INVIDEO 2003
INVIDEO 2003
13th YEAR
ISTANT IMAGES
5-9 NOVEMBER
Parigi, Centre Wallonie-Bruxelles
4 November 2003
Milano, Spazio Oberdan
5 - 9 November 2003
"Instant Images": a which gives a double clue as to what INVIDEO 2003 has to offer. Firstly, the works we will be presenting are portraits of our time and its faces (or masks), brilliant reflections in images and sounds on aspects, corners, shadows and lights of the early millennium. More specifically, many of the videos are built up around photography, or fixed images of one kind or another: almost as if the forward progress of the electronic image and digital film were going hand in hand with the recovery of a backward gaze, towards the early days of cinema, initially to archive and family material and now to photography and of course painting. This year photography is a space of memory, witness and enquiry, in videos which move between documentary and narrative forms, personal records or social investigation.
At the same time, the “instant” image of 2003 is also a picture of “new images” that have reached a happy maturity: we feel we have left behind the phase in which videomakers were switching to the new compact digital equipment either haltingly and unconvincingly, or else with excessive zeal and a proliferation of facile, ready-made images. This year, indeed, we had a hard time choosing from more than 500 entries which included so many of an extremely high standard – never has the process of elimination cost us so much soul-searching! We were both surprised and delighted by a final selection which unveiled something like a return to “video art”: a vein of creative experimentation that many felt had given out, but which here has yielded works of remarkable audiovisual beauty. To be more accurate, we should perhaps say not so much a return as a veritable “new wave”, in which digital effects are explored and applied judiciously and meaningfully, in which the division between genres is either blurred still further or else proves that it has absorbed the lessons of linguistic research learned over nearly fifty years of video art.
At INVIDEO we often note, with justifiable pride, that young video and filmmakers who first got a degree of exposure with us are now established and appreciated; it also happens that we read press reports or festival programmes announcing the discovery of some extraordinary new talent who, in actual fact, was quietly identified, encouraged and presented by INVIDEO years before...
The process will certainly be repeated with this “new wave” of 2003 and its multiplicity of attractions.We have shifted from the “mutations” which were the keynote in 2002 to this year’s “instant images” of the world and existence: creative, lyrical, painful records of a wounded world (from Afghanistan to Argentina, from the massacres at Sabra and Chatila to the 2002 French elections, eye-witness accounts of wars and Nazism, neo-fascism, globalisation and the problems of youth in Israel today). Not documentaries, but strange creatures which bear their witness through a personal gaze, leaning heavily on the versatile capabilities of digital. Together with these “instant” views there is a tidal ‘‘I wave of impressive video art, working with colours, forms, creating fantastic abstractions, painting and setting to music dance, travel, even philosophy and science; plus a series of works which take a fresh approach to the portrayal of the figurative arts (from Yves Klein via Egon Schiele to Georgia O’Keefe, from the mediaeval frescoes of The Triumph of Death to the collections of the Musée d’Orsay) and of literature (Hoffmann, Ferney, Dowland). And poetry, too, with the moving portrait of Peter Russell, video verse by Walt Whitman, the energetic performance of the “shouting poets”; last but not least, the cinema itself, with a video made on location with Anghelopoulos. This year we also wanted to pay a modest tribute to Luciano Berio, the great composer who recently died:a way of marking the debt that all these art forms owed to the research in sound and music, the passionate artistic and cultural climate of Berio’s whole epoch. The programme of experimental filmmaking in Europe also points up a dialogue between past and present, between film and video: a dialogue which expresses itself today through digital and the “cinema beyond”. Already in 2002, INVIDEO began to dig into the origins of video art with the seminar on Paik; this year the “excavations” continue with an encounter-performance with Michele Sambin, a pioneer of experimental video art,theatre and music video in Italy. There will be plenty more going on:a dance performance by the Aggis-Cowie duo; the regular INVIDEO slot for the “Poetronics”compilation of works by independent videomakers; the youthful creativity of the Assemble group; plus an “instant” panorama of Switzerland, the “new wave”and Vincent Pluss, one of the most promising Swiss directors;music videos by Michel Gondry; a portrait of Viper, the Swiss event which is Europe’s oldest video festival. Lastly, an encounter with Paolo Rosa, featuring images by Studio Azzurro, will be dedicated to the Mediterranean Rim and an “instant” video overview of its traditional craft skills. A “constellation” of works and events, to adopt the phrase which a dear departed friend, Alberto Farassino, coined over twenty years ago to describe the ensemble of works at an independent festival. A luminous constellation,one to be watched with the kind of surprise and disquiet that overcome the observerwho first discovers what the night sky is really like,during a power outage – with the TV off...
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SELECTED AUTHORS
Alain Pelletier, World Trade Opera, Canada, 2002, 10'42"
Alberto Signetto-Pierfranco Milanese Angelopoulos Backstage, Italia, 2003, 28’30”
Ali Mohammad Safoura, The Diary (Rooznameh), Iran, 2003, 6’
Alicia Ortiz, Plus près de la fin, Francia, 2002, 14'48''
Anna Falguerès, Quai zéro, Belgio, 2002, 7'
Anna Linder, cum pane, Svezia, 2002, 7'50''
Anney Bonney, Double Fiesta, USA, 2003, 6'13''
Antonella Bussanich, Les poètes hurleurs, Francia, 2003, 6’
Beniamino Borghi-Federico Gabbiani-Marilia Pederbelli, Serial Flowers, Italia, 2003,
Benny Ramsay Nemerofsky, I am a Boyband, Canada, 2002, 5'30"
Live to Tell, Canada, 2002, 5’30”
Billy Cowie-Liz Aggiss, Anarchic Variations, UK, 2002, 7' 30"
Börries Müller-Büsching, The Eye of Olympia, Germania, 2003, 11’
Carlo Ippolito, Krazy Kathy-Le mille e una voce di Cathy Berberian, Italia, 1993, 35'
Chihcheng Peng, Whizeewhig, USA, 2002, 3'
Chloé Leriche, L'homme et la fenêtre, Canada, 2002, 2'45''
Cigdem Altuntas, Dress up, Turchia, 2003, 6'50''
Claude Baechtold, Voyage sublime au pays du Gafghanistan, Svizzera, 2003, 9'
Claudia Quintieri, Duration, Italia, 200, 2’
Elisabetta Sgarbi, La conversazione amorosa, Italia, 2003, 40’
Fan Ho-ki Kedy, Hear, Hong Kong, 2002, 6'30''
Fen Yang, The Essence of Ink and Wash, Cina, 2002, 4'15''
Francesco Lupi Timini, Sequenza III, Italia, 2002/03, 8'18"
Frédéric Ollereau, Ensaché, Francia, 2002, 32'
Gabriela Golder, Cows, Argentina, 2002, 4'10''
Gianni Toti, La morte del trionfo della fine, Francia, 2002, 23'
Giorgio Partesana-Nicola Smanio-Lucas Zanotto, Bitofhuman, Italia, 2002,
Gregg Biermann, Orange, USA, 2003, 5'
Guido Cionini-Francesco Camerini, Peter Russell, Italia, 2003, 25'
Jayce Salloum, untitled part 3b: (as if) beauty never ends, Libano, 2002 , 11'22"
Jean-Gabriel Périot, 21 04 02, Francia, 2002, 9'44’
Joshua Simon, The Radicals, Israele, 2001, 23’
Katerina Athanasopoulou, I Sing the Body Electric, UK, 2002, 4'40''
Leonardo Carrano, Foglie, Italia, 2003, 5’34”
Liisa Lounila, Flirt, Finlandia, 2002, 4'
Lotte Schreiber, Quadro, Austria, 2002, 10'
m.ash, Cubica, Austria, 2001, 4’
Marc Isaacs, Lift, UK, 2003, 24'27"
Mauro Santini, Petite mémoire, Italia, 2003, 6'
Max Philipp Schmid-Beat Brogle, Black Milk, Svizzera, 2002, 4’
Michaël Gaumnitz, L'exil à Sedan, Francia, 2003, 52'
Milla Moilanen, Vertebra, Finlandia, 2003, 5'
Monica Petracci-Silvia Bottiroli, Vieni, Italia, 2002, 3'30''
Nathalie Bujold, Comptes à rebours, Canada, 2002, 4'
Nicolas Provost, Papillon d'amour, Belgio, 2003, 3'30"
Oliver Husain-Michel Klöfkorn-Anna Berger, Betty Ford, Germania, 2003, 4'
Petra Weiss, D’improvviso a Milano, Italia-Svizzera, 2002, 15’
Pierre-Yves Borgeaud, Interface (Cartographie n. 3), Svizzera, 2003, 14’
Reynir Lyngdal, Burst, Islanda, 2003, 5'
Robert Cahen, L'étreinte, Francia, 2003, 8'
Robert F. Arnold, Zeno's Paradox, USA, 2003, 5' 40"
Sandra Kogut, Passagers d'Orsay, Francia, 2003, 52'
Seoungho Cho, Orange Factory, USA, 2002, 11'38"
Simon Goulet, Oïo, Canada, 2003, 9'30'',
Stefan Nadelman, Terminal Bar, USA, 2002, 22'22"
Stefano Scarani, Disphase, Italia, 2002, 11'27"
Stephanie Maxwell-Allan Schindler, Time Streams, USA, 2003, 5'30"
Susanna Carlisle, E. Hesse, USA, 2002, 6'20"
Egon Schiele, USA, 2002, 6'25
Terry Flaxton, Wings, UK, 2003, 10'
Theo Eshetu, Dialogo con Yves Klein, Italia, 2003, 28'
Thomas Draschan-Ulrich Wiesner, Yes? Oui? Ja?, Germania, 2002, 4', 16mm
Thorsten Fleisch, Gestalt, Germania, 2003, 5'
Tina Gonsalves, Love Loss, Australia, 2002, 5'11''
Now, Australia, 2002, 3'11''
Trust, Australia, 2002, 4'22''
You + Me, Australia, 2002, 2'33''
Ulrik Wivel, Urge, Danimarca, 2003, 5'
Vincent Pluss, On dirait le Sud, Svizzera, 2002, 66', 35m
The Moebius Strip, Svizzera, 2002, 26'
Vincent Pluss-Kylie Walters, The Greenhouse Infect, Svizzera, 2003, 9'45"
Vincent Pluss-Pierre Misfud, L'heure du Loup, Svizzera, 1987, 16', 35 mm
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INVIDEO is an AIACE's project supported by: Ministero per i Beni e le Attività Culturali, Direzione Generale per il Cinema; Regione Lombardia, Direzione Generale Culture, Identità e Autonomie della Lombardia; Provincia di Milano, Presidenza e Cultura; Comune di Milano, Cultura e Musei, Spettacolo e dalla Commissione Europea, Programma MEDIA Plus.
INVIDEO cooperates with: Agence Suisse du Court Métrage, Ambasciata di Israele, British Council, Centre culturel français de Milan, Centro Culturale Amici di Invideo, CCS-Centro Culturale Svizzero, Department of Foreing Affairs and International Trade of Canada, Fondazione Cineteca Italiana, Goethe-Institut Mailand, Medialogo, Ondavideo e Pro-Helvetia.