Catalogue 2019
Below, browse the 2019 Rencontres Internationales catalogue, or search the archives of the works presented since 2004. New video clips are routinely posted and the images and text are regularly updated.
Lisa STEELE, Kim Tomczak
The Afternoon Knows What the Morning Never Suspected
lisa steele , Kim Tomczak
The Afternoon Knows What the Morning Never Suspected
Doc. expérimental | 4k | couleur et n&b | 21:0 | Canada | 2018

The Afternoon Knows What the Morning Never Suspected. It is a 3-channel 22-minute work that opens with a brief history of the Vietnam War, assembled from historical documents and footage, and then proceeds to detail Canada's complicity in the conflict, drawing attention to the massive profit that Canadian companies made during this time. The work also references the American draft dodgers who settled in Canada in the late 1960s, creating a context for the connection to today with a mesmerizing drive down Yonge Street in 2017. It is an interesting time to re-examine Canada's self-view in relation to the Vietnam War: yes we took in the draft dodgers (the work makes ample reference to this) but we also profited from the war (in spite of the fact that these profits were strictly against our own laws). The work concludes with the on-screen presence of our two performers, each telling the other's life story: one a first generation Canadian, the child of a Serbian/Croatian marriage; the other born in Canada to Vietnamese immigrant parents.

Lisa Steele and Kim Tomczak have worked exclusively in collaboration since 1983, producing videotapes, performances and photo/text works. In 2009, Steele + Tomczak were awarded an Honourary Doctorate by the University of British Columbia (Okanagan); in 2005, a Governor General`s Award for Lifetime Achievement in Visual & Media Arts; in 1994 they received both a Toronto Arts Award and the Bell Canada prize for excellence in Video Art. They are co-founders of Vtape, an award-winning media arts centre established in 1983 in Toronto. Currently Steele is Artistic Director and Tomczak is Restoration and Collections Management Director. Both teach at the University of Toronto in The John H. Daniels Faculty of Architecture, Landscape, and Design. Major public art commissions include: Watertable (2009, and expanded in 2011) a light and sound installation under the Gardiner Expressway (a raised highway) that marks the original shoreline of Lake Ontario at the foot of historic Fort York; …bump in the night (Barrie) (2010) commissioned by McLaren Art Centre and installed in bus shelters; Falling Up (2006) a video work for the Winnipeg Art Gallery; Love Squared (2006) screened on the 2400 square foot video board at Yonge & Dundas Square in Toronto. A major survey of their work, The Long Time: the 21st century work of Steele + Tomczak, curated by Paul Wong (with a 84 page catalogue), opened at On Main Gallery and VIVO, Vancouver, BC in September 2012; the exhibition traveled to A Space Gallery, Toronto, ON (2013), the Art Gallery of Windsor, ON (2016-17), and Dalhousie University Art Gallery, Halifax, NS (2017). Legal Memory, their first feature-length work, has been shown in a number of film festivals since its release including: The Los Angeles Gay and Lesbian Festival, the Festival Internazionale Cinema Giovani (Turin, Italy), the Toronto Festival of Festivals and broadcast on TVOntario. In 1996, their work BLOOD RECORDS: written and annotated, received a world premiere at the Museum of Modern Art in New York and toured across Canada with a bi-lingual catalogue published by The Oakville Galleries. Recent solo exhibitions of their works have taken place at Anna Leonowens Gallery, Halifax, (2014); Le Mois de la Photo a Montreal (2011); WHARF Centre D`art contemporain, Herouxville-St. Clair, France (2010); Diaz Contemporary, Toronto (2009); Akademie Schloss Solitude, Stuttgart, (2009); Dazibao, Montreal (2008); the Canadian Cultural Centre, Paris (2003). Selected group exhibitions and screenings of their work include: Every. Now. Then. Reframing Nationhood, Art Gallery of Ontario (2017); Imago Mundi, Instituto Veneto di Scienze, Lettere e Arti, Venice, Italy (2017); La Biennale de Montréal, Musee d'art contemporain de Montréal (2014); Carbon 14: Climate is Culture, Royal Ontario Museum, Toronto (2013); STITCHES: Suzhou Fast Forward, Workshop, Toronto (2011); Empire of Dreams: phenomenology of the built environment at the Museum of Contemporary Canadian Art, Toronto (2010); a focus screening at EXIS: Experimental Film and Video Festival in Seoul, Korea (2010); the Berlin Film Festival, Forum Expanded (2009); Akbank Sanat, Istanbul (2009); TIFF (Toronto International Film Festival) Future Projections (2009); Sophia, Bulgaria at the Central Bath House (2008); a focus screening at Rencontres Internationales Paris/Berlin/Madrid (2006); Beyond/In Western New York, organized by Albright Knox Gallery, Buffalo (2005); Trivandrum Video Festival, New Delhi (2003); City of York Public Gallery, York, England (2000).

grzegorz stefanski
Vidéo | hdv | noir et blanc | 1:0 | Pologne | 0 | 2016

I created this work for Wola Museum in Warsaw. I was inspired by anonymous documentary photograph probably from 50` that puzzled me as very contemporary and unbelievably well staged as for a snapshot. I was thinking a lot about how language of “reality” changes over time and how it can be easily influenced reinterpreted. And then I relied that reenactments are very bodily reinterpretation of images, that they make individual bodies to be mediums of transformation meanings; and I realised that their growing popularity and superficial innocence frightens me. I decided to reenact this photograph I came across and asked members of historical re-enactment groups to do it. Later I also wrote accompanying essay in which I have put into words my interest in language of documentary in contemporary art

Grzegorz Stefanski, born in 1983 in Czluchow (PL), lives and works in Warsaw and London where he is currently an artist in residence at Sarabande Foundation. Before attending art school, he earned master’s degree in philosophy and made his artistic debut in with solo exhibition during Cracow Photomonth Festival in 2010. He concluded his artistic education at The Slade School of Fine Art in London and Miroslaw Balka’s Studio of Spatial Activities in Warsaw. In 2017 he won the Ivan Juritz Prize in London and the Grand Prix at the Biennale of Young Art in Poland. He has exhibited his works at the Whitechapel Gallery in London (2018), Museum of Modern Art in Warsaw (2018), Ujazdowski Castle Centre of Contemporary Art (2018), Manifesta 11 in Zurich (2016), Pastificio Cerere Foundation in Rome (2014) and the NY Art Book Fair at MoMA PS1 in New York (2010). He has collaborated, among others, with Nowy Teatr in Warsaw (2016), National Museum in Warsaw (2017), and Bunkier Sztuki Gallery of Contemporary Art in Cracow (2018).

,D (Silence Song)
annett stenzel
,D (Silence Song)
Fiction expérimentale | mov | couleur | 13:17 | Allemagne | 2018

Annett Stenzel ist Künstlerin und Filmemacherin. Sie studierte Bildende Kunst in Halle, Berlin und aktuell Film in Hamburg. Sie lebt und arbeitet derzeit in Hamburg.

Posred byal den
klara stoyanova
Posred byal den
Fiction expérimentale | mov | couleur | 16:0 | Bulgarie | Allemagne | 2018

A young girl returns to a dying small town in northern Bulgaria. Her only plan is to sell the old house she has inherited. Meanwhile, a strong gust of wind starts blowing. Its direction is unknown and it seems that it won`t stop. Everyone is anxious that things could fall apart.

Born in 1991 in Vidin, Bulgaria, she lives and works in Hamburg, Berlin and Sofia. She studied film as well as art and time-based media at the University of Fine Arts of Hamburg. Apart from her own projects, she also works as a camerawoman, performer and videoartist.

Colour Restoration of the Olympic Torch Lighting Ceremony, During the Greek Military Junta (1967)
anastasis stratakis
Colour Restoration of the Olympic Torch Lighting Ceremony, During the Greek Military Junta (1967)
Animation | 16mm | couleur | 2:9 | Grèce | 0 | 2018

"Colour restoration of the Olympic torch lighting ceremony, during the Greek military Junta (1967)" is a video piece based on a found footage of the event described in the title "the Olympic torch lighting ceremony of the 1968 Olympics, filmed in Athens during the Greek dictatorship of 1967/74. The footage, initially black and white, has been painstakingly colourised, by hand-colouring each of its frames one by one. The result is a somewhat crude, awkward and ultimately less realistic documentation of the event. Even more so, when viewed as a restoration of a restoration, since the regime's own nationalistic aesthetic and propaganda iconography were based upon a grotesque revitalisation of the country's ancient past.

Anastasis Stratakis (b. 1985, Greek) lives and works between Thessaloniki and Athens. His work has been included in a number of international group exhibitions, including: "At the Beginning Was the Word", National Art Museum of China (NAMOC), Beijing, in collaboration with National Museum of Contemporary Art (EMST), Athens (2018); "Abracadabra", 6th Moscow International Biennale for Young Art, curated by Lucrezia Calabrò Visconti (2018); "Epilogue", Kunstverein Herdecke, curated by Apostolos Palavrakis (2017); "The Equilibrists", organised by the New Museum, New York and DESTE Foundation, Athens, in collaboration with the Benaki Museum, Athens, curated by Gary Carrion-Murayari and Helga Christoffersen with Massimiliano Gioni (2016); 13th Biennale de Lyon (2015); 4th Thessaloniki Biennale of Contemporary Art (2014); "Afresh: A New Generation of Greek Artists", National Museum of Contemporary Art (EMST), Athens (2013) and has been exhibited at institutions such as Musée d`art contemporain de Lyon (2016), Fondazione Giorgio Cini, Venice (2015) and MMCA : Macedonian Museum of Contemporary Art, Thessaloniki (2014). Works by Anastasis Stratakis are included in prominent private and institutional collections among which are the National Museum of Contemporary Art (EMST) Collection in Athens, the State Museum of Contemporary Art Collection in Thessaloniki, the Borusan Contemporary Collection in Istanbul and the Michael Haas Collection in Berlin.

deborah stratman
Doc. expérimental | super8 | couleur et n&b | 14:43 | USA | 0 | 2018

Draw down the sun. Dig up the gold. The urge to relieve a winter valley of permanent shadow and find fortune in alluvial gravel are part of a long history of desire and extraction in the far Canadian north. Cancan dancers, curlers, ore smelters, former city officials and a curious cliff-side luminous disc congregate to form a town portrait. Shot in location in the Yukon Territory. The disc that appears in the film was part of "Augural Pair", a set of public sculptures created by Stratman and artist Steven Badgett by invitation of the Klondike Institute of Arts and Culture "Natural and Manufactured" series. The works responded to ways value and speculation are connected to landscape and acts of removal.

Artist and filmmaker Deborah Stratman makes work that investigates power, control and belief, exploring how places, ideas, and society are intertwined. Her themes range widely, as do the mediums she uses to question them. Recent projects have addressed freedom, expansionism, surveillance, sonic warfare, public speech, ghosts, sinkholes, levitation, propagation, orthoptera, raptors, comets, exodus and faith.  She lives in Chicago where she teaches at the University of Illinois.

Eve SUSSMAN, Simon Lee
No food No money No jewels
eve sussman , Simon Lee
No food No money No jewels
Installation multimédia | 0 | couleur et n&b | 0:0 | USA | 2017

“No food…” is in post-production as a movie + as a multi-screen installation with each discrete chapter encountered within a built environment. The audience is introduced to a cyclical water-bailing machine: The Factory + the boss (“Rabbit”) in charge. Trials + tribulations ensue: in “That`s Easy Init” the boss interrogates the janitors (“Donkey1+2”) about their moonlighting. In Agent Provocateur two characters disguise themselves for nefarious purposes. “I Thought We Were Going to be Rich” tells the story of a failed burglary. In The Deposition “management” has morphed into prosecutor + council as the workers are questioned about an unsolved disappearance. Rabbit Recipes is a dance reverie + epilogue of sorts as the characters rejoice over a mutiny that results in cooking the boss.

Eve Sussman works with film, video and installation. Her work runs the gambit from small gauge analogue film and multi-camera surveillance operations to hi-def film/video productions. In an attempt to re-invent and push the envelope of the form much of her work experiments with narrative and addresses the question: “What is a movie?”. She often collaborates with performers, musicians and programmers, sometimes under the name Rufus Corporation. Rufus Corporation works include: 89 seconds at Alcazar, The Rape of the Sabine Women, whiteonwhite:algorithmicnoir and Yuri’s Office. Together with Simon Lee, Sussman co-founded the Wallabout Oyster Theatre, a micro theatre space in Brooklyn. Sussman and Lee are also as producing for Jack+Leigh Ruby, two reformed criminals, now making art. Sussman’s work has been shown in institutions and film festivals internationally. 89 seconds at Alcazar is in the collections of the MoMA, the Whitney and the Leeum–Samsung Museum in Seoul. whiteonwhite:algorithmicnoir is in the collection of the Smithsonian American Art Museum in Washington D.C.

Graeme THOMSON, Silvia Maglioni
Underwritten by Shadows Still
graeme thomson , Silvia Maglioni
Underwritten by Shadows Still
Film expérimental | hdv | couleur et n&b | 33:0 | Royaume-Uni | France | 2017

"Underwritten by Shadows Still" is a film composed of subtitled photograms drawn from a wide range of films and accompanied by an electronic soundtrack containing sound samples that originate from spaces between voices. As the succession of subtitled stills passes before our eyes, a soundless voice begins to speak through the words printed on the images, forming a discourse that links them together, while gathering the characters into a dispersed community of ghostly apparitions. The narrative that traverses them soon begins to bifurcate into other lines, other voices which are no more than underwritten shadows yet which speak to us and to each other of their imprisonment, their desire to live, their dreams of escape. 

: Graeme Thomson & Silvia Maglioni are filmmakers and artists based in Paris. Their practice interrogates potential forms and fictions emerging from the ruins of the moving image and includes the creation of short and feature films, exhibitions, sound works, film-performances, radio shows, vernacular technologies and books. Their work often makes use of cinema in expanded form to reactivate lost or forgotten archives and histories and to create new modes of collective vision and engagement with contemporary thought and politics. Their work has been presented, screened and installed worldwide at international film festivals, museums, art spaces and alternative venues (including FID-Marseille, Bafici International Film Festival, Jihlava Film Festival, Festival Hors-Pistes, Doc`s Kinkdom, Il Vento del Cinema, Anthology Film Archives, European Media Art Festival, Eye Film Museum, Tate Britain, Serralves Museum, Centre Pompidou, MACBA, REDCAT, Ludwig Museum, The Showroom, KHOJ New Delhi, Museu de Arte Moderna de Bahia, Castello di Rivoli, Institute of Modern Art Brisbane, Whitechapel Gallery, Van Abbe Museum, CA2M). They are currently working on a new film, “Common Birds”.

Deep Time Machine Learning
jol thomson
Deep Time Machine Learning
Doc. expérimental | hdv | couleur | 5:59 | Canada | Allemagne | 2017

What can structuralist film techniques contribute in the age of machine vision? In the experimental film, a robot arm investigates a 200,000 year old hand axe and an 17th century mechanical calculator (the first fully functional four stage computation device), each are placed on an octagonal mirror. The robotic arm passes through interfaces of geology, archaeology, mechanics and computation and intimately explores its own coming into being as a product of human engineering. Excerpts from the latest EU Report to the Commission on Civil Law and Robotics, published in January 2017, punctuate the video, describing the need to define the subjectivity of intelligent machines, as well as their legal status and the liabilities that derive from their implementation. The critical, uncertain and undetermined state of intelligent machines’ subjecthood emerges through the eyes of a human society themselves struggling with this ecotechnical revolution, “that leaves no aspect of society untouched”. Crucially, the set is observed by an Artificial Intelligence object recognition device, or LiDAR - a form of sense which AI systems use to perceive their haptic environment. Deep Time Machine Learning was developed collaboratively with the laboratories of robotics and surface analytics at the Bosch Corporate Research and Advanced Engineering Campus and received support from the Natural History Museum, Stuttgart and the Phillip Matthäus-Hahn Museum, Kornwestheim. Jol Thomson’s experimental film elaborates a deep history of tool use from the Paleolithic era with a trajectory to the not-too distant future of algorithmic, AI governance. The explorations of this work contribute to a contemporary media ecology, a history and philosophy of technology in machine vision, and underpins the symbiotic relationship between agential forms of geology, technology, and “intelligent beings”.

Jol Thomson is an artist, sound designer, and researcher working in the interstices between critical theory, particle physics, environmental humanities, STS, and experimental music and moving image. He is currently pursuing a practice-led Phd at the University of Westminster, London. He received his meisterschüler in Fine Art from the Städelschule, Frankfurt in 2013. In 2016 he won the MERU Art*Science Award for his a/v composition G24|0v, a collaboration with the “coldest object in the observable universe”. He has participated in a number of international residencies, and in 2016-2017 he was a fellow of the Akademie Schloss Solitude, Stuttgart. Recent exhibitions include: Blind Faith: Between the Cognitive and the Visceral in Contemporary Art at the Haus Der Kunst, Munich (2018); Open Codes: Living in Digital Worlds, ZKM (Center for Art and Technology), Karlsruhe (2017-2018); and Quantum Real: Spectral Exchange at Exhibition Research Lab, Liverpool (2019).

Benjamin TIVEN
The Mirrored Message
benjamin tiven
The Mirrored Message
Doc. expérimental | hdv | couleur | 12:30 | USA | Suède | 2018

The Mirrored Message documents two scientists as they prototype a new device that transfers data between wireless computer networks and living plants. Observing their work from within a sealed electronics facility near Stockholm, we follow procedural steps in the device's programming and fabrication. The initially alien laboratory space slowly reveals itself as a kind of photographic darkroom, and we watch the light-sensitive production of the device's specialized circuitry. From the artificial air of this controlled lab we move to a coastal forest near the Baltic Sea, where the transmitter is installed for testing. Weather impedes the work. As the humans slowly fade from the scene, a living specimen comes online, finally addressable by a local network.

Benjamin Tiven is a filmmaker and the co-director of Library Stack. His films have screened at FID Marseille, Viennale, Rotterdam, Oberhausen, Courtisane, MUMOK, the Institute of Contemporary Art, Philadelphia, Delfina Foundation, London, Fotografisk, Copenhagen, the Museum of the Moving Image, NYC, and Arsenale Kino, Berlin.

Even The Sun Has Rumors
ali tnani
Even The Sun Has Rumors
Doc. expérimental | mov | couleur | 18:4 | Tunisie | 2017

Dans la ville minière de Redeyef (Tunisie), un lieu désaffecté mais encore chargé d'affects : l'Economat. Institué et géré par la Compagnie de Phosphate de Gafsa durant la période coloniale, ce lieu vide porte encore en ces murs les strates de l'ambivalence d'une histoire où les surfaces miroitent et racontent la venue, là où il n'y a rien, d'un paradis de confort pour une société accablée par l'enfer du travail de la mine. Mais en deçà des apparences, c'est une réalité plus obscure que l'Economat draine : celle de l'extension commerciale d'une mine qui exploite autant la terre que ses hommes. Lieu-vestige, l'Economat est un lieu d'une mémoire désertée mais qu'un regard vidéographique et poétique investit et remet au jour, par les clairs-obscurs d'un temps qui passe, par la voix d'un enfant vivant encore dans les souvenirs d'un homme de la mine, les espaces, les surfaces et les épaisseurs historiques d'un lieu fait récits.

Born in 1982 in Tunis, Ali Tnani is a Tunisian contemporary artist based in Tunis and Paris. He received his Masters in 2007 from the Institut Supérieur des Beaux-arts of Tunis and has since exhibited widely and participated in international residency programs. Tnani recently completed a two-year residency at the prestigious Cité Internationale des Arts in Paris. A leading practitioner in the field of conceptual art, Tnani is known for his multimedia installation work examining social issues in post-revolutionary Tunisia. With a practice that draws on installation, drawing, and photography, he explores the question of erasure and the negative in narratives of traces, memory and history in an era of hyper-connectivity. He has participated in various solo and group exhibitions internationally, including the 13th Biennial of Dakar, the Musée du Bardo in Tunis, PA the Plateforme de création contemporaine and Cité Internationale des Arts in Paris, La Terrasse Nanterre Art Space and le Château d'Oiron (France), the 5th Marrakech Biennial, the Musée de Carthage in Tunis, the Musée des Beaux-Arts de Mons (Belgium) and the Biennial of young artists from Europe and the Mediterranean in Skopje, Macedonia.

brad todd
Vidéo expérimentale | mp4 | | 3:15 | Canada | 0 | 2018

dresden.cuba.clouds is a generative video which incorporates imagery from the skies above the city of Dresden coupled with footage of clouded ice formations and video from the Museum of the Revolution in Havana. This small database of video is processed in realtime and is sensitive to a number of parameters derived from, and responsive to, an audio recording of the Cuban "sonic attacks" of 2017. The footage of the skies and ice in particular also speak to notions of veracity as they are indistinguishable from one another. As a number of the reported cases of aural and cerebral trauma were inaudible, so too is this work. The choice of imagery from Dresden is a nod to its primacy in the place it occupies in the historical record, most obviously as the site of the devastating aerial bombing campaign during WWII. It is also referencing Dresden`s post-war history as a center of the cold war headquarters of the east German KGB/Stasi security services, notorious for their psyops, whose legacy continues today, largely unseen (and unheard it would seem). As a parable, foil and metaphor for the machinations of power and policy, this work is intended as a mute and disquieting presence, background noise.

Brad Todd is an artist whose works span several fields of inquiry, principally involving the research/creation of responsive environments which implicate technology as a mirror, filter and catalyst for experience writ large in both an individually embodied sense and its attendant broader socio-political context. Having received an M.F.A. from Concordia University (Montréal), he began playing music in the post-punk band Sofa, which released the inaugural album and single on the critically acclaimed Constellation Records label. From the generative and reactive to the composed and performative, audio and sound design continues to play a key role in his works. Brad has received numerous grants and awards and has exhibited his works in galleries and media festivals in North America, South and Central America, Asia and Europe, including the 3rd Beijing International New Media Art Exhibition and Symposium in Beijing, Eyebeam, N.Y., Paços das artes, Sao Paulo, Brazil, The New Museum of Contemporary Art, N.Y., ISEA festivals in Nagoya, Japan, Belfast and Hong Kong and Cynet art in Germany. Presently he is an instructor in the Design and Computation Arts program at Concordia University in Montréal.

Nicolas TUBERY
nicolas tubery
Doc. expérimental | hdv | couleur | 17:54 | France | 0 | 2017

"Maquignon" se déroule à 80 kilomètres de Toulouse, aux Cammazes, une commune proche de la Montagne Noire. Là, il plonge dans l'atmosphère d'une foire aux chevaux en s'arrêtant sur les relations entre paysans et petits marchands de bestiaux "les maquignons", sur le langage des hommes et des animaux, parle? ou silencieux. Le film embrasse diffe?rents aspects de cet événement : aussi bien les négociations d'achat, la préparation et le soin des chevaux ou les moments de convivialité que les temps morts, quand la tension s'évapore.

Nicolas Tubéry est né en 1982 à Carcassonne. Il a étudié à l'Ecole Supérieure d'Art et de Céramique de Tarbes puis à l'Ecole Nationale Supérieure des beaux arts de Paris où il obtient le DNSAP. Sculpteur et vidéaste, Nicolas Tubéry conjugue les deux pratiques dans ses œuvres. Ses recherches récentes se concentrent sur le monde paysan d`où il vient : ses phénomènes atemporels, comme une foire aux chevaux, mais aussi plus conjoncturels comme les exploitations abandonnées par manque de repreneur. Quel que soit le sujet, il concentre son attention sur les gestes du travail, et sa fascination pour les détails est contagieuse. Observant tout en sculpteur, il adapte le matériel agricole en machinerie cinématographique, puis utilise les mêmes matériaux pour créer les structures monumentales dans lesquelles il projette ses films. Il parvient, avec affection et justesse, à donner une place à la ruralité dans l`art contemporain.

Richard TUOHY
China not China
richard tuohy
China not China
Film expérimental | 16mm | couleur | 14:0 | Australie | 2018

Hong Kong marked 20 years since its hand over; half way through the planned 40 year `one country, two systems` transition. Taiwan, once imperial China, once Formosa, now ROC on the edge of the PRC. Multiple exposures of street scenes distort space and place creating a fluid sense of impermanence and transition, of two states somewhere between China and not China.

Richard Tuohy (b. 1969, Melbourne, Aus.) began making works on super 8 in the late nineteen eighties. Since 2009 he has been an active and vocal member of the international artist run film lab scene. In 2011 Richard and Dianna started the Artist Film Workshop which in 2012 became a membership based artist-run film lab, itself also part of the international labs network. An advocate for the possibilities of hand made cinema, Tuohy has devoted much time and effort in sharing his knowledge through workshops and classes both in his native Australia and internationally. His films and film based performances have screened at venues including the Melbourne IFF, EMAF (Osnabruck), Rotterdam IFF, New York FF, Ann Arbor and Media City and he has repeatedly toured Europe, North America and Asia presenting solo programs of his work and conducting experimental film-making workshops.

Totem & Taboo
dick turner
Totem & Taboo
Performance multimédia | mp4 | couleur | 21:0 | USA | France | 2017

Totem and Taboo is an opera/recitative for Video projection, Grand Synthesized Orchestra in Playback, Dancer and Heldentenor. The work is based upon Sigmund Freud's classic text "Totem and Taboo". This book is presented by Freud as an inquiry into incest taboos found in primitive cultures. In fact Freud used the book to give a psychoanalytic hypothesis of the origins of religion. At the end of his book, Freud writes a short but highly colorful chapter describing what he calls "the primal scene" which led to the foundations of all religions: repressed sexual desire, murder and cannibalism. My opera takes Freud's hypothesis and plants it into a real world situation. I call this a "mise-en-chair" meaning literally "a putting into flesh" that is, the incarnation of the idea. I have created a synthesized orchestral version of the score which accompanies a projected video. There is a scene for a dancer which can either be performed live or in projection. The work is sung by a baritone-tenor, the so-called Heldentenor imagined by Richard Wagner. The composer performs this part. The practical needs for a performance are basic: A projector, a sound system and a screen (or simply a white wall) and a microphone. It can be performed on a stage or in a normal room. There are a few simple accessories, flowers, electric candles and a piece of astro-turf.

I was born in Baltimore, Maryland and now live in Paris, France. My work is centered upon the expression of ideas and human freedom. I have composed music since 1977. I have composed around 70 pieces for a large number of ensembles, from solo piano and cello to an opera for 45 individual players, also I have done electronic music performances, improvisation. I have given concerts continually since the early 1980's. I can give you endless examples of recordings. I have painted since 1978. I have hundreds of paintings and have given many expos and been in salons like Montrouge. I am represented by the Gallery Au Fil du Canal in Paris. I'd be happy to send examples of my work. I began making films in 1979. Two of my films have come out in France, in 2012 and 2016.

Charlie TWEED
charlie tweed
Vidéo expérimentale | hdv | couleur | 4:40 | Royaume-Uni | 0 | 2016

Oporovak proposes a methodology for what it calls ‘information recovery and the solving of â integrity problems. Taking its inspiration from data recovery solutions and the language of achieving complete visibility via forms of HD technology and big data the film is part alternative software training video and part the voice of a subversive hybrid machine. It takes the intent of information restoration into a new context with its apparent ability to manipulate all sorts of digital and non-digital materials via its sentient interface and performative actions which apparently can operate at molecular level. The film utilises the voice of an unreliable narrator who acts to draw the viewer in and raise their awareness of inbuilt human desires for clarity and visibility and the desire to develop new forms of technology that can manipulate all sorts of digital and physical materials. The final section of the film looks towards a `sensing mechanism` that has the functionality to manipulate and alter any type of visual material at its source and the capability of connecting with and manipulating the subconscious of its viewers.

Charlie Tweed is an artist and academic based in Bristol, UK. He has a PhD in art practice (Kingston University) and an MFA in art practice (Goldsmiths College). His video, text and performance based works interrogate the affective qualities of digital technologies and their use in the control and management of populations and environments. He employ strategies of re-appropriation and speculative fiction, often taking on personas of anonymous collectives and hybrid machines, to outline subversive plans for enhancing and escaping control mechanisms and renegotiating relations between human and non human.

I feel blue, they sense rose
paula tyliszczak
I feel blue, they sense rose
Installation vidéo | mov | couleur | 9:0 | Pologne | Suisse | 2017

The video "I feel blue, they sense rose" questions the process of seeing by deconstructing the medical gaze. How does science remind us of women`s bodies? How can the appropriation of the female body be documented through medicine and its history? The artist confronted herself with knowledge by working with historical artifacts from the Medical Collection at the University of Zurich. This collaboration gave her the opportunity to explore history on a subjective and interactive level.

Paula Tyliszczak (*1986) grew up in France and Poland and has a background in the Arts and in the Humanities. After completing her Bachelor`s Degree in International Relations at the University of Warsaw, she moved to Switzerland and studied Fine Arts at the Zurich University of the Arts. She later followed a Master`s degree in Contemporary Arts Practice at the Bern University of the Arts. As an interdisciplinary artist, Paula Tyliszczak mainly works with video, sound and language. Guided by her interest in the body as a social construct, she develops works at the interface between art and science, as well as between subjectivity and objectivity.

mate ugrin
Fiction expérimentale | 4k | couleur | 17:55 | Croatie | 2017

It's summer and the streets are almost empty in a small town. People gather at the public swimming pool. Two close friends are saying goodbye.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule fur bildende Kunste Hamburg). He is currently finishing the "Meisterschuler" program at the Berlin University of the Arts (Universitat der Kunste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

meltse van coillie
Doc. expérimental | 0 | couleur | 27:18 | Belgique | 2018

Nous nous trouvons sur un navire qui tangue sur une mer infinie. Chaque membre de l`équipage essaie à sa façon de faire face au vide spatio-temporel. L`imagination remonte petit à petit à la surface et reprend le gouvernail en main....

Meltse Van Coillie (°1992) is currently based in Antwerp. She studied Communicational Sciences at the University of Leuven, with a Master in Film Studies at the University of Ghent. Following these years full of theoretical research, she took part in the Erasmus Mundus Master DOC NOMADS - a course in documentary filmmaking to acquire more practical skills in the field. Lisbon and Budapest were the setting for the numerous films made during this course. In 2015 she moved back to Belgium and started to take classes at KASK, School of Arts in Ghent. In 2018 she graduated as Master in Audiovisual Arts with her graduation film `elephantfish`.

Alle de tranen / Toute larme / Every Tear
sarah vanagt
Alle de tranen / Toute larme / Every Tear
Doc. expérimental | hdv | couleur | 30:0 | Belgique | 2017

In the 17th century, Antoni Van Leeuwenhoek, a draper from Delft, begins to make glass lenses, in order to better study the quality of his textile. He melts, drips and grinds small beads of glass. His tiny lenses are so bright and have such magnifying power that the draper seems to have entered a new dimension. Is he the first to see little moving “animals” in a drop of water? How to describe something that nobody ever saw before? In the film `Every Tear`, Sarah Vanagt starts a journey into her home city of Brussels, with Leeuwenhoek’s microscope in hand. She picks up bits and pieces on her road, and tries to find out what the first microscopic images may have looked like. She replaces the lens of her camera by the 17th-century lens. As she is filming, she wonders why we always look for shapes that we already know, whenever we are in the eye of the unknown.

Home News Work & Screenings Online Films About Contact Balthasar produces and presents the work of filmmaker Sarah Vanagt. Sarah Vanagt (1976) makes documentaries, video installations and photos, in which she combines her interest for history with her interest for (the origins of) cinema. Her work includes films such as After Years of Walking (2003), Little Figures (2003), Begin Began Begun (2005), Boulevard d`Ypres (2010), The Corridor (2010), Dust Breeding (2013); and video installations such as Les Mouchoirs de Kabila (2005), Power Cut (2007), Ash Tree (2007). Her work is shown at film festivals (FidMarseille, Viennale, Doclisboa, Idfa Amsterdam, Rencontres Internationales Paris/Madrid/Berlin, Hors Pistes Centre Pompidou), and in museums (Frankfurter Kunstverein, Fact Liverpool, NGBK Berlin, Shedhalle Zürich). The silent short film Girl with a fly (2013) was first shown at the 5th Biennale of Moscow. The films In Waking Hours (2015) and Still Holding Still (2015) premiered at the International Film Festival Rotterdam. The installation Showfish was presented in M HKA, the Museum for Contemporary Art of Antwerp in October 2016. Vanagt`s new film DIVINATIONS (2019) has it`s Belgian avant-premiere during the festival Courtisane in Ghent (3 April 2019)

Olhe bem as montanhas
ana vaz
Olhe bem as montanhas
Doc. expérimental | 16mm | couleur | 30:40 | Brésil | France | 2018

« Regardez bien les montagnes ! » : l`impératif vient de l`artiste Manfredo de Souzanetto, pendant les années de dictature au Brésil. L`exploitation minière était en train de détruire l`environnement dans l`État du Minas Gerais, dans le Sud-Est du pays. Par le biais du montage, Ana Vaz met en parallèle cette région et celle, géographiquement très éloignée, du Nord-Pas-de-Calais, également marquée par trois siècles d`exploitation minière. D`un côté, des montagnes érodées, dont les habitants subissent les glissements de terrain meurtriers. Les montagnes creuses, évidées, deviennent réceptacles d`une mémoire spectrale. De l`autre, en France, les traces de l`exploitation, un temps effacées, font aujourd`hui l`objet d`une revalorisation patrimoniale, et paradoxalement, les tas de déchets miniers sont devenus des montagnes, des réservoirs de biodiversité, la frontière entre nature et technique s`avérant insituable. La cinéaste surprend à chaque plan, la poésie primant sur tout discours militant ou environnemental – ainsi de la séquence des scientifiques qui mesurent les chauves-souris sous la lune. Le « regardez bien » pousse vers le détail, la matière visuelle et sonore. Jamais cependant détachées du politique : un plan du ciel pris du fond d`un ravin suffit à évoquer les fantômes de peuples indigènes éradiqués, dont subsistent encore cependant des peintures pariétales.

Née en 1986 à Brasilia, Ana Vaz est une artiste et cinéaste dont les films et le travail spéculent sur les relations entre le soi et l’autre, le mythe et l’histoire au travers d’une cosmologie de signes, références et perspectives. Des assemblages de matériau filmé et trouvé, ses films combinent ethnographie et spéculation dans l’exploration des frictions et fictions inscrites dans les environnements naturels comme bâtis. Diplômée du Royal Melbourne Institute of Technology et du Fresnoy-Studio National des Arts Contemporains, Ana Vaz fut également membre de SPEAP (SciencesPo School of Political Arts), un projet conçu et mené par Bruno Latour. Son travail est régulièrement projeté partout dans le monde : New York Film Festival, TIFF Wavelengths, CPH:DOX, Videobrasil, Courtisane, Cinéma du Réel, Lux Salon. En 2015, elle reçoit le Kazuko Trust Award présenté par la Film Society du Lincoln Center en reconnaissance de l’excellence artistique et de l’innovation de son travail filmique.