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.

Dayna Mcleod
FoUBARthes: Death of the Author
Vidéo expérimentale | hdv | 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.


Vincent Mesaros
Projection
Installation vidéo | digital | couleur | 13:32 | France | 2024
"Projection" is a video projected life-size onto a wall: the repeated projection of the artist's body against the white wall of his studio, like that of the White Cube. This video weaves a formal link with 70s performance artists such as Chris Burden and Bruce Nauman, except that it is a non-performative action, filmed and edited into a short film, in which both a representation of the image within the image and the metaphor of the artistic quest are played out.
Vincent Mesaros (b. 1969) is a French artist.

Toni Mestrovic
Tisina
Film expérimental | 4k | 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.

Gitlin Michael
The Night Visitors
Doc. expérimental | mov | couleur | 72:22 | USA | 2023
The Night Visitors is a movie about moths. In large and small fragments, looking both inward and out, through a critical lens that is by turns social and personal, the film closely examines these underknown creatures. While The Night Visitors is interested in moths as organisms, with fascinating life histories, staggering biodiversity, and a functional importance as indicators of climate change and habitat degradation, its engagement with them is not primarily entomological. Instead, the film looks at moths as aesthetic beings and as carriers of meaning, aiming for a deep encounter with the beauty and incommensurability of the profoundly other. The small hours of the night are threaded through with a sense of mortality and loss. Moths, with their trembling and exquisite impermanence, provide both a kind of solace and, in their diversity and difference, a focal point around which the desire to know can be organized.
Michael Gitlin makes work about some of the intricate conceptual and ideological systems out of which ways of knowing the world can be constructed. His films have screened at numerous venues, including the Museum of Modern Art in New York, the Toronto International Film Festival, the Full Frame Documentary Festival, the London Film Festival and the Whitney Biennial Exhibition. Gitlin’s experimental documentary, The Night Visitors, premiered at the 2023 New York Film Festival. His 2015 feature documentary, That Which Is Possible, screened at The Museum of the Moving Image in New York, the Museum of Fine Arts in Boston, and at the Pacific Film Archive in Berkeley, among other venues. His short film project, A Disaster Forever, was in the 2015 New York Film Festival. His 16mm film, The Birdpeople, is in the collection of the Museum of Modern Art. Gitlin was the recipient of a Guggenheim Fellowship in 2006. His work has also been supported by the Jerome Foundation, the New York State Council on the Arts, and the New York Foundation for the Arts. Gitlin received an M.F.A. from Bard College. He teaches at Hunter College in New York City.


Mladen Miljanovic
The Final Battle
Doc. expérimental | 4k | couleur | 65:50 | Bosnie-Herzégovine | 2024
This film documents four delegated performances/castings, featuring participants who are both directly and indirectly actors of war: veterans, civilian victims, disabled individuals, or those traumatised by conflict. Applicants that have been seduced to participate in four castings of imaginary movie altogether agreeing to be part not only of an experimental film, but also of a subversive cinematic social experiment. They signed up for battle in the movie, and got an unexpectedly brutal lesson about conflict. They certainly, but so do we who watch it. With this poignant cinematic depiction of the personal and far-reaching impacts of war, this sobering antiwar movie project raises questions about the allure of violence and war that is so frequently simulated in the media surrounding Western culture. The encounter with real-life victims of violence forces a reckoning with their motivations and exposes viewers to the raw realities of trauma. The project emerges as an inexorable impasse, not for those who perish within it, but for those burdened by the enduring scars of trauma and violence. The Final Battle film coincide with wars in Ukraine and the Middle East, both of which have come to normalize accelerated militarization and expanded conflict as a fact of everyday life. Both artistic and cinematic project attempts to contend with this deadly spiral of violence, which has a widespread psychological effect that prevents purposeful articulation and functions to undermine processes of reconciliation and social repair.
Born in Zenica, Yugoslavia in 1981, he completed secondary school in Doboj. After secondary school, he attended the Reserve Officers' School, where he attained the rank of sergeant. As a sergeant during his military service, he trained 30 soldiers. He enrolled at the Academy of Arts in Banja Luka in 2002 where he finished his Bachelor's and Master's degrees in painting. He holds PhD thesis in New Media at the University of Arts Belgrade. At the beginning of his art practice, he was included in the international selection of artists under 33, "Younger Than Jesus - Artist directory," by New Museum curators Laura Hoptman and Massimiliano Gioni. He has participated in various group shows, including the 55th Venice Biennale, 15th Busan Video Biennale, and the recent 13th Cairo Biennale. He has also held solo shows and projects at MUMOK in Vienna, Gallery MC in New York, ACB Gallery in Budapest, Antje Wachs Gallery in Berlin, Neue Galerie Graz, and others.


Marianne Mispelaëre
Treize années en présence
Doc. expérimental | hdv | couleur | 33:46 | France | 2023
From the Vosges mountains in France, teenagers are discussing and exchanging ideas. The floor is shared: the ease of some, the courage of others, push them to speak, while others listen and observe. These roles, naturally performed, are at the heart of their conversations. Enjoying thirteen years of presence in this world, they tell us that sometimes "speaking says nothing." Two stories (one near, one far) of people their age whose words have been ignored intersect. They have spoken to try to make their realities exist, without finding an audience. When spoken words do not exist, bodies are subjected to violence (to themselves). « Treize années en présence » ("Thirteen years present") echoes adolescents whose perceptions are not devoid of accuracy or radicality. They express their visions of a fragmented world, where the artificial coexists with reality more than individuals do among themselves. They talk about the role that speech and listening play in it. If words can be actions, the silence that speech can confront also acts: it is the gesture of exclusion, of resignation.
Marianne Mispelaëre (b.1988) is a french visual artist. Her works are on display in France and abroad. She received the 2017 Grand Prix du Salon de Montrouge award.

Marianne Mispelaëre
Treize années en présence
Doc. expérimental | 4k | 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 | 4k | 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 | mov | couleur | 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 | hdv | 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...).


Joe Moran, Sam Williams
Here and Not
Performance | 0 | couleur | 18:0 | Irlande, Royaume-Uni | 2024
Here and Not is a new film by artist and choreographer Joe Moran that locates the viewer within a dance work. In a stripped back space, nine dancers navigate complex choreographic puzzles through continuous, relentless dancing, unsettling linearity and complicating subjectivities. The camera moves within the dancers and lingers on the periphery of three distinct choreographic phases that are intensified, destabilised and reconsidered through a split screen format. Reconfiguring choreography and proximity to the dancing body, the result is a challenging and refreshingly immediate encounter. First presented as a double-sided projection installation, the then 40-min looped work activated disrupted, multiple, partial viewings by necessitating spectators move around the work to view it. Here and Not is now reimagined as a new work, re-edited as a 15min single-screen film, to premiere in 2024. Here and Not incorporates an extract of Moran’s live work Thirst, wherein two performers navigate a complex, shifting terrain of power, submission, complicity and consent. In a single physical act, one moves from lying to standing to lying, mounted by the other who never touches the floor.
Joe Moran (born 1977) is a choreographer with a wide-ranging practice incorporating touring theatre and gallery works, lecture-performance and curatorial projects. His work tackles contemporary propositions in dance, performance and critical thought. Moran is Artistic Director of Dance Art Foundation where he curated the Foundation’s two-year research programme Why Everyone Wants What We’ve Got and its ongoing Dance Critical Theory Group. He is also a Dance4 Associate Artist, and Sadler’s Wells Summer University Artist (2015–18). Moran lives and works in London. Recent commissions and performances include Sadler's Wells (2019), The Lowry (2019), London Contemporary Dance School (2019), Wysing Arts Centre (2018), Bluecoat (2018) coinciding with the Liverpool Biennial, Kettle's Yard (2018), Sadler's Wells (2017). Moran contributed to the publication 'Who Cares? Dance in the Gallery & Museum' and 'Nothing About Us Without Us', a commissioned essay on artist advocacy published by Siobhan Davies Dance, November 2019.

Monica Maria Moraru
I Am Also Part of the Three Turns
Film expérimental | hdv | 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 | hdv | couleur | 17:46 | France | 2023
À la suite d’un promeneur solitaire, PARC mène d'abord le spectateur dans des sensations agréables, le pousse vers ses émotions, dans une sorte d’élan romantique estival. Puis des jardiniers « en insertion » habillés en orange surgissent dans les tableaux paysagers très composés. La réalité contemporaine s’impose : violence des rapports de domination, ineptie/absurdité du travail, désespoir et mal-être social, mais aussi résistance passive. Containers et routes nationales envahissent le décor. La fin du film est marquée par une atmosphère onirique, brumeuse, avec le retour de la voix du promeneur du XVIIIème siècle qui ouvre à la possibilité d’un renouveau : le goût de la nature et la pensée rationnelle peuvent se nourrir l’une l’autre et nous aider, peut-être, à sortir des logiques marchandes.
Après des études d’histoire et de philosophie, Delphine Moreau se passionne pour le documentaire de création qu’elle explore d’abord via l’anthropologie visuelle. En 2009, elle obtient avec La Société des Arbres le Prix du Public au festival Premier Doc ainsi que le Prix du Meilleur Documentaire aux Rencontres Cinéma Nature. Elle réalise pour France Télévisions une série de courts métrages documentaires, Saisons forestières. Puis Marmites Khmères est sélectionné dans de nombreux festivals ethnographiques internationaux. Avec Les Gens du sucre, morceaux d'histoires, elle obtient la Plume d’or au festival L’ici et l’ailleurs. Le film est sélectionné dans des festivals comme le FIGRA et par Images en Bibliothèques. En 2021, elle co-réalise (avec Marie Famulicki et Corinne Sullivan) En Terrain Libre, une comédie musicale et documentaire (prix de la meilleure réalisation du festival Les sportives en lumière de Nice, sélection au festival du FFIDH de Genève, Les Écrans documentaire d’Arcueil, FIPADOC de Biarritz, Docs au féminin de Rennes, festival Résistances à Foix…) Avec PARC, elle questionne notre lien à la nature et aux utopies sociales et politiques. Parallèlement, dans une logique de créativité partagée, elle mène des ateliers d’éducation artistique qui donnent souvent la parole aux femmes.


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.

Yannick Mosimann
Here are some Images
Film expérimental | 16mm | couleur | 6:4 | Suisse | 2023
“Here are some Images” is an short film exploring the interplay between internal and external images, using hand-processed 16mm footage and musings on perception and memory.
Yannick Mosimann is a filmmaker, sound artist, and photographer from Berne, Switzerland. He studied at the University of Applied Sciences and Arts in Lucerne, where he completed his Bachelor’s degree with the short film "How I Disappeared". The film has been screened at various film festivals worldwide. Mosimann further pursued his education by completing his Master’s degree in Contemporary Arts Practice at the Bern University of the Arts. Mosimann's body of work encompasses films, video/audio installations and collaborations with various artists as a filmmaker and musician. His artistic focus lies in intuitive processes, sensorial experiences and the reimagining of narratives. Themes explored in his work include the anthropocene, nature, cosmology, darkness and human perception. In early 2022, Mosimann released his first feature-length film titled "I Have Not Been Afraid of Going Blind for a Long Time". The film received widespread acclaim and was showcased at national and international film festivals as well as art spaces. Currently, Mosimann is distributing his feature-length documentary titled "Normal Love".


Boynayel Mota
Kongo Pa Kasimiro
Documentaire | 4k | couleur | 73:35 | Dominicaine (Rép.) | 2022
Casimiro Minier, former captain of the Congo tradition of Villa Mella and master craftsman of Congo musical instruments, serves as our connection to a legacy spanning 110 years. Through him, we delve into the knowledge passed down orally through generations, linking back to Mother Africa. Kongo for Kasimiro is a cinematic proposal capturing the Congo tradition in its everyday essence, celebrating life and the transition to death. Here, death is viewed as a passage to the life of the ancestors, whose presence is felt through the drum and spirituality. Kongo for Kasimiro also serves as an anthropological and ethnographic work from the perspective of director Boynayel Mota, who spent 20 years with Master Casimiro. This artistic material is aimed at educating and inspiring new generations.
Boynayel Mota is a Dominican filmmaker, musician, producer, and activist who focuses on the ancestral traditions of the Dominican Republic and the Caribbean. His work primarily highlights Afro-indigenous communities, and he has collaborated with several prestigious institutions, including the Museum of the Dominican Man, the National Museum of the American Indian, and the Smithsonian. Mota is also the founder of Yukayeke Taiguago Kiskeya, a space dedicated to the preservation and dissemination of Taíno culture, which organizes the Anakaona Taíno Festival of Kiskeya


Pavel Mozhar
Ungewollte Verwandtschaft
Documentaire | 4k | 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.