Programme Paris 2016
14h00 16h00 18h00 19h00 20h00 21h00
vendredi

15 jan.
14h00

Projection
Gaîté Lyrique
3 bis rue Papin - 75003 Paris / Métro: Arts et Métiers, Réaumur Sébastopol - lignes 3, 4, 11
Entrée libre / Pass et accréditation: accès prioritaire

"Topologies"

Sirah foighel brutmann, Eitan Efrat: Nude Descending a Staircase | Vido | hdv | couleur | 18:30 | Belgique | 2015 voir plus
Maya schweizer: Le Soldat mourant des Milles | Film exprimental | hdv | couleur | 13:0 | Allemagne | 2014 voir plus
Galera perdida: The blind don't see black, they see nothing | Film exprimental | 16mm | noir et blanc | 5:41 | USA | 2015 voir plus
Armando lulaj: Recapitulation | Film exprimental | hdv | couleur et n&b | 13:0 | Italie | 2015 voir plus
Velibor bozovic: My Prisoner | Vido | hdv | couleur | 21:41 | Bosnie-Herzgovine | 2014 voir plus
Sirah foighel brutmann, Eitan Efrat
Nude Descending a Staircase
Vido | hdv | couleur | 18:30 | Belgique | 2015

The first part of Nude Descending a Staircase is a composition of clips found online that were made by visitorspilgrimsto the remote memorial site of Walter Benjamin in Portbou, Spain. Each of these individual registrations is anchored in the specificity of the location. They start with the arrival to Portbou, go through the small town up to the cemetery, and end in a dramatic descent down Dani Karavans iconic staircase, which was created as an homage to Walter Benjamin. The assembly this audiovisual material transforms the autonomous experiences into one collective trajectory, and entangles collective memory, experience and the production of images. The second part reveals another staircase, abandoned and barricaded, on a small stage-like platform, outside the former Espai Memorial Walter Benjamin. The second staircase modestly suggests an alternative mode of framing memory. The title, borrowed from Marcel Duchamps 1912 painting, proposes to dialogue Walter Benjamins writing on history and reproduction with Duchamps attemptin relation to the developments in photographyto capture movement autonomous from a body. Nude Descending a Staircase is the first chapter in a series of works titled Gathering Series.


Sirah Foighel Brutmann and Eitan Efrat (both 1983 in Tel Aviv) have been working in collaboration for several years and are creating works in the Audiovisual field. Living and working in Brussels. Their works have been shown in film festivals as IDFA and Rotterdam Film Festival (NL); Courtisane (BE); New Horizons (PL); on ARTE/WDR; exhibited in solo exhibitions at Kunsthalle Basel (CH) and Argos (BE), and group exhibitions in STUK (BE); EMAF (DE) and The Petah-Tikva Museum for Contemporary Arts (IL). Their works have been produced by Auguste Orts and Argos (BE) and distributed by EYE institute (NL), they have won prizes in IMAGES (CA) and Oberhausen Film Festival (DE). Sirah and Eitan have presented their work as featured artists at the 59th Flaherty Film Seminar (US), and have participated in artists talks and presentations in institutions such as FLACC, Genk, LUCA BFA class, Brussels, L`erg BFA class, Brussels, DocNomads 2014, and Bezalel MFA class, Tel Aviv. Sirah and Eitan`s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images moving or still; the relations between spectatorship and history; and the temporality of narratives and memory. Sirah and Eitan are members of the artists-run collective Messidor

Maya schweizer
Le Soldat mourant des Milles
Film exprimental | hdv | couleur | 13:0 | Allemagne | 2014

A video work, in which the daily routine of Les Milles is caught up by its past - a former brickyard in the town`s center was used as internment camp for Germans during World War II and served as concentration camp later on. With the use of montage cutting techniques the artist succeeds in letting the past burst into present.


Maya Schweizer was born in 1976 in Paris, France and studied at the Academy of Visual Arts Leipzig, and Berlin University of the Arts (with Lothar Baumgarten). Maya Schweizer works with diverse media: the focus of her work lies in the making of short films based on documentary material. Identity, biography, politics, history and memory are recurring themes in Maya Schweizers photographs and videos... In general, the artist generates an incomplete tableau of collective memory and questions the way history is produced and visually recorded. (Cynthia Krell). The artist approaches the relation of montage editing techniques with the concept of film and memorial and film as memorial a relation which traces back to the very beginnings of montage as it does to research findings by French historian Pierre Nora. Recurring moments in Schweizers multiform art practice revolve around the examination of subtly treated processes of memory regarding historic-political events in public space. In the places, structures and situations she investigates, historical threads intersect. She received international grants and most recently Project grant "Lieux de Mmoire and Desire",Kulturstiftung des Freistaates Sachsen (KdFS), 2015. The Exhibition sponsor from the Institut fr Auslandsbeziehungen (ifa), TCG Nordica, Kunming, China, 2013. The Robert Bosh Foundation, in Slovakia 2011, also in the Villa Aurora, Artist Grant from the Goethe-Institute in Los Angeles 2008-2009. Together with Clemens von Wedemeyer, she won the Prize of the German Competition at the Oberhausen Film Festival Oberhausen 2006. She recently had solo shows, such as; Der sterbende Soldat von Les Milles, Kunsthalle Baden-Baden, Germany 2015. Edith Seeshows Notes at the Kunstverein Langenhagen, 2013. Metropolis. Report from China with Clemens von Wedemeyer at the Frankfurter Kunstverein, 2011. The Same Story Elsewhere at the Westflisher Kunstverein, Mnster, Germany, 2010. Schweizer was also involved in many international exhibitions, such as; Inside the City. Public Space and Free Space at the GAK, Bremen, Germany, 2015. Vot ken you mach ?, Muzeum Wsplczesne Wroclaw, Poland, 2015. Collection Alphabet at the Museum of Contemporary Art (GfZK), Leipzig, 2014. The city that doesnt exist at Ludwig Forum, Aachen, 2012. Ambigous Being, Hong Gah Museum,Taipei 2012. Take me to your leader!, Kunstmuseum Bergen, Norway, 2011. Here and There, at the Wallace Gallery, New York and at the Oonagh Young Gallery, in Dublin, 2011. 15 Jahre Villa Aurora. Transatlantische Impulse, AdK - Akademie der Knste, Berlin, 2011. Of Other Spaces at the Bureau for Open Culture, Columbus, Ohio, USA 2011.

Galera perdida
The blind don't see black, they see nothing
Film exprimental | 16mm | noir et blanc | 5:41 | USA | 2015

This film marks an investigation into the halftone print. Specifically, the spherical and diamond pattern that makes up an image found commonly in offset printing. These tessellations form a corollary to the structure of language where each "dot" is akin to a phoneme. In linguistics, the collated phonemes make up a morphemewhat we can call a meaningful word. The dot in the halftone print functions much the same way. With these dots, the reach of an image is made possible, exploded and distributed for the masses. Its legibility is a consumable currency by being illustrative for accompanying texts. When enlarged, the text loosens its hinges on the atomized image. The dots establish a dominant vocabulary contingent only on one another. For The Blind Don`t see Black, They See Nothing, the poetics lie within the parts of a whole, hidden amidst a constituted body.


The artist collective Galera Perdida are known for their multidisciplinary practice that brings together an inquiry of traditional crafts and the absurd, typographical design with semantic operatives. Fundamental to their research are encounters with idiosyncratic found texts and humor, design principles and the moving image; these irrational sources form the basis of a sculptural vocabulary. The use of humor is just one of many interests that Galera Perdida pursue in their body of work. Textiles, dead languages, redundancy, negation, display and the gallery, glyphs, organic matter, and graphic design are among the multiple reference points. Their constellation of objects and situations formulate a place for these subjects to collide, interact, and push against one another while defining the decree that the production of an object is not a singular but collective act.

Armando lulaj
Recapitulation
Film exprimental | hdv | couleur et n&b | 13:0 | Italie | 2015

On December 23, 1957, at 11:10 AM, a US Lockheed T-33 Shooting Star aircraft flown by Major Howard J. Curran left Chateauroux, France, heading for Naples, Italy. Above Turin, the aircraft radio failed and after hitting bad weather with strong winds, the plane veered off its flight path to end up, by mistake, in the sovereign airspace of the People`s Republic of Albania. At 1:28 PM, the intruder was intercepted by the Albanian Air Force Command, which instantly ordered two MiG-15 fighter jets to take off and identify it. By 3:50 PM, the fighters reported that they had spotted the intruder in the area around Rinas Airport, flying at 500-650 km/hr at an altitude of 150-200 m. Prompt countermeasures were taken. The airplane was forced to land and, to keep it from taking off again, the airport was locked down.


Born in 1980 in Tirana, Albania, Armando Lulaj is a writer of plays, texts on risk territory, film author, and producer of conflict images, orientated toward accentuating the border between economical power, fictional democracy and social disparity in a global context. Exhibitions include the Prague Biennial (2003; 2007), Tirana Biennial (2005), 4th Gothenburg Biennale (2007), the 6th Berlin Biennial (2010), the 63rd Berlinale International Film Festival (2013) and the 56th Venice Biennale - Albanian Pavilion (2015).

Velibor bozovic
My Prisoner
Vido | hdv | couleur | 21:41 | Bosnie-Herzgovine | 2014

My Prisoner is a video work that reconstructs the event that occurred on 3 April 1994 in war-torn Bosnia by intermixing archival footage with contemporary reimagining of the occasion. It shows a young man being escorted by an army intelligence officer to visit his imprisoned father. As the men travel side-by-side in the back seat of a car Shine on You Crazy Diamond by Pink Floyd begins to play on the car radio. The young man acknowledges the music and tries to make conversation but the officer does not even recognize the track. A composite of autobiography, documentary and fiction, My Prisoner navigates through the space where the historical, the personal and the fictional simultaneously interfere with and enhance one another.


Velibor Boović grew up in Sarajevo, Bosnia-Herzegovina. When he was in his twenties, the country of his youth became a war zone and he spent the duration of the siege of Sarajevo honing his survival skills. In 1999, Velibor moved to Montral where he worked, for eight years, as an engineer in aerospace industry until he gave up his engineering career to devote his time fully to art practice. Subsequently, Velibor completed a Master of Fine Arts degree in Studio Arts at Concordia University. He is the recipient of the Claudine and Stephen Bronfman Fellowship in Contemporary Art (2015), Concordia International Mobility Award (2014), the Bourse de Matrise en Recherche from FRQSC - Fonds de recherche sur la socit et la culture Quebec (2012) and Roloff Beny Foundation Fellowship in Photography (2011). His work has been exhibited in the United States, Cuba, Canada, and Bosnia-Herzegovina. His images appeared in The New York Times, The Paris Review, Descant, International Herald Tribune, Chicago Tribune, Granta, BH Dani and others.


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Sirah Foighel Brutmann et Eitan Efrat interrogent la mémoire individuelle et collective, et la mise en scène de l’histoire. La vidéo se compose en partie de photographies prises par des visiteurs au mémorial de Walter Benjamin à Portbou. Maya Schweizer filme Les Milles, village au sud de la France, dans lequel se trouvait un camp d’internement et de déportation pendant la deuxième guerre mondiale. Les traces du passé affleurent. Galería Perdida examine les points qui composent une image imprimée, et les compare à la structure du langage, où chaque phonème est nécessaire à la constitution du sens. Armando Lulaj recompose l’histoire de l’avion américain obligé d’atterrir à l’aéroport de Rinas, le 23 décembre 1957, après avoir traversé l’espace aérien de la République populaire d’Albanie. Velibor Bozovic reconstruit sa journée du 3 avril 1994, durant laquelle, il a été, en tant que soldat de l’armée bosniaque, accompagné par un officier des renseignements militaires, pour rendre visite à son père, prisonnier de guerre de cette même armée. La rencontre a été filmée puis diffusée par la télévision, à une heure de grande écoute. 18 ans plus tard, Velibor Bozovic revisite ce document, s’interrogeant sur son statut de document de propagande, de document historique, de souvenir personnel.


vendredi

15 jan.
16h00

Projection
Gaîté Lyrique
3 bis rue Papin - 75003 Paris / Métro: Arts et Métiers, Réaumur Sébastopol - lignes 3, 4, 11
Entrée libre / Pass et accréditation: accès prioritaire

"Point de renversement"

Elske rosenfeld: Ein bisschen eine komplexe Situation | Doc. exprimental | hdv | couleur | 14:44 | Autriche | 2014 voir plus
Clara bausch: And the Smile is Red on Red | Film exprimental | 16mm | couleur et n&b | 7:17 | Egypte | 2014 voir plus
David krippendorff: Nothing Escapes My Eyes | Film exprimental | 4k | couleur | 13:43 | Egypte | 2014 voir plus
Marco godoy: The system / El sistema | Vido | hdv | couleur | 2:30 | Bolivie | 2014 voir plus
Soren Thilo funder: Anti-Optimistic Earthquake Scenario | Fiction exprimentale | hdv | couleur | 18:45 | Danemark | 2015 voir plus
Filipa csar: Sol min | Doc. exprimental | hdv | couleur | 34:0 | Portugal | 2014 voir plus
Elske rosenfeld
Ein bisschen eine komplexe Situation
Doc. exprimental | hdv | couleur | 14:44 | Autriche | 2014

Content Summary/ Accompanying Info: This video is an intervention into footage from the first meeting of the Central Round Table of the GDR. The meeting took place on December 7th 1989 in East Berlin, two months after the beginning of mass demonstrations across the country. The Round Table was set up to bring together members of the established political parties and the newly formed oppositional groups on equal terms. A few hours into the meeting, proceedings are interrupted as a noisy demonstration approaches outside. In the ensuing 10-minute scene, participants try to decide on a collective response. Sounds from the demonstration can be heard ebbing and swelling outside the window, while the participants inside debate. The demonstrators are never seen, only heard. The 2-channel video shows the scene in its entirety. It unfolds as a series of interventions into the material that are themselves based on motions and gestures taken from the footage: pans, zooms, the shaking of the camera, the gestures and movements of the participants, the different qualities and sources of sound. These are amplified, repeated, looped, in order to confront and confound notions of inside and outside, language and body, representation and embodiment.


Biography: Elske Rosenfeld (b. 1974 in Halle/S., GDR) uses a variety of media to rework archival materials from the history of state socialism in Eastern Europe and to relate them to contemporary political forms. Recent works in the formats video, performance, and writing have focussed on the physical, gestural content of archival documents from situations of revolution or protest (Paris 1968, East Berlin 1989, Cairo 2011) to address the body as a site and archive of political events. Various abstracted interventions into and around these materials reactivate political energies that were set loose in these instances and continue to reverberate into the present day. Rosenfeld lives and works in Berlin and Vienna. She holds a PhD-in-Practice from the Academy of Fine Arts in Vienna. Her work has been presented internationally at institutions including Forum Stadtpark/Steirischer Herbst 2015, Graz; Berlin Art Week 2014; Sarai Reader 09/Devi Art Foundation, Delhi; Vienna Art Week 2011; BAK, Utrecht; Shedhalle, Zrich; mumok kino, Vienna; Kunsthalle Exnergasse, Vienna; GfzK, Leipzig; tranzit, Cluj, Romania; the Education Programme of documenta13. She has taken part in international residencies, including the Visual Arts Residency at the Banff Centre for the Arts, Canada. Her texts have been published in/on eipcp.net, Reviews in Cultural Theory, Springerin Hefte fr Gegenwartskunst, and in a number of books and collections. She has been awarded a DOC-Fellowship of the Austrian Academy of Sciences, and project funding from the Programme for Arts-based Research/FWF, Austria. www.elskerosenfeld.net

Clara bausch
And the Smile is Red on Red
Film exprimental | 16mm | couleur et n&b | 7:17 | Egypte | 2014

Cairo. We look at newspapers, which show occasions of the revolution in 2011. The film fragments encounters with Sama Waly, Reda El Sayed, Sarah Rifky and Islam Azzazzi in the summer of 2014. The film is produced with the help of Analogue Zones # 3, a collaborative project between Cimatheque Cairo, LabA and LaborBerlin.


Clara Bausch (1982) lives and works in Berlin. She is an artist and filmmaker. In 2009 she graduated at University of the Arts Berlin, UdK, her studies of fine arts, with professor Lothar Baumgarten. In her artistic practice she is dealing with situations, perception of information, constructed realities, light and time. She works in the fields of film, photography, drawing and installation. Clara Bausch is member of the association LaborBerlin e.V. since 2006. She has organized and conducted projects, workshops and screenings in several european cities. Bausch`s works and films have been presented in exhibitions, screenings and festivals. Grants 2013 Kurzfilmfrderung , BKM; 2013 Residenz, Levitation, Centrum, Berlin; 2012 A-I-R Residency, CCA, Zamek Ujazdowski, Warschau; 2010 Residenz, Schule 21 e.V., Bremen; 2006 ERASMUS-Programm, London

David krippendorff
Nothing Escapes My Eyes
Film exprimental | 4k | couleur | 13:43 | Egypte | 2014

Nothing Escapes My Eyes (2014) is about a silent transformation of a place and a human being, both subjected to the melancholy of conforming. Inspired by the texts of Edward W. Said, the poems of Mahmoud Darwish and the Verdi opera Aida, the film depicts in a metaphoric form current issues of cultural identity, loss and the pressures to conform. The film refers to the following historical event related to this opera: Aida premiered in Cairo in 1871 at the Khedivial Opera House. One hundred years later the building was completely destroyed by fire and replaced by a multi storied parking garage. Nevertheless, to this day, the place is still named Opera Square: Meidan El Opera. The film combines this urban alteration with the painful transformation of a woman (actress Hiam Abbass) in the process of shedding one identity for another. With no dialogues, the film is backed by a musical excerpt from Verdis Aida whose lyrics express the difficulties of being loyal to ones country and cultural identity. The personal and urban transformation tackles on issues of identity, loss and disorientation as a result of historical colonialism and contemporary globalization.


David Krippendorff was born in Berlin, grew up in Italy, and returned to Berlin to study fine arts, eventually relocating to New York, where he lived for five years. His works and videos have been shown internationally, a.o. at the New Museum (New York), ICA (London), Hamburger Kunsthalle (Hamburg), Museum on the Seam (Jerusalem). He has participated in three Biennials (Prague, Poznan and Tel Aviv). He currently lives and works in Berlin.

Marco godoy
The system / El sistema
Vido | hdv | couleur | 2:30 | Bolivie | 2014

On the 13th of November of 2014 a set speakers and a power generator was introduce in the In the Bolivian jungle, near the river Mamor, an Amazonian affluent. For hours, El sistema (The system), a text by Eduardo Galeano was played on loop in the loud speakers. The uncontrollable and unpredictable forces of nature make the area of Trinidad a hardly habited region, one of the few areas that is still resisting the development of progress, progress understood as a destructive force.


Marco Godoy is a cross disciplinary artist currently working with photography, video and installation. Born in Madrid and now living in London he is MA in Photography at the Royal College of Art, after graduating from the UCM of Madrid and School of the Art Institute of Chicago. His work has been e exhibited internationally in galleries and institutions such as Dallas Museum of Contemporary Art, Matadero Madrid, Stedelijk Museum s-Hertogenbosch, Edinburgh Art Festival, Liverpool Biennial, ICA London, Palais de Tokyo or Whitechapel Gallery.

Soren Thilo funder
Anti-Optimistic Earthquake Scenario
Fiction exprimentale | hdv | couleur | 18:45 | Danemark | 2015

ANTI-OPTIMISTIC EARTHQUAKE SCENARIO 2015, HD Video, 1845 During the 1755 Lisbon earthquake Voltaire and Ted Kaczynski meets in a cold war bunker outside Copenhagen to engage in reflections on the future of mankind in the face of disaster. Voltaire recites parts of his poem about the devastating earthquake that nearly completely destroyed Lisbon. With its tens of thousands of victims it became one of the deadliest in history and had a strong influence on the development of the philosophy of Enlightenment. Also known as the Unabomber, Ted Kaczynski conducted a series of terrorist attacks motivated by a fight against the disastrous effects of industrial society in the name of freedom and nature. He lived alone in a cabin in the Montana mountains without electricity for nearly 20 years. He now returns to his past in Mathematics working intensively on the theories of the Zeeman Disaster Machine, a small device build to visualize the unpredictable jumps of the Cusp Catastrophe, the sudden disturbance of a stable situation.


Soren Thilo Funders works are formal investigations of the power relations of modern day society. Through the use of conceptual visual strategies, cinematic narratives and mise en scne, the works aim to expose the precariousness of contemporary society using fiction to generate new potential spaces for political contemplations and counter-memory. Soren Thilo Funder has an MA from the Royal Danish Academy of Fine Arts and The School of Art and Architecture at the University of Illinois at Chicago. He has been an artist-in-residence at Knstlerhaus Bethanien in Berlin, SOMA in Mexico City, Townhouse Gallery in Cairo, Frankfurter Kunstverein in Frankfurt and Platform Garanti in Istanbul. He was represented at the 19th Biennale of Sydney, 1st Copenhagen Art Festival, eva International Biennial of Visual Art - After The Future, 12th Istanbul Biennial, 2nd International Moscow Biennial for Young Art, Manifesta 8 Parallel Events and 6th International Liverpool Biennial. Upcoming shows include solo presentations at Museum of Contemporary Art Zagreb, Croatia and Overgaden Institute for Contemporary Art, Copenhagen, Denmark, as well as an artist-in-residence project at ISCP in New York City.

Filipa csar
Sol min
Doc. exprimental | hdv | couleur | 34:0 | Portugal | 2014

Dans ce film-essai qui fait partie d`un projet de recherche en cours, "People are the mountain", l`artiste portugaise Filipa Csar revisite le travail de l`agronome guinen Amilcar Cabral, de l`tude de l`rosion du sol de la rgion portugaise de l`Alentejo jusqu` son engagement comme l`un des leaders du Mouvement Africain de Libration. A ce chemin de pense se mle la documentation du site d`une mine d`or exprimentale, gre aujourd`hui par une compagnie canadienne et situe dans la mme zone qu`tudia Cabral l`poque. Le film explore les dfinitions prsentes et passes du sol comme une zone de dpt de la mmoire, de la trace et de l`exploitation.

Filipa Csar est ne au Portugal en 1975 ; elle vit et travaille Berlin. Elle a tudi la Facult des Arts de Porto et de Lisbonne, lAcadmie des Arts de Munich et a obtenu le Master Art in Context de lUniversit des Arts de Berlin (2007). Son travail interroge la relation poreuse entre limage anime et sa rception publique. Intresse aux aspects fictionnels du documentaire, et motive par un dsir de pointer le politique derrire limage anime, lartiste se situe entre le storytelling, la chronique, le documentaire et le film exprimental. Ses films F for Fake (2005), Rapport (2007), Le Passeur (2008), The Four Chambered Heart (2009), et Memograma (2010) ont t prsents la 8e Biennale dIstanbul, 2003 ; la Kunsthalle Wien, 2004 ; au Serralves Museum, 2005 ; au Festival International du Film de Locarno, 2005 ; la CAG- Contemporary Art Gallery, Vancouver, 2006 ; la Tate Modern, 2007 ; au St. Gallen Museum, 2007 ; au SF MOMA, San Francisco 2009 ; la 1re Biennale dArchitecture de Venise, la 29e Biennale de So Paulo et Manifesta 8, Cartagena.


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Elske Rosenfeld intervient sur l’enregistrement de la première «Table ronde centrale» qui s’est tenue le 7 décembre 1989 en Allemagne de l’Est, deux mois après les premières grandes manifestations, alors qu’une manifestation à l’extérieur gronde. Clara Bausch revisite des images de presse des manifestations de la révolution égyptienne en 2011. David Krippendorff revient sur la transformation silencieuse d’un bâtiment, un ancien opéra, aujourd’hui détruit et remplacé par un garage, où la première de «Aida» eu lieu en 1871. Marco Godoy diffuse un enregistrement d’Eduardo Galeano sur le système dans la jungle bolivienne, l’une des rares régions au monde résistant au progrès. Soren Thilo Funder fait se rencontrer Voltaire et Ted Kaczynski, un mathématicien terroriste en lutte contre les sociétés industrielles. Filipa César revisite le travail de l’agronome guinéen Amilcar Cabral, de ses études sur l’érosion du sol au Portugal dans la région de l’Alentejo, jusqu’à son engagement dans le Mouvement Africain de Libération.


vendredi

15 jan.
18h00

Forum
Gaîté Lyrique
3 bis rue Papin - 75003 Paris / Métro: Arts et Métiers, Réaumur Sébastopol - lignes 3, 4, 11
Entrée libre / Pass et accréditation: accès prioritaire

Table ronde
"Politique de l’image"

Des programmateurs, des curateurs et des responsables de musées, de lieux d’art et de cinéma, évoquent leurs recherches et leurs projets, et débatent avec le public présent.

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INTERVENANTS :

Jose Nuno Rodrigues, Co-directeur, Festival Curtas do Vila Do Conde, Portugal

Giulia Ferracci, Curatrice - MAXXI National Museum of XXI Century Arts, Italie

Géraldine Gomez, Curatrice, Centre Pompidou, France


vendredi

15 jan.
19h00

Forum
Gaîté Lyrique
3 bis rue Papin - 75003 Paris / Métro: Arts et Métiers, Réaumur Sébastopol - lignes 3, 4, 11
Entrée libre / Pass et accréditation: accès prioritaire

Séance spéciale. La Ribot

En présence de l’artiste, et de Marcella Lista, historienne d’art et responsable de la programmation art contemporain au Musée du Louvre.
la ribot: Film noir 001 // 002 // 003 | Vido | hdv | couleur et n&b | 28:0 | Suisse | 2015 voir plus
la ribot
Film noir 001 // 002 // 003
Vido | hdv | couleur et n&b | 28:0 | Suisse | 2015

Dans FILM NOIR 001 (2014), La Ribot fait apparatre les extras de deux pplums, Spartacus de Stanley Kubrick et Le Cid dAnthony Mann, tourns dans lEspagne des annes 60. Tmoignage des mouvements politiques et sociaux de cette poque, le film construit le fond de lhistoire travers des corps anonymes. Dans FILM NOIR 002 (2015), la srie continue avec les corps de figurants ou travailleurs de plusieurs films, nous laissant ainsi contempler la splendeur de leur jeu. Dans FILM NOIR 003 (2015), laspect spatial et chorgraphique nous saute aux yeux. Musicalement organiss, les figurants remplissent lespace du fond, crant un ballet sensuel et drle, parfois catastrophique, toujours impeccable.

Lartiste et chorgraphe La Ribot est ne Madrid. En 1986, elle co-fonde le groupe Bocanada Danza et le co-dirige jusqu sa dissolution en 1989. Deux ans aprs, elle commence travailler sous le nom de La Ribot et elle inaugure le striptease humoristique Socorro! Gloria!, une pice qui attire un nouveau public et qui lui inspire sa srie solo intitule 13 Pices distingues. Ms distinguidas, la seconde srie des Pices distingues, est inaugure Madrid la fin de lanne 1997. Suivi dautres srie des pices : Still Distinguished, 2000 et PARAdistinguidas, 2011. Panoramix, la version anthologique de trois heures rassemblant les trente-quatre premires Pices distingues, est inaugure en 2003 la Tate Modern et a voyag ensuite dans dautres institutions europennes, telles la Reina Sofa de Madrid ou le Centre Pompidou Paris. En 2000, La Ribot amorce son travail vido, et exprimente plus particulirement lutilisation du plan-squence, tourn du point de vue du corps impliqu dans une performance. Cette approche a irrigu de nombreuses oeuvres depuis les annes 2000, dont linstallation Despliegue, 2001, et le travail complexe men avec la pice Mariachi 17, 2009. La mme anne, elle prend comme base Mariachi 17 afin de mettre en place Llmame Mariachi, un nouveau travail mlant vido et performance live des trois interprtes. En 2004, La Ribot arrive Genve, en Suisse. Elle y fonde et co-dirige entre 2004 et 2008 Art/Action, un dpartement destin lenseignement et la recherche du live art bas la Haute cole dArt et de Design (HEAD) de Genve. Les annes 2000 voient aussi le dveloppement de la pice participative de grande envergure 40 Espontneos, 2004 ; lance en 2006 lArt Unlimited de Ble, la pice Laughing Hole ; et Gustavia, 2008, un duo conu et jou avec la danseuse, chorgraphe et directrice du Centre National de la Danse de France, Mathilde Monnier. En 2011, elle lance PARAdistinguidas, une nouvelle srie des Pices distingues conue pour cinq danseuses et vingt figurants volontaires ; en 2012 elle achve EEEXEEECUUUUTIOOOOONS!!!, une commande chorgraphique majeure du Ballet de Lorraine Nancy, en France. Le travail vido de La Ribot est prsent au sein de collections prives et publiques dans toute lEurope et elle continue dvelopper et prsenter son travail linternational. Elle a particip des expositions au Japon, en Core du Sud et Mexico: en 2012, le MUAC (Mexico Citys Contemporary Art University Museum) a inaugur son espace dexposition de live art en proposant une exposition monographique sur son oeuvre. En 2014, aux cts du compositeur et pianiste Carles Santons, elle a produit Beware of Imitations!, une vido hommage la danseuse amricaine Loie Fuller. Elle poursuit son travail linternational depuis sa base situe Genve, en Suisse, o elle vit avec le chorgraphe suisse Gilles Jobin.


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La Ribot revisite des films de l’histoire du cinéma. Dans «Film noir 001», La Ribot fait apparaître les figurants de deux péplums, «Spartacus» de Stanley Kubrick et «Le Cid» d’Anthony Mann, tournés dans l’Espagne des années 60. Témoignage des mouvements politiques et sociaux de cette époque, le film construit le fond de l’histoire à travers des corps anonymes. Dans « Film noir 002», la série continue avec les corps de figurants ou travailleurs de plusieurs films, nous laissant ainsi contempler la splendeur de leur jeu. Dans « Film noir 003», l’aspect spatial et chorégraphique est central. Musicalement organisés, les figurants remplissent l’espace du fond, créant un ballet sensuel et drôle, parfois catastrophique, toujours impeccable.


vendredi

15 jan.
20h00

Projection
Gaîté Lyrique
3 bis rue Papin - 75003 Paris / Métro: Arts et Métiers, Réaumur Sébastopol - lignes 3, 4, 11
Entrée libre / Pass et accréditation: accès prioritaire

"Eco-système"

Jonas matauschek, Culurgioni, Emerson: Leuna | Doc. exprimental | hdv | couleur | 13:0 | Allemagne | 2013 voir plus
Theo prodromidis: Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials | Fiction exprimentale | 0 | couleur | 16:0 | Grce | 2013 voir plus
Lina selander, Oscar Mangione: The Offspring Resembles the Parent | Film exprimental | hdv | couleur et n&b | 13:44 | Sude | 2015 voir plus
Jonas matauschek, Culurgioni, Emerson
Leuna
Doc. exprimental | hdv | couleur | 13:0 | Allemagne | 2013

In the course of one day, the flm follows various characters in their local environment, which is infuenced by the presence of an industrial plant. Their individual sights tell about the relation between human being and industry.


Jonas Matauschek 1987 born in Dresden, Germany 2007 2014 studies of photography at the Academy of Visual Arts, Leipzig since 2015 Meisterschler in the class of Prof.Peter Piller, Academy of Visual Arts, Leipzig Emerson Culurgioni 1986 born in Munich, Germany 2007-2009 studies of visual communication at the Free University of Bolzano 2010 - 2014 studies of media art at the Academy of Visual Arts, Leipzig currently Meisterschler in the class of Prof. Clemens von Wedemeyer, Academy of Visual Arts, Leipzig

Theo prodromidis
Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials
Fiction exprimentale | 0 | couleur | 16:0 | Grce | 2013

The video installation Towards the production of Dialogues On The Market Of Bronze and Other Precious Materials has as a starting point of reference Bertolt Brechts The Messingkauf Dialogues, a theoretical work in a dialectical form that dates back to 1939 and was written in four different versions in a period of four years but remained incomplete. The work situates a reinterpreted version of Brechts work, connected to the socio-economic circumstances regarding contemporary society and the implications that these may cause, in the structures of a monetary policy, and its reverberations in the cultural sphere. Based on Brechts four nights structure the artist aims to provoke correlations regarding two structures, the structure of politics and the structure of finance using their architectural form and specificities as a visual starting point. The work motivates the viewer to contemplate all the above elements in a manner that the aesthetic experience of viewing it produces a platform for the critical engagement of the spectator with the socio-political signifiers that are presented. Theo Prodromidiss video installation has a specific social context, to collective and private experiences as a consequence of politico-economic and political-cultural locations that are densified in a narrativized, critical and poetic process. Katerina Nikou, co-curator of AGORA text for the guidebook of AGORA, 4th Athens Biennale, Greece


Theo Prodromidis born in Thessaloniki in 1979, lives and works in Athens, Greece. He studied Contemporary Media Practice at the University of Westminster and was awarded an MFA in Fine Art at Goldsmiths in 2007, in London, UK. His work has been exhibited in galleries, museums and festivals such as Stavros Niarchos Foundation Cultural Centre, 5th Thessaloniki Biennale, 4th Athens Biennale, Athens & Epidaurus Festival, Kunsthalle Athena, Ileana Tounta Art Centre, Werkleitz zentrum fr medienkunst, Contour Mechelen, State Museum of Contemporary Art, Tramway, Glascow, Centre Pompidou, Fondazione Merz, Museum of Cinema, Thessaloniki, Macedonian Museum of Contemporary Art i.a. He has been awarded with European Media Artists Award (EMARE), 2008 and Onassis Foundation Award, 2006.

Lina selander, Oscar Mangione
The Offspring Resembles the Parent
Film exprimental | hdv | couleur et n&b | 13:44 | Sude | 2015

The Offspring Resembles the Parent (2015) is a new film made for the 2015 Venice Biennale. Like Selanders earlier works, it takes as its starting point a specific event or situation of crisis within societyin this case the current economic state and our increasingly crumbling faith in the monetary systems, with links to the European situation during World War I and the interwar years. A major part of the films imagery consists of Notgeldemergency banknotesoften colourful and with a strong visual impact, printed on paper or fabric. Their obviously fictitious characterthey represent gigantic figures points to the imperceptible flows within todays digital economies. Not unlike language, economic value is built on an agreement, a mutual understanding. The fictitious reality of finance only reveals its relation to the human, the body, to work and to nature in a situation of crisis in which the human conditions and connections to colonialism and warfare become clear.


Lina Selander is one of Swedens most innovative moving image artists. Her films and installations often focus on junctures in history where a system or physical place collapses and something new begins to emerge; the narrative of mechanical cinema giving way to that of digital video, or a political or economic system plummeting into a new one. Her works revolve around images as memories, imprints and representations. Selanders process is similar to that of the scientist or poet. Each work constitutes a dense archive of facts and observations, occasionally in dialogue with other films, works of art or literature. The precise, rhythmic editing and use of sound in her films generate a unique temporality and strong internal pressure, and take intuitive leaps between associations and meanings. Selanders work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet, VOX - centre de limage contemporaine, Montral and in international group shows, biennales and festivals, for example in the Venice Biennale 2015, The Kiev Biennale, Seoul Media Art Biennale 2014, Manifesta 9-European Biennal of Contemporary Art 2012, and the Bucharest Biennale 4, 2010. .... Oscar Mangione works with Lina Selander and has participated with her in several exhibitions. From 2006 to 2012 he edited and wrote for the magazine and art project Geist and took part in the following exhibitions, performances and projects: verlmningen, Konsthall C, 2013; Suurlandsvegur, The Reykjavk Arts Festival, 2012; The Spiral and the Square, Bonniers Konsthall, 2011/12; Geist in Therapy, The Studio, Moderna Museet, 2009; Role Critique, Iaspis at the Venice Biennale, 2009; Geist on Speed, Index, 2008.


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Jonas Matauschek explore le voisinage d’une grande usine. Les visions individuelles évoquent la relation entre lien social et industrie. En se basant sur la structure du texte de Brecht, «L’achat du cuivre», Theo Prodromidis établit des corrélations entre la structure politique et la structure de la finance, en utilisant leur forme architecturale et leurs spécificités comme point de départ visuel. Lina Selander et Oscar Mangione interrogent le caractère fictionnel des «monnaies de nécessité» émises en temps de crise, notamment pendant la première guerre mondiale et les années de l’entre deux guerres, et établissent un parallèle avec notre époque contemporaine.


vendredi

15 jan.
21h00

Projection
Gaîté Lyrique
3 bis rue Papin - 75003 Paris / Métro: Arts et Métiers, Réaumur Sébastopol - lignes 3, 4, 11
Entrée libre / Pass et accréditation: accès prioritaire

"Spectrographies"

Benjamin ramrez prez: A Fire in My Brain That Separates Us | Film exprimental | hdv | couleur | 17:10 | Allemagne | 2015 voir plus
Dorothe smith: Spectrographies | Fiction exprimentale | 4k | couleur | 59:0 | France | 2015 voir plus
Benjamin ramrez prez
A Fire in My Brain That Separates Us
Film exprimental | hdv | couleur | 17:10 | Allemagne | 2015

In an initially deserted room objects slowly begin to move; they are manipulated from the off-screen space, being pulled and dragged by strings, cables or the carpet. Thus a ghostly choreography emerges, with the objects taking on a life of their own, vanishing and reappearing. The control of these processes from the off-screen is made visible, by showing the strings attached to the objects as well as parts of the acting persons on the edge of the frame. This is accompanied by superimposed subtitles, which consist of a collage of existing film dialogue: Lines from the sub-genre of gaslighting films are combined, taking the eponymous Gaslight (1944) as a starting point. A text assemblage on seduction and betrayal unfolds. At the same time the ambient lighting of the room gradually becomes increasingly colored, reaching an almost excessive saturation point as off- and on-screen space become reversed and a muffled pop music penetrates the room. A kind of karaoke video comes into being with the music like many elements of the film taking on the notion of a copy of something vaguely familiar.


Benjamin Ramrez Prez, born in Hutthurm, Germany. Lives and works in Cologne. Studied at the Academy of Media Arts Cologne from 20092015. His works have been screened at Locarno, Edinburgh and Toronto International Film Festival, among others. In 2013, he was awarded the Prize of the German Federal Association of Film Journalists for Best Experimental Short. In 2015, he received the Chargesheimer Scholarship for Media Arts by the City of Cologne.

Dorothe smith
Spectrographies
Fiction exprimentale | 4k | couleur | 59:0 | France | 2015

Au fil dune nuit fantastique, un personnage arpente sans fin des avenues froides et nues, des institutions dsertes, des non-lieux inhabits, en marche, en qute, solitaire - guettant les apparitions de fantmes venant se glisser dans son sillage. Suspendu aux tl-technologies (tlphone, puce lectronique) de lintime, il semble se nourrir de labsence dun tre aim, ailleurs, loin, intouchable, dont labsence hante sa dambulation.

Dorothee Smith est une photographe ne au milieu des annes 80, cest une enfant de la chute du mur de Berlin, cet vnement qui marque la fin dune re, celui de la guerre froide du capitalisme rpublicain contre le communisme sovitique, et le dbut dune autre, celui de la guerre informelle entre loccident judo-chrtien et les extrmistes islamiques (Palestine, Irak, Iran, Afghanistan). Cest aussi lenfant du mouvement queer, avec ses identits fleurissantes et sa nouvelle philosophie du corps. Cest encore et enfin lenfant de la catastrophe de Tchernobyl, dune plante maltraite car trop pollue, dune terre nuclaire menace de destruction. Cest un peu ce court morceau dhistoire, qui a un peu plus de vingt ans maintenant, que lon retrouve dans le sampling visuel de la photographe plasticienne.


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Benjamin Ramírez Pérez réalise une chorégraphie fantomatique d’objets dans une maison vide, qui disparaissent puis réapparaissent, actionnés par un manipulateur qui reste hors champs.
Avec «Spectrographies» Dorothée Smith suit un homme tourmenté, qui cherche ce que les autres veulent éviter, un fantôme. Il essaie de combler le vide laissé par l’absence d’un amour perdu. Le film transpose l’idée de Derrida, selon laquelle le cinéma est la science des fantômes.


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