WE. 8.6.2016 at 19:00
Zone blanche (2014)
by Gaëlle Cintré, 22 minutes
In presence of the artist.
Mixing the registers of documentary and fiction, Gaëlle Cintré’s video work finds its inspiration in anecdotes from daily life and science fiction stories. With Zone Blanche (White Zone), she met four women who suffer from acute artificial electromagnetic field intolerance syndrome (SICEM in French), which is caused by mobile phones and WiFi. These electro-hypersensitive women survive by living in the mountains, their daily lives wavering between a return to a primitive lifestyle and post-apocalyptic science fiction.
Erkennen und Verfolgen (War at a distance) (2003)
by Harun Farocki, 58 minutes
In Erkennen und Verfolgen (literally, “recognize and track”—the principles of tracking), Harun Farocki sets out to decrypt the increasingly widespread use of on-board cameras on missiles and bombs during the Gulf War. He also emphasizes the loss of reality in these images, which seem to come right out of a video game.
THU. 9.6.2016 à 19:00
by Lucien Castaing-Taylor and Véréna Paravel, 87 minutes
Castaing-Taylor (*1966, Liverpool) and Paravel (*1971, Neuchâtel) work together as anthropologists, artists, and filmmakers at Harvard University’s Sensory Ethnography Lab, an experimental platform that deals with human sciences issues by means of creative audiovisual approaches rather than in the written form the field generally favors.
In this film, the filmmakers chose to use small GoPro cameras attached on fishermen’s helmets, ropes, chains and on poles allowing them to film everything at an amazingly close distance, above and under the surface of the sea.
FRI. 10.6.2016 at 19:00
Surveillance Shoe (2000),
by Jill Magid, 6 minutes
In 2004 she spent 31 days in Liverpool, which was long enough for her to forge links with Citywatch, the firm then running the biggest network of security cameras in the United Kingdom. She asked them to follow her as she made her way, wearing a red coat, through the city past the network of street cameras. The procedure for recovering the images required filling in some thirty forms. She justified her request by couching it in the form of love letters, like the traces of a romance between her, the city, and the police.
Der Riese (1982-1983),
by Michael Klier, 82 minutes
By appropriating in 1983 security videos from various sources which had been shot in public spaces in Hamburg and articulating them critically simply through editing, the video piece entitled Der Riese (The Giant) became a pioneer in raising awareness of the new relationship to images that was being introduced by the ever-growing presence of security devices in Western society. Cited by Harun Farocki as a clear source of inspiration in his critical thinking about the subject of the imagery of mass control, Klier’s video sketches for us the outlines of this omniscient “giant,” an anonymous, expansive oversight that is relevant, now more than ever.