Programme Berlin 2021
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26 août

Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre. Sans réservation.
Le principe GGG (testé-vacciné-rétabli) s'applique à cet événement.
Livestreaming en accès libre ici

"Les règles du jeu"

Saulius baradinskas: Golden Minutes | Fiction | 16mm | couleur | 10:0 | Lituanie | 2019 voir plus
Mauricio arango: Seafarer | Film expérimental | mov | couleur | 26:0 | USA | 2020 voir plus
George drivas: Empirical Data 2.0 | Fiction expérimentale | hdv | noir et blanc | 30:0 | Grèce | 2019 voir plus
Pia bolognesi, Bursi Giulio: The Leaks of Venice | Doc. expérimental | dcp | couleur et n&b | 17:0 | Allemagne | 2020 voir plus
Saulius baradinskas
Golden Minutes
Fiction | 16mm | couleur | 10:0 | Lituanie | 2019

Driven to the edge by a huge debt and his impending divorce, a poetic accountant decides to kill himself but is rescued by a heart attack.

Saulius Baradinskas (born on September 19, 1990) is a film, commercial & music video director from Vilnius, Lithuania. ?Saulius is noticed for directing music videos that already got recognition in the Baltic states. In 2018 annual music video awards Saulius was selected as a best director of the year and won best music video award for directing.

Mauricio arango
Film expérimental | mov | couleur | 26:0 | USA | 2020

Seafarer is an experimental narrative film. It combines an essayistic style with field recordings, fragments of visual studies, experiments with actors, and fictionalized reflection on artistic production rooted in personal experience. It presents a single monologue over mostly long-take shots depicting quotidian moments shot across New York City: a sunset over the Hudson River; people at the beach; a film projected in a movie theater; golfers at a course in Chelsea Piers, and so on. The visual montage is linked by a ruminative, first-person voiceover by Miami-based singer, Little Annie, who performs the character of an anonymous film director. Her haunting words, spoken with humor and earnestness, offer a meditation on the cracks in her life as an artist. They touch on a variety of topics, including our ambiguous relation with capital, the complex relationship between actors and directors, the experience of being in a cinema, and the periods when new ideas are scarce. Seafarer keenly elicits tensions between observer and creator, and what is scripted and what is captured by chance.

Mauricio Arango was born in Bogotá, Colombia and lives and works in New York City. He is an alumnus of the Independent Study Program at the Whitney Museum and has participated in residences at Headlands Art Center in San Francisco, the MacDowell Artist Colony, USA; Museo El Barrio, New York. He earned and MFA from the University of Minnesota. His films have been screened at art and film festivals including New Directors/New Films at the Lincoln Film Society and The Museum of Modern Art, New York; Kino Der Kunst, Münich; VideoBrasil, Sao Paulo; FiD Marseille, Rencontres Internationales, Paris; IndieLisboa, Lisbon. He has received awards in the form of financial support from institutions including The Foundation For Contemporary Art, New York; RivieraLab Coproduction Fund, Mexico; Secretary of Culture, Colombia; Filmmakers Fund, Rooftop Films, New York; Matt Robert Arts, London; Bush Foundation For the Arts, Saint Paul, USA; The Jerome Foundation, New York; the National Fund for the Arts from the National Association of Latino Artists and Communities, USA; and The Minnesota State Arts Board, among others.

George drivas
Empirical Data 2.0
Fiction expérimentale | hdv | noir et blanc | 30:0 | Grèce | 2019

Empirical Data 2.0” is based on the personal experience of the georgian actor David Maltese as an immigrant in Greece, and his trajectory from entering the country to taking up acting. ?he protagonist of the film David Malteze, impersonates himself, at his first professional steps 10 years ago in one half of the screen. The reenactment of the actor’s real life is contrasted with a monologue held by himself, presented at the other half of the screen.

George Drivas was born in Athens, Greece. He has represented Greece at the 57th Biennale di Venezia, 2017. George Drivas’s work has been featured as a Solo Show at AnnexM / Megaron, Athens (2020), the National Museum of Contemporary Art, Athens (2018 and 2009) and La Galleria Nazionale, Rome, Italy, (2017) , as a tribute to him at the Lumen Quarterly Festival, Beijing, China (2017/18) and Athens’s International Film Festival (2014), and as part of a group exhibition or festival among others in “back forward rewind”, Media Art Lab, Moscow, Russia, “Imagined Communities”, 21st Biennial of Contemporary Art_Videobrasil, São Paulo, Brazil (2019-20), “Resilient Futures”, Contemporary Art Center of Thessaloniki (CACT, 2018), “ANTIDORON- the EMST Collection”, documenta 14, Kassel, Germany (2017), “As Rights Go By”, Q21 International, MuseumsQuartier Vienna, Austria (2016), Festival du nouveau cinéma, Montreal, Canada, (2015), “future past – past future”, Transmediale Festival, Berlin, Germany (2014), “Art Projections”, Thessaloniki Biennale of Contemporary Art (2013), “Hybrid Stories”, National Museum of Contemporary Art, Athens, Greece (2013), “Melancholy in Progress”, Hong-Gah Museum, Taipei City, Taiwan (2012), “FILE”, Electronic Language International Festival, FIESP Cultural Center, Sao Paulo, ?razil (2012), Center on Contemporary Art, Seattle, USA (2012), “Polyglossia”, Onassis Cultural Centre, Athens, Greece (2011), “Digital Wave”, Thessaloniki International Film Festival, Thessaloniki, Greece (2009); “Young Greek Artists – In Present Tense”, National Museum of Contemporary Art, Athens, Greece (2008)and Media Art Forum, XXVII Moscow International Film Festival, Moscow, Russia (2006)

Pia bolognesi, Bursi Giulio
The Leaks of Venice
Doc. expérimental | dcp | couleur et n&b | 17:0 | Allemagne | 2020

An old building in Venice hosts an exhibition, a visitor walks through empty rooms discovering a fictionalized architectural space that functions like an abandoned theatre set. While a city that is slowly drowning floods you with its obsessive presence on and off- screen, imagination can’t exceed reality. Inspired by Alexander Kluge’s oeuvre and his constellation of film and video works, the metanarrative framework of this exploration attempts to de-construct the subjective experience and liberate the cinematic energy from the horror vacui of the display.

Pia Bolognesi (PhD, b. 1981) is an independent curator, art historian and artist based in Berlin. With a background in Performing Arts, Film Theory and Visual and Environmental Studies, she has organized large scale installations, exhibitions and multidisciplinary projects for institutions including the Tate Modern London, MoMA New York, Centre Pompidou Paris, FNC Montreal, 56th Venice Biennale. Her works and installations have been presented at Wiels Bruxelles, Musée des Beaux-Arts de Montréal, Kyoto and Tokyo Universities of Art and Design, Deutsche KunstHalle Berlin and Triennale di Milano, among others. Giulio Bursi (PhD, b. 1978) is an independent film curator, dramaturg and film-maker based in Berlin. Educated in Film Theory, he has been assistant director of Jean-Marie Straub and Danièle Huillet. He realized a documentary feature (J’écoute!, 2007) and different shorts and installations collaborating with international institutions and film festivals like Austrian Film Museum, 56th Venice Biennale, MoMA To Save and Project New York, Turin Film Festival, Il Cinema Ritrovato Bologna, Berlinale, Festival du Nouveau Cinéma Montreal, GAM Turin. Pia Bolognesi and Giulio Bursi work together as Atelier Impopulaire since 2012. Their installations have been exhibited at Centre Pompidou, La Triennale di Milano, Kunsthaus Bregenz, GAM Santiago, The Mix Place, West Bund Art Space and Power Station of Art in Shanghai, Volksbühne Berlin, ZKM Karlsruhe, Tate Modern, Berlin Gallery Weekend, Rotterdam Film Festival. Atelier Impopulaire has developed site-specific projects internationally, collaborating with artists like Aldo Tambellini, Dries Van Noten, Morgan Fisher, Danièle Huillet & Jean-Marie Straub, Peter Tscherkassky, Margaret Honda, Experimental Jetset, Christopher Williams, Alexander Kluge.

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Saulius Baradinskas met en scène un homme qui semble échapper à son destin, un jour gris, dans une ville de Lituanie, dans une société qui semble offrir davantage d’aliénation que de compassion. Mauricio Arango propose une narration expérimentale, entre scénarisation et hasard. Il combine une réflexion sur la production artistique avec des fragments d’essais réalisés avec des acteurs. George Drivas filme l'acteur géorgien David Maltese qui raconte son parcours en tant qu'immigré en Grèce, depuis son arrivée dans le pays jusqu'à sa reconnaissance en tant qu’acteur. Le temps se condense et produit plusieurs niveaux de narration, le "je" devient une armure qu’il faut à la fois porter et endurer. Pia Bolognesi et Giulio Bursi filment à Venise, dans un ancien bâtiment, un visiteur qui se promène dans les pièces vides d’une exposition d'Alexander Kluge, et qui découvre un espace architectural fictif semblable à un décor de théâtre abandonné.


26 août

Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre. Sans réservation.
Le principe GGG (testé-vacciné-rétabli) s'applique à cet événement.
Livestreaming en accès libre ici

"Cluster capital"

Lukas marxt: Imperial Irrigation | Vidéo | 4k | couleur | 20:4 | USA | 2020 voir plus
Kerstin honeit: [zi:lo]5 | Vidéo expérimentale | 4k | couleur | 17:17 | Canada | 2019 voir plus
Anna Ådahl: The Power of Flow. The Flow of Power | Vidéo expérimentale | hdv | couleur et n&b | 18:0 | Suède | 2020 voir plus
Gregory bennett: Edifice I | Animation | mp4 | couleur | 8:35 | Nouvelle-Zélande | 2020 voir plus
Lukas marxt
Imperial Irrigation
Vidéo | 4k | couleur | 20:4 | USA | 2020

Finding access to the deeper levels and truths of a stretch of land via the surreal, the digitally alienated. Thus is the aim behind Lukas Marxt’s Imperial Irrigation, whereby digital surrealism is anchored in an experimental documentary intent, while text and sound levels snarl the multiple layers of action thus continually decentering the narrative. Starting point for this complex and vibrant territorial study is California’s Salton Sea; close to where Marxt’s Imperial Valley (cultivated run-off) already led. The visual approach to this slowly drying up lake and its highly checkered past takes place through various types of images—most of which have been implanted with elaborately placed, willful moments of alienation. As though the intangibility of the scenery offered could not possibly be encountered via veristic means, the shots are digitally chopped, extended by time stops, permeated by undefinable MacGuffins—and tremble erratically owing to air reflections that arise when filming from a great distance. Marxt does not exclude himself from this quasi-colonial inspection of a landscape. His cowboy boots, his snakeskin hat, and his hanging out at slot machines or in the car repeatedly intervene as idiosyncratic presences in the flow of images. The artist Julia Scher emphatically narrates a history of Salton Sea based on a text by William L. Fox recapitulating various discursive anchoring moments. At the same time, subtly woven sound elements, most notably insistent passages by the musician Jung An Tagen, for their part, “alter-medially” outdo the “insane sense” of the events. What emerges is a disturbing portrait of a bit of the Anthropocene, whose ongoing catastrophic course, the film sums up nicely. (Christian Höller)

Lukas Marxt (*1983, Austria) is an artist and a filmmaker living and working between Cologne and Graz. Marxt´s interest in the dialogue between human and geological existence, and the impact of man upon nature was first explored in his studies of Geography and Environmental Science at the University of Graz, and was further developed through his audio visual studies at the Art University in Linz. He received his MFA from the Academy of Media Arts Cologne, and attended the postgraduate programme at the Academy of Fine Arts Leipzig. Marxt has been sharing his research in the visual art environment as well as in the cinema context. His works have been featured in numerous solo and group exhibitions, most recently at the Torrance Art Museum (Los Angeles, 2018), at The Biennial of Painting, Museum Dhondt-Dhaenens (Belgium, 2018), and at the Museum of Modern and Contemporary Art Rijeka (Croatia, 2018). His films have been presented in numerous International Film Festivals including Berlinale (Germany, 2017 and 2018), Curtas Vila do Conde (Portugal, 2018), and the Gijón International Film Festival where he receiced the Principado de Asturias prize for the best short film (Spain, 2018). Since 2017, Marxt has spent a considerable amount of time in Southern California, where he has researched the ecological and socio-political structures surrounding the Salton Sea.

Kerstin honeit
Vidéo expérimentale | 4k | couleur | 17:17 | Canada | 2019

Silo 5, once the largest granary in the world, was celebrated by architect Le Corbusier in 1927 as a glimpse towards a utopian modernity and an aesthetic future of architecture. Since the 1990’s Montreals gigantic silo complex has been an industrial ruin, far too big to be demolished. The abandoned granary, now an unintended monument to colonial global extractionism, marks as a place of storage the starting point for the video piece [?zi:lo]5. The work approaches different gestures and technologies of preservation and collection and therefore – simultaneously and inseparably – also questions of overwrite, delete or rewrite. Seen from the perspective of a near (queering) future, collections expose themselves as accumulations of gaps and omissions. These voids become resonating bodies, having the potential to open up spaces for other practices of intermediate storage.

Kerstin Honeit studied fine arts and stage design at the Berlin-Weissensee Art Academy. She lives in Berlin and is teaching media art at the Academy of Fine Arts in Leipzig. In her practice as an artist and filmmaker, she works at the interface of different forms of staging. Her artistic research focuses on the investigation of representation mechanisms in the production of hegemonic image worlds, especially in connection with cultural and linguistic modes of translation in the context of the moving image. Since 2006 she has been showing her work in exhibitions and at festivals. Exhibitions / Screenings (Selection): La Centrale Powerhouse, Montreal / HMKV, Dortmund / International Short Film Festival São Paulo, São Paulo / Ruhrtriennale, Bochum / Kunsthalle Rostock, Rostock / Neuer Berliner Kunstverein, Berlin / Off Biennale Cairo, Cairo / Videoart at Midnight, Berlin / MMOMA Moscow Museum of Modern Art, Moscow / Schwules Museum, Berlin / Fajr International Film Festival, Tehran / HKW, Berlin / Internationale Kurzfilmtage, Oberhausen / SixtyEight Art Institute, Copenhagen / Berlinische Galerie, Berlin / Les Complices*, Zurich / Videonale, Bonn / Gallery 400, Chicago / CCNY, New York / Arsenal – Institut für Film und Videokunst, Berlin

Anna Ådahl
The Power of Flow. The Flow of Power
Vidéo expérimentale | hdv | couleur et n&b | 18:0 | Suède | 2020

The Power of Flow. The Flow of Power 2020 18 min HD video Through an immersive experience, the film addresses how the notion and term of flow and ‘flow states’ have been monetised by our current economy and accelerated society of 24/7 consumption, production, and performance. The film navigates through the various flows from its origin in the Buddhist and Taoist traditions of inclusiveness and nature, through computerised blood vessels, fractal deepdream dogs, outer space, further into the charts of human flows of migrants to today’s online mindfulness of digital relaxation clips and ‘sleeptubes’, with their ongoing chat forums. These new modes of relaxation and mindfulness are an instrumental part in enabling the continuous flow linked to our current economic systems and accelerated production modes, acting as artificial breathing pauses for better corporal endurance and performativity. The notion of flow inherent to our bodily survival system of circulation of blood, oxygen, and nutrients are now hi-jacked by our current economic system. Ultimately, the notion of flow has been turned into a bio-political tool which intent is to optimise the efficiency and performativity of our individual and collective behavior.

Anna Ådahl is a visual artist and researcher working in various mediums such as film, installations and performance. She uses the editing tools of assemblage and montage where found footage meets newly produced images, where ready-mades are used as props in spatial narratives and the body is used as an investigative tool in staged performances. Over more than a decade the notion and politics of crowds has been central in her artistic practice. Her fine art practice-based research, Inside the Postdigital Crowds, at the Royal College of Art in London addresses the aesthetics and politics of the digital conditions in which contemporary crowds are operated and governed. Please visit for more information.

Gregory bennett
Edifice I
Animation | mp4 | couleur | 8:35 | Nouvelle-Zélande | 2020

‘Edifice I’ is an 8:35 minute experimental 3D animation. The work is situated in an art practice that that embraces 3D computer animation and the digital body to explore themes and tensions around nature and culture, the utopian and the dystopian, through the rendering of complex digital ecosystems. The term ‘edifice’ can refer to both a large, imposing building, and a long-established complex system of beliefs. ‘Edifice I’ is the latest in an ongoing series of works by the artist that imagine infinitely revolving Babel-like tower structures situated in an infinite void. Homogeneous human figures appear only intermittently, precariously overwhelmed or trapped by the, at times, unstable superstructure. The tower simulates at times a machine in perpetual motion, without obvious purpose. Although resembling a fortress, it is rendered as a permeable and contingent structure, at times in a state of unstable flux, an embodiment the fragility of utopian desire and impermanence of human endeavour.

Gregory Bennett is a New Zealand/Aotearoa-born and based digital artist who explores conceptions of the utopian and dystopian through representations of the multiplied digital body. He uses 3D animation in a creative practice which encompasses video, motion capture, projection mapping, and virtual reality. Bennett has exhibited internationally in the USA, Hong Kong, China, Australia, and Europe. Exhibitions include ‘’ at the BronxArtSpace, New York; the 2019 ‘Rencontres Internationales, New Cinema and Contemporary Art’ in Paris and Berlin; the 2016 International Symposium on Electronic Art in Hong Kong; the ‘Supernova’ Digital Animation Festival in Denver, USA; and the Centre for Contemporary Photography in Australia. He was a finalist in the 7th Screengrab International Media Arts Award in Australia in 2015 and was selected for ‘Narracje 2013, Installations and Interventions in Public Space’ in Gdansk, Poland, and the Video Contemporary exhibition at the 2015 Sydney Contemporary International Art Fair. His work was paired with Giovanni Battista Piranesi’s ‘Imaginary Prisons’ print series for a show at AALA Gallery, Los Angeles in 2018. Bennett has a Masters degree from the University of Auckland, and is currently Head of Department for Digital Design and Visual Arts at the Auckland University of Technology.

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Lukas Marxt étudie le paysage intangible et surréel du Salton Sea, le plus grand lac salé de Californie, qui s'assèche lentement et libère les poussières toxiques des sédiments. Kerstin Honeit explore le Silo 5, la ruine industrielle de ce qui a été le plus grand grenier du monde, à Montréal, et questionne la notion de trace et de conservation au moyen de différentes formes de réécriture et de suppression. Des variation de mise en scène interrogent les mécanismes de représentation dans la production d'images et de langage. Anna Ådahl s’intéresse à la notion transformé en un outil biopolitique dont l'intention est d'optimiser l'efficacité et la performance de nos comportements individuels et collectifs. Gregory Bennett anime une tour-machine en rotation, située dans un vide infini. Des figures humaines émergent par moment, sur le point d’être submergées par cette superstructure instable, entre utopie et dystopie.


26 août

Séance spéciale
Haus der Kulturen der Welt | Vortragssaal
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre. Sans réservation.
Le principe GGG (testé-vacciné-rétabli) s'applique à cet événement.
Livestreaming en accès libre ici

"Intimes distances"

Francisca somigliana: Diamante | Fiction expérimentale | 4k | couleur | 7:29 | Argentine | 2020 voir plus
Liina siib: 25.02._26.02. | Doc. expérimental | hdv | couleur | 9:28 | Estonie | 2020 voir plus
Hoolboom mike, Alena Koroleva: Wax Museum | Vidéo expérimentale | mov | couleur | 11:0 | Russie | 2020 voir plus
Phillip warnell: Intimate Distances | Doc. expérimental | 4k | couleur | 61:0 | USA | 2020 voir plus
Francisca somigliana
Fiction expérimentale | 4k | couleur | 7:29 | Argentine | 2020

Diamond is built as a game of reflections on the basis of a fact: a jewelry theft committed in Russia in 2018 allegedly committed by a criminal organization called Pink Panther.

Francisca Somigliana (Buenos Aires, 1992) studied Image and Sound design. She did the Film Program (2017) and the Artist Program (2020/21) of the Universidad Torcuato Di Tella. She was selected in 2019 to participate in the Biennial of Young Art. She participated in different shows and screenings such as Space between (CCR), Today I have permission to lie (UTDT), Program 2016 (Dahaus Studio), Satellite XIII (CHELA) and Cinematographic images and their path to freedom (UTDT)

Liina siib
Doc. expérimental | hdv | couleur | 9:28 | Estonie | 2020

The video “25.02._26.02.” is part of Liina Siib's tragicomical installation “Huldufólk” ( “Huldufolk” means “hidden people” in Icelandic – these are supernatural beings who look and behave like normal people but have their own activities in their own parallel world. They can make themselves visible for humans who can see them through a colourful glass. The video is filmed on Sunday night and Monday morning in the streets and backyards in the centre of Reykjavik. The inspiration came from the short story “Sunday evening to Monday morning” of Ásta Sigurðardóttir (1951) who describes a journey of a drunken woman in the streets of Reykjavik and her alienation. The precise geographical location does not really matter in the video much more than perhaps recognizing longer lasting nights, cold and strong wind; depicted activities and related attributes can be found anywhere in the world. The film material has been collected in 2018 when the artist worked in the residency at The Steina and Woody Vasulka Archive at the National Gallery of Iceland.

Liina Siib has studied printmaking and photography at the Estonian Academy of Arts. In her artistic practice, she uses the means of film, video, photography and installation. Liina Siib is intrigued by various manifestations of people's everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. Siib combines her field observations with archival sources, historical accounts and various narratives circulating in the society as well as with psychoanalytic approaches and contemporary art and film theories. Liina Siib has held personal exhibitions in Estonia, Germany, Belgium, France, Sweden, Finland and Latvia. In 2011 her art project “A Woman Takes Little Space“ represented Estonia at the 54th Venice Art Biennale. Her recent exhibition and film projects include Linda Vilde Museum at the E. Vilde Museum in Tallinn (2021), Huldufólk / Hidden People, Hobusepea Gallery, Tallinn (2020), Politics of Paradise, Tallinn Art Hall (2019), RIBOCA1 Riga Biennial (2018), Urban Symphony in E-minor, Sinne Gallery, Helsinki (2018). Since 2015, she works as the head and professor in the department of Graphic art at the Estonian Academy of Arts. Full CV at:

Hoolboom mike, Alena Koroleva
Wax Museum
Vidéo expérimentale | mov | couleur | 11:0 | Russie | 2020

In a suite of 15 scenes, most arriving in a single master shot, the Russian heroine renegotiates her pact with Russian capitalism, and the new bodies and relationships it made possible. Shot in Saint Petersberg during a sunny autumn, when our faces could still bear the old light.

Alena Koroleva is a multidisciplinary Russian artist and curator. Co-founder of Kinodot EFF, author of few short films and sound releases. Mike Hoolboom makes movies and writes.

Phillip warnell
Intimate Distances
Doc. expérimental | 4k | couleur | 61:0 | USA | 2020

On a street corner in Queens, New York, an elderly, white-haired woman hovers, apparently waiting or looking for something – then starts approaching passersby. Miked up close, but viewed – surveillance-style – from distant rooftops, she asks them philosophical questions about turning points in their lives, sometimes eliciting candidly revealing answers from people who seemingly need to talk. She’s also seen up close at street level, viewed by a shaky nearby camera. And intermittently we hear the affectless voiceover of an English male reading an account of a prison spell. What exactly are we seeing? A documentary of sorts? A fiction stripped of its expected signposts? The woman is real-life casting director Martha Wollner, but the film never makes it clear what her mission is, what she hopes to learn, and what her relation is to the distant speaker (who may also be the distant observer). Echoing Coppola’s THE CONVERSATION, as well as works by Phillip Warnell’s fellow British experimental directors John Smith and Chris Petit, this is an enigmatic, elusive piece. Yet, as the title suggests, those moments when Wollner connects with the interiority of perfect strangers makes this an alluringly, unexpectedly compassionate guerrilla foray into urban experience. (Jonathan Romney)

Phillip Warnell is an artist-filmmaker, a writer, and the director of the Visible Institute, for research in film and photography, at Kingston University, London. He produces film works and texts exploring a range of philosophical and poetic thematics, also exploring ideas on human-animal relations. His most recent film, The Flying Proletarian (2017), premiered at CPH:DOX, Copenhagen International Documentary Film Festival, in March 2017. During his fellowship, Warnell is addressing a series of interconnected questions on “animality-cinemality-criminality,” involving engagement with film professionals and researchers relative to screen-based roles and exploring the relationship among appearance, measurement, and typecasting. He is also developing script-based ideas for a planned feature-length film, currently in development, that investigates ideas on misobservation and apparitions of other life-worlds, accessing archival material to inform and incorporate into the project. Warnell’s film work has been exhibited extensively, including recent screenings at the ICA in London, KW Institute for Contemporary Art, in Berlin, and Tate Modern, in London, as well as in such prestigious film festivals as the Locarno Festival, the New York Film Festival, and the Viennale. Previous exhibitions have included at the Moderna galerija, in Ljubljana, Slovenia; Sharjah Biennial, in United Arab Emirates; and Wellcome Collection, in London. His film Ming of Harlem: Twenty One Storeys in the Air (2014) won the 2014 Georges de Beauregard International Prize at FID International Film Festival Marseille and the 2015 Universities SIC Award at IndieLisboa.

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Francisca Somigliana construit un jeu de réflexion, entre simulation et principe de réalité, en reconstituant l’histoire d’un vol de bijoux en Russie en 2018, qui aurait été commis par une organisation criminelle appelée Pink Panther. La simulation devient une méthode pour repenser les rituels sociaux de production et de représentation, une alternative pour réorganiser la réalité. Dans un parcours nocturne, entre aliénation et tragicomédie, Liina Siib filme les rues et arrière-cour du centre de Reykjavik, en pensant aux "Huldufolk" islandais, des êtres surnaturels qui ne peuvent être vus qu’au travers d’une vitre colorée. A Saint Pétersbourg, Mike Hoolboom et Alena Koroleva filment en quinze scènes une jeune femme qui semble renégocier son pacte avec le capitalisme russe. Phillip Warnell suit Martha Wollner, célèbre directrice de casting, à un carrefour dans le Queens, à New York. Filmée de loin, à une distance qui évoque les caméras de télésurveillance, elle aborde les passants, pour leur poser des questions intimes ou philosophiques.


26 août

Séance spéciale
Haus der Kulturen der Welt | Westgarten
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre. Sans réservation.
En cas de mauvais temps, la programmation en plein air sera déplacée à l'intérieur.
Le principe GGG (testé-vacciné-rétabli) s'applique à cet événement.
Livestreaming en accès libre ici


Chia-yun wu: Darkness Within Darkness | Vidéo expérimentale | mov | couleur et n&b | 6:30 | Taiwan / Royaume-Uni | 2020 voir plus
Agustina comedi: Playback. Ensayo de una despedida | Doc. expérimental | 4k | couleur | 14:32 | Argentine | 2019 voir plus
Marine bikard: Coulisses | Animation | mp4 | couleur | 4:9 | France | 2020 voir plus
Gaelle boucand: Voin | Documentaire | mov | | 30:0 | Bulgarie | 0 voir plus
Christelle lheureux: 80 000 ans | Fiction | mp4 | couleur | 28:26 | 0 | 2020 voir plus
Chia-yun wu
Darkness Within Darkness
Vidéo expérimentale | mov | couleur et n&b | 6:30 | Taiwan | 2020

The work is a paper made video composed of digital image and physical material that delves into the essence of moving image. I divided the digital video into the film ratio of 24-frame-per-second. Through the process of digital transforming in printing and scanning, the re-composed video is in between movement and stillness, virtual and concrete, digital and material. The contrasts have thus been thus related to the Oriental philosophy of Taoism, "one body with two sides". With the video, I was trying to visualize the abstract natural law which denies description. Tao is empty yet inexhaustible, hidden but always present, a way of life yet not a locatable truth. darkness within darkness seeks, in the same way, to be comprises of the very contrast between the established (material) and the abstract (digital) through revealing the invisible time in image.

Wu Chia-Yun (b.1988, Taiwan) received an MA degree in Visual Communication from the Royal College of Art (London) and an MFA degree in Motion Picture from the National Taiwan University of Arts (Taipei). She is an artist and filmmaker based in Taipei, her work is a mixture of image, video, mixed media and installation, focusing on the topics of “human condition” and “the time of image”. Wu has been awarded as Emerging Artist Made in Taiwan by the Ministry of Culture (2017), First Prize of Kaohsiung Awards by the Kaohsiung Museum of Fine Arts (2019), and has had a solo exhibition at the National Taiwan Museum of Fine Arts (2019). Her works have also been internationally selected to the European Media Art Festival (2020), The European Independent Film Channel (2015), Shanghai international Film Festival (2014).

Agustina comedi
Playback. Ensayo de una despedida
Doc. expérimental | 4k | couleur | 14:32 | Argentine | 2019

In Córdoba, far away from Argentina’s capital city, the end of a military regime promises a spring that doesn’t last long. “La Delpi” is the only survivor from a group of transgender women and drag queens, who began to die of AIDS in the late 80’s. In a catholic and conservative city, the Kalas Group made their weapons and trenches out of improvised dresses and playbacks. Today the images of a unique and unknown footage are not only a farewell letter, but also a friendship manifesto.

Agustina Comedi (1986) Córdoba, Argentina. Screenwriter and Filmmaker. She studied Modern Literature. In 2017 her first film "Silence is a Falling Body" was premiered at IDFA. The film was multi-awarded and selected in more than 50 international festivals. Nowadays she's writing her second feature.

Marine bikard
Animation | mp4 | couleur | 4:9 | France | 2020

Coulisses, Stop-motion, 4 minutes Un mouvement de caméra comme un balancement de tête, de gauche à droite. Si bien qu’il y a toujours ce qui sort et ce qui entre dans le champ. Dans ce trajet, l’œil caméra croise un papier, du papier peint, et plus loin encore, un miroir dans lequel se reflètent papier-peint et papier.

née en 1988, diplômée de l’école nationale supérieure des beaux-arts de Paris en juillet 2020. Avant et en parallèle de ce cursus artistique, elle a travaillé comme sociologue et continue la réalisation d’enquêtes de terrain. Pendant ces cinq années passées à l’ENSBA de Paris, elle a travaillé dans les ateliers de Pascale Martine Tayou, Emmanuelle Huynh, Aurélie Pagès et Jean-Michel Alberola, et a régulièrement participé à des workshops de danse qui ont marqué son parcours, notamment sa rencontre avec la chorégraphe américaine Lisa Nelson. Depuis 2019, elle imagine des rencontres collectives pour explorer par dessin différentes manières d’être avec ce qui nous entoure. Actuellement en résidence à l’Embac de Châteauroux.

Gaelle boucand
Documentaire | mov | | 30:0 | Bulgarie | 0

Voin a grandi dans la Bulgarie communiste. Après vingt ans passés en Europe de l’Ouest, il retourne à Sofia sur les lieux de son enfance et de son adolescence. Son portrait se compose de lieu en lieu, de souvenir en anecdote. Du cou coupé du coq qui voulait l’énucléer aux rites d’initiation sexuelle dans la maison interdite, Voin campe les saynètes d’un roman d’apprentissage bataillien, cru et souverain. En racontant ses travestissements, il revendique aussi l’exercice d’une liberté, d’une agilité à se mouvoir dans le cours de l’Histoire. Voin l’imite, en hérite, et c’est l’Histoire qui transparaît dans une tonalité rafraîchie, une vitalité excentrique et mineure, loin des lieux communs du récit majoritaire. Et quand, penché sur le vide au 19e étage de la tour Tolstoï, le trentenaire contemple les barres d’immeubles du quartier Espoir de son enfance, son vertige est contagieux, et la sensation (dé)grisante. (Cyril Neyrat)

Artiste et cinéaste, sa pratique se concentre depuis dix ans sur la réalisation de documentaires au sein desquels les questions du portrait et du dispositif filmique tiennent une place centrale. En 2010, son premier film, Partis pour Croatan, sur une communauté de raveur, est exposé notamment au Musée d'Art Moderne de la ville de Paris. Son deuxième film, JJA — premier volet d'une trilogie — dresse le portrait d'un exilé fiscal en Suisse. Il reçoit la mention du Grand Prix de la compétition française au FID Marseille 2012 ainsi que le Grand Prix expérimental au festival Coté Court de Pantin, et est également diffusé au sein de multiples institutions artistiques internationales (Kunsthalle Mannheim, MAST Bologna, Kunstwerk Carlshütte). Depuis 2014, elle enseigne régulièrement à l'isdaT à Toulouse et réalise des films avec différentes écoles. En 2015, elle termine Changement de décor, deuxième volet de la trilogie initiée avec JJA, présenté notamment aux États généraux du film documentaire de Lussas, et cofonde la société Elinka Films. En 2020, J.A — qui vient clore la trilogie — est en compétition au Cinéma du Réel et son dernier film, Voin, portrait d'un homme à travers son retour en Bulgarie, reçoit le prix Alice Guy au FID Marseille.

Christelle lheureux
80 000 ans
Fiction | mp4 | couleur | 28:26 | 0 | 2020

C’est l’été en Normandie. Céline travaille sur un chantier de fouilles et en profites pour passer un week-end dans son village d'enfance qu'elle n'a pas revu depuis longtemps. Ses recherches archéologiques se mêlent à des retrouvailles plus ou moins probables au fil de ses promenades.

Originaire de Normandie, Christelle Lheureux est cinéaste, artiste et enseignante. Elle vit à Paris et enseigne à la Haute école d’art et de design de Genève. Après une formation aux universités d’Amiens et de Paris VIII, aux Beaux-Arts de Grenoble et au Fresnoy, elle réalise de nombreuses installations vidéo dans les années 2000 et participe à de nombreuses expositions, biennales et résidences d’art contemporain en Europe et en Asie. Dans les années 2010, elle réalise plusieurs courts et moyens-métrages primés dans des festivals de cinéma. Elle prépare actuellement Le vent des crocodiles, son premier long-métrage avec Christmas in July (Julie Salvador), Dans le ventre de la baleine, un moyen métrage en Thaïlande avec Kidam (François-Pierre Clavel) et termine 80 000 ans, un court métrage en diptyque.

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Chia-Yun Wu recompose le mouvement et l'immobilité, et cherche à révéler le temps invisible que recèle l’image. Agustina Comedi revisite des images des années 80, filmées dans une ville catholique et conservatrice d’Argentine, sous le régime militaire. "La Delpi", seule survivante d'un groupe de femmes transsexuelles et de Drag Queens, raconte les playbacks improvisés, la fête, l’amour, et les amis disparus dans ce printemps promis. Le film devient une lettre d’adieu, mais aussi un manifeste d’amitié. Marine Bikard dessine et anime la surface d’un mur, et interroge les rapports qu’il y a entre le dessin, l’œil-caméra et l’artiste qui dessine. Christelle Lheureux fait se croiser autant de personnages que de temporalités et de tentatives de remémoration. Un été en Normandie, une jeune archéologue travaille sur un chantier de fouilles et en profite pour passer un week-end dans le village de son enfance. Ses recherches archéologiques résonnent avec les retrouvailles plus ou moins probables qu’elle faits au fil de ses promenades. Gaelle Boucand suit le retour en Bulgarie de Voin, sur les lieux de son adolescence, après vingt ans passés en Europe de l’Ouest. Le portrait se compose de lieu en lieu, de souvenir en anecdote. Des écarts se creusent dans le récit, ambigu, entre mémoire intime et collective.


26 août

Séance spéciale
Haus der Kulturen der Welt | Westgarten
John-Foster-Dulles Allee 10, 10557 Berlin / Métro: lignes S5, S7, S9, S75, station: Hauptbahnhof
Entrée libre. Sans réservation.
En cas de mauvais temps, la programmation en plein air sera déplacée à l'intérieur.
Le principe GGG (testé-vacciné-rétabli) s'applique à cet événement.
Livestreaming en accès libre ici

"En commun"

Manuel billi: Guardarla negli occhi (La Regarder dans les yeux) | Doc. expérimental | hdv | couleur | 15:0 | France | 2020 voir plus
Zaur kourazov: Han Yu | Doc. expérimental | mov | couleur | 20:23 | Russie | 2019 voir plus
masbedo: Condivisione di un ricordo | Vidéo | mp4 | couleur | 13:13 | Italie | 2020 voir plus
Laura huertas millÁn: Jíibie | Documentaire | dcp | couleur | 24:45 | Colombie | 2019 voir plus
Noemi osselaer: Erpe-Mere | Doc. expérimental | dcp | | 20:44 | Belgique | 2020 voir plus
Manuel billi
Guardarla negli occhi (La Regarder dans les yeux)
Doc. expérimental | hdv | couleur | 15:0 | France | 2020



Zaur kourazov
Han Yu
Doc. expérimental | mov | couleur | 20:23 | Russie | 2019

In a village in Chechnya a mother and a daughter speak about the return of an acquaintance.

Zaur Kourazov (1994) graduated from KASK in 2019 magna cum laude with his work, TIME IS (2020). His work dwells on themes such as memory, (cultural) identity and friendships which stem from intercultural aspects. Feeling connected to his ethnic culture and the assimilated culture, his work resides in a unique position by exploring 'in betweenness,' a very intruiging space of understanding both worlds yet not fitting in either of them.

Condivisione di un ricordo
Vidéo | mp4 | couleur | 13:13 | Italie | 2020

The major video screening set up echoes the documentary Condivisione di un ricordo: this work presents the operation which concerned Bergamo and the municipalities of the Val Seriana over the summer, in which numerous posters portraying Pellizza’s painting were displayed, thanks to the involvement of people encountered by the artists.

“The two artists have worked together since 1999, focusing on video art and installations. They express themselves through the language of video, in different forms such as performance, theater, installation, photography and recently cinema. In Italy they are recognized among the most important video artists and innovators in the field of contemporary art. Their artistic research has focused on the theme of incommunicability, highlighting the paradox of our communication society. This has led them to produce very intimate pieces alongside work with a greater anthropological, social, and political feel. They strive to engage their audience by using the moving image as an immersive installation. MASBEDO have also worked with video-performances to engage their audience within the creative space and gestures created by the video itself

Laura huertas millÁn
Documentaire | dcp | couleur | 24:45 | Colombie | 2019

Le rituel de fabrication de la poudre de coca verte (appelée « mambe » ou « Jiíbie ») dévoile un mythe ancestral de parenté, dont la transmission se fait par tradition orale. Dans la communauté amazonienne Muina Murui, la plante de coca n’est pas un produit de consommation, mais une interlocutrice sacrée, le coeur battant d’un corps collectif.

Laura Huertas Millán est une cinéaste et artiste française et colombienne, sa pratique se situe à lÊintersection entre le cinéma, lÊart contemporain et la recherche. Sélectionnées dans les grands festivals de cinéma tels que la Berlinale, Toronto International Film Festival, Rotterdam International Film Festival, New York Film Festival, et Cinéma du Réel, ses fluvres ont été primées dans des festivals tels que le Locarno Film Festival, FIDMarseille, Doclisboa, Videobrasil, parmi dÊautres. Plus de vingt rétrospectives et focus de son travail ont été organisées mondialement, dans des cinémathèques telles que le TIFF Lightbox de Toronto, la Film Archive de Harvard ou la cinémathèque de Bogota, et des festivals de cinéma majeurs comme Mar del Plata, les Rencontres du Documentaire de Montréal et Thessaloniki Doc. Ses dernières expositions personnelles ont eu lieu au MASP Sao Paulo, à la Maison des Arts de Malakoff et au Musée dÊArt Moderne de Medellin. Elle a également exposé et projeté ses films dans de nombreuses institutions renommées (Centre Pompidou, Jeu de Paume, Guggenheim Museum NY, Times Art Berlin) et dans le cadre de biennales (Liverpool, FRONT Triennial, Videobrasil, Videonnale). Ses fluvres font partie de collections privées et publiques (Kadist, CNAP, Banco de la República de Colombia, CIFO, FRAC Lorraine, parmi dÊautres). Huertas Millán détient un doctorat de pratique (programme SACRe), après avoir développé une recherche de pratique cinématographique autour de la ÿ fiction ethnographique Ÿ entre lÊUniversité PSL et le Sensory Ethnography Lab à lÊUniversité de Harvard. Elle travaille régulièrement comme enseignante. Depuis 2019, Huertas Millán et la commissaire Rachael Rakes forment un duo de recherche autour de lÊanthropologie critique, les esthétiques et les politiques de la rencontre.

Noemi osselaer
Doc. expérimental | dcp | | 20:44 | Belgique | 2020

Surrounded by the sound of nocturnal animals, a girl falls into a deep sleep. Gradually we are drawn into her dream, which unfolds into a cosmic journey through the meadows of Erpe-Mere, a rural community in Belgium.

Noemi Osselaer was born in Aalst, Belgium. She studied audiovisual arts at the Royal Academy of Fine Arts Ghent. Her graduation film ‘Erpe-Mere’ screened at several festivals including Dok Leipzig and IFFR. From January 2021 till December 2022 she will be a resident at the Higher Institute for Fine Arts (HISK) in Ghent.

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Manuel Billi filme une journée dans la vie de sa famille, dans une histoire de regards et de mains : des mains qui agissent, des mains qui assistent, des mains qui dansent jusqu'à la fin de la journée. Zaur Kourazov retourne en Tchétchénie pour la première fois, 18 ans après la guerre. Devant l’impossibilité de recréer les scènes exactes de ses souvenirs, il se retrouve dans un entre-deux, face à un peuple paradoxal éprouvant un désir constant de ce qui a été. Il filme alors, dans un village, une mère et sa fille qui parlent du retour d'une connaissance. Masbedo traverse la ville de Bergame, où des affiches d’une peinture de Pellizza ont été placardées dans l’espace public. Le processus évoque un acte de résistance face à l'incapacité sociale d'agir. Ici, l’art est lié à une idée, la communique, et la nécessité des utopies est réaffirmée. Laura Huertas Millán filme en Amazonie, dans la communauté Muina Murui, le rituel de fabrication de la poudre de coca. Interlocutrice sacrée, elle est le cœur battant d’un corps collectif. Noemi Osselaer filme une jeune fille, entourée du bruit des animaux nocturnes, qui tombe dans un profond sommeil. Nous sommes entraînés dans son rêve, qui se déploie en un voyage cosmique à travers les prairies d'Erpe-Mere, une commune rurale de Belgique.

    25 - 29 août 2021
    Programme par jour
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