• BIM18 interviews by Filmexplorer
    James N. Kienitz Wilkins

    BIM18 interviews by Filmexplorer

    On the occasion of the Biennale de l'Image en Mouvement 2018, James N. Kienitz Wilkins meets Ruth Baettig and Giuseppe Di Salvadore from Filmexplorer and discusses his multi-layered and challenging works.   A film that is minimal in the aesthetic perception, maximal in the historic, economic, social, and political discourse, which finally amounts to an aesthetical discourse on design and on the act of filming itself. What we see in This Action Lies is just a cup of coffee – that is what we could say… but we soon realize that this is not exactly just a cup of coffee. A voice over unfolds how many meanings this Dunkin’ Donut’s cup of coffee has. The image becomes a meaning bearer, sometimes expressing, sometimes symbolising many things (facts, ideas, processes). Therefore, we not only think of, but also see many things via this cup of coffee, for we have the experience of how we can no longer see something in the same light after we know more about it. The film itself, as a film, unfolds through these many things. Actually, James N. Kienitz Wilkins’ focus is not just showing us the many things in this cup of coffee but, more precisely, the many interconnected things – through a methodology that we have already seen in his film Indefinite Pitch. Through the cup, we perceive a network of interconnected things, the cup of coffee expresses and symbolises a world: in its microcosm, the macrocosm arises. Through its history, its mode of production, its marketing scopes and, moreover, its branding ability, this cup of coffee expresses and symbolises the global power of design. It is the figure of a certain globalization. The cup of coffee is shot from three different positions, or with different lighting points. In any case, this is a technique of multiplying the perspectives, in order to explore and saturate the space that envelops the cup of coffee. Through the increasingly short takes of the three images, Kienitz Wilkins’ almost cubist device develops into a properly cinematic illusion, as if the entire film could display the birth of the cinematic image. With the intermediate of the world that is summarised within this cup of coffee, This Action Lies highlights how film itself is nothing but a representation of the world, an animated theatrum mundi. Text: Giuseppe Di Salvatore Audio/Video: Ruth Baettig Close
  • BIM18 interviews by Filmexplorer
    Eduardo Williams & Mariano Blatt

    BIM18 interviews by Filmexplorer

    On the occasion of the Biennale de l'Image en Mouvement 2018, Eduardo Williams and Mariano Blatt meet Ruth Baettig and Giuseppe Di Salvadore from Filmexplorer. The image on the screen is constantly moving, moving with an anonymous subjective character that is not actually Eduardo Williams, but the many people that he met in Guinea Bissau. A perfectly decolonial gesture, which leaves room for improvisation, for surprises. By foot, by bike, by motorbike, by car, and finally on skates, the images wander into the unknown, whereas the voiceover grants a solid continuity through its repetitive poetic pattern. Mariano Blatt himself reads the open-ended on-going poem No es, introducing many impressions, situations, observations through a hypnotic “it seems”. The world that he brings into the film is more and more deeply anchored in Argentina, and this creates a productive distance with the African exploration. A decolonial gesture does not imply the loss of one’s own identity, but its exposition. The decided and fragile voice of the poem is like a skin surface that is completely exposed, in contact with unfamiliar temperatures and equatorial humidity. The film becomes the place for a meeting. “It seems”: the poetic exercise of distance hints at the fictional distance of film illusion, and carries an intensification of perception. Distance and intensification find a new intriguing synthesis in the particular kind of image of Parsi. The urban landscape that we discover is wide open and bodily centered at the same time. This impression is the result of Williams’ using of a 360-degree GoPro camera, whose image has been successively reframed by Williams himself working within a VR apparatus. The deformation of the wide-angle lenses creates a feeling of acceleration towards the periphery of the image, amplifying the sensation of movement, and at the same time making us feel fully present, in the middle of the image, thereby breaking from the observational point of view. The impression of immersion and the vertigo of the unknown are both stressed. Distance and presence are the magnified coordinates of the feeling itself. The meeting and the feeling conflate. Text: Giuseppe Di Salvatore Audio/Video: Ruth Baettig Close
  • <em>To CAMP (I like to look at people)</em>
    Arttu Palmio

    To CAMP (I like to look at people)

    Video shot on the occasion of To Camp, event held at the Centre from May 7 to 13, 2018 during which 17 artists lived, created and performed during one week in the institution To CAMP (I like to look at people) consists of two over-lapping works coming together as one: a seemingly naive and superficial audio recording contemplating on the relation of nature and culture, humans and animals, looking and seeing, looped over a faux documentaire observing, gazing, following and seeing the participants of To CAMP and their daily activities, mundane rituals, tedious task: eating, waking up, dressing up, talking, and working. Close
  • <em>Poésie Épigénétique</em>
    Giovanni Fonatana

    Poésie Épigénétique

    Performance held on August 23, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. The poet-performer Giovanni Fonatana is a true «poly-artist», he extends and modifies the limits of poetry. His poetry is charged with new tensions, characterized by the contamination of systems, the fusion of separate universes, the use of new media and new supports, combining the enormous energies offered by science with the energies of the body and memory, through a different conception of the materiality of language, sustained by the voice; but it is an «other» voice, which on the one hand connects us to an area of extinct orality, and on the other hand put us on the face of an unheard-of voice, through digital passages and new tools for sound synthesis. The poly-artist, then, is the creator and actor of a «hyperpoetry». Thanks to its gesture, its energy, its constant pressure, the poetic body undergoes subsequent processes tuned to multidirectional roads and becomes the object of a progressive plastic modeling, so that, in relation to the «genotype» structure of the score, one could speak, for the evolutive phases in space-time, of Poésie Épigénétique (Epigenetic Poetry). Giovanni Fontana is the theorist of Epigenetic Poetry. For forty years he has been interested in languages and its varied codes, intermediate techniques and synesthesias. He has written books on the voice in contemporary poetic research and on performance. His sound poems are highly appreciated by international art research circles. He has made video-poems and published several books and records. He has written poetic texts for many composers including Ennio Morricone, Roman Vlad, Antonio Poce, Antonio D’Antò, Umberto Petrin, Luca Salvadori and others. In 2011, he wrote the text of Elegy for Italy, opera composed by Ennio Morricone for the hundred and fiftieth anniversary of the unification of Italy. He is part of the group «Hermes Intermedia», along with Antonio Poce, Valerio Murat and Giampiero Gemini. Close
  • <em>Staircase Mystery</em>
    Karl Holmqvist

    Staircase Mystery

    Performance held on August 24, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Swedish artist Karl Holmqvist reads a spoken word poem based on the 1978 Siouxsie Sioux classic. Holmqvist's work approaches how words and phrases tend to repeat in memory and how this in turn shapes the way we view the world around us. Close
  • <em>Oh That</em>
    Chris Mann

    Oh That

    Performance held on June 9, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Language is the mechanism whereby you understand what I’m thinking better than I do (where I is defined by those changes for which I is required). South African of English, Dutch and Irish descent, Chris Mann started by working in rural development and poverty alleviation before becoming a writer and poet. This multi- faceted, multi-talented writer has also taught English in a rural school, lectured in English at Rhodes University. He has volunteered for various trusts, has been a parish councillor and was a founder and song-writer of Zabalaza, a cross-culture band performing in English and Zulu. Close
  • <em>Our Life Is So Weird I'm Sorry</em>
    Steve Roggenbuck

    Our Life Is So Weird I'm Sorry

    Performance held on August 24, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. American poet and YouTuber Steve Roggenbuck shares his love poetry, political poetry, and humor. A key figure in Alt Lit, Roggenbuck is noted for his utilization of internet self-publishing, creative misspelling and themes of carpe diem.   Close
  • <em>Lecture écrans performés</em>
    Contrat Maint (Pascal Poyet & Françoise Goria)

    Lecture écrans performés

    Performance held on June 30, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. A « lecture écrans performés » (performed screen reading) is a working table. A text and a corpus of photographs are put in movement by their authors, Pascal Poyet and Françoise Goria of the publishing house Contrat Maint, through reading and digital screening. The digitized images are shunted and put together live. The text is read, rewritten through reading, partially spoken. Broadcast simultaneously, performed, phrases and images can alternately coincide or diverge. Close
  • Sans titre
    Andrea Marioni

    Sans titre

    Performance held on June 2, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Andrea Marioni, born in 1986 in France, grew up in Lugano, Ticino. After graduating from the School of Commerce at Bellinzona (SCC), he studied History of Art and History and Aesthetics of Cinema at the University of Lausanne (UNIL). He also earned a Bachelor of Visual Arts, Art Action (Performance) at HEAD - Genève, and pursued with a Master’s degree in Workmaster orientation in 2013. His work revolves around the perception of everyday life and the relationship between the individual and the community. His work crosses several artistic disciplines and Marioni always seeks, through his presence or absence, to formulate the idea of a «social body.» His exhibitions ironically shake the boundaries between documentary and fiction. Close
  • Sans titre
    Anne Le Troter

    Sans titre

    Performance held on June 3, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Anne Le Troter (born in 1985 in Saint Etienne, lives and works in Paris, France) graduated from the HEAD - Genève (2012) and ESAD, Saint-Etienne (2011). Through various (often polyphonic) sound interventions, she explores the mechanisms of language. Close
  • <em>United In Stomach Flu, London Weeps</em>
    Cally Spooner

    United In Stomach Flu, London Weeps

    Performance held on July 7, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. United In Stomach Flu, London Weeps is a reading from Cally Spooner's novel in progress, interspersed with some unwritten thoughts for 2017, on states of rehearsal, Galileo's telescope, out-of-work speech writers, sweat, shame, structured reality, fake news, false tears and outsourcing. In collaboration with Michelango Miccolis. Cally Spooner's (born in 1983) work arrives in a space where references to books, theoretical treatises, films, pop songs or talk shows find themselves arranged in unsynced forms:  as live productions, film installations, choreography, sound, as well as fiction, readings and scripts. Arriving from a training in philosophy and landing somewhere between stable, formal compositions and living, social events, her work prods and questions the hierarchies between those who hold power and those who do not. Close
  • Sans titre
    Cia Rinne

    Sans titre

    Performance held on June 2, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Cia Rinne was born in Göteborg (Sweden) in 1973. She is a poet and documentary filmmaker and now lives in Berlin after studying philosophy, history and languages at the universities of Frankfurt, Athens and Helsinki. She writes visual poetry and conceptual pieces in several languages, and sometimes integrates them into exhibitions, such as Night Calendar. Close
  • Sans titre
    Laura Vazquez

    Sans titre

    Performance held on June 3, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Since October 2013, Laura Vazquez writes with her camera her poèmes du mois (poem of the month) using a word a day. Rapid and sharp shapes, the poems of the month are projected facing each other, like a series of self-portraits talking, at the crossroads of selfie and stop-motion. Each word recorded involves the recording of a series of other details, which form some kind of natural environment that speech brings along the way. These filmic objects materialize the poetic question of «the cut» and considers poetry as a gesture of writing made directly in the real. Close
  • <em>Word Squares</em>
    Karl Holmqvist

    Word Squares

    Performance held on May 30, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Close
  • <em>Actionvoixéléctronique</em>
    Joachim Montessuis

    Actionvoixéléctronique

    Performance held on June 16, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Joachim Montessuis has developed an experimental contextual practice mainly around voice, drone, noise and resonance since the early 90’s. His current work is directed towards conceptual experimental processes of the issue of observation and perception of reality through a non-dual approach. His vocal performative work explores various states of trance through the extreme potentialities of amplification and the electronic transformations of screams, throat singing, and also words. He designs his actions as processes, “noise poetry-codes reality fertilizers”. Close
  • <em>How can we/they/one utter xenophobic rhetorics believably with so many linguistic bastards and impurities. How can we speak without pushing those immigrant words through our vocal cords past our white teeth?</em>
    Fia Backström

    How can we/they/one utter xenophobic rhetorics believably with so many linguistic bastards and impurities. How can we speak without pushing those immigrant words through our vocal cords past our white teeth?

    Performance held on August 24, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Fia Backström will read her book COOP A-Script interspersed with some texts from 2017, on gradients and borders, embodied language migrations, different speech abilities, bio-machinic utterances, and emotional naming practices. Close
  • Sans titre
    Elizabeth Lebon

    Sans titre

    Performance held on June 2, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Elizabeth Lebon was born in Leeds (U.K.) in 1983 and is now based in Switzerland. Encompassing poetry and prose, her work explores language through texts, book works, audio compositions, performances and installations. Close
  • Conférence action poésie autour de la poésie sonore et de la dactylopoésie d’Henri Chopin
    Michel Giroud

    Conférence action poésie autour de la poésie sonore et de la dactylopoésie d’Henri Chopin

    Performance held on June 16, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Close to Henri Chopin, all-round writer (oral painter and cutter in zigzags and performer of gestures, voices, sounds, words, drawings, images, photos and videos). Michel Giroud (aka Gerwulf and el coyote) offers a two-act conference and performance/action. (in French). Close
  • Sans titre
    Sebastian Dicenaire

    Sans titre

    Performance held on June 2, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Sebastian Dicenaire was born at noon on a snowy day in nineteen hundred and seventy-nine in the suburbs of Strasbourg. Everything was white that day. The black cats were quietly crossing the immaculate streets. Then everything suddenly accelerated. At 4 years old, he draws stories of cats and rabbits. At 12, he plays sports that do not exist. At 15, he read Lautréamont in the campsites. At 20, he shoots super8 movies at the edge of highway bypasses. He is currently writing a mushy romance book contaminated with a poetic bug, and creates films without images for Belgian radio or explains in six minutes chrono how poetry can save the world. Close
  • <em>SOPH RN</em>
    Sophia Le Fraga

    SOPH RN

    Performance held on August 24, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. SOPH RN is Sophia Le Fraga's multimedia talkshow. The pilot was performed in June at MOCA (Los Angeles). Sophia Le Fraga is a poet and artist. Le Fraga is the poetry editor of Imperial Matters and a member of Collective Task. Close
  • <em>Sound poetry performance with voice and electronics</em>
    Tomomi Adachi

    Sound poetry performance with voice and electronics

    Performance held on June 9, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Tomomi Adachi is a sound poet, performer/composer, instrument builder and visual artist. Known for his versatile style, he has performed his own voice and electronics pieces, sound poetry, improvised music and contemporary music, and has also presented site-specific compositions, compositions for classical ensembles, choir pieces for untrained musicians all over the world including Tate Modern, Maerzmusik, Centre Pompidou and Poesiefestival Berlin. As the only Japanese performer of sound poetry, he performed Kurt Schwitters’ «Ursonate» as a Japan premiere in 1996. Close
  • <em>Show personality not personal items</em>
    Nora Turato

    Show personality not personal items

    Performance held on July 7, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. In Show personality, not personal items, Nora Turato invokes precise observations of everyday life. By the artistically molded speaking of her texts, by rhythm and melody of her speech Nora Turato accentuates the urgency of her sociocultural themes, echoing the here and now. The artist Nora Turato explores the plurality of language in heartbreaking performances where she vomits (spic) a spoken word imprinted with popular culture and critical sociology. The rhythm, cadence and noisy dimension of language are essential elements in the elaboration of her work, which blurs the boundaries between contemporary art and contemporary music. Close
  • <em>Stereo Headphones</em>
    Vincent Barras

    Stereo Headphones

    Talk held on June 9, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Vincent Barras is a performer, historian of medicine and sciences, translator. He teaches at the University of Lausanne and at the HEAD - Genève. He publishes extensively on the theory of the body, medicine, neurosciences and psychiatry, contemporary poetry, music and art. He translated books by Galen, Sanguineti, Adorno, Lax, Vegetti, Gomringer. His performances and sound poetry work are performed solo or with several artists (including Jacques Demierre). Close
  • Sans titre
    Marie-Luce Ruffieux

    Sans titre

    Performance held on June 3, 2017, on the occasion of the exhibition From Concrete to Liquid to Spoken Worlds to the Word. Born in Lausanne in 1984, Marie-Luce Ruffieux flirts with speech and literature in texts that materialize during performances, books and sometimes in exhibitions. In 2017, she published her first novel Les jurons with the éditions Le Tripode.   Close