Screening

Les Rencontres Internationales

Unresolved (Ths) | Devices (Ths) | A Night At Museum (Ths) | Special Screening (Audi) | Brobudur (Audi)

Thu, Mar 17, 2016

3–9 pm

Free admission

Further information on www.art-action.org

Screening Sessions in the Auditorium (Audi) and Theatersaal (Ths)

Cecilia Lundqvist describes the inability of humans to capture the fleeting nature of things. Simon Gerbaud gradually makes objects disappear, dematerialising the existence of objects and our belief in them. Brit Bunkley films whirlwinds in abandoned towns in the Californian desert. John Skoog films farmer Karl-Göran Persson’s house. At the beginning of the 40s, the farmer started to fortify his small house, to provide refuge to villagers in the event of a Soviet invasion. Elske Rosenfeld comments on the recording of the first Central Round Table that took place on 7th December 1989 in East Germany, two months after the first big demonstrations, while a demonstration roars outside. Eléonore de Montesquiou’s film is a portrait or monologue of Kyril Zinovieff who was 100 years old at the time. He shares his impressions of Russia. Born in 1910 in Saint Petersburg and a child during the Russian Revolution, his family escaped to Estonia then settled in England, where he became an intelligence officer and translator. Anthony Haughey explores ideological and political narratives, and proposes a reflection on the Srebrenica massacre of 1995 when the Army of the Serb Republic of Bosnia killed over 8,000 men.

Stéphane Pichard produces a sort of musical, a ‘docu-fanfare,’ like we say ‘docu-fiction.’ Zachary Epcar presents a night-time landscape, and transforms simple plants into Hollywood characters. Nicolas Tubery contemplates the mechanisms of video and the subject filmed in one and the same act. An unusual filming device in a sheep pen reveals a choreography of the effort and work. Pat Collins and Sharon Whooley film a lighthouse that becomes a metaphor for the filming process. Sarah and Katrien Vanagt conduct a 17th-century experiment enabling the device for ocular vision to be observed. Jean-François Reverdy uses the pinhole camera to reproduce the light of the desert and film men who live there in a desert region of Mauritania, the exploitation of iron quarries and the transport of the mineral to the Ocean on board the world’s longest train.

Arthur Fléchard sees his garden like a medium for experimentation where the mown lawn becomes an aesthetic composition. Roswitha Schuller and Markus Hanakam analyse discourse on the history of art, and seek the secret order involved in any disorder. Bubi Canal describes the unconscious expressions of different characters whose memory, imagination and reality are inextricably linked. In an art gallery, Crispin Gurholt assigns his models the same roles as they play in reality, curator, critic and gallery owner. Loïc Vanderstichelen and Jean-Paul Jacquet follow a researcher who identifies a collection for a new museum under construction. His scientific point of view clashes with heightened emotional feelings that will lead him to mental confusion. Alexander Glandien films working areas in a contemporary art museum. Zapruder explores a variety of links and dimensions between true and false, and what appears to be an almanac of vision elapses.

7 pm: Special Screening (Auditorium)
Philippe Grandrieux: Meurtière | Exp. film | 2k | colour | 1:01:00 | France | 2015
‘The subject of Meurtrière is The Thing. The Thing is insane, mad, excitable, hysterical, grotesque, phobic, dangerous, brutal, devouring, wild, sexual, unpredictable, astounding, frenetic, atrocious, worried, frightening, ecstatic, desirable, vulgar, wicked, embarrassing, shameless, nervous, obscene, sacred, sacrificed, furious and deadly. But above all, The Thing has no intent.’ (Philippe Grandrieux)

Mélissa Epaminondi films the first modern architecture in Sardinia that was built in 1965 and is visible from everywhere in the city. Until 1970 a bright star was put on top of it during the Christmas period. During the same period man landed on the moon. The film is an evocation of the collapse of utopias.
Arnold Pasquier follows an architecture student Federico in Palermo. He scours the city looking for modern buildings to draw and photograph. In a park he meets a young man, Borobudur, who will open doors to another urbanity. Federico abandons his daily life and discovers a city that transforms him in the wake of this magical boy.