Catalogue 2021
Parcourez ci-dessous le catalogue 2021 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.
Tiona Nekkia MCCLODDEN
I prayed to the wrong god for you
tiona nekkia mcclodden
I prayed to the wrong god for you
Installation multimédia | mp4 | couleur | 0:0 | USA | 2019

Tiona Nekkia McClodden’s I prayed to the wrong god for you. combines video and sculptural elements in a highly personal ritual dedicated to Shango, a deity or Orisha within the Afro-Cuban religion Santeri?a/Lucumi? whose origins can be traced to the Yoruba people of Nigeria. In this project McClodden merges her spiritual requirements as a priestess of Ogun and artistic work to repair a period of personal exhaustion and to confront the relationship between Christianity and colonialism that was imposed on the artist’s ancestors: enslaved Africans, Black southerners. To begin this project McClodden cut down a cedar fir tree (a hybrid wood, distinct from the pure cedar traditionally associated with Shango) and carved six tools from cedar fir. Traveling with these objects across the United States, Cuba, and Nigeria, the artist engaged in ritual with Shango, employing the helmet on view here as a ceremonial witness. The videos, which chart the labor and time of this undertaking, offer an account of diasporic devotion and the significance of objects as storytellers. Six - Channel Multimedia Installation TRT: Endless duration I. The Witness, 2018-2019 Materials; motorcycle helmet, efun chalk Dimensions: Variable II. Ax Head, Iron Spike, + Horse Shoe Puzzle, Materials; iron Dimensions: Variable III. The Sewing Box I, 2019 Materials; Wood, + Red Velvet. Dimensions: Variable IV. Shango’s Tools I-VI, 2019 Six hand + machine carved tools Materials cedar fir wood, blood of rooster, shoe polish, wood stain Dimensions: Variable

Tiona Nekkia McClodden [she/her] is a visual artist, filmmaker, and curator whose work often employs a citational practice exploring and critiquing issues at the intersections of race, gender, sexuality and social commentary. Her interdisciplinary approach traverses documentary film, experimental video, sculpture, and sound installations. McClodden has exhibited and screened work at the Institute of Contemporary Art-Philadelphia, the Museum of Modern Art (New York); the Whitney Museum; MOCA LA; MCA Chicago; MoMA PS1; among others. She has recently been awarded the 2019 Bucksbaum Award - McClodden was chosen from among the seventy-five artists whose works were presented in the 2019 Whitney Biennial. McClodden has been awarded the 2019 Guggenheim Fellowship in Fine Arts, the 2018–19 Keith Haring Fellowship in Art and Activism, the 2017 Louis Comfort Tiffany Foundation Award and the 2016 Pew Fellowship in the Arts in Philadelphia, PA, among other awards. McClodden curated the traveling exhibitions A Recollection. + Predicated. featured within Julius Eastman: That Which is Fundamental, and more recently There Are No Shadows Here: The Perfect Moment at 30. She lives and works in North Philadelphia, PA.

Miguel MEJIAS
The Foundation
miguel mejias
The Foundation
Film expérimental | mov | couleur | 34:8 | Espagne | Royaume-Uni | 2020

Étant conduit par une voix virtuelle, un homme ordinaire trouve refuge dans les bois. Là, il tentera de comprendre le mystère de sa situation.

Miguel Mejías (Tenerife, Spain, 1991) studied in Madrid screenwriting after having the studies in sociology and communication. After miscellany of other jobs as driver, cultural promoter, stevedore, journey laborer, editor, historical restorer, He is currently a professor of cinema and literature in Sundsvall, Sweden. His work has been selected for international festivals as Trieste, Toulouse, Experimental Superstars, International Film Festival of Las Palmas, Málaga, Mostra de Cinema Mediterraneo, Ismailia, Bogotá or Buenos Aires.

John MENICK
Haunting
john menick
Haunting
Vidéo expérimentale | mov | couleur et n&b | 32:0 | USA | 2020

By John Menick 2020; 32 min; two-channel 2K HD video; color and black and white; in English, Japanese, and Italian. Made during the New York lockdown, “Haunting” is a two-channel film assembling footage from several decades of supernatural domestic horror films. These are films in which domestic and residential spaces—suburban houses, decaying mansions, off-season hotels—are haunted by the spectral or the paranormal. Drawing on horror’s highly organized genre conventions, “Haunting” creates an imaginary architecture in which the repressed always returns and the past is never dead. The film’s protagonists—often played by actors now forgotten—appear not unlike ghosts themselves, their wanderings twinned across the film’s two screens in a strange, apparitional choreography. “Haunting” is a study in the spectral, as it is a response to the ghostly world that emerged from the pandemic—a world that became, for many, both uncanny and terrifying.

John Menick’s visual art and writings investigate how the fictive troubles the real. Working with cinematic history, hearsay, pseudoscience, and genre, Menick has created a diverse artistic practice that operates between fiction and critique. His earliest film, The Disappearance (2002), took the form of a fictional location scouting in Nuremberg, Germany, in order to tell the postwar history of the city. Menick’s Starring Sigmund Freud (2012) was a video memento for Sigmund Freud’s life as a fictional character in film. His most recent project, Haunting (2020), is an evocation of the long history of ghosts in cinematic horror, and how film itself can be understood as a spectral medium. Born in White Plains, New York, Menick studied fine art at the Cooper Union for the Advancement of Science and Art. After graduation, he was an early member of several seminal New York art collectives including Nomads + Residents and 16 Beaver Group. His visual art and films have been exhibited and screened at dOCUMENTA (13), Kassel; the International Film Festival, Rotterdam; MoMA PS1, New York; Palais de Tokyo, Paris; CCA Wattis, San Francisco; and Artists Space, New York. Menick’s essays and stories have appeared in Frieze, The Believer, Mousse Magazine, BOMB, Spike Art Quarterly, Art in America, and Witte de With Review, among other publications. His first book of collected prose, A Report on the City, was published in 2012 by Walther König and was listed by Frieze magazine as one of the highlights of the year. Menick received grants from the Jerome Foundation and the New York Foundation for the Arts, and has received several commissions, including from Les Laboratoires d’Aubervilliers in France. Menick currently lives in New York City where he is also a visiting professor of film at the Cooper Union.

Pierre MEREJKOWSKY
L'état de notre urgence 4
pierre merejkowsky
L'état de notre urgence 4
Vidéo | mov | couleur | 2:15 | France | 2019

L'état de notre urgence 4 a été tourné à Paris pendant le premier confinement à 20 heures

J'ai réalisé une cinquantaine de films, certains ont été auto produits d'autres produits et diffusés dans des festivals et sur Arte Mon récit moi autobiographie 14 eme version a été publié par les éditions sens et tonka Chroniques palestiniennes et divers textes sur le virus ont été publiés par les éditions de l'obsidienne Certains de mes textes et films inédits sont diffusés dans le marché des collectionneurs.

Mitlag MIGUEL
Carrots Movie Tape
mitlag miguel
Carrots Movie Tape
Doc. expérimental | super8 | couleur | 3:22 | Allemagne | 2020

Carrots Movie Tape is an experimental film about Carrots Tapes: a music cassette label based in Berlin run by a Poet and a Visual Artist. Tasks at the headquarters involve stamping, printing the covers, dubbing blank tapes, planning new projects, organizing the archive and discussing ideas. Filmed in the Spring of 2020 in Super 8.

Miguel Mitlag 1969, Buenos Aires, Argentina Lives and works in Berlin, Germany Film studies at the Universidad del Cine, Buenos Aires, and Photography at I.C.P. New York. Mitlag is also a Visual Artist and shows his work frequently in solo and group exhibitions.

Thomas MOHR, Thomas Mohr
Habitat 2.4
thomas mohr , Thomas Mohr
Habitat 2.4
Film expérimental | mov | couleur et n&b | 20:24 | Pays-Bas | 2020

Habitat 2 is the first collaboration of video artist Thomas Mohr and composer Reinier van Houdt. Mohr is processing more than 7000 pictures taken moment by moment while exploring areas of Noisy-le-Grand, Nanterre and Paris  as part of a larger project about the experience of Public space early 2019 just before the first lockdown. Van Houdt is using sourced 'found sounds' from situations and devices that cross distances, like trains, radio's, tv's, nasa satellites, thepowergrid, mobile phones, oscillators-all caught on the border of where the cyclical nature of stationary or 'frozen' sounds touches upon transient sounds of fast movement. In Habitat 2.4 - the first level of processing Mohr  is composing and structuring his photo material in a time system relating in many ways to usual time measuring but more dynamic. The experience of the moment with it’s before and after, the turning of now into past is repetitively re-assembled in a structure of frames, sequences and units. Van Houdt composed strict closed structures and populates this architecture with found complex soundblocks that deform, rearrange or ravage the building to show the glorious uncontainability of soundmatter- as a challenge to contingency.

Thomas Mohr: Moving, change, transformation, experience. Exploring processes of perception and memory systematically since the late 1980ties. From 1985 onwards a growing  archive containing more than 600000 pictures- regarding a wide range of events of transition from a collective meaning to very personal moments- and thousands of social media screenshots. Living and working in Amsterdam. Distributed by LIMA. Sreenings at various festivals since 2009: IFFR/Rotterdam, JMAF/Tokio, Ars Electronica/LInz,   Transmediale Berlin, IFF Japan, NeMaf/Seoul, IKFF/Hamburg, Jihlava IDFF,  HAFF/Utrecht, Media Art Biennale Wro, Rencontres Paris/Berlin, EMAF, Atonal Berlin Reinier van Houdt is a composer/musician based in Rotterdam[NL] working with piano, objects and fieldrecordings. He developed a fascination for matters that escape notation: sound, timing, space, physicality, memory, noise, environment - points beyond composition, interpretation and improvisation.. Aside from his own work he collaborated with Robert Ashley, Annea Lockwood, John Cage, Alvin Curran, Michael Pisaro, Francisco Lopez, Alessandro Bosetti, Christian Marclay and Luc Ferrari. Performances at CTM Berlin, Meltdown London, Alternativa Moscow, Angelica Bologna, Huddersfield Festival, Unsound Krakow, Art Basel Hong Kong, Primavera Barcelona. Reinier van Houdt is also part of David Tibet's Current 93 and worked with Takashi Makino on his film Memento Stella.

Anna MORENO
Plastic, Marble and Helicopters
anna moreno
Plastic, Marble and Helicopters
Installation vidéo | 4k | couleur | 17:47 | Espagne | Pays-Bas | 2020

Plastic, Marble and Helicopters (2020), is the culmination of a year-long investigation into Global Tools, a pioneering pedagogical project started in 1972 by various architecture studios of the “Italian Radical Design Movement”, led by Ettore Sottsass. With the support of the Italian high-end design furniture film Poltronova, Anna Moreno designed and produced a four-piece modular sofa, which was later used as a performance prop at the Space Electronic nightclub in Florence during the 50th anniversary event of its inauguration. The Florentine disco was the underground nucleus where Global Tools carried out several of its seminal experiments, invoking the body as the ultimate form of architecture, a place with hidden political and creative potential. The irony of the pro-Marxist group’s coziness with the luxury furniture market does not escape Moreno’s eye.

Anna Moreno is a visual artist and researcher from Barcelona (Spain), currently based in The Nague (The Netherlands). Her practice takes the shape of of installations, films, performances, soundtracks, objects, and publications. She is interested in disentangling our imagination from the current presentism, making use of speculative fiction. By reproposing utopian architectures from the 70s, Moreno uses conceptual tools such as parallel histories, synchronicity, performative urbanity, architectural discourses, and social entanglements. She has exhibited internationally, conducting residencies like SASG in Seoul (KR), Cittadellarte-Fondazione Pistoletto (IT), or Jan Van Eyck Academie (NL). She has recently been awarded the Botín Visual Arts Grant (ES) and has been selected for the upcoming Yinchuan Biennale (CN). Teaching and lecturing have a bi-directional impact on Moreno’s artistic practice. She has taught Artistic Research at the Royal Academy of Art (The Hague) and developed programs for educational institutions in The Netherlands and abroad. In 2013, Moreno co-founded the artists’ initiative Helicopter (The Hague), an independent space for performance, sound and discussion in the periphery.

Pierrick MOUTON
Chapter 5 — The Sacred Forest
pierrick mouton
Chapter 5 — The Sacred Forest
Film expérimental | mov | couleur | 18:55 | France | Bénin | 2019

Il y a très longtemps, se trouver un vieille homme au village, qui garder jalousement un secret Certains soir de l'année, quand la lune était pleine Il s'asseyait devant l'arbre sacré. Les mains écartées il prononçait des paroles incantatoires jusqu'au bout de la nuit La foret tout entière s'animait Apres quoi, On raconte l'avoir vu à des centaines de kilomètres de là. Certains disent qu'il aurait le pouvoir de se téléreporter

Pierrick Mouton est un artiste et vidéaste, vivant à Paris. Son travail s’articule autour de systèmes de croyances, spirituels ou idéologiques à travers des films, des oeuvres sonores ou des objets, qu’il fait réaliser ou qu’il réalise lui même. Cette démarche est associée à une approche documentaire, et une immersion sur le long terme avec différents groupe de croyance et de pensée. Pierrick Mouton a récemment exposé à Salon de Montrouge (Paris), École d’architecture de la ville & des territoires (Paris Est), Clark House Initiative (Mumbai), Villa Belleville (Paris), Alliance Française (Chandigarh), Nunnery Gallery (London), Carrousel (London). Ses créations radiophoniques sont régulièrement diffusés sur France Culture et DUUU radio.

Armando NAVARRO
Teenage God
armando navarro
Teenage God
Performance multimédia | 0 | | 30:0 | France | 1998

Veuillez trouver ci-dessous les liens: https://youtu.be/DHJQPLWV03I https://www.youtube.com/playlist?list=PLbkWFdRG0FbsUGKMDxcBZc7QouIIRYtcH Ci-dessous un lien versla présentation également au cas où: https://drive.google.com/file/d/12_D1RgU-pTQJCicBJwhTLNwRGOL5tPUw/view?usp=sharing

Charly NIJENSOHN
Patagonian Ice Fields
charly nijensohn
Patagonian Ice Fields
Vidéo | hdv | couleur | 6:24 | Argentine | Allemagne | 2020

Video installation 2020 As everything stopped and the lockdown extended all over the planet, I dedicated myself to create new original music and review some historical works, with material that had been left out of the initial postproduction of the videos. In this way I approached again to the expedition in the Patagonian Ice Fields, a project that I made in collaboration with members of a rescue mountain team. Patagonia is dramatically affected by climate change and global warming. The glaciers are disappearing in front of our eyes. In this context, a group of persons find themselves lost in a labyrinth of ice. United and in solitude, they contemplate the collapse of their universe.

Charly Nijensohn (Buenos Aires, 1966) ist ein multidisziplinärer Künstler der in Berlin lebt und arbeitet. Seine künstlerische Arbeit ist vielschichtig. Nijensohn arbeitet an der Idee einer Konfrontation zwischen dem Menschsein und den natürlichen Kräften des Universums, die uns umgeben. Die Beziehung zwischen der menschlichen Figur und dem sie umgebenden Raum stellt einen Konflikt dar, der real und existenziell zugleich ist. Er vertrat Argentinien mit einer Einzelausstellung auf der 50. Biennale in Venedig. Nijensohns Arbeit wurde auf der BienalSur in Buenos Aires (2017) und der Mediations Biennale in Polen (2012) präsentiert. Er stellte auf der Valencia Biennale (2001) kuratiert von Peter Greenaway, der Singapur Biennale (2008) kuratiert von Fumio Nanjo und der Dojima River Biennale in Osaka (2009) aus. Er stellte auch auf vielen Festivals aus, darunter die Transmediale, Videobrasil in Sao Paulo, Rencontres Internationales im Haus der Kulturen der Welt (Berlin), Museo Nacional Centro de Arte Reina Sofia (Madrid) und Centre George Pompidou (Paris), Monitoring in Kassel, Visions of Nature, Kunst Haus Wien (2017/2018), Video Art in Latin America, States of Crisis, LAXART in Kalifornien (2017). Des Weiteren stellte er im Köller-Müller Museum (Windflower, Perceptions of Nature, 2011) in Otterlo, Museum Morsbroich (Radical Shift) in Leverkusen, der Akademie der Künste (Realidad y Utopía, Argentiniens künstlerischer Weg in die Gegenwart, 2011) in Berlin, Whitechapel Gallery (2010) in London, Políticas de la diferencia im Museo de Arte Latinoamericano (MALBA) und Latin America: Video Views - Latin American Artist of the Twentieth Century, Museum of Modern Art (MOMA) in New York aus.

Faezeh NIKOOZAD
Degar Disi
faezeh nikoozad
Degar Disi
Film expérimental | 16mm | couleur | 9:15 | Iran | Allemagne | 2020

"Il s'agit d'un état où on se retrouve entre deux moments. La décision de grandir ou de rester enfant - la métamorphose d'une fille en femme"

Faezeh Nikoozad (Tehran 1984) based in the Germany since 2009, is a freelance filmmaker and Video Artist. She studied stage design (BA) in Tehran and film making (BA) and (MA) at University of Fine Arts of Hamburg ( HFBK Hamburg). Her work covers a spectrum of themes such as displacement, absence, homeland, family and childhood memories. Her mediums range from Experimental film, documentary film and mixed media. Her films have been shown at various festivals and won numerous awards.

Miljana NIKOVIC
Two Simple Letters
miljana nikovic
Two Simple Letters
Vidéo | mov | couleur | 2:34 | Serbia | Allemagne | 2020

March 2020: in a messy and apocalyptic world, what happens if your mind is egoistically obsessed with your love life? If you start searching for potential lovers via dating sites? If most of them do not react to your messages (although you can see them online) probably insufficiently stimulated by your profile? Others might agree for a walk, if it does not rain, Saturday afternoon or next Tuesday. That does not sound promising. Almost always, communication stops for no obvious reason, even though everybody stays online. Attention and curiosity disappear. Will they all remain virtual fantasies? Was it any different before the lockdown? Thanks to the Internet, multiplied screens are our new fragmented windows to the outside world. Connected with anyone, anywhere, anytime. However, isolated: alone and lonely in a room. This vocal and visual poem is a deconstruction of short sentences that one uses to arrange a meeting with a stranger. Hesitant and polite, "two simple letters" imply permanent insecurity, modesty, timidity — avoiding to offend or frighten the interlocutor(s). To put a lighter tone on this self-ironic situation, there is a conscious use of playful pop-elements, both with sound and color effects.

Miljana Nikovic is an architect and researcher experimenting with video, photography, sound, collage, and writing. Born in Belgrade, based in Berlin. After obtaining a Bachelor's degree in 2013 (Ecole Nationale Supérieure d'Architecture de Nancy, France) and a Master of Arts in 2015 (Hochschule für Technik und Wirtschaft Leipzig, Germany), worked as a workplace strategist and project coordinator. Currently starting a doctoral archival-artistic project at the HafenCity University (Hamburg) on the parallels between cities, cinema, and historical perceptions of collective memories. Recently initiated a collective for French-speaking poets and got selected at international film festivals with the experimental short "Seven Seven" and the video-poem "La Rive Virale" (Los Angeles, Mexico, Athens).

Andrea NOVOA
Desastres Naturales
andrea novoa
Desastres Naturales
Film expérimental | 16mm | couleur et n&b | 26:39 | Chili | 2020

Desastres Naturales est la rencontre de trois films, trois territoires. Une récit personnel qui, à travers des expériences traduites en images et les extraits d'un journal, dessine le portrait de rencontres vécues et de lieux habités, traversés par des forces naturelles, des couleurs, des accidents et des luttes. Filmé à Cuba et au Chili. Dédié à Lena

Andrea Novoa (1988) cinéaste chilienne, réside dans la région de l’Araucanie, au sud du Chili. Le développement de son travail photographique analogique et de laboratoire débute au cours de ses études à l'école Foto Arte du Chili. Elle obtient par la suite un master en Cinéma d'Essai de l'École Internationale de Cinéma de Cuba (EICTV), où elle réalise ses premiers films. De 2017 à 2019, elle est membre du collectif de cinéma expérimental CEIS8 (Santiago du Chili) avec lequel sont organisés des espaces de rencontres, de formations et de présentations liés au travail filmique. En 2019, son projet « Desatres Naturales » est sélectionné dans le cadre des résidences de post-production de l'Atelier 105 de Light Cone à Paris. Andrea Novoa co-dirige actuellement Praeclara Imagen, une maison de production et laboratoire cinématographique dans la région de l'Araucanie.

Christoph OESCHGER, Waltenspül/Schulze
Unlearning Flow
christoph oeschger , Waltenspül/Schulze
Unlearning Flow
Documentaire | hdv | noir et blanc | 11:9 | Suisse | 2019

“Machining of Steel”, “Mating of Two Males”, “Dumdum Bullet Effect” and “String Figures” played by the Inuit, the Krahô or the Taulipang in Guyana exemplify that the Institute for Scientific Film (IWF) in Göttingen aimed at capturing all the movement processes of the world on celluloid. The scientific films that the IWF produced, archived and distributed were supposed to be “documents of reality”. Without using commentary, they should make movements visible, storable and re-analyzable at any time. Can there be pictures that are more real than others? The essay film “unlearning flow” examines both National Socialist prehistory and the legacy of the IWF. It reveals the ideology of the distant, objectifying camera view and also the active white washing of the Institute’s history after World War II. With their film, filmmaker Christoph Oeschger and the historians of media and knowledge, Sarine Waltenspül and Mario Schulze, touch only the tip of the iceberg: (war) research with film, the (re-)production of colonial power relations and the creation of (a lack of) knowledge through film.

Christoph Oeschger (1984*) lives in Zurich as an artist, photographer and publisher. In 2014 he founded the book publisher cpress an in 2020 cpressfilms an agency for artist films together with Christof Nüssli. He works with various forms of the documental. His work has been shown in various museums including Fotomuseum Winterthur (CH), Zentrum für Kunst und Medientechnologie , Karlsruhe (DE), Centre de la Photographie Geneve (CH). Mario Schulze (*1986, Halle/Saale) is a cultural scientist and scientific researcher who works on the history of exhibitions, object theories and scientific films. His doctoral thesis is due in 2017 under the title "How things learned to speak. A History of the Museum Object 1968-2000". He has taught at the universities of Leipzig, Berlin, Zurich and Frankfurt as well as at the Zurich Art Academy. Sarine Waltenspül (*1986, Basel) works as a media historian on scientific films. In 2018, she received her doctorate on cinematographic models in films. She co-directs the SNSF research project Aerial Photographs/Light Images and the DFG network Lens On! Furthermore, she has been involved in various functions in the conception and production of music videos, theatre documentaries and feature films and was head of the "Hungerkünstler Verlag".

Noemi OSSELAER
Erpe-Mere
noemi osselaer
Erpe-Mere
Doc. expérimental | dcp | | 20:44 | Belgique | 2020

Surrounded by the sound of nocturnal animals, a girl falls into a deep sleep. Gradually we are drawn into her dream, which unfolds into a cosmic journey through the meadows of Erpe-Mere, a rural community in Belgium.

Noemi Osselaer was born in Aalst, Belgium. She studied audiovisual arts at the Royal Academy of Fine Arts Ghent. Her graduation film ‘Erpe-Mere’ screened at several festivals including Dok Leipzig and IFFR. From January 2021 till December 2022 she will be a resident at the Higher Institute for Fine Arts (HISK) in Ghent.

Halima OUARDIRI
Clebs
halima ouardiri
Clebs
Documentaire | 4k | couleur | 18:11 | Canada | 2019

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Gerda PALIUŠYTE
Nevermore
gerda paliuŠyte
Nevermore
Doc. expérimental | dcp | couleur | 45:0 | Lituanie | 2020

Nevermore is centered on the legend of Edgar Allan Poe, which serves as a ghostly connection between different racial communities in today's Baltimore today. Poe’s figure can be seen as a tool with which to explore popular imagination and to reflect upon present-time anxieties about identity and place.

Director and producer: Gerda Paliušyt? (b. 1987) The last two films directed by Gerda Paliušyt? were well received in the worlds of contemporary art and cinema. Her documentary film The Road Movie, which captured the legen dary rap duo ONYX as they travelled through Vilnius, Lithuania, was commissioned by the XII Baltic Triennial of international art in 2015 and was screened at famous film festivals such as the Toronto Film Festival (as part of the Wavelengths series) in 2017. In 2019, her film project “2002” was selected for Berlinale Talents, the Short Film Station. In her works, Paliušyt? explores cultural history and the stereotipes and contradictions found within it. She is interested in various documentary practices (such as docufiction) and diverse historical and popcultural characters, and their relationship with social reality.

Julia PALMIERI
Play me, I'm yours
julia palmieri
Play me, I'm yours
Film expérimental | mov | couleur | 14:31 | France | Belgique | 2019

« Autour d'un repas bruyant, dans un lit où on partageait un paquet de gâteaux, la discussion pendant que tu te lavais, je préparais à manger et maman venait d'acheter un bouquet de fleurs à mettre sur le piano du salon. Tu n’aurais jamais dû baiser avec lui, elle a si bien fait de coucher avec elle. Je t’appelle demain pour qu’on en discute, je dois téléphoner à ma grand- mère avant. L'amitié, l'amour, la famille, les relations, les interactions, la mort, les femmes, les hommes, la nourriture, ça regroupe, ça divise et c'est poreux. »

Julia Palmieri Mattison est née en 1994, elle grandit avec sa famille en banlieue parisienne. C’est en passant d’un pensionnat non mixte à la colocation qu’elle s’imprègne de la collectivité et de la complexité des relations et des vies partagées. Elle intègre l’École de Recherche Graphique (Erg) de Bruxelles en 2015. La construction de sa pratique artistique passe par différents médiums : installation, peinture, écriture, photographie et vidéo. Souvent tous indissociables. Elle met en lumière l’intimité, malmenée par la collectivité et dévoyée par les réseaux sociaux. Articule? sur son histoire personnelle, son travail s’affranchit du récit individuel en s’inscrivant dans des champs plus vastes : famille, société ou époque faisant appel à une mémoire commune. Julia photographie ses proches dans leur quotidien, elle capture les moments d’intimité partagée pour en saisir l’instant le plus sincère. Accompagnée des archives familiales filmées et offertes par son père, elle commence à mixer photos trouvées et photos retrouvées, circulant des unes aux autres, les reliant par des textes et des enregistrements de conversations volées. C’est en cherchant avec acharnement a? extraire ce qui compose un individu, à questionner les limites imposées des relations amoureuses, amicales et familiales qu’elle réalise son court métrage : Play me, I’m yours.

Stefan PANHANS, Winkler, Andrea
If You Tell Me When Your Birthday Is
stefan panhans , Winkler, Andrea
If You Tell Me When Your Birthday Is
Vidéo expérimentale | 4k | couleur | 11:30 | Allemagne | 0 | 2020

"If You Tell Me When Your Birthday Is" is a 'lost in translation' machinima mini-drama in 3 fragments. It combines 3D scans of real objects and people, CGI worldbuilding, avataring and motion capture elements with scripted spoken dialogue based on current qualities of textual and linguistic communication with and between artificial intelligences. Using real-time computer graphics engines, the film is entirely 'shot' in a virtually created world. The three episodes thus seem like fragments of an absurd computer game, but the conflict between the analogue physical and the virtual digital world, between man and machine remains visibly inscribed here in the glitches, the errors and flaws that arise at the 'cracks' of the interfaces between the differet realms. The absurd, comical, or even uncanny inadequacies of the digital techniques used for the film emphasize these very fractures, instead of striving for complete cleanup and perfectly consumable illusionism. The dialogue is based on the current state of developments of communication with self-learning algorithms, simple, consumer-oriented so-called artificial intelligences, such as chatbots and virtual assistants and reflects on the disturbing peculiarities and differences, the shortcomings, but also the similarities of this kind of communication with that from human to human.

For several years now, Stefan Panhans and Andrea Winkler have increasingly been working together in the sense of Expanded Cinema on filmic projects, sculptural/performative installations and exhibitions. In their works they mainly use cinematic, performative and installative means including text to deal with the increasing hypermediatization and digitalization and their effects on our society, our behavior, our psyche and body, as well as the phenomenon of self-optimization in the form of a practically artistic research. In addition, their works negotiate moments of increasing social inequality, everyday racism, celebrity cult, and gender stereotypes. Their work has been shown in numerous exhibitions and festivals, and many times awarded, e.g. Edith Russ Haus Media Art Award 2017, honorable mention videonale 17, 2019, the innogy visit award for their anti-musical »Defender«, 2019, and the research fellowship at the academy for theater and digitality, Dortmund, 2020. Recent exhibitions include the opening performance combining video with installation and staccato reading, comissioned by transmediale, HKW–Haus der Kulturen der Welt, Berlin, 2019; the expandended cinema installation »Freeroam A Rebours Mod.I.1 – installation version« at Tabakalera–International Centre for Contemporary Culture, 2020; Upcoming is their solo show at HMKV–HartWare MedienKunstverein Dortmund early summer 2021

Arnold PASQUIER
Ivry-sur-Seine
arnold pasquier
Ivry-sur-Seine
Fiction expérimentale | hdcam | noir et blanc | 8:45 | France | 2020

Dans un appartement, des amis se retrouvent, se rencontrent et s'embrassent.

Arnold Pasquier est l’auteur d'une œuvre qui couvre les champs de la fiction, du documentaire, de l'essai et du cinéma expérimental. Il partage son activité entre projets personnels, enseignement et collaborations en tant que chef-opérateur et monteur. Dès ses études d’arts plastiques et de cinéma, il réalise des essais en Super 8 et en vidéo où il mêle journaux filmés et fictions. À vingt ans, il se rapproche de la danse contemporaine et collabore avec des chorégraphes comme documentariste (Mathile Monnier, Josef Nadj, Dominique Boivin, Christian Rizzo) et comme danseur (Ami Garmon, Régis Huvier, Felix Ruckert, Julie Desprairies). En 1997, il est résident au Fresnoy, Studio national des arts contemporains à Tourcoing. En 2004, à la faveur d’une bourse «Villa Médicis hors-les-murs» de l’AFAA, il réalise au Brésil le film de long métrage Celui qui aime a raison. Cette expérience marque un intérêt pour la représentation de la ville et de l’architecture qui se développe avec L'Italie (2012), puis Borobudur (2015).

Jens PECHO
Housebound
jens pecho
Housebound
Film expérimental | mp4 | couleur | 4:46 | Allemagne | 2020

The film combines a scene from the movie "Copycat" (1995) with footage of my editing the film. It is a reflection on the idea of artistic originality as well as the art world’s constant desire to instantly transform everything – even the current health crisis – into works of art. The chosen scene shows Sigourney Weaver playing a psychologist suffering from agoraphobia having a nervous breakdown in a well equipped apartment in which she has been living housebound for several months. Despite the luxurious interior, her only source of social comfort is provided by the back then recently invented internet. Sitting at her desk admidst several clunky computer monitors she exchanges short messages with her distant chat partners. This footage is contrasted by textual inserts questioning the necessity and original value of artistic production in contemporary art. Weaver’s dramatic performance and the questionable 1990’s chic of the apartment add a humorous layer of critique on egocentric and classist character traits not uncommon in the art world. "Housebound" was commissioned by the 66. International Short Film Festival Oberhausen. It is my contribution to the festival's discussion: "Can and should one make films now?"

Jens Pecho studied at the Academy of Media Arts Cologne as well as the Staatliche Hochschule für Bildende Künste – Städelschule in Frankfurt am Main. As a visual artist, he works mostly with text- and video-based installations. His works have been shown internationally at museums as well as film festivals, among them the Art and Exhibition Hall of the Federal Republic of Germany, the Forum d'Art Contemporain – Casino Luxembourg, the Herzliya Museum of Contemporary Art, Israel, the Bangkok Biennial, Thailand, the Museum Kunstpalast Düsseldorf, Germany, the International Short Film Festival Oberhausen, Germany, the Message to Man IFF Saint Petersburg, Russian Federation, and the Uppsala International Short Film Festival, Sweden. He received several awards for his work, including the Spiridon-Neven-DuMont-Prize, the Young Artist Award from the State of North Rhine-Westphalia and most recently the Video Art Award of the city of Bremen.