Programme Berlin 2017
13h00 15h00 17h00 19h00
dimanche

18 juin
13h00

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

"Là où nous sommes"

Vivian ostrovsky: Mais ailleurs c’est toujours mieux | Doc. expérimental | super8 | couleur | 4:9 | USA | 2016 voir plus
Kwang-ju son: Characters Revisited | Doc. expérimental | 4k | couleur | 18:14 | Coree du Sud | 2016 voir plus
Liang-hsuan chen: Taipei Hours | Fiction | hdv | couleur | 21:24 | Taiwan / USA | 2016 voir plus
Diogo costa amarante: Cidade pequena | Fiction | hdv | couleur | 19:0 | Portugal | 2016 voir plus
Salomé lamas: Ubi Sunt | Fiction expérimentale | hdv | couleur | 23:0 | Portugal | 2017 voir plus
Vivian ostrovsky
Mais ailleurs c’est toujours mieux
Doc. expérimental | super8 | couleur | 4:9 | USA | 2016

Film-hommage à Chantal Akerman, le nouveau court de Vivian Ostrovsky s’amorce avec leur première rencontre au début des années 70. Mêlant ses propres films à ceux de Chantal Akerman, la réalisatrice fait revivre quelques instants la personnalité de Chantal. Quarante années d’amitié condensées en quatre minutes…

Vivian Ostrovsky, (b.1945, New York) grew up in Rio, studied film studies and psychology in Paris. When she started filming in 1980, she focused on using analog formats - especially Super8 - for experimental cinema. Her signature collage shorts and avant-garde documentaries have been shown at the main film festivals (Berlin, Rotterdam, Viennale, Tribeca) and have been part of collections such as the MOMA, NY, the Centre Pompidou in Paris and the Freunde der Deutschen Kinemathek in Berlin. Her moving image work is noted for its span of super 8, 16mm, video and digital media, found footage and immersive installations. This screening includes films connected to Latin America and more particularly Brazil. Whether more personal or historical projects, they are always infused with dreamlike playfulness and intimate nostalgia.

Kwang-ju son
Characters Revisited
Doc. expérimental | 4k | couleur | 18:14 | Coree du Sud | 2016

The filmmaker begins to view CHARACTERS, her first feature film made in 2011, not from the outside as a product to be consumed, but from the inside, as an engaged performance of consciousness in and through which the story is both lost and regained in the actual process of filmmaking itself. Exploring the paradoxical boundary between two worlds, she focuses on the basic conditions of existence, identity and survival of an individual in a fictional world.


Since 2003 when she received the M.F.A. in Film/Video/New Media from the School of the Art Institute of Chicago, Kwang-Ju Son(b.1970) has presented her varied short projects of both film and video, at diverse venues & international film festivals.

Liang-hsuan chen
Taipei Hours
Fiction | hdv | couleur | 21:24 | Taiwan | 2016


Diogo costa amarante
Cidade pequena
Fiction | hdv | couleur | 19:0 | Portugal | 2016

In September the child Frederico learns from his teacher that if the heart stops, people die. In October his mother notices a panorama of changing seasons and horizons. Still lives in motion in a small town.


Diogo Costa Amarante was born in Portugal where he graduated in Law. His first film “Jumate/Jumate” was selected in several international film festivals and was awarded best film in the Documentamadrid08 / Spain, Golden boll film festival / Turkey, and Reykjavik IFF. In 2009, Diogo participated in the Berlinale Talent Campus and directed his second documentary film “In January, perhaps” which was also selected in many festivals and won Jury Prize at the Documentamadrid09 and a special mention of the Jury in the SalinaDocFest 09 / Italy. “The White Roses”, Diogo’s Pre-thesis film, had its world premiere at the 64th Berlin International Film Festival in the Official Shorts Competition and was awarded in the Festival Européen du Film Court de Brest . Currently Diogo finished as a Fulbright Scholar his Master of Fine Arts at the New York University / Tisch School of the Arts and was funded to develop his first feature script, “Migrar pelas Sombras”.

Salomé lamas
Ubi Sunt
Fiction expérimentale | hdv | couleur | 23:0 | Portugal | 2017

Ubi Sunt. Porto. Cartography of an imaginary place attracted by the margins (social and geographical). Hybrid and eclectic project, it is the outcome of a audiovisual research residency of humam and urban exploration of an expanding city. Ubi sunt qui ante nos fuerunt?, meaning "Where are those who were before us?". Reflective essay on mortality and life`s transience, it emerges from that dialectic, of a and episodic and fragmented structure with a choreographed cinematography; where the memory intersects the contemporary. The project hosts two performances - `One Life to Live` and `Requiem` by Christoph Both-Asmus and counts with the participation of CESA.


Salomé Lamas (b.1987, Portugal) is a filmmaker whose work dissolves the apparent border between documentary and fiction. With an interest in the intrinsic relationship between storytelling, memory and history, Lamas uses the moving image to explore the traumatically repressed, seemingly unrepresentable or historically invisible – from the horrors of colonial violence to the landscapes of global capital. Her debut feature No Man’s Land [Terra de Ninguem] (2012) premiered internationally at Berlinale and went on to screen at many major international film festivals. Her short films have been presented in art and film institutions including Museum of Modern Art, New York; Guggenheim Bilbao; Hammer Museum, Los Angeles; Museo Nacional Centro de Arte Reina Sofia, Madrid; Viennale, Vienna; Bozar Centre for Fine Arts, Brussels; and Biennial of Moving Images, Geneva. Lamas is currently a PhD candidate in film studies at the University of Coimbra, Portugal.


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Vivian Ostrovsky se souvient de Chantal Akerman, et lui adresse ce film hommage, qui condense quarante années d’amitiés. Kwang-Ju Son revisite le long métrage qu’elle a réalisé en 2011, “Characters”, à travers une performance non narrative, et s’interroge ainsi sur les conditions mêmes de l’existence et de l’identité des personnages dans un monde de fiction. A Taiwan, île et cité globale, Liang-Hsuan Chen filme la journée d’une femme oscillant entre ses croyances et ses désirs. Avec le passage du temps, les différentes générations se confondent, ouvrent la possibilité d’une nouvelle approche de l’espace et de la temporalité de la ville. Avec Diogo Costa Amarante, nous suivons un enfant qui prend conscience de la mortalité, comme une nature morte en mouvement. Salomé Lamas devéloppe une énigme intérieure, celle d'une limite de la représentation et de la possibilité de sortir des finalités.


dimanche

18 juin
15h00

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

"Enfance"

Pawel ziemilski: Urban Cowboys | Documentaire | 4k | couleur | 30:0 | Pologne | 2016 voir plus
Askhat kuchinchirekov: Benzin bitti | Fiction | 0 | couleur | 16:45 | Kazakhstan | 2013 voir plus
Alexandra gulea, Nicu Ilfoveanu: Baiat de lemn | Doc. expérimental | 16mm | couleur et n&b | 9:4 | Roumanie / Allemagne | 2016 voir plus
Konstantina kotzamani: Limbo | Fiction | 4k | couleur | 29:40 | Grèce / France | 2016 voir plus
Pawel ziemilski
Urban Cowboys
Documentaire | 4k | couleur | 30:0 | Pologne | 2016

Can a horse save a life? In Clondalkin (Dublin) that’s exactly the case. In a district with a lot of problems and not may of prospects, young people face drugs, prison and crime as their only path. But some of them manage to escape thanks to an unusual hobby. They tame wild horses and become… urban cowboys. When 14-year-old Dylan hits a bad streak in his life, he finds comfort in Shelly, a white mare that quickly becomes his whole world. Even though taming wild horses is illegal in Ireland and Shelly’s hooves are not used to the concrete streets, their unlikely friendship grows stronger.


Born in 1981, he graduated from the Łódź National Film School and from the Wajda School in Warsaw. The short documentaries and fiction films he has made so far have received wide publicity at numerous film festivals around the world and have won many prestigious awards. His documentary Rogalik got IDFA nomination in 2012. It has also been shown and awarded at festivals such as Zagreb Dox, Alcine Festival (First Prize), and festivals in Oberhausen, Beijing, Bucharest, Cracow and others. Apart from directing, Paweł Ziemilski is involved in social animation, organizing workshops for so-called troubled youth.

Askhat kuchinchirekov
Benzin bitti
Fiction | 0 | couleur | 16:45 | Kazakhstan | 2013

SYNOPSIS n GAS IS OVER, a boy’s dreams revolve around one particular lake. His dreams seem as if they are about to come true when he sets off for the lake with his father. However, their journey is riddled with challenges and the boy’s father struggles to keep his promise.


Director Askhat Kuchinchirekov Art film school (Almaty 2002-2007) 2004-2008 Actor film Tulpan Director Sergey Dvortsevoy (the film won UN CERTAIN REGARD Prize at Cannes, 2008) 2013 Firs short film Gas is over Best Regard Askhat

Alexandra gulea, Nicu Ilfoveanu
Baiat de lemn
Doc. expérimental | 16mm | couleur et n&b | 9:4 | Roumanie | 2016

C`est au bout du conte que la sympathique poupée Pinocchio, se transformait en homme après avoir renoncé à faire des bêtises et s`être conformé au bon sens de rigueur. D`abord il s`était réjoui de cette récompense. Mais un beau jour, Pinocchio vit une multitude d`animaux empaillés dans un musée. Des êtres du passe, mais qui en même temps représentent bien plus que ce qu`elles étaient. Plus libres que lui, Pinocchio, libres de peupler son imagination. Mais le garçon en bois réalisa cela bien plus tard, quand, à l`âge adulte, il se rappela ses larmes en rentrant du musée, où, loups et ours l`attendaient le regard fixé sur lui.

Alexandra Gulea Vit et travaille entre la France, l’Allemagne et la Roumanie 1970 - née à Bucarest, Roumanie FORMATION 1988 - Lycée des Beaux-Arts “ N. TONITZA” – Bucarest, Roumanie Baccalauréat « arts plastiques » 1990 - Académie Nationale d’Art – Bucarest, Roumanie 1992/1993 - Ecole Régionale des Beaux-Arts - Rouen 1993/1997 - Ecole Nationale Supérieure des Beaux-Arts (ENSBA) - Paris Diplômé avec les Félicitations du Jury (Atelier J.M Alberola) 1999/2012 – Etudes Film Documentaire, Hochschule für Fernsehen und Film (HFF) - München, Allemagne Diplôme EXPERIENCE PROFESSIONNELLE ART PLASTIQUE 1990 – 2016 – Participe à plusieurs expositions de groupe et personnelles “ en France, Allemagne et Roumanie CINEMA 1997 . Assistante de réalisation “ La Folie des têtes” - film roumano-allemand de Thomas CIULEI . Assistante de réalisation “Terminus – Paradis” - film franco-roumain de Lucian PINTILIE REALISATION 2000 "Anonim"- aka “Anonymous”, 11` Documentaire International competition Kurzfilmtage Oberhausen, etc. Prix: FFF Bayern, Munich Documentary Film Festival Minority Prize Mediawave, Györ-Hungary 2001 "The fourth wall"-17`, fiction avec Werner SCHROETER German competition Kurzfilmtage Oberhausen 2003 "Hacker", 5 x 52’. Fiction, Série TV Prix APTR pour la meilleure fiction 2004 "Dumnezeu la Saxofon, Dracu’ la Vioara" aka “God plays Sax, the Devil Violin” 45`
Documentaire IFF Rotterdam, Cinema du Reel Paris, IDFF München, IDAFF Leipzig, IDVF Kassel, InternationaleKurzfilmtageOberhausen, MoMA Prix: Prix du meilleur Film Court, Lola, Allemagne Golden Key, Kassel Documentary Film & Video Festival Best Student Film, Molodist, Kyiv,Ukraine DAAD Prize, Germany Prix du Film Long, Les Ecrans Documentaires, France Mention Henry Langlois, Poitiers, France 2007 "Azi eram Frumoasa, Juna" aka “Today I was Young and Pretty” 52`, Documentaire Festival dei Popoli, Firenze, Italie Cronograf, Moldavie Transilvania Int. Film Fest., Cluj, Roumanie Musée National d’art Contemporain (MNAC) Bucarest, Work of the Month. Cinema Elvira Popescu, Bucarest 2013 “Matei Copil Miner” aka “Matei Child Miner” aka “Matei l’Enfant des Collines” 80`, Fiction IFF Rotterdam, Cinema Jove Valencia IFF Spain, Zlin IFF for Children and Youth Czech Republic, Festival du Film d’Education, Evreux, France, Festival du Film de Toulouse, France, 16eme Rencontres du Cinéma d’Europe, Aubenas, France, TIFF Romania, Anonimul Romania, Regiofun IFF Katowice, Poland. International Women Film Festival, Köln, Germany. Werkstatt Kino, München programme. Distribution Zootrope Films Sortie Salle prévue. etc Prix: Nominé au “Big Screen Award” IFF Rotterdam Sarajevo IFF, Prix “Work in Progress” Premio “Lino Micciché”, “Young Critics Award” au Pesaro IFF du Nouveau Cinema Italie. Grand Prix du Féstival International des Producteurs Regiofun” – Katowice, Pologne 2013 MONTAGE 2001 "asta e"- aka “that’s life” 90`, Documentaire de Thomas CIULEI Prix : Firenze, Belfort, Kalamata, etc 2007 “Podul de Flori” aka “Le Pont de Fleurs” 90` Documentaire de Thomas CIULEI Prix: Cinema du Reel (Paris), GoEast (Wiesbaden), TIFF (Romania) etc. 2008 “Week-end cu Mama” aka “Week-end with Mom” 90’ Fiction de Stere GULEA 2013 “Sint o Baba Comunista” aka "I’m an Old Communist Hag" 90’ Fiction de Stere GULEA

Konstantina kotzamani
Limbo
Fiction | 4k | couleur | 29:40 | Grèce | 2016

"Le léopard se couchera près du chevreau 
Le loup habitera avec l’agneau 
Et le jeune garçon lesconduira" 12 + 1 enfants et la carcasse d`une baleine échouée

Konstantina Kotzamani is a graduate student of Film Department of Fine Arts of Thessaloniki. Her short movies have participated in major International Festivals and have received several awards. Her film Washingtonia premiered in Berlinale 2014 and was nominated for the Golden Bear. Washingtonia participated in more than 120 International Film Festivals and in 2014 was awarded by the Greek Film Academy as the best Short Film. One year later Washingtonia received the EFA (European Film Academy) nomination for the best European Short. Konstantina Kotzamani was chosen to take part and present her work in Future Frames at the 50th Karlovy Vary Film Festival 2015 and at the same year, her short film Yellow Fieber premiered in Locarno Film Festival 2015 in international competition Pardi di Domani. Her last short film Limbo co- produced between Greek Film Centre and French CNC, premiered in Cannes , Semaine de la Critique 2016 and after that gained awards in many other International festival such as Palm Springs ( future filmmaker award) , Vila do Conde ( Best Fiction ) , Rio de Janeiro ( Best Short Film , Best director) ect.. Limbo was also nominated for the European Academy Awards 2016 as best European Short.


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Dans une banlieue ouvrière de Dublin, Pawel Ziemilski filme un jeune garçon et le cheval sauvage qu’il a dressé. Askhat Kuchinchirekov suit le voyage d’un homme et de son fils qui rêve de voir le grand lac. Alexandra Gulea et Nicu Ilfoveanu réinterprètent l’histoire de Pinocchio, d’abord heureux d’être devenu un homme, puis regrettant sa condition après avoir vu des animaux empaillés le regarder fixement. Konstantina Kotzamani tire un film de la matière de ses rêves. Un léopard se tiendra avec les chèvres, les loups vivront avec les agneaux, et ils seront conduits par le jeune garçon.


dimanche

18 juin
17h00

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

"Exil"

Naeem mohaiemen: Abu Ammar is Coming | Vidéo | hdv | couleur et n&b | 6:0 | Royaume-Uni | 2016 voir plus
Mohammad shawky hassan: Wa 'ala Sa'eeden Akhar | Vidéo expérimentale | mov | couleur | 24:0 | Egypte | 2015 voir plus
Akosua Adoma owusu: Reluctantly Queer | Doc. expérimental | super8 | noir et blanc | 8:0 | Ghana / USA | 2016 voir plus
Keina espiÑeira: Tout le monde aime le bord de la mer | Doc. expérimental | 4k | couleur | 16:56 | Espagne | 2015 voir plus
Liina siib: Orbs | Vidéo | hdv | couleur | 3:15 | Estonie / Italy | 2016 voir plus
Ben rivers: There is a Happy Land Further Awaay | Film expérimental | 16mm | couleur et n&b | 20:0 | Royaume-Uni | 2015 voir plus
Naeem mohaiemen
Abu Ammar is Coming
Vidéo | hdv | couleur et n&b | 6:0 | Royaume-Uni | 2016

A photograph circulates, showing five men staring out of a window. Actually, only four look out; the last man breaks protocol and looks at the camera. The light has a soft glow. The stage is a bombed building. All five men wear military fatigues; the color must have been olive green.Snapped by a Magnum photographer in 1982, the image is a teasing enigma. Arabic newspapers claim it as evidence of Bangladeshi fighters in the PLO (Fatah faction). Go a little deeper into the memory hole and sediments will darken the third world international. Still, the light was beautiful. Abu Ammar is Coming continues The Young Man Was project’s exploration of the 1970s revolutionary left as a form of tragic utopia. Previous chapters have shown at the 2015 Venice Biennale, the Museum of Modern Art (New York), and the 2011 Sharjah Biennial.[Abu Ammar was the nom de guerre of Yasser Arafat. His Fatah faction of PLO fascinated Bangladesh JSD (National Socialist Party) leader Major Jalil, despite the sharper Marxist tendencies of the George Habash faction.] Picture credit: Volunteers from Bangladesh fighting with Palestinians, 1982 © Chris Steele-Perkins / Magnum Photos The Young Man Was project examines the failures of radical, armed leftist movements of the 1970s. The protagonists often display misrecognition, ending up as an “accidental trojan horse” carrying tragic results to the countries in question (from Japanese hijackers commandeering Dhaka airport for “solidarity,” to migrant labor pipelines transformed into PLO “volunteers”). In spite of its failures, Mohaiemen’s reading of the potential of international left solidarity is still, always, one of hope. The first part (United Red Army, 2011) reconstructs the 1977 hijacking of Japan Airlines Flight 472 through a series of crisply polite negotiation tapes. The second film (Afsan’s Long Day, 2014) addresses the misrecognition of Marxist ideologies from the perspective of a young historian (Afsan Chowdhury, whose diary entry gives the series its name), slaloming between Bangladesh’s summer of tigers, and the German Autumn associated with the Rote Armee Fraktion. The third film (Last Man in Dhaka Central, 2015) traces, in reverse, the journey of Peter Custers, a Dutch journalist jailed in Bangladesh in 1975, accused of belonging to an underground armed Maoist group. A more recent short film, Abu Ammar is Coming (2016), digs into the illusions of a press photograph of “PLO fighters” taken by Chris Steele-Perkins for Magnum. In the form of Peter Custers, who unfortunately passed away in 2015, many of the questions of The Young Man Was project take a personal form. What lies behind utopian hope, especially within the idea of socialism, against the weight of history and experience? What also of the men who survived those terrible times, unlike so many of their comrades, and now spend their waning days in solitary apartments, writing down memories? What was such a man then, and how does he remember himself today? Was he John Reed, recording the Russian Revolution, in the last free moment before the Thermidor? What does it mean to be a survivor and witness—the last man standing on the eve of another collapse, surveying the wreckage of the socialist dream in the middle of a horrific present that teeters on the cusp of the Anthropocene?


Naeem Mohaiemen is a writer and visual artist. Since 2006, he has worked on "The Young Man Was," a series of projects on the 1970s radical left. The first two films in this sequence are "United Red Army" (2012), which premiered at Sharjah Biennial, IDFA, and Hot Docs, and "Afsan`s Long Day" (2014), which premiered at MoMA, New York, and Oberhausen. He is researching the third installment, "Last Man In Dhaka Central" (2015). The project has been supported by grants from Creative Capital, Creative Time, Franklin Furnace, Rhizome, Puffin Foundation, and Arts Network Asia. He is a 2014 Guggenheim Fellow. The works are also in private collections, as well as the permanent collection of the Tate Modern and the British Museum.

Mohammad shawky hassan
Wa 'ala Sa'eeden Akhar
Vidéo expérimentale | mov | couleur | 24:0 | Egypte | 2015

And on a Different Note is a navigation of an attempt to carve out a personal space amid an inescapable sonic shield created primarily by prime time political talk shows with their indistinguishable, absurd and at times undecipherable rhetoric/ noises. Equally repulsive and addictive, these noises travel across geographies gradually constituting an integral part of a self-created map of exile.


Mohammad Shawky Hassan studied philosophy, film directing and cinema studies at The American University in Cairo, The Academy of Cinematic Arts & Sciences and Columbia University. His films include balaghany ayyoha al malek al sa’eed/ it was related to me (2011), On a Day like Today (2012) and Wa Ala Sa’eeden Akhar/ And on a Different Note (2015). He presented film programs at the Oberhausen Short Film Festival, Anthology Film Archives, The New York Public Library and UnionDocs, and was running the Network of Arab Arthouse Screens (NAAS)till 2016.

Akosua Adoma owusu
Reluctantly Queer
Doc. expérimental | super8 | noir et blanc | 8:0 | Ghana | 2016

This epistolary short film invites us into the unsettling life of a young Ghanaian man struggling to reconcile his love for his mother with his love for same-sex desire amid the increased tensions incited by same-sex politics in Ghana. Focused on a letter that is ultimately filled with hesitation and uncertainty, Reluctantly Queer both disrobes and questions what it means to be queer for this man in this time and space.


Akosua Adoma Owusu (born January 1, 1984) is a Ghanaian-American avant-garde filmmaker and producer whose films have screened worldwide in prestigious film festivals, museums, galleries, universities and microcinemas since 2005. Her work addresses the collision of identities, where the African immigrant located in the United States has a "triple consciousness.” Owusu interprets Du Bois’ notion of double consciousness and creates a third identity or consciousness, representing the diverse consciousness of women and African immigrants interacting in African, white American, and black American culture. Named by Indiewire as one of the 6 Avant-Garde Female Filmmakers Who Redefined Cinema, and one of The Huffington Post‘s Black Artists: 30 Contemporary Art Makers Under 40 You Should Know, Akosua Adoma Owusu is a MacDowell Colony Fellow and a Guggenheim Fellow. Founded in 2007, her company, Obibini Pictures, LLC has produced award-winning films including Reluctantly Queer and Kwaku Ananse, which received the 2013 African Movie Academy Award for Best Short Film. Reluctantly Queer was nominated for the Golden Bear and Teddy Award at the Berlinale, Berlin International Film Festival in 2016. In 2010, Owusu was a featured artist at the 56th Robert Flaherty Film Seminar. Artforum listed Me Broni Ba as one of 2010’s top ten films. Her work is included in the permanent collections of the Whitney Museum of American Art, the Fowler Museum, Yale University Film Study Center, and Indiana University Bloomington, home of the Black Film Center/Archive. She’s received support from Creative Capital, Tribeca All Access, IFP, Focus Features Africa First, the Art Matters Foundation, the Camargo Foundation and the Berlinale World Cinema Fund. Owusu holds MFA degrees in Film & Video and Fine Art from California Institute of the Arts and received her BA in Media Studies and Studio Art with distinction from the University of Virginia, where she studied under the mentorship of prolific avant-garde filmmaker, Kevin Jerome Everson.

Keina espiÑeira
Tout le monde aime le bord de la mer
Doc. expérimental | 4k | couleur | 16:56 | Espagne | 2015

A group of men are waiting at the fringes of a coastal woodland for the journey to Europe. They are in a temporal and spatial limbo. A film is shot there with the men playing themselves. The landscape changes and where they are is no longer their motherland. The water is not transparent, not clear. Myths from the colonial past collide with present times, memory survives.


Keina Espiñeira (1983, Spain) is a scholar and filmmaker. Her artistic work is related to borders, landscapes and mythologies. She holds a Master`s degree in Direction and Production of Documentary Films, awarded by DOCMA. She has also worked as social researcher in California, Netherlands, Spain and Morocco.

Liina siib
Orbs
Vidéo | hdv | couleur | 3:15 | Estonie | 2016

In the video “Orbs” we see two persons playing with an old armillary sphere. This old tool is a model of objects in the sky, one of the oldest astronomical instruments in the world, one of the first models ever made. Representing the heavens with the sun as center, it is known as Copernican armillary. By a simple gesture of moving the armillary rings as heavens, one can demonstrate how the stars move. We see the two people moving the stars and by that they are moved by the stars.


Liina Siib is a visual artist who lives in Tallinn, Estonia. She holds an MA in photography from the Estonian Academy of Arts. The themes of her works range from femininity and social space to different manifestations of people’s everyday practices, to work and leisure time routines. She works with video, installation, photography and performance. Liina Siib has had solo exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. Her works have been presented at a number of exhibitions and festivals in Europe, Asia and the USA. In 2011, Liina Siib represented Estonia at the 54th Venice Art Biennale with her project “A Woman Takes Little Space”. She has also curated art and culture projects in Estonia, the UK and Belgium. Since 2015, she works as the Professor of Graphic Art at the Estonian Academy of Arts. Please see more at: liinasiib.com

Ben rivers
There is a Happy Land Further Awaay
Film expérimental | 16mm | couleur et n&b | 20:0 | Royaume-Uni | 2015

THERE IS A HAPPY LAND FURTHER AWAAY (20 mins, S16, col/b+w, 2015) There Is A Happy Land Further Awaay (2015), captures the landscapes of the remote volcanic Republic of Vanuatu archipelago, before they were devastated by Cyclone Pam in early 2015, the footage becoming a ghostly document of an ecosystem now irrevocably altered. A hesitant female voice reads a poem by Henri Michaux, recounting a life lived in a distant land, full of faltering and mistakes. Island imagery of active volcanoes, underwater WW2 debris, children playing, and wrecked boats transform into intangible digital recollections of the island, made on the opposite side of the world. Images of the eroded land merge with eroding film, a lone figure on a boat drifts at sea.


Ben Rivers (born in 1972) is an artist and experimental filmmaker based in London. His work has been shown in many film festivals and galleries around the world and has won numerous awards. His work ranges from themes about exploring unknown wilderness territories to candid and intimate portrayals of real-life subjects. Rivers`s practice as a filmmaker treads a line between documentary and fiction. Often following and filming people who have in some way separated themselves from society, the raw film footage provides Rivers with a starting point for creating oblique narratives imagining alternative existences in marginal worlds. Rivers uses near-antique cameras and hand develops the 16 mm film, which shows the evidence of the elements it has been exposed to – the materiality of this medium forming part of the narrative.


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Naeem Mohaiemen explore l’utopie tragique de la gauche révolutionnaire des années 70, au départ d’une photographie de l’agence Magnum, prise en 1982, où des combattants bengalis semblent avoir rejoint au Liban le combat de l’OLP. Mohammad Shawky Hassan recrée une carte de l’exil, à partir d’images prises aux Etats-Unis et de bribes de discours patriotiques égyptiens, absurdes et indéchiffrables. Akosua Adoma Owusu réalise un film épistolaire. Un jeune homme aux Etats-Unis écrit à sa mère, au Ghana. Il se bat pour réconcilier l’amour qu’il lui porte avec le désir qu’il éprouve pour les hommes. Keina Espiñeira filme au bord de la mer des hommes qui attendent un voyage pour l’Europe. Cette plage ressemble aux limbes, sans référence spatiale ni temporelle. Des mythes issus du passé colonial se heurtent au présent, à la survivance de la mémoire. Liina Siib expérimente l’un des premiers astrolabes sphériques représentant le système solaire et le mouvement des astres, le soleil en son centre. Les étoiles semblent tout autant être en mouvement, que les deux personnes semblent être mues par l’instrument. Ben Rivers interroge les paysages de l’archipel volcanique du Vanuatu avant qu’il ne soit dévasté par le cyclone Pam. D’une voix hésitante, une femme lit un poème d’Henri Michaux qui parle d’un pays lointain. Ces images deviennent la trace fantomatique d’un écosystème irrémédiablement altéré.


dimanche

18 juin
19h00

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

"Surréel"

Johannes krell, Florian Fischer: Kaltes Tal | Vidéo | 4k | couleur | 11:56 | Allemagne | 2016 voir plus
Patrick topitschnig: Carusel | Doc. expérimental | 4k | couleur | 5:41 | Roumanie | 2015 voir plus
Matti harju: New Age | Vidéo | hdv | couleur | 9:58 | Finlande | 2016 voir plus
Janis rafa: Requiem to a Fatal Incident | Fiction expérimentale | 4k | couleur | 5:0 | Grèce | 2015 voir plus
Calum walter: Unknown Hours | Vidéo | hdv | couleur | 12:30 | USA | 2016 voir plus
Manuel palma: Noche día | Vidéo | hdv | couleur | 11:25 | Espagne | 2015 voir plus
Tommaso donati: Dormiente | Fiction | hdv | couleur | 18:15 | Suisse | 2016 voir plus
Johannes krell, Florian Fischer
Kaltes Tal
Vidéo | 4k | couleur | 11:56 | Allemagne | 2016

Oscillating between aesthetic and documentary forms, the short film “Kaltes Tal” describes the daily business of a strip mine harvesting lime. The material removed is processed and returned to nature through forest liming. This measure attempts to counteract acid rain that troubles the forest floor. A cycle like a Mobius strip – an irreversible consequence due to the mining materials in order to restore the fragile natural balance. Lime dust delicately dusts the forest floor. A white, spherical alternative world opens, questioning our ambivalent relationship to nature.


Johannes Krell Born in Halle (Saale) on September 17, 1982 • postgraduate studies in ‘Media Arts’ Academy of Media Arts Cologne since 2014 • Professional Media Masterclass / Werkleitz 2013 • Freelance work as camera man, cutter and sound designer since 2008 • B.A. in Audiovisual Media / Camera (BHT) - Berlin 2006 - 2011 • Abitur, Halle 2002 Florian G. M. Fischer Born in Tübingen on January 2, 1981 • Professional Media Masterclass / Werkleitz 2013 • M.A. program Pictorial Sciences, Krems (Austria) seit 2012 • Artistic Worker at Hochschule Harz since 2011 • Member of Master Class of Arno Fischer, Berlin 2010 • Diplom in Communication Design, Fachhochschule Potsdam 2009 • Exchange semester in Zurch University of the Arts 2008 • Abitur, Tübingen 2000

Patrick topitschnig
Carusel
Doc. expérimental | 4k | couleur | 5:41 | Roumanie | 2015

With precisely composed filmic-tableaux and through minimal movements the work Carusel evokes the image of a post-apocalyptic playground, while somewhere outside or above various doomsday scenarios take their course. It is a setting of the Zeitgeist-phenomenon celebrated by our pop culture in graphic novels, computer games and television series in all of its enjoyment and pessimism. Carusel triggers trails of thought in-between mythical traditions and actual fear of the dark. In an elevator ride in one of the sequences, we eavesdrop a conversation of a family: Arguably, the rest of the world still standing. Carusel was shot in the damp caverns of a former Romanian salt mine which was reused as a bomb shelter in the second world war and is now refurbished as an erie underground amusement park. Though equipped with a carousel, ping-pong tables, a childrens’ playground and rowboats, the combination with large threatening steel structures and surreal light-objects still produce a gloomy atmosphere and ambience of fear. It seems that the mythical echos of the historically charged site are still abound, yet absurdly translated into an uncanny and bizarre „amusement park“. Marlies Wirth


Patrick Topitschnig is a Vienna based filmmaker and audio artist and also collaborates on theatre projects. After he finished his studies in Commercial Information Technology he studied Intermedia Art and Narrative Film in Vienna and Berlin under the likes of Bernhard Leitner, Erwin Wurm, Constanze Ruhm and Thomas Arslan. For his diploma in 2012 he produced the experimental video “Right to Hospitality”. He received several awards, such as the Fred Adelmueller Grant and the Ursula Blickle Preis for his video "Concision of the Whole" (2007) ("Zerschneidung des Ganzen"). In 2013 he was granted the STARTstipendium for video and media art (Austrian Federal Ministry for Culture and Arts). He works primarily with video and sound, often within installative contexts. His works center on direct physical experience and immediate reception of time, as well as on enduring and measuring the passing of time on a visual or on an acoustic basis. Permanent repetitions or continuous oscillations constitute a recurrent theme.

Matti harju
New Age
Vidéo | hdv | couleur | 9:58 | Finlande | 2016

Speculative video essay about accelerationist pastel hues and semi-paranoid trademarks at the time when everything is nearing the end of the World.


Matti HARJU (b. 1978, Finland) is working in the rubbish bin of contemporary art including video, narrative cinema, text, drawing, installation, life as a jpeg performance. He has screened work at the International Film Festival Rotterdam, Festival del film Locarno, Torino Film Festival, BFI London Film Festival, Edinburgh International Film Festival, AFI FEST Los Angeles and Clermont- Ferrand International Short Film Festival among others. Solo exhibitions include Gallery Sinne (collaboration with Joakim Pusenius) in March 2015 and Exhibition Laboratory Project Room in February 2016, both in Helsinki. Currently an MFA candidate at the Academy of Fine Arts, FI. He also studied film directing (MA in Directing Fiction) at the National Film and Television School, UK.

Janis rafa
Requiem to a Fatal Incident
Fiction expérimentale | 4k | couleur | 5:0 | Grèce | 2015

A car travels through a desolate industrial area at night. It stops near an overturned truck that was carrying pigs. Dead animals lie scattered across the road; a fatal incident, a huge loss of animal life. A premature death ironically, since the pigs had been on their way to the slaughterhouse. The subtle camera movement switches from the subjective view of the handheld camera to the objective and contemplative view of the rising camera that is mounted on a crane and surveys the scene from a great height. Finally, a big firework is set off, seemingly dedicated to the dead animals, as though it was a requiem. The scene is a recreation from news coverage.


Lives and works between Amsterdam and Athens. She completed her education in Fine Art (BA, MA, PhD) at the University of Leeds in Britain with scholarship by the Arts & Humanities Research Council. Her body of work spans from experimental-documentary practices, to video-essays, archival footage and most recently cinematic narratives and medium length films. She has recently completed the Rijksakademie van beeldende kunsten residency (2013-2014) in Amsterdam, with a scholarship by Onassis Foundation (GR). Her first solo exhibition was presented at Martin van Zomeren Gallery, Amsterdam, 2014. Currently her work will be presented at EYE Film Institute, Close-Up: A New Generation of Film and Video Artists in the Netherlands (Jan-May 2015). She has participated in group exhibitions: VISIO European Program on Artists’ Moving Images 2015; 1st Research Pavilion, Venice Biennial, 2015; Art Rotterdam Projections, Kunstvereniging Diepenheim, 2015; Ce que raconte la solitude, ART-O-RAMA, 2014; Rijksakademie OPEN, 2013 – 2014, Manifesta 8, 2010; No Soul For Sale, Tate Modern, 2010. Her films and video works were screened at: Netherlands Film Festival, International Film Festival Rotterdam, BFI London, Cinema de la Nouvelle Lune, Curtas Vila do Conde, Gulf Film Festival Dubai, Capalbio Cinema, Project Space Leeds, and as part of Rencontres Internationales, 2010, at Centre National d’Art Moderne – Centre Georges Pompidou, Reina Sofia National Museum and Haus der Kulturen der Welt. Her work is part of Stedelijk Museum Amsterdam collection. Her films and videos balance between an empirical perception of landscapes and events and an authentic representation of them. Her narratives are located at the margins of the urban, haunted by stray dogs, roadkills, fatal accidents and dissipated death. The cryptic and universal nature of these cinematic worlds is initiated by a certain realism that has very little to do with its usual representation. Dead and living, human and non-human coexist in an accord of dream and sensuality. This is the land of her semi-autobiographic narrations; returns to personal histories that reveal something of the subsequent carving of a place’s fiction and not necessarily of the place itself.

Calum walter
Unknown Hours
Vidéo | hdv | couleur | 12:30 | USA | 2016

Unknown Hours studies a precarious nightscape. An observer journeys down a main street in Chicago towards a neighborhood known for its nightlife. The moving image is slowed to reveal the intermittence of street lights and sports bar televisions. A camera peers into the moments between events.


Calum Walter is a filmmaker, artist and sound designer. He has a BFA from the University of Colorado where he studied filmmaking with an emphasis on sound, and later received a MFA from the School of the Art Institute of Chicago. He continues to do sound design and recording for his own films, and has collaborated with artists as cinematographer, sound recordist and designer. His work has screened widely at places including New York Film Festival, Toronto International Film Festival, Rotterdam International Film Festival, Slamdance, Ann Arbor Film Festival and the Big Ears Music Festival. He Teaches in the department of Radio/Television/Film at Northwestern University.

Manuel palma
Noche día
Vidéo | hdv | couleur | 11:25 | Espagne | 2015

A path and someone walking. We observe several atmospheric phenomena such as: the thick haze of mist gradually reveals the way, various intensities of rain falling waved by wind gusts. We move between a haunting and strange serenity which is interrupted by sounds of creatures who live in this place. A way of looking that is used to link space and thought. We move at same time as the landscape with a movement of camera that slides between the natural rhythms of the forest.


Manuel Palma was born in Cádiz in 1986. His audiovisual work has been seen in centers and festivals such as V Festival de MÁRGENES "Film Letters" in Madrid, ZINEBI57 "Zinergentziak15" in Bilbao, FIVA International Video Art Festival in Buenos Aires, "Music and Visual Arts Sens meeting" in Rambleta, Valencia, CINEMISITICA "Art Cinematheque Cinemistica 7" in Granada, "XXIV Muestra Abierta de videoartistas 18D" in Neomudejar, Madrid. He studied Fine Arts in Sevilla and Valencia were he was strongly influenced by classical painting and drawing. He combined his knowledge in drawing and painting with video and sound art education. Manuel Palma complete his audiovisual education with the exchange program at Lietuvas Dailes Akademija in Lithuania, ECAM: Film School in Madrid and VideoLab Master in Madrid. He has developed courses and workshops with artists and filmmakers like James Benning, Lois Patiño, Victor Erice, Mercedes Alvarez. Currently he resides in Madrid.

Tommaso donati
Dormiente
Fiction | hdv | couleur | 18:15 | Suisse | 2016

Un homme et une femme, qui vivent en marge de la société, se déplacent et se croisent entre espaces urbains et espaces naturels, à la recherche d’une liberté oubliée, en essayant péniblement de rester éveillés.

Tommaso Donati (Lugano, 1988 ) est un réalisateur et photographe. En 2013 il obtient un diplôme en cinema à l’ EICAR – The International Film School of Paris. Ces films et son œuvre photographique se concentrent sur la nature, le cycle de la vie et la relation entre homme et animal. Il partecipe à plusieurs festival comme le Festival du Film de Locarno, Torino Film Festival, Les Rencontres Internationales Paris/Berlin, FimmakerFest...


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Johannes Krell et Florian Fischer filment une mine de chaux, depuis son extraction jusqu’à sa dispersion en forêt, pour lutter contre les pluies acides. Ce cycle ressemble au ruban de Möbius, entourant la nature d’une poussière blanche, et montre l’ambivalence du rapport que l’homme entretient avec la nature. Patrick Topitschnig propose un tableau filmique, sous la forme d’une descente dans une ancienne mine de sel, devenue parc d’attraction après avoir été un abri antiaérien. En filmant des objets, Matti Harju approche la fin du monde. Janis Rafa réalise un lent travelling après un accident de circulation, tout à la fois sculpture et chorégraphie d’une mort anticipée et dérisoire. Calum Walter propose une expérience du temps et de l’espace, il filme de nuit les rues de Chicago et la vie nocturne qui s’y déploie, traversée d’un étrange pressentiment. Avec Manuel Palma, nous suivons un promeneur dans une forêt. La nature et l’atmosphère deviennent les échos muets d’une histoire invisible. Tommaso Donati filme un homme et une femme en marge de la société. A la recherche d’une liberté oubliée, ils tentent de rester éveillés. Liina Siib expérimente l’un des premiers astrolabes sphériques représentant le système solaire et le mouvement des astres, le soleil en son centre. Les étoiles semblent tout autant être en mouvement, que les deux personnes semblent être mues par l’instrument.


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