VSFF Paris

Page 1

Very Short Film Festival

19:30 17 May 2016 Auditorium Cité Internationale des Arts 18 rue de l’Hôtel de Ville 75004 Paris



Very Short Film Festival

Spanning the duration of one feature film, the “Very Short Film Festival” showcases the very short videos of the resident artists at the Cité internationale des arts, résidence d’artistes à Paris. These pieces of artists from different countries and disciplines share one common point: they last less than 5 minutes.


Brochure printed on the occasion of the same-named festival that was initiated at the Cité Internationale des Arts of Paris on May 17th 2016 Video reel editing: Kevin Leong Cover design: Alex Mira and Benjamin Rossi Booklet layout: Daphné Keramidas Proofreading: Diek Grobler Communication: Mire Lee Organisation: Pierre Silverberg

The copyright of all images remain at the possession of the respective artists: 1. Benjamin Rossi – Impetus, 2014 2. Martijn in ’t Veld – Popcorn, 2016 3. Alex Mira – Hélios, 2011 4. Agnes Fuchs – Routine (1), 2012/13 5. Anna Bacheva – Ambient, 2011 6. Anna Tekampe – I LIKE BIG BAILS AND I CANNOT LIE, 2015/2016 7. Geumhyung Jeong – Munbangu(Stationery) , 2011 8. Pierre Silverberg – On March the 17th, 2016 9. Salla Myllylä – My tree, 2015 10. Lancelot Coar – Vapeur, 2007 11. Isabella Fürnkäs & Lukas von der Gracht – Selfiecalypse, 2016 12. Tanja Boon – A random spring day, 2016 13. Dominique Rey – Tundrunning, 2011 14. Estibaliz Sadaba Murguia – Garbarge girl (Maintaining the Art World), 2007 15. Jean Hubert – Camille !, 2016 16. Lorenz Friedrich – 365, 2014 17. Peter Brandt – Contusions, 2010 18. Mire Lee – Framboise Playtime, 2016 19. Qian Ma – Gut Feeling, 2015 20. Diek Grobler – Paris in circles, 2016 21. Anne-Elisabeth Decologne – Hold up 22. Elizabeth Woods & Kevin Leong – Exiles, 2016 23. Hedvig Berglind – Untitled, 2013 24. Maarten Van Roy – Sergio – Alleen bij jou, 2016


24. Sergio - Alleen bij jou

Maarten Van Roy

Sergio is a Belgian performer. I like him. He is a clown, he cries laughing and laughs crying. I am a sculptor, Sergio is real. I playbacked his song “Alleen bij jou” or “With you only” in the summer of 2015 in Cologne, as a farewell to the camper on which I stand and that had accompanied me for years. The song is about love. It is so simple, honest, true.

03’43 Music: Alleen bij jou, Sergio – Thanks to: Daniel Burkhardt and René Haustein

2016


1. Impetus

Benjamin Rossi

La vie des carrières de pierre est rythmée par des accélérations, des ralentissements, des pauses. Animées par le passage régulier des camions-bennes, par le bruit des marteauxpiqueurs, par le roulement des concasseurs, on est surpris lorsque soudainement toutes ces machines se désamorcent, que la tension retombe, parfois jusqu’à s’éteindre complètement. Apparaissent alors des paysages, qui déjà étaient là, secondaires, relégués, ignorés. Pourtant leur présence, lourde et épurée, rappelle qu’en dessous de l’Homme il y a la Terre. The singular pace of stone quarries consists of accelerations, decelerations, pauses. Animated by the constant passage of dump trucks, the noise of drills, the rumbling of stone crushers, we are surprised when suddenly all these machines defuse, when the tension drops, sometimes to the point where it completely shuts down. Landscapes then appear, that already were there, secondary, relegated, ignored. Yet their presence, heavy and uncluttered, reminds us that underneath Man lies the earth.

HD Vidéo 1920 x 1080 px – 3’23” 2014 Remerciements: Julien Guerin, Directeur d’exploitation des Carrières de Muratel et de Roure dans le Puy-de-Dôme; Manuel Rodrigues, Responsable commercial des Carrières de Champagnac en Haute-Vienne.


2. Popcorn

Martijn in ‘t Veld

Martijn in ‘t Veld (1979, the Netherlands) works as a writer and visual artist. He is interested in the universal qualities of everyday objects, which he explores in various formats; photography, drawing, sculpture and writing. Popcorn (2016) shows the artist’s first attempt to combine the visual and textual side of his practice. The film shows a meditation on the relationship between making popcorn and watching a film.

02’39

2016


23. Untitled

Hedvig Berglind

A compilation of found footage of an aged Omar Sharif talking about the making of the film Dr Zhivago and a secret recording done at a symposium at Goldsmiths University in London 2013. In the fragmented conversation at the symposium four academics discuss the occupy movement and the existence or non-existence of a contemporary radical left.

SD, Stereo,1’00

2013


22. Untitled (Exiles) Elizabeth Woods, Kevin Leong Shaun Kelly, Abdul Hakim Hashemi Hamidi

A young, Australian chef’s travels leads to an invitation to run an energetic and fashionable Parisian restaurant. However, despite a burst of new experiences, there is no instant love-affair with the glamorous, iconic city and he finds a himself in an Anglophone bubble, contemplating a return to more familiar surrounds with tangible prospects. Four years later, a prolific Afghan writer-activist flees his homeland. Given temporary refuge by the City of Paris, he faces an uncertain future, and a difficult decision between a return to life-threatening conditions and the loss of agency abroad where at best, he may find work “delivering pizzas”. Exiles is a Brechtian pseudo-documentary that superimposes these two experiences to generate a space to consider expectations, archetypes and the role of choice as a critical differentiator, at a time of vastly accelerated human mobility. VSFF will hold the first screening of this work.

Concept, Direction, Photography: Elizabeth Woods and Kevin Leong 2016 Chef: Shaun Kelly Voice: Abdul Hakim Hashemi Hamidi Script: Abdul Hakim Hashemi Hamidi Thanks to: Au Passage, Passage Saint-Sébastien, Paris This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.


3. Hélios

Alex mira

Hélios est une vidéo montée à partir de 4989 photos libres de droits, reproduisant une révolution de la Terre autour du Soleil. Localisées dans 226 pays, sur les mers et les océans, les couchers de soleil se succèdent en fonction de leur position géographique. Ces instants figuratifs s’enchaînent et s’associent dans une poursuite de l’allégorie du Soleil. Helios is a video made from 4989 copyright-free pictures, representing a revolution of the Earth around the Sun. Originating from 226 countries or on the seas and oceans, sunsets come one after another according to their geographical position. These figurative moments string together in a pursuit of the allegory of the Sun.

Video 1920 x 1080 px – colour – 2’46“

2011


4. Routine (1)

Agnes Fuchs

“routine - How does a remote location on a river or lake become a generating station” is a 5’ loop focusing on forms and shapes of technical instruments, a machinery and their surroundings. The Vienna and Berlin based artist Agnes Fuchs interweaves fiction and documentary to a non-linear narration piece while analysing visual and conceptual worlds of technical instruments, and their contexts or locations. HD Video – 4’42” Loop

©Agnes Fuchs, 2012/13

2012/13


21. The Hold-up

Collectif d’artistes

Ce projet est né d’une envie commune de plusieurs artistes de la Cité des arts de travailler ensemble. Il s’agissait de réunir les dessins de Marc Socié, la photographie de Naoko Tamura, et la musique de Veronica Charnley soutenue par les idées de réalisation d’Anne Elisabeth Decologne et de Jérémie Guillemin. Le film s’inspire d’un sans-abris qu’Anne-Elisabeth Decologne et Jérémie Guillemin ont rencontré au bord du périphérique parisien. Il vivait sous le pont et avait gardé tous ses meubles qu’il avait disposé comme dans ses souvenirs lorsqu’il vivait sous un toit. Les vêtements jetés à terre faisaient des séparations entre les pièces de sa maison à ciel ouvert. En parlant avec lui, il est devenu clair, que cette force de l’esprit, nécessaire au maintien d’un espace intime, le poussait continuellement à se remémorer les épisodes douloureux de sa vie qui l’avait conduit jusqu’ici. Les images de la manifestation évoquent un souvenir personnel de Gênes en 2001 où la barbarie avait surgit dans les visages familiers. Cette sensation étrange que ce sont les mêmes mains qui, tour à tour, peuvent frapper ou embrasser. La vidéo est soutenue par la musique de Veronica Charnley qui transcende l’acte de violence par l’acte d’amour : put your hands up and lay them on my heart. La musique y mêle l’anxiété et la violence émotionnelle qui nous traversent lorsque l’on vit une histoire d’amour. C’est aussi une sorte d’appel, comme une prière pour plus de compassion.

HD, 05’27” – Thomas Cout dit Castille: lumières | Anne-Elisabeth Decologne&Veronica Charnley: régie – Valéry Forestier: acteur | Jérémie Guilemin: réalisateur | Marc Socié: dessins Naoko Tamura: photographie et vidéo


20. Paris in circles

Diek Grobler

The film is a playful tribute to my first few days in Paris, depicting my experience of the city using a single shape – a circle. The film is constructed of hundreds of individual photographs of circles I found in the city, from holes in the sidewalk to rose-windows in churches. The circles, irrespective of their actual size, are photographed to be the same size on the screen. Eventually this short short film will become part of a longer film which will combine animation and poetry, and will be a travelogue, a ‘carnet de voyage’ of my journeys in and around Paris.

2’ Animation – Camera, animation, editing: Diek Grobler (South Africa) http://diek61.wix.com/diek-grobler

Music: bensound.com


5. “No Drums.No Computers.No Guitars. This time,music from inventions and founded objects & gadgets.”

An audio-video collage of Ambient Anarchist’s music performance for a screening of Battleship Potemkin(Sergei Eisenstein 1925)

Music: Alexander Daniel, Todor Stoyanov, Stefan Christov Filming and editing: Anna Bacheva Lighting: Viktor Georgiev Background screening: Battleship Potemkin Performed on Sofia Ambient Fest 2011 Duration: 5:30 min


6. I like big bails and I cannot lie

Anna Tekampe

When in 1989 the cold war ended and the wall in Germany came down, the era of the so called “End of History“ in Francis Fukuyama’s terms began. The End of History marks the moment when capitalism became the only option. That very year the “Charging Bull“ was installed in Wall Street, New York City. The bull is a symbol of financial force and potency. People come from all over the world and want to touch his balls – it is supposed to bring good financial luck. Young girls, old grannies, Asian men, American men, Latino men and women, Caucasian people - everyone is eager to pose with a pair of big balls. Text banners crawl through the picture, just like the tickers we know from the stock market. The only difference is that these numbers are referring to the bailouts from the banks. One would think that after the crash of 2008 and the resulting crisis, people would have woken up. One would think that we all learned something, or at least that it would not be cool anymore to have big balls at all. But no, it is all still fun and games. The work has a critical but also ironical approach - it is an illustration of how fast everyone forgets. I like big bails and I cannot lie.

3’53” Director, Camera, Sound: Anna Tekampe

2015/ 2016


19. “Gut Feeling”

Qian Ma

The unexplainable urge. A funny tingle. That little voice in your head. The undeniable desire. Perception of reality via the unconscious, or rational reasoning to comprehend the true nature of reality?

HD – 05’00

2015


18. Framboise Playtime : �ith my abusable sculptures, part 1

Mire Lee

Framboise Playtime : with my abusable sculptures, part 1 is a 3 minutes hand-held video containing a one-man performance with four abstract plaster sculptures. The sculptures are produced in the artist’s studio specifically for this video piece, functioning as central objects of the performance. The whole piece is divided into two parts, in which the first part goes more dancey with splashing the raspberry sauce all over the sculptures whereas the second part shows the action of wiping out the surface with much slower rhythm and longer duration. Each is presented with the background ambience of 90’s Korean dance/ ballad music along with the artist’s humming over the tunes and lyrics. The video aims to explore the concept of domestication within the language of sculpture as well as the manner of one-person production video as a prevalent and unpolished way of presentation.

HD – 2’56”

2016


7. Munbangu(Stationery)

Geumhyung Jeong

Geumhyung Jeong is a choreographer and performance artist. She uses everyday objects upon which she bestows a strange, disconcerting life through an intense and risky interaction. Her movie Munbangu(Stationery) produces the desire to become one of these objects, a pencil or a brush or a piece of paper.

Munbangu(stationery) has been presented at : WKV MACBA KLEMM’S Akademie Schloss Solitude SeMa and many other institutions

(Stuttgart/Germany) (Barcelona/Spain) (Berlin/Germany) (Stuttgart/Germany) (Seoul/South Korea)

5’09” – HD – color 2011 Producer: Hyungkuk Kim – Cinematography: Sangho Kim – Light: Sangbin Ji – Performing: Geumhyung Jeong – Editing: Geumhyung Jeong Supported by Korean Academy of Film Arts


8. “On March the 17th”

Pierre Silverberg

On Thursday the 17th of March 2016, a picture was taken in a corridor of the European Council building during the European Summit. Set on a fully “automatic” mode, the digital camera recorded an image of the corridor Jean-Claude Juncker, President of the European Commission, would walk a few hours later on his way to the joint press conference with Turkish Prime Minister Ahmet Davutoglu. Out of this image, a piece the size of an international A4 format was digitally selected, cut and printed on a printer whose settings were also fully turned onto “Automatic” or “Standard” then glued on the exact same place in the same corridor that Jean-Claude Juncker, President of the European Commission, would later walk on his way to the joint press conference with the Turkish Prime Minister Ahmet Davutoglu. A new picture was taken with the same digital camera still fully set on “automatic” mode of the same corridor that Jean-Claude Juncker, President of the European Commission, would later walk on his way to the joint press conference with the Turkish Prime Minister Ahmet Davutoglu. A piece the size of an international A4 format was digitally selected at the same place –where the latter was now glued-, cut and printed on a printer whose settings were still fully turned onto “Automatic” or “Standard” then glued at the exact same place in the same corridor that Jean-Claude Juncker, President of the European Commission, would later walk on his way to the joint press conference with the Turkish Prime Minister Ahmet Davutoglu. This operation was repeated until Diedrick Degryse, who was assisting the procedure, asked if: “This would last any longer?”.

Video 04’56’’ 2016 Special thanks to Diedrick Degryse – Flanders State of the Art www.facebook.com/PierreSilverberg


17. Contusions

Peter Brandt

The point of departure in ‘Contusions’ is my personal testimony of a violent assault I experienced in Rome years ago. Peter Brandt In Brandt’s video “Contusions” loss of recollection is at stake, but intertwined with the obstacle of how impossible representation of the traumatic experience seems to be. You see Brandt rocking gently and dreamily moving to the sound of his own narrating voice, remembering and reflecting on what happened in Rome that day. In what looks like a slow and hazy hypnotic dance, you get the impression that Brandt is trying to transpose himself back to the moment of the attack to remember details that are not clear in his immediate recollection. Here the difference between memory and recollection suddenly becomes very clear, because while the memory is spontaneous and concrete, recollection is to a much higher degree susceptible, manipulative and constructed. Aukje Lepoutre Ravn, curator at Röda Sten Konsthall, Sweden 2010 From the book ’I Died In Italy But No One Knows It‘ (page 53)

4’10“ – Sound 2010 peter@peter-brandt.com www.peter-brandt.com


16. 365

Lorenz Friedrich

365 wooden miniatures have been created within a year. After that pictures of each sculpture were taken to create this animation. A short story but a long run.

Production and Animation: Lorenz Friedrich Music: August M. Zoebl With the support of: Thomas Renoldner

Š2014


9. My tree

Salla Myllylä

A hand paints an outline for a tree on a window on a sunny spring day. People and cars pass by in the suburban backyard. The painting advances little by little. Passing of seasons is filmed through the aperture created by painting.

silent | 1’10”

2015


10. Vapeur

Lancelot Coar

“We live mythically but continue to think fragmentarily and on single planes.” - Marshall McLuhan

SD – 0’58”

2007


15. Camille !

Jean Hubert

Camille ! est un film que j’ai fait en 2016 suivant une idée curatoriale originale qui m’avait été donnée « Making Hybrid - Man vs Animal ». Je voulais raconter une histoire au sein d’une autre histoire – la façon dont les chiens sont devenus des chiens. C’est un récit que j’ai entendu assis à l’arrière pendant un covoiturage. J’aime jouer avec différents contextes, Camille ! est un précipité de mes intentions de travail. Les comédiens sont Romain Princet, avec lequel je travaille pour la seconde fois, et Emma Gioia, avec laquelle j’ai travaillé pour la première fois. Camille ! is a film I did in 2016 following a curatorial idea of « Making Hybrid - Man vs Animal ». I wanted to tell a story within a story - the way dogs became dogs. It is a tale I once heard sitting in the back seat of a car during a shared trip. Generally I like to play with different contexts in my work, and Camille ! is in a way a precipitate of my intentions. The actors are Romain Princet, with whom I worked here for the second time, and Emma Gioia, with whom I never worked before.

HD – 1’00

2016


14. Garbage girl

Estibaliz Sadaba Murguia

(Maintaining the Art World) With this performance I try to analyze different cultural policies in relation to creative work, trying to show how women artists are considered as a kind of “intellectual proletarians”, and also seeing how the supposedly “transgressive” art world merely repeats for women artists, in regarding the assessment of their work, the same social patterns that occur in other productive areas. Artistic Statement: In my work I usually try to develop a kind of ouvre that, from the study and deconstruction of what has always been sold to us as “feminine archetypes”, it could contribute to the creation of a strategy against the hegemonic discourse, especially in the art world: this is the base all of my recent projects. I usually work based on the idea of “detournement”, taking some images out of their original context and mixing them up with another images or texts: as a result of that I try to get new meanings from them.All the video works that I have produced in recent years have been based on the implementation of actions / performances in which the body is used as an instrument, as a place of formal experimentation or also of existential or conceptual questioning.

2007


11. Selfiecalypse

Isabella F�rnkäs & Lukas von der Gracht

Selfiecalypse is filmed in a newly built parking space in Saint-Paul-lès-Dax, where the French side of Isabella Fürnkäs family originates from. She challenges her friend and lover Lukas von der Gracht to a one-on-one duel. They fight through the entire architecture of the space, starting on the side of the parking lot and conquering Level 1, 2, 3 and 4 one after the other. It is a fight against one another but actually against oneself. The fighting sounds, surrounding and atmosphere remind us of a classic action movie from the ego-shooter’s perspective. There is no happy ending; both fighters die on the roof and the camera shows heaven as the last image.

Video: 4’48”– color&sound – loop

2016


12. A Random Spring Day

Tanja Boon

This is a fictitious account of the events, narrated exactly as they occurred. Any resemblance to persons living or dead is purely coincidental but inevitable.

HD – 01’21 Special thanks: Hans Vanhoutte

2016


13. Tundrunning

Dominique Rey

The video Tundrunning is tragicomic piece where the mask and the act of performance play important roles as vehicles of self-transformation and self-definition in order to explore and confront the other within. This work is an extension of the photographic project Erlking of a malevolent figure whose beguiling power pulls us inextricably in; calling the unsuspecting traveller to her fate in the depths of the wilderness.

02’51 Music Drunk ‘n’ space – By Omfo – Technical assistant: Lancelot Coar

2011


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