Catalogue 2024
Parcourez ci-dessous le catalogue 2024 des Rencontres Internationales, ou effectuez une recherche dans les archives des oeuvres présentées depuis 2004. De nouveaux extraits vidéos sont régulièrement mis en ligne, les images et les textes sont également progressivement mis à jour.
Emilia Beatriz
barrunto
Doc. expérimental | 16mm | noir et blanc | 70:0 | Puerto Rico | 2024
“barrunto” is a word used in Puerto Rico to refer to a bodily unrest, an omen or a forecast sensed via signals present in the environment (such as when rain is forecast through aches and pains or when ants emerge anticipating an earthquake). “barrunto” is a way of thinking with surface and subconscious, underfoot and underground. From its deep vibration tracks to the nonlinear narrative, barrunto is a film that attempts to activate sensations and modes of being with the world and in connection beyond western frameworks of knowledge, a sensorial translation meant to be 'felt' more than 'understood'. An intimate exploration of grief and resistance in shifting landscapes of loss, from the streets to the bed; in sites of displacement, nuclear contamination, and military occupation from Scotland to Puerto Rico; from the bottom of the ocean all the way to the planet Uranus. Informed by poetry and theories of quantum entanglement across diasporic distance, BARRUNTO is a speculative narrative using digital, archival, and 16mm film hand-processed in “grief tea.” . Made in collaboration with Shanti LaLita, Claude Nouk, Alicia Matthews, Harry Josephine Giles, Nicole Cecilia Delgado, Sharif Elsabagh, Andrés Nieves, Ángela Ginorio, Bea Webster, Ciaran Stewart y muchxs más.
Emilia Beatriz is an artist and access worker from Puerto Rico’s diaspora, based in Glasgow. Emilia’s practice is concerned with the stories that absence and rupture tell, as experienced through entangled histories of bodies and land. Emilia engages translation across senses; moving at the pace of island time, sick time, moss time. Informed by Aurora Levins Morales’ ‘historian as healer’ methodology, Emilia’s films weave historical and speculative narratives —grounded in oral history and community archiving— centering dreaming, action, and griefwork attuned to climate and place. BARRUNTO is Emilia’s first single-screen film for cinema contexts. Emilia is co-founder of Collective Text, a disabled-led group who collaborate on creative captioning, audio description and interpretation. BARRUNTO is their first feature and first film for cinema contexts
Caitlin Berrigan
Imaginary Explosions, episode 3, Artifice
Doc. expérimental | 16mm | couleur | 22:27 | USA, Allemagne | 2023
'Artifice' stars the only artificial volcano to survive its own eruption: a model replica of Vesuvius from the grounds of a pleasure palace built by an 18th-century German prince. Gardens as models of worldbuilding and empires are the subject of this queer cli-fi that mixes facts with speculation. A media archaeology of how we model earth and atmosphere runs through its images, samples, and sounds—culminating in a dazzling yet foreboding explosion of forms. The film is shot on location in Germany at the Schloss Sanssouci Potsdam, Schloss Solitude Stuttgart, and the Wörlitzer Park Dessau. 'Artifice' is the third episode in the Imaginary Explosions cosmology, which translates aesthetic forms of communication across sensory modalities while being in relation to inhuman alterities and non-normative bodies. How can we understand and interpret the inhuman world? How can we practice other ways of being in a body? Focusing on communication with geologic subjects through technologies and mutual alliances, the cosmology explores how human and mineral subjectivities are entangled, emphasizing moments when the earthly asserts its agency in the political sphere.
Caitlin Berrigan works as a visual artist and writer to explore poetics and queer science fiction as world-making practices through sculptural instruments, moving images, and new technologies. Her extensive speculative cosmology, Imaginary Explosions, blends research science with art and fiction alongside emerging media instruments and new technologies. The episodic series centers geological animacies as transfeminist scientists cooperate with the desires of the mineral earth to simultaneously erupt all volcanoes. The work has been the subject of a book (Broken Dimanche Press, 2018) solo shows at JOAN Los Angeles (2023) and Art in General (2019) reviewed in Artforum, and a world premiere in the Berlinale Forum Expanded Exhibition (2020). Berrigan has presented her work at the Whitney Museum, Henry Art Gallery, Harvard Carpenter Center, Union Docs, Ashkal Alwan, and the European Media Arts Festival among other international venues. Her experimental writings are published by e-flux, Georgia, MARCH, Duke University Press and Broken Dimanche Press. She has received fellowships and residencies from Creative Capital, the Humboldt Foundation, Skowhegan, Graham Foundation, and Akademie Schloss Solitude. She earned a Master’s from MIT’s program for Art, Culture and Technology and a B.A. from Hampshire College.
Palash Bhattacharjee, Palash Bhattacharjee
A Bridge and Beyond the Bridge
Vidéo expérimentale | mp4 | couleur | 3:8 | Bangladesh | 0
Built during British colonial rule in 1930, the Kalurghat Bridge serves as a vital connection between the north and south of the greater Chittagong district of Bangladesh, bisected by the Karnaphuli River. Historically, this bridge facilitated communication between regions in south Chittagong, bridging the gap from British India. From the circle of my family ancestors, many left the southern part of Chittagong from the British period, particularly the partition period, to the Pakistan period and settled in different parts of this subcontinent. Then, during the liberation war of Bangladesh in 1971, some people in Bangladesh-India border areas took shelter for some time and worked in various ways for the freedom of the country. From the post-independence period to the present, many people from this southern region migrated to other countries outside the subcontinent for different purposes and reasons, including re-settlement in Chittagong City and Dhaka. These familial and local stories are not linear. Through different layered images on the bridge, the video features a female narrator, embodying the collective familial past. The narrative within the video is a fictionalised merge drawn from different stories and correspondences, further exploring familial history and connection.
Palash Bhattachajee has undergone a shift in his artistic journey, transitioning from academically focused printmaking toward multi-media, experimental art-practice via a close encounter with performance art activism. He takes critical interest in closely reading filmic genres and their performative idioms. The photo/videographic style and the eclectic selection of objects in his works are influenced by the cerebral matrix of contrapuntal, non-narrative aspect of deconstructed storytelling adopted from global cinema. Based and born in Chittagong, Bangladesh, he received his Master’s and Bachelor's degrees from the Department of Fine Arts, Chittagong University. He was awarded the Asia Pacific Fellowship Residency from MMCA Residency Goyang in 2011 and received a grant from Seoksu Art Project of Stone & Water, South Korea, in 2010. His works have been widely exhibited in Bangladesh, including at Chobi Mela 2021, Dhaka Art Summit 2012-2020, Asian Art Biennale 2012-2022, Dhaka, and internationally, including ‘Legacies of Crossings’, Shahnaz Gallery, London, UK 2024; NOmade Biennial, Art Center Gallery Elblag, Poland, 2023; Warehouse421, Abu Dhabi, UAE, 2022; Colomboscope, Colombo, Sri Lanka, 2022; ‘The Oceans and the Interpreters’ and ‘The Deep City’, Hong-Gah Museum, Taiwan, 2020; ‘Seven Exhibitions’ at Exhibit 320, New Delhi, India, 2018; and many more.
Matthew Biederman
A Quickie in the Bouncy House
Vidéo expérimentale | mov | couleur | 4:26 | USA, Canada | 2023
The video is an AI assisted meditation on self-help through extreme sonic manipulation, in a semi-erotic plastic dreamscape of watered down and for profit thanatotherapy, where new age imagery devolves into Cronenberg-esque mutations, in complete contrast with the chaotic and unpredictable sonic experiments which may or may not be useful in your personal quest to embetter your True Self™. The music is highly processed, with just a few audible artifacts left of the original code, drum kit and modular based sources, creating sounds that hopefully escape attempts at AI classification.
Matthew Biederman, b. 1972, Chicago Heights, IL, USA. Matthew Biederman works across media and milieus, architectures and systems, communities and continents since 1990. He creates works where light, space and sound reflect on the intricacies of perception. Since 2008 he is a co-founder of Arctic Perspective Initiative, with Marko Peljhan working throughout the circumpolar region. He has served as artist-in-residence at a variety of institutions and institutes, including the Center for Experimental Television on numerous occasions, CMU’s CREATE lab, the Wave Farm, th Finnish Bioarts Society and many more. His work has been featured at: Lyon Bienniale, Istanbul Design Bienniale, The Tokyo Museum of Photography, ELEKTRA, MUTEK, Ars Electronica, Bienniale of Digital Art (CA), Artissima (IT), SCAPE Bienniale (NZ) and the Moscow Biennale (RU), among others. Pierce Warnecke is a multidisciplinary digital artist. His work, on the border between experimental music, digital arts and video art, is influenced by the observation of the effects of time on matter: modification, deterioration and disappearance. He frequently collaborates with prominent figures such as Frank Bretschneider, Matthew Biederman, Yair Elazar Glotman and Keith Fullerton Whitman among others. He has presented his work in the form of performances, concerts and installations at MUTEK, ZKM, CTM, Elektra, KW Institut, La Biennale NEMO, Sonic Acts, Martin Gropius Bau, MAC Montreal, Scopitone, LEV Festival, SXSW, FILE, etc. Between 2017 and 2019 he composed several audiovisual pieces for the Institute for Sound and Music’s Hexadome project in Berlin, San Francisco, Montreal and more. His music has been published on raster-media (DE) and Room40 (AU), and he is represented by DISK Agency in Berlin.
Anamary Bilbao
Prelude
Film expérimental | 16mm | couleur | 7:57 | Portugal, USA | 2024
“Bilbao’s work revolves around the figure of the lanternfly to articulate a political discourse on ontology that goes beyond fixed meanings of self and other, of human and non-human. Instead, the lanternfly acts as both a literal and metaphorical representation of how the current capitalist, global market produces, circulates, and then alienates othered beings. (…) In all its layers, Prelude challenges the distinction between human agency, anthropomorphism, and other––animal and human-created––intelligence. (…) In his canonical work Camera Lucida, Roland Barthes reminds us how cinema, unlike photography, which fastens down figures “like [preserved] butterflies,” enables beings to continue living (56–57). The cinematographic present is alive, carrying its referent without being tied to it. In their motionless movement, Bilbao’s lanternfly flutters, confronting the humanity of the anthropomorphic yet inert clown-like puppet. (…) Working with [archival images and also with the AI app DALL·E], Bilbao projects the images and films the projection with a 16mm Bolex. (…) even if digitalisation appears to dematerialise the production of images, Bilbao’s analogue camera reminds us how the digital is bound to the analogue world: kilometres of data centres and storage farms make possible the apparent immateriality of the digital visual realm.” (By Alejandra Rosenberg Navarro)
AnaMary Bilbao is a Portuguese-Spanish visual artist born in Lisbon (Portugal). In an endless play between analog and digital, Bilbao’s work challenges time’s dichotomy between beginning and end, and goes deeper into the notion of truth and the dialectics of doubt and certainty. Her work has been recently exhibited at Galeria Avenida da Índia - EGEAC (Lisbon), Photo Basel (Basel), ISCP (New York), Paris Photo / Curiosa (Paris), MAAT – The Museum of Art, Architecture and Technology (Lisbon), Opening Arco Madrid (Madrid), Leal Rios Foundation (Lisbon), PLMJ Foundation (Lisbon), among others. Bilbao's works have been screened in venues such as Anthology Film Archives (org. Mono No Aware, New York), MoMA - Museum of Modern Art (org. Mono No Aware, New York), Novo Negócio - ZDB (Lisbon), Batalha Centro de Cinema (org. Contemporânea, Porto), or MAAT (16.ª ed. Fuso, Lisbon). AnaMary Bilbao has been the recipient and/or shortlisted to various distinguished Portuguese awards such as: EDP Foundation / MAAT Acquisition Award (16.ª ed. Fuso, 2024); Calouste Gulbenkian Foundation Grant for studying visual arts abroad (2023/2024); Luso-American Development Foundation Artist Residency in the U.S.A. Grant (2022); FLAD Drawing Award (2021); EDP Foundation’s New Artists Award (2019); FCT PhD Fellowship (2015-19).
Ingrid Bjørnaali, Simmons, Maria and Lanzmaier, Fabian
Land Bodies, Decomposing Mass
Installation vidéo | 4k | couleur | 22:16 | Norvège | 2023
Land Bodies, Decomposing Mass is an audiovisual collaboration between Ingrid Bjørnaali, Maria Simmons and Fabian Lanzmaier, focusing on preserved peatlands and their interpretation through various recording and 3D computing technologies. Through the use of photogrammetry, a technology that relates to satellite mapping and archiving of anthropocentric spaces and monuments, the biotope is interpreted bit by bit in an intimate, close-up interaction. The work explores specific peatlands in Finland, Norway and Canada from various perspectives, focusing on the idea of natural landscapes as sources as opposed to resources, and their capability or not to be translated to binary code.
Ingrid Bjørnaali is a multidisciplinary artist based in Oslo who records specific biotopes in various states of their ongoing world-building processes. Her works explore the omnipresence of the digital in our experience of the world as well as the inability of technology to articulate matter’s complexity. Recent exhibitions include Screen City Biennial, Berlin, Fabbrica Del Vapore, Milan, Charles Street Video, Toronto and Contemporary Art Museum of Estonia (EKKM). Fabian Lanzmaier is a musician and sound artist living in Vienna. In his practice he explores perception and ideas of natural / artificial sounds, fluid and ambiguous environments. He works with real-time audio synthesis utilizing digital/analog physical modeling techniques and feedback networks to explore aspects of texture and structure of sound as well as its presence within space. Recent projects include: Artist in Residency at Wave Farm – NY, composition commission through INA - grm - Paris, AV - Performance at Fridman Gallery - NYC and Artist in Residency at EMS – Stockholm. Maria Simmons is a Canadian symbiontic artist who investigates potentialized environments through the creation of hybrid sculptures and installations. Her work embraces contamination as an act of collaboration. She collects garbage, grows yeast, ferments plants, and nurtures fruit flies. She makes art that eats itself. Recent solo exhibitions include the Visual Art Centre of Clarington, Trinity Square Video, and Centre3.
Marie-pierre Bonniol, Christophe DIDIER
Mes villes
Vidéo expérimentale | mov | couleur | 3:3 | France | 2024
“Les villes n’existent pas. Il existe ma ville, ta ville, nos villes… Mes villes – lettres, mots, lignes et couleurs – restituent par touches éparses la somme des impressions fugitives qui finissent par dire la vérité d’un lieu.” Christophe Didier
Christophe Didier dessine et peint. Marie-Pierre Bonniol fait des films. Ensemble, ils réalisent Mes villes autour d'un corpus d'œuvres et d'impressions de villes allemandes. Ils vivent à Strasbourg et à Berlin.
Dan Boord, Luis Valdovino
Un Mundo en la Noche
Vidéo expérimentale | mov | couleur et n&b | 9:0 | USA | 2023
A World in the Evening offers visual and literal poetry—poetry that cannot be reconciled with the brutality of history, with the death of a poet and the sleep of reason. Inescapable nightmares of the past are reflected in the present. Cities at night, the rebuilding of a fire-devastated fourteenth-century cathedral, a lonely eighteenth-century New Mexico mission, and the poetry and theatre of Federico García Lorca are among the inhabitants of A World in the Evening.
Dan Boord and Luis Valdovino have been collaborating since 1990. Their video work is in the permanent collection of MoMA, New York; the Art Museum at the University of California, Berkeley; and ZKM, Center for Art and Media, Karlsruhe, Germany. Their work has been exhibited at MoMA, New York; the Walker Art Center, Minneapolis; La Biennale di Venezia; Les Rencontres Internationales, Paris; Stedelijk Museum, Amsterdam; Centro Nacional de Las Artes, Mexico City; the Institute of Contemporary Art, London; Museo Nacional Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; Museo Nacional de Bellas Artes, Santiago, Chile; the Center for Contemporary Art, Tel Aviv; Berlin Video Festival, Berlin; Edinburgh Film Festival, Edinburgh; International Contemporary Art Festival SESC Videobrasil, Sao Paulo; Oberhausen Film Festival, Oberhausen, Germany; the Toronto International Film Festival, Toronto; and presented at the 50th Robert Flaherty Film Seminar, Vassar College, Poughkeepsie, NY. Dan Boord’s work has been presented at the International Public Television Conference in Stockholm. Luis Valdovino’s work has been broadcast on Independent Focus on WNET, New York. Dan Boord is Emeritus Professor of Critical Media Practices at the University of Colorado, Boulder, CO. Luis Valdovino is Professor of Art at the University of Colorado, Boulder, CO.
Robert Bramkamp, Susanne Weirich
Die Ausstattung der Welt
Doc. expérimental | digital | couleur | 99:0 | Allemagne | 2023
Ulu Braun
(Trailer)
Vidéo | mp4 | couleur | 2:0 | Allemagne | 2024
An ecstatic biopic about the world's most successful living painter. In vivid images, this AI hybrid film sheds light on the social role of painting in the field of tension between creativity, capital investment and spirituality. We are currently in the middle of the transition phase from analog to artificial reproducibility. Gerhard's unique painting techniques, especially squeegeeing, have triggered a worldwide hype. His techniques and ideas are being adapted, refined and improved by global “protagonists” and then flooded the markets (+social media). The myth of the “genius” writes itself into the DNA of an increasingly uncontrollable chain of creation as a fabulous and controversial homage.
Ulu Braun (1976) lives in Berlin and Finland. Between 1996 - 2005 he studied painting and film in Vienna, Helsinki, and Berlin. He has been using the medium of video to explore the field between the visual arts and auteur cinema since 1997 and he is one of the key figures who have transferred painting into video art. His works are regularly shown at film festivals and exhibited in art institutions.
Broersen & Lukács
I Wan'na Be Like You
Fiction | mov | | 12:40 | Pays-Bas | 2024
Walt Disney’s film The Jungle Book(1967) and the 1894 book by Rudyard Kipling on which it is based are emblematic of Western imperialism, not only othering nature and animals, but also bearing colonial traces. This film by Lukács & Broersen, I Wan’na Be Like You, is named after the song of the same name from Disney's film. A ghostly figure appears and seduces the viewer with a dance and a song reminiscent of the song from The Jungle Book. The scene is set in a dilapidated glasshouse, a composite of several Western botanical gardens, a place where ‘exotic’ nature is tamed and studied for the scientific needs of mankind. A place where plant and tree species from colonised countries are othered and externalised. After its song and dance, the ghostly creature disappears to make way for the avatars of the Dutch Afro-Surinamese music group Black Harmony. They walk towards the greenhouse and confidently sing “Na mi”, “I am”, in their native language—a song that is their version of the Disney song.
Margit Lukács and Persijn Broersen are an artist duo based in Amsterdam, the Netherlands. They are graduates of Graphic Design from the Rietveld Academy Amsterdam, followed by a MFA at Sandberg Institute Amsterdam. Furthermore they were artists in residence at the Rijksakademie in Amsterdam (NL). Broersen and Lukacs explore in their work the connections between the histories of the relationship between culture and nature, rooted in their interest in media, music and technology. They interweave this with the politics of representing and appropriating nature, drawn from mythological, (art) historical, scientific and cinematic sources. Their work consists of films, installations and performances, in which the mythologies/origins of actual and fictional natural phenomenons are unraveled and retold from multiple perspectives. Their work has been exhibited in renowned institutions and organisations worldwide, a.o. Stedelijk Museum Amsterdam (NL), MacKenzie Art Gallery (CA), arc en rêve (FR), Stedelijk Museum Breda (NL), Centraal Museum Utrecht (NL), FOAM (NL), MUHKA (BE), Centre Pompidou (FR), Breda Photo (NL), Cultural Capital City of Europe Esch (LU), HEK, Basel (CH), Kröller Müller (NL), WROBiennale, Wroclaw(PL), the Biennale of Sydney (AU), Rencontres Arles (FR), Wuzhen Biennial (CN). They represent the Netherlands at the Gwangju Biennale (KR) 2024
Ase Brunborg Lie, Nanna Elvin Hansen
Bevæge Bjerge
Vidéo expérimentale | mov | couleur | 29:58 | Norvège | 2023
In the mountains and valleys of Sokndal, Norway, the BlackRock(US)- owned mining company Titania AS extracts the mineral ilmenite to create titanium white pigment. Sokndal is the most mined area in Norway, starting from the 1800's. Most of the region's inhabitants work in the mining industry. Titania A/S's quarry, based on open pit mining, is the world's largest ilmenite deposit, accounting for ten percent of the world's production. The black rock ilmenite-noritt is turned into titanium white pigment through different processes and branded as a product with "maximum whiteness". It is in everything from paint, paper, toothpaste, food, medicine and more. Hansen and Lie interacted with the landscape over several months and talked with many locals closely linked to the industry and the geography. Included in the film are a local activist who has taken action against Titania's waste dumping in the ocean, Titania's retired former geo-engineer, and a local mountain guide who knows the landscape and history like the back of his hand. 'Moving Mountains' follows traces of past and present mining in the landscape. While following the interventions in the landscape, the film asks how humans could act as supporting characters where the landscape is the protagonist.
The practice of artist and filmmaker Nanna Elvin Hansen (b. 1989, DK) moves in the murk between art and activism. Building audio and film projects via local, collaborative processes, her works unveil structural violence that impacts on human rights and displacement. Hansen graduated the School of Media Arts at the Royal Danish Academy of Fine Arts (2021). In 2015, she co-founded the collective project The Bridge Radio. Through their artistic work, Ase Brunborg Lie (b. 1983, NO) challenge societal and built structures, point out blind spots in the present and past and investigate how to create in the social, political and ecological present for a possible future. Site specificity, cross-pollination and critical reading of established histories are premised on queer/feminist and post/decolonial thinking, and often include collaboration with researchers, local initiatives, other artists/musicians/architects and others.
Thomas Brück
Begehung
Documentaire | digital | couleur | 29:40 | Allemagne | 2023
On the outskirts of the small town of Gommern, a heath garden has been inviting visitors for a walk since 1996. This was once the site of Ernst Reindel's rendering plant, who executed numerous people as an executioner during the Nazi era. The insistent camera view shows images in the here and now, while a stoic narrative voice recites original documents from Ernst Reindel's biography. What do we remember? How do we commemorate? What remains? The term "Begehung" is ambiguous in German. The title can be understood as "Begehung eines Ortes" (site visit) as well as a term from jurisprudence: "Begehung eines Verbrechens" (committing a crime). Since a corresponding translation in English seemed insufficient, we decided to keep the German title as the international title.
Thomas Brück was born in Zapopan (Mexico) in 1988. He studied time-based arts at the Burg Giebichenstein University of Art and Design in Halle and media art and cinematography at the Havana University of the Arts in Cuba in 2017. After graduating, he completed the Professional Media Master Class for artistic documentary shortfilm at the Werkleitz Gesellschaft in 2022 and was recipient of the Graduate Scholarship of the State of Saxony-Anhalt. In his artistic and cinematic work, he deals with concepts and constructions of reality and identity as well as the relationship between objectivity and aesthetic illusion. He is currently developing his first feature-length documentary film about historical and contemporary narratives of the appocalypse as a speculative vision of the upcoming end of the world. Thomas Brück lives and works in Halle and Leipzig.
Erik Bullot
FRAGMENTS POUR UN FILM IMAGINAIRE
Film expérimental | 16mm | couleur et n&b | 19:20 | France | 2023
Ce film-installation, projeté en boucle sur deux écrans, présente une variation sur la vision paroptique (la possibilité de voir avec la peau, sans le concours des yeux), la télépathie, la théorie des couleurs et le thérémine. Les différentes séquences introduisent l’hypothèse d’un cinéma imaginaire. Le film est présenté comme une série de rushes suggérant un film inachevé, en puissance.
Érik Bullot est cinéaste et théoricien. Auteur de nombreux films à mi-chemin du documentaire et du cinéma expérimental, il a publié récemment L’Attrait des ventriloques (Yellow Now, 2022) et Apunts de cinema (Filmoteca de Catalunya, 2023). Il présente en 2025 une exposition personnelle Voyages en kaléidoscope au Centre d’art Les Tanneries, accompagnée d’une publication Cinéma vivant chez Macula. Il enseigne le cinéma à l’École nationale supérieure d’art de Bourges.
Torsten Zenas Burns, Darrin Martin
Generalized Hospitals: The Luke Luke and Laura Laura story …Just one more thing!
Vidéo expérimentale | 4k | couleur | 59:0 | USA, Finlande | 2024
Generalized Hospitals: The Luke Luke & Laura Laura story …Just one more thing! VILM, Stereo, Color, 57:30, DCP, 2024 Generalized Hospitals: The Luke Luke and Laura Laura story …Just one more thing! is the latest collaboration by Darrin Martin and Torsten Zenas Burns reframing elements of nostalgic popular culture into contemporary dialogue with soap operatic tropes, fictional televisual humor, and interspecies relationships. Characters from daytime drama, 1970's children programming, gameshows, and sequential art history are reimagined and re-contextualized to consider new potential mutations and cohabitations to thrive in a changing environment. Transformation is unboxed, and memory solicited through easter eggs, lidar animations, appropriations, and original videos interweaving recognizable characters from television commingled with their new doubled variants. Just one more thing…. Our forecasted performative rituals may suggest ways that these characters merge human and non-human characteristics of past trauma into new bodies of possibility.
Burns & Martin both received BFA’s at Alfred University. Burns received his MFA in video and performance from the San Francisco Art Institute in 1993. Martin received an MFA in media and sculpture from The University of California, San Diego in 2000. Together, they have based their videos and installations on their research into diverse speculative fictions including re-imagined educational practices, appropriated horror genres, animation choreographies, soap-opera cosplay, and cryptid human love stories. Selected videos are distributed by VTape, Ontario, Canada and Video Data Bank, Chicago. They have participated in residencies at Eyebeam, Signal Culture, and The Experimental Television Center. Their single channel videos have screened at venues including The Museum of Art & Design, Pacific Film Archive, Aurora Picture Show, Migrating Forms, Video_Dumbo, Chicago Underground Film Festival, Madrid Museum of Contemporary Art, Stuttgarter Filmwinter Festival for Expanded Media, Oberhausen Short Film and Video Festival, European Media Arts Festival, Spectacle Theater, 18th Athens Digital Arts Festival, and the Florida Experimental Film/Video Festival. Their installations have exhibited at venues including Eyebeam, The Lab, Krowswork Gallery, Fosdick Nelson Gallery at Alfred University, Hobart and William-Smith Davis Gallery, Zhangzhou Museum of Art in China, and The Tack Room Project Space in LaVerne, CA.
Josefina Buschmann
Las Nubes Caídas
Doc. expérimental | 16mm | couleur | 18:30 | Chili | 2023
An AI chatbot wonders about their digital memory as they travel through their infrastructures. Under the Pacific Ocean, they talk to an Internet fiber-optic cable. In the city of Santiago, they observe a protest by an ecofeminist group against a new Google data center. In the middle of the desert, the chatbot hears the tragic love story that led to the creation of the Atacama Salt Flat and discovers that cell phone batteries contain the tears of a volcano. Through this speculative, research-based narrative, the short film explores the socio-environmental resonances of digital infrastructures in Chile.
Josefina Buschmann is a researcher, filmmaker and media artist exploring technologies and ecologies. She is a member of the collective MAFI -Filmic Map of a Country-, with whom she collaborated as a filmmaker in OASIS (2024, Berlinale Forum), co-directed GOD (2019, Visions du Réel), and was the general editor of MAFI.tv (2012, IDFA Doc Lab). As a media artist, she created the installation THE FALLEN CLOUDS (2022, Ars Electronica) and the expanded documentary OPERATIONAL ATMOSPHERES (2019, Forecast Forum). Josefina holds a Master's degree in Comparative Media Studies from MIT, where she worked at the MIT Open Documentary Lab, and prior degrees in Sociology and Filmmaking. She has taught courses in media studies and visual and digital anthropology, and was the coordinator of the Visual Anthropology Lab at Universidad Católica de Chile.
Erik Bünger
The Mime and the Ape
Installation vidéo | digital | couleur | 32:58 | Suède, Allemagne | 2023
With the help of two scenes from two different Hollywood films, a narrator weaves a winding tale about the inability of language to articulate its own origin.?
Erik Bünger is an artist, writer and composer whose work represents an ongoing investigation of the human voice and its paradoxical relationship to the human body.
Sam Calafiore
Same Old, Same Old
Fiction | 16mm | couleur | 11:32 | Australie | 2024
A team of night workers arrive at the factory for another night of labour, and wait for their shift to begin.
Sam Calafiore is an Italian-Australian filmmaker based in Naarm (Melbourne). He is interested in telling stories about working-class people. Same Old, Same Old is his debut short film. He is currently in development on his next short film, to be shot late-2024, and is currently writing his debut feature film, which concerns the casualization of the workforce.
Cihad Caner
(Re)membering the riots in Afrikaanderwijk in 1972 or guest, host, ghos-ti
Documentaire | 4k | couleur | 45:16 | Turquie, Pays-Bas | 2024
The film revolves around a forgotten event: the 1972 riots directed against guest workers in Afrikaanderwijk, a neighbourhood of Rotterdam. It poses questions such as how we remember, the role of subjectivity in shaping our collective memory, and the transformative potential of re-enactment as a means of reawakening the past. Central to this film is a meticulous focus on memory, as it seeks to unravel the subjective nature of individual recollections, recognising that memory is not a fixed entity but rather a fluid and subjective phenomenon. The aim of the film is to highlight contrasting shades and nuances that exist among various individual remembrances of the Afrikaanderwijk riots, allowing for a diverse range of perspectives to be acknowledged and woven together. Reenactments feature as pivotal elements within the project, which not only allows for the recreation and revisitation of the past, but the process of reenactment itself operates as a potent tool for reclaiming forgotten narratives.
Cihad Caner (b. 1990, Istanbul) is an artist based in Rotterdam. His practice explores the politics of the image through the mediums of video, photography, music, motion-capture, and CGI. Caner’s research-driven practice revolves around (re)presentation, language, marginalisation and alterity. His fictional CGI characters are often multi-lingual protagonists in non-linear, metaphorical narratives that employ humour, absurdity, and poetry to critique the status quo. Recently he has exhibited at Akademie der Künste, Berlin; Kunstinstituut Melly, Rotterdam; Kasseler Kunstverein, Kassel; Nest, Den Haag; Shahin Zarinbal, Berlin; Blitz Malta, Valletta; EYE Film Museum, Amsterdam; Július Koller Society, Bratislava; Kunsthal Mechelen, Mechelen; Nieuwe Instituut, Rotterdam, and ?stanbul Modern, ?stanbul, among others. Caner was a resident artist at the Rijksakademie van Beeldende Kunsten (2021-2023).
Hsin-yu Chen
BIPM
Film expérimental | super8 | couleur et n&b | 2:34 | Taiwan, France | 2023
On one roll of Super 8 film, 15m (50ft) = 2.5 minutes, at 24 frames per second. I walked 15 meters over 2.5 minutes of an entire roll of Super 8 film outside the Bureau International des Poids et Mesures (BIPM), where the international system of units, including standardized time and length, was developed and defined. The forced synchronicity premised on the structural materiality of film interrogates the notion of measurement, standardization, adaptation, and embodied experience.
?Hsin-Yu Chen is a filmmaker and artist currently based in Taipei, Taiwan. He works with experimental film, documentary, and moving image to explore the liminal space between seeing and being seen where subjectivity is implicated and constructed. Drawing on border landscapes, embodied knowledge, and the notion of measurement and categorization, he examines the intersection of the viewing body and the political subject. His work has been shown at MoCA Taipei; Taiwan International Video Art Exhibition, Hong-gah Museum; Rencontres Internationales Paris/Berlin; Festival des Cinémas Différents et Expérimentaux de Paris; Proyector – Festival de Videoarte; Image Forum; Kassel Dokfest; 25 FPS; Arkipel - Jakarta International Documentary and Experimental Film Festival; and in the Herzog de Silva Collection. He has participated in FIDCampus, Oberhausen Seminar, and residencies including RAIR Philadelphia and Cité Internationale des Arts.
Salah Chikh
Circumambulation
Vidéo expérimentale | mp4 | couleur | 12:4 | France, Algérie | 2024
“Tawaf (a?-?awâf, ?????), la circumambulation, désigne les sept tours que les musulman.e.s effectuent autour de la Kaaba, lors du pèlerinage (hajj) à La Mecque“ wikipedia 2024 Dans cet œuvre vidéo j'explore les parallèles entre certaines pratiques spirituelles musulmanes (Hajj) et celto-bretonnes (les menhirs) en imageant des formes de dialogues non verbaux qui peut y avoir entre certaines communautés dans leurs "terre d'origines" dans les pays du Sud avec leurs diasporas en Occident et une forme de rattachement à certains éléments sensoriels en contexte migratoire qui peuvent invoquer une sensation de familiarité et de "déjà vu". Asetta (Le métier à tisser en Tamazight) y est comme une allégorie à l'accumulation des couches d'expériences dans les corps diasporiques et migrants. Cette vidéo a été tournée en collaboration avec ma mère, en partie au M'Zab (Sahara, Algérie) et sur l'île d'Ouessant (Bretagne, France).
Salah Chikh est un artiste né et grandie à Ghardaïa (Algérie) et actuellement basée à Marseille. En ce moment entrain de préparer son DNSEP (Diplôme national supérieur d'expression plastique) en Écriture expérimentale à l'Ecole Supérieure des Beaux-Arts de Nîmes, et auparavant diplômée en master en Biodiversité et Evolution de la faculté des sciences à Montpellier et, avant, de l'université d'Oran (Algérie). Son parcours académique et personnel imprègne sa pratique artistique en explorant les questions liées aux déplacements et la place des corps dans les différents espaces géopolitiques et géographiques, il s'attarde particulièrement sur les espaces physiques "périphériques" de l'occident. Ses créations empreintes différents médiums qui vont de la vidéo et l'écriture en passant par la performance.