HUMANS OF THE WORLD, CARESS! – 31th Les Instants Video Festival
HUMANS OF THE WORLD, CARESS!
Programmation by the 31st Festival Les Instants Video (Marseilles)
from 9th November to 5th of December 2018
Artists: Ameer Albassri (Irak) – Lena Schmidt (Allemagne) – Katarina Balunova (Slovaquie) – Richard Legaspi (Taïwan-Philippines) – Rafael Triana (Cuba – France) – Fran Orallo (Espagne / GB) – Nadia Hotait and Laila Hotait (Espagne) – Showna Kim (Corée du Sud) – Nadim Choufi (Liban) – Ahmed El Shaer (Egypte) – Maxime Hot (France) – Soran Ahmed (Kurde d’Irak – Allemagne)
When frontiers create continental Maison closes
when close combat kills blindly
the voices of poets-artists-Planetizen rise:
HUMANS OF THE WORLD, CARESS!
Instants Video, caring for a desirable future
celebrates what from May 68 upheavals
and the metamorphosis of the poet Ovide,
is still at work in our contemporary world.
Beginning with the determination to revolutionise ourselves.
A trans-continental festival, which epicentre is Marseille, will wander in Buenos Aires, Rome, Milan, Puyricard, Aix-en-Provence and in continuous on the most important Web TV dedicated to video arts in the world Visual Container TV.
HUMANS OF THE WORLD, CARESS!
549 km sleep only in Iraq (4’39 – 2017) / Ameer Albassri (Irak)
549 km is the distance between the Capital Baghdad central Iraq and Basra city down south of the country and it’s the distance that Iraqis spend in thier training between a little kid dreams who lives inside each one of them. Dreams that impossible to reach and doesn’t meet the fact. After they sleep unconsciously hyper talk about that fact that full of problems, Worries، Discomforts in life that has loud screaming, Flaming with fire arms, and the quiet in the hearts of the poor people outside the car that drop them between the two destinations.
Sold Dreams (2’20 – 2017) / Lena Schmidt (Allemagne)
In this Shortfilm the Artist Lena Schmidt deals with her experiences of trying to make a living as an artist.
Prison (2’06 – 2017) / Katarina Balunova (Slovaquie)
Video art work speaks about physical as well as psychological prison. We are all prisoners or guards in our self-imposed psychological prison.
Toreng Garing ( Ivory Tower ) (4’ – 2017) / Richard Legaspi (Taïwan-Philippines)
Ivory Tower is an experimental film of combined sound and images of labour protest of South-East Asian migrant workers in Taipei. The windows from the historical village of Taoyuan represent the realities and disconnection of some Taiwanese about labour rights issues today. As the resounding collective voices of the labourers transform into a solid force, there’s no reason not to act.
Overload (6’56 – 2016) / Rafael Triana (Cuba – France)
Overload is an experimental video art, which consists of reloading fruits and vegetables imported from Latin America, through a USB adapter. The charge in an installation of proteins, qualities and nutrients, ending in an installation and updating of current political, social, economic, religious and cultural themes. The video exposes the migratory problem, the models of identity and freedom of choice in a society governed by social conventions and consumption habits. Overload manipulates and alters the lifetime of things, creating an artificiality of the natural.
Amateur poetry (10’ – 2017) / Fran Orallo (Espagne / GB)
Amateur poetry consists of a video collage made through the appropriation of a series of fragments of videos downloaded from YouTube, which, assembled, form a succession of surrealist sequences, close to visual poetry.
The work involves the manipulation of a series of videos, which without any artistic intention, have been uploaded to the network. Through the decontextualization, overlapping, and distortion of the same is intended to create an artistic work, questioning the idea of authorship and intellectual property.
The Night Between Ali and I (9’ – 2016) / Nadia Hotait and Laila Hotait (Espagne)
Four armed young fellows from the Lebanese Socialist Revolutionary Movement entered the bank in Beirut, and asked from the authorities 10 million dollars for the Arab fight against Imperialism in the region and the release of a few political prisoners. Our story unfolds with three voices: one of the 4 assailants, the leader´s sister and our own telling what happened that night and how the interaction between hostages and guerrilla gunmen could have turned into a dance, a constructed “dabkeh”.
Am I?’, ‘I AM?’ (1’ – 2017) / Showna Kim (Corée du Sud)
The work ‘Am I?’, ‘I Am’, 2017 deals with social views of homosexuality in South Korea, namely by conservative Christian groups that have spoken out against LGBT. The percentage of South Koreans who view homosexuality as morally unacceptable is much higher than in other parts of the world. South Korea is a more conservative country on LGBT issues, to the point that it does not offer legal protection for citizens, who are considered second class. Worse than the lack of legal protection is the rejection and isolation from belonging to a group, such as family, workplace, neighbourhood, society and the country at large. Whilst the number of South Koreans who view homosexuality in a negative light continues to decrease, the future of LGBT citizens’ rights in South Korea is still tenuous.
I’m ± Here (4’54 – 2018) / Nadim Choufi (Liban)
Users in constant connectivity and online presence have changed how spatial and temporal intimacy is organized and engaged with. I’m ± Here is a single channel video that explores how men seeking men in multiple Arab countries use (in)visibility and sustain a love language on applications. A loose and guarded narrative is created from over 500 chat archives of people that have never met and is synthesized through two Arabic speech generators that will never meet due to their nature. The moving images are all found poor images from surveillance cameras, pseudo-surveillance software such as Google street view, or the editing process itself which continuously conceal and reveal images related to old and new cruising spots. This technique mimics the slideshow display of digital frames that are ubiquitous in Arab households. To that end, I’m ± Here permanently records a love language in the same platform of connectivity and surveillance that disperses and fragments this language while constantly pushing users to generate a new form of intimacy.
Crossover (the scene) (7’ – 2017) / Ahmed El Shaer (Egypte)
Two worlds, two spaces or cross borders – these titles bring us to the same concept about shifting between environments.
Double-cross the bridge (2’39 – 2017) / Maxime Hot (France)
“Only the present exists in time, and reduces the past and the future.
But only the past and the future insist on time, and divide to infinity every present.”
Gilles Deleuze, Logique du sens, 1969.
Second chance (9’12 – 2018) / Soran Ahmed (Kurde d’Irak – Allemagne)
The film works with elements of video art and experimental film. The film has a non-narrative action. The intention is to create every picture and every scene in the film like a painterly act. The images were put together layer by layer to form a different perception of the whole.
Les Instants Vidèo
“The common element connecting art and politics is that they are both phenomena of the public world.”. That is, to have an interest in art in a political way is to be someone “who knows how to choose his company among men, among things, among thoughts, in the present as well as in the past.” (Hannah Arendt).
Since 1988, the festival Les Instants Vidéo is an event dedicated to video, digital and poetic arts (monobands, installations, performances, multimedia… ). It takes place every November in Marseilles Friche la Belle de Mai , but either before or after, we act in concert with partners to organise the festival stopovers in other spaces in Marseille, the Region…and abroad. We like to name the whole stopovers a poetronic constellation. There is no competition, the entrance is open and free, as well as the call for participation open from January to June. It is altogether a festival and a laboratory where internationally renowned artists and works of arts can meet with works that are more fragile, still in progress, delicates.