine Eskola. She collaborates with the production company O Som e a Féria and is represented by Miguel Nabinho Gallery.