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.
Lin Htet Aung
Eclipse
Vidéo | digital | couleur | 35:0 | Myanmar | 2023
The soldier's mind was a turbulent sea of anxiety and resolve as he arrived at the abandoned battle camp, where the hasty departure of others left him grappling with solitude and the weight of his duty.
Lin Htet Aung is a 98 born self-learned filmmaker and time based media artist based in Myanmar. In his earlier days, he wrote avant-garde poems and published underground poetry books. He started making short films in 2017.His short films have been selected and awarded at several international film festivals including International Film Festival Rotterdam (IFFR), Internationale Kurzfilmtage Oberhausen, Kurzfilm Festival Hamburg, Ruang Rantau Exhibition (United States) and so on. He is a directing fellow of the 2023 CHANEL X BIFF Asian Film Academy, a Prince Claus Seed Awardee 2023, and a participant of Locarno Filmmakers Academy 2024.He is now developing his debut feature project “Making A Sea” which got the Asian Cinema Fund ACF for Script Development from Busan International Film Festival (BIFF) 2024 and won the Fellowship Prize at the Southeast Asian Film Lab at SGIFF 2023.
Xueyi Huang
No.27 Tong Poo Road
Film expérimental | digital | couleur | 5:0 | Chine | 2023
Né dans une vieille maison de Xiachun, à Zhuhai, dans la province du Guangdong, cet endroit détient des souvenirs collectifs pour ma famille et pour moi. Il y a vingt ans, le développement urbain a conduit à sa démolition, pour faire place à de nouveaux quartiers résidentiels. Nous avons ensuite passé seize ans dans divers logements locatifs, avant de retrouver nos pas dans notre quartier d'origine en 2016. Mes souvenirs de la vieille maison sont vagues, car j'avais seulement trois ans, mais chaque membre de la famille conserve des mémoires et des histoires distinctes à son sujet. C'était là où mes parents ont passé leur carrière et où ma grande sœur a vécu son enfance et sa jeunesse. Ce travail est un projet d'images générées par IA. Utilisant l'apprentissage profond, les modèles de texte à image et d'image à image, il tente de reconstruire les mémoires de notre vieille maison telles que gardées dans la mémoire de ma famille. Ce projet ne se limite pas à l'application de la technologie; il explore le rôle de l'IA dans la documentation et l'enrichissement de l'histoire familiale, particulièrement pour les familles aux riches backgrounds culturels. Cette méthode sert à enregistrer et à préserver des expériences diverses, facilitant les échanges et la compréhension culturels. Grâce à l'IA, j'explore en profondeur notre histoire familiale, comprenant l'importance de la vieille maison et son rôle dans la formation de notre mémoire collective.
Xueyi Huang, artiste sous le nom de Snow, est une artiste des médias numériques originaire de Zhuhai, en Chine. Elle détient un baccalauréat en Design de performance numérique du China Academy of Art et une maîtrise en Arts numériques de Goldsmiths, Université de Londres. Sa carrière couvre les effets visuels, les moteurs de jeu et l'interaction numérique. Les créations de Snow sont profondément influencées par ses expériences éducatives et de vie tant en Chine qu'au Royaume-Uni. Utilisant des technologies telles que l'art génératif, l'apprentissage machine, la réalité augmentée et la capture du mouvement, Snow se consacre à produire des œuvres narratives qui entrelacent les mémoires personnelles et culturelles, présentant un art numérique émotionnellement résonnant.
Véronique Hubert
TENTATIVES #2 (NOUTRES suites, le leporello)
Vidéo expérimentale | 4k | couleur | 10:2 | France, 0 | 0
Poème graphique vidéo. Adaptation des dessins sur papier -Leporello de 20 pages . Depuis CHAOS HUMAINE (NOUTRES/Il faut prévenir les petites filles) 2020, je transpose les dessins en vidéo poèmes. C’est une autre façon de lire cette histoire de déplacements de la fée Utopia en cours d’écriture graphique. Il s’agit ici de l’épisode 2 de son échappée : Utopia a quitté secrètement son endroit de vie. Errance, pensées et rêverie, c’est aller vers "t·soi"..
Plasticienne, vj-dj, enseignante, organisatrice d’évènements artistiques et de collectifs,(B&b unlimited, le noyau, les Inapproprié.e.s, Femn’Furious) Dans l'équipe du Festival Jerk Off depuis 2019. Le métissage et les féminismes se matérialisent au fur et à mesure de ses choix techniques diverses mixés : Audio-visuelles, performances, Mix live, écritures graphismes et dans leurs connexions incessantes. Les sources peuvent être iconiques ou littéraires, sociologiques ou poétiques, passées ou actuelles, Historiques ou banalement crues Elle met en scène des personnages fictifs depuis1996, comme la fée UTOPIA que l’on retrouve dans des performances, des situations burlesques, dans les dessins, les photographies, les éditions, les installations ou les vidéos. Le rôle principal de sa démarche reste l’absurdité de notre comédie humaine autocentrée et anthropocentrée.
Abraham Hurtado
Die for a moment
Film expérimental | mp4 | | 62:10 | Espagne | 2024
"Die for a Moment" plunges the protagonist into an intense reflection on his previous way of life. Before arriving on the island, he was trapped in a monotonous and superficial routine, consumed by the demands of a society that valued material success over authenticity and human connection. However, as he enters the isolated, stark beauty of the wintry island, he is confronted with the nakedness of his own existence and the false pretensions that once guided him. "Die for a Moment" is a film born from the chance encounter between Abraham Hurtado and Manos Kotsaris in Berlin. Driven by a joint artistic quest, they decide to venture to a winter island, with only each other's company and the determination to create a film with no other resources than their determination and challenges of doing this film.
Abraham Hurtado is an artist with practices based on constant experimentation and very diverse expressions. His work is traversed by a line of research "body in crisis." Digging in human behavior as a response to a society's condition for its means of production and the commodification of all ways of thinking and being, has become a need. Hurtado understands the body as the container of the emotions, both personal and social; Generating patterns of “antisocial behavior”, states that Abraham explores as a paths to find other ways to operate, to adapt and survive the contemporary society His practices focus on discomfort as is constantly mirroring us, addressing, through the individual experience, problems which are political and symptomatic. If the personal is political, the political invades the core of every individual. www.abrahamhurtado.com Founder and Artistic Director of AADK Spain, in Murcia Region since 2012, based in Centro Negra, (Blanca), Space for research and experimentation. The platform offers space to work to more than 500 artists from different backgrounds and disciplines from all over the world. www.aadk.es . Hurtado has curated several exhibitions and festivals between 2010 and 2022 in cities such Berlin, Lisbon, Murcia, Barcelona, Tel Aviv, Seville, Gent, Stockholm… among others.
Ana Husman
Radije bih bila kamen
Doc. expérimental | 16mm | couleur et n&b | 23:29 | Croatie | 2024
Through the voice of Little Jela, the film tells the story of the events that marked a generation and shaped the future of the landscape of Lika, a neglected and sparsely populated region of Croatia. The living conditions impacted on the personal lives of the people who lived there, their solitude, relationships, opportunities, apprehensions and hopes. Little Jela embodies several members of my own family which is predominantly composed of women – mothers, grandmothers, sisters and aunts.
Ana Husman’s practice disassembles the structures and textures of cinematic elements through film, installation, books, sound, image and text. Husman experiments with the possibilities of animation, documentary and fictional cinematic methods, and the possibilities of recorded voice and its articulation. Her working process questions and plays with the positions of the amateur and the professional subject of performativity, the medium itself, and the structures that dictate and produce patterns of behaviour. She teaches at the Department of Animation and New Media at the Academy of Fine Arts in Zagreb, and is a co-founder of the documentary film organisation RESTART where she has been holding film education programs for children and young people for many years. Since 2003, she is a member of Pangolin, an artist-run organisation working in film, visual arts and research practices, where she produces films, books and other works. Her works have been shown at film festivals and exhibitions worldwide.
Nataliya Ilchuk
The Seventh Shift (installation 3 écrans)
0 | 16mm | | 0:0 | Ukraine | 2023
‘The Seventh Shift’ is a film and a 3-screen installation about a woman who manages to maintain her integrity by avoiding the paradigms imposed by the social conditions of existence, focusing instead on the world beyond material dimension with its many limitations. Continual ritual gestures that do not involve obtaining a profit and an irrational faith in an unattainable have become the main basis of the film in which the prosaic mundanity is not expressed explicitly but through the visual poetry of a town in decay.
Artiste et cinéaste ukrainienne, Nataliya Ilchuk s'intéresse aux variations de la perception de la réalité dues aux effets des médias de masse, à la représentation à l'écran de l'identité façonnée entre différentes époques, et examine les défis que représente le fait de refléter l'expérience vécue au-delà des conventions artistiques contestables.
Myriam Jacob-allard
Les immortelles
Vidéo expérimentale | dcp | couleur | 26:40 | Canada | 2024
Construit à partir de doublages de films de vampires et d’archives familiales, Les immortelles est un collage vidéo en quatre chapitres qui place les filiations mères-filles au cœur d’une fable sur l’immortalité. Entre rapprochements et éloignements, les corps flottants et recombinés tentent de coexister entre la vie et la mort. Tournée avec membres de ma famille (la mère, la fille, la soeur, la petite-fille), ce film explore les traces de mémoires que nous portons en nous et qui, comme des fantômes, prolongent la vie hors de soi.
Myriam Jacob-Allard est une artiste interdisciplinaire qui travaille principalement la vidéo, la performance, le bricolage et l’installation. Sa pratique s’intéresse à la culture populaire et à partir de témoignages, et en puisant dans les chansons et les mythes locaux, elle développe une réflexion sur la transmission matrilinéaire, la mémoire et l’oubli. Son travail a été présenté dans de nombreuses expositions individuelles et collectives ainsi que dans des festivals au Canada et à l’international : IFF Rotterdam, Festival des Cinémas Différents et Expérimentaux de Paris (Prix du jury), Dok Leipzig, Uppsala SFF, IFF Message to Man (Centaur Prize for Best Experimental Film), Tallinn Photomonth, et lors d’expositions récentes: Musée national des beaux-arts du Québec, Glassbox Nord à Paris, Dazibao à Montréal, Musée des beaux-arts de Montréal, Mains d’œuvres à Paris, Musée d’art contemporain de Montréal. Elle détient une maitrise en arts visuels et médiatiques de l’UQAM. Récipiendaire de plusieurs prix et bourses, elle reçoit la Bourse Claudine et Stephen Bronfman en art contemporain (2015), la bourse du Studio du Québec à Paris (2022) et la bourse du Studio du Québec à Berlin (2025).
Joel Jimenez
La Panadella
Doc. expérimental | 4k | couleur | 16:49 | Costa Rica, Espagne | 2023
La Panadella, an emblematic Catalonian road town in stasis, awaits the arrival of uncertain visitors. As its inhabitants move through their monotonous routines, a mysterious signal begins to pulse through space.
Joel Jimenez (b. 1993, Costa Rica) is an artist and filmmaker based in Madrid, Spain. His interdisciplinary practice combines photography, film and installation, integrating historical research and environmental psychology to explore the complex dynamics between humans and their surroundings. His work focuses on spaces with layered identities and stagnant conditions, challenging linear historical narratives and dissecting the imprints of trauma and power embedded in these landscapes. His work has been exhibited internationally, including PhotoEspaña (Madrid, 2021), PhotoVogue (Milan, 2024), Paris Photo (Paris, 2024), Les Boutographies (Montpellier, 2022), among others. He has been featured in publications like British Journal of Photography, Der Greif, GUP Magazine and Revista Balam. He is the recipient of the Paris Photo Carte Blanche Étudiants Award (2024). His films have been screened in festivals such as Aegean Film Festival (GR), INTHEPALACE Film Festival (BG), D’A Film Festival (ES), Signs of the Night (TH), and ARKIPEL Jakarta International Documentary and Experimental Film Festival (ID), among others.
Clara Jo
Nests of Basalt, Nests of Wood
Vidéo | hdv | couleur | 24:59 | USA, Allemagne | 2023
The single-channel documentary fiction film “Nests of Basalt, Nests of Wood” presents a speculative narrative of maritime and epidemiological movement across oceanic space and time. The film is grounded by documentary footage shot in Albion and Flat Island, Mauritius, combined with a fictional layer of computer-generated animation. “Nests of Basalt, Nests of Wood” is narrated through the perspective of the Paille-en-queue bird, who has inherited oral histories from their ancestors of all they have witnessed from an aerial perspective. Spanning different elevations and time registers, stories from an an unmarked cemetery on a former cotton plantation and sugar estate in Albion, as well as 19th-century quarantine station Flat Island question erased histories from the legacy of British and French colonialism and movements of indentured labor across the Afrasian Sea (Indian Ocean). By locating these deep erasures through fiction, the film offers alternate readings of the terrain through their material imprints and geological scars in order to tell these difficult stories of disappearance and bondage as quiet acts of commemoration.
Clara Jo (Berlin) is a graduate of Bard College (NY) and the Universität der Künste Berlin. Her work has been exhibited and screened at Gropius Bau (Berlin), Centre Pompidou (Paris), Jeu de Paume (Paris), De La Warr Pavilion (Bexhill On Sea), Framer Framed (Amsterdam), ARKO Art Center (Seoul), Spike Island (Bristol), Hamburger Bahnhof (Berlin), and Edith-Russ-Haus für Medienkunst (Oldenburg). She has previously held fellowships and residencies at Art Explora (Paris), Akademie Schloss Solitude (Stuttgart), and the Smithsonian Artist Research Fellowship (USA).
Joyce Joumaa
To remain in the no longer
Doc. expérimental | 16mm | couleur | 37:0 | Canada | 2023
In 1962, Oscar Niemeyer was invited to conceive an international fairground in the city of Tripoli, Lebanon, which was never completed. To Remain in the No Longer looks at how architecture operates in this failed state. By examining the precarity of the project site that remains to this day, the film reflects on the country’s current socio-economic crisis. Employing archival materials, interviews, and 16mm and digital film, the experimental documentary explores the political and cultural forces that have come to bear on the site—from its halted construction to its imposed abandonment and attempted reappropriations. How has architecture been instrumentalized in the ongoing construction of a national narrative? What is the role of architects in shaping society within corrupt ecologies of power and failed financial engineering? Film becomes a plastic medium to reframe the positivism of urban masterplans and architectural monuments and formulate a social critique. Modern structures under threat of collapse stand in as protagonists to tell the story of a promised metropolis that never came to be, while the fairground acts as a lens to look at implicit collapse beyond the perimeter of the site.
Based between Beirut and Amsterdam, artist and filmmaker Joyce Joumaa earned a BFA in Film Studies from Concordia University in Canada. In 2021-2022, Joumaa had her first institutional solo show at the CCA The Canadian Centre for Architecture. Her work has shown at the Montreal Museum of Fine Arts, Fofa Gallery, the Sharjah Architecture Triennial and in the 2024 60th Venice Biennale.
Jovanovic Jovanovic
AURORA'S DREAM
Documentaire | mov | couleur | 61:5 | Serbia | 0
Through multiple screens, men and women recount their most vivid dreams. The series of portraits becomes an exploration of the collective unconscious in a time of crisis.
Dragana Jovanovi? obtained a postgraduate degree at the Academy of Media Arts Cologne in Germany. Her studies focused on Film Directing and Writing. She also holds a bachelor's degree in Production from the Faculty of Dramatic Arts at the University of Arts Belgrade in Serbia. Her graduation short fictional film ON THE OTHER SIDE OF THE PILLOW A ROSE WAS BLOSSOMING (2018) was nominated by the German Film Academy for the First Steps Award and it was screened in numerous international film festivals such as Festival Premiers Plans d’Angers, ISFF Oberhausen, DRAMA ISFF, among others. Jovanovic’s films explore the collective unconscious by interpreting archetypes of folk and fairy tales and ancient mythology, and placing these narratives in contemporary contexts. Her focus centers on capturing her characters' inner worlds, revealing the interplay between their subconscious realms and their present-day realities. Her latest work, AURORA'S DREAM (2023), earned the Best Cinematography award for her own contribution. It premiered internationally at FID Marseille and continues to make its mark on the festival circuit.
Maren Dagny Juell
Human Resource the Muisical
Animation | mp4 | couleur | 6:22 | Norvège | 2023
The scripts are based on resources like instructional videos and management training tools, sales pitches and tutorials on stress management. Collaging and adapting elements from these and other sources, the work gives birth to a ‘subject’ who speaks with a double tongue, veering between the human and the digitally generated, and delivering a message that is simultaneously authoritative and incoherent, reassuring and vacuous.
Maren Dagny Juell is an artist working with moving image, installation and VR/AR. Maren was born in Oslo, Norway where she currently has a studio. She received her MA from Chelsea College of Art (London) in 2004. The last solo shows have been at Trondheim Center for Electronic Arts (2023), Tenthaus (2021), Atelier Nord Oslo (2019), Trafo Kunsthall (2018), Podium Oslo (2017) and Trøndelag Senter for Samtidskunst (2018). Work has been included in group shows at Bergen Center for Electronic Arts (2021), Astrup Fearnley Museum of Modern Art (2008) and Stavanger Kunstmuseum (2015) amongst others. Moving image works have been screened internationally like The Australian video Biennial in Melbourne( 2017 and 2019). She has participated in and made new works for various biennials including; Riga Photography Biennial (2020), Meta.Morf Trondheim international biennale for art and Technology (2022) and Art Encounters Biennial, Timisoara Romania (2023). In 2024 she won the Nordic Award category at Lumen Prize for “Human Resource the Musical”.
Felix Kalmenson
Gamodi
Fiction | digital | couleur | 97:31 | Canada, Georgie | 2023
In Tbilisi, Georgia, an apartment tower sits in a liminal state, its construction halted at a critical juncture by the global pandemic. In its shadowy alcoves, Viktor, a legendary drag queen, and Tarzan, a teenage drifter, have embraced their collective purgatorial languor, subsisting on brief instances of intimacy. While intermittent television reports apprise them of developments from the outside world, it’s increasingly unclear whether they’re still inhabiting this plane of existence.
Felix Kalmenson (b. Saint Petersburg, Russia, 1987) is a non-binary artist, filmmaker, and producer. Their debut solo-feature 'Gamodi' was awarded 'Honorable Mention for Best Canadian Film' at Vancouver International Film Festival in 2023. Their films have screened in numerous international film festivals including at São Paulo International Film Festival, Vancouver International Film Festival, Festival du Nouveau Cinéma Montreal, Tampere Film Festival, Arkipel, Doclisboa, Sharjah Film Platform, Kasseler Dokfest, Berwick Film & Media Arts Fest and Media City Film Festival, winning awards including the Prix George at Internationale Kurzfilmtage Winterthur, 2020.
Diane Kaneza
UBUNTU
Documentaire | hdv | couleur | 34:0 | Burundi | 2023
Au cœur du Burundi, rivalités et extrémisme ethnique entrainent des milliers de pertes de vies humaines depuis l’indépendance. Dans cette folie meurtrière que nous avons traversée, il y a eu des protecteurs de la vie. Au péril de la leur, ils ont caché, protégées des amis et des voisins de l’autre ethnie.
Depuis 15 ans, Diane KANEZA, combine le cinéma, la communication audiovisuelle et le journalisme. Passionnée de l’image, elle l’utilise pour raconter des histoires de Chez elle. Diplômée du Master 2 Cinéma Documentaire de Création, elle en sort avec le Film « Mon Identité ». Une œuvre mémoire qui condense toute son expertise en matière d’acuité du regard documentaire, de capacités de création à partir du réel... Elle cofonde et dirige l’agence de communication MIKADIE Production, qui fait la réalisation et la production des films institutionnels/auteurs et des outils de communication, depuis 2012. Chargée de la programmation du Festival International du Cinéma et de l’Audiovisuel du Burundi de 2013 à 2015, directrice du festival en 2016. Elle allie la production des œuvres audiovisuelles et cinématographique, depuis 2020, à la direction de la chaine de télévision « Burundi News Publication Télévision » (BNP TV). Transmettre, partager ont toujours été son leitmov de par les magazines : « Événement Culturel de la Semaine », « Bonne réponse » et « Notre Terre, Notre Héritage » ; qu’elle développait déjà au sein de la télévision Nationale de 2006 à fin 2011, en tant que Réalisatrice et Animatrice TV. Professeur visiteur au sein de deux universités de Bujumbura (Université Lumière de Bujumbura et Université du Lac Tanganyika), elle enseigne la « Production Documentaire », dans la faculté des sciences de la communication, option communication et conception audiovisuelle.
Gregor Kasper, Elom 20ce, Musquiqui Chihying
The Currency - Sensing 1 Agbobloshie
Film expérimental | 4k | couleur | 16:12 | Allemagne | 2023
A landscape of electronic equipment leftovers, embedded in biting clouds of smoke, burnt earth and dirty water. In Agbogbloshie - one of the world's largest e-waste recycling sites in the middle of Accra - they were dismantled and burnt in order to return their metals to the industrial recycling cycles. In between, an observer who, by means of acoustic field research, investigates this place as a contact zone of complex global economic, social, power-political and technological processes and questions this from a spiritual perspective.
Elom 20ce is a musican and filmmaker based in Togo, West Africa. He uses art as a vessel to excavate the past, questioning the present and archiving the future. The link between the intimate, the spiritual and the political is at the heart of his work. He called himself a ”knocker of the invisible”. Musquiqui Chihying is a filmmaker based in Taipei and Berlin. Specialising in the use of multimedia such as film and sound, he investigates the human condition and environmental system in the age of global capitalisation and engages in the inquiry of and research on issues of subjectivity in contemporary social culture in the Global South. Gregor Kasper is an artist and filmmaker based in Berlin. Using a variety of media such as film / video, sound and installation, often in collaborative and participatory constellations, his artistic practice focuses on the construction and mediation of history and remembrance, social contemporary analyses in the context of global capitalism, and emancipative futures, pursuing the interrelations between personal approaches and social counter/hegemonic narratives and power relations.
Shoichiro Kawashima
You Must Believe in Spring
Fiction | mov | couleur | 51:0 | Japon, 0 | 2024
Hiver, un samedi apre?s-midi. Alors que Tania avance difficilement dans la pre?paration de son exposition de fin d’e?tudes, elle rec?oit la visite de Michael, son amant marie?; Kylian, son petit ami qu’elle veut quitter; Nathalie, la veuve de son fre?re; et Yann, le nouveau compagnon de Nathalie. Leur visite est l’occasion pour Tania de refaire face aux moments de sa vie qu'elle avait laisse?s en suspens.
Né en 1993 à Miyazaki, Japon, vit et travaille à Tokyo. Diplômé de l’École Nationale Supérieure des Beaux-Arts, sous l’enseignement de Clément Cogitore et Angelica Mesiti, Shoichiro Kawashima travaille depuis 2023 en tant que producteur et réalisateur au Japon.
David Kelley
Non Human
Vidéo | 4k | couleur | 10:34 | USA | 2022
NON HUMAN is a film made from poems written in collaboration with an Artificial Intelligence (recurrent neural network) and five artists — York Chang, Marcus Civin, Tia-Simone Gardner, Viet Le, and Yvonne Rainer. Inspired by poet Muriel Rukeyser’s technique for writing The Book of the Dead (1937), a poem in which she directly quotes workers’ voices from congressional testimony about the Hawk’s Nest mining catastrophe that killed nearly 2000 miners, 80% of whom were Black workers. NON HUMAN was filmed in rural Vermont in disused marble, quarries, hospitals, and local artists’ studios and it presents leisure time and creative space as conditions to excavate the unwritten histories of labor, racism, and environmental destruction in local American communities. The generative AI used to write the script was trained with Rukeyser’s Collected Poems, the congressional testimony of workers that she quoted, and contemporary critical race and eco-feminist theories of Kathryn Yussof, Tavia Nyong’o, Saidiya Hartman, and Hortense Spillers. In Hartman’s essay The Dead Book Revisited she asks “how do we attend to black death? How do we find life where only the traces of destruction remain?” NON HUMAN’s critical AI writing machine, fed by historic documentary materials, poetry that witnesses to extractive capitalism and anti-black racism, speculates on Hartman’s question. Live performers in NON HUMAN include: sound engineer Ben Arindell, singer/song-writer Patrick Sargent, physician Jeffrey Yucht, critic Marcus Civin, sculptor Fred X Brownstein, and sound technician Jack Schlandt.
David Kelley is an artist working in photography, video, and installation. His recent projects explore the impacts of global capitalism, resource extraction, and evolving landscapes, combining elements of experimental documentary, ethnography, and avant-garde cinema to offer a perspective that is both grounded and speculative. His work has been shown nationally and internationally at venues such as the Museum of Modern Art in New York, Rencontres Internationales Paris/Berlin, Fotofest Biennial in Houston, Commonwealth and Council in Los Angeles, The Bank in Shanghai, and the Jim Thompson Art Center in Bangkok. Kelley holds an MFA from the University of California, Irvine, and was a resident of the Whitney Museum Independent Study Program. He is based in Los Angeles, where he is an Associate Professor of Fine Arts at the University of Southern California.
Minne Kersten
The Same Room
Film expérimental | digital | couleur | 6:43 | Pays-Bas | 2023
The Same Room investigates the dual nature of water, both as a destructive and life-giving force. In collaboration with the Deltares Institute, Minne Kersten recorded a self-made filmset of a bedroom in an industrial wave-tank, where it was deliberately flooded with water over three successive days. By inverting the use of the institute’s controlled environment originally intended to prevent flooding, she questions the human desire to control the course of nature. Furthermore, Kersten is interested in the state of paralysis and tranquility that can occur upon a catastrophe, opening up a space for thinking about the end as a transitional state rather than something final. By combining the personal space of a bedroom with the horrors of a flood, the work creates a powerful and emotional image that wavers between clarity and chaos.
Minne Kersten (b. 1993, Utrecht, NL) lives and works between Amsterdam and Paris. She works on installation, video and paintings in which ephemeral occurrences and the construction of reality is explored. Through her architectural environments, she speculates on how buildings can be receptive to stories and traumas by staging situations subjected to chaos, decay and deconstruction. She explores the traces of events left behind and questions them as witnesses to private stories retained by the walls that surround human life. Working across diverse media, she interweaves personal themes such as mourning, loss and memory with the collective domain of fiction, fables and symbols. Her work has been presented in numerous institutions including the CAPC Bordeaux 2024, Glasgow International 2024, Bonnefanten Museum 2023, 16th Lyon Biennale 2022, Stedelijk Museum Schiedam 2022, the Living Art Museum 2022, De Ateliers 2022, Hotel Maria Kapel 2021, among others. In 2022, she won the Volkskrant Visual Arts Audience Award and was nominated for the Royal Award of Modern Painting. She has been selected for residencies at De Ateliers 2018-2020, Triangle Astérides 2023 and Cité Internationale Des Arts 2024. She is represented by Annet Gelink Gallery in Amsterdam.
Freja Sofie Kirk
The End
Vidéo | digital | couleur | 8:56 | Danemark | 2024
‘The End’ introduces Todd, an actor who has specialized in playing ill and dying patients in the context of medical practice situations for 30 years. Through documenting the scenography of a simulated hospital, a heart surgery on a plastic torso and Todd in an hotel room repeatedly falling to the floor - playing dead - ‘The End’ reflects on the way we use narratives to navigate reality. Layers of Todd’s voice and fragments from his scripts contribute to the blurring of lines between the fictitious and the actual, while elements of repetition in both speech and image remold ideas of linearity. In this way, ‘The End’ investigates the images, rituals and words associated with the certainty of death. It asks what space and shape it is granted — in the daily as well as on the screen - and how our emotional lives are continually shaped by the images we consume, leading us to turn to the language of fiction in the moments of our lives when we cannot find the words ourselves.
Freja Sofie Kirk (b. 1990) is a visual artist based in Copenhagen. Recent exhibitions includes Simian (DK), Kunsthal Charlottenborg (DK), Inter.pblc (DK), 5533 (TR), Copenhagen Contemporary (DK), Bianca D’Alessandro (DK), Kunstforeningen Gl. Strand (DK), Kunstverein Wiesen (DE). Her films have been screened at CPH:DOX, Rencontres Internationales Paris/Berlin, Oberhausen International Short Film Festival, Uppsala International Short Film Festival among others.
Nicolas Klotz, Elisabeth Perceval
Nouveau monde !
Doc. expérimental | digital | couleur | 100:51 | France | 2023
Pendant l’été 1928, Jean Epstein s’éloigne de Paris, découvre l’Archipel d’Ouessant et y installe son chantier de cinéma où il réalisera, avec les habitants des îles un premier film, « Finis Terrae ». Après « La Chute de la Maison Usher » il disait avoir le sentiment qu’il était impossible avec de l’irréel, de donner davantage l’impression du réel. Mais où commençait le réel ? Où commençait le cinéma ? Cent ans plus tard, où en étions-nous ?
Nicolas Klotz et Elisabeth Perceval ont réalisé 15 long-métrages - fictions et documentaires - toute une série de moyens métrages, de formats courts, de films expérimentaux, de vidéos, et des installations filmiques. A travers leurs films, ils développent un cinéma qui interroge autant la forme cinématographique que les bouleversements du monde contemporain. Entre 2000 et 2012, La Trilogie des Temps Modernes composée de Paria, La Blessure et La question humaine, suivie par Low Life, ont été présentés dans de nombreux festivals internationaux : La Quinzaine des Réalisateurs, le Festival de Locarno, le Festival de Toronto, La Viennale, le BAFICI Buenos Aires, le Festival du Nouveau Cinéma de Montréal, Le Festival de San Sebastian, Le Festival de New-York, de Chicago, de Londres, de Jeonju (Corée du sud), de Gijon, au FICUNAM (Mexique)... L’Héroïque Lande, la frontière brûle a été présenté en première mondiale au FID Marseille en juillet 2017 où il a reçu une mention spéciale. Suivi par Fugitif, où cours-tu ? pour la Lucarne d’ARTE en 2018. Entre 2015 et 2021, ils tournent et montent Nous disons révolution, présenté en première mondiale au FID Marseille l’été 2021.Un long-métrage transcontinental, librement inspiré des Feuilles Rouges de William Faulkner, filmé à Brazzaville, à Barcelone et à Sao Paulo. Présenté en première mondiale au FID Marseille l’été 2021. Du 3 décembre 2021 au 3 janvier 2022, le Centre Pompidou a consacré une retrospective à l’ensemble de leur travail - Nicolas Klotz et Elisabeth Perceval : Le cinéma en commun. Réunissant pour la première fois une cinquantaine de leurs œuvres : long-métrages, essais vidéo, documentaires, moyen et court-métrages, 3 installations, une exposition photographique. En hiver 2022, ils terminent Chant pour la ville enfouie, tourné dans les traces effacées de la Jungle de Calais. Le film est présenté en compétition au Festival de Locarno en été 2022. Ils présentent également au FID Marseille, So Long Michael, avec Michael Lonsdale, film tourné chez lui quelques mois avant sa disparition. A l’invitation du cinéaste philippin Lav Diaz, ils ont tourné Cosmoscide 2023, un film expérimental (22mn) de science-fiction, hanté par la menace d’une explosion nucléaire, tourné à Fécamp, où ils habitent. Ils travaillent actuellement sur les deux scénarios d’un diptyque se passant sur le même territoire, la lande qui abritait autrefois la Jungle de Calais. L’un de nos jours, le second en 2040 : Nos royaumes indociles et Quand le vert de la terre brillera de nouveau. Des rétrospectives leur sont consacrées à l’étranger, notamment à Buenos Aires, Lisbonne, San Sebastian, Rio de Janeiro, Sao Paulo, Montréal, Florence. La Viennale organise un programme d’une douzaine de leurs films pour l’édition 2023.
Jeanna Kolesova
Memory is an Animal Which Barks with Various Mouths
Installation vidéo | mp4 | noir et blanc | 15:35 | Russie, Allemagne | 2023
The film explores the interplay between the real and the imagined, the collective and the personal, and raises the question: how has collective memory of the Second World War been manipulated? Public commemoration, the aggressive patriotic indoctrination of children, and the cult of victory have shaped a war-centered identity and national narrative in Russia. In contrast, individual memories of those who lived through the Second World War often reflect its violence and tragedy. Could this discrepancy between individual and collective memory offer a way to challenge and break free from the nationalist narrative of the past?
Jeanna Kolesova (b. 1988, Moorland Village, Russia) is an artist, filmmaker, and researcher. Working across moving image, performance, web, installation, and text, their work explores the manipulation of history, information, and the impact of imperial technologies on bodies and landscapes. Kolesova studied documentary film and photography in St. Petersburg, interactive media at CalArts, and experimental film at the Berlin University of Arts. Their works have been exhibited in Prague, Berlin, Dresden, Baden-Baden, LA, Tokyo, and St.Petersburg. Kolesova has received the KUNSTFONDS (2024) and Karl Hofer (2023) scholarships and participated in the Berlin Goldrausch artist program (2024).