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Ilan serruya
Documentaire | mov | couleur | 65:0 | Espagne | 2018

“Reunion” is the encounter between a father and a son. A moment marked by landscape, distance and silence. Ilan is cutting his own hair. He is getting ready to travel to Reunion Island. There lives his father, Raphael. An island is a piece of land surrounded by water on all its parts. A reunion is the act of making two or more things coincide at one point, sometimes colliding with one another. This meeting between the father and the son is distinguished by the absence of words, by everyday gestures, by different body postures, by the expression of their faces and by the few sentences that articulate an attempt to resume what seems to be an impossible dialogue. Raphael smokes on the chair, studying his son with his eyes. He is breathing hard. Among them, a camera acts as an intermediary. It observes them together and separately. It is a mediation device: it restrains the dialogue, registers the look on their faces and records the silence. The camera favors the meeting to take place. It protects them from the past and places them only in the present. We do not know the reasons that led them to this situation, nor the time that happened since they last saw each other. We only know that they are there, in Reunion. A path in the forest. Roots in the ground. Fog and cracks.

Ilan Serruya grew up between the cities of Mar del Plata (Argentina) and Seville (Spain). He studied Fine Arts (Universidad Complutense de Madrid), holds a degree in Film Editing (Instituto del Cine de Madrid) and Master LAV (Audiovisual Laboratory of Creation and Contemporary Practice). His search as a visual artist go into focusing on to autobiographical events, and his works often reveal some found domestic material. His feature film “Reunion” (2018) was selected for Input 2018 -Space for tutoring and advising film projects organized by (S8) Mostra de Cinema Periférico-. “Reunion” had its world premiere at Doclisboa (International competition) and its Spanish premiere at Seville European Film Festival (Endless Revolutions competition). The world premiere of “What is a zeide for?” (2018) was held by Filmadrid International Film Festival. His short film “The lost distance” (2016) participated in cinema screenings at Guadalajara (Mexico), Rome (Italy), Prague (Czech Republic) or festivals like Una casa: Muestra de cine documental autobiográfico (Spain).

Melanie SHATZKY, Brian M. Cassidy
Melanie shatzky , Brian M. Cassidy
Doc. expérimental | hdv | couleur | 60:33 | Canada | 2018

Straddling the line between photography and cinema, Interchange is a near-wordless observational depiction of life alongside a stark and imposing Montreal highway. The film weaves portraits, landscapes, architecture and objects in its reflection on the city’s inhabitants, its traffic jams, the shipping of commercial goods and the nature of time itself. The highway portrayed in Interchange is less the subject of the film than its organizing structure: a large concrete heart, whose arteries intersect with the landscape and its residents in often startling ways, and serve as the framework for an extended meditation on the individual and their surroundings in the post-industrial age.

The films of Brian M. Cassidy and Melanie Shatzky have screened at the Berlin, Sundance, Toronto, Locarno and Rotterdam film festivals, The Museum of Modern Art, The National Gallery of Art, Le Musée de la Civilisation, ICA London, The Museum of the Moving Image and Lincoln Center. In 2012, they were nominated for a Gotham Award for Breakthrough Director and won Best New Director from Québec/Canada at the Montreal International Documentary Festival (RIDM). Their feature debut, Francine, was called “a small gem of bleak neorealist portraiture” by The New York Times and was selected as a New York Times Critics` Pick. Their documentary, The Patron Saints, was called "one of the most powerful Canadian documentaries of recent years" by POV Magazine. Cassidy & Shatzky also maintain an active photography practice and have had their work featured in ZeitMagazin, GUP Magazine, Der Greif, It`s Nice That, Wired, and FlakPhoto, among others. In 2015, The Montreal International Documentary Festival (RIDM) invited the duo to guest curate "A Photographer`s Eye: Photography & The Poetic Documentary", a special program about the intersection of photography and documentary film, which was showcased at La Cinémathèque Québécoise. Both Cassidy & Shatzky hold an MFA from The School of Visual Arts in NYC.

Lithic Choreographies
Sam smith
Lithic Choreographies
Doc. expérimental | 4k | couleur et n&b | 51:0 | Australie | Suède | 2018

Lithic Choreographies (2018) is an experimental documentary shot on the Swedish island of Gotland. It mines historical data, mingling it with speculative fictions, to chronicle different chapters embedded to the island`s geological strata. Working with locals to ground the film`s investigations within the myriad communities of Gotland, Smith seeks to re-imagine our modes of engagement with and contributions to ecological assemblages. Scanning the landscape characterised by palaeo-sea-stacks, fossil coastlines, concrete production plants and limestone quarries, the film focuses a lens on minerals circulated in economic, cultural and agricultural contexts. Lithic Choreographies was commissioned by International Art Space for spaced 3: north by southeast and produced in collaboration with Baltic Art Center.

Sam Smith is a video installation and performance artist born in Sydney, Australia currently living and working in the UK. He has exhibited and performed widely at venues including at Gotland Konstmuseet; Sweden; Whitechapel Gallery, London; Plymouth Art Center, UK; Kunsthal Charlottenborg, Copenhagen; The Telfer Gallery for Glasgow International 2016; Centro de Artes Visuais, Coimbra, Portugal; Australian Centre for Moving Image, Melbourne; KW Institute for Contemporary Art, Berlin; Gallery of Contemporary Art, E-WERK, Freiburg; De Appel Arts Centre, Amsterdam; Art Gallery of New South Wales, Sydney; and the Institute of Contemporary Arts, London for the Artists` Film Biennial.

Bigger Than Life
Adnan softic
Bigger Than Life
Documentaire | hdv | couleur | 29:55 | Allemagne | 2018

BIGGER THAN LIFE is a music film in four acts, based between fiction and documentation, between reality and wishful thinking. The focus is on the fabrication of national history through architecture and urban planning. In Skopje, the capital of Macedonia, a government plan costing several hundred million euros is creating a brand new, ancient city center. »Skopje 2014« is the name of the monumental construction plan, which wants to stage its capital as the cradle of ancient high civilization and as the origin of Europe. So far, some thirty government buildings and museums, as well as countless monuments in the classic style have been erected in the Macedonian capital, in an attempt to put Skopje on a par with Rome and Athens. In some cases, existing socialist structures were incorporated into the new builds. A city looks for a future in history, Macedonia is inventing itself as a nation with historical status based on a model of antiquity that never existed in that form. Would that be something new? Will we buy that (hi)story?

Adnan Softic is an author, visual artist and director. He studied Film and Aesthetic Theory at the University of Fine Arts of Hamburg, where he also taught as a professor of Film and Time Based Media. Softic? was recently awarded with the scholarships of the German Academy Rome Villa Massimo. The current lm "Bigger Than Life" won the 3sat Prize at the 64th International Short Film Festival Oberhausen.

Visto due volte
Giulio squillacciotti
Visto due volte
Doc. expérimental | hdv | couleur | 11:40 | Italie | 2017

In a school trip to the Cloister of Collegno, the biggest italian Insane Asylum closed in 1978, a class of teenagers visit the spaces as if they had been turned into a museum. Through the auxiliary help of an audio guide of apparently non-sense indications, the students shape a museum path which only exists around their steps.

Giulio Squillacciotti (Rome, Italy 19829. Artist, film-maker and researcher lives and works in Maastricht (NL). He is 2018/2019 Van Eyck Academie Residency Fellow and was part of the Dutch Pavilion at the 2018 Venice Architecture Biennale. Studied Medieval Art History in Barcelona and Rome, he later owned a MA hons in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, storytelling, religion and popular culture.

Lisa STEELE, Kim Tomczak
The Afternoon Knows What the Morning Never Suspected
Lisa steele , Kim Tomczak
The Afternoon Knows What the Morning Never Suspected
Doc. expérimental | 4k | couleur et n&b | 21:0 | Canada | 2018

The Afternoon Knows What the Morning Never Suspected. It is a 3-channel 22-minute work that opens with a brief history of the Vietnam War, assembled from historical documents and footage, and then proceeds to detail Canada's complicity in the conflict, drawing attention to the massive profit that Canadian companies made during this time. The work also references the American draft dodgers who settled in Canada in the late 1960s, creating a context for the connection to today with a mesmerizing drive down Yonge Street in 2017. It is an interesting time to re-examine Canada's self-view in relation to the Vietnam War: yes we took in the draft dodgers (the work makes ample reference to this) but we also profited from the war (in spite of the fact that these profits were strictly against our own laws). The work concludes with the on-screen presence of our two performers, each telling the other's life story: one a first generation Canadian, the child of a Serbian/Croatian marriage; the other born in Canada to Vietnamese immigrant parents.

Lisa Steele and Kim Tomczak have worked exclusively in collaboration since 1983, producing videotapes, performances and photo/text works. In 2009, Steele + Tomczak were awarded an Honourary Doctorate by the University of British Columbia (Okanagan); in 2005, a Governor General`s Award for Lifetime Achievement in Visual & Media Arts; in 1994 they received both a Toronto Arts Award and the Bell Canada prize for excellence in Video Art. They are co-founders of Vtape, an award-winning media arts centre established in 1983 in Toronto. Currently Steele is Artistic Director and Tomczak is Restoration and Collections Management Director. Both teach at the University of Toronto in The John H. Daniels Faculty of Architecture, Landscape, and Design. Major public art commissions include: Watertable (2009, and expanded in 2011) a light and sound installation under the Gardiner Expressway (a raised highway) that marks the original shoreline of Lake Ontario at the foot of historic Fort York; …bump in the night (Barrie) (2010) commissioned by McLaren Art Centre and installed in bus shelters; Falling Up (2006) a video work for the Winnipeg Art Gallery; Love Squared (2006) screened on the 2400 square foot video board at Yonge & Dundas Square in Toronto. A major survey of their work, The Long Time: the 21st century work of Steele + Tomczak, curated by Paul Wong (with a 84 page catalogue), opened at On Main Gallery and VIVO, Vancouver, BC in September 2012; the exhibition traveled to A Space Gallery, Toronto, ON (2013), the Art Gallery of Windsor, ON (2016-17), and Dalhousie University Art Gallery, Halifax, NS (2017). Legal Memory, their first feature-length work, has been shown in a number of film festivals since its release including: The Los Angeles Gay and Lesbian Festival, the Festival Internazionale Cinema Giovani (Turin, Italy), the Toronto Festival of Festivals and broadcast on TVOntario. In 1996, their work BLOOD RECORDS: written and annotated, received a world premiere at the Museum of Modern Art in New York and toured across Canada with a bi-lingual catalogue published by The Oakville Galleries. Recent solo exhibitions of their works have taken place at Anna Leonowens Gallery, Halifax, (2014); Le Mois de la Photo a Montreal (2011); WHARF Centre D`art contemporain, Herouxville-St. Clair, France (2010); Diaz Contemporary, Toronto (2009); Akademie Schloss Solitude, Stuttgart, (2009); Dazibao, Montreal (2008); the Canadian Cultural Centre, Paris (2003). Selected group exhibitions and screenings of their work include: Every. Now. Then. Reframing Nationhood, Art Gallery of Ontario (2017); Imago Mundi, Instituto Veneto di Scienze, Lettere e Arti, Venice, Italy (2017); La Biennale de Montréal, Musee d'art contemporain de Montréal (2014); Carbon 14: Climate is Culture, Royal Ontario Museum, Toronto (2013); STITCHES: Suzhou Fast Forward, Workshop, Toronto (2011); Empire of Dreams: phenomenology of the built environment at the Museum of Contemporary Canadian Art, Toronto (2010); a focus screening at EXIS: Experimental Film and Video Festival in Seoul, Korea (2010); the Berlin Film Festival, Forum Expanded (2009); Akbank Sanat, Istanbul (2009); TIFF (Toronto International Film Festival) Future Projections (2009); Sophia, Bulgaria at the Central Bath House (2008); a focus screening at Rencontres Internationales Paris/Berlin/Madrid (2006); Beyond/In Western New York, organized by Albright Knox Gallery, Buffalo (2005); Trivandrum Video Festival, New Delhi (2003); City of York Public Gallery, York, England (2000).

Deborah stratman
Doc. expérimental | super8 | couleur et n&b | 14:43 | USA | 0 | 2018

Draw down the sun. Dig up the gold. The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, ore smelters, former city officials and a curious cliff-side luminous disc congregate to form a town portrait. Shot in location in the Yukon Territory. The disc that appears in the film was part of "Augural Pair", a set of public sculptures created by Stratman and artist Steven Badgett by invitation of the Klondike Institute of Arts and Culture "Natural and Manufactured" series. The works responded to ways value and speculation are connected to landscape and acts of removal.

Artist and filmmaker Deborah Stratman makes work that investigates power, control and belief, exploring how places, ideas, and society are intertwined. Her themes range widely, as do the mediums she uses to question them. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith.  She lives in Chicago where she teaches at the University of Illinois.

Deep Time Machine Learning
Jol thomson
Deep Time Machine Learning
Doc. expérimental | hdv | couleur | 5:59 | Canada | Allemagne | 2017

What can structuralist film techniques contribute in the age of machine vision? In the experimental film, a robot arm investigates a 200,000 year old hand axe and an 17th century mechanical calculator (the first fully functional four stage computation device), each are placed on an octagonal mirror. The robotic arm passes through interfaces of geology, archaeology, mechanics and computation and intimately explores its own coming into being as a product of human engineering. Excerpts from the latest EU Report to the Commission on Civil Law and Robotics, published in January 2017, punctuate the video, describing the need to define the subjectivity of intelligent machines, as well as their legal status and the liabilities that derive from their implementation. The critical, uncertain and undetermined state of intelligent machines’ subjecthood emerges through the eyes of a human society themselves struggling with this ecotechnical revolution, “that leaves no aspect of society untouched”. Crucially, the set is observed by an Artificial Intelligence object recognition device, or LiDAR - a form of sense which AI systems use to perceive their haptic environment. Deep Time Machine Learning was developed collaboratively with the laboratories of robotics and surface analytics at the Bosch Corporate Research and Advanced Engineering Campus and received support from the Natural History Museum, Stuttgart and the Phillip Matthäus-Hahn Museum, Kornwestheim. Jol Thomson’s experimental film elaborates a deep history of tool use from the Paleolithic era with a trajectory to the not-too distant future of algorithmic, AI governance. The explorations of this work contribute to a contemporary media ecology, a history and philosophy of technology in machine vision, and underpins the symbiotic relationship between agential forms of geology, technology, and “intelligent beings”.

Jol Thomson is an artist, sound designer, and researcher working in the interstices between critical theory, particle physics, environmental humanities, STS, and experimental music and moving image. He is currently pursuing a practice-led Phd at the University of Westminster, London. He received his meisterschüler in Fine Art from the Städelschule, Frankfurt in 2013. In 2016 he won the MERU Art*Science Award for his a/v composition G24|0v, a collaboration with the “coldest object in the observable universe”. He has participated in a number of international residencies, and in 2016-2017 he was a fellow of the Akademie Schloss Solitude, Stuttgart. Recent exhibitions include: Blind Faith: Between the Cognitive and the Visceral in Contemporary Art at the Haus Der Kunst, Munich (2018); Open Codes: Living in Digital Worlds, ZKM (Center for Art and Technology), Karlsruhe (2017-2018); and Quantum Real: Spectral Exchange at Exhibition Research Lab, Liverpool (2019).

Benjamin TIVEN
The Mirrored Message
Benjamin tiven
The Mirrored Message
Doc. expérimental | hdv | couleur | 12:30 | USA | Suède | 2018

The Mirrored Message documents two scientists as they prototype a new device that transfers data between wireless computer networks and living plants. Observing their work from within a sealed electronics facility near Stockholm, we follow procedural steps in the device's programming and fabrication. The initially alien laboratory space slowly reveals itself as a kind of photographic darkroom, and we watch the light-sensitive production of the device's specialized circuitry. From the artificial air of this controlled lab we move to a coastal forest near the Baltic Sea, where the transmitter is installed for testing. Weather impedes the work. As the humans slowly fade from the scene, a living specimen comes online, finally addressable by a local network.

Benjamin Tiven is a filmmaker and the co-director of Library Stack. His films have screened at FID Marseille, Viennale, Rotterdam, Oberhausen, Courtisane, MUMOK, the Institute of Contemporary Art, Philadelphia, Delfina Foundation, London, Fotografisk, Copenhagen, the Museum of the Moving Image, NYC, and Arsenale Kino, Berlin.

Even The Sun Has Rumors
Ali tnani
Even The Sun Has Rumors
Doc. expérimental | mov | couleur | 18:4 | Tunisie | 2017

Dans la ville minière de Redeyef (Tunisie), un lieu désaffecté mais encore chargé d'affects : l'Economat. Institué et géré par la Compagnie de Phosphate de Gafsa durant la période coloniale, ce lieu vide porte encore en ces murs les strates de l'ambivalence d'une histoire où les surfaces miroitent et racontent la venue, là où il n'y a rien, d'un paradis de confort pour une société accablée par l'enfer du travail de la mine. Mais en deçà des apparences, c'est une réalité plus obscure que l'Economat draine : celle de l'extension commerciale d'une mine qui exploite autant la terre que ses hommes. Lieu-vestige, l'Economat est un lieu d'une mémoire désertée mais qu'un regard vidéographique et poétique investit et remet au jour, par les clairs-obscurs d'un temps qui passe, par la voix d'un enfant vivant encore dans les souvenirs d'un homme de la mine, les espaces, les surfaces et les épaisseurs historiques d'un lieu fait récits.

Born in 1982 in Tunis, Ali Tnani is a Tunisian contemporary artist based in Tunis and Paris. He received his Masters in 2007 from the Institut Supérieur des Beaux-arts of Tunis and has since exhibited widely and participated in international residency programs. Tnani recently completed a two-year residency at the prestigious Cité Internationale des Arts in Paris. A leading practitioner in the field of conceptual art, Tnani is known for his multimedia installation work examining social issues in post-revolutionary Tunisia. With a practice that draws on installation, drawing, and photography, he explores the question of erasure and the negative in narratives of traces, memory and history in an era of hyper-connectivity. He has participated in various solo and group exhibitions internationally, including the 13th Biennial of Dakar, the Musée du Bardo in Tunis, PA the Plateforme de création contemporaine and Cité Internationale des Arts in Paris, La Terrasse Nanterre Art Space and le Château d'Oiron (France), the 5th Marrakech Biennial, the Musée de Carthage in Tunis, the Musée des Beaux-Arts de Mons (Belgium) and the Biennial of young artists from Europe and the Mediterranean in Skopje, Macedonia.

Nicolas TUBERY
Nicolas tubery
Doc. expérimental | hdv | couleur | 17:54 | France | 0 | 2017

"Maquignon" se déroule à 80 kilomètres de Toulouse, aux Cammazes, une commune proche de la Montagne Noire. Là, il plonge dans l'atmosphère d'une foire aux chevaux en s'arrêtant sur les relations entre paysans et petits marchands de bestiaux "les maquignons", sur le langage des hommes et des animaux, parle? ou silencieux. Le film embrasse diffe?rents aspects de cet événement : aussi bien les négociations d'achat, la préparation et le soin des chevaux ou les moments de convivialité que les temps morts, quand la tension s'évapore.

Nicolas Tubéry est né en 1982 à Carcassonne. Il a étudié à l'Ecole Supérieure d'Art et de Céramique de Tarbes puis à l'Ecole Nationale Supérieure des beaux arts de Paris où il obtient le DNSAP. Sculpteur et vidéaste, Nicolas Tubéry conjugue les deux pratiques dans ses œuvres. Ses recherches récentes se concentrent sur le monde paysan d`où il vient : ses phénomènes atemporels, comme une foire aux chevaux, mais aussi plus conjoncturels comme les exploitations abandonnées par manque de repreneur. Quel que soit le sujet, il concentre son attention sur les gestes du travail, et sa fascination pour les détails est contagieuse. Observant tout en sculpteur, il adapte le matériel agricole en machinerie cinématographique, puis utilise les mêmes matériaux pour créer les structures monumentales dans lesquelles il projette ses films. Il parvient, avec affection et justesse, à donner une place à la ruralité dans l`art contemporain.

Meltse van coillie
Doc. expérimental | 0 | couleur | 27:18 | Belgique | 2018

Nous nous trouvons sur un navire qui tangue sur une mer infinie. Chaque membre de l`équipage essaie à sa façon de faire face au vide spatio-temporel. L`imagination remonte petit à petit à la surface et reprend le gouvernail en main....

Meltse Van Coillie (°1992) is currently based in Antwerp. She studied Communicational Sciences at the University of Leuven, with a Master in Film Studies at the University of Ghent. Following these years full of theoretical research, she took part in the Erasmus Mundus Master DOC NOMADS - a course in documentary filmmaking to acquire more practical skills in the field. Lisbon and Budapest were the setting for the numerous films made during this course. In 2015 she moved back to Belgium and started to take classes at KASK, School of Arts in Ghent. In 2018 she graduated as Master in Audiovisual Arts with her graduation film `elephantfish`.

Alle de tranen / Toute larme / Every Tear
Sarah vanagt
Alle de tranen / Toute larme / Every Tear
Doc. expérimental | hdv | couleur | 30:0 | Belgique | 2017

In the 17th century, Antoni Van Leeuwenhoek, a draper from Delft, begins to make glass lenses, in order to better study the quality of his textile. He melts, drips and grinds small beads of glass. His tiny lenses are so bright and have such magnifying power that the draper seems to have entered a new dimension. Is he the first to see little moving “animals” in a drop of water? How to describe something that nobody ever saw before? In the film `Every Tear`, Sarah Vanagt starts a journey into her home city of Brussels, with Leeuwenhoek’s microscope in hand. She picks up bits and pieces on her road, and tries to find out what the first microscopic images may have looked like. She replaces the lens of her camera by the 17th-century lens. As she is filming, she wonders why we always look for shapes that we already know, whenever we are in the eye of the unknown.

Home News Work & Screenings Online Films About Contact Balthasar produces and presents the work of filmmaker Sarah Vanagt. Sarah Vanagt (1976) makes documentaries, video installations and photos, in which she combines her interest for history with her interest for (the origins of) cinema. Her work includes films such as After Years of Walking (2003), Little Figures (2003), Begin Began Begun (2005), Boulevard d`Ypres (2010), The Corridor (2010), Dust Breeding (2013); and video installations such as Les Mouchoirs de Kabila (2005), Power Cut (2007), Ash Tree (2007). Her work is shown at film festivals (FidMarseille, Viennale, Doclisboa, Idfa Amsterdam, Rencontres Internationales Paris/Madrid/Berlin, Hors Pistes Centre Pompidou), and in museums (Frankfurter Kunstverein, Fact Liverpool, NGBK Berlin, Shedhalle Zürich). The silent short film Girl with a fly (2013) was first shown at the 5th Biennale of Moscow. The films In Waking Hours (2015) and Still Holding Still (2015) premiered at the International Film Festival Rotterdam. The installation Showfish was presented in M HKA, the Museum for Contemporary Art of Antwerp in October 2016. Vanagt`s new film DIVINATIONS (2019) has it`s Belgian avant-premiere during the festival Courtisane in Ghent (3 April 2019)

Olhe bem as montanhas
Ana vaz
Olhe bem as montanhas
Doc. expérimental | 16mm | couleur | 30:40 | Brésil | France | 2018

« Regardez bien les montagnes ! » : l`impératif vient de l`artiste Manfredo de Souzanetto, pendant les années de dictature au Brésil. L`exploitation minière était en train de détruire l`environnement dans l`État du Minas Gerais, dans le Sud-Est du pays. Par le biais du montage, Ana Vaz met en parallèle cette région et celle, géographiquement très éloignée, du Nord-Pas-de-Calais, également marquée par trois siècles d`exploitation minière. D`un côté, des montagnes érodées, dont les habitants subissent les glissements de terrain meurtriers. Les montagnes creuses, évidées, deviennent réceptacles d`une mémoire spectrale. De l`autre, en France, les traces de l`exploitation, un temps effacées, font aujourd`hui l`objet d`une revalorisation patrimoniale, et paradoxalement, les tas de déchets miniers sont devenus des montagnes, des réservoirs de biodiversité, la frontière entre nature et technique s`avérant insituable. La cinéaste surprend à chaque plan, la poésie primant sur tout discours militant ou environnemental – ainsi de la séquence des scientifiques qui mesurent les chauves-souris sous la lune. Le « regardez bien » pousse vers le détail, la matière visuelle et sonore. Jamais cependant détachées du politique : un plan du ciel pris du fond d`un ravin suffit à évoquer les fantômes de peuples indigènes éradiqués, dont subsistent encore cependant des peintures pariétales.

Née en 1986 à Brasilia, Ana Vaz est une artiste et cinéaste dont les films et le travail spéculent sur les relations entre le soi et l’autre, le mythe et l’histoire au travers d’une cosmologie de signes, références et perspectives. Des assemblages de matériau filmé et trouvé, ses films combinent ethnographie et spéculation dans l’exploration des frictions et fictions inscrites dans les environnements naturels comme bâtis. Diplômée du Royal Melbourne Institute of Technology et du Fresnoy-Studio National des Arts Contemporains, Ana Vaz fut également membre de SPEAP (SciencesPo School of Political Arts), un projet conçu et mené par Bruno Latour. Son travail est régulièrement projeté partout dans le monde : New York Film Festival, TIFF Wavelengths, CPH:DOX, Videobrasil, Courtisane, Cinéma du Réel, Lux Salon. En 2015, elle reçoit le Kazuko Trust Award présenté par la Film Society du Lincoln Center en reconnaissance de l’excellence artistique et de l’innovation de son travail filmique.

Barbara VISSER
The End of Fear
Barbara visser
The End of Fear
Documentaire | mov | couleur et n&b | 69:9 | Pays-Bas | 2018

Who`s still afraid of red, yellow and blue? The most famous abstract painting of the twentieth century has invoked much more than just one response to this provocative question. Fifty years after `Who`s Afraid of Red , Yellow and Blue III`, we question the meaning of art over the life of this famous, celebrated and mourned work by Barnett Newman.

Barbara VISSER (1966, the Netherlands) studied Photography and Audiovisual Arts at the Gerrit Rietveld Academie in Amsterdam, the Cooper Union in New York and the Jan van Eyck Academie in Maastricht and is an awarded artist. She has also worked as the artistic director of IDFA. Her work focuses on cultural and historical narratives and how these become manifest through art, design, media and science. By challenging conventions in storytelling and image-making, and questioning our memory- and belief systems, Visser aims to provoke a new perception of what a normality has rendered invisible.

Wiktoria wojciechowska
Doc. expérimental | hdv | couleur | 0:0 | Pologne | 0 | 2019

Sparks is a multidimensional portrait of a forgotten but still raging contemporary European conflict: the war in Ukraine. Ukrainians are fighting each other, with government forces on one side and pro-Russian separatists on the other. Wiktoria Wojciechowska went in search of combatants and victims to recount its impact on the lives of ordinary people. The title, Sparks, refers to incandescent shrapnel that mercilessly pierces the walls of houses. Civilians living near the front call it ??????? or iskry, in Ukrainian. Looking up at a hail of burning fragments, they know it is already too late to seek shelter. The "sparks" signal death and fear. Combining photographs, collage, film, symbolic images of armed conflict with pictures and words collected from combatants, Sparks offers several perceptions of war.

Wiktoria Wojciechowska is a multimedia artist, working with photography, video, collage, installation and books. Born in 1991 in Lublin, Poland and graduated with honors from Academy of Fine Arts in Warsaw. Lives and works in Lublin and Paris. Wiktoria Wojciechowska was the 2015 winner of the Oskar Barnack Leica Newcomer Award for Short Flashes, portraits of drenched cyclists captured on the streets of Chinese's metropolis. Between 2014 and 2016, she accomplished Sparks, a portrait of the contemporary war in Ukraine, based on the stories of people living in a war-torn country. This series received several awards, such as Les Rencontres d'Arles 2108 New Discovery award's public prize, Madame Figaro prize and the Prix pour la Photographie, Fondation des Treilles. "Sparks" has been featured in numerous exhibitions such as Les Rencontres d'Arles 2018 in France; Jimei X Arles festival in Xiamen, China; Krakow Photomonth in Poland, The Museum of Photography in Riga, Latvia, Exhibition Bureau in Warsaw, Poland. Wiktoria Wojciechowska was also nominated for many prestigious grants such as Joop Swart Masterclass 2016, Unseen Young Talents, Lucie Foundation Emerging Artists, Visura Grant, Deutsche Börse Photography Foundation Prize (for the book Short Flashes) and Foam Paul Huf Award. She is a recipient of scholarships and grants of Polish Ministry of Culture and National Heritage and other institutions.

Ex Nihilo
Timo wright
Ex Nihilo
Doc. expérimental | 4k | noir et blanc | 8:20 | Finlande | 2018

Ex Nihilo is an experimental short documentary about life, death and our attempts to control them. It tells the stories of an advanced humanoid robot, a cryonics facility, where the brains of deceased people are held and of a ninternational seed vault, where crop seed from around the world are held frozen. The first film is about one of the most advanced humanoid robots, HUBO. It can walk on uneven terrain, drive a vehicle and operate different tools. The second film is about Oregon Cryonics, a cryonics organisation in Salem, Oregon, USA. At their facility human brains of deceased people are kept at very low temperatures. The third film is about the Svalbard Global Seed Vault, which s situated on the island of Spitsbergen midway between Norway and the North Pole. The vault holds seeds of more than 4000 different plant species at '18 °C. The crates of seeds from all around the world are kept side-by-side deep inside the frozen vault.

Timo Wright is a media artist based in Helsinki, Finland. Wright has graduated with MA degree from the Aalto University School of Art and Design in Helsinki in 2014. He has participated in domestic and international exhibitions since the mid 2000s including Kunsthall Charlottenborg (2017&2018), Samuelis Baumgarte Galerie (2017), Galerie Anhava (2016), Helsinki Art Museum (2013), Helsinki Design Museum (2012), Amos Anderson Art Museum (2012), Kunsthalle Helsinki (2012, 2010, 2009) and Helsinki Art Museum's Kluuvi Gallery (2012), as well as festivals such as IDFA, Slamdance, Nordisk Panorama, International Film Festival Rotterdam and Japan Media Arts Festival. His films have been shown at over 70 festivals and exhibitions worldwide.

Tinne zenner
Doc. expérimental | 16mm | couleur | 20:20 | Danemark | Groenland | 2018

Nutsigassat reflects on the power of language as a colonizer of foreign landscapes. The Danish names imposed on Greenland’s spaces and landscapes have historically been a part of Denmark’s engagement in the vast country in the North. A process, through which the mountains of Sermitsiaq and Kingittorsuaq that surround Nuuk were detached from both their semantic and geographical meaning. But also the physical signs of the fatal interventions of the past are legible in the concrete high-rises that replaced the small communities of the bygds along the coasts which were closed down by the Danish government in the 1960s and 70s. Even the manual mass production of tupilaks (sacred amulettos made of bones and horns) describe a cultural mutation of the mythical figure into a tourist object. Through a complex juxtaposition of text, voice and her beautiful 16mm film imagery, Zenner has created a critical work in which the majestic and vast vistas of Greenland defy the history imposed on them

Tinne Zenner is a visual artist and filmmaker based in Copenhagen. She holds an MFA from The Royal Danish Academy of Fine Arts. Working with analogue film, 3D-animation and spatial installation, her work explores the physical structures, in which layers of history, politics and collective memory are embedded. Her work has been shown at a number of international film festivals including Ann Arbor Film Festival, Projections at New York Film Festival, CPH:DOX, Courtisane, Image Forum Tokyo and EXiS in South Korea, and exhibited internationally at Reykjavik Art Museum, Nuuk Art Museum, Gothenburg Kunsthal, BOZAR Centre for Fine Arts Brussels as well as at Overgaden - Institute of Contemporary Art, Kunsthal Charlottenborg and Fotografisk Center in Copenhagen. Zenner is a co-founder and member of Sharna Pax, a film collective based in London and Copenhagen working between the fields of anthropology, documentary and visual arts.

Tobias Yves ZINTEL
Breed and Educate
Tobias Yves zintel
Breed and Educate
Doc. expérimental | hdv | couleur | 10:46 | Allemagne | 2018

Tobias Yves Zintel greift in seinen filmischen und performativen Arbeiten auf Methoden und Mittel des Experimentalfilms, der Theaterinszenierung, der Musikproduktion und -aufführung sowie der Installationskunst zurück. Die so entstehenden Montagen beschreiben bewusst eine Grenzüberschreitung zwischen Fakt und Fiktion, zwischen Dokument und Fragment. Das zugrunde liegende Material rekurriert dabei stets auf Aspekte der Kunst- und Filmgeschichte, Philosophie und Naturwissenschaft wie auch der Alltags- und Popkultur. Bei den Arbeiten stehen Fragen der Subjektkonstitution im Zentrum – präziser: Die Handlungsweisen und Rituale sowie die Wissens- und Glaubenssysteme, welche den Prozess der Subjektwerdung begleiten.