At la Friche la Belle de Mai
Should we forgot freedom to be happy?
Salle des Machines, November 10 novembre to December 4, 2pm to 7pm (closed on mondays)
We borrow our title from Roland Gori. We could explain it like this: doesn’t the promise of happiness made to the people and to individuals represent, like religions and ideologies, the opiate that takes them away from freedom? In a society obsessed by the norm, happiness is wearing the mask of security. The art works presented here are a kind of warning about the danger of the utilitarian thinking, about our blind faith in what seems self-evident, due to habit, weariness, and which turns to be in fact a dangerous form of voluntary servitude.
Causette (13’23) / Samuel Bester (France)
Causette is the term which was proposed in France to translate the English word “chat” used to define the “conversation between several people connected at the same time to a network, who exchange messages being displayed in real time on their screen”. Video makes exchanges more fluid.
Chemin des dames (15′) / Philippe Astorg (France)
This work is an evocation to the life of civilians during First World War. It presents some of the tragic aspects of the war, but with a focus on people’s everyday life and especially the one of women. With a strong visual art approach, the work is screened horizontally on a paving stone symbolising a grave; in this it stand for a war memorial in tribute to the populations.
MY BBY 8L3W (3’03) / Art collective NEOZOON (Germany)
A thirty track installation about women who present their pets on the internet. They declaring all their love of their pedigree dogs and cats.
NE PAS DE(t)RANGER / Jean-Michel Rolland (France)
NE PAS DE(t)RANGER is an interactive installation illustrating Europe’s attitude towards the migratory crisis it faces: to protect its tranquility, Europe encloses itself with barbed wire. When a visitor come near the fence, his inappropriate presence disturbs Europe’s sleep and endangers its unity.
Squame (7′) / Nicolas Brault (Quebec)
Squame explores the body’s sensitive envelope, the skin. The ephemeral animated desquamations, created with the help of sugar casts, evoke fragile landscapes in a world at the edge of abstraction. Somewhere between archeological artifacts and macroscopic observations, the friable frontiers of these human bodies elude our gaze.
The Hiatus (22′) / Firas Shehadeh (Palestine/Austria)
The installation focus on Hannah Arendt’s concept “The hiatus” through syncing Images sounds and historical narratives, rising questions of the Arab exodus and constant temporality, Al Hijrah (migration) and alienation in death-worlds.
Mohannad Shanno’s (1990-2015) trip from Syria to Europe ended in Vienna on the 12th of October 2015. He came all the way with a Bone Tumor. The last 25 years were confirmation of the initial concept of hiatus, his death exposed discontinuity and futility, the constant melancholic Arab journey in a no-time/no-space.
To feel the flow, one must go against it…
Tour Panorama – November 10 to December 4
Special late opening on November 10, until 10pm
Ablution / Agnieszka Ewa Braun (Poland)
Ablution is a real or symbolic ritual which involves the washing of different parts of the body. This ritual also encompasses the washing of cult objects and tools used in religious ceremonies. It is very common in many religions to use water ablution as a symbol of purification and revivalism. Originally, the purpose of this rite was the symbolic disposal of spiritual impurity. However, my work does not relate to the original form of ablution. Instead it tries to emphasize the cultural meaning of contestation in the effort to achieve an idealised facial image by painting the face. In spite of an unending source of water, the ablution does not allow for real purification. Instead, it brings about blur, a dirty obscurity, and even causes physical pain resulting from the symbolic divulsion and perplexity.
Addendum (5’06) / Jérôme Lefdup (France)
The reconstruction of the 2 human bodies digitalised by The Visible Human Project is altered, distorted, and seems to give again life and feelings to the deceased couple, in a slow and ethereal waltz…
Ambush (3′ loop) / Aline X & Gustavo Jardim (Brazil)
On this side of the fence, a film crew, camera and sound positioned straight, facing a herd of cattle, over there. It was late afternoon and every point of light was fading in the picture, every second of the time that passed, the more mystery started to have the comings and goings of those beings. The hypnotic movement, natural repetition, a loop of suspense and mysticism.
Ce que je vois (5’40) / François Daireaux (France)
Ce que je vois is a video made in Haining (China), a city with more than eight thousand textiles factories. This video shows a female worker from behind, whose task is to examine kilometres of fabric, in order to detect the least manufacturing defect. The woman’s body sways in an endless back and forth from right to left, in front of the fabric which never stop falling, turning by this way into a curtain. A daylight, which attracts and keeps the distance at the same time, radiates the woman’s face we will never see or with so few details that no recognition is possible.
Future in the Past (7’07) / Susanne Wiegner (Germany)
Future in the Past is a virtual journey through the realm of personal imagination, through surreal spaces and unexpected places. The film consists of only one continuous camera drive without any cuts. The style of the different interiors is a reminiscence of Edward Hopper’s paintings.
Les Pleureuses (triptych, 3’17 ) / André Goldberg (Belgium)
This videographic installation is in the form of a triptych, three boards in the same time.
In both outer sides, two dancers, such Isis and Nephthys, try to represent by movements, the feelings which cross them in the pain. Fury, guilt, mourning, absence, fear, dizziness, breath, resignation, solitude, abandonment, separation, sadness, a crowd of feelings that it is necessary to fetch in the depths of one, of sound to be, feelings buried in the inmost depths of the human soul since the end of time.
The disappearance of a dear being leads to concern a particular look the remains. The representation of the body being also the privileged medium of the dance.
In the central board, the body of the deceased is spread on the ground. The embalmers whose movement of arms and hands we see only, travel the body, from head to foot to prepare him for its last journey.
Les yeux dans les yeux (1’28) / Chantal Dupont (Quebec)
The filmmaker puts some objects on her eyes to foil the eye of the viewer. To cover-up her eyes, to replace them by objects, to test them, are all performative actions which come under a poetic and playful artist approach.
Positions (10’20) / Kristina Paustian (Russia/Germany)
Positions shows armed women in a pose of defence. The viewer lingers at times in sight of the women, at times among them. The real action is dislocated outside the visible region, so that one can only guess what happens in the protagonists’ field of vision.
Positions is a study of the role assignments and their fulfilment. Thereby it does’t aim so much at a statement about selfdefense against a particular person or group of people, but rather at a resistance to structures, systems or normative gender concepts.
Preface to Damyang Pavilion1 (3’26) / YiLi,Yeh (Taiwan)
I often dress up like a monster with magic power, fairy, or wicked woman. Either in a civilized city or the wild natural world as the background or stage, I conduct in happening art form with a child playing-like primitive instinct and later they are present as artworks in the form of video art.
Raq[s] / Haythem Zakaria (Tunisia)
Raq[s] is the prelude to an unlikely marriage of mystical texts of Jalal al-Din Rumi and generative art form of immersive digital facilities.
The whole movement is governed by a transcendent abstract dialogue and intimate attraction between its components: the particles. These particles travel free, flow, entangle, leading an intoxicating dance, mystical, which distorts vision in one-dimensional space-time infinite contemplation. For the suspicious minds and to those who wonder about their intentions, the invitation is open to dance their dance.
Schwimmbad (2’12) / Su Yu Hsin (Taiwan)
The Schwimmbad installation is the rebuilding of a bedroom in Taipei. It is a one shot sequence. The body is being guided by emotions. The mind and thoughts are moving with the memories of the place and the objects.
Sous la surface (triptych, 7′) / Pauliina Salminen & Mouna Jemal Siala (Finland/Tunisia)
Sous la surface is a creation about the idea of inner rebellion and the impossibility to formulate and to express it distinctly. In this artwork, rebellion is put to test of water pressure, an element which can carry the body but can not allow the voice. This is observed in two cities: Marseilles and Tunis, linked by the same gateway, the Mediterranean sea.
The Rise and Fall: Yuri’s Endless Journey + The Fall of Icarus / Tiger Chengliang Cai (Chine/USA)
Rise and Fall is a double-channel video installation, with a video consisting in 2 infinite loop animations, Yuri’s Endless Journey and The Fall of Icarus, playing side by side simultaneously.
Yuri’s Endless Journey: Yuri is the first name of Yuri Gagarin, the first human being in space. In 1961, Gagarin took the USSR spacecraft, Vostok 1, and entered the earth orbit. He stayed on the orbit for 1 hour and 48 minutes, and returned to earth successfully. However in 1968, Gagarin died tragically young in an aircraft crash during his training mission. Later, USSR authority built up a gigantic statue in Moscow, which shows Gagarin flying upward to the sky.
In the animation, the statue of Gagarin flies through stars, nebulas and galaxies, toward a beam of mysterious light. His journey seems to be never end. I believe this is a metaphor of the ambition, desire and faith of human civilization. Despite all our nobility and greatness, humans are lonely. We have to complete this journey alone. No matter how hard we tried, we probably will be never able to touch the ultimate truth of the universe. Like this close loop of animation, we must go up, which means higher, faster and stronger, till the end of time; and there is no other choice for us.
November 10 to 13, International video programs
Four screens to let the audience in Marseilles knows what’s going on elsewhere.
An encounter between VideoBardo Festival (Buenos Aires, Argentina) and les Instants Vidéo Poste 1 : A program by VideoBardo for Les Instants Vidéo with
Ó CéilleachairI Donal (Ireland), Ausin Sáinz (Spain), Juan Manuel Galvis (Colombia), Tom Konyves & Javier Robledo (Canada/Argentina), Marisol Bellusci (Argentina), Luis Saray (Colombia), Jurgen Hagler & Remo Rauscher (Austria), Carlos Martins (Argentina), Rachel & Zlatko Cosic (Bosnia/USA), Alejandro Thorton (Argentina), Sally Larson (USA), Jukka-Pekka Jalovaara (Finland), Gruppo Sinestetico (Italy).
Poste 2 : A program by Les Instants Vidéo for VideoBardo with
Luis Lamadrid (Spain), Michail Ozerov (Ukraine), Thomas Kyhn Rovsing Hjørnet (Denmark), Isabella Gresser (Germany), Lisi Prada (Spain), Mauricio Saenz (Mexico), Alexandra Montsaingeon (France), Mohamed Allam (Egypt), Hamda Al Qassimi (UAE), Ana Lessing Menjibar (Germany), Bob Kohn (France).
For several years, we have been sharing our love for video art with Milan (Italy) and VisualcontainerTV
Poste 3 : A program by Les Instants Vidéo presented at [.Box] Galerie de Milan with
[Antonella Mignone & Cristiano Panepuccia] (Italy), Melanie Menard (France/GB), Jai Du (Spain/Belgium), Sebastian Eklund (Sweden), Thomas Kyhn Rovsing Hjørnet (Denmark), Laura Skocek (Austria), Neil Ira Needleman (USA), Fabio Scacchioli (Italy), Dragan Mileusnic & Zeljko Serdarevic (Serbia/Croatia), Masha Sha (Russia/USA), Julia Weissenberg (Germany), Ramoul Maximilien (France), Mustapha Sedjal (Algeria/France).
Poste 4 : A program by Les Instants Vidéo presented broadcast (24h a day) on www.visualcontainer.net with
Róża Duda (Poland), Draga Jovanovic (Serbia/Canada), Valerie LeBlanc (Canada), Chuang Yu-Ju (Taiwan), Dagmar Schürrer (Austria/Germany), Egle Vismante (Lithuania/France), konstantinos-antonios goutos / theFlâneu® (Greece), Quelven (France), Ivetta Kang, Kevin Park & Matthew Wolkow (South Korea/Canada), Le collectif B.L.U.S.H. (Quebec), Jane Glennie (GB), Henry Gwiazda (USA), Duygu Nazlı Akova (Turkey), María Papi (Argentina).
Popular art galleries
Three exhibitions outside la Friche
Crossing (triptych, 6′)/ Leila Alaoui (Morocco/France)
Crossings explores the experience of sub-Saharan migrants who embark on the perilous journey to reach the elusive shores of Europe. The three-screen video installation focuses on the collective trauma provoked by the embodied experience of crossing boundaries and becoming a fragile community in a new habitat. While exploring the experiential textures of psychological and physical transition, the installation also gestures towards the concept of Europe as a problematic utopia in the African imagination.
Leïla (2’11) / Flo Arnold (France/Morocco)
The installation Leïla is a tribute to Leïla Alaoui, victim of Ouagadougou attacks. This installation was exhibited in the Palmeraie museum, during the Marrakech Biennale. Leïla is an air flight, a suspension of time in the infinite. It creates a transformed space without borders!
Cartoline Video (20’09 – 2016) / Marc Mercier (France) & Matteo Fadda (Italy)
13 video postcards made with migrants in Cagliari (Sardinia) in the frame of the project “Navigare i confini/MigrArti / Tra Asia e Africa in un’isola che c’e”, organised by Carovana SMI (http://www.carovana.org/progetto-migrarti/)
With the participation of Etienne (Cameroon), Ndiaga (Senegal), Peter (Nigeria), Halyne (Ukraine), Roric (Costa Rica), Raphael (Greece), Necati & Muhammed (Turkey), Rendell & Ralph (Philippines), Ousman (Gambia), Yaiu Yaiu (China), Reda (Morocco), Modou Lobba (Gambia), Yaya (Senegal), Sokou (Gambia). I also want to thanks Ornella d’Agostino & Alessandro Alessandro Melis for the elegance and the relevance of this project.
To migrate: to cross a border, a mountain, the sea… But not only. It is also to move from one language to another one, from one culture to another. Between the space we leave to the one we find, a period of adjustment is necessary. When the home culture is yet the past, when the host culture is still the future, when the present leaves you speechless: what can I say about my life, my pains, my desires, when I don’t have the words to explain myself?
Lying on Camera (4’41) / Caram Kapp (Germany)
The projection installation Lying on camera takes lines from Nizar Qabbanis poem “When they report the death of Arabs” and translates them into a meticulous calligraphic horror movie and 30 languages- an expression on mediatisation of suffering in media through media, and an empathic international expression of understanding summarised and expanded.
#MemoryoftheUniverse | “Syria Planum: For Water for Oil” (7’22 ) / Alysse Stepanian (USA)
As more humans and other animals are displaced due to climate change and drought, petropolitical wars will be overshadowed by urgent needs such as access to fresh water. Syria Planum: For Water for Oil is the first edition of #MemoryoftheUniverse, a work of speculative fiction combined with current real-life global events. This work covers difficult and controversial intersectional social and political issues with found video footage replayed on monitors in a posthuman world. Some subjects explored are the Anthropocene, petropolitical and water wars, nationalism, colonialism, politics and ethics in science and technology, drones and “militainment”, terrorism, refugees, and exploitation of humans and other animals.
Historically, the bodies and reproductive organs of women and cows have been subjugated in patriarchal societies. The central character in this work is a superhero that is half-human and half-cow. I like to think of her as the female version of Nietzsche’s Übermensch (Superhuman, Above-Human), and she represents hope amidst despair. Her wanderings in the desolate Martian landscape, including the Syria Planum, symbolise the alienation that she feels, having crossed the line that separates humans from other animals. She observes, absorbs, and is jolted by what she sees, setting the stage for future actions. The question of what comes next drives the series forward, as in serial episodic form.
As the world looks away from crimes that are unmet with restitution, their aftermaths resonate in the dark recesses of our minds and metaphorically, continue to live in the memory of the universe, eternally recurring, until we find ways to change our consciousness and current state of affairs.
Sound design by Philip Mantione.
Yellow tea cup : refugees at sea (2’58) / Cheryl Pagurek (Canada)
Yellow tea cup: refugees at sea records contemporary news footage projected into my immigrant grandmother’s vintage tea cup. The cup becomes a window onto the world, bringing world events closer to home, while evoking the tensions and intersections between private and public, past and present, order and chaos. The contextualising frame of the tea cup acknowledges the filter of individual experience through which our perceptions are shaped, as we try to comprehend the human dimension of reported events.