Program

Perspection (squared)​ is a series of audiovisual explorations of the limits of our sonic and visual perception. Anamorphism and illusions of three-dimensional objects are projected on two separate screens, placed orthogonally (90 degrees) from one another, exploring the primacy of the line versus colour.
Motorized hypersonic speakers project narrow beams of sound at the audience. The audience’s senses are confused by psychoacoustic effects that shift between extremely dynamic and static. At the midpoint between interactivity and synchronization, Perspection (squared) explores the properties of the physical space and breaks down conventions of the flat screen through an interplay of light, sound, and colour.

Biographie de Pierce Warnecke
Biographie de Matthew Biederman

Meet in front of the National School of Art in Bourges. The Acte inaugurale et déambulatoire performed by Mathilde Chénin and Simon Fravega takes you to the Theatre Jacques Coeur for a buffet dinner concocted by Cuisinette.

Marie Losier has been shooting, directing and editing cinema portraits for 12 years now, highlighting the work of visionary artists. After 20 years spent in New­York, she is starting a new cycle of production in Europe. Her “biographical films” defy all the conventions of classic documentaries, by responding to the unique and thrilling personal relationships she develops with her subjects­ over time. Shot with a bolex (a small 16mm camera), the resulting film unfolds before our eyes with a lightness of touch resonant of a poetic weaving of cinema and humanity, ever close to the burlesque. Her work with colour in the pictorial sense sets it firmly in the family of experimental cinema. She has woven another exceptional relationship with Bandits­-Mages and its members, and with the characters and places she has come across in our region. While in residence, whether in Bourges or in transit in another country, she has been working on a new film about the musician Felix Kubin.

For the opening of the Rencontres Bandits­-Mages, Marie Losier and Félix Kubin will surprise us with an evening of film projections but also a performance, Mineralorchester show, specially designed for a venue such as the Théâtre Jacques Coeur. What they will pass on to us is primarily the joy of creating, moving and loving, but also an inheritance. Marie Losier will open our eyes to the work of film makers who have left their mark on her, like Georges et Mike Kuchar, among others. The film maker and the musician will have barely finished shooting the part of a film for which Marie Losier is in residence at the Friche l’Antre-­Peaux. They are making the film together, to reveal a world of music which calls on the animation technique stop motion, drawing, comics… an opera composed of costumes and electronic movements, like the rhythm of Félix and his world. At the same time she is gradually weaving a special link with Jean­-Philippe Varin and the studios Jacana, an unusual place in that it specialises in shooting films with animals. Félix becomes the conductor of a strange orchestra made up of animals. “Magic” is the word on everyone’s lips when one of Marie Losier’s productions starts to roll. Félix Kubin comes to life and moves his body as if he was making musique concrète (an electroacoustic genre), much like Windsor Mc Kay’s character Little Nemo! Marie met the musician in Berlin during the projection of “The Ballad of Genesis and Lady Jaye”. They were immediately drawn to each other and their encounter was to lead them both into a world where body and soul live and breathe music. This project is supported by the Conseil Régional Centre.

PROGRAM

Introduction of the evening with Marie Losier and the discovery of the Kuchar brothers cinema, a major influence of the movie director she is today. We enter little by little into Marie’s cinema to go towards the collaboration between Felix and Marie and the projection of two short films by Felix Kubin chosen by Marie Losier. The evening closes with a performance by Felix Kubin, Mineralorchester.

Hold Me while i am naked, by Georges Kuchar, 1966, 16mm, USA, 15 mn

With Donna Kerness, George Kuchar, Stella Kuchar, Andrea Lunin.

The loosely autobiographical Hold Me While I’m Naked is both the story of a frustrated filmmaker trying to prove his artistic integrity through his next production, and Kuchar’s homage to Douglas Sirk’s lush Hollywood melodramas.

Electrocute Your Stars, by Marie Losier, 2004, 16mm, color, sound, 8 mn

With George Kuchar.

“You always have to be careful, you always have to have the shower backward in order to see the water, which means you better watch out, or you might electrify or electrocute your stars. You know what I mean, by having the light falling into the tub” -GK This is a dream-portrait of George Kuchar, traveling through snow confetti, strobe flashes and artificial wind as he describes his weather diaries. And then George joins Janet Leigh in the shower. Wearing a red raincoat and a shower cap, reading comic books and blowing bubbles, he laughingly describes his bathing rituals and the making of his film, Hold Me While I’m Naked.

L’Oiseau de la nuit, by Marie Losier, 2015, 16mm, Color, 20 mn

With Fernando, Joao Pedro Rodriguez, Joao Rui De Mata, Simon Fravega, Miguel Valverde, Davide Oberto…

Poetic portrait of Fernando Alias Deborah Krystal, a character filled with glitters and whimsicality who has been on stage for 30 years as a transvestite.   Fernando, is the image of joy, freedom and desire which helps him transcends the harshness of his real life. What happens when he transforms into the goddesses of Lisbon legends and wears a new skin? Fernando the muse, Fernando the mermaid, Fernando the goddess, Fernando the man woman, Fernando in all his skins and layers.

Bim, Bam, Boom, Las Luchas Morenas!, by Marie Losier, 2014, 16mm, Color, 20 mn

With The Moreno Sisters.

Three women/three sisters/three professional Luchadoras, part of the Dynasty Moreno: Rossy, Esther and Cynthia are competitive wrestlers on the ring. But they also bring lucha libre into life, wrestling with knives, pig heads, flowers and feathers! Bim, Bam, Boom!

Peaches and Jesper Fell in the water, who Stays Afloat, by Marie Losier, 2014, 16mm, color, 5 mn

With Peaches and Jesper Just

Venice, gondolas, strange couple, Peaches screaming Italian opera and appearing beards..who stays afloat?

Extracts from the first rushes filmed with Felix Kubin in Hamburg and the filming in Bourges

Nackt, by Felix Kubin, 1996, 2mn

Kubin’s second pixilation film shows distorted faces of people arm wrestling. The growing tension and ultimate catharsis is accompanied by artificial mechanical noises.

Die Pein vom Haupt Entfernen, directed by Felix Kubin, 1994, 3 mn 38

This was the first pixilation film shot by Felix Kubin during his early animation film studies. All the actions of neurotic cleaning are acoustically amplified by electronic sounds, resulting in a noisy cut-up video clip. Three years after its creation, the film was transformed into a zoetrope LP object released by the Dutch label Rund um den Watzmann. (RUDW #009).

Lightning Strikes, 2009, by Sönke Held
The song Lightning Strikes, originally written by Lou Christie and Twyla Herbert in the 1960s, became famous through this re-interpretation of German triangular eccentric Klaus Nomi. Felix Kubin and Sönke Held gave the story another twist, transforming the ambivalent lyrics into a Super-8 paranoia extravaganza. The film one the 1st price at the MUVI competition of the Kurzfilmfestival Oberhausen.

Hotel Super Nova, 2001, by Mariola Brillowska
Who is Dr. Love? What is the machine that is pressed into Felix’s hands after he’s been drugged? Who is the boy in the fridge? This first music video of Felix Kubin, for which an entire ersatz hotel has been built out of painted cardboard walls, provokes many questions. It became one of the most popular films by the artist duo Kubin/Brillowska and was shown at numerous festivals and live gigs, as well as on TV. Mariola Brillowska appears as a Teutonic goddess with laser eyes and, with her daughter Gloria, as a Siamese twin.

Mineralorchester show, by Felix Kubin, live performance, 40 mn

In the past 20 years Felix Kubin has written and recorded music for films, radio and theatre plays. In his Mineralorchester show he presents extracts of these works derived from Bertolt Brecht and Hanns Eisler’s Hollywood Elegies (1942), Vladimir Nabakov’s short story A Matter of Chance (1924), Shakespeare’s Macbeth (in a 2010 version by Polish director Robert Florczak), Beate Andres’ radio play Tempo (about the crazy German race car driver Rudolf Caracciola, 2008) and Xentos Fray Bentos’ The Raft (2009).

While the musical spectrum of these works covers a variety of styles and moods, it’s still almost immediately recognisable as a typically Kubin-ist work featuring the main ingredients his records and body-and-mind-boggling live shows are famous for. Twisted rythms & playfully clever arrangements that could have been created by a mutated reincarnation of the legendary Juan Esquivel; hauntingly ethereal tracks sounding like a narcoleptic John Carpenter playing Angelo Badalamenti arrangements; contorted Big Band music, pre-war Schlager and Vaudeville sent through a malfunctioning pre-digital time machine; Ennio Morricone cloned as a Russian male choir; instrumental workers’ songs Hanns Eisler might have imagined in a feverish nightmare  – it’s all there, and more!
 

Ressources

Marie Losier Biography
Felix Kubin Biography

A proposition by Émilie Notéris

In 2015, Paris will be hosting the 21st Session of the Conference of the Parties to the United Nations Framework Convention on Climate Change (COP21/CMP11), from November 30th to December. The festival Eco-Queer taking place in Bourges definitely fits in this Paris Climat 2015 context.

Programming proposes a set of interventions focusing on narrative, creative, theoretical, and environmental changes.

In her late essay Flying over London (1950), Virginia Woolf substantially chronicled a flight over London, and the way this distance from Earth did consequently modify her perception of the World, just as the first pictures of our planet viewed from space in 1972 did subvert our vision, raised a feeling of a global responsibility. She recounts her fictive trip with precision and emotion until the plane lands. To tell the truth, there had been no flight. It is not possible these days to act as if there had been no flight, as if we did not know what kind of responsibility we were holding, and the distance we need to keep with the sole economic and material interests it implies.

Therefore, we suggest a theoretical and narrative take-off, so then we won’t be able to complain afterwards that there had been no flight.
The term Anthropocene (impacts of significant human activities on Earth) as a geological era, requests a re-characterisation and an environment sensitive and theoretical critic, even though the neologism has not been approved yet by the UISG scientific committee, meeting in Cap in 2016.

Feminism indeed did bring a lot to ecology through ecofeminist works, but surpassing Mother Earth could be considered via queer theory, tracing its path disrupting genres markers as well as Nature’s. The queerisation of ecology initiates a re-centering on being rather than on having, allowing to wonder about human nature and about proliferation of new human natures, under the form of narratives as far as we’re concerned.

Trying to keep a distance with simple paranoiac assessments and with resignations as effects of a renouncement, we are deliberately placing ourselves in the space of narratives creation, in the production of gestures and pictures narrations. We question the process of transformation, mutation and fictive creations able to compose a world that would not separate beings and things.

Program

Helen Hester and Katrina Burch, members of Laboria Cuboniks collective, both authors of the Manifeste xénoféministe, (Xenofeminist Manifesto) will deliver a lecture entitled ‘(Re)producing Futures without Reproductive Futurity: Xenofeminist Ecologies’ ; Alice Carabédian will propose an immersion in Iain Banks work in a lecture entitled: « ‘Destin Susceptible De Changement’. Une expérience des autres mondes à partir du Cycle de la Culture d’Iain M. Banks » ((Subject to Change Destiny. An Other worlds experience from IAIN Banks Culture Cycle); performer artist  Sarah Trouche working on the body as a political and sociological convertor, imagined a performance entitled  The Protagonist ; film director and aerospace engineer Silvia Casalino will present her movie No Gravity.

Ressources

Émilie Notéris
Laboria Cuboniks
Alice Carabédian
Sarah Trouche
Silvia Casalino

In this paper, we will offer a series of provocations surrounding care, ecology, and temporality. Starting from the position that images of the future must be disentangled from ideas about reproductive futurity, we will engage with ecofeminism, contemporary technologies, and theories of work in an attempt to think gender alongside the Anthropocene. What, we will ask, might a xenofeminist ecology look like? What radical possibilities for transformation does it invoke?

Laboria Cuboniks

Ressources

About Laboria Cuboniks

“I think we learn to be worldly, from grappling with, rather than generalizing from, the ordinary. I am a creature of the mud, not the sky.” (Donna Haraway, When Species Meet, Minneapolis, University of Minnesota Press, 2008, p.3)

Far from the catastrophic predictions of the future of mankind and post-apocalyptic visions of the planet so dear to sci-fi, The Culture series by the Scottish author  Iain M. Banks is an original and deeply political reflection on the link between humanity, artificiality and the environment, which uses irony to re-work the traditions of utopia and space opera. By presenting the link to otherness from the viewpoint of encounter, proximity and emancipation, rather than from that of domination, colonisation and utilitarianism, his work invites us to undermine our own viewpoint, to shift focus and imagine a relationship with an unknown world, a divergent utopia.

Ressources

Alice Carabédian’s Biography

THE LABORATORY PLANET : ALIENS IN GREEN

Presentation and discussion regarding the fifth issue of The Laboratory Planet journal (forthcoming) which leads an inquiry into Alien Capitalism. With Ewen Chardronnet, Bureau d’Études and the Aliens in Green collective investigative cell. Xenobiology emerged in contemporary techno-sciences literature in 2014. The term origins are in UFO culture, and is now being applied to genomic research and experimentation. It is presented as the next step beyond synthetic biology: as the design and implementation of alien lifeforms that are, from a chemical and informational point of view, alien to lifeforms known on earth. We propose to debate this question with regard to eco-feminism in science-fiction, the queerisation of ecology, xenofeminism and the possibility of our becoming-alien and becoming-non-alien.

 Aliens In Green, an investigations laboratory operating inside the planetary laboratory

The Anthropocene debate aims to define the moment when human species, or part of it, started to become a significant driving force of major and irreversible transformation of the terrestrial environment. As we can hardly manage to form an united human project on earth, we might as well consider that the real actors of this transformation may not be humans, which leads us to wonder who the trouble makers might be. We will consider that this major transformation is due to alien agents, leaving the perceptions one might have of this term as open as possible.

A mobile investigation laboratory, working under the title Aliens In Green is being developed to inquire into these alien agents. Based on this hypothesis the lab implements communication and media processes, reaching out and opening a critical public space. This laboratory, which is seeking collaborators, aims to activate problematisation and analysis tools, attend recognition events and intervene in public space, relying as much on popular sciences archetypes, mass culture and science-fiction, as on analysis of current technological mutations.
One may understand the Aliens in Green tactical theatre lab as a symmetrical and antagonist entity to Men in Black. They act as federal agents dealing with human relations with life forms in outer space. But unlike Men in Black who operate secretly, Aliens in Green operations are open in order to allow earthlings to identify the numerous collusions between capitalist and xenopolitic interests.

 The alien question, competing hypotheses binding techniques, sciences and art

Aliens in Green applies different communication, mediation and investigation tools designed for cultural areas and users in urban spaces. Derived from urban theatre and tactical media and related to Investigative Art, it inquires into the ethical questions posed by new developments in techno-sciences by focusing and implementing technological environment analysis procedures. Aliens in Green connects open-science philosophy to DIY practices.
In this context, their art emerges from performance practice, adopting, subverting, or reclaiming scientific authority, material, codes and effects. It also derives from the mise-en-scene of media and information, designed to raise questions or even to tap into fears related to techno-scientific research or to its imaginary worlds (science-fiction, ufology…).

In vivo theatre at the time of a laboratory planet

As open-theatre steps out from confined space (of the theatre, gallery, cinema), the equivalent of the supermarket for the commercial sector, or the in vitro laboratory for the field of science. It is the theatre for an era where laboratories circulate their mutant creatures in the air, in space and on the ocean floor.
Theatre in open spaces, at the historical moment that planet Earth becomes a laboratory, is itself a laboratory practice. But this practice happens according to an ethic of open-science and a politics of do-it-yourself. It aims to transfer knowledge, simple techniques to analyse mutant environments.

The alien hypothesis

These views serve as a platform for discussion:

• The First hypothesis speculates about a capitalism which sets its sights on devastating the Earth with the prospect of its future desertion, which would be the symptom for the « alien ». The alien here, would be the one who leave his terrestrial origins to become other, to give themselves other bodies, other futures, finding, perhaps, other origins that the salience of their cradle would have hidden. They would come into being from a powerful action for the sake of the cosmic destiny of humanity in progress, they would strive to redefine or even free themselves from the earthbound co-evolution of humans and non-humans, leave Earth behind for outer space. Humans here are « aliens » as they break away from the devastated planet and maintain an utopian outlook.
In contrast, a non-alien would be operating a tragic re-rooting, a return to earth, disconnecting himself from the epic story of the escapist alien agenda.

• The Second hypothesis refers to Planet earth’s own alien roots. Earth, far from belonging to itself, has participated in a cosmic economy, which by the falling of asteroids loaded the planet with gold, water, precious metals, viruses,… active elements of its evolution and transformation, fertilising it and so that organic resources emerge. Earth would then be a place of socialisation and acclimatisation, a becoming-earthling of alien entities and components. In this way, Earth could appear as a pirate spot where treasures are gathered by the accumulation of accidents, positioning terrestrial society as a community of shipwrecked sailors, building – either voluntary or involuntary – the future of their island.
• The Third hypothesis questions a triple privilege : the privilege of humans over another species – terrestrial or not – (speciesism), the privilege of Earth over other cosmic environments (earth-centrism), the privilege of living organisms over other carbon-free living organisms (biocentrism). From these questions, a post-humanism comes into form, a becoming-alien of humans based on a plurality of intelligent agents, having moral criteria freed from the limits of the humanistic canon or even from terrestrial and biocentric canons. This post-humanism would stimulate the development of new forms of community ethics, new functional assemblies, and the experimentation of new processes of being which, as non-humans, could be defined as alien.

• The Forth hypothesis turns alien capitalism into a meta-discourse, a field of abstraction looming over what is real, with a strong effect of authority. Inventories of ressources in the abstract places of laboratories (the stock market is a sort of laboratory), setting out their respective roles in the same grand system, this meta-discource tells of the planet that has become capital; put to work, that is to say rendered foreign even to itself, managed like an innovative enterprise. Supported by simulations, technocratic narratives, convincing reconstructions of events, this discursive machine is rooted by the appliances of capturing and projecting spaces that orientate our actions, focus our desires, control bodies, legitimise regulations, drive industrial mutations, scientifically govern or subvert mass cognition.

 Who is who’s alien ? …a political question

Let’s speculate about passports being made and issued to alien entities. Would they only be issued by the little green men that Men in Black are taking care of? Wouldn’t they also be useful to the « unidentified migrants » and sans-papiers who spread over Europe just like UFO’s? The field of questions opened by the notion of alien also opens the question of the limits of political institutions, and what Hannah Arendt called non-humans; having no status, and therefore no rights. Gathered together at the border, from now are economical migrants, political refugees, climate refugees, cosmic refugees, interstellar castaways and inter-dimensional survivors.

Sarah Trouche works on the body as a social and political convector. She imagined a performance called The Protagonist.

“Sarah Trouche is an explorer: she embarks on different adventures travelling the world. She goes on to meet and discover countries, cultures, histories, landscapes, architectures, peoples, ethnic groups, individuals. Since the early 2000’s she’s been practicing a performative art engaged on both the political and sociological levels. She does travel willingly in order to experiment new territories and new issues. She immerses herself in a location from China to the Amazon rainforest via the West Bank, Japan, the United States or Martinique, and then restores through her body her own understanding of a specific situation.

On the spot she questions distant or recent history, its tangible vestiges and its consequences over society.
She does also question beliefs (rituals, legends, symbols) and their influence on a society. She observes the impact of relentless processes (climate economy social issues politics) over the daily life of regularly muffled voices. She then challenges divisive, difficult and taboo subjects as a spokesperson. Transparently, she reflects on the concept of territories and all their related prospects: censorship cultural fences, authority borders, imbalances responsibilities, armed conflicts and injustices triviality.”

Julie Crenn

Ressources

Sarah Trouche biography

Becoming machine-witch-plant: Gynaecological TransHackFeminism and joyful dystopia.

A proposition by Aniara Rodado

Performers Poussy Draama (DocteurE Caroline Duchesne), Paula Pin (Gynepunk-pechblenda), and Aniara Rodado (Transmutation de base/Vanille) develop different kinds of intermedia practices trough out a trans-feminist and bold approach, being seriously concerned about living organisms. They will be gathering for two days workshops and performances around DIY-DWO gynaecology.
«Our gynaecological self-care is a cyborg, trans-species and collective matter. We look at with a holistic approach in a world where anything else is falling apart. We already are in dystopia. We take off from our bodies to bastardize and “multimorphise” ourselves within a strong coalition together with the neglected:
Plants: Neglected by Biology
Weird female body: Neglected by Anatomy.
Low/outdated technologies: Neglected by commercial centres.
Witches, shamans, alchemists: Neglected by Science.» 

DocteurE Caroline Duchesne 

Sexologist, witch and alter-gynaecologist, Doctor E Caroline Duchesne, gives the floor to people in the audience regarding their sexualities within cosy contexts of knowledges sharing, in her former firemen red truck, re-baptised TransUterus Cruising Agency.

Her research is mainly based on Anatomy. Deconstructing the gynaecological violent history, transmitting tools in order to reclaim body and autonomy through healthcare, de-psychologise one’s relation to sexuality. We have tools to correct History, by creating ourselves areas for visibility, which fiction is part of. We are the numerous and united authors of alter-narratives, creating a fair amount of restructuring joy, transforming tantrums into political powers.

Gynepunk-pecheblenda

Tinker our machines in order not to have to go to the lab dissecting our body liquids, do our own biopsies, colour our urine, look at our uterus tissues as something less familiar than our kitchen. Bio-electro chemistry experimentation. Radical self-power. Enhance our perception abilities, using our body as a constant experimentation field. Thank the frog allowing us to know the result of our pregnancy test. Mutualise all these knowledges, make them public and reachable. Transform the speculum or other electro-simulation devices into objects of pleasure and hack it all. Recycling, self-building, lower our consumption of rare earth. Not to have to deal with open-cast mines and electronic slave factories.

Transmutation de base/Vanille

Give birth, abort, get high, bleed, rest. Pharmaceuticals not only is an highly powerful biotechnological industry, which trans-humanist project cannot really be hidden. Rather, one should not forget than all pharmacopeia are based on knowing plants, taking care of them, distil, mix, infuse, burn, and compact them.

To keep in touch with some of our cells, our fluids and the world, we do not consider plants as sole food resources or treating active principles repositories.
Luckily plants do come pick us up and they don’t beat around the bush! Their language goes over our time scale, our eyes are having a worse time hearing it than our noses. We’r gonna have to be patient. Let ourselves be penetrated. Mmm, that feels good…

Ressources

Aniara Rodado
Poussy Draama
Paula Pin

2011 | documentary | 1h02 | color | english with french subtitles

“I’ve always wanted to explore inaccessible and dangerous places. As a child, I dreamt of going into space. I’ve often heard it said that it was a man’s job, that I shouldn’t dream. I’ve refused this predestination, becoming an aeronautics engineer and building rockets. I applied to be an astronaut, started training and was refused. After my initial anger had faded I tried to find out why.

My investigations into the role of women in space conquest has opened up a more global enquiry into the extent of the notion of gender and its manifestations.”

Silvia Casalino

Ressources

About the film

Silvia Casalino

For the second year running, the Rencontres Bandits­-Mages  festival is delighted to include the carte blanche feature in our programme It’s Time, brought to us by the association Emmetrop.  Transmission is the molten core of the fusion of material fuelling this year’s festival, its firm intent being to create a complex, cross-cutting perspective. Bandits­-Mages and Emmetrop share a permanent state of urgent need to contaminate mainstream reality through the relentless and furtive efforts of clandestine agents. The Rencontres are for making things take shape: for transforming the vast pool of our micro-skills into liberating drones without borders, free to move anywhere. We intend to make a platform on which other creative laboratories of the mind can land, where they can broadcast the organic archives of actions of which we are all component parts, to enrich day by day the awakening of independence and alternatives for the future.

The documentary we are offering for this year’s festival carte blanche is “moustached”: it reports on an experience of major deconstruction, an ongoing change of paradigm, providing activist and artistic evidence of terrorist acts on the body’s gender. It is a tale of the deconstruction of masculinity by women, both biological or not.

Paroles de king (“A king’s words”), produced in 2015 by Chriss Lag is one of the first documentaries to look at the Drag King sub­culture in France. Thanks to Chriss Lag, we at last have footage of this invitation to transmit or cross over to the joyful diversity of “Gender trouble”, a performative deconstruction of imposed and decreed determinisms which is highly subversive and playful at all times.

This French drag documentary will be a chance to share experiences and statements; it sensitively combines collective learning, performance without hang-ups and micro-political activism.

Érik Noulette

ABOUT  PAROLES DE KING !

While Drag Queens are well­known figures on cabaret stages, Drag Kings are rarely seen. Chriss Lag met 22 Kings from various corners of France. We’ll meet them too in footage and workshops, in games, political and artistic processes and pure pleasure.

Taking the idea of gender­building in society quite literally, these Drag Kings explore the codes of masculinity and consciously demolish their own codes of femininity.

Transgenerational, this unique documentary on dragking subcultures in France gives a large space to the Olds Timmers : the Kings of Berry aka Queer mc’ which emerged in complete protrans hiphop in Bourges in 2003.

It’s time is a program from the association Emmetrop brought by Érik Noulette and Nadège Piton.

Ressources

Chriss Lag biography
Érik Noulette biography
Nadège Piton biography
Press folder

extract from the open call

Within the framework of the Bandits-Mages Encounter 2015, and more precisely in the seminar about Eco-queer, Transmutations & Anticipations; Bandits-Mages has trusted on us the elaboration of a curatorial program.

Within this framework we are going to develop a postporn short-films programme. You are invited to explore the possibilities of a left hand fisting in the darkness of the planet Winter; we call to those dispossessed of the human identity to show their BDSM relationships with strawberry-aloe on Anarres; we invite you to a change of climax with your stardust; and we remind you that the name for World is Forest. We invite you to explore transmutations & anticipations possibilities offered by the Ecosex movement initiated by Elisabeth Stephens and Annie Sprinkle, the postporn, the feminist sci-fi, the cyborg covens, and the vampire knowledges…

We will pay special attention to the works where the sexual representations/practices that revolve around the production of denaturalised identities: the hybrid, the wretched, the borderline, the monster, the bastards, the chimerical, the mixed, the abnormal…

These works can belong to any kind of audiovisual genre.

Illustration : yaya http://baadink.tumblr.com

Pushing further its support to young collective creativeness Bandits-Mages opened HALL NOIR at le Château d’Eau/Château d’Art of the city of Bourges, France, during the Rencontres Bandits-Mages 2014. It is a prototype area for art students and young artists invited to dissect the current problems of artistic creation investigating critically their issues within our society. Hall Noir intrudes tomorrow’s matters and experiments up-and-coming uses, aiming at a concrete experience of an artistic program through means of production, theoretical and practical tools, rooted in a public space.
The proper working of this living space made out of researches and meetings relies on a short-lived community. It associates students and various professionals; their collaborative actions reinforcing the relationships developed in the creative process through a discussion platform, reflexions and Trial-and-error workshops in order to organize and achieve the specificities and fixed durations of each proposal during the Rencontres Bandits-Mages.

More details about the program

19h00 : Talk by Alejandra Riera and Joris De Bisschop

Through the shared experience of the film-making workshop Lucioles, we are making a precarious attempt at communicating the areas where shared life experiences have overflowed beyond the scope of the film which has nevertheless accompanied them. The workshop is based on our individual experiences, fed by collective experiences and films, and the way of thinking and existing in the context of institutional psychotherapy (Tosquelles, Oury).
Lucioles could be described as a sort of collective machine for (un-)editing, filming and encounters. Since 2010, participants have gathered from time to time at the clinic of La Borde around a project of speaking-mute film, linking up unusual stories, walking from one space to another, putting together their own filming tools, weaving in the script, creating a place for talk, an opportunity for being there, in an open space where the unexpected is welcome and everyone’s words are listened to, as they are…
Lucioles could be held at La Borde thanks to its Club (an association of residents) and the backing of Jean Oury, Leïla Lemaire, Bruno de Coninck and Patrice Eymann, in particular.

We would also like to mention the film-making experiment carried out since 2003 by Alejandra Riera, in conjunction with the drama company UEINZZ based in Säo Paulo, which for 19 years has welcomed and brought together psychiatric patients, philosophers (including Peter Pal Pelbart), actors and all sorts. Likewise, that of the cinema club la tache jaune led by Joris De Bisschop at the La Borde clinic.

Joris De Bisschop has worked at the La Borde clinic, Cour-Cheverny, founded by Jean Oury, for more than 12 years, after studies in psychology and philosophy. He is also a translator and writes about the cinema and his own experience. It was his idea to set up  la tache jaune, the film-making workshop at the La Borde clinic and with Alejandra Riera he also started the  Lucioles workshop.
Alejandra Riera teaches film and video-making and documentary techniques at the national higher school of art (ENSA) in Bourges where she runs manières de faire, a film club which delves into rare, unusual and poetic processes, outside any preconceived reality, calling on film, writing and experimental work.
She is especially devoted to research involving photography and film in their relationships with writing and history, setting up in 1995 and continuing for a decade or so the models-without-quality (maquettes-sans-qualité) : a never before seen form of intermittent arrangements of photos and captions, texts, documentaries in progress and accounts of processes. From 2003, she built up various research groups, one with the residents of a neighbourhood on a ring-road (from 2007 to 2012), and two others which included, notably, people suffering from psychotic disorders, in order to embark on a “survey of the/our outside” – “survey” having the sense of “history”, or “micro-history” rather than “information”, and “outside” meaning the attention given to everything on the edge which “escapes” while remaining an ongoing part of our history.

In 2012, she started research titled “the poetics of the incomplete” (poétique(s) de l’inachèvement) which returned to certain experiences whose breadth extends beyond the scope of film even if a film is following them (among these is the experience of the last unfinished film of Maya Deren).
Her documentaries and writings have very often fuelled attempts to encourage collective thought, gesture and writing. Lying “between fields”, they call on a diverse panoply of knowledge.
Her experiments have featured in presentations both within spaces specifically dedicated to the airing of artistic or film production and elsewhere.

21h30 : Screening of « … – Histoire(s) du présent – … » (history/ies of the present) documentary of an experiment, [… – 2007- 2011 – …]

« … – Histoire(s) du présent – … » is a film born from one of the experiments led by Alejandra Riera with UEINZZ, a drama company which for more than 14 years has included psychiatric patients, therapists including the philosopher Peter Pál Pelbart ―one of the founders of the group―, actors, but also people in the here and now of the experiment. UEINZZ defines itself as a poetic, scenic territory “for whoever feels the world wobbling”. In 2009, the troupe took over a cultural centre in Sao Paulo: it became a space for experimentation and rehearsal for the troupe which was working on an impossible theatrical adaptation of Joyce’s Finnegan’s Wake. This was the setting for the film-making workshop that Alejandra Riera offered to the members of UEINZZ, a workshop for reflection, where the predominant need was to find a language which would involve bodies, the reality of their presence, needs and desires. And, with the help of Maya Deren’s Une anagramme d’idées sur l’art, la forme et le cinéma (an anagram of ideas about art, form and film) it led to a collective poetic invention of a place(s) of study where, as in Finnegan’s Wake, no word, no task, no shape belongs to any one person, they tend to slide from one to the others, just as, ultimately, the infinite, the universe and worlds come and go.

UEINZZ: A community of the ex-communicated for a community to come, is a theatre company where the experiences, boundaries and esthetic experimentation of a minority  intersect affording a scenic territory “for whoever feels the world wobbling”. Founded and led by a group including the philosopher Peter Pál Pelbart, it comprises Adélia Faustino – Alexandre Bernardes – Amélia Montero De Melo – Ana Carmen Del Collado – Ana Goldenstein – Catherine De Lima – Colazzi – Eduardo Lettiere – Erika Inforsato – Fabrício Pedroni – Iza Cremonine – John Laudenberger – Leo Lui – Luís Guilherme Ribeiro Cunha – Onés Antonio Cervelin – Paula Francisquetti –  Roberto Couri – Valéria Manzalli – Yoshiko Minie – Cleubis  Villanova – Simone Mina and Juliano Garcia Pessanha.

Film credits
Direction: A.R. avec UEINZZ
Editing: Alejandra Riera et Marine Boulay
Staging of Finnegans UEINZZ: Cássio Santiago – Elisa Band
Image: Alejandra Riera et Thomas Bauer
Sound: Thomas Bauer, Moisés Brasil
Music: Léo Lui
Production: Ricardo Muniz, UEINZZ (Brésil), A.R. (Paris), et avant 2009, avec le soutien de Cécile Zoonens.
French subtitles: Marine Boulay
Transcription from Portuguese: Erika Inforsato
Brazilian-French translation : Nadine Fajerman et Peter Pál Pelbart
French-English translation: Graeme Thomson, Silvia Maglioni and proofing Rodrigo Nunes

Ressources

The UEINZZ troupe
About the film

ZAAP – Zone d’Activités Artistiques et Pédagogiques — is the transmission arm of the association Bandits­-Mages. It promotes the materialisation of collective projects through practical research. Effectively, the theoretical approach to and analysis of creative work always focus on the practical in order to develop skills and artistic research at the same time. In the framework of various projects, thought up and carried out in partnership with state and community educational bodies, associations, social workers, staff committees etc, ZAAP invites people to be an actor, a director even, of his/her own knowledge.

Bandits-­Mages has close ties with the schools offering the cinema and audiovisual option, and works with them to set up annual workshops for each of the last three years of high-school. During the Rencontres Bandits­Mages, one afternoon is devoted to the pupils but also open to the general public, to explore alternative editing techniques and treatment of archive footage through VJing. It is a fantastic opportunity to enter the professional art world.

INTRUDERS

• PERFORMANCE LIVE CINEMA
• Live video : A-li-ce / Live audio : Swub
• Duration : 35 minutes

Based on amateur and family film archives from the 1920’s to present times, Intruders is an audiovisual memory remix of anonymous stories and portraits, a dancing conversation with our own ghosts. Attracted by nostalgia and voyeurism, we are led into a time travel in which we are increasingly followed by familiar, suspicious and curious glances of unknown human figures, seeking our attention in the present time.

Intruding our collective memory, the pictures use their own history to feed our inner fictions and emotions. Intruders is co-produced by the video art residency Bandits-Mages and the National French Archive Centre CICLIC. Inspired by 4000 watched films and 26 hours of collected archive footage, Intruders is an unique contemporary historical document with more than 2000 live sampled and manipulated audio and video sequences. An audiovisual performance dealing with collective memory, intimacy and the transience of being, which seems to be timeless in its actuality in today’s interconnected media world.

Intruders will be performed during the closing night of the festival.

UNE JEUNESSE ALLEMANDE

• PROJECTION CINÉMATOGRAPHIQUE
• Director : Jean-Gabriel Périot
• Duration : 93 minutes

Jean­-Gabriel Périot excels in tackling archive images, giving them a new impact thanks to his editing prowess. In this long-length film with sound and images from the time, we find ourselves among the Red Army Faction, commonly known as Baader-Meinhof Gang. The film is introduced by film critic Arnaud Hée, a member of the selection committee of the festival Cinéma du Réel. He will comment on its production and its historical importance.

Ressources

More infos on Intruders : Bandits-Mages
Biography : Laurent Carlier
Biography :  VJ A-LI-CE
Biography : Swub

Association Ciclic

more about the movie : “Une jeunesse allemande”
Biography : Jean-Gabriel Périot
Biography : Arnaud Hée

Lessons in film-making ?

The question arises with films which stage or are presented as a lesson in film-making but also those which use the most unexpected means to provide a lesson in using the image by re-interpreting the way it is transmitted. On the one hand there are the “masters”, incarnated by the film-maker (Godard in “Notre musique”), a museum guide (“Cinema Museum” by Mark Lewis) or a philosopher (Zizek, “The Pervert’s Guide To Cinema”), who bring back the notion of the school as captured by Serge Daney (in “Le Thérrorisé, pédagogie godardienne”) as the place of “(re)transmission”, of the repetitive role of both teachers and pupils and of the impact of authoritarian speech on the spectator. On the other hand, there are the more conciliatory, less peremptory, more questioning and emancipating approaches (like that of the narrator in “Adieu” by Arnaud Des Pallières) or even contradictory or ambiguous (“Les Photos d’Alix”, Jean Eustache), or less corporeal, with disembodied voice-over for example (as in “Letter from Siberia” by Chris Marker, or “Documents interdits” by Jean-Teddy Filippe), or silent in its subtitles (“Respite” by Harun Farocki), in the camera’s movements (“Cinema Museum”), or in the editing (“Home Stories”, Mathias Muller, “Quand la peur dévore l’âme”, François Ozon). From the diktat to the didactease, these documentaries, art-house movies or fictions reproduce or invent new forms of communication while observing very different notions of film-making. What do they tell us about film-making and the visual image? And above all, viewing?

List of films screened

19h00

• “Notre musique” (extract from “La Leçon d’images” by Godard in Sarajevo, 10 mn)
• “The Perverts’s Guide To Cinema”, Sophie Fiennes, S. Zizek (2 extracts of 10 mn each)
• “Cinema museum”, Mark Lewis (38 mn)
• “Adieu”, Arnaud Des Pallières (a montage of several extracts = 25 mn)9:00 pm Pause

21h30

• “Les Documents interdits” (“L’extraterrestre”) by Jean-Teddy Filippe (6 mn 11)
• “Lettres de Sibérie”, C. Marker (a 15-mn extract)
• “Respite”, Farocki (10-mn extract)
• “Les Photos d’Alix“, Jean Eustache (20 mn)
• “Home Stories”, M. Muller (5 mn)
• “Quand la peur dévore l’âme”, F. Ozon (26 mn)

Ressources

biography : Térésa Faucon
interview : Jean-Teddy Filippe on cinetrange.
bibliography : Slavoj Žižek
Le Thérrorisé, pédagogie godardienne [pdf], Serge Daney, in Les Cahiers du cinéma (numéros 262 & 263 – janvier 1976)

A trip into Sixties counter­culture in Japan.

In 1968, Nagisa Oshima was shooting “Diary of a Shinjuku Thief” (“Le Journal du voleur de Shinjuku”), a fervent tribute to youth and artists which was to revolutionise the Japanese in the ’60s. On set you might have run into the pop­art painter Tadanori Yokoo, the “situationist” director Juro Kara, and in the supporting roles the future butoh star,Akji Maro, and future art dolls creator Simon Yotsuya. Inspired by Godard and cinéma vérité (truthful film making), Oshima forged a direct link between these provocative, ribald artists, parading in their traditional loincloths in the heart of Tokyo, the sexual revolution and the student riots which were setting the town ablaze at the time. A masterpiece of the Japanese New Wave, “Diary of a Shinjuku Thief” was the best route into this violent, libertine and sensual underground.

The title’s reference to Jean Genet (“A Thief’s Journal”) is no coincidence: young Japanese artistswere devotees of the subversive influences in Europe, in particular in France, ranging from the Marquis de Sade to the writer Georges Bataille, and taking in German artist Hans Bellmer and the Surrealists. Along with the European avant­garde, they were asserting the freedom of their own society from the taboos “our American cousins” were trying to impose. For a few years, a new world came to life with an eruption of artistic talent, from the invention of butoh to the demands of a gay community, from the fantastical drama of Shuji Terayama to the divas of acid­folk such as

Maki Asakawa. Beside the films of Nagisa Oshima, our journey will lead us through the works of Koji Wakamatsu (“Go, Go, Second­time Virgin” ­ “Va vierge pour la seconde fois”, “Ecstasy of the Angels” ­ “L’Extase des anges”), Toshio Matsumoto (“Funeral Parade of Roses” ­ “Les Funérailles des roses”), Susumu Hani (“The Inferno of First Love” ­ “Premier amour version infernale”) and Shuji Terayama (“Throw away your Books Rally in the Streets” ­ “Jetons les livres et sortons dans la rue”).

Performance Butō : Le chemin hanté of Yoko Higashi.

The haunted path was taken by Yoko Higashi when she was a student of ankoku butoh or “butoh of darkness” or sometimes “dance of the obscure body”. The creature in a kimono, with chalk-white complexion and tangled hair, brought on stage by the dancer and medium, comes from an ancient, shadowy Japan but also from the subversive fever of the Sixties in Japanese society which attacked every taboo including ugliness, madness and sexuality.
Yoko Higashi leads us on a journey starting in the North of Japan, in the province of Aomori, on the peninsula of Shimokita, the birthplace of the founder of butoh Tatsumi Hijikata. This has remained a peasant region, dominated by the volcanic landscape of Osorezan, the “Mountains of Dread”, a crucible of archaic legends and rites. You can still come across the itako, Japanese shamans, communicating with the souls of the dead and carrying out exorcisms. And the nuclear power station Fukushima is also in the North of Japan, a forbidden zone where death patiently does its work. Through the choreography, Yoko will guide us in an exploration of this ghostly face of Japan. Her experimental music adds an extra dimension to her performance, throwing us into a fantasy universe of sound. Yoko Higashi will surely summon the guardians of butoh and the spirits, sometimes evil, who rule over the elements, the subversive figures of the Sixties but also the present and future ghosts of the tsunami and the nuclear catastrophe.

Ressources

Stéphane de Mesnildot biography
Yoko Higashi biography

Questionning the transference of the sixties and seventies political and aesthetic extremism, in the light of the international solidarity context, and of anti-colonial and anti-imperialist struggles. He might start presenting a series of rather unknown movies, linked with entire chapters of History and forgotten dreams, ignored or erased from our memories… What did artists and film makers born in the seventies make of this memory? Did The hour of the furnaces leave space for ashes and despair, on a ground of deep depression and blind idealisation of past times in order to lock out present dreams and utopias? After numerous deceptions and a whole series of dead ends and renouncements, what’s left from this liberation dreams these days? How can one relay perspectives and critical experiences arising from prior historical phases, without giving up the hope and the lucidity they were sometimes implying?

Program in two parts

19h First part :

• La question (Die Frage, Mohand Ali Yahia, ex. RDA, 1961-62) 12 mn
• J’aime les étudiants (Me gustan los estudiantes, Mario Handler, Uruguay, 1968) 5 mn
• Basta (Ugo Ulive, Venezuela, 1969, 21 mn)
• 79 Printemps (79 Primaveras, Santiago Álvarez (Cuba, 1969) Extraits. 12 mn
• Les enfants de la guerre (Jocelyne Saab, France-Lebanon, 1976) 7 mn
• Beyrouth ma ville (Jocelyne Saab, France-Lebanon, 1982) 14 mn
• And other films and surprises extracts.

21h Dinner buffet

21h30 Second part : 

• Préface à des fusils pour Banta Sarah M. (Mathieu K. Abonnenc, France, 2011) 30 mn
• November (Hito Steyerl, Germany, 2004) 25 mn
• Prison (Clarisse Hahn, France, 2012) 12 mn
• La fièvre (Safia Benhaim) 40 mn
• Face au silence (Mounir Fatmi, France, 2002) 10 mn

The photogram illustrating this program is from the film Me gustan los estudiantes (Mario Handler).

Ressources

Olivier Hadouchi biography

TO RELAY, TO PASS ON, TO TRAIN THE OBSERVER:

Archéologie future, la traversée d’un siècle (Future Archeology over the space of a century)

A series of five one hour video editing created thanks to the INA archives within the context of the centenary of Pierre Schaeffer’s birth and the fiftieth anniversary of his Service de la Recherche, based on an original idea of Jocelyne Tournet-Lammer. Facilitation of logistics, GRM (Music Research Group), by Daniel Teruggi. Collaboration, video editing among others, by Isabelle Carlier.

Mentioning Pierre Schaeffer :

1 – Pierre Schaeffer… in the dotted lines…

Not a portrait, nor a biography, but some of the researcher main features, from the origins of his background to the extension of his sound approach to the image processing. Statements gathered in various radio and TV shows.

In order to complete this closer look, three texts and short stories excerpts will be read to outline his written work.

2 – Pierre Schaeffer, extension to the image processing …

When he came back from missions in Africa, and after the GRMC (Groupe de recherche de musique concrète, Research Group on Concrete Music) became the GRM (Music Research Group), Pierre Schaeffer got closer to Cinema and organised various meetings, inviting a broad range of movie makers, musicians, technicians, plastic artists… TV was booming then.

TV sets up gradually, taking over radio. Pierre Schaeffer creates the Service de Recherche (Research Service). One of its mission consists in extending to images the researches that have been conducted on sounds until then. The first experiments merging both disciplines gave promising and surprising results…

In the forties, Pierre Schaeffer notes and realises that Radio holds an extraordinary power based on the eventuality to separate sounds from images, and on the possibility to set the course of events, to relay and broadcast them.

In the late fifties, Pierre Schaeffer extends to the image the research works he has been conducted on sounds. This new mission comes after years dedicated to radiophonic art and pedagogy (international missions and conferences). In 1957, he comes back from Africa, where he created an african radio stations operative network, thanks to the recruitment and training of local professionals, who turned to be able to lead, train and produce on-site. In 1942, after creating the Studio d’ Essai, training centre and radiophonic art laboratory, Pierre Schaeffer had given birth to the Soraform, and to the Studio École, which did remain for the next fifteen years, the only radio professions training centre in the world, able to train adults in a year.

In 1960, Pierre Schaeffer creates a new organisation, the Research Service of the RTF (Radiodiffusion-Télévision Française), later the ORTF (Office de Radiodiffusion-Télévision Française), which quickly became a cultural breeding ground. The Service meant to experiment on the Group and on the Individual, was frequented by young movie makers and musicians, lacking experience. The time of self-training on and by the image had begun. Young researchers took hold of these new tools (after the microphones, the cameras!).

The first experiments were born from the merging of arts and techniques. These light-weight devices transformed the users habits. Researchers demonstrated interest in people. They filmed themselves before getting involved in documentary and cinema-vérité fields. Results were watched, analysed. Reactions too.

In 1969, the Service, regarded as a Research and Teaching hosting structure for young researchers, builds stronger ties with the University, and develops a Research-Teaching Group. Researchers are called up to produce didactic video editing (Société des médias, Serendipity). Pierre Schaeffer starts a series of illustrated conferences. A video-club is settled, allowing to experiment, to lead, and to film interdisciplinary didactic seminars… f

The idea underpinning Archéologie future, la traversée d’un siècle ( Future Archeology over the space of a century) is to try, once again, to pass on a philosophical approach which foundations examines systems and means of expression. This attempt implies the presentation of multiple inventions and realisations. It tends to present the individual and his philosophy through its essays and its realisations, and more widely to put in perspective contents, issues, evolutions, new techniques and technologies… It also tends to keep pace with the changes that have occurred in the media, in the field of teaching, in the whole society over the space of a century.

Ressources

Jocelyne Tournet-Lammer biography and bibliography

DISARMING AND REARMING THE EYES

Ecosystems which don’t feature in administrative instruction manuals are often required to justify their seeming irrelevance. Politics fears politics. There is no reason why one should play the game of disintegrating and corrupt world views. Views of a world in motion cannot be ticked off in identification boxes and perception grids. Life can never be confused with an ideology of apparent order – it will always remember how it sprang from surrounding chaos.

The finale of the Rencontres Bandits­Mages will take inspiration from the archives of the Friche

l’Antre­-Peaux, a compound entity, mutating from birth, polymorph in essence, with dissent and contradiction as intersecting forces inside and out, overflowing in passion and prolonged and continually renewed commitment.

Overflowing is not only a choice, it is a respect for one’s references, orientations and standpoints, even power struggles, changing attitudes, thoughts which escape and prepare the ground for the swarm of upcoming moments.

Through living archives which bring back static moments in a perpetual present, the vanishing and force lines which have cut across the lives of the associations of the Friche every day for more than 30 years will lead to informal conversations and unplanned, unlikely contributions which will prolong the  Rencontres Bandits Mages 2015. This will be the chance for expression, about what comes out of the  Rencontres this year, to follow on from the exchanges experienced here and to raise the stakes of intensities expressed: multidisciplinary contributions about contributions and the hybridisations of forms.

ENTHUSIASM, PASSION

Building and sharing a world in ­motion, somewhere to cultivate the wild, instinctive, alive and chaotic, at the Friche l’Antre-­Peaux.

There can be no tradition / transmission without emancipation.

There can be no tradition / transmission if there is resignation or stagnation.

Cross-cutting contributions

The Nadir, the association Emmetrop’s adaptable concert venue, is hosting a pop-up installation, an “updating mutating worksite” as a standpoint calling attention to the defence of some critical life modes: self-produced and self-sufficient learning­ and the relaying of commitments to other areas of life and to other social groups.

With informal transversal discussions, on suspense and prolongation, artistic expression, theses, experiences, encounters… as well as electricity, lighting, sound, physical wavelengths, vibrations, impacts… everything is in motion, in transformation, from the Friche l’Antre-­Peaux to the teams from the participating associations, from the music to the visual images.

This open space, which could be an update of Stan Van Der Beek’s “Movie-­Drome”, a work stemming from expanded cinema, is kept running throughout the evening.

An array of contributions will punctuate the programme for the closing evening of the festival Rencontres BanditsMages 2015:

– Audiovisual Performance Les Veilleurs d’Images

Les Veilleurs d’Images (the image watchers) is a multimedia performance following on from the show YOU SCARED ME, created by Stéphane Privat in 2014 and produced by the group Composit.
In YOU SCARED ME, there is a person filming (called B) and a person being filmed (ADA). B is only present through the films he has shot which are projected on stage. ADA views these images over and over again and from them acts out their scenarios.
Filmed without any precise intentions, there were no framed compositions for the staging of the original shots. The gestures of the person who filmed them were projected, or superimposed on to the gestures of ADA. The characters and images took on shapes during the time of each segment of film.
The idea behind Les Veilleurs d’Images is to create a narrative detached from the first show and focusing on the character of B. Combining images created for the show with others gleaned over time, this multimedia performance concentrates on the person behind the camera and on his bank of images.
“Shooting, what’s it about? Taking advantage of this milling chamber to get a little squint at that something else, beyond the actual flow of events which are what they are, being lived out by people. ‘Lived’ is saying a lot, whatever anyone says, when we’re talking about a fictional film. ‘Something else’? Things which touch you, move you, we don’t know why. They aren’t included in the story, or History with a capital H,  but without them the story wouldn’t be what it is. ‘Squint’, what a pretty word, as if there were two eyes, double eyepieces, not for seeing in relief but two eyes like there are two memories, so that the one filming would have as it were a trailing eye looking out for anything there, even just a snippet, which is simply human, beyond and above the scripted scene. We ought to invent the squinting camera.” – Fernand Deligny, “Camérer” in Caméra/Stylo, n°4, Septembre 1983.

Conception: Stéphane Privat

– Performance of a new version of Intruders

Based on family films from the 1920s to today, Intruders is an audiovisual experience, a remix of a century of archives of amateur film, linking anonymous portraits and scenes of life.

Intruders is a conversation in dance with our own phantoms, a suggestion for a journey into our collective memory, into our innermost private selves.

For this closing evening, the unusual space where Intruders bursts in and takes shape will give a fresh reading of its visual images.

Co-production : Bandits­-Mages and Ciclic (regional film archives in Centre­Val de Loire)

– Performance from the VJing master­ class: a collective anarchivist creation

The 2015 VJing master class will perform a live dive into the audiovisual archives of BM & Emmetrop, combining them with participants’ own footage. This free interpretation will bring to the surface memories, soft spots, struggles, encounters, paths taken, rants, echoes of the present, updates, detachments, solidarities and differences.

– Warm-up DJ set by Swub followed by a DJ set with DJ Marcelle

The party part where enthusiasm and rhythm are at the service of the moving bodies and images,  modal thinking and individualism, invented and sought out, far from the infantilising words of command and imposed outbursts. An ode to minorities in the majority!

A consensual/democratic pseudo majority is a political invention… fear is an artificial atmosphere of coercive tension.