Salle Seita from November 9 to 12 (2 to 11pm)
A moment (in loop, 2022) / Guido’Lu (Belgique)
Tour Panorama, 5th floor from November 10 to January 22
Wednesday to Friday (2pm to 7pm) • Saturday and Sunday (1pm to 7pm)
Tête-à-tête – a private conversation between two people (3’15 – 2018) Elena Cremona & Ramez Vafa (UK)
Tête-à-tête, a private conversation between two people was created on the battlefield of love to fain a clearer understanding of love, the pain and the unity it embodies. Inspired by the willingness to understand each other and to give its merciless but necessary act to righteousness a place within the arts.
Ophelia (8′ – 2020) / Meike Redeker (Germany)
Through a monologue spoken backwards, the video deals with discriminatory depictions of women in the past and present. In a river scene, resembling J. E. Millais‘ famous painting of Shakespeare’s dying character Ophelia, the filmmaker appears. She speaks constantly into the camera. Her speech remains abstract until the video plays backwards and elicits the words in their original order, revealing a statement about the complex entanglements of language, image and social roles.
Intelligent Design (29’49 – 2017) / André Goldberg (Belgium)
Video on Darwin’s work « On the Origin of Species by Natural Selection or The Laws of Transformation of Organized Beings » (1866), which is part of a video series for a reflection on obscurantism. For many years, the creationist movement, very important in the United States, opposes the Bible to Darwin and denies the theory of evolution in favor of that of creation. In some American universities, a new concept, Intelligent Design, says that the world is too complex not to have been created by an intelligent being. The creationists put Darwin’s Genesis and scientific discoveries on the same plan, and try to give Genesis a scientific appearance, by gathering together all the archaeological and paleontological facts that can accredit some passages of the Bible, to show that, according to them, Darwin’s text is not a scientific theory, but a philosophical theory.
Candlemate ! (5’11 – 2021) / Brigitte Valobra & Wald (Spain)
‘We hear without hearing, we guess, we imagine, blown away by the poetic dance of shadows and lights’ (Virginie Cazes).
untitled ( performance ) (10’00 – 2018) / Ruxandra Mitache, Andrei Mitache (Romania)
Video Art / Poetry film project, composed from a digital poem written in May 2018, juxtaposed with a 3D scan. The black chamber is the first one, after the white noise.The chamber, silent, just fine. The space fluid, coloured. I see the bridge, the mirrored sphere, the transparent canvas, the interactive draw. Not opaque, projected, reflected, by the prism form.
Waves never stop crossing borders (13’25– 2019) / Élodie Merland (France)
This video was made on 30th October 2019, on a Folkestone beach in the United Kingdom. This date was the eve of the day that the UK was due to leave the European Union. The third rescheduled date thus far, but the date of the exit was eventually postponed until 31st January 2020. The reading direction of the sentence Waves never stop crossing borders is oriented towards France. This sentence evokes Brexit, but it also talks about all the borders that thousands of people are prohibited from crossing daily.
Trajectory 2 (3’30 – 2019) / Cyril Galmiche (France)
Carried out in Japan during the ó-hanami season, Trajectory 2 simultaneously presents 9 sequence shots, each reproducing the same sequence of gestures. Filmed with a smartphone in different places, the images were designed as capsules of time and space, inviting the viewer to contemplation.
Persistent Disturbance (07’55 – 2019) / Laurien Bachmann & Sebastian Six (Austria)
The video performance Persistent Disturbance visualizes the three-month travel route through South America in an absurd way. At each point where the two artists paused, a short sound performance was created. The performer runs tirelessly with a horn honking through the different landscapes of the Andes. Through this experience not only the different places are shown, but at the same time an acoustic scanning of the respective places is created.
Absurd and necessary (5’09 – 2021) / Felice Licio Esposito (Italy)
And in the end, of the earth and of a perfect evolution
What remains is the ashes and the waste,
A sorrowful mankind lives tied into an absurd grip that others have made necessary for an insane balance, completely unbalanced which slowly slides towards the abyss. It is then necessary to free the imagination, even if absurd, To overcome the reality step by step And come back to life at last.
Performance (25′ – 2018) / Gabriela Löffel (Switzerland)
Since 2001, the security industry has undergone wide-ranging promotion and expansion, and in the domain of homeland security it could possibly be read as an economic reflection of politics. In national budgets and on the stock markets, the security industry constantly generates both keen interest and high revenues. Politicised, the term « security » is turned into discourse, but often without allowing any consistent and highly necessary discussion of its definition to take place. The content of the recorded conference presentation (by the technical director of Homeland Security) raises several questions concerning economic and political interests, and at the same time the use of language and rhetoric appears into focus. In order to examine this speech more closely, the coach in oral communication Amy Carroll, together with the speaker, Rudi van der Merwe, reprocesses the speech in an empty conference hall in front of my camera.
The Primitives (10′ – 2021) / Buto Genadzi (Belarus)
The complex life of simple figures.
Falling (14’50 – 2019) / Sandrine Deumier (France)
Falling is the study of a collapse. Consisting in 9 collapsology scenes created from Internet culture imaginaries, this artwork tries to interrogate a possible dismantling of the human practices of nature subjection and species classification through a search of eco-feminist postures. Short-circuit collective imaginations from the Internet to develop new utopias and trying to invent sustainable imaginations.
Character (18’52 – 2021) / Paul Heintz (France)
Character proposes to meet the English namesakes of Winston Smith, hero of George Orwell’s Nineteen eighty-four. Is there an unspeakable link between them and Orwell’s hero?
Echo Chamber (2’25 – 2021) / Gurkan Maruf Mihci (USA)
It is a metaphor for a closed chamber where you can only hear your own voice and its echo. We hear only ourselves; our voices, our opinions, our behaviours, our emotions in the media environment around us. We are stuck in these infinite loops, with no room for opposite opinions or competing concepts. We call social media as a part of freedom of speech, but the only sound we hear is our voice, or the others similar to us. The other is invisible to us. Echo Chambers is increasing polarization because we are in a closed ecosystem for a long time and we can’t stand others’ opinions anymore. Furthermore, our voices become incomprehensible in these echo chambers. No one understands and no one cares about these voices. Our voices become incomprehensible sounds or noise that do not have any melody, harmony, or even rhythm. This iPhone size video is the representation of the social media echo chamber. No matter the news (audio and visual) we have, we use the same expressions, same reactions in our echo chambers.
Chimes Era #1.2 : the Seat in Judgment (Assessment following the sacrifices of CE #1.1 : the Benching) (11’15 – 2020) / Paul Jacques Yves Guilbert (Belgium)
To summarize, this is the story of a piece / audience matchmaker who, by promoting comfort at the expense of pieces and their authors, ends up reducing them to simple seats (→ benching →”mise au banc/ban”, →”to put in bench/banish”) . In this chapter we see formulated, between the lines, a projection of this audience which goes through three reversed stages described by Marie-Madeleine Mervant-Roux: assistance (defined by touch / feeling / pathos in relation to space) , audience / listener (defined by hearing in relation to time) and viewer / spectator (defined by sight in relation to ἀλήθεια (aletheia)).
What produces this new entity Mickey Mutt (cf. Promenade Mythanalytique ) as a testuber (in connection with the test tube of chemistry → “éprouvette” → “éprouveur” → “éprouver” → “to feel/experience”) to whom we come to give the seat in judgment (→”l’assise du propos”→”the seat of the discourse / the establishment of the discourse”), the making of the testuber’s “State of Siege”.
Motion Picture Ruins (03’56 – 2011) / Isabella Andronos (Australia)
Motion Picture Ruins explores processes of digital decay using excerpts of kisses from existing films. As a symbol of our cultural memory, the ‘big Hollywood kiss’ can be understood as an inherent part of film history. Commenting on the transition from celluloid to digital, the work isolates these kisses from their original context and disrupts the data which they are comprised of. Working with short clips extracted from Youtube, the digital files were altered at the level of data, using a compression-based algorithm to confuse their visual composition. The work can be seen an exercise in digital entropy, mutating the idyllic kisses of Hollywood into a layered topography of motion picture images. Functioning as a palimpsest, the kissing scenes become fused together, with the data information altered to create explosions of pixelated colour.
Places We’ll Breathe (22′ – 2022) / Davor Sanvincenti (Croatia)
Places We’ll Breathe is an audiovisual essay that advocates imagination through a travelogue of constructed and anonymous landscapes. It is a note about the future. Narratives that intertwine in the interstices between the visual, the auditory, and the expressed, speak about loss, exploration, presence, vigilance, responsibility, struggle and freedom.
The passing (1’43 – 2022) / Eve Chartrand (USA)
When accompanying my mother in her last moments, and while giving her last bath, I noticed that her body still emitted energy, even after her last breath and even as it delt with the chaos of death. It was a very comforting and revealing moment that solidified my belief that loved ones live-on in different forms. This experience also highlighted the importance of rituals surrounding death, rituals as needed moments in time to accompany the body as it transforms into energy. From that moment on, I intimately understood that a deceased body bears traces of the person whose matter, from this time forth, indiscernibly becomes entangled with universal molecules and atoms, working at becoming, networking on a different plane. Nothing is ever lost; we just need to be attentive.
Prelude Op. 28 No. 2 (8’25 – 2022) / Jenni Toikka (Finland)
During a single long shot, we see two people taking turns playing the piano and listening alternately. The piece is the same on both times – Prelude Op. 28 No. 2 by Chopin – but when the performer changes, the interpretation of the song changes along with the perspective from which the song and its performance are viewed. The uninterrupted playing and single shot capture the event in one temporal moment, but as the camera moves and two people change places, time is equally layered. The performer becomes the listener and the listener becomes the performer. In one of the key scenes of Ingmar Bergman’s Autumn Sonata (1978), the mother and daughter take turns playing the very same Chopin’s Prelude. It is a piece that both are familiar with, so they are able to settle into the position of the other as they listen and watch the other play. A situation like this raises questions about the sense of reciprocity, simultaneity and synaesthesia. Could the roles become mixed from viewer and listener to the object of the gaze and listening? When watching the other playing, can you feel your own hands and fingers on the keys?