Paris programme
Friday 3 November 2023
Cinéma
Screening
MEP Maison Européenne de la Photographie
5/7 rue de Fourcy - 75004 Paris
Subway: Saint-Paul, line 1 / Pont Marie, line 7
Free admission for the general public, within the limits of available seats
Accreditation and badges: free priority access, within the limits of available seats
"In Between"
Kevin Jerome Everson : Hazel (dual) - Video | 16mm | black and white | 12:19 | USA | 2023
Kevin Jerome Everson
Hazel (Dual)
Video | 16mm | black and white | 12:19 | USA | 2023
Hazel (dual) is a split screen film, shot in 16mm b/w, inspired by the legendary recording of the underrated guitarist Eddie Hazel’s (1950-1993) ten-minute guitar solo on “Maggot Brain”, the title track to Funkadelic’s 1971 album . The film is the fictitious moment when bandleader George Clinton “misleads” the guitarist Eddie Hazel to record what is considered one of the greatest guitar solos ever recorded. Performed by actor and musician Ricky Goldman whose previous collaborations with the artist include leading roles in the short films It Seems to Hang On (US, 2015, Venice Film Festival); We Demand, co- directed with Claudrena N. Harold (US, 2016, Berlinale 'Forum Expanded' and Gospel Hill. co-directed with Claudrena N. Harold (US, 2022, Chicago Intl FF).
Kevin Jerome Everson (b. 1965 Mansfield, Ohio U.S.) B.F.A. University of Akron; M.F.A. Ohio University. Lives and works in Charlottesville, Virginia, US. Commonwealth Professor of Art and Director of Studio Arts, University of Virginia Everson's work and practice encompasses photography, printmaking, sculpture and film – 12 features and more than 200 solo and collaobrative short form works. He has been recognized with the Guggenheim Fellowship, the Alpert Award in Film/Video, the Heinz Award in Arts and Humanities, the American Academy in Rome Prize, the American Academy in Berlin Prize and artist grants from Creative Capital, National Endowment of the Arts, Hallwalls Contemporary Arts Center, Wexner Center for the Arts and the Ohio Arts Council. His artwork has been the subject of retrospectives and solo exhibitions at The Whitney Museum of American Art, Tate Modern/Film, Cinema du Reel/Centre Pompidou, BlackStar, Halle fur Kunst Steiermark, Graz, Art Windsor-Essex, Windsor, Ontario, Museum of Modern and Contemporary Art, Seoul, Museum of Contemporary Art, Novi Sad, Serbia, Harvard Film Archive, Cinematek Brussels/Courtisane and presented at international film festivals and art institutions including Berlin, Sundance, Rotterdam, Toronto, Venice, BFI/London, NYFF, BlackStar, Oberhausen, Jeonju, Carnegie Museum of Art, Pittsburgh, MOCA, Los Angeles, Walker Art Center, Minneapolis, MoMA, NY and the Smithsonian National Museum of African American History & Culture, Washington D.C.. His films have been featured at the 2008, 2012 and 2017 Whitney Biennial, the 2013 Sharjah Biennial, the 2018 Carnegie International and the 2023 Contour Biennale in Mechelen, Belgium. A 3 DVD Boxed Set, Broad Daylight and Other Times, was released by Video Data Bank (U.S.) in 2011 and a DVD dedicated to films focusing on the rituals and gestures of labor, I Really Hear That: Quality Control and Other Works was released by VDB in summer 2017. The DVD contains the feature film Quality Control (2011), included in the 2012 Whitney Biennial. The two disc blu-ray How You Live Your Story: Selected Works of Kevin Jerome Everson was released by the UK based boutique label Second Run DVD in Fall 2020. Everson's films are represented and/or distributed by Picture Palace Pictures, New York.
Pip Chodorov : Rooftop Flicker - Experimental film | super8 | color | 3:20 | USA, Korea, South | 2022
Pip Chodorov
Rooftop Flicker
Experimental film | super8 | color | 3:20 | USA, Korea, South | 2022
Super-8 flicker film shot and hand-developed in Seoul in spring 2022 with jazz soundtrack from a Jonas Mekas centennial tribute in Busan.
Pip Chodorov. Born April 13, 1965 in New York. Filmmaking and music composition since 1972. Studied cognitive science at the University of Rochester, NY and film semiotics at the University of Paris, France. Work in film distribution - previously Orion Classics, NYC; UGC, Paris; Light Cone, Paris; and, currently, Re:Voir Video, Paris, which he founded in 1994 and The Film Gallery, the first art gallery devoted excusively to experimental film. He is also co-founder of L'Abominable, a cooperative do-it-yourself film lab in Paris, and the moderator of the internet-based forum on experimental film, FrameWorks.
Frédéric Moffet : Goddess Of Speed - Experimental video | 16mm | color and b&w | 8:0 | Canada, USA | 2023
Frédéric Moffet
Goddess of Speed
Experimental video | 16mm | color and b&w | 8:0 | Canada, USA | 2023
A film titled Dance Movie (aka Rollerskate) appears in many Warhol filmographies, but no work with this title can be found in the Collection. The lost film, starring dancer Fred Herko gliding on a single roller skate, was shot in 1963. Herko was a talented dancer and choreographer who cofounded and performed with the Judson Dance Theater. Herko was also associated with the Mole People, a group of queer men and women who came together to get high on speed and listen to opera. In October 1964, unhoused and strung out on drugs, Herko leapt out of an open window while dancing naked to Mozart’s Coronation Mass in C Major. Although the current location of Dance Movie is unknown, accounts of it do exist, including Warhol’s evocative description in POPism of Herko “gliding in dance attitudes and looking as perfect as the ornament on the hood of a car.” Goddess of Speed poetically reimagines the missing film.
Frédéric Moffet is a media artist, educator, video editor, and cultural worker. He lives in Montreal and Chicago. His work explores the slippery territory between history, lived experience and fantasy. His projects include: Horsey, Fever Freaks, The Magic Hedge, Adresse Permanente, The Faithful, POSTFACE, Jean Genet in Chicago and Hard Fat.
Maddi Barber, June Crespo : Core - Experimental film | mov | color | 21:22 | Spain | 2022
Maddi Barber, June Crespo
CORE
Experimental film | mov | color | 21:22 | Spain | 2022
Someone is sleeping. A conveyor belt moves stones in an underground place. The stones fall through a hole in the shape of a mouth. Some hands go through a piece of concrete. Someone operates a knob that crushes the stone. In CORE, we document the different states through which the material passes: stone, dust, liquid and solid. Moving between the surface of things and underneath them, we interweave two apparently distant processes: hands traversing and manipulating cement sculptures and the process of extracting and transforming stones in a quarry. An encounter and friction between materials that is in turn the result of the meeting and negotiation of two languages, the sculptural and the cinematographic.
JUNE BIO June Crespo (Pamplona 1982) graduated in Fine Arts from the University of the Basque Country in 2005 and participated in the De Ateliers residency programme (Amsterdam 2015-2017). Her solo exhibitions include: entre alguien y algo (2022) and Ser dos (2017) at CarrerasMugica gallery, Bilbao; Helmets (2020) at Artium, Vitoria-Gasteiz; Voy, sí (2020) Heinrich Ehrhardt gallery, Madrid and No Osso (2019) at Uma Certa Falta de Coêrencia, Oporto. She has recently participated in group exhibitions such as: The Milk of Dreams, Venice Biennale 2022; Fata Morgana, Jeu de Paume (Paris) or El sentido de la Escultura at the Miró Foundation (Barcelona). MADDI BIO Maddi Barber (Valle de Arce, 1988) has a degree in Audiovisual Communication and an MA in Visual Anthropology from the University of Manchester. Her work has been shown at festivals such as Visions du Réel, FidMarseille, San Sebastian (Zabaltegi), Curtocircuito, Zinebi, Ji.hlava, Porto Post Doc and Las Palmas, among others. They have also been exhibited in museums and centres such as La Panera, Artium and the Oteiza Museum. She is currently working on the development of his first feature film, "Claros de bosque".
Lubanzadyo Mpemba : Sirenes Opacas De São Paulo - Experimental video | mov | color | 5:42 | Angola, Brazil | 2019
Lubanzadyo Mpemba
Sirenes Opacas de São Paulo
Experimental video | mov | color | 5:42 | Angola, Brazil | 2019
In Opaque Sirens of São Paulo wells the tension between the city as anonymous concrete that occupies the space, and the world as experience accumulated in the body. But the city is also the world and the space is also the body, and each one carries the anatomy of opaque memories. The magnitude of the buildings vis-à-vis the passing human scale is opaque to the search for safe places before the imposing verticality. The gesture as a detail of the body that speaks is opaque to the noise of the urban abyss. The inert suspense that scratches the skies is opaque to the experiences that transfigure themselves in self-search. And this tension neither increases nor decreases, it is constant and what sustains the daily movement, and the absence of it, in the streets of São Paulo.
Born in Angola in 1989. A transdisciplinary artist, Lubanzadyo Mpemba expresses himself in video art, photo performance, performance, and documentary. His work includes visual stagings that address migration, urban gentrification, institutional violence, and collective memory. He has a law degree, and studied Urban Sociology, Curatorial Studies, Film, and Painting in Motion.
Kita Bauchet : Les Gestes De Saint-louis - Experimental doc. | 4k | color | 32:0 | Belgium, Senegal | 2022
Kita Bauchet
Les Gestes de Saint-Louis
Experimental doc. | 4k | color | 32:0 | Belgium, Senegal | 2022
The result of a collaboration between the Senegalese contemporary dance company Diagn'art and the Belgian and Swiss artists Kita Bauchet and Stéphanie Pfister, "Saint-Louis on the move" presents a subjective sketch of the city and the rythme of its daily life. An exploration of Saint-Louis through several choreographies performed by 2 dancers and 2 cameras, on Siegfried Canto’s music that highlight the cities energy and the fierce creativity of its youth.
A graduate of INSAS, Kita Bauchet is a Belgian filmmaker. After several short fiction films, Violette et Framboise, Le temps d'un soufflé, Violette au Travail, in 2009 she directed La Fabrique de Panique, a feature-length documentary on the Belgian animated film "Panique au village" by Vincent Patar and Stéphane Aubier, will follow in 2016 Une vie contre l'oubli on the work of director André Dartevelle. In 2018, she created Bains Publics, which opened the doors to the "Bains du Centre" in the heart of a popular district of Brussels. The film received the France Télévisions prize for best documentary at the International Festival of Women's Films in Créteil as well as at the Brussels in Love festival and a special mention from the jury at the "Signes de vie Clermont-Ferrand" festival.
Screening
MEP Maison Européenne de la Photographie
5/7 rue de Fourcy - 75004 Paris
Subway: Saint-Paul, line 1 / Pont Marie, line 7
Free admission for the general public, within the limits of available seats
Accreditation and badges: free priority access, within the limits of available seats
"Collective"
Erik Levine : The Guilty Sleep - Experimental video | 4k | color | 24:31 | USA | 2022
Erik Levine
The Guilty Sleep
Experimental video | 4k | color | 24:31 | USA | 2022
The Guilty Sleep, filmed during more than 75 overnight ride-along shifts with the police, illuminates urgent issues related to the current state of policing. It's a composed collage of raw, slow paced, and evocative imagery and sounds that frame polarities such as justice/injustice, observer/observed, confined/free, power/disempowered, and innocence/guilt. The video highlights the landscape behind these dualities and focuses on their complex relationship to one another.
Erik Levine was born in Los Angeles, California in 1960. He has exhibited widely in the United States and Europe, most recently at Ludwig Forum Aachen with a solo survey exhibition of his videos from the past 15 years. His work includes video, sculpture, and drawings, and is in the public collections of the Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles, Walker Art Center, Hirshhorn Museum and Sculpture Garden, and Des Moines Art Center, among several others. He has received numerous awards including a Guggenheim Fellowship and three Pollock–Krasner Foundation awards. In addition, he’s received two grants each from the National Endowment for the Arts, the New York Foundation for the Arts, the New York State Council on the Arts, and the Massachusetts Cultural Council, as well as grants from Awards in the Visual Arts, Nancy Graves Foundation, and the Jerome Foundation.
Ben Balcom : Looking Backward - Experimental doc. | 16mm | color and b&w | 10:0 | USA | 2022
Ben Balcom
Looking Backward
Experimental doc. | 16mm | color and b&w | 10:0 | USA | 2022
Filmed on the former grounds of Black Mountain College, Looking Backward is a brief elegy to the legacy of a utopian college and other impossible projects.
Ben Balcom is a filmmaker and educator currently living and working in Milwaukee, Wisconsin. He is an assistant professor at the University of Wisconsin-Milwaukee and is the co-founder and programmer of Microlights Cinema, an artist-run microcinema which has been operating since 2013 and has hosted artists from around the world. Recently, his films have taken a lyrical approach to documenting the spaces and legacies of now-defunct experimental schools. Prior to that he made a series of introspective landscape films that engaged with Milwaukee’s progressive political past and contemporary anxieties about the future. Earlier films used abstraction to explore the tensions between perception and communication, with a reflexive attention on the medium itself. These films have been exhibited around the world at venues and festivals such as The Museum of Moving Image, European Media Arts Festival, International Film Festival Rotterdam, IndieLisboa, Media City Film Festival, Alchemy Film, and Slamdance. The films have received awards at Onion City Film Festival, Athens International Film & Video Festival, and Ann Arbor Film Festival. Recently, Balcom was a fellow at the Center for 21st Century Studies at UW-Milwaukee.
Amin Zouiten : Nadir - Experimental doc. | 0 | color | 12:50 | Morocco, Sweden | 2022
Amin Zouiten
Nadir
Experimental doc. | 0 | color | 12:50 | Morocco, Sweden | 2022
Nadir takes place at Norra Grängesbergsgatan, a kilometer-long street just outside central Malmö. A place of sometimes conflicting cultural and political interests, which was once considered a “no-go zone” by the municipality, as well as cultural gentrification zone, can perhaps be described as an expressive and symphonic micro-city. Surrounded by several small-scale industries, established in the 1930s, there is a lingering scent from the nearby Pågen bread-factory. Here, a Baptist church gathers upstairs of an old production facility side by side with flowing neon from Arab furniture stores and carpet stores. In Nadir, the narratives surrounding the street are reformulated as “anti-narrative” through a series of sensorial sequences through and on the street.
Amin Zouiten, is a Swedish-Moroccan artist and filmmaker educated at the Academy of Fine Arts in Malmö and Akademie der bildenden Künste Wien. His works and films have been shown at, among others, Malmö Konsthall, Internationale Kurzfilmtage Oberhausen, Konsthall Charlottenborg, CPH:DOX, Tempo Documentary Festival.
Angelica Mesiti : Future Perfect Continuous - Video | hdv | black and white | 8:30 | Australia, France | 2022
Angelica Mesiti
Future Perfect Continuous
Video | hdv | black and white | 8:30 | Australia, France | 2022
Future Perfect Continuous is an invitation to meditate, to listen closely, and to consider the greater meaning of small gestures. In this work, Angelica Mesiti creates a crease in time and in memory, while offering an anchor to a transcendent idea of community. Future Perfect Continuous is based on a game usually taught to children in a classroom setting as a community building or drama-warm-up exercise. It involves a simple series hands gesture like rubbing, snapping, clapping, slapping that when repeated by the group generate a sound performance that convincingly mimics the sound of a rainstorm. For this video the ‘rain-storm’ activity is performed by a diverse group of young adults in their 20s, at the start of their adult life. 'We can imagine them leaving home and entering society, forming new communities'(1). ‘In my work I often explore the idea of the individual and the collective and how gesture and sound can be used to express a cultural experience or moment. I am interested in how this innocent game of imitating nature could also represent a turbulence that is part of the present. The performers become the weather’(2). 1 Kathleen Ritter 2 Angelica Mesiti
Angelica Mesiti is a multi-disciplinary artist based between Paris & Sydney. Her practice combines performance with video, sound and spatial installation to create immersive environments of absorption and contemplation. Mesiti has long been fascinated by performance: as a mode of storytelling and a means to express social ideas in physical form. In recent years she has been making videos that reveal how culture is manifested through non-linguistic forms of communication, and especially through vocabularies of sound and gesture.There is a focus in her work on the unquantifiable social role played by music — and, by extension, sound in general — in our relationship with the world. Mesiti’s work is regularly shown in museums and biennales internationally. Her work ASSEMBLY was the official Australian presentation at the 58th Venice Biennale (2019).
Jane Jin Kaisen : Burial Of This Order - Experimental film | 4k | color | 25:12 | Denmark, Korea, South | 2022
Jane Jin Kaisen
Burial of this Order
Experimental film | 4k | color | 25:12 | Denmark, Korea, South | 2022
A procession of non-conforming people – from musicians, artists and poets to anti-miliary activists, environmentalists and diasporic, queer and trans people – carry a coffin together through the ruins of what turns out to be an abandoned resort on the South Korean island of Jeju. It soon becomes clear that this is no traditional Confucian funeral. Age and gender roles are subverted, the coffin is draped in dark camouflage colours and the traditional portrait of the deceased is replaced by a black mirror. In the field between funeral ritual, political protest and carnival performance, the people in the procession who have come together to undo a world order built upon hierarchy and division, march through the ruins of capitalist modernity. Time and place begin to lose their stability as mythical Dokkaebi deities pass through the building and heavy rain and wind blow through its cavities. As if possessed the group, in a moment of revolutionary fervour, overthrows and dismantles the scaffolding of the prevailing order and other stories begin to take form. Jane Jin Kaisen’s interdisciplinary work not only activates Jeju’s violent history as a site of oppression and rebellion, but is a work with universal power.
Jane Jin Kaisen (born 1980 in Jeju Island, lives in Copenhagen) is a visual artist, filmmaker, and Professor of the School of Media Arts, The Royal Danish Academy of Fine Arts. Spanning the mediums of video installation, narrative experimental film, photographic installation, performance, and text, Kaisen’s artistic practice is informed by extensive interdisciplinary research and engagement with diverse communities. She is known for her visually striking, multilayered, performative, poetic, and multi-voiced feminist works through which past and present are brought into relation. Engaging topics such as memory, migration, borders, and translation, she activates the field where lived experience and embodied knowledge intersect with larger political histories. Through multi-year projects and collaborations, she has engaged topics such as transnational adoption, the Korean War and division, the Jeju April Third Massacre, and Cold War legacies. Another recurring focus revolves around nature and island spaces, cosmologies, feminist re-framings of myths, and engagement with ritual and spiritual practices. Working from the thresholds of mediums and forms, disciplines and sensibilities, her works negotiate and mediate the means of representation, resistance, and recognition, thus contouring alternative genealogies and sites of collective emergence. Kaisen is a recipient of the New Carlsberg Foundation Artist Grant (2023) and a 3-year work grant from the Danish Arts Foundation (2022). She represented Korea at the 58th Venice Biennale with the film installation Community of Parting (2019) alongside artists Hwayeon Nam and siren eun young jeong in the exhibition History Has Failed Us, but No Matter curated by Hyunjin Kim. She was awarded “Exhibition of the Year 2020” by AICA - International Association of Art Critics, Denmark for the exhibition Community of Parting at Kunsthal Charlottenborg. Kaisen has participated in the biennials of Liverpool, Gwangju, Anren, Jeju, among others. Recent solo exhibitions include Jane Jin Kaisen: Braiding and Mending at The Image Centre (2023), Of Specters or Returns at Le Bicolore (2023), Currents at Fotografisk Center (2023) Parallax Conjunctures at Museum of Contemporary Art Detroit (2021), Community of Parting at Art Sonje Center (2021) and Kunsthal Charlottenborg (2020). Other recent exhibitions and screenings: Dislocation Blues: Jane Jin Kaisen, Tate Modern (2023), Ceremony (Burial of an Undead World), Haus der Kulturen der Welt (2022), Checkpoint: Border view from Korea, Kunstmuseum Wolfsburg (2022), Unmoored Adrift Ashore, Or Gallery Vancouver (2022). She holds a PhD in artistic research from the University of Copenhagen, Department of Art and Cultural Studies, an MFA in Interdisciplinary Studio Art from the University of California Los Angeles, an MA in Art Theory and Media Art from The Royal Danish Academy of Fine Arts, and she participated in the Whitney Museum of American Art Independent Study Program. Other exhibition and screening venues include: Kunsthal Aarhus, Nikolaj Contemporary Art Center, The National Museum of Photography (DK), Haus der Kulturen der Welt, Berlinale, Kunstmuseum Wolfsburg, Times Art Center, Museum Ludwig, Videonale (DE), Asian Art Museum, Museum of Contemporary Art Los Angeles, Gana Art New York, DePaul Art Museum (USA), ARKO Art Center, Seoul Museum of Art, Incheon Art Platform, Seoul New Media Art Festival, Leeum Samsung Museum of Art, Asia Culture Center, Coreana Museum of Art, DMZ International Documentary Film Festival (KR), Silencio Club, Palais de Tokyo, Foundation Fiminco (FR), Malmö Konstmuseum, Malmö Konsthall, Inter Arts Center, Kalmar Art Museum (SE), Sørlandet Art Museum and Oslo Kunstforening (NO), Finnish Museum of Photography (FN), ParaSite (HK), Kyoto Arts Center, Kyoto Museum of Art, Fukouka Museum of Art, Yamagata International Documentary Film Festival, (JP), Times Museum Guangzhou, Beijing 798 Art Zone (CN), Kaohsiung Museum of Fine Art, Taiwan International Documentary Film Festival (TW), Museum of Contemporary Art and Design (PH), The National Gallery (Indonesia), and Townhouse Gallery (EG).
Screening
MEP Maison Européenne de la Photographie
5/7 rue de Fourcy - 75004 Paris
Subway: Saint-Paul, line 1 / Pont Marie, line 7
Free admission for the general public, within the limits of available seats
Accreditation and badges: free priority access, within the limits of available seats
"Freud Musical"
Peggy Ahwesh, Jacqueline Goss : Or119 - Experimental video | hdcam | color | 61:0 | USA | 2022
Peggy Ahwesh, Jacqueline Goss
OR119
Experimental video | hdcam | color | 61:0 | USA | 2022
OR119 is a theoretical musical based on the ideas of radical psychologist Wilhelm Reich who, as Freud’s favorite student, centered his study on the intersections of psychoanalysis and Marxism. Reich’s best work advocates for a re-imagining of family structure and gender roles, sexual liberation for younger people and the working poor and a deep understanding of the effect of fascisms on the body. OR119 is based on quotations by Reich set to song and also in imaginary conversations between Reich and a number of contemporary feminist thinkers. With a group of women friends in improvisation, we playfully examine the unsettled legacy of Reich and his surprisingly relevant dynamic with feminist thought. Reich proposed Orgone, a universal life energy (akin to Chi) based on sex and positive expression that Reich claims to have discovered, and here we grant him the honor of the next number on the periodic chart (OR119) for his discovery. The musical resonance and vibrations of the voices in song make manifest the invisible positive energy that Reich believed was universal. This is by no means a bio-pic! but it is a celebration of life's potential for immersion in nature, the cosmos and interactive energy.
PEGGY AHWESH has worked since the 70's in wide range of technologies and styles in an inquiry into feminism, cultural identity and genre. Featured in the Whitney Biennial (1991, 1995, 2002). Solo exhibitions include: Spike Island (2021); Kunsthall Stavanger (2022); Cleave (2019) Microscope Gallery, New York. Film retrospectives: Anthology Film Archives/NYC, Guggenheim Bilbao/Spain, New Media Fest Seoul/Korea, BFI/London and others. Ahwesh is Emeritus Professor from Bard College and al-Quds Bard College, West Bank, Palestine, where she taught media production and history. Collaborator JACQUELINE GOSS makes movies and web-based works that explore how political, cultural, and scientific systems change our sense of self through animation and live action in documentary and essay forms. Her work has shown at Eyebeam Atelier, The Wexner Center for the Arts and festivals in New York, London, Rotterdam. Goss has received awards from the Tribeca Film Institute, Creative Capital Foundation, the Rockefeller Foundation, Jerome Foundation, Herb Alpert Foundation, the United States Artist Award and the Berliner Kunstlerprogramm. Her videos are distributed by Video Data Bank in Chicago. She teaches Media at Bard College
Special screening
MEP Maison Européenne de la Photographie
5/7 rue de Fourcy - 75004 Paris
Subway: Saint-Paul, line 1 / Pont Marie, line 7
Free admission for the general public, within the limits of available seats
Accreditation and badges: free priority access, within the limits of available seats
"The Cold War Did Indeed Happen"
Veronika Eberhart : Garten Sprengen - Experimental doc. | 16mm | color | 12:0 | Austria | 2022
Veronika Eberhart
Garten sprengen
Experimental doc. | 16mm | color | 12:0 | Austria | 2022
“Are you familiar with American poetry?” The question sounds like an accusation as posed by Hanns Eisler in a heavy German accent during his interrogation in 1947 by the House Committee on Un-American Activities. Simultaneously Veronika Eberhart's GARTEN SPRENGEN shows a man (performer: Ian F Svenonius) wandering down a virtually endless hotel corridor. Yet it is the elaborate blue, yellow and cream colored pattern of the hotel's carpet floor that sticks out. Its haptic quality becomes directly translated into imagery during a different montage sequence: a hand sensitively glides along a window ledge, another likewise touches the neck of a guitar, and a third caresses the armrest of a sofa. These images attempt to grasp the ghosts of an historical place, specifically the Biltmore Hotel in downtown Los Angeles. This previous site of the Academy Awards was also where Eisler's hearing at the beginning of the McCarthy era took place... more info: https://www.sixpackfilm.com/en/catalogue/2787/
Visual artist, filmmaker and musician, born 1982 in Bad Radkersburg. Studied sociology in Vienna and Copenhagen, visual arts at the Academy of Fine Arts Vienna and at the Friedl Kubelka School for independent film, Vienna. Various exhibitions and film festivals, most recently at Mackey Garage Top, MAK Center, Los Angeles (2020), Kunsthalle Vienna (2019), Kharkiv Municipal Gallery (2019), New Jörg, Vienna (2019), Kunsthalle Exnergasse, Vienna (2018), rotor Graz (2018), Bazament Art Space, Tirana (2018), A-GALLERY, Tokyo (2017)
Katja Pratschke, Gusztáv Hámos : In Limbo - Experimental doc. | 4k | color and b&w | 31:42 | Germany | 2022
Katja Pratschke, Gusztáv Hámos
In Limbo
Experimental doc. | 4k | color and b&w | 31:42 | Germany | 2022
IN LIMBO is about a young man who flees from Hungary to West Berlin during the Cold War. Kiesling's story begins with his conscription into the people's army for military service. Ever since he realised that the state – in which he lives – claims ownership of him, his relationship with reality, with real freedom, has changed dramatically. He decides to reset his identity.
As media artists and artistic researchers, Gusztáv Hámos and Katja Pratschke have been working together on the theory and practice of intermedial arts for 20 years. Thus, their artistic practice includes video, film, photography, interactive and site-specific installations, VR work, as well as the curation of exhibitions, symposia, film series, workshops, and publications. They are founding members of the Concrete Narrative Society e.V. and members of the top_OS collective.
Charlotte Eifler, Clarissa Thieme : Archival Grid 1 - Experimental doc. | 0 | color | 13:0 | Germany, Bosnia & Herzegovina | 2022
Charlotte Eifler, Clarissa Thieme
Archival Grid 1
Experimental doc. | 0 | color | 13:0 | Germany, Bosnia & Herzegovina | 2022
With the installation ARCHIVAL GRID, Charlotte Eifler and Clarissa Thieme present a filmic analysis in three parts. The work explores the tools of evidence production, the legal impact of cartographic surveys and the social processing of collective traumata and war crimes, as well as the criticism of it by those affected. The source materials are videos from one of the most extensive publicly accessible archives on war crimes: the archive of the International Criminal Tribunal for the former Yugoslavia (ICTY). In 2001, the ICTY conducted site visits with witnesses in Sarajevo to prepare indictments related to the 1992–1996 siege of the city. The purpose of these site visits was the detailed reconstruction of war crimes, particularly the targeted shelling of civilians. Interviews with the local witnesses at the original sites were documented on video, combined with 360-degree photographs and geographical surveys. The first part of ARCHIVAL GRID combines the forensic materials gene- rated from the ICTY evidence documents with transcripts from the court proceedings and interviews conducted today with witnesses and former employees of the ICTY. These recordings of different surveying practices in the fictitious setting of a future archive architecture shape the cinematic discursive framework. This reflects close parallels of perspectives in the technologies of witnessing, evidence and testimony and juxtaposes them with the demands of the affected people for recognition of their suffering. In a second part, ARCHIVAL GRID analyses the historical backdrop of tools of inquiry and their database logic as well as their entanglements with governmentality and coloniality. Algorithms collect data from digital archives and constantly create, combine and re-organize existing and emerg- ing databases. Through historical surveying instruments, maps and globes from the Mathematisch-Physikalischer Salon in Dresden collected und used by the Electors of Saxony, Augustus (1526– 1586) and Augustus II the Strong (1670–1733), Eifler and Thieme reflect on the historic interplay between survey and data collection, its visual representations and absolutistic claims to power. A third part turns once again to the archival ICTY videos to reflect on the specific forms of image production. Juxtaposing the processes and practices of the ICTY film team and the artistic methods that were used in the production of ARCHIVAL GRID, Eifler und Thieme engage with their own positions as filming artists and their role in the interrelation with witnesses of the war.
Charlotte Eifler is an artist and filmmaker spanning performance, video, installation, XR, and sound. Her works address the politics of representation, abstraction, and computation, and are characterized by interdisciplinary forms of collaboration. Focusing on feminist approaches and elements of science fiction, she explores processes of image & history production and imaginations of alternative futures. Charlotte is co-founder and/or member of the networks Digital Critique Leipzig, G-Edit, cobratheater.cobra, FACES – gender,art,technology und feat.Fem. Since Nov 2020, she’s teaching in the department of Media Art/ Film at the Karlsruhe University of Arts and Design (HfG). Eifler’s works have been presented at ACM Siggraph Art, Los Angeles (US); Staatliche Kunsthalle Baden Baden (DE), Le printemps de Septembre, Toulouse (FR); Sapporo International Art Japan (JN); Haus der Kulturen der Welt, Berlin (DE); IMPAKT Utrecht (NL); Kurzfilmtage Oberhausen and RENCONTRES INTERNATIONAL Paris among others. Residencies and scholarships facilitated her research in Moskau (Rosa Luxemburg Foundation), New York (KdFs Foundation) and Mexico City (Institutio Nacional de Bellas Artes y Literatura). /// Clarissa Thieme works with film, performance, text, and installation, combining documentary and fictional methods to explore processes of memory and historical translation as well as their identity implications. For this purpose, Thieme often deals with subjective testimonies in the context of collective traumas and their reconstruction with technical and legal means to trace the fissures that open up between the languages of individual memory and their translation into processes of historical objectification. Her practice is research-oriented and takes a collaborative approach. In series, many of her works link together to form long-term studies that span several years. Since the early 2000s, various artistic projects have taken her to the post-Yugoslav space, where she has collaborated with various archival collections and initiatives.
Juliane Jaschnow : Rekapitulieren - Experimental doc. | mp4 | color and b&w | 14:52 | Germany, Russia | 2020
Juliane Jaschnow
Rekapitulieren
Experimental doc. | mp4 | color and b&w | 14:52 | Germany, Russia | 2020
In April 2017, hundreds of extras on a field near Moscow reconstruct the iconic key scene of Russian war commemoration - the storming of the German Reichstag and the raising of the Soviet flag atop the building. A copy of the Reichstag building erected for this purpose as part of a Russian military recreational park near Moscow is the starting point for “Rekapitulieren” (“Recapitulate”). The work investigates the modelling of collective monuments of memory, the role of image political practices and processes of staging and (re)constructing history. It asks about the ghostly switching points of the past and the ‘identitarian’ intentions with which historical images can be reanimated and used in the present.
Juliane Jaschnow is a filmmaker and artist. Working with film, video, installation, object and print she discusses contemporary and historical image politics as well as collective narratives, memory processes, and their identity-creating dimension. She studied visual arts specializing in expanded cinema and photography at the Leipzig Academy of Visual Arts. Juliane Jaschnow is a graduate of the Professional Media Master Class PMMC for artistic documentary film and the PMMC Lab at the werkleitz Center for Media Arts. Her work has been shown in international festivals and exhibitions such as transmediale Berlin, Deichtorhallen Hamburg, National Gallery Prague, DOK Leipzig, Ars Electronica Linz. She is a member of the Filmic Initiative Leipzig FILZ. www.julianejaschnow.de
Liina Siib : August Procession - Experimental doc. | 4k | color | 11:0 | Estonia | 2022
Liina Siib
August Procession
Experimental doc. | 4k | color | 11:0 | Estonia | 2022
“August Procession” is about different tempos co-existing at the same time. The light from windows registers the passing of time in the abandoned factory building, the speed of the bus determines the length of the passengers’ conversation. The minutes have been counted until sunset. And then there’s memory time. Time to recall. Perhaps to celebrate together and feel a sense of belonging. “August Procession”, filmed in Narva area, enters into a mental dialogue with events that occurred at the eastern border of Estonia and the European Union in August 2022. The central theme in local news was the plan of the removal of the tank monument to the Soviet ‘liberators’, erected 52 years ago. Local habitants were used to see the tank on the plinth nearby the road while driving to the beach. The tank was removed on 16 August by the Estonian government, due to various tensions, caused by the Russian war in Ukraine and dramatically changed geopolitical situation. Several Russian speaking people in Narva fell into mourning because the tank was an important souvenir for them. The religious procession took place a week later, from a retreat to a famous orthodox monastery in the area.
Liina Siib is a visual artist, filmmaker, educator and curator from Tallinn, Estonia. She has studied printmaking and photography at the Estonian Academy of Arts, photography and video in exchange at the University of Westminster in London. Currently she works as the Professor of Graphic Art at the Estonian Academy of Arts. Film, photography and installation as her main interests, she explores various manifestations of people’s everyday practices and social space. Her works deal with characters, spaces and situations that tend to go unnoticed due to their ordinariness or are silenced or ignored. She has made experimental documentary videos and staged short films that have been shown mostly in the gallery and exhibition context, sometimes using the format of expanded cinema. In 2011, her project “A Woman Takes Little Space” represented Estonia at the 54th Venice Art Biennale. Besides that her works have been shown at the international art biennales in Riga, Tallinn, Moscow, Rauma, Cerveira, Ljubljana and Rijeka. Recently, she has been artist at residence at the NART Narva Art Residency. Her work has been included in several public and private collections. In 2006 she received the Annual award of the Estonian Cultural Endowment. Full CV at: liinasiib.com/biography/
Screening
Centre Wallonie Bruxelles | Cinéma
Entrance via 46, rue Quincampoix - 75004 Paris
Subway: Rambuteau, line 11 / Les Halles, line 4 / Châtelet, lines 1, 4, 7, 11 et 14
Free admission for the general public, within the limits of available seats
Accreditation and badges: free priority access, within the limits of available seats
"Democratic Conspiracy"
Alterazioni Video : Notes For An Unfinished Park - Experimental film | 4k | color | 25:15 | Italy | 2022
Alterazioni Video
Notes for an Unfinished Park
Experimental film | 4k | color | 25:15 | Italy | 2022
Nuoro's unfinished sports hall, a scenic ruin lost in the countryside beyond the last urban offshoots, is the film's protagonist. The undisputed star. Planned during the late 1990s, contracted out in 2012, the project was finally shelved in 2017: what remains is a forest of concrete hubbed pylons, with its mammoth entrance gate, a barren esplanade surrounded by piles of debris and wild vegetation. Through this movie, Alterazioni Video depicts the “Incompiuto” (Unfinished) through a new interpretative key which overturns the scornful conception surrounding Italian unfinished public works. The phenomenon is explored on all its complexity; thanks to a plurality of registers, references to ancient Greek mythology, youtube flavored neorealism, spaghetti western stereotypes with with Sci-Fi twists and turns which will eventually end up flirting with a meta-documentaristic approach. Among Nuoro’s Palasport, different characters roam freely; there is the grumpy guardian who time travels, a young tiktoker lost in the brambles, 4 red necks musician tourists, and a dowsing surveyor fond of monologues and digging. They all have different desires which lead them to different actions, almost as if they were willing characters driven around the concrete stage by that humoungus deus ex machina that is none other than the forgotten ruins of the unfinished sports hall.
Alterazioni Video is a group of five artists founded in Milan in 2004 and now based in New York, Berlin, Faro and Palermo. The members of the group are Paololuca Barbieri Marchi, Alberto Caffarelli, Matteo Erenbourg, Andrea Masu and Giacomo Porfiri. Their work has been exhibited internationally in museums and art institutions such as: Künstlerhaus Bethanien, Berlin 2005, 52nd International Art Exhibition Venice Biennale 2007, Manifesta 7 Rovereto 2008, Shenzhen & Hong Kong Bi-city Biennale of Urbanism\Architecture 2009, Fondazione Sandretto Re Rebaudengo Turin 2010, Museo Maxxi, Rome 2010, Performa 09 and 11 New York, MoMA PS1 Performance Dome New York 2012, Greene Naftali Gallery, New York 2013, PAC Milan 2014, Hamburger Bahnhof Museum Berlin 2015, Quadriennale di Roma 2016, Film Retrospective at Spazio Oberdan Milan 2016, Manifesta 12 Palermo 2018, Galleria Campoli Presti Paris 2019, VAC Foundation Venice 2019 and, Triennale Milan 2020, Museo Nivola Nuoro 2021 In 2007, for the 52nd Venice Biennale, in the main exhibition curated by Robert Storr, they presented "Painting" a work documenting the continuous layering of writing and erasures on the exterior walls of the San Vittore prison in Milan. Writings, images and attempts at censorship become the linguistic elements of one work, one large "painting" that documents, as it progresses, the life of a community. They are also known for creating "Unfinished." For more than 15 years, the art collective Alterazioni Video has been investigating the phenomenon of unfinished public works in Italy, documenting and mapping more than 750 buildings scattered throughout the country, works that were never completed and therefore had no function, becoming monuments to something that never existed. These unfinished works are the ruins of the contemporary era, the perfect interpretive paradigm for understanding our country's recent history. This study led to the definition of a new architectural style: Unfinished. In 2009 the group was invited together with Icelandic artist Ragnar Kjartansson to participate in the performing art biennial Performa 09 NY to perform Symphony No. 1. In 2015 for the exhibition "Dieter Roth und die Musik," curated by Gabriele Knapstein at the Hamburger Bahnhof museum in Berlin they presented Symphony No. 2 Since 2009, the collective has produced a series of 12 docu-films called TurboFilm. TurboFilm is a filmic system or methodology, which refers to the continuous reconfiguration of experience in everyday life and social relations, work, economics, and politics. It aims to raise questions about problematic issues through a cross-format multi-format production that can circulate through different media platforms. In 2016, Cineteca Italiana dedicated a retrospective at Spazio Oberdan in Milan. They have recently collaborated with renowned fashion designer Virgil Abloh as art directors for Off-White's fashion show in Paris for the 2019 menswear collection, as well as collaborating on works inspired by the Incompiuto project presented at the Campoli Presti Gallery. They have published two volumes: Turbo Film - the uncertain future of moving images published by Lupetti Editore Incompiuto - the birth of a style published by Humboldt Books
Tamar Guimaraes : Soap: Episode Six And A Half: Talking Soap - Fiction | 0 | color | 23:55 | Brazil | 2023
Tamar Guimaraes
Soap: Episode Six and a Half: Talking Soap
Fiction | 0 | color | 23:55 | Brazil | 2023
SOAP is a film in seven episodes following the infiltration attempts of a cluster of left-wing people in right-wing social networks. The tactic chosen by the group is the creation of a YouTube channel aimed at teenagers employing the apparently conservative language of religious devotion and self help through prayer. SOAP asks questions such as can a coalition of artists, writers and activists avoid tripping over their own assumptions and privileges to form something persuasive? Is the white left dead? Or rather, have the forms of appeal and address relied upon by the intellectual Lefts ceased to be effective? Is there a way out of the internal bickering and accusations - that continue to hamper political movements? In episode 'six and a half', Camila narrates the previous episodes, reflecting on the project's aims and fractures from the perspective of a post election moment in which the Left was re-elected to the presidency in Brazil.
Tamar Guimarães (b. Belo Horizonte, BR, lives and works in Copenhagen and Berlin) is an artist working with film and installation. Her work has been included at the 33rd, 31st and the 29th São Paulo Biennial; the Belgian Pavilion at the 56th Venice Biennial; the International Exhibition at the 55th Venice Biennial; the LACMA - Los Angeles County Museum of Art (USA); Baltimore Museum of Art (USA); 11th Sharjah Biennial (UAE); the Banff Centre, Alberta (CA); the Guggenheim Museum, NY (USA); the SculptureCenter (NY/USA); the 7th Gwangju Biennial (SK); the 3rd Guanghzhou Triennial (CN); Frac/Le Plateau, Paris (FR); CAC Synagogue de Delme (FR). Her moving image work has been screened at the Les Rencontres Internationales (2014, 2021, 2022); Berlinale Forum Expanded (2019); Blackout, International Film Festival Rotterdam (2019); VIDEONALE, Bonn (2018); Anthology Film Archive, New York (2016); CPH:DOX (2013 and 2007); Images Film Festival and Experimental Media Congress, Toronto, Canada (2010); Architektur-Visionen # 1-6, Metropolis Kino, Hamburg (2015); TRAMWAY art film biennial, Glasgow (2012); Viennale Film Festival, Vienna (2011); and Oberhausen Film Festival (2009). Guimarães’ work is represented in the collections of the Tate Modern (UK); the Solomon Guggenheim Foundation, N.Y. (USA); Museo Nacional Centro de Arte Reina Sofía (ES); Kadist Foundation (SF); Frac Lorraine (FR) among others.
Georgy Bagdasarov, Alexandra Morales : Pro(s)thetic Dialogues - Experimental doc. | mp4 | color | 21:39 | Armenia, Czech Republic | 2022
Georgy Bagdasarov, Alexandra Morales
Pro(s)thetic Dialogues
Experimental doc. | mp4 | color | 21:39 | Armenia, Czech Republic | 2022
Pro(s)thetic dialogues is more like a recording of a theatre performance playing out on a computer desktop. Here the human operator creates the conditions for exploring the performativity of a philosophical zombie pieced together from neural networks. The operator/stage technician merely directs the flow of mathematical operations pretending thought and creates a space in which the philosophical discourses are dissolved
Since 2013 Alexandra Moralesova and Georgy Bagdasarov form a filming and experimenting duo Labodoble. We run an artistic and curatorial platform under the same name. We mainly focus on photo-chemical experimental film processes but we are interested in other kinds of media practices. We like to question media and to reshape the relation of machine-operator into machine-performer. We merge technical skills with media theory and philosophy. We do films, performances, installations and workshops.
Retrospective
Centre Wallonie Bruxelles | Cinéma
Entrance via 46, rue Quincampoix - 75004 Paris
Subway: Rambuteau, line 11 / Les Halles, line 4 / Châtelet, lines 1, 4, 7, 11 et 14
Free admission for the general public, within the limits of available seats
Accreditation and badges: free priority access, within the limits of available seats
Yvonne Rainer retrospective (4/7)
Yvonne Rainer : Journeys From Berlin/1971 - Experimental fiction | 16mm | color | 125:0 | USA | 1979
Yvonne Rainer
Journeys from Berlin/1971
Experimental fiction | 16mm | color | 125:0 | USA | 1979
“Without a doubt the most ambitious, most risk-taking work of Rainer’s cinematic career.”—B. Ruby Rich. Rainer’s fourth feature, inspired by her experiences living in West Berlin in 1976 and ’77, when the activities of right-wing terrorists were at their height, offers an audacious, collage-like meditation on state power, repression, violence, and revolution. Vaulting between aerial images of British landscapes, intertitles, fragments of Rainer’s teenage diary, and one unseen couple’s debate (voiced by Amy Taubin and Vito Acconci) over the demise of the RAF, the film is illuminated by a lead performance from the late art and film critic Annette Michelson as a patient undergoing psychoanalysis, whose every gesture was choreographed elaborately by Rainer over a nine-month period. (Synopsis courtesy of The Metrograph)
When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City.
Screening
Centre Wallonie Bruxelles | Cinéma
Entrance via 46, rue Quincampoix - 75004 Paris
Subway: Rambuteau, line 11 / Les Halles, line 4 / Châtelet, lines 1, 4, 7, 11 et 14
Free admission for the general public, within the limits of available seats
Accreditation and badges: free priority access, within the limits of available seats
"Eldorado"
Caroline Déodat : Sous Le Ciel Des Fétiches - Experimental doc. | 0 | color | 16:53 | France, Mauritius | 2023
Caroline Déodat
Sous le ciel des fétiches
Experimental doc. | 0 | color | 16:53 | France, Mauritius | 2023
Sous le ciel des fétiches répond à la difficulté de montrer l’ubiquité des archives coloniales dans l’histoire du séga mauricien. Née pendant la colonisation et l’esclavage au sein de communautés de fugitif.ves, cette pratique de danse et de poésie chantée survit aujourd’hui principalement sur les scènes touristiques des hôtels. Travaillant la relation d’emprise avec le passé colonial, le film réinvestit les spectres d’un regard qui hante. Comment projeter – littéralement faire sortir de soi – le récit de nos agresseurs ?
Caroline Déodat est artiste et chercheure. Docteure en anthropologie de l'EHESS, elle a été formée à l'École des Beaux-Arts de Lyon dans le cadre du post-diplôme Art. Par le biais de films et d'installations, elle explore les dimensions spectrales de l'image en mouvement dans une circulation entre fiction et ethnographie. De ses obsessions pour les processus d'archivage et d'aliénation, l'histoire et les mythes de la violence, elle exhume des récits par la convocation de mémoires hantologiques, d'archives en différé et d'images orales. Son travail a été montré au Musée Reina Sofía à Madrid, dans les Résonances de la Biennale d'art contemporain de Lyon, à la Fondation Sandretto Re Rebaudengo à Turin, et prochainement au Salon de Montrouge, au Ji.hlava International Documentary Film Festival à Prague, au Magasin à Grenoble et à l'IFAN à Dakar.
Elise Florenty, Marcel Türkowsky : Zapotitland - Experimental doc. | 0 | color | 47:0 | France, Mexico | 2023
Elise Florenty, Marcel Türkowsky
Zapotitland
Experimental doc. | 0 | color | 47:0 | France, Mexico | 2023
Between phantasmagorical fiction and historical investigation, the film unveils how a daytime reverie of a young Mexican from the city turns into a nocturnal venture inside the world’s biggest cactus forest. It is here, through his imaginary disguise as a German “cactus hunter”, that one gets to know the many stories of desire, greed and death that haunt this extraordinary and strange "vegetal eldorado".
Retrospective
Centre Wallonie Bruxelles | Cinéma
Entrance via 46, rue Quincampoix - 75004 Paris
Subway: Rambuteau, line 11 / Les Halles, line 4 / Châtelet, lines 1, 4, 7, 11 et 14
Free admission for the general public, within the limits of available seats
Accreditation and badges: free priority access, within the limits of available seats
Yvonne Rainer retrospective (5/7)
Yvonne Rainer : The Man Who Envied Women - Experimental fiction | 16mm | color | 125:0 | USA | 1985
Yvonne Rainer
The Man who Envied Women
Experimental fiction | 16mm | color | 125:0 | USA | 1985
The Man Who Envied Women sees Rainer, in her own words, “throw down the gauntlet to psychoanalytic feminist film theory,” interrogating and responding to contemporary debates over notions such as the male gaze with a drolly provocative hybrid essay film. Rainer’s account of the break-up of a marriage between a womanizing blowhard Manhattan professor (played alternately by William Raymond and Larry Loonin) and his artist wife, who exists only as voice-over (choreographer Trisha Brown), soon galaxy brains outwards to address concerns as divergent as the housing crisis facing New York artists and political struggles in Latin America. (Synopsis courtesy of The Metrograph)
When Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, "The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York. Rainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking. In 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996). Rainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. A half-hour video tape entitled YVONNE RAINER: STORY OF A FILMMAKER WHO... was aired on Film and Video Review, WNET-TV in 1980. THE MAN WHO ENVIED WOMEN was aired on Independent Focus, WNET-TV in, 1989, and PRIVILEGE on the same program in 1992 and during the summer of 1994. In the Spring of 1997—to coincide with the release of MURDER and murder—complete retrospectives of the films of Yvonne Rainer were mounted at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York City. In 2006 MIT Press published Yvonne Rainer's memoir Feelings Are Facts: A Life.