Lo Schermo dell’Arte Film Festival presents the second edition of VISIO – European Workshop on Artists’ Moving Images.
VISIO consists of a series of screenings, seminars and meetings dedicated to expanding the vision and themes of artists, who use moving images in their artistic practice.
VISIO intends to favour the development of a European network of young artists and professionals who work with moving images, promoting encounters and international mobility.
The Workshop will be held in Florence, within the context of the 6th Edition of Lo Schermo dell’Arte Film Festival (12-17 November 2013). The participants will be 12 young European artists, who work with moving images; they will be selected with an open call, in collaboration with some of the most important European Art Academies, Schools and Artist Residencies. The Selection Committee is composed of Leonardo Bigazzi, project curator VISIO, Silvia Lucchesi, director Lo Schermo dell’Arte and Angelika Stepken, director of Villa Romana.
This year the project will have a new important section: the VISIO Screening Program. 12 single-channel video works, one for each participating artists, will be selected and screened in the exhibition spaces of Villa Romana in Florence. The program will have daily screenings from November 12th to 17th 2013 and a full day where the participating artists will present in public the fundamental themes of their artistic practice.
VISIO – European Workshop on Artists’ Moving Images has a 5-part structure:
The participating artists are invited to attend screenings, meetings and lectures of the Festival’s official program, and are encouraged to actively participate in the discussions. The main topics will then be expanded and developed during the seminars and conversations with the curators and artists hosted by the Festival. This year’s edition will feature works by Deimantas Narkevicius, Adrian Paci, Simon Starling, Jane and Louise Wilson among others.
2. VISIO Screening Program
A single-channel video from each participating artist will be selected for a screening program curated for the exhibition spaces of Villa Romana. Founded in Florence in 1905, Villa Romana is an international institution that runs one of the most important residency program for artists in Italy.
3. Artists Presentation
The participating artists will be asked to introduce their work in a 20 minutes presentation/lecture at Villa Romana. Here, they will have the opportunity to present the fundamental themes of their artistic practice to the other participants and to a selected audience.
A cycle of 3 seminars will be conducted by artists and curators hosted by the Festival, who will speak about various aspects of their artistic practice and research methods with the participants. The seminars, which will last 2 hours each, will be structured in such a way as to allow also moments of discussion and sharing of experiences between the professionals and the participants.
The three seminars will be conducted by:
Filmmaker, artist, photographer and writer, Fleischer is the founder and director of Le Fresnoy, Studio National des Arts Contemporains.
He has taught at a number of international universities and art, film and photography schools such as the IDHEC – Institut des hautes études cinématographiques, Paris 3; the École nationale d’Art, Villa Arson; the École nationale supérieure d’arts de Cergy-Pontoise; the École de la photographie d’Arles and the Université du Québec a Montréal.
He has made more then a hundred and fifty films, ranging in genres from full-length fiction to experimental films and art documentaries. His work has been presented at several international festivals, including Cannes, Berlin, Rotterdam, New York, Montreal, Venice and Locarno. He has won two awards at the Montreal International Art Film Festival, which paid him homage in 2002.
His artistic work is regularly shown in international museums and galleries. Among his retrospectives are the ones at the Anthology Film Archives of New York, the Centre Pompidou, the Musée du Jeu de Paume, the Centre Nationale de la Photographie and the Maison Européenne de la Photographie.
He has represented France both at the Biennale Gwangju in Corea and at Havana, Cuba.
Independent curator and critic, Lind is the director of Tensta Konsthall, Stockholm. During her career she has worked with international artists such as Deimantas Narkevicius, Annika Eriksson, Philippe Parreno, Marion von Osten, Simon Starling, Jason Dodge and Liam Gillick.
From 2008 to 2010 she was the director of the graduate program, Center for Curatorial Studies at Bard College (NY), from 2005 to 2007 the director of Iaspis in Stockholm and from 2002 to 2004 she directed the Kunstverein München. Until 2001 she was the curator at Moderna Museet in Stockholm and in 1998 she was co-curator of Manifesta 2. She has contributed widely to newspapers and magazines.
Here are some of the books she co-edited: Curating with Light Luggage and Collected Newsletter (Revolver Archiv für aktuelle Kunst); Taking the Matter into Common Hands: Collaborative Practices in Contemporary Art (Blackdog Publishing); The Greenroom: Reconsidering the Documentary and Contemporary Art (Sternberg Press); Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios and Performing the Curatorial: With and Beyond Art (Sternberg Press).
She is the 2009 recipient of the Walter Hopps Award for Curatorial Achievement.
© Photo 4PITT by artservice
Trained as a sculptor and considered one of the most significant artists of his generation, Narkevicius works with video, film and docu-fiction that focus on the perception and transmission of history.
He is represented and has exhibited in museum and private collections throughout the world, including Tate Modern, MoMA and New Museum in New York, Centre Pompidou, Museo Nacional Centro de Arte Reina Sofia and BFI Southbank Gallery in London.
He was been invited to several international exhibitions as the Taipei Biennial in 2012, the 11th International Istanbul Biennial, the 29th São Paulo Biennial, the Skulptur Projekte Münster 07 and the 50th Venice Biennale.
In 2001 he has represented Lithuania at the 49th Venice Biennale.
5. Conversation room
In this informal environment participants will meet every day, in 45-minute round tables and individual encounters, artists, curators, critics, producers and directors of international institutions hosted by the Festival. A day will be dedicated to the curators and directors of local contemporary art institutions. Ranging from the presentation of their own portfolios to simple conversations, these moments are conceived as an occasion for encounters and exchanges that can foster the participants’ professional growth and extend their networks of international contacts.
Candidates must be young artists who:
- work with moving images as part of their artistic practice
- are under 35 years old
- are citizens or residents of one of the 47 member countries of the European Council (complete list)
- have a degree (M.A. or equivalent) or have had at least a solo-show in the last two years
- have an excellent knowledge of the English language
2. The application must include:
- Curriculum vitae (specify date of birth and nationality and/or country of residence)
- Portfolio with web links to previous video works
- Letter of introduction, stating one’s motivations for wanting to participate in the workshop (max. 2000 characters)
- Short biography in a narrative form (max. 900 characters)
- One photograph of the artist with a resolution of at least 300 dpi (format: JPG or TIFF)
Applications must be sent to Stefania Rispoli at
firstname.lastname@example.org by September 30th 2013.
The 12 selected candidates will be notified via e-mail by October 11th 2013.
The official opening of the sessions will be at 5 p.m., on Tues., November 12th, and will end at 11:30 p.m on Sun., November 17th.
Participants must attend all meetings for the whole duration of the Workshop.
All meetings and seminars will be in English.
3. Registration fee
Registration fee for all Workshop participants is 350 euro and includes:
- Pass providing access to all parts of the Festival (screenings and lectures)
- Participation in all the Workshop’s Sections
- Hotel accommodation (November 12-18, 6 nights)
The fee does not include transportation to and/or from Florence.
The payment can be made in two instalments.
Thanks to the collaboration with our partners, the following scholarships will be offered to fully cover the Registration fee:
- The ‘CECCHI Scholarship’ offered by Cecchi, wine producers in Italy since 1893
- Two scholarships offered by the Embassy of the Kingdom of the Netherlands in Italy to two Dutch artists or artists who are residents in the Netherlands
- A scholarship offered by the Institut français Firenze to a French artist
- A scholarship offered by the Deutsches Institut Florenz to a German artist
The scholarships will be assigned by the VISIO Selection Committee in collaboration with the Institutions and the companies that have offered them, during the selection process of the Workshop’s participants. The awarded artists will be notified via e-mail by October 11th 2013.
European Workshop on Artists’ Moving Images
(Florence, 12-17 November 2013)
Promoted and organized by
Lo Schermo dell’Arte Film Festival
with the support of
- Regione Toscana
- Ente Cassa di Risparmio di Firenze/Osservatorio per le Arti Contemporanee
- Embassy of the Kingdom of the Netherlands in Italy
- Deutsches Institut Florenz
- Institut français Firenze
In collaboration with
- Villa Romana
- FST – Mediateca Regionale
The selection of the participants is conducted in partnership with
- Akademie der Bildenden Künste München,
- Ecole Nationale Superieure des Beaux-Arts de Lyon
- Finnish Academy of Fine Arts (Helsinki),
- LE FRESNOY Studio national des arts contemporains (Tourcoing),
- Pavillon Neuflize OBC del Palais de Tokyo (Parigi)
- Royal College of Art (London)
- Royal Danish Academy of Fine Arts (Copenhagen)
- Vilnius Academy of Arts
- Universität der Künste Berlin
- Zurich University of The Arts
- Accademia di Belle Arti di Brera (Milan)
- Accademia di Belle Arti di Firenze
The project is curated by
The participation of Akvilė Anglickaitė is supported by the Ministry of Culture of Lithuania.
Her work has been included in numerous exhibitions in France and Europe and she has recently exhibited at MACVAL (Ivry 2013), CPIF (Pontault-Combault, 2013), Maison Populaire (Montreuil, 2013), Palais de Tokyo (Paris, 2010 and 2012), Galerie des Galeries (Paris, 2012), Transpalette (Bourges, 2011) and the Musée d’Art Moderne (Paris, 2010). She has exhibited with solo shows at Inextenso (Clerment-Ferrand, 2012) and Galerie Dohyang Lee (Paris, 2010).
The participation of Laëtitia Badaut Haussmann is supported by the Institut français Firenze.
Anna Franceschini was awarded with a full scholarship offered by the Embassy of the Kingdom of the Netherlands in Italy.
Sophie Hamacher was awarded with the scholarship offered by the Deutsches Institut Florenz.
The participation of Florian Krepcik is supported by the Vienna Media.
2012. The same year she was the winner of both the Hendrik Valk Prize, Museum of
Modern Art Arnhem (NL) and the Young Art Korte Film Award (NL). Her work is a synergy of experimental film, documentary and visual art. Recently she finished a residence at Schloss Ringenberg, Hamminkeln (D) and was awarded the Mondriaan Fund Amsterdam. She has exhibited at the Eye Film Instituut, Amsterdam (2013), the Pera Museum Istanbul (2012), T.E.N.T Rotterdam (2012) and the Bonnefantenmuseum (NL, 2011).
Inge Meijer was awarded with a full scholarship offered by the Embassy of the Kingdom of the Netherlands in Italy.
Peter Miller was awarded with the ‘CECCHI Scholarship’ offered by Cecchi, wine producers in Italy since 1893.
The participation of Simone Rowat is supported by the Royal College of Art.
The participation of Abigail Sidebotham is supported by the Royal College of Art.
Özlem Sulak was awarded with the scholarship offered by the Institut français Firenze.
This year VISIO have a new section to show in the public a selection of videos made by the participating artists.
Tuesday, November 12 – Sunday, November 17
Villa Romana, Florence
The film”Tinside Lido” is based on true stories.
The film “Tinside Lido” is based on imagined stories.
Stories can be true as well as created. The viewer can imagine a true story as well as storytellers did. He or she can observe the movements of storyteller’s imagination as this process wasn’t directed or interrupted.
“Tinside lido” therefore is a documentary film where three men from three different countries and cultures tells the story about the same place where something must had happened.
The film And again and again and again accompanies the persistent acquisition of elementary gestures, both choreographic and cinematographic. As it revolves around the dancer, the camera responds to his unending pirouette with a circular tracking shot, unending also. The resulting dizziness is mutual, taking over the dancer’s body as much as the camera’s eye. Little by little the training – both physical and visual – gives way to an exhaustion similar to hypnosis, which is only enhanced by the presence of the mirror. It concerns bodily and mental endurance, for the dancer – judge and jury – can never fully see the movement that he hopes to perfect in the flat, unmoving and forgetful mirror. The camera will be the ideal visualization tool: the “sending into orbit” of the internal eye of the dancer, of memory and his movement.
The film was made in 2012 in the Balanchine Studio at the Ménagerie de verre, with the participation of Noé Soulier, danseur and choreographer. Hélène Meisel
The Fun Fair could be considered a wonderful trap for eyes and bodies. It’s only this, I guess, the raison d’être of its existence nowadays. The Fair, with all its attractions, lights, sounds, movements, it’s an anachronistic sanctuary, an enclave where time and space are allowed to expand or contract, mocking every reference.
It’s the realm of rotation and vortex, blinking lights and fragments, of darkness, mirrors and flashes.
The Fun Fair is a reflection of the light of cinema, its topology a “Montage of Attractions”, its magic made out of every kind of transitions, special effects, fades to black.
This video is only a ride on a carousel. Or viceversa.
In this intimate narrative, which takes as its premise the Little Ice Age at the end of the 18th century, the film Der Nebel extends the genre of found-footage-film to question its own clarity. Examining the act of seeing as an act of transmission, the film merges footage from Youtube with an extended shot of a ferry ride through the fog.
The fog, a metaphor for capitalism, remains ultimately opaque, revolving around obscure allusions to the world’s financial crash.
This film is an innovative cinematic experience which infuses feelings in what is usually a cold environment: the virtual world of a video game. Magic happens in the urban environment of a virtual San Francisco: a place very familiar, with almost real architecture, infrastructure and movement, yet altered by the feeling of virtuality. Bringing in the aesthetics of film, by filming the world of the game in black and white, creates unity while the artificiality is always there in the flickering light.
“The Still Life” series records some of the memories of an old building that is undergoing renovation in the Mitte neighborhood of Berlin. A still life is set up each time a wall is going to be knocked down. Each still life is made from materials and other traces that have been left behind in the rooms of the house. The men knocking down the walls start on one side, and I stand on the other, filming the still life and protecting the camera from the falling debris. When watching the demolition it organically creates a film set. The historical still life format of capturing slow decay becomes the medium to show rapid destruction. Original sound recordings have been edited to amplify the already existing ambient noises of the city going on right outside the windows of the house during the demolition. The life outside the window drowns out the life inside until everything settles once again.
In his dark lab, a man builds a paradox flying machine.
At some point he goes to the mountain in order to control the potentials of his construction.
In Alma’s hair salon we catch the coming and going of elderly who are washed cut and set. Clients are delivered into the hands of the hair dresser while the camera is the mirror where the viewer carefully watches along with the patron.
How will it be when I will be the one sitting in that chair? Eye to eye the transience of our existence is brought into question as the audience is drawn in and witnesses first hand the process of aging.
Minutiae are “little things”. Here are ten.
These 10 little things form a small exhibition exalting the cinema.
“At The Tree Line” is a fable- like short depicting a woman brought to the edge of her sanity when isolated in the harsh landscape of her abandoned family home. The film enters in a timeless yet dream- like space, where the hints aren’t strong enough for the dreamer to realize she is dreaming.
Without food or any contact to the outside world, jolting fissures in Tess’s perception of the home begin to reveal what appears to be an unnerving family history. These clues expose a past that is totally untranslatable, yet one that inform her sense of self and surroundings. We are asked to walk with Tess through this symbolic space that exists only to reveal this psychology.
“Her Name is Herman” is a film about longing, masculinity and desire.
It follows the true story of a farmer who, in 1976, through a definitive premonition discovered a huge unexploded WWII “Herman” bomb buried deep beneath his ground on the Gower Peninsula in Wales. This buried and alienated relic of history is a powerful archetype of trauma and the pursuit to reach and defuse it is demonstrated as a masculine principle of conquest.
Thirty years ago, on September 12, 1980, a right-wing military coup d’état led by General Kenan Evren took state power in Turkey, established martial law, abolished political parties and unions. Coming after nearly a decade of social and political conflicts, the coup unleashed a wave of repression against working class and left-wing opponents of the Turkish regime. As a result some sixty thousand Turkish political refugees settled permanently in the Federal Republic of Germany. “September 12 (DE)” focuses on a few of these refugees and traces their steps to Germany.