Les Rencontres Internationales — Samedi 6 décembre — La Gaîté lyrique — Screening — Slash Paris

Past: Saturday, December 6, 2014 at 2 PM

A la Trace — 14h00 — Auditorium

Mounir Fatmi : History is not Mine

Vidéo — hdv — couleur et n&b — 00:04:00 — Maroc — 2014 


(French only) Proposée pour la première dois à Londres, cette installation vidéo en noir et blanc met en scène un personnage cherchant à taper à la machine le titre au moyen de marteaux. Seul le ruban est rouge, laissant penser que le texte s’affiche en lettres de sang, dans un télescopage de « la beauté de la phrase à écrire avec la violence et la difficulté de sa réalisation. »

Masbedo : 2.59

Vidéo — hdv — couleur — 00:03:00 — Italie — 2013 


Mont Tesprateep : Endless, Nameless

Fiction exp. — super8, photo — noir et blanc — 00:22:39 — Thaïlande — 2014

Endless, Nameless is a hand-processed Super 8 film, shot in the private garden of a high-ranking Thai army officer. The film constructed from more than twenty years of mont’s observations and memories about different groups of conscript who worked alternately in this garden. The film was created as a self-hypnosis to reinvestigate and seek to understand his existence in the family and how he has been brought up. “I am interested in the phenomenon of light motion and form becoming directly visible when one`s eyes are closed or when one is in darkness or so-called Prisoner`s Cinema. This reminded me of a resurrection of memories or maybe an invented illusion.”


Claudia Joskowicz : Los rastreadores

Vidéo — hdv — couleur — 00:23:00 — USA — 2014 


Los rastreadores is a two channel video installation set in Bolivia and very loosely inspired by John Ford`s American Western classic film The Searchers. It does not attempt to recreate the film but adapts its major themes where the similarities lie in the use of landscape and depictions of themes like race and alienation. The main character in Los Rastreadores, Ernesto Suarez, is a drug lord who, recently released from a Miami prison, returns to his home in Santa Cruz only to immediately depart in a search towards the oposite side of the county for his family`s only surviving members after a home invasion and massacre. Ernesto`s character is modeled after Roberto Suarez Gomez, a Bolivian drug trafficker nicknamed “king of cocaine” and the most powerful drug lord in Bolivian history. Los Rastreadores merges and distills issues of race, belonging, class systems, and alienation into a minimal narrative that con- denses the massacre of Ernesto`s family, the kidnapping of his daughter, and his departure to search for her. Using silences and voice-overs rather than traditional dialogue it centers on the power of myth where literal events operate as a displacement for the political discourse in the country.

Clemencia Echeverri : Supervivencias

Vidéo — hdv — couleur — 00:11:21 — Colombie — 2013 


(Survivals) Supervivencias is a multichannel video installation that merge from an investigation I made of political distances in our Colombian territory. I took multiple journeys through the country, in order to hear the pulsating beats of a territory that has experienced the conflict, controversies and discords for many years; in order to sense how a land gets scorched while being traced by boundaries as well as crossroads, and how that stories, histories get calcined. This piece– executed on the basis of their own rhythm, forces and times — betoken vital ferments, trepidations and a foreboding darkness. Sol Astrid Giraldo a Colombian art critic wrote about Supervivencias“…. The land cannot be tranquil in the wake of sacrifices: It is a restless land, plowed by presences as much as it is by absences, limited not only by physical boundaries of blood and fire but by invisible ones as well, of added terrors and secrets. Such is the land of war, which won´t fit in with pacifier narratives. How can it be named then? How can it be made visible? ….In Supervivencias a house emerges with its atavistic symbolism in full display: doors opening and closing, corridors leading who knows where inscrutable nooks and corners. Then, finally, an invasion of ghostly, overflowing presences, The ancestral house, the sheltering one, the dwelling and the refuge is now ridden with porosities that cannot curb the exterior pressure.” www.clemenciaecheverri.com

Felipe Guerrero : Nelsa

Fiction exp. — hdv — couleur — 00:13:00 — Colombie — 2014 


A mission in the middle of the Colombian jungle. Time seems to have stopped. There is something sinister in the air. The ambiance is tense. Hot and humid. A man surrounded by an environment that burns himfrom the inside. Power, poetry, violence. Everything happens in an instant, leaving everyone breathless.

Roberto Collío : Muerte Blanca

Animation — 16mm — noir et blanc — 00:17:20 — Chili — 2014

Travailleurs — 16h00 — Auditorium

Christian Barani : Prolégomène à la lumière

Documentaire exp. — dv — couleur — 00:07:00 — France, Kazakhstan — 2013 


(French only) KAZAKHSTAN. Mine de Kouzembaïev dans les steppes de Karaganda. Durant l`époque soviétique, les mineurs bénéficiaient d’un très grand respect de la part du régime et de la population. Ce statut était du aux nombreux sacrifices subis pour la construction du pays. Depuis la chute du mur, une société libérale est apparue. Avec lui, l’individualisme, le chômage et la crise. Les mines ferment les unes après les autres. Sur 28 mines présentent dans la région, seules 8 sont encore en service. Dans la mine du héros Kouzembaëv, dans cet instant qui précède la descente dans le noir, seule la lumière persiste pour honorer ces corps. 2013. 7 min.

Chen Hung Chiu : The Marble Workers

Documentaire exp. — hdv — couleur — 00:07:30 — Taiwan — 2013 


The video shows two Tai labors in Hualien marble factory pushed a trolley used in the past particularly for mine district, today , this old style trolley has been replaced by the new style crane, Artist invites two labors walking back and forth through the old trolley that he gilded by covering gold leaves as a divinized presentation. This work therefore has blended and mixed the reality and memory in life like the layers of wrinkles and folds in the stratum, the viewer could crate an archaeological journey from the imaginations in many aspects. h5. Kevin Jerome Everson : Workers Leaving the Job Site

Film exp. — 16mm — couleur — 00:06:50 — USA — 2013 


Kevin Jerome Everson : Tygers

Film exp. — 16mm — noir et blanc — 00:02:00 — USA — 2014 


Tygers, a short film by Kevin Jerome Everson, is a glance at the fancy moves by the Mansfield Senior High football team in Mansfield, Ohio, the alma mater of the filmmaker.

Simon Gush : Iseeyou

Vidéo — hdv — noir et blanc — 00:13:52 — Afrique du Sud — 2013 


The title of the film, Iseeyou, comes from the slogan of the first multi-racial trade union in South Africa. It is a meditation of the relationship of visibility to work. Exploring public monuments to work and workers in Johannesburg, it looks at how these have been celebrated in apartheid and post-apartheid South Africa through public art. The film suggests that this celebration is a way in which the conditions of work, and often the abuse of the rights of workers, is justified through the promotion of a work ethic.

Michael Busch : Buch der Gesichte, Kapitel 1-5

Vidéo — hdv — Couleur — 00:15:00 — Allemagne — 2014 


„Gesichte“ is an old fashioned german word, close to „Gesichter“, which means „faces“, but these faces are more of a vision, an image from a dream or a hallucination, it is about inner landscapes. The one who sees these phantoms is in a transcendent room, an undefined in-between. „Gesichte“ also appear in the japanese Noh theatre plays, where real people meet ghosts, souls of the passed, that find no rest. The Visions Book — in Germany nearly a translation of „facebook“- is a collection of my obsession of this worlds in-between, merging worlds, overlapping worlds, overlapping like two green screen video images, not accurate enough to avoid the light greenish shimmer in the hair of the teenage model. The basis of this collection is the photographic still image, the frozen pose. The film is like a photobook in time, the „book“ like part of it like a page of a facebook chronical, a pile of short clips, pix, texts, comments, in a boundless subjectivity

John Skoog : Federsee

Documentaire exp. — hdv — couleur — 00:08:02 — Suède, Allemagne — 2014 


A film that looks at the traditional folklore surrounding the celebration of Fasnet (carnival) in the small Schwabian town of Bad Buchau

Eduardo Williams : I Forgot !

Fiction documentaire — hdv — couleur — 00:29:00 — Argentine — 2014

(French only) Grimpez-là, sautons, les champs sont verts et les maisons grises. Nous sommes tous petits. Je sens que les pores de ma peau deviennent géants.

A l’instant — 18h00 — Auditorium

Halida Boughriet : Pandore 

Vidéo — hdv — couleur — 00:08:44 — France — 2014 


(French only) La vidéo Pandore se concentre sur un groupe social, enfants en marge du reste de la société française. Portant un regard sombre et inquiétant sur la réalité des rapports humains et aussi du système médiatique à la violence qui en découle. Les protagonistes sont invités à se dévoiler, témoignant de leurs histoires qui renvoient à l’image d’un passé et d’un présent » Mythe ou Réalité ». Ils se mettent en scène dans des positions et postures artificielles, filmées par des séquences au ralenti extrêmement fluides. Enfin, La lumière travaille à inviter le spectateur à une curieuse contemplation dans l’intimité d’un espace clos et artificiel, dégageant une atmosphère irréelle et anormal.

Dominik Ritszel : Film o szkole 

Fiction exp. — hdv — couleur — 00:08:59 — Pologne — 2014 


Video was recorded in primary school, which I graduated in 2003. This work is inspired by architectural elements in space of the school. I am mainly interested about functionality of certain spaces of the school, for example halls, passages, gyms, dressing room and also how institutional rules and statutes can take a form of game.

Marta Serna : SnakeBoy 

Animation — hdv — noir et blanc — 00:00:34 — Espagne — 2014

Synopsis of SnakeBoy SnakeBoy is the first video of the series Immaculate Dreams. It’s an animated portrait of a real person who creates a fictionalised version of himself, in what represents a journey through his own dreams. It features SnakeBoy riding a snake as a cowboy, truly enjoying being in control of the situation. Immaculate Dreams is about the possibility of turning a dark or unpleasant journey into something luminous and flawless through the exorcism of staging. The main characters will have to stage some of their dreamlike experiences in order to carry out their own “animated portrait of their dreams” and hence portraying themselves in a more intimate, personal way.


Justin Schmitz : What Else Could This Be 

Documentaire exp. — hdv — couleur — 00:20:09 — USA — 2013

What Else Could This Be is a portrait of a world that exists between childhood and adulthood. This is a view of American youth as seen in the strip malls, the backseats of cars, and the empty parking lots. These youth idly bide their time, waiting to grow up. This film is a meditation on youth, transition, and wanting to connect in the world.

Désirée Pfenninger : Ochs am Berg 

Fiction — 16mm — couleur — 00:15:48 — Allemagne — 2014 


A rest stop docks the highway like a moonbase. Within this transit space a young man and a young woman drift in their orbits. A German love story.

After her first steps in the movie industry Désirée decided not to study film. After finishing studies in photo engineering and further filmexperiments she signed up for directing classes in Paris and Potsdam.

Josef Dabernig : River Plate 

Film exp. — 35mm — noir et blanc — 00:16:00 — Autriche, Italie — 2013 


River Plate displays a micro society in a fragmented body-narration. Knees, shoulders, feet and bellies are signifiers of articulated human presence, revealing nothing else against a claustrophobic background of cement, stone and water.

Hannes Schüpbach : Instants 

Documentaire exp. — 16mm — couleur — 00:16:00 — Suisse — 2012

(French only) Hannes Schüpbach: Instants Les instants arrivent, ils se manifestent pour nous et à travers nous. Comme la jeune fille qui atterrit dans l’image en déesse du vent et dont les mouvements se figent en attitudes, en une suite d’images arrêtées. Entre les instants, des relations, évidentes ou imaginées, se créent. Une main écrit phrase après phrase dans un carnet, s’interrompt, recommence ; elle marque ainsi une boucle et un retour en arrière. Ce qui a été ressenti prend alors forme. Les petits heurts, les frictions et les pauses dans la succession des images composent ce corps d’instants qui produit un langage. — H. S. (Traduction : Isabelle Ribadeau Dumas)

Thomas Köner — 20h00 — Grande Salle

“Expanding Illuminance”

(French only) Une traversée hypnotique entre deux visions du futur et deux utopies, réalisée à partir de fragments du film monumental “Metropolis” (Fritz Lang, 1927) et du film culte des années 80 “Tron” (Steven Lisberger, 1982).

Thomas Köner a étudié à l’Académie de musique de Dortmund, et au CEM- Studio à Arnhem. Son travail s’intéresse principalement à la combinaison des expériences visuelles et auditives, et se développe sous forme d’installations, de concerts, de vidéos, de photographies et d’œuvres multimédias. En 2000, il reçoit le “New Media Prize” du Montreal International Festival New Cinema New Media. En 2004, il reçoit le “Golden Nica” de Prix Ars Electronica, le “Produktionspreis WDR / Deutscher Klangkunst — Preis” (prix allemand d’art sonore). Son installation média “Suburb of The Void” a reçu le prix Transmediale 2005 à Berlin et a été présenté à la Biennale de Venise, au théâtre de La Fenice, en performance live. La vidéo “Nuuk” a reçu le Tiger Cub Award (meilleur court-métrage) au Festival International du Film de Rotterdam en 2005. Plusieurs musées importants ont acquis ses œuvres audiovisuelles pour leur collection: notamment le Centre Pompidou, le Musée d’art contemporain de Montréal, la Comunidad de Madrid, le FRAC Limousin. En 2008, il participe à la Media Art Biennal de Séoul. En 2009, il reçoit le Prix MuVi au Festival international du film court d’Oberhausen. Thomas Köner est nominé pour le prix Nam June Paik en 2012.

Cinéma Self 2nde partie — 21h00 — Grande salle

Christoph Girardet : Fabric 

Film exp. — hdv — noir et blanc — 00:09:52 — Allemagne — 2014


Fabric is a montage based on remaining workprints from a commercial film about viscose that no longer exists. The original attempt of the film to visualize perfect images of a young tailor and models dressed in sensual fabric while acting within a decorative modernist setting is mirrored in its shortcoming. The leftovers only show the preliminaries, faulty repetitions and aborted takes, thus all footage which was thrownout. Clapper boards indicating each take by numbers allowed to reconstruct a part of the film’s original storyboard. The new montage shows all of the remaining snippets from the related scenes including the clapper boards, the repeated takes and the glitches in the film material. However, all parts which probably have been used to edit the original film are missing, the gaps are marked with beeps on the otherwise silent soundtrack. While following a fragile new narrative, Fabric also generates a counterpart of an artefact that was lost.

Sebastian Diaz Morales : Insight 

Vidéo — hdv — couleur — 00:11:31 — Argentine — 2012 


Insight is the total abstraction. A carefully assembled film-crew appears like a tableau vivant facing the viewer. Then suddenly, they shatter- an analogy of breaking through the surface to expose the simulation- a mirror slowly explodes into a thousand pieces. Filmed in beautifully rendered high definition Insight is a tribute to the camera obscuras of old mingled with a critical spirit directed towards the mass media today. Regarded as a phenomenon brought about by a world lacking distinction between real and simulacra, Diaz Morales borrows media industry tactics to expose and undermine. Revealing rather than concealing his methods allows for a moment of realisation to occur. As the pieces of glass crumble into tiny galaxies, context is deconstructed and the universalising tendency of Diaz Morales` practise literally portrayed. With timeless grace the artist contemplates the nature of existence. text Nathalie Levi We look at a film crew; the film crew is watching us. Cinema as a mirror of reality that becomes fiction. Or is it vice versa? A world with a mirror image, one that can be accessed by crossing the mirror’s surface. Indeed, within the realm of fiction, mirrors provide characters and readers alike with a gateway to a different world. Interaction with that new environment, be it purely fantastic or disturbingly didactic, pushes one to expand one’s horizons and reconsider the concept of a real world.

Mélissa Epaminondi : Lavezzi 

Vidéo — hdv — couleur — 00:12:35 — France — 2013 


La Ribot : Film noir 001

Vidéo — hdv — couleur — 00:12:48 — Espagne — 2014 


(French only) Commencé en 2014, FILM NOIR est un projet en évolution, en plusieurs parties, qui explore une fascination à long terme de La Ribot: la figure de l`extra, “surnuméraire” ou l`acteur de fond. Les pièces de La Ribot 40 Espontáneos, 2004, et PARAdistinguidas, 2011, par exemple, invitaient des extras (des bénévoles locaux, normalement avec peu ou aucune expérience théâtrale) au centre de la scène dans de nouvelles œuvres d’art vivant pour le théâtre. En revanche, FILM NOIR regarde en arrière dans l`histoire du cinéma et utilise la vidéo pour explorer la dynamique cinématographique du monde des extras. Premier de la série, FILM NOIR 001, 2014, se penche sur les extras dans Spartacus (1960) et El Cid (1961) — "papier de tournesol" humain dont les actions et les attitudes révèlent les idéologies contrastées des deux productions. Actuellement en cours, FILM NOIR 002 et 003 élargissent l`enquête sur d`autres films et d`autres questions.

Deborah Stratman : Hacked Circuit 

Fiction documentaire — hdv — couleur — 00:15:09 — USA — 2014 


Multiple layers of fabrication and imposition are laid bare by this fluidly choreographed, single-shot embodiment of control. While portraying sound artists at work, typically invisible support mechanisms of filmmaking are exposed, as are governmental violations of individual privacy. Filmic quotations ground Hacked Circuit, evoking paranoia, and a sense of conviction alongside a lack of certainty about what is visible. Complications of the seen, the known, the heard and the undetectable provide thematic parallels between the stagecraft of Foley and a pervasive climate of government surveillance.

Kerstin Schroedinger, Mareike Bernien : Rainbow’s Gravity 

Documentaire exp. — hdv — couleur — 00:32:50 — Allemagne — 2014

Rainbow`s Gravity is a cinematic study on the Agfacolor-Neu colour film stock made in Nazi Germany. Along its three layers of emulsion, the film digs deep into the escapist colourised landscape of this time and asks for the material requirements, retentions and ideological continuities of the Agfacolor palette. The film sequences, projected in the former production line, dismantle not only themselves, but also our view accustomed to historicise. Those scenes aim to visualise what the colour does not show. The film tries to realise, not only how it had been — in the darkrooms of the Agfa film factory — but also how it can be possible at all to face this reality today within film, in images and movements without a final or even conciliatory view of the past