Programme Paris 2021
12h30 13h00 15h00 17h00 19h00 21h00
vendredi

26 fév.
12h30

Forum
En direct de l'auditorium du Louvre
Live streaming, de 12h à 23h en accès libre : art-action.org/live
Espace 3D immersif, en accès libre : art-action.org/louvre

Visites en ligne

En partenariat avec TRAM Réseau art contemporain Paris/Île-de-France, les Rencontres Internationales Paris/Berlin vous invitent, les 25 et 26 février à 12h30, à découvrir une sélection de présentation d'expositions et de projets portés par sept structures membres du réseau.

TRAM Réseau art contemporain Paris / Ile-de-France est une association fédérant depuis 40 ans des lieux engagés dans la production et la diffusion de l’art contemporain en Île-de-France. Aujourd’hui au nombre de 31, ils témoignent de la vitalité et de la richesse de la création artistique sur le territoire francilien. Centres d’art, musées, écoles d’arts, collectifs d’artistes, fondations, frac, ces structures mènent des actions complémentaires de production, de diffusion, de collection, d’enseignement, de médiation, d’édition, de pratiques amateurs, etc.

Détail de la séance
Une sélection réalisée par TRAM Réseau art contemporain Paris/Île-de-France.
La séance sera introduite par Marc Bembekoff, co-président de TRAM Réseau art contemporain Paris/Île-de-France et directeur de La Galerie, centre d’art contemporain de Noisy-le-Sec.

La Galerie, centre d’art contemporain, Noisy-le-Sec (93)
Larissa Fassler, Tissus Urbains (prévue jusqu’au 20 mars 2021)
Entretien avec Larissa Fassler, dans le cadre de son exposition personnelle Tissus urbains à La Galerie - 7’31''

Centre d’art contemporain d’Ivry – le Crédac, Ivry-sur-Seine (94)
La vie des tables, exposition collective (prévue jusqu’au 21 mars 2021)
Interview de Claire Le Restif, commissaire de l'exposition - 9’31''

La Terrasse espace d’art de Nanterre, Nanterre (92)
Mario Macilau, Cercles de mémoires (prévue jusqu’au 29 mai 2021)
Film/entretien avec Mario Macilau - 8’30''

| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



vendredi

26 fév.
13h00

Séance en ligne
En direct de l'auditorium du Louvre
Live streaming, de 12h à 23h en accès libre : art-action.org/live
Espace 3D immersif, en accès libre : art-action.org/louvre

"Common Birds"

Silvia maglioni, Graeme Thomson: Common Birds | Film expérimental | 4k | couleur et n&b | 84:0 | France / Greece | 2019 voir plus
Silvia maglioni, Graeme Thomson
Common Birds
Film expérimental | 4k | couleur et n&b | 84:0 | France | 2019

Deux athéniens décident de fuir leur ville pour échapper à la dette. Guidés par de mystérieux appels de corbeaux, ils parcourent la ville avant d’atteindre une zone de passage, où ils sont entraînés dans une forêt ancestrale : le Royaume des Oiseaux. Ils y rencontrent la Hoopoe, mi-oiseau mi-femme, qui devient leur traductrice. Au milieu des forces magiques de la forêt, les oiseaux vivent en partageant leurs ressources. La rencontre entre humains, oiseaux et forêt sera une révélation pour tout le monde. Plus de 2500 ans après sa création, COMMON BIRDS est une adaptation expérimentale des Oiseaux d’Aristophane. Entre une Athènes contemporaine marquée par la crise et la forêt primaire de La Gomera, entre grec ancien et silbo gomero (langue sifflée en voie de disparition qui fait partie d'une longue tradition de résistance), une histoire de fuite, de perte et de réenchantement dans un espace végétal époustouflant où de nouvelles alliances inter-espèces peuvent émerger.

Silvia MAGLIONI and GRAEME THOMSON are filmmakers and artists whose work explores the porous boundaries between fiction and documentary, cinema and the visual arts. Their work has been screened in festivals around the world, including FID-Marseille, IFF Rotterdam, Anthology Film Archives, Rencontres Internationales Paris-Berlin, Thessaloniki IFF, Berlin Critics Week, Bafici, Jihlava, Festival Hors-Pistes, Docs Kingdom.


| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |


Graeme Thomson et Silvia Maglioni transposent et adaptent "Les Oiseaux" d’Aristophane, et ouvrent de nouveaux champs de perception, un rapport différent avec le monde végétal et animal, et découvrent un rapport au langage qui dépasse la simple communication. Deux Athéniens fuient leur ville pour échapper à leur dette. Guidés par de mystérieux appels de corbeaux, ils parcourent la ville avant d’atteindre une zone de passage, où ils sont entraînés dans une forêt ancestrale : le Royaume des Oiseaux. Entre une Athènes contemporaine marquée par la crise et la forêt primaire de La Gomera, le film est un récit de perte et de réenchantement.


vendredi

26 fév.
15h00

Séance en ligne
En direct de l'auditorium du Louvre
Live streaming, de 12h à 23h en accès libre : art-action.org/live
Espace 3D immersif, en accès libre : art-action.org/louvre

"Démesure"

telcosystems: Testfilm #1 | Film expérimental | mov | couleur | 14:21 | Croatie | 2020 voir plus
Pia rÖnicke: The Times, replayed | Film expérimental | 16mm | couleur et n&b | 11:12 | Danemark | 2020 voir plus
Albert garcÍa-alzÓrriz: EYES / EYES / EYES / EYES | Doc. expérimental | 4k | couleur et n&b | 37:7 | Espagne | 2020 voir plus
Kamran sadeghi: Loss Less | Vidéo | mov | couleur | 22:53 | USA | 2020 voir plus
telcosystems
Testfilm #1
Film expérimental | mov | couleur | 14:21 | Croatie | 2020

TESTFILM is a series of projects in which Telcosystems address the impact of new technological developments in digital filmmaking and their implications for the future of artists’ cinema. In TESTFILM #1 they explore the creative possibilities of the Digital Cinema Package (DCP) – the new global infrastructure for film projection in cinemas. By 2015, this digital standard had completely replaced analogue film projection around the world. Could one upset the default behavior of the DCP system and unearth its artistic potential? (A practice that has been an integral part of the history of cinema.) Or is the system designed to exclude any possibility of human intervention? If so, what happens to the history and the future of experimental cinema and the renegades who refuse to play by the rules?


Telcosystems are Gideon Kiers, David Kiers and Lucas van der Velden. Lucas van der Velden (1976, Eindhoven) and Gideon Kiers (1975, Amsterdam) studied at the Interfaculty Image and Sound, a department at the Royal Conservatory and the Royal Academy in The Hague. David Kiers (1977, Amsterdam) studied Sonology at the Royal Conservatory in The Hague. Over the past two decades, they have been investigating the digital universe from an artistic perspective. In their audiovisual practice they have been pursuing the liberation of machines from the rules and limitations imposed through standardized software and hardware. Telcosystems create immersive spatial experiences that explore the interaction between technology, human expression and machine behavior. Their films, installations and performances have been presented at IFFR, Holland Festival, Transmediale, Sonar, EMAF Osnabrück, Oberhausen, Edinburgh, Ann Arbor, Videoex, EYE Filmmuseum, De Appel, Wood Street Galleries, STRP Biennale, SXSW, Stedelijk Museum Amsterdam and many more.

Pia rÖnicke
The Times, replayed
Film expérimental | 16mm | couleur et n&b | 11:12 | Danemark | 2020

The Times, replayed unfolds in a time loop that is both enigmatic and very concrete. From an isolated room images of the world comes into appearance being both out of sync and in actuality with the news stream. The materiality of images are put into question, how they are contextualized and how they decompose, how rapidly the are rendered out of date or take one new meanings. Within this space an actual presence is slowly starting to emerge.


Pia Rönicke is an artist based in Copenhagen. In recent years, she has been investigating different botanical collections that show traces of colonial and geopolitical conditions. Her work is concerned with problems of space and spatial transformations. She is interested in the connection between work space and filmic space, and how we conceive historical matters in relationship to our daily activities. Rönicke often works with archives and the practice of collecting is a recurring theme in her artworks. Her artistic practice spans film, prints, sculptures, and objects, which together build narratives. Solo exhibitions, Drifting Woods, Gävle Art Center, Sweden, Word for Forest, Parallel Oaxaca, Mexico, 2018 The Cloud Document, Overgaden Institute of Contemporary Art, Copenhagen, 2017; The Pages of Day and Night, gb agency, Paris, 2015; Aurora, Museo Rufino Tamayo, Mexico City, 2012. Group exhibitions, film festivals, CPH:DOX, Copenhagen, 2018; FIDMarseille, 2018; Botany Under Influence, Apexart, New York, 2016; A story within a Story, Göteborg International Biennial for Contemporary Art, 2015, Buildering: Misbehaving the City, Contemporary Arts Center, Cincinnati, 2014; Rehabilitation, WIELS, Brussels, 2012; After Architecture, Centre d'Art Santa Mònica, Barcelona, 2010; Imagine Action, Lisson Gallery, London, 2008; Elephant Cemetery, Artists Space, New York, 2007; Anachronism, ARGOS, Brussels, 2007; GNS, Palais de Tokyo, Paris, 2003

Albert garcÍa-alzÓrriz
EYES / EYES / EYES / EYES
Doc. expérimental | 4k | couleur et n&b | 37:7 | Espagne | 2020

Des archives conservent les fragments de statues renversées. Dans un coin, un ventilateur berce l’atmosphère. L’air caresse les gestes mesurés des archivistes. Le vrombissement du moteur et l’interminable attente induisent le sommeil : Dans un rêve, militaires et civils sourient, inertes. (Tirs lointains, sifflement des balles et explosions). Dans un autre rêve, il n’y a que pierres, indifférence et oubli. (Rien de ce qui précède n’est réel ni vrai).

Albert García-Alzórriz (Barcelona, 1992). Master’s and bachelor’s graduate in Architecture from the Polytechnic University of Catalonia and bachelor’s graduate in Fine Arts from the University of Barcelona. He is currently undertaking the Master’s course in Contemporary Film and Audiovisual Studies at Pompeu Fabra University in Barcelona. His work as an artist and filmmaker has recently been exhibited at international events and festivals, including the 58th Biennale Arte in Venice, the 7th Taiwan International Video Art Exhibition in Taipei, the 31st FID Marseille, the 8th FID Buenos Aires and the 17th Documenta Madrid, as well as at public institutions such as the IVAM (Valencia) and the ECCO (Cádiz).

Kamran sadeghi
Loss Less
Vidéo | mov | couleur | 22:53 | USA | 2020

“Loss Less” is a site-specific audiovisual work recorded inside of the defunct nuclear cooling tower Satsop. In the 1970’s, the U.S. was more than 20 years into its nuclear power program. In Washington State, a consortium of public utilities began what was to be the largest single nuclear power project in the country’s history. The construction was suspended shortly before the facility was completed and what remains is a structure 129 meters across at the base, and rising to a height of nearly 152 meters. Kamran Sadeghi used its natural acoustics to compose and reshape sound, capturing the architectural integrity and holistic immediacy of the nuclear cooling tower, while symbolically removing its entire existence. Maintaining an emphasis on the sound, Sadeghi created a 3D abstraction from a still taken on location. The title ‘Loss Less’ is derived from the term lossless compression - a process that allows for the preservation and perfect reconstruction of data (audio). In this case the audio was not preserved, but intentionally degraded. The title also expresses the reality of catastrophic loss and destruction caused by nuclear energy, and the cry for less.


Kamran Sadeghi is an Iranian American musician, composer, record producer and interdisciplinary artist based in New York City. Recent solo album on LINE was recorded inside a defunct nuclear cooling tower, followed by a collaboration with installation artist Zimoun. Sadeghi’s diverse body of work can be attributed to his use of sound as a sculptural material.  An alchemist who is guided by thematic research, controlled experimentation and intuition while working with synthesis, acoustics and sound recording / processing technology. Sadeghi’s performances, soundtracks, collaborations and installations have been experienced at the ICA (Boston), DTW (NY), Corcoran Gallery of Art (DC), CTM Festival (DE), KW Gallery (DE), K11 Museum (Shanghai), MUDAM (Luxembourg), MuCEM (Marseille), Centre Pompidou (FR), Berghain (DE), KOW (DE), and Berlin Biennale (DE). Distinguished collaborators include American singer and poet Patti Smith, Ethiopian Jazz musician Mulatu Astatke, American photographer Nan Goldin and French-Swiss film director Jean-Luc Godard and choreographer Sasha Waltz. Recordings and productions are published on such labels as Sternberg Press, Vinyl Factory, LINE, Dragons Eye Recordings, Sacred Bones, Apollo Records and more.


| | | : | |



| | | : | |



| | | : | |



| | | : | |


Telcosystems interroge l'impact des technologies du film numérique et leurs implications critiques. Le DCP, conçu pour exclure toute possibilité d'intervention humaine, est ici détourné, pour en expérimenter le potentiel artistique. À partir de photographies de presse, Pia Rönicke déroule une boucle temporelle, interroge la matérialité des images, qui apparaissent ici à la fois décalées et en phase avec l’actualité. Albert García-Alzórriz filme un travail d’archivage sur des fragments de statues déboulonnées, et questionne la puissance des images, adorées ou violemment rejetées. Leur histoire devient l’histoire intrinsèque de la violence et de la destruction. Kamran Sadeghi a réalisé une performance sonore à l'intérieur de la tour de refroidissement de la centrale nucléaire inachevée de Satsop, qui était dans les années 70 le plus grand projet d'énergie nucléaire des Etats-Unis. L’acoustique naturelle de cette structure monumentale haute de 152 mètres, devient matériau de composition sonore. La vidéo, réalisée à partir d’une photo prise sur place, dissout l’espace jusqu’à en faire une abstraction.


vendredi

26 fév.
17h00

Séance en ligne
En direct de l'auditorium du Louvre
Live streaming, de 12h à 23h en accès libre : art-action.org/live
Espace 3D immersif, en accès libre : art-action.org/louvre

"Queer Landscapes"

Foteini kotsopoulou: This Dance Has No End | Vidéo expérimentale | mp4 | noir et blanc | 10:58 | Royaume-Uni | 2018 voir plus
Wojciech pus: Queer Landscapes | Segues from Endless | Fiction expérimentale | 4k | couleur | 22:13 | Pologne | 2020 voir plus
Michelle handelman: These Unruly and Ungovernable Selves | Vidéo expérimentale | 4k | couleur | 6:0 | USA | 2020 voir plus
Frances scott: Valentina | Film expérimental | 16mm | noir et blanc | 3:55 | Royaume-Uni | 2020 voir plus
Florian tscharf: Terms of Play | Installation vidéo | 4k | couleur | 6:51 | Allemagne | 2020 voir plus
Dagmar schÜrrer: Galaxy | Vidéo expérimentale | mov | couleur | 3:48 | Allemagne | 2020 voir plus
Jonathan saldanha: AFTER THE LAW | Fiction expérimentale | hdv | couleur | 27:0 | Portugal | 2020 voir plus
Foteini kotsopoulou
This Dance Has No End
Vidéo expérimentale | mp4 | noir et blanc | 10:58 | Royaume-Uni | 2018

"What happens when someone dies is that we, the living, contain their memory within us ... They will live on in us, and we will celebrate them. And dance like there is no tomorrow". Diane Torr A dance dedicated to artist, drag king and gender activist Diane Torr who passed away in May 2017. A year to the day, I dance in a black room : a single shot fusing male and female as ode to life and death. Traditional urban zeybekiko dance of Rebetiko, exclusively danced by men -in the past- is danced by my hybrid manifestation - blended aspects of my identity. In silence, I hear Diane's words: "Take space with all your being. Own the space". I lift my arms and dance like there is no tomorrow as the camera follows. No edits or retakes : the aim is not to please or excite but to offer myself as site for collective unburdening. Credits: Performance/concept:Fenia Kotsopoulou Camera: Daz Disley


Fenia Kotsopoulou is a Greek cross-disciplinary, award-winning artist (performance (art), dance, video, photography), based in Lincoln (UK), holding a MFA in Choreographing Live Art from the University of Lincoln (UK), a BA Honours in Dance from the National Dance Academy of Rome (Italy), and a BA in Italian Language and Literature from the Aristotelian University of Thessaloniki (Greece). Over the course of the last 10 years, video making and photography became a dominant and persistent component of her artistic practice. Pivotal topics of recent projects include the body as gathering place of emotions and site of transformation, personal and collective memory, fragmentation, (de)construction of female identity, unbecoming, shame, hairiness and other issues. In the past few years, as (dance) performer, producer and visual practitioner, her works and the work of close-collaborator digital artist, Daz Disley, have been shown at a wide array of festivals and art platforms, encompassing the fields of dance, experimental performance, live-art and video-art, and receiving several prizes/awards. Alongside her practice, she is lecturer at the Master of Performance Practices at the university of ArtEZ (Netherlands) and, since 2016, she is artist-in-residence at x-church in Gainsborough (UK).

Wojciech pus
Queer Landscapes | Segues from Endless
Fiction expérimentale | 4k | couleur | 22:13 | Pologne | 2020

“Queer Landscapes | Segues from Endless” is an experimental portrait of the character in the state of transition. Through their research the different characters and voices form a multilayered essay about queer intimacy, loneliness and resistance. This daydream plot becomes a choir of an oppressed identities, which become revolutionary and free. The essence of the film is based on the informal community of performers of different social backgrounds, gender identities, nationalities and migration status (Chile, France, Mexico, Poland, Ukraine). The combination of their personal stories, alongside fragments of literary works, films, memoirs, and dream notes creates a mosaic structure, situated in the genre of queer abstraction.


Wojciech Pus is an artist engaged in various fields of art: film, theatre, visual arts, and opera. In his works he combines the aesthetics of experimental film with elements of light and video installations, giving them a cinematographic character. He has created an original, recognisable style, largely referring to rhythm, movement, and time, analysed by the artist using the medium of film. Pus confronts the viewer with abstract representations having narrative potential, constructed with the use of montage and music. His works are on the verge of two realities – the actual one, and the one created by the film’s visuality.

Michelle handelman
These Unruly and Ungovernable Selves
Vidéo expérimentale | 4k | couleur | 6:0 | USA | 2020

Michelle Handelman’s new video piece, THESE UNRULY AND UNGOVERNABLE SELVES (The Lockdown), recontextualizes characters from her previous works into a hypnotic visual essay about the transfiguring of interiority during periods of isolation and fear. It takes as its starting point the coronavirus pandemic and filters it through theorist Jill Casid’s writings on the necrocene, and Walter Benjamin's writings from The Arcade’s Project, sliding between threshold and boundaries, considering how bioterrorism may not only be an intentional release of viruses, but it may also be what lives inside, our own fear that late stage capitalism uses to destroy us. Handelman's characters, who each have already struggled with existential questions of belonging and fear in her projects DORIAN, A CINEMATIC PERFUME (2009/11); IRMA VEP, THE LAST BREATH (2013/15); and HUSTLERS & EMPIRES (2018), are juxtaposed with found images and texts sourced during the pandemic to take on a new form that both denies and struggles with containment. Casid writes, “May none of us rest as we live our dying. May we not forget but actually do the work of reckoning with the still uncounted, of the crimes of the endless war we are still in.”


Michelle Handelman is a visual artist, filmmaker, and writer whose work pushes against the boundaries of gender, race and sexuality. Coming up through the years of the AIDS crisis and Culture Wars, Handelman has built a body of work that investigates the dark and uncomfortable spaces of queer identity. She is a Creative Capital awardee (2019); Guggenheim Fellow (2011); Art Matters Awardee (2011) and NYFA Fellow (2011). She has exhibited widely including the San Francisco Museum of Modern Art, Eli & Edythe Broad Art Museum, PERFORMA Biennial, MIT List Visual Arts Center, PARTICIPANT, INC, The Henry Art Gallery; Museum of Contemporary Art Chicago, Contemporary Arts Museum Houston, Guangzhou 53 Art Museum; Film at Lincoln Center, The British Film Institute, and Centre Georges Pompidou. During the 1990s, Handelman was based in San Francisco where she collaborated with Monte Cazazza, a pioneer of the Industrial music scene; directed the feature film BloodSisters: Leather, Dykes and Sadomasochism (1995), and performed in several films by Lynn Hershman-Leeson. Her work has been written about in Bomb Magazine, Artforum, Art in America, Filmmaker Magazine, and The New York Times, and is in many private collections including the Eli & Edythe Broad Art Museum; Kadist Art Foundation, Paris; di Rosa Foundation and Preserve; Zabludowicz Art Trust. She is based in Brooklyn and is a Professor in the Film, Media and Performing Arts department at Fashion Institute of Technology, NYC.

Frances scott
Valentina
Film expérimental | 16mm | noir et blanc | 3:55 | Royaume-Uni | 2020

‘Valentina’ is a prelude to ‘Wendy’, a speculative portrait of, and film fan-letter to, composer and musician Wendy Carlos – self-described as “The Original Synth”. In ‘Valentina’, an unedited 100ft reel of hand-processed 16mm film, shot in rehearsal, is used as a silent score for a reading. Performer and dancer Valentina Formenti recalls part of a transcribed interview with Carlos, later edited for publication in ‘Playboy’ in 1979. Whilst the magazine interview was seen as the first public announcement of Carlos’ gender transition, these absent passages, excluded from the final edit, include her connected interests in cartography, physics, mathematics’ transformations, astronomy, and her practice in solar eclipse photography. Valentina’s multiple voices are translated through Vocoder, and collaged with musician Tom Richards’ performance on Daphne Oram’s unrealised ‘Mini-Oramics’, to suggest a coming into being through sonic synthesis. ‘…imagining a world without gender, which is perhaps a world without genesis, but maybe also a world without end.” (Donna Haraway, ’A Manifesto for Cyborgs’, Socialist Review, no.80, 1985).


Frances Scott (b. 1981) is a London-based artist working with moving image. Her work considers the narratives and histories at the periphery of cinematic production and its apparatus, to produce films composed of their metonymic fragments. Her projects are often made in exchange with other specialists, groups and publics, and developed through research using online and physical archives and collections. She associates and composites diverse materials, analogue and digital film media, to create intricate scenarios that are both scripted and improvised. Her film work, informed by this collaborative and research-led process, takes multiple forms, through exhibitions to installations, screenings, events, broadcasts and publications, including recent presentations at: transmediale x CTM, Berlin; 57th New York Film Festival, Lincoln Center, New York; Edge of Frame & Close Up Film Centre, London; Het Bos, Antwerp; The Bower, London; Tate St Ives, Cornwall; Annely Juda Fine Art & The Russian Club, London; Whitechapel Gallery, London; Yorkshire Sculpture Park & Art Licks; South West Film & Television Archive, Plymouth; and Focal Point Gallery, Southend. Frances Scott was recipient of the Stuart Croft Foundation Moving Image Award (2017), and is currently working on a new film commissioned by TACO!, London for a solo exhibition and publication in 2022.

Florian tscharf
Terms of Play
Installation vidéo | 4k | couleur | 6:51 | Allemagne | 2020

In 'Terms of Play' 60 different training sentences were taken of the voice-cloning software 'Lyrebird IA' and recombined in a screenplay to form a dialogue. This dialogue was then interpreted by two actors. Each part was interpreted in a different emotion: some factual, some dramatic, some singing… The 2-channel video work deals with the processes of machine learning technologies which are playing an increasing role in film production. By appropriating and reinterpreting the training sentences (which the software itself has taken from publicly available texts, novels and essays), the work inverts these processes and reflects them critically.


Florian Tscharf (*1987 in Germany) is a video and media artist. He studied Media Design in Ravensburg, Directing at the Film Academy Baden-Württemberg and Screen Based Arts at the Bezalel Academy in Jerusalem. He lives and works in Berlin.

Dagmar schÜrrer
Galaxy
Vidéo expérimentale | mov | couleur | 3:48 | Allemagne | 2020

The narrator in the moving image work GALAXY is technology itself. The story is generated by an algorithm and offers an interpretation of the brief meeting of the two characters Touch and Long Swipe, an encounter of love and disappointment. Small deviations in the language and the narrative logic reveal our social imprint of how stories are expected to be told and how technology is programmed to follow these perceptions. The mise en scéne is a computer-generated galaxy of objects and images reminiscent of the organic, but dismembered and fragmented, reflecting on the possibility of creating new worlds and stories in digital space by following a subjective system of ordering.


Dagmar Schürrer is a media artist based in Berlin, Germany. The digital image, found and generated, is her material to form a visual language beyond analogue perception. She assembles found footage, digitally generated objects and animations, text, drawings and sound to form intricate video sound montages, presented on screen, as installations or combined with new technologies such as augmented reality. She holds a degree in Fine Art from Central Saint Martin´s College in London, UK. Her work has been exhibited internationally, amongst others at the New Contemporaries at the ICA London, the Moscow Biennale for Young Art, at the Museum of Waste in Changsha, China, the Transmediale Vorspiel in Berlin and LUX moving image London. Her videos have been screened at numerous festivals: SUPERNOVA in Denver, Seattle Film Festival, the Athens Digital Arts Festival, the Horn Experimental Film Festival in Israel, Tricky Women Festival in Vienna, or the Diagonale Film Festival in Graz. In recent years she received the Goldrausch Scholarship of the Senate of Berlin and was shortlisted for the Berlin Art Prize and the Tenderpixel Award in London.

Jonathan saldanha
AFTER THE LAW
Fiction expérimentale | hdv | couleur | 27:0 | Portugal | 2020

AFTER THE LAW is a courtroom short movie where a tribunal of humans and objects are contaminated by an untraceable virus. This judgement addresses an unknown accident that fractured the law and eroded speech. Trough a toxic mutation of roles and shapes, evidences, gestures and haptics the court colapses its capacity of deliberation. Shot in tape has a live performance, using a single camcorder, this court was designed has a cybernetic mechanism for haptic responses were collective drive, light, vibration, face recognition and empathy collide with a synthetic voice. All speech was generated with Google WaveNet, a generative model using neural networks to simulate human voices, this protocol was explored and accelerated to find moments were the voice of the machine breaks, stutters and drives glossolalia. In 2019 the images were used as a visual score for a group of deaf teenagers to interpret in an extended sine language, exploring the gaps of description and extending them to body description of this aphasic court. The coral voices were recorded through hipnose induced states, blending the surface frontiers that separate the body from its spatial resonators. A broken voice haunts a political paradox in a reversed bio engineering.


Jonathan Uliel Saldanha studied sculpture at the Faculty of Fine Arts of the University of Porto and devoted himself to studying the tabla - Indian percussion instrument - with the Hindu musical group Jugalbandi. He is the founder of the collective SOOPA, a visual, performative and sound laboratory, and Silorumor, a member of the Fujako duo and director of the group HHY & The Macumbas. Since 2010, he has composed several experimental sound pieces, co-created the pieces “Boca Wall”, “Shark” and “King Trilogy” and directed “Jungle Machine”, “Khorus Anima”, “The Well” and “Oxidation Machine”. , presented in venues such as Serralves, Porto - Rivoli Municipal Theater, Palais de Tokyo (Paris, France) and Accès (s) Festival (Billère, France). He collaborated with artists such as Carlos Zíngaro, Steve Mackay, Adrian Sherwood, Vera Mantero, Mark Stewart, João Fiadeiro among others, and as a musician, performed in festivals such as Nyege Nyege (Uganda), Unsound (Poland), Sónar (Spain). , Primavera Sound, Amplifest, Out.Fest, Circular, Million Party, Neopop, Tapettefest (France) and Elevate (Austria). In 2019 he presented the installation Vocoder & Camouflage (Vanishing Point: works from the António Cachola collection, Torreão Nascente Lisboa), the piece “Scotoma Cintilante”, for the blind choir and score-sculpture (Porto Catholic University, São Carlos Lisbon National Theater ) at the 2019 BoCa Biennial, and “Broken Field Atlantis” a light-sheet concert (Porto Municipal Theater: Rivoli). Also in 2018, a work that precedes this exhibition, he presented the play “SØMA” where a group of deaf teenagers translate in gesture the filming of an animist court, presented at Culturgest Lisboa and at the Porto Municipal Theater: Rivoli. At the same time, he presented the exhibitions “Behemoth Republic”, in the Sonic Geometry cycle in the Archipelago São Miguel Arts Center, in the Azores and “Dismorfia”, at the Catholic University of Porto.


| | | : | |


Foteini Kotsopoulou danse à la mémoire de l’artiste Drag King Diane Torr. Un plan unique fusionne homme et femme, comme une ode à la vie et à la mort. La danse traditionnelle Zeybekiko du Rebetiko dansée à l’origine uniquement par des hommes, est ici dansée par une manifestation hybride de l’artiste. Wojciech Pus réalise le portrait expérimental d’un personnage en transition, dans une structure en mosaïque, abstraction queer. Différents personnages et voix forment un essai à plusieurs niveaux sur l'intimité, la solitude et la résistance. Le film est réalisé avec une communauté informelle d'artistes d'origines sociales, d'identités de genre, de nationalités et de statuts migratoires différents. Michelle Handelman recontextualise les personnages de ses œuvres précédentes, des dystopies queer peuplées de personnages qui vivent, luttent et communiquent hors du contrôle de l’artiste. Elle analyse l’évolution de l'intériorité en période de solitude et de peur, dans l’isolement créé par la pandémie de coronavirus. La question du seuil et de la limite est envisagée au travers des écrits de la théoricienne Jill Casid et de Walter Benjamin. Frances Scott réalise le portrait spéculatif de la compositrice électronique Wendy Carlos qui a effectué en 1973 une transition de genre. Une performeuse réinterprète des fragments d'une interview de Carlos, publiée dans "Playboy" en 1979, considérée comme la première annonce publique de sa transition. Le récit est retravaillé en voix de synthèse comme une partition sonore. Florian Tscharf détourne les phrases type d’un logiciel de clonage vocal, et les recombine en un dialogue scénarisé, interprété par deux acteurs. Dagmar Schürrer place la technologie comme origine narratrice d’une histoire d’amour, dès lors générée automatiquement. Les déviations dans le langage et la logique narrative apparaissent, et manifestent l’empreinte sociale sur la technologie. Jonathan Uliel Saldanha reconstitue la salle d'audience d’un tribunal, où humains et d'objets sont contaminé par un virus intraçable. Le jugement a pour objet un accident d’origine inconnue, qui a fracturé la loi et érodé la parole. S’opère une mutation toxique des rôles, des formes, des preuves et des gestes, réduisant la capacité de délibération du tribunal, qui devient un mécanisme cybernétique se heurtant à une voix de synthèse, générée avec Google WaveNet, modèle génératif utilisant les réseaux de neurones pour simuler les voix humaines, jusqu’à ce que la voix de la machine se casse. Les images ont été reprises comme une partition visuelle pour un groupe d'adolescents sourds, qui interprètent à leur tour la description lacunaire de ce tribunal aphasique.


vendredi

26 fév.
19h00

Séance en ligne
En direct de l'auditorium du Louvre
Live streaming, de 12h à 23h en accès libre : art-action.org/live
Espace 3D immersif, en accès libre : art-action.org/louvre

"Architectures"

Myriam yates: Filmer à  Dakar, présences singulières entre le sable, la ville et le delta | Installation vidéo | hdv | couleur | 12:33 | Canada | 2019 voir plus
Tommaso donati: Cligne-musette | Doc. expérimental | hdcam | couleur | 21:30 | Suisse | 2020 voir plus
Mélissa epaminondi, Esteban Ulrich: Deconstructing Niemeyer | Doc. expérimental | mp4 | couleur | 1:9 | France | 2020 voir plus
Mona vatamanu, Florin Tudor: Omnia Communia Deserta | Doc. expérimental | mp4 | couleur | 29:0 | Roumanie | 2020 voir plus
Giulio squillacciotti: What Has Left Since We Left | Fiction expérimentale | 4k | couleur | 21:15 | Pays-Bas | 2020 voir plus
Myriam yates
Filmer à  Dakar, présences singulières entre le sable, la ville et le delta
Installation vidéo | hdv | couleur | 12:33 | Canada | 2019

Filmer à Dakar, présences singulières entre le sable, la ville et le delta est un diptyque vidéo mettant en relation des espaces naturels, des espaces construits et leurs occupants. Les séquences formées par le diptyque tissent une trame dont l’agencement se renouvelle au gré des projections en boucle. D’une part un défilement de lieux tels que la ville en construction de Diamniadio ou des espaces en transition comme les espaces en démontage de la Biennale de Dakar dans l’ancien palais de justice. D’autre part, l’activité dense au cœur de la Corniche en bord de mer où la caméra avance dans le mouvement fluide des séances d’entraînements. Un jeune garçon à l’écart tente un «selfie». Circulant d’une projection à l’autre on se rend compte de la complémentarité de celles-ci : l’énergie déployée sur la Corniche magnétise les espaces vides, en transition, présentés dans l’autre écran. Ces deux projections dans lesquelles se déploient espaces intérieurs et extérieurs et leurs occupants, interpellent l’écologie du vivre ensemble, dont les paramètres sont en perpétuelle mouvance.

Les œuvres de Myriam Yates se déploient sous forme de grandes projections vidéographiques ou de séries photographiques. Elle privilégie une approche hybride de l’image entre une certaine forme de document et l’essai vidéo. Elle s’intéresse à la construction de l’espace public, aux jonctions entre l’aménagement et la nature ainsi qu’à la notion de territoire. Ses œuvres ont été présentées lors d’événements tels que Kassel Dokfest (Allemagne), Images Festival (Toronto), les Rencontres Internationales Paris/Berlin, le Mois de la Photo à Montréal et Nuit Blanche Toronto. Elles ont fait l’objet d’expositions individuelles et collectives, notamment à la Galerie d’art Foreman de l’Université Bishop’s (Sherbrooke), au Hessel Museum of Art — CCS Bard (New York), au Musée d’art contemporain de Montréal, à OPTICA, un centre d’art contemporain (Montréal), à Dazibao (Montréal). Un essai dans la revue Prefix Photo sur les architectures improbables a été consacré à ses œuvres vidéographiques accompagnant une exposition au Prefix ICA (Toronto). Elle remporte en 2015 le Prix Victor-Martyn-Lynch-Staunton (arts médiatiques) du Conseil des arts du Canada. Originaire de Montréal, elle vit présentement à Sherbrooke. Ses projets sont régulièrement financés par les Conseils des arts et des lettres du Québec et du Canada.

Tommaso donati
Cligne-musette
Doc. expérimental | hdcam | couleur | 21:30 | Suisse | 2020

Jusqu'au début du XXe siècle en France, le jeu de cache-cache était appelé cligne-musette. Dans un paysage hivernal, le film suit cinq enfants et un jeune homme qui errent seuls entre les bâtiments du quartier populaire de Valibout, situé dans la ville de province de Plaisir. Leurs chemins ne se croiseront pas, mais semblent destinés à connaître le même sort, celui d'être abandonnés à eux-mêmes, de se cacher et de ne pas être trouvés.

Né en 1988, Tommaso Donati vit et travaille à Lugano, en Suisse. Son travail combine une approche narrative avec le cinéma documentaire et s'articule autour du thème de la marginalité.

Mélissa epaminondi, Esteban Ulrich
Deconstructing Niemeyer
Doc. expérimental | mp4 | couleur | 1:9 | France | 2020

Sur une succession d'images documentant le chantier de remise en état de la coupole du siège du Parti Communiste Français, la voix de l'architecte brésilien Oscar Niemeyer traverse le temps pour nous dévoiler le cœur de son œuvre et de sa pensée.

Mélissa Epaminondi: Mélissa Epaminondi est née en 1977. Elle vit et travaille entre Paris et Oletta (Corse). Elle est DPLG diplômée de l’Ecole d’Architecture de Luminy Marseille. Architecte et artiste, son travail reflète une vision sensible en même temps qu’une réflexion étayée sur les questions environnementales. Elle poursuit sa pratique initiale et réalise des films, vidéos et installations. Esteban Ulrich: Née à Buenos Aires, Argentine, en 1975 il est formé dans des écoles françaises pour commencer sa carrière professionnelle chez Los Inrockuptibles, la version argentine du magazine français. Depuis, il se partage entre le journalisme, le cinéma, la photographie et l'expérimentation avec les nouvelles technologies appliquées à l'art et les médias. Il vit à Paris depuis 2015.

Mona vatamanu, Florin Tudor
Omnia Communia Deserta
Doc. expérimental | mp4 | couleur | 29:0 | Roumanie | 2020

The film investigates, analyses the theme of efficient modernity whose last consequence will be extinction, Ovidiu Tichindeleanu's speech having as background, motive, the post-apocalyptic present of the Omnia Hall, which thus acquires the meaning of a warning: we are again at the end of a road, that of the cult of production.


Mona V?t?manu (b. 1968) and Florin Tudor (b. 1974) work and live in Bucure?ti. Their practice consists of attentive observation and taking notice of material elements of reality. They often choose from it that which is ephemereal, small, marginal as dust, rust, fire, fluff from the tree’s seeds, soil. The work of the artists with such material can be a starting point for questioning social relations, technological and economic changes, political conflicts.

Giulio squillacciotti
What Has Left Since We Left
Fiction expérimentale | 4k | couleur | 21:15 | Pays-Bas | 2020

On February 7th 1992, the Treaty on European Union was signed in the Dutch city of Maastricht. Decades later, the representatives of the last three countries left in Europe meet again in the very same room where it was signed, this time to deliberate on the permanent shutdown of their Union. In what seems to be a looped therapy session, the three characters - helped by a British interpreter as a self-appointed analyst - try to deal with their feeling of loss. The conversation allows their political and personal bonds to be woven together metaphorically, compelling them to face their identity crisis and acknowledge what is left, what no longer is and what still could be of their Union.


Giulio Squillacciotti (Born in Rome, Italy 1982) Artist and film-maker lives and works between Milan (I) and Maastricht (NL). He studied Medieval Art History in Barcelona and Rome, where he earned a BA in Humanities from Sapienza University and holds a MA in Visual Arts from the Venice University of Architecture IUAV. His work is mainly oriented on storytelling, cultural apexes and the way traditions re-shape in new contexts. His research merges together fiction and historical facts. Using film, documentary, sound and set design, Squillacciotti produces research-based investigations that revisits history, crafting new stories from subjective perspectives, religion and popular culture. His work has been exhibited and screened internationally at, among the others, the Dutch Pavilion of the Venice Architecture Biennale, Les Rencontres Internationales at Centre Pompidou, Palais de Tokyo, La Fe?mis and Gayte Lyrique in Paris and Centre d’Art Contemporain de Brest (F), at the Berlin Haus der Kulturen der Welt and Neues Museum in Weimar (D), Screen Space in Melbourne (AU), the Manifesta 8 in Murcia (E), Le Magasin CNAC in Grenoble (F), AKV of Den Bosch (NL), Istanbul 2010 European Capital of Culture (TR), the Beirut Art Centre in Lebanon (RL), the New York Photo Festival, Dumbo Video and the Columbia University in New York City (USA), Art Institute of Boston (USA), the Los Angeles Now Instant Image Hall (USA), OCAT in Shanghai (PRC); in Italy at PAC, Triennale, MACRO, MAXXI, 16th Quadriennale of Rome, MAMbo, Sandretto Re Rebaudengo and at the Official Competition of the 33rd, 35th and 36th Torino Film Festival.


| | | : | |



| | | : | |



| | | : | |


Dans ce diptyque vidéo, Myriam Yates met en relation des espaces naturels, des espaces construits et leurs occupants. Les images d’une ville en mutation défilent, celles de Diamniadio et de son ancien Palais de Justice, où s’est tenue la Biennale de Dakar, puis celles de la Corniche, en bord de mer, dont l’énergie se déploie, interpellant l’écologie du vivre ensemble. Tommaso Donati filme cinq enfants et un jeune homme qui errent seuls entre les bâtiments du quartier populaire de Valibout, à Plaisir en région parisienne. Leurs chemins ne se croiseront pas, mais semblent destinés à connaître le même sort, celui d'être abandonnés à eux-mêmes, de se cacher et de ne pas être trouvés. Mélissa Epaminondi et Esteban Ulrich documentent le démontage du plafond et le remplacement des luminaires de la coupole du siège du Parti Communiste Français à Paris, conçu par Oscar Niemeyer. Sur une succession d'images documentant le chantier de remise en état de la coupole, la voix de l'architecte brésilien traverse le temps pour nous dévoiler le cœur de son œuvre et de sa pensée. En Roumanie, Mona Vatamanu et Florin Tudor filment le Hall Omnia, conçu en 1967 pour être un lieu de rassemblement du parti. Le bâtiment de style brutaliste, le style moderniste socialiste et les éléments faisant référence au folklore devaient être au service de l’idéologie du régime de Ceausescu. Le présent post-apocalyptique de ce Hall Omnia acquiert le sens d'un avertissement : nous sommes à nouveau au bout d'un chemin, celui du culte de la production. Giulio Squillacciotti imagine à Maastricht, ville où fut signé en 1992 le traité sur l’Union européenne, une réunion à huis clos entre les représentants des trois derniers pays restés dans l’Union. Une même actrice incarne les trois représentants qui se réunissent dans la salle même où le traité a été signé, cette fois pour délibérer de la fin de l’Union. Ils tentent de faire face à leur sentiment de perte, la conversation semble être prise dans une boucle continue de résolution indéfinie.


vendredi

26 fév.
21h00

Séance spéciale
En direct de l'auditorium du Louvre
Live streaming, de 12h à 23h en accès libre : art-action.org/live
Espace 3D immersif, en accès libre : art-action.org/louvre

"La dernière ville"

Heinz emigholz: The Last City | Fiction | hdv | couleur | 100:0 | Allemagne | 2020 voir plus
Heinz emigholz
The Last City
Fiction | hdv | couleur | 100:0 | Allemagne | 2020

An archeologist and a weapons designer – who, in a prior life, knew each other as a filmmaker and a psychoanalyst – meet at an archeological excavation site in the Negev Desert and begin discussing love and war; a conversation they continue in the Israeli city of Be’er Sheva. The film then proceeds with changing actors in changing roles; a round dance that takes us to the cities of Athens, Berlin, Hong Kong and São Paulo. The characters include: an old artist, who meets his younger self; a mother, who lives with her two grown sons – a priest and a policeman; a Chinese woman and a Japanese woman; a curator and a cosmologist. Their dialogues deal with now obsolete social taboos, generational conflict, war guilt and cosmological musings. The architecture of each of the five cities serves as the third participant in the protagonists' dialogues, and completes their philosophical and metaphysical journeys.


Born in 1948 near Bremen in Germany, Heinz Emigholz trained first as a draftsman before studying philosophy and literature in Hamburg. He began filmmaking in 1968 and has worked since 1973 as a filmmaker, artist, writer and producer in Germany and the USA. In 1974 he started his encyclopaedic drawing series “The Basis of Make-Up”. He looks back on numerous exhibitions, retrospectives, lectures and publications. In 1984 he started his film series “Photography and beyond”. He had held a professorship in Experimental Filmmaking at the Universität der Künste Berlin 1993-2013, and co-founded the Institute for Time-based Media and the Art and Media program, there. In 2003 Filmgalerie 451 started an edition of all his films on DVD. Publications a.o.: "Krieg der Augen, Kreuz der Sinne" (War of Eyes, Cross of Senses), "Seit Freud gesagt hat, der Künstler heile seine Neurose selbst, heilen die Künstler ihre Neurosen selbst" (Since Freud Said That the Artist Heals His Neuroses Himself, Artists Have Been Healing Their Neuroses Themselves), "Normalsatz – Siebzehn Filme" (Ordinary Sentence – Seventeen Films) and "Das schwarze Schamquadrat" (The Black Sqare of Shame) (all four books were published at Verlag Martin Schmitz); “Die Basis des Make-Up (I) and (II)”, “Der Begnadete Meier”, “Kleine Enzyklopädie der Photographie” (Small Encyclopaedia of Photography) and “Die Basis des Make-Up (III)” (in "Die Republik" No. 68-71, 76-78, 89-91, 94-97 and 123-125); "Sense of Architecture" with more than 600 photographs. Heinz Emigholz is a member of the Academy of the Arts in Berlin.


| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |



| | | : | |


Un archéologue et un concepteur d’armes (qui, dans une vie antérieure, se connaissaient comme cinéaste et psychanalyste) se rencontrent sur un site de fouilles archéologiques dans le désert du Néguev et commencent à parler d’amour et de guerre. Leur conversation se prolonge dans la ville israélienne de Be’er Sheva. Le film se déroule alors au gré de changements d’acteurs qui endossent différents rôles, dans une ronde qui nous porte de ville en ville, Athènes, Berlin, Hong Kong, jusqu’à São Paulo. Parmi les personnages : un vieil artiste qui rencontre une version plus jeune de lui-même, une mère qui vit avec ses deux fils adultes (un prêtre et un policier), une Chinoise et une Japonaise, un conservateur et un cosmologue. Les dialogues traitent de tabous sociaux dépassés, de conflits générationnels, de culpabilité, de guerre et de méditations cosmologiques. L’architecture de chacune des cinq villes s’impose comme le troisième membre de ces discussions et complète le cheminement philosophique et métaphysique des personnages.