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.
Pablo Marin
Materia vibrante
Film expérimental | 16mm | noir et blanc | 6:45 | Argentine | 2024
In search of traces and imprints of an absence, this film examines the coexistence between nature and man-made structures or artifacts, to deliver a formal object of commemoration. An obscure celebration of the surface of a fractured and exhausted world, what could have been a city symphony evokes instead the feeling of a mausoleum for our present existence.
Pablo Marín is a filmmaker and writer. As an independent researcher and curator, he has presented programmes on Argentinean cinema in the United States, Canada, Spain, Austria, Finland and Switzerland. He has translated books by Jonas Mekas, Stan Brakhage and John Waters, among others, and his volume on Argentine experimental cinema, Una luz revelada. El cine experimental argentino, was published in both Argentina and Spain by La Vida Útil in 2022. His film Resistfilm (2014) won the best Avant-Garde Film at Filmadrid, and his latest, Trampa de luz (2021), was awarded the Principal Online Prize of the International Short Film Festival Oberhausen.
Ryan Marino
Half Light
Film expérimental | 16mm | couleur | 10:0 | USA | 2023
Shot over a period of three years in a single interior space, this film explores sensory perception through the textural surface of expired film stock, light and layered images. Ephemeral moments meld into voids of grain.?
Ryan Marino is an New York-based artist working with film, sound, and collage. His 16mm films have screened at a variety of film festivals and venues including: Anthology Film Archives, New York Film Festival, San Francisco International Film Festival, Milwaukee Underground Film Festival, Uplink (Tokyo), Venice Biennale, Fracto Experimental Film Encounter, Spectacle Theater,? and Pacific Film Archive. In addition to creating the soundtracks for his own films, his sound work includes original compositions and commissioned soundtracks for short films and theater productions. By day he works as an audiovisual archivist.
Ivan Markovic
Similar to Ourselves
Installation vidéo | mov | couleur | 12:20 | Serbia, 0 | 2023
Like a glass vault that contains traces and gifts from distant countries, the headquarters of Energoprojekt, the former Yugoslavian construction company merges geographically distant places. Walls are pannelled with faded photographs of Energoprojekt’s conscturctions in fellow Non-Aligned countries, from 1960's until late 1980’s. Across Africa, South America, the Middle East and South Asia, the distinctive modernist constructions built by Energoprojekt formed an independent post-colonial architectural identity, beyond the Eastern and Western Bloc polarity. Abundant plants and trees, different species brought from afar 50 years ago, still grow together under the glass roof. The space is gradually revealed in choreographed sequences of the people who take care of the plants, forming an inseparable sense of belonging.
In his films, photography and video works, Ivan Markovi? observes space and the relationship between labour, architecture and ideology. With Linfeng Wu, he co-directed the short film “White Bird”, that had its premiere at Berlinale 2016. His experimental documentary “Centar” had its premiere at Doclisboa in 2018, won the “Best Newcomer” award at Dokufest. “From Tomorrow on, I Will”, a feature he co-directed with Linfeng Wu, had its premiere at Berlinale Forum 2019. The film received the Grand Prize at 2019 Jeonju IFF. It was shown in numerous festivals, including Belfort, Viennale, Zinebi and Mar del Plata. As a cinematographer collaborated on several feature films including “You Have the Night” by Ivan Salatic (Venice Film Festival), “Landscapes of Resistance” by Marta Popivoda (IFF Rotterdam) and “I Was at Home, But...” and “Music” by Angela Schanelec (Berlinale). His work was shown in numerous solo or group exhibitions internationally, in institutions including Institute of Contemporary Arts London, Bethanien in Berlin, Austrian Kulturforum Berlin, Museum of Contemporary arts Belgrade. Since 2020, a member of the European Film Academy.
Gohar Martirosyan
Le Mont A
Animation | 4k | couleur | 8:35 | Arménie, France | 2024
Un dialogue entre le mont Ararat et le Mont Analogue de René Daumal interroge le paradoxe de leur présence visible mais inaccessible en tant que montagnes intérieures. Ce dialogue reflète comment les montagnes, au-delà de leur rôle de repères physiques, agissent également comme des constructions métaphysiques qui façonnent notre perception de nous-mêmes. À travers ce prisme, les frontières entre biographie personnelle et géographie s'effacent, révélant les liens profonds entre nos identités et les paysages que nous habitons. Le mont Ararat, avec son sommet volcanique de 5 137 mètres visible à l'horizon, se dresse comme un symbole poignant—toujours à portée de vue, mais inaccessible en raison des forces géopolitiques intractables.
Dans sa pratique filmique, Gohar Martirosyan examine les ensembles d'influences qui participent à la construction d'une personne ou d’une identité, qu'elles proviennent d'événements historiques, de pratiques culturelles, de liens sociaux ou de relations avec différentes formes du vivant. Par le biais d’images d’archives et de procédés technologiques, son installation vidéo fait dialoguer des géographies devenues inaccessibles, autrefois habitées par l’activité humaine, prenant naissance dans la biographie de l’artiste. Gohar a étudié au Le Fresnoy, elle est née à Gyumri (Arménie) et est actuellement basée à Paris.
Masbedo
Pantelleria
Vidéo | digital | couleur | 20:0 | Italie | 2022
Between 9 May and 11 June 1943, the island of Pantelleria was violently bombarded by the Allied troops in the first operation to reconquer Italian soil. Residents recall that, after the surrender, some of the buildings were blown up for the cameras of a propaganda combat film. Pantelleria traces the memories of this event in the local collective consciousness and looks at the contemporary implications of an episode that took place in the shadow of official history. Through a two-years long participatory process with the residents, the film explores the tension between the truth and its ideological distortion, and between the reality of the bombs and their telling through images. The Nervi hangar, a symbol of Mussolini’s militarisation of the island, is now shown empty and inhabited by a magical animal presence. Extracts from the combat film are projected onto the buildings of today’s Pantelleria, while the camera travels through the bunkers dug by the Italian army. The voiceover, written and read by writer Giorgio Vasta, gives expressive form to the island’s stories, while the sound by GUP Alcaro and Davide Tomat distorts the recordings of the local orchestra Spata, finding in dance music a space for the reactivation of the past, and liberation in the present.
MASBEDO is an artistic duo formed by Nicolò Massazza and Iacopo Bedogni. They have been working together since 1999 and they currently live in Milan and Piacenza (Italy). Different artistic languages such as video, installation, cinema, performance, theater, and sound design coexist in their work. They are interested in emotional and intense narratives that delve into the depths of human relationships and the complex subjectivity of the contemporary individual. They have identified the relationship between cinema and art as a preferred area of investigation, which they approach with an attentive gaze to both socio-anthropological elements and the most intimate and poetic ones. MASBEDO’s works have been exhibited in international institutions such as: Manifesta 15 Barcelona; Centre Pompidou-Metz; CCCB Centre de Cultura Contemporània de Barcelona; Fondazione ICA Milan; MAMM Multimedia Art Museum Moscow; Manifesta12 Palermo; Hong Kong Arts Centre; Fondazione Merz; Leopold Museum Wien; MAXXI Rome; Centre Pompidou/Forum des Images Paris. Among others, their short and feature films have been shown at: Venice International Film Festival; Locarno Film Festival; CPH:DOX; FIFA – Festival International du Film sur l’Art Montréal; Villa Medici Film Festival Rome; Sharjah Film Platform; Walter Reade Theater, Film Society of Lincoln Center, New York; Lo schermo dell’arte, Florence, IFFR-International Film Festival Rotterdam.
Agnieszka Mastalerz
Nodes
Vidéo | digital | noir et blanc | 3:16 | Pologne | 2023
Nodes is a project analyzing spells as an example of control over another being. I focused on the violence of persuading somebody to fall in love. I have been considering casting a spell as an influential but not direct act for which specific tools or gestures might be needed. I chose orchids whose roots were used to influence another person, both when it comes to feelings and sexual activity. In the areas of today’s Poland and Italy, dried wild orchid roots were hidden under somebody’s clothes, or an orchid-based powder was added to goat milk which was supposed to help sexual arousal. On the contrary, nowadays, in a huge industrial space, hundreds of almost identical orchids run through a commercial line. Although the production is highly mechanized and managed by technology, the final sculptural touch on every flower goes through the working hands of females — they manually shape this organic material by adding artificial backbones and cutting off the rotten parts. The women use this intimate act to fit the normalized aesthetics. With Nodes, I am bringing attention to the powerful operations both in private and industrial environments by looking at the human element in them.
Female visual artist based in Warsaw. Graduate of the Studio of Spatial Activities by Miroslaw Balka at the Academy of Fine Arts in Warsaw (BA, MA, 2018), former student of Candice Breitz and Eli Cortiñas at the HBK in Braunschweig (Deutscher Akademischer Austauschdienst (DAAD) Scholarship for 2019/2020), and a guest by Adam Broomberg and Oliver Chanarin at the HFBK in Hamburg (2017/2018). She also obtained her BA in Cultural Studies at the University of Warsaw (2013). Currently participant of the Autumn Intensive at the Malmö Art Academy. She exhibited with Catinca Tabacaru Gallery at the Goethe Institut in Bucharest (2024), NS-Dokumentazionszentrum in Munich (2023), MOCAK – Museum of Contemporary Art in Krakow, Manifesta 14 Prishtina, eastcontemporary gallery in Milan (2022), Fabbri Schenker Projects in London, MAXXI – National Museum of 21st Century Art in Rome, Center for Contemporary Art Luigi Pecci in Prato (2021), Wschód gallery in Warsaw (2020), Palazzo Strozzi in Florence, Starak Family Foundation in Warsaw (2019), Deichtorhallen in Hamburg, Fondation Hippocrène in Paris (2018), Museum of Modern Art in Warsaw (2017 – laureate of the Hestia Artistic Journey Competition), and TRAFO Center for Contemporary Art in Szczecin (2016). Art fairs include NADA Villa Warsaw (2024), Artissima, and Arco Madrid (2021). Agnieszka Mastalerz was a resident of Hospitalfield in Scotland (2022), Muzeum Susch in Switzerland, the Artist Development Program at the EIB Institute in Luxembourg (2021), and Futura gallery in Prague (2020, Visegrad Fund). She participated in the Lucy Art Residency public program in Kavala (2022) and in the School of Expressions in PLATO Ostrava (2019). She is a laureate of M?oda Polska scholarship for 2024. Works of her are in Fondazione in Between Art Film by Beatrice Bulgari, Ergo Hestia Group, European Investment Bank, and Warsaw Ghetto Museum collections, as well as in private ones. Since 2021, Mastalerz is represented by eastcontemporary gallery in Milan.
Marian Mayland
Outside
Doc. expérimental | mov | couleur | 29:52 | Allemagne | 2023
A curator, an archivist, an art dealer, a relative: in staged situations, four people discuss their relationship to an artist who, by means of a fictionalised biography, has pretended to be a Holocaust victim.
Maria Mayland (*1988) is a visual artist and filmmaker. She obtained her MFA from Basel’s Art Institute, taught by Chus Martínez, and took part in KKH Stockholm's postgraduate program Philosophy in the Context of Art, taught by Peter Osborne. Her short film works have been shown in various contexts across Europe. Screenings include International Short Film Festival Oberhausen, European Media Art Festival Osnabrück, IDFA Amsterdam, Hamburg International Short Film Festival, transmediale, Edinburgh Film Festival and Sharjah Film Platform. She won the German Short Film Award in 2022, the EMAF-Media Art Award of the German film critics association (VdFK) in 2021, and the award for the best entry in the NRW competition of the International Short Film Festival Oberhausen in 2018, as well as in 2022.
Dayna Mcleod
FoUBARthes: Death of the Author
Vidéo expérimentale | mp4 | couleur | 3:4 | Canada | 2024
Media performance artist Dayna McLeod asked ChatGPT to write an increasingly snarky and heated dialogue between Roland Barthes and Michel Foucault about The Death of the Author, inspired by Barthes' famous essay. This script is performed by AI actors of the theorists, with Dayna’s AI doppelgänger, DaynAI, acting as host to their debate.
Dayna McLeod is a queer performance-based media artist. Her work often uses humour and capitalizes on exploiting the body’s social and material conditions. Her video and performance work have been presented at the Impakt Festival in Utrecht Netherlands, the Mardi Gras Festival in Darlinghurst Australia, MIX Brasil Festival Of Sexual Diversity in São Paulo Brazil, the Modern Art Museum in Warsaw Poland, Le Centre d’art contemporain in Paris, the PHI Centre, OFFTA, and Rendez-vous du cinéma québécois in Montreal, the Summerworks Theatre Festival in Toronto, Sporobole in Sherbrooke, and Performatorium, Queer City Cinema’s performance festival in Regina. www.daynarama.com
Ross Meckfessel
Spark From a Falling Star
Film expérimental | 16mm | couleur | 21:0 | USA | 2023
In Spark From a Falling Star, an odd, unseen alien presence arrives, one that, beyond the usual fondness for abduction, transforms people into objects, public spaces to private real estate. At home in a world of windows and reflections, it floats unmoored through the real and virtual alike. While the world is devoured in its never-ending thirst for conquest, every zone becomes imprinted by the arrival. Where, finally, are you going to run?
Ross Meckfessel is an artist and filmmaker who works primarily in Super 8 and 16mm film. His films often emphasize materiality and poetic structures while depicting the condition of modern life through an exploration of apocalyptic obsession, contemporary ennui, and the technological landscape. His work has screened internationally and throughout the United States including in Toronto International Film Festival, New York Film Festival, Open City Documentary Festival, San Francisco Cinematheque’s CROSSROADS Film Festival, Hong Kong International Film Festival, Media City Film Festival, and Curtas Vila Do Conde among others.
Kim Mejdahl
Sinrise
Vidéo | hdv | couleur | 3:0 | Danemark | 2023
"Sinrise" (2023) is an experimental video by Danish artist Kim Richard Adler Mejdahl. Mejdahl stayed alone in BonBon-Land from sunset to sunrise to explore what happens when darkness descends in the old Danish theme park known for its grotesque characters. In the black interval we go on a cosmic rollercoaster ride among the stars while the cartoony inhabitants of the park seem to welcome the sun. "Sinrise" was recorded in infrared timelapse creating a haunted mood. The video suggests a way of portraying the sorrows of childhood nostalgia, and the eternal cycle of life and death.
Kim Richard Adler Mejdahl (b. 1989) graduated from the Royal Danish Academy of Fine Arts in 2019. Slaptstick humour and gothic horror meet up in Mejdahl's multifaceted work that often has its starting point in the artist's personal life story. Be it music album releases, film productions or large solo exhibition projects, Mejdahl's practice explore the topics of trauma-healing, climate crisis, spirituality, and gender identity. His video works have reached international audiences with screenings in France, Germany, Iceland, Norway, and South Korea. In 2018 Mejdahl received the Charlottenborg Spring Exhibition Solo Award,, and in 2022 he was awarded a spot at The Danish Art Foundation's talent programme The Young Artistic Elite. In 2021 he recieved the Elna & C.T. Hollesen's Foundation Grant. Mejdahl's work is part of Denmark's National Gallery's collection.
Pablo Mendez
Excursion
Fiction | mp4 | | 13:0 | Argentine | 2021
« Excursion » est né de ma curiosité à explorer, à distance, un territoire devenu dangereux non seulement pour la vie humaine, mais aussi pour la vie en général. Je me suis plongé dans une narration qui retrace l’histoire naturelle et culturelle des territoires en Ukraine, en particulier dans la zone d’exclusion où la radioactivité causée par l'accident de Tchernobyl reste encore active. Le narrateur de cette histoire évoque l'ontologie de sa propre voix, en créant une voix unique pour chaque chose et en donnant une pluralité de corps à ce discours émanant d'une seule voix.
Pablo Méndez, né à Buenos Aires en 1988, est un artiste contemporain, chercheur indépendant, curateur de recherche, enseignant, conférencier et traducteur. Son travail artistique l'a conduit à devenir résident à l'Académie des Beaux-Arts à La Cité Internationale des Arts (Paris) pour la période 2023-2024. En 2022, il a participé à la dernière édition de documenta (documenta fifteen) en collaboration avec l'artiste Lumbung, La Intermundial Holobiente (Argentine). Il a reçu des bourses d'organismes tels que le Fondo Nacional de las Artes (Argentine), le Fondo Metropolitano de las Artes y de las Ciencias (Buenos Aires), Mecenazgos Culturales, CREA (Matadero, Madrid), la bourse de création de la Biennale de l'Image en Mouvement (BIM, Buenos Aires), entre autres. Pablo s'engage dans des projets personnels et collectifs depuis 2010. En 2015, il a obtenu son diplôme de l'École Nationale de Photographie d'Arles avec les félicitations pour sa thèse de recherche. Il a participé à diverses expositions, notamment aux Rencontres Internationales de la Photographie d'Arles (Arles, 2015), Les Brasseurs Art Contemporain (Liège, 2015-2016), FRAC-PACA (Marseille, 2015-2016), Casa Nacional del Bicentenario (Buenos Aires, 2016), Stocq 72 (Bruxelles, 2016), Université de San Martín Campus (Buenos Aires, 2019), Puertas Abiertas (Matadero, Madrid, 2021), Simbiología Prácticas artísticas en un planeta en emergencias (Centro Cultural Kirchner, Argentine, 2021-2022), Campamento Temporario (Investigaciones de Futuro, Buenos Aires, 2022), et documenta fifteen (Kassel, Allemagne, 2022), entre autres. Sa formation doit reconnaître plusieurs individus qui, quel que soit leur âge, ont travaillé à ses côtés, l'introduisant à de nouvelles manières de penser, de collaborer, de comprendre, de ressentir et de grandir en tant qu'artiste et chercheur. Ces individus incluent Valeria González, Gonzalo Aguilar, Vinciane Despret, Dalila Puzzovio et Claudia Fontes.
Toni Meštrovi?
Tišina
Film expérimental | dcp | couleur | 22:42 | Croatie | 2024
Silence is the period between two compositions in the space of shipbuilding heritage with an uncertain future. Due to the long-standing process of restructuring and privatization, political interventions and the governing structures' corrupting malfeasances, the workers of the 3. maj (3rd of May) shipyard stayed at home without pay for a full year, and the production facility went silent. That moment of silence in a facility that is usually filled with sound is the starting point for the portrayal of a specific space and time. Revealing the beauty of the spatial and auditory narratives of an industrial space, in the absence of workers and work processes, contextualizes the frightening socio-economic consequences of the “silence” and “emptiness” phenomena. After months-long negotiations in the fall of 2019, production continues with an uncertain future.
Toni Meštrovi?, graduated with a Graphic Arts degree from the Academy of Fine Arts in Zagreb, where he produced graphic arts, sculpture and installation. Due to his interest in electronic audiovisual media, he studied Video/Digital Imaging at the International Summer Academy for Contemporary Art in Salzburg, and completed postgraduate diploma in Media Art at the Academy of Media Arts, Cologne. Since 1992, he has taken part in group and solo shows, as well as video/film festivals. He lives in Rijeka and Kaštela, and teaches at the Arts Academy in Split.
Marianne Mispelaëre
Treize années en présence
Doc. expérimental | dcp | couleur | 33:46 | France | 2023
Depuis les Vosges, des adolescent·es discutent, échangent des idées. La parole est repartie : l'aisance des un·es, le courage des autres les poussent à prendre la parole, tandis que d'autres encore les écoutent et observent. Ces rôles, qu'ils performent « sans y penser », se retrouvent au coeur de leurs conversations. Jouissant de treize années de présence en ce monde, ils et elles nous racontent que parfois « parler ne dit rien ». Deux histoires (l'une proche, l'autre plus lointaine), de personnes de leur âge dont les paroles ont été ignorées, se croisent. Iels ont parle pour tenter de faire exister leurs réalités, sans que celles-ci ne trouvent d'auditoire. Quand les mots dits n'existent pas, les corps (se) font violence. « Treize années en présence » donne à entendre des adolescent·es dont les perceptions ne sont dénuées ni de justesse, ni de contradictions. Iels disent leurs visions d'un monde fragmente, où l'artificiel côtoient la réalité plus que les individus ne se côtoient entre elleux. Iels parlent de la place que la parole et l'écoute y prennent. Si les mots peuvent être des actions, le silence auquel la parole peut se confronter agit lui aussi : il est le geste de l'exclusion, de la résignation. Le film propose une narration fragmentaire, construite à partir de différentes conversations. Celles-ci ont été enregistrées en juin 2023 dans le cadre d'un projet polymorphe pensée et menée par l'artiste Marianne Mispelaëre, « Forum », à la fois dispositif de parole, « performances relationnelles », installations et lieu de tournage de ce film.
Marianne Mispelaëre est artiste. Elle vit et travaille a Aubervilliers (93). Sa matière première relève de zones de contact : rencontres, échanges, transmissions, collaborations, emprunts, négociations, affrontements. Que se passe-t-il entre nous, en nous, tout au long de l’infinie tache politique qu’est le cotoiement ? Elle écoute et observe les relations sociales, le langage — ce qu’il fait sur ses usagers et usagères, ce que celleux-ci lui font. Ses gestes sont simples, précis, éphémères, inspirés de phénomènes actuels et sociétaux. Elle manipule le dessin sous toutes ses formes, l'image photographique, la vidéo et le film, la typographie, le texte, la sculpture, l’installation, l’action performative. Son travail est souvent amené a etre activé, interprété (par elle ou par d’autres), privilégiant l’in situ et l’éphémère. Il a été exposé en France et a l’étranger, et fait parti de nombreuses collections publiques. https://www.mariannemispelaere.com
Victor Missud, Marina Russo Villani
A qui le monde
Doc. expérimental | dcp | couleur | 45:0 | France | 2024
Au Bénin, les gens de l'eau, qui autrefois ont lutté contre la Colonisation, font face à la jacinthe d'eau, une plante colonisante qui se reproduit à une vitesse vertigineuse en étouffant le lac. Réalisme et imaginaire se mêlent alors, comme si l’un n’était compréhensible ou tolérable qu’en raison de l’autre.
Italienne et diplômée en Économie de l’Art à l’Université Bocconi, Marina Russo Villani s’est formée en cinéma et en scénario en France, à la Sorbonne Nouvelle et à Paris Nanterre. Scénariste et réalisatrice de fiction et de documentaire, elle co-signe avec "À qui le monde" une fable politique fantastique qui dresse un portrait fantasmé et ironique de la manière dont fonctionne le monde. En parallèle de son travail d'auteure, elle fonde en 2023 sa société de production, Filibusta. Le travail de Victor Missud s’intéresse de manière poétique à des personnes marginalisées d’un territoire et de la société, qui deviennent acteurs et actrices non-professionnel·le·s de ses œuvres. Mêlant documentaire, fiction et cinéma de genre, ses travaux ont été présentés et primés en France et à l’étranger - Visions du Réel, IFF Rotterdam, Hors Pistes - Centre Pompidou, Rencontres Internationales Paris/Berlin, Etats Généraux du Documentaire de Lussas. En 2024, il intègre le Fresnoy - Studio national des arts contemporains.
Magdalena Mitterhofer
Corte
Fiction expérimentale | 4k | couleur | 24:3 | Italie | 2024
Six millennials meet renowned writer Noel Riccardi at a former workers' holiday settlement in the Italian Alps. Intrigued by the younger generation, Noel invites them for an evening of food, drinks, and debate. But as political disagreements arise, a generational clash ensues, leading Noel to respond with a cowardly act of violence. The following morning, another friend of the group arrives and joins Maria, who has developed an affinity for the aging intellectual. Together, they pay him a visit.
Magdalena Mitterhofer (1994, Italy) is a director and artist living in Berlin. In her site-specific, narrative works, she explores the relationships between surrounding architectural, socio-political structures and their inhabitants. Magdalena received a Master's degree in Fine Arts from the class of Hito Steyerl at the University of the Arts Berlin and studied New Media at Tama University in Tokyo. 2021 she co-founded the nomadic performance project "lament.tv". Her work was shown, amongst others, at Volksbühne Berlin, Julia Stoschek Foundation, KW Institute for contemporary art Berlin, Tanzquartier Vienna.
Thomas Mohr
9-11 File 186624
Vidéo expérimentale | mov | | 16:41 | Pays-Bas | 2023
Observing reality with my camera. How can I put the memory of 9-11 into a context which is giving meaning tot he meaningless. What does it all mean after all? Memory, experience, feelings felt, countless impressions, perceptions. Aware and unaware, hidden and obviously on the surface. Tragedy, drama, upheaval, turmoil, change processed more or less into mind matter. Several approaches to the material of my archive containing meanwhile more than 800000 photo’s taken from 1985 until now. music: Michael Bonaventure: Prelude XI, Interlude XI, Postlude Xi Biography Thomas Mohr
Born in Mainz, Living and working in Amsterdam. Since the late 1980ties systematically exploring processes of perception and experience in installations and “films”. How do we proces what we see and encounter? Working with computer generated processes combined with manual execution based on a growing photo archive regarding to important moments of modern history as to major and minor personal events. Works are in various ways referring to conceptual and minimal art, to the history of early cinematography , the transformation of information, the evolution of (new) media. IFFR/Rotterdam, JMAF/Tokio, Sonic Acts/Amsterdam, Ars Electronica/LInz, IFFR/Rotterdam, Transmediale Berlin, IFF Japan, NeMaf/Seoul,mJMAF Tokio, SICAF/Seoul, IKFF/Hamburg ,Jihlava IDFF, HAFF/Utrecht, Media Art Biennale Wro/ Wroclaw, Underdox/Munich, Werkstattkino/ Les Recontres International/Paris/Berlin, Stedelijk Museum/Amsterdam, EdithRussHaus for Media Art/Oldenburg, EMAF, Videomedeja, Berlin Atonal
Muriel Montini
La nuit d'à côté
Doc. expérimental | hdcam | couleur et n&b | 52:0 | France | 2024
Une forêt où des animaux semblent vivre en harmonie Au loin, un dialogue entre un homme et une femme. Au loin, une guerre sévit.
Muriel Montini a fait des études de cinéma. Elle vit et travaille à Paris. Depuis 2000, elle a réalisé plusieurs films qui sont projetés dans différents festivals internationaux (Hamburg International Short Film Festival, FidMarseille, Ji-hlava International film festival, European Media Art Festival Osnabrueck…) et diverses institutions (Musée du Jeu de Paume, Anthology Film Archives New York, ImagesPassages...).
Monica Maria Moraru
I Am Also Part of the Three Turns
Film expérimental | mov | couleur | 14:45 | Roumanie | 2024
Relying on oral and fragmentary histories, ‘I Am Also Part of the Three Turns’ traces the effects of a destructive earthquake in Bucharest and a concurrent flood it caused in a small town in Buzau, during a period of nationalistic urbanization in Communist Romania. In the capital, the destruction was seized as an opportunity by the authoritarian government to further raze large swaths of the city, invoking the earthquake as a mythological force in order to strategically replace rubble with new Soviet-bloc housing projects. Employing allegory as narrator, the film sketches a series of political congruences throughout a patchwork of intertwined landscapes, teasing out a temporally irresolute past that defies the linear cause-and-effect of both environmental disaster and authoritarian political repression.
monica maria moraru is a visual artist and filmmaker working between moving-image, sculpture, installation, and sound. Her multimedia work searches for cinematic referent across a wide range of materials. Across mediums, her work seeks to tease out entangled personal and political histories, searching for sensorial and cinematic resonances across a patchwork of temporal, relational and political histories.
Delphine Moreau
PARC
Documentaire | mov | couleur | 17:46 | France | 2023
Anna Moreno
The Overturned
Vidéo | digital | couleur | 10:0 | Espagne | 2024
Il Capovolto was filmed in a resort in northern Sardinia called Costa Paradiso. It was founded in the 1970s as an exclusive holiday resort for celebrities. Michelangelo Antonioni and actress Monica Vitti lived together in an iconic house nicknamed La Cupola, one of the first residents of the resort, a concrete dome designed by architect Dante Bini, now in a state of semi-ruin. The footage includes scenes from an abandoned Garibaldi military base on the small island of Caprera, in the archipelago of La Maddalena, also in northern Sardinia. The skewed and fragmented narration leads us through a fictional detour to a kind of ghostly figure inspired by the actress Monica Vitti, who lived in La Cupola during the filming of Il Deserto Rosso (1964). The video refers to this film by borrowing sounds from its famous sequence shot in Sardinia. That sequence gives us a glimpse of a utopia that the characters would have wished to achieve, but which by definition will never be. Il Capolto posits a pantheism where everything - the realised and the unrealisable - is connected holistically, or where everything can be seen upside down.
Anna Moreno is a visual artist working between Barcelona and The Hague. Her artistic practice is research-based and focuses on the unfinished nature of events, while questioning the processes of documentation during post-production. It encompasses concepts of finance, utopian architecture and speculative literature in the form of installations, films or events. Moreno has been in residence at the Jan Van Eyck Academie, (Maastricht, NL), Hangar (Barcelona), SASG (Seül), HIAP (Helsinki), Salzamt (Linz, AT) and Cittadellarte (Biella, IT). Her work has been exhibited internationally at Art Brussels, MOCAB (Belgrade), SAS Geumcheon (Seül), Fundació Joan Miró (Barcelona) and 1646 (La Haia), among others. She is co-founder of the Helicopter space in The Hague, where she has taught artistic research at the Royal Academy of Art and designed seminars internationally. She is currently a lecturer at BAU (Barcelona). Moreno has received support from Mondriaan Fonds, Stroom Den Haag, Fundació Botín, Ramón Llull, Institut de Cultura de Barcelona, and Prins Bernhard Cultuurfonds, among others.
Pavel Mozhar
Ungewollte Verwandtschaft
Documentaire | dcp | couleur | 30:0 | Allemagne | 2024
The reports by civilian victims of the Russian and Belarusian occupation in Ukraine contain descriptions of torture and repression that appear to be systematic in nature. Taking those reports as a basis, a filmmaker born in Belarus investigates that systematic procedure on the streets of his Berlin neighbourhood. He also confronts the question of what this war of annihilation has to do with him and what responsibility he himself bears.
Born in Minsk, Belarus in 1987, he grew up in and around Berlin from the age of ten. From 2009 to 2012, he studied philosophy and economics at the University of Bayreuth. In 2015, he took up a film directing degree with a focus on documentary at the Film University Babelsberg Konrad Wolf. His short documentary Handbook, about the protests in Belarus in August 2020, won numerous awards, including Best Short Film at the IDFA in 2021. Mozhar’s most recent work is a short documentary Unwanted Kinship about the Russian war of extermination in Ukraine.