7th Cairo Video Festival مهرجان القاهرة السابع للفيديو by Medrar

‫اﻟﺸﺒﻜﻴﺔ‬ ‫ﻳ ﱢ‬ ‫ُﺮﻛﺰ ﻣﻬﺮﺟﺎن اﻟﻘﺎﻫﺮة ﻓﻼم اﻟﻔﻴﺪﻳﻮ ﻋﻠﻰ أﺣﺪث اﻟﺘﺠﺎرب اﻟﻌﺎﻟﻤﻴﺔ ﻓﻲ ﻣﺠﺎل اﻟﺼﻮر اﻟﻤﺘﺤﺮﻛﺔ‪ .‬وﻗﺪ‬ ‫ﺑﺪأ اﻟﻌﺮض اﻟﺴﻨﻮي ﻟﻔﻦ اﻟﻔﻴﺪﻳﻮ وا ﻓﻼم اﻟﺘﺠﺮﻳﺒﻴﺔ ﻓﻲ ﻋﺎم ‪ ،٢٠٠٥‬ﺑﻬﺪف ﺗﻘﺪﻳﻢ اﻟﺘﺠﺎرب اﻟﻔﻨﻴﺔ ﻋﺒﺮ‬ ‫ً‬ ‫ﻣﻌﺘﺮﻓﺎ ﺑﻪ ﻓﻲ اﻟﺴﺎﺣﺔ اﻟﻔﻨﻴﺔ‬ ‫وﺳﻴﻂ ﻻ ﻳﺰال ﻳﻠﻌﺐ دورًا ﻫﺎﻣﺸ ًﻴّﺎ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﻛﻮﻧﻪ ﺷﻜ ًﻠﺎ ﻓﻨ ًﻴّﺎ‬ ‫اﻟﻤﻌﺎﺻﺮة‪ .‬ﺧﺮج اﻟﻤﻬﺮﺟﺎن إﻟﻰ اﻟﻨﻮر ﻣﻦ ﺧﻼل اﻟﻌﺪﻳﺪ ﻣﻦ ﻣﻌﺎرض اﻟﻔﻴﺪﻳﻮ وﺑﺮاﻣﺞ ﻋﺮوض ا ﻓﻼم اﻟﺘﻲ‬ ‫ُﺗﻘﺎم ﻓﻲ أﻣﺎﻛﻦ ﻣﺨﺘﻠﻔﺔ ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﻘﺎﻫﺮة ﻋﻠﻰ ﻣﺪى أﺳﺒﻮﻋﻴﻦ‪.‬‬ ‫وﻓﻲ أﻋﻘﺎب اﻟﺪﻋﻮة اﻟﻤﻔﺘﻮﺣﺔ ﻟﻠﻤﻬﺮﺟﺎن‪ ،‬ﺗﻠﻘﺖ »ﻣﺪرار« أﻋﻤﺎ ًﻟﺎ ﻣﺘﻨﻮﻋﺔ وﻣﺨﺘﻠﻔﺔ ﻫﺬا اﻟﻌﺎم‪ُ ،‬اﺧﺘﻴﺮ‬ ‫ً‬ ‫ﻣﺨﺘﻠﻔﺎ‪ ،‬ﻟ ُﺘﻌﺮض أﻋﻤﺎﻟﻬﻢ ﺿﻤﻦ إﻃﺎر ﻫﺬه اﻟﻨﺴﺨﺔ‬ ‫ﻣﻨﻬﺎ ﻣﺎﺋﺔ وﺳﺘﺔ ﻋﺸﺮ ﻓﻨﺎ ًﻧﺎ ﻣﻦ ﺛﻤﺎﻧﻴﺔ وﺛﻼﺛﻴﻦ ﺑﻠﺪً ا‬ ‫ﻣﻦ اﻟﻤﻬﺮﺟﺎن‪ُ .‬ﺗﻀﻴﻒ ﻫﺬه اﻻﺳﺘﺠﺎﺑﺔ اﻟﻬﺎﺋﻠﺔ دورًا آﺧﺮ ﻟﻠﻤﻬﺮﺟﺎن أﻻ وﻫﻮ إﺗﺎﺣﺔ اﻟﻔﺮﺻﺔ ﻟﺘﻜﻮﻳﻦ ﺷﺒﻜﺔ‬ ‫دوﻟﻴﺔ ﻣﻦ ﻣﻨﺘﺠﻲ اﻟﺼﻮر اﻟﻤﺘﺤﺮﻛﺔ وﺟﻤﻬﻮرﻫﻢ ﺑﻐﺮض ﻣﺸﺎﻫﺪة ا‪¹‬ﻧﺘﺎج اﻟﻔﻨﻲ ﻣﻦ ﻣﺨﺘﻠﻒ أﻧﺤﺎء‬ ‫اﻟﻌﺎﻟﻢ وﻣﻨﺎﻗﺸﺘﻪ ﺑﺸﻜﻞ ﺟﻤﺎﻋﻲ‪ .‬وﻳﺸﻬﺪ ﻋﻠﻰ ذﻟﻚ أرﺷﻴﻒ ﻣﺆﺳﺴﺔ »ﻣﺪرار« اﻟﺬي ﻳﺤﺘﻮي ﻋﻠﻰ ا¼ﻻف‬ ‫ﻣﻬﻤﺎ ﻟﻠﺒﺎﺣﺜﻴﻦ اﻟﻤﻬﺘﻤﻴﻦ ﺑﻔﻦ اﻟﺼﻮر‬ ‫اﻟﻤﻘﺪﻣﺔ ﻣﻨﺬ ﻋﺎم ‪ ،٢٠٠٥‬وﻫﻮ ﻣﺎ ﻳُﻤﺜﻞ ﺑﺪوره ﻣﺼﺪرًا‬ ‫ﻣﻦ ا ﻋﻤﺎل‬ ‫ﱠ‬ ‫ًّ‬ ‫اﻟﻤﺘﺤﺮﻛﺔ‪.‬‬ ‫أﻣﺎ ﺑﺎﻟﻨﺴﺒﺔ إﻟﻰ ﻣﻌﺎﻳﻴﺮ اﻻﺧﺘﻴﺎر ﻓﻘﺪ اﺳﺘﻨﺪت إﻟﻰ ا‪¹‬ﺑﺪاع‪ ،‬وأﺻﺎﻟﺔ ا ﻓﻜﺎر‪ ،‬واﻟﺘﻨﻮع‪ ،‬واﻟﺠﻮدة اﻟﻔﻨﻴﺔ‪ ،‬ﻣﻤﺎ‬ ‫أﻧﺘﺞ ﻫﻴﻜ ًﻠﺎ ﻣﻦ ا ﻋﻤﺎل اﻟﺘﻲ ﺗﺤﺘﻮي ﻋﻠﻰ ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﺮؤى واﻟﺘﻘﻨﻴﺎت واﻟﻤﻨﺎﻫﺞ اﻟﻤﺨﺘﻠﻔﺔ واﻟﻤﺘﻨﻮﻋﺔ‪.‬‬ ‫وﻓﻀ ًﻠﺎ ﻋﻦ وﺟﻮد ﻣﻮﺿﻮﻋﺎت ﻣﺘﻜﺮرة ﻣﺜﻞ اﻻﻫﺘﻤﺎم ﺑﺎ ﻣﺎﻛﻦ‪ ،‬واﻟﻤﺴﺎﺣﺎت‪ ،‬واﻟﺠﺴﺪ اﻟﺒﺸﺮي‪ ،‬وﻋﻼﻗﺘﻪ‬ ‫ﺑﺎﻟﻤﻌﻤﺎر وا‪¹‬ﺷﻜﺎﻟﻴﺎت اﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﺴﻴﺎﺳﻴﺔ‪ ،‬ﻧﺠﺪ ً‬ ‫أﻳﻀﺎ أﻋﻤﺎ ًﻟﺎ أﺧﺮى ﺗﺘﻨﺎول ﻣﻮﺿﻮﻋﺎت ﺟﺪﻳﺪة‬ ‫وﻣﺨﺘﻠﻔﺔ ﻣﺜﻞ اﻟﻈﻮاﻫﺮ ﻏﻴﺮ اﻻﻋﺘﻴﺎدﻳﺔ؛ ﻛﺈدﻣﺎن اﻟﺸﺮاء‪ ،‬وﻣﻮت ﺳﺤﻠﻴﺔ ﻓﻲ ﻣﺰرﻋﺔ ﻛﺮوم ﻓﺮﻧﺴﻴﺔ‪،‬‬ ‫ﻟﻤﻘﺪﻣﺔ أﺣﺪ ﺑﺮاﻣﺞ اﻟﻤﺴﺎﺑﻘﺎت‪ ،‬واﻟﺒﻄﺎﻗﺎت اﻟﺒﺮﻳﺪﻳﺔ اﻟﺘﻲ ُﺗﺮﺳﻞ إﻟﻰ ﺣﺒﻴﺒﺔ ﻣﻦ‬ ‫واﻻﺑﺘﺴﺎﻣﺔ اﻟﺒﻼﺳﺘﻴﻜﻴﺔ‬ ‫ﱢ‬ ‫ﱟ‬ ‫ﻟﻜﻞ ﻣﻦ اﻟﻨﻮع واﻟﻤﻮﺿﻮﻋﺎت ﻓﻲ ﺣﺪ ذاﺗﻪ ﻛﻌﺎﻣﻞ ﻣﺤﻮري‪ ،‬ﻳﺨﺒﺮﻧﺎ ﺑﻘﻮة‬ ‫ﻻﺗﻔﻴﺎ‪...‬إﻟﺦ‪ .‬ﻳﻌﻤﻞ ﻫﺬا اﻟﺘﺤﺪي‬ ‫ﻫﺬا اﻟﻮﺳﻴﻂ اﻟﻔﻨﻲ وﻛﻔﺎءﺗﻪ ﻓﻲ اﻻرﺗﻘﺎء ﺑﺎﻟﻘﺪرة ﻋﻠﻰ اﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺟﻤﻴﻊ ﺟﻮاﻧﺐ اﻟﺤﻴﺎة‪ .‬ﻛﻤﺎ ﺗﺘﺤﺪى‬ ‫ا ﻋﻤﺎل اﻟﻤﺨﺘﺎرة اﻟﺸﻜﻞ اﻟﺘﺠﺎري اﻟﻤﺘﻌﺎرف ﻋﻠﻴﻪ ﻟﻌﻤﻠﻴﺔ ﺧﻠﻖ اﻟﺼﻮرة‪ ،‬ﻟﺘﺆﻛﺪ ﻛﻴﻒ ﺗﺨﺪم ﺗﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫اﻟﻔﻴﺪﻳﻮ ﻣﺠﺎﻻت أﺧﺮى ﺗﺘﻌﺪى ﺣﺪود اﻟﺘﺮﻓﻴﻪ اﻟﺘﺠﺎري‪ ،‬وﻫﻲ ﻣﻦ اﻟﺴﻤﺎت اﻟﻘﻮﻳﺔ ا ﺧﺮى اﻟﺘﻲ ﺗﻤﺘﺎز ﺑﻬﺎ‬ ‫اﻟﻤﻘﺪﻣﺔ ﻫﺬا اﻟﻌﺎم‪.‬‬ ‫ا ﻋﻤﺎل‬ ‫ﱠ‬ ‫ُﻘﺪم اﻟﻤﻬﺮﺟﺎن ﻓﻲ ﻧﺴﺨﺘﻪ اﻟﺴﺎﺑﻌﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ‬ ‫ﺑﺎﻟﺘﻮازي ﻣﻊ اﻟﺪﻋﻮة اﻟﻤﻔﺘﻮﺣﺔ ﻟﻠﻤﺸﺎرﻛﺔ‪ ،‬ﻳ ﱢ‬ ‫اﻟﺬﻳﻦ دُ ﻋﻮا ﻟﺤﻀﻮر اﻟﻤﻬﺮﺟﺎن إﻟﻰ ﺟﺎﻧﺐ أﻋﻤﺎﻟﻬﻢ اﻟﺘﻲ ُاﺧﺘﻴﺮت رﺳﻤ ًﻴّﺎ ﻟﻠﻌﺮض‪ .‬وﻳﺘﻀﻤﻦ ﺑﺮﻧﺎﻣﺞ‬ ‫اﻟﻤﻬﺮﺟﺎن ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻓﻴﺪﻳﻮﻫﺎت اﻟﺘﻌﺒﻴﺮ اﻟﻔﻨﻲ اﻟﺘﻲ ﺗﻌﺘﻤﺪ ﻋﻠﻰ أﺳﻠﻮب اﻟﻮﻗﺖ اﻟﻤﺤﺪد‪ ،‬وﻛﺬا‬ ‫ﻋﺎﻣﺎ ‪¹‬ﺗﻤﺎﻣﻬﺎ‪.‬‬ ‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﺸﺎرﻳﻊ اﻟﻤﺴﺘﻤﺮة‪ ،‬وا ﻋﻤﺎل اﻟﺘﻲ اﺣﺘﺎﺟﺖ إﻟﻰ أﻛﺜﺮ ﻣﻦ ﺳﺘﺔ وﺛﻼﺛﻴﻦ ً‬ ‫ﻧﺘﻤﻨﻰ أن ﻧﺘﻤﻜﻦ ﻫﺬا اﻟﻌﺎم ﻣﻦ ﺗﻘﺪﻳﻢ ﻧﻈﺮة ﻣﺘﻌﻤﻘﺔ ﻟﻠﻤﻤﺎرﺳﺎت اﻟﻔﻨﻴﺔ اﻟﻤﻌﺎﺻﺮة‪ ،‬وﻟ‪Ï‬ﻧﺘﺎج اﻟﻤﺤﻠﻲ‬ ‫واﻟﻌﺎﻟﻤﻲ ﻟﻔﻦ اﻟﻔﻴﺪﻳﻮ وا ﻓﻼم اﻟﺘﺠﺮﻳﺒﻴﺔ‪ ،‬ﺑﺎ‪¹‬ﺿﺎﻓﺔ إﻟﻰ اﻟﻀﻴﻮف ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﺬﻳﻦ دُ ﻋﻮا ﻟﻠﺤﻀﻮر‬ ‫وﻟﻠﻌﺮوض واﻟﻤﻌﺎرض اﻟﻔﻨﻴﺔ اﻟﻤﺨﺘﺎرة‪.‬‬ ‫ﻘﺪم اﻟﻨﺴﺨﺔ اﻟﺴﺎﺑﻌﺔ ﻣﻦ اﻟﻤﻬﺮﺟﺎن اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻨﺎﻗﺸﺎت واﻟﻌﺮوض وورش‬ ‫وﻓﻀ ًﻠﺎ ﻋﻦ ذﻟﻚ‪ُ ،‬ﺗ ﱢ‬ ‫اﻟﻤﻮﺟﻬﺔ إﻟﻰ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻤﺤﻠﻴﻴﻦ‪ ،‬واﻟﺘﻲ ﺳ ُﺘﻌﻘﺪ ﻓﻲ ﻣﺪرار اﻟﻌﺎم اﻟﻤﻘﺒﻞ‪.‬‬ ‫اﻟﻌﻤﻞ‬ ‫ﱠ‬

The Mesh Cairo Video Festival focuses on most recent worldwide experiments in the moving image. The annual showcase of video art and experimental film was conceived in 2005 with the aim of bringing forward experiments in a medium that, though established as an art form, still played a rather peripheral role, on the contemporary art scene. The festival comes to life through screening programs and loop videos exhibitions that are presented around different venues in the city of Cairo during the course of two weeks. Through the festivalâ&#x20AC;&#x2122;s open call this year, Medrar received works of the most diverse genres. A total of 116 artists, filmmakers and groups from 38 countries have been selected to be featured in this edition. This immense response gives rise to another role of the festival: the stimulation of an international network of moving image producers and their audiences, to collectively watch and discuss productions from around the world. Medrarâ&#x20AC;&#x2122;s archive, containing thousands of submitted works since 2005, is testament to this network and is an important resource for moving image researchers. The guiding selection criteria have been creativity and originality of ideas, variety of genre, and technical quality. This resulted in a body of work containing an immensely diverse series of visions, techniques and approaches. While one can identify recurrent themes, such as a concern with spaces and sites, human bodies in relation to architecture, and social and political issues; there are also works that set an agenda for phenomena as unexpected and unique as shopping addiction; the death of a lizard in a French vineyard; the fixed smile of a game show hostess; postcards to a Latvian girlfriend. This defiance of genre and theme in itself tells us of the power of this medium to elevate the expressive potential of all aspects of life. Another strong characteristic of the selected works is their challenge to commercial image-making, emphasizing how video technology serves other spheres beyond commercially driven entertainment. Parallel to the open call, the 7th edition brings forward invited guest artists to participate with their work alongside the official selection of the festival. The program includes time-based artistic expressions, ongoing projects, as well as a work that required almost 36 years to complete. We hope to offer an insight into current art practices, and also into the local and global production of video art and experimental film. Besides the guest artists and selected artworks screenings and exhibitions, the 7th edition includes talks and presentations, as well as a workshop for local artists to be held in Medrar next year.

‫ﻣﺨﺘﺎرات‬ ‫اﻟﻤﻬﺮﺟﺎن‬

Festival's Selection

Artur Rozen Poland

Black Flag 10'02''

2014 The film is a documentation of artistic activity in urban space. The action conducted focused on a piece of architecture, that forms part of an unfinished transport artery. Excluded space became a refuge for marginalized people. Homeless people adapted this space to suit their needs by creating temporary bedrooms. This situation, in addition to satisfying the need for a “roof over one’s head,” reflects on the creation of space around us.

‫آرﺗﻮر روﭼﻦ‬ ‫ﺑﻮﻟﻨﺪا‬

‫اﻟﻌ َﻠﻢ ا ﺳﻮد‬ َ ‫ دﻗﻴﻘﺔ‬١٠:٠٢

٢٠١٤ ‫ﻳﻮﺛﻖ اﻟﻔﻴﻠﻢ اﻟﻨﺸﺎط اﻟﻔﻨﻲ ﻓﻲ ﻣﺴﺎﺣﺔ‬ ‫ ﺗﺮﻛﺰ ا ﺣﺪاث اﻟﺠﺎرﻳﺔ ﻋﻠﻰ ﻗﻄﻌﺔ‬.‫ﺣﻀﺮﻳﺔ‬ ‫ وﻫﻲ ﻋﺒﺎرة ﻋﻦ ﺟﺰء ﻏﻴﺮ ﻣﻜﺘﻤﻞ ﻣﻦ‬،‫ﻣﻌﻤﺎرﻳﺔ‬ ً ‫ﻣﻠﺠﺄ‬ ‫ أﺻﺒﺢ اﻟﻔﻀﺎء اﻟﻤﻌﺰول‬.‫ﺷﺒﻜﺔ اﻟﻨﻘﻞ‬ َ ‫ َﻛﻴ‬،‫ﻟﻠﻤﻬﻤﺸﻴﻦ‬ ‫ﱠﻒ ﻓﻴﻪ اﻟﻤﺸﺮدون ﻣﺴﺎﺣﺎت‬ ‫ﺗﺘﻨﺎﺳﺐ ﻣﻊ اﺣﺘﻴﺎﺟﺎﺗﻬﻢ ﻋﻦ ﻃﺮﻳﻖ ﺧﻠﻖ ﻏﺮف‬ ‫ ﺑﻐﺾ اﻟﻨﻈﺮ ﻋﻦ اﻟﺤﺎﺟﺔ‬.‫ﻧﻮم ﻣﻌﺎﺻﺮة‬ ‫اﻟﻮاﺿﺤﺔ ﻟﺴﻘﻒ ﻳﻘﻲ ﻣﻦ اﻟﻤﻨﺎخ واﻟﺒﻴﺌﺔ‬ ‫ ﻳﻘﺪم ﻫﺬا اﻟﻮﺿﻊ ﻓﺮﺻﺔ ﻟﺘﺄﻣﻞ‬،‫اﻟﻤﺤﻴﻄﺔ‬ .‫ﻛﻴﻔﻴﺔ ﺧﻠﻖ اﻟﻤﺴﺎﺣﺎت ﻣﻦ ﺣﻮﻟﻨﺎ‬

Anne Haaning

‫آن ﻫﺎﻧﻴﻨﺞ‬

Denmark

‫اﻟﺪﻧﻤﺎرك‬

KhoiSan Medicine 12'20''

2014 “KhoiSan Medicine” is an exploration of contemporary myth through the unlikely pairing of special effects, YouTube tutorials and anthropological studies of the KhoiSan; the aboriginal people of Southern Africa. Using fragmentary sound bites and particle based animation, it connects digital production and circulation with ancient beliefs about the spiritual nature of the universe. Here disintegration and physical entropy reigns, aided by the resilience and adaptability of technology. It seeks to emphasize the instability of matter and identity in a digital context, and provocatively question whether this immaterial anarchism might also offer us liberation from the very laws of physics.

ُ ‫اﻟﻄﺐ‬ ‫اﻟﺨﻮَ ﻳﺴﺎﻧﻲ‬ ‫ دﻗﻴﻘﺔ‬١٢:٢٠

٢٠١٤ ُ ‫ﻳﻌﺘﺒﺮ »اﻟﻄﺐ‬ ‫اﻟﺨﻮَ ﻳﺴﺎﻧﻲ« رﺣﻠﺔ اﺳﺘﻜﺸﺎف‬ ‫ ﺳﻄﻮرة ﻣﻌﺎﺻﺮة ﻣﻦ ﺧﻼل اﻟﻤﺰج ﺑﻴﻦ‬ ‫اﻟﻨﻘﺎﺋﺾ اﻟﻤﺘﻤﺜﻠﺔ ﻓﻲ ﻓﻴﺪﻳﻮﻫﺎت اﻟﻴﻮﺗﻴﻮب‬ ‫اﻟﺘﻌﻠﻴﻤﻴﺔ واﻟﻤﺆﺛﺮات اﻟﺨﺎﺻﺔ واﻟﺪراﺳﺎت‬ ُ ‫ا ﻧﺜﺮوﺑﻮﻟﻮﺟﻴﺔ ﻟﻘﺒﺎﺋﻞ‬ ‫اﻟﺨﻮَ ﻳﺴﺎن )اﻟﺴﻜﺎن‬ .(‫ا ﺻﻠﻴﻮن ﻟﺠﻨﻮب أﻓﺮﻳﻘﻴﺎ‬ ‫ﻧﺘﺎج اﻟﺮﻗﻤﻲ اﻟﻤﺘﺪاول ﺑﺎﻟﻤﻌﺘﻘﺪات‬¹‫ﻳﺘﻢ رﺑﻂ ا‬ ،‫اﻟﻘﺪﻳﻤﺔ اﻟﻤﺘﻌﻠﻘﺔ ﺑﻄﺒﻴﻌﺔ اﻟﻜﻮن اﻟﺮوﺣﻴﺔ‬ ‫وذﻟﻚ ﻋﻦ ﻃﺮﻳﻖ اﺳﺘﺨﺪام ﻣﻘﺎﻃﻊ ﺻﻮﺗﻴﺔ‬ ‫ وأﺳﻠﻮب اﻟﺮﺳﻮم اﻟﻤﺘﺤﺮﻛﺔ اﻟﻤﺒﻨﻲ‬،‫ﻣﺠﺘﺰأة‬ ‫ ﻳُﺴﻴﻄﺮ‬.‫ﻋﻠﻰ اﺳﺘﺨﺪام اﻟﺠﺴﻴﻤﺎت اﻟﺼﻐﻴﺮة‬ ‫اﻻﺿﻄﺮاب اﻟﻤﺎدي واﻟﺘﻔﻜﻚ ﻋﻠﻰ اﻟﻔﻴﻠﻢ‬ ‫ﺑﻤﺴﺎﻋﺪة اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ اﻟﺘﻲ ﺗﻤﺘﺎز ﺑﺎﻟﻤﺮوﻧﺔ‬ ‫ﻒ؛ ﺑُﻐﻴﺔ اﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ‬Ü‫واﻟﻘﺪرة ﻋﻠﻰ اﻟﺘﻜﻴ‬ ‫ ﻛﻤﺎ أﻧﻪ ﻳﻄﺮح‬.‫اﺿﻄﺮاب اﻟﻤﺎدة ﻓﻲ إﻃﺎر رﻗﻤﻲ‬ ً ‫أﻳﻀﺎ ﺳﺆا ًﻟﺎ ﻣﺜﻴﺮًا ﻟﻠﺠﺪل ﺣﻮل إﻣﻜﺎﻧﻴﺔ ﺗﺤﺮﻳﺮﻧﺎ‬ ‫ﻣﻦ ﻗﻮاﻧﻴﻦ اﻟﻔﻴﺰﻳﺎء ﻣﻦ ﺧﻼل اﻟﻔﻮﺿﻮﻳﺔ‬ .‫اﻟﻼﻣﺎدﻳﺔ‬

Ana Cembrero Coca & Jorge Piquer Rodriguez

Belgium

Europe Endless 27'10''

2014 A day inside the European Parliament and surrounding area. The work and lifestyle of Eurocrats served as inspiration for this film, which unfolds in Brussels’ EU district and features several dancers. The characters dance, run and glide through the empty spaces in an atmosphere beyond time, decontextualized, in an architectural non-site.

‫آﻧﺎ ﺛﻴﻤﺒﺮﻳﺮو ﻛﻮﻛﺎ و ﺧﻮرﺧﻲ ﭘﻳﻜﻴﺮ رودرﻳﺠﻴﺰ‬

‫ﺑﻠﺠﻴﻜﺎ‬

‫أوروﺑﺎ اﻟﻼﻣﺘﻨﺎﻫﻴﺔ‬ ‫ دﻗﻴﻘﺔ‬٢٧:١٠

٢٠١٤ ‫ﻳﻮم ﻓﻲ اﻟﺒﺮﻟﻤﺎن ا وروﺑﻲ واﻟﻤﻨﻄﻘﺔ اﻟﻤﺠﺎورة‬ ‫أﺳﻠﻮب ﺣﻴﺎةِ وﻋﻤﻞ اﻟﻤﻮﻇﻔﻴﻦ‬ ‫م‬ ُ َ ‫ َﺧ َﺪ‬.‫ﻟﻪ‬ ‫اﻟﺒﻴﺮوﻗﺮاﻃﻴﻴﻦ ﺑﺎﻻﺗﺤﺎد ا وروﺑﻲ ﻛﻤﺼﺪر إﻟﻬﺎم‬ ‫ﻟﻬﺬا اﻟﻔﻴﻠﻢ اﻟﺬي ﺗﺪور أﺣﺪاﺛﻪ ﻓﻲ اﻟﻌﺎﺻﻤﺔ‬ ‫ ﺣﻴﺚ ﻳﻘﻮم‬-‫ ﻣﻘﺮ اﻻﺗﺤﺎد ا وروﺑﻲ‬-‫ﺑﺮوﻛﺴﻞ‬ ‫ﻋﺪد ﻣﻦ اﻟﺮاﻗﺼﻴﻦ ﺑﺎﻟﺮﻛﺾ وﺗﺄدﻳﺔ اﻟﺮﻗﺼﺎت‬ ‫واﻻﻧﺴﻴﺎب ﺑﺨﻔﺔ ﻓﻲ اﻟﻤﺴﺎﺣﺎت اﻟﻔﺎرﻏﺔ ﻓﻲ‬ ‫ﺟﻮﱟ ﻋﺎﺑﺮ ﻟﻠﺰﻣﻦ ﻣﻨﺰوع ﻣﻦ ﺳﻴﺎﻗﻪ ﻓﻲ‬ .‫اﻟﻼﻣﻮﻗﻊ‬

Ana Rodríguez León Spain

El umbral de cristal (The Glass Threshold) 24'45''

2015 In the city, people live together with the characters from the world of advertising images. However, this apparently peaceful coexistence gets disrupted when people and characters begin a rivalry for the control of reality and its fictions.

‫آﻧﺎ رودرﻳﺠﻴﺰ ﻟﻴﻮن‬ ‫إﺳﺒﺎﻧﻴﺎ‬

‫اﻟﻌﺘﺒﺔ اﻟﺰﺟﺎﺟﻴﺔ‬ ‫ دﻗﻴﻘﺔ‬٢٤:٤٥

٢٠١٥ ‫ﻋﻴﺶ اﻟﻨﺎس ﻓﻲ اﻟﻤﺪﻳﻨﺔ ﻣﻊ ﺷﺨﺼﻴﺎت وﺻﻮر‬ ‫ وﻟﻜﻦ ﻫﺬا اﻟﺘﻌﺎﻳﺶ اﻟﺴﻠﻤﻲ‬،‫ﻋﻼﻧﺎت‬¹‫ﻋﺎﻟﻢ ا‬ ‫ﺑﻴﻨﻬﻤﺎ ﺳﺮﻋﺎن ﻣﺎ ﻳﺒﺪأ ﻓﻲ اﻻﺿﻄﺮاب ﺣﻴﻨﻤﺎ‬ ‫ﻳﺘﻨﺎﻓﺲ ﻛﻞ ﻣﻨﻬﻤﺎ ﻟﻠﺴﻴﻄﺮة ﻋﻠﻰ اﻟﻌﺎﻟﻢ‬ .‫اﻟﻮاﻗﻌﻲ وﺧﻴﺎﻻﺗﻪ‬

Admiral Kolencik & Peter Skala Slovakia

DVA - No Survi

‫أدﻣﻴﺮال ﻛﻮﻟﻴﻨﺘﺸﻴﻚ و ﭘﻴﺘﺮ ﺳﻜﺎﻻ‬ ‫ﺳﻠﻮﭬﺎﻛﻴﺎ‬

‫ ﻧﻮ ﺳﻮرﭬﻰ‬- ‫دي ﭬﻰ إﻳﻪ‬

2'48''

‫ دﻗﻴﻘﺔ‬٢:٤٨

2014

٢٠١٤

when souls which have forgot frivolity in lowliness, noting the fatal flight of worlds whereto this earth's a hurled dream E. E. Cummings

‫ﺗﻠﺤﻆ ا رواح اﻟﺘﻲ ﻧﺴﻴﺖ ﺧﻔﺘﻬﺎ ﻓﻲ ﺧﻨﻮع‬ ،‫اﻟﻌﻮاﻟﻢ ﻓﻲ ﻃﻴﺮاﻧﻬﺎ اﻟﻤﺪﻣﺮ‬ ُ َ ‫إﻟﻰ ﺣﻴﺚ ُﺗ‬ ُ ‫ﻘﺬ‬ ‫ﻠﻢ ﻣﻨﺴﻲ‬ ‫ف‬ ٍ ‫ا رض َﻛ ُﺤ‬ ‫إي إي ﻛﺎﻣﻴﻨﺠﺰ‬

Asmaa Ben Slama Tunisia

‫أﺳﻤﺎء ﺑﻦ ﺳﻼﻣﺔ‬ ‫ﺗﻮﻧﺲ‬

Rectiligne

‫ﻣﺴﺘﻘﻴﻢ‬

9'13''

‫ دﻗﻴﻘﺔ‬٩:١٣

2014

٢٠١٤

Free variations on straight trajectories. The film shows the lives of several characters, each of them suffers, or has suffered, a great deal. A mechanical and cold daily life;people between passages and waiting.

‫ ﻳﻘﺪم‬.‫ﺗﻨﻮﻳﻌﺎت ﺣﺮة ﻋﻠﻰ ﻣﺴﺎرات ﻣﺴﺘﻘﻴﻤﺔ‬ ‫اﻟﻔﻴﻠﻢ ﺣﻴﺎة ﻋﺪد ﻣﻦ اﻟﺸﺨﺼﻴﺎت اﻟﺘﻲ ﻋﺎﻧﺖ‬ ‫ ﺣﻴﺎة ﻳﻮﻣﻴﺔ‬.‫أو ﻣﺎ زاﻟﺖ ﺗﻌﺎﻧﻲ ﻣﻨﺬ ﻓﺘﺮة ﻃﻮﻳﻠﺔ‬ ‫ﻣﻴﻜﺎﻧﻴﻜﻴﺔ ﺑﺎردة ﻳﻘﻒ ﻓﻴﻬﺎ اﻟﻨﺎس ﻓﻲ ﻣﻤﺮات‬ .‫اﻟﻌﺒﻮر وﻳﻨﺘﻈﺮون‬

‫أﻟﻴﻜﺴﺎﻧﺪر ﻣﺎرﺗﻴﻨﺰ‬ ‫اﻟﻨﻤﺴﺎ‬

‫أرﺑﻊ ﻧﺴﺎء‬

‫‪Alexander Martinz‬‬ ‫‪Austria‬‬

‫‪4 women‬‬

‫‪ ٩:٢٩‬دﻗﻴﻘﺔ‬

‫''‪9'29‬‬

‫‪٢٠١٤‬‬

‫‪2014‬‬

‫»ﻓﻮﻟﻲ«‪ :‬ﻫﻲ ﻋﻤﻠﻴﺔ إﻋﺎدة إﻧﺘﺎج اﻟﻤﺆﺛﺮات‬ ‫اﻟﺼﻮﺗﻴﺔ)@( اﻟﺘﻲ ﺗﻀﺎف إﻟﻰ ا ﻓﻼم وﻣﻘﺎﻃﻊ‬ ‫اﻟﻔﻴﺪﻳﻮ واﻟﻮﺳﺎﺋﻂ ا ﺧﺮى ﻓﻲ ﻣﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ‬ ‫ا‪¹‬ﻧﺘﺎج‪ ،‬وذﻟﻚ ﺑﻐﺮض ﺗﺤﺴﻴﻦ ﺟﻮدة اﻟﺼﻮت‪ .‬ﻓﻲ‬ ‫ﻓﻴﻠﻢ »أرﺑﻊ ﻧﺴﺎء« ﺗﺆدي أرﺑﻊ ﺷﺨﺼﻴﺎت ﻣﺨﺘﻠﻔﺔ‬ ‫ا رﺑﻌﺔ ا ﺻﻮات اﻟﻤﻄﻠﻮﺑﺔ ﻟﺨﻠﻖ ﻣﺆﺛﺮ »ﻓﻮﻟﻲ«‬ ‫اﻟﺼﻮﺗﻲ‪ .‬وﺑﻬﺬا ﻳﺘﻢ ﻋﻜﺲ ﻋﻤﻠﻴﺔ إﻧﺘﺎج اﻟﺼﻮت‬ ‫ﻋﻦ ﻣﺴﺎرﻫﺎ ا ﺻﻠﻲ اﻟﻤﺘﻌﺎرف ﻋﻠﻴﻪ؛ ﻓﺒﺪ ًﻟﺎ ﻣﻦ‬ ‫ﺻﻨﻊ اﻟﺼﻮت ﻟﻴﺘﻤﺎﺷﻰ ﻣﻊ اﻟﺼﻮرة‪ ،‬ﻳﻘﻮدﻧﺎ‬ ‫اﻟﺼﻮت إﻟﻰ ﺻﻨﻊ ﻓﻴﻠﻢ‪.‬‬ ‫ﺳﻤﻴﺖ ﻋﻤﻠﻴﺔ إﻋﺎدة إﻧﺘﺎج اﻟﻤﺆﺛﺮات اﻟﺼﻮﺗﻴﺔ‬ ‫)@( ُ‬ ‫ً‬ ‫ﺧﻠﻔﺎ ﻟﺮاﺋﺪ ﻣﻦ رواد ﻫﻨﺪﺳﺔ اﻟﺼﻮت‬ ‫ﺑﻬﺬا اﻻﺳﻢ‬ ‫وﻫﻮ ﺟﺎك ﻓﻮﻟﻲ )اﻟﻤﺘﺮﺟﻢ(‪.‬‬

‫‪Foley is the reproduction of sound effects‬‬ ‫‪that are added to film, video and other‬‬ ‫‪media in post production to enhance‬‬ ‫‪audio quality. In “4 women,” four distinct‬‬ ‫‪characters perform four sounds that are‬‬ ‫‪needed to create a foley sound. The‬‬ ‫‪original process of sound production is‬‬ ‫‪therefore reversed. Rather than sound‬‬ ‫‪being made for a picture, sound leads to a‬‬ ‫‪movie.‬‬

Amir Vahedi Iran

The Belief

‫أﻣﻴﺮ ﭬﺎﻫﻴﺪي‬ ‫إﻳﺮان‬

‫ﻳﻤﺎن‬¹‫ا‬

2'10''

‫ دﻗﻴﻘﺔ‬٢:١٠

2014

٢٠١٤

The enemy attacks the country and war begins. A pair of military boots is being put on by an invisible man. The boots get ready to fight the enemy. But when the boots see the other fragments of boots in the battlefield, they refuse to go forward. The man takes off the boots and steps towards to the front, fighting with the enemy.

ُ ‫ﻳ‬ ‫ ﻳﺮﺗﺪي رﺟﻞ‬.‫ وﺗﺒﺪأ اﻟﺤﺮب‬،‫ﻦ اﻟﻌﺪو اﻟﻬﺠﻮم‬Ü ‫َﺸ‬ ‫ ﻳﺴﺘﻌﺪ‬.‫ﺧﻔﻲ ﺣﺬاء اﻟﺠﻨﻮد ذا اﻟﺮﻗﺒﺔ اﻟﻌﺎﻟﻴﺔ‬ ‫ وﻟﻜﻨﻪ ﺣﻴﻨﻤﺎ ﻳﺮى ﻣﺸﺎﻫﺪ‬،‫اﻟﺤﺬاء ﻟﻘﺘﺎل اﻟﻌﺪو‬ ‫ﻋﺎﺑﺮة ﻣﻦ أﺣﺬﻳﺔ أﺧﺮى ﺗﺮﻛﺾ ﻓﻲ ﺳﺎﺣﺔ‬ ‫ ﺣﻴﻨﻬﺎ ﻳﻘﺮر‬.‫ﻗﺪﻣﺎ‬ ‫اﻟﻤﻀﻲ‬ ً ُ ‫ ﻳﺮﻓﺾ‬،‫اﻟﻤﻌﺮﻛﺔ‬ ‫اﻟﺮﺟﻞ اﻟﺨﻔﻲ ﺧﻠﻊ اﻟﺤﺬاء واﻟﺘﻘﺪم إﻟﻰ‬ .‫اﻟﺼﻔﻮف ا ﻣﺎﻣﻴﺔ ﻟﻘﺘﺎل اﻟﻌﺪو‬

Andra Tévy France

The Wall 16'57''

2014 One snowy winter evening, a woman goes to work. The surroundings are hostile, the labour backbreaking. And a window doesn’t close anymore, so it snows inside the work space. The place of work becomes a land of adventures …

‫أﻧﺪرا ﺗﻴﻔﻲ‬ ‫ﻓﺮﻧﺴﺎ‬

‫اﻟﺠﺪار‬ ‫ دﻗﻴﻘﺔ‬١٦:٥٧

٢٠١٤ ‫ ﺗﺨﺮج اﻣﺮأة ﻓﻲ‬،‫ﻓﻲ إﺣﺪى ﻟﻴﺎﻟﻲ اﻟﺸﺘﺎء اﻟﺜﻠﺠﻴﺔ‬ ‫ ﺑﻴﺌﺘﻬﺎ اﻟﻤﺤﻴﻄﺔ ﻣﻌﺎدﻳﺔ‬.‫ﻃﺮﻳﻘﻬﺎ إﻟﻰ اﻟﻌﻤﻞ‬ ‫ ﺗﺄﺑﻰ‬.‫ واﻟﻌﻤﻞ ﺷﺎق وﻗﺎﺻﻢ ﻟﻠﻈﻬﺮ‬،‫ﺗﻤﺎﻣﺎ‬ ً ‫ وﻳﻈﻬﺮ ﻣﺤﻴﻂ اﻟﻌﻤﻞ ﻣﻦ‬،‫اﻟﻨﺎﻓﺬة أن ﺗﻨﻐﻠﻖ‬ ‫ﻣﺴﺮﺣﺎ‬ ‫ ﺑﻴﻨﻤﺎ ﻳﺼﺒﺢ ﻣﻜﺎن اﻟﻌﻤﻞ‬..‫داﺧﻠﻬﺎ‬ ً ً .‫وأرﺿﺎ ﻟﻠﻤﻐﺎﻣﺮات‬

Ulf Lundin Sweden

‫أوﻟﻒ ﻟﻮﻧﺪﻳﻦ‬ ‫اﻟﺴﻮﻳﺪ‬

9-5

‫ﻣﻦ ﺗﺴﻌﺔ ﻟﺨﻤﺴﺔ‬

8'33''

‫ دﻗﻴﻘﺔ‬٨:٣٣

2013

٢٠١٣

Following the everyday activities in an office building in Stockholm, “9-5” is shot in secret from a distance during dark hours. After gathering material for several weeks, Lundin digitally edited them to create a long continuous dolly shot. The result is a condensed reality where time and space have been manipulated. The portrayed office workers represent all of us, and our gaze is turned towards ourselves. How do we choose to live our lives?

‫ﺗﻢ ﺗﺼﻮﻳﺮ ﻓﻴﻠﻢ »ﻣﻦ ﺧﻤﺴﺔ ﻟﺘﺴﻌﺔ« ﺳ ًّﺮا ﺑﻌﺪ‬ ‫ﺳﺎﻋﺎت اﻟﻌﻤﻞ اﻟﺮﺳﻤﻴﺔ ﻓﻲ ﻣﻜﺘﺐ ﺑﻤﺪﻳﻨﺔ‬ ‫ وﺗﻢ ﺗﺼﻮﻳﺮه ﻣﻦ ﻣﺴﺎﻓﺔ ﺑﻌﻴﺪة‬،‫ﺳﺘﻮﻛﻬﻮﻟﻢ‬ ‫ ﺑﻌﺪﻣﺎ َﺟ َﻤ َﻊ ﻟﻮﻧﺪﻳﻦ اﻟﻤﺎدة‬.‫ﺧﻼل ﺳﺎﻋﺎت اﻟﻠﻴﻞ‬ ‫ ﻗﺎم ﺑﺘﻌﺪﻳﻠﻬﺎ رﻗﻤ ًﻴّﺎ‬،‫اﻟﻔﻴﻠﻤﻴﺔ ﻟﻌﺪة أﺳﺎﺑﻴﻊ‬ ً ‫ﻟﻴﺨﻠﻖ ﻣﺸﻬﺪً ا‬ ‫ﻣﺘﺤﺮﻛﺎ ﻃﻮﻳ ًﻠﺎ وﻣﺴﺘﻤ ًّﺮا؛ ﻧﺘﺞ‬ ‫ﻋﻦ ذﻟﻚ ا ﺳﻠﻮب واﻗﻊ ﻣﻜﺜﻒ ﺗﻢ ﻓﻴﻪ‬ ‫ ﻋﻤﺎل اﻟﻤﻜﺘﺐ اﻟﺬﻳﻦ‬.‫اﻟﺘﻼﻋﺐ ﺑﺎﻟﻮﻗﺖ واﻟﻤﻜﺎن‬ ‫ﺟﻤﻴﻌﺎ‬ ‫ﻳﻈﻬﺮون ﻓﻲ اﻟﻔﻴﻠﻢ ﻳﻤﺜﻠﻮﻧﻨﺎ‬ ً ‫وﺑﺘﻔﺤﺼﻨﺎ ﻟﻬﻢ ﻧﺘﺤﻮل ﻟﺘﺄﻣﻞ أﻧﻔﺴﻨﺎ‬ .‫وﻻﺧﺘﻴﺎرﻧﺎ ﻟﻜﻴﻔﻴﺔ ﻋﻴﺶ اﻟﺤﻴﺎة‬

Umi Ishihara Japan

Desktop Treasure

‫أوﻣﻲ إﻳﺸﻴﻬﺎرا‬ ‫اﻟﻴﺎﺑﺎن‬

(‫ﻛﻨﺰ اﻟﺪﻳﺴﻜﺘﻮپ )ﺳﻄﺢ اﻟﻤﻜﺘﺐ‬

8'43''

‫ دﻗﻴﻘﺔ‬٨:٤٣

2014

٢٠١٤

One day when surfing through the internet, a young woman discovers an old blog. She attempts to delete it but cannot remember the password. This film attempts to go beyond borders through mixing personal areas of the Internet by bringing out online and analogue records, personal spaces lived in by the actor, and old blogs and e-mail login screens, and mixed video footages of various qualities.

‫ وﺑﻴﻨﻤﺎ ﺗﺘﺼﻔﺢ ﻓﺘﺎة ﻣﺪوﻧﺔ‬،‫ﻓﻲ ﻳﻮم ﻣﻦ ا ﻳﺎم‬ ‫ ﺗﺤﺎول ﺣﺬﻓﻬﺎ وﻟﻜﻨﻬﺎ ﻻ‬،‫ﻧﺘﺮﻧﺖ‬¹‫ﻗﺪﻳﻤﺔ ﻋﻠﻰ ا‬ ‫ ﻳﺤﺎول اﻟﻔﻴﻠﻢ‬.‫ﺗﺘﺬﻛﺮ ﻛﻠﻤﺔ اﻟﺴﺮ ﻟﺘﻔﻌﻞ ذﻟﻚ‬ ‫ﻋﺒﻮر اﻟﺤﻮاﺟﺰ ﻋﻦ ﻃﺮﻳﻖ ﺧﻠﻂ اﻟﻤﺴﺎﺣﺎت‬ ‫ﻧﺘﺮﻧﺖ ﻣﻦ ﺧﻼل إﻇﻬﺎر‬¹‫اﻟﺸﺨﺼﻴﺔ ﻋﻠﻰ ا‬ ‫ﻧﺘﺮﻧﺖ واﻟﺴﺠﻼت اﻟﺘﻤﺎﺛﻠﻴﺔ‬¹‫ﺳﺠﻼت ا‬ ‫واﻟﻤﺪوﻧﺎت اﻟﻘﺪﻳﻤﺔ وﺷﺎﺷﺎت اﻟﻮﻟﻮج إﻟﻰ اﻟﺒﺮﻳﺪ‬ ‫ﻟﻜﺘﺮوﻧﻲ وﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﺼﻮر اﻟﻤﺄﺧﻮذة ﻣﻦ‬¹‫ا‬ .‫ﻣﻘﺎﻃﻊ ﻓﻴﺪﻳﻮ ﻣﺨﺘﻠﻔﺔ اﻟﺠﻮدة‬

Erkka Nissinen Finland

Material Conditions of Inner Spaces 15'29''

2014 Three men are trying to change material conditions by social action. The lead characters of this absurdist slapstick musical are on a quest to find their inner spaces.

‫إرﻛﺎ ﻧﻴﺴﻴﻨِﻦ‬ ‫ﻓﻨﻠﻨﺪا‬

‫اﻟﺸﺮوط اﻟﻤﺎدﻳﺔ ﻟﻠﻤﺴﺎﺣﺎت اﻟﺸﺨﺼﻴﺔ‬ ‫ دﻗﻴﻘﺔ‬١٥:٢٩

٢٠١٤ ُ ‫ﻳﺤﺎول ﺛﻼﺛﺔ رﺟﺎل ﺗﻐﻴﻴﺮ اﻟﻈﺮوف اﻟﻤﺎدﻳﺔ ﻣﻦ‬ ‫ ﺗﺴﻌﻰ اﻟﺸﺨﺼﻴﺎت‬.‫ﺧﻼل اﻟﻌﻤﻞ اﻻﺟﺘﻤﺎﻋﻲ‬ ‫ا ﺳﺎﺳﻴﺔ ﻓﻲ ﻫﺬا اﻟﻔﻴﻠﻢ اﻟﻤﻮﺳﻴﻘﻲ اﻟﻌﺒﺜﻲ‬ .‫اﻟﻜﻮﻣﻴﺪي إﻟﻰ إﻳﺠﺎد ﻣﺴﺎﺣﺎﺗﻬﻢ اﻟﺸﺨﺼﻴﺔ‬

Ewa Górzna Poland/Finland

Rearranged

‫إﭬﺎ ﺟﻮﭼﻨﺎ‬ ‫ﻓﻨﻠﻨﺪا‬/‫ﺑﻮﻟﻨﺪا‬

‫إﻋﺎدة ﺗﺮﺗﻴﺐ‬

9'47''

‫ دﻗﻴﻘﺔ‬٩:٤٧

2014

٢٠١٤

“Rearranged” is a calmly flowing journey through a space submitted to an unexpected transformation. It reveals a surreal moment when the wild enters the conventional, rearranging the established order according to unrestrained and turbulent rules.

‫ ﻫﻮ رﺣﻠﺔ اﻧﺴﻴﺎﺑﻴﺔ ﻫﺎدﺋﺔ ﻋﺒﺮ‬:«‫»إﻋﺎدة ﺗﺮﺗﻴﺐ‬ ‫ ﻛﻤﺎ أﻧﻪ‬،‫ﻣﻜﺎن ﻳﺘﻌﺮض إﻟﻰ ﺗﻐﻴﻴﺮ ﻏﻴﺮ ﻣﺘﻮﻗﻊ‬ ‫ﻳﻜﺸﻒ ﻟﺤﻈﺔ ﺳﺮﻳﺎﻟﻴﺔ ﻋﻨﺪﻣﺎ ﺗﻘﺘﺤﻢ اﻟﺤﻴﺎة‬ ‫ وﺗﻌﻴﺪ ﺗﺮﺗﻴﺐ اﻟﻨﻈﺎم‬،‫اﻟﺒﺮﻳﺔ ﻣﺎ ﻫﻮ ﺗﻘﻠﻴﺪي‬ ً ‫وﻓﻘﺎ ﻟﻘﻮاﻋﺪ ﺟﺪﻳﺪة ﻣﻀﻄﺮﺑﺔ وﻏﻴﺮ‬ ‫اﻟﻘﺎﺋﻢ‬ .‫ُﻣﻘﻴﺪة‬

Elisabeth Molin Denmark

Night Cleaner

‫إﻟﻴﺰاﺑﻴﺚ ﻣﻮﻟﻦ‬ ‫اﻟﺪﻧﻤﺎرك‬

‫ﻋﺎﻣﻞ اﻟﻨﻈﺎﻓﺔ اﻟﻤﺴﺎﺋﻲ‬

2'22''

‫ دﻗﻴﻘﺔ‬٢:٢٢

2012

٢٠١٢

This film was shot at a gallery during the night cleaner's shift. The film has been reversed, so the hoover appears to be depositing dust in the space as opposed to cleaning it up.

ً ‫ﺗﻢ ﺗﺼﻮﻳﺮ ﻫﺬا اﻟﻔﻴﻠﻢ ﻟﻴ‬ ‫ﻼ ﺧﻼل اﻟﺪوام‬ ‫ ﻳ َُﻘ ﱠﺪم اﻟﻔﻴﻠﻢ‬.‫اﻟﻤﺴﺎﺋﻲ ﻟﻌﺎﻣﻞ اﻟﻨﻈﺎﻓﺔ‬ ‫ﺑﺸﻜﻞ ﻣﻌﻜﻮس ﺗﻈﻬﺮ ﻓﻴﻪ اﻟﻤﻜﻨﺴﺔ وﻫﻲ‬ !‫ﺗﻄﻠﻖ اﻟﺘﺮاب ﻓﻲ اﻟﻤﻜﺎن ﺑﺪ ًﻟﺎ ﻣﻦ أن ﺗﻨﻈﻔﻪ‬

Elena Knox Australia

Ovation

‫إﻟﻴﻨﺎ ﻧﻮﻛﺶ‬ ‫أﺳﺘﺮاﻟﻴﺎ‬

‫ﺗﺼﻔﻴﻖ‬

6'15''

‫ دﻗﻴﻘﺔ‬٦:١٥

2013

٢٠١٣

Two gameshow hostesses communicate through their allotted medium: applause. In a sparsely extradimensional studio where letterboard, wheel and quizmaster have been usurped by a large illuminated 'O', they applaud with ever-increasing benevolence, trading enthusiasms and rhythms until their compulsory clapping turns uncannily compulsive. "Ovation"" is part of a suite of works plotting and re-staging the gestural vocabulary of hostesses across a range of genres, periods and cultures.

‫ﺗﺘﻮاﺻﻞ ﻣﻘﺪﻣﺘﺎ ﺑﺮاﻣﺞ أﻟﻌﺎب ﻣﻦ ﺧﻼل‬ ‫اﻟﺘﺼﻔﻴﻖ ﻓﻲ اﺳﺘﻮدﻳﻮ ذي أﺑﻌﺎد إﺿﺎﻓﻴﺔ‬ ‫« )أو( ﻛﺒﻴﺮ‬O» ‫ﺷﺤﻴﺤﺔ ﻳﻄﻐﻰ ﻓﻴﻪ ﺣﺮف‬ ‫ﻣﻀﻲء ﻋﻠﻰ ﻟﻮﺣﺔ ا رﻗﺎم وﻋﺠﻠﺔ اﻟﺤﻆ‬ ‫ ﻳﺘﺰاﻳﺪ‬.‫واﻟﻤﻘﺪم اﻟﺬي ﻳﻤﺘﺤﻦ اﻟﻤﺘﺴﺎﺑﻘﻴﻦ‬ ‫ﻳﻘﺎع‬¹‫ﺗﺼﻔﻴﻖ اﻟﻤﻘﺪﻣﺘﻴﻦ وﺗﺘﺒﺎدﻻن ا‬ ‫واﻟﺤﻤﺎﺳﺔ ﺣﺘﻰ ﻳﺘﺤﻮل ﺗﺼﻔﻴﻘﻬﻢ اﻟﻼإرادي‬ !‫إﻟﻰ ﻓﻌﻞ ﺧﺎرق ﻟﻠﻄﺒﻴﻌﺔ‬ ‫ﺟﺰءا ﻣﻦ ﺳﻠﺴﻠﺔ أﻋﻤﺎل ﺗﺘﻼﻋﺐ‬ «‫ﻳﻌﺪ »ﺗﺼﻔﻴﻖ‬ ً ‫ﻳﻤﺎءات اﻟﺘﻲ ﺗﺴﺘﺨﺪﻣﻬﺎ ﻣﻘﺪﻣﺎت‬¹‫ﺑﺎ ﻟﻔﺎظ وا‬ ‫ وﻳﻌﻴﺪ ﺗﻘﺪﻳﻤﻬﺎ ﻋﺒﺮ اﻟﻌﺪﻳﺪ ﻣﻦ‬،‫ﺑﺮاﻣﺞ ا ﻟﻌﺎب‬ .‫ا ﺳﺎﻟﻴﺐ واﻟﺜﻘﺎﻓﺎت واﻟﻔﺘﺮات اﻟﺰﻣﻨﻴﺔ‬

‫إﻳﺠﻨﺎﺛﻴﻮ إف رودو‬ ‫إﺳﺒﺎﻧﻴﺎ‬

‫ﻧﻮم ﻫﺎدئ‬ ‫‪ ١:٠٠‬دﻗﻴﻘﺔ‬

‫‪٢٠١٤‬‬ ‫ﻳﻄﻠﺐ أﻟﻴﻜﺲ ﻣﻦ أﺑﻴﻪ أن ﻳﺼﻄﺤﺒﻪ إﻟﻰ‬ ‫اﻟﻔﺮاش وﻳﻐﻄﻴﻪ ﺣﺘﻰ ﻳﻨﺎم ﻓﻲ ﻫﺪوء‪ ،‬وﻟﻜﻦ‬ ‫ﻫﺬا ﻟﻢ ﻳﻜﻦ اﻟﺸﻲء اﻟﻮﺣﻴﺪ اﻟﺬي ﻳﻄﻠﺒﻪ‬ ‫أﻟﻴﻜﺲ‪.‬‬

‫‪Ignacio F. Rodó‬‬ ‫‪Spain‬‬

‫‪Tuck me in‬‬ ‫'‪1‬‬

‫‪2014‬‬ ‫‪Alex asks his father to tuck him in, but‬‬ ‫‪that's not the only thing he asks for.‬‬

Eeva Liisa Puhakka Finland

Time is freezing moments 10'13''

2014 Nothing is more memorable than a smell. A scent can be unexpected, momentary, and fleeting, yet conjure up a childhood summer beside a lake, when wild blueberry bushes teemed with succulent fruit or another memory of baked cookies in the oven at grandma’s house in a countryside village or even a family barbecue in the late summer sunburnt grass yard … Hit a “tripwire” of smell, and memories explode all at once. A complex vision leaps out of the undergrowth.

‫ﱠ‬ ‫ﭘﻮﻫﺎﻛﺎ‬ ‫إﻳﻔﺎ ﻟﻴﺴﺎ‬ ‫ﻓﻨﻠﻨﺪا‬

‫اﻟﻮﻗﺖ ﻫﻮ إﻳﻘﺎف اﻟﻠﺤﻈﺎت‬ ‫ دﻗﻴﻘﺔ‬١٠:١٣

٢٠١٤ .‫ﻟﻴﺲ ﻫﻨﺎك ﺷﻲء ﻻ ﻳُﻨﺴﻰ أﻛﺜﺮ ﻣﻦ اﻟﺮاﺋﺤﺔ‬ ‫ﻣﻔﺎﺟﺌﺔ وﻟﺤﻈﻴﺔ‬ ‫ﻳﻤﻜﻦ ﻟﻠﺮاﺋﺤﺔ أن ﺗﻜﻮن‬ ِ ً ‫ وﻟﻜﻦ ﺑﺈﻣﻜﺎﻧﻬﺎ‬،‫وﻋﺎﺑﺮة‬ ‫أﻳﻀﺎ اﺳﺘﺤﻀﺎر ذﻛﺮﻳﺎت‬ ‫ ﺣﻴﺚ‬،‫اﻟﻄﻔﻮﻟﺔ ﻓﻲ اﻟﺼﻴﻒ ﺑﺠﺎﻧﺐ اﻟﺒﺤﻴﺮة‬ ‫ﻛﺎﻧﺖ ﺷﺠﻴﺮات اﻟﻌﻨﺐ اﻟﺒﺮي ﺗﻜﺘﻆ ﺑﺎﻟﺜﻤﺎر‬ ‫ أو راﺋﺤﺔ اﻟﻜﻌﻚ اﻟﻤﺨﺒﻮز ﻓﻲ‬،‫اﻟﻨﻀﺮة اﻟﻠﺬﻳﺬة‬ ‫ أو راﺋﺤﺔ ﺣﻔﻞ‬،‫ﻓﺮن ﺟﺪﺗﻲ ﻓﻲ ﻣﻨﺰﻟﻬﺎ اﻟﺮﻳﻔﻲ‬ ‫ﺷﻮاء ﻋﺎﺋﻠﻲ ﻓﻲ ﺳﺎﺣﺔ اﻟﻤﻨﺰل ذي اﻟﻌﺸﺐ‬ ‫ إذا أﻃﻠِﻘﺖ‬...‫اﻟﻤﺤﺘﺮق ﻓﻲ ﻧﻬﺎﻳﺔ ﻓﺼﻞ اﻟﺼﻴﻒ‬ ‫ ﻓﺴﺘﻨﻔﺠﺮ ﺟﻤﻴﻊ اﻟﺬﻛﺮﻳﺎت ﻓﻲ‬،‫ﺷﺮارة اﻟﺮاﺋﺤﺔ‬ ‫ وﺳﺘﻘﻔﺰ رؤى ﻣﺮﻛﺒﺔ ﻣﻦ اﻟﺸﺠﻴﺮات‬،‫ﻟﺤﻈﺔ‬ .‫اﻟﻤﺘﺸﺎﺑﻜﺔ ﻟﺘﺘﺠﺴﺪ أﻣﺎﻣﻚ‬

Pablo Polledri Argentina

The Candidate

‫ﺑﺎﺑﻠﻮ ﺑﻮﻳﻴﺪري‬ ‫ا رﺟﻨﺘﻴﻦ‬

‫اﻟﻤﺮﺷﺢ‬

2'55''

‫ دﻗﻴﻘﺔ‬٢:٥٥

2012

٢٠١٢

Political consultants in search of the perfect image.

‫ﻣﺴﺘﺸﺎرون ﺳﻴﺎﺳﻴﻮن ﻳﺒﺤﺜﻮن ﻋﻦ اﻟﺼﻮرة‬ .‫اﻟﻤﺜﻠﻰ‬ ُ ‫اﻟﺠﻤﺎﻫﻴﺮﻳﺔ‬

Bartosz Warwas Poland

Hegel and the Butterfly

‫ﺑﺎرﺗﻮش ﭬﺎرﭬﺲ‬ ‫ﺑﻮﻟﻨﺪا‬

‫ﻫﻴﺠﻞ واﻟﻔﺮاﺷﺔ‬

4'58''

‫ دﻗﻴﻘﺔ‬٤:٥٨

2012

٢٠١٢

This brief and creative documentary is probably closest to, in the Polish film tradition, the style of Wojciech Wiszniewski. Performances by a human-butterfly became fodder to express the dialectic of our collective and individual history. After the thesis and antithesis there must come the synthesis. Will it be the same in life, as in film?

ً ‫ ﻳُﻌﺪ ﻫﺬا‬،‫ﻃﺒﻘﺎ ﻟﻠﺜﻘﺎﻓﺔ اﻟﺴﻴﻨﻤﺎﺋﻴﺔ اﻟﺒﻮﻟﻨﺪﻳﺔ‬ ‫ ﻋﻠﻰ‬-‫ﺑﺪاﻋﻲ اﻟﻤﺨﺘﺼﺮ ﻫﻮ‬¹‫اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ ا‬ ‫ ا ﻗﺮب إﻟﻰ أﺳﻠﻮب اﻟﻤﺨﺮج ﻓﻮﻳﺘﺸﺦ‬-‫ا رﺟﺢ‬ ‫ ﻳﻤﺘﺰج أداء اﻟﻔﺮاﺷﺔ اﻟﺒﺸﺮﻳﺔ‬.‫ﻓﻴﺴﻨﻴﻔﺴﻜﻲ‬ .‫ُﻌﺒﱢﺮ ﻋﻦ ﺟﺪﻟﻴﺔ ﺗﺎرﻳﺨﻨﺎ اﻟﺠﻤﺎﻋﻲ واﻟﻔﺮدي‬ َ ‫ﻟﻴ‬ ‫ ﻻ ﺑﺪ أن ﻳﺄﺗﻲ اﻟﻤﺰج‬،‫ﺑﻌﺪ ﻃﺮح اﻟﺮﺳﺎﻟﺔ وﻧﻘﻴﻀﻬﺎ‬ ‫ وﻟﻜﻦ ﻫﻞ ﺳﻴﻜﻮن اﻟﺤﺎل ﻓﻲ‬،‫واﻟﺘﻜﻮﻳﻦ‬ ‫اﻟﻮاﻗﻊ ﻛﻤﺎ ﻫﻮ ﻓﻲ اﻟﻔﻴﻠﻢ؟‬

Balley Delphine France

The Upper Land 16'33''

2013 In the lower land and the upper land, rituals take place in empty houses. Each room retains the signs of past generations, the traces of dark tales, of hidden children and family secrets. Everything transpires. Ancient superstitions have settled there. Two women walk through the same rooms of the same house without ever meeting.

‫ﺑﺎﻟﻲ دﻳﻠﻔﻴﻦ‬ ‫ﻓﺮﻧﺴﺎ‬

‫ا رض اﻟﻌﻠﻴﺎ‬ ‫ دﻗﻴﻘﺔ‬١٦:٣٣

٢٠١٣ ‫ﺗﻘﺎم اﻟﺸﻌﺎﺋﺮ ﻓﻲ ا راﺿﻲ اﻟﻌﻠﻴﺎ واﻟﺴﻔﻠﻰ‬ ‫ﺑﺎﻟﺒﻴﻮت اﻟﻤﻬﺠﻮرة وﺗﺤﺘﻔﻆ ﻛﻞ ﻏﺮﻓﺔ ﻓﻲ‬ ‫ﻃﻴﺎﺗﻬﺎ ﺑﺂﺛﺎر ا ﺟﻴﺎل اﻟﺴﺎﺑﻘﺔ واﻟﺤﻜﺎﻳﺎت‬ ‫اﻟﻤﻈﻠﻤﺔ وا ﻃﻔﺎل اﻟﻤﺘﺨﻔﻴﻦ وا ﺳﺮار‬ ‫ ﻟﻘﺪ اﺳﺘﻘﺮت‬،‫ ا¼ن ﻳﺘﻀﺢ ﻛﻞ ﺷﻲء‬.‫اﻟﻌﺎﺋﻠﻴﺔ‬ ‫ ﺗﺴﻴﺮ‬.‫اﻟﺨﺮاﻓﺎت اﻟﻘﺪﻳﻤﺔ ﻓﻲ ﻫﺬا اﻟﻤﻜﺎن‬ .‫اﻣﺮأﺗﺎن ﻋﺒﺮ اﻟﻐﺮﻓﺔ ذاﺗﻬﺎ دون أن ﺗﻠﺘﻘﻴﺎ‬

‫اﻟﺘﻴﺮاﺗﺴﻴﻮﻧﻰ ﻟﻠﻔﻴﺪﻳﻮ‬ ‫إﻳﻄﺎﻟﻴﺎ‬

‫‪Alterazioni Video‬‬ ‫‪Italy‬‬

‫أﻣﺒﺎرادان‬

‫‪Ambaradan‬‬

‫‪ ٣٤‬دﻗﻴﻘﺔ‬

‫'‪34‬‬

‫‪٢٠١٤‬‬ ‫وادي أوﻣﻮ‪ ،‬إﺛﻴﻮﺑﻴﺎ‪ ،‬ﻋﺎم ‪ .٢٠١٤‬ﺗﻘﻮم ﻗﺒﻴﻠﺔ ﻣﻦ‬ ‫أﺧﺮﻳﺎت اﻟﻘﺒﺎﺋﻞ ا ﻓﺮﻳﻘﻴﺔ اﻟﻤﺘﺒﻘﻴﺔ ﺑﻨﺸﺮ ﻓﻴﺪﻳﻮ‬ ‫ﻣﻮﺳﻴﻘﻲ »ﺗﻴﻜﻨﻮ‪-‬ﺑﻮب« ﺑﻬﺪف ﻣﺤﺎرﺑﺔ ﻇﻮاﻫﺮ‬ ‫ﺣﺪاﺋﻖ اﻟﺤﻴﻮان اﻟﺒﺸﺮﻳﺔ واﻻﺳﺘﻴﻼء ﻋﻠﻰ‬ ‫ا راﺿﻲ‪ .‬ذﻫﺒﻨﺎ إﻟﻰ ﻫﻨﺎك ﻟﺘﻮﺛﻴﻖ ﻫﺬه اﻟﻘﺼﺔ‬ ‫اﻟﺮاﺋﻌﺔ وﻟﻤﻘﺎﺑﻠﺔ أﺳﻼف اﻟﻘﺒﻴﻠﺔ ا م اﻟﺬﻳﻦ‬ ‫ﻟﺠﺄوا إﻟﻰ ﻓﻦ »اﻟﺒﻮب« ﻟﺘﻮﺻﻴﻞ رﺳﺎﻟﺘﻬﻢ‪.‬‬

‫‪2014‬‬ ‫‪Omo Valley, Ethiopia, 2014. One of the last‬‬ ‫‪tribes of Africa published online a‬‬ ‫‪techno-pop music video to fight against‬‬ ‫‪land grabbing and human zoos. We went‬‬ ‫‪down there to document this incredible‬‬ ‫‪story and to meet the ancestral native‬‬ ‫‪tribe turned pop.‬‬

Bruno Autran Brazil

Deja Vu

‫ﺑﺮوﻧﻮ أوﺗﺮان‬ ‫اﻟﺒﺮازﻳﻞ‬

‫دَ ﻳْﭽﺎﭬﻮ‬

3'01''

‫ دﻗﻴﻘﺔ‬٣:٠١

2015

٢٠١٥

A visual and sound poem about a man and the time. A man in the time. The time from the man.

..‫ﻗﺼﻴﺪة ﻣﺮﺋﻴﺔ وﺻﻮﺗﻴﺔ ﻋﻦ رﺟﻞ وﻋﻦ اﻟﻮﻗﺖ‬ .‫ﻋﻦ رﺟﻞ ﻓﻲ اﻟﻮﻗﺖ وﻋﻦ وﻗﺖ ﻣﻦ اﻟﺮﺟﻞ‬

‫‪Brian Stynes‬‬

‫ﺑﺮَﻳﺎن ﺳﺘﺎﻳﻨﺰ‬

‫‪Ireland‬‬

‫أﻳﺮﻟﻨﺪا‬

‫‪ 48 :28‬‬ ‫اﻟﺒ ََﺪ ْل‬

‫‪Children's Allowance‬‬

‫‪ ٨:١٥‬دﻗﻴﻘﺔ‬

‫''‪8'15‬‬

‫‪٢٠١٥‬‬

‫‪2015‬‬

‫ﺗﺘﻌﻬﺪ اﻣﺮأة ﺑﺘﻘﺪﻳﻢ دﺧﻠﻬﺎ ﻛﺎﻣ ًﻠﺎ إﻟﻰ اﻟﺪوﻟﺔ‬ ‫ﻛﻲ ُﺗﺒﻘﻲ ﻋﻠﻰ اﺑﻨﻬﺎ ﺧﺎرج اﻟﺴﺠﻦ‪.‬‬

‫‪A woman pledges her state income to‬‬ ‫‪keep her son out of jail.‬‬

Pekka Sassi

â&#x20AC;Ťďşłďş&#x17D;ďşłďť˛â&#x20AC;Ź â&#x20AC;Ťďş&#x2018;ďť´ďť&#x153;ďş&#x17D;â&#x20AC;Ź Ů&#x2018;

Finland

â&#x20AC;Ťďť&#x201C;ďť¨ďť ďť¨ďşŞŘ§â&#x20AC;Ź

48 :28 After Everything 28'48''

2014 â&#x20AC;&#x153;After Everythingâ&#x20AC;? is a story of two boys in a world where brutality, inhumanity and killing an angel are commonplace and part of everyday routine. The atmosphere of doom is emphasized by the combination of black-and-white footage, harsh settings and industrial noise music. The powerful story leads to a situation in which brutality is victorious, yet beyond total destruction there is also room for a new beginning.

â&#x20AC;Ťďş&#x2018;ďť&#x152;ďşŞ ďť&#x203A;ďť&#x17E; ďşˇďť˛ŘĄâ&#x20AC;Ź â&#x20AC;Ť ŘŻďť&#x2014;ďť´ďť&#x2DC;ďş&#x201D;â&#x20AC;ŹŮ˘Ů¨:Ů¤Ů¨

Ů˘Ů ŮĄŮ¤ â&#x20AC;Ťďş&#x2014;ďşŞŮ&#x2C6;Řą ďť&#x2014;ďşźďş&#x201D; Âťďş&#x2018;ďť&#x152;ďşŞ ďť&#x203A;ďť&#x17E; ďşˇďť˛ŘĄÂŤ ďşŁďťŽŮ&#x201E; Ů&#x2C6;ďť&#x;ďşŞďťłďťŚâ&#x20AC;Ź â&#x20AC;Ťďťłďť&#x152;ďť´ďş¸ďş&#x17D;Ů&#x2020; ďť&#x201C;ďť˛ ďť&#x2039;ďş&#x17D;ďť&#x;ďť˘ ďş&#x;ďş°ŘĄ ďťŁďťŚ ŘąŮ&#x2C6;ďş&#x2014;ďť´ďť¨ďťŞ Ř§ďť&#x;ďť´ďťŽďťŁďť˛ ďťŤďťŽâ&#x20AC;Ź â&#x20AC;ŤŘ§ďť&#x;ďť&#x2DC;ďş´ďťŽŘŠ Ů&#x2C6;Ř§ďť&#x;ďťźŘĽďť§ďş´ďş&#x17D;ďť§ďť´ďş&#x201D; Ů&#x2C6;ďť&#x2014;ďş&#x2DC;ďť&#x17E; Ř§ďť&#x;ďť¤ďťźďş&#x2039;ďť&#x153;ďş&#x201D;Ř&#x203A; ďťłďş&#x2020;ďť&#x203A;ďşŞâ&#x20AC;Ź â&#x20AC;ŤŘ§ďşłďş&#x2DC;ďş¨ďşŞŘ§Ů&#x2026; ďş&#x2014;ďť&#x153;ďť¨ďť´ďť&#x161; Ř§Â?ďş&#x2018;ďť´ďşž Ů&#x2C6;Ř§Â?ďşłďťŽŘŻ Ů&#x2C6;Ř§ďş§ďş&#x2DC;ďť´ďş&#x17D;Řąâ&#x20AC;Ź â&#x20AC;ŤŘŁďťŁďş&#x17D;ďť&#x203A;ďťŚ ďť&#x2014;ďş&#x17D;ďşłďť´ďş&#x201D; Ů&#x2C6;ďťŁďťŽďşłďť´ďť&#x2DC;ďť° ďşťďť¨ďş&#x17D;ďť&#x2039;ďť´ďş&#x201D; ďşżďş ďşŽŘŠ ďťŤďşŹŘ§â&#x20AC;Ź â&#x20AC;Ť ďş&#x2014;ďť&#x2DC;ďťŽŘŻ ďťŤďşŹŮ&#x2021; Ř§ďť&#x;ďť&#x2DC;ďşźďş&#x201D;â&#x20AC;Ź.â&#x20AC;ŤŘ§ďť&#x;ďş ďťŽ Ř§ďť&#x;ďť¤ďť ďť&#x152;ďťŽŮ&#x2020; Ů&#x2C6;ďťłŮ?ďş&#x2019;ďşŽŘ˛Ů&#x2021;â&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďť&#x;ďť&#x153;ďťŚâ&#x20AC;ŹŘ&#x152;â&#x20AC;ŤŘ§ďť&#x;ďť¤ďş&#x2020;ďş&#x203A;ďşŽŘŠ ŘĽďť&#x;ďť° Ů&#x2C6;ďşżďť&#x160; ďş&#x2014;ďť¨ďş&#x2DC;ďşźďşŽ ďť&#x201C;ďť´ďťŞ Ř§ďť&#x;ďť&#x2DC;ďş´ďťŽŘŠâ&#x20AC;Ź Ů&#x2039; â&#x20AC;Ťďť&#x2039;ďť ďť° Ř§ďť&#x;ďşŽďť?ďť˘ ďťŁďťŚ Ř§ďť&#x;ďşŞďťŁďş&#x17D;Řą Ř§ďť&#x;ďş&#x2DC;ďş&#x17D;Ů&#x2026; ďť&#x201C;ďťŹďť¨ďş&#x17D;Ů&#x192;â&#x20AC;Ź â&#x20AC;ŤŘŁďťłďť&#x20AC;ďş&#x17D;â&#x20AC;Ź .â&#x20AC;ŤďťŁďş&#x2DC;ďť¨ďť&#x201D;ďş˛ ďť&#x;ďş&#x2019;ďşŞŘ§ďťłďş&#x201D; ďş&#x;ďşŞďťłďşŞŘŠâ&#x20AC;Ź

‫‪Thalia Hoffman‬‬

‫ﺗﺎﻟﻴﺎ ﻫﻮﻓﻤﺎن‬

‫‪Germany‬‬

‫أﻟﻤﺎﻧﻴﺎ‬

‫‪ 48 :28‬‬ ‫ﺟﻮاﻓﺔ‬

‫‪Guava‬‬

‫‪ ١١‬دﻗﻴﻘﺔ‬

‫'‪11‬‬

‫‪٢٠١٤‬‬ ‫ﻓﻲ ﻋﺎم ‪ ٢٠٤٨‬ﻋﻠﻰ إﺣﺪى ﻃﺮق اﻟﻼﺟﺌﻴﻦ‬ ‫اﻟﻮاﺻﻠﺔ ﺑﻴﻦ ﻳﺎﻓﺎ وﺗﻞ أﺑﻴﺐ وﺑﻴﺮوت‪ ،‬ﻳﻨﺎﻗﺶ‬ ‫ﻻﺟﺌﺎن ﻣﻮﺿﻮﻋﺎت اﻟﺤﺐ واﻟﺬاﻛﺮة واﻟﺜﻘﺔ‬ ‫واﻟﻨﺴﻴﺎن‪.‬‬

‫‪2014‬‬ ‫‪2048. On a refugee road between Jaffa-Tel‬‬ ‫‪Aviv and Beirut. Two refugees discuss‬‬ ‫‪love, memory, trust and forgetfulness.‬‬

‫‪Tabassom Habibzadeh‬‬

‫َﺴﻢ ﺣﺒﻴﺐ زاده‬ ‫ﺗﺒ ‪Ü‬‬

‫‪Iran‬‬

‫إﻳﺮان‬

‫‪ 48 :28‬‬ ‫ﺳﻴﻤﻴﻮﺗﻴﻜﺎ ﻋﺎرﺿﺔ أزﻳﺎء‬ ‫‪ ٢١:١١‬دﻗﻴﻘﺔ‬

‫‪٢٠١٥‬‬ ‫ﺗﺮﻳﺪ ﻟﻲ ﻟﻲ أن ﺗﺼﺒﺢ ﻋﺎرﺿﺔ أزﻳﺎء‪ ،‬وﻟﻜﻨﻬﺎ ﻻ‬ ‫ﺗﺴﺘﻄﻴﻊ ن اﻟﺸﺮﻛﺔ ﺗﺮى أﻧﻬﺎ ﻣﺎ زاﻟﺖ ﺿﺨﻤﺔ‬ ‫ﺟﺪا‪.‬‬ ‫ًّ‬

‫‪Semiotics Of a Model‬‬ ‫''‪21'11‬‬

‫‪2015‬‬ ‫‪Lily wants to be a model, but she can't.‬‬ ‫‪The company says she is still too big.‬‬

Jolene Mok & Troels Primdahl

тАля║Чя║╕я║О┘Ия╗Яя╗┤я╗ж я╗гя╗о ┘И я║Чя╗оя╗│я║▓ янШя╗Ря╗┤я╗дя║кя╗│я╗ЮтАм

Hong Kong/Denmark

тАл╪зя╗Яя║кя╗зя╗дя║О╪▒┘ГтАм/тАля╗ля╗оя╗зя║Ю я╗Ыя╗оя╗зя║ЮтАм

48 :28 People. Moves. Places. 14'47''

2014 This choreographic documentary shows a series of 'Interrelational Field Recordings' from Siglufj├╢r├░ur on the northern coast of Iceland. Through an artless concept of repetitions and bodily gestures an anthropological portrait of the inhabitants in small fishing village gradually emerges. Each of them is articulating their own person, not in the dimension of lingual communication, but simply through similarities and differences that only the viewer is able to comprehend.

тАл ╪гя╗гя║Оя╗Ыя╗жтАм╪МтАл я║гя║оя╗Ыя║О╪ктАм╪МтАл┘П╪гя╗зя║О╪│тАм тАл ╪пя╗Чя╗┤я╗Шя║ФтАм┘б┘д:┘д┘з

┘в┘а┘б┘д тАля╗│┘Пя╗Ия╗мя║о я╗ля║м╪з ╪зя╗Яя╗Фя╗┤я╗ая╗в ╪зя╗Яя╗оя║Ыя║Оя║Ля╗Шя╗▓ ╪зя╗Яя║о╪зя╗Чя║║ я║│я╗ая║┤я╗ая║ФтАм тАля╗гя╗ж ╪зя╗Яя║Шя║┤я║ая╗┤я╗╝╪к ╪зя╗Яя║к┘Ия╗Яя╗┤я║Ф ╪зя╗Яя╗дя╗┤я║к╪зя╗зя╗┤я║Ф я╗гя╗ж я╗гя║кя╗│я╗ия║ФтАм тАля║│я╗┤я╗Ья╗ая╗оя╗Уя╗┤я║о╪п╪▒ ╪зя╗Яя╗о╪зя╗Чя╗Мя║Ф я╗Ля╗ая╗░ ╪зя╗Яя║┤я║Оя║гя╗Ю ╪зя╗Яя║╕я╗дя║Оя╗Яя╗▓тАм тАл ┘Ия╗Ля╗ж я╗Гя║оя╗│я╗Ц я║Чя╗Шя║кя╗│я╗в я╗Уя╗Ья║о╪й я╗Пя╗┤я║о я╗Уя╗ия╗┤я║ФтАм.тАл┬Ня╗│я║┤я╗ая╗ия║к╪зтАм тАл я╗│я╗ия║Шя║ЮтАм╪МтАля╗│я╗дя║О╪б╪з╪к ╪зя╗Яя║ая║┤я║кя╗│я║ФтАм┬╣тАля║Чя╗Мя║Шя╗дя║к я╗Ля╗ая╗░ ╪зя╗Яя║Шя╗Ья║о╪з╪▒ ┘И╪зтАм тАля║╖я╗┤ ┘Ля║Мя║О я╗Уя║╕я╗┤ ┘Ля║Мя║О я╗Ля╗ж ╪░я╗Яя╗Ъ я║Чя║ая║┤я╗┤я║к ╪гя╗зя║Ья║о┘Ия║Ся╗оя╗Яя╗оя║Яя╗▓тАм тАля╗Яя╗ая║┤я╗Ья║О┘Ж я╗Уя╗▓ я╗ля║м┘З ╪зя╗Яя║Тя╗ая║к╪й ╪зя╗Яя║╝я╗Ря╗┤я║о╪й ╪зя╗Яя║Шя╗▓ я║Чя╗Мя║Шя╗дя║ктАм тАл ┘Пя║Чя╗Мя║Тя║о я╗Ыя╗Ю я║╖я║ия║╝я╗┤я║Ф я╗гя╗ия╗мя╗втАм.тАля╗Ля╗ая╗░ я║╗я╗┤я║к ╪з┬Ня║│я╗дя║О┘ГтАм тАля╗Ля╗ж я╗зя╗Фя║┤я╗мя║О я║Ся║Тя║┤я║Оя╗Гя║Ф я╗гя╗ж ╪п┘И┘Ж ╪зя╗Яя╗ая║ая╗о╪б ╪ея╗Яя╗░тАм тАл я╗Уя╗Шя╗В я╗Ля╗ж я╗Гя║оя╗│я╗Ц ╪зя╗Яя║┤я╗дя║О╪ктАм╪МтАл╪зя╗Яя║Шя╗о╪зя║╗я╗Ю ╪зя╗Яя╗ая╗Фя╗Ия╗▓тАм тАл╪зя╗Яя╗дя║Шя║╕я║Оя║Ся╗мя║Ф ┘И╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║Ф ╪зя╗Яя║Шя╗▓ я╗│я║┤я║Шя╗Дя╗┤я╗КтАм .тАл╪зя╗Яя╗дя║╕я║Оя╗ля║к ┘Ия║гя║к┘З ╪г┘Ж я╗│я╗ая║дя╗Ия╗мя║О ┘Ия╗│я╗Фя╗мя╗дя╗мя║ОтАм

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â&#x20AC;«â&#x20AC;ª2015â&#x20AC;¬â&#x20AC;¬

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Chien Hung Lien

â&#x20AC;Ťďş&#x2014;ďş¸ďť´ďť´ďťŚ ďťŤďťŽďť§ďş&#x17E; ďť&#x;ďť´ďť´ďťŚâ&#x20AC;Ź

Taiwan

â&#x20AC;Ťďş&#x2014;ďş&#x17D;ďťłďťŽŘ§Ů&#x2020;â&#x20AC;Ź

48 :28 A-WAY 29'54''

2013 â&#x20AC;&#x153;A-Wayâ&#x20AC;? is a substitute civilian serviceman at the Physical and Mental Disability Division. In this office, there are a lot of weird people and things. For A-Way, this is a bizarre but unforgettable memory.

â&#x20AC;ŤŘ˘Ů&#x2C6;Ř§Ů&#x160;â&#x20AC;Ź â&#x20AC;Ť ŘŻďť&#x2014;ďť´ďť&#x2DC;ďş&#x201D;â&#x20AC;ŹŮ˘ŮŠ:ŮĽŮ¤

Ů˘Ů ŮĄŮŁ â&#x20AC;Ťďť&#x2039;ďş&#x17D;ďť&#x2014;ďş&#x17D;ŘŞâ&#x20AC;ŹÂšâ&#x20AC;Ť ďťŤďťŽ ďť&#x2039;ďş&#x17D;ďťŁďť&#x17E; ďťŁďşŞďť§ďť˛ ďş&#x2018;ďşŞďťłďť&#x17E; ďş&#x2018;ďť&#x2DC;ďş´ďť˘ Ř§â&#x20AC;Ź:ÂŤâ&#x20AC;ŤÂťŘ˘Ů&#x2C6;Ř§Ů&#x160;â&#x20AC;Ź â&#x20AC;Ť ďşŁďť´ďş&#x161; ďťłďťŽďş&#x;ďşŞ ďť&#x2039;ďşŞďťłďşŞ ďťŁďťŚâ&#x20AC;ŹŘ&#x152;â&#x20AC;ŤŘ§ďť&#x;ďť&#x152;ďť&#x2DC;ďť ďť´ďş&#x201D; Ů&#x2C6;Ř§ďť&#x;ďş ďş´ďşŞďťłďş&#x201D;â&#x20AC;Ź Ř&#x152;â&#x20AC;ŤŘ§ďť&#x;ďť¨ďş&#x17D;Řł Ů&#x2C6;Ř§Â?ďşˇďť´ďş&#x17D;ŘĄ Ř§ďť&#x;ďť?ďşŽďťłďş&#x2019;ďş&#x201D; ďť&#x201C;ďť˛ ďťŤďşŹŘ§ Ř§ďť&#x;ďť¤ďť&#x153;ďş&#x2DC;ďş?â&#x20AC;Ź â&#x20AC;ŤŮ&#x2C6;ďş&#x2018;ďş&#x17D;ďť&#x;ďť¨ďş´ďş&#x2019;ďş&#x201D; ŘĽďť&#x;ďť° ÂťŘ˘Ů&#x2C6;Ř§Ů&#x160;ÂŤ ďť&#x201C;ďťŹďşŹŮ&#x2021; Ř°ďť&#x203A;ďşŽŮ&#x2030; ďťť Ů?ďş&#x2014;ďť¨ďş´ďť° ďť&#x2039;ďť ďť°â&#x20AC;Ź .â&#x20AC;ŤŘ§ďť&#x;ďşŽďť?ďť˘ ďťŁďťŚ ďť?ďşŽŘ§ Ů&#x17D;ďş&#x2018;ďş&#x2DC;Ů?ďťŹďş&#x17D;â&#x20AC;Ź

Thomas Galler

тАля║Чя╗оя╗гя║О╪│ я║Яя║Оя╗Яя║отАм

Switzerland

тАля║│я╗оя╗│я║┤я║о╪зтАм

48 :28 American Soldiers

тАля║Яя╗ия╗о╪п ╪гя╗гя║оя╗│я╗Ья╗┤я╗о┘ЖтАм

5'22''

тАл ╪пя╗Чя╗┤я╗Шя║ФтАм┘е:┘в┘в

2012

┘в┘а┘б┘в

тАЬAmerican SoldiersтАЭ features a collection of cover versions of Toby Keith's тАЬAmerican Soldier,тАЭ (USA/2003) based on appropriated footage, originally published on YouTube by Jeffery, Joe, Zack, Debbie, The Scillan Family, Colin, Patrizio, Tasia, Shanda, Stephany, Kathy and some unknown.

тАля╗│я╗Шя║к┘Е ┬╗я║Яя╗ия╗о╪п ╪гя╗гя║оя╗│я╗Ья╗┤я╗о┘Ж┬л я╗гя║ая╗дя╗оя╗Ля║Ф я╗гя╗ж ╪з┬Н╪п╪з╪б╪з╪ктАм тАл╪зя╗Яя╗Ря╗ия║Оя║Ля╗┤я║Ф ╪зя╗Яя╗дя║ия║Шя╗ая╗Фя║Ф ┬Ня╗Пя╗ия╗┤я║Ф я║Чя╗оя║Ся╗▓ я╗Ыя╗┤я║ЪтАм тАл┬л )я║Яя╗ия║к┘К ╪гя╗гя║оя╗│я╗Ья╗▓( ╪зя╗Яя║Шя╗▓тАмAmerican Soldier┬╗ тАл я║Ся║Оя╗Яя╗оя╗╗я╗│я║О╪к ╪зя╗Яя╗дя║Шя║дя║к╪йтАм┘в┘а┘а┘г тАл┘П╪гя╗зя║Шя║ая║Ц я╗Уя╗▓ я╗Ля║О┘ЕтАм тАл ╪зя║│я║Шя╗ия║О╪п┘Л ╪з ╪ея╗Яя╗░ я╗Яя╗Шя╗Дя║О╪к я╗Чя║О┘Е я╗Ыя╗Ю я╗гя╗жтАм╪МтАл╪з┬Ня╗гя║оя╗│я╗Ья╗┤я║ФтАм ┬лтАля║Яя╗┤я╗Фя║о┘К ┘Ия║Яя╗о ┘И╪▓╪з┘Г ┘И╪пя╗│я║Тя╗▓ ┘И┬╗я║│я╗┤я║┤я╗┤я╗ая╗┤я║О┘Ж я╗Уя║Оя╗гя╗┤я╗ая╗▓тАм тАл)╪зя╗Яя╗Мя║Оя║Ля╗ая║Ф ╪зя╗Яя║╝я╗Шя╗ая╗┤я║Ф( ┘Ия╗Ыя╗оя╗Яя╗ж ┘Ия║Ся║Оя║Чя║оя╗│я║Шя║░я╗│я╗о ┘Ия║Чя║Оя║│я╗┤я║ОтАм тАл┘Ия║╖я║Оя╗зя║к╪з ┘Ия╗Ыя║Оя║Ыя╗▓ ┘Ия╗гя║ая╗мя╗о┘Д я║Ся║Шя╗Мя║кя╗│я╗ая╗мя║О ┘Ия╗зя║╕я║оя╗ля║ОтАм тАля╗Ля╗ая╗░ ╪зя╗Яя╗┤я╗оя║Чя╗┤я╗о╪и я▒ЯтАм .тАля╗Ыя╗Ю я╗Ля╗ая╗░ я║гя║к╪йтАм

Teymour Ghaderi Iran

Pomegranate is the Fruit of Paradise 14'56''

2014 A village has a low population and there is no school there. A boy and a girl are the only children of the village. The girl's family do not allow their children to go to school. The boy goes to school in another village and tries to teach her.

‫ﺗﻴﻤﻮر ﻏﺪﻳﺮي‬ ‫إﻳﺮان‬

‫اﻟﺮﻣﺎن ﻫﻮ ﻓﺎﻛﻬﺔ اﻟﺠﻨﺔ‬ ‫ دﻗﻴﻘﺔ‬١٤:٥٦

٢٠١٤ َ ‫ﻗﺮﻳﺔ ذات ﺗﻌﺪاد ﺳﻜﺎﻧﻲ ﻣﻨﺨﻔﺾ ﻟﻢ‬ ‫ﺗﺒﻦ‬ ‫ ﻓﺘﺎة وﻓﺘﻰ ﻫﻤﺎ اﻟﻄﻔﻼن‬.‫ﻓﻴﻬﺎ أﻳﺔ ﻣﺪارس ﺑﻌﺪ‬ ‫ وﺑﻴﻨﻤﺎ ﻻ ﺗﺴﻤﺢ‬،‫اﻟﻮﺣﻴﺪان ﻓﻲ ﻫﺬه اﻟﻘﺮﻳﺔ‬ ‫ﻋﺎﺋﻠﺔ اﻟﻔﺘﺎة ﻃﻔﺎﻟﻬﺎ ﺑﺎﻟﺬﻫﺎب إﻟﻰ اﻟﻤﺪرﺳﺔ‬ ‫ﻳﺬﻫﺐ اﻟﻔﺘﻰ إﻟﻰ ﻣﺪرﺳﺔ ﻓﻲ ﻗﺮﻳﺔ أﺧﺮى‬ .‫وﻳﺤﺎول أن ﻳﻌﻠﻢ اﻟﻔﺘﺎة‬

‫ﭼوﺷﻮا ﭘﺮوﭬﻮﺳﺖ‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬

‫اﻟﺤﺐ ﻓﻲ ﺧﻤﺴﺔ أﺟﺰاء‬

‫‪Joshua Provost‬‬ ‫‪USA‬‬

‫‪Love in Five Parts‬‬

‫‪ ٧:٥٤‬دﻗﻴﻘﺔ‬

‫''‪7'54‬‬

‫‪٢٠١٥‬‬

‫‪2015‬‬

‫رﺣﻠﺔ اﺳﺘﻜﺸﺎﻓﻴﺔ ﻣﺮﺣﺔ ﻟﻄﺒﻴﻌﺔ اﻟﺤﺐ ﻣﻦ‬ ‫ﺧﻼل ا ﺷﻴﺎء واﻟﻤﻮﺿﻮﻋﺎت واﻟﻤﻔﺎﻫﻴﻢ‬ ‫واﻟﺘﻜﺮار واﻟﺘﺤﻠﻴﻞ‪.‬‬

‫‪A light-hearted examination of the nature‬‬ ‫‪of love through objects, themes,‬‬ ‫‪concepts, repetition, and analysis.‬‬

John Szot USA

Architecture and the Unspeakable 13'44''

2014 This video is the story of three building proposals that exhibit an unconventional approach to architectural design. By using cues from their contexts and by employing forces that typically stand in opposition to what architecture stands for, these buildings seek to demonstrate how architecture can embrace the full range of the human experience and become our most potent form of cultural expression.

‫ﭼون ﺳﻮت‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬

‫اﻟﻌﻤﺎرة واﻟﻤﺴﻜﻮت ﻋﻨﻪ‬ ‫ دﻗﻴﻘﺔ‬١٣:٤٤

٢٠١٤ ‫ﺗﺪور ﻗﺼﺔ اﻟﻔﻴﺪﻳﻮ ﺣﻮل ﺛﻼﺛﺔ رﺳﻮﻣﺎت‬ ‫ﻟﻤﺒﺎن ﺗﻤﺘﺎز ﺑﺘﺼﻤﻴﻤﺎﺗﻬﺎ اﻟﻤﻌﻤﺎرﻳﺔ‬ ‫ﻣﻘﺘﺮﺣﺔ‬ ٍ ‫ ﺗﻌﻜﺲ ﻫﺬه اﻟﻤﺒﺎﻧﻲ ﻣﻦ ﺧﻼل‬.‫ﻏﻴﺮ اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ،‫اﺳﺘﺨﺪام ﻣﻔﺮدات ﻣﻦ اﻟﺒﻴﺌﺔ اﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ‬ ‫وﻣﻦ ﺧﻼل ﺗﻮﻇﻴﻒ ﻗﻮى ﻣﻌﺎﻛﺴﺔ ﻟﻤﺒﺎدئ‬ ‫ ﻛﻴﻒ ﻳﻤﻜﻦ ﻟﻠﻌﻤﺎرة أن‬،‫اﻟﻌﻤﺎرة اﻟﻬﻨﺪﺳﻴﺔ‬ ‫ وﻛﻴﻒ‬،‫ﻧﺴﺎﻧﻴﺔ ﺑﺘﻨﻮﻋﻬﺎ‬À‫ﺗﺤﺘﻀﻦ اﻟﺘﺠﺎرب ا‬ ‫ﻳﻤﻜﻦ أن ﺗﺼﺒﺢ اﻟﻮﺳﻴﻂ ا ﻣﺜﻞ ﻟﻠﺘﻌﺒﻴﺮ‬ .‫اﻟﺜﻘﺎﻓﻲ‬

Jeffu Warmouth USA

Fluid Bodies

‫ﭼﻴﻔﻮ وارﻣﺎوث رودرﻳﺠﻴﺰ ﻟﻴﻮن‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬

‫أﺟﺴﺎد ﺳﺎﺋﻠﺔ‬

3'52''

‫ دﻗﻴﻘﺔ‬٣:٥٢

2015

٢٠١٥

Fluid Bodies” explores the human condition through cyclical actions. The five sections, Fall, Human Testbrix, Pulleys, Twister, and 1UP, feature multiple iterations of the artist engaged in struggle with architecture, the environment, and technology.

‫ﻧﺴﺎن‬À‫ﻳﻨﺎﻗﺶ ﻓﻴﻠﻢ »أﺟﺴﺎد ﺳﺎﺋﻠﺔ« وﺿﻊ ا‬ ‫ ﺗﻘﺪم ا ﺟﺰاء اﻟﺨﻤﺴﺔ‬.‫ﻣﻦ ﺧﻼل أﺣﺪاث داﺋﺮﻳﺔ‬ ،‫ واﻟﺒﻜﺮات‬،‫ واﻟﻤﻴﺰان اﻟﺒﺸﺮي‬،‫ اﻟﺨﺮﻳﻒ‬:‫ﻟﻠﻔﻴﺪﻳﻮ‬ ‫ ﺧﺎﺻﻴﺔ اﻟﺘﻜﺮار اﻟﻤﺘﻌﺪد ﻟﻔﻨﺎن‬،١UP‫ و‬،‫واﻟﻠﻐﺰ‬ ‫ﻳﺸﺘﺒﻚ ﻣﻊ ﻣﻮﺿﻮﻋﺎت اﻟﻬﻨﺪﺳﺔ اﻟﻤﻌﻤﺎرﻳﺔ‬ .‫واﻟﺒﻴﺌﺔ واﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬

Danio Catanuto Italy

Grid 10'51''

2013 The aim of “Grid” is to discover all those codes hidden inside the urban modern environment. “Grid” is an acknowledgment, an awakening in a parallel reality. A space within space. The artificial and modular geometry of modern industrial design creates spaces marked with straight and parallel lines.

‫داﻧﻴﻮ ﻛﺎﺗﺎﻧﻮﺗﻮ‬ ‫إﻳﻄﺎﻟﻴﺎ‬

‫ﺷﺒﻜﺔ‬ ‫ دﻗﻴﻘﺔ‬١٠:٥١

٢٠١٣ ‫ﻳﻬﺪف ﻓﻴﻠﻢ »ﺷﺒﻜﺔ« إﻟﻰ اﻛﺘﺸﺎف ﻛﻞ‬ ‫اﻟﺸﻔﺮات اﻟﻤﺨﺒﺄة ﻓﻲ اﻟﺒﻴﺌﺔ اﻟﺤﻀﺮﻳﺔ‬ ‫ »ﺷﺒﻜﺔ« ﻫﻮ اﻋﺘﺮاف وﺻﺤﻮة ﻓﻲ‬.‫اﻟﻤﻌﺎﺻﺮة‬ ‫ ﺗﺨﻠﻖ ﻫﻨﺪﺳﺔ اﻟﺘﺼﻤﻴﻢ اﻟﺼﻨﺎﻋﻲ‬.ٍ‫واﻗﻊ ﻣﻮاز‬ ،‫اﻟﺤﺪﻳﺚ اﻟﺘﻲ ﺗﺘﺴﻢ ﺑﺎﻻﺻﻄﻨﺎﻋﻴﺔ واﻟﻤﻌﻴﺎرﻳﺔ‬ ‫ﻣﺴﺎﺣﺎت ﻣﺤﺪدة ﺑﺨﻄﻮط ﻣﺴﺘﻘﻴﻤﺔ‬ .‫وﻣﺘﻮازﻳﺔ‬

Dave Berg Finland

Barbieworld Experience Part 1 - Overture

‫دﻳﻒ ﺑﻴﺮج‬ ‫ﻓﻨﻠﻨﺪا‬

‫ اﻓﺘﺘﺎﺣﻴﺔ‬،‫ اﻟﺠﺰء ا ول‬- ‫ﺗﺠﺮﺑﺔ ﻋﺎ َﻟﻢ اﻟﺒﺎرﺑﻲ‬

3'33''

‫ دﻗﻴﻘﺔ‬٣:٣٣

2014

٢٠١٤

An intense, nightly atmosphere fills the space. Flying chairs, floating saucers, an octopus in a church a cinematographic suspension of gravity.

‫ إﻳﻘﺎف‬.‫ اﻟﻤﻜﺎن‬Ó‫ا ﺟﻮاء اﻟﻠﻴﻠﻴﺔ اﻟﻌﻨﻴﻔﺔ ﺗﻤ‬ ‫ﻛﺮاس ﻃﺎﺋﺮة وﺻﺤﻮن‬ :‫ﺳﻴﻨﻤﺎﺋﻲ ﻟﻠﺠﺎذﺑﻴﺔ‬ ٍ .‫ﻋﺎﺋﻤﺔ وأﺧﻄﺒﻮط ﻓﻲ اﻟﻜﻨﻴﺴﺔ‬

David Yáñez Spain

Portrait of Irina Grecco 17'01''

2014 Ileana has been unable to forget Irina, Irina Grecco, that Mexican girl with hot blood and a Russian name. That's why she has decided to return to England. She’s not trying to go back in time, or to recover something lost. She just wants to take nostalgic pictures to capture the past, and perhaps with it, she could make peace with herself.

‫دﻳﻔﻴﺪ ﻳﺎﻧﻴﻴﺚ‬ ‫إﺳﺒﺎﻧﻴﺎ‬

‫ﺑﻮرﺗﺮﻳﻪ إﻳﺮﻳﻨﺎ ﺟﺮﻳﻜﻮ‬ ‫ دﻗﻴﻘﺔ‬١٧:٠١

٢٠١٤ ‫ﱠ‬ ،«‫ﺗﺘﻤﻜﻦ »إﻳﻠﻴﻨﺎ« ﻣﻦ ﻧﺴﻴﺎن »إﻳﺮﻳﻨﺎ ﺟﺮﻳﻜﻮ‬ ‫ﻟﻢ‬ ‫اﻟﻔﺘﺎة اﻟﻤﻜﺴﻴﻜﻴﺔ اﻟﻌﺼﺒﻴﺔ ذات اﻻﺳﻢ‬ .‫ ﻓﻘﺮرت اﻟﻌﻮدة إﻟﻰ إﻧﺠﻠﺘﺮا‬،‫اﻟﺮوﺳﻲ اﻟﻤﻤﻴﺰ‬ ‫ﻻ ﺗﺤﺎول »إﻳﻠﻴﻨﺎ« أن ﺗﻌﻮد ﺑﺎﻟﺰﻣﻦ إﻟﻰ اﻟﻮراء أو أن‬ ‫ ﻛﻞ ﻣﺎ ﺗﺮﻳﺪه ﻫﻮ أن‬،‫ﺗﺴﺘﻌﻴﺪ ﺷﻴ ًﺌﺎ ﻣﻔﻘﻮدً ا‬ ‫ ورﺑﻤﺎ‬،‫ﺗﻠﺘﻘﻂ ﺻﻮرًا ﻟﺘﺤﺘﻔﻆ ﺑﺬﻛﺮﻳﺎت اﻟﻤﺎﺿﻲ‬ ‫ﺗﻨﺠﺢ ﺑﻌﺪ ذﻟﻚ ﻓﻲ اﻟﻮﺻﻮل إﻟﻰ اﻟﺴﻼم‬ .‫اﻟﺪاﺧﻠﻲ‬

Devis Venturelli Italy

‫دﻳﻔﻴﺲ ﭬﻴﻨﺘﻮرﻳﻠﻠﻲ‬ ‫إﻳﻄﺎﻟﻴﺎ‬

Sporting club

‫ﻧﺎدٍ رﻳﺎﺿﻲ‬

3'30''

‫ دﻗﻴﻘﺔ‬٣:٣٠

2015

٢٠١٥

The video shows an ironic and critical reflection about the reversibility of architecture and the reuse of the historical property; a visionary potential dialogue between contemporary art and the historical dimension of spaces, free from consolidated aesthetic stereotypes.

ً ‫ﻳﻌﻜﺲ اﻟﻔﻴﺪﻳﻮ ﺗﻨﺎو‬ ‫ﻻ ﺳﺎﺧﺮًا وﻧﺎﻗﺪً ا ﻟﻠﻌﻤﺎرة‬ ‫ﻋﺎدة اﺳﺘﺨﺪام اﻟﻤﻤﺘﻠﻜﺎت‬À‫اﻟﻤﻌﻜﻮﺳﺔ و‬ ‫ وﻳﻘﺪم اﻟﻔﻴﻠﻢ ﺣﻮارًا ﺧﻴﺎﻟ ًﻴّﺎ ﻣﺤﺘﻤ ًﻠﺎ‬.‫اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﻣﺎﻛﻦ‬Ó‫ﺑﻴﻦ اﻟﻔﻦ اﻟﻤﻌﺎﺻﺮ واﻟﺒُﻌﺪ اﻟﺘﺎرﻳﺨﻲ ﻟ‬ .‫ﻣﻦ دون اﻟﺘﻘﻴﺪ ﺑﺎﻟﻘﻮاﻟﺐ اﻟﺠﻤﺎﻟﻴﺔ اﻟﻤﻮﺣﺪة‬

Diego Ramirez Australia

Digimaster: The Ultimate Dream

‫دﻳﻴﺠﻮ راﻣﻴﺮﻳﺚ‬ ‫أﺳﺘﺮاﻟﻴﺎ‬

‫ اﻟﺤﻠﻢ ا ﻛﺒﺮ‬:‫دﻳﭽﻴﻤﺎﺳﺘﺮ‬

4'50''

‫ دﻗﻴﻘﺔ‬٤:٥٠

2014

٢٠١٤

Digimaster: The Ultimate Dream” is a video engaging with two cosplayers and their practices. The work seeks to reflect on the politics of gender and media-audience identification surrounding their acts of mimicry. Cosplay is a pop cultural activity that involves the performance of characters from media franchises including anime, videogames and comics.

‫ ﻓﻴﺪﻳﻮ ﻋﻦ ﻣﺆدﻳﻲ‬:«‫ اﻟﺤﻠﻢ ا ﻛﺒﺮ‬:‫»ديﭼﻳﻤﺎﺳﺘﺮ‬ .‫ وﻋﻦ اﻟﺘﺪرﻳﺒﺎت اﻟﺘﻲ ﻳﻘﻮﻣﺎن ﺑﻬﺎ‬،‫ﻛﻮﺳﺒﻼي‬ ‫ﻳﻬﺪف اﻟﻌﻤﻞ إﻟﻰ اﻟﺘﺄﻣﻞ ﻓﻲ ﺳﻴﺎﺳﺔ اﻟﻨﻮع‬ ‫اﻻﺟﺘﻤﺎﻋﻲ واﻟﺘﻔﺎﻋﻞ ﻣﻊ ﺟﻤﻬﻮر اﻟﻤﻴﺪﻳﺎ ﻣﻦ‬ ‫ﺧﻼل ﺗﻘﻠﻴﺪ اﻟﻤﺆدﻳﻴﻦ ﻟﺸﺨﺼﻴﺎت أﻟﻌﺎب‬ ‫ اﻟﻜﻮﺳﺒﻼي ﻫﻮ ﻧﺸﺎط ﺧﺎص ﺑﺎﻟﺜﻘﺎﻓﺔ‬.‫اﻟﻔﻴﺪﻳﻮ‬ ‫ وﻫﻮ ﻋﺒﺎرة ﻋﻦ اﻟﻘﻴﺎم ﺑﺄداء أدوار‬،‫اﻟﺸﻌﺒﻴﺔ‬ ‫ﺷﺨﺼﻴﺎت ﻣﻦ ﺳﻼﺳﻞ اﻟﻜﻮﻣﻴﻜﺲ وا ﻧﻴﻤﻲ‬ .‫وأﻟﻌﺎب اﻟﻔﻴﺪﻳﻮ اﻟﺸﻬﻴﺮة‬

Diego Fiori & Olga Pohankovalf Austria

The Words Hear The Light 17'42''

2015 In this short film, the nature of the images is questioned, particularly the one of the reflected corpses in the mirror. The essence of the image, visible on the mirror surface, is a continuous formation in absence of tangible substance. A tribute and at the same time a contestation of Jean Cocteau.

‫دﻳﻴﺠﻮ ﻓﻴﻮري و أوﻟﺠﺎ ﭘﻮﻫﺎﻧﻜﻮﭬﺎ‬ ‫اﻟﻨﻤﺴﺎ‬

‫اﻟﻜﻠﻤﺎت ﺗﺴﻤﻊ اﻟﻀﻮء‬ ‫ دﻗﻴﻘﺔ‬١٧:٤٢

٢٠١٥ ‫ﻳﺘﻢ اﻟﺘﺸﻜﻴﻚ ﻓﻲ ﻃﺒﻴﻌﺔ اﻟﺼﻮر اﻟﻤﻮﺟﻮدة‬ ‫وﺧﺼﻮﺻﺎ ﺗﻠﻚ اﻟﺘﻲ‬ ،‫ﻓﻲ ﻫﺬا اﻟﻔﻴﻠﻢ اﻟﻘﺼﻴﺮ‬ ً ‫ ﻳﻜﻤﻦ‬.‫ﺗﻌﻜﺲ ﺷﻜﻞ ا ﺟﺴﺎد ﻓﻲ اﻟﻤﺮآة‬ ‫ﻣﻀﻤﻮن اﻟﺼﻮرة اﻟﺘﻲ ﺗﻈﻬﺮ ﻋﻠﻰ ﺳﻄﺢ اﻟﻤﺮآة‬ ‫ وﻟﻜﻦ ﻳﻐﻴﺐ‬،‫ﺷﻴﺎء‬Ó‫ﻓﻲ اﻟﺘﻜﻮﻳﻦ اﻟﻤﺴﺘﻤﺮ ﻟ‬ َ ‫ ﻳ‬.‫ﻋﻨﻬﺎ اﻟﺠﻮﻫﺮ اﻟﻤﻠﻤﻮس‬ ‫ُﻜﺮﱢم ﻫﺬا اﻟﻔﻴﻠﻢ‬ ‫ﺻﺎﻧﻊ ا ﻓﻼم اﻟﻔﺮﻧﺴﻲ »ﭼﻳﻦ ﻛﻮﻛﺘﻴﻮ« ﻛﻤﺎ أﻧﻪ‬ .‫ﻳﺘﺤﺪاه ﻓﻲ اﻟﻮﻗﺖ ذاﺗﻪ‬

Raquel Claudino Portugal

Sing The Sand Into Pearls 12'58''

2014 Short contemporary dance film set in Lisbon depicting three women who escape from a self-centered society and celebrate their genuineness in a hideaway ritual.

‫راﻛﻴﻞ ﻛﻼودﻳﻨﻮ‬ ‫اﻟﺒﺮﺗﻐﺎل‬

‫َﻏ ﱢﻦ اﻟﺮﻣﺎل ﻟﺘﺴﺘﺤﻴﻞ إﻟﻰ ﻟﺆﻟﺆ‬ ‫ دﻗﻴﻘﺔ‬١٢:٥٨

٢٠١٤ ‫ ﺗﺪور أﺣﺪاﺛﻪ ﻓﻲ‬،‫ﻓﻴﻠﻢ رﻗﺺ ﻣﻌﺎﺻﺮ ﻗﺼﻴﺮ‬ ‫ وﻳﺠﺴﺪ ﻗﺼﺔ ﻫﺮوب ﺛﻼث ﻧﺴﺎء ﻣﻦ‬،‫ﻟﺸﺒﻮﻧﺔ‬ ‫ﻣﺠﺘﻤﻊ أﻧﺎﻧﻲ واﺣﺘﻔﺎﺋﻬﻦ ﺑﺎ ﺻﺎﻟﺔ ﻣﻦ ﺧﻼل‬ .‫إﻗﺎﻣﺔ ﻃﻘﻮس ﻓﻲ ﻣﻜﺎن ﺳﺮي‬

Ralph Kistler Germany

Paradiseator

‫راﻟﻒ ﻛﻴﺴﺘﻠﺮ‬ ‫أﻟﻤﺎﻧﻴﺎ‬

‫ﺧﻼط اﻟﺠﻨﺔ‬

2'29''

‫ دﻗﻴﻘﺔ‬٢:٢٩

2014

٢٠١٤

"This experimental video includes nearly 500 images referring to stereotypes of paradise. The yearning associated with this allegory of a happy and carefree life is the ideal background to promote consumerism in a ‘lifestyle’ or ‘experience economy’. An ambiguous overstimulation with surreal images, that questions the creation of consumer needs and their influence on the perception of the world. Music: Jan M. Sieber."

‫ﻳﺤﺘﻮي ﻫﺬا اﻟﻔﻴﺪﻳﻮ اﻟﺘﺠﺮﻳﺒﻲ ﻋﻠﻰ ﺣﻮاﻟﻲ‬ ‫ﺧﻤﺴﻤﺎﺋﺔ ﺻﻮرة ُﺗﻈﻬﺮ ا ﻧﻤﺎط اﻟﺘﻘﻠﻴﺪﻳﺔ‬ ‫ﺷﺎرات واﻟﺮﻣﻮز‬À‫ ﻳﻌﻤﻞ اﻟﺘﻮق اﻟﻤﺮﺗﺒﻂ ﺑﺎ‬،‫ﻟﻠﺠﻨﺔ‬ ‫اﻟﺘﻲ ﺗﻌﻜﺲ ﻣﻔﻬﻮم اﻟﺤﻴﺎة اﻟﺴﻌﻴﺪة اﻟﻬﺎدﺋﺔ‬ ‫ﻛﺨﻠﻔﻴﺔ ﻟﻠﺘﺮوﻳﺞ ﻟﻠﻔﻜﺮ اﻻﺳﺘﻬﻼﻛﻲ ﻓﻲ ﻋﺎﻟﻢ‬ ‫ ﻳﻀﻊ‬.‫ﻳﻬﺘﻢ ﺑﺎﻟﺨﺒﺮة وأﺳﻠﻮب اﻟﺤﻴﺎة اﻟﻨﻤﻄﻲ‬ ‫اﻟﻔﻴﻠﻢ ﻣﻔﻬﻮم ﺧﻠﻖ اﺣﺘﻴﺎﺟﺎت وﻫﻤﻴﺔ ﻟﺪى‬ ،‫ وﺗﺄﺛﻴﺮ ذﻟﻚ ﻋﻠﻰ رؤﻳﺘﻪ ﻟﻠﻌﺎﻟﻢ‬،‫اﻟﻤﺴﺘﻬﻠﻚ‬ ‫ﻣﻮﺿﻌﺎ ﻟﻠﺴﺆال واﻟﺸﻚ ﻣﻦ ﺧﻼل اﺳﺘﺜﺎرة‬ ً .‫اﻟﻤﺘﻠﻘﻲ ﺑﺘﻘﺪﻳﻢ ﺻﻮر ﺳﻴﺮﻳﺎﻟﻴﺔ ﻏﺎﻣﻀﺔ‬ .‫ ﺷﺮﻛﺔ إﻧﺘﺮاﻛﺸﻨﺰ‬،‫ﻣﻮﺳﻴﻘﻰ ﺟﺎن إم ﺳﻴﺒﺮ‬

Roy Dib Lebanon

Mondial 2010 19'17''

2014 Mondial 2010” is a film on love and place. A Lebanese gay couple decides to take a road trip to Ramallah. The film is recorded with their camera as they chronicle their journey. The viewers are invited through the couple's conversations into the universe of a fading city. Note: The relations between Israelis and Lebanese are governed by the 1943 Lebanese Criminal Code and the 1955 Lebanese Anti-Israeli Boycott Law, the former of which forbids any interaction with nationals of enemy states, and the latter of which specifies Israelis, making a trip for a Lebanese citizen to Israel (or Palestinian territories) impossible.

‫روي دﻳﺐ‬ ‫ﻟﺒﻨﺎن‬

٢٠١٠ ‫ﻋﺎﻟﻢ‬ ‫ دﻗﻴﻘﺔ‬١٩:١٧

٢٠١٤ ‫ ﻳﻘﺮر ﺛﻨﺎﺋﻴﺎن‬.‫ ﻫﻮ ﻓﻴﻠﻢ ﻋﻦ اﻟﺤﺐ واﻟﻤﻜﺎن‬:«٢٠١٠ ‫»ﻋﺎﻟﻢ‬ ‫ﻟﺒﻨﺎﻧﻴﺎن ﻣﺜﻠﻴﺎ اﻟﺠﻨﺲ أن ﻳﻨﻄﻠﻘﺎ ﻓﻲ رﺣﻠﺔ إﻟﻰ رام‬ ‫ وﻳﻘﻮﻣﺎ ﺑﺘﺼﻮﻳﺮ اﻟﻔﻴﻠﻢ ﺑﻜﺎﻣﻴﺮﺗﻬﻤﺎ اﻟﺸﺨﺼﻴﺔ‬æ‫ا‬ ‫ ﻳُﺪﻋﻰ اﻟﻤﺸﺎﻫﺪون إﻟﻰ دﺧﻮل‬.‫ﻓﻲ أﺛﻨﺎء رﺣﻠﺘﻬﻢ‬ ‫ﻋﺎﻟﻢ ﻫﺬه اﻟﻤﺪﻳﻨﺔ اﻟﻤﺘﻼﺷﻴﺔ ﻣﻦ ﺧﻼل اﻟﺤﻮارات‬ .‫اﻟﺘﻲ ﺗﺪور ﺑﻴﻦ اﻟﺸﺮﻳﻜﻴﻦ‬ :‫ﻣﻼﺣﻈﺔ‬ ‫ﺳﺮاﺋﻴﻠﻴﻴﻦ واﻟﻠﺒﻨﺎﻧﻴﻴﻦ ﻣﻨﺬ‬À‫ﺗﺨﻀﻊ اﻟﻌﻼﻗﺎت ﺑﻴﻦ ا‬ ‫ إﻟﻰ اﻟﻘﺎﻧﻮن اﻟﺠﻨﺎﺋﻲ اﻟﻠﺒﻨﺎﻧﻲ وﻗﺎﻧﻮن‬١٩٤٣ ‫ﻋﺎم‬ ‫ﻣﻘﺎﻃﻌﺔ دوﻟﺔ إﺳﺮاﺋﻴﻞ اﻟﻤﻌﺎدﻳﺔ اﻟﺬي ﻳﺮﺟﻊ إﻟﻰ‬ ‫ وﺳﺎﺑﻘﻪ اﻟﺬي ﻳﺤﻈﺮ أي ﺗﻌﺎﻣﻞ ﻣﻊ رﻋﺎﻳﺎ‬١٩٥٥ ‫ﻋﺎم‬ ‫ وﻳﺸﻴﺮ ﻫﺬا اﻟﻘﺎﻧﻮن إﻟﻰ‬-‫اﻟﺪول اﻟﻤﻌﺎدﻳﺔ‬ ‫ ﻣﻤﺎ ﻳﺠﻌﻞ ﻗﻴﺎم أي‬-‫ﺳﺮاﺋﻴﻠﻴﻴﻦ ﺑﺸﻜﻞ ﺧﺎص‬À‫ا‬ ‫ﻣﻮاﻃﻦ ﻟﺒﻨﺎﻧﻲ ﺑﺮﺣﻠﺔ إﻟﻰ إﺳﺮاﺋﻴﻞ )أو ا راﺿﻲ‬ .‫اﻟﻔﻠﺴﻄﻴﻨﻴﺔ( أﻣﺮًا ﻣﺴﺘﺤﻴ ًﻠﺎ‬

Rui Hu China/USA

Metropolitan Triangle Garden

‫روي ﻫﻮ‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬/‫اﻟﺼﻴﻦ‬

‫ﺣﺪﻳﻘﺔ ﺣﻀﺮﻳﺔ ﻣﺜﻠﺜﺔ‬

3'54''

‫ دﻗﻴﻘﺔ‬٣:٥٤

2014

٢٠١٤

In this experimental 3D animation, Classical sculptures in the museum participate in a destructive performance triggered by software glitches, distortions, and misused simulation, turning the space into a madhouse theater with both classical beauty and digital chaos. It attempts to connect the sense of space, history, turmoil, and transformation to the idea of technological sublime in a twisted way.

‫ﺗﺸﺘﺮك اﻟﻤﻨﺤﻮﺗﺎت اﻟﻜﻼﺳﻴﻜﻴﺔ اﻟﻤﻮﺟﻮدة‬ ‫ﺑﺎﻟﻤﺘﺤﻒ ﻓﻲ ﻫﺬا اﻟﻔﻴﻠﻢ اﻟﺘﺠﺮﻳﺒﻲ ﺛﻼﺛﻲ‬ ‫ا ﺑﻌﺎد ﻓﻲ أداء ﻣﺪﻣﺮ ﺗﺸﻌﻠﻪ وﺗﺘﺴﺒﺐ ﻓﻴﻪ‬ ‫أﺧﻄﺎء اﻟﺒﺮﻣﺠﻴﺎت واﻟﺘﺸﻮﻫﺎت واﻟﻤﺤﺎﻛﺎة‬ ‫ ﻟﻴﺘﺤﻮل اﻟﻔﻀﺎء اﻟﻤﻜﺎﻧﻲ‬،‫اﻟﻤﺴﺎء اﺳﺘﺨﺪاﻣﻬﺎ‬ ُ ‫إﻟﻰ ﻣﺴﺮح ﻣﺠﺎﻧﻴﻦ ﻳﻤﺘﺎز ﺑﺎﻟﺠﻤﺎل اﻟﻜﻼﺳﻴﻜﻲ‬ ‫ ﻳﺤﺎول ﻓﻴﻠﻢ اﻟﺮﺳﻮم‬.‫واﻟﻔﻮﺿﻰ اﻟﺮﻗﻤﻴﺔ‬ ‫ﺣﺴﺎس ﺑﺎﻟﻤﻜﺎن واﻟﺘﺎرﻳﺦ‬À‫اﻟﻤﺘﺤﺮﻛﺔ رﺑﻂ ا‬ ‫واﻻﺿﻄﺮاب واﻟﺘﺤﻮل ﺑﻔﻜﺮة اﻻرﺗﻘﺎء‬ .‫اﻟﺘﻜﻨﻮﻟﻮﺟﻲ اﻟﻔﺎﺋﻖ ﺑﻄﺮﻳﻘﺔ ﻣﻠﺘﻮﻳﺔ‬

Rebecca Ann Tess Germany

The Tallest 14'32''

2014 The video shows pictures shot on-site of the currently tallest buildings in the world. The high-rises are shown as set pieces of global capitalism, visually disappearing into abstraction. The reduced images are reminiscent of 3D rendering. The narration is undertaken by a computer voice, and describes the competition for the tallest tower in diverse places.

‫رﻳﺒﻴﻜﺎ آن ﺗِﺲ‬ ‫أﻟﻤﺎﻧﻴﺎ‬

‫ا ﻃﻮل‬ ‫ دﻗﻴﻘﺔ‬١٤:٣٢

٢٠١٤ ‫ﻳﻌﺮض اﻟﻔﻴﺪﻳﻮ ﺻﻮرًا ﻣﻦ اﻟﻤﻜﺎن اﻟﺬي ﻳﻘﻊ ﻓﻴﻪ‬ ‫ﺴﺪ‬ َ ‫ ُﺗ َﺠ‬.‫أﻃﻮل ﻣﺒﻨﻰ ﻓﻲ اﻟﻌﺎﻟﻢ ﺣﺎﻟ ًﻴّﺎ‬ ‫اﻻرﺗﻔﺎﻋﺎت اﻟﺸﺎﻫﻘﺔ ﻛﺮﻣﻮز ﻟﺮﻛﺎﺋﺰ اﻟﺮأﺳﻤﺎﻟﻴﺔ‬ .‫اﻟﻌﺎﻟﻤﻴﺔ اﻟﺘﻰ ﺗﺨﺘﻔﻲ ﺷﻴ ًﺌﺎ ﻓﺸﻴ ًﺌﺎ إﻟﻰ اﻟﻌﺪم‬ ‫ُﺗﺬﻛﺮﻧﺎ اﻟﺼﻮر اﻟﻤﺼﻐﺮة ﺑﺘﺄﺛﻴﺮ اﻟﺘﻜﻨﻴﻚ ﺛﻼﺛﻲ‬ ‫( و ُﺗﺴﻨﺪ ﻣﻬﻤﺔ اﻟﺴﺮد ﻟﺼﻮت‬3D ) ‫ا ﺑﻌﺎد‬ ‫رﻗﻤﻲ ﻳﻘﻮم ﺑﻮﺻﻒ اﻟﻤﺴﺎﺑﻘﺔ اﻟﺘﻲ ﺟﺮت‬ ‫ﻻﺧﺘﻴﺎر اﻟﻤﺒﻨﻰ ا ﻃﻮل ﻓﻲ أﻣﺎﻛﻦ ﻣﺨﺘﻠﻔﺔ ﻣﻦ‬ .‫اﻟﻌﺎﻟﻢ‬

‫رﻳﺒﻴﻜﺎ ﻣﻮدراك‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬

‫ﺷﺮﻛﺔ رﻳﻤﻴﺪ‪/‬ﺷﺮﻛﺔ ﺑﻴﺴﺖ ﻣﻴﺪ‪ :‬ﻣﺤﺎﻛﺎة‬

‫‪Rebekah Modrak‬‬ ‫‪USA‬‬

‫‪Re Made Co. / Best Made Co. Echo‬‬

‫‪ ٣:١٨‬دﻗﻴﻘﺔ‬

‫''‪3'18‬‬

‫‪٢٠١٣‬‬

‫‪2013‬‬

‫ﻳﻌﺮض ﻓﻴﺪﻳﻮ »ﺷﺮﻛﺔ رﻳﻤﻴﺪ‪/‬ﺷﺮﻛﺔ ﺑﻴﺴﺖ ﻣﻴﺪ‪:‬‬ ‫ﻣﺤﺎﻛﺎة« اﻟﻔﻴﺪﻳﻮ ا ﺻﻠﻲ ﻟﺸﺮﻛﺔ ﺑﻴﺴﺖ ﻣﻴﺪ‬ ‫إﻟﻰ ﺟﺎﻧﺐ ﻓﻴﺪﻳﻮ ﻟﺸﺮﻛﺔ رﻳﻤﻴﺪ أﻋﻴﺪ إﻧﺘﺎﺟﻪ ﻣﻦ‬ ‫ﺟﺪﻳﺪ ﺑُﻐﻴﺔ ﺗﺤﻠﻴﻞ ا‪À‬ﺷﺎرات اﻟﺜﻘﺎﻓﻴﺔ اﻟﻤﺘﻌﻠﻘﺔ‬ ‫ﺑﺎﻟﺮﺟﻮﻟﺔ‪ ،‬واﻟﻌﻤﺎل ا ﻗﻮﻳﺎء‪ ،‬واﻟﺮﺟﺎل ا ﺷﺪاء‪،‬‬ ‫وا‪À‬ﻣﺒﺮﻳﺎﻟﻴﺔ ا ﻣﺮﻳﻜﻴﺔ‪ ،‬واﻟﺼﻮر اﻟﺘﻲ ﺗﻈﻬﺮ ا‪À‬رث‬ ‫اﻟﺜﻘﺎﻓﻲ وﺗﺤﺘﻔﻲ ﺑﻪ واﻟﺘﻲ اﺳﺘﺨﺪﻣﺘﻬﺎ ﺷﺮﻛﺔ‬ ‫إﻧﺘﺎج اﻟﻔﺆوس ﻟﻠﺘﺮوﻳﺞ ﻟﻤﻨﺘﺠﻬﺎ‪ .‬ﻳﺴﺨﺮ اﻟﻤﺆدي‬ ‫اﻟﻤﻤﺴﻚ ﺑﺄداة ﺗﺴﻠﻴﻚ ا ﺣﻮاض ﺑﺪ ًﻟﺎ ﻣﻦ‬ ‫اﻟﻔﺄس ﻣﻦ ﻫﺬه اﻻدﻋﺎءات اﻟﻜﺎذﺑﺔ ﻣﻦ ﺧﻼل‬ ‫ﻋﺮض اﻟﻔﻴﺪﻳﻮ ا ﺻﻠﻲ ﺟﻨﺒًﺎ إﻟﻰ ﺟﻨﺐ ﻣﻊ‬ ‫اﻟﻔﻴﺪﻳﻮ اﻟﺬي ُأﻋﻴﺪ إﻧﺘﺎﺟﻪ ﻟﻬﺬا اﻟﻐﺮض‪.‬‬

‫‪Re Made Co. / Best Made Co. Echo” shows‬‬ ‫‪the original Best Made Co.’s video‬‬ ‫‪alongside the Re Made Co. re-creation of‬‬ ‫‪the same video in order to analyze the‬‬ ‫‪axe brand’s cultural references to‬‬ ‫‪masculinity, outdoorsmen, the frontier,‬‬ ‫‪American imperialism, and the‬‬ ‫‪photographic language of heritage‬‬ ‫‪branding. In this side-by-side dance, the‬‬ ‫‪plungers play with these pretensions.‬‬

Rita Macedo Germany/Portugal

This particular nowhere part I - Some of Wigner's friends

‫رﻳﺘﺎ ﻣﺎﺳﻴﺪو‬ ‫اﻟﺒﺮﺗﻐﺎل‬/‫أﻟﻤﺎﻧﻴﺎ‬

- ‫ﻫﺬا اﻟﻼﻣﻜﺎن ﺑﻌﻴﻨﻪ ـ اﻟﺠﺰء ا ول‬ ‫ﺑﻌﺾ أﺻﺪﻗﺎء وﻳﺠﻨﺮ‬

9'08''

‫ دﻗﻴﻘﺔ‬٩:٠٨

2015

٢٠١٥

Departing from Eugene Wigner's thought experiment, this piece ponders the observers and observed involved in a cinematic experience, expanding the latter into the idea of thought and consciousness in general. We are all heads floating in darkness after all.

«‫ﺗﺄﺛﺮ ﻫﺬا اﻟﻔﻴﺪﻳﻮ ﺑﺘﺠﺮﺑﺔ »ﻳﻮﺟﻴﻦ وﻳﺠﻨﺮ‬ ‫ ﻟﺬا ﻓﻬﻮ ﻳﺘﺄﻣﻞ اﻟﻤﺸﺎﻫﺪﻳﻦ وﻣﻦ ﺗﺘﻢ‬،‫اﻟﻔﻜﺮﻳﺔ‬ ‫ﻣﺸﺎﻫﺪﺗﻬﻢ ﻓﻲ اﻟﺘﺠﺮﺑﺔ اﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻟﺘﺼﺒﺢ‬ ‫ﻫﺬه اﻟﻌﻤﻠﻴﺔ ﻓﻜﺮة ﺗﻤﺜﻞ ﻣﻔﻬﻮم اﻟﻔﻜﺮ‬ .‫واﻟﻮﻋﻲ ﺑﺸﻜﻞ ﻋﺎم‬ ‫ ﻧﺤﻦ ﻋﺒﺎرة ﻋﻦ رؤوس ﺗﺴﺒﺢ ﻓﻲ‬،‫ﻓﻲ اﻟﻨﻬﺎﻳﺔ‬ .‫اﻟﻈﻼم‬

‫رﻳﻚ ﻓﻴﺸﺮ و دون راﻳﺲ‬ ‫ﻛﻨﺪا‬

‫أرﻛﺎدﻳﺎ‬

‫‪Rick Fisher & Don Rice‬‬ ‫‪Canada‬‬

‫‪Arcadia‬‬

‫‪ ٤:٤٩‬دﻗﻴﻘﺔ‬

‫''‪4'49‬‬

‫‪٢٠١٤‬‬

‫‪2014‬‬

‫ﻳﻜﺸﻒ أرﻛﺎدﻳﺎ اﻟﺴﺘﺎر ﻋﻦ ﺑﻌﺾ اﻟﺤﻘﺎﺋﻖ ﻏﻴﺮ‬ ‫اﻟﺴﺎرة اﻟﺨﺎﺻﺔ ﺑﺘﺠﺴﻴﺪ اﻟﻤﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ‬ ‫اﻟﺮﻋﻮﻳﺔ ﺑﺸﻜﻞ ﻣﺜﺎﻟﻲ‪.‬‬

‫‪Arcadia” uncovers some unpleasant truths‬‬ ‫‪about idealized pastoral landscapes.‬‬

Rimas Sakalauskas Lithuania

‫رﻳﻤﺎس ﺳﺎﻛﺎﻻوﺳﻜﺎس‬ ‫ﻟﻴﺘﻮاﻧﻴﺎ‬

Blue

‫أزرق‬

2'56''

‫ دﻗﻴﻘﺔ‬٢:٥٦

2013

٢٠١٣

Blue” is a short video about the perception of the color blue. The main idea behind this was to get inspiration of an imagined color (in this case blue), then construct a sound and finally a visual representation.

‫ ﻫﻮ ﻓﻴﺪﻳﻮ ﻗﺼﻴﺮ ﻋﻦ اﻟﻨﻈﺮة اﻟﺴﺎﺋﺪة ﻋﻦ‬:«‫»أزرق‬ ‫ ﻛﺎﻧﺖ اﻟﻔﻜﺮة ا ﺳﺎﺳﻴﺔ ﻟﻬﺬا‬.‫اﻟﻠﻮن ا زرق‬ ‫ﻟﻬﺎم ﻣﻦ ﻟﻮن ُﻣ َﺘ َﺨﻴﱠﻞ )وﻫﻮ‬À‫اﻟﻔﻴﺪﻳﻮ ﻫﻲ إﺛﺎرة ا‬ ‫اﻟﻠﻮن ا زرق ﻓﻲ ﻫﺬه اﻟﺤﺎﻟﺔ( ﺛﻢ ﺗﺮﻛﻴﺐ‬ .‫ ﺛﻢ أﺧﻴﺮًا اﻟﺘﻤﺜﻴﻞ اﻟﺒﺼﺮي‬،‫اﻟﺼﻮت ﺑﻌﺪ ذﻟﻚ‬

Raymond Gemayel Lebanon

i see you as a photograph

‫رﻳﻤﻮن ﺟﻤﻴّﻞ‬ ‫ﻟﺒﻨﺎن‬

‫ﺷﺎﻳﻔﻚ ﺻﻮرة‬

6'17''

‫ دﻗﻴﻘﺔ‬٦:١٧

2015

٢٠١٥

The video questions the reading of an image through different sound and captions.

ً ‫ﻳﻄﺮح »ﺷﺎﻳﻔﻚ ﺻﻮرة« ﺗﺴﺎؤ‬ ‫ﻻ ﺣﻮل ﻗﺮاءة‬ ‫اﻟﺼﻮرة ﻣﻦ ﺧﻼل ﺗﺴﻤﻴﺎت اﻟﺼﻮر وا ﺻﻮات‬ .‫اﻟﻤﺨﺘﻠﻔﺔ‬

Sandra Araújo Portugal

laugh because you bring your ass to the party 2'53''

2014 Popular, Fun, Mocking, Sampling, Fado, Joke.

‫ﺳﺎﻧﺪرا آروﭼو‬ ‫اﻟﺒﺮﺗﻐﺎل‬

‫أﺿﺤﻚ ﻧﻚ أﺣﻀﺮت ﻣﺆﺧﺮﺗﻚ إﻟﻰ اﻟﺤﻔﻞ‬ ‫ دﻗﻴﻘﺔ‬٢:٥٣

٢٠١٤ .‫ ﻫﺰﻟﻲ‬،‫ ُﻣﻬﻠِﻚ‬،‫ ﻣﺤﺪد‬،‫ ﺷﻌﺒﻲ‬،‫ ﺳﺎﺧﺮ‬،‫ﻣﻀﺤﻚ‬

Sandeep Rampal Balhara Poland

Everything's Alright 23'45''

2015 Daniel’s phantasmagoria of opulence and serenity breaks into the doldrums when buried secrets from the past overcast his existence. These circumstances trigger a concoction of desire and guilt, which compels him to become introspective of his sexuality. At this point, Daniel fails to differentiate homosexuality from pedophilia.

‫ﺳﺎﻧﺪﻳﺐ راﻣﺒﺎل ﺑﺎﻟﻬﺎرا‬ ‫ﺑﻮﻟﻨﺪا‬

‫ﻛﻞ ﺷﻲء ﻋﻠﻰ ﻣﺎ ﻳﺮام‬ ‫ دﻗﻴﻘﺔ‬٢٣:٤٥

٢٠١٥ ‫ﺗﺘﺤﻮل أوﻫﺎم داﻧﻴﺎل وﺧﻴﺎﻻﺗﻪ اﻟﺘﻲ ﺗﺪور ﺣﻮل‬ ‫اﻟﺒﺬخ واﻟﺴﻜﻴﻨﺔ إﻟﻰ ﺣﺎﻟﺔ ﻣﻦ اﻟﺤﺰن ﺣﻴﻨﻤﺎ‬ ‫ ﺗﺪﻓﻊ‬.‫ُﺗ َﻐﻴﱢﻢ أﺳﺮار اﻟﻤﺎﺿﻲ اﻟﺪﻓﻴﻨﺔ ﻋﻠﻰ ﻛﻴﺎﻧﻪ‬ ‫اﻟﻈﺮوف اﻟﺘﻲ ﺗﺸﻮﺑﻬﺎ اﻟﺮﻏﺒﺔ واﻟﺸﻌﻮر ﺑﺎﻟﺬﻧﺐ‬ ‫ وﻳﻔﺸﻞ ﻋﻨﺪ‬،‫داﻧﻴﺎل إﻟﻰ ﺗﺄﻣﻞ ﺣﻴﺎﺗﻪ اﻟﺠﻨﺴﻴﺔ‬ ‫ﻫﺬه اﻟﻨﻘﻄﺔ ﻓﻲ اﻟﺘﻤﻴﻴﺰ ﺑﻴﻦ اﻟﻤﺜﻠﻴﺔ اﻟﺠﻨﺴﻴﺔ‬ .‫واﻻﻋﺘﺪاء اﻟﺠﻨﺴﻲ ﻋﻠﻰ ا ﻃﻔﺎل‬

Steve Woods

‫ﺳﺘﻴﻒ وودز‬

Ireland

‫أﻳﺮﻟﻨﺪا‬

48 :28 Keeping Time 10'42''

2014 A modern power station worker leaves his place of work and finds an ancient warrior waiting for him. The worker is taken to a sacred place. There he dances in a circle of warriors. Returning to the turbine room of the power plant, the worker finds that by combining the traditional moves with modern dance, he is stronger than ever.

‫ﺑﻘﺎء ﻋﻠﻰ اﻟﺰﻣﻦ‬À‫ا‬ ‫ دﻗﻴﻘﺔ‬١٠:٤٢

٢٠١٤ ‫ﻳﺘﺮك ﻋﺎﻣﻞ ﺑﻤﺤﻄﺔ ﺗﻮﻟﻴﺪ ﻛﻬﺮﺑﺎء ﺣﺪﻳﺜﺔ‬ ‫ﻗﺪﻳﻤﺎ ﻓﻲ اﻧﺘﻈﺎره‬ ‫ﻣﻜﺎن ﻋﻤﻠﻪ ﻟﻴﺠﺪ ﻣﺤﺎرﺑًﺎ‬ ً ‫ وﻫﻨﺎك ﻳﺮﻗﺺ‬،‫وﻳﺄﺧﺬه إﻟﻰ ﻣﻜﺎن ﻣﻘﺪس‬ ‫ ﺑﻌﺪ ذﻟﻚ ﻳﻌﻮد‬.‫اﻟﻌﺎﻣﻞ ﺿﻤﻦ داﺋﺮة اﻟﻤﺤﺎرﺑﻴﻦ‬ ‫ وﻳﺠﺪ أﻧﻪ أﺻﺒﺢ‬،‫إﻟﻰ ﻏﺮﻓﺔ ﺗﻮرﺑﻴﻨﺎت اﻟﻤﺤﻄﺔ‬ ‫أﻗﻮى ﺑﺨﻼف أي وﻗﺖ ﻣﻀﻰ ﺑﻌﺪﻣﺎ َﺟ َﻤ َﻊ ﺑﻴﻦ‬ .‫ﺣﺮﻛﺎت اﻟﺮﻗﺺ اﻟﺘﻘﻠﻴﺪﻳﺔ واﻟﺮﻗﺺ اﻟﺤﺪﻳﺚ‬

Steffen Köhn

‫ﺳﺘﻴﻔﻦ ﻛﻮن‬

Germany

‫أﻟﻤﺎﻧﻴﺎ‬

48 :28 Always Here 11'20''

2015 Always Here” is a post-cinematic documentary about adult webcam performers. The work engages with the aesthetics of the ‘observational cinema’ tradition of documentary filmmaking. In this case, however, the observer is literally absent from the scene as everything unfolds without the presence of a director or cameraperson. Yet those fleeting moments of intimacy between my protagonists all occur in their acute awareness of being watched by strangers.

‫داﺋﻤﺎ‬ ‫ﻫﻨﺎ‬ ً ‫ دﻗﻴﻘﺔ‬١١:٢٠

٢٠١٥ ‫ﺳﻴﻨﻤﺎﺋﻲ ﻋﻦ‬-‫ ﻓﻴﻠﻢ وﺛﺎﺋﻘﻲ ﺑﻌﺪ‬:«‫داﺋﻤﺎ‬ ‫»ﻫﻨﺎ‬ ً ‫ ﻳﻘﺪم اﻟﻌﻤﻞ‬.‫ﻣﺆدي أﻓﻼم اﻟﻮﻳﺐ ﻛﺎم‬ ‫ﺟﻤﺎﻟﻴﺎت ﺗﻘﻠﻴﺪ ﺻﻨﺎﻋﺔ ا ﻓﻼم اﻟﻮﺛﺎﺋﻘﻴﺔ أو ﻣﺎ‬ ،‫ وﻟﻜﻦ ﻓﻲ ﻫﺬه اﻟﺤﺎﻟﺔ‬،«‫ﻳُﻌﺮف ﺑـ»ﺳﻴﻨﻤﺎ اﻟﺮﺻﺪ‬ ‫ﻳﻐﻴﺐ اﻟﻤﺸﺎﻫﺪ ﻋﻦ اﻟﻤﺸﻬﺪ ﺑﻴﻨﻤﺎ ﻳﺘﻜﺸﻒ‬ .‫ﻛﻞ ﺷﻲء ﻣﻦ دون وﺟﻮد ﻣﺨﺮج أو ﻣﺼﻮر‬ ‫ ﺗﺤﺪث ﺗﻠﻚ اﻟﻠﺤﻈﺎت‬،‫وﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ‬ ‫اﻟﺤﻤﻴﻤﻴﺔ اﻟﻌﺎﺑﺮة ﺑﻴﻦ أﺑﻄﺎل اﻟﻔﻴﻠﻢ ﻓﻲ‬ .‫وﻋﻴﻬﻢ اﻟﺘﺎم ﺑﺄن ﺛﻤﺔ ﻏﺮﺑﺎء ﻳﺸﺎﻫﺪوﻧﻬﻢ‬

Sopie Chamoux

‫ﺻﻮﻓﻲ ﺷﺎﻣﻮ‬

France

‫ﻓﺮﻧﺴﺎ‬

48 :28 Sky

‫ﺳﻤﺎء‬

3'38''

‫ دﻗﻴﻘﺔ‬٣:٣٨

2014

٢٠١٤

Between earth and heaven, she doesn't know where this line of pink chalk will take her.

‫ ﻻ ﺗﻌﻠﻢ إﻟﻰ أﻳﻦ‬،‫ﻣﺎ ﺑﻴﻦ ا رض واﻟﺴﻤﺎء‬ .‫ﺳﻴﺄﺧﺬﻫﺎ ﻫﺬا اﻟﺨﻂ ﻣﻦ ا ﺣﺠﺎر اﻟﻮردﻳﺔ‬

Simon Welch

‫ﺳﻴﻤﻮن وﻳﻠﺶ‬

‫اﻟﻤﻤﻠﻜﺔ اﻟﻤﺘﺤﺪة‬

48 :28 Domain and Range

‫اﻟﻨﻄﺎق واﻟﻤﺪى‬

6'01''

‫ دﻗﻴﻘﺔ‬٦:٠١

2015

٢٠١٥

An anecdote about a dead lizard in a French vineyard accidentally run over by the winegrower’s tractor serves as a pretext to explore family history, which in turn raises questions concerning the relationship between art and deterministic belief systems, and between man and nature, etc. The notion of transformation is explored both in terms of the content of the film and the effect of filming itself. The title refers to a mathematical concept related to set theory.

‫ُﺗﺼﺒِﺢ ﻗﺼﺔ ﺳﺤﻠﻴﺔ دﻫﺴﻬﺎ ﺟﺮار ﺣﺪ ﻣﺰارﻋﻲ‬ ‫اﻟﻜﺮوم ﻋﻦ ﻃﺮﻳﻖ اﻟﺨﻄﺄ ﻓﻲ إﺣﺪى ﻣﺰارع‬ ‫اﻟﻜﺮوم اﻟﻔﺮﻧﺴﻴﺔ ﺳﺒﺒًﺎ ﻻﺳﺘﻜﺸﺎف ﺗﺎرﻳﺦ‬ ‫ وﻫﻮ ﻣﺎ ﻳﺜﻴﺮ ﺑﺪوره أﺳﺌﻠﺔ ﺣﻮل‬،‫إﺣﺪى اﻟﻌﺎﺋﻼت‬ ‫اﻟﻌﻼﻗﺔ ﺑﻴﻦ ﻛﻞ ﻣﻦ اﻟﻔﻦ واﻟﻨﻈﻢ اﻟﻌﻘﺎﺋﺪﻳﺔ‬ ‫ وﻳﺘﻢ‬.‫إﻟﺦ‬...‫ﻧﺴﺎن واﻟﻄﺒﻴﻌﺔ‬À‫ وﺑﻴﻦ ا‬،‫اﻟﺤﺘﻤﻴﺔ‬ ‫اﺳﺘﻜﺸﺎف ﻣﻔﻬﻮم اﻟﺘﺤﻮل ﻋﻠﻰ ﻣﺴﺘﻮى‬ ‫ﻣﻀﻤﻮن اﻟﻔﻴﻠﻢ وﻋﻠﻰ ﻣﺴﺘﻮى ﺗﺄﺛﻴﺮ ﻋﻤﻠﻴﺔ‬ ‫ ﻳﺸﻴﺮ اﻟﻌﻨﻮان إﻟﻰ ﻣﻔﻬﻮم‬.‫اﻟﺘﺼﻮﻳﺮ ﻧﻔﺴﻬﺎ‬ .‫رﻳﺎﺿﻲ ﻣﺮﺗﺒﻂ ﺑﻨﻈﺮﻳﺔ اﻟﻤﻜﺎن‬

Sioras Deligiannis Giorgos

‫ﺳﻴﻮراس دﻳﻠﻴﺪﭼﻴﺎﻧﻴﺲ دﭼﻴﻮرﭼﻮس‬

Greece

‫اﻟﻴﻮﻧﺎن‬

48 :28 5 Days of my life

‫ﺧﻤﺴﺔ أﻳﺎم ﻣﻦ ﺣﻴﺎﺗﻲ‬

8'57''

‫ دﻗﻴﻘﺔ‬٨:٥٧

2015

٢٠١٥

A surrealistic story through five different stages of one self internal maturation.

‫ﻗﺼﺔ ﺳﻴﺮﻳﺎﻟﻴﺔ ﻋﺒﺮ ﺧﻤﺲ ﻣﺮاﺣﻞ ﻣﺨﺘﻠﻔﺔ ﻣﻦ‬ .‫ﻧﺴﺎن اﻟﻨﻔﺴﻲ‬À‫ﻧﻀﻮج ا‬

Fabiano Mixo

‫ﻓﺎﺑﻴﺎﻧﻮ ﻣﻴﻜﺴﻮ‬

Brazil

‫اﻟﺒﺮازﻳﻞ‬

48 :28 Woman without Mandolin

‫اﻣﺮأة ﺑﻼ ﻣﻨﺪوﻟﻴﻦ‬

4'40''

‫ دﻗﻴﻘﺔ‬٤:٤٠

2015

٢٠١٥

A cubist film or a portrait of Miriam Goldschmidt.

‫ﻓﻴﻠﻢ ﺗﻜﻌﻴﺒﻲ أو ﺑﻮرﺗﺮﻳﻪ ﻟـ»ﻣﻴﺮﻳﺎم‬ .«‫ﺟﻮﻟﺪﺳﻤﻴﺚ‬

Francisco Lidón Plaza

‫ﻓﺮاﻧﺜﻴﺴﻜﻮ ﻟﻴﺪون ﺑﻼﺛﺎ‬

Spain

‫إﺳﺒﺎﻧﻴﺎ‬

48 :28 Distancia 0 (Zero Distance)

‫اﻟﻤﺴﺎﻓﺔ ﺻﻔﺮ‬

8'46''

‫ دﻗﻴﻘﺔ‬٨:٤٦

2014

٢٠١٤

Strangers in an empty space, playing with light and architecture. A game of power where the roles are reversed. A site specific performance.

‫ﻳﺘﻼﻋﺐ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻐﺮﺑﺎء ﻓﻲ ﻣﺴﺎﺣﺔ‬ ‫ ﻫﻲ ﻟﻌﺒﺔ ﺗﺒﺎدل ﻗﻮى‬.‫ﺧﺎﻟﻴﺔ ﺑﺎﻟﻀﻮء واﻟﻌﻤﺎرة‬ .‫ﻳﺘﻢ ﻓﻴﻬﺎ ﻗﻠﺐ ا دوار‬ .‫ﺧﺼﻴﺼﺎ ﻟﻤﻜﺎن ﺑﻌﻴﻨﻪ‬ ‫ﺻﻤﻢ‬ ً ُ ‫أداء‬

Frank McCauley USA

‫ﻓﺮاﻧﻚ ﻣﺎﻛﻮﻟﻲ‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬

48 :28 Camoufleur

(‫)اﻟﻤ َﻤﻮِ ﻫﻮن‬ ُ ‫اﻟﻜﺎﻣﻮﻓﻠﻴﺮز‬

3'48''

‫ دﻗﻴﻘﺔ‬٣:٤٨

2013

٢٠١٣

Using video and performance, McCauley's works extend from an internal investigation of childhood role models and popular icons, questioning commonly held assumptions of how we construct our own individual identities. Incorporating scenes from the movie “Predator,” McCauley layers projections onto the surface of his own living space enabling him to interact with characters from these films, examining the role that watching action and sci-fi movies played in his formative years.

‫ ُﺗﻮ َﻟﺪ أﻋﻤﺎل‬،‫ﺑﺎﺳﺘﺨﺪاﻣﻪ اﻟﻔﻴﺪﻳﻮ وا داء‬ ‫ﻣﺎﻛﻮﻟﻲ ﻣﻦ اﺳﺘﻜﺸﺎف رﻣﻮز اﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ‬ ‫ وﺗﻤﺘﺪ إﻟﻰ‬،‫واﻟﻘﺪوة ﻓﻲ ﻣﺮﺣﻠﺔ اﻟﻄﻔﻮﻟﺔ‬ ‫اﻟﺘﺸﻜﻴﻚ ﻓﻲ اﻻﻓﺘﺮاﺿﺎت اﻟﺸﺎﺋﻌﺔ ﻟﻜﻴﻔﻴﺔ ﺑﻨﺎء‬ ‫ ﻳﻘﻮم‬.‫ﻫﻮﻳﺘﻨﺎ اﻟﻔﺮدﻳﺔ اﻟﺨﺎﺻﺔ وﺗﺸﻜﻠﻬﺎ‬ ‫ﻣﺎﻛﻮﻟﻲ ﺑﺘﻘﺪﻳﻢ ﻣﺴﺘﻮﻳﺎت ﻣﺨﺘﻠﻔﺔ ﻣﻦ‬ ‫ﺳﻘﺎﻃﺎت ﻋﻠﻰ ﺳﻄﺢ اﻟﻤﻜﺎن اﻟﺬي ﻳﻌﻴﺶ‬À‫ا‬ ‫ﻓﻴﻪ ﻣﻦ ﺧﻼل ﺗﻀﻤﻴﻦ ﻣﺸﺎﻫﺪ ﻣﻦ ﻓﻴﻠﻢ‬ ‫»ﺑﺮﻳﺪاﺗﻮر« )اﻟﻤﻔﺘﺮس( ﻣﻤﺎ ﻳ َُﻤ ﱢﻜ ُﻨ ُﻪ ﻣﻦ اﻟﺘﻔﺎﻋﻞ‬ ‫ﻣﻊ ﺑﻌﺾ ﺷﺨﺼﻴﺎت اﻟﻔﻴﻠﻢ وﻣﻦ اﺳﺘﻜﺸﺎف‬ ‫دور ﻣﺸﺎﻫﺪة أﻓﻼم ا ﻛﺸﻦ واﻟﺨﻴﺎل اﻟﻌﻠﻤﻲ‬ .‫وﺗﺄﺛﻴﺮﻫﺎ ﻋﻠﻴﻪ ﻓﻲ ﺳﻨﻮاﺗﻪ ا وﻟﻰ‬

Florian Rouzaud Cornabas France

Urban Conformation 31:41

‫ﻓﻠﻮرﻳﺎن روزود ﻛﻮرﻧﻴﺒَﺲ‬ ‫ﻓﺮﻧﺴﺎ‬

٣١:٤١ ‫ﺗﺸﻜﻴﻼت ﻋﻤﺮاﻧﻴﺔ‬

2'49''

‫ دﻗﻴﻘﺔ‬٢:٤٩

2014

٢٠١٤

In “Urban Conformation 31:41,” I’ve extracted from our urban surroundings the pieces of my puzzle, pieces that I can transform through rotation, homothecy and symmetry. This creation takes the shape of a skyline tunnel where a battle and fusion of two alternative worlds take place.

«٣١:٤١ ‫اﺳﺘﺨﺮﺟﺖ ﻓﻲ ﻓﻴﻠﻢ »ﺗﺸﻜﻴﻼت ﻋﻤﺮاﻧﻴﺔ‬ ‫أﺟﺰاء ُأﺣﺠﻴﺘﻲ )ﻟﻌﺒﺔ اﻟﺒﺎزل( ﻣﻦ اﻟﺒﻴﺌﺔ اﻟﺤﻀﺮﻳﺔ‬ ‫ واﺧﺘﺮت ا ﺟﺰاء اﻟﺘﻲ ﻳﻤﻜﻨﻨﻲ‬،‫اﻟﻤﺤﻴﻄﺔ ﺑﻨﺎ‬ ‫ﺗﻐﻴﻴﺮﻫﺎ وإﻋﺎدة ﺗﺸﻜﻴﻠﻬﺎ ﻋﻦ ﻃﺮﻳﻖ اﻟﺪوران‬ ‫ ﻳﻨﺘﺞ ﻋﻦ ﻋﻤﻠﻴﺔ اﻟﺘﻐﻴﻴﺮ‬.‫واﻟﺘﺤﺎﻛﻲ واﻟﺴﻴﻤﻴﺘﺮﻳﺔ‬ ‫ﻫﺬه ﺷﻜﻞ ﻧﻔﻖ أﻓﻘﻲ ﻳﻨﺼﻬﺮ ﻓﻴﻪ ﻋﺎﻟﻤﺎن‬ .‫ﻣﺘﻮازﻳﺎن وﻳﺘﺤﺎرﺑﺎن‬

‫ﻓﺮاس ﺷﻴﺤﺎدة‬ ‫إﺳﺒﺎﻧﻴﺎ‬

‫ﻣﺠﻬﻮﻟﻮ اﻟﻬﻮﻳﺔ‬

‫‪Firas Shehadeh‬‬ ‫‪Spain‬‬

‫‪Unidentified‬‬

‫‪ ٦:١٠‬دﻗﻴﻘﺔ‬

‫''‪6'10‬‬

‫‪٢٠١٤‬‬

‫‪2014‬‬

‫ﻗﻨﺎة ﻓﻴﺪﻳﻮ وﺣﻴﺪة‪ ،‬وﻣﻘﻄﻊ ﺻﻮﺗﻲ واﺣﺪ‪،‬‬ ‫وﻣﺠﻤﻮﻋﺔ ﻣﻦ ﺛﻼﺛﺔ أﺣﺒﺎر ﻋﻠﻰ ورﻗﺔ ‪ -‬ﻋﺎم ‪.٢٠١٤‬‬ ‫»ﻳﻮروداك«‪ :‬ﻫﻲ ﺷﺒﻜﺔ ﻣﻌﺮﻓﻴﺔ ﺗﺘﺨﻄﻰ ﺣﺪود‬ ‫اﻟﺴﻠﻄﺔ اﻟﻮﻃﻨﻴﺔ ﻟﻜﻞ دوﻟﺔ‪ ،‬وﻫﻲ ﻋﺒﺎرة ﻋﻦ‬ ‫ﻗﺎﻋﺪة ﺑﻴﺎﻧﺎت ﺗﺸﻤﻞ اﻻﺗﺤﺎد ا وروﺑﻲ ﺑﺄﻛﻤﻠﻪ‪،‬‬ ‫وﺗﻌﺘﺒﺮ أﺣﺪ اﻟﻨﻈﻢ ﻟﻠﺘﻌﺮف ﻋﻠﻰ ﺑﺼﻤﺎت ا ﺻﺎﺑﻊ‬ ‫ا¼ﻟﻴﺔ‪ .‬ﺗﺤﺘﻮي ﺷﺒﻜﺔ »ﻳﻮروداك« ﻋﻠﻰ ﺑﺼﻤﺎت‬ ‫ا ﺻﺎﺑﻊ اﻟﺮﻗﻤﻴﺔ ﻟﻜﻞ ﺷﺨﺺ ﻓﻮق ﺳﻦ اﻟﺮاﺑﻌﺔ‬ ‫ ي ﻣﻦ دول اﻻﺗﺤﺎد‬ ‫ﻋﺸﺮة ﻣﻦ ﻃﺎﻟﺒﻲ اﻟﻠﺠﻮء ﱟ‬ ‫ا وروﺑﻲ‪ ،‬وﻫﻲ واﺣﺪ ﻣﻦ ُﻧ ُ‬ ‫ﻈﻢ اﻻﺗﺤﺎد ا وروﺑﻲ‬ ‫ا ﻛﺜﺮ ﻗﺴﻮة اﻟﺘﻲ ﺗﺘﺤﻜﻢ ﻓﻲ ﺗﻨﻘﻞ اﻟﻼﺟﺌﻴﻦ‪.‬‬ ‫أﻗﻮم ﻓﻲ ﻫﺬا اﻟﻌﻤﻞ ﺑﺎﺳﺘﻜﺸﺎف اﻟﺤﻴﻞ اﻟﺘﻲ‬ ‫ﻳﻠﺠﺄ إﻟﻴﻬﺎ اﻟﻼﺟﺌﻮن ﻟﻴﺘﺤﺎﺷﻮا ﻧﻈﺎم »اﻟﻴﻮروداك«‬ ‫وﻣﻨﻬﺎ ﺗﺸﻮﻳﻪ‪ ،‬أو ﻛﺸﻂ‪ ،‬أو ﺗﺸﺮﻳﺢ‪ ،‬أو ﺣﺮق أﻃﺮاف‬ ‫أﺻﺎﺑﻌﻬﻢ‪.‬‬

‫‪Single channel video/sound installation‬‬ ‫‪and a series of three ink on paper‬‬ ‫‪drawings.‬‬ ‫‪Eurodac Is a supranational cybernetic‬‬ ‫‪network, an EU-wide database using the‬‬ ‫‪Automated Fingerprint Identification‬‬ ‫‪System. Eurodac contains digital‬‬ ‫‪fingerprints of every person over the age‬‬ ‫‪of 14 who claims asylum in the EU. It's one‬‬ ‫‪of most brutal EU systems that control the‬‬ ‫‪movement of refugees. In this work I‬‬ ‫‪examine what refugees do to avoid‬‬ ‫‪Eurodac: defacing, abrading, slicing, and‬‬ ‫‪burning their fingertips.‬‬

Philipp Dettmer Germany

Rock, Paper, Scissors

‫ﻓﻴﻠﻴﺐ دﻳﺘﻤﺮ‬ ‫أﻟﻤﺎﻧﻴﺎ‬

‫ ﻣﻘﺼﺎت‬،‫ ورق‬،‫ﺣﺠﺮ‬

4'05''

‫ دﻗﻴﻘﺔ‬٤:٠٥

2013

٢٠١٣

A construction site in a city. While cars are slowly moving we get a glimpse into the underworld. Eventually.

‫ ﺑﻴﻨﻤﺎ ﺗﺴﻴﺮ اﻟﺴﻴﺎرات‬..‫ﻣﻮﻗﻊ ﺑﻨﺎء ﻓﻲ ﻣﺪﻳﻨﺔ‬ ‫ ﻧﺮى ﻓﻲ اﻟﻨﻬﺎﻳﺔ ﻟﻤﺤﺔ ﻣﻦ اﻟﻌﺎﻟﻢ‬،‫ﺑﺒﻂء‬ .‫اﻟﺴﻔﻠﻲ‬

Felipe Frozza & Ulrike Flamig Germany

Disruptions

‫ﻓﻴﻠﻴﺒﻲ ﻓﻐﻮﺗﺴﺎ و أوﻟﺮﻳﻜﻪ ﻓﻠﻴﻤﻴﺶ‬ ‫أﻟﻤﺎﻧﻴﺎ‬

‫ﻋﺮاﻗﻴﻞ‬

4'55''

‫ دﻗﻴﻘﺔ‬٤:٥٥

2015

٢٠١٥

“Disruptions” deals with the difficulties of movement in a real conflict situation. A dancer starts developing a choreography in front of the wall between Israel and Palestine, but the adverse circumstances prevent its completion.

‫ﻳﺘﻨﺎول »ﻋﺮاﻗﻴﻞ« ﺻﻌﻮﺑﺔ اﻟﺘﻨﻘﻞ ﻓﻲ ﺣﺎﻻت‬ ‫ ﻳﺒﺪأ راﻗﺺ ﺑﺘﺼﻤﻴﻢ‬.‫اﻟﻤﻌﺎرك واﻻﺷﺘﺒﺎﻛﺎت‬ ‫رﻗﺼﺘﻪ أﻣﺎم اﻟﺠﺪار اﻟﻔﺎﺻﻞ ﺑﻴﻦ إﺳﺮاﺋﻴﻞ‬ ‫ وﻟﻜﻦ اﻟﻈﺮوف اﻟﻤﻨﺎوﺋﺔ‬،‫وﻓﻠﺴﻄﻴﻦ اﻟﻤﺤﺘﻠﺔ‬ .‫ﺗﺤﻮل دون إﺗﻤﺎﻣﻬﺎ‬

‫ﻓﻴﻠﻴﺲ ﻫﺎﭘﻴﺘﺴﻴﺪﻳﺮب‬ ‫اﻟﺴﻮﻳﺪ‬

‫‪ ٤:٣‬ﺗﻌﺮﻳﻒ ﻣﻌﻴﺎري‬ ‫‪ ٩:٠٠‬دﻗﺎﺋﻖ‬

‫‪٢٠١٥‬‬ ‫ُﻨﻲ ﻫﺬا اﻟﻌﻤﻞ ﻋﻠﻰ ﺻﻮر »ﻣﺎرِت ﻟﻴﻨﺪﺑﻴﺮج« اﻟﺘﻲ‬ ‫ﺑ َ‬ ‫ﻋﺎﻣﻲ ‪ ٢٠٠٢‬و‪ ٢٠٠٦‬وﻟﻢ ﻳﺘﻢ‬ ‫اﻟﺘﻘﻄﺖ ﻓﻴﻤﺎ ﺑﻴﻦ َ‬ ‫اﺳﺘﺨﺪاﻣﻬﺎ‪ ،‬ﻓﺘﻢ اﻟﺘﺒﺮع ﺑﻬﺎ إﻟﻰ »ﻓﻴﻠﻴﺲ ﻫﺎپ‬ ‫ﻳﺘﺴﻴﺪﻳﺮ«‪ .‬ﺗﺮﻛﺰ اﻟﻤﻮاد اﻟﻤﺨﺘﺎرة ﻋﻠﻰ ا ﺣﺪاث اﻟﺘﻲ‬ ‫ﺗﻘﻊ ﻓﻲ ا ﻣﺎﻛﻦ اﻟﻌﺎﻣﺔ‪ ،‬ﻛﻤﺎ ﻳﻈﻬﺮ اﻟﻌﻤﻞ‬ ‫اﻟﻨﺼﻮص اﻟﺘﻲ ﺗﺼﻒ ﺗﺎرﻳﺦ ﺻﻴﻐﺔ »اﻟﺪي ﭬي«‬ ‫ً‬ ‫ﺷﺒﻴﻬﺎ ﻟﻀﻌﻒ اﻟﺬاﻛﺮة وﻟﻨﻈﺮﻳﺔ‬ ‫وﺗﺮاﺟﻌﻬﺎ ﺑﺎﻋﺘﺒﺎرﻫﺎ‬ ‫»اﻟﻤﻴﻤﻴﻨﺘﻮ ﻣﻮري« )ﻧﻈﺮﻳﺔ ﻻﺗﻴﻨﻴﺔ ُﺗﻌﻨﻰ ﺑﺄن ﻳﺪرك‬ ‫ا‪Õ‬ﻧﺴﺎن ﻓﻨﺎءه وأن ﻳﺘﺬﻛﺮ اﻟﻤﻮت(‪.‬‬ ‫ﻓﻴﻠﻢ »‪ ٤:٣‬ﺗﻌﺮﻳﻒ ﻣﻌﻴﺎري« ﻫﻮ ﺟﺰء ﻣﻦ ﻣﺸﺮوع‬ ‫»ﻛﺎروﺳﻞ« اﻟﺬي ﻳﺘﺒﺎدل ﻓﻴﻪ اﻟﻔﻨﺎﻧﻮن ﻣﺎرِت ﻟﻴﻨﺪﺑﻴﺮج‬ ‫وﻓﻴﻠﻴﺲ ﻫﺎﭙﻳﺘﺴﻴﺪﻳﺮ وﻛﺮﻳﺴﺘﻴﻨﺎ ﻛﻮﻓﻴﻚ وﻫﻴﻨﺮﻳﻚ‬ ‫ﻟﻮﻧﺪ ﻳﻮرﺟﻴﻨﺴﻮن ﻣﻮادﻫﻢ اﻟﻔﻴﻠﻤﻴﺔ ﻏﻴﺮ‬ ‫اﻟﻤﺴﺘﺨﺪﻣﺔ وﻳﺘﻨﺎوﻟﻮﻧﻬﺎ ﻋﻦ ﻛﺜﺐ‪.‬‬

‫‪Felice Hapetzeder‬‬ ‫‪Sweden‬‬

‫‪4:3 Standard Definition‬‬ ‫'‪9‬‬

‫‪2015‬‬ ‫‪The work builds on Marit Lindberg’s unused‬‬ ‫‪footage from 2002 and 2006, which was‬‬ ‫‪donated to Felice Hapetzeder. The focus of the‬‬ ‫‪selected material is on events in public space.‬‬ ‫‪Texts that describe the history and decline of‬‬ ‫‪the DV format are shown as an analogy of‬‬ ‫‪memory decay, with a memento mori theme.‬‬ ‫‪“4:3 Standard Definition” is part of the‬‬ ‫‪“Carousell"" project where artists Marit‬‬ ‫‪Lindberg, Felice Hapetzeder, Kristina Kvalvik and‬‬ ‫‪Henrik Lund Jørgensen exchange each other's‬‬ ‫‪unused video material and elaborate on it.‬‬

Vasili Macharadze Georgia

The Way to Buchenwald

‫ﭬﺎﺳﻴﻠﻲ ﻣﺎﺗﺸﺎرادزي‬ ‫ﭼورﭼﻴﺎ‬

‫اﻟﻄﺮﻳﻖ إﻟﻰ ﺑﻮﺧﻴﻨﻔﺎﻟﺪ‬

2'07''

‫ دﻗﻴﻘﺔ‬٢:٠٧

2015

٢٠١٥

The video investigates the shift of emotional experience of travelers on particular road. Mapping contemporary private/public obsessions and visualizing the possible simultaneity of differing emotions, it tries to explore the historical connections based on individual perception of a particular memorial.

‫ﻳﻜﺸﻒ اﻟﻔﻴﺪﻳﻮ ﺗﻐﻴﺮ اﻟﺘﺠﺮﺑﺔ اﻟﻌﺎﻃﻔﻴﺔ‬ ‫ﻟﻠﻤﺴﺎﻓﺮﻳﻦ ﻋﻠﻰ ﻃﺮﻳﻖ ﺑﻌﻴﻨﻪ ﻣﻘﺘﻔﻴًﺎ آﺛﺎر‬ -‫ اﻟﺸﺨﺼﻴﺔ واﻟﻌﺎﻣﺔ‬-‫اﻟﻬﻮاﺟﺲ اﻟﻤﻌﺎﺻﺮة‬ ‫ﻣﻜﺎﻧﻴﺔ ﺣﺪوث اﻟﺘﺰاﻣﻦ‬Õ ‫وﻳﻀﻊ ﺗﺼﻮرًا‬ ‫اﻟﻌﺎﻃﻔﻲ ﻣﻦ ﺧﻼل ﻣﺤﺎوﻟﺔ اﺳﺘﻜﺸﺎف‬ ‫اﻟﺮواﺑﻂ اﻟﺘﺎرﻳﺨﻴﺔ اﻟﻤﺒﻨﻴﺔ ﻋﻠﻰ اﻟﺮؤﻳﺔ اﻟﺸﺨﺼﻴﺔ‬ .‫اﻟﻤﺘﻌﻠﻘﺔ ﺑﻨﺼﺐ ﺗﺬﻛﺎري ﻣﻌﻴﻦ‬

Vasilis Karvounis

‫ﭬﺎﺳﻴﻠﻴﺲ ﻛﺎرﭬوﻧﻴﺲ‬

Greece

‫اﻟﻴﻮﻧﺎن‬

My enemies

‫أﻋﺪاﺋﻲ‬

2'41''

‫ دﻗﻴﻘﺔ‬٢:٤١

2014

٢٠١٤

“My enemies” has as basic references Freud, Beckett and the theatre of the absurd, conveying the id, ego and superego as real and divisive situations. The video shows three characters that discuss and collide with each other creating language games in an environment with a convivial character.

‫اﻟﻤﺮاﺟﻊ ا ﺳﺎﺳﻴﺔ ﻟﻬﺬا اﻟﻔﻴﺪﻳﻮ ﻫﻲ أﻋﻤﺎل‬ ‫ﺳﻴﺠﻤﻨﺪ ﻓﺮوﻳﺪ وﺻﺎﻣﻮﻳﻞ ﺑﻴﻜﻴﺖ وﻣﺴﺮح‬ ‫اﻟﻌﺒﺚ اﻟﺘﻲ ﺗﻘﺪم ﻣﻔﺎﻫﻴﻢ اﻟﺬات وا ﻧﺎ وا ﻧﺎ‬ ‫ ﻳﻘﺪم‬.‫اﻟﻌﻠﻴﺎ ﻛﺄﻣﺮ واﻗﻊ وﻛﻤﻮاﻗﻒ ﺣﺎﺳﻤﺔ‬ ‫اﻟﻔﻴﺪﻳﻮ ﺛﻼث ﺷﺨﺼﻴﺎت ﻳﺘﻨﺎﻗﺸﻮن وﻳﺘﺪاﺧﻠﻮن‬ ‫ﺑﻌﻀﻬﻢ ﻣﻊ ﺑﻌﺾ ﻟﻴﺨﻠﻘﻮا ﺑﺬﻟﻚ أﻟﻌﺎﺑًﺎ ﻟﻐﻮﻳﺔ‬ .‫ﻓﻲ ﺟﻮ ﻟﻪ ﻃﺎﺑﻊ ﻣﺒﻬﺞ‬

Valerie Wolf Gang Slovenia

Distant Memory

‫ﭬﺎﻟﻴﺮي ووﻟﻒ ﺟﺎﻧﺞ‬ ‫ﺳﻠﻮﭬﺎﻧﻴﺎ‬

‫ذاﻛﺮة ﺑﻌﻴﺪة‬

2'43''

‫ دﻗﻴﻘﺔ‬٢:٤٣

2014

٢٠١٤

Distant Memory” is a poetical experimental video which speaks about the times that once were. A random event evokes the narrator’s memories about the times before the disintegration of Yugoslavia and encourages reflection about what the war brings and how quickly people forget everything. The poem can be interpreted as a letter or a personal confession of an unknown man written for the mighty Tito’s ship Galeb. (Josip Broz Tito was a Yugoslav revolutionary and statesman).

‫ ﻫﻮ ﻓﻴﺪﻳﻮ ﺗﺠﺮﻳﺒﻲ ﺷﺎﻋﺮي‬:«‫ذاﻛﺮة ﺑﻌﻴﺪة‬ ٌ ‫ﺣﺪث ﻋﺸﻮاﺋﻲ‬ ‫ ﻳﺜﻴﺮ‬.‫ﻳﺘﻨﺎول ذﻛﺮﻳﺎت اﻟﻤﺎﺿﻲ‬ ‫ذﻛﺮﻳﺎت اﻟﺮاوي ﻋﻦ اﻟﻤﺎﺿﻲ ﻗﺒﻞ ﺗﻔﻜﻚ‬ ‫ وﻳﺪﻋﻮه ﻟﺘﺄﻣﻞ ﻣﺎ ﺗﺴﺒﺒﺖ ﻓﻴﻪ‬،‫ﻳﻮﻏﻮﺳﻼﻓﻴﺎ‬ .‫ﺳﺮﻳﻌﺎ‬ ‫ وﻛﻴﻒ ﻳﻨﺴﻰ اﻟﻨﺎس ا ﺷﻴﺎء‬،‫اﻟﺤﺮب‬ ً ‫ﻳﻤﻜﻦ ﺗﺤﻠﻴﻞ اﻟﻘﺼﻴﺪة ﻋﻠﻰ أﻧﻬﺎ اﻋﺘﺮاف‬ ‫ﺷﺨﺼﻲ أو رﺳﺎﻟﺔ ﻣﻦ ﺷﺨﺺ ﻣﺠﻬﻮل‬ ‫ﻟﺴﻔﻴﻨﺔ اﻟﻤﺎرﺷﺎل اﻟﻘﻮي ﺗﻴﺘﻮ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻌﺮف‬ ‫ﺑﺎﺳﻢ »ﺟﺎﻟﺐ« )ﺟﻮﺳﻴﺐ ﺑﺮوز ﺗﻴﺘﻮ ﻫﻮ ﺛﺎﺋﺮ ورﺟﻞ‬ .(‫دوﻟﺔ ﻳﻮﻏﻮﺳﻼﻓﻲ‬

Wojciech Gilewicz USA/Poland

Painter's Painting 17'23''

2015 “Painter’s Painting” (an ongoing work) is a global journey through cultural stereotypes and clichés as well as different “local” motifs present in art in today's fast way of living and rapid pace of human mobility. The video examines the resistance of art to reality, and also its capacity to depict it.

‫ﭬوﻳﺘﺸﺦ ﺟﻴﻼﭬﻴﺘﺶ‬ ِ ‫ﺑﻮﻟﻨﺪا‬/‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬

‫ﻟﻮﺣﺔ اﻟﺮﺳﺎم‬ ‫ دﻗﻴﻘﺔ‬١٧:٢٣

٢٠١٥ ‫ ﻫﻮ ﻓﻴﻠﻢ ﻻ ﻳﺰال ﻗﻴﺪ اﻟﻌﻤﻞ‬:«‫»ﻟﻮﺣﺔ اﻟﺮﺳﺎم‬ ‫ﻋﻦ رﺣﻠﺔ ﺣﻮل اﻟﻌﺎﻟﻢ ﻋﺒﺮ ا ﻧﻤﺎط اﻟﺜﻘﺎﻓﻴﺔ‬ ‫واﻟﻜﻠﻴﺸﻴﻬﺎت وا ﻓﻜﺎر اﻟﻤﺤﻠﻴﺔ اﻟﻤﻮﺟﻮدة‬ ‫ﻓﻲ اﻟﻔﻦ ﺿﻤﻦ إﻃﺎر أﺳﻠﻮب اﻟﺤﻴﺎة اﻟﺤﺎﻟﻲ‬ ‫اﻟﺬي ﻳﻤﺘﺎز ﺑﺎﻟﺴﺮﻋﺔ وﺑﺘﻐﻴﻴﺮ اﻟﻨﺎس ﻣﺎﻛﻨﻬﺎ‬ ‫ ﻳﺴﺘﻜﺸﻒ اﻟﻔﻴﺪﻳﻮ ﻣﻘﺎوﻣﺔ اﻟﻔﻦ‬.‫وﻣﻮاﻗﻌﻬﺎ‬ .‫ﻟﻠﻮاﻗﻊ وﻛﺬا ﻗﺪرﺗﻪ ﻋﻠﻰ ﺗﺼﻮﻳﺮه ووﺻﻔﻪ‬

Willi Dorner Austria

every-one

‫وﻳﻠﻰ دورﻧﻴﺮ‬ ‫اﻟﻨﻤﺴﺎ‬

‫ﻛﻞ ﺷﺨﺺ‬

9'53''

‫ دﻗﻴﻘﺔ‬٩:٥٣

2015

٢٠١٥

every-one is devoted to the ordinary man. To a common hero, an ubiquitous character, walking in countless thousands on the streets. This anonymous hero is very ancient.” - Michel de Certeau.

‫ »إﻟﻰ‬:‫ﻧﺴﺎن اﻟﻌﺎدي‬Õ‫ﻳﺤﺘﻔﻲ »ﻛﻞ ﺷﺨﺺ« ﺑﺎ‬ ‫ إﻟﻰ اﻟﺸﺨﺺ اﻟﻤﻮﺟﻮد ﻓﻲ ﻛﻞ‬،‫اﻟﺒﻄﻞ اﻟﻌﺎدي‬ ‫ﻧﺴﺎن اﻟﺬي ﻳﻄﻮي آﻻف اﻟﺸﻮارع‬Õ‫ إﻟﻰ ا‬،‫ﻣﻜﺎن‬ ‫ﻗﺪﻳﻤﺎ ﻛﻘﺪم‬ ،‫ ﻫﺬا اﻟﺒﻄﻞ اﻟﻤﺠﻬﻮل‬.‫ﺳﻴﺮًا‬ ً .‫ ﻣﻴﺸﻴﻞ دي ﺳﻴﺮﺗﻮ‬- «‫اﻟﺒﺸﺮﻳﺔ‬

The film is inspired by the book “The Practice of Everyday Life” (Arts de Faire) by Michel de Certeau.

«‫اﻟﻔﻴﻠﻢ ﻣﺴﺘﻮﺣﻰ ﻣﻦ ﻛﺘﺎب »آرﺗﺲ دي ﻓﻴﺮ‬ .‫)ﻣﻤﺎرﺳﺎت اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ( ﻟﻤﻴﺸﻴﻞ دي ﺳﻴﺮﺗﻮ‬

Katja Pratschke & Gusztáv Hámos Germany

Cities Potential Space 30'20''

2014 “Cities (Potential Space)” provides a thematic context to potential spaces in the city. The shape that the city could have assumed, how the city will appear in the future these are the aspects we explore in our project. We investigate urban visions and city models, spatial and temporal passages, borderlines, places of transition and thresholds.

‫ﻛﺎﺗﻴﺎ ﭘﻐﺎﺗﺸﻜﻪ و ﺟﻮﺳﺘﺎف ﻫﺎﻣﻮش‬ ‫اﻟﻤﺎﻧﻴﺎ‬

(‫اﻟﻤﺤ َﺘ َﻤﻞ‬ ُ ‫ُﻣ ُﺪن )اﻟﻔﻀﺎء‬ ‫ دﻗﻴﻘﺔ‬٣٠:٢٠

٢٠١٤ ً ‫ﺳﻴﺎﻗﺎ‬ «(‫اﻟﻤﺤ َﺘ َﻤﻞ‬ ُ ‫»ﻣ ُﺪن )اﻟﻔﻀﺎء‬ ُ ‫ﻳﻘﺪم ﻓﻴﻠﻢ‬ ‫ﻣﻮﺿﻮﻋ ًﻴّﺎ ﻟﻤﺴﺎﺣﺎت وأﻣﺎﻛﻦ ﻣﺤﺘﻤﻠﺔ ﻓﻲ‬ ‫ وﻟﻠﺸﻜﻞ اﻟﺬي ﻛﺎن ﻣﻦ اﻟﻤﻤﻜﻦ أن‬،‫اﻟﻤﺪﻳﻨﺔ‬ ‫ وﻛﻴﻒ ﺳﻴﻜﻮن ﺷﻜﻠﻬﺎ ﻓﻲ‬،‫ﺗﺒﺪو ﻋﻠﻴﻪ اﻟﻤﺪﻳﻨﺔ‬ ‫ ﻛﻞ ﻫﺬه اﻟﻤﻮﺿﻮﻋﺎت ﻧﻘﻮم‬.‫اﻟﻤﺴﺘﻘﺒﻞ‬ ‫ ﻛﻤﺎ أﻧﻨﺎ‬،‫ﺑﺘﻨﺎوﻟﻬﺎ ﻓﻲ ﻣﺸﺮوﻋﻨﺎ اﻟﻔﻨﻲ‬ ‫ وﻣﻤﺮات‬،‫ﻧﺴﺘﻜﺸﻒ اﻟﺮؤى واﻟﻨﻤﺎذج اﻟﺤﻀﺮﻳﺔ‬ ‫اﻟﻌﺒﻮر اﻟﺰﻣﺎﻧﻴﺔ واﻟﻤﻜﺎﻧﻴﺔ واﻟﺨﻄﻮط اﻟﻔﺎﺻﻠﺔ‬ .‫وأﻣﺎﻛﻦ اﻻﻧﺘﻘﺎل واﻟﻌﺘﺒﺎت‬

Carlo Ferraris USA

I'm no longer obsessed with winning

‫ﻛﺎرﻟﻮ ﻓﻴﺮارﻳﺲ‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬

‫ﻣﻮﻟﻌﺎ ﺑﺎﻟﻔﻮز‬ ‫ﻟﻢ أﻋُ ﺪ‬ ً

3'59''

‫ دﻗﻴﻘﺔ‬٣:٥٩

2013

٢٠١٣

A man walking in the city singing what he is seeing.

.‫ﻳﺴﻴﺮ رَﺟﻞ ﻓﻲ اﻟﻤﺪﻳﻨﺔ وﻳﺘﻐﻨﻰ ﺑﻤﺎ ﻳﺮاه‬

Carlota Castells Puig Spain

Story of an Object 10'18''

2014 Story of an Object” is a story about subjectivity and introspection. The short film portrays the conflict between two friends after the disappearance of an object, and their pursuit in order to find it.

‫ﻛﺎرﻟﻮﺗﺎ ﻛﺎﺳﺘﻴﻠﻴﺲ ﭘﻴﻮج‬ ‫إﺳﺒﺎﻧﻴﺎ‬

‫ﻗﺼﺔ ﺷﻲء‬ ‫ دﻗﻴﻘﺔ‬١٠:١٨

٢٠١٤ ‫ﻳﺪور ﻓﻴﻠﻢ »ﻗﺼﺔ ﺷﻲء« ﺣﻮل اﻟﺬاﺗﻴﺔ وﻣﺎ ﻳﺪور‬ ‫ُﺠﺴﺪ اﻟﻔﻴﻠﻢ اﻟﺼﺮاع اﻟﺬي‬ ‫ وﻳ ﱢ‬.‫ﻧﺴﺎن‬Õ‫ﺑﺪاﺧﻞ ا‬ ،‫ﻳﻨﺸﺐ ﺑﻴﻦ ﺻﺪﻳﻘﻴﻦ ﺑﻌﺪ اﺧﺘﻔﺎء ﺷﻲء‬ .‫ﻳﺠﺎده واﻟﺤﺼﻮل ﻋﻠﻴﻪ‬Õ ‫وﺳﻌﻴﻬﻤﺎ‬

‫ﻛﺎرﻟﻮس آﻟﻮﻧﺴﻮ‬ ‫إﺳﺒﺎﻧﻴﺎ‬

‫اﻟﺘﻜﻌﻴﺒﻴﺔ‪ :‬ﺑﺚ ﻣﺒﺎﺷﺮ‬

‫‪Carlos Alonso‬‬ ‫‪Spain‬‬

‫‪Cubism Live‬‬

‫‪ ١:٥٦‬دﻗﻴﻘﺔ‬

‫''‪1'56‬‬

‫‪٢٠١٤‬‬

‫‪2014‬‬

‫ﻻ ﺗﺘﻌﻠﻖ اﻟﺘﻜﻌﻴﺒﻴﺔ ﺑﺎﻟﺮﺳﻢ ﻓﻘﻂ‪.‬‬

‫‪Cubism is not only a matter of painting.‬‬

Carlos Balseiro Argentina

Satan's Song

‫ﻛﺎرﻟﻮس ﺑﺎﻟﺴﻴﺮﻳﻮ‬ ‫ا رﺟﻨﺘﻴﻦ‬

‫أﻏﻨﻴﺔ اﻟﺸﻴﻄﺎن‬

7'29''

‫ دﻗﻴﻘﺔ‬٧:٢٩

2013

٢٠١٣

In a quiet country area, one day the earth starts to shake. The gaucho and his wife, scared, think that it is Satan’s curse. But is it really the devil who is causing this evil?

،‫ وﻓﻲ ﻣﻨﻄﻘﺔ رﻳﻔﻴﺔ ﻫﺎدﺋﺔ‬،‫ﻓﻲ ﻳﻮم ﻣﻦ ا ﻳﺎم‬ ‫ ﻳﻈﻦ‬،‫ وﻓﻲ ذﻋﺮ ﺑﺎﻟﻎ‬.‫ﺗﺒﺪأ ا رض ﻓﻲ اﻻﻫﺘﺰاز‬ ،‫راﻋﻲ اﻟﺒﻘﺮ وزوﺟﺘﻪ أن ﻫﺬه ﻟﻌﻨﺔ ﻣﻦ اﻟﺸﻴﻄﺎن‬ ًّ ‫وﻟﻜﻦ ﻫﻞ‬ ‫ﺣﻘﺎ اﻟﺸﻴﻄﺎن ﻫﻮ اﻟﺴﺒﺐ ﻓﻲ ﻫﺬا‬ ‫اﻟﺸﺮ؟‬

Carlos De Carvalho & Aude Danset France

Premier Automne 10'31''

2013 Abel lives in the winter and Apolline lives in the summer. Isolated in their “natures,” they never meet each other. They are not even supposed to meet. So when Abel crosses the border and discovers Apolline, curiosity is overwhelming. Their encounter soon becomes more complicated than they could imagine. Both of them will have to learn how to compromise to protect the other …

‫ﻛﺎرﻟﻮس دو ﻛﺎرﭬﺎﻟﻮ و أودي داﻧﺴﻴﻪ‬ ‫ﻓﺮﻧﺴﺎ‬

‫اﻟﺨﺮﻳﻒ ا ول‬ ‫ دﻗﻴﻘﺔ‬١٠:٣١

٢٠١٣ ‫ ﺑﻴﻨﻤﺎ ﺗﻌﻴﺶ آﭘﻮﻟﻴﻦ‬،‫ﻳﻌﻴﺶ ﻫﺎﺑﻴﻞ ﻓﻲ اﻟﺸﺘﺎء‬ ُ ‫وﻳﻌﻴﺶ ﻛﻞ ﻣﻨﻬﻤﺎ ﻓﻲ ﻃﺒﻴﻌﺘﻪ‬ ،‫ﻓﻲ اﻟﺼﻴﻒ‬ ‫ وﻻ ﻳﻨﺒﻐﻲ أن ﻳﺘﻘﺎﺑﻼ‬-‫ وﻻ ﻳﺘﻘﺎﺑﻼن أﺑﺪً ا‬،‫اﻟﻤﻨﻌﺰﻟﺔ‬ ‫ ﻳﺘﻤ ﱠﻠﻚ اﻟﻔﻀﻮل ﻫﺎﺑﻴﻞ ﺣﻴﻨﻤﺎ ﻳﻌﺒﺮ‬.‫ﻣﻦ ا ﺳﺎس‬ ‫وﻗﺖ‬ ‫ وﺑﻌﺪ‬،‫اﻟﺤﺪود وﻳﻜﺘﺸﻒ وﺟﻮد آﭘﻮﻟﻴﻦ‬ ٍ ‫ﻗﺼﻴﺮ ﻳﺼﺒﺢ ﻟﻘﺎؤﻫﻤﺎ أﻛﺜﺮ ﺗﻌﻘﻴﺪً ا ﻣﻤﺎ ﻛﺎﻧﺎ‬ ‫ ﻻ ﺑﺪ أن ﻳﺘﻌﻠﻢ ﻛﻼﻫﻤﺎ ﻛﻴﻔﻴﺔ‬.‫ﻳﺘﺨﻴﻼن‬ ‫اﻟﻮﺻﻮل إﻟﻰ ﺣﻠﻮل وﺳﻂ ﻟﻴﺤﻤﻲ أﺣﺪﻫﻤﺎ‬ .‫ا¼ﺧﺮ‬

‫ﻛﺎﻣﻴﻼ ﻣﺎرﺗﺸﻮن‬ ‫اﻟﺒﺮازﻳﻞ‬

‫ﻋﺎﻣﺎ‪ ،‬اﻟﺴﺎﻋﺔ اﻟﺮاﺑﻌﺔ ﻋﺼﺮًا‬ ‫ﺳﺒﻌﺔ وﻋﺸﺮون ً‬

‫‪Camila Marchon‬‬ ‫‪Brazil‬‬

‫‪27 years16 o'clock‬‬

‫‪ ٥:٥٨‬دﻗﻴﻘﺔ‬

‫''‪5'58‬‬

‫‪٢٠١٢‬‬

‫‪2012‬‬

‫ﻣﻨﺬ أن ﻛﻨﺖ ﻃﻔ ًﻠﺎ‪ ،‬أردت أن أﺻﻞ إﻟﻰ ﺳﻦ‬ ‫اﻟﺴﺎﺑﻌﺔ واﻟﻌﺸﺮﻳﻦ‪ ،‬وﻇﻨﻨﺖ أﻧﻬﺎ ﺳﻦ ﺟﻤﻴﻠﺔ‪،‬‬ ‫وأن ﺣﻴﺎﺗﻲ ﺳﺘﺘﺤﺴﻦ ﻛﺜﻴﺮًا ﺑﻌﺪ ﺑﻠﻮﻏﻬﺎ‪ .‬ﻳﺒﺪأ‬ ‫اﻟﻔﻴﺪﻳﻮ ﻳﻮم ﻋﻴﺪ ﻣﻴﻼدي اﻟﺴﺎﺑﻊ واﻟﻌﺸﺮﻳﻦ‪،‬‬ ‫ﻳﻮم ‪ ١٠‬ﻣﺎﻳﻮ ﻣﻦ ﻋﺎم ‪ ،٢٠١١‬وﻳﻨﺘﻬﻲ ﻳﻮم ﻋﻴﺪ‬ ‫ﻣﻴﻼدي اﻟﺜﺎﻣﻦ واﻟﻌﺸﺮﻳﻦ‪ .‬ﻓﻲ ﻛﻞ ﻳﻮم وﻋﻠﻰ‬ ‫ﻣﺪى ﻫﺬا اﻟﻌﺎم‪ ،‬ﻛﺎن ﻣﻨﺒﻪ ﻫﺎﺗﻔﻲ اﻟﻤﺤﻤﻮل‬ ‫ﻳﻨﻄﻠﻖ ﻓﻲ ﺗﻤﺎم اﻟﺮاﺑﻌﺔ ﻋﺼﺮًا‪ ،‬وﻛﺎﻧﺖ اﻟﻨﺘﻴﺠﺔ‬ ‫ﻫﻲ ﻓﻴﺪﻳﻮ ﻣﺠﻤﻊ ﻟﻜﻞ ﺷﻲء ﻓﻌﻠﺘﻪ ﻓﻲ‬ ‫اﻟﺮاﺑﻌﺔ ﻋﺼﺮًا ﻛﻞ ﻳﻮم ﻋﻠﻰ ﻣﺪى ﻋﺎﻣﻲ اﻟﺴﺎﺑﻊ‬ ‫واﻟﻌﺸﺮﻳﻦ‪.‬‬

‫‪Since childhood I wanted to be 27 years‬‬ ‫‪old. I thought it was a lovely age and my‬‬ ‫‪life would be very good after 27. The‬‬ ‫‪video begins on my 27th birthday, 10 May‬‬ ‫‪2011, and ends on my 28th birthday.‬‬ ‫‪During this whole year the alarm of my‬‬ ‫‪cell phone rang at 16h. The result is a‬‬ ‫‪video of everything I've done every 16h‬‬ ‫‪for one full year, the year that I finally was‬‬ ‫‪27.‬‬

Kotaro Tanaka Japan

‫ﻛﻮﺗﺎرو ﺗﺎﻧﺎﻛﺎ‬ ‫اﻟﻴﺎﺑﺎن‬

Okepasela

‫أوﻛﻴﺒﺎﺳﻴﻼ‬

4'33''

‫ دﻗﻴﻘﺔ‬٤:٣٣

2015

٢٠١٥

“Okepasela” is a work that reverses the meaning of “mistakes” that arise in the creation of digital photographs.

«‫ﻳﻌﻜﺲ »أوﻛﻴﺒﺎﺳﻴﻼ« ﻣﻌﻨﻰ ﻣﻔﻬﻮم »ا ﺧﻄﺎء‬ .‫اﻟﺘﻲ ﺗﺤﺪث ﻓﻲ ﻋﻤﻠﻴﺔ ﺧﻠﻖ اﻟﺼﻮر اﻟﺮﻗﻤﻴﺔ‬

Konstantina Kotzamani Greece

‫ﻛﻮﻧﺴﺘﻨﺘﻴﻨﺎ ﻛﻮﺗﺰاﻣﺎﻧﻲ‬ ‫اﻟﻴﻮﻧﺎن‬

Washingtonia

‫واﺷﻨﻄﻮﻧﻴﺎ‬

24'06''

‫ دﻗﻴﻘﺔ‬٢٤:٠٦

2014 “Washingtonia” starts when the giraffe’s heart can no longer be heard. “Washingtonia” is an alternative name for Athens, a place where people, like animals, fall into summertime sadness because of the heat. “Washingtonia” is the only palm tree whose heart is not devoured by the red beetle. Because its heart is small and dry, and no one likes small and dry hearts.

٢٠١٤ ‫ﻳﺒﺪأ »واﺷﻨﻄﻮﻧﻴﺎ« ﺣﻴﻨﻤﺎ ﻻ ﻳﻌﻮد ﻣﻤﻜ ًﻨﺎ ﺳﻤﺎع‬ ‫ واﺷﻨﻄﻮﻧﻴﺎ ﻫﻮ اﻻﺳﻢ‬.‫ﻧﺒﻀﺎت ﻗﻠﺐ اﻟﺰراﻓﺔ‬ ‫ وﻫﻮ ﻣﻜﺎن ﻳُﺼﺎب ﻓﻴﻪ اﻟﻨﺎس‬،‫اﻟﺒﺪﻳﻞ ﺛﻴﻨﺎ‬ ‫واﻟﺤﻴﻮاﻧﺎت ﺑﺎﻟﺤﺰن اﻟﺼﻴﻔﻲ ﺑﺴﺒﺐ ﺳﺨﻮﻧﺔ‬ ‫ واﺷﻨﻄﻮﻧﻴﺎ ﻫﻲ اﻟﻨﺨﻠﺔ اﻟﻮﺣﻴﺪة اﻟﺘﻲ ﻟﻢ‬.‫اﻟﺠﻮ‬ ‫ﱠ‬ ‫ﺗﺘﻤﻜﻦ اﻟﺨﻨﻔﺴﺎء اﻟﺤﻤﺮاء ﻣﻦ اﻟﺘﻬﺎم ﻗﻠﺒﻬﺎ‬ ‫ وﻻ أﺣﺪ ﻳﺤﺐ اﻟﻘﻠﻮب‬،‫ ﻧﻪ ﺻﻐﻴﺮ وﺟﺎف‬ .‫اﻟﺼﻐﻴﺮة اﻟﺠﺎﻓﺔ‬

‫ﻻﺑﺎﻳﻲ ﻣﺎﺗﺸﻴﻮ‬ ‫ﺑﻠﺠﻴﻜﺎ‬

‫اﻟﻤﺘﺎﻫﺔ‬

‫‪Labaye Mathieu‬‬ ‫‪Belgium‬‬

‫‪The Labyrinth‬‬

‫‪ ٩:٢٣‬دﻗﻴﻘﺔ‬

‫''‪9'23‬‬

‫‪٢٠١٣‬‬

‫‪2013‬‬

‫‪ ٦‬أﻣﺘﺎر ﻣﺮﺑﻌﺔ ﻟﻠﻌﻴﺶ‪...‬‬

‫… ‪6m² for living‬‬

Lauri Astala Finland

Transit

‫ﻻوري آﺳﺘﺎﻻ‬ ‫ﻓﻨﻠﻨﺪا‬

‫ﻘﻞ‬î ‫َﺗ َﻨ‬

9'30''

‫ دﻗﻴﻘﺔ‬٩:٣٠

2014

٢٠١٤

The theme of "Transit" revolves around the collective visual ideas and notions of the urban environment. Through their camera movements, angles and framings, the “documentary” shots taken in New York shift the city into a fictitious urban space, whose visual familiarity stems from the history of film.

‫ﻘﻞ« ﺣﻮل ا ﻓﻜﺎر اﻟﻤﺮﺋﻴﺔ‬î ‫ﺗﺪور ﻓﻜﺮة » َﺗ َﻨ‬ ‫ُﺤﻮﱢ ل‬ َ ‫ ﻳ‬.‫واﻟﻤﻌﺘﻘﺪات اﻟﻤﺘﻌﻠﻘﺔ ﺑﺎﻟﺒﻴﺌﺔ اﻟﺤﻀﺮﻳﺔ‬ ‫ ﻣﻦ ﺧﻼل ﺣﺮﻛﺔ اﻟﻜﺎﻣﻴﺮا‬،‫اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ‬ ُ ‫وزواﻳﺎﻫﺎ‬ ‫ اﻟﻤﺸﺎﻫﺪ اﻟﺘﻲ اﻟﺘﻘﻄﺖ ﻓﻲ‬،‫وأ ُﻃﺮﻫﺎ‬ ‫ﻧﻴﻮﻳﻮرك اﻟﻤﺪﻳﻨﺔ إﻟﻰ ﺣﻴﺰ ﺣﻀﺮي وﻫﻤﻲ ﺗﻨﺒﻊ‬ .‫ﻓﻴﻪ ا ﻟﻔﺔ اﻟﺒﺼﺮﻳﺔ ﻣﻦ ﺗﺎرﻳﺦ اﻟﺴﻴﻨﻤﺎ‬

Lorde Selys Belgium

Sorties (Picnic+exode) 19'05''

2014 """Sorties"" is a video project stemming from the photographic collection Atlas, suites by Georges Didi-Huberman and Arno Gisinger as it was exhibited at the Beirut Art Center. 13 people were interviewed upon photographs from the content of this exhibition. These words oscillate between recollection and projection. They become a line of influence to film the place again, they constitute a reading score for some current events happening in Beirut."

‫ﻟﻮردي ﺳﻴﻠﻲ‬ ‫ﺑﻠﺠﻴﻜﺎ‬

(‫ﻫﺠﺮة‬+‫ﻗﺼﺺ )ﻧﺰﻫﺔ‬ ‫ دﻗﻴﻘﺔ‬١٩:٠٥

٢٠١٤ ‫ ﻋﺒﺎرة ﻋﻦ ﻣﺸﺮوع ﻓﻴﺪﻳﻮ ﻧﺎﺑﻊ ﻣﻦ‬:«‫"»ﻗﺼﺺ‬ ‫ﻣﺠﻤﻮﻋﺔ ﺻﻮر »أﻃﻠﺲ« ﻟﺠﻮرﺟﻴﻮس دﻳﺪي‬ ‫ﻫﻮﺑﺮﻣﺎن وآرﻧﻮ ﺟﻴﺴﻴﻨﺠﺮ ﻛﻤﺎ ﺗﻢ ﻋﺮﺿﻬﺎ ﻓﻲ‬ .‫ﻣﺮﻛﺰ ﺑﻴﺮوت ﻟﻠﻔﻦ‬ ‫ﺷﺨﺼﺎ ﺣﻮل‬ ‫أﺟﺮﻳﺖ ﻣﻘﺎﺑﻼت ﻣﻊ ﺛﻼﺛﺔ ﻋﺸﺮ‬ ً ‫ ﺗﺄرﺟﺤﺖ ﻓﻴﻬﺎ‬،‫ﺻﻮر ﻣﻦ ﻣﺤﺘﻮى ﻫﺬا اﻟﻤﻌﺮض‬ ‫ ُﺗﻌﻴﺪ‬.‫ﺳﻘﺎط‬Õ‫ﻛﻠﻤﺎﺗﻬﻢ ﺑﻴﻦ اﻟﺘﺬﻛﺮ وا‬ ‫ﻛﻠﻤﺎﺗﻬﻢ ﻓﻲ اﻟﻔﻴﻠﻢ ﺗﺼﻮﻳﺮ اﻟﻤﻜﺎن ﻣﺮة‬ َ ‫أﺧﺮى و ُﺗ‬ ‫ﺸ ﱢﻜﻞ ﻣﺼﺪرًا ﻟﻘﺮاءة ﺑﻌﺾ ا ﺣﺪاث‬ " .‫اﻟﺠﺎرﻳﺔ ﻓﻲ ﺑﻴﺮوت‬

Lorenzo Oggiano

â&#x20AC;Ťďť&#x;ďťŽŘąďťłďť¨ďş&#x2DC;ďş´ďťŽ Ů&#x2C6;ŘŁŮ&#x2C6;ŘŻďźďť´ďş&#x17D;ďť§ďťŽŮ&#x2C6;ŘŻŘ˛â&#x20AC;Ź

Italy

â&#x20AC;ŤŘĽďťłďť&#x201E;ďş&#x17D;ďť&#x;ďť´ďş&#x17D;â&#x20AC;Ź

48 :28 Quasi-Objects/Cinematic Environment 8#

Ů¨# â&#x20AC;ŤŘ§ďť&#x;ďş&#x2019;ďť´ďş&#x152;ďş&#x201D; Ř§ďť&#x;ďş´ďť´ďť¨ďť¤ďş&#x17D;ďş&#x2039;ďť´ďş&#x201D;â&#x20AC;Ź/â&#x20AC;ŤŘŁďşˇďş&#x2019;ďş&#x17D;Ů&#x2021; ŘŁďşˇďť´ďş&#x17D;ŘĄâ&#x20AC;Ź

4'32''

â&#x20AC;Ť ŘŻďť&#x2014;ďť´ďť&#x2DC;ďş&#x201D;â&#x20AC;ŹŮ¤:ŮŁŮ˘

2012

Ů˘Ů ŮĄŮ˘

Quasi-Objectsâ&#x20AC;? is an art project (-2003ongoing) consisting of 3D generated videos and prints, a practice of â&#x20AC;&#x153;organic re-designâ&#x20AC;? whose synthetic/combinatory genesis can be considered a means to stimulate thought and dialogue on the progressive relativization of natural forms of life as a consequence of techno-biological evolution. â&#x20AC;&#x153;Quasi-Objectsâ&#x20AC;? regards data actualization, the visualization of synthetic organisms and ecosystems as transient output of an operative practice: an aesthetics of process. â&#x20AC;&#x153;Cinematic Environment 8#â&#x20AC;? is the ninth video of the Q.O. cycle.

Ů˘Ů Ů ŮŁ â&#x20AC;Ť ďťŤďťŽ ďťŁďş¸ďşŽŮ&#x2C6;Řš ďť&#x201C;ďť¨ďť˛ ďťŁďş´ďş&#x2DC;ďť¤ďşŽ ďťŁďť¨ďşŹ ďť&#x2039;ďş&#x17D;Ů&#x2026;â&#x20AC;Ź:ÂŤâ&#x20AC;ŤÂťŘŁďşˇďş&#x2019;ďş&#x17D;Ů&#x2021; ŘŁďşˇďť´ďş&#x17D;ŘĄâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďťłďş&#x2DC;ďť&#x153;ďťŽŮ&#x2020; ďťŁďťŚ ďť&#x201C;ďť´ďşŞďťłďťŽďťŤďş&#x17D;ŘŞ Ů&#x2C6;ďťŁďť&#x201E;ďş&#x2019;ďťŽďť&#x2039;ďş&#x17D;ŘŞâ&#x20AC;ŹŘ&#x152;â&#x20AC;ŤŮ&#x2C6;ďşŁďş&#x2DC;ďť° Ř§ÂźŮ&#x2020;â&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďťŤďťŽ ŘĽďť&#x2039;ďş&#x17D;ŘŻŘŠ ďş&#x2014;ďşźďť¤ďť´ďť˘ ďť&#x2039;ďť&#x20AC;ďťŽďťłďş&#x201D; ďş&#x2014;ďťŹďşŞŮ ŘĽďť&#x;ďť°â&#x20AC;ŹŘ&#x152;â&#x20AC;Ťďş&#x203A;ďťźďş&#x203A;ďť´ďş&#x201D; Ř§Â&#x2018;ďş&#x2018;ďť&#x152;ďş&#x17D;ŘŻâ&#x20AC;Ź â&#x20AC;ŤďťŁďť&#x152;ďş&#x17D;ďť&#x;ďş ďş&#x201D; ďş&#x2014;ďşŽďť&#x203A;ďť´ďş&#x2019;ďş&#x2DC;ďťŹďş&#x17D; Ř§ďťťďşťďť&#x201E;ďť¨ďş&#x17D;ďť&#x2039;ďť´ďş&#x201D; Ř§ďťťďť§ďşŞďťŁďş&#x17D;ďş&#x;ďť´ďş&#x201D; ďť&#x203A;ďş&#x2C6;ďşżďş&#x17D;ďť&#x201C;ďş&#x201D;â&#x20AC;Ź â&#x20AC;Ťďť&#x201C;ďş&#x17D;ďť&#x2039;ďť ďş&#x201D; ďť&#x;ďş&#x2DC;ďş¤ďť&#x201D;ďť´ďş° Ř§ďť&#x;ďť&#x201D;ďť&#x153;ďşŽ Ů&#x2C6;Ř§ďť&#x;ďş¤ďťŽŘ§Řą ďşŁďťŽŮ&#x201E; ďť§ďş´ďş&#x2019;ďť´ďş&#x201D; Ř§Â&#x2018;ďşˇďť&#x153;ďş&#x17D;Ů&#x201E;â&#x20AC;Ź â&#x20AC;ŤŘ§ďť&#x;ďť&#x201E;ďş&#x2019;ďť´ďť&#x152;ďť´ďş&#x201D; ďť&#x;ďť ďş¤ďť´ďş&#x17D;ŘŠ Ů&#x2C6;ďş&#x2014;ďť?ďť´ďşŽďťŤďş&#x17D; Ř§ďť&#x;ďť¤ďş´ďş&#x2DC;ďť¤ďşŽ ďť§ďş&#x2DC;ďť´ďş ďş&#x201D; ďť&#x;ďť ďş&#x153;ďťŽŘąŘŠâ&#x20AC;Ź .â&#x20AC;ŤŘ§ďť&#x;ďş&#x2019;ďť´ďťŽďş&#x2014;ďť&#x153;ďť¨ďťŽďť&#x;ďťŽďş&#x;ďť´ďş&#x201D;â&#x20AC;Ź â&#x20AC;Ťďťłďť&#x152;ďş&#x17D;ďť&#x;ďş&#x17E; ÂťŘŁďşˇďş&#x2019;ďş&#x17D;Ů&#x2021; ŘŁďşˇďť´ďş&#x17D;ŘĄÂŤ Ř§ďť&#x;ďť&#x2DC;ďşŞŘąŘŠ ďť&#x2039;ďť ďť° ďť&#x201C;ďťŹďť˘ Ř§ďť&#x;ďş&#x2019;ďť´ďş&#x17D;ďť§ďş&#x17D;ŘŞâ&#x20AC;Ź â&#x20AC;ŤŮ&#x2C6;Ř§ďť&#x;ďş&#x2DC;ďşźďťŽŘąŘ§ŘŞ Ř§ďť&#x;ďş¨ďş&#x17D;ďşťďş&#x201D; ďş&#x2018;ďş&#x17D;ďť&#x;ďť&#x153;ďş&#x17D;ďş&#x2039;ďť¨ďş&#x17D;ŘŞ Ř§ďťťďşťďť&#x201E;ďť¨ďş&#x17D;ďť&#x2039;ďť´ďş&#x201D; Ů&#x2C6;Ř§ďť&#x;ďť¨ďť&#x2C6;ďť˘â&#x20AC;Ź :â&#x20AC;Ťďťłďť&#x153;ďťŽďť&#x;ďťŽďş&#x;ďť´ďş&#x201D; ďť&#x203A;ďť¤ďş¨ďşŽďş&#x;ďş&#x17D;ŘŞ ďť&#x2039;ďş&#x17D;ďş&#x2018;ďşŽŘŠ ďť§ďş&#x17D;ďş&#x2014;ďş ďş&#x201D; ďť&#x2039;ďťŚ ďť&#x201C;ďť&#x152;ďť&#x17E; ďťŁďş&#x2020;ďş&#x203A;ďşŽâ&#x20AC;ŹĂ&#x2022;â&#x20AC;ŤŘ§â&#x20AC;Ź .â&#x20AC;Ťďş&#x;ďť¤ďş&#x17D;ďť&#x;ďť´ďş&#x17D;ŘŞ ďťŁďşŽŘ§ďşŁďť&#x17E; Ř§ďť&#x;ďť&#x152;ďť¤ďť&#x17E;â&#x20AC;Ź â&#x20AC;ŤÂŤ ďť&#x201C;ďťŹďťŽ Ř§ďť&#x;ďť&#x201D;ďť´ďşŞďťłďťŽâ&#x20AC;ŹŮ¨# â&#x20AC;ŤŘŁďťŁďş&#x17D; ďş&#x2018;ďş&#x17D;ďť&#x;ďť¨ďş´ďş&#x2019;ďş&#x201D; ŘĽďť&#x;ďť° ÂťŘ§ďť&#x;ďş&#x2019;ďť´ďş&#x152;ďş&#x201D; Ř§ďť&#x;ďş´ďť´ďť¨ďť¤ďş&#x17D;ďş&#x2039;ďť´ďş&#x201D;â&#x20AC;Ź .ÂŤâ&#x20AC;ŤŘ§ďť&#x;ďş&#x2DC;ďş&#x17D;ďşłďť&#x160; ďťŁďťŚ ďşłďť ďş´ďť ďş&#x201D; ďť&#x201C;ďť´ďşŞďťłďťŽďťŤďş&#x17D;ŘŞ ÂťŘŁďşˇďş&#x2019;ďş&#x17D;Ů&#x2021; ŘŁďşˇďť´ďş&#x17D;ŘĄâ&#x20AC;Ź

Lea Vidakovic

â&#x20AC;Ťďť&#x;ďť´ďş&#x17D; ďť&#x201C;ďť´ďşŞŘ§ďť&#x203A;ďťŽďť&#x201C;ďť´ďş&#x2DC;ďş˛â&#x20AC;Ź

Serbia

â&#x20AC;ŤďşťďşŽďş&#x2018;ďť´ďş&#x17D;â&#x20AC;Ź

48 :28 Sisters

â&#x20AC;ŤŘ§Â&#x2018;ďş§ďťŽŘ§ŘŞâ&#x20AC;Ź

7'48''

â&#x20AC;Ť ŘŻďť&#x2014;ďť´ďť&#x2DC;ďş&#x201D;â&#x20AC;ŹŮ§:Ů¤Ů¨

2012

Ů˘Ů ŮĄŮ˘

An animation triptych that evokes the atmosphere of old Dutch paintings, where sisters are trapped in melancholy, facing loss and emptiness over a missing one.

â&#x20AC;Ťďť&#x201C;ďť´ďť ďť˘ ŘąďşłďťŽŮ&#x2026; ďťŁďş&#x2DC;ďş¤ďşŽďť&#x203A;ďş&#x201D; ďş&#x203A;ďťźďş&#x203A;ďť´ďş&#x201D; ďťłďş´ďş&#x2DC;ďşŞďť&#x2039;ďť˛ ŘŁďş&#x;ďťŽŘ§ŘĄâ&#x20AC;Ź â&#x20AC;Ť Ů?ďş&#x2014;ďş´ďş ďťŚ ďť&#x201C;ďť´ďťŞâ&#x20AC;ŹŘ&#x152;â&#x20AC;ŤŘ§ďť&#x;ďť ďťŽďşŁďş&#x17D;ŘŞ Ř§ďť&#x;ďťŹďťŽďť&#x;ďť¨ďşŞďťłďş&#x201D; Ř§ďť&#x;ďť&#x2DC;ďşŞďťłďť¤ďş&#x201D;â&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďťłďťŽŘ§ďş&#x;ďťŹďťŚâ&#x20AC;ŹŘ&#x152;â&#x20AC;ŤŘ§Â&#x2018;ďş§ďťŽŘ§ŘŞ ďş&#x2018;ďşŞŘ§ďş§ďť&#x17E; ďşŁďş&#x17D;ďť&#x;ďş&#x201D; ďťŁďťŚ Ř§ďť&#x;ďş¤ďş°Ů&#x2020;â&#x20AC;Ź .â&#x20AC;ŤďťŁďş¸ďş&#x17D;ďť&#x2039;ďşŽ Ř§ďť&#x;ďť&#x201D;ďť&#x2DC;ďşŞ Ů&#x2C6;Ř§ďť&#x;ďť&#x201D;ďşŽŘ§Řş ďş&#x2018;ďť&#x152;ďşŞ ďť&#x201C;ďť&#x2DC;ďşŞŘ§Ů&#x2020; ŘĽďşŁďşŞŘ§ďťŤďťŚâ&#x20AC;Ź

Leila Alaoui

â&#x20AC;Ťďť&#x;ďť´ďť ďť° ďť&#x2039;ďťźŮ&#x2C6;Ů&#x160;â&#x20AC;Ź

Morocco

â&#x20AC;ŤŘ§ďť&#x;ďť¤ďť?ďşŽŘ¨â&#x20AC;Ź

48 :28 Crossings

â&#x20AC;ŤŘ§ďť&#x;ďť&#x152;ďş&#x2019;ďťŽŘąâ&#x20AC;Ź

6'21''

â&#x20AC;Ť ŘŻďť&#x2014;ďť´ďť&#x2DC;ďş&#x201D;â&#x20AC;ŹŮŚ:Ů˘ŮĄ

2013

Ů˘Ů ŮĄŮŁ

â&#x20AC;&#x153;Crossingsâ&#x20AC;? explores the experience of sub-Saharan migrants who embark on the perilous journey to reach the elusive shores of Europe. The video focuses on the collective trauma provoked by the embodied experience of crossing boundaries and becoming a fragile community in a new habitat. While grasping the experiential textures of psychological and physical transition, the work also gestures towards the concept of Europe as a problematic utopia in the collective African imagination.

â&#x20AC;Ťďťłďş&#x2DC;ďť¨ďş&#x17D;Ů&#x2C6;Ů&#x201E; ďť&#x201C;ďť´ďť ďť˘ ÂťŘ§ďť&#x;ďť&#x152;ďş&#x2019;ďťŽŘąÂŤ ďş&#x2014;ďş ďşŽďş&#x2018;ďş&#x201D; Ř§ďť&#x;ďť¤ďťŹďş&#x17D;ďş&#x;ďşŽďťłďťŚ ďťŁďťŚâ&#x20AC;Ź â&#x20AC;ŤŘ§ďť&#x;ďşźďş¤ďşŽŘ§ŘĄ Ř§ďť&#x;ďş ďť¨ďťŽďş&#x2018;ďť´ďş&#x201D; Ř§ďť&#x;ďşŹďťłďťŚ ďťłďş¸ďşŽďť&#x2039;ďťŽŮ&#x2020; ďť&#x201C;ďť˛ ŘąďşŁďť ďş&#x201D;â&#x20AC;Ź â&#x20AC;ŤďťŁďş¤ďť&#x201D;ďťŽďť&#x201C;ďş&#x201D; ďş&#x2018;ďş&#x17D;ďť&#x;ďť¤ďş¨ďş&#x17D;ďť&#x192;ďşŽ ďť&#x;ďť ďťŽďşťďťŽŮ&#x201E; ŘĽďť&#x;ďť° ďşˇďťŽŘ§ďť&#x192;ďş&#x160;â&#x20AC;Ź â&#x20AC;Ť ďťłďşŽďť&#x203A;ďş° Ř§ďť&#x;ďť&#x201D;ďť´ďşŞďťłďťŽ ďť&#x2039;ďť ďť° Ř§ďť&#x;ďşźďşŞďťŁďş&#x201D;â&#x20AC;Ź.â&#x20AC;ŤŘŁŮ&#x2C6;ŘąŮ&#x2C6;ďş&#x2018;ďş&#x17D; Ř§ďť&#x;ďş&#x2019;ďť&#x152;ďť´ďşŞŘŠâ&#x20AC;Ź â&#x20AC;ŤŘ§ďť&#x;ďť¨ďť&#x201D;ďş´ďť´ďş&#x201D; Ř§ďť&#x;ďş&#x2DC;ďť˛ ďş&#x2014;ďşźďť´ďş? Ř§ďť&#x;ďť¤ďťŹďş&#x17D;ďş&#x;ďşŽďťłďťŚ ŘĽďş&#x203A;ďşŽ ďş&#x2014;ďş ďşŽďş&#x2018;ďş&#x201D; ďť&#x2039;ďş&#x2019;ďťŽŘąâ&#x20AC;Ź â&#x20AC;ŤŘ§ďť&#x;ďş¤ďşŞŮ&#x2C6;ŘŻ ŘĽďť&#x;ďť° ďťŁďťŽďť&#x192;ďťŚ ďş&#x;ďşŞďťłďşŞ ďťłďş&#x2DC;ďş¤ďťŽďť&#x;ďťŽŮ&#x2020; ďť&#x201C;ďť´ďťŞ ŘĽďť&#x;ďť°â&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďťłŮ?ďş ďş´ďşŞ Ř§ďť&#x;ďť&#x201D;ďť´ďť ďť˘ ďş&#x2014;ďť&#x201D;ďş&#x17D;ďşťďť´ďť&#x17E; ďş&#x2014;ďş ďşŽďş&#x2018;ďş&#x201D;â&#x20AC;ŹŘ&#x152;â&#x20AC;ŤďťŁďş ďş&#x2DC;ďť¤ďť&#x160; ďťŤďşśâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďťłďş¸ďť´ďşŽ ďť&#x203A;ďşŹďť&#x;ďť&#x161; ŘĽďť&#x;ďť°â&#x20AC;ŹŘ&#x152;â&#x20AC;ŤŘ§ďť&#x;ďť&#x152;ďş&#x2019;ďťŽŘą Ř§ďť&#x;ďť¨ďť&#x201D;ďş´ďť˛ Ů&#x2C6;Ř§ďť&#x;ďş ďş´ďşŞŮ&#x160;â&#x20AC;Ź â&#x20AC;ŤŘĽďşˇďť&#x153;ďş&#x17D;ďť&#x;ďť´ďş&#x201D; ďş&#x2014;ďş ďş´ďť´ďşŞ ŘŁŮ&#x2C6;ŘąŮ&#x2C6;ďş&#x2018;ďş&#x17D; ďť&#x203A;ďť´ďťŽďş&#x2014;ďťŽďş&#x2018;ďť´ďş&#x17D; ďťŁďť&#x20AC;ďť&#x201E;ďşŽďş&#x2018;ďş&#x201D; ďť&#x201C;ďť˛â&#x20AC;Ź .â&#x20AC;ŤŘ§ďť&#x;ďş¨ďť´ďş&#x17D;Ů&#x201E; Ř§Â&#x2018;ďť&#x201C;ďşŽďťłďť&#x2DC;ďť˛ Ř§ďť&#x;ďş ďť¤ďť&#x152;ďť˛â&#x20AC;Ź

Martin Pickles

â&#x20AC;ŤďťŁďş&#x17D;Řąďş&#x2014;ďťŚ ďş&#x2018;ďť´ďť&#x153;ďť ďş°â&#x20AC;Ź

â&#x20AC;ŤŘ§ďť&#x;ďť¤ďť¤ďť ďť&#x153;ďş&#x201D; Ř§ďť&#x;ďť¤ďş&#x2DC;ďş¤ďşŞŘŠâ&#x20AC;Ź

48 :28 The Curtains Of Zagra

â&#x20AC;Ťďşłďş&#x2DC;ďş&#x17D;ďş&#x2039;ďşŽ Ř˛Ř§ďş&#x;ďşŽŘ§â&#x20AC;Ź

5'15''

â&#x20AC;Ť ŘŻďť&#x2014;ďť´ďť&#x2DC;ďş&#x201D;â&#x20AC;ŹŮĽ:ŮĄŮĽ

2014

Ů˘Ů ŮĄŮ¤

A hero with a thousand faces seeks the Moustache of Destiny. A horseman sets off on a quest one morning and is diverted into the underworld. Here he retrieves a magical moustache which affords him magical powers. This film contains visual references to the stories of Odysseus, The Wandering Knight, The Man With No Name, Don Quixote, Icarus and Pegasus and the paintings of Salvador DalĂ, Max Ernst, Sydney Nolan, Paul Nash and RenĂŠ Magritte.

.ÂŤâ&#x20AC;Ťďťłďş´ďť&#x152;ďť° Ř§ďť&#x;ďş&#x2019;ďť&#x201E;ďť&#x17E; Ř°Ů&#x2C6; Ř§Â&#x2018;ďť&#x;ďť&#x2019; Ů&#x2C6;ďş&#x;ďťŞ Ů&#x2C6;ŘąŘ§ŘĄ Âťďşˇďť¨ďş? Ř§ďť&#x;ďť&#x2DC;ďşŞŘąâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďť&#x;ďť&#x153;ďť¨ďťŞ ďťłďş ďşŞâ&#x20AC;ŹŘ&#x152;â&#x20AC;Ťďťłďť¨ďť&#x201E;ďť ďť&#x2013; ďť&#x201C;ďş&#x17D;ŘąŘł ďť&#x201C;ďť˛ ŘąďşŁďť ďş&#x201D; Ř°Ř§ŘŞ ďť§ďťŹďş&#x17D;Řąâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďťŤďť¨ďş&#x17D;Ů&#x192; ďťłďş´ďş&#x2DC;ďť&#x152;ďť´ďşŞâ&#x20AC;ŹŘ&#x152;â&#x20AC;Ťďť§ďť&#x201D;ďş´ďťŞ ďť&#x201C;ďť˛ Ř§ďť&#x;ďť&#x152;ďş&#x17D;ďť&#x;ďť˘ Ř§ďť&#x;ďş´ďť&#x201D;ďť ďť˛â&#x20AC;Ź .â&#x20AC;Ťďşˇďť¨ďş&#x2019;Ů&#x2039;ďş&#x17D; ďşłďş¤ďşŽ Ů&#x2039;ďťłŮ&#x2018;ďş&#x17D; ďťłďť¤ďşŞŮ&#x2021; ďş&#x2018;ďť&#x2DC;ďťŽŮ&#x2030; ďşłďş¤ďşŽďťłďş&#x201D; ďş§ďş&#x17D;Řąďť&#x2014;ďş&#x201D;â&#x20AC;Ź â&#x20AC;Ťďťłďş¤ďş&#x2DC;ďťŽŮ&#x160; ďťŤďşŹŘ§ Ř§ďť&#x;ďť&#x201D;ďť´ďť ďť˘ ďť&#x2039;ďť ďť° ŘĽďşˇďş&#x17D;ŘąŘ§ŘŞ ďťŁďşŽďş&#x2039;ďť´ďş&#x201D; ďť&#x;ďť&#x2DC;ďşźďşşâ&#x20AC;Ź â&#x20AC;ŤÂťŘ§Â&#x2018;Ů&#x2C6;ŘŻďťłďş´ďş&#x17D;ÂŤ Ů&#x2C6;ÂťŘ§ďť&#x;ďť&#x201D;ďş&#x17D;ŘąŘł Ř§ďť&#x;ďť¤ďş&#x2DC;ďş ďťŽŮ&#x201E;ÂŤ Ů&#x2C6;ÂťŘ§ďť&#x;ďşŽďş&#x;ďť&#x17E; Ř§ďť&#x;ďşŹŮ&#x160;â&#x20AC;Ź ÂŤâ&#x20AC;Ťďť&#x;ďť´ďş˛ ďť&#x;ďťŞ Ř§ďşłďť˘ÂŤ Ů&#x2C6;ÂťŘŻŮ&#x2C6;Ů&#x2020; ďť&#x203A;ďť´ďş¸ďťŽŘŞÂŤ Ů&#x2C6;ÂťŘĽďťłďť&#x153;ďş&#x17D;ŘąŮ&#x2C6;Řłâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďť&#x203A;ďşŹŘ§ ďť&#x;ďťŽďşŁďş&#x17D;ŘŞ ďť&#x203A;ďť&#x17E; ďťŁďťŚ ďşłďť ďť&#x201D;ďş&#x17D;ŘŻŮ&#x2C6;Řąâ&#x20AC;ŹŘ&#x152;ÂŤâ&#x20AC;ŤŮ&#x2C6;Âťďş&#x2018;ďť´ďş ďş&#x17D;ďşłďťŽŘłâ&#x20AC;Ź â&#x20AC;ŤŘŻŘ§ďť&#x;ďť˛ Ů&#x2C6;ďťŁďş&#x17D;Řąďť&#x203A;ďş˛ ŘĽďťłďşŽďť§ďş´ďş&#x2013; Ů&#x2C6;ďşłďť´ďşŞďť§ďť˛ ďť§ďťŽďťťŮ&#x2020; Ů&#x2C6;ďş&#x2018;ďťŽŮ&#x201E;â&#x20AC;Ź .â&#x20AC;Ťďť§ďş&#x17D;Ř´ Ů&#x2C6;Řąďťłďť¨ďť´ďťŞ ďťŁďş&#x17D;Řąďş&#x;ďşŽďťłďş&#x2013;â&#x20AC;Ź

Mark Gerstorfer

тАля╗гя║О╪▒┘Г я║зя║оя╗│я║┤я║Шя╗оя╗Уя║отАм

Austria

тАл╪зя╗Яя╗ия╗дя║┤я║ОтАм

48 :28 Salvation 29'51''

2014 The work portrays the post-pubertal interlude of three young adults as a wasteland of squandered time, a day-to-day life drifting between nonsense, disco and fatality, conveyed through videos personally filmed by the protagonists.

тАл╪зя╗Яя║ия╗╝╪╡тАм тАл ╪пя╗Чя╗┤я╗Шя║ФтАм┘в┘й:┘е┘б

┘в┘а┘б┘д тАля╗│я║ая║┤я║к ╪зя╗Яя╗Мя╗дя╗Ю я╗Уя║Шя║о╪й я╗гя║О я║Ся╗Мя║к ╪зя╗Яя║Тя╗ая╗о╪║ ╪зя╗Яя╗Фя║Оя║╗я╗ая║Ф я╗Уя╗▓тАм тАл я║Ся╗оя║╗я╗Фя╗мя║О ┘Ия╗Ч ┘Ля║Шя║О я╗гя╗мя║к╪▒┘Л╪зтАм╪МтАля║гя╗┤я║О╪й я║Ыя╗╝я║Ыя║Ф я║╖я║Тя║О╪и я║Ся║Оя╗Яя╗Ря╗┤я╗жтАм тАл ┘Ия╗│я╗Ия╗мя║о я║гя╗┤я║Оя║Чя╗мя╗в ╪зя╗Яя╗┤я╗оя╗гя╗┤я║Ф ╪зя╗Яя║Шя╗▓тАм╪МтАля╗Яя╗┤я║▓ я╗Яя╗к я║Яя║к┘И┘ЙтАм тАля║Чя║Шя║Д╪▒я║Яя║в я║Ся╗┤я╗ж ╪зя╗Яя║мя╗ля║О╪и ╪ея╗Яя╗░ ╪зя╗Яя║кя╗│я║┤я╗Ья╗о ┘И╪зя╗Яя╗Мя║Тя║ЪтАм тАл я║Чя╗в я║Чя║ая║┤я╗┤я║к ╪░я╗Яя╗Ъ я╗гя╗ж я║зя╗╝┘ДтАм.тАл┘И╪зя╗Яя╗дя║╝я║Оя║Ля║РтАм тАля╗Уя╗┤я║кя╗│я╗оя╗ля║О╪к я║╖я║ия║╝я╗┤я║Ф я╗Чя║О┘Е ╪гя║Ся╗Дя║О┘Д ╪зя╗Яя╗Фя╗┤я╗ая╗втАм .тАля║Ся║Шя║╝я╗оя╗│я║оя╗ля║О я║Ся║Дя╗зя╗Фя║┤я╗мя╗втАм

‫ﻓﺎﺑﻴﺎﻣﺎرك ﻣﺎرﺗﻴﻨﻴﺚ ﺧﻮرداﻧﻨﻮ‬

‫‪Marc Martínez Jordán‬‬ ‫‪Spain‬‬

‫إﺳﺒﺎﻧﻴﺎ‬

‫‪ 48 :28‬‬ ‫وﺟﻪ اﻟﺤﺼﺎن‬

‫‪Horseface‬‬

‫‪ ٨:٢٥‬دﻗﻴﻘﺔ‬

‫''‪8'25‬‬

‫‪٢٠١٥‬‬

‫‪2015‬‬

‫ﻓﻴﻠﻢ رﻋﺐ ‪ -‬ﻛﻮﻣﻴﺪي ‪ -‬ﺧﻴﺎل ﻋﻠﻤﻲ ‪ -‬إﺛﺎرة‬ ‫ودراﻣﺎ ﺣﻴﻮاﻧﻴﺔ ﻗﺼﻴﺮ ﺑﺘﻜﻠﻔﺔ ﻋﺸﺮﻳﻦ ﻳﻮرو ﻣﻦ‬ ‫ﺑﻄﻮﻟﺘﻲ أﻧﺎ وﺟﺪﺗﻲ‪.‬‬

‫‪A € 20 budget comedy-horror-science‬‬ ‫‪fiction-thriller-animal drama short film‬‬ ‫‪starring me and my grandma.‬‬

Marcantonio Lunardi

â&#x20AC;ŤďťŁďş&#x17D;ŘąŮ&#x192; ŘŁďť§ďť&#x201E;ďťŽďť§ďť´ďťŽ ďť&#x;ďťŽďť§ďş&#x17D;ŘąŘŻŮ&#x160;â&#x20AC;Ź

Italy

â&#x20AC;ŤŘĽďťłďť&#x201E;ďş&#x17D;ďť&#x;ďť´ďş&#x17D;â&#x20AC;Ź

48 :28 The Idol

â&#x20AC;ŤŘ§ďť&#x;ďť¤ďť&#x152;ďş&#x2019;ďťŽŘŻâ&#x20AC;Ź

3'49''

â&#x20AC;Ť ŘŻďť&#x2014;ďť´ďť&#x2DC;ďş&#x201D;â&#x20AC;ŹŮŁ:Ů¤ŮŠ

2015

Ů˘Ů ŮĄŮĽ

The idol has no inner being whatsoever, it is only the cruel reflection of the image that the worshippers project on it, deprived of any spiritual value, made cynical and indifferent by its mechanical nature. It is nourished by the cannibal hunger of men who not only devour each other but also end up devouring themselves, because the idol they nourish, in the end, swallows them all up.

â&#x20AC;Ť ďťŤďťŽâ&#x20AC;ŹŘ&#x152;â&#x20AC;Ťďť&#x;ďť´ďş˛ ďť&#x;ďť ďť¤ďť&#x152;ďş&#x2019;ďťŽŘŻ ŘąŮ&#x2C6;Ř ďş&#x2018;ďş&#x201E;Ů&#x160; ďşˇďť&#x153;ďť&#x17E; ďťŁďťŚ Ř§Â&#x2018;ďşˇďť&#x153;ďş&#x17D;Ů&#x201E;â&#x20AC;Ź â&#x20AC;Ťďť&#x201C;ďť&#x2DC;ďť&#x201A; Ř§ďťťďť§ďť&#x152;ďť&#x153;ďş&#x17D;Řł Ř§ďť&#x;ďť&#x2DC;ďş&#x17D;ďşłďť˛ ďť&#x;ďť ďşźďťŽŘąŘŠ Ř§ďť&#x;ďş&#x2DC;ďť˛ ďťłďť&#x2DC;ďťŽŮ&#x2026;â&#x20AC;Ź â&#x20AC;Ť ďť&#x;ďşŹŘ§ ďť&#x201C;ďťŹďťŽ ďť&#x;ďť´ďş˛ ďť&#x;ďťŞâ&#x20AC;ŹŘ&#x152;â&#x20AC;ŤŘ§ďť&#x;ďť¤ďş&#x2DC;ďť&#x152;ďş&#x2019;ďşŞŮ&#x2C6;Ů&#x2020; ďş&#x2018;ďş&#x2C6;ďşłďť&#x2DC;ďş&#x17D;ďť&#x192;ďťŹďş&#x17D; ďť&#x2039;ďť ďť´ďťŞâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďťłďş&#x2DC;ďť˘ ďş&#x2014;ďť&#x2DC;ďşŞďťłďť¤ďťŞ ďş&#x2018;ďş¸ďť&#x153;ďť&#x17E; ďşłďş&#x17D;ďş§ďşŽâ&#x20AC;ŹŘ&#x152;â&#x20AC;ŤŘŁďťłďş&#x201D; ďť&#x2014;ďť´ďť¤ďş&#x201D; ŘąŮ&#x2C6;ďşŁďť´ďş&#x201D;â&#x20AC;Ź .â&#x20AC;ŤďťŁďş&#x2019;ďş&#x17D;Ů&#x201E; ďş&#x2018;ďş¤ďť&#x153;ďť˘ ďť&#x192;ďş&#x2019;ďť´ďť&#x152;ďş&#x2DC;ďťŞ Ř§ďť&#x;ďť¤ďť´ďť&#x153;ďş&#x17D;ďť§ďť´ďť&#x153;ďť´ďş&#x201D;â&#x20AC;Ź â&#x20AC;ŤŮ&#x2C6;ďť?ďť´ďşŽâ&#x20AC;Ź Ů? â&#x20AC;Ťďťłďş&#x2DC;ďť?ďşŹŮ&#x2030; Ř§ďť&#x;ďť¤ďť&#x152;ďş&#x2019;ďťŽŘŻ ďť&#x2039;ďť ďť° ďş&#x;ďťŽŘš ŘŁďť&#x203A;ďť ďş&#x201D; ďť&#x;ďş¤ďťŽŮ&#x2026; Ř§ďť&#x;ďş&#x2019;ďş¸ďşŽâ&#x20AC;Ź Ů&#x2039; â&#x20AC;Ť ďş&#x2018;ďť&#x17E;â&#x20AC;ŹŘ&#x152;â&#x20AC;Ťďş&#x2018;ďť&#x152;ďť&#x20AC;ďş&#x17D; ďť&#x201C;ďť&#x2DC;ďť&#x201A;â&#x20AC;Ź â&#x20AC;ŤŘ§ďť&#x;ďşŹďťłďťŚ ďťť ďťłďş&#x201E;ďť&#x203A;ďť ďťŽŮ&#x2020; ďş&#x2018;ďť&#x152;ďť&#x20AC;ďťŹďť˘â&#x20AC;Ź â&#x20AC;Ťďťłďť¨ďş&#x2DC;ďťŹďť˛ ďş&#x2018;ďťŹďť˘ Ř§ďť&#x;ďş¤ďş&#x17D;Ů&#x201E; ŘĽďť&#x;ďť° Ř§ďť&#x;ďş&#x2DC;ďťŹďş&#x17D;Ů&#x2026; ŘŁďť§ďť&#x201D;ďş´ďťŹďť˘ Â&#x2018;Ů&#x2020;â&#x20AC;Ź â&#x20AC;Ťďş&#x;ďť¤ďť´ďť&#x152;ďş&#x17D;â&#x20AC;Ź â&#x20AC;ŤŘ§ďť&#x;ďť¤ďť&#x152;ďş&#x2019;ďťŽŘŻ Ř§ďť&#x;ďşŹŮ&#x160; ďťłďť?ďşŹŮ&#x2C6;ďť§ďťŞ ďťłďť&#x2DC;ďťŽŮ&#x2026; ďş&#x2018;ďş&#x17D;ďş&#x2018;ďş&#x2DC;ďťźďť&#x2039;ďťŹďť˘â&#x20AC;Ź Ů&#x2039; .â&#x20AC;Ťďť&#x201C;ďť˛ Ř§ďť&#x;ďť¨ďťŹďş&#x17D;ďťłďş&#x201D;â&#x20AC;Ź

Marko Schiefelbein

â&#x20AC;ŤďťŁďş&#x17D;Řąďť&#x203A;ďťŽ ďşˇďť´ďť&#x201D;ďť´ďť ďş&#x2019;ďş&#x17D;ďťłďťŚâ&#x20AC;Ź

Germany

â&#x20AC;ŤŘŁďť&#x;ďť¤ďş&#x17D;ďť§ďť´ďş&#x17D;â&#x20AC;Ź

48 :28 Retail Therapy

â&#x20AC;ŤŘ§ďť&#x;ďť&#x152;ďťźŘŹ ďş&#x2018;ďş&#x17D;ďť&#x;ďş¸ďşŽŘ§ŘĄâ&#x20AC;Ź

4'34''

â&#x20AC;Ť ŘŻďť&#x2014;ďť´ďť&#x2DC;ďş&#x201D;â&#x20AC;ŹŮ¤:ŮŁŮ¤

2015

Ů˘Ů ŮĄŮĽ

â&#x20AC;&#x153;Retail Therapyâ&#x20AC;? is a reenactment of commercials from the 1980s that were considered to be memorable by several people who are affected by a compulsive buying disorder. Unlike the originals however, the spoken text is replaced by the artist with confessions from interviews of shopping addicts. â&#x20AC;&#x153;Retail Therapyâ&#x20AC;? asks in what way and to what extent compulsive buying disorder is triggered by the advertising industry.

â&#x20AC;Ťďť&#x2039;ďťźďť§ďş&#x17D;ŘŞâ&#x20AC;ŹĂ&#x2022; â&#x20AC;Ť ďťŤďťŽ ŘĽďť&#x2039;ďş&#x17D;ŘŻŘŠ ďş&#x2014;ďť¤ďş&#x153;ďť´ďť&#x17E;â&#x20AC;Ź:ÂŤâ&#x20AC;ŤÂťŘ§ďť&#x;ďť&#x152;ďťźŘŹ ďş&#x2018;ďş&#x17D;ďť&#x;ďş¸ďşŽŘ§ŘĄâ&#x20AC;Ź â&#x20AC;Ť Ů&#x2C6;ďş&#x2014;ďť&#x152;ďş&#x2DC;ďş&#x2019;ďşŽâ&#x20AC;ŹŘ&#x152;â&#x20AC;Ťďş&#x2014;ďş ďş&#x17D;Řąďťłďş&#x201D; ďş&#x2014;ďť&#x152;ďťŽŘŻ ŘĽďť&#x;ďť° ďť&#x201C;ďş&#x2DC;ďşŽŘŠ Ř§ďť&#x;ďş&#x153;ďť¤ďş&#x17D;ďť§ďť´ďť¨ďť´ďş&#x17D;ŘŞâ&#x20AC;Ź â&#x20AC;Ťďť&#x2039;ďťźďťŁďş&#x201D; ďş&#x2018;ďş&#x17D;ŘąŘ˛ŘŠ ďťŁďş¤ďť&#x201D;ďťŽŘąŘŠ ďť&#x201C;ďť˛ Ř°Ř§ďť&#x203A;ďşŽŘŠ ďť&#x203A;ďş&#x153;ďť´ďşŽďťłďťŚ ďťŁďť¤ďťŚâ&#x20AC;Ź .â&#x20AC;Ťďť&#x203A;ďş&#x17D;ďť§ďťŽŘ§ ďťłďť&#x152;ďş&#x17D;ďť§ďťŽŮ&#x2020; ďťŁďťŚ ďťŁďşŽŘś Ř§ďťťďşżďť&#x201E;ďşŽŘ§Ř¨ Ř§ďť&#x;ďş¸ďşŽŘ§ďş&#x2039;ďť˛â&#x20AC;Ź â&#x20AC;Ť ďş&#x2014;ďť˘â&#x20AC;ŹŘ&#x152;â&#x20AC;Ťďť&#x2039;ďťźďť§ďş&#x17D;ŘŞ Ř§ďť&#x;ďş&#x2DC;ďş ďş&#x17D;Řąďťłďş&#x201D;â&#x20AC;ŹĂ&#x2022;â&#x20AC;ŤŮ&#x2C6;ďť&#x2039;ďť ďť° Ř§ďť&#x;ďť¨ďť&#x2DC;ďť´ďşž ďťŁďťŚ ďťŤďşŹŮ&#x2021; Ř§â&#x20AC;Ź â&#x20AC;ŤŘ§ďşłďş&#x2DC;ďş&#x2019;ďşŞŘ§Ů&#x201E; Ř§ďť&#x;ďť¨ďşş Ř§ďť&#x;ďť¤ďť¨ďť&#x201E;ďťŽŮ&#x201A; ďş&#x2018;ďş&#x17D;ďť&#x2039;ďş&#x2DC;ďşŽŘ§ďť&#x201C;ďş&#x17D;ŘŞ ŘŁďş§ďşŹďťŤďş&#x17D;â&#x20AC;Ź â&#x20AC;ŤŘ§ďť&#x;ďť&#x201D;ďť¨ďş&#x17D;Ů&#x2020; ďťŁďťŚ ďşłďť ďş´ďť ďş&#x201D; ďťŁďť&#x2DC;ďş&#x17D;ďş&#x2018;ďťźŘŞ ŘŁďş&#x;ďşŽďťłďş&#x2013; ďťŁďť&#x160;â&#x20AC;Ź Ů&#x2039;â&#x20AC;Ť ďťłďť&#x201E;ďşŽŘ ÂťŘ§ďť&#x;ďť&#x152;ďťźŘŹ ďş&#x2018;ďş&#x17D;ďť&#x;ďş¸ďşŽŘ§ŘĄÂŤ ďşłďş&#x2020;Ř§ďťťâ&#x20AC;Ź.â&#x20AC;ŤďťŁďşŞďťŁďť¨ďť˛ Ř§ďť&#x;ďş&#x2DC;ďş´ďťŽŮ&#x201A;â&#x20AC;Ź â&#x20AC;Ťďť&#x2039;ďťźďť§ďş&#x17D;ŘŞâ&#x20AC;ŹĂ&#x2022;â&#x20AC;Ťďťłďş&#x2DC;ďť&#x152;ďť ďť&#x2013; ďş&#x2018;ďť¤ďşŞŮ&#x2030; ďş&#x2014;ďş&#x201E;ďş&#x203A;ďť´ďşŽ ďť&#x2039;ďş&#x17D;ďť&#x;ďť˘ ďşťďť¨ďş&#x17D;ďť&#x2039;ďş&#x201D; Ř§â&#x20AC;Ź â&#x20AC;ŤŮ&#x2C6;ďť&#x203A;ďť´ďť&#x201D;ďť´ďş&#x201D; ďş&#x2014;ďş¤ďť&#x201D;ďť´ďş°Ů&#x2021; ďť&#x;ďť¤ďşŽŘś Ř§ďşżďť&#x201E;ďşŽŘ§Ř¨ Ř§ďť&#x;ďş¸ďşŽŘ§ŘĄâ&#x20AC;Ź .â&#x20AC;ŤŘ§ďť&#x;ďť&#x2DC;ďťŹďşŽŮ&#x160;â&#x20AC;Ź

Masanobu Hiraoka Japan

‫ﻣﺎﺳﺎﻧﻮﺑﻮ ﻫﻴﺮاوﻛﺎ‬ ‫اﻟﻴﺎﺑﺎن‬

Land

‫أرض‬

3'42''

‫ دﻗﻴﻘﺔ‬٣:٤٢

2013

٢٠١٣

Abstraction and metamorphoses.

.‫ﺗﺤﻮﻻت وﺗﺠﺮﻳﺪ‬

Michael Würtz Overbeck Denmark

The Kaleidoscopic Structure Of Delusions 14'57''

2012 The Kaleidoscopic Structure Of Delusions,” whose narrative has no beginning or end, is a distraught fragmented monologue about disorientation, which entirely abandons rationality and descends into fragmented, volatile and unconstructive thoughts of paranoia.

‫ﻣﺎﻳﻜﻞ ﻓﻴﺮﺗﺰ أوﻓﺮﺑﻴﻚ‬ ‫اﻟﺪﻧﻤﺎرك‬

‫ﻫﻴﻜﻞ ا وﻫﺎم اﻟﻤﻠﻮن‬ ‫ دﻗﻴﻘﺔ‬١٤:٥٧

٢٠١٢ ‫ ﻓﻴﻠﻢ ﻟﻴﺲ ﻟﻪ ﺑﺪاﻳﺔ‬:«‫»ﻫﻴﻜﻞ ا وﻫﺎم اﻟﻤﻠﻮن‬ ‫ ﻣﺒﻨﻲ ﻋﻠﻰ ﻣﻮﻧﻮﻟﻮج ﻣﺠﺘﺰأ‬،‫وﻻ ﻧﻬﺎﻳﺔ‬ ‫ ﻳﺒﺘﻌﺪ‬.‫وﻣﻀﻄﺮب ﻳﺪور ﺣﻮل ﻓﻜﺮة اﻟﺘﺸﺘﺖ‬ ‫ وﻳﻘﻊ أﺳﻴﺮًا ﻓﻜﺎر‬،‫ﺗﻤﺎﻣﺎ ﻋﻦ اﻟﻌﻘﻼﻧﻴﺔ‬ ‫اﻟﻔﻴﻠﻢ‬ ً .‫ﺟﻨﻮن اﻟﺸﻚ اﻟﻤﺠﺘﺰأة واﻟﻤﺘﻘﻠﺒﺔ واﻟﻤﺘﻔﻜﻜﺔ‬

Michael MacGarry South Africa

Excuse me, while I disappear. 19'11''

2014 The film was shot on location in Kilamba Kiaxi, a new underpopulated city outside Luanda, Angola built by Chinese construction company CITIC and financed by Hong Kong-based China International Fund. The film follows a young municipal worker who lives by night in the old city centre of Luanda and works by day as a groundskeeper at the new city of Kilamba Kiaxi far away.

‫ﻣﺎﻳﻜﻞ ﻣﺎﺟﺎري‬ ‫ﺟﻨﻮب أﻓﺮﻳﻘﻴﺎ‬

‫اﻋﺬرﻧﻲ ﺑﻴﻨﻤﺎ أﺧﺘﻔﻲ‬ ‫ دﻗﻴﻘﺔ‬١٩:١١

٢٠١٤ ‫ﺗﻢ ﺗﺼﻮﻳﺮ اﻟﻔﻴﻠﻢ ﻓﻲ ﻣﺪﻳﻨﺔ ﻛﻴﻼﻣﺒﺎ‬ ‫ وﻫﻲ ﻣﺪﻳﻨﺔ ﺟﺪﻳﺪة ذات ﻛﺜﺎﻓﺔ‬،‫ﻛﻴﺎﻛﺴﻲ‬ ‫ ﺣﻴﺚ‬،‫ﺳﻜﺎﻧﻴﺔ ﻗﻠﻴﻠﺔ ﺗﻘﻊ ﺧﺎرج ﻟﻮاﻧﺪا ﺑﺄﻧﺠﻮﻻ‬ ‫ اﻟﺼﻴﻨﻴﺔ ﺑﺒﻨﺎﺋﻬﺎ وﻗﺎم‬CITIC ‫ﻗﺎﻣﺖ ﺷﺮﻛﺔ‬ ‫ﺻﻨﺪوق اﻟﺼﻴﻦ اﻟﺪوﻟﻲ اﻟﺬي ﻳﻘﻊ ﻣﻘﺮه‬ ‫ﺑﺎﻟﻌﺎﺻﻤﺔ اﻟﺼﻴﻨﻴﺔ ﻫﻮﻧﺞ ﻛﻮﻧﺞ ﺑﺘﻤﻮﻳﻞ‬ ‫ ﻳﺘﺘﺒﻊ اﻟﻔﻴﻠﻢ ﻗﺼﺔ ﻋﺎﻣﻞ ﺷﺎب‬.‫اﻟﻤﺸﺮوع‬ ‫ﺑﺎﻟﺒﻠﺪﻳﺔ ﻳﻌﻴﺶ ﻟﻴ ًﻠﺎ ﻓﻲ وﺳﻂ ﻣﺪﻳﻨﺔ ﻟﻮاﻧﺪا‬ ‫اﻟﻘﺪﻳﻤﺔ وﻳﻌﻤﻞ ﻧﻬﺎرًا ﻓﻲ ﻣﺪﻳﻨﺔ ﻛﻴﻼﻣﺒﺎ‬ .‫ﻛﻴﺎﻛﺴﻲ اﻟﺠﺪﻳﺪة اﻟﺒﻌﻴﺪة ﻛﺒﺴﺘﻨﺎﻧﻲ‬

‫ﻣﺤﻤﺪ ﻧﻮر‬ ‫ﻣﺼﺮ‬

‫ﺼ ¾ﻠﺐ‬ ‫َﺗ َ‬ ‫‪ ١٠:٠٠‬دﻗﺎﺋﻖ‬

‫‪٢٠١٥‬‬ ‫ﻃﺎﻟﻤﺎ وﺟﺪت اﻟﺜﻮاﺑﺖ ﺳﻴﻈﻞ ا‪À‬ﻧﺴﺎن ﻳﺘﺤﺮك ﺑﺸﻜﻞ‬ ‫ﻣﺮن ﻣﻊ ﻣﺘﻐﻴﺮات ﻣﺤﻴﻄﻪ‪/‬ﻫﺎ‪ ،‬وﻟﻜﻦ ﻣﺎذا ﺳﻴﺤﺪث‬ ‫إذا ﻇﻠﺖ ﻫﺬه اﻟﺜﻮاﺑﺖ ﻓﻲ ﺣﺎﻟﺔ ﺗﻐﻴﺮ ﻣﺴﺘﻤﺮ؟ ﻛﻴﻒ‬ ‫ﺳﻴﻜﻮن اﻟﻮﺿﻊ إذا ﻟﻢ ﻳﻜﻦ ﻫﻨﺎك ﻧﻤﻂ ﺛﺎﺑﺖ وﻻ‬ ‫ُﻣ َ‬ ‫ﺪﺧﻞ ﺛﺎﺑﺖ وﻻ ﻧﺘﺎﺋﺞ ﻣﺘﻮﻗﻌﺔ وﻻ إﺣﺴﺎس ﺑﺎﻟﻮﻗﺖ أو‬ ‫اﻟﻤﻜﺎن؟‬ ‫ﻣﻘﻄﻌﺎ ﻣﻦ‬ ‫ﻳﺘﻜﻮن ﻋﺮض اﻟﻔﻴﺪﻳﻮ ﻣﻦ أﺣﺪ ﻋﺸﺮ‬ ‫ً‬ ‫اﻟﺮﺳﻮم اﻟﻤﺘﺤﺮﻛﺔ اﻟﻤﺨﺘﻠﻔﺔ اﻟﻤﻨﻔﺬة ﺑﺘﻜﻨﻴﻚ‬ ‫»اﻟﺮوﺗﻮﺳﻜﻮب«)@( و ُﺗﻤﺰج ﻓﻴﻬﺎ ا ﻧﻤﺎط وا ﺧﻄﺎء‬ ‫واﻟﻤﺸﺎﻫﺪ اﻟﺴﺮدﻳﺔ‪.‬‬ ‫)@( اﻟﺮوﺗﻮﺳﻜﻮب‪ :‬أﺳﻠﻮب ﺗﺤﺮﻳﻚ ﻳﺘﻢ ﻓﻴﻪ اﺳﺘﺨﺪام‬ ‫ﻣﻘﺎﻃﻊ ﻓﻴﺪﻳﻮ واﻗﻌﻴﺔ أو أﺟﺰاء ﻣﻦ أﻓﻼم‪ ،‬وﻳﻘﻮم‬ ‫اﻟﻤﺤﺮﻛﻮن ﺑﺈﻋﺎدة رﺳﻤﻬﺎ وﺗﺮﻛﻴﺒﻬﺎ ﻓﻮق اﻟﻤﻘﺎﻃﻊ‬ ‫ا ﺻﻠﻴﺔ )اﻟﻤﺘﺮﺟﻢ(‪.‬‬

‫‪Mohamed Nour‬‬ ‫‪Egypt‬‬

‫‪Catalepsy‬‬ ‫'‪10‬‬

‫‪2015‬‬ ‫‪As long as the constants exist, one will‬‬ ‫‪keep moving in a pattern that is flexible‬‬ ‫‪with the changes of his/her surroundings.‬‬ ‫‪What would happen if these constants‬‬ ‫‪keep changing? How would the case be if‬‬ ‫‪there is no constant input, no constant‬‬ ‫‪pattern, no expected output, and no‬‬ ‫?‪sense of time or space‬‬ ‫‪A video installation that consists of 11‬‬ ‫‪different rotoscope animations. A‬‬ ‫‪combination of patterns, glitches, and‬‬ ‫‪narrative scenes.‬‬

Marjan Riahi Iran

Iranian Ninja 30'32''

2014 This documentary recounts the challenges, difficulties and obstacles for Iranian women who engage in “Ninjutsu” martial arts, narrating Iran's first female ninja “Khatereh Jalilzadeh.”

‫ﻣﺮﺟﺎن رﻳﺎﺣﻲ‬ ‫إﻳﺮان‬

‫ﻳﺮاﻧﻴﺔ‬À‫اﻟﻨﻴﻨﺠﺎ ا‬ ‫ دﻗﻴﻘﺔ‬٣٠:٣٢

٢٠١٤ ‫ﻳَﺴﺘﻌﺮض ﻫﺬا اﻟﻔﻴﻠﻢ اﻟﻮﺛﺎﺋﻘﻲ اﻟﺘﺤﺪﻳﺎت‬ ‫واﻟﺼﻌﻮﺑﺎت واﻟﻌﻘﺒﺎت اﻟﺘﻲ ﺗﻮاﺟﻬﻬﺎ اﻟﻨﺴﺎء‬ ،«‫ﻳﺮاﻧﻴﺎت اﻟﻼﺗﻲ ﻳﻤﺎرﺳﻦ رﻳﺎﺿﺔ »اﻟﻨﻴﻨﺠﻴﺘﺴﻮ‬À‫ا‬ ‫ أول ﻓﺘﺎة‬،‫وﻳﺤﻜﻲ ﻗﺼﺔ ﺧﺎﻃﺮة ﺟﻠﻴﻞ زاده‬ .‫ﻧﻴﻨﺠﺎ ﻓﻲ إﻳﺮان‬

Mahdi Fleifel Palestine

‫ﻣﻬﺪي ﻓﻠﻴﻔﻞ‬ ‫ﻓﻠﺴﻄﻴﻦ‬

Xenos

‫اﻟﻐﺮﻳﺐ‬

12'06''

‫ دﻗﻴﻘﺔ‬١٢:٠٦

2014 In 2010, Abu Eyad and other young Palestinian men from the Ain el-Helweh refugee camp in Lebanon travelled with smugglers through Syria and Turkey into Greece. Like so many other migrants, they come looking for a way into Europe but found themselves trapped in a country undergoing economic, political, and social collapse.

٢٠١٤ ‫ ﺳﺎﻓﺮ أﺑﻮ إﻳﺎد وﺷﺒﺎب ﻓﻠﺴﻄﻴﻨﻴﻮن‬،٢٠١٠ ‫ﻓﻲ ﻋﺎم‬ ‫ ﺑﺼﺤﺒﺔ‬،‫آﺧﺮون ﻣﻦ ﻣﺨﻴﻢ ﻋﻴﻦ اﻟﺤﻠﻮة ﺑﺒﻴﺮوت‬ ‫ إﻟﻰ اﻟﻴﻮﻧﺎن ﻣﺮورًا‬،‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻬﺮﺑﻴﻦ‬ ‫ ﻳﺒﺤﺜﻮن‬،‫ وﻛﺄﻏﻠﺒﻴﺔ اﻟﻤﻬﺎﺟﺮﻳﻦ‬.‫ﺑﺴﻮرﻳﺎ وﺗﺮﻛﻴﺎ‬ ‫ وﻟﻜﻨﻬﻢ ﻳﺠﺪون‬،‫ﻋﻦ ﻃﺮﻳﻘﺔ ﻟﺪﺧﻮل أوروﺑﺎ‬ ‫أﻧﻔﺴﻬﻢ ﻣﺤﺎﺻﺮﻳﻦ ﻓﻲ ﺑﻠﺪ ﻳﻌﺎﻧﻲ ﻣﻦ اﻻﻧﻬﻴﺎر‬ .‫اﻻﻗﺘﺼﺎدي واﻟﺴﻴﺎﺳﻲ واﻻﺟﺘﻤﺎﻋﻲ‬

‫ﻣﻴﺸﻴﻞ ﻛﻮرن‬ ‫أﻟﻤﺎﻧﻴﺎ‬

‫ورﻗﺔ ﻣﻨﺴﻮﺟﺔ ‪xx-Öx-Öx-Öx‬‬

‫‪Michel Korn‬‬ ‫‪Germany‬‬

‫‪xx-‐x-‐x-‐x weaved paper‬‬

‫‪ ٥:٥٤‬دﻗﻴﻘﺔ‬

‫''‪5'54‬‬

‫‪٢٠١٤‬‬

‫‪2014‬‬

‫أﻗﻮم ﺑﻮﺿﻊ ﺑﻮﺳﺘﺮات ﺿﺨﻤﺔ ﻓﻲ ﻣﺎﻛﻴﻨﺔ ﺗﻘﻄﻴﻊ‬ ‫ا وراق ﺣﺘﻰ أﻗﻄﻌﻬﺎ إﻟﻰ أﺷﺮﻃﺔ رﻓﻴﻌﺔ‪.‬‬

‫أﺳﺘﺨﺪم ﻣﺎﻛﻴﻨﺔ ﺗﻘﻄﻴﻊ ا وراق ﻛﻲ ُأﻗﻄﻊ‬ ‫اﻟﺒﻮﺳﺘﺮات ﺑﺸﻜﻞ رأﺳﻲ‪ ،‬ﺑﻴﻨﻤﺎ أﻗﻮم ﺑﺘﻘﻄﻴﻊ‬ ‫اﻟﻌﻨﺎﺻﺮ ا ﺧﺮى اﻟﺘﻲ ُ‬ ‫ﻣﻌﺎ ﺑﺸﻜﻞ ﻃﻮﻟﻲ‪.‬‬ ‫ﺳﺄﺣﻴﻜﻬﺎ ً‬ ‫ُأﻋﻴﺪ اﺧﺘﺮاع ﻋﻤﻠﻴﺔ اﻟﻨﺴﺞ ﻋﻠﻰ اﻟﻨﻮل ﻋﻦ ﻃﺮﻳﻖ‬

‫ﺗﺤﻮﻳﻞ ﻋﻤﻠﻴﺔ اﻟﺤﻴﺎﻛﺔ إﻟﻰ ﻋﻤﻠﻴﺔ ﺑﺼﺮﻳﺔ ﺣﺘﻰ ﻳﺼﺒﺢ‬ ‫اﻟﻔﻴﻠﻢ ذاﺗﻪ ﻋﺒﺎرة ﻋﻦ ﻋﻤﻠﻴﺔ ﻧﺴﺞ ﻣﻴﻜﺎﻧﻴﻜﻴﺔ‪ .‬ﻳﻘﻮم‬ ‫اﻟﻔﻴﻠﻢ ﺑﺘﺸﺮﻳﺢ ﺳﻄﺢ اﻟﺼﻮرة إﻟﻰ ﺳﺘﺔ ﻣﻠﻠﻲ ﻣﺘﺮات‬ ‫ً‬ ‫ﻣﺸﻜﻜﺎ ﻓﻲ‬ ‫ﻣﻦ وﺣﺪات اﻟﺒﻴﻜﺴﻞ اﻟﻤﺘﺤﺮﻛﺔ‪،‬‬ ‫ا‪À‬ﻳﻘﺎع اﻟﺼﻨﺎﻋﻲ واﻟﻮﺟﻪ واﻟﺠﺴﺪ ﻓﻲ اﻟﻔﻀﺎء‬ ‫اﻟﻔﻴﻠﻤﻲ‪.‬‬

‫‪I shove large posters through a shredder,‬‬ ‫‪in order to cut them into strips. I use the‬‬ ‫‪shredder to cut the posters vertically,‬‬ ‫‪while cutting the elements that will be‬‬ ‫‪woven in lengthwise.‬‬ ‫‪I am re-inventing the loom; I stretch the‬‬ ‫‪weaving process into the visual.The film‬‬ ‫‪itself becomes a mechanized loom. It‬‬ ‫‪dissects the image surface into 6mm‬‬ ‫‪moving pixels, questioning the industrial‬‬ ‫‪rhythm, face and body, in filmic space.‬‬

Mikel Subiza Jiménez

‫ﻣﻴﻜﻴﻞ ﺳﻮﺑﻴﺜﺎ ﺧﻴﻤﻴﻨﻴﺚ‬

Spain

‫إﺳﺒﺎﻧﻴﺎ‬

Inhabit

‫ﺳ َﻜﻦ‬ َ

15'

2015 Is it possible to build a broad and deep space, open to the sun and the moon? “Inhabit” proposes a meeting between sculpture and dance. From Eduardo Chillida's work and thought, different forms of social interaction are explored. The objective is to open a dialogue to approach that which joins us.

‫ دﻗﻴﻘﺔ‬١٥:٠٠

٢٠١٥ ‫ﻫﻞ ﻣﻦ اﻟﻤﻤﻜﻦ ﺑﻨﺎء ﻣﻜﺎن واﺳﻊ ﻋﻤﻴﻖ‬ ‫وﻣﻔﺘﻮح ﻻﺳﺘﻘﺒﺎل اﻟﺸﻤﺲ واﻟﻘﻤﺮ؟‬ .‫ﻟﻘﺎء ﻳﺠﻤﻊ ﺑﻴﻦ اﻟﻨﺤﺖ واﻟﺮﻗﺺ‬ «‫»ﺳ َﻜﻦ‬ َ ‫ﻳﻘﺪم‬ ً ‫ﻳﺘﻢ ﺗﻘﺪﻳﻢ واﺳﺘﻜﺸﺎف أﺷﻜﺎل ﻣﺨﺘﻠﻔﺔ ﻣﻦ‬ ‫اﻟﺘﻮاﺻﻞ اﻻﺟﺘﻤﺎﻋﻲ ﻣﻦ ﺧﻼل أﻋﻤﺎل »إدواردو‬ ‫ واﻟﻬﺪف ﻣﻦ ذﻟﻚ ﻫﻮ ﻓﺘﺢ ﺑﺎب اﻟﺤﻮار‬،«‫ﺗﺸﻴﻴﺪا‬ .‫ﻟﻼﻗﺘﺮاب ﻣﻤﻦ ﻳﺮﻳﺪ اﻻﻧﻀﻤﺎم إﻟﻴﻨﺎ‬

Milla Moilanen Finland

‫ﻣﻴﻼ ﻣﻮﻳﻠﻮﻧﻴﻦ‬ ‫ﻓﻨﻠﻨﺪا‬

Cycle

‫داﺋﺮة‬

10'05''

‫ دﻗﻴﻘﺔ‬١٠:٠٥

2014 The cycle of life. “Cycle” is an animation based on old photographs and films: found footage from the end of the 19th century and photos from the director's family album.

٢٠١٤ ‫ ﻫﻮ ﻓﻴﻠﻢ رﺳﻮم ﻣﺘﺤﺮﻛﺔ ﻣﺒﻨﻲ‬،‫داﺋﺮة اﻟﺤﻴﺎة‬ ‫ﻋﻠﻰ ﺻﻮر ﻗﺪﻳﻤﺔ ﺗﺮﺟﻊ إﻟﻰ ﻧﻬﺎﻳﺔ اﻟﻘﺮن‬ ُ ‫اﻟﺘﺎﺳﻊ ﻋﺸﺮ‬ ‫وأﺧﺮى ﻣﻦ أﻟﺒﻮم اﻟﺼﻮر اﻟﺨﺎص‬ .‫ﺑﻌﺎﺋﻠﺔ اﻟﻤﺨﺮج‬

Miloushka bokma Netherlands

Cycles

‫ﻣﻴﻠﻮﺷﻜﺎ ﺑﻮﻛﻤﺎ‬ ‫ﻫﻮﻟﻨﺪا‬

‫دواﺋﺮ‬

6'54''

‫ دﻗﻴﻘﺔ‬٦:٥٤

2015

٢٠١٥

Throughout life you have different encounters, and each encounter also implies a farewell. We say goodbye in a different way each time. Farewell in the broadest sense of the word: saying goodbye to your childhood, or your dreams and ideals; the growing-apart of a friendship, a love grown cold, your child becoming mature and independent, and the definitive goodbye that death brings.

،‫ُﺗﻘﺎﺑﻞ ﻋﺪﻳﺪً ا ﻣﻦ ا ﺷﺨﺎص ﻋﻠﻰ ﻣﺪار ﺣﻴﺎﺗﻚ‬ ً ‫وﻛﻞ ﻣﻘﺎﺑﻠﺔ ﺗﺤﻤﻞ‬ ،‫أﻳﻀﺎ ﻓﻲ ﻃﻴﺎﺗﻬﺎ وداﻋً ﺎ‬ ‫ ﻧﻘﻮﻟﻬﺎ ﺑﺸﻜﻞ‬،«‫ﻓﻲ ﻛﻞ ﻣﺮة ﻧﻘﻮل »وداﻋً ﺎ‬ ‫ اﻟﻮداع ﻫﻮ اﻟﻤﻌﻨﻰ‬.‫ﻣﺨﺘﻠﻒ ﻋﻦ ﺳﺎﺑﻘﺎﺗﻬﺎ‬ ‫ا وﺳﻊ ﻟﻠﻜﻠﻤﺔ؛ ﻓﻨﺤﻦ ﻧﻮدع ﻃﻔﻮﻟﺘﻨﺎ أو‬ ‫أﺣﻼﻣﻨﺎ وﻗﺪوﺗﻨﺎ وﺑﻌﺾ ﺻﺪاﻗﺎﺗﻨﺎ وﻋﻼﻗﺔ ﺣﺐ‬ ‫أﺻﺒﺤﺖ ﺑﺎردة وأوﻻدﻧﺎ ﺣﻴﻨﻤﺎ ﻳﻜﺒﺮون‬ ‫ وﻧﻮدع ﻣﻦ ﻧﺤﺒﻬﻢ ﺑﻼ رﺟﻌﺔ‬،‫وﻳﺴﺘﻘﻠﻮن ﻋﻨﺎ‬ .‫ﺣﻴﻨﻤﺎ ﻳﺰورﻫﻢ اﻟﻤﻮت‬

Minna Rainio & Mark Roberts Finland/UK

The Factory of the World

‫ﻣﻴ ﱠﻨﺎ راﻳﻨﻴﻮ و ﻣﺎرك روﺑﻴﺮﺗﺲ‬ ‫اﻟﻤﻤﻠﻜﺔ اﻟﻤﺘﺤﺪة‬/‫ﻓﻨﻠﻨﺪا‬

‫ﻣﺼﻨﻊ اﻟﻌﺎﻟﻢ‬

8'07''

‫ دﻗﻴﻘﺔ‬٨:٠٧

2014

٢٠١٤

“The Factory of the World” presents video images from a former electronics factory in northern Finland. The images are juxtaposed with audio narration about working conditions in factories in China. The film observes how the lives and destinies of workers in China and in Finland are connected.

‫ﻳﻘﺪم »ﻣﺼﻨﻊ اﻟﻌﺎﻟﻢ« ﻟﻘﻄﺎت ﻓﻴﺪﻳﻮ ﻣﺄﺧﻮذة‬ ،‫ﻣﻦ ﻣﺼﻨﻊ إﻟﻜﺘﺮوﻧﻴﺎت ﺳﺎﺑﻖ ﺑﺸﻤﺎل ﻓﻨﻠﻨﺪا‬ ‫وﺗﺠﺮي ﻣﻘﺎرﻧﺔ اﻟﻠﻘﻄﺎت ﺑﻈﺮوف اﻟﻌﻤﻞ ﻓﻲ‬ ‫اﻟﻤﺼﺎﻧﻊ اﻟﻤﺸﺎﺑﻬﺔ ﻓﻲ اﻟﺼﻴﻦ ﻋﻦ ﻃﺮﻳﻖ‬ ‫ ﻳﺮﺻﺪ اﻟﻌﻤﻞ ﻛﻴﻒ ﺗﺮﺗﺒﻂ‬.‫اﻟﺴﺮد اﻟﺼﻮﺗﻲ‬ ‫وﺗﺘﺼﻞ ﺣﻴﺎة وﻣﺼﺎﺋﺮ اﻟﻌﻤﺎل ﻓﻲ ﻛﻞ ﻣﻦ‬ .‫اﻟﺼﻴﻦ وﻓﻨﻠﻨﺪا‬

Natalia Stürz Germany

Karosse Genosse

‫ﻧﺎﺗﺎﻟﻴﺎ ﺷﺘﻮرﺗﺶ‬ ‫أﻟﻤﺎﻧﻴﺎ‬

‫ﻛﺎروﺳﺴﻪ ﺟﻴﻨﻮﺳﻪ‬

3'25''

‫ دﻗﻴﻘﺔ‬٣:٢٥

2015

٢٠١٥

It could have become a love story. Instead: smoke, wrecked cars, smashed furniture, and people running in panic. And a man who calls upon us to read Karl Marx. And Daniil Kharms. And Ilya Ehrenburg. But to understand that you have again to get out of here: chaos restructures itself into an order, the people disperse. The video was filmed while spontaneously watching a movie shooting on a Berlin street (found setting).

‫ﻛﺎن ﻣﻦ اﻟﻤﻤﻜﻦ أن ﻳﺼﺒﺢ اﻟﻔﻴﻠﻢ ﻋﻦ ﻗﺼﺔ‬ ،‫ وﻟﻜﻦ ﺑﺪ ًﻟﺎ ﻣﻦ ذﻟﻚ ﻧﺠﺪ دﺧﺎ ًﻧﺎ‬،‫ﺣﺐ ﻣﺤﺘﻤﻠﺔ‬ ُ ،‫ﻣﺤﻄﻤﺎ‬ ً ‫ﻧﺎﺳﺎ‬ ‫وأﺛﺎﺛﺎ‬ ،‫ﻣﺪﻣﺮة‬ ‫وﺳﻴﺎرات‬ ً ‫وأ‬ ‫ﱠ‬ ً ً ‫ ورﺟﻠﺎ ﻳﺪﻋﻮﻧﺎ ﻟﻘﺮاءة ﻛﺎرل‬،‫ﻳﺮﻛﻀﻮن ﻣﺮﺗﻌﺒﻴﻦ‬ ‫ وﺣﺘﻰ‬.‫ﻣﺎرﻛﺲ وداﻧﻴﻴﻞ ﺧﺎرﻣﺲ وإﻳﻠﻴﺎ اﻳﺮﻳﻨﺒﻴﺮج‬ ‫ ﻻ ﺑﺪ أن ﻧﺘﺮك ﻫﺬا‬،‫ﻳﺘﺴﻨﻰ ﻟﻨﺎ ﻓﻬﻢ ذﻟﻚ‬ ‫ ﺗﻌﻴﺪ اﻟﻔﻮﺿﻰ ﺗﺮﺗﻴﺐ ﻧﻔﺴﻬﺎ وﺗﺘﺤﻮل‬.‫اﻟﻤﻜﺎن‬ .‫إﻟﻰ ﻧﻈﺎم وﻳﺨﺘﻔﻲ اﻟﻨﺎس‬ ‫ﺗﻢ ﺗﺼﻮﻳﺮ اﻟﻔﻴﻠﻢ ﻣﻦ دون ﺗﺮﺗﻴﺐ ﻣﺴﺒﻖ ﻓﻲ‬ ‫أﺛﻨﺎء ﻣﺸﺎﻫﺪة ﺗﺼﻮﻳﺮ أﺣﺪ ا ﻓﻼم ﺑﺪاﺧﻞ‬ .‫ﻣﻮﻗﻊ ﺗﻢ ﺑﻨﺎؤه ﻓﻲ أﺣﺪ ﺷﻮارع ﺑﺮﻟﻴﻦ‬

Nahed Mansour Canada

Satellite Telefizyoon 5'

2013 Satellite Telefizyoon” explores how nationalist media uses women’s bodies to promote state modernizing projects. Sourced from YouTube, the work takes all of its visual content from a popular 1980s Egyptian television quiz show featured during Ramadan. “Satellite Telefizyoon” highlights the willingness of Egyptian media to engage, reproduce, and distribute stereotypical depictions of other cultures in order to highlight the state’s modernizing project in the 1980s.

‫ﻧﺎﻫﺪ ﻣﻨﺼﻮر‬ ‫ﻛﻨﺪا‬

‫ﺳﺘﺎﻻﻳﺖ ﺗﻠﻔﺰﻳﻮن‬ ‫ دﻗﺎﺋﻖ‬٥

٢٠١٣ ‫ﻋﻼم‬À‫ﻳﻜﺸﻒ »ﺳﺘﺎﻻﻳﺖ ﺗﻠﻔﺰﻳﻮن« ﻛﻴﻒ ﻳﻘﻮم ا‬ ‫اﻟﻘﻮﻣﻲ ﺑﺎﺳﺘﺨﺪام ﺟﺴﺪ اﻟﻤﺮأة ﻟﻠﺘﺮوﻳﺞ‬ .‫ﻟﻤﺸﺎرﻳﻊ اﻟﺘﺤﺪﻳﺚ اﻟﺘﻲ ﺗﻨﻔﺬﻫﺎ اﻟﺪوﻟﺔ‬ ‫ﻳﺄﺧﺬ اﻟﻌﻤﻞ ﻛﻞ ﻣﺤﺘﻮاه اﻟﺒﺼﺮي ﻣﻦ اﻟﻴﻮﺗﻴﻮب‬ ‫ﻣﻦ ﺑﺮﻧﺎﻣﺞ ﻣﺴﺎﺑﻘﺎت ﻣﺼﺮي ﺷﻬﻴﺮ ﻛﺎن ﻳﻌﺮض‬ ‫ ﻛﻤﺎ أﻧﻪ ﻳﻠﻘﻲ‬،‫ﻓﻲ رﻣﻀﺎن ﻓﻲ ﻓﺘﺮة اﻟﺜﻤﺎﻧﻴﻨﻴﺎت‬ ‫ﻋﻼم اﻟﻤﺼﺮي ﻓﻲ إﻋﺎدة‬À‫اﻟﻀﻮء ﻋﻠﻰ رﻏﺒﺔ ا‬ ‫إﻧﺘﺎج وﺗﻮزﻳﻊ اﻟﺼﻮر اﻟﻨﻤﻄﻴﺔ اﻟﻤﺄﺧﻮذة ﻣﻦ‬ ‫اﻟﺜﻘﺎﻓﺎت ا ﺧﺮى ﺑﻬﺪف إﺑﺮاز اﻟﻤﺸﺎرﻳﻊ‬ ‫اﻟﺘﺤﺪﻳﺜﻴﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻘﻮم اﻟﺪوﻟﺔ ﺑﺘﻨﻔﻴﺬﻫﺎ‬ .‫ﻓﻲ ﻓﺘﺮة اﻟﺜﻤﺎﻧﻴﻨﻴﺎت ﻣﻦ اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬

Nork Zakarian

‫ﻧﻮرك زاﻛﺎرﻳﺎن‬

Armenia/Egypt

‫ﻣﺼﺮ‬/‫أرﻣﻴﻨﻴﺎ‬

Elizabeth of Nazareth

‫إﻟﻴﺰاﺑﻴﺚ اﻟﻨﺎﺻﺮﻳﺔ‬

8'01''

‫ دﻗﻴﻘﺔ‬٨:٠١

2014

٢٠١٤

“Elizabeth of Nazareth” reflects the elemental structure of post-Soviet Armenian society marked by a rendition of key characters, locations, and soundscapes. Through a mystic association of war aircrafts, a 13th century monastery, abandoned factories, stray dogs and a medieval Armenian hymn about motherhood, a prophetess rises from the dregs of the working class to challenge the religious patriarchy at the price of an ultimate sacrifice.

‫ﻳﻌﻜﺲ ﻓﻴﻠﻢ »إﻟﻴﺰاﺑﻴﺚ اﻟﻨﺎﺻﺮﻳﺔ« اﻟﻬﻴﻜﻞ‬ ‫ا ﺳﺎﺳﻲ ﻟﻠﻤﺠﺘﻤﻊ ا رﻣﻴﻨﻲ ﺑﻌﺪ اﻧﻬﻴﺎر اﻻﺗﺤﺎد‬ ‫ وذﻟﻚ ﻣﻦ ﺧﻼل ﺗﺠﺴﻴﺪ ﻋﺪد ﻣﻦ‬،‫اﻟﺴﻮﻓﻴﺘﻲ‬ ‫اﻟﺸﺨﺼﻴﺎت وا ﻣﺎﻛﻦ وا ﺻﻮات اﻟﺘﻲ ﺗﻠﻌﺐ‬ ‫ ﻣﻦ ﺧﻼل اﻟﺮﺑﻂ ﻏﻴﺮ‬.‫دورًا ﻣﺤﻮر ًﻳّﺎ ﻓﻲ ا ﺣﺪاث‬ ‫اﻟﻤﺒﺎﺷﺮ واﻟﻐﺎﻣﺾ ﺑﻴﻦ ﻃﺎﺋﺮات اﻟﺤﺮب ودﻳﺮ‬ ‫ﻳﻌﻮد إﻟﻰ اﻟﻘﺮن اﻟﺜﺎﻟﺚ ﻋﺸﺮ وﻋﺪد ﻣﻦ‬ ‫اﻟﻤﺼﺎﻧﻊ اﻟﻤﻬﺠﻮرة واﻟﻜﻼب اﻟﻀﺎﻟﺔ وﺗﺮﻧﻴﻤﺔ‬ ‫ ﺗﻨﻬﺾ ﻧﺒﻴﺔ ﻣﻦ أﻧﻘﺎض‬،‫أرﻣﻴﻨﻴﺔ ﻋﻦ ا ﻣﻮﻣﺔ‬ ‫اﻟﻄﺒﻘﺔ اﻟﻌﺎﻣﻠﺔ وﺗﺘﺤﺪى اﻟﻨﻈﺎم اﻟﺪﻳﻨﻲ ا ﺑﻮي‬ .‫ﻋﻠﻰ ﺣﺴﺎب ﺗﻀﺤﻴﺔ ﻛﺒﺮى ﺗﻘﻮم ﺑﻬﺎ‬

‫ﻧﻴﻜﻮل اﻟﺘﺰورث روزﻳﻨﺪورﻓﻠﻮس‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا ﻣﺮﻳﻜﻴﺔ‬

‫إﻫﺪار ﺷﺎﻣﻞ‬ ‫‪ ١٠:٠٤‬دﻗﻴﻘﺔ‬

‫‪٢٠١٤‬‬ ‫أﺣﺪاث ﻣﺘﺴﻠﺴﻠﺔ ﺗﻘﻊ ﻓﻲ ﻣﺴﺎﺣﺔ ﻏﻴﺮ‬ ‫ﻣﺤﺪدة اﻟﻨﻄﺎق‪ ،‬ﻳﺘﻢ ﺗﺠﺴﻴﺪﻫﺎ ﻓﺮد ًﻳّﺎ ﺑﺸﻜﻞ‬ ‫ﺗﺘﺎﺑﻌﻲ ﻓﻲ إﻃﺎر ﺷﺨﺼﻲ ﻟﺼﻴﻖ اﻟﺼﻠﺔ‬ ‫ﺑﺎﻟﺴﻴﺎق‪.‬‬

‫‪Nicol Eltzroth Rosendorf‬‬ ‫‪USA‬‬

‫‪Mass Wasting‬‬ ‫''‪10'04‬‬

‫‪2014‬‬ ‫‪Serial events in a space of indeterminate‬‬ ‫‪scale; individually embodied in‬‬ ‫‪successive, subjective and a contextual‬‬ ‫‪arrangement.‬‬

‫ﻫﺪﻳﺮ ﻋﻤﺮ‬ ‫ﻣﺼﺮ‬

‫اﺧﺘﺮاﻗﻚ‬

‫‪Hadeer Omar‬‬ ‫‪Egypt‬‬

‫‪Hack You‬‬

‫‪ ١:٢٣‬دﻗﻴﻘﺔ‬

‫''‪1'23‬‬

‫‪٢٠١٥‬‬

‫‪2015‬‬

‫ﺳﺎﻋﺪﺗﻨﻲ ﺑﻌﺾ اﻟﺘﺠﺎرب اﻟﺸﺨﺼﻴﺔ اﻟﺘﻲ‬ ‫اﻛﺘﺴﺒﺘﻬﺎ ﻣﻦ ﺧﻼل اﻟﺴﻔﺮ ﻓﻲ إﻋﺎدة ﺗﺸﻜﻴﻞ‬ ‫ﻃﺮﻳﻘﺔ ﺗﻔﻜﻴﺮي وﺗﺼﺮﻓﻲ وإﺑﺪاﻋﻲ اﻟﻔﻨﻲ‪ .‬ﻳﺮى‬ ‫اﻟﻜﺎﺗﺐ أوﺳﺘﻴﻦ ﻛﻠﻴﻮن ﻓﻲ ﻛﺘﺎﺑﻪ »اﺳﺮق‬ ‫ﻛﻔﻨﺎن« أن اﺗﺒﺎع ﻣﻨﻬﺞ ﺗﺠﻤﻴﻊ اﻟﻨﻔﺎﻳﺎت وإﻋﺎدة‬ ‫اﺳﺘﺨﺪاﻣﻬﺎ ﺑﺸﻜﻞ ﻣﺨﺘﻠﻒ ﻫﻮ اﻟﻤﻨﻬﺞ‬ ‫ﱠ‬ ‫اﻟﻤﻔﻀﻞ ﻟﻠﻤﺒﺪﻋﻴﻦ‪ ،‬ﻧﻪ ﻳﺴﺎﻋﺪﻫﻢ ﻋﻠﻰ‬ ‫اﻧﺘﻘﺎء ﻣﺎ ﻳﺤﺒﻮﻧﻪ وﻣﺎ ﻳﻘﻮﻣﻮن ﺑﺘﺠﻤﻴﻌﻪ‬ ‫وﻣﻌﺎﻳﺸﺘﻪ‪ .‬ﻳﺴﺎﻋﺪﻧﻲ »اﺧﺘﺮاﻗﻚ« ﻋﻠﻰ اﻟﺘﺄﻣﻞ‬ ‫اﻟﻌﻤﻴﻖ ﻟﻬﺬه اﻟﻌﻤﻠﻴﺔ وﻟﻜﻴﻔﻴﺔ رؤﻳﺘﻲ‬ ‫وﻣﻼﺣﻈﺘﻲ وﺗﻔﺎﻋﻠﻲ ﻣﻊ ا‪À‬ﻃﺎر اﻟﻤﺤﻴﻂ ﺑﻲ‪.‬‬

‫‪Some personal experiences while‬‬ ‫‪traveling have helped me to reshape the‬‬ ‫‪way I think and create. In his book “Steal‬‬ ‫‪like an Artist” by Austin Kleon, he‬‬ ‫‪recognizes “garbage in, garbage out” to‬‬ ‫‪be a better methodology for creative‬‬ ‫‪people. That filters what they like, collect,‬‬ ‫‪and experience. “Hack You” helps me to‬‬ ‫‪reflect on this process, and how I see,‬‬ ‫‪observe, and interact with the context I‬‬ ‫‪am in.‬‬

Wilf Speller UK

BlkBx.mov

‫وﻳﻠﻒ ﺳﺒﻴﻠﺮ‬ ‫اﻟﻤﻤﻠﻜﺔ اﻟﻤﺘﺤﺪة‬

‫اﻟﺼﻨﺪوق ا ﺳﻮد‬

6'10''

‫ دﻗﻴﻘﺔ‬٦:١٠

2014

٢٠١٤

Black Box, noun: A device which performs intricate functions but whose internal mechanism may not readily be inspected or understood.” - Oxford English Dictionary Formally borrowing from internet aesthetics ranging from YouTube conspiracy videos to instructional desktop demonstrations this piece uses new imaging perspectives to explore the notion of the Black Box as gesture of power and ideology, gestures founded in faith and illusion.

‫ اﺳﻢ ﺟﻬﺎز ﻳﻘﻮم ﺑﻮﻇﺎﺋﻒ‬،‫اﻟﺼﻨﺪوق ا ﺳﻮد‬ ‫ وﻟﻜﻦ ﺗﺒﻘﻰ إﻣﻜﺎﻧﻴﺔ ﻓﻬﻢ وﻓﺤﺺ‬،‫ﻣﻌﻘﺪة‬ .‫آﻟﻴﺔ ﻋﻤﻠﻪ اﻟﺪاﺧﻠﻴﺔ ﻏﻴﺮ ﻣﻔﻬﻮﻣﺔ‬ ‫ﺑﺪءا ﻣﻦ‬ ً ‫ﻧﺘﺮﻧﺖ‬À‫ﻳﻘﺘﺒﺲ اﻟﻔﻴﻠﻢ ﻣﻦ ﺟﻤﺎﻟﻴﺎت ا‬ ‫ﻓﻴﺪﻳﻮﻫﺎت اﻟﺘﺂﻣﺮ اﻟﻤﻮﺟﻮدة ﻋﻠﻰ اﻟﻴﻮﺗﻴﻮب‬ ‫وﺣﺘﻰ اﻟﺘﻌﻠﻴﻤﺎت اﻟﺘﻮﺿﻴﺤﻴﺔ اﻟﺘﻲ ﺗﻈﻬﺮ ﻋﻠﻰ‬ .(‫ﺳﻄﺢ اﻟﻤﻜﺘﺐ )دﻳﺴﻜﺘﻮب اﻟﻜﻤﺒﻴﻮﺗﺮ‬ ‫اﺳ ُﺘﺨﺪﻣﺖ ﻓﻲ ﻫﺬا اﻟﻔﻴﺪﻳﻮ ﺻﻮر ذات وﺟﻬﺎت‬ ‫ﻧﻈﺮ ﺟﺪﻳﺪة ﻻﺳﺘﻜﺸﺎف ﻓﻜﺮة اﻟﺼﻨﺪوق‬ ‫ا ﺳﻮد ﻛﺎﻧﻌﻜﺎس ﻟﻤﻔﺎﻫﻴﻢ اﻟﺴﻠﻄﺔ‬ ‫ﺟﺰءا ﻣﻦ اﻟﻌﻘﻴﺪة‬ ‫ﻳﺪﻳﻮﻟﻮﺟﻴﺔ اﻟﺘﻲ ﺗﻌﺘﺒﺮ‬À‫وا‬ ً .‫واﻟﻮﻫﻢ‬

Ya-Chu Kang & Christian Nicolay Canada/Taiwan

Re-coil

‫ﻳﺎﺗﺸﻮ ﻛﺎﻧﺞ و ﻛﺮﻳﺴﺘﻴﺎن ﻧﻴﻜﻮﻻي‬ ‫ﺗﺎﻳﻮان‬/‫ﻛﻨﺪا‬

‫ارﺗﺪاد‬

1'33''

‫ دﻗﻴﻘﺔ‬١:٣٣

2012

٢٠١٢

“Re-coil” plays with the idea of safety exploring the human body’s reflex and reaction through the material of balloons. The spontaneous explosions create random patterns of color through strain and pressure causing the inevitable recoil, producing an invisible boundary of attraction and repulsion.

‫ﻳﺘﻼﻋﺐ ﻓﻴﻠﻢ »ارﺗﺪاد« ﺑﻔﻜﺮة اﻻﺳﺘﻜﺸﺎف‬ ‫ﻣﻦ ﻟﺮدود ﻓﻌﻞ اﻟﺠﺴﻢ اﻟﺒﺸﺮي اﻟﻼإرادﻳﺔ‬ä‫ا‬ ‫ ﺗﺨﻠﻖ‬.‫ﻋﻦ ﻃﺮﻳﻖ اﺳﺘﺨﺪام اﻟﺒﺎﻟﻮﻧﺎت‬ ‫اﻻﻧﻔﺠﺎرات اﻟﺘﻠﻘﺎﺋﻴﺔ اﻟﻨﺎﺗﺠﺔ ﻋﻦ اﻟﻀﻐﻂ‬ ‫أﺷﻜﺎ ًﻟﺎ ﻟﻮﻧﻴﺔ ﻋﺸﻮاﺋﻴﺔ ﻳﻨﺘﺞ ﻋﻨﻬﺎ ارﺗﺪاد ﻻ ﻣﻔﺮ‬ ‫ ﻛﻤﺎ أﻧﻬﺎ ﺗﺨﻠﻖ ﺣﺪودً ا ﻻﻣﺮﺋﻴﺔ ﻣﻦ‬،‫ﻣﻨﻪ‬ .‫اﻻﺟﺘﺬاب واﻻﺷﻤﺌﺰاز‬

Jacek & Ewa Doroszenko Poland

The same horizon repeated at every moment of the walk 2'05'' 2014 The video is based on the pitch phenomenon, a perceptual property that allows the ordering of sounds on a frequency-related scale. The composition is made of four frames, in which the moving figure’s head determines the pitch on the scale of each frame, from higher to lower, represented by simple lines. Produced in the Art Residency Program at Fundació AAVC Hangar, Barcelona.

‫ﻳﺎﺗﺴﻴﻚ و إﭬﺎ دوروﺷﻴﻨﻜﻮ‬ ‫ﺑﻮﻟﻨﺪا‬

‫ﺗﻜﺮار ا ﻓﻖ ذاﺗﻪ ﻓﻲ ﻛﻞ ﻟﺤﻈﺔ ﻣﻦ اﻟﺴﻴﺮ‬ ‫ دﻗﻴﻘﺔ‬٢:٠٥

٢٠١٤ ‫ُﻨﻲ ﻫﺬا اﻟﻔﻴﺪﻳﻮ ﻋﻠﻰ ﻣﺎ ﻳُﻌﺮف ﺑﻈﺎﻫﺮة‬ َ ‫ﺑ‬ ‫ وﻫﻲ ﻇﺎﻫﺮة ﺣﺴﻴﺔ ﺗﺴﻤﺢ‬،‫ا ﺻﻮات‬/‫ا ﻧﻐﺎم‬ ‫ وﻳﺘﺄﻟﻒ‬.‫ﺑﺘﺮﺗﻴﺐ ا ﺻﻮات ﻋﻠﻰ ﻧﻄﺎق اﻟﺘﺮدد‬ ‫ ُﺗ َﺤ ﱢﺪدْ ﻓﻴﻪ رأس‬،‫اﻟﺘﻜﻮﻳﻦ ﻣﻦ أرﺑﻌﺔ إﻃﺎرات‬ ‫اﻟﺠﺴﺪ اﻟﻤﺘﺤﺮك اﻟﻄﺒﻘﺔ اﻟﺼﻮﺗﻴﺔ‬/‫اﻟﺸﻜﻞ‬ ً ،‫ ﻣﻦ أﻋﻠﻰ إﻟﻰ أﺳﻔﻞ‬،‫ﻃﺒﻘﺎ ﻟﻤﺴﺘﻮى ﻛﻞ إﻃﺎر‬ ‫ أﻧﺘﺞ ﻫﺬا اﻟﻔﻴﺪﻳﻮ ﻓﻲ‬.‫وﺗﻤﺜﻠﻬﺎ ﺧﻄﻮط ﺑﺴﻴﻄﺔ‬ «‫ ﻫﺎﻧﺠﺎر‬AAVC» ‫ﻗﺎﻣﺔ اﻟﻔﻨﻴﺔ ﺑﻤﺆﺳﺴﺔ‬À‫ﺑﺮﻧﺎﻣﺞ ا‬ .‫ﺑﺒﺮﺷﻠﻮﻧﺎ‬

Jan Rehwinkel Germany

It's Pretty, But Is It Art?

‫ﻳﺎن رﻳﭭﻴﻨﻜﻞ‬ ‫أﻟﻤﺎﻧﻴﺎ‬

‫ وﻟﻜﻦ ﻫﻞ ﻫﻲ ﻓﻦ؟‬،‫إﻧﻬﺎ ﺟﻤﻴﻠﺔ‬

0'59''

‫ ﺛﺎﻧﻴﺔ‬٥٩

2014

٢٠١٤

Extract from the poem by Rudyard Kipling: “The Conundrum Of The Workshops.” When the flush of a new-born sun fell first on Eden's green and gold /Our father Adam sat under the Tree and scratched with a stick in the mould / And the first rude sketch that the world had seen was joy to his mighty heart / Till the Devil whispered behind the leaves, "It's pretty, but is it Art?

‫ﻣﻘﻄﻊ ﻣﻦ ﻗﺼﻴﺪة »ﻟﻐﺰ اﻟﻔﻦ« ﻟـ»رودﻳﺎرد‬ ‫ ﺣﻴﻨﻤﺎ ﺑﺰغ أول ﺷﻌﺎع ﺷﻤﺲ وﻟﻴﺪ‬:«‫ﻛﻴﺒﻠﻴﻨﺞ‬ ‫ ﺟﻠﺲ أﺑﻮﻧﺎ‬،‫ﻋﻠﻰ ﺟﻨﺔ ﻋﺪن اﻟﺨﻀﺮاء اﻟﺬﻫﺒﻴﺔ‬ ‫آدم ﺗﺤﺖ ﻇﻼل اﻟﺸﺠﺮة اﻟﻤﺤﺮﻣﺔ وﻧﺒﺶ‬ ‫ﺑﻌﺼﺎه ا رض ﻓﻜﺎﻧﺖ أول رﺳﻤﺔ ﺧﺸﻨﺔ رآﻫﺎ‬ َ ‫اﻟﻌﺎﻟﻢ‬ ‫ ﺣﺘﻰ وﺳﻮس‬،‫وﻓﺮِ حَ ﻟﻬﺎ ﻗﻠﺒﻪ اﻟﻘﻮي‬ ً ‫ ﻗﺎﺋ‬،‫اﻟﺸﻴﻄﺎن ﻟﻪ ﻣﻦ وراء ا وراق اﻟﺨﻀﺮاء‬ :‫ﻼ‬ ‫ وﻟﻜﻦ ﻫﻞ ﻫﻲ ﻓﻦ؟‬،‫»إﻧﻬﺎ ﺟﻤﻴﻠﺔ‬

Yann Chapotel France

An attempt at exhausting a place in Paris

‫ﻳﺎن ﺷﺎﺑﻮﺗﻴﻞ‬ ‫ﻓﺮﻧﺴﺎ‬

‫رﻫﺎق أﺣﺪ ا ﻣﺎﻛﻦ اﻟﺒﺎرﻳﺴﻴﺔ‬À ‫ﻣﺤﺎوﻟﺔ‬

4'43''

‫ دﻗﻴﻘﺔ‬٤:٤٣

2013

٢٠١٣

A virtual cube investigates different time spaces of a townscape interweaving the lives that cross through it.

‫ﻳﺴﺘﻜﺸﻒ ﻣﻜﻌﺐ اﻓﺘﺮاﺿﻲ ﺧﻤﺲ ﻣﺴﺎﺣﺎت‬ ‫ﻣﺎزﺟﺎ ﺑﻬﺎ ﺣﻴﺎة‬ ،‫زﻣﻨﻴﺔ ﻣﺨﺘﻠﻔﺔ ﻟﻤﻨﺎﻇﺮ اﻟﻤﺪﻳﻨﺔ‬ ً .‫ا ﺷﺨﺎص اﻟﺬﻳﻦ ﻳﻌﺒﺮون ﻣﻦ ﺧﻼﻟﻪ‬

Jan Hakon Erichsen Norway

Destroyer

‫إرﻳﻜﺴﻦ‬ ‫ﻳﺎن ﻫﺎﻛﻮن‬ َ ‫اﻟﻨﺮوﻳﺞ‬

‫اﻟﻤ َﺪ ﱢﻣﺮ‬ ُ

1'30''

‫ دﻗﻴﻘﺔ‬١:٣٠

2015

٢٠١٥

In “Destroyer” several objects from the world of plants are demolished in a dramatic fashion by kinetic sculptures, which have been constructed with this as their sole purpose.

‫»اﻟﻤ َﺪ ﱢﻣﺮ« ﺗﻘﻮم ﻣﻨﺤﻮﺗﺎت ﻣﺘﺤﺮﻛﺔ‬ ُ ‫ﻓﻲ ﻓﻴﻠﻢ‬ ‫ﺑﺘﺪﻣﻴﺮ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻜﺎﺋﻨﺎت اﻟﺘﻲ ﺗﻨﺘﻤﻲ إﻟﻰ‬ ‫ وﻗﺪ ﺑُﻨﻴَﺖ ﻫﺬه‬،‫ﻋﺎﻟﻢ اﻟﻨﺒﺎﺗﺎت ﺑﻄﺮﻳﻘﺔ دراﻣﻴﺔ‬ .‫اﻟﻤﻨﺤﻮﺗﺎت ﻟﻬﺬا اﻟﻐﺮض ﻓﻘﻂ‬

Jeroen Cluckers Belgium

Oneiria

‫ﻳﺮون ﻛﻠﻮﻛﻴﺮس‬ ‫ﺑﻠﺠﻴﻜﺎ‬

‫أوﻧﺎرﻳﺎ‬

3'52''

‫ دﻗﻴﻘﺔ‬٣:٥٢

2014

٢٠١٤

"Document 01537 Digital VHS card Distorted memories from an imaginative zone known as “Oneiria.” “Oneiria” uses datamoshing, a technique in which digital video images are deliberately made unstable, and found footage in different formats (digital HD, VHS, Super 8, etc) is literally used as paint, smearing images to create painterly, abstract, dreamlike landscapes.

٠١٥٣٧ ‫وﺛﻴﻘﺔ رﻗﻢ‬ ‫ دﻳﺠﻴﺘﺎل‬VHS ‫ﻛﺎرت‬ ‫ذﻛﺮﻳﺎت ﻣﺸﻮﻫﺔ ﻣﻦ ﻣﻨﻄﻘﺔ ﺧﻴﺎﻟﻴﺔ ُﺗﻌﺮف‬ .«‫ﺑﺎﺳﻢ »أوﻧﺎرﻳﺎ‬ «‫ﻳﺴﺘﺨﺪم ﻓﻴﻠﻢ »أوﻧﺎرﻳﺎ« ﺗﻜﻨﻴﻚ »اﻟﺪاﺗﺎﻣﻮش‬ ‫ﻳﺘﻌﻤﺪ َﺟﻌﻞ ﺻﻮر‬ ‫ وﻫﻮ أﺳﻠﻮب‬،(datamosh) ‫ﱠ‬ ‫ﺿﺎﻓﺔ‬À‫ ﺑﺎ‬،‫اﻟﻔﻴﺪﻳﻮ اﻟﺮﻗﻤﻴﺔ ﻏﻴﺮ ﺛﺎﺑﺘﺔ وﻣﻬﺰوزة‬ ‫إﻟﻰ اﺳﺘﺨﺪام اﻟﺼﻮر ﺑﺼﻴﻐﻬﺎ اﻟﻤﺨﺘﻠﻔﺔ‬ ‫( ﻛﻄﻼء ﻟﻮﻧﻲ‬٨ digital HD, VHS, Super...) ‫ُﺗ َﻠ ﱠ‬ ‫ﻄﺦ ﺑﻪ اﻟﺼﻮر ﻟﺨﻠﻖ ﻣﻨﺎﻇﺮ ﻃﺒﻴﻌﻴﺔ ﺗﺠﺮﻳﺪﻳﺔ‬ .‫وﺧﻴﺎﻟﻴﺔ وﺗﺸﻜﻴﻠﻴﺔ‬

Yuk Yiu Ip

‫ﻳﻮك ﻳﻴﻮ إﻳﭗ‬

Hong Kong

‫ﻫﻮﻧﺞ ﻛﻮﻧﺞ‬

48 :28 Clouds Fall 28'18''

2014 A series of virtual tableaux, a speculative portrait of violence and its aftermath at the end of time. “Clouds Fall” hacks and reworks materials from the video game franchise “Call of Duty,” unearthing hidden ghosts and poetics while creating evocative parallels through a kind of uncanny observation and navigation in the found virtual landscapes.

‫ﺳﻘﻮط اﻟﺴﺤﺎب‬ ‫ دﻗﻴﻘﺔ‬٢٨:١٨

٢٠١٤ ‫اﻟﻔﻴﺪﻳﻮ ﻋﺒﺎرة ﻋﻦ ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﻠﻮﺣﺎت‬ ‫ﺛﺎر اﻟﻤﺘﺮﺗﺒﺔ‬ä‫اﻻﻓﺘﺮاﺿﻴﺔ اﻟﺘﻲ ﺗﺠﺴﺪ اﻟﻌﻨﻒ وا‬ .‫ﻋﻠﻴﻪ ﻓﻲ ﻧﻬﺎﻳﺔ اﻟﻌﺎﻟﻢ‬ ‫ﻳﺨﺘﺮق »ﺳﻘﻮط اﻟﺴﺤﺎب« اﻟﻤﻮاد اﻟﻔﻴﻠﻤﻴﺔ‬ Call» ‫اﻟﻤﺴﺘﺨﺪﻣﺔ ﻓﻲ ﺳﻠﺴﻠﺔ أﻟﻌﺎب اﻟﻔﻴﺪﻳﻮ‬ ‫« )ﻧﺪاء اﻟﻮاﺟﺐ( وﻳﻌﻴﺪ ﺗﺸﻜﻴﻠﻬﺎ‬of Duty .‫وﻳﻜﺸﻒ ﻋﻦ أﺷﺒﺎﺣﻬﺎ اﻟﺨﻔﻴﺔ‬

Ye Mimi

‫ﻳﻲ ﻣﻴﻤﻲ‬

Taiwan

‫ﺗﺎﻳﻮان‬

48 :28 Hail the Bodhisattva of Collected Junk

‫ﻓﻠﺘﺤﻴﺎ ﺑﻮدﻳﺴﺎﺗﭭﺎ اﻟﺨﺮدة اﻟﻤﺠﻤﻌﺔ‬

6'15''

‫ دﻗﻴﻘﺔ‬٦:١٥

2015

٢٠١٥

This experimental music video is based on a poem that both satirizes and celebrates local culture in Taiwan. The title of both the song and the poem is a play on the Buddhist phrase “Hail the Bodhisattva Guanyin, the Goddess of Mercy.” The poem refers to local junk vendors, who repeatedly call out “sell them to me” as they walk from neighborhood to neighborhood looking for unwanted household items, typically scrap metal, tools and electronics.

‫ﺑُﻨﻲ ﻫﺬا اﻟﻔﻴﺪﻳﻮ اﻟﻤﻮﺳﻴﻘﻲ ﻋﻠﻰ ﻗﺼﻴﺪة‬ ‫ﺗﺴﺨﺮ ﻣﻦ اﻟﺜﻘﺎﻓﺔ اﻟﻤﺤﻠﻴﺔ اﻟﺘﺎﻳﻮاﻧﻴﺔ وﺗﺤﺘﻔﻲ‬ ‫ ﻳﺘﻼﻋﺐ ﻋﻨﻮان ﻛﻞ ﻣﻦ‬.‫ﺑﻬﺎ ﻓﻲ اﻟﻮﻗﺖ ذاﺗﻪ‬ :‫ا ﻏﻨﻴﺔ واﻟﻘﺼﻴﺪة ﺑﺎﻟﺠﻤﻠﺔ اﻟﺒﻮذﻳﺔ اﻟﺸﻬﻴﺮة‬ ‫ ﺗﺸﻴﺮ‬.«!‫»ﻓﻠﺘﺤﻴﺎ إﻟﻬﺔ اﻟﺮﺣﻤﺔ ﺑﻮدﻳﺴﺎﺗﭭﺎ ﺟﻮاﻧﻴﻦ‬ ‫اﻟﻘﺼﻴﺪة إﻟﻰ ﺑﺎﺋﻌﻲ اﻟﺨﺮدة اﻟﻤﺤﻠﻴﻴﻦ اﻟﺬﻳﻦ‬ ‫ﻳﺘﺠﻮﻟﻮن ﻓﻲ ا ﺣﻴﺎء اﻟﻤﺨﺘﻠﻔﺔ وﻳﺼﻴﺤﻮن‬ ً «!‫ »ﺑﻌﻬﺎ ﻟﻲ‬:‫ﻗﺎﺋﻠﻴﻦ‬ ‫ﺑﺤﺜﺎ ﻋﻦ أﻏﺮاض ﻣﻨﺰﻟﻴﺔ‬ ‫ﺧﺼﻮﺻﺎ ا ﺟﻬﺰة‬ ،‫ﻗﺪﻳﻤﺔ ﻏﻴﺮ ﻣﺮﻏﻮب ﻓﻴﻬﺎ‬ ً .‫وا دوات اﻟﻤﻨﺰﻟﻴﺔ واﻟﻤﻌﺎدن اﻟﺨﺮدة‬

‫‪Ying Fang Shen‬‬

‫ﺷﻦ‬ ‫ﻳﻴﻨﺞ ‪-‬ﻓﺎﻧﺞ ِ‬

‫‪Taiwan‬‬

‫ﺗﺎﻳﻮان‬

‫‪ 48 :28‬‬ ‫رواﺑﻂ ﺑﺸﺮﻳﺔ‬ ‫‪ ١٠:٣٦‬دﻗﻴﻘﺔ‬

‫‪٢٠١٤‬‬ ‫داﺋﻤﺎ ﻣﺎ ﻛﺎن اﻟﺠﻨﺲ اﻟﺒﺸﺮي ﻓﻲ ﺣﺎﻟﺔ ﺑﺤﺚ‬ ‫ً‬ ‫ﻣﺘﻮاﺻﻞ ﻋﻦ رواﺑﻂ ﺷﺨﺼﻴﺔ ذات ﻗﻴﻤﺔ‪،‬‬ ‫أﻓﺴﺤﺖ اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ وا دوات اﻟﻤﺘﻄﻮرة‬ ‫اﻟﻤﺠﺎل ﻟﺴﻬﻮﻟﺔ ﺗﻮﺻﻴﻞ وﻣﺸﺎرﻛﺔ ا ﻓﻜﺎر‬ ‫وﻟﻜﻦ‪ -‬ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ذﻟﻚ‪ -‬ﺗﻈﻞ ﱞ‬ ‫ﻛﻞ ﻣﻨﻬﺎ‬ ‫ﺗﻤﺜﻞ ﺗﺤﺪﻳًﺎ ﻏﻴﺮ ﻣﺘﻮﻗﻊ‪ .‬ﻻ ﺑﺪ أن ﻧﺴﺄل أﻧﻔﺴﻨﺎ‬ ‫داﺋﻤﺎ‪ :‬ﻫﻞ ﻫﺬا ﻣﺎ ﻧﺮﻳﺪه؟ وﻣﺎ اﻟﺬي ﻧﺮﻳﺪه‬ ‫ً‬ ‫ﺑﺎﻟﻀﺒﻂ؟‬

‫‪Humanexus‬‬ ‫''‪10'36‬‬

‫‪2014‬‬ ‫‪The human race has long searched for‬‬ ‫‪meaningful interpersonal connections.‬‬ ‫‪Tools and technologies have made it‬‬ ‫‪easier to reach out and share ideas but‬‬ ‫‪each presents a new unforeseen‬‬ ‫‪challenge. We must always ask: “Is this‬‬ ‫”?‪what we want? What do we want‬‬

‫اﻟﺒﺮﻧﺎﻣﺞ‬ ‫اﻟﺨﺎص‬

Invited Works

Arjen de Leeuw

‫آرﻳﻴﻦ دى ﻟﻴﻮ‬

Netherlands

‫ﻫﻮﻟﻨﺪا‬

48 :28 Act

‫ﺣﺮﻛﺔ‬

3'24''

‫ دﻗﻴﻘﺔ‬٣:٢٤

2012

٢٠١٢

A ring on fire, like those you normally find in circus acts, is burning on an iceberg.

‫ ﺣﻠﻘﺔ‬،‫ﻣﺜﻞ ﺗﻠﻚ اﻟﺘﻲ ﻧﺠﺪﻫﺎ ﻋﺎدة ﻓﻲ اﻟﺴﻴﺮك‬ .‫ﻣﻦ اﻟﻨﺎر ﺗﺤﺘﺮق ﻓﻮق ﺟﺒﻞ ﺟﻠﻴﺪي‬

Ahmed Shawky

‫أﺣﻤﺪ ﺷﻮﻗﻲ‬

Egypt

‫ﻣﺼﺮ‬

48 :28 The Crime

‫اﻟﺠﺮﻳﻤﺔ‬

8'14''

‫ دﻗﻴﻘﺔ‬٨: ١٤

2015

٢٠١٥

"The Crime" was filmed right after meeting with Mr. Hussein who works as a taxi driver in Alexandria, in April 2014. Hussein recites English and Arabic poetry for his passengers, especially a poem in which he mourns the killing of the prominent British singer and "The Beatles" front man, John Lennon. In this case the crime is a means of observing the new behavior that results from fusing and combining a foreign or a number of foreign cultures with the local culture, and trying to live and digest both in daily practices.

‫ﻓﻴﺪﻳﻮ اﻟﺠﺮﻳﻤﺔ ﺗﻢ ﺑﻨﺎؤه ﻓﻮر ﻣﻘﺎﺑﻠﺘﻲ ﻟـ»ﻋﻢ‬ ،‫م‬٢٠١٤ ‫ﺣﺴﻴﻦ« ﺑﻤﺪﻳﻨﺔ ا ﺳﻜﻨﺪرﻳﺔ ﻓﻲ أﺑﺮﻳﻞ‬ ‫ وﻳﻘﻮل اﻟﺸﻌﺮ‬،‫واﻟﺬي ﻳﻌﻤﻞ ﻛﺴﺎﺋﻖ ﺗﺎﻛﺴﻲ‬ (‫ﺻﻠﻴﺔ )اﻟﻌﺮﺑﻴﺔ‬¥‫ﺑﺎ ﻧﺠﻠﻴﺰﻳﺔ ﻓﻀ ًﻠﺎ ﻋﻦ ﻟﻐﺘﻪ ا‬ ‫ﻟﻤﻦ ﻳﺮﻛﺐ ﻣﻌﻪ اﻟﺘﺎﻛﺴﻲ ﻣﻦ اﻟﺰﺑﺎﺋﻦ وﺗﺤﺪﻳﺪً ا‬ ‫رﺛﺎءه ﻓﻲ ﺣﺎدث ﻣﻘﺘﻞ ﺟﻮن ﻟﻴﻨﻮن اﻟﻤﻐﻨﻲ‬ ‫ ﻓﺎﻟﺠﺮﻳﻤﺔ ﻫﻨﺎ ﺑﻤﺜﺎﺑﺔ‬،‫ا ﻧﺠﻠﻴﺰي اﻟﻤﺸﻬﻮر‬ ‫ﻧﻤﻮذج ﻟﺮﺻﺪ ﻃﺒﻴﻌﺔ اﻟﺴﻠﻮك اﻟﺠﺪﻳﺪ اﻟﻨﺎﺗﺞ ﻋﻦ‬ ‫ﻓﺮاد ﻟﺜﻘﺎﻓﺔ أو ﻋﺪة ﺛﻘﺎﻓﺎت أﺟﻨﺒﻴﺔ ﻣﻊ‬¥‫دﻣﺞ ا‬ ‫اﻟﺜﻘﺎﻓﺔ اﻟﻤﺤﻠﻴﺔ وﻣﺤﺎوﻟﺔ ﺗﻄﺒﻴﻖ اﻻﺛﻨﻴﻦ ﻓﻲ‬ .‫أﺛﻨﺎء اﻟﻤﻤﺎرﺳﺎت اﻟﻴﻮﻣﻴﺔ‬

Ahmed Ghoneimy

‫أﺣﻤﺪ ﻏﻨﻴﻤﻲ‬

Egypt

‫ﻣﺼﺮ‬

48 :28 The Cave 23'16''

2013 Adham, a young musician from Alexandria, travels to Cairo to pursue his musical career and reconnect with his old friend Amr, a member of his former band who has since attempted to settle his life. The film follows Adham through the contrasting landscapes of an ever-evolving Cairo. For Adham, the city is an arena where the strong survive and the weak fall by the wayside. When he reaches out to Amr, he finds he has moved on—and up—and the foundation of their relationship is not what it once was.

‫اﻟﻜﻬﻒ‬ ‫ دﻗﻴﻘﺔ‬٢٣:١٦

٢٠١٣ ‫أدﻫﻢ ﺷﺎب وﻋﺎزف ﺟﻴﺘﺎر ﻣﻘﻴﻢ ﻓﻲ‬ ‫ﻳﻮﻣﺎ إﻟﻰ اﻟﻘﺎﻫﺮة ﻣﺘﻤﻨﻴًﺎ أن‬ ً ‫ ﺳﺎﻓﺮ‬.‫ا ﺳﻜﻨﺪرﻳﺔ‬ ً ،‫ﻃﺮﻳﻘﺎ ﻓﻲ ﻣﺠﺎل اﻟﻤﻮﺳﻴﻘﻰ‬ ‫ﻳﺠﺪ ﻟﻨﻔﺴﻪ‬ ‫ اﻟﺬي ﻛﺎن‬،‫وﻟﻴﺴﺘﻌﻴﺪ ﻋﻼﻗﺘﻪ ﺑﺼﺪﻳﻘﻪ ﻋﻤﺮو‬ ‫ واﻟﺬي‬،‫واﺣﺪً ا ﻣﻦ أﻋﻀﺎء ﻓﺮﻗﺘﻪ اﻟﻤﻮﺳﻴﻘﻴﺔ‬ .‫ﻳﺴﻌﻰ إﻟﻰ ﺣﻴﺎة ﻣﺴﺘﻘﺮة ﺳﻮﻳﺔ‬ ‫ﻳﺴﺮد اﻟﻔﻴﻠﻢ ﺳﻌﻲ أدﻫﻢ ﻛﻤﻮﺳﻴﻘﻲ ﻳﺸﻖ‬ ‫ﻃﺮﻳﻘﻪ ﻓﻲ أرﺟﺎء اﻟﻘﺎﻫﺮة ﺑﻜﻞ ﺗﻨﺎﻗﻀﺎﺗﻬﺎ‬ .‫وﻣﺘﻐﻴﺮاﺗﻬﺎ وﺗﺤﻮﻻﺗﻬﺎ‬

Alicja Rogalska & Surowiec Łukasz

‫أﻟﻴﺘﺴﻴﺎ روﺟﺎﻟﺴﻜﺎ و ﻟﻮﻛﺎش ﺳﻮروﭬﻳﻴﺘﺲ‬

Poland

‫ﺑﻮﻟﻨﺪا‬

48 :28 Tear Dealer 14'09"

2014 Tear Dealer” was a temporary shop on a street lined with pawnshops and loan sharks in Lublin in southeast Poland, an area of high unemployment and related socio-economic exclusion. In specially arranged premises reminiscent of a bank, a cosmetic salon or a dressing room, people could produce and sell their tears for approximately 25€ per 3ml. Nearly 200 people took part in the project (the shop had to close after only 4 days because the funds were exhausted). The project attracted huge media attention and public discussion on the issues of affective labour and the commercialization of emotions.

‫ﺑﺎﺋﻊ اﻟﺪﻣﻮع‬ ‫ دﻗﻴﻘﺔ‬١٤:٠٩

٢٠١٤ ‫ﻛﺎن »ﺑﺎﺋﻊ اﻟﺪﻣﻮع« ﻣﺤ ًّﻠﺎ ﻋﺼﺮ ًﻳّﺎ ﻳﻘﻊ وﺳﻂ‬ ‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ ﻣﻜﺎﺗﺐ اﻟﺮﻫﻮﻧﺎت وﺣﻴﺘﺎن‬ ‫اﻟﻤﺮاﺑﻴﻦ ﻓﻲ ﺷﺎرع ﺑﻤﺪﻳﻨﺔ ﻟﻮﺑﻠﻴﻦ اﻟﺘﻲ‬ ُ ‫اﻟﻘﺮوض‬ ‫ وﻫﻲ ﻣﻨﻄﻘﺔ ﺗﺮﺗﻔﻊ‬،‫ﺗﻘﻊ ﺟﻨﻮب ﺷﺮق ﺑﻮﻟﻨﺪا‬ ‫ﻓﻴﻬﺎ ﻧﺴﺒﺔ اﻟﺒﻄﺎﻟﺔ وا ﻗﺼﺎء اﻻﺟﺘﻤﺎﻋﻲ‬ ‫ﺧﺼﻴﺼﺎ ﻓﻲ‬ ‫ُﻨﻲ ﻫﺬا اﻟﺼﺮح‬ ً َ ‫ ﺑ‬.‫واﻻﻗﺘﺼﺎدي‬ ‫ وﻫﻮ ﻋﺒﺎرة ﻋﻦ ﺻﺎﻟﻮن‬،‫ﻣﻜﺎن أﺣﺪ اﻟﺒﻨﻮك‬ ‫ﺗﺠﻤﻴﻞ وﻏﺮﻓﺔ ﺗﺒﺪﻳﻞ ﻣﻼﺑﺲ ﻳﻤﻜﻦ ﻟﻠﻨﺎس‬ ‫اﺳﺘﺨﺪاﻣﻬﻤﺎ ﻟﻠﺒﻜﺎء وﻟﺒﻴﻊ دﻣﻮﻋﻬﻢ ﻓﻲ‬ ‫ ﺷﺎرك‬.‫ ﻳﻮرو ﻟﻜﻞ ﺛﻼﺛﺔ ﻣﻠﻠﻲ ﻟﺘﺮات‬٢٥ ‫ﻣﻘﺎﺑﻞ‬ ‫ وﻟﻜﻦ‬،‫ﻓﻲ ﻫﺬا اﻟﻤﺸﺮوع ﺣﻮاﻟﻲ ﻣﺎﺋﺘﻲ ﺷﺨﺺ‬ ‫ُأﻏﻠﻖ اﻟﻤﺘﺠﺮ ﺑﻌﺪ أرﺑﻌﺔ أﻳﺎم ﻓﻘﻂ ﺑﺴﺒﺐ ﻧﻔﺎد‬ ‫ ﻧﺎل اﻟﻤﺸﺮوع‬.‫ﻣﻮال‬¥‫ا‬ ‫اﻫﺘﻤﺎﻣﺎ اﻋﻼﻣ ًﻴّﺎ ﻛﺒﻴﺮًا‬ ً ً ‫وأﺛﺎر‬ ‫ﻧﻘﺎﺷﺎ ﻣﺠﺘﻤﻌ ًﻴّﺎ ﺣﻮل ﻗﻀﺎﻳﺎ اﻟﻌﻤﻞ‬ .‫اﻟﻌﺎﻃﻔﻲ وﺗﺴﻠﻴﻊ اﻟﻤﺸﺎﻋﺮ وﺗﺴﻮﻳﻘﻬﺎ‬

Peter Aerschmann

‫ﺑﻴﺘﺮ آرﻳﺸﻤﺎن‬

Switzerland

‫ﺳﻮﻳﺴﺮا‬

SPUTNIK

‫ﺳﭙﻮﺗﻨﻚ‬

10'

2014 Suppose an explosion happens where the earth is completely dissolved and only dispersed pieces are to be found in the universe. What remains of humanity? A chicken, a toothpaste or a few chips? The video shows remnants and souvenirs of our civilization that form new constellations and small worlds in empty space.

‫ دﻗﺎﺋﻖ‬١٠

٢٠١٤ ‫رض‬¥‫ﻟﻨﻔﺘﺮض أن اﻧﻔﺠﺎر وﻗﻊ ذاب ﻛﻮﻛﺐ ا‬ ‫ وﻟﻢ ﻳﺘﺒﻘﻰ ﻓﻰ اﻟﻔﻀﺎء ﺳﻮى ﺑﻘﺎﻳﺎ‬Ö‫ﺗﻤﺎﻣ‬ ‫ ﻓﻤﺎ اﻟﺬي ﺳﻴﺘﺒﻘﻰ ﻣﻦ‬،‫أﺷﻼﺋﻪ اﻟﻤﺘﻨﺎﺛﺮة‬ ‫ا ﻧﺴﺎﻧﻴﺔ؟‬ ‫ ﻣﻦ‬Ø‫دﺟﺎﺟﺔ؟ أم ﻣﻌﺠﻮن أﺳﻨﺎن؟ أم ﻋﺪد‬ ‫اﻟﺮﻗﺎﺋﻖ؟‬ ‫ﺷﻴﺎء واﻟﻬﺪاﻳﺎ‬¥‫ﻳﻈﻬﺮ اﻟﻔﻴﺪﻳﻮ اﻟﺤﻄﺎم وﺑﻘﺎﻳﺎ ا‬ Ö‫اﻟﺘﺬﻛﺎرﻳﺔ ﻟﺤﻀﺎرﺗﻨﺎ اﻟﺘﻲ ﺗﺸﻜﻞ ﻣﻌ‬ ‫ﻣﺠﻤﻮﻋﺎت ﻧﺠﻤﻴﺔ ﺟﺪﻳﺪة وﻋﻮاﻟﻢ ﺻﻐﻴﺮة ﻓﻲ‬ .‫اﻟﻔﻀﺎء اﻟﻔﺎرغ‬

Peter Aerschmann Switzerland

SNAIL 10'

2014 A wide expanse in all its blackness with distant stars, and in the middle an empty snail shell. Just like a planet, the former abode of a snail rotates on its own axis. Tender water drops shine on its surface as it lays in the dewy grass. Little alluvial pieces orbit in the prograde direction, epitomizing a lunar rotation. A small galaxy garden.

‫ﺑﻴﺘﺮ آرﻳﺸﻤﺎن‬ ‫ﺳﻮﻳﺴﺮا‬

‫ﻗﻮﻗﻌﺔ‬ ‫ﻋﺸﺮ دﻗﺎﺋﻖ‬

٢٠١٤ ‫ﻓﻲ ﻣﻨﺘﺼﻒ اﻟﻔﻀﺎء اﻟﺴﺤﻴﻖ اﻟﻤﺘﺸﺢ ﺑﺎﻟﺴﻮاد‬ ‫ووﺳﻂ ﻧﺠﻮﻣﻪ اﻟﺴﺎﻃﻌﺔ ﻧﺮى ﻗﻮﻗﻌﺔ ﺣﻠﺰون‬ ‫ ﻟﻠﺤﻠﺰون‬Ø‫ ﺗﺪور اﻟﻘﻮﻗﻌﺔ اﻟﺘﻲ ﻛﺎﻧﺖ دار‬.‫ﻓﺎرﻏﺔ‬ ‫ﻳﺎم ﺣﻮل ﻧﻔﺴﻬﺎ وﻛﺄﻧﻬﺎ‬¥‫ ﻣﻦ ا‬Ö‫ﻓﻰ ﻳﻮﻣ‬ ‫ ﻗﻄﺮات اﻟﻤﻴﺎه ﻓﻮق ﺳﻄﺤﻬﺎ‬¥Þ‫ﻛﻮﻛﺐ وﺗﺘ‬ ٌ ‫ﺑﻴﻨﻤﺎ َﺗ‬ ‫ ﺗﺪور ﻗﻄﻊ‬.‫ﺴﻜﻦ ﻓﻲ اﻟﻌﺸﺐ اﻟﺮﻃﺐ‬ ً ‫ﺠﺴﺪة ﺑﺬﻟﻚ‬ ‫ﻃﻴﻨﻴﺔ ﺻﻐﻴﺮة ﺗﺠﺎه اﻟﺸﺮق ُﻣ‬ ‫ ﻳُﻈﻬﺮ اﻟﻔﻴﺪﻳﻮ ﺣﺪﻳﻘﺔ ﻛﻮﻧﻴﺔ‬...‫دوران اﻟﻘﻤﺮ‬ .‫وﻛﺄﻧﻬﺎ ﻣﺠﺮة ﻣﺼﻐﺮة‬

Peter Aerschmann Switzerland

BABEL I 8`

2012 The scene shows an endless tracking shot through a fictional construction site. The workers, machines and other elements were shot in Dubai, New York, Paris, Beijing, Johannesburg, London and Switzerland. Together they meet in a landscape consisting of some real buildings and other enlarged prefabricated components.

‫ﺑﻴﺘﺮ آرﻳﺸﻤﺎن‬ ‫ﺳﻮﻳﺴﺮا‬

١ ‫ﺑﺎﺑﻞ‬ ‫ دﻗﺎﺋﻖ‬٨

٢٠١٢ ‫ﻳﻘﺪم اﻟﻤﺸﻬﺪ ﻟﻘﻄﺔ ﺗﺘﺎﺑﻌﻴﺔ ﻻﻣﺘﻨﺎﻫﻴﺔ ﻋﺒﺮ‬ ‫ﻻت‬à‫ ﺗﻢ ﺗﺼﻮﻳﺮ اﻟﻌﻤﺎل وا‬.‫ﻣﻮﻗﻊ ﺑﻨﺎء ﻣﺘﺨﻴﻞ‬ ‫ﻛﻞ ﻣﻦ دﺑﻲ وﻧﻴﻮﻳﻮرك‬ ٍ ‫ﺧﺮى ﻓﻲ‬¥‫واﻟﻌﻨﺎﺻﺮ ا‬ ‫وﺑﺎرﻳﺲ وﺑﻜﻴﻦ وﺟﻮﻫﺎﻧﺴﺒﺮج وﻟﻨﺪن وﺳﻮﻳﺴﺮا‬ ‫ﻟﺘﺠﺘﻤﻊ ﻛﻞ ﻫﺬه اﻟﻤﻌﻄﻴﺎت ﻓﻰ ﻣﺸﻬﺪ‬ ‫ﻳﻈﻬﺮ ﻓﻴﻪ ﺑﻌﺾ اﻟﻤﺒﺎﻧﻲ اﻟﺤﻘﻴﻘﻴﺔ وﻏﻴﺮﻫﺎ ﻣﻦ‬ .‫ﺧﺮى اﻟﺘﻲ ﺗﻢ ﺗﺼﻨﻴﻌﻬﺎ وﺗﻜﺒﻴﺮﻫﺎ‬¥‫اﻟﻌﻨﺎﺻﺮ ا‬

George Drivas Greece

‫ﺟﻮرج درﻳﻔﺎس‬ ‫اﻟﻴﻮﻧﺎن‬

Kepler

‫ﻛﻴﺒﻠﺮ‬

14'30''

‫ دﻗﻴﻘﺔ‬١٤:٣٠

2014 Kepler is a newly discovered planet. According to scientists, its soil, atmosphere and size is similar to Earth’s, which makes it potentially habitable. ”Kepler” is a retrofuturistic fairy tale, a commentary on today’s politics of development and their disillusionments. Produced in the framework of PCAI Polyeco Contemporary Art Initiative, Athens, Greece.

٢٠١٤ ً .‫ﺣﺪﻳﺜﺎ‬ ‫ ﻫﻮ ﻛﻮﻛﺐ ﺟﺪﻳﺪ ﺗﻢ اﻛﺘﺸﺎﻓﻪ‬:«‫»ﻛﻴﺒﻠﺮ‬ ً ‫ ﺗﺮﺑﺔ وﺟﻮ وﺣﺠﻢ ﻫﺬا اﻟﻜﻮﻛﺐ‬،‫ﻃﺒﻘﺎ ﻟﻠﻌﻠﻤﺎء‬ ‫ وﻫﻮ ﻣﺎ‬،‫رض إﻟﻰ ﺣﺪ ﻛﺒﻴﺮ‬¥‫ﺗﺸﺒﻪ ﻛﻮﻛﺐ ا‬ .‫ﻳﻌﻨﻲ أﻧﻪ ﻗﺎﺑﻞ ﻟﻠﺤﻴﺎة واﻟﻌﻴﺶ ﻋﻠﻴﻪ‬ ‫ﻓﻴﻠﻢ »ﻛﻴﺒﻠﺮ« ﻋﺒﺎرة ﻋﻦ ﻗﺼﺔ ﺧﻴﺎﻟﻴﺔ ﻣﺴﺘﻘﺒﻠﻴﺔ‬ ‫ُﺴ ﱢﺠﻞ ﺳﻴﺎﺳﺎت‬ َ ‫ُﻗ ﱢﺪﻣﺖ ﻓﻲ ﻗﺎﻟﺐ ﻗﺪﻳﻢ ﻳ‬ ‫اﻟﺘﻨﻤﻴﺔ اﻟﺤﺎﻟﻴﺔ أو أﻧﻪ ﻣﺠﺮد وﻫﻢ ﻛﺒﻴﺮ ﺑﺎﻟﻨﺴﺒﺔ‬ .‫ﺟﻤﻴﻌﺎ‬ ‫إﻟﻴﻨﺎ‬ ً ‫ﺗﻢ إﻧﺘﺎج اﻟﻔﻴﻠﻢ ﻓﻲ إﻃﺎر »ﻣﺒﺎدرة ﺑﻮﻟﻴﻜﻮ اﻟﻔﻨﻴﺔ‬ .‫( ﻓﻲ أﺛﻴﻨﺎ ﺑﺎﻟﻴﻮﻧﺎن‬PCAI) «‫اﻟﻤﻌﺎﺻﺮة‬

Jumana Manna Lebanon

A Sketch of Manners 12'

2013 Alfred Roch, member of the Palestinian National League, is a politician with bohemian panache. In 1942, at the height of the Second World War, he throws what will turn out to be the last masquerade in Palestine.

‫ﭼﻮﻣﺎﻧﺎ ﻣﻨﺎع‬ ‫ﻟﺒﻨﺎن‬

‫ﺧﻼق‬¥‫إﺳﻜﺘﺶ ا‬ ‫ دﻗﻴﻘﺔ‬١٢

٢٠١٣ ‫أﻟﻔﺮﻳﺪ روش ﻫﻮ ﺷﺨﺼﻴﺔ ﺳﻴﺎﺳﻴﺔ ذات ﺻﺒﻐﺔ‬ ً ‫ وﻫﻮ‬،‫ﺑﻮﻫﻴﻤﻴﺔ‬ ‫أﻳﻀﺎ أﺣﺪ أﻋﻀﺎء اﻟﺮاﺑﻄﺔ‬ ‫ ﻳﻘﺮر روش ﻓﻲ ذروة‬.‫اﻟﻮﻃﻨﻴﺔ اﻟﻔﻠﺴﻄﻴﻨﻴﺔ‬ ‫ إﻗﺎﻣﺔ ﻣﺎ‬،١٩٤٢ ‫اﻟﺤﺮب اﻟﻌﺎﻟﻤﻴﺔ اﻟﺜﺎﻧﻴﺔ ﻓﻲ ﻋﺎم‬ ‫ﺳﻴﺼﺒﺢ ﺑﻌﺪ ذﻟﻚ آﺧﺮ ﺣﻔﻞ ﺗﻨﻜﺮي ﻳﻘﺎم ﻓﻲ‬ .‫ﻓﻠﺴﻄﻴﻦ‬

Jumana Manna & Storihle Sille Lebanon/Norway

The Goodness Regime 20'36''

2013 With the help of a cast of children, “The Goodness Regime” investigates the foundations of the ideology and self-image of modern Norway—from the Crusades, via the adventures of Fridtjof Nansen and the trauma of wartime occupation, to the diplomatic theater of the Oslo Peace Accords. “The Goodness Regime” was shot in Norway and Palestine, and combines the children's performances with archive sound recordings and new documentary footage filmed on location. The film was premiered at Kunsthall Oslo exactly twenty years after the conclusion and signing of the Oslo Accords by Israel and the Palestine Liberation Organization in August and September 1993.

‫ﭼوﻣﺎﻧﺎ َﻣ ﱠﻨﺎع و ﺳﻴﻠﻲ ﺳﺘﻮرﻫﻴﻞ‬ ‫اﻟﻨﺮوﻳﺞ‬/‫ﻟﺒﻨﺎن‬

‫اﻟﻨﻈﺎم اﻟﻄﻴﺐ‬ ‫ دﻗﻴﻘﺔ‬٢٠:٣٦

٢٠١٣ ‫ ﻫﻮ ﻓﻴﻠﻢ ﺟﺪﻳﺪ ﻣﻦ ﺗﺄﻟﻴﻒ‬:«‫»اﻟﻨﻈﺎم اﻟﻄﻴﺐ‬ ‫وإﺧﺮاج ﻣﺸﺘﺮك ﻟﻠﻔﻨﺎﻧﺘﻴﻦ ﭼوﻣﺎﻧﺎ ﻣﻨﺎع وﺳﻴﻠﻲ‬ .‫ﻃﻔﺎل‬¥‫ﺳﺘﻮرﻫﻴﻞ ﺑﻤﺴﺎﻋﺪة ﻃﺎﻗﻢ ﻣﻦ ا‬ ‫ﻳﺴﺘﻜﺸﻒ اﻟﻔﻴﻠﻢ اﻟﺜﻮاﺑﺖ ا ﻳﺪﻳﻮﻟﻮﺟﻴﺔ‬ ‫ﺑﺪءا ﻣﻦ‬ ً ‫واﻟﺼﻮرة اﻟﺬاﺗﻴﺔ ﻟﻠﻨﺮوﻳﺞ اﻟﺤﺪﻳﺜﺔ‬ ‫اﻟﺤﻤﻼت اﻟﺼﻠﻴﺒﻴﺔ وﻣﻐﺎﻣﺮات ﻓﺮﻳﺘﻴﻮف‬ ،‫وﻧﺎﻧﺴﻦ وﺻﺪﻣﺔ اﻻﺣﺘﻼل ﻓﻲ زﻣﻦ اﻟﺤﺮب‬ ‫ﻣﺮورًا ﺑﺎﻟﻤﺴﺮح اﻟﺪﺑﻠﻮﻣﺎﺳﻲ »ﻻﺗﻔﺎﻗﺎت أوﺳﻠﻮ‬ ‫ ﺗﻢ ﺗﺼﻮﻳﺮ »اﻟﻨﻈﺎم اﻟﻄﻴﺐ« ﻓﻲ ﱟ‬.«‫ﻟﻠﺴﻼم‬ ‫ﻛﻞ‬ ‫ وﺗﻢ ﻓﻴﻪ ﻣﺰج أداء‬،‫ﻣﻦ اﻟﻨﺮوﻳﺞ وﻓﻠﺴﻄﻴﻦ‬ ‫ﻃﻔﺎل ﺑﺄرﺷﻴﻒ ﺗﺴﺠﻴﻼت ﺻﻮﺗﻴﺔ وﺻﻮر‬¥‫ا‬ .‫وﺛﺎﺋﻘﻴﺔ ﺟﺪﻳﺪة اﻟ ُﺘﻘﻄﺖ ﻓﻲ ﻣﻮﻗﻊ اﻟﺘﺼﻮﻳﺮ‬ ‫ول ﻟﻠﻔﻴﻠﻢ ﻓﻲ ﻛﻮﻧﺴﺘﺎل‬¥‫ﺳﻴُﻘﺎم اﻟﻌﺮض ا‬ ‫ﻋﺎﻣﺎ ﻋﻠﻰ ﺗﻮﻗﻴﻊ‬ ً ‫أوﺳﻠﻮ ﺑﻌﺪ ﻣﺮور ﻋﺸﺮﻳﻦ‬ ‫اﺗﻔﺎﻗﻴﺔ أوﺳﻠﻮ ﻟﻠﺴﻼم ﻣﺎ ﺑﻴﻦ إﺳﺮاﺋﻴﻞ‬ ‫وﻣﻨﻈﻤﺔ اﻟﺘﺤﺮﻳﺮ اﻟﻔﻠﺴﻄﻴﻨﻴﺔ ﻓﻲ أﻏﺴﻄﺲ‬ .١٩٩٣ ‫وﺳﺒﺘﻤﺒﺮ ﻣﻦ ﻋﺎم‬

Sebastian Diaz Morales

‫ﺳﻴﺒﺎﺳﺘﻴﺎن دﻳﺎث ﻣﻮراﻟﻴﺲ‬

Argentina

‫رﺟﻨﺘﻴﻦ‬¥‫ا‬

Pasajes IV

(‫رﺣﻼت )اﻟﺠﺰء اﻟﺮاﺑﻊ‬

22'14''

2014 Pasajes IV” follows the same narrative, concept and structure as in former videos from this series. In the previous three “Pasajes" video works, a similar formula repeats on different backdrops: a character unites places through gateways, doors, stairs and roads which would be naturally disconnected from each other. This alteration to the normal proposes a new geography. So far, this has been produced through a montage of urban spaces. “Pasajes IV,” however, explores the landscape of Patagonia. Crisscrossing this territory in the search of the differences within the landscape, the character acts as a guide, uniting disconnected territories;essential pieces of a puzzle to understand this region’s present.

‫ دﻗﻴﻘﺔ‬٢٢:١٤

٢٠١٤ ‫ﻳ ﱠﺘﺒِﻊ »رﺣﻼت« ﻧﻔﺲ أﺳﻠﻮب اﻟﺴﺮد واﻟﻔﻜﺮة‬ ‫واﻟﺒﻨﺎء ﻟﻠﻔﻴﺪﻳﻮﻫﺎت اﻟﺴﺎﺑﻘﺔ اﻟﻤﻨﺘﻤﻴﺔ‬ ‫ ﺣﻴﺚ ﻗﺪﻣﺖ اﻟﻔﻴﺪﻳﻮﻫﺎت‬،‫ﻟﻠﺴﻠﺴﻠﺔ ذاﺗﻬﺎ‬ ‫اﻟﺜﻼﺛﺔ ﺗﺮﻛﻴﺒﺔ ﻣﺘﺸﺎﺑﻬﺔ ﺑﺘﻨﻮﻳﻌﺎت وﺧﻠﻔﻴﺎت‬ ‫ﻣﺎﻛﻦ‬¥‫ ﺗﻮﺣﺪ ﻓﻴﻬﺎ اﻟﺸﺨﺼﻴﺔ ا‬،‫ﻣﺨﺘﻠﻔﺔ‬ ‫ﺑﻮاب‬¥‫اﻟﻤﺨﺘﻠﻔﺔ ﻣﻦ ﺧﻼل ﺑﻮاﺑﺎت اﻟﻌﺒﻮر وا‬ ‫ اﻟﻔﻴﺪﻳﻮ‬.‫واﻟﺴﻼﻟﻢ واﻟﻄﺮق اﻟﻤﻨﻔﺼﻠﺔ ﺟﻐﺮاﻓ ًﻴّﺎ‬ ‫ﻋﺒﺎرة ﻋﻦ ﺧﺮﻳﻄﺔ ﺟﻐﺮاﻓﻴﺔ ﻟﻘﺼﺔ ﻳﺘﻢ اﻟﺘﻌﺒﻴﺮ‬ ‫ﻋﻨﻬﺎ ﺑﺸﻜﻞ ﺑﺪﻳﻞ ﻋﻦ اﻟﻤﻌﺘﺎد وﻳﺮﺟﻊ ذﻟﻚ إﻟﻰ‬ ‫ﻣﺎﻛﻦ‬¥‫ﻋﻤﻠﻴﺔ اﻟﻤﻮﻧﺘﺎج اﻟﺘﻲ ﺗﻤﺖ ﻟﻌﺪد ﻣﻦ ا‬ .‫اﻟﺤﻀﺮﻳﺔ اﻟﺘﻲ ﺗﻢ ﺗﺼﻮﻳﺮﻫﺎ‬ ‫ﻓﻲ ﻫﺬا اﻟﻔﻴﺪﻳﻮ ﺑﺎﻟﺘﺤﺪﻳﺪ »رﺣﻼت )اﻟﺠﺰء‬ ‫اﻟﺮاﺑﻊ(« ﻳﺘﻢ اﺳﺘﻜﺸﺎف اﻟﻤﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ‬ ‫ﻟﻤﺪﻳﻨﺔ ﺑﺎﺗﺎﺟﻮﻧﻴﺎ واﻟﺘﻨﻘﻞ ﻋﺒﺮ ﻫﺬه اﻟﻤﻨﻄﻘﺔ‬ ً ‫ ﺗﺆدي‬.‫ﺑﺤﺜﺎ ﻋﻦ اﻻﺧﺘﻼﻓﺎت ﻓﻲ ﻛﻞ ﻣﺸﻬﺪ‬ ‫اﻟﺸﺨﺼﻴﺔ ﻓﻲ ﻫﺬا اﻟﻔﻴﺪﻳﻮ وﻇﻴﻔﺔ اﻟﻤﺮﺷﺪ‬ ‫ﻣﺎﻛﻦ‬¥‫اﻟﺴﻴﺎﺣﻲ اﻟﺬي ﻳﻮﺣﺪ وﻳﺮﺑﻂ ا‬ ‫اﻟﻤﻨﻔﺼﻠﺔ ﺟﻐﺮاﻓ ًﻴّﺎ اﻟﺘﻲ ﺗﻌﻤﻞ ﻛﺄﺟﺰاء ﻟﻌﺒﺔ‬ .‫اﻟﭙﺎزل ﻟﻔﻬﻢ واﻗﻊ ﻫﺬه اﻟﻤﻨﻄﻘﺔ‬

Seyed Sajad Moosavi Iran

‫ﺳﻴﺪ ﺳﭽﺪ ﻣﻮﺳﺎﭬﻰ‬ ‫إﻳﺮان‬

The Salt Man

‫رﺟﻞ اﻟﻤﻠﺢ‬

15’18’

‫ دﻗﻴﻘﺔ‬١٥:١٨

2015 Being left unsupported, Dr. Sa'id 'Aram, a genius artist, is obliged to work in a salt mine with his six-year-old girl. The story begins when he receives statuettes from various festivals, displaying his creativity. Using symbolic language, the film attempts to make the audience contemplate new ideas. This film is produced over the course of two years, using the best cinematic equipment, despite all existing limitations.

٢٠١٥ ‫ اﺿﻄﺮ ﻓﻨﺎن ﻋﻈﻴﻢ‬،‫ﺑﻌﺪﻣﺎ ﻟﻢ ﻳﺠﺪ ﻣﻦ ﻳﺪﻋﻤﻪ‬ ‫ﺳﻌﻴﺪ ﻋﺮام أن ﻳﻌﻤﻞ ﺑﺄﺣﺪ ﻣﻨﺎﺟﻢ‬.‫ﻳُﺪﻋﻰ د‬ ‫ ﺗﺒﺪأ اﻟﻘﺼﺔ‬..‫ﻋﻮام اﻟﺴﺘﺔ‬¥‫اﻟﻤﻠﺢ ﻣﻊ اﺑﻨﺘﻪ ذات ا‬ ‫ﻋﻨﺪﻣﺎ ﻳﺘﻠﻘﻰ ﻃﻠﺒﺎت ﻣﻦ ﻣﺨﺘﻠﻒ اﻟﻤﻬﺮﺟﺎﻧﺎت‬ .‫ﻟﺼﻨﻊ اﻟﺘﻤﺎﺛﻴﻞ وﻟﻌﺮض إﺑﺪاﻋﻪ‬ ‫ﻳﺤﺎول اﻟﻔﻴﻠﻢ ﺗﻘﺪﻳﻢ أﻓﻜﺎر ﺟﺪﻳﺔ ﻟﻠﺠﻤﻬﻮر‬ ‫داﻓﻌﺎ‬ ،‫ﻣﺴﺘﺨﺪﻣﺎ ﻟﻐﺔ ﺗﻌﺘﻤﺪ ﻋﻠﻰ اﻟﺮﻣﺰ‬ ً ً ‫ أﻧﺘﺞ اﻟﻔﻴﻠﻢ ﺧﻼل‬.‫اﻟﻤﺸﺎﻫﺪ ﻟﻠﺘﺄﻣﻞ واﻟﺘﻔﻜﻴﺮ‬ ‫ واﺳﺘﺨﺪﻣﺖ ﻓﻴﻪ أﻓﻀﻞ اﻟﻤﻌﺪات‬،‫ﻋﺎﻣﻴﻦ‬ ‫اﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻋﻠﻰ اﻟﺮﻏﻢ ﻣﻦ ﺟﻤﻴﻊ اﻟﻤﻌﻮﻗﺎت‬ .‫اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺤﻮل دون ذﻟﻚ‬

Adel Abidin Iraq

Three Love Songs

‫ﻋﺎدل ﻋﺎﺑﺪﻳﻦ‬ ‫اﻟﻌﺮاق‬

‫ﺛﻼﺛﺔ أﻏﻨﻴﺎت ﻋﺎﻃﻔﻴﺔ‬

8'41''

‫ دﻗﻴﻘﺔ‬٨:٤١

2010

٢٠١٠

Three Love Songs” explores the multiple ways to use and manipulate images to create juxtapositions of meanings from the mundane to the extreme. This piece examines terror and love, and how façades are played through song, specifically Iraqi songs that were commissioned by Saddam Hussein, which were used to glorify the regime during his reign. The installation syncs three stylised music videos (lounge, jazz and pop) each of which features an archetypal western chanteuse: young, blonde, and seductive. Each video’s dramatic ‘look’ creates a different atmosphere; it is the songs dedicated to Saddam Hussein that bind them together. The lyrics are sung by the performers in Arabic (Iraqi dialect) and are subtitled in English and Arabic. The singers do not comprehend the content of the songs; instead, they are directed to perform, vocally and by gesture, as though the songs were traditional, passionate love songs. It is this uncomfortable juxtaposition—between the lush visual romanticism and the harsh meaning of the lyrics, between the seduction of the performer and comprehension of the viewer—that forms the main conceptual element of this work.

‫ﺳﺎﻟﻴﺐ اﻟﻤﺨﺘﻠﻔﺔ‬¥‫ﻳﺴﺘﻜﺸﻒ "ﺛﻼﺛﺔ أﻏﻨﻴﺎت ﻋﺎﻃﻔﻴﺔ" ا‬ Ø‫ ﺳﺘﺨﺪام اﻟﺼﻮر واﻟﺘﻼﻋﺐ ﺑﻬﺎ ﻟﺨﻠﻖ ﻣﻌﺎﻧﻲ ﻣﺘﻘﺎﺑﻠﺔ ﺑﺪء‬ ‫ ﻳﺒﺤﺚ‬.‫ﻣﻦ اﻟﻤﻌﺎﻧﻲ اﻟﻌﺎدﻳﺔ اﻟﻤﻤﻠﺔ ﺣﺘﻰ اﻟﻤﻌﺎﻧﻲ اﻟﻤﺘﻄﺮﻓﺔ‬ ‫ﻫﺬا اﻟﻌﻤﻞ ﻛﻴﻔﻴﺔ إﻇﻬﺎر اﻟﺤﺐ واﻟﺮﻋﺐ واﻟﻮاﺟﻬﺎت اﻟﻔﺨﻤﺔ‬ ‫ﻏﻨﻴﺎت اﻟﻌﺮاﻗﻴﺔ اﻟﺘﻲ ﻛﺎن ﻳﺘﻢ‬¥‫ﻏﻨﻴﺎت وﺑﺨﺎﺻﺔ ﻓﻰ ا‬¥‫ﻓﻲ ا‬ ‫ ﻋﻠﻰ ﺗﻮﺟﻴﻬﺎت ﻣﻦ اﻟﺮﺋﻴﺲ اﻟﻌﺮاﻗﻲ ﺻﺪام‬Ø‫اﻧﺘﺎﺟﻬﺎ ﺑﻨﺎء‬ .‫ﺣﺴﻴﻦ ﻟﺘﻤﺠﻴﺪ اﻟﻨﻈﺎم اﻟﻌﺮاﻗﻲ اﻟﺴﺎﺑﻖ ﺧﻼل ﻓﺘﺮة ﺣﻜﻤﻪ‬ ‫ﺷﻜﺎل‬¥ ‫ﻳﻌﺮض اﻟﻔﻴﺪﻳﻮ ﺑﺎﻟﺘﺰاﻣﻦ ﺛﻼﺛﺔ أﻏﻨﻴﺎت ﻣﺼﻮرة ﺗﻨﺘﻤﻲ‬ ‫ﻣﻮﺳﻴﻘﻴﺔ ﻣﺨﺘﻠﻔﺔ )ﻻوﻧﭻ وﭼﺎز وﭘﻮپ( ﺗﻌﻜﺲ ﺷﻜﻞ‬ ‫وأﺳﻠﻮب اﻟﻤﻐﻨﻴﺎت اﻟﻐﺮﺑﻴﺎت اﻟﺸﻘﺮاوات ﺻﻐﻴﺮات اﻟﺴﻦ‬ ‫ ﻳﺨﻠﻖ اﻟﺸﻜﻞ اﻟﺪراﻣﻲ ﻟﻜﻞ ﻣﻐﻨﻴﺔ ﻓﻲ ﻛﻞ أﻏﻨﻴﺔ‬.‫اﻟﻤﺜﻴﺮات‬ Ö‫ وﻟﻜﻦ ﻣﺎ ﻳﺮﺑﻂ ﺑﻴﻨﻬﺎ ﻫﻮ أﻧﻬﺎ ﺟﻤﻴﻌ‬Ö‫ ﻣﺨﺘﻠﻔ‬Ø‫ﻋﻠﻰ ﺣﺪة ﺟﻮ‬ ‫ ﺗﻐﻨﻲ اﻟﻤﺆدﻳﺎت ﻛﻠﻤﺎت‬.‫ﻣﻮﺟﻬﺔ ﻟﺘﻤﺠﻴﺪ ﺻﺪام ﺣﺴﻴﻦ‬ ‫ﻏﺎﻧﻲ ﺑﺎﻟﻠﻬﺠﺔ اﻟﻌﺮاﻗﻴﺔ ﻣﺼﺤﻮﺑﺔ ﺑﺘﺮﺟﻤﺔ اﻧﺠﻠﻴﺰﻳﺔ وﻋﺮﺑﻴﺔ‬¥‫ا‬ ‫ ﻻ ﺗﻔﻬﻢ اﻟﻤﻐﻨﻴﺎت ﻣﺤﺘﻮى‬.‫ﻋﻠﻰ اﻟﺸﺎﺷﺔ ﻟﻜﻞ ﻣﻘﻄﻊ‬ ‫داء اﻟﺼﻮﺗﻲ‬¥‫ﻏﻨﻴﺎت وﻳﺘﻢ ﺗﻮﺟﻴﻬﻬﻦ ﻟﻠﺘﺮﻛﻴﺰ ﻓﻰ ا‬¥‫ا‬ ‫ﻏﻨﻴﺎت أﻏﻨﻴﺎت ﺣﺐ‬¥‫واﻟﺤﺮﻛﻲ ﻟﻠﻜﻠﻤﺎت ﻓﻘﻂ ﻛﻤﺎ ﻟﻮ ﻛﺎﻧﺖ ا‬ ‫ﺳﺎس ﻟﻤﻔﻬﻮم ﻫﺬا اﻟﻌﻤﻞ ﻫﻮ‬¥‫ ﻣﺎ ﻳﻤﺜﻞ ﺣﺠﺮ ا‬.‫ﺗﻘﻠﻴﺪﻳﺔ‬ ‫اﻟﺘﻨﺎﻗﺾ ﻣﺎ ﺑﻴﻦ اﻟﺮوﻣﺎﻧﺴﻴﺔ اﻟﺒﺼﺮﻳﺔ اﻟﺨﺼﺒﺔ واﻟﻤﻌﺎﻧﻲ‬ ‫داء اﻟﻤﺜﻴﺮ ﻟﻠﻤﻐﻨﻴﺎت وﻓﻬﻢ‬¥‫اﻟﻘﺎﺳﻴﺔ ﻟﻠﻜﻠﻤﺎت وﻣﺎ ﺑﻴﻦ ا‬ .‫اﻟﻤﺘﻠﻘﻲ‬

Emad Maher Egypt

Zakaria 14'06''

2013 Zakaria is an adaptation of the last book “Dreams” by the Nobel Prize winner Naguib Mahfouz, made as a tribute for the 100th anniversary of Mahfouz’s birthday. “Zakaria” is a special treatment of a complex book which has been described as a mixture of the great novelist’s hallucinations and dreams as he lay in his hospital bed, facing his fear of death and questioning his life and his choices. Maher has inserted his life, facing his own fears in this film through adapting three of Mahfouz’s dreams.

‫ﻋﻤﺎد ﻣﺎﻫﺮ‬ ‫ﻣﺼﺮ‬

‫زﻛﺮﻳﺎ‬ ‫ دﻗﻴﻘﺔ‬١٤:٠٦

٢٠١٣ ‫ﺧﻴﺮ ﻟﻠﺮواﺋﻲ‬¥‫ﻫﺬا اﻟﻔﻴﻠﻢ ﻣﺄﺧﻮذ ﻋﻦ اﻟﻜﺘﺎب ا‬ ‫اﻟﻌﺎﻟﻤﻲ اﻟﺤﺎﺋﺰ ﺟﺎﺋﺰة ﻧﻮﺑﻞ ﻧﺠﻴﺐ ﻣﺤﻔﻮظ‬ ‫ وﻫﻮ ﺑﻤﺜﺎﺑﺔ اﺣﺘﻔﺎء ﺑﻤﺮور اﻟﺬﻛﺮى‬،«‫ﺣﻼم‬¥‫»ا‬ ‫ ﻳﻌﺎﻟﺞ اﻟﻔﻴﻠﻢ ﻫﺬا اﻟﻜﺘﺎب‬.‫اﻟﻤﺎﺋﺔ ﻋﻠﻰ ﻣﻴﻼده‬ َ ‫ﺻ‬ ‫ﻒ‬ ِ ُ‫ وﻫﻮ اﻟﻜﺘﺎب اﻟﺬي و‬،‫اﻟﻤﺮﻛﺐ ﺑﺸﻜﻞ ﺧﺎص‬ ‫ﺑﺄﻧﻪ ﻣﺰﻳﺞ ﻣﻦ أﺣﻼم وﻫﻼوس اﻟﺮواﺋﻲ اﻟﻜﺒﻴﺮ‬ ‫ﻣﻼزﻣﺎ ﻟﻔﺮاش اﻟﻤﺮض‬ ‫ﺣﻴﻨﻤﺎ ﻛﺎن‬ ً ً ،‫ﻣﻮاﺟﻬﺎ ﺧﻮﻓﻪ ﻣﻦ اﻟﻤﻮت‬ ،‫ﺑﺎﻟﻤﺴﺘﺸﻔﻰ‬ ‫ ﻗﺎم اﻟﻤﺨﺮج ﺑﺈﻗﺤﺎم‬.‫وﻣﺘﺄﻣ ًﻠﺎ ﻟﺤﻴﺎﺗﻪ وﺧﻴﺎراﺗﻪ‬ ‫ﺣﻴﺎﺗﻪ اﻟﺨﺎﺻﺔ ﻓﻲ اﻟﻔﻴﻠﻢ ﺣﻴﺚ ﻳﻘﻮم‬ ‫ﺑﻤﻮاﺟﻬﺔ ﻣﺨﺎوﻓﻪ ﻣﻦ ﺧﻼل اﻗﺘﺒﺎس ﺛﻼﺛﺔ‬ ‫أﺣﻼم ﻣﻦ ﻛﺘﺎب اﻟﺮواﺋﻲ اﻟﻌﻈﻴﻢ ﻧﺠﻴﺐ‬ .‫ﻣﺤﻔﻮظ‬

Omar El Zohairy Egypt

Breathe Out 20'05''

2011 The window is shut tight. All he can hear is her breathing heavily, and the muffled clamor of the crowded square.

ó ‫ﻋﻤﺮ‬ ‫اﻟﺰﻫﻴﺮي‬ ‫ﻣﺼﺮ‬

‫زﻓﻴﺮ‬ ‫ دﻗﻴﻘﺔ‬٢٠:٠٥

٢٠١١ ‫ ﻛﻞ ﻣﺎ ﻳﺴﺘﻄﻴﻊ‬..‫ﻧﺎﻓﺬة ﻣﻐﻠﻘﺔ ﺑﺈﺣﻜﺎم‬ ‫ﺳﻤﺎﻋﻪ ﻫﻮ ﺻﻮت أﻧﻔﺎﺳﻬﺎ اﻟﺜﻘﻴﻠﺔ وﺻﻮت‬ .‫ﺗﻴﺔ ﻣﻦ اﻟﻤﻴﺪان اﻟﻤﺰدﺣﻢ‬à‫اﻟﻀﺠﺔ اﻟﻤﻜﺘﻮﻣﺔ ا‬

Vincent Borcard Switzerland

War 10’’32’

2014/2015 A writer living in a large villa faces the context of a country at war and his own imagination. The war does not affect very much, until the day the army decides to allocate his house as a campaign HQ.

‫ﭬﻴﻨﺴﻨﺖ ﺑﻮرﻛﺎرد‬ ‫ﺳﻮﻳﺴﺮا‬

‫ﺣﺮب‬ ‫ دﻗﻴﻘﺔ‬١٠:٣٢

٢٠١٥/٢٠١٤ ‫ﻳﻮاﺟﻪ ﻛﺎﺗﺐ ﻳﻌﻴﺶ ﻓﻲ ﭬﻳﻼ ﻛﺒﻴﺮة ﺧﻴﺎﻻﺗﻪ‬ ‫ وﻋﻠﻰ اﻟﺮﻏﻢ‬،‫وواﻗﻊ اﻟﺤﺮب اﻟﺬي ﺗﻌﻴﺸﻪ ﺑﻠﺪه‬ ‫ﻣﻦ ذﻟﻚ ﻻ ﺗﺆﺛﺮ ﻓﻴﻪ اﻟﺤﺮب ﻛﺜﻴﺮًا ﺣﺘﻰ ﻳﻘﺮر‬ ‫ﻳﺎم أن ﻳﻀﻊ ﻳﺪه ﻋﻠﻰ‬¥‫اﻟﺠﻴﺶ ﻓﻲ ﻳﻮم ﻣﻦ ا‬ ‫ﻣﻨﺰﻟﻪ وﻳﺨﺼﺼﻪ ﻟﻴﺼﺒﺢ ﻣﻘ ًّﺮا ﺣﺪى اﻟﺤﻤﻼت‬ .‫اﻟﻌﺴﻜﺮﻳﺔ‬

Kaya Behkalam Germany

Fear Filled Her Heart as, Gazing Back, She Saw (A Farewell to the Monument) 21' 2013 Kaya Behkalam's project revisits allegorical depictions of European nations embodied by female figures such as Germania, Marianne or Europa. Their symbolic postures are re-enacted by a group of Cairo-based dancers. Through improvisational appropriations they try to use their bodies as archaeological instruments, tracing both the corporeal and conceptual, utopian and violent origins of these imagined communities as well as the emancipatory potential of the allegoric depiction itself, which in its ambiguity defies monumental models and master narratives of European identity constructions.

‫ﻛﺎﻳﺎ ﺑﻴﻜﺎﻻم‬ ‫أﻟﻤﺎﻧﻴﺎ‬

‫ اﻟﺨﻮف ﻗﻠﺒﻬﺎ ﺣﻴﻨﻤﺎ ﻧﻈﺮت إﻟﻰ‬Þ‫ﻣ‬ (‫ﺼﺐ‬ ْ ‫ﻨ‬ó ‫اﻟﺨﻠﻒ )وداﻋً ﺎ ﻟﻠ‬

‫ دﻗﻴﻘﺔ‬٢١ ٢٠١٣

‫ﻣﻢ‬Þ‫ﻳﺘﻨﺎول ﻣﺸﺮوع »ﺑﻴﻜﺎﻻم« اﻟﻮﺻﻒ اﻟﺮﻣﺰي ﻟ‬ ‫وروﺑﻴﺔ اﻟﺘﻲ ﺟﺴﺪﺗﻬﺎ ﺷﺨﺼﻴﺎت أﻧﺜﻮﻳﺔ ﻣﺜﻞ‬¥‫ا‬ ‫ ﺣﻴﺚ ﻗﺎﻣﺖ ﻣﺠﻤﻮﻋﺔ‬،‫ﺟﻴﺮﻣﺎﻧﻴﺎ وﻣﺎرﻳﺎن وأوروﺑﺎ‬ ‫ﻣﻦ اﻟﺮاﻗﺼﻴﻦ اﻟﺬﻳﻦ ﻳﻌﻴﺸﻮن ﻓﻲ اﻟﻘﺎﻫﺮة‬ ‫ ﻳﺤﺎول‬.‫ﺑﺈﻋﺎدة ﺗﻤﺜﻴﻞ وﺿﻌﻴﺎﺗﻬﻢ اﻟﺮﻣﺰﻳﺔ‬ ‫اﻟﺮاﻗﺼﻮن اﺳﺘﺨﺪام أﺟﺴﺎدﻫﻢ ﻛﺄدوات أﺛﺮﻳﺔ‬ ‫ﺻﻮل‬¥‫اﻟﻤ َﺘ َﻌ ﱠﻤﺪ ُﻣﻘﺘﻔﻴﻦ ا‬ ُ ‫ﻣﻦ ﺧﻼل اﻻرﺗﺠﺎل‬ ‫اﻟﻌﻨﻴﻔﺔ واﻟﻤﺎدﻳﺔ واﻟﺘﺼﻮرﻳﺔ واﻟﻤﺜﺎﻟﻴﺔ ﻟﻬﺬه‬ ‫اﻟﻤﺠﺘﻤﻌﺎت اﻟﻤﺘﺨﻴﻠﺔ وا ﻣﻜﺎﻧﻴﺔ اﻟﺘﺤﺮرﻳﺔ‬ ‫ﻟﻠﺘﺼﻮﻳﺮ اﻻﺳﺘﻌﺎري ذاﺗﻪ اﻟﺬي ُﺗﻨﺎﻗﺾ اﻟﻨﻤﺎذج‬ ‫ﺛﺮﻳﺔ واﻟﺴﺮد اﻟﺮﺋﻴﺴﻲ ﻟﺘﺮﻛﻴﺒﺔ اﻟﻬﻮﻳﺔ‬¥‫ا‬ .‫وروﺑﻴﺔ ﻏﻤﻮﺿﻪ‬¥‫ا‬

‫ﻟﻮرﻧﺲ ﺟﺎرﺗﻞ‬ ‫اﻟﻮﻻﻳﺎت اﻟﻤﺘﺤﺪة ا‪¥‬ﻣﺮﻳﻜﻴﺔ‬

‫‪Laurence Gartel‬‬ ‫‪USA‬‬

‫ذات‬

‫‪SELF‬‬

‫‪ ٤:٤٨‬دﻗﻴﻘﺔ‬

‫''‪4'48‬‬

‫‪٢٠١٤-١٩٧٨‬‬ ‫"ذات" ﻫﻮ أول ﻓﻴﺪﻳﻮ رﻗﻤﻲ ﻣﺒﻨﻲ ﻋﻠﻰ ﺑﻮرﺗﺮﻳﻪ‬ ‫ذاﺗﻲ ﻟﻔﻨﺎن واﺣﺪ ﺗﻢ ﺗﻨﻔﻴﺬه ﺑﺈﺳﺘﺨﺪام أدوات‬ ‫اﻟﻤﻴﺪﻳﺎ اﻟﺮﻗﻤﻴﺔ )ﺣﻮاﻟﻲ ﻋﺎم ‪ .(١٩٨٧‬ﻳﻌﺘﺒﺮ‬ ‫اﻟﻌﻤﻞ ا‪¥‬ﺻﻠﻲ ﺟﺰء ﻣﻦ ﻣﺠﻤﻮﻋﺔ داﺋﻤﺔ‬ ‫ﺑﻤﺘﺤﻒ "ﻓﻴﻜﺘﻮرﻳﺎ وأﻟﺒﺮت" ﻓﻲ ﻟﻨﺪن وﺑﻌﺪ ﻣﺮور‬ ‫ﺧﻤﺴﺔ وﺛﻼﺛﻴﻦ ﻋﺎﻣ‪ Ö‬ﻋﺎد ﻟﻮرﻧﺲ ﺟﺎرﺗﻞ ﻓﻰ‬ ‫ﻋﺎم ‪ ٢٠١٤‬إﻟﻰ اﻟﻌﻤﻞ ا‪¥‬ﺻﻠﻲ وﻗﺎم ﺑﺈﻋﺎدة‬ ‫ﺗﻌﺪﻳﻞ ﻣﺤﺘﻮاه ﻣﺴﺘﺨﺪﻣ‪ Ö‬أدوات اﻟﺘﻜﻨﻮﻟﻮﺟﻴﺎ‬ ‫اﻟﺤﺪﻳﺜﺔ‪ .‬ﻳﻈﻬﺮ ﻓﻲ اﻟﻔﻴﺪﻳﻮ ﺟﺎرﺗﻞ وﻫﻮ أﺻﻐﺮ‬ ‫ﺳﻨ‪ Ö‬وﻳﺸﻴﺮ ﺑﺮأﺳﻪ ﺑﻴﻨﻤﺎ ﻳﺸﺎﻫﺪ ﻋﻤﻠﻴﺔ ﺗﻌﺪﻳﻞ‬ ‫ﺻﻮرﺗﻪ ﻋﻠﻰ اﻟﻬﻮاء ﻣﺒﺎﺷﺮة‪.‬‬

‫‪1978-2014‬‬ ‫‪“SELF” is the first digital video based on a‬‬ ‫‪single artist's self portraiture using digital‬‬ ‫‪media.(circa 1978). The original work is‬‬ ‫‪part of the permanent collection at the‬‬ ‫‪Victoria and Albert (V&A) Museum in‬‬ ‫‪London. After 35 years Laurence Gartel‬‬ ‫‪went back into the original media and‬‬ ‫‪re-edited the content with new‬‬ ‫‪technology in 2014. A young Gartel is‬‬ ‫‪seen making head gestures to watch live‬‬ ‫‪on screen his image processing.‬‬

Loulwa Farhat Lebanon

Censure

‫ﻟﻮﻟﻮا ﻓﺮﺣﺎت‬ ‫ﻟﺒﻨﺎن‬

‫إداﻧﺔ‬

2'24''

‫ دﻗﻴﻘﺔ‬٢:١٤

2015

٢٠١٥

This video was executed as a project for the Experimental Video course at the Institute of Audiovisual and Cinematographic Studies (IESAV) at the Saint-Joseph University in Lebanon. It was made from excerpts from several Lebanese movies: “Tannoura Maxi” (“Heels of War”); “Beirut Hotel”; and “Rue Huvelin”. These scenes were judged to be too daring and were removed from the original versions, by the national Lebanese censorship bureau. This video aims to show the arbitrary and mostly unfounded judgment this bureau makes on Lebanese art: the censored parts are political, sexual and religious, but beyond this, even ‘cheesiness’ is not safe. No more freedom for Lebanese artists, the censorship bureau manipulates as it pleases, like the woman’s voice in this video.

‫ُﻧ ﱢﻔ َﺬ ﻫﺬا اﻟﻔﻴﺪﻳﻮ ﻛﺠﺰء ﻣﻦ ﻣﺸﺮوع ﻓﻨﻲ ﺿﻤﻦ دورة‬ ‫»اﻟﻔﻴﺪﻳﻮ اﻟﺘﺠﺮﻳﺒﻲ« اﻟﺘﻌﻠﻴﻤﻴﺔ ﺑﺠﺎﻣﻌﺔ ﺳﺎن ﺟﻮزﻳﻒ‬ ‫( ﺗﻢ ﻓﻴﻪ ﺗﺠﻤﻴﻊ ﻣﻘﺎﻃﻊ ﻣﺤﺬوﻓﺔ ﻣﻦ ﻋﺪة‬IESAV) ‫ ﻣﻦ ﺑﻴﻨﻬﺎ »ﺗﻨﻮرة ﻣﺎﻛﺴﻲ« و»ﻓﻨﺪق‬،‫أﻓﻼم ﻟﺒﻨﺎﻧﻴﺔ‬ ‫ ﺣﻴﺚ ﺻﻨﻒ اﻟﻤﻜﺘﺐ اﻟﻠﺒﻨﺎﻧﻲ‬،«‫ﺑﻴﺮوت« و»رو ﻫﻮﻓﻠﻴﻦ‬ ‫ﻟﻠﺮﻗﺎﺑﺔ ﻋﻠﻰ اﻟﻤﺼﻨﻔﺎت اﻟﻔﻨﻴﺔ ﻫﺬه اﻟﻤﺸﺎﻫﺪ ﺑﺄﻧﻬﺎ‬ ‫ ﻳﻬﺪف ﻫﺬا اﻟﻔﻴﺪﻳﻮ إﻟﻰ‬.‫ﺟﺮﻳﺌﺔ وﻏﻴﺮ ﻻﺋﻘﺔ ﻟﻠﻌﺮض‬ ‫ﺣﻜﺎم اﻟﻮاﻫﻴﺔ واﻟﻌﺸﻮاﺋﻴﺔ واﻻﺳﺘﺒﺪادﻳﺔ‬¥‫إﻇﻬﺎر ا‬ ‫اﻟﺘﻲ ﻳﻔﺮﺿﻬﺎ ﻫﺬا اﻟﻤﻜﺘﺐ ﻋﻠﻰ اﻟﻔﻦ اﻟﻠﺒﻨﺎﻧﻲ؛ ﻓﻠﻢ‬ ،‫ﻳﻜﺘﻒ ﻫﺬا اﻟﻤﻜﺘﺐ ﺑﺤﺬف اﻟﻤﺸﺎﻫﺪ اﻟﺠﻨﺴﻴﺔ ﻓﻘﻂ‬ ِ ً ‫ﺑﻞ ﻗﺎم‬ ‫ وﻟﻢ‬،‫أﻳﻀﺎ ﺑﺤﺬف ﻣﺸﺎﻫﺪ ﺳﻴﺎﺳﻴﺔ ودﻳﻨﻴﺔ‬ .‫ﺗﺴﻠﻢ اﻟﻤﺸﺎﻫﺪ اﻟﺘﺎﻓﻬﺔ ﻣﻦ اﻟﺤﺬف ﻛﺬﻟﻚ‬ ‫ﻳﺘﺤﻜﻢ ﻫﺬا اﻟﻤﻜﺘﺐ ﻓﻲ اﻟﻔﻦ اﻟﻠﺒﻨﺎﻧﻲ وﻳﺘﻼﻋﺐ ﺑﻪ‬ ‫ ﺣﻴﺚ ﻟﻢ ﺗﻌﺪ ﻫﻨﺎك ﺣﺮﻳﺔ ﻟﻠﻔﻨﺎﻧﻴﻦ‬،‫ﻛﻤﺎ ﻳﺸﺎء‬ .‫ﺗﻤﺎﻣﺎ ﻣﺜﻞ ﺻﻮت اﻟﻤﺮأة ﻓﻲ ﻫﺬا اﻟﻔﻴﺪﻳﻮ‬ ،‫اﻟﻠﺒﻨﺎﻧﻴﻴﻦ‬ ً

Martijn Veldhoen Netherlands

Time and Place 35'

2015 The mother of the filmmaker tells of her life since she first came to live in a poorly maintained canal house in Amsterdam fifty years ago. Her husband’s fast-paced career; their dramatic separation; raising four children alone; she tries to remember the whole story. But she doesn’t want her face in the picture and there are only a few photos. Her story is nonetheless told in a visual manner using unorthodox reconstruction techniques. In the end, not everything will be as ‘real’ as expected.

‫ﻣﺎرﺗﻴﻦ ﭬﻴﻠﺪﻫﻮن‬ ‫ﻫﻮﻟﻨﺪا‬

‫زﻣﺎن وﻣﻜﺎن‬ ‫ دﻗﻴﻘﺔ‬٣٥

٢٠١٥ ‫ﺗﺴﺮد واﻟﺪة ﺻﺎﻧﻊ اﻟﻔﻴﻠﻢ ﻛﻴﻒ ﺻﺎرت ﺣﻴﺎﺗﻬﺎ‬ ‫ﺑﻌﺪ اﻧﺘﻘﺎﻟﻬﺎ ﻟﻠﻌﻴﺶ ﻓﻲ ﺑﻴﺖ ﻓﻘﻴﺮ ذي ﺻﻴﺎﻧﺔ‬ ‫ ﻳﻘﻊ ﻋﻠﻰ ﺿﻔﺎف اﻟﻘﻨﺎة ﻓﻲ ﻣﺪﻳﻨﺔ‬،‫ﺳﻴﺌﺔ‬ .‫ﻋﺎﻣﺎ‬ ً ‫أﻣﺴﺘﺮدام ﻣﻨﺬ ﺧﻤﺴﻴﻦ‬ ó ‫ﺑﺪءا ﻣﻦ ﻣﻬﻨﺔ‬ ‫م‬¥‫ﺗﺤﺎول ا‬ ً ‫ﺗﺬﻛﺮ ﻗﺼﺘﻬﺎ ﻛﺎﻣﻠﺔ‬ ‫ب ذات ا ﻳﻘﺎع اﻟﺴﺮﻳﻊ واﻧﻔﺼﺎﻟﻬﺎ ﻋﻦ زوﺟﻬﺎ‬¥‫ا‬ ‫ ﻻ ﺗﺮﻳﺪ‬.‫ﺗﻤﺎﻣﺎ‬ ‫رﺑﻌﺔ أﻃﻔﺎل وﺣﺪﻫﺎ‬¥ ‫ﺛﻢ ﺗﺮﺑﻴﺘﻬﺎ‬ ً ‫م أن ﻳﻈﻬﺮ وﺟﻬﻬﺎ ﻓﻲ اﻟﺼﻮرة وﻻ ﺗﻮﺟﺪ‬¥‫ا‬ .‫ﺳﻮى ﺻﻮر ﻗﻠﻴﻠﺔ ﻟﻠﻌﺮض‬ ‫ُﺗﺴﺮد ﻗﺼﺘﻬﺎ ﻓﻲ ﺷﻜﻞ ﻣﺮﺋﻲ ﺑﺎﺳﺘﺨﺪام‬ ‫ وﻓﻲ اﻟﻨﻬﺎﻳﺔ ﻟﻦ‬،‫أﺳﺎﻟﻴﺐ إﻋﺎدة ﺑﻨﺎء ﻏﻴﺮ ﺗﻘﻠﻴﺪﻳﺔ‬ .‫ﻳﻜﻮن ﻛﻞ ﺷﻲء واﻗﻌ ًﻴّﺎ ﻛﻤﺎ ﻫﻮ ﻣﺘﻮﻗﻊ‬

Mark Lotfy Egypt

‫ﻣﺎرك ﻟﻄﻔﻲ‬ ‫ﻣﺼﺮ‬

Do as you said

‫اﻋﻤﻞ ﻛﺪه‬

20'23''

‫ دﻗﻴﻘﺔ‬٢٠:٢٣

2012 The juxtaposition between the alienated and the marginal creates a unique tempo which needs to be discovered.” She is a young film director trying to be a part of the Egyptian art scene. He is an expert film director, experienced in securing funds and making films. That’s why he can’t be her gate to the independent art world. She comes to the cafeteria where he used to sit, daily, to write his films and thoughts. The bargaining begins with clichéd matters (funding, sex and art) but everything goes beyond the cliché. Two doped-up garbage men arrive after a long journey, like astronauts exploring an alien planet. A big, poetic, and vulgar fight between the garbage men and the security men suddenly takes place, the clichéd dialogue is stopped, and the artists are muted. The participants in the fight turning into a single team, clapping in a dancing march, and the artists turn into porn stars, playing with art toys and using human rights books as sex toys. And I am there with the two artists—the porn stars—giving instructions to professionalize their performance in our Egyptian porn film.

٢٠١٢ ‫إن اﻟﺘﺠﺎور ﺑﻴﻦ اﻟﻤﻨﺴﻠﺨﻴﻦ واﻟﻤﻬﻤﺸﻴﻦ ﻳﺨﻠﻖ إﻳﻘﺎﻋً ﺎ ﻣﺎ‬ ‫ﺟﺰءا‬ ‫ﻳﺴﺘﺤﻖ اﻻﻛﺘﺸﺎف« ﻫﻲ ﻣﺨﺮﺟﺔ ﺷﺎﺑﺔ ﺗﺤﺎول أن ﺗﻜﻮن‬ ً ‫ ﻫﻮ ﻣﺨﺮج ﺧﺒﻴﺮ ﻓﻲ اﻟﺤﺼﻮل‬.‫ﻣﻦ اﻟﻤﺸﻬﺪ اﻟﻔﻨﻲ اﻟﻤﺼﺮي‬ .‫ﻣﻮال ﻟﺘﻤﻮﻳﻞ أﻓﻼﻣﻪ‬¥‫ﻋﻠﻰ ا‬ ‫ﻫﺬا ﻫﻮ اﻟﺴﺒﺐ ﻓﻲ أﻧﻪ ﻻ ﻳﻤﻜﻦ أن ﻳﻜﻮن ﺑﻮاﺑﺔ ﻟﻬﺎ إﻟﻰ ﻋﺎﻟﻢ‬ .‫اﻟﻔﻦ اﻟﻤﺴﺘﻘﻞ‬ ‫إﻧﻬﺎ ﺗﺄﺗﻲ إﻟﻰ اﻟﻜﺎﻓﺘﻴﺮﻳﺎ ﺣﻴﺚ ﻳﺠﻠﺲ ﻫﻨﺎك ﻳﻮﻣ ًﻴّﺎ ﻟﻜﺘﺎﺑﺔ‬ .‫أﻓﻼﻣﻪ وأﻓﻜﺎره‬ ‫ أﻋﻨﻲ اﻟﺘﻤﻮﻳﻞ واﻟﺠﻨﺲ‬،‫ﺗﺒﺪأ اﻟﻤﺴﺎوﻣﺔ ﺣﻮل اﻟﻜﻠﻴﺸﻴﻬﺎت‬ .‫ وﻟﻜﻦ ﻛﻞ ﺷﻲء ﻳﺴﻴﺮ وراء ﻛﻠﻴﺸﻴﻬﺎت‬،‫واﻟﻔﻦ‬ ‫رﺟﻼ اﻟﻘﻤﺎﻣﺔ اﻟﻤﺨﺪران ﻗﺎدﻣﺎن ﻣﻦ رﺣﻠﺔ ﻃﻮﻳﻠﺔ إﻟﻰ اﻟﻤﻜﺎن‬ ‫ﺣﻴﺚ ﻳﻮﺟﺪ اﻟﻔﻨﺎﻧﻮن؛ ﻳﺼﻼن ﻣﺜﻞ رواد ﻓﻀﺎء ﻳﻜﺘﺸﻔﻮن‬ .‫ﻛﻮﻛﺒًﺎ ﺗﺴﻜﻨﻪ ﻛﺎﺋﻨﺎت ﻓﻀﺎﺋﻴﺔ‬ ‫ﻣﻌﺮﻛﺔ ﻛﺒﻴﺮة ﺷﻌﺮﻳﺔ وﻣﺒﺘﺬﻟﺔ ﺗﺤﺪث ﻓﺠﺄة ﺑﻴﻦ رﺟﺎل‬ ،‫ ﺗﻢ إﻳﻘﺎف ﺣﻮار اﻟﻜﻠﻴﺸﻴﻬﺎت‬،‫ﻣﻦ‬¥‫اﻟﻘﻤﺎﻣﺔ ورﺟﺎل ا‬ .‫واﻟﻔﻨﺎﻧﻮن ﻳﺼﻤﺘﻮن‬ ‫اﻟﻤﺸﺎرﻛﻮن ﻓﻲ اﻟﻤﻌﺮﻛﺔ ﻳﺘﺤﻮﻟﻮن إﻟﻰ ﻓﺮﻳﻖ واﺣﺪ ﻓﻲ‬ ‫ واﻟﻔﻨﺎﻧﻮن ﻳﺘﺤﻮﻟﻮن إﻟﻰ ﻧﺠﻮم‬،‫ﻣﺎرش ﻣﻦ اﻟﺘﺼﻔﻴﻖ واﻟﺮﻗﺺ‬ ‫إﺑﺎﺣﻴﺔ ﺗﻠﻌﺐ ﻣﻊ دﻣﻰ اﻟﻔﻦ وﻛﺘﺐ ﺣﻘﻮق ا ﻧﺴﺎن ﻛﺄﻧﻬﺎ‬ .‫أﻟﻌﺎب ﺟﻨﺴﻴﺔ‬ ‫وأﻧﺎ ﻫﻨﺎك ﻣﻊ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻨﺠﻮم ا ﺑﺎﺣﻴﺔ ﻋﻄﺎء اﻟﺘﻌﻠﻴﻤﺎت‬ .‫ﻟﻬﻢ ﺿﻔﺎء اﻟﻄﺎﺑﻊ اﻟﻤﻬﻨﻲ ﻓﻲ ﻓﻴﻠﻤﻨﺎ ا ﺑﺎﺣﻲ اﻟﻤﺼﺮي‬

Marina Abramović Serbia

The Scream 68'35''

2014 October 2013 ,24 marked the inauguration of Marina Abramović’s project at Ekebergparken, a sculpture and national heritage park in Oslo, Norway. To realize the project, Abramović travelled to Oslo in August of 2013 to collaborate with a cast of 300 of Oslo’s inhabitants to create a special, site-specific performance as an homage to Edvard Munch’s “The Scream” (1895). Against the same landscape as seen in the famous painting by Munch, the inhabitants of Oslo released their emotions by screaming. The unveiling of Abramović’s work coincides with the ongoing celebration of Edvard Munch’s 150th anniversary. On October 24th, Abramović returned to the park's Munch Point to unveil her artwork for Ekebergparken—a frame that visitors to the park are invited to stand behind and scream as in the Munch painting. The inauguration of the sculpture included a performance, Abramović's first in Scandinavia, in which members of the public were invited to enact the scream behind the frame, culminating with Abramović herself. Both the sculpture and performance use the same landscape where Munch found inspiration and sketched his first idea for “The Scream.

‫ﻣﺎرﻳﻨﺎ أﺑﺮاﻣﻮﻓﻴﺘﺶ‬ ‫ﺻﺮﺑﻴﺎ‬

‫اﻟﺼﺮﺧﺔ‬ ‫ دﻗﻴﻘﺔ‬٦٨:٣٥

٢٠١٤ ‫ ﺗﺪﺷﻴﻦ ﻣﺸﺮوع ﻣﺎرﻳﻨﺎ‬٢٠١٣ ‫ﺷﻬﺪ اﻟﺮاﺑﻊ واﻟﻌﺸﺮﻳﻦ ﻣﻦ أﻛﺘﻮﺑﺮ ﻣﻦ ﻋﺎم‬ ‫أﺑﺮاﻣﻮﻓﻴﺘﺶ ﻓﻰ "إﻳﻜﻴﺒﻴﺮﺟﺒﺎرﻛﻦ" )ﺣﺪﻳﻘﺔ ﻟﻠﺘﺮاث اﻟﻮﻃﻨﻲ واﻟﻤﻨﺤﻮﺗﺎت‬ ‫ ﺳﺎﻓﺮت أﺑﺮاﻣﻮﻓﻴﺘﺶ إﻟﻰ أوﺳﻠﻮ ﻓﻰ أﻏﺴﻄﺲ‬.(‫ اﻟﻨﺮوﻳﺞ‬،‫ﻓﻲ أوﺳﻠﻮ‬ ‫ ﻟﺘﻨﻔﻴﺬ اﻟﻤﺸﺮوع وﺗﻌﺎوﻧﺖ ﻣﻊ ﻓﺮﻳﻖ ﻋﻤﻞ ﻳﺘﻜﻮن ﻣﻦ‬٢٠١٣ ‫ﻣﻦ ﻋﺎم‬ ‫ ﻟﻴﺘﻢ اﻟﻘﻴﺎم ﺑﻪ‬Ö‫ﺻﻤﻢ ﺧﺼﻴﺼ‬ ُ ‫داء‬¥ ‫ﺛﻼﺛﻤﺎﺋﺔ ﺷﺨﺺ ﻣﻦ ﺳﻜﺎن أوﺳﻠﻮ‬ "‫ ﺑﻠﻮﺣﺔ إدواور ﻣﻮﻧﻚ اﻟﺸﻬﻴﺮة "اﻟﺼﺮﺧﺔ‬Ö‫ﻓﻲ ﻣﻜﺎن ﻣﺤﺪد اﺣﺘﻔﺎﺋ‬ ‫ ﻗﺎم ﺳﻜﺎن أوﺳﻠﻮ ﺑﺎﻟﺼﺮاخ وﺑﺈﻃﻼق اﻟﻌﻨﺎن ﻟﻌﻮاﻃﻔﻬﻢ ﻓﻰ‬.(١٨٩٥) ‫ وﻗﺪ ﺗﻢ ازاﺣﺔ‬.‫ﻧﻔﺲ اﻟﻤﻜﺎن اﻟﺬي ﺻﻮره ﻣﺎﻧﺶ ﻓﻰ ﻟﻮﺣﺘﻪ اﻟﺸﻬﻴﺮة‬ ‫اﻟﺴﺘﺎر ﻋﻦ ﻋﻤﻞ أﺑﺮاﻣﻮﻓﻴﺘﺶ ﺑﺎﻟﺘﺰاﻣﻦ ﻣﻊ ا ﺣﺘﻔﺎل ﺑﻤﺮور ﻣﺎﺋﺔ‬ .‫ ﻋﻠﻰ ﻣﻴﻼد إدوارد ﻣﻮﻧﻚ‬Ö‫وﺧﻤﺴﻴﻦ ﻋﺎﻣ‬ ‫ﻋﺎدت أﺑﺮاﻣﻮﻓﻴﺘﺶ ﻓﻲ اﻟﺮاﺑﻊ واﻟﻌﺸﺮﻳﻦ ﻣﻦ أﻛﺘﻮﺑﺮ إﻟﻰ اﻟﻤﻜﺎن‬ ‫ﺣﺘﻔﺎء ﺑﻤﺎﻧﺶ ﺑﺤﺪﻳﻘﺔ "إﻳﻜﻴﺒﻴﺮﺟﺒﺎرﻛﻦ" ﻟﺘﺰﻳﺢ اﻟﺴﺘﺎر ﻋﻦ‬ù‫اﻟﻤﺨﺼﺺ ﻟ‬ ‫ وﻛﺎن ﻋﺒﺎرة ﻋﻦ إﻃﺎر ﻓﺎرغ ﻳُﺪﻋﻰ اﻟﺰاﺋﺮﻳﻦ إﻟﻰ‬.‫ﻋﻤﻠﻬﺎ اﻟﻔﻨﻲ ﻟﻠﺠﻤﻬﻮر‬ ‫اﻟﻮﻗﻮف داﺧﻠﻪ واﻟﺼﺮاخ ﻛﻤﺎ ﻫﻮ اﻟﺤﺎل ﻓﻰ ﻟﻮﺣﺔ ﻣﺎﻧﺶ اﻟﺸﻬﻴﺮة‬ ‫ول ﻓﻰ‬¥‫ ﻛﺬﻟﻚ )ﻛﺎن ا‬Ö‫ ﻓﻨﻴ‬Ø‫وﺷﻬﺪ ﺣﻔﻞ ﺗﺪﺷﻴﻦ اﻟﻤﻨﺤﻮﺗﺔ أداء‬ ‫اﺳﻜﻨﺪاﻧﻴﻔﻴﺎ( ﺗﻤﺖ ﻓﻴﻪ دﻋﻮة اﻟﺠﻤﻬﻮر إﻟﻰ ﺗﻤﺜﻴﻞ ﻣﺸﻬﺪ اﻟﺼﺮﺧﺔ‬ ‫ اﺳﺘﺨﺪﻣﺖ‬.‫ﺧﻠﻒ ا ﻃﺎر اﻟﻔﺎرغ وﺷﺎرﻛﺖ أﺑﺮاﻣﻮﻓﻴﺘﺶ ﻧﻔﺴﻬﺎ ﻓﻰ ذﻟﻚ‬ ً ‫ﻛ‬ ‫داء اﻟﻔﻨﻲ اﻟﻤﻨﻈﺮ ذاﺗﻪ اﻟﺬي اﺳﺘﻮﺣﻰ ﻣﻨﻪ ﻣﻮﻧﻚ‬¥‫ﻼ ﻣﻦ اﻟﻤﻨﺤﻮﺗﺔ وا‬ .‫وﻟﻴﺔ ﻟﻠﻮﺣﺘﻪ اﻟﺸﻬﻴﺮة‬¥‫اﻟﻔﻜﺮة ا‬

Malak Helmy Egypt

Records from the Excited State – Chapter 3: Lost Referents of Some Attraction

‫َﻣ َﻠﻚ ﺣﻠﻤﻲ‬ ‫ﻣﺼﺮ‬

‫ﻣﻦ ﺳﺠﻼت اﻟﺪوﻟﺔ اﻟﺴﻌﻴﺪة‬ ‫ اﻟﻤﺮﺟﻌﻴﺎت اﻟﻤﻔﻘﻮدة ﻟﻠﺠﺬب‬:‫اﻟﻔﺼﻞ اﻟﺜﺎﻟﺚ‬

6'56''

‫ دﻗﻴﻘﺔ‬6:56

2012

٢٠١٢

“Chapter 3: Lost Referents of Some Attraction” is composed of three scenes in landscapes: a salt flat, a beach, and a future nuclear power plant. Five characters wander on the edge of a narrative, anticipating employment into function and meaning. Like the landscape, these characters are extras on the periphery of an event, charged with desire of awaiting time and resolve. “Lost Referents of Some Attraction” is a chapter in a series of works titled “Records from the Excited State”an ongoing project that conducts an analysis over time of biological and social rhythms of a site of leisure on the coastline of Egypt.

‫ﻳﺘﻜﻮن »اﻟﻤﺮﺟﻌﻴﺎت اﻟﻤﻔﻘﻮدة ﻟﻠﺠﺬب« ﻣﻦ ﺛﻼﺛﺔ‬ :‫ﻣﺸﺎﻫﺪ ﻣﺨﺘﻠﻔﺔ ﺗﻘﻊ ﻓﻲ ﺛﻼﺛﺔ أﻣﺎﻛﻦ ﻣﺨﺘﻠﻔﺔ‬ .‫ وﻣﺤﻄﺔ ﻧﻮوﻳﺔ ﻣﺴﺘﻘﺒﻠﻴﺔ‬،‫ وﺷﺎﻃﺊ‬،‫ﺷﻘﺔ ﻣﻠﺤﻴﺔ‬ ‫ﺗﺘﺠﻮل ﺧﻤﺲ ﺷﺨﺼﻴﺎت ﻋﻠﻰ ﺣﺎﻓﺔ اﻟﺴﺮد‬ ‫ﻣﻨﺘﻈﺮﻳﻦ أن ﻳﺘﻢ ﺗﻮﻇﻴﻔﻬﻢ ﻟﻴﻠﻌﺒﻮا دورًا وﻟﻴﺼﻴﺮوا‬ ‫ ﺗﻠﻌﺐ ﻫﺬه اﻟﺸﺨﺼﻴﺎت دورًا ﻓﺮﻋ ًﻴّﺎ‬.‫ﺟﺰءا ﻣﻦ اﻟﻤﻌﻨﻰ‬ ً ‫ ﻣﺜﻠﻬﻢ ﻓﻲ ذﻟﻚ ﻣﺜﻞ اﻟﻤﻨﺎﻇﺮ‬،‫ﻋﻠﻰ ﻫﺎﻣﺶ اﻟﺤﺪث‬ ‫ﻫﻢ اﻟﺮﻏﺒﺔ ﻓﻲ اﻧﺘﻈﺎر ﺣﻞ وﻣﺮور‬Þ‫ وﺗﻤ‬،‫اﻟﻤﺴﺘﺨﺪﻣﺔ‬ ‫ »اﻟﻤﺮﺟﻌﻴﺎت اﻟﻤﻔﻘﻮدة ﻟﻠﺠﺬب« ﻫﻮ ﻓﺼﻞ‬.‫اﻟﻮﻗﺖ‬ ‫ﺿﻤﻦ ﺳﻠﺴﻠﺔ أﻋﻤﺎل ﺗﻌﺮف ﺑﺎﺳﻢ »ﻣﻦ ﺳﺠﻼت‬ ‫ وﻫﻮ ﻣﺸﺮوع ﻣﺴﺘﻤﺮ ﻳُﻌﻨﻰ ﺑﺘﺤﻠﻴﻞ‬،«‫اﻟﺪوﻟﺔ اﻟﺴﻌﻴﺪة‬ ‫ﻣﺎﻛﻦ‬¥‫ﺣﺪ ا‬¥ ‫ا ﻳﻘﺎﻋﺎت اﻟﺒﻴﻮﻟﻮﺟﻴﺔ واﻻﺟﺘﻤﺎﻋﻴﺔ‬ .‫اﻟﻤﺨﺼﺼﺔ ﻟﺘﻤﻀﻴﺔ وﻗﺖ اﻟﻔﺮاغ ﻋﻠﻰ اﻟﺴﺎﺣﻞ ﺑﻤﺼﺮ‬

Nadim Tabet & Karine Wehbé Lebanon

Summer 91 22'

2014 A young woman and a young man each give their version of a story they lived through together, while we see images of where this story took place: a seaside resort on the Lebanese coast.

‫ﻧﺪﻳﻢ ﺗﺎﺑﺖ و ﻛﺎرﻳﻦ وﻫﺒﻲ‬ ‫ﻟﺒﻨﺎن‬

‫ﺻﻴﻒ ﻋﺎم واﺣﺪ وﺗﺴﻌﻴﻦ‬ ‫ دﻗﻴﻘﺔ‬٢٢

٢٠١٤ ‫ ﱞ‬،‫ﻣﻌﺎ‬ ‫ﻛﻞ ﻣﻦ‬ ً ‫ﺗﺤﻜﻲ ﺷﺎﺑﺔ وﻓﺘﻰ ﻗﺼﺔ ﻋﺎﺷﺎﻫﺎ‬ ‫ﺛﻨﺎء ﻧﺮى ﺻﻮرًا‬¥‫ وﻓﻲ ﻫﺬه ا‬،‫وﺟﻬﺔ ﻧﻈﺮه‬ :‫ﻟﻠﻤﻜﺎن اﻟﺬي دارت ﻓﻴﻪ أﺣﺪاث ﻫﺬه اﻟﻘﺼﺔ‬ .‫ﻣﻨﺘﺠﻊ ﺷﺎﻃﺌﻲ ﻳﻘﻊ ﻋﻠﻰ اﻟﺴﺎﺣﻞ اﻟﻠﺒﻨﺎﻧﻲ‬