Programme Berlin 2016
15h00 17h00 19h00
Theatersaal
Auditorium
jeudi

17 mars
15h00

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

"Non résolu"

Simon gerbaud, X: saVer | Vidéo | hdv | couleur | 5:0 | Mexique | 2014 voir plus
Cecilia lundqvist: Tilt | Animation | hdv | couleur | 5:6 | Suède | 2014 voir plus
Brit bunkley: Oil Petals (Pillar of Cloud) | Vidéo expérimentale | hdv | couleur | 3:42 | Nouvelle-Zélande | 2015 voir plus
John skoog: VÄRN | Doc. expérimental | 4k | | 14:45 | Danemark | 2014 voir plus
Elske rosenfeld: Ein bisschen eine komplexe Situation | Doc. expérimental | hdv | couleur | 14:44 | Autriche | 2014 voir plus
Eleonore de montesquiou: Relatively Small Circles | Doc. expérimental | hdv | couleur et n&b | 9:35 | Russie | 2015 voir plus
Anthony haughey: UNresolved | Doc. expérimental | hdv | couleur | 17:22 | Bosnie-Herzégovine | 2015 voir plus
Simon gerbaud, X
saVer
Vidéo | hdv | couleur | 5:0 | Mexique | 2014

Le projet saVer se compose de 10 vidéos, il se présente sous différentes formes (vidéos, installations interactives, sérigraphies et sculptures) qui sont aussi bien simultanées que discossiées. saVer commence avec la fabrication d`animations courtes dans lesquelles on peut voire des objets disparaître peu à peu (chaussure, ordinateur, chaise, réfrigérateur, crâne animal…). Pour réaliser les séquences animées, une photographie est prise à chaque étape de destruction de l`objet (entre 60 et 900 photographies) qui est découpé ou poncé afin de retirer de la matière. Chaque découpe est un tracé, une façon de dessiner et il en résulte une forme singulière, une invention par laquelle l`objet adopte une silhouette qui était potentiellement en lui: on dit d`ailleurs d`un archéologue qui découvre un site qu`il "l`invente", par la mise au jour d`une figure enfouie. Si ce travail de destruction ne respecte pas un schéma ou un mode d`emploi préétablie, il permet pourtant de voire les traces du mode de conception et de fabrication des objets (coutures, assemblages, solutions techniques et mécaniques, idées et gestes). Le verbe savoir (saVer en espagnol) est le titre de ce projet, verbe double (sa/voir) qui met en lumière le rapport de la connaissance et de la vue.

Simon Gerbaud ( Auxerre, France, 1976) est artiste visuel. 
Après des études théoriques en Arts Appliqués à la Sorbonne, il explore le dessin et l’animation de manière autodidacte en réalisant des courts métrages, des flipbooks et des installations interactives. Il a entre autres participé à des expositions et des festivals au Mexique, en Espagne, en France, en Hollande, en Russie, en Chine et en Iraq. Son court métrage LIBER a reçu plusieurs récompenses: Meilleure animation mexicaine au CutOut Fest (Querretaro, Mexique, 2014) et au festival Animasivo (Mexico DF, 2015); son projet saVer a reçu le Prix de l`oeuvre d`art numérique de l`année de la SCAM (Paris, France, 2015). Il vît et travaille à México depuis 2005.

Cecilia lundqvist
Tilt
Animation | hdv | couleur | 5:6 | Suède | 2014

The animated video "Tilt" describes a deep relation that is abruptly broken up and as a result, the existing life is turned into ruin. The video is a contemplation of a human being’s inability to comprehend its own transience.


Working almost exclusively with animated art, mostly as single channel videos. Through animating my own drawings, I am mediating tales of human relationships and not shying away from life’s darker and more destructive sides. Since 1994 I’ve created over 30 videos, works that generally are narrative and deal with issues like domestic violence, power structures and human behaviours.
My works have all been screened at numerous occations worldwide and I’m represented at several art institutions, among them Moderna Museet in Stockholm and Centre Georges Pompidou in Paris.

Brit bunkley
Oil Petals (Pillar of Cloud)
Vidéo expérimentale | hdv | couleur | 3:42 | Nouvelle-Zélande | 2015

Oil, ghost towns and dust devils are aligned as tropes of climate change. Tornado-like dust devils, as canaries in the coal mine, are increasingly common in hot, barren deserts and in drought stricken areas of the world. I imagined spilling flower petals into the path of dust devil so that it would create a colorful vortex of swirling petals. I recently found a few dust devils during each of my 3 trips to the California desert, but they are fast, dissipate quickly and mostly too far off the road to catch…always just ahead of my car. When I was ready to give up looking after my third desert trip and was focusing my camera on abandoned school, a well-formed small dust devil appeared about 10 meters to my right. I turned my camera on a tripod towards it, snatched a bag of flower petals that I had bought at LA`s flower district and ran into the small vortex dumping the contents. It grabbed the petals and dumped them over a nearby road.


Brit Bunkley is a New Zealand based artist whose current art practice includes public art, sculpture, installation, and video. He designs his work using digital 3D modelling, video and image editing programs… emphasising majestic landscapes, human revelry and an oblique sense of apocalyptic anxiety tempered with whimsy and irony. Brit is represented in numerous international collections and has completed a dozen permanent and temporary public art projects. He is a recipient of a New York State Fellowship grant, a New York State Council on the Arts project grant, a USA National Endowment for the Arts Fellowship and the American Academy Rome Prize Fellowship. He has completed more than a dozen temporary and permanent public art projects including the commission Hear My Train in Wanganui, New Zealand completed in 2012 and a public screening at the Oslo Central Station, Oslo Screen Festival in collaboration with Kunsthall Oslo, Oslo, Norway autumn 2013. Recent international group exhibitions and screenings include 2015 at the SESI` Cultural Centre Sao Paulo, Brazil, the Berlin International Director’s Lounge 2014 and the Moscow Museum of Modern Art. Bunkley’s most recent solo exhibition, The Happy Place opened at the Sanderson Contemporary Art, Auckland, NZ November 2014.

John skoog
VÄRN
Doc. expérimental | 4k | | 14:45 | Danemark | 2014

In the early 1940’s the farm-worker Karl-Göran Persson started to fortify his small house in the flat farmlands of southern Sweden. He wanted to build a place where he and the people in the village could find refuge in the event of a Soviet invasion. He took any metal he could get cheap or for free from the neighboring farmers and used it as reinforcement for the cement casting of the house`s new exterior walls. Karl-Göran lived alone in the house and continued his re-construction until his death in 1975.


Working with film and video John Skoog follows in the tradition of Scandinavian film making through the use of stark landscapes and slow pacing. The poetic use of the Swedish landscape and powerful studies of character and emotion evoke memories of film works by cinema greats such as Victor Sjostrom and Mauritz Stiller. Skoog has been awarded the Baloise Art Prize, Art Basel (2014), ’1KM film scholarship’ from Stockholm Film festival (2013), the Hessische Kulturstiftung travel grant (2013), the ARS-VIVA Prize (2013/14), Malmö Art Museum 2013 Art Grant, Aase & Richard Björklund fund, and the ARTFILM Prize, Lichter International Film Festival (2013) and a one year working grant from Stiftung Kunstfonds, Bonn (2014). As part of winning the Ars-Viva Prize 2013/14, Skoog has shown at Neues Museum Weimar, MMK Museum fur Moderne Kunst Frankfurt am Main and GAM – Galleria civica d’arte moderna e contemporanea Torino. In 2015, as the winner of the Baloise Art Prize, Skoog will have two major solo exhibitions at Museum für Moderne Kunst (MMK), Frankfurt am Main and Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK). Born in Kvidinge 1985, Skoog graduated from the Staedelschule, Frankfurt in 2012. Selected shows and festivals include: Slow Return, MMK Museum fur Moderne Kunst Frankfurt am Main (2015); 65th Berlinale, Berlin (2015); Real DMZ Project 2014, Cheorwon-gun, Gangwon-do & Artsonje Center, Seoul (2014); Redoubt, Towner Contemporary Art Museum, Eastbourne (2014); A Time for Dreams: 4th Moscow International Biennale for Young Art, National Centre for Contemporary Arts (NCCA), Moscow (2014); Ars Viva Prize: Truth/Reality, MMK Museum fur Moderne Kunst Frankfurt am Main; GAM Galleria civica d’arte moderna e contemporanea, Turin (2014); Taming the Narrative, Basis as a part of b3 Biennale, Frankfurt am Main (2013); Echo Release, NKV Nassauischer Kunstverein Wiesbaden, Wiesbaden (2013); Internationale Kurzfilmtage Oberhausen (2014 & -13); Video_Dumbo, Eyebeam Art + Technology Center, New York (2013); Spectrum Rotterdam International Film Festival, Rotterdam (2013); Sent på Jorden, Art Lab Gnesta, Gnesta (2013); Indielisboa, Lisbon International Film Festival, Lisbon, (2014 & -12), Rencontres Internationales: Paris, Centre Pompidou, Paris, (2014 & -11). John Skoog lives and works in Frankfurt.

Elske rosenfeld
Ein bisschen eine komplexe Situation
Doc. expérimental | 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, Zürich; 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 für 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

Eleonore de montesquiou
Relatively Small Circles
Doc. expérimental | hdv | couleur et n&b | 9:35 | Russie | 2015

The film is a portrait or rather a monologue of Kyril Zinovieff. He was almost 100 years old when we discussed his feelings and opinions about Russia. Kyril left us last year, when he 105 years old, and it is about time that I share these momentsand thoughts of his. Kyril Zinovieff was born in 1910 in Saint Petersburg. 
He was a child during the Russian Revolution, when his family fled to Estonia and then moved to England. A British intelligence officer, Kyril Zinovieff wrote historical essays about Russia and translated Russian novels.


Eléonore de Montesquiou (1970, Paris, France) is a French-Estonian artist. Her work revolves around the articulation between private and official histories, personal and national identities. It tackles the intricacies and ambiguities of living in the margins, based on her personal experience of uprootedness. Eléonore primarily working with video, she tapes testimonies, creating prosthetic memories of repressed histories. In her documentary-informed works, her camera becomes the voice of these voiceless people. Her work is based on a documentary approach, translated in films, drawings and texts; it deals mainly with issues of integration/immigration/meaning of a nation in Estonia, giving voice to the Russian community.

Anthony haughey
UNresolved
Doc. expérimental | hdv | couleur | 17:22 | Bosnie-Herzégovine | 2015

UNresolved reflects on the twentieth anniversary of genocide in Srebrenica, where in 1995 more than 8000 men and boys were systematically murdered by the Bosnian Serb army of Republika Srpska (VRS). The title relates to the UN Security Resolution 819, passed on the 16th April 1993 declaring Srebrenica as a ‘safe’ area for refugees – the prelude to what was the largest act of genocide in Europe since the holocaust. Following Haughey’s earlier work in Bosnia, between 1998-2002, he gained exclusive access to buildings and atrocity sites in Serb controlled territory, areas that have hitherto been off limits. Since completing the film in early 2015 the building where the Dutch UN was based has been renovated. As a result Unresolved is also an important historical document which captures the building in its original state. The film includes eyewitness accounts of massacre victims collated from archives such as Human Rights Watch and also directly from people encountered on research visits to Bosnia, with accounts of resistance and survival, testimonies from young Dutch soldiers who were serving in Srebrenica and conflicting accounts from UN personnel and Serb military commanders. The film explores ideological and political narratives informing this emerging and contested history.


Anthony Haughey is an artist and a lecturer in the Dublin Institute of Technology. He was Senior Research Fellow (2005-8) in Belfast School of Art, where he completed a PhD in 2009. His work has been widely exhibited and collected nationally and internationally, most recently Uncovering History, Kuunsthaus Graz, Excavation, Limerick City Gallery where he premiered his new film, Unresolved, Making History, Colombo Art Biennale Art of the Troubles, Ulster Museum, Belfast, Settlement, Belfast Exposed, Northern Ireland: 30 years of photography, the MAC and Belfast Exposed, New Irish Landscapes, Three Shadows Gallery, Beijing and Homelands, a major British Council exhibition touring South Asia. His work has been published in more than seventy publications, monographs include The Edge of Europe (1996), Disputed Territory (2006) and an artist’s book State (2011). His work is represented in many international public and private collections and he is an editorial advisor for the Routledge journal, Photographies. He was recipient of the Create Arts and Cultural Diversity Award 2014 and is currently working on a new film supported by a Projects Award from The Arts Council/An Chomhairle Ealaíon which will premiere in NYC in April 2016.


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Cecilia Lundqvist décrit l’incapacité de l’être humain à saisir la fugacité des choses. Simon Gerbaud fait progressivement disparaître des objets, dématérialisant l’existence des objets et la croyance que nous avons en eux. Brit Bunkley filme les tourbillons de poussière dans des villes abandonnées du désert californien. John Skoog filme la maison du fermier Karl-Göran Persson. Au début des années 40, celui-ci avait commencé à fortifier sa petite maison, pour offrir un refuge aux villageois en cas d’invasion soviétique. 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. Eléonore de Montesquiou fait le portrait monologue de Kyril Zinovieff, alors âgé de 100 ans. Il livre ses impressions au sujet de la Russie. Né en 1910 à Saint Petersburg, enfant pendant la Révolution russe, sa famille s’enfuit en Estonie, puis s’établit en Angleterre, où il devient officier de renseignement et traducteur. Anthony Haughey explore les narrations idéologiques et politiques, et propose une réflexion sur le massacre de Srebrenica, en 1995, où plus de 8000 hommes ont été tués par l’armée de la République serbe de Bosnie.


jeudi

17 mars
17h00

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

"Dispositifs"

Stéphane pichard: Fécampoise | Vidéo | hdv | couleur | 2:49 | France | 2015 voir plus
Zachary epcar: Night Swells | Vidéo | hdv | couleur | 5:14 | USA | 2015 voir plus
Nicolas tubery: Deman la tonda | Doc. expérimental | hdv | couleur | 11:11 | France | 2015 voir plus
Pat collins, Whooley, Sharon: Fathom | Doc. expérimental | hdv | couleur et n&b | 21:30 | Irlande | 2013 voir plus
Sarah vanagt, Katrien Vanagt: In Waking Hours | Doc. expérimental | hdv | couleur | 18:13 | Belgique | 2015 voir plus
Jean-françois reverdy: Matière Première | Doc. expérimental | hdv | couleur | 26:2 | Mauritanie | 2015 voir plus
Stéphane pichard
Fécampoise
Vidéo | hdv | couleur | 2:49 | France | 2015

FECAMPOISE réuni plusieurs notes qui peuvent-être vues indépendamment ou par assemblage, vous verrez ici « J`ai pourtant bien essayé de te voir » et « Dites-moi que je rêve ». FECAMPOISE est un « docu-fanfare » comme on dit « docu-fiction », une sorte de comédie musicale. Voir les couvertures de survies -« Sound of music » (Y. Duyvendak)- qui dégringolent du plafond poussant les danseurs vers le quatrième mur jusqu`à ne plus pouvoir danser. Fin. Nous incluant, fin. Comme ces gens -« La fièvre dans le sang » (E. Kazan)- qui en 29, à Wall Street, se jetaient des tours. J`ai pourtant bien essayé de te voir.

Stéphane Pichard est né en 1968 à Nanterre. Diplômé en 1993 de l’ENSBA de Paris, il continue ses études à l’University of British Columbia dans le programme Master of Fine Arts, à Vancouver Canada, puis poursuit ses recherches à Paris VIII et à l’INA. Stéphane Pichard vit et travaille à Paris.

Zachary epcar
Night Swells
Vidéo | hdv | couleur | 5:14 | USA | 2015

And you love that humid atmosphere/ And you look so lush under glass.


Zachary Epcar (b. 1987, San Francisco) is a film and video maker currently based in Oakland, California. His work has shown at the New York Film Festival - Projections, Ann Arbor Film Festival, San Francisco Cinematheque’s Crossroads, FLEXfest, Images Festival, 25 FPS, and the Rotterdam, Edinburgh, and San Francisco International Film Festivals.

Nicolas tubery
Deman la tonda
Doc. expérimental | hdv | couleur | 11:11 | France | 2015

Le dispositif de tournage se développe autour de la lourde planche de bois sur laquelle le paysan y déposera ses brebis une après l`autre pour les aléger de leur laine. L`oeil des caméras disposées sur la structure d`acier accompagne de l’intérieur le déroulement de l’événement, s’appuyant sur les mouvements et les points de vue des barrières. Révélant une chorégraphie de l’effort et du travail des bêtes, Deman La Tonda propose en même-temps d’envisager les mécanismes de la vidéo et du sujet filmé comme un tout, un seul et même acte

Filmer, se faire le témoin d’une action particulière, prélever des morceaux du réel et les assembler, donner une autre vision du spectacle en partant du quotidien. Les films de Nicolas Tubéry sont des témoignages subjectifs sans débuts ni fins, la mise en forme d’une manière de voir et d’être face aux choses. Dans sa volonté de rendre compte d’une situation, d’une atmosphère spécifique, il n’hésite pas à confronter les oppositions. Deux approches cinématographiques contradictoires sont utilisées selon les oeuvres, à savoir la mise en scène minutieuse et toutes les contraintes techniques qui y sont liées, et le cinéma direct caméra au poing qui autorise plus de spontanéité. Dans les deux cas, le hors-champ prend une place aussi importante que l’image elle-même, il en devient indissociable pour tenter de saisir les films dans leur globalité. Ce qui est donné à voir n’est qu’une partie de ce qui doit être vu, le spectateur ne peut pas se contenter de regarder passivement, il est conduit à plonger hors du cadre. Parfois le sujet est ailleurs, comme dans Rodeo où cheval et cavalier sont quasiment absents de l’image, occupée à saisir l’environnement, capter ce qui gravite autour de l’action principale. Ou bien à l’inverse c’est l’ailleurs qui est rendu invisible. Emballeuse nous fait suivre, par plans très rapprochés, chacun des mouvements d’une machine à compacter les bottes de paille. Chaque centimètre carré de l’emballeuse est disséqué par de lents mouvements de caméra. Toute perspective est bannie, pas un aperçu de l’espace alentours ne filtre. Cette décontextualisation quasi permanente isole les personnes ou les objets pour en faire des centres d’attention inhabituels. On retrouve souvent, comme dans Tsukiji, les techniques propres au cinéma comme le ralenti, l’utilisation d’une bande sonore, la mise en place d’une tension grandissante qui mène au climax. Mais à l’inverse du cinéma ces effets sont vains, ils ne servent pas la narration mais valent pour eux-mêmes, influant sur la manière d’observer l’action qui se joue à l’écran. Ils permettent seulement de déclencher une appréhension chez le spectateur, qui par habitude des images rentre dans l’intrigue et s’attend à un déroulement logique, à une suite qui finalement n’arrive jamais. Nicolas Tubéry cherche ainsi à retranscrire une vision personnelle, nous montrer une chose sous un angle bien précis pour nous contraindre à regarder de la même manière que lui, en nous invitant à voir au-delà. Aurélien Pelletier,2011 Formellement très différentes les trois oeuvres de Nicolas Tubéry s’articulent autour du même axe : l’attente d’un évènement spectaculaire à venir, qui n’arrive pas. Gros plans, tensions palpables Nicolas Tubéry nous propose une réflexion en trois actes sur la grammaire cinématographique et plus particulièrement sur le cadrage. L`artiste en appelle à nos capacités de narration, tout en jouant avec nos attentes. Il laisse le mystère entier… partiellement, puisque les titres font figure de prétérition. Supporter pose la question des frontières entre réalité et fiction en mettant en scène des gestes expressifs pouvant fonctionner comme emblème. Rodéo travaille l’omniprésence du hors-champ à partir de la bande son. Ces deux films pourraient être engloutis tout entier dans Screen qui les place hors-champ, pour ne s’intéresser qu’au phénomène de la projection. Leila Simon pour Jeune Création 2011 Dans son installation vidéo, Nicolas Tubéry met en regard trois moments suspendus, plongeant le spectateur dans une véritable frustration. Littéralement « en attentes », l’œuvre autant que celui qui la regardent abandonnent toute action, toute résolution. Car ce tryptique Rodeo, Screen et Supporter mêlant un cadre de projection vide, une foule en attente d’un évenement et ce qui ressemble à la fin d’un spectacle offre trois temporalités « déviantes » qui se répondent et viennent s’amplifier en jouant sur l’incidence d’un temps non pas seulement révolu mais bien condamné à ne plus jamais “passer”. Guillaume Benoit pour Slash Magazine,2011

Pat collins, Whooley, Sharon
Fathom
Doc. expérimental | hdv | couleur et n&b | 21:30 | Irlande | 2013

The Fastnet Lighthouse is built on a pinnacle rock about 7km off the South West coast of Ireland. It is surrounded by water on all sides. `Fathom’ is a non-narrative, meditative film on isolation and thinking framed by this Lighthouse . The lightkeepers who worked here sometimes spent weeks at a time in their tower, out in the middle of the sea. In this film we are using the lighthouse to evoke the idea that, we are, in an important sense, the places that we inhabit.


Sharon Whooley and Pat Collins of Harvest Films have been making films for nearly 20 years. The films have been shown both nationally and internationally. Pat Collins wrote and directed his first feature film Silence in 2012. It was chosen by Geoff Andrew in ‘Sight and Sound’ magazine as one of his top 5 films for 2013. A CD of the sounds from ‘Silence’ , was launched in November 2015 by Farpoint Recordings. The Irish Film Institute hosted a mid-screen retrospective of Pat Collins` work in 2013. His second feature film, ‘Song of Granite’ on Irish traditional singer Joe Heaney starts shooting in March 2016. Sharon Whooley was co-writer on ‘Silence’ and ‘Song of Granite’. She is currently filming ‘Distance’ , a experimental film on memory and place for the Arts Council of Ireland. Most recently, `Fathom` was screened at the Institute of Contemporary Arts in London and at the Galway Arts Festival in Ireland.

Sarah vanagt, Katrien Vanagt
In Waking Hours
Doc. expérimental | hdv | couleur | 18:13 | Belgique | 2015

With the publication of the Ophthalmographia in 1632, the Amsterdam physician Vopiscus Fortunatus Plempius sheds new light on the age-old question of how seeing works. His answer is an invitation to experiment: Enter with me into a darkened room and prepare the eye of a freshly slaughtered cow. He emphasizes that anyone may carry out this experiment, at home, "demanding little effort and expense." “And you, standing in the darkened room, behind the eye, shall see a painting that perfectly represents all objects from the outside world,” promises Plempius. In the short film In Waking Hours we see historian Katrien Vanagt - who studied the Latin writings of this Plempius - cloaked in the skin of a 21st-century disciple of Plempius. Her cousin, filmmaker Sarah Vanagt, is there and captures how this modern "Plempia" meticulously follows her teacher`s instructions. Thus, in a dark kitchen in Brussels, they become witnesses at the birth of images upon the eye.


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 film In Waking Hours (2015) premiered at the International Film Festival Rotterdam. Vanagt`s most recent film Still holding still (2015) was first shown at Idfa Amsterdam, after its Belgian première on 22 October 2015 (Beursschouwburg, Brussels).

Jean-françois reverdy
Matière Première
Doc. expérimental | hdv | couleur | 26:2 | Mauritanie | 2015

"C’est un périple qui s’inscrit dans une région désertique, de l’exploitation des carrières de fer à l’acheminement du minerai jusqu’à l’Océan, à bord du plus long train du monde. Bientôt, les plages jonchées d’épaves annoncent la fin du voyage, tandis que s’amoncelle, sur les cargos amarrés, le précieux minerai, en partance pour les pays riches. Ce film utilise le dispositif antique du sténopé, technique des premières captures du réel : un simple trou dans une feuille opaque remplace l’objectif de la caméra. Une perception inhabituelle de la lumière du désert, de ses formes et de ses couleurs, des hommes et des machines qui l’habitent."

Chef opérateur notamment sur les documentaires « Escort » de Hélène De Crécy (2012), « United state of amnesia » de Nicolas Djian, « La consultation » de Hélène De Crécy, il réalise un essai "vidéo sténopé" en 2003 dans le cadre des ateliers de recherche d`Arte (Paul Ouazan). Il travaille actuellement comme chef opérateur pour des émissions de Canal Plus. » Matière Première » est son premier film.


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Stéphane Pichard réalise est un «docu-fanfare», comme on dit «docu-fiction», une sorte de comédie musicale. Zachary Epcar scénarise un paysage de nuit, et transforme de simples plantes en personnages hollywoodiens. Nicolas Tubery envisage les mécanismes de la vidéo et le sujet filmé dans un seul et même acte. Dans une bergerie, un dispositif de tournage singulier révèle une chorégraphie de l’effort et du travail. Pat Collins et Sharon Whooley filment un phare qui devient métaphore du processus filmique. Sarah et Katrien Vanagt recréent une expérience du 17ème siècle permettant l’observation du dispositif de la vision oculaire. Jean-François Reverdy utilise le sténopé pour restituer la lumière du désert et filmer les hommes qui l’habitent, dans une région désertique de Mauritanie, l’exploitation des carrières de fer et l’acheminement du minerai jusqu’à l’Océan, à bord du plus long train du monde.


jeudi

17 mars
19h00

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

"Une nuit au musée"

Arthur flÉchard: La Sémantique du mouvement | Fiction expérimentale | hdv | couleur | 2:35 | France | 2014 voir plus
Roswitha schuller, Markus Hanakam: Trickster | Film expérimental | hdv | couleur | 13:15 | Japon | 2014 voir plus
Bubi canal: Hologram | Fiction expérimentale | hdv | | 1:39 | USA | 2015 voir plus
Crispin gurholt: Please Kill Me Live Photo # 27 | Vidéo | hdv | couleur | 4:0 | Norvège | 2014 voir plus
Loic vanderstichelen, Loïc Vanderstichelen | Jean-Paul Jacquet: La cascade | Fiction expérimentale | 4k | couleur | 17:40 | Belgique | 2015 voir plus
Alexander glandien: Making of | Doc. expérimental | hdv | couleur | 30:0 | Autriche | 2015 voir plus
zapruder, Zamagni David & Ranocchi Nadia: Speak in Tongues | Doc. expérimental | hdv | couleur | 22:0 | Italie | 2014 voir plus
Arthur flÉchard
La Sémantique du mouvement
Fiction expérimentale | hdv | couleur | 2:35 | France | 2014

Misz en évidence du processus artistique du modèle de robot tondeuse “Automower 320”. A travers les points, lignes, courbes, il envisage son jardin comme un médium d’expérimentation où pelouse coupée rime avec composition esthétique.

Né à la Ferté Macée en 1988, Arthur Fléchard vit et travaille entre Paris et Bagnoles de l`Orne. Après un baccalauréat STAV (science technique de l`agronomie et du vivant) au lycée agricole ST Lô Thère en 2009, il entre à l`école des Beaux-Arts d`Angers. Pendant ses trois premières années, il expérimente les formats vidéos et les logiciels de programmations. A cette période, il se noue d`intimité avec les “défibrillateurs publics” pour lesquels il écrira un pamphlet et réalisera une installation pour son DNAP nommé “La Transhumance Fantastique”. Après l`obtention de celui-ci en 2012, il entre aux Beaux-Arts de Paris dans l`atelier Tania Bruguera. Pendant deux ans, son intérêt sera particulièrement centré sur la “mécanologie” et plus précisément sur les objets ménagers à intelligence sommaire. Il obtient son DNSEP en 2014.

Roswitha schuller, Markus Hanakam
Trickster
Film expérimental | hdv | couleur | 13:15 | Japon | 2014

In all chaos there is a cosmos, in all disorder a secret order. In C.G. Jungs sense the archetype as an object conduce to determination of a “big picture” - of wholeness - as a subject it serves as structure for universal and individual experiences. Like a role-play-gaming kit Markus Hanakam & Roswitha Schuller’s video-work Trickster provides a card index on archetypical places, figures, artifacts and actions; a mode of narration on a coherent world design. To support the layer of moving image a text layer is composed by assembling passages from a historical inventory catalogue of the National Gallery of Scotland. A traditional spectrum of subjects, mostly Genre painting like landscape and portrait, declares the semiotics of art historical reading and puts it into a gaming context.


Markus Hanakam was born 1979 in Essen, Germany. After studying two years at the University Essen (Faculty for Art and Design), 2000-2002, he graduated in 2006 with a Master degree in Art Education, 2009 Master degree in Sculpture and Multimedia from the University of Applied Art Vienna. Roswitha Schuller was born in 1984 in Friesach, Austria. She graduated 2007 with a Master degree in Art Education, 2009 Master degree in Sculpture and Multimedia from the University of Applied Art Vienna; she holds a Doctoral Degree in Art Sociology. Since 2004 they collaborate as duo, their work is shown at Museums and Festivals in an international context, including Videodumbo Festival 2013 at Eyebeam Center for Art and Technology, New York, Recontres Internationales 2012 at Palais de Tokyo, Paris, ISEA 2011, Istanbul, 4th Moscow International Biennale for Contemporary Art 2011. They gained several awards like the MAK Schindler Fellowship in Los Angeles as well as an Artist in Residency at the Citè International des Art, Paris. Their short Film “INVASION” is awarded as Jury Selection Work at Japan Media Arts Festival 2012. Markus Hanakam & Roswitha Schuller have been visiting curators at Medienwerkstatt Wien 2014.

Bubi canal
Hologram
Fiction expérimentale | hdv | | 1:39 | USA | 2015

Bubi Canal’s video, Hologram, depicts characters who embark on a journey from darkness and fear to light and love. According to Bubi, "the external world of Hologram is a manifestation of the characters` subconscious. They communicate with each other through a choreography that transforms them." Bubi believes that optimism and illusion are contagious and hopes that his work will have a similarly transformative effect on the viewer. Like a hologram, the coherent totality of Bubi’s universe can be accessed through each of the works on view. Every piece activates a dimension where memory, imagination, and reality are mutable and inextricably linked.


Bubi Canal is a Spanish-born, American-based artist. His work combines different types of media and artistic methods, including photography, video and installation, and deals with recurring themes of wishes, dreams, love and magic. Canal was born in Santander, Spain, in 1980. He studied at the University of the Basque Country in Bilbao, focusing on audiovisual arts and sculpture. He relocated to Madrid in 2004 and New York in 2011. His work has been shown at venues like the Centre Pompidou (Paris), Eyebeam Art+Technology Center (New York), AMA Art Museum of the Americas (Washington D.C.), MATADERO (Madrid), ADDAYA Centro de Arte Contemporáneo (Mallorca), CGAC Centro Gallego de Arte Contemporáneo (Santiago), and La Casa Encendida (Madrid) among others. In 2012, he taught a workshop at ICI Independent Curators International in New York. Canal’s Special Moment show was exhibited at Munch Gallery in 2012, his first solo showing in New York. In 2014, his work was featured on the cover of The British Journal of Photography. He has issued several publications like Canal, Manual and Dreamtime. Bubi Canal lives and works in Brooklyn.

Crispin gurholt
Please Kill Me Live Photo # 27
Vidéo | hdv | couleur | 4:0 | Norvège | 2014

The film Please Kill Me is a personal expression of my own account around the time we live in, pointing out one of our greatest challenges: The market and capital domination in the world. When economic growth is the strongest driving force, we experience increasing economic, social, cultural and, not least, enormous environmental challenges. It is no longer human, ideological or religious ideals that govern, but material growth. The feeling is this: We find ourselves not in a crisis resulting in radical restructuring, but are caught in a loop of repetition and denial, where genuine change appears impossible. In no way whatsoever does art stand outside this static situation. It stands in the midst of it and has no power to act as a genuine opposing force. The constant striving for ‘the new’ cannot expel the feeling that things are at a stand-still; the admonishment to establish micro-utopias in the increasingly sleek art institutions proves merely to repeat the imperative that each and every person should tend his or her own garden – or network; the mantra to summon ‘critical discourse’ does not hinder one’s thoughts from first and foremost revolving complacently around oneself. We know we are sitting in the same boat, and since we all know it is sinking, we try to sit as still as possible, so that at the very least it sinks slower. This is the artist`s confrontation with himself, the art scene and a world gone crazy spinning around itself, trapped in an eternal loop of repetition. In Please Kill Me the staged models have been assigned the same roles as they play in reality: In the gallery space you find the artist, curator, critic and gallerist frozen in a position where they are confronted with the allegation that art is dead.


Crispin Gurholt (b. 1965) is a Norwegian artist based in Oslo and Berlin. The density of his work reflects his versatility and the range of his studies, which in turn are essential to the creation of the highly composite universes of his Live Photos. Gurholt studied at the National Academy of Art in Oslo and The New York Film School SCE. He also has a background in scenography and directing. Since 2012 he has been teaching at The Art School of Rogaland in Norway. His Live Photos represent the sum of a wide-ranging expertise that, combined with social comment, presents a compelling picture of our time. Crispin Gurholt has an international reputation. His work and installations have been shown in Venice, Rome, Paris, Berlin, London, Copenhagen, Turin, Madrid, Cologne and Havana, as well as a number of major Norwegian art institutions. Gurholt is a receiver of the Norwegian Artist Grant since 2010.

Loic vanderstichelen, Loïc Vanderstichelen | Jean-Paul Jacquet
La cascade
Fiction expérimentale | 4k | couleur | 17:40 | Belgique | 2015

Norbert Piron, chercheur à l`IRPA (Institut Royal du Patrimoine Artistique), est mandaté par le musée des Beaux-Arts de Verviers afin de répertorier la collection destinée au nouveau Musée en construction et de préparer l`exposition inaugurale. Proche de la retraite, il fait de cette commande le point d`orgue de sa carrière. Épaulé par son assistant, l`universitaire Randy Paniandy, il analyse minutieusement les œuvres et tire des conclusions. Face au pragmatisme de Géraldine Leroy, responsable de la communication des Musées de Verviers, son point de vue scientifique se heurte à des sentiments émotionnels exacerbés qui le conduiront à une confusion mentale. Alors qu`il se trouve dans le creux de la vague, déstabilisé face à La Cascade de Gustave Courbet, une nymphe, vient lui apporter la solution à tous ses problèmes : une technologie révolutionnaire qui offre au regardeur l`ubiquité, la possibilité d`une hyper vision réaliste.

Loïc Vanderstichelen est un cinéaste indépendant qui vit et travaille à Bruxelles. Jean-Paul Jacquet un historien de l`art qui vit et travaille à Bruxelles.

Alexander glandien
Making of
Doc. expérimental | hdv | couleur | 30:0 | Autriche | 2015

The film "Making of" takes work as a topic into focus, showing the various working areas of a contemporary art museum with all those activities which usually remain invisible for visitors. Shot from the perspective of a small filmcrew different kind of workflows are documented as well as the preparation for an upcoming exhibition, while the crew itself is constantly observed in their efforts to create this film. Director, cameraman and sound operator move through all areas of the The State Gallery in Linz in an almost performative way. The ongoing visible presence of the camera raises questions about the relationship between the documented actions, their authenticity and manipulation. The depicted reality becomes visible as part of a media construction.


Alexander Glandien was born in 1982 in Schwerin (Germany) and he works as an artist in Vienna. Since 2009 he is artistic and scientific assistant at the Art University Linz. After his studies at the University of Wismar he attended studio grants in Indonesia, Italy, the Netherlands and Spain. His works have been awarded with the Talent Award of Upper Austriaand the Klemens Brosch prize and they are part oft the art collections of the federal government of Austria, the province of Upper Austria, the contemporary art collection of the City of Vienna and the Albertina in Vienna. He has had numerous exhibitions, most recently at the State Gallery Linz, Galerie 5020 in Salzburg, at Kadmium Art Centre in Delft, at the Moscow Museum of Modern Art and at the Albuquerque Museum of Art and History.

zapruder, Zamagni David & Ranocchi Nadia
Speak in Tongues
Doc. expérimental | hdv | couleur | 22:0 | Italie | 2014

Kitty came back home from on the island But kitty came on home without a name. To speak in tongues’ means to have the gift for mastering an unknown language while also being passed through by someone else’s word. In this telescopic and panoramic film of fac-simile et exempla, circularity at first, leads us right into the 360° view of a battle scene where the past is frozen within a tourist museum-device and the viewers with their camera are the actual subject. In sequence, concentric holes open up: a horse is performing a dance stepping backward; a fortune teller takes guesses on future circumstances and retrospective ones; the bodies of two gymnasts extend through their tools of artifice and grace, then we are taken on a ride across a Little Venice in miniature empty like a movie set. This spiral comes full circle in the silence of a lonely hunter on a Apennines tromp-l’oeil, a simulation park with fake birds and a mimetic wildermann: a carousel of the artificial where solitude is sound and nature is impermeable.  Proceeding by aphorisms, this film unfolds into a number of articulations and dimensions, all exceptionally true and false, like in an almanac of vision.


ZAPRUDERfilmmakersgroup is a collective formed by David Zamagni, Nadia Ranocchi and Monaldo Moretti. Founded in 2000 and based in the hills between Cesena and Rimini, the group is the author of film projects and art installations that have been shown in major international film and art festivals. Zapruder’s fervent production relies on a ferocious and comic analysis of the human condition whose tragic destiny becomes a metaphysical place where they explore the language of representation, forging a surreal and poetic portrait. The group film-projects are often flexible cinematic devices, which Zapruder defines as `Chamber Cinema` sort of incarnated environment and disembodied theatre, poised between visual and performing arts. Vision becomes experience of time, long shots prevail and draw a polycentric spatial scene that allow the eye to open on the enigma of vision rather than narrowing on the narrative anecdote. Zapruder’s projects are written and directed by David Zamagni and Nadia Ranocchi. David Zamagni ( b. 1971, Rimini) During his cinema studies in Bologna at DAMS, in 1994 he joins the theater company ‘Motus’ to later become icon actor of the performance `Catrame` (1996). In 1998, with Enrico Casagrande and Daniela Nicolò, is co-author of `Orlando Furioso` and in 1999 they are awarded the UBU prize as well as that of the magazine `Lo straniero`; in the same year he leaves Motus to pursue his interests in cinema. Nadia Ranocchi ( b. 1973, Rimini) After completing her studies in Psychology at the University of Bologna, in 1998 she starts working with David Zamagni on their movies and audiovisual projects. Monaldo Moretti (b. 1972, Recanati) joins them in 2000. He is David’s former classmate in highschool and later on over the DAMS years. As well as co-founder of the group Zapruder, he`s director of photography, actor and foley artist.


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Arthur Fléchard envisage son jardin comme un médium d’expérimentation où la pelouse tondue devient une composition esthétique. Roswitha Schuller et Markus Hanakam analysent les discours sur l’histoire de l’art, et recherchent l’ordre secret que comporte tout désordre. Bubi Canal décrit les manifestations inconscientes de différents personnages, pour lesquels la mémoire, l’imagination et la réalité sont inextricablement liées. Dans une galerie d’art, Crispin Gurholt assigne à ses modèles les mêmes rôles qu’ils jouent dans la réalité, curateur, critique, galeriste. Loïc Vanderstichelen et Jean-Paul Jacquet suivent un chercheur qui répertorie une collection destinée à un nouveau musée en construction. Son point de vue scientifique se heurte à des sentiments émotionnels exacerbés qui le conduiront à une confusion mentale. Alexander Glandien filme les zones de travail d’un musée d’art contemporain. Zapruder explore une variété d’articulations et de dimensions entre le vrai et le faux, et déroulent ce qui ressemble à un almanach de la vision.


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