Podcasts about le fresnoy

Tamara Khasanova and Hallie Ayres talk to artist Saodat Ismailova following To Share a Dream With a River, a screening of three films at e-flux. Stay tuned after the conversation for an excerpt from a soundscape composed by Camille Norment for Ismailova's film, The Haunted. Films discussed in this episode: The Haunted (2017, 23 minutes) takes the form of an open letter to the Turan tiger. A majestic symbol of the Central Asian landscape, this animal has been extinct for several decades but lives on as a sacred symbol in the collective imagination of the local population. In her captivating film essay, Ismailova pays homage to the tiger as she shows how firmly bound it is to the region's history. Stains of Oxus (2016, 24 minutes) follows a transformation of the landscape of the Amu Darya riverbanks and the people that inhabit them, beginning from the high plateau in Tajikistan to the lowland deserts in Uzbekistan, where the river finds its end. Chillpiq (2018, 17 minutes) begins with a scene of two buses emerging on the horizon as they drive toward Chillpiq. A group of forty girls climb the ruins that stand atop a mount in the middle of the steppe. One by one, they tie pieces of cloth to a flagpole that crowns the archeological site, and worship it as a symbol of life. The girls circle the shrine while the setting sun changes the light to an orange glow, blurring their silhouettes as they disappear into the site. Two Horizons (2022, 24 mins) was exhibited as part of the 14th Shanghai Biennale's Partial Eclipse section, and hints at infinite strategies through which humans access occluded forms of matter and energy. Two Horizons combines a prophecy carried down in the ancient Turkic oral histories of Qorqut with the more recent history of a space launch facility. The tomb of Qorqut—the storyteller and seer who is the central hero of the epic—lies in the south of Kazakhstan, near the Baikonur Cosmodrome. In the local culture the belief persists that a person will one day come to defeat gravity and achieve eternal life.    Saodat Ismailova is a filmmaker and artist who came of age in the post-Soviet era in Central Asia. She graduated from Tashkent State Art Institute in Uzbekistan and Le Fresnoy, National Studio of Contemporary Arts in France. Drawing on the cultural identities and vernacular histories of Central Asia, Saodat Ismailova's films meditate on memory, spirituality, immortality, and extinction. Frequently based around folk stories in which women are the lead protagonists, and exploring systems of knowledge suppressed by globalized modernity, these consciousness expanding works hover between visible and invisible worlds.  Tamara Khasanova is a curator, researcher, and writer living in Brooklyn, New York. She currently serves as an Archives Assistant at e-flux, and curated the To Share a Dream With a River screening program. Hallie Ayres was on the curatorial team for Cosmos Cinema, the 14th Shanghai Biennale. She is Associate Director of e-flux.

With such an overwhelming number of films on offer at IDFA, we invited Wouter Jansen to help curate a watch list of films that will be on display. Wouter is the founder of Square Eyes, a sales and distribution company based in Vienna specializing in bold, author driven features and shorts. This year, he will be at IDFA with two titles, ANHEIL 69 by Theo Montoya and EUROPE by Philip Scheffner.  In this episode, we go through each section of the program at IDFA and take turns selecting titles of interest to help navigate our festival experience.  Films discussed include PARADISE by Alexander Abaturov, NON-ALIGNED: SCENES FROM THE LABUDOVIĆ REELS, HOW DARE YOU HAVE SUCH A RUBBISH WISH by Mania Akbari, and A ROBUST HEART by Martin Benchimol, among many others. For our full Docs in Orbit x Square Eyes x IDFA 2022 watch list, please visit here . EPISODE TIMECODES: 00:00 - Intro / About Square Eyes |  10:30 - Best of Fests  |  16:30 - Paradocs  |  23:25 - International Shorts Competition  |  32:10 - Competition DocLab Immersive Non-Fiction  |  35:35 - IDFA on Stage   |  40:28 - Envision Competition  |  45:35  - International Competition  |  52:30  - Laura Poitras Top 10SPECIAL GUEST BIO: Wouter Jansen is the founder of the sales and festival distribution company Square Eyes. He worked as the head of programming at the Go Short - International Film Festival during the first 10 editions. In 2013 he started Some Shorts, which changed to Square Eyes in 2019, which specializes in having outstanding non-mainstream films find the audience and recognition they deserve. With Square Eyes, Wouter represents bold, author-driven features and shorts, and collaborates closely with the filmmakers to devise bespoke festival distribution and sales strategies. This has resulted in a small catalogue of films premiering at prestigious festivals and winning multiple awards over the last few years like main prizes at Cannes, TIFF, Berlin, Locarno and Clermont-Ferrand. Wouter has been giving lectures at schools like Le Fresnoy, HEAD Geneva and Netherlands Film Academy and is an expert for Locarno Open Doors and First Cut Lab. He has moderated as well as lead workshops at festivals like IDFA, True/False, Winterthur, VIS Vienna Shorts and others. He is a Berlinale Talents alumni.For show notes visit docsinorbit.com and be sure to follow us on social media @docsinorbit for updates.

Dans cet épisode, nous rencontrons une jeune artiste multimédia, au Fresnoy - Studio national des arts contemporains. Créé en 1997 comme “une villa medicis high tech”, tous les ans, il accueille 48 étudiantes et étudiants de tous horizons et de toutes les nationalités, pour leur permettre de créer, en toute liberté, des oeuvres d'art innovantes, dans le domaine de l'audiovisuel et de la création numérique. Et en septembre de chaque année, au sein de l'école, est organisée “Panorama”, une exposition qui regroupe l'ensemble des oeuvres produites pendant l'année par les étudiants.  Si nous sommes allés rencontrer Magalie, c'est parce que nous avions été marqués, l'année dernière, par son 1er projet qu'elle avait réalisé au Fresnoy - Studio national.  Une installation interactive qui invitait le visiteur, grâce à la réalité augmentée et une tablette, à rencontrer et écouter des membres de sa famille parler d'un sujet tabou pour eux: l'histoire de la traite négrière et de l'esclavage.  Dans cet épisode, c'est nous, qui lui avons tendu le micro. Pour écouter sa voix douce mais déterminée nous parler de ce projet qui l'a évidemment transformé, de cette école Le Fresnoy qui a permis de le réaliser, et puis aussi de cette carrière d'artiste multimédia qui s'ouvre devant elle…  Soutenez-nous !

A l'occasion du programme associé de Around Video Art Fair, je découvre l'exposition des diplômés du Fresnoy. Olivier Kaeppelin est le commissaire de Panorama 23 qu'il place sous le régime du rêve. Non pas comme une échappatoire mais comme une faculté de rebond, de résilience dans notre période troublée et incertaine. Un état de conscience augmenté, d'images liquides et fluides comme il le souligne qui rejoue le bain révélateur et alchimique du cinéma. Les installations visuelles et sonores deviennent les réceptacles de fantômes de l'inconscient rehaussés par les œuvres d'art brut des collections du LaM avec des artistes tels que Augustin Lesage ou henry Darger. Au milieu de ce paysage mutant, la haute silhouette du planeur de Vincent Duault se dégage et agit comme un repère, un totem.

Elsa Brès (b. 1985) graduated from Le Fresnoy national studio of contemporary art (2017) & Paris-Belleville school of architecture (2012) -where she teached architecture and landscape theory.Her films and installations focus on forces of resistance in contemporary landscapes.Talking about her workplace, Elsa Brès says: "All the collaborative aspects of my work design different spaces". She lives and works between Les Cévennes (Bréau) and Paris.

Gregor Božič je raziskovalec starih sadnih sort in filmski režiser. Živi med Gorico in Novo Gorico, kjer nadaljuje kulturno dediščino, ki jo v tem prostoru narekuje narava. V sklopu Evropske prestolnice kulture je oblikoval Zemljevid starih sadovnjakov, s katerim je želel v kulturno dogajanje vplesti tudi marginalne dele na Goriškem. Narediti stvari, ki bodo ostale obravnavane teme tudi po koncu projekta Evropska prestolnica kulture 2025. V delo vpleta povezavo z naravo in obnovljivimi viri. Prizadeva si, da bi se ohranili živi sadovnjaki in da bi kot družba spremenili kulturni diskurz, ki umetnike obravnava kot priveske, potrebne subvencioniranja. Svojo zgodbo starih sadovnjakov nadaljuje kot štipendist rezident prestižnega francoskega inštituta moderne umetnosti Le Fresnoy v Lillu. “Šele ko se začneš ukvarjati s tako stvarjo, kot so stari sadovnjaki, razumeš, koliko časa so ljudje vložili v del zemlje, ki ga danes nihče več ne obdeluje, ker se ekonomično ne splača.”

Gregor Božič je filmski režiser, ki je lani na Festivalu slovenskega filma s svojim celovečernim prvencem Zgodbe iz kostanjevih gozdov triumfiral z enajstimi nagradami vesna. Je tudi ljubiteljski raziskovalec sadnih sort na goriškem in avtor knjige Sadje sonca. V Kojskem je postavil sadovnjak, v katerem danes raste 120 dreves s 60 različnimi domačimi sortami. Trenutno je štipendist rezident prestižnega francoskega inštituta moderne umetnosti Le Fresnoy v Lillu, kjer pripravlja instalacijo slik in zvoka s skupnim naslovom "Sadeži, kakor jih sanjajo stari kmetovalci po zimi".

A look inside Le Fresnoy, scene national and digital art school - in the company of photographer, sound artist and musician Constantin Dubois Choulik on the eve of his graduation.

Universo vídeo se acerca a la actualidad de la producción y difusión de imágenes con el objetivo de abrir una reflexión sobre la centralidad que éstas ocupan en el mundo contemporáneo.Cartografías para anticipar un movimiento (07.06.2013-08.09.2013) presenta selección de películas del fondo de Le Fresnoy pretende dibujar un mapa compuesto por diferentes maneras de aproximarse al paisaje.A través del desplazamiento de la cámara por una serie de espacios tanto urbanos como naturales, los ocho autores recogidos en la muestra ponen en relieve sucesivos estratos del territorio.

Cartographies to Anticipate a Movement is part of the programme Universo vídeo, a proposal which carried out a research on the state of video art. With the goal of rethinking the centrality of images in the contemporary world, explores also how they are currently produced and diffused. This new selection of films from the Le Fresnoy, the second after An Image of the World in Motion, holdings draws a map of the various ways of addressing landscape. By focusing their camera on a number of both urban and natural spaces, the eight artists on exhibit bring the successive strata of the territory to the surface. Given the mimetic and yet poetic quality of the representation of moving images, this show is about complementary mental and descriptive ways of reading a place and its features: buildings, streets, rocks, trees, or shores. And also hidden or invisible spaces that operate as hinge points between the particular and the modern endeavour to standardise the image of the world, like blind spots that at once unite and separate, making a show of imposing limits and boundaries while at the same time erasing them. Maps stand in opposition to the exact replica, the identical. Just like the films on show here, maps speak through a performative approach to reality, in other words, one that is possible to dismantle and to modify. In consequence, seeing again is more than just returning to the same. Likewise, reproducing is not just a case of reproducing in order to establish the same once again. ARTISTS: Pauline Delwaulle, Laura Huertas Millán, Jeanne Lafon, HeeWon Lee, Laurent Mareschal, Momoko Seto, Ana Vaz y João Vieira Torres

Coincidiendo con los 50 años de la aparición de la tecnología vídeo, LABoral recupera el programa Universo vídeo, con el que se acerca a la actualidad de la producción y difusión de imágenes en movimiento. (15.03.2012-02.06.2013) Prácticas experimentales: Una imagen del mundo en movimiento, una selección de películas de los fondos de Le Fresnoy, pretende trazar una imagen de conjunto. Al igual que el cine o el vídeo, el objetivo último de la muestra es representar el movimiento del mundo a partir de lo contingente, dotando de estructura y sentido su permanente y confuso estado de cambio, personificado por cada una de estas seis películas. Las piezas funcionan de una manera singular: son perfectamente autónomas.

Coinciding with the 50th anniversary of the advent of video technology, the program retrieves LABoral Universo video, with the approaching currently in production and distribution of motion pictures. (15.03.2012-02.06.2013) Experimental Practices: An image of the world in motion, a selection of films Le Fresnoy funds, aims to draw an overall picture. Like the film or video, the ultimate objective of the exhibition is to represent the movement of the world from the contingent, giving structure and meaning of his confused state of permanent change, embodied by each of these six films. The pieces work in a unique way: they are perfectly independent.