2017, Fri, Jun 16

Rencontres Internationales Paris/Berlin

Coffee discussion (Audi Foyer) | Focus (Vts) | Counterfeiters (Vts) | History. Part 1 - Bounds (Vts) | Dance-Body (Audi) | On Vision (Audi)

Bogdan Smith | Traum

Bogdan Smith | Traum

2 pm: Forum | Coffee discussion (Audi Foyer)

We invite you for a coffee and discussions with the invited artists who will talk about their work, their researches and ongoing projects, in dialogue with the curators of Rencontres Internationales. Before the screening programme starts, an informal moment to address the work of the programmed artists.

2.30 pm: Focus(Vortragssaal)
The presentation of the work of an artist in particular or of a curator, to discover her/his work and researches.Detailed programme announced on Rencontres Internationales’ web site

3.30 pm: Counterfeiters (Vortragssaal)
Ubermorgen: Chinese Coin (Red Blood) | Video | hdv | colour | 9’50’’ | Austria, Germany, Switzerland | 2015
Alyona Larionova: Across Lips | Video | hdv | colour | 11’43’’ | Russia, United Kingdom | 2016
Katleen Vermeir, Ronny Heiremans: Masquerade | Exp. documentary | hdv | colour | 51’10’’ | Belgium, Japan, Netherlands, United Kingdom | 2015

Ubermorgen examines a virtual currency, of which China has become one of the main producers. This new currency attains rates nearing those of goods like gold or silver, its production requiring huge natural resources. Alyona Larionova tries to decode what a narrative is in the digital age, and reflects on belief systems. She creates tension between order and chaos, technology and mass data, faced with an impending disaster. Katleen Vermeir and Ronny Heiremans observe human relations, which have become pure transactions, in an ironic critic of the cultural and investment funds sectors. Art, like finance, is a belief system. The Maison Des Artistes, defined like a work of art, becomes a financial instrument.

5.30 pm: History. Part 1 - Bounds (Vortragssaal)
Nemanja Nikolic: Panic Book | Animation | hdv | b&w | 5’45’’ | Serbia | 2015
Milutin Gubash: Language Lesson, and: Vesna at Monument | Video | 0 | colour | 1’42’’ - 3’46’’ | Serbia, Canada | 2016
Pascal Piron, Karolina Markiewicz: Artis | Video | hdv | colour | 5’12’’ | Luxembourg, Netherlands | 2016
Aslan Gaisumov: Volga, and: People of No Consequence | Video | 4k | colour | 4’11’’ - 8’34’’ | Russia, Chechen Republic | 2015
Clemens Von Wedemeyer: Die Pferde des Rittmeisters | Exp. documentary | hdv | b&w | 10’ | Germany | 2015
Christo Doherty, Aryan Kaganof: Lamentation/Klaaglied | Exp. documentary | hdv | colour | 18’ | South Africa | 2015

In his animation, Nemanja Nikolic proposes a reflection of Tito’s legacy, from drawings on books in the family library, books on the philosophical thought and politics of Yugoslavian socialism. The pages filmed revive scenes of fear, panic, and escape taken from Hitchcock’s films. In ‘Language Lesson’, Milutin Gubash superimposes a Serbian lesson given by his mother on images of Tito’s grave in Belgrade. In ‘Vesna At the Monument’, a woman walks the length of a monument erected during his youth, celebrating the fight of the people against fascism and the ideal of a progressive state. Pascal Piron and Karolina Markiewicz evoke the story of Jews who were hidden in a zoo for three years during the Second World War. Aslan Gaisumov reconstructs the moment of escaping with his relatives from Grozny where there was a war on in 1995. In ‘People of No Consequence’, he gathers survivors of the deportation of Chechen people to Central Asia 72 years ago. Clemens Von Wedemeyer assembles images of horses, filmed by a cavalry captain during the Second World War, between 1938 and 1942, examining pictorial spaces and the subjective camera at war. Christo Doherty and Aryan Kaganof direct a film about a secret war of the Apartheid regime. For over 23 years, from 1967 to 1989, tens of thousands of white soldiers were sent to the borders of Namibia and Angola to kill and die. The white soldiers covered their faces with black to conceal themselves. 

7 pm: Dance-Body (Auditorium)
Giovanni Giaretta: The Sailor | Video | hdv | colour | 8’ | Netherlands, Italy | 2017
Yoann Lelong: Génèse | Exp. documentary | hdv | colour | 31’50’’ | France | 2016
(La)Horde: Novaciéries | Video | hdv | colour | 16’43’’ | France | 2015
Bogdan Smith: Traum | Fiction | hdv | colour | 24’ | France | 2016

Giovanni Giaretta tells the story of a sailor dreaming of a homeland that he never had. Yoann Lelong films moments of improvisation, rehearsal and hesitation that make up a work. Music by Les Gordon is superimposed over the movements of hip-hop dancers choreographed by Anne Nguye. Two worlds complement one another in a new and unique form. (La) Horde explores a contemplative situation where different aspects of jumpstyle - dance originating in mainstream hardcore – are staged and reinterpreted. The camera follows dancers and a singer in an abandoned former steel mill. The different performers wander around before reuniting to perform without an audience. In an unspecified period and country, Bogdan Smith produces a story around 21 year old Yevgueni, a young astronaut and technician who dreams of travelling in space. During the particularly critical launch of a manned Soyuz spacecraft, Yevgueni suddenly loses consciousness, causing loss of contact with the crew in orbit, and the explosion of the spacecraft in space. Haunted by this catastrophe, he gradually loses his grip on reality, taken over by this trauma haunting him.

9 pm: On Vision (Auditorium)
Peter Downsbrough: THE [ AS | Video | hdv | b&w | 10’12’’ | Belgium | 2016
Graham Kelly: Skull Island | Exp. documentary | hdv | colour and b&w | 18’07’’ | United Kingdom, Netherlands | 2016
Dan Ward: Performance | Exp. documentary | hdv | colour | 18’ | United Kingdom | 2015
Joshua Mosley: Jeu de Paume | Animation | hdv | colour | 2’52’’ | USA | 2014
Damir Ocko: The Third Degree | Video | hdv | colour | 10’30’’ | Croatia | 2015
Sebastian Diaz Morales: The Lost Object | Video | hdv | colour | 13’29’’ | Netherlands, Argentina | 2016

Based on images taken in an airport, the symbol of a global society, Peter Downsbrough examines the act of filming and the structuring of language in moving images. Graham Kelly examines cultural and technological developments in contemporary image. Based on different film versions of ‘King Kong’, he highlights the preponderant importance of the socio-political context in which the public receives these images. Dan Ward documents the shooting of motion capture. Everything in the studio is made to standardise the implementation process. Joshua Mosley uses animation to recreate a game of real tennis that took place at the Château de Fontainebleau, in 1907. With skilled editing, he resumes the idiosyncratic moments of hesitation, the different degrees of concentration and what he calls ‘human consciousness’. Damir Ocko explores the mechanism of a film set where third degree burns are filmed. In English the term ‘third degree’ means both a very bad burn and a confession obtained through torture. Sebastian Diaz Morales examines the mechanisms through which we perceive the constructed nature of reality. Fiction and reality merge; fiction appears to self-generate.