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.
Where Are We Going? (Hey Siri)
ana vega
Where Are We Going? (Hey Siri)
Vidéo | hdv | couleur | 13:59 | Argentine | France | 2018

Voix flottantes dans un espace que l'on devine par oscillations. faire une course, les deux protagonistes s'égarent dans les contextes historiques de l'objet qu'elles.ils cherchent, s'émeuvent et se désillusionnent des rapports humains, passent du temps ensemble et se trouvent des compagnons de voyage. Une séquence en clair-obscur, abstraite et figurative, qui suit les trajets d'une conversation entre personnages invisibles et incorporels, le temps d'un itinéraire indécis. Where do you want to go? I'm sorry, I can' t answer that. Where are we going? Here's what I've found : _ Un jeune homme et sa mère, Robin, Siri, Siri, Chris C. et d'autres.

Ana Vega (née à Bahia Blanca, Argentine, 1987) est une artiste qui vit et travaille à Paris et Saint-Ouen. Elle a étudié à l'Ecole Nationale Supérieure des Beaux-Arts de Paris et à l'école Nationale Supérieure des Arts Appliqués et des Métiers d'Art de Paris ; à Carnegie Mellon University, Pittsburgh (USA) ; à Pittsburgh Filmmakers Center for the Arts, Pittsburgh (USA) ; au Centro Cultural Rojas (Buenos Aires). Elle participe à l'exposition collective « Mademoiselle » curatée par Tara Londi au Centre Régional d'Art Contemporain à Sète (2018-19). Son travail a été montré en 2017 à Arondit, Paris ; au Centre d'Art Contemporain Chanot (Clamart) ; à Arnaud Deschin Galerie (Paris) ; à Vidéobox#4, Carreau du Temple, Paris ; la La Salle de Bains, Lyon, FR ; Festival d'art vidéo de Carcassonne, Cinéma le Colisée, Carcassonne, FR ; et précédemment, notamment au 22 rue Muller, Paris, 2016 ; au Festival vidéo les Rencontres Internationales à la Gaîté Lyrique, Paris, 2016 ; au centre d`art Image/Imatge, Orthez, FR, 2015 ; au Palais des Beaux Arts, Paris 2015 ; à la galerie Escougnou-Cetraro, Paris, 2015 ; à Commonwealth & Council, Los Angeles, USA, 2014 ; Torrance Art Museum, Los Angeles, 2014 ; à la Fondation Ricard, Paris, 2014 ; à la Galerie Florence Loewy, Paris, 2013 ; au Centquatre, Paris, 2013 ; à la Dickerman Gallery, San Francisco, USA, 2013 ; au 58e Salon de Montrouge, Le Beffroi, Montrouge, FR, 2013 ; à la Fondation Rosenblum, Paris, 2012.

devis venturelli
Vidéo | hdv | couleur | 4:22 | Italie | 2018

In "Unframed", the city is object of observation from inside a nebula black, floating, cavernous, mysterious. As in the depths of a primordial cave, the urban overview is fragmented in a collage-city in form of video. The drone unveils the Milan urban fabric with its patterns, grains and densities: from historical city emerges a new contemporary skyline. "Unframed" investigates the possibility to create images with mobile and fluid outline, an aerial view, sinuous and oscillating, in an incessant fluctuation. "Unframed" documents the odeporic approach of the contemporary culture in which the perception is an idiomatic overview.

Born 1974 in Faenza, Italy. He lives and works in Milan, Italy. Multi-disciplinary artist and architect, in his practice he uses the languages of video, performance, sculpture and installation to document ephemeral architectures and temporary utopias. He has taken part in solo and group shows in institutions such as Lincoln Center for the Performing Arts, New York; Antology Film Archive, New York; PAC, Milan; Medialab-Prado, Madrid; Museo de Arte, Lima; Xinjiang Biennale; MACRO, Rome; Kulturhuset Museum, Stockholm; MMOMA - Moscow Museum of Modern Art, Moscow; Ace Gallery, Los Angeles; Angel Orensanz Foundation, New York; Istituto Italiano di Cultura, Amsterdam; Spazio Oberdan, Milan; Fondazione Sandretto Re Rebaudengo, Turin; Kunsthalle, Wien; Stadtgalerie, Kiel; Centre d'Art Santa Monica, Barcelona; Fondazione Merz, Turin; Kunstverein, Augsburg; National Museum, Wroclaw; Mart - Galleria Civica, Trento; Galleria Nazionale d'Arte Moderna, Rome. In 2013 he presented the film project Luciano Berio/Devis Venturelli/Tempo Reale. In My End is My Music produced by Fondazione Romaeuropa. His videos and experimental films have been screened in International Film Festivals including Dance on Camera Festival, Videoformes, 25FPS Experimental Film Festival, FIVA - Festival Internacional de Video Arte, Romaeuropa Festival, Tehran International Short Film Festival, Regensburg International Short Film Week, New Filmakers NY.

A Modest Proposal (in a Black Box)
vermeir & heiremans
A Modest Proposal (in a Black Box)
Vidéo | hdv | couleur | 28:7 | Belgique | Royaume-Uni | 2018

In A Modest Proposal, Vermeir & Heiremans are discussing a new financial model with a lawyer. They question if financialisation can be re-purposed towards generating a more equitable arts ecology. Considering the financialisation of public art collections and museum buildings, the financial model should benefit not only investors, but also its stakeholders, the creators of the art`s value, the art workers. The artists propose to financialise Pump House Gallery in Battersea Park as their case-study. It is located close to Battersea Power Station, a former coal-fired power station that will soon house Apple's London headquarters and luxury apartments. The artists propose to "pump" up the gallery`s value, and generate a return for the wider art community. The conversation between artists and lawyer takes place in Vermeir & Heiremans` house, which they define as an art work. Meanwhile the absent-minded lawyer`s assistant often slips away from the discussions. She appears to be able to materialise and dematerialise at will the lofty space by caressing the walls, playing with a scale model of the house or using the latter as a framing device, manipulating the window views. When the artists and the lawyer go on to celebrate the proposal on the loft's rooftop garden she takes control…

The videos and installations of the artist duo Vermeir & Heiremans investigate the complex relationship between economy, spatiality, and social reality in today's highly globalized world. The artists define their own house as an art work, which they use as a framing device to focus on the growing financialisation of the arts, real estate and daily life in general. The duo raises questions about the role the arts play within the ever-growing entanglement between urban development, financialisation and governing. The artists employ financial tools, historical references, technology, and cinematic language to reflect on social codes as well as on the production of value in today's artistic and non-artistic realms. Vermeir & Heiremans have presented their work at 10th Istanbul Biennial (2007), Arnolfini, Bristol (2009), Nam June Paik Art Center, Yongin (2010), Viennale, Vienna (2011), 7th Shenzhen Sculpture Biennial (2012), Manifesta 9, Limburg (2012), Argos, Brussels (2012), Extra City, Antwerp (2012), 13th Istanbul Biennale (2013), Rotwand Gallery, Zurich (2014), Triennale Brugge (2015), Dojima River Biennale, Osaka (2015), Curated by_Vienna at Georg Kargl Gallery (2015), Transmediale, Berlin (2016), Bucharest Biennale 7 (2016), Rencontres Internationales Paris/Berlin (2010, 2012, 2017), Glassyard Gallery, Budapest (2018), Art Brussels (2018), The Atlantic Project, Plymouth (2018), Pump House Gallery, London (2018)

Barbara VISSER
The End of Fear
barbara visser
The End of Fear
Documentaire | mov | couleur et n&b | 69:9 | Pays-Bas | 2018

Who`s still afraid of red, yellow and blue? The most famous abstract painting of the twentieth century has invoked much more than just one response to this provocative question. Fifty years after `Who`s Afraid of Red , Yellow and Blue III`, we question the meaning of art over the life of this famous, celebrated and mourned work by Barnett Newman.

Barbara VISSER (1966, the Netherlands) studied Photography and Audiovisual Arts at the Gerrit Rietveld Academie in Amsterdam, the Cooper Union in New York and the Jan van Eyck Academie in Maastricht and is an awarded artist. She has also worked as the artistic director of IDFA. Her work focuses on cultural and historical narratives and how these become manifest through art, design, media and science. By challenging conventions in storytelling and image-making, and questioning our memory- and belief systems, Visser aims to provoke a new perception of what a normality has rendered invisible.

Elena VOGMAN, Clemens von Wedemeyer
Actors of Profane History
elena vogman , Clemens von Wedemeyer
Actors of Profane History
Vidéo | hdv | noir et blanc | 17:0 | Russie | Allemagne | 2017

"Actors of Profane History" includes a series of recently discovered casting images from Sergei Eisenstein’s destroyed film "Bezhin Meadow," (1935-1937) preserved today at the Russian State Archive of Literature and Arts. It questions the interrelation between the cinematographic use of film extras, who usually appear only in the background of major cinema productions, and the possibility of acting in political history, in itself closely connected to the history of representation. In his films, Eisenstein worked almost entirely with non-professional actors, the so-called "tipazhes." Deriving from the French word "typage," the Russian “tipazh” was a concept for denoting a typical appearance, giving an immediate visual presence to the palpable characteristics of a social type. This reading of human appearance as evidence of social and political conditions elucidates parallels between cinema and criminalistic as well as physiognomic paradigms. Yet, in 1935, when Eisenstein was commissioned to shoot Bezhin Meadow, such “irregular types” were already banned from official screens. The censured and destroyed film tells the story of Pavlik Morozov, a fourteen year old pioneer who lived in the village of Gerasimovka and was killed in 1932 by his family after denouncing his father for being opposed to the collectivisation of the land. After the editing of the film went through at least two different versions, the production was definitively stopped in March 1937. The film was withdrawn and disappeared in the deposits of Mosfilm, where it was eventually destroyed in the bombing of Moscow during the Second World War. In 1967, Naum Kleiman and Sergei Jutkevic reconstructed a version of Bezhin Meadow based on a surviving sequence of individual frames.

Elena Vogman is an author, independent curator and postdoctoral fellow in the research project “Rhythm and Projection” at the Freie Universität in Berlin. Her book on "Sinnliches Denken: Eisensteins exzentrische Methode" (2018) has been published by diaphanes. Currently, she finishes her next book, "Dance of Values: Eisenstein’s Capital Project," which is forthcoming in the Fall of this year. Together with Marie Rebecchi and Till Gathmann she curated the exhibition “Sergei Eisenstein: The Anthropology of Rhythm” in 2017 at Nomas Foundation in Rome. In 2018, the trio curates the exhibition “Eccentric Values after Eisenstein” together at Espace Diaphanes in Berlin. Clemens von Wedemeyer, born in 1974 in Göttingen, Germany, currently lives and works in Berlin and holds a professorship for media art at the Academy of Fine Arts Leipzig. Solo exhibitions include: 2016 Hamburger Kunsthalle; P.O.V. - Neuer Berliner Kunstverein; 2015 MCA Chicago; 2013 MAXXI, Museo nazionale delle arti del XXI secolo, Rom with the project “The Cast”, curated by Giulia Ferracci

Viet VU
Nguoi Kien
viet vu
Nguoi Kien
Fiction | hdv | couleur | 26:19 | Viet nam | 2018

The daily life of a homosexual man whose body is inhabited by ants.

Viet Vu (Ph?m Quang Trung) is a newcomer in moving image. He was introduced to images in a workshop at Hanoi Doclab by artist Jamie Maxtone-Graham in 2016. So far he has made one image collection of "Mom-me" (2017 - group exihibition at Hanoi Manzi Art Space) and a short film of "Ant-Man" (2018). Viet likes to approach the sublimity in vision of humanity through his camera.

beny wagner
Film expérimental | mp4 | couleur | 14:0 | Allemagne | 2017

`Outside` traverses two cyclical metabolic paths in the attempt to forge a reciprocal relationship between the two. Moving from the metabolism of the human body to the metabolism of waste infrastructures, the film creates an inverted exchange wherein the concealment of waste inside the human body turns to the concealment of the human body inside waste. The boundary that divides waste from production would seem to contain an underlying set of moral implications. The film considers these as situated somewhere between law enforcement and class structure as defined through labor positions.

Wagner has exhibited his work and screened films world wide: International Film Festival Rotterdam, Media Art Biennale WRO, Movimenta Biennale (Nice), Rongwrong (Amsterdam), Haus der Kulturen der Welt (Berlin), Art Athina (Athens), Impakt Festival (Utrecht), 5th Moscow Biennale for Young Art, Eye Film Museum (Amsterdam), Venice Biennale, Plato (Ostrava), Import Projects (Berlin), Future Gallery (Berlin), Center (Berlin) among others. His work has been featured in Artforum, Spike Magazine Quarterly, Frieze Magazine, Kaleidoscope Press, and Die Zeit. He has published texts with Valiz, BLOCK Magazin and 60 pages. Wagner graduated with honors from Bard College, New York in 2008. He was a researcher at Jan van Eyck Academy, The Netherlands in 2015-6. He is currently a lecturer at Gerrit Rietveld Academy, Amsterdam, and has been a guest teacher at several other academies.

Sharon WHOOLEY, -
sharon whooley , -
Film expérimental | hdv | couleur et n&b | 13:30 | Irlande | 2018

DISTANCE looks at multiple dimensions of time in a specific place, Glenbride in Co. Wicklow, from three distinct perspectives: geographical memory, the memory of a house and the tangled forces of human memory. Inspired in part by the ideas of Scottish writer and poet Nan Sheperd "Thirty years in the life of a mountain is nothing, the flicker of an eyelid" we also echo James Joyce's words "Places Remember Events" (written in the margins of "Ulysses").

Sharon Whooley is a Film Artist based in Baltimore in West Cork in Ireland. "I have worked in film for over 20 years, as co-director of Harvest Films ( As writer, I was co-writer with Pat Collins and Eoghan Mac Giolla Bhríde on the feature films Silence (2012) and Song of Granite (2017) (Dir: Pat Collins). We are currently writing a new film The Aran Islands based on John Millington Synge's book of the same name. My own films include Fathom (2013) a meditation on thinking and isolation based on the Fastnet Lighthouse, Nettle Coat (2014) on Visual Artist Alice Maher's work of the same name, Imogen Stuart: Dealbhóir (2016) on Irish/German sculptor, Imogen Stuart and Distance (2018); a story about time in a specific place, Glenbride in Co. Wicklow in Ireland. All of these films were funded by the Arts Council of Ireland. My next film, Night Flight is an experimental film about yearning and the human condition seen from the real world, the dream world and the other-world." SW

Ada Kaleh
helena wittmann
Ada Kaleh
Fiction expérimentale | 16mm | couleur | 14:23 | Allemagne | 2018

An indeterminate location, summer. Te inhabitants of a shared apartment ask themselves where they might live. Tey imagine countries, communities and places. Time passes and nothing can change that, neither human action nor objects and their states. At some point, they all drift into a deep sleep.

Helena Wittmann was born 1982 in Neuss, Germany. Originally studying Spanish and Media Studies in Erlangen and Hamburg, she went on to attend the Academy of Fine Arts in Hamburg (HFBK), where she graduated in 2014. Her works, including her frst feature flm DRIFT (2017) and the short flms 21,3°C (2014) and WILDNIS (2013), were shown internationally at flm festivals and exhibitions. Helena Wittmann works and lives in Hamburg, Germany.

wiktoria wojciechowska
Doc. expérimental | hdv | couleur | 0:0 | Pologne | 0 | 2019

Sparks is a multidimensional portrait of a forgotten but still raging contemporary European conflict: the war in Ukraine. Ukrainians are fighting each other, with government forces on one side and pro-Russian separatists on the other. Wiktoria Wojciechowska went in search of combatants and victims to recount its impact on the lives of ordinary people. The title, Sparks, refers to incandescent shrapnel that mercilessly pierces the walls of houses. Civilians living near the front call it ??????? or iskry, in Ukrainian. Looking up at a hail of burning fragments, they know it is already too late to seek shelter. The "sparks" signal death and fear. Combining photographs, collage, film, symbolic images of armed conflict with pictures and words collected from combatants, Sparks offers several perceptions of war.

Wiktoria Wojciechowska is a multimedia artist, working with photography, video, collage, installation and books. Born in 1991 in Lublin, Poland and graduated with honors from Academy of Fine Arts in Warsaw. Lives and works in Lublin and Paris. Wiktoria Wojciechowska was the 2015 winner of the Oskar Barnack Leica Newcomer Award for Short Flashes, portraits of drenched cyclists captured on the streets of Chinese's metropolis. Between 2014 and 2016, she accomplished Sparks, a portrait of the contemporary war in Ukraine, based on the stories of people living in a war-torn country. This series received several awards, such as Les Rencontres d'Arles 2108 New Discovery award's public prize, Madame Figaro prize and the Prix pour la Photographie, Fondation des Treilles. "Sparks" has been featured in numerous exhibitions such as Les Rencontres d'Arles 2018 in France; Jimei X Arles festival in Xiamen, China; Krakow Photomonth in Poland, The Museum of Photography in Riga, Latvia, Exhibition Bureau in Warsaw, Poland. Wiktoria Wojciechowska was also nominated for many prestigious grants such as Joop Swart Masterclass 2016, Unseen Young Talents, Lucie Foundation Emerging Artists, Visura Grant, Deutsche Börse Photography Foundation Prize (for the book Short Flashes) and Foam Paul Huf Award. She is a recipient of scholarships and grants of Polish Ministry of Culture and National Heritage and other institutions.

Melanie Jame WOLF
melanie jame wolf
Installation vidéo | 4k | couleur | 24:32 | Australie | Allemagne | 2017

One of several videos made for the 2017 HIGHNESS performance and video series. Kolonie is an experimentation with the immobilising effects and machinations of the production of iconic images. Working with two bee-keepers and their bees to create a living crown on top of the artist`s head, Kolonie seeks to critically render visible the fact that a queen's image is often only fierce through the work of many hands. And a desire to rule can rot very quickly.

Melanie Jame Wolf is an Australian born artist who lives and works between Melbourne and Berlin. She makes work about economies. Sometimes solo, sometimes with friends. Always exploring systems of value and exchange, particularly as they occur in the murky field of immaterial capital… the social, the cultural, the affective. She investigates these flows as they are produced through ideas of ghosts, of gender, of pop, of myth, of morality, of sensuality, of class.

Father Knows Father Best
steven woloshen
Father Knows Father Best
Film expérimental | 35mm | noir et blanc | 5:56 | Canada | 2018

Unlike television comedies, many of our family conversations don`t make sense, but when my Father talks, we struggle to understand. U

Steven Woloshen was born in Montreal, Canada in 1960. For more than 30 years, he has passionately created over 50 award-winning, abstract films and time-based installations for festivals, galleries and museums. Twice nominated for Canada`s Governor General`s award, he has received numerous research and creation grants and, most recently, was awarded the 2016 René Jodoin lifetime achievement award, 2015 Wiesbaden Lifetime Achievement Award. Woloshen is a teacher, film conservationist, animator, craftsman and the author of two books, Recipes for Reconstruction: The Cookbook for the Frugal Filmmaker (2010), a hands-on manual for decay, renewal and other handmade, analogue film techniques, and Scratch, Crackle & Pop! A Whole Grains Approach to Making Films without a Camera (2015). Under his own banner, Scratchatopia, Woloshen has hosted solo retrospectives and taught handmade filmmaking techniques in Argentina, Morocco, USA, Slovenia, Australia, France, Great Britain, Greece, Portugal, Spain, Slovakia, Poland, Mexico, Serbia, Hungary, Austria and Canada.

Ex Nihilo
timo wright
Ex Nihilo
Doc. expérimental | 4k | noir et blanc | 8:20 | Finlande | 2018

Ex Nihilo is an experimental short documentary about life, death and our attempts to control them. It tells the stories of an advanced humanoid robot, a cryonics facility, where the brains of deceased people are held and of a ninternational seed vault, where crop seed from around the world are held frozen. The first film is about one of the most advanced humanoid robots, HUBO. It can walk on uneven terrain, drive a vehicle and operate different tools. The second film is about Oregon Cryonics, a cryonics organisation in Salem, Oregon, USA. At their facility human brains of deceased people are kept at very low temperatures. The third film is about the Svalbard Global Seed Vault, which s situated on the island of Spitsbergen midway between Norway and the North Pole. The vault holds seeds of more than 4000 different plant species at '18 °C. The crates of seeds from all around the world are kept side-by-side deep inside the frozen vault.

Timo Wright is a media artist based in Helsinki, Finland. Wright has graduated with MA degree from the Aalto University School of Art and Design in Helsinki in 2014. He has participated in domestic and international exhibitions since the mid 2000s including Kunsthall Charlottenborg (2017&2018), Samuelis Baumgarte Galerie (2017), Galerie Anhava (2016), Helsinki Art Museum (2013), Helsinki Design Museum (2012), Amos Anderson Art Museum (2012), Kunsthalle Helsinki (2012, 2010, 2009) and Helsinki Art Museum's Kluuvi Gallery (2012), as well as festivals such as IDFA, Slamdance, Nordisk Panorama, International Film Festival Rotterdam and Japan Media Arts Festival. His films have been shown at over 70 festivals and exhibitions worldwide.

Bernardo ZANOTTA
Heart of Hunger
bernardo zanotta
Heart of Hunger
Fiction expérimentale | hdv | couleur | 29:0 | Brésil | Pays-Bas | 2018

Haunted by the ghost of a long-lost love, two friends travel by boat and play games of lust and sadism. Within this chain of lament and secret desires, new figures emerge. They lose each other, they find each other; the heart is a lonely hunter.

Bernardo Zanotta (1996, Porto Alegre) is a Brazilian visual artist and filmmaker. His films take shape as research-based projects where crossings within literature and the moving image are explored. Interests which gravitate around his practice are: the presence of the past in the future, the queering of canonical literary texts and the performativity of cinema. In recent years, he has screened and exhibited at festivals and venues such as the Locarno Film Festival, Oberhausen Kurzfilmtage, Fundación BilbaoArte and the Nieuwe Vide Foundation. He is based in Amsterdam and holds a bachelor degree in Moving Image from the Gerrit Rietveld Academie.

Phoenix. Amore brucio
zapruder filmmakersgroup
Phoenix. Amore brucio
Vidéo | 4k | couleur | 12:0 | Italie | 0 | 2017

At a novel workshop of the gods, Greek theater masks with Hollywood features are setting up a love engine. Phoenix. Amore brucio is the 7th of 12th episodes that Zapruder dedicates to the myth of Hercules.

ZAPRUDER is a group formed by David Zamagni, Nadia Ranocchi and Monaldo Moretti. It was founded in 2000 in Roncofreddo (Italy), where the collective’s headquarters still are. The group experiments in film, merging figurative, performative and cinematographic arts to provide a total visual experience, in the direction of a total visual experience. That’s the case with their ’chamber cinema’: video-installation projects where cinema and object are fused together, drawing on the technique of stereoscopic film ( or the illusion of three dimensions), as well as on expanded cinema. In 2011, Zapruder’s work received the 3D Persol Award at the Venice Film Festival. Along the years, the group has met Italian experimental theatre with productions in collaboration with Motus, Fanny & Alexander, Romeo Castellucci and Santarcangelo Festival. A large amount of their artistic process is dedicated to the sound design of their movies: the main soundtrack is made by performing foley effects and recording environmental sounds in order to produce a more dynamic and complex experience for the viewer. Their video installation Zeus Machine/Salita all’ Olimpo ( Zeus Machine/The conquering of Olympus) was awarded the Premio MAXXI 2016. Zapruder’s work has been presented internationally in festivals and performing arts venues: Venice Film Festival; Rotterdam Film festival; Rome Film Festival; Kurtzfilmtage Oberhausen; Biennale de l’image en mouvement, Geneva; Transmediale, Berlin; Netmage, Bologna; Triennale, Milan; Centre Pompidou, Paris. Among their solo exhibitions: Careof, Milan (2013); Galleria d’Arte Moderna e Contemporanea, Ferrara (2014); Marsèlleria, Milan (2014); Raum, Bologna (2014); Artopiagallery, Milan (2015); Kunstraum Walcheturm, Zurich (2015); Mega, Milan (2018), Gucci Garden, Firenze (2018). Among group exhibitions: Cineteca di Bologna, Bologna (2013); WRO Media Art Biennale, Wroclaw (2013); Aula Bunker, Rome (2014); PAC, Milan (2014); MAG Museo Alto Garda, Riva del Garda (2015); OCAT, Shanghai (2015); MAXXI, Rome (2016).

tinne zenner
Doc. expérimental | 16mm | couleur | 20:20 | Danemark | Groenland | 2018

Nutsigassat reflects on the power of language as a colonizer of foreign landscapes. The Danish names imposed on Greenland’s spaces and landscapes have historically been a part of Denmark’s engagement in the vast country in the North. A process, through which the mountains of Sermitsiaq and Kingittorsuaq that surround Nuuk were detached from both their semantic and geographical meaning. But also the physical signs of the fatal interventions of the past are legible in the concrete high-rises that replaced the small communities of the bygds along the coasts which were closed down by the Danish government in the 1960s and 70s. Even the manual mass production of tupilaks (sacred amulettos made of bones and horns) describe a cultural mutation of the mythical figure into a tourist object. Through a complex juxtaposition of text, voice and her beautiful 16mm film imagery, Zenner has created a critical work in which the majestic and vast vistas of Greenland defy the history imposed on them

Tinne Zenner is a visual artist and filmmaker based in Copenhagen. She holds an MFA from The Royal Danish Academy of Fine Arts. Working with analogue film, 3D-animation and spatial installation, her work explores the physical structures, in which layers of history, politics and collective memory are embedded. Her work has been shown at a number of international film festivals including Ann Arbor Film Festival, Projections at New York Film Festival, CPH:DOX, Courtisane, Image Forum Tokyo and EXiS in South Korea, and exhibited internationally at Reykjavik Art Museum, Nuuk Art Museum, Gothenburg Kunsthal, BOZAR Centre for Fine Arts Brussels as well as at Overgaden - Institute of Contemporary Art, Kunsthal Charlottenborg and Fotografisk Center in Copenhagen. Zenner is a co-founder and member of Sharna Pax, a film collective based in London and Copenhagen working between the fields of anthropology, documentary and visual arts.

Charlotte ZHANG
The Lining
charlotte zhang
The Lining
Fiction expérimentale | hdv | couleur | 21:5 | Canada | USA | 2018

An experimental portrait of love and quiet sadness in the corners of Los Angeles. Zhang`s non-linear editing creates an intimate and poetic representation that flows in and out of narrative and documentarian conventions.

Charlotte Zhang (b. 1999) is a filmmaker and occasional writer from Vancouver Island, currently studying Film/Video at California Institute of the Arts.

Tobias Yves ZINTEL
Breed and Educate
tobias yves zintel
Breed and Educate
Doc. expérimental | hdv | couleur | 10:46 | Allemagne | 2018

Tobias Yves Zintel greift in seinen filmischen und performativen Arbeiten auf Methoden und Mittel des Experimentalfilms, der Theaterinszenierung, der Musikproduktion und -aufführung sowie der Installationskunst zurück. Die so entstehenden Montagen beschreiben bewusst eine Grenzüberschreitung zwischen Fakt und Fiktion, zwischen Dokument und Fragment. Das zugrunde liegende Material rekurriert dabei stets auf Aspekte der Kunst- und Filmgeschichte, Philosophie und Naturwissenschaft wie auch der Alltags- und Popkultur. Bei den Arbeiten stehen Fragen der Subjektkonstitution im Zentrum – präziser: Die Handlungsweisen und Rituale sowie die Wissens- und Glaubenssysteme, welche den Prozess der Subjektwerdung begleiten.

Yorgos ZOIS
Third Kind
yorgos zois
Third Kind
Fiction | 4k | couleur | 30:0 | Grèce | Croatie | 2018

Earth has been abandoned for a long time and humanity has found refuge in outer space. Three archaeologists return to Earth to investigate the origin of a mysterious five tone signal…

Yorgos Zois was born in Athens. He studied applied Math and Nuclear Physics in N.T.U.A. and film direction at Stavrakou Film School, Athens and at U.d.K, Berlin. His debut short film, Casus Belli, premiered at the 67th Venice Film Festival in 2010 and participated in the official competition of numerous international film festivals (Rotterdam, Clermont Ferrand, Tokyo Short Shorts, Palm Springs, LA Short Fest etc) winning multiple awards and distinctions. His second short film, Out of Frame, premiered at the 69th Venice Film Festival in 2012 and won the EFA award for the Best European short film and was nominated for Best Short film of the European Film Academy Awards 2012. His first feature, Interruption, premiered at the Orizzonti Competition of the 72nd Venice Film Festival