Programme Berlin 2015
15h00 17h00 19h00 21h00
vendredi

26 juin
15h00

Projection
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

Capitulations

Andrew Norman wilson: SONE S/S 2014 | | | | 10:46 | USA | 2014 voir plus
Wim catrysse: MSR | 0 | 0 | couleur | 14:58 | Koweït | 2014 voir plus
Gerald nestler: COUNTERING CAPITULATION | Vidéo | hdv | couleur | 11:25 | Autriche | 2013 voir plus
Emma charles: Fragments on Machines | Doc. expérimental | hdv | couleur | 17:0 | Royaume-Uni | 2013 voir plus
Isabelle hayeur: La saison sombre | Vidéo | hdv | couleur | 8:45 | | Canada | 2014 voir plus
Jan hoeft: Exit Strategies | Vidéo | hdv | couleur | 18:0 | Allemagne | 2014 voir plus
Ernst karel, Pawel Wojtasik, Toby Lee: Single Stream | Documentaire | hdv | couleur | 23:18 | USA | 2014 voir plus
Andrew Norman wilson
SONE S/S 2014
| | | 10:46 | USA | 2014

In "SONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke /// Invisibility-cloaked hand gestures in offshore financial center jungle", both parts deal with transparency and opacity in relation to finance and multimedia software. The ATMs emitting branded smoke could suggest either an incorporated terrorist act or a sign of distress. The hand gestures evoke Adam Smith's concept of the invisible hand of the market, but bring it back down to earth by locating its operations and breakdowns in an offshore financial center. This video circulates on both the art/film circuit and the stock media market through sites such as Getty Images.


Andrew Norman Wilson has screened work at the New York Film Festival, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, MuseumsQuartier Wien in Vienna, The Hammer Museum in Los Angeles, Images Festival in Toronto, the San Francisco Cinematheque, and the San Francisco International Film Festival. Solo exhibitions include Fluxia in Milan, Project Native Informant in London, Document in Chicago, Reed College in Portland, Oregon, and Art Metropole in Toronto. He has participated in group exhibitions at MoMA PS1 in Queens, NY, Yvon Lambert in Paris, Palazzo Peckham at the 55th Venice Biennale, Betonsalon in Paris, the Ullens Center for Contemporary Art in Beijing, and CCS Bard/Basilica Hudson in Hudson, NY. He has performed and lectured at Oxford University, Harvard University, Berlin University of the Arts, California Institute of the Arts, threewalls Gallery in Chicago, the Academy of Fine Arts, Finland, the School of the Art Institute of Chicago, and the Banff Centre. His work has been featured in Aperture, Artforum, Art in America, DIS Magazine, Frieze, The New Yorker, Tank Magazine, Rhizome, Wired (magazine) and more.

Wim catrysse
MSR
0 | 0 | couleur | 14:58 | Koweït | 2014

With 'MSR' we are set amidst the vast emptiness of the Kuwaiti desert where, to a great extent, the landscape has been claimed by two imperious industries, that is, the oil companies and the military machine that protects their interests. As they both make great effort to keep their stealthy activities concealed, the landscape, as we perceived it, is somehow being held hostage in a state of suspense… Located next to the 'Main Supply Route' (the route designated within an area of operations upon which the bulk of traffic flows — hauling beans, bullets and fuel — in support of military operations), we are confronted with a sequence of documentary footage that puts the focus on the travails and tactics of 'survivors', i.e. a pack of stray dogs that dwells within the boundaries of a dystopian world. In order to outlive an enraged desert storm, they seek shelter behind scattered pieces of waste and continuously dig holes in the sand, determined to withstand their antagonistic environment.


Wim Catrysse (°1973 born in Leuven, lives and works in Antwerp) gained a Masters degree in Visual Arts at the Higher Institute St-Lukas, Brussels in 1997. From 1997 to 2000, he followed a post-program course at the Higher Institute for Fine Arts (HISK) in Anvers followed by a one-year course at The Glasgow School of Art. Ever since the late 1990s Catrysse has been surveying the confines of visual constructions in his video installations, taking an architectural structure or the topographical features of a site as his starting point. He translates this investigation into cinematographic works in which the exposing and balancing of elementary forces play an essential role. The result is an accumulation of images that jerk us out of our comfort zone, that convey a physical threat, images that have about them something unheimlich and often unseat the obviousness of our most common perceptions. Moreover, Catrysse`s particular artistic method combines two apparently irreconcilable extremes: impulsiveness, physical directness, intuition and experimentation (almost nothing is worked out in detail beforehand) on the one hand and on the other an acute artistic and technical reasoning that can sometime lead to complex cinematographic image constructions.

Gerald nestler
COUNTERING CAPITULATION
Vidéo | hdv | couleur | 11:25 | Autriche | 2013

COUNTERING CAPITULATION engages with the inquiries following the Flash Crash of May 6, 2010, an event that went down as the biggest one-day market decline in financial history. Focusing on a remarkable forensic analysis that not only contradicted the official findings of the regulatory authorities and shed light on the impact of algorithmic trading but also developed tools to visualize material processes that operate beyond human perception, Nestler argues that in the current legal framework evidence of market events can only be produced by a double figure of the expert witness: when the (forensic) analyst is joined by a whistleblower or informant. With this ambivalent, contingent and marginal figure at its heart—a renegade, a traitor—COUNTERING CAPITULATION proposes a multilayered, transdisciplinary artistic practice: creating narrative instabilities that coagulate dissent into insurrection by enhancing resolution in the technological, social as well as legal meanings of the term. The video concludes with a call for renegade solidarity between the general public and whistleblowers as the contemporary figures of insurrection to counter the excesses of (automated) evaluation and decision-making, not only as regards financial markets but black box regimes in general.


Gerald Nestler combines theory with video, installation, performance, speech and text to interrogate the ideological, methodological and fictive narratives of finance and their role in current biopolitics as well as contemporary art in particular. After graduating from the Academy of fine arts Vienna (1992) he conducted artistic fieldwork as broker and trader (1994-97). He lectures at Webster University Vienna and is completing a PhD at the Centre for Research Architecture, Goldsmiths, University of London. Selected recent exhibitions: The New Derivative Order (kunstraum Bernsteiner, Vienna, 2012), Cargo Carry Cult (Kunsthalle Wien, 2013), Forensis (curated by Anselm Franke and Eyal Weizman, HKW, Berlin, 2014), Social Glitch (kunstraum NOE and other venues in Vienna, in prep., 2015). Recent publications: editor of Kunstforum International 200/201 on art and economy (with D. Buchhart, 2010), Paratactic Commons (amber Art+Technology Festival Istanbul), What’s next. Art after the crisis (eds. Johannes M. Hedinger & Tobias Meyer, Kadmos, 2013), Forensis. The Architecture of Public Truth (ed. Forensic Architecture, Sternberg, 2014).

Emma charles
Fragments on Machines
Doc. expérimental | hdv | couleur | 17:0 | Royaume-Uni | 2013

Fragments on Machines reveals the physical framework and materiality of the Internet, a vast network often thought and spoken about solely in abstract terms. Taking New York City as its central focus and interwoven with a fictionalised narrative, the film observes the evolution of architecture in the city to accommodate the material nodes and connectors that comprise the physical manifestation of the “virtual” world. New York is home to many of the great buildings that symbolise nineteenth and early twentieth century industrial capitalism. Today, it is significant that a number of these Art Deco skyscrapers—located predominantly in the Financial District—have become the containers for the infrastructure of the Internet and virtual capital. These grand monuments of brick and steel are now homes to the servers and computers that drive post-industrial finance capitalism. Highly elusive yet pervasive in their nature, data centres consist of room upon room of copper and fibre-optic cables, computer servers and ventilation systems. With direct links to the companies they serve, these Internet hubs become a kind of unofficial space for trade.


Emma Charles is a London based artist. She studied MA Photography at the Royal College of Art (2011-2013) and BA (Hons) in Editorial Photography from the University of Brighton (2006-2009). Working with both photography and moving image, her work explores metropolitan spaces of productivity that are hidden from the public eye, primarily focusing on the more ethereal and abstract elements of industry and corporate environments. Charles was recently commissioned for solo show ‘Surfaces of Exchange’, Jerwood Visual Arts (2014). Recent Group exhibitions and screenings include Kassel Dokfest; Marl Video Art Award; Premio Celeste; ‘Neither Here Nor There’, FotoFocus Biennial; ‘Centralia’, South Kiosk; ‘Aesthetica Short Film Festival’; ‘Night Contact’, Contact Editions and ‘CAPITAL’, George and Jorgen Gallery. Her work has been discussed as part of the 2012 Brighton Photo Biennale symposium Visible Economies: Photography, Economic Conditions and Urban Experiences and published by Photoworks and was recently reviewed by Artsy, South London Art Map and Jotta. Charles was recently awarded a Jerwood Visual Arts Project Space commission, RCA Travel Bursary, Villiers David Bursary Award and Christopherson Foundation Grant.

Isabelle hayeur
La saison sombre
Vidéo | hdv | couleur | 8:45 | | 2014

La saison sombre se veut une sorte de présage. La vidéo nous montre des lieux dévastés et des paysages aux climats extrêmes. Elle évoque des bouleversements que nos sociétés actuelles connaissent, à une époque où notre dépendance aux énergies fossiles est de plus en plus importante.

Née en 1969, Isabelle Hayeur vit et travaille à Rawdon (Québec). Artiste de l'image, elle est connue pour ses montages numériques grands formats, ses vidéos et ses installations in situ. Son travail se situe dans la perspective d'une critique écologique, urbanistique et sociale. Elle s'intéresse particulièrement aux sentiments d`aliénation, de déracinement et de dislocation. Ses œuvres ont été présentées dans le cadre de nombreuses expositions et festivals.

Jan hoeft
Exit Strategies
Vidéo | hdv | couleur | 18:0 | Allemagne | 2014

In Exit Strategies an endless sequence of industrial fire escapes is shown. While somebody tells us how his life would change in case of a disaster, we see more and more examples of architecture that prepares us for the worst.


Jan Hoeft (b. 1981) is a visual artist based in Cologne. He was a researcher at the Jan Van Eyck Academy Maastricht in 2013/14. He is a graduate of the Academy of Media Arts Cologne and the Karlsruhe Institute of Technology.

Ernst karel, Pawel Wojtasik, Toby Lee
Single Stream
Documentaire | hdv | couleur | 23:18 | USA | 2014

SINGLE STREAM takes a close look at the problem of waste, through a visual and sonic exploration of a recycling facility. The title refers to the “single stream” method of recycling in which all types of recyclables are initially gathered together, and sorted later at a specialized facility. With SINGLE STREAM, viewers enter one of the largest of these materials recovery facilities in the US. Inside a cavernous building, a vast machine complex runs like clock-work, sorting a steady stream of glass, metal, paper and plastic carried on conveyor belts criss-crossing the space, dotted with workers in neon vests. The interwoven movements of human and machine produce sounds and images that are overwhelming, but also beautiful, and even revelatory. Blurring the line between observation and abstraction, SINGLE STREAM is a meditation on our society's culture of excess and its consequences.


Paweł Wojtasik (b. 1952, Łódź, Poland) creates poetic reflections on cultures and ecosystems in the form of short films and large-scale installations. His investigations into the overlooked corners of the environment have led him to pig farms, sewage treatment plants, wrecking yards and autopsy rooms. His work has shown in venues such as PS1/MoMA, Reina Sofia Museum, Berlinale and New York Film Festival. www.pawelwojtasik.com/ Toby Lee (b. 1980, Los Angeles) is an artist and scholar based in New York, working across video, installation, drawing and text. She holds a PhD in Anthropology and Film & Visual Studies from Harvard University, and she is Assistant Professor of Cinema Studies at NYU’s Tisch School of the Arts. Ernst Karel (b. 1970, Palo Alto) works between experimental nonfiction sound and electroacoustic music. He composes and performs with location recordings and/or analog electronics, often for multichannel environments. As a Lecturer on Anthropology at Harvard University, he teaches a production course in sonic ethnography. http://ek.klingt.org/

En présence de Emma Charles et Jan Hoeft.

Andrew Norman Wilson traite de l’opacité et des transparences, reliées au monde de la finance. Les fumigènes sont ici autant de signaux de détresse ou d’actes terroristes, et la main symboliserait « la main invisible » du marché. Wim Catrysse filme le désert koweitien, investi par deux industries : celle des compagnies pétrolières, et celle des engins militaires qui protègent leurs intérêts. Gerald Nestler analyse le Flash Crash boursier du 6 mai 2010, et apporte un éclairage sur des transactions financières à haute fréquence, opérées par des algorithmes informatiques. Le renégat, figure ambivalente et marginale, est introduit en riposte. Emma Charles révèle le cadre physique et matériel de l’Internet, en observant l’évolution de l’architecture à New York. Du district financier originel, et de ses grands bâtiments Art déco symbolisant le capitalisme industriel des 19ème et 20ème siècles, aux infrastructures de l’internet et du capital virtuel du 21ème siècle. Isabelle Hayeur montre des lieux dévastés et des paysages aux climats extrêmes, évoquant les bouleversements actuels, alors que la dépendance aux énergies fossiles est de plus en plus importante. Jan Hoeft explore les sorties de secours, et autant de stratégies personnelles en cas de désastre. Ernst Karel, Pawel Wojtasik et Toby Lee brouillent les lignes entre l’observation et l’abstraction, en filmant le plus grand centre de recyclage des Etats-Unis.


vendredi

26 juin
17h00

Projection
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

Espace public

Davy chou: Cambodia 2099 | Fiction expérimentale | hdv | couleur | 21:0 | France | 2014 voir plus
Miguel rato: Meeting Point | Doc. expérimental | hdv | couleur | 10:4 | Portugal | 2014 voir plus
Laurence bonvin: Sounds of Blikkiesdorp | Doc. expérimental | hdv | couleur | 25:0 | Afrique du Sud | 2014 voir plus
Nicolas boone: HILLBROW | Fiction | hdv | couleur | 32:0 | France | 2014 voir plus
Davy chou
Cambodia 2099
Fiction expérimentale | hdv | couleur | 21:0 | France | 2014

Phnom Penh, Cambodge. Sur Diamond Island, joyau de modernité du pays, deux amis se racontent les rêves qu'ils ont faits la veille.

Davy Chou est un réalisateur français. Son premier long métrage documentaire, Le Sommeil d’or, fut sélectionné au Forum de la Berlinale 2012 et au festival international de Busan 2011. Il développe un long métrage de fiction intitulé Diamond Island.

Miguel rato
Meeting Point
Doc. expérimental | hdv | couleur | 10:4 | Portugal | 2014

The imagined city as a simulation takes over the real one. Desire and reality meet creating a new space with its own rules. Ever sprawling suburban areas, anonymous landscapes generated by computers, places with no memory, landmarks, residential projects. Staged scenery for action to take place. Mostly filmed in London, Meeting Point is a study of urban space and of its representations, the virtuality of contemporary public space and landscape.


Miguel Rato (1986, Lisbon) studied Sound and Image at ESAD Arts and Design School (Portugal) and Documentary Film at London College of Communication, University of the Arts London. His film and photography work has been exhibited in the United Kingdom, Peru, United States, Spain, Canada, Holland and Portugal.

Laurence bonvin
Sounds of Blikkiesdorp
Doc. expérimental | hdv | couleur | 25:0 | Afrique du Sud | 2014

“Sounds of Blikkiesdorp” décrit par touches impressionnistes la vie quotidienne dans un “camp de relogement temporaire” de la grande banlieue du Cap. Construit par la municipalité, il a notamment été utilisé pour y loger les residents du camp informel de Symphony Way ou les sans-abris pendant la dernière Coupe du Monde de football ou encore y déplacer de force des locataires du quartier de Woodstock. Dans ce lieu hostile et isolé, malgré les conditions de vie très dures et l'incertitude de leur devenir, les gens que nous rencontrons font tout pour améliorer leur quotidien. Le strict plan quadrillé, l’alignement stérile des cabanes en aluminium est lentement subverti par l’improvisation et l'informalité. Et la musique, omniprésente, traverse les murs et les allées pour créer la bande-son de Blikkiesdorp.

Laurence Bonvin est une artiste et photographe documentaire dont le travail touche au paysage, à l’architecture, l’espace public, l’informalité, la transformation des environnements urbains et des périphéries en général. Elle est l'auteur de quatre monographies et a largement exposé son travail en Suisse et internationalement. Sounds of Blikkiesdorp est son second film.

Nicolas boone
HILLBROW
Fiction | hdv | couleur | 32:0 | France | 2014

Hillbrow, l'ancien pôle culturel branché de Johannesbourg, est devenu un quartier (populaire) hyper dense, assez violent. A partir de récits collectés sur place, le film HILLBROW propose une traversée géographique guidée par des personnages fictifs qu'incarnent des habitants du quartier. En dix parcours HILLBROW dessine un labyrinthe de tensions urbaines.

A sa sortie des Beaux-Arts de Paris en 2001, Nicolas Boone réalise des tournages/performances, des « one shot » sans caméra. Son travail, entre mise en scène et captation, où le tournage devient le film lui-même, est protéiforme : série (BUP, 2007/2008), long métrage – en coréalisation – sorti en salle (200%, 2010), films courts réunis dans un même programme (Les Dépossédés, 2012…). Son travail au cinéma a fait l’objet d’une rétrospective intégrale au Vivo Art Center de Vancouver en 2011 et ses films ont été sélectionnés dans plusieurs festivals, à l’image de son dernier court métrage, Hillbrow, présent au FID Marseille, au Festival Indies de Sao Paulo et au Festival du nouveau cinéma de Montréal en 2014.

En présence de Miguel Rato.

Au Cambodge, dans le décor de Diamond Island, joyau de modernité du pays, Davy Chou filme deux amis qui se racontent leurs rêves. Miguel Rato pose une ville imaginaire, qui prend le pas sur la ville réelle, créant un nouvel espace avec ses propres règles. Le décor est posé, fait de zones suburbaines en expansion continue. Dans la banlieue de Capetown, Laurence Bonvin filme Blikkiesdorp, un campement provisoire, où la mairie installe depuis 2008 des populations diverses : squatteurs déplacés, familles relogées d’office. La musique y tient lieu de lien social. Nicolas Boone se rend à Hillbrow, ancien pôle culturel branché de Johannesburg, et y dessine un labyrinthe de tensions urbaines, une traversée géographique guidée par des personnages fictifs qu’incarnent des habitants du quartier.


vendredi

26 juin
19h00

Projection
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

Temps d'arrêt

Dan perez, Benjamin Klintoe: Cantine | Fiction expérimentale | hdv | couleur | 32:16 | France | 2013 voir plus
Michael hanna: three short films about learning | Vidéo | hdv | couleur et n&b | 8:57 | Irlande | 2014 voir plus
Teboho Joscha edkins: Gangster Backstage | Documentaire | hdv | couleur | 37:30 | | South Africa | 2013 voir plus
Dan perez, Benjamin Klintoe
Cantine
Fiction expérimentale | hdv | couleur | 32:16 | France | 2013

Ismaël est venu en France dans l'espoir de trouver le pardon. Ex-prisonnier, il a quitté les Etats-Unis pour Paris, où il pense trouver calme et paix. Il atterrit finalement dans une zone sinistrée de la banlieue parisienne. Il déambule à la bordure du périphérique et, parfois, il tente d’oublier ses démons dans un sommeil trouble et agité. Des souvenirs de son enfance viennent le hanter alors que la vie en France semble être de plus en plus difficile, entre contrition et abandon.

Dan Perez et Benjamin Klintoe sortent tout juste de la prestigieuse Ecole Nationale Supérieure des Arts Décoratifs de Paris. Ils pratiquent la vidéo ou la photographie dans une pratique régulière et personnelle.

Michael hanna
three short films about learning
Vidéo | hdv | couleur et n&b | 8:57 | Irlande | 2014

The Belfast Exposed photography archive contains over half a million images produced by community groups, amateur and professional photographers over the past 30 years. It represents a valuable historical document recording political, cultural and social change in Northern Ireland over these 3 decades. Since 2001 Belfast Exposed have been commissioning artists to produce work using this archive as raw material, previous artists include Duncan Campbell and Broomberg & Oliver Chanarin. Three Short Films about Learning is a latest project to be commissioned in this series. The work juxtaposes a selection of images taken from the archive with excerpts from a lecture series outlining theories of social and environmental psychology. The lecture series is Introduction to Psychology by Paul Bloom, made available by Yale University through the free online learning platform Academic Earth. The archive imagery includes marches, masked gunmen at funerals, and paramilitary punishments. The rhythm of the speech varies throughout from carefully measured statements to free flowing thoughts, and the images are timed to mirror this rhythm.


Michael Hanna completed his MFA at the University of Ulster in 2012 and recently undertook residencies at the Millennium Court Arts Centre and Digital Art Studios, Belfast. He graduated with BA (Hons) in Sculpture at Edinburgh College of Art in 2009. Hanna was shortlisted for the Converse / Dazed Emerging Artist Award with the Whitechapel Gallery, London. He has been involved in exhibitions in the UK and internationally including Interplanetary Revolutions at Golden Thread Gallery, Belfast and Instances of Agreement at the Kao Yuan Arts Centre in Taiwan. Most recently Hanna took part in Multiplicity - an exhibition curated by NURTUREart and shown across four galleries in New York. It was an international survey of artworks sharing an interest in the politics and poetic potential of contemporary urban environments.

Teboho Joscha edkins
Gangster Backstage
Documentaire | hdv | couleur | 37:30 | | 2013

Gangster Backstage is a documentary film with gangsters in Cape Town, South Africa. As the film moves between a casting interview and scenes in an empty theatre, the sense of confinement within the space increases and becomes a feeling of being trapped, a square, boundaries, a sort of purgatory, the tempo of cigarettes, not knowing where the soul goes, fear, caught in one's thoughts, wanting to break free but can't… a cell.


Teboho Edkins was born in the USA in 1980 and grew up mainly in Lesotho, South Africa but also in Germany. He studied Fine Art at the University of Cape Town, followed by a 2-year post-graduate residency at le Fresnoy, studio national des arts contemporains in France and then a post-graduate film directing programme at the dffb film academy in Berlin.

En présence de Michael Hanna et Teboho Edkins.

Dan Perez et Benjamin Klintoe retracent le parcours fictionnel d’Ismaël : ex-prisonnier, il quitte les Etats-Unis pour Paris, dans l’espoir de trouver le pardon et la paix. Il atterrit finalement dans une zone sinistrée de la banlieue parisienne, il déambule à la bordure du périphérique et tente d’oublier ses démons dans un sommeil trouble et agité. Michael Hanna isole des photographies du Belfast Exposed photography archive, qui contient plus d’un demi million d’images prises ces 30 dernières années en Irlande du Nord. Ces images montrent des manifestations, des tireurs masqués à des funérailles, et des expéditions punitives paramilitaires, pendant que l’on entend des extraits de conférences sur la psychologie sociale et environnementale, faites par Paul Bloom à Yale. A Cape Town, Teboho Joscha Edkins réalise un documentaire avec des gangsters, sous forme d’entretiens de casting, et de scènes jouées dans un théâtre vide. L’impression d’enfermement augmente peu à peu, donnant le sentiment d’être dans un purgatoire.


vendredi

26 juin
21h00

Projection
Haus der Kulturen der Welt
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre

Bold and Beautiful

Michael robinson: The Dark, Krystle | Fiction expérimentale | dv | couleur | 9:34 | USA | 2013 voir plus
Neil beloufa: TONIGHT AND THE PEOPLE | Fiction expérimentale | hdv | couleur | 81:0 | USA | 2013 voir plus
Michael robinson
The Dark, Krystle
Fiction expérimentale | dv | couleur | 9:34 | USA | 2013

The cabin is on fire! Krystle can't stop crying, Alexis won't stop drinking, and the fabric of existence hangs in the balance, again and again and again. – MR "The Dark, Krystle brilliantly re-purposes the artificiality of stock gesture, allowing viewers to see its hollowness and to feel it recharging with new emotional power. Equal parts archival fashion show and feminist morality play, Robinson’s montage rekindles the unfinished business of identity, consumption, and excess in 1980s pop culture." - Carrie Secrist Gallery, Chicago


Michael Robinson (b.1981) is an American film, video and collage artist whose work explores the joys and dangers of mediated experience, riding the fine lines between humor and terror, nostalgia and contempt, ecstasy and hysteria. His work has shown in both solo and group shows at a variety of festivals, museums, and galleries including The 2012 Whitney Biennial, The International Film Festival Rotterdam, The New York Film Festival, The BFI London Film Festival, REDCAT Los Angeles, MoMA P.S.1, The Sundance Film Festival, The Walker Art Center, Anthology Film Archives, Kurzfilmtage Oberhausen, Viennale, and Whitechapel Gallery in London. Michael was the recipient of a 2012 Creative Capital grant, a 2011-2012 Film/Video Residency Award from The Wexner Center for the Arts, a 2009 residency from The Headlands Center for the Arts, and his films have received awards from numerous festivals. He was featured as one of the “50 Best Filmmakers Under 50” by Cinema Scope magazine in 2012, and listed among the top ten avant-garde filmmakers of the 2000`s by Film Comment magazine. His work is distributed by Video Data Bank and Carrie Secrist Gallery in Chicago.

Neil beloufa
TONIGHT AND THE PEOPLE
Fiction expérimentale | hdv | couleur | 81:0 | USA | 2013

Dans un Hollywood imaginaire des cow-boys, des membres d’un gang, des militants, des hippies et des adolescentes rebelles élaborent un conte philosophique qui recycle les stéréotypes les plus forts de notre époque. Dans ce monde où documentaire et science- fiction s'entrechoquent, lutte des classes et invasion extra-terrestre cohabitent.

Neil Beloufa (1985, Paris) a étudié à l'Ecole Nationale Supérieure des Beaux-Arts (ENSBA) et l'Ecole Nationale Supérieure des Arts Décoratifs (ENSAD) de Paris, et à Le Fresnoy - Studio national des arts contemporains. Il a reç̧u plusieurs prix, notamment le Prix Videoforme de Clermont-Ferrand en 2009, le Grand Prix IndieLisboa 2009, le Prix Arte du court métrage et le Prix du Jury au Festival de Oberhausen en 2011. Son travail a été présenté dans de nombreuses expositions solo à Francfort, Los Angeles, Paris et New York, et présenté dans le cadre de nombreuses expositions solo et collectives depuis 2007. Ses films ont été présentés dans des festivals internationaux de vidéo et documentaire. En 2012, il a reçu le talent Prix Audi pour son projet de long métrage TONIGHT AND THE PEOPLE, dont la première a eu lieu au FID Marseille en 2013. Cette même année, il a reçu le prix Meurice pour son prochain projet de film. Il vit à Paris.

Michael Robinson revisite le mythique Soap Opera des années 80, Dynastie, avec sa gentille blonde et sa méchante brune, et fait s’enflammer, par un montage frénétique, le capitalisme et ses excès, ainsi que la culture populaire des années 80. Neil Beloufa recrée un Hollywood imaginaire où des cow-boys, les membres d’un gang, des militants, des hippies et des adolescentes rebelles élaborent un conte philosophique qui recycle les stéréotypes les plus forts de notre époque. Dans ce monde où documentaire et science fiction s’entrechoquent, la lutte des classes et l’invasion extra-terrestre cohabitent.


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