Current and Upcoming

My Last Life, Netwerk, Aalst (B)

2011-12-21T23:05:00.001+01:00

My Last Life Netwerk centrum voor hedendaagse kunst, Aalst (Belgium)

December 10 - March 3, 2012.

January 20 : In dialogue with Christian Kravagna & Lidwien van de Ven

February 7 : Prospectus - discursive platform with guests :

Corinne Diserens /Jean-Pierre Rehm / Didier Debaise / Yvan Flasse / Fabrizio Terranova / TJ Demos / Olivier Marboeuf/Pierre Huyghebaert/

Atlas Critique, Parc Saint léger (France)

2011-12-20T22:03:00.000+01:00

Atlas Critique, Parc Saint léger (France)

17 mars > 27 mai 2012
Vernissage vendredi 16 mars à 18h30
Avec les œuvres de :

Erick Beltrán, Lia Perjovschi, Vincent Meessen, Claire Fontaine, Allan Sekula & Noël Burch, Phillippe Rekacewicz, Fernand Deligny, Stalker, Michael Druks, Berger & Berger,
Estefanía Peñafiel Loaiza, Pedro Lasch, Lewis Caroll & Henry Holiday, Adriana Varejão, Endré Tot, Nastio Mosquito, Internacional Errorista, Francis Alÿs, Chto Delat ?, REP Group,Radek Community & Dmitry Gutov, James Wentzy & AIDS Community Television, Société réaliste, René Gabri & Ayreen Anastas
Avec une performance de : Patrick Bernier et Olive Martin Avec des conférences de : Razmig Keucheyan et Teresa Castro
Commissariat : Aliocha Imhoff et Kantuta Quirós / le peuple qui manque

Sweet Protestations, Argos center for art & media, Brussels

2011-12-20T22:02:00.001+01:00

Sweet Protestations
Argos center for art & media, Black box
January 29 - April 01, 2012
With Angel Vergara, Wolf Vostell, Vincent Meessen,
Messieurs Delmotte, Luc Deleu, Filip Francis & De Nieuwe Coloristen

Opening Night 28th January 2012

As a prelude to the Festival van de Verwarring (Festival of Confusion) 2012 / Sapere Aude in the Beursschouwburg, Argos presents the Black Box programmeSweet Protestations. Five short to medium-long video documents examine and illustrate the role of the artist who enters the public domain in order to question the surrounding ’reality’. In the works the maker becomes personally transformed into a ‘sweet’ intruder, into an object that encroaches upon the surroundings without concomitantly changing to direct confrontation: interactions which raise a field of tension between the onlookers and the singular actions of the artists. In these ‘documents bruts’, which engender credence, ridicule and even real civil protest, the artists employ an idiosyncratic jargon which often borders on ritual. InThe Intruder Vincent Meessen moves silently through the busy shopping streets and market squares of Ouagadougou, cocooned in a suit of cotton blossoms: Burkina Faso’s ‘white gold’. The white figure expresses the object of attraction and surprise or of aggression and ridicule: for the passers-by he is an image susceptible to appropriation, a symbolic mirror bulging with implicit political, social and economic significance. A 1995 cultural exchange project between Europe and Africa forms the introduction andgives rise to Messieurs Delmotte’sTourist Renouncement, an artist whose filmed mini-performances attempt to transcend reality and its limitations. This early work strings together critical actions, steeped in bitter-sweet humour in which he theatrically interprets the historical relationships and clichés between the two continents. Less direct in nature is Straatman Lottery in which Angel Vergara Santiago chops up recordings of performances in Birmingham under his alter ego, Straatman, with images of the city’s population, an entirety interspersed with sketches and textual comments. Although the title refers to an imaginary lottery which he organized there, Léo Ferré sings/muses on L’impossible to a text by Arthur Rimbaud. Although Zwei Betoncadillacs in Form der Nackten Maja on close inspection forms a documentation of the realization of the sculpture of the same name by Wolf Vostell in the West Berlin of 1987, this period piece – at the time the work was inaugurated to celebrate the 750th anniversary of Berlin; in 2006 it was restored to its original form – can also be read as a recorded performance. The debit for that is the role of the onlookers who protest against the work (“Wasting tax money is no art”, “That kind of art here? No thank you”) but also the position of Vostell himself who as a real maestro directs his team and the works. In addition, the historical Inktpot (Ink-well) by Luc Deleu, Filip Francis & De Nieuwe Coloristen (The New Colourists), in which the artists transform an abandoned Second World War bunker in the Koksijde dunes into an ink-well, the register of recording rises as a result of inserting items including animation and images of a snow-covered Brussels during the editing.

Programme:

Vincent Meessen - The Intruder
2005, video, colour 7’26”, multiple languages spoken, English subtitles.
Messieurs Delmotte - Tourist Renouncement
1995, video, 19’07”, sound.
Angel Vergars Santiago - Straatman Lottery
2000, video, 5’41”, sound.
Wolf Vostell - Zwei Betoncadillacs in Form der Nackten Maja
1987, video, 6’30”, sound.
Luc Deleu, Filip Fancis & De Nieuwe Coloristen - Inktpot
1971, video, 5’14”, silent.

Spectres of History: Documents in Contemporary art, Amsterdam

2011-12-20T22:01:00.001+01:00

Spectres of History: Documents in Contemporary art

University of Amsterdam

January 25, 2012

With Sven Augustijnen, Vincent Vulsma, Wendelien von Oldenborgh, Vincent Meessen & Sophie Berrebi

L'avenir du passé: politiques de l'archive, ENSA Bourges (F)

2011-12-20T21:59:00.000+01:00

L'avenir du passé: politiques de l'archive
ENSA Bourges (F), january 4, 2012
Giovanna Zapperi & Alejandra Riera's seminar

Manifesta 9, Coffee Break, Genk (B)

2011-12-20T21:07:00.000+01:00

Manifesta 9
Coffee Break
Genk (B)
December 9-10, 2011

Friday December 9, 2011

12:30 Doors open, Registration

13:30 – 14:00 Welcome Coffee

14.00 - 14.10 Introduction by Hedwig Fijen, director of Manifesta

14.10 - 14.30 Introductions on The Contemporary at Service of the Past by
Cuauhtémoc Medina, Manifesta 9 Curator

14:30 - 15:00 Jeremy Deller, artist, lives and works in London
Screening So Many Ways to Hurt You, the Life and Times of Adrian Street (2010)

15:00 – 15:30 Dawn Ades, Associate Curator Manifesta 9, in conversation with Jeremy Deller

15:30 – 15:45 Short Break

15:45 – 16:00 Sneak Preview: Manifesta Journal #13

16:00 – 16:20 Vincent Meessen artist, lives and works in Brussels
On Vita Nova (2009) and the research behind

16:20 – 16:45 Johan de Boose Doctor in Slavic Studies, author, lives and works in Ghent
Martyrs (Bloedgetuigen), 2011. A short reading

16:45 – 17:30 Moderated talk with Vincent Meessen and Johan de Boose
moderated by Katerina Gregos, Associate Curator of Manifesta 9

17:30 – 18:15 Ibro Hasanovic, Bosnian artist based in Rouen (FR) on The Short
Story, on oral narrative traditions.
Screening The Short Story (2011)

18:15 – 18:30 Conclusions of the day by Cuauhtémoc Medina

18:30 - 21.00 Buffet

Saturday December 10, 2011

10:00 - 10:10 Introduction / Memory fresh up previous day by Cuauhtémoc Medina

10:10 - 11.20 Conversation by Christopher Fraga, PHD candidate in ethnography at NYU based in New York with Cuauhtémoc Medina, Katerina Gregos and Dawn Ades on their practices, on Manifesta 9

11:20 - 13:20 Workshops: All Coffee Break participants divide up in three workshops. The artists will develop different strategies in collaboration with the audience in order to approach the theme of the “Contemporary at the Service of the Past”.

1. Phil Collins, Berlin-based British artist
2. Yan Tomaszewski, Paris-based Polish artist
3. Eva Gronbach, German fashion designer, based in Cologne

13:20 - 14:00 Short presentation workshops

14:00 -14:30 Lunch

14:30 - 16:15 Victor Misiano, Moscow based curator of Manifesta 1, Chairman
of the Manifesta Foundation, on Progressive Nostalgia

16:15 - 17:00 Ekaterina Degot, independent art historian, art critic, and curator
from Kiev - Curatorial case study: 1st Ural Industrial
Biennial: Shockworkers of the Mobile Image

17:00 - 17:45 Moderated conversation by Cuauhtémoc Medina with Victor Misiano and Ekaterina Degot - in search for the tension between fear of nostalgia versus fear of the past

17:45 - 18:00 Final conclusion of Manifesta 9 Coffee Break by Katerina Gregos and Cuauhtémoc Medina

18:00 Goodbye toast, cheers!

Wäscherei Kunstverein, Zürich

2011-12-20T20:55:00.000+01:00

Wäscherei Kunstverein, Zürich

December 16, 2011.

Organized by The Postgraduate Programme in Curating

Zurich University of the Arts

Pensées achipéliques + Routes, voyages et traductions, Nantes

2011-12-20T20:54:00.000+01:00

Pensées archipéliques
ENSA Nantes (Emmanuelle Chérel's seminar)

December 12, 2011

10-12 AM

Routes, voyages et traductions

Contrechamp /Le Cinématographe

Nantes

December 12, 2011
8PM

Partant du film expérimental culte de Peter Kubelka Notre voyage africain (1966), on s'aventurera plus loin dans deux films récents qui proposent eux aussi des relectures d'images. Dans Why Colonel Bunny Was Killed, Miranda Pennell travaille les images d'archives coloniales britanniques au corps jusqu'à ce qu'elles révèlent leur "inconscient optique". Avec Vita Nova, Vincent Meessen revisite une icône de la critique postcoloniale, l'image d'un enfant de troupe coloniale française commentée en son temps par Roland Barthes dans ses célèbres Mythologies.

Unsere Afrikareise (Notre voyage en Afrique)
de Peter Kubelka
1961-1966, 13 min
À partir de plusieurs heures dʼimages et de sons prélevés lors dʼun voyage en Afrique, Kubelka a monté ce film en suivant plusieurs lignes métaphoriques, rythmiques et chromatiques. Par le truchement du montage audio-visuel, il articule, en autant de confrontations, les relations entre le colonisateur et le colonisé, le chasseur et le chassé, le sujet percevant et lʼobjet regardé.

Why Colonel Bunny Was Killed
de Miranda Pennell
2010, 27 min
Prenant comme point de départ un récit d’exploration écrit par un médecin missionnaire anglais en 1909,Why Colonel Bunny Was Killed est entièrement composé de photographies datant de l’époque coloniale prises à la frontière nord-est des Indes Britanniques. Tentant de faire émerger une réalité refoulée de ces photos prises au cours du conflit colonial, le film joue subtilement image contre son. Il nous amène à examiner l’argumentaire et la symbolique coloniale à travers ses discours, ses codes vestimentaires, ses meubles, ses trophées…

Vita Nova
de Vincent Meessen
2009, 27 min
Vita Nova revisite une image parue en couverture de Paris Match en 1955 et montrant un enfant de troupe coloniale au salut. Devenue célèbre suite à sa déconstruction par Roland Barthes (Mythologies, 1957) et à la fortune critique que connu cette analyse, particulièrement dans le monde anglo-saxon, cette image est devenue une icône de la pensée sémiologique moderne. Meessen part au Burkina Faso à la recherche de l’enfant qui figurait en 1955 sur la couverture du magazine avant de poursuivre sa quête en Côte d’Ivoire et dans divers fonds d’archives. En chemin, il convoque différents régimes narratifs pour "dire l’histoire" et faire de Barthes un personnage de sa propre œuvre. Il recontextualise des extraits de textes de Barthes et leur donne un sens nouveau. Il éclaire ainsi un pan tout à fait oublié de la biographie de l’auteur qui, pour déclarer " la mort de l’auteur" en 1968 avait argumenté l’inutilité du biographique.

Hantologie des colonies, Paris

2011-10-19T22:44:00.003+02:00

Hantologie des colonies

Paris & banlieue,

October 8 - november 18, 2011.

Espace Khiasma, Musée du Jeu de Paume, Les Laboratoires d'Aubervilliers, Le Peuple qui manque, Ciné 104, La Galerie de Noisy-le-Sec, ENSBA, Maison Populaire de Montreuil, Mains d'Oeuvres...

Curated by Normal, produced by Espace Khiasma

With films by de Sven Augustijnen, Raoul Peck, Marie Voignier, Ben Russell, Wendelien van Oldenborgh, Filipa César, Patricia Esquivias, Angela Ferreira, Penny Sipopis, Philip Scheffner, Olive Martin & Patrick Bernier, Raquel Schefer, Miranda Pennell, Patrizio di Massimo, Uriel Orlow, Brigitta Kuster & Moise Merlin Mabouna & guests introducing or discussing the films : a.o. Giovanna Zapperi, Corinne Diserens, Françoise Vergès, Olivier Marboeuf...

Cortopotere, Bergamo

2011-10-19T22:40:00.000+02:00

Cortopotere

International competition

Bergamo, Italy

October 23-29, 2011

Cher Conseiller, FRAC Lorraine / La Première Rue, Briey

2011-10-19T22:36:00.004+02:00

Cher Conseiller,

(solo show)

FRAC Lorraine/La Première Rue

Cité Radieuse, Briey-en-Forêt, France

October 14 - january 29, 2012

My Last Life, Espace Khiasma, Les Lilas

2011-10-19T22:34:00.002+02:00

My Last Life
(solo show)

Espace Khiasma, Les Lilas, Seine Saint-Denis, France

September 29 - November 12, 2011.

On October 8 @ 5PM : talk with Corinne Diserens

Métro : Mairie des Lilas

video_dumbo, New York

2011-08-29T23:23:00.000+02:00

video_dumbo

September 23 – 25, 2011

DUMBO ARTS CENTER [DAC]
111 Front Street, Suite 212
Brooklyn, NY 11201
Tel. 718.694.0831
Fax 718. 694.0867

Community without Propinquity, Milton Keynes, UK

2011-07-30T10:57:00.002+02:00

Community without Propinquity
Milton Keynes Art Gallery, Milton Keynes (UK)

October 7 - November 27, 2011

*propinquity (noun)
1 the state of being close to someone or something;
2 close kinship.

EXHIBITION: Paulo Catrica, Cao Fei, Nathan Coley, Jesal Kapadia, Vincent Meessen, Paul Noble, Pia Ronicke, Ishmael Randall Weeks, Stuart Whipps

VIDEO PROGRAMME: Amanda Beech, Bernd Behr, Cao Fei, Dominique Gonzales Foester, Cyprien Gaillard, Huang Xiaopeng, Minouk Lim, Corey McCorkle, Vincent Meessen, Pierre Huyghe, Pia Ronicke, Alain Tanner.

RESEARCH LAB COMMISSIONS: Caroline Devine, Emma Hedditch, Kelly Large, Emma Smith, Patrick Staff, Mark Aerial Waller, An Endless Supply.

'Community without Propinquity'* is a research lab and exhibition that investigates the concept of community in the context of New Towns. As part of the 'Community without Propinquity' lab there will be an exhibition and artists film programme, 5 new artists commissions made in Milton Keynes, a publication and public symposium. The project is curated by Claire Louise Staunton and Inheritance Projects with the MK Gallery.

An exhibition and artists film programme in the Project Space and Events Space will show artwork from other New Towns around the world including Chandigarh, Brasilia, Shenzhen, Nowa Huta and even cyber space. These works present a way of understanding the unique geographical, architectural and historical context of intentionally built cities on land where there was previously no significant population.

The 'Community without Propinquity' is part of a nomadic proposal for a group of curators, artists and writers to temporarily inhabit and articulate New Towns from an alienated position. With previous incarnations in Shenzhen (China), there are possible futures planned for Chandigarh, Brasilia and Almere.

4.Foto-festival, The Eye is a Lonely Hunter/Images of Mankind, Mannheim, DE

2011-07-30T10:55:00.002+02:00

4.Foto-festival
The Eye is a Lonely Hunter/Images of Mankind
Kunsthalle Mannheim, (DE) and 7 other locations

september 10 - november 6, 2011

Cher Conseiller, FRAC Lorraine extra muros, Briey-en-Forêt

2011-07-30T10:53:00.002+02:00

Cher Conseiller,

FRAC Lorraine (extra muros)

La Première Rue, Cité Radieuse, Briey-en-Forêt (France)

october 14, 2011 - january 30, 2012.

My Last Life, Khiasma, Les Lilas (F)

2011-07-30T10:51:00.002+02:00

My Last Life
Espace Khiasma, Les Lilas (France)

September 29- 12 November 12, 2011

Rencontres Internationales Paris-Berlin-Madrid

2011-07-30T10:47:00.003+02:00

Rencontres Paris-Berlin-Madrid

Videoex, Zurich

2011-06-07T18:14:00.000+02:00

Videoex 11
Zurich
May 21-29, 2011

Distant Montage, ERBA, Valence

2011-02-15T10:38:00.011+01:00

Mekhitar Garabedian

Nora Martirosyan

Slavs & Tatars

DISTANT MONTAGE

Ecole Régionale des Beaux Arts de Valence (ERBA)

Exposition : 25-02 -> 11-03-2011

Vernissage : 24 février à 18H00

Commmissariat : Normal, Bruxelles

« Il faudra, un jour relire l'histoire du XXe siècle à travers le prisme de l'exil »

(Enzo Traverso)

Avec « Distant Montage », l'ERBA ouvre son espace d'exposition aux travaux de deux artistes d'origine arménienne Mekhitar Garabedian (Alep, 1977) et Nora Martirosyan (Yerevan, 1973) ainsi qu'à ceux de Slavs & Tatars, un collectif d'artistes ayant élu la vaste Eurasie comme terrain d'enquête et de spéculation transnationales.

Si le communiqué de presse nous apprend que les oeuvres ont été collectées à Bruxelles et convoyées par Vincent Meessen (Baltimore, 1971), artiste invité à un workshop qui se tient du 22 au 25 février à l'ERBA, on suppose que les travaux ont fait l'objet d'un choix opéré à distance, qu'il s'agit d'une sélection faite sur la base d'une projection, d'un montage à distance.

Mais une lecture littérale du titre de l'exposition masquerait sûrement la richesse d'autres associations possibles. Car on pourrait tout aussi bien se référer à cet étrange anglicisme : « Distance montage », une expression forgée par le cinéaste arménien Artavazd Peleshian. Un néologisme qui définit sa tentative d'une écriture cinématographique à même de transcender le style documentaire. Car Peleshian - qui s'écrit aussi Pelechian - imagine ses films comme autant d'entités auto-constituantes, comme des totalités dans lesquelles la séquence n'existe plus, agrégée qu'elle est au tout. Elle disparaît et abolit l'idée de montage lui-même. Se situant à l'exact opposé de la théorie canonique du montage d'Eisenstein, pour qui tout fragment a une signification et un rôle propres dans la construction du récit, Peleshian favorise une poétique de la discontinuité, un montage qui nous invite à relier des éléments dispersés dans le film et qui ne permet pas de nous reposer sur des raccords. Peleshian tente ainsi de forcer l'enchaînement mécanique et de faire advenir un temps propre. Le montage est ainsi pour lui le seul outil apte à combattre le temps.

Mais quel est ce temps que Peleshian a décidé d'affronter par le montage? Le temps avec son grand T et sa représentation la mieux distribuée ? La flèche du temps ? Cette flèche qui va pour nous de gauche à droite représente le temps comme un écoulement continu, rythmant l'impitoyable succession des faits. C'est cette « timeline », cette instrumentalisation chronologique, cette rationalisation policée du temps, que le montage abolit.

A ce stade, le lecteur du communiqué marque une pause. Il s'interroge non pas tant sur ces dernières lignes qui manquent tout de même de lisibilité mais sur les nombreuses occurrences arméniennes. Il apprend alors ce qu'il savait peut-être déjà : qu'à Valence, un habitant sur dix est d'origine arménienne. Que ce que l'on tient à distance est parfois tout proche et vice versa.

En spéculant sur les possibles croisements entre les travaux d'artistes présentés et le contexte de leur inscription locale, « Distant Montage » propose de désaccorder les temps pour remonter l'Histoire. D'approcher concrètement certains épisodes de celle-ci comme des récits en actes qu'il s'agit d'actualiser constamment à travers l'expérience propre*. C'est ainsi l'un des points communs entre les travaux exposés que d'inviter le spectateur à se constituer à son tour en « monteur », de faire sa propre expérience des documents.

Depuis qu'elle a quitté son pays natal, Nora Martirosyan, aujourd'hui installée en France, s'est illustrée par une série d'approches filmiques très personnelles qui « travaillent de mémoire » avec un soin particulier apporté au rapport image-son ou, plus précisément, à leur disjonction, celle-ci introduisant une série de failles volontaires dont aucun réalisme ne peut sortir indemne. Elle a ainsi développé un travail de conceptualisation autour de l'acte de témoignage. Un travail qui vise à contourner les pièges et les impasses du mythe vériste du réalisme documentaire tout en maintenant l'exigence éthique d'une transmission factuelle avérée. Dans le film « 1937 » visible dans l'exposition, l'artiste remonte, à l'aide d'archives soviétiques d'époque, une sinistre tranche de la grande Histoire, celle des purges staliniennes dans son pays, en reconstruisant en vis-à-vis de sources faisant foi, un récit parallèle, transposé à l'échelle familiale. En mettant en scène le récit de l'arrestation de son arrière-grand-père, Nora Martirosyan se familiarise avec une forme de domestication de l'Histoire. Elle opère un nouveau partage entre authentification et récit. Ses images, ses sons, la voix de la témoin, sa grand-mère, recréent du jeu dans la fixité de l'histoire écrite et homologuée. Mais aussi et surtout, elle fabrique pour elle et les siens les conditions d'une expérience transgénérationnelle d'un trauma qui, en nous parvenant et nous touchant, montre la pertinence critique des approches contrapuntiques.

Le travail Mekhitar Garabedian se donne comme une mise en perspective critique de la vie mutilée d'un exilé, obligé par l'impossible retour au pays. Le rapport affectif à la langue et plus encore à « l' écriture perdue » y occupe une place prépondérante. L'alphabet arménien, ici métaphore de l'apprentissage d'une écriture morcelée de soi, est convoqué sous forme de listes répétitives de lettres et de mots usuels qui cherchent obstinément à s'inscrire dans la mémoire et ce en dépit de tout utilité pratique au quotidien. Comme en dette de sa communauté et de son histoire tragique, l'artiste vivant en Belgique, semble répondre à l'injonction mémorielle implicite qui lui est faite. En réponse à la somme des pertes et au déni persistant de la reconnaissance du génocide, il s'invente une grammaire formelle apte à reconduire l'acte de transmission mais ce geste ne se fait pas sans lester de façon critique certaines des icônes tendues à bout de bras par le pays, la mémoire officielle, la famille ou les cousins de la diaspora. Mais si elle n'est pas révérée, cette irréductible différence identitaire est, à tout le moins, à chérir car ces particularités constituent la puissante arme par laquelle on s'octroie le droit de refuser l'assignation policière qui vous est faite dans votre contrée d'accueil. Pas étonnant ainsi que l'artiste s'identifie à un Baudelaire en exil et adapte « L'étranger » comme une déclaration poétique d'émancipation radicale.

Quant au collectif d'artistes Slavs & Tatars dont le nom évoque tout autant un possible groupe de recherche universitaire qu'il éveille potentiellement des images fantasmatiques de hordes déferlantes, il se joue délibérément et jusqu'à la caricature de notre méconnaissance crasse du Caucase et de l'Asie centrale. En élisant l'Eurasie comme terrain prospectif, les membres de Slavs & Tatars impulsent un mouvement inverse aux tendances mimétiques opérées par les pays de l'est lorgnant sur l'Ouest. Pour forcer le rapprochement entre des formes totalement étrangères les unes aux autres, ils recourent à un graphisme radical-vernaculaire qui fait un usage consommé de la citation tant illustrée que textuelle. Le collectif manie avec une inventivité et un humour tranchants un discours volontairement polémique où de façon récurrente de provocantes allitérations poétiques transmettent des slogans politiques. Face aux lyrics de leur « reprise » du hit pop « She's a maniac » devenu sous leur plume « She's Armenian » ou à leur archéologie des noms de villes disposée au sol, on est confronté à une pratique de réécriture de l'histoire dans laquelle les strates et les influences conflictuelles sont subitement rendues lisibles. Jouant savamment les avocats du diable, Slavs & Tatars s'inventent en martyres du minoritaire, c'est-à-dire, si l'on en croit l'étymologie du mot, en « témoins » adoptant une posture identitaire spéculative: celle d'un devenir minoritaire brandie en opposition au Fait, par définition majoritaire et totalisant. C'est peut-être cela qu'il faut comprendre lorsqu'ils se définissent de fort belle façon comme « une faction de polémiques et d'intimités ». Faction est cette contraction anglaise qui, outre son sens habituel et voisin du français, désigne aussi le mariage du « fact » et de la « fiction » , c'est-à-dire des écritures fictives qui incorporent faits et personnages historiques reconnaissables.

« Distant Montage » sonde des intervalles spatio-temporels ouverts par la distanciation que rend possible la technique du montage. Cette pratique minoritaire ne s'intéresse au Fait qu'au travers de son historicité, de sa fabrique, et de sa relecture contextuelle. Les travaux présentés rappellent que les véritables faiseurs d'histoires, ce ne sont jamais les historiens mais bien « les futurs possibles ».

* C'est pourquoi workshop et exposition sont intimement liés, concourant à une approche constructiviste qui ouvre la voie à de possibles enrichissements de la part des participants, mis en situation d'ajuster, via leur regards, leurs rencontres, leurs formes et/ou leurs récits, une distance aux oeuvres. Le workshop comprend par ailleurs la projection de travaux récents d'Uriel Orlow (Zurich, 1973) et de Pieter Geenen (1979, Hasselt).

ARS 11, KIASMA, Helsinki

2011-01-17T09:50:00.003+01:00

The premise of the ARS 11 exhibition is Africa in contemporary art. The themes are global, issues that affect us all. Memory, recollection and the simultaneous presence of different histories and layers of time, these are some of the common starting points of the work of many artists featured in ARS 11.

ARS 11 approaches Africa as a broad cultural concept. Artists of African origin no longer living in their native country will also be featured in the exhibition. In addition, there will be works by Western artists who have consistently addressed African themes in their work.

About 30 artists will be invited to participate in the exhibition, some of whom will produce new work for the show. The following artists have already started work for the exhibition: Georges Adéagbo(1942 Benin), Samba Fall (1977 Senegal), Laura Horelli (1976 Finland), Alfredo Jaar (1956 Chile),Otobong Nkanga (1974 Nigeria), Nandipha Mntambo (1982 Swaziland), Odili Odita (1966 Nigeria). The Center for Contemporary Art Lagos CCA will produce an exhibition of work by the Nigerian photographer J. D. ‘Okhai Ojeikere (b. 1930), to be mounted on the second floor in Kiasma.

ARS 11 will extend across Finland and also to one venue in Sweden. The satellite exhibitions will be curated and produced by the partner museums and will showcase the themes of ARS 11.

ARS 11 will be part of the programme of the Capital of Culture year 2011 in Turku. The contribution of Kiasma will include two video installations from its collections: Where is Where? (2008) by Eija-Liisa Ahtila and WESTERN UNION: Small Boats (2007) by Isaac Julien. Both works will be on show for the first time in Finland. This part of the ARS 11 exhibition will be produced in cooperation with the Kiasma Foundation.

The ARS 11 curator team are Pirkko Siitari, Director of Kiasma, Arja Miller, Chief Curator, and Jari-Pekka Vanhala, Curator. The ARS 11 programme for Kiasma Theatre will be compiled by Riitta Aarniokoski. The African theme for ARS 11 was chosen by the former director of Kiasma, Berndt Arell.

The ARS 11 exhibition celebrates the 50-year history of the most important exhibition institution in Finland. Organised since 1961, the ARS exhibitions have played a crucial role in shaping ideas about art and giving a face to contemporary art in Finland. The history of the ARS exhibitions will be showcased during ARS 11 by two publications produced by the Central Art Archives of the Finnish National Gallery as well as by documentary material.

(dé)Colonisation, Cinema Lux, Caen (F)

2010-11-22T12:00:00.002+01:00

Une proposition de Transat Vidéo à l’occasion du Mois du Documentaire et en écho au 50e anniversaire de l’indépendance des Pays Africains Francophones (CIPAF).

Samedi 6 novembre | 11h00 | Cinéma LUX

Afrique 50
de René Vautier (1950-20’)
Film de commande de la Ligue de l’enseignement à destination des lycéens et collégiens pour leur faire découvrir la vie du paysannat africain, le film a fini par être le premier film anticolonialiste français, censuré en France jusqu’en 1990.

Les Trois couleurs de l’empire
de Jean-Claude Guidicelli et Virginie Adoutte (2001-1h09)
Colonisée au nom de valeurs humanistes, l’Algérie symbolisa pendant presque un siècle et demi l’utopie coloniale française. Examinant la manière dont la France a géré son « image », ce documentaire retrace les étapes de « l’idée coloniale », dont les principes n’ont pas totalement disparu.

Samedi 13 novembre | 11h00 | Cinéma LUX

Joe Leahy’s Neighbours
de Bob Connolly et Robin Anderson (1988-1h30)
En 1989, en Papouasie Nouvelle-Guinée, Joe Leahy, propriétaire d’une plantation de café, vit seul au milieu des tribus papoues. Il doit son ascension sociale à l’habileté avec laquelle il manipule ses voisins ganigas. Les Papous, demeurés proches du mode de vie traditionnel, se sentent néanmoins attirés par la société de consommation. À travers les démêlés de Joe Leahy et de ses voisins, se joue de façon cocasse mais souvent explosive, le scénario de la colonisation...

Samedi 20 novembre | 11h00 | Cinéma LUX

Le Ciné colonial – Le Maghreb au regard du cinéma français
DE MOKTAR LADJIMI (FRANCE, 1997-53’)
Dès que les films Lumière ou Méliès ont révélé les possibilités du cinéma, la France n’a cessé de nourrir sa politique coloniale dans le Maghreb d’une imagerie de propagande, où le manichéisme le disputait aux grandes envolées civilisatrices. A l’appui de cette théorie, Youssef El Ftouh et Moktar Ladjimi convoquent témoins et extraits de films pour retracer une histoire du cinéma colonial français.

Zoos humains
DE PASCAL BLANCHARD ET ÉRIC DEROO (FRANCE, 2002-52’)
Autour de 1900, nos grands-parents et arrière-grands-parents se sont précipités pour voir d’authentiques “sauvages” montrés comme des bêtes de foire. Véhicules de la propagande colonialiste, ces zoos humains servent aussi à construire une identité collective en opposition au référent négatif de l’étranger primitif… Construit comme une enquête policière, Zoos humains questionne de façon passionnante nos fantasmes et stéréotypes face à l’autre, à l’inconnu.

Samedi 27 novembre | 11h00 | Cinéma LUX

Vita Nova
DE VINCENT MEESSEN (BELGIQUE, 2009-26’)
La prémisse de Vita Nova est une couverture du quotidien français Paris Match de 1955 sur laquelle un enfant soldat fait un salut militaire. Meessen part à la recherche de Diouf, l’enfant sur la photo. Il élabore un récit en couches qui mêle le passé colonial à des textes de Roland Barthes, auteur d’un essai sur cette photo.

Les statues meurent aussi
DE ALAIN RESNAIS ET CHRIS MARKER (FRANCE ,1953-30’)
A travers l’art africain et plus spécialement les statues et les masques nègres, Alain Resnais filme une virulente diatribe contre les insoupçonnables méfaits du colonialisme des créations authentiques, liées à la spécificité de la culture panthéiste et magique de ces régions pour la remplacer, petit à petit, par une activité artistique commerciale mercantile et de série...

Walking The Hinterland, Argos Center, Brussels

2010-10-28T22:57:00.009+02:00

Walking the Hinterland considers the ways in which contemporary art responds to geographical non-spaces, those ’suspended spaces’ within or bordering on delimited urban zones, through the work of eight artists for whom walking is also a creative act. Over the course of the late 20th century, ’hinterland’ (originating from the Middle High German ’hinter’, meaning ’beyond’) has gradually taken on a modified interpretation, no longer used in the strict geographical sense of land directly adjacent to and inland from a coast, or a region remote from urban areas. The word now embodies the idea of a place, an era or an aspect of life considered as lacking in spiritual, aesthetic or other humanising qualities; a vacuum; a cultural wasteland. Wastelands, ’zone blanches’ as described by Philippe Vasset in Un Livre blanc, (Editions Fayard, 2007) are areas that have been left white or uncoloured on maps. They are free zones, no man’s land – both politically and socially – streets of “sub-primed” houses, or quite simply suburbs of warehouses or mega shopping complexes surrounded by far larger asphalted spaces given over to parking. In the vein of contemporary literary flaneurs like Iain Sinclair or W.G. Sebald, the works presented are the audiovisual results of artists striding the underbelly of urban spaces around the world. Mapping, photographing, sketching, recording sound and images, performing, retracing their steps again and again in order to permeate themselves in these environments which, even if they often exude an air of desolation or hostility, are the essence of urban regeneration.In addition to the works presented in the exhibition, two Brussels-based artists Els Opsomer on October 30th and Mira Sanders on November 7th who are affiliated with the Argos Archive will lead walking tours through different parts of Brussels.

Antoine Boutet, Jordi Colomer, Peter Downsbrough, Redmond Entwistle, Jan Kopp,
Vincent Meessen, Till Roeskens, Florin Tudor & Mona Vatamanu.
Curated by Brent Klinkum (Transat video)

The New Settlers at Ridehuset, Aarhus (DK)

2010-10-24T21:59:00.002+02:00

The New Settlers at Ridehuset
Aarhus
Danemark
November 17-21, 2010

Vita Nova

Vincent Meessen, Belgium, 2009

Experimental documentary, 27 min

This rewriting of some Roland Barthes's overlooked biographical facts is based a modern icon.
The now famous picture of a colonial military cadet demystied by Barthes in his essay Mythologies is revisited in order
to reflects on the conflicting narrative regimes of storytelling.

What I Have

Andrey Zhidkov, Russia 2009
Experimental/Animation, 11 min.
An eerie tale of intricately depicted isolation, this recounting of Borges’ story, The Disk, outlines the abstract fate of a woodcutter visited by a king.

Notes on the Other

Sergio Oksman, Spain 2009
Documentary, 13 min.
On July 13, 1924, Ernest Hemingway was on a balcony in Pamplona, Spain and saw a wounded man lying on the other side of the street. He became consumed with the feeling that he was that man. Notes on the Otherfollows the example of this sensation in the form of an annual Hemingway lookalike contest in Key West, Florida. Dozens of older men do their utmost to be Hemingway. The film investigates the curiosity for alternate perception, for stepping outside of ourselves to contemplate the world in a different way, if only for a little while.

Organized by Litteraturen på scenen & Aarhus International Film Festival

Amakula Festival, Kampala, Uganda

2010-10-24T21:57:00.000+02:00

The Amakula Kampala International Film Festival 2010 will occur from October 29th to November 6th with the theme of Inevitable Transition. The festival will be presented at the National Theatre as well as twenty video halls located in the five districts of Kampala.

Plateform3, Munich

2010-10-01T17:50:00.008+02:00

Musing architecture
Film Programme
October 13, 2010, 7pm

The film programme Musing Architecture contemplates architectural structures. Four videos examine on architecture in relation to time, transience as well as the people inhabiting this architecture.

With the following works:

City of Progress, Justin Bennett, NL 2008-2010, 11'
Dear Adviser, Vincent Meessen, BE 2009, 8'
A Necessary Music, Beatrice Gibson, UK 2008, 28'
Os Candagos, Guillaume Linard Osorio, F 2010, 8'

Platform3 is a unique interdisciplinary cultural model for contemporary art based in 2000m2 of ex-warehouse in the South of Munich.

The Documentary Real, Vooruit, Gent (B)

2010-09-28T11:13:00.003+02:00

The Documentary Real

Thu 21 Oct 2010
10 am-6 pm
Vooruit (Domzaal)
Gent (B)

English spoken, free

An initiative of KASK, Vooruit and Gent Film Festival, supported by VAF / Flanders Image

The symposium The Documentary Real invites artists and theorists to interrogate the ambiguous relation of documentary film to reality. To what extent can a reel of film capture reality – if this is possible at all — and when can we say that it calls a new reality into being? Do not most films oscillate between ‘document’ and ‘argument’; that is, between representing, rewriting and creating reality? Moreover, what strategies do artists use to document our daily lives? Is the detour through alienation and animation perhaps the proper way to make an outright and truthful work? Do new developments in media art provide new opportunities for documentary artists? Finally, how do these artistic experiments and their problems represent the culture we live in?

Speakers : Cis Bierinckx (curator, artistic director Beurshouwburg Brussels), Stella Bruzzi (film theory, University of Warwick), Edwin Carels (curator, art theory, KASK), Marc De Kesel (Philosophy, Radboud University Nijmegen, Artevelde Hogeschool Gent), Katerina Gregos (curator), Johan Grimonprez (artist and filmmaker), Steven Jacobs (Art history, KASK & Antwerp University), Vincent Meessen (artist), Jasper Rigole (artist) and Duncan Speakman (artist).

CA2M, Centro de Arte Dos de Mayo, Madrid

2010-09-28T11:07:00.002+02:00

Offmostoles 2010

CA2M

Centro de Artes Dos de Mayo

Madrid

October 15-17, 2010

"Offmostoles" is the title of the contemporary video showcase that the CA2M holds every year during the third weekend in November. The event includes a variety of video screening programmes, concerts and round-table discussions about the latest trends in video art.

Some participants in this year programme, among others, are: Alberto Arce , Fernando Baños Fidalgo, Yael Bartana, Tatiana Blass,Javier Codesal, Andrés Duque, Josephine Foster & The Victor Herrero Band, Carlos Irijalba, JULIO, Zerek Kempf, Jérôme Laffont, Mia Makela, Augusto Marban, Fionn Meade, Vincent Meessen, Julia Meltzer, Rosalind Nashashibi, Mohammad Rujailah, Miguel Salvatierra, Marinella Senatore, Mary Simpson, Lucy Skaer, Javier Téllez, The Dead Rat Orchestra, David Thorne, Marc Thümmler, Liu Wei, Sarah Wood.

Screening + Q & A
on October 16, 2010

KW. Institute for Contemporary Arts, Berlin

2010-09-28T10:51:00.010+02:00

Highlights from the Cologne KunstFilmBiennale
KW. Institute for Contemporary Arts

Once again KW Institute for Contemporary Art in Berlin is focusing on contemporary films by international artists. For the third time—after the great success in 2006 and 2009—highlights of the Cologne KunstFilmBiennale are presented in Berlin. In Berlin the program from the 2009 Cologne biennale is supplemented by a selection of new films. Two stories of KW aredevoted to films by Doug Aitken, Mirosław Bałka, Bjørn Melhus, Sam Taylor-Wood, and Javier Téllez, as well as works by the younger generation including Keren Cytter, Adam Leech, Dani Gal, and Alex McQuilkin. On the third floor films are presented in thematic archive stations. A fifth station is dedicated to works from last year’s BILD-KUNST

Promotional Award for experimental film competition and the submissions by students of film schools and art academies. On the fourth floor the films can be seen on a large screen. The program also includes a number of evening events.

Participating artists:

Doug Aitken, Mirosław Bałka, Guy Ben-Ner, Anina Brisolla, Mircea Cantor, Keren Cytter, Nathalie Djurberg, Omer Fast, Nina Fischer & Maroan el Sani, Cyprien Gaillard, Dani Gal, Christoph Girardet & Matthias Müller, Dominique Gonzalez-Foerster, Mihai Grecu, Claire Hooper, Sven Johne, Korpys/Löffler, Annika Larsson, Lars Laumann, Adam Leech, Cristóbal

León & Joaquín Cociña & Niles Atallah, Mark Lewis, Rä di Martino, Maix Mayer, Alex McQuilkin, Vincent Meessen, Bjørn Melhus, Deimantas Narkevičius, Kika Nicolela, Hans Op de Beeck, Nira Pereg, Reynold Reynolds, Magdalena von Rudy, Aïda Ruilova, Jani Ruscica, Sylvia Schedelbauer, Sam Taylor-Wood, Javier Téllez, Alexia Walther & Maxime Matray,

Clemens von Wedemeyer

KW
Auguststrasse 69
D-10117 Berlin
October 13-31, 2010.

Autograph ABP, London

2010-09-28T10:18:00.001+02:00

Vita Nova by Vincent Meessen will be screened at Autograph ABP on October 15, 2010 at 6.30 PM.

The screening and the following dialogue with Autograph director Mark Sealy takes place in the frame of the two current major photographic exhibitions: James Barnor’s street and studio portraits from the late 1940s to the 1970s, in Ghana and England, and the W.E.B. Du Bois’ collection of portraits compiled for the 1900 Paris Exposition Universelle. Both aim to explore the notion of the photographic archive in relation to visual politics of race, representation and difference, as well as the question of modernity within post-colonial and transatlantic perspectives on photography in the 21st century.

Autograph ABP

Rivington Place

London EC2A 3BA

Phone : + 44 (0) 20 7729 9200

video_dumbo, NYC

2010-09-28T10:04:00.010+02:00

Video Dumbo, Brooklyn, NYC

New contemporary video art screenings and installations
curated by Caspar Stracke and Gabriela Monroy

September 24 - 26, 2010

Participating Artists: Emily Vey Duke & Cooper Battersby, Shaun Slifer, Torsten Zenas Burns, Douglas Fishbone, Pere Ginard & Laura Gines, Oliver Laric, Pilvi Takala, Gratuitous Art Films, Julie Casper Roth, Zbynek Baladrán, Estela Estupinyà-García, Arne Bunk, Vincent Meessen, Isabelle Hayeur, David Pierce, Maria Niro, Pavel Medvedev, Agnes Meyer-Brandis, Penny Lane, Joseph Bennett, Ferhat Özgür, Christoph Schlingensief, Karen Mirza & Brad Butler, Avi Mograbi, Basma Alsharif, Aaron Oldenburg, Tamar Latzma, Theodore Tagholm, Tim Leyendekker, Redmond Entwistle, David Politzer, Melanie Crean, Pete Burkeet, Keith Sanborn, Bob Paris, Volker Schreiner, Ivan Faktor, Vivian Ostrovsky, Dave Griffiths, Julius Ziz, Emmanuelle Antille, Lena Maria Thuering, Gautam Kansara, Ken Jacobs, Sam Holden, Nicole Sloan, Jill Epstein, Axel Roessler, Base, Josh Weinstein, Allen Chen, Shelly Silver, Devrim Kadirbeyoglu, Christopher Udemezue, Melissa Potter, Erik Levine, Simon Mullan, Axel Petersén, Liz Rodda, Tomoko Inagaki, Toni Comas, Jonathan Cummin, Vianney Lambert, Magnus Bärtås, John Michael Boling, Wojciech Gilewicz, Jacob Tonski, François Vogel, Flatform, Peter Rose, Yorgos Taxiarchopolus, David Grainger, Leighton Pierce, Phyllis Baldino, Gerhard Funk, Ulrich Polster & Christine Scherrer.

Video Installations:

Marco Brambilla, Adam Leech, Hans Op De Beeck, Rimas Sakalauskas, Till Roeskens, Kristin Lucas, David Krippendorf, Lara Kohl and 0100101110101101.ORG

Live projector performances:

Sandra Gibson & Luis Recoder (NY)
Alex MacKenzie (Vancouver).

DVD release:

40th anniversary of Experimental TV Center accompanied by a special program presented by Electronic Arts Intermix. Guest curated by Sherry Hocking, Kathy High and Rebecca Cleman.

Location: 112 Water Street (between Washington and Adams) DUMBO, Brooklyn, NY

*Free Admission to all festival screenings

Salon5, Argos center for art & media

2010-08-31T20:38:00.018+02:00

Argos Center for Art and Media,Brussels
Salon5
Cabinet David Bald Eagle/Potential Estate
September 12, 2010

In the fall of 2009, Argos invited five artists and collectives from very different backgrounds to reflect about their position as an artist in nowadays society. This question was translated quickly into a working process that functioned as an open platform between the artists, their works, their fields of interest and research and their network(s). In September- October 2010 the participating artists and collectives – namely Agency, Emilio López-Menchero, Potential Estate, Slavs and Tatars and Miet Warlop – present a series of public programmes based on their research and experiences. They call it Salon5. Connectivity, collectivity, encounter, exchange of knowledge and shared learning are keywords for Salon5. Concretely, this event consists of performances in unusual locations and a series of trips out of Brussels, comprising a mixture of screenings, picnics, guided visits, performances, walks and lectures. Together with the audience, the artists retrace the places, people and communities that they researched over the course of a year. Salon5 for instance explores through a case study the position of amateur filming in relation to historiography; retraces the steps and actions of a ’forgotten’ artist group; or tries to introduce the public to unlikely parallels between Poland and Iran from the 17th to the 21st century.

Transmediale video tour

2010-06-06T16:47:00.002+02:00

Transmediale video tour

Athens Video Art Festival, Greece, 08 May 2010 MUV - music and digital art festival of Florence, Italy, 01 Jun 2010 Smart Project Space, Amsterdam, 18 Jun 2010 Mediaforum, Moscow, 22 Jun 2010

Goethe-Institut, Mexico City, 23 Jun 2010 San Luis PotosÃ, Mexico, 25 Jun 2010

MediaDepo project, Lviv, Ukraine, 23-29 Aug 2010

Stardust in a nutshell, SAVVY Contemporary, Berlin

2010-05-17T14:43:00.007+02:00

Stardust in a nutshell

Stefaan Dheedene, Christian Hanussek / Salifou Lindou, Dunja Herzog, Boris Nzébo, Maarten Vanden Eynde / Alioum Moussa, Patrick Wokmeni

Curated by Annette Schemmel/Enough Room for Space for Savvy Contemporary

Opening: Saturday, June 12 2010, 8 p.m.

At 9 p.m: Screening of Vincent Meessen’s video "Vita Nova"

Opening hours: June 13 – July 10, 2010, Thu – Sat: 4 – 8 p.m.

Savvy Contemporary – The laboratory of form-ideas

Richardstr. 43/44

D-12043 Berlin

A Prior magazine, issue # 20

2010-05-07T13:50:00.005+02:00

A Prior selected five artists, each of whom in their own way write about/ show their research. Mekhitar Garabedian and Ruth Buchanan do this in an associative, poetic manner that is also beautifully present in the visual images that they create. They offer a wealth of source material, which bears witness to great generosity and which allows visitors to cast a different eye on artistic production. Victor Burgin and Vincent Meessen decided on a dialogue. In conversation with Hilde Van Gelder and Katrin Mundt, they illuminate the fundamental concerns in their work and clarify the many theoretical influences and references that have helped shape their oeuvre. Finally, Ian Kiaer gives us insight into an art historical research produced within the strict rules of academic research. These three models of research are only a few variations in the ways that research in the arts is conducted today, by visual artists. It is an exceptional, enriching honour for us to be able to offer the artists this forum and indeed, to see how differently they approach its formal aspects.

EMAF, Osnabruck (DE)

2010-03-17T10:45:00.004+01:00

European Media Art Festival, Osnabruck (DE)

21-25 arpil, 2010.

The EMAF is one of the most influential forums of international Media Art. As a meeting point for artists, curators, distributors, gallery owners and an audience of specialists, the festival has a great impact on the topic and aesthetics of Media Art. Each year the festival offers its visitors a current overview of new experimental films, performances, lectures, an exhibition and the Media Campus.The frame of content of the festival is ranging from personal and political subjects or formal experiments to provocative statements.The motto of the 2010 festival is MASH UP, reflected in film programmes, lectures and specials.

Free Falling, PACT Zollverein, Essen (DE)

2010-03-15T15:05:00.008+01:00

Opening at PACT Zollverein with FREE FALLING is a new series of film programmes, conversations, and lectures. The first weekend unfolds around two pivotal works that highlight junctures between artistic and societal experimentation: William Greaves’ "Symbiopsychotaxiplasm: Take One" (1968), a rarely shown Black Cinema classic, documents the process of its own genesis, thereby questioning the borders between fiction and reality. Jean-Pierre Gorin’s filmic essay "Poto and Cabengo" (1979), most recently shown at Documenta 12, hones in on the language habits of a set of twins from California, reflecting on the limitations of societal integration. Posited in dialogue therewith are more recent works, such as those by Vincent Meessen, Stefan Hayn, Peggy Ahwesh, and Laure Prouvost.

Also : Clemens von Wedemeyer, Sharon Lockhart, Kevin J. Everson, Phil Collins, Joyce Wieland & Hollis Frampton ...

Curated by Katrin Mundt

May 28 & 29, 2010

PACT Zollverein

Essen

Germany

Musée Fabre, Montpellier, France

2010-03-08T17:32:00.007+01:00

Flare #12, Musée Fabre (auditorium), Montpellier (F)

April 1, 2010, 6PM.

Screening by Florence Lazar & Vincent Meessen

followed by artist talks with Corine Rondeau

(Nîmes University /France Culture radio)

Les soirées Flare mettent en lumière les formes contemporaines de l’image en mouvement : films d’artistes, nouveaux médias, art vidéo, cinémas en marge, qui troublent les frontières entre art contemporain et cinéma. Comment les œuvres des artistes vidéo d'aujourd'hui travaillent-elles les formes cinématographiques ? Cette actualité de l'art contemporain est abordée sous la forme d’une rencontre avec des artistes, cinéastes et vidéastes, des diffuseurs et des critiques d’art.
Ces soirées sont organisées par Languedoc-Roussillon Cinéma en collaboration avec le Musée Fabre et l'Ecole Supérieure des Beaux-Arts de Montpellier Agglomération.

Goethe Institute / Red House, Sofia, Bulgaria

2010-02-28T16:48:00.004+01:00

Oberhausen Awards 2005-2009

Short films program

February 24-25, 7.30PM

Red House-Zentrüm für Kultur und Debatte

Ljuben-Karavelov Str 15

Sofia

Bulgaria

Break Even, 39th International Film Festival Rotterdam

2009-12-22T10:36:00.005+01:00

Break Even Store

39th International Film Festival Rotterdam

During the festival period only, IFFR opens the concept store Break Even within festival centre ‘de Doelen’. A pocket version of a film festival, Break Even comments on economic challenges of the new online film distribution formats. In this virtual realm, shared experience is mostly imaginary and non-physical. Break Even acts as meeting place, live performance location and sells a specialist and mostly unique range of films and related cinematic items.

Films by Harun Farocki, Guy Sherwin, Zachary Formalt, Dora Garcia, Vincent Meessen, Lene Berg, Alexander Kluge, Sven Augustijnen, Luke Fowler & Alasdair Roberts, Zoe Beloff, ...

27 January - 7 February 2010

Screening on Feb 2 at 3PM

Curated by Edwin Carels

"THINK! THINK! THINK! Expending the present, launching the future"

2009-12-14T17:00:00.004+01:00

Rendezvous : a discussion with curator Marko Stamenkovic is published in a bilingual version english/macedonian into

the book titled “THINK! THINK! THINK! Expending the present, launching the future” edited by Yane Calovski and Hristina Ivanoska as a collection of commissioned texts, interviews and artistic interventions by regional and international cultural practitioners as well as an index of events and projects dating from 2004-2009.

The book provides a medium for reflection on the issues facing the independent artistic and curatorial production in the region and beyond.

transmediale.10, Berlin

2009-12-06T20:36:00.004+01:00

Futurity is a concept that examines what the 'future' as a conditional and creative enterprise can be. At its heart lays the intricate need to counter political and economic turmoil with visionary futures. With FUTURITY NOW! transmediale.10 explores what roles internet evolution, global network practice, open source methodologies, sustainable design and mobile technology play in forming new cultural, ideological and political templates. transmediale.10 invites artists, scientists, media activists, thinkers and visionaries to ask not what the future has in store for us, but what do we have in store for the future?

transmediale.10 : Futurity Now !

House of World Cultures

Berlin

February 2-7, 2010

Fim & Video program

Curated by Marcel Schwierin

Video Lounge, CEAC, Xiamen, China.

2009-11-29T21:29:00.015+01:00

Video Lounge, Chinese European Art Center (CEAC), Xiamen University, China, Dec 18-Jan 17, 2010.

Backsourcing : a film program part of Video Lounge.

"We have to discuss speculation, because the ultimate test is not the probable, but the possible, that what implies a creation, and thus obliges to become capable of resisting what is probable."

[Isabelle Stengers, Cosmopolitiques review]

In the world of enterprise, outsourcing delegates, as we all know, tasks that are not company core business or that are not profitable to an exterior partner. Carried out under the control and piloting of the company that engages the contractor, outsourcing allows the company to be centered on its core business while operating more flexibly, by diffusing risks and reinforcing control on the contractor. Consequently it has been necessary for marketing managers to invent the word ‘backsourcing’ when the movement of repatriation of tasks towards the company’s own production units had to be named.

Why not re-appropriate this vocabulary wizard, why not poetize it so that it obliges us to re-engage with ourselves. Moreover, we could consider the title of this program as a ‘reclaiming’, as a call to return to ‘the law of the household’ (the original realm of the word ‘economy’). In this way ‘backsourcing’ invites us to question the artistic activity as a potential for political experimentation, acting on the autonomous capacities of each of us to re-enscribe oneself in his proper environment.

How do the artistic practices that are presented here bind empiricism and speculation? A real-fake journalistic investigation on the hidden agendas playing in the context of the creation of a new art institute (Augustijnen), a script for surveillance personnel materializing the gift of a work of art (Cummings & Lewandowska), a narrative script sold by sentences during an auction (Potential Estate), a critique of values in the form of a multi-vocal confession (Fraser & Preiss), a network for artistic tele shopping on a contemporary art fair (Jankowski), ... they all can be considered self curative devices, as well as strategies intended to fatigue cognitive capitalism, and as bets taken on the possible productivity of these new imbroglios. (VM)

Backsourcing is one of the two screening programs in Video Lounge, an exhibition organized by Ronny Heiremans & Katleen in CEAC, Xiamen.

Filmworks by Sven Augustijnen (Belgium) , Neil Cummings (UK) and Marysia Lewandoska (Poland), Andrea Fraser and Jeff Preiss (USA), Christian Jankowski (Germany) & Potential Estate (Belgium/USA) in a program selected by Vincent Meessen

Sven Augustijnen

‘Une femme entreprenante’ (An enterprising woman), 2004, 72min

However unambiguous reality might be or seem at first sight, in the work of Sven Augustijnen it is always unraveled as a complex and troubled subject. In his video’s appearance and reality go hand in hand, balancing on a fine line between revealing and concealing.

‘Une femme entreprenante’ zooms in on WIELS a new centre for contemporary art in Brussels. We meet the figure of Sophie Le Clercq, project developer behind this cultural project. On the one hand the video can be considered a tribute to this forceful woman, on the other hand the author freely uses Mrs. Le Clercq as a catalyst for all kinds of historical and genealogical trajectories on urban development in Brussels. As if by coincidence these trajectories get more and more entangled in the jumble of art, brokerage and politics, ‘the swamp of Bruxelles’.

Neil Cummings and Marysia Lewandoska

Capital, 2001, 21min, produced by Chanceprojects. Courtesy the artists.

Collaborating since 1995 their projects have consistently engaged with the cultural institutions that designate and mediate art to their public. ‘Capital’ is a series of encounters between two iconic institutions and the economies they animate: the Tate and the Bank of England.

The Bank of England is the banker to the whole British financial system, and also plays a major role in structuring global monetary relations. The Bank guarantees and distributes the necessary trust, to secure the various financial markets. On the other side of the same coin, is it possible to situate the Tate as the principle institution in a parallel symbolic economy?

Potential Estate

The Crying of Potential Estate, 2008, 14min. Courtesy Potential Estate.

A future ‘residency’ is the key issue around which Potential Estate, a temporary collective of Belgian artists, was conceived. After an exploratory mission, Belgium, a small village in Wisconsin, US – founded by their Belgian and Luxemburg ancestors – was identified as a possible ‘residential’ site.

‘The Crying of Potential Estate’ was an auction that took place on Thursday 24th January 2008 from 7 to 9pm. The story of migration was cut up into 45 lots and put up for sale. A professional auctioneer performed the auction in 4 languages. All lots were sold and with the money brought in, Potential Estate produced a video, ‘The Crying of Potential Estate’, which they are offering as a gift to the village of Belgium, WI (US).

Andrea Fraser and Jeff Preiss

May I Help You? / Orchard document, 1991(text)-2005 (video), produced by orchard & Epoch Films.

‘May I Help You?’ was first performed at American Fine Arts, Co., New York, in January– February 1991 in the context of an exhibition produced in cooperation with Allan McCollum. In its original incarnation, May I Help You? paired an installation of 100 of McCollum’s Plaster Surrogates, 1982, with actors (Ledlie Borgerhoff, Kevin Duffy, and Randolph Miles) who appeared to work as gallery staff during gallery hours for the duration of the show. Their job was to perform a fifteen-minute monologue for everyone who entered the gallery to view the exhibition. Written and directed by Fraser, the monologue engages formations of taste and social class. A video, directed by Fraser with camera work by Merrill Aldigheri and performances by Borgerhoff, was also produced to document the event.

The 2005 version of ‘May I Help You?’ develops on the history of the piece.

Christian Jankowski

Kunstmarkt TV – Art Market TV, 2008, min

Kunstmarkt TV, is basically a home shopping channel for contemporary art.

While his sexy young assistant is all sparkling eyes and grace, the presenter is busy applying his brightest smile and 'value for money' tactic to a series of contemporary art works. The show was streamed on the internet and anyone interested in purchasing the goods could call and get their hands on the artwork of their choice.

Jankowski's work betrays a fascination with visual entertainment media. He gained fame in 1999 with his contribution to the 1999 Biennale in Venice, ‘Telemistica’, in which the artist inquires with five different fortune-tellers on the Italian television about his success at the art biennial.

Thanks to the artists, Auguste Orts, Argos center for art & media.

CA2M, Centro de Arte Dos de Mayo, Madrid

2009-11-09T09:28:00.005+01:00

CA2M, Centro de Arte Dos de Mayo, Madrid

Participants to the event OFFMOSTOLES 09: PEGGY AHWESH, PIERRE BASTIEN, ALEX BRENDEMÜHL, CARLOS CASAS, LUIS CERVERÓ, CHRIS CHONG CHAN FUI, ANOUK DE CLERCQ, AITOR ECHEVERRÍA, FÉLIX FERNÁNDEZ, FRANCISCO FRANCO, BEATRICE GIBSON, STEPHEN GRAY, JOHN HEY, KAMMERFLIMMERKOLLEKTIEF, PABLO LAMAR, ADAM LEECH, VINCENT MEESSEN, MICHAEL MORLEY, JACCO OLIVIER, PEDRO ORTUÑO, MANUEL PADDING, ENRIQUE PIÑUEL, ELODIE PONG, MICHAEL ROBINSON, ROGELIO SASTRE, TADEO, MIKE TAMNEY, AGNÈS VARDA, CÉSAR VELASCO BROCA

CPH:DOX, Copenhagen

2009-10-26T19:49:00.007+01:00

CPH : DOX , Copenhagen International Documentary Film

CPH:DOX, Copenhagen International Documentary Film Festival, is the largest documentary film festival in Scandinavia. Each year the festival fills the Copenhagen cinemas with a selection of more than 180 documentary films from around the world. During the ten festival days, CPH:DOX also presents five whole days of professional seminars and provides an international forum and meeting place with the newly founded DOX:FORUM.

In 2009 CPH:DOX runs from 6-15 Nov.

Screening in the DOX:FORUM section with Otolith Group (Argos program).

A Prior magazine / Contour Biennale Catalogue

2009-10-05T00:52:00.004+02:00

Hidden in Remembrance is the Silent Memory of our Future
Contour 2009, 4th biennial of Moving Image

Published and distributed by A prior

The publication accompanying Contour 2009—the 4th biennial of moving image, with essays by Katarina Gregos and Marc Gloede.

IDFA, The Nertherlands

2009-10-05T00:33:00.007+02:00

Vita Nova has been selected for the 22nd International Documentary Film Festival Amsterdam, november 19 - 29, 2009.

The International Documentary Film Festival Amsterdam (IDFA) is the largest documentary festival in the world. Every year since 1988, more than 250 international documentaries are screened.

"During IDFA, creative documentaries take centre stage. This means that IDFA chooses films which express the filmmaker's point of view in a creative and cinematic manner. The selection takes place on the basis of clear criteria. IDFA searches for documentaries that are cinematically intriguing or innovative, are relevant or highly topical to society at large, and stimulate the viewer to reflect, discuss and ask questions. IDFA strives for an international, diverse, topical and politically committed programme." (IDFA)

Destiny Without Destination,Versus, Oudenaarde (B)

2009-10-01T09:35:00.002+02:00

Destiny without Destination, Versus, Oudenaarde (Belgium)

Group show, sept 24-october 24, 2009.

Africa Reflected, Stedelijk Museum Bureau Amsterdam

2009-09-28T10:17:00.004+02:00

At the beginning of 2009 the Stedelijk Museum Bureau Amsterdam (SMBA) team started a research project under the title ‘Africa Reflected’. This project looks closely at representations of Africa within contemporary art production, with the aim of finding alternatives to predominantly stereotypical mass media representations. The research is designed to arrive at a critical discourse: it is after all about how our images of Africa are shaped, and how we seek to nuance this with the support of visual art, and not about ‘development work’ which reinforces the average European citizen’s dominant image of Africa.

Participing curators : Kobena Mercer, Simon Njami, Didier Schaub, Nontobeko (Nonto) Ntombela Mabong, Koyo Kouoh, Oyinda Fakeye.

Participating artists: Jude Anogwih, Vitshois Mwilambwe Bondo, Theo Eshetu, Achilleka Komguem, Vincent Meessen, Emeka Ogboh, Mark Aerial Waller,...

Various locations : SMBA/ Montevideo/Maison Descartes

October 12-14, 2009.

30 participants : see the SMBA website for details.

Kassel Documentary Film & Video Festival, Germany

2009-09-22T11:02:00.003+02:00

26th Kassel Documentary Film & Video Festival, November 10 - 15, 2009

Impakt Festival, Utrecht (The Netherlands)

2009-09-21T20:47:00.003+02:00

The 20th edition of Impakt festival will take place from October 14 through October 18 in Utrecht. For the Accelerated Living program, Impakt invited two guest curators : Stoffel Debuysere and Maria Palacios. Their program include works by Bruce Conner, Dryden Goodwin, Philip Hoffman, Gordon Matta-Clark, Kurt Kren, Michel Pavlou and many more.

Next to the thematic program of Accelerated Living, the Festival features the annual panorama program which provides an annual overview of contemporary cutting edge film and video art. It includes new works by artits and filmakers such as Doug Fishbone, Steve Reinke, Manuel Sainz, Björn Melhus, Vincent Meessen, Yves Netzhammer, Erkka Nissinen,...

KunsFilmBiennale, Köln/Bonn

2009-09-21T17:08:00.004+02:00

As a unique combination of exhibition and festival, presenting short and feature-length, experimental and narrative film, the Cologne-based KunstFilmBiennale has since 2002 systematically been exploring the borders between art and cinema. From October 28 to November 1, 2009, The KunstFilmBiennale will once again offer an overview of what is currently happening with film in art and art in film - in movie thetares, galleries and museums in Cologne and Bonn.

Participing artists : Doug Aitken, Eija-Liisa Athila, Keren Cytter, Nathalie Djurberg, Bruno Dumont, Omer Fast, Adam Leech, Mark Lewis, Vincent Meessen, Samuel Maoz, Deimantas Narkevicius, Bjorn Melhus, Sarah Morris, Sam Taylor-Wood, Dominique Gonzalez-Foerster, Javier Tellez, Clemens von Wedemeyer,...

Venues in Cologne : Filmforum im MuseumLudwig, CINEDOM, Filmpalette

Venues in Bonn : Kunstmuseum Bonn

Cabinet Jurino / Potential Estate, MuHKA extra muros, Antwerp

2009-09-09T17:19:00.003+02:00

Ars Electronica, Linz (Austria)

2009-09-01T20:55:00.006+02:00

Argos is one of the eight European media art archives and collections that is networked within the GAMA portal (Gateway to Archives of Media Art). As such, this provides a common online research platform and an improved access to media art. On the occasion of the launch of www.gama-gateway.eu at the Ars Electronica Festival in Linz, highlights from the archive collections are being screened. Argos’ director Paul Willemsen compiled for the occasion works relating to the programme theme Psychogeographies. The term psychogeography refers to the architectural or geographical surroundings and the way that these relate to perception and mental experience. A psychogeographical analysis starts from the exposure of relationships, relating a genuine, material environment to an imaginary or potential environment. Each work investigates questions of: documentary versus fiction, private versus public, and the real versus the imagined.

Psychogeographies

Brucknerhaus, September 5 - 8, 2009

A Necessary Music. Beatrice Gibson, 2008, 29'09", video, colour, English spoken.

N12°13.062'/ W 001°32.619' Extended. Vincent Meessen, 2005, video, colour, 8'25", sound.

What I'm Looking For. Shelly Silver, 2004, video, colour, 15'00", English spoken.

Dear Adviser. Vincent Meessen, 2008, video, colour, 8'00", English spoken.

Inch'Allah. Ria Pacquée, 2005, video, colour, 18'40", English spoken.

Splav meduze, Center for Contemporary Art Celje, Slovenia

2009-08-28T20:07:00.010+02:00

Participants: HOSTS, GUESTS & GHOSTS

SPLAV MEDUZE seeks to understand the logic of the cannibalistic modes of survival under the laws of capitalism in the times of political disorientation, economic fundamentalism, financial despair, decrease of cultural values and ‘failure’ of historical promises.

It aims to construct a mythology and iconography of its own, based upon a long-term, inclusive and citizens-oriented “democratic” structure, where the art exhibition (September 2009) comprises only a segment of a broader attempt to create the potential for a radically different public opinion. In addition, the political endeavor of the project and its action-plan (among which a series of formal and informal discursive events preceding the exhibition /March–August 2009/, and a series of publishing and communication events following its end /October-December 2009/) revolve around the existence of insular experiences in the continuous global circuit of people, goods and signs.

SPLAV MEDUZE looks for the possibility of individual freedom: of choosing one’s own perspective within a context of the conformist spectacle of institutionalized normativity and a consensus becoming progressively conservative. Escapism and resistance, non-conformism and movement, exile and engagement, sailing and longing for independence, detachment and (non-)belongingness, all contribute to the creation of a virtual and physical,digital and analogue, artistic and political experience of the SPLAV MEDUZE.

Splav meduze, Center for Contemporary Art Celje, Slovenia, september 3-23, 2009.

Curated by Marko Stamenkovic.

Unknown Territory, Museum De Paviljoens, Almere (NL)

2009-08-06T15:28:00.015+02:00

From August 21 to November 8, 2009, Museum De Paviljoens in The Netherlands shows Unknown Territory : a cabinet of art with objetcs, visions and observations. Unkwonw Territory 2009 is a advocacy for parallel and interdisciplinary approaches of the architectural environment.

With works by Annesas Appel, Gwenneth Boelens, Nickel van Duijvenboden, Hala Elkoussy, Cevdet Erek, Anne Holtrop, Yasmijn Karhof, Marijn van Kreij, Vincent Meessen and sarah van Sonsbeeck.

Book Launch : L'arte della sovversione

2009-06-29T16:06:00.012+02:00

A rendezvous, a discussion I had with Marko Stamenkovic is part of the book "L'arte della sovversione" (Multiversity: pratiche artistiche contemporanee e attivismo politico) edited by Marco Baravalle with contributions by among others Claire Fontaine, Brian Holmes, Maurizio Lazzarato, Antonio Negri, Hans Ulrich Obrist, Judith Revel, Marco Scotini, ,...

Contour Biennale for Moving Image, Mechelen (B)

2009-06-17T00:35:00.017+02:00

Vita Nova's exhibition première will take place during Contour Biennale for Moving Images, in Mechelen (Belgium).

"Vincent Meessen’s new film ‘Vita Nova’ takes as its point of departure a cover of the French magazine Paris-Match, from 1955. On this cover, a child soldier is depicted in the act of making a military salute. The artist subsequently embarks on a search for Diouf, the child soldier, weaving an elaborate narrative that brings together phantoms from the colonial past, the writings of Roland Barthes – who wrote about this particular image – and issues that centre on the representation and re-writing of history, its repressed narratives, as well as the spectral nature of photography."

Festival Côté Court, Seine Saint-Denis/Pantin (F)

2009-04-27T15:17:00.007+02:00

11th Festival Côté Court, 10-20 june 2009, Seine Saint-Denis, Pantin (in the Paris periphery) (F)

Screening on Thursday 11 june 2009 ,"Ce qui travaille" a film program compiled by Oliver Marboeuf (Khiasma) with films by Francis Alÿs, Vincent Mauger, Gregg Smith, Boris du Boullay & Till Roeskens.

Loop Festival, Barcelona

2009-04-24T16:30:00.009+02:00

Loop Festival 2009, Festival Centre, Barcelona (ES), 30 may 2009.

Program by Argos Center for Art & Media

Biennale WRO 09, Wroclaw (PL)

2009-04-24T16:28:00.008+02:00

Lost Nation, a mental journey trhough the US Biennale WRO 09, WRO center for Media Art, Wroclaw (PL), 5-10 may 2009.

with films by Johan Grimonprez, Peter Downsbrough, Adam Leech, Steve Reinke,...

America concerns us: with its dominant, audiovisual culture, its influential film and music industries, it has successfully invaded our imagination. Reaching a point of utter saturation, we may feel the need to take some distance from its invasive role-models. Argos Centre for Arts and Media’s proposal is to search for a different picture of contemporary America: Combining artistic viewpoints from within America (Steve Reinke, Shelly Silver) with those emanating from other countries (Vincent Meessen, Johan Grimonprez, Beatrice Gibson), this programme, conceived as a filmic journey, aims at transmitting a balanced, yet necessarily subjective and fragmented picture of today’s America. Starting our trip on the periphery, in so-called “Small town America” (Vincent Meessen), where villages like “Lost Nation” (Johan Grimonprez), literally lie in the middle of nowhere, we encounter wealthy Suburbia’s inhabitants and their obsession with privacy and security (Adam Leech), before reaching the throbbing heart of New York, Times Square (Peter Downsbrough); we experience surveillance (Shelly Silver) as a key element in a city where the memory of the 2001 terror attacks is still vivid, before visiting the protected, utopian community of Roosevelt Island (Beatrice Gibson), which houses one of the cities most visible, yet little-known modernist social housing projects. Souvenirs of things seen and heard in and about America (Steve Reinke) round off the picture as the journey comes to an end. Taking us back to Europe, the situation is finally inverted, showing us the difficulties Americans are confronted with when moving to Europe (Vincent Meessen/ Adam Leech) (source : Argos)

55th Oberhausen Short Film Festival (DE)

2009-04-24T16:27:00.005+02:00

Screening during the 55th Oberhausen Festival (DE) , 4 may 2009.

Program by Argos Center for Art & Media.

Along with other international distributors Argos benefits from a one-hour showcase during the International Oberhausen Short Film Festival. This year, the selection includes works by Adam Leech, Herman Asselberghs, Vincent Meessen, Beatrice Gibson and Steve Reinke.

Le Cinématographe, Nantes (F)

2009-04-24T16:26:00.006+02:00

Reconstructions, Le Cinématographe, Nantes (F), 20 april 2009.

with fims by Anri Sala, Jean-Luc Vilmouth, Johan van der Keuken,...

Toute construction intègre une dimension d'ordre social. Un Homme a besoin d'un toit pour se construire et participer à la vie collective. La construction est un besoin matériel, doublé d'un enjeu politique dans la mesure où le pouvoir politique légifère, taxe et subventionne la construction autant que la reconstruction, car rien n'est définitif en la matière.

Dans cette sélection de films d'artistes - qu'il soit documenté, fictif, poétique voir burlesque - nous verrons ainsi en filigrane s'installer une diversité d'approche de phénomènes singuliers de l'urbanisation, traitant de cette construction/reconstruction, pouvant entraîner la destructuration sociale dans son jeu de va et vient ou inversement une restructuration heureuse des liens humains.

N12°13.62’/W 001°32.619’ Extended

de Vincent Meessen, Belgique, 2005, 8'

De par ses coordonnées GPS, le film situe de façon à la fois précise et abstraite un espace en Afrique. En suivant deux hommes qui parcourent cet espace, nous découvrons un site qui a toute les apparences d'une ruine. Mais les images font apparaître ce site comme le fruit du travail de deux ouvriers.

White Building

de Jean-Luc Vilmouth, France, 2006, 30'

The White Building est réalisé à partir d’un bâtiment de Phnom Penh conçu par l'architecte local Van Molyvann sur le modèle d'habitat moderne de Le Corbusier : une variante cambodgienne de la Cité Radieuse que ses habitants ont radicalement modifiée.

Le Mur

de Johan van der Keuken (1973) 9’

Par un matin brumeux, les habitants d’un quartier se rassemblent pour exécuter ensemble une gigantesque fresque sur le mur d’une ruelle. Ils protestent contre un urbanisme qui remplace leurs immeubles par des buildings commerciaux .

Un jour,

de Séverine Hubard 2007

Vidéo, 6min

Une maison prend la fuite et déambule à pied dans le paysage.

Dammi i colori

De Anri Sala, Albanie - 2003 - 15 mn 24 s

L'artiste filme les transformations de sa ville natale Tirana. Ou l'histoire incroyable d'un peintre devenu maire et qui fait le pari fou de la couleur comme réhabilitation du désir de vivre ensemble.

Faire le mur

De Bertille Bak, 17mn, Video BetaSp production Le Fresnoy, 2008.

Les habitants d'un village du Pas-de-Calais s'organisent face à la restructuration de leur habitat.

Courtisane Festival, Gent (B)

2009-04-24T16:24:00.003+02:00

Courtisane Festival, Film, video & media art , Gent (B), 23-26 april 2009.

Screening on 26 april at Sphinx Cinema, Gent.

Frame, Helsinki (Fin)

2009-04-24T16:22:00.006+02:00

Psychogeographies, Frame, Project Room, Helsinki, (Fi), 24 april 2009

Program compiled by Paul Willemsen (Argos) with films by Shelly Silver, Beatrice Gibson, Ria Pacquée.

Cinémathèque Française, Paris

2009-04-24T16:20:00.003+02:00

Cinémathèque Française, Paris (F) , 27 april 2009

with films by Laurent Achard, Ben Russell, Philippe Katerine,...

Cabinet Jurino / Potential Estate

2009-04-24T16:00:00.005+02:00

Exhibition views, Cabinet Jurino/Potential Estate , MuHKA extra muroas at KMSKA, Antwerp, 27 march- 10 september 2009.

An ongoing project taking place inside the Passing Through Pavilion by Joe Scanlan including works by Jimmie Durham from teh MuHKA collection.

Argos Center for Art & Media

2009-04-24T15:58:00.003+02:00

Dear Adviser, Argos Center for Art & Media, Blackbox, Brussel (B) 5-16 may 2009

Can Chandigarh, the paragon of the modernist city, escape from its faith as a living museum? Can this city survive the preservation of the universal modernist fable? In the only city designed by Le Corbusier, the political complex of the Capitol is much more than scenery. The Capitol itself is the "camera". The buildings that represent the different powers keep a constant eye on each other. They channel the visitor’s movements and constantly observe him from above. The Capitol as phantasm of political power, is here nothing more than a place where the black deathsuit of modernism haunts. In this unfinished city, a few shadowy characters –a spectral silhouette, voices, sounds- rewrite a fable loved by the architect about the Raven that Wants to Imitate the Eagle. Charles-Edouard Jeanneret, also known as Le Corbusier, is invited to confront his double personality. He is less alone then he used to be while he was alive. Now he is called upon by his haunted images and by the contradictions of modernism. "Dear Adviser" is a poetic “address” to the architect and the in Chandigarh superstitiously as “adviser” disguised legislator.