Screening

Les Rencontres Internationales

Anti-Cliché (Audi) | Topologies (Audi) | Architectures (Audi) | Identities (Audi)

Fri, Mar 18, 2016

3–9 pm

Free admission

Further information on www.art-action.org

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

Adrian Flury recreates a continuum from thousands of touristic shots of sites in Athens taken from the Internet, and revives them through the duplication of images and perspectives. Diego Bruno questions the creation and structure of ideology, the role of intellectuals and the forms of historical representations. Galindez begins with the play ‘El Señor Galindez,’ written by the Argentinian psychoanalyst, author and actor Eduardo Pavlovsky in 1972. Miguel Peres dos Santos resumes and compiles extracts from Dutch public television in the 60s, in relation to emigration and the perception of those considered as ‘other,’ thus establishing a comparison between collective consciousness and censored archives. Eduardo Cachucho questions the use of language and emotions, commonly used by politicians with a view to controlling the masses. He echoes the conclusions of the psychological experiments carried out by Hendrik Verwoerd, who in the 30s wrote ‘A Method for the Experimental Production of Emotions’ through the use of colours and symbols. Can Sungu reveals a fictional universe based on stereotypes, culture shock and trauma in the lives of immigrants. ‘Replaying Home’ is a video collage of extracts from Turkish films shot in Germany in the 70s and 80s specially intended for the Turkish community, who gathered to see these films on video evenings.

Sirah Foighel Brutmann and Eitan Efrat question individual and collective memory, and the presentation of history. The video partly comprises photographs taken by visitors at the Walter Benjamin memorial in Portbou. Maya Schweizer films Les Milles, a village in the south of France, home to an internment and deportation camp during the Second World War. Traces of the past surface. Galería Perdida examines the dots that form a printed image, and compares them to the structure of the language, where each phonomenon is required to form the meaning. Armando Lulaj recreates the story of the American plane forced to land at Rinas airport, on 23rd December 1957, after crossing People’s Republic of Albania airspace. Velibor Bozovic reconstructs his day on 3rd April 1994, during which he was, as a soldier of the Bosnian Army, accompanied by a military intelligence officer to visit his father, a prisoner of war of this very army. The meeting was filmed then broadcast on television during prime time. 18 years later, Velibor Bozovic revisits this documentary evidence, questioning its status as propaganda, historical document and personal recollection.

Fréderic Nauczyciel presents a ritual. Kendall Mugler, part of the ‘voguing’ scene, puts his red stilettos on and displays his very technical and daring, theatrical and wild energy. Michelle Deignan makes two distinct voices speak in a real and virtual simulacrum of historical European buildings. One recites Kraftwerk lyrics while the other quotes extracts from a science fiction novel written in 1827. Jasmina Cibic films four characters whose words are based on extracts from discourse on architecture. She questions the link between architecture and ideology. Su-Mei Tse embarks on a walk. The emptiness is like time suspended, this indefinite space similar to a short pause before starting something. Sébastien Durante sculpts his own bust and then throws it into water for posterity. Pierre-Jean Giloux refers to metabolism, a Japanese architectural movement in the 60s and the last modernist utopia of the 20th century. In Havana, Didier Faustino films the building built in the 60s by the Italian architect Vittorio Garati. It was for a dance school that never existed. Sasha Pirker and Lotte Schreiber film the exhibition spaces at the Architektur Forum in the Tyrol. The soundtrack describes the use of the building, whereas the images provide fragmented and static views.

Richard Martin distorts the editing process, and explores a sequence from a TV film. He reveals the principal norms of the genre with its crude and hypnotic predictability. Elisa Gómez Alvarez multiplies an individual whose avatars waver between fear and desire. Maëlle Gross films Ariane V., a body-builder and Doctor of Life Sciences, and proposes a reflection on moderation and excess in the world of controlled body imaging. Dana Levy meets several inhabitants of Everglades National Park, like Adams without their Eve, for whom the only women present are in cigarette advertisements. Zackary Drucker portrays himself with his mother. They discuss the names used for the vagina and humiliate a handsome stranger who rings at their door. Eve Sussman presents strange characters who resume and act parts of speeches by famous people, from Lady Di to Janis Joplin, in a factory setting that turns into a court. Ira Schneider films an improvised party in Orchard Street in the 60s, organised by the members of Max’s Kansas City club, where the Velvet Underground recorded its first album. Janis Rafa films a bereaved couple suspended in time in a house. Their grief echoes the rain and everyday objects.