{"id":4516,"date":"2019-09-25T16:37:33","date_gmt":"2019-09-25T15:37:33","guid":{"rendered":"https:\/\/www.instantsvideo.com\/blog\/?p=4516"},"modified":"2019-10-22T11:50:28","modified_gmt":"2019-10-22T10:50:28","slug":"the-festival-exhibitions","status":"publish","type":"post","link":"https:\/\/www.instantsvideo.com\/blog\/en\/2019\/09\/the-festival-exhibitions\/","title":{"rendered":"The festival: exhibitions"},"content":{"rendered":"\n

Image: Spill <\/em>(12\u201934 \u2013 2018) \/ Grzegorz Stefanski (Poland \u2013 GB)<\/p>\n\n\n\n

Friche la Belle de Mai Tour – 5th floor<\/span> , 41 rue Jobin 3e <\/strong>
October 25 to December, 1st <\/strong><\/h1>\n\n\n\n

<\/p>\n\n\n\n

Opening Friday, October 25 (6.30 to 10pm) <\/strong>
Wednesday to Friday 2 to 7pm, Week-End 1pm to 7pm<\/strong>
<\/h2>\n\n\n\n

Je me soigne, tu te soignes, il se soigne, nous allons mourir <\/em><\/strong>(20\u2019 – 2019) \/ Parya Vatankhah (Iran)
This work is a reaction to the violence that humanity is undergoing and the difficulties of healing after painful experiences. Since Iran\u2019s New Year, on 21 March 2019, heavy rains have hit several regions, causing unprecedented flooding in more than 100 cities and villages, amplified by the disastrous management of infrastructure and waterways in recent years. The responsables, in a complete negation of the problem, show the gap between the suffering of the people and the politicians in charge, by irresponsibly stating that \u201crain is a gift from god, that he will compensate those who have lost everything\u201d.<\/p>\n\n\n\n

\"\"
\ufeffJe me soigne, tu te soignes, il se soigne, nous allons mourir <\/em><\/strong>(20\u2019 – 2019) \/ Parya Vatankhah (Iran)<\/figcaption><\/figure><\/div>\n\n\n\n

Synchronie<\/em> (5\u201915 \u2013 2018) \/ Fabrice Pichat (Belgium)<\/strong>
Synchronie<\/em> shows the effects of a camera parameter consisting of varying the frequency of the passage of an object in front of the camera until it coincides with the shooting frequency of the camera. A recent definition of artifact, coming from the computer-assisted imaging field, is the appearance of an error, a perceptual lure due, not from the observed object, but from the observation technology itself.
<\/p>\n\n\n\n

Tombe (avec les mots)<\/em><\/strong> <\/strong><\/em>(18\u2019 – 2000) \/ Robert Cahen (France)<\/strong>
Tombe (avec les mots) is a screening of a framed, vertically-oriented image, like a painting. Words, expressions and letters of the alphabet flow slowly through the frame drifting from the top to bottom of the picture frame, decelerated by the element of water as though laden with extra weight. Here too, like with other video works by Cahen, the work embraces the idea of passage and transience. Only this time the work is enriched by recalling a peculiar level of sensation, namely that of a tomb\u2014already expressed by the title, even though, in French, the word \u00abtombe\u00bb stands for \u00abfalling\u00bb as well as \u00abtomb\u00bb.<\/p>\n\n\n\n

Marche de la col\u00e8re<\/em> (2018) \/ Brut TV (France)<\/strong>
Bergen \u00e0 Oslo<\/em> (7h14\u2019- 2009) \/ NRK (Norway)<\/strong>
The visitor may be surprised to stand in front of two television programs within an artistic exhibition. The first one (March of anger<\/em>) comes from a media (Brut TV) which broadcasts live from the heart of the events, here it is a protest in Marseille in November 2018 following the collapse of two buildings that caused the death of 8 persons. The other (From Bergen to Oslo<\/em>) is a 7.14 hours meditative journey (Slow TV) from the eye of a train. One of the longest travelling in the history of cinema. Together, theses two works prove that television is one of the rare audiovisual instrument to unceasingly renew its forms by using its specificities. Television is splendid when it frees itself from cinema, theater or literature. And video art is its dissipated daughter.<\/p>\n\n\n\n

  • \"\"<\/figure><\/li>
  • \"\"<\/figure><\/li><\/ul>\n\n\n\n

    Sanctuary<\/strong><\/em> (7\u2019 – 2019) \/ Marcantonio Lunardi (Italy<\/strong>)
    Traditional trades and crafts represent an enclave in the flow of history and it is exactly this feature that identifies them as isolated entities. They are time bubbles in which movements or gestures acquire an ancestral dimension. They recover some long-lost traditions which survive exclusively in the hands and in the eyes of those who still practice them. Some shrines, containing a series of craftsmen – as if they were rarities – while they wait to dissolve completely, represent what remains of such traditions.<\/p>\n\n\n\n

    Les traversants [Crossings]  <\/em>(2017) \/ Nicolas Clauss (France) Film 7\u201941 et 37\u2019<\/strong>
    At the beginning there are some containers, goods and the disproportionate scale of the harbor of Le Havre, then the metal which draws its furrow in a tunnel of sea and sky. In this tunnel, close-up, camera looks from the sailors, cross. During Fall 2016, the Martfret maritime transport company welcomed Nicolas Clauss in residence aboard the Guiana container ship for a crossing of the Atlantic Ocean for about two weeks. It is not the destination but the ceaseless movement of the ship that matters, it is the merchandise flow, the overlap of scales, the globalized economy and these singular looks.<\/p>\n\n\n\n

    • \"\"
      Les traversants<\/em><\/strong><\/figcaption><\/figure><\/li>
    • \"\"
      Worldwild Protests<\/em><\/strong> 1979 \u2013 2013 <\/strong><\/em>(<\/strong><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n

      Worldwild Protests<\/em><\/strong> 1979 \u2013 2013 <\/strong><\/em>(2\u201919 \u2013 2013) \/ John Beieler (USA)<\/strong>
      World map of the upheavals of the world, month after month, from 1979 to 2013<\/p>\n\n\n\n

      Body All Eyes<\/em> (14’39 \u2013 2018) \/ Saara Ekstr\u00f6m (Finland) <\/strong>
      Body All Eyes is a requiem for barren skies in which archaic myths of flying through time and space collide with a technological and pragmatic world. It shows a stratosphere of airplanes, drones and surveillance-satellites that are all-seeing and ever-present eyes \u2013 a privilege that once belonged only to gods and their messengers, the birds. In the 8mm split-screen film the supernatural, mechanical, corporal and transcendental confront and embrace each other. A masked acrobat, creating a performative exchange between human and animal, leads the viewer through a torrent of images into a mysterious world, that undulates in a weightless state between heaven and earth.<\/p>\n\n\n\n

      Spill <\/strong><\/em>(12\u201934 \u2013 2018) \/ Grzegorz Stefanski (Poland \u2013 GB)<\/strong>
      Spill<\/em> is a multi-channel video installation focusing on the fractions-of-a-second short inertia that the human body experiences during a fall. The installation oscillates between photography and film, inspiring a reflection on the meaning of a collapse in contemporary culture. It develops motifs present in my previous output as the materiality of the performer’s body remains the main theme. The artist focuses on the course of inert flight just before falling to the ground. Fractions of a second are stretched into a sequence that takes dozens of seconds and becomes the basis for a monumental video installation. The body presented in this way becomes a metaphor of the moment of relaxation during a total loss of control. On the other hand, the installation emanates the tension produced by consciousness of the delayed-but-inevitable collapse. The installation by Grzegorz Stefa\u0144ski can be interpreted not only as a reflection on the vulnerable masculinity and its meaning for contemporary culture, but also as a commentary on the condition of the contemporary world in the times of falling governments, banks, buildings or entire legal systems.<\/p>\n\n\n\n

      Space Invader<\/strong><\/em> (3\u201951 \u2013 2018) \/ Nelio Costa (Brazil) <\/strong>
      An intruder invades the territory where some children play. Then, they start do defy it.<\/p>\n\n\n\n

      The Rebirth of IQHAWE<\/strong><\/em> (5’30 \u2013 2017\/19) \/ Nicola Pilkington & Oupa Sibeko (South Africa)\u00a0<\/strong>
      The Rebirth of IQHAWE is a short dance film influenced by the modern Japanese practice of Butoh. (Butoh or Buto ankoku, the \u00ab\u00a0dance of darkness\u00a0\u00bb an avant-garde dance invented by Tatsumi Hijikata in the Japan Underground of the 1959. But\u00f4 had the will to change aesthetics and conservative approaches to shake establishment. It stand up against the influence of the classical ballet and modern dance from the West as well as the traditional artistic forms like N\u00f4 or Kabuki in Japan. It was a real shock, 14 years after Hiroshima and Nagasaki, 14 years after the trauma of the 1945 defeat considered as a political, economical, social and cultural disaster). The short explores the potential of hybridizing *IQHAWE’s movement practice into the film form: fragmenting, collaging and refiguring the body in time and space to try to capture the energy of the body in the dance. While the butoh style of performance explores the connection of the body to mind and soul, the camera attempts to channel the energy of the body as ash and crystal.
      *iQhawe translates to \u2018warrior\u2019 in seSotho, and is the clan that Oupa Sibeko originates. IQHAWE is the character Sibeko bears when he takes on performance projects.
      <\/p>\n\n\n\n

      • \"\"
        The Rebirth of IQHAWE<\/strong><\/em> (5’30 \u2013 2017\/19) \/ Nicola Pilkington & Oupa Sibeko (South Africa) <\/strong><\/figcaption><\/figure><\/li>
      • \"\"
        \ufeffInextricable (4\u201939 \u2013 2008) \/ Mozhgan ERFANI (Iran – France) <\/strong>
        <\/figcaption><\/figure><\/li><\/ul>\n\n\n\n

        Inextricable<\/em> (4\u201939 \u2013 2008) \/ Mozhgan ERFANI (Iran – France) <\/strong>
        The Inextricable<\/em> video loop presents the invocation of a group of five women. Microcosm of a multiverse forming a pentagram according to Pythagoras symbolizes harmony, beauty and health, in stark contrast to the destructive and orgasmic frenzy of these five women elements, air, earth, fire, the water and spirit. A devastating hysteria leading to a new perpetual arousal. The word \u201cKhafaqan\u201d that they pronounce in persan means oppressive, suffocating. The same words also exists in arabic in which it designates heart beats. <\/p>\n\n\n\n

        Habitat spontan\u00e9 <\/em>2 (1\u201955 \u2013 2017) \/ Guillaume MARTIAL (France)<\/strong>
        Habitat spontan\u00e9<\/em> in French Guiana, the French region and department of South America, is the name given to the unofficial precarious shelters created by the populations to house themselves. In a fictional and quirky visual narrative, the spontaneous habitat is convoluted by a game of acrobatics. A bird character, inspired by the symbolic red ibis of French Guiana, explores the natural territory and tries to create a new living space as an escape from growing urbanisation. The newly created is transformed into a space of imaginary, burlesque and poetic freedom. <\/p>\n\n\n\n

        The present Condition <\/em>(20\u201920 \u2013 2018) \/ Albert Merino (Spain – France)<\/strong>
        The landscapes of The Present Condition<\/em> derive from a journey of more than 15,000 km by land that the artist carried out by connecting the two geographical extremes of the South American continent. A surreal atmosphere, where real and imaginary spaces intersect, impregnates the video. Human intimacy, desire, work, the savage capitalism that builds cathedrals in the desert, the perverse bureaucracy and the construction of the border are some of the different elements and concepts that are mixed in a striking and suggestive visual mosaic. What is a territory? What constitutes a border area? What are its limits? How are they built and to what wills are they subjected? Merino’s video gives us a sense of estrangement \u2013a series of apparently complex and remote questions\u2013 but at the same time it conveys the perception of being active participants in a collective journey towards the unknown.<\/p>\n\n\n\n

        The Birder<\/strong><\/em> (4\u2019 – 2018) \/ Grace Schwindt (GB) <\/strong>
        The Birder<\/em> focuses on fragility in a world driven by capitalist logic. In a capitalist society it is easy to forget that bodies are vulnerable and death does not seem to exist \u2013 until it happens.
        The film is based on a conversation with the birder Martin Heubeck, who works at a lighthouse on Shetland Islands and who has monitored the seabird population for oil contamination since the oil industry descended on Shetland in the late 1970s. The film portrays the dilemma of this man, whose love and care for the birds also inadvertently makes him part of an industry that views their bodies (dead or alive) as a measure of capitalism\u2019s efficiency. <\/p>\n\n\n\n

        Flame<\/em><\/strong> (15′ \u2013 2018) \/ Sami van Ingen (Finland)<\/strong>
        A fractured melodrama, based on damaged frames from the last minutes of the only remaining nitrate reel of the lost feature film Silja \u2013 Fallen Asleep When Young (1937) directed by Teuvo Tulio. All screening prints and the negative of the film were destroyed in a 1959 studio fire. A sequence from the middle of the film was found at La Cin\u00e9math\u00e8que Fran\u00e7aise in Paris in 2015.<\/p>\n\n\n\n

        • \"\"
          Flame<\/em><\/strong><\/figcaption><\/figure><\/li>
        • \"\"
          ADAM & EVE \/ EVE & ADAM <\/em><\/strong><\/figcaption><\/figure><\/li><\/ul>\n\n\n\n

          ADAM & EVE \/ EVE & ADAM <\/em>(23\u201921 \u2013 2017) \/ Klaus Verscheure & Tom McRae (Belgium – GB) <\/strong>
          This installation calls into question the tenacious myth of this ideal couple at the source of the origin of humanity, made of a man and a woman: Adam and Eve. Both are used as models in most families. But can we rely on physiological genders? Is one born woman or man, or becoming one by choice or necessity? <\/p>\n\n\n\n

          Friche – Salle de la Cartonnerie<\/span><\/strong>
          November, Friday 8 to Sunday 10<\/strong><\/h2>\n\n\n\n

          Foul\u00e9e-Refoul\u00e9(e)s<\/strong><\/em> (2019) \/ Denis Cartet (France)<\/strong>
          50 years ago, a man set foot on the moon, 
          today men are not allowed to set foot on earth.<\/p>\n\n\n\n

          360 Oranges<\/strong><\/em> (14\u201957 – 2015)\/ Naod Lemma (Ethiopia)<\/strong>
          In a propaganda film displayed on social networks, Daech expose the execution in Libya of 30 Ethiopian Christians on April 19th, 2015. The victims were all dressed with an orange outfit. This video installation shows a performance in which the artist explore a torturing experience and tries to give an emotional response.<\/p>\n\n\n\n

          Do Not Disturb<\/strong><\/em> (20\u2019 – 2019) \/ Collectif Ornic\u2019art (France) -Aurore Rey & Rochdy Laribi<\/strong>
          In a hotel in the city center of Marseille, 200 meters away from the collapsed buildings of the street \u00ab rue d\u2019Aubage \u00bb, strange grooms welcome unique odd customers. A dreamlike world is being created, where can be figured out a snapshot of the collective unconscious, in the eve of a predicted disaster. Do Not Disturb <\/em>is a web series project which questions the laws of classical cinematography, with a  shooting mode specially  designed for performance. An invitation to dream together of this unreadable future…<\/p>\n\n\n\n

          ADPEI<\/span>, 18 bd Flammarion 1er<\/strong>
          October 25 to November 29 <\/strong>
          Monday to Friday 2 to 5pm, <\/strong>
           Opening, October 25 (5 to 8pm)<\/strong><\/h2>\n\n\n\n

          Stray Dogs 2 <\/strong><\/em>(2019) \/ Fran\u00e7ois Lejault (France) <\/strong>
          Stray Dogs <\/em> is an exploration of places where human presence is only visible in its remains, its ruins, its abandoned. Absence also of the spectacular, of the shocking image that causes the escape of the gaze or the fascination of the worst. These places, emptied of human life, are like omens, signs of a future desertion. These pieces of emptiness, we have them every day in front of us. They feed an imaginary end of time far from the terrifying apocalypses. And on either side of the faces looking towards an indefinite distance, coming from the cinema which will remain the last memory before the general forgetting of the bodies. A whispered slide to an accepted twilight.<\/p>\n\n\n\n

          Camping sauvage<\/strong><\/em> (4\u2019 – 2018) \/ Christophe Lebon (France)<\/strong>
          Jean Louis and Bernadette are on holidays, listening to the radio, and next to them the 12 migrants accompanying them.<\/p>\n\n\n\n

          \"\"
          \ufeffCamping sauvage<\/strong><\/em> (4\u2019 – 2018) \/ Christophe Lebon (France)<\/strong>
          <\/figcaption><\/figure><\/div>\n\n\n\n

          SARA<\/span>, 54a rue de Crim\u00e9e 3e<\/strong>
          October, 25 to November, 29 <\/strong>
          Monday, Thursday, Friday 1 to 4.30pm<\/strong>
          Opening, Friday,October 25 (4pm)<\/strong><\/h2>\n\n\n\n

          Let Me Hear Your Scream <\/strong><\/em>(3\u201946 \u2013 2014) \/ Ruzan Petrosyan (Armenia)<\/strong>
          16 persons of different nationalities and from different ethnic backgrounds utter a soulful shout in one deep breath: first separately and then together. For each of them, it is probably the first time they are shouting in public, as our social codes don\u2019t allow us to express our emotions this way. But in emergency situations, where there is no time for social filters, we instinctively scream. From a symbolic perspective, our life begins with a scream – that of our mother as she gives birth to us, and our own cry as we emerge from the womb. The choice of diverse subjects illustrates that this \u201cdialogue\u201d happens not only from mother to child, but also universally across all genders, generations, and ethnicities.<\/p>\n\n\n\n

          Nameless Faces<\/strong><\/em> (9\u201956 \u2013 2019) \/ rokateater (a collective of artists) (Indonesia)<\/strong>
          Nameless Faces <\/em>wants to criticize and reflect on the ideological potency behind identity photograph. The reality of photo identity has a relationship between citizens and the state institutionalized through administrative activities. Identity photograph is the \u2018area\u2019 where the power\/state vis-\u00e0-vis with citizens. The history of identity photograph shows that there is a greater history, namely about how the state oversees and controls citizens. Identity phograph became an ideological legitimacy in the notion\/country\/communities or a legal evidence of citizenship. Recorded faces become a persons formal strength as the legitimacy of ownership. Identity photograph is an absolute requirement in completing one\u2019s administration. As goverments product, identity photograph is a way in someone is in the radar \u2018power\u2019 area, in other words, it is also a form of \u2018disciplining\u2019 citizens.<\/p>\n\n\n\n

          \"\"
          Nameless Faces<\/strong><\/em> (9\u201956 \u2013 2019) \/ rokateater (a collective of artists) (Indonesia)<\/strong><\/figcaption><\/figure><\/div>\n\n\n\n

          H\u00f4tel le Ryad<\/span> <\/strong>16 rue S\u00e9nac de Meilhan, 13001
          October, 25 to December, 1st <\/strong>
          Everyday, 2 to 7pm<\/strong>
          Encounter October 27 (12am to 2pm)<\/strong><\/h2>\n\n\n\n

          30\/07\/2017 <\/em>(15h 58\u2019 – 2017) \/ Eleonora Roaro & Katy Richardson (Italy \u2013 GB)<\/strong>
          The live-streaming performance 30\/07\/2017<\/em>, made on the 10th anniversary of Antonioni and Bergman’s death and streamed on youtube, is a homage to both the directors that examines the idea of the muse and the role of gaze (Laura Mulvey, Visual Pleasure and Narrative Cinema, 1975). Two women in two separate locations remain in front of the camera from sunrise to sunset and do nothing for the whole length of the day. The women do not eat or drink, nor comfort themselves in any way. The endless waiting becomes exhausting, and the denial of basic human needs difficult. The women are in similar domestic environments, fulfilling similar roles, but they cannot see each other: they can only be seen live on a screen, and only while daylight exists.<\/p>\n\n\n\n

          \"\"
          \ufeff0\/07\/2017 <\/em>(15h 58\u2019 – 2017) \/ Eleonora Roaro & Katy Richardson (Italy \u2013 GB)<\/strong><\/figcaption><\/figure><\/div>\n\n\n\n

          UNCUT<\/strong><\/em> (3\u201915 \u2013 2019) \/ Sebastien Loghman (France)<\/strong>
          A domestic dispute between a husband and his wife.<\/p>\n\n\n\n

          Do not disturb (2019) \/<\/strong><\/em> Collectif Ornic\u2019art – Aurore Rey & Rochdy Laribi (France)<\/strong>
          A collection of 10  films of 1\u201930 and 4 films 4\u2019
          In a hotel in the city center of Marseille, 200 meters away from the collapsed buildings of the street \u00ab rue d\u2019Aubagne \u00bb, strange grooms welcome unique odd customers. A dreamlike world is being created, where can be figured out a snapshot of the collective unconscious, in the eve of a predicted disaster.<\/p>\n\n\n\n


          <\/p>\n\n\n\n


          <\/p>\n","protected":false},"excerpt":{"rendered":"

          Image: Spill (12\u201934 \u2013 2018) \/ Grzegorz Stefanski (Poland \u2013 GB) Friche la Belle de Mai Tour – 5th floor , 41 rue […]<\/p>\n","protected":false},"author":9,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[139,32],"tags":[],"class_list":["post-4516","post","type-post","status-publish","format-standard","hentry","category-2019-en","category-non-classe-en"],"_links":{"self":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/posts\/4516","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/comments?post=4516"}],"version-history":[{"count":32,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/posts\/4516\/revisions"}],"predecessor-version":[{"id":4753,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/posts\/4516\/revisions\/4753"}],"wp:attachment":[{"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/media?parent=4516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/categories?post=4516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.instantsvideo.com\/blog\/wp-json\/wp\/v2\/tags?post=4516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}