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The festival: Exhibition in Marseille

The festival: Exhibition in Marseille

FRAC PACA, 20 Boulevard de Dunkerque, 2e November, 2 to 5 – 12 to 7pm (Sunday 12 to 6pm))

La chambre du cercle 1 / Lydie Parisse (France) (A partnership with La Marelle) A visual and sound installation which give a feed back of what could be chilhood, all the childhoods. How did we see the world the first time ? A show under the title L’encercleur (Entretemps, 2009) was created following this question, and inspired by Beckett’s world. The spectators had to cross 3 circles to reach the « room of the circle 1 », the last room before the unreachable space called “centre”. Sunday, November 5 (5pm), a performance by the artist, followed by a conversation between Pascal Jourdana (La Marelle) and Marc Mercier (Instants Vidéo) on the theme “Poetry and image, room and anteroom”.

La chambre du cercle 1 / Lydie Parisse (France)

Galerie Deux [dø], 2 rue de la bibliothèque,1er Novembre, 9 to 25 – Open Wednesday to Saturday, 2 to 6pm Vernissage Wednesday 8 (6pm)

Disturbing landscape

“After forty, we have the face we deserve” used to say the painter Edgar Degas. Our bodies, attitudes and gestures are not given with birth. They are most of the time social constructions depending on our living conditions. This is the reason why we must watch the bodies the way we watch the landscapes, which are themselves included in a larger landscape. The two art works presented are disturbing, they reveal a fear for a pending disaster. On the other hand, they please us because they ask for our attention, our alertness, our ability to respond. And at first, by banning the idea of “environment” with human beings at the centre and everything else organised for their own profit. It means that we must consider our power to take an action in respect of Man. Apart from the issues tackled in these works, we may also question ourselves on the role of art when humanity can’t find anymore reasons to be optimistic and to enjoy. Can we still sing in these times of darkness? Yes we can and we do. We sing the darkness of times with en-lighted words and images. The human desire always find his way. And never mind the disorder. Are You Sleeping (2’19 – 2017) / Hong Yane Wang (Chine / GB) Two children play alone in the local parks in their own countries. Both wear the same huge anti-pollution mask. As we watch them play, we hear them sing different versions of the same song: Are You Sleeping in English and Two Tigers in Chinese. The songs end with heavy breathing. At the bottom of each screen, an animated sound waveform, moving up and down in time with their singing and breathing, contains the range of colours found in the air pollution index, which represents the quality of the air we breathe every day. Air pollution has been a severe issue in China. Beijing is notorious for its staggeringly high PM2.5 reading. But China is not alone. On 15 February, Italy, France, Spain, Germany and the UK were served with the European Commission’s final warnings over air pollution breaches. In a globalised world, we share some common problems. Drop Out Bodies (17′ – 2017) / Ludivine Large-Bessette (France) A monotonous silence envelops a group of men and women who are each standing still in front of their houses in a residential area. As the camera moves among them, they fall, one by one, in a random pattern. Their collapses are clearly irrevocable. The movement of the performers from immobility to choreographed descents is a contemporary reinterpretation of the macabre dance of the Middle Ages. The film questions the fatality of the human body and our individual and collective responsibilities in our complex time.

SARA, 54a rue de Crimée, 3e Novembre, 10 to December, 1st – Open 2 to 5pm, Monday, Thursday and Friday Vernissage Thursday 9 (4pm)

All the power to imagination! ( A tribute to St Joseph de Cupertino who break a records in levitation and aviation: the only person who fly backwards)

We don’t all see the same way. If the eyes can be transformed by what it sees, then it can transform what it receives because of the power of imagination. We all take a look at the things and persons around us. Not only with the eyes. With our ears, our nose, our skin, our memory…. What we sense is ever-changing. So do we. Nothing can force us to sense what comes as a clear evidence, as being unchangeable. If we want, we can therefore defy the law of nature, brighten up everyday life, imagine all the possibles. Children are good at that. The artists help us to not loose this ability. To see the worlds in the world, we must change our eyes. To have the birds hearing our song, we must change our throat. To avoid boredom, we must overstep all normal bounds. To break free from our ball, we must disregard weights and mesures. The subtle levitation of everyday objects (2’40 – 2017) / Fran Orallo (Spain/Scotland) In The subtle levitation of everyday objects appears a series of objects to which I make levitate. An ashtray, a coffee pot and a light bulb defy the laws of gravity and magically begin to float.

The subtle levitation of everyday objects (2’40 – 2017) / Fran Orallo (Spain/Scotland)

The God of small things (3’10 – 2017) / Fran Orallo (Espagne/Ecosse) We live too fast, as if to look at the small details, as if to enjoy the small moments. In the video, like by magic, a jar begins to spin, an illusion by means of which an everyday object is transformed, or rather, is displaced, disappearing and appearing in different screens, like a metaphor of those small objects / details we do not pay attention to. Through the video, an absurd object, useless, becomes protagonist of the magic, of the illusion.

ADPEI, 18 bd Flammarion, 1er Novembre, 10 to December 1st – Open 2 to 5pm, Monday, Thursday and Friday Vernissage Thursday, 9 (5.30pm)

The news at the heart of the intimate life

Man considers the wear of his indignation abilities to be a form of intelligence. He is given everyday an overflow of informations which, instead of increasing his lust for life, corrupt his sensitivity and mind. He loses his courage. He loses his time. He loses his references. The images of a suffering humanity blind us, overwhelm us, drown us… The only lifebuoy is indifference. The artist Chery Pagurek comes at the right time. She made the most of the news footage spread on our screens without affecting us. She placed them in the heart of her intimate life: two coffee cups that used to belong to her exile grandma. One of them includes the bitter of the tragedy of shipwrecked migrants, the other one presents the sweetness of people upheavals on public squares all over the world. Green tea cup: collectivities (6’25 – 2017) / Cheryl Pagurek (Canada) Green tea cup: collectivities records contemporary news footage projected into a vintage tea cup, focusing on group dynamics in protests, marches, vigils, and rituals spanning the ideological spectrum. The fragile china can barely contain the raw, explosive energy of those moments when, through their numbers, individuals transform into a larger collective identity, empowered in celebration, in support, in mourning, and sometimes in rage. The cup becomes a window onto the world, merging past and present, private and public, order and chaos.

Green tea cup: collectivities (6’25 – 2017) / Cheryl Pagurek (Canada)

Yellow Tea Cup: Refugees at Sea (2’58 – 2016) / 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 contextualizing 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. D’un autre monde ? (1’23 – 2011) / enzo k (France) Finally, it does not matter that the scene took place in the framework of a festival of contemporary art appropriately titled, that year, “From another world?”. This could be anywhere, a shop, an administration. It is one of these host jobs often considered as innocuous, but which give the ambiance of the place. Hello, Good-bye, Good-bye and good day pronounced eyes in the eyes, sometimes nuanced of a Ladies-gentlemen or a nod of the head. End-to-end, the words are reduced to a senseless ritual, in which everyone in contact with a public or a clientele will perceive a familiar echo.

Cinéma Les Variétés, 37 Rue Vincent Scotto, 1er November, 11 to December 3rd Vernissage Friday 10 (6pm)

Intensely alive

Cinema, video art, poetry will survive in dignity the steamroller of the market only if they endorse this motto by the Argentinian writer Rolo Diez “To live life to its full counterbalanced all the efforts and nearly all the sacrifices. Having a half-life has always been a characteristic and the punishment of mediocre.” And to do so, no life-insurance needed but the assurance to be present to the world. ROOM MOVIE (25′ – 2017) / Stephane Collin & Alice Krichel (France) Dyptich. Excerpts from a filmed correspondence between the two film makers. Ubi sunt or Where are those who were before us? (2’40 – 2016) / Smaragda Nitsopoulou (Greece) The main theme of my work, as the title suggests, is memory and death. The invention and democratization of the medium of film/video has profundly changed the perception of family continuity but humanity’s as well. I used material taken from the Internet Archive in order to create an ecumenical family death album. In this triptych, the viewers will face their own mortality and oblivion through moments of death, portraits of happiness juxtaposed next to the names of the dead of the 20th century. La Nuit tombe sur l’Europe (15′ – 2017) / Samuel Bollendorff (France) The night falls on the Aegean. Across the sea, Europe. The hope of a shelter for exiles from Syria. But Europe shut itself up within its borders, deaf to the cries for help, turning the see into a mass grave. The night falls on Europe presents the long list of abuses against the refugees on their road for exile, as the many european disengagements. With Catherine Deneuve’s voice

La Nuit tombe sur l’Europe (15′ – 2017) / Samuel Bollendorff (France)

D’un autre monde ? (1’23 – 2011) / enzo k (France)

Friche la Belle de Mai, 41 rue Jobin, 3e November, 11 to December 3rd Vernissage Saturday 11 (1pm) and a performance (3pm)

Exposing / Desires / Disorders (18 video installations / 2 spaces)

In the 14th century, to expose also meant to “abandon in an aside or deserted place”, speaking about a child mainly. It is also the act of presenting for other to see. In a same word coexist two opposing meanings, to show and to hide. But on further analysis and regarding the art work, this contradiction is not senseless. Indeed, it does not say or show everything. The gesture of the artist is driven by a brush of desire. Desire, whatever medium it uses (painting, video, marble…) has always been a stowaway. Nobody calls it. Desire invites itself. This is why it is a disorder. Which is what we enjoy, as we are cut from the same cloth. To expose, is also “to put at risk”. On the war field of an exposition space, the art work and the spectator are equal. Both might be shot on sight, lose their poise, clear out their haughty certainties, have their social status shaken. Art is not a matter for experts. It only needs lovers that is to say keen amateurs. The art-master is the desire. It is said that Balzac, who was not rich enough to buy a painting masterpiece, simply used to write with charcoal in empty frames, in his house in ville-d’Avray: “Here, a splendid Raphaël”, “There, my beautiful Giorgione”…

Salle des Machines – Open Monday 11 to 8pm, Tuesday to Saturday 11 to 7pm, sunday 12.30 to 7pm

Oxygene (10’56 – 2015) / Amine Oulmakki (Morocco) The meeting of man and water is a constant miracle, drawing in unknown and unlimited energies. Water as a therapy, a relaxation, a source of life, an end. In this project, our participants expressed their personal experiences. These women return to the womb, going through moments of beauty, fear, choking, joy… Words underwater, out of breath, looks that tear through the veil of the Image.

Oxygene (10’56 – 2015) / Amine Oulmakki (Morocco)

D’un autre monde ? (1’23 – 2011) / enzo k (France)

Friche Tour (3rd floor) – Wednesday to Friday 2 to 7pm, WE 1 to 7pm (to 10 on November 24 )

sans titre (1’44 – 1996) / Collectif « Les pisseuses » Cathryn Boch, Claire Donois, Sophie-Charlotte Gautier and Gaëlle Lucas created this artwork when they were still students in the Decorative Art School of Strasbourg. Judging the academic community too sexist, they chose to laugh about it: We too, know how to piss up ! One sequence shot of two minutes in black-and-white, slightly overexposed. Enter four young girls, in white underwear. Together, they take off ther panties. Piss up on a wood floor. They’re out. Then, comeback. Textile de cordes (1’20 – 2013) / Nathalie Bujold (Canada) The same instrument plays the same note using various techniques. This is repeated simultaneously in an exponential manner (from 4 to 16 up until 67108864) by each time adding, either negatively or positively, 20% of the duration to change the note pitch. Isabelle Bozzini on the cello. As Long As I Can Hold My Breath (9’40 – 2016) / Mohamed Thara (Maroc/France) As Long As I Can Hold My Breath is a video installation that consists of 3videos projected into a black room. The first video recounts the sinking of a migrant boat south of the Italian island of Lampedusa with an audiovisual recontextualization of the shipwreck. Opposite, the second video shows swallows that leave Europe in autumn to winter in Africa. The video is haunted by the tragedy of Lampedusa on 3 October 2013, off Libya, on the borders of Europe. A horror that turned into a nightmare when the 400 bodies recovered to the surface.

As Long As I Can Hold My Breath (9’40 – 2016) / Mohamed Thara (Maroc/France)

o jardim dos caminhos que se bifurcam (16′ – 2016) Joao Leitao (Portugal) (From Albert Camus e Jorge Luis Borges) Minotaur and Icarus are both imprisoned in a palace that, after all, is an unspeakable Garden. In the centre, the deep woods, ahead the open sea, behind, the endless desert. That Garden is the same size as the world. Or rather, it is the world. In it, everything exists countless times and any place is another place. In it, time forks, perpetually, towards innumerable futures. It is known, however and because the world is not perfect, that someday the labyrinthine paths of the Garden will converge. ‘You So’ Series (Continuous loop – 2016) / Imogen Potter (GB) The ‘You So’ Series installation displays two videos, ‘You So fickle’ and ‘You So Draining’, from a series of videos of similar titles. The video installation explores control and lack of control, creating tension and aggression. La production fantôme (20′ ou 60′ / 2016) / Philippe-Aubert Gauthier & Tanya St-Pierre (Canada) For The Phantom Production, the driving interest is based on similar notions of photorealism and visual objectivity, but the idea is to explore a different research question and investigate another type of image production and reception. The research question is still related to the idea of camera imitation in CGI technology, but with a clear focus on the imitation of real camera movements. Indeed, one of the key aspects of realism in current CGI is related to inlaying of CGI elements and VFX (Visual Effects) into actual video footage shot by a real camera, either in the studio or on site. This idea is seducing and intriguing as it also relates to the current culture status of digital images and objectivity. Indeed, in order to perform such a fusion of CGI and real footage a great deal of technological effort is invested in how to seamlessly achieve the moving fusion and equivalency of the real camera with the virtual camera used for CGI rendering. For The Phantom Production, we first made video shootings of various outdoor sceneries in Newfoundland. The visual documentation provides examples of video stills with markers used for camera tracking. At a latter stage, we have been through the tedious task of tracking the markers in the video footage. Once this was completed, we use camera solving techniques to literally deduce, or extract, the real camera movement in 3D space. This is known as camera tracking. We worked 2 years on 3D models and rendering of banal VFXs that also replicate the camera movements captured from the camera tracking information. In a normal video workflow situation, the next step would of been to integrate, or more precisely inlay, the VFX in the original video footage using compositing methods. But in our case, we proceed differently in order to engage in a reflexion related to the notion of digital collage, more precisely the notion of integration of virtuality in supposedly actual reality. Last Words (4′ – 2017) / Nicène Kossentini (Tunisie) Last words records the reading performance of an excerpt on love from Ibn Arabi’s Meccan Revelations. Throughout the video, the reading performance is made difficult or impossible due to the solidification of wax being poured over the text. The performer off screen is caught into a race against time. Trying to read as much words as possible before the rapid progress of wax. Toward the end of the video, the reading is abruptly interrupted as the text is blurred on its entirety. Tribute to Eadweard Muybridge (11′ – 2017) / Bob Kohn (France) A tribute to Eadweard Muybridge (1830 – 1904), a British photographer who developed a passion for the study of movement. He is the inventor of the zoopraxiscope, which projected images from rotating glass disks in rapid succession to give the impression of motion. Decomposing and multiplying the movement of bodies frame by frame. The installation is made of 3 video linked together: Chamber Music n°1 & 4, and Kinok. Match (2015) / Esméralda da Costa (France) “Like Manet’s Olympia, Esmaralda Da Costa looks at its onlookers. Because for a woman that steps onto the art scene, as an artist or as a model, or even both, the fight has not changed since 1865. It is still about winning two fights: against voyeurism and against oneself.  A woman who exposes herself, struggles, creates, what could be more erotic? Confronted to the voyeurs, like a Maja with her clothes back on, Da Costa plays with her black boxer like Olympia with her black collar (one of the multiple substitutes to the sex that a hand hides, in Manet’s nude painting). But what is she playing at? At diverting the desire with gestures, movement, through the intelligence of the hands – hands of parade for one, a striking force for the other. Who’s next? Come closer. In the last round, the invincible opponent steps in. The fight against oneself can have no loser. But we must lead that fight if we wish to triumph. Without cheating. What is the proof that Da Costa does not cheat? Her perfect tricks split her body, multiplying it, expanding it at will. Performer, videographer, Esmeralda also has the sense of colors. Red and black: a perfect match. Like monochromes that would fight, with respect, and modernity.” (Jean-Paul Fargier) Presence of Absence (26’19 – 2012) / Matt Lee (GB / Inde) Set in a gated community on the suburban outskirts of Bangalore, Presence of Absence is a video animation that features a black mass/ void that moves very slowly through the built environment. Through the sequence this ambiguous shape begins to develop character, presence and meaning. The work acts as a response to Henri Lefebvre’s assertion that “we are surrounded by emptiness, but it is an emptiness filled with signs”. Mélodrame synthétisé par apprentissage audio-visuel (9’15 – 2015) / Jérôme grivel (France) A joint effort between the artist Jérôme Grivel and the researcher in mathematics Cédric Févotte, a specialist in the signal processing and more precisely source separation. Together, they wanted to question mathematic synesthesia and the relationships between physiognomical sense and mathematics.

Mélodrame synthétisé par apprentissage audio-visuel (9’15 – 2015) / Jérôme grivel & Cédric Févotte (France)

Epigraphies 21e siècle (en boucle – 2015) / Colette Youinou (France) Libya, Syrtre 2011, Crete 2006, Tunisia, 22 January 2011, Oaxaca, Mexico 2006, Zwela, Tunis 2012, Strasbourg, January 2011, Panepstimiou, December 2011, Turquie 2013, Tunisia 2011, Venezuela 2012, Egypt 2012, Zwela, Tunis 2012 , Istanbul summer 2012, France August 2014, Strasbourg, France 2010, France, December 2013, Beyrouth, Liban 2011, Syrie 2015, Istanbul June 2013, Marseille, France 2011, Syrie 2011, Espagne 2011, Allemagne, Marseille 2016, Calais 2016, Libya, Syrtre 2011, Crete 2006, Tunisia, 22 January 2011, Oaxaca, Mexico 2006, Zwela, Tunis 2012, Strasbourg, Janvier 2011, Panepstimiou, December 2011, Turquie 2013, Tunisia 2011, Venezuela 2012, Egypte 2012, Zwela, Tunis 2012 , Istanbul été 2012, France August 2014, Strasbourg, France 2010, France, December 2013, Beyrouth, Liban 2011, Syrie 2015, Istanbul June 2013, Marseille, France 2011, Syrie 2011, Espagne 2011, Allemagne, Marseille 2016. Epigraphy is the study of inscriptions put on non putrescible materials like rock, clay or steel. The goal of this science is to date, replace them in their cultural context, to traduce and to identify informations which can be deducted from it. This travelling was built from images taken from internet and different travels. Here, transformed from their original functions, separating two spaces, the walls are as much the materiality of power as the support for those who fight it. La Volière (6′ – 2012) / André Goldberg (Belgium) The Aviary is a series of video (between one and six screens). The screens are set in birdcages on stands, in a sculptural scenography. In theses screens, stuffed animals (pigeon, dove, owl, sparrot hawk, parrot) are tied to a tree branch, a tree trunk, a promontory… Often damaged by time, dusty, used, they seem still alive, the wind making them vibrate, confusing us on their real status. The sound of wing beats is again making them alive. This process follows still-life and Vanity codes in classical painting. However, unlike baroque painting which favorise twilight, the treating of image here is more icy, frontal, surgical by using (in studio) artificial light on white background and a fan making bird feathers vibrate. The use of full HD technology is giving much more realism and a disturbing sensation of proximity. Digital Butterfly – Digipapi (2016) / Naoyuki Tanaka (Japan / France) Hologram butterfly.

Digital Butterfly – Digipapi (2016) / Naoyuki Tanaka (Japan / France)

Two Fans (loop – 2015) / Hifsa Farooq (Pakistan) This video explores the aesthetics of the everyday objects, events, places and experiences. These mundane experiences for most of us, children and adults alike, form part of ordinary, daily life. They are neither especially refined, nor are they exotic in the sense that they belong of someone else’s culture. This video is about the story of two fans, which are bound together by a cloth. The cloth for me symbolizes religion, arranged marriages and social norms. It’s ironic that, in this video, although the cloth is used to “protect” them from getting dirty, it’s also something, which is stopping them from reaching their full potential. They are unable to complete a full swing as if governed by the cloth. Its like two people at times facing each other as if making love and sometimes desperately trying to get away from each other. The condition of the two fans becomes a metaphor for politics, everyday struggles, and relationships. I believe the everyday aesthetic experiences like these two fans are more significant than experiences of the extra-ordinary in forming and informing one’s identity and views of the world. In my work the emphasis is place on the present moment, on immersion in the immediacy of the current experiences and activities. Frontières (28’ – 2016) / Victoria Maréchal (Switzerland / Argentina) On the first images, we can see Tripoli. An empty, abandoned, destroyed city, and a city which as not yet been photographed by google earth. While looking at this desert of images, scars of the wars and revolutions come out through the pictures sent by internet user. Then comes the crossing of the Mediterranean. And the small island of Lampedusa with the pictures of bathers, of tourists and children on bikes. And there again some traces of history. Lampedusa, the brink of the “door of Europe”! But this door brings back over and over to another door through which one could never return. The voices of Ana and Mamadou give another glance at these images of the absence. Here they don’t speak about their crossing but about the journey they had over there or here to go to their friends, their family or to the mosque.

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