Sat, Jun 7, 2014
Lecture Hall
5 pm
Free admission
João Pedro Rodrigues: O corpo de Afonso, Photo: Promo

Fabian Driehorst, Frédéric Schuld: Hohenpeissenberg
Germany 2011, Video installation, 35mm, color, 02:30 min

Crispin Gurholt: Paris
Norway, France 2013, Video, hdv, color, 03:04 min

Xing Yan: Arty, Super-Arty
Cina 2013, Video, hdv, black and white, 09:16 min

Floris Schönfeld, Frank Chu: The Richest Family; The Early Episodes
Nehterlands, USA 2013, exp. Documentary, hdcam, color, 15:00 min

Zackary Drucker: At Least You Know You Exist
USA 2011, exp. Film, 16mm, color, 16:00 min

Cecilia Lundqvist: The Quiet Game Starts Now
Sweden 2012, Animation, hdv, color, 05:47 min

Elsa Werth: Un triangle dangereux
France 2013, exp. Fiction, hdv, color, 04:30 min

João Pedro Rodrigues: O corpo de Afonso
Portugal 2013, exp. Documentary, hdv, color, 32:00 min

Fabian Driehorst and Frédéric Schuld film a car on fire on an alpine backdrop. The sequence splits into a second screen in reverse. In Paris, Crispin Gurholt films a twilight scene and highlights the relationships that exist between power, politics, sex and money. Xing Yan reinterprets the scenes of Edward Hopper’s paintings and extends them into live works. Floris Schönfeld creates a portrait of Frank Chu, in collaboration with him. This last is a contester known in San Francisco for imagining himself as a victim of an intergalactic conspiracy, a star of a sitcom shot against his will, “The Richest Family”, and broadcasted in alternative galaxies. The two collaborated on the first authorised shooting of the series, aimed to be aired on Earth. In an oscillating format between a documentary and an epic, Zachary Drucker films the interiors of the house where a legendary drag queen, Mother Flawless Sabrina, has been living for 45 years, proposing the exploration of a fixed space that is inevitably in a state of change. Cecilia Lundqvist satires the time dominated by egocentrism. A character dominates the conversation then silence becomes even more powerful and becomes in itself expressive. Elsa Werth puts in place a false war strategy in the setting of a free-fight club in the province. The characters are trapped in a narrative that doesn’t move forward, restrained to the role of extras. João Pedro Rodrigues questions what the body of Dom Afonso Henriques resembled, the first king of Portugal, a tutelary figure, subject to successive mystifications over the course of the country’s history.