Programme Berlin 2017
14h00 15h00 17h00 19h00 21h00
mercredi

14 juin
14h00

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

Café discussion

Les Rencontres Internationales vous invitent pour un café et un moment de discussion avec les artistes invités qui parlent de leur réalisations, de leurs recherches et projets en cours, en dialogue avec les programmateurs de l'événement. Un moment informel pour aborder le travail des artistes de la programmation.

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mercredi

14 juin
15h00

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

"Circularités"

Mike hannon: An Illustrated Guide to Lighthouse Spotting | Doc. expérimental | 0 | noir et blanc | 27:47 | Irlande | 2016 voir plus
Daniel kÖtter: HASHTI Tehran | Doc. expérimental | mov | couleur | 59:45 | Iran | 2016 voir plus
Mike hannon
An Illustrated Guide to Lighthouse Spotting
Doc. expérimental | 0 | noir et blanc | 27:47 | Irlande | 2016

Framing the activities of a group of lighthouse spotters against the uncertain future faced by Irish lighthouses, An Illustrated Guide to Lighthouse Spotting idles with common documentary conventions in a kind of epistemological dilettantism, whereby the diseased triumvirate of rhetorical development, drama and realism is inoculated by mild incoherence, mundanity and idiosyncratic fancy.


Mike Hannon works as an independent artist, and as a freelance documentor for creative sectors and the visual arts. His previous pieces have included both conventional, TV documentary and experimental work.

Daniel kÖtter
HASHTI Tehran
Doc. expérimental | mov | couleur | 59:45 | Iran | 2016

Hashti, in most traditional houses in Iran, is a octagonal space of distribution and circulation to direct the person towards the various parts of the house, the private (andarouni) and semi-public (birouni) reserved for the reception from abroad and the access to spaces of service. Based on the idea that Tehran itself represents a house, so to speak the inner circle of The Islamic Republic of Iran, the outskirts of the city become the space of transition between inside and outside, between urban and non-urban. Thus the film and discursive project HASHTI Tehran looks at four very different areas in the outskirts of Tehran: the mountain of Tochal in the north, the area around the artificial lake Chitgar in the West, the construction of social housing called Pardis Town in the far east and the neighbourhood Nafar Abad at the southern edges of the city. By combining Road movie and architectural documentary and by inverting the techniques of inside and outside shots the film HASHTI Tehran portrays Tehran through its peripheral spaces. Background „Segregation“ and „privatization“, „security“ and „control“ are core terms of urban transformation in the developping cities of the 21st century around the globe. Its contested counterparts are „public“ or „open space“, „access“ and „citizenship“. All these concepts seem stuck in the negotiation between aspiration of new liberal economies trying to connect to a global construction and business boom on the one and a tendency of preserving a shared public sphere for all groups of society within the urban area on the other hand. HASHTI tries to shift this focus to areas where the controlling force of urban development seems to lose its influence, where definitions get blurry and fluid: the edges and peripheries, those contact zones, where city and landscape, nature and construction meet. Can a citizen who leaves the city for recreational or other purposes, still be called a citizen? Which societal function does he take on, which political role does he play in the moment where he enters or lives in the periphery of a city? Administrative aswell as geographical city borders divide space into inside and outside, into what belongs and what is beyond. The relation of those spaces on both sides of the border is therefore not symmetrical. The definitional authority is on the side of the city. The city would always determine the use and formation of space beyond its limits in a stronger way than the countryside would determine the urban space. One of the reasons for this is the fact that the city produces things, that it has to exclude from its centre, in order to guarantee the functionality of the living together: waste, dead corpses, criminals and socially marginalized. The space beyond the city limits therefore is predetermined for storage, settlement and disposal of what is socially peripheral. On the other hand the space beyond the boundaries of the city calls for this need for the city’s opposite: recreation, life in the green space, better air, less density and pollution. Living in the periphery therefore can be understood equally as Stigma and privilege. The Tehran case study Tehran’s peripheral geography shows a significant structural analogy with its social, environmental and psychological divisions: the northern periphery, reserved for the upper class in penthouse appartments and for recreation in the „clean air“ of the mountains, heavily contradicts the situation at the southern periphery, where smog and desert define the social life of the middle and low classes. While the geographical layout of the city with the mountains in the north and the desert in the south define a north-south axis, growth and development of the city are only possible on a west-east axis. HASHTI as a discursive project in collaboration with Shadnaz Azizi, Kaveh Rashidzadeh, Amir Tehrani and Pouya Sepehr and explored in four printed booklets, examines the different strategies of urban planners, architects and sociologists in these areas. How is traffic, how are meeting places, contact zones, gardening controlled and defined? And how do these spaces relate to the definition of interior spaces, the living room as a main forum in a society that regulates public space. NORTH (TOCHAL) In the north of the city lie Alborz mountain, reaching up to 5600m with its highest peak Damavand. It is the main water reservoir for the entire city. Alborz is not only used by tourists for hiking and skiing but also by Tehranis as an area for urban recreation. The northern city limits directly border the area of Tochal mountain, whose peak is connected with the urban area through a 12km long funicular. A mountain area used by urban people as part of their urban life. WEST (CHITGAR) In the west of the city, north of Chitgar Park, the city limits currently extend again towards the foot of Alborz mountain with a complex of residential highrise buildings. While the structures itself provide housing for middle class families, the spaces „in-between“ are renaturated for recreational purposes, including the artificial so-called Lake for the Martyrs of the Persian Gulf. A „second nature“ is conceived, built and offered. Concrete structures, open air pavements and boat cruises inaugurate a specifically cultural form of visibility, meeting and exchange, while „real nature“ is taking over: endemic birds started to settle and environmentalists, biologists and urban planners struggle with algae and mosquitos. How much „nature“ serves the purpose of a specific outer-urban residential middle class lifestyle? EAST (PARDIS TOWN) The social housing estate Pardis Town was built under the Ahmadinedschad administration 30 minutes by car east of Tehran. Cheap housing was constructed in 11 phases in the hilly and dry landscape. Neither shopping facilities nor schools or public transport were provided in the beginning. Here the question is turned upside down: How much „city“ is necessary to serve the basic daily needs of ten thousands of working class people starting a new life in an empty landscape? SOUTH (NAFAR ABAD) In Nafar Abad the relation between residential space and open space is designed differently: While the municipality demolishes the neighbourhood piecemeal to make way for the expanding needs of the adjacent Shrine, an important site for shia pilgrimage, the population temporarily inhabits the space in between the small scale residential buildings by setting up furniture, armchairs and chairs for local meetings, creating a subversive public version of the private living room. Furthermore, the neighbourhood is the location for the industrial treatment of waste water from the entire city: The Tehran Wastewater Treatment Plant is situated in the vicinity. This is where the water, collected from Tochal Mountain and consumed by millions of Tehranis on its way through the city, ends up. In the south of the city, in districts like Shah-er-rey, the city boundaries reach towards the desert and the landscape gives a first insight of what will await those who will leave the city southbound: The gigantic and vast salt lake Namak, which contrary to Lake Chitgar is a natural lake but does not provide water or opportunities for leisure activities.


Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE. Kötter`s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14). He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018) www.danielkoetter.de www.state-theatre.de http://katalog.danielkoetter.de


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Mike Hannon filme un phare, en Irlande. En prenant des libertés avec les conventions du documentaire classique, il introduit de légères incohérences dans le triumvirat du développement rhétorique, de la dramaturgie et du réalisme, en mêlant au mode documentaire des réalités imaginaires. Réalisé d’un point de vue quasi anthropologique, le film est formaliste dans sa composition, et pose la question du rôle des participants au documentaire en tant que personnages narratifs. Daniel Kötter poursuit ses recherches sur la régulation, le contrôle et la planification de l’espace social. Il filme la ville de Téhéran, au départ de la notion du Hashti, une pièce octogonale qui distribue les espaces privés ou publics des maisons. Les banlieues de Téhéran deviennent des lieux de transition entre intérieur et extérieur, urbain et non urbain.


mercredi

14 juin
17h00

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

"Point de repère"

Esther polak, Ivar Van Bekkum: A Collision of Sorts | Doc. expérimental | hdv | couleur | 17:0 | USA | 2017 voir plus
David ross: Théodolitique | Doc. expérimental | 35mm | couleur | 15:10 | Canada | 2015 voir plus
Sirah foighel brutmann, Eitan Efrat: Orientation | Doc. expérimental | hdv | couleur | 12:40 | Belgique | 2015 voir plus
Michael macgarry: Excuse Me, While I Disappear | Fiction | hdv | couleur | 19:10 | Angola | 2015 voir plus
Michelle deignan: A Glimpse of Common Territory | Fiction expérimentale | hdv | couleur | 8:47 | Royaume-Uni | 2015 voir plus
Louis-cyprien rials: Polygon | Vidéo | 4k | couleur | 12:39 | Kazakhstan | 2016 voir plus
Esther polak, Ivar Van Bekkum
A Collision of Sorts
Doc. expérimental | hdv | couleur | 17:0 | USA | 2017

In A Collision of Sorts, inhabitants of the City of Philadelphia, (Pennsylvania, US) go there way, as discontinuous moving dots on a flat surface. The world in which this film plays is Google Earth: an alienating landscape of almost seamlessly stitched-together satellite images of the familiar planet we humans are moving around on. On Google Earth, nothing moves. Buildings, bridges and cars seem warped and flattened and compete for attention with the black weirdness of their own shadows. A virtual camera shows this frozen flattened landscape, reconnoitring the cityscape of the city. Meanwhile we hear sounds and voices. People and animals are down there, crossing the country. It is them who share a physical reality: we hear very intimately their breath, the rustling of clothes, traffic, their vehicles. They travel from one place to another giving the suggestion of a destination. They talk about encounters, visual, economic, political, social and personal but never the main characters seem to meet. Until a bad dream of one of them seems to come true.


Esther Polak and Ivar van Bekkum work together as artist-couple under the name PolakVanBekkum. Routed in the history of the Dutch realistic landscape depiction, they express personal experiences of moving and space. Their projects are often informed by collaborations with participants, be it humans, animals, or even the rays of the sun. Their work has been shown at amongst others: FID Marseille, Transmediale Berlin, Ars Electronica Linz, ZKM Karlsruhe, Media-Lab Prado Madrid; INIVA London, IMAL Brussels, Rento Brattinga | Galerie Amsterdam, Pixelache Helsinki, Lagos, Biennale Marrakech, Philadelphia and Los Angeles. 2016 Special Mention for the film Once We Get There Riga 2015  Expanded Media Preis For Network Culture at Stuttgarter Filmwinters - for “The Mailman’s Bag” 2005 Golden Nica for Interactive Art at Ars Electronica together with Ieva Auzina, with MILKproject. Esther Polak studied at the Rijksakademie for visual Arts in Amsterdam and the Royal Academy of Visual Arts in The Hague, NL Ivar van Bekkum studied journalism at the School for Journalism, Kampen, NL

David ross
Théodolitique
Doc. expérimental | 35mm | couleur | 15:10 | Canada | 2015

Théodolitique (2015) est un projet cinématique qui réunit le géodésique et le filmique, unissant la très longue histoire de l’arpentage et celle, comparativement nouvelle, des technologies cinématographiques. Reliant ces deux méthodes d’observation visuelle et d’enregistrement, Théodolitique documente des étudiants arpenteurs de l’École des Métiers du Sud-Ouest de Montréal au cours d’une seule journée, lors d’un examen extérieur. Théodolitique utilise un large éventail de techniques filmiques et acoustiques — y compris un microphone parabolique pour capter les sons distants, ainsi qu’une « théodocam » construite sur mesure pour recréer le point de vue d’un arpenteur — afin de refléter et mimer la manière dont les étudiants bougent, réfléchissent et apprennent leur métier. Tourné sur un terrain dédié à la pratique adjacent à l’École des Métiers, Théodolitique est un film à la fois chorographique et chorégraphique.

The works of David K. Ross are concerned with the processes and activities which enable infrastructural monuments, cultural institutions, and architectural structures to exist. Using photography, film and installation to carry out these inquiries, he examines the performative capacities of un-scripted activities, along with the relationships that exist between the recorded event and its re-presentation in physical space. These inquires have been applied to various projects including a study of the enigmatic activities of student land surveyors, the uncanny and oneiric qualities of a series of rooms at the Art Institute of Chicago, the nuanced and poetic movements of dancers about to perform, the mythic and sublime qualities of an urban lighting fixture in Montréal, the quietude of artists` storage spaces, and a close examination of colour coded art shipping crates. Works by David K. Ross have been exhibited in major institutions in North America and Europe and are included in private and public collections including the National Gallery of Canada, the Musée d`art contemporain de Montréal and the Canadian Centre for Architecture. My films and video installations have been featured at CineMarfa (2012), Le Mois de la Photo à Montréal (2013), the Graham Foundation for Advanced Studies in the Fine Arts (2014), and in the Toronto International Film Festival Wavelengths programme (2015). A survey of recent works Positions, was exhibited at Dazibao gallery in Montreal in the fall of 2015. The Traces of Lost Facts, an installation based on the making of the film Théodolitique was mounted at the Rice Media Centre in Houston Texas in the autumn of 2016.

Sirah foighel brutmann, Eitan Efrat
Orientation
Doc. expérimental | hdv | couleur | 12:40 | Belgique | 2015

Looking at two locations— the public sculpture White Square commemorating the founders of Tel Aviv, and the shrine of Palestinian village Salame in today’s Israeli Kafar Shalem—Orientation focuses on the ability of architectural material, and of sound and image, to register collective experience of forgetfulness. In 1989, the Israeli sculptor Dani Karavan, completed his sculpture White Square. The work was commissioned by the Municipality of Tel Aviv, and by the end of the building process Karavan decided to dedicate the sculpture to the founders of Tel Aviv—among whom his father Abraham Karavan, who was the city’s landscape architect for four decades from 1930’s onwards. The sculpture is composed of simple geometrical shapes and is made of white concrete, influenced by the International Style of early architecture in Tel Aviv. White Square—situated on the highest point in the area located in the eastern outskirts of Tel Aviv—overlooks through the skyscrapers all the way to the Mediterranean Sea in the west. The commonly used name of the hill on which White Square is exalted is pronounced in Arabic: “Giv’at Batih” (Watermelon Hill). The remains of the shrine of Salame, in today’s Tel Avivian neighbourhood Kfar Shalem is located a few hundred meters south of this hill. The abandoned dome-structure was once at the centre of the ancient Palestinian village Salame. The village, dating back to the 16th century up until 1948, was located on the highway from Jaffa Port to the mainland. During the ‘Nakba’ of 1948 it was occupied and depopulated by the Israeli Army and the new Zionist state. Weeks after expelling the Palestinian villagers from their land, the Israeli authorities—managing waves of Jewish immigration—re-inhabited the village with Yemenite Jews. Those, were settled in the original Palestinian stone houses. Today, decades later, the ownership of the land is still in dispute, and the Jewish-Israeli residents of Kfar Shalem are threatened with evacuation due to a construction-corporations’ plan to destroy the stone houses and to build a new profitable neighbourhood. Orientation is the second 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 filmfestivals 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

Michael macgarry
Excuse Me, While I Disappear
Fiction | hdv | couleur | 19:10 | Angola | 2015

The film was shot on location in Kilamba Kiaxi, a new underpopulated city outside Luanda, Angola built by Chinese construction company CITIC and financed by Hong Kong-based China International Fund. The film follows a young municipal worker who lives by night in the old city centre of Luanda and works by day as a groundskeeper at the new city of Kilamba Kiaxi far away.


Michael MacGarry is a multi-award winning visual artist and filmmaker, having exhibited internationally for ten years including TATE Modern, Guggenheim Bilbao, 19th VideoBrasil, 62nd Short Film Festival Oberhausen, International Film Festival Rotterdam and Les Rencontres Internationales. He holds an MFA from the University of the Witwatersrand (2004). MacGarry has been researching narratives and histories of socio-economics, politics, forms and objects within the context of contemporary Africa for over a decade. Frequently focused on marking key registers of modernism – MacGarry creates sculptures, films, installations and photographs which look at the contextual specifics of things and their place; how they are simultaneously distributed both as ideas and as objects in the world. His sculptural work is formed through processes of grafting and mutation, to produce fictional hybrids principally designed to question systemic paradigms: sovereign nationality; logics of making and meaning; power relations; notions of value, equity and progress as well as the relationship between industrial technology and African resources. In his filmmaking and photographic work these macro concerns often take the form of micro narratives, personal memory and subtle identity politics in spaces where contemporary life is in a state of invention and flux.

Michelle deignan
A Glimpse of Common Territory
Fiction expérimentale | hdv | couleur | 8:47 | Royaume-Uni | 2015

By exploring representation of time, movement, fact and fiction, `A Glimpse of Common Territory` tells of the unsettling distance between what we see, what we assume and what we know. Two aristocratic characters from an 1827 sci-fi novel, "The Mummy: a Tale of the Twenty Second Century", are invoked through the words of their author. We see them overlooking the landscape from an open platform within an uncanny architectural anomaly, a 127 metre cast concrete building in the centre of a housing estate. Together they confront a crisis, their new found awareness that what they perceive, see and control are completely fictitious. Though their negotiations are precarious they reach an understanding about how they can retain a semblance of control.


Deignan has exhibited her work in over 100 exhibitions, screenings and film festivals including: `New Work UK - Trust Yourself`, Whitechapel Gallery, London; `Europart - New Contemporary Art from Europe`, Vienna; `Terror and the Sublime: Art and Politics in an Age of Anxiety`, Crawford Art Gallery, Cork; `transmediale.08`, House of Cultures, Berlin; `Les Rencontres Internationale`, Gaîté Lyrique, Paris; Cork International Film Festival; `This Fanciful Digression`, CAN, Neuchatel, Switzerland; `Black Box Programme` at the Edinburgh Film Festival. Michelle Deignan`s moving image work is distributed by LUX.

Louis-cyprien rials
Polygon
Vidéo | 4k | couleur | 12:39 | Kazakhstan | 2016

Polygon est une vidéo de douze minutes, tournée dans le Polygone nucléaire de Semipalatinsk au Kazakhstan en 2016. Il vient comme une suite naturelle du film tourné en Irak par Rials, Mene, Mene, Tekel, Upharsin où l’auteur avait filmé un cercle de flammes éternelles dans un champ pétrolifère de Kirkouk.
C’est un cercle d’eau, de 400 mètres de diamètres, qui a retenu l’attention cette année, de l’artiste. Creusé par une bombe atomique en 1965, ce lac est empli d’une eau, radioactive, presque plus brûlante que le feu lui-même. Inspiré par La Jetée de Chris Marker, et Stalker de Tarkovski, la vidéo est composée de diaporama photographiques, de traveling satellitaires, de plans vidéo au sol ou pris avec un drone. Polygon est aussi une introduction à la première performance filmée de Rials. Les voix en Russe autant que la musique, écrite par Romain Poirier guident le spectateur vers une contemplation référencée, glissant d’une partie documentaire à une oeuvre presque science-fictionnelle, pourtant terriblement humaine et contemporaine. Pour reprendre un propos de Mark Twain, “ La vérité est parfois plus éloignée de nous que la fiction ” et il est donc plus facile, parfois, d’utiliser la fiction pour révéler une pénible vérité.

Né en 1981 à Paris, Louis-Cyprien Rials pratique la photographie et la vidéo. Après des études de théatre au conservatoire, son aspiration à des modes de création indépendants l’ont incliné vers les choix qui ont marqué sa carrière d’artiste. En 2005, il est parti vivre trois ans à Tokyo et y a organisé sa première exposition, Koban . Depuis son retour du Japon, il vit entre Paris et Berlin. Il y poursuit ses recherches. En 2010, il est parti pour un premier voyage à moto qui l’a conduit à Tchernobyl et en Europe de l’Est. L’année suivante, il est reparti pendant plusieurs mois : Il a alors parcouru l’ex-Yougoslavie, la République Turque de Chypre du Nord, l’Irak, la Géorgie, l’Arménie, la République du Haut- Karabagh, la Crimée, en documentant aussi bien des formes et des paysages que des zones entières, fermées, qu’il voit comme des “ parcs naturels involontaires “ En 2012, il a terminé sa première fiction expérimentale, le western déshumanisé Nessuno . Résident au Centre des Arts Photographiques de Bahrain de mars à mai 2014, il y a exposé à la maison Jamsheer, a donné des enseignements et entamé plusieurs projets, notamment, avec l’aide du chercheur Pierre Lombard sur les restes de la civilisation, Dilmun . En décembre de la même année il a été invité a réaliser son projet d’icônes ainsi que le projet documentaire Russia America en résidence à Kronstadt par le NCCA. ( National Center of Contemporary Art ) Il s’investit de plus en plus dans la création de vidéos à mi-chemin entre l’art et le documentaire contemplatif, avec les projets Holy Wars , Dilmun Highway ( Bahreïn, 2014 ), Mene, Mene, Tekel, Upharsin ( Irak, 2015 ), Polygon ( Kazakhstan 2016 ) et Résistances ( Lituanie et Liban 2017 )


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Sur Google Earth, Esther Polak et Ivar Van Bekkum suivent par GPS des habitants de Philadelphie. Points mobiles sur une surface plane, nous les entendons cependant : ils parlent de rencontres, de vision, d’économie, de politique, de social, mais jamais ils ne semblent se rencontrer. David Ross compare deux pratiques, la réalisation filmique et l’art ancien de la mesure du territoire. Il réalise son film pendant que des étudiants font une étude topographique. Sirah Foighel Brutmann et Eitan Efrat filment un quartier de Tel Aviv, sur lequel se trouve une sculpture commémorant les fondateurs de la ville, ainsi que les vestiges du sanctuaire d’un ancien village palestinien. Ils s’interrogent sur la capacité du matériau architectural, du son et de l’image à enregistrer l’expérience collective de l’oubli. Michael Macgarry filme un jeune employé municipal de Kilamba Kiaxi, en Angola, une ville-faubourg déserte construite par des entreprises chinoises, avec des fonds hongkongais. Depuis le sommet d’une étrange tour de 127 mètres de haut, construite dans un quartier de logements sociaux, Michelle Deignan fait dialoguer deux personnages sortis d’un roman de science-fiction écrit en 1827. Louis-Cyprien Rials se baigne dans le Polygone nucléaire de Semipalatinsk au Kazakhstan. Un cratère de 400 mètres de diamètre, creusé par une bombe atomique en 1965 : un lac empli d’une eau radioactive, presque plus brûlante que le feu lui-même.


mercredi

14 juin
19h00

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

"De passage"

Mélissa epaminondi: La Villa | Vidéo | hdv | couleur | 5:34 | France | 2016 voir plus
João vieira torres: Crianças fantasmas | Doc. expérimental | hdv | couleur | 16:0 | Brésil / France | 2016 voir plus
Teboho Joscha edkins: Initiation | Documentaire | 4k | couleur | 10:47 | Afrique du sud / Germany | 2016 voir plus
Mike hoolboom: Spectator | Film expérimental | super8 | couleur | 6:0 | Canada | 2017 voir plus
Lena bui: Nang Bang Phang | Fiction | hdv | couleur | 50:1 | Viet nam | 2016 voir plus
Mélissa epaminondi
La Villa
Vidéo | hdv | couleur | 5:34 | France | 2016

LA VILLA  Etre dans sa maison L’été 2016, je filme le caveau familial à peine achevé. Cet ouvrage minimaliste, projet de mon père, est bâti dans le cimetière d`Oletta en Corse. Le  marbre de Carrare, reflète dans sa permanence l`architecture du village dont certaines villégiatures. 

Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris et Oletta (Corse). Elle est diplômée de l’Ecole d’Architecture de Marseille Luminy. Architecte et artiste, elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Depuis 2008 elle mène son activité d’architecte au sein du collectif L140. Elle enseigne l’art-vidéo à l’Université de Corse Pascal Paoli. Dans le prolongement des bâtiments qu’elle construit, ses films, vidéos et installations sont des architectures projectives révélant l’inconscient individuel ou collectif. Les références à la culture populaire sont présentes dans ses oeuvres dont l’univers part d’un regard alternativement amusé et grinçant sur le monde. Tout dans son travail est à la faveur des projections mentales. Chaque non-dit, chaque manque, chaque vide permet l’ambiguité. Les objets y sont transitionnels, faisant appel à la mémoire, à l’interprétation, au désir à la faveur d`un renversement du regard. Les mouvements de caméra sont synthétiques. S’ils ne suivent pas la trajectoire du corps qui porte la caméra ils s’opèrent grâce à un mécanisme présent sur place au moment du tournage.

João vieira torres
Crianças fantasmas
Doc. expérimental | hdv | couleur | 16:0 | Brésil | 2016

Ghost Children, presents seven reminiscences of early childhood, read in seven different voices, as the camera presses close against the faded dye and exaggerated grain of family photographs from the early 1980s. Whose faces and memories are those ? The film encourages the audience to interrogate assumptions about gender, memory, performance, and death.


João Vieira Torres is a Brasilian-French artist/filmmaker, born in Recife, Brazil. Lives and works in between Brazil and France . He has shown his work among other places at: New York Film Festival 2016(US) / Kinoforum São Paulo (BR) / Edinburgh International Film Festival (UK) / Uniondocs New York (US) / Art of the Real Lincoln Center (US) / Ann Harbor Film Fest (US) / FIDMarseille(FR) / Olhar de Cinema (BR) / Rencontres Int. du Documentaire de Montreal (CA) / Rencontres Internationales Paris/Berlin (FR/DE) / Museu da Imagem e do som de São Paulo (BR) / Anthology Film Archives(US) / CentrePompidou(FR) / Palais de Tokyo (FR) / MIS São Paulo (BR) / LABoral (ESP) / IndieLisboa(PT) / Tampere Short Film Fest (FI) / Vilnius CAC(LT) / Alexandrina Arts Center (EG)…

Teboho Joscha edkins
Initiation
Documentaire | 4k | couleur | 10:47 | Afrique du sud | 2016

High in the mountains of Lesotho, Mosaku is anxiously awaiting the return of his older brother from an initiation ceremony. The initiates spend 5 months in a remote secrete location. When the boys return, they are grown men.


Teboho Edkins was born in the USA in 1980 and grew up in Lesotho, South Africa and 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 program at the dffb film academy in Berlin. His films show at film festivals, television, museums, win awards and have been acquired by private art collections. He currently lives between Berlin and Cape Town.

Mike hoolboom
Spectator
Film expérimental | super8 | couleur | 6:0 | Canada | 2017

Is it the oldest dream? Giving birth to my father. Shot on a single starry afternoon.


Mike Hoolboom is a Canadian media artist living in Toronto.

Lena bui
Nang Bang Phang
Fiction | hdv | couleur | 50:1 | Viet nam | 2016

Giang visits her aunt Mười in the Mekong delta (Tien Giang) for the summer to give her mother personal space and time to sort things out. The slow rhythm of countryside life, children’s games, and close relationship within the neighborhood help Giang forget about her personal troubles and the hot Mekong sun. Seeing her 60-year-old aunt constantly busy with farm work, Giang decides to help out. The film develops through Giang’s perspective, weaving documentary foot- ages with a fictional storyline. Through Giang and aunt Mười’s developing relationship we get a sense of the slow and drawn-out rhythm of life in the rural South of Vietnam, the close contact between human and animals, the switch from traditional methods to reliance on industrial feed, concerns sur- rounding food safety, and the perception and interests of a typical farming household in the Mekong Delta. The film also introduces a new angle into the relationship between human and animals, and the inseparable ties be- tween life and death.


Born in Danang, Vietnam, 1985. She spent part of her childhood in Thailand before completing secondary and high school in Saigon, Vietnam. She has a B.A in East Asian Studies from Wesleyan University, USA and since 2009 has moved back to live and work in Saigon as a full-time visual artist. She is happy to tell stories using whatever medium available, from words, images, to sounds and space. She has exhibited in various museums and art spaces in Vietnam and abroad. Her experience with moving images started with video art works: Passage of the mass, 2014; The process of purifying, 2013, Where birds dance their last, two-channel installation, 2012. Flat Sunlight is her first film.


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Dans un cimetière corse, Mélissa Epaminondi filme son caveau familial. João Vieira Torres présente des récits de petite enfance. Les souvenirs dits par différentes voix se confondent, nous menant à des hypothèses sur le genre, la mémoire et la mort. Sur une colline du Lesotho, Teboho Joscha Edkins suit un enfant qui attend le retour de son frère. Après une initiation de cinq mois, celui-ci sera devenu un homme. Mike Hoolboom réalise son plus vieux rêve, donner naissance à son propre père. Lena Bui suit Giong, une adolescente qui passe des vacances dans la ferme de sa tante, dans le delta du Mekong, au Vietnam, explorant le lien entre les hommes et la nature, ainsi que celui entre la vie et la mort.


mercredi

14 juin
21h00

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

"Entre-deux"

Daniel kÖtter: Repetitionen | Vidéo | hdv | couleur | 21:28 | Allemagne | 2016 voir plus
Rob todd: Phases of Noon | Film expérimental | 16mm | noir et blanc | 11:25 | USA | 2016 voir plus
Maxime rossi: Real Estate Astrology | Vidéo | hdv | couleur | 21:0 | France / USA | 2015 voir plus
Sandro aguilar: Undisclosed Recipients | Vidéo | hdv | couleur | 25:0 | Portugal | 2015 voir plus
Daniel kÖtter
Repetitionen
Vidéo | hdv | couleur | 21:28 | Allemagne | 2016

He who walks down the street, over there, is immersed in the multiplicity of noises, murmurs, rhythms. […] By contrast, from the window, the noises distinguish themselves, the flows separate out, rhythms respond to another. […] No camera, no image or series of images can show these rhythms. […] The observer in the window knows that he takes his time as first reference, but that the first impression displaces itself and includes the most diverse rhythms on the condition that they remain to scale. […] Rhythms always need a reference, the initial moment persists through other perceived givens. Henri Lefebvre, Rhythmanalysis


Daniel Kötter is a director and video artist whose work oscillates deliberately between different media and institutional contexts, combining techniques of structuralist film with documentary elements and experimental music theater. It was shown in numerous galleries, video festivals, concert halls and theatres all over the world. Between 2008 and 2011, he developed the video-performance trilogy Arbeit und Freizeit. His music theatre performances in collaboration with composer Hannes Seidl are shown at numerous international festivals. Between 2013 and 2016 they developped the trilogy Ökonomien des Handelns: KREDIT, RECHT, LIEBE. Kötter`s series of films, performative and discursive work on urban and socio-political conditions of theatre architecture and performativity has been under development between 2009 and 2015) under the title state-theatre: Lagos/Teheran/Berlin/Detroit/Beirut/Mönchengladbach (with Constanze Fischbeck). His film and text work KATALOG was shot in twelve countries around the mediterranean sea portraying sites and practices related to the definition of the public sphere. It was presented at the Venice Biennal for Architecture (2013/14). He is currently working with curator Jochen Becker (metroZones) on the research, exhibition and film project CHINAFRIKA. Under Construction. (2014-2018) www.danielkoetter.de www.state-theatre.de http://katalog.danielkoetter.de

Rob todd
Phases of Noon
Film expérimental | 16mm | noir et blanc | 11:25 | USA | 2016

Watching four species of paradise perform in four phases of noonlight reflecting on four film rolls, in four acts


A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.

Maxime rossi
Real Estate Astrology
Vidéo | hdv | couleur | 21:0 | France | 2015

Appréhendées comme un voyage mental, visuel et sonore proche de l’esprit surréaliste, les images se succèdent au rythme de l’énonciation mystique du thème astral de Ersnt dressé par un astrologue de Sedona, également saxophoniste, qu’il a lui-même dressé après avoir constaté une erreur dans l’heure de naissance de celui commandé par Breton en 1930. Sa voix off accompagne le spectateur. À la fois atmosphère sonore et piste narrative, elle pa rait guider cette chasse au fantôme - probablement celui de l’esprit de Max Ernst qui, partout, imprègne les lieux. Tandis que la mélodie rappelle les bandes sonores de méditation disponibles dans les boutiques de souvenirs de la ville, la désynchronisation répétée des rushes dans le temps évoque, tel ce chat dont le corps se dédouble, le « voyage astral » cher aux surréalistes, l’expérience de hors corps, la sensation de flottement. Dans son film Real Estate Astrology (2015), Maxime Rossi développe une réflexion à facettes pour portraiturer un lieu. Il confronte deux états de narration entre lesquels le spectateur peut osciller, du diagnostic des traces objectives d’une quête, real estate, au pronostic à valeur prédictive d’une vie dressé d’après l’interprétation stellaire, astrology.

Le travail de Maxime Rossi contourne les limites de genre prédéfini comme de style pour puiser ses formes et son inspiration dans de multiples sources : l’histoire de l’art, l’ethnographie ou la littérature. L’impressionnant éventail des registres provoque une étrange narration, que l’artiste utilise pour dévoiler des vérités en portant un nouveau regard sur des sujets que nous pensions connaître avec certitude. À travers le prisme kaléidoscopique d’une pratique complexe et hétéroclite mêlant la sculpture, l’installation, la performance, la scénographie et la vidéo, Maxime Rossi ignore l’idée même de catégories et propose une discipline singulière qui convoque la « beauté convulsive » chère aux surréalistes. Maxime Rossi est né en 1980, il vit et travaille à Paris, France. Son travail a fait l’objet de projections au Centre Pompidou, Paris et au MUMOK, Vienne (Autriche). Il a notamment été montré dans le cadre d’expositions personnelles et collectives au Palais de Tokyo, Paris, à l’Emba / Galerie Édouard-Manet, Gennevilliers, à la Fondation François Schneider, Wattwiller, à La Halle des bouchers, Vienne, à la 19e Biennale de Sydney, au S.M.A.K. de Gent ou au Musée d’Ethnographie de Genève, Suisse.

Sandro aguilar
Undisclosed Recipients
Vidéo | hdv | couleur | 25:0 | Portugal | 2015

Avant et après ce second baiser.

Born in 1974 in Portugal, Sandro Aguilar studied film at the Escola Superior de Teatro e Cinema. In 1998 he founded the production company O Som e a Fúria. His films have won awards at festivals, such as La Biennale di Venezia, Gijón, Oberhausen and Vila do Conde, and have been shown in Torino, Belfort, Montreal, Clermont-Ferrand among others. Retrospectives of his work have been programmed at Rotterdam IFF and BAFICI.


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Daniel Kötter interroge la notion de répétition et de rythme. Un homme marche dans une rue pleine de bruits environnants. En contrepoint, d’une fenêtre, des rythmes leur répondent, à une échelle différente. Rob Todd dresse quatre actes, quatre paradis, quatre phases de la lune se reflétant sur la pellicule. Maxime Rossi fait se succéder des images semblables à un voyage mental, visuel et sonore, proche de l’esprit surréaliste. Il fait le portrait d’un lieu imprégné de l’esprit de Max Ernst, en confrontant deux états de narration. Sandro Aguilar filme, de nuit, l’avant et l’après d’un second baiser.


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