Quand | When
14.22.2014 | 21h00
Où | Where
PAVILLON JUDITH-JASMIN ANNEXE
Média | Media
En présence des cinéastes.
Billets | Tickets
J.P. Sniadecki employs cinema and sensory ethnography to explore collective experience, the aesthetics of place, and the possibilities of film form.
Kimi Takesue is an award-winning filmmaker working in documentary, narrative and experimental genres. Many of her films explore the complex dynamics of cross-cultural encounters and representations.
Douglas Moffat mixes field recordings, electro-acoustics and landscape architecture to imagine, propose and build space for listening.
Kimi Takesue is an award-winning filmmaker and the recipient of the John Simon Guggenheim Fellowship in Filmmaking. Her narrative, documentary and experimental films have screened extensively at festivals and museums internationally, including the Sundance Film Festival, Locarno Film Festival, New Directors/New Films, SXSW Film Festival, the Walker Art Center, London’s Institute of Contemporary Art and the Museum of Modern Art (NYC). Her films have aired on PBS, the Independent Film Channel, and the Sundance Channel.
Among her fellowships and grants are a Rockefeller Media Arts Fellowship, two artist fellowships from the New York Foundation in the Arts, an Eastman Kodak Cinematography Fellowship; grants from ITVS, Ford Foundation, Pennsylvania Council on the Arts, New York State Council on the Arts, The Arts Council of England and artist residencies at Yaddo Artist Colony and the MacDowell Colony.
Raised in Hawai’i and Massachusetts, Takesue received a B.A. from Oberlin College and an M.F.A. from Temple University. Takesue is an Associate Professor in the Department of Arts, Culture and Media at Rutgers University-Newark. Her films are distributed by Women Make Movies and Icarus Films.
Takesue’s feature-length documentary WHERE ARE YOU TAKING ME? (2010), shot in Uganda, was commissioned by the International Film Festival Rotterdam where it had its world premiere.
STATES OF LIMBO | ETATS DE LIMBE
21h00 | 45 min
Douglas Moffat | Video | 2013 | 9 min
The ‘quiet side’ of Montreal’s highway noise barriers.
Most often seen from the window of a speeding car, noise barriers have been built with the intention of isolating highway traffic sound from residential areas. It is understood that this unwanted sound must be safely contained. On the leeward side of these concrete barriers are small pieces of open space. Heard from the perspective of urban acoustics these in-between zones can be considered as a form of accidental sonic preserve. A series of videos documents multiple sites across the island of Montreal and beyond. A surround microphone and camera record a small moment at each. Strung together, they become a strange tour of a carefully constructed, but largely unheard and overlooked anti-soundscape.
Kimi Takesue | 2009 | HD | 9 min
SUSPENDED captures a range of evocative moments that reveal states of emotional and physical suspension: moments of heightened anticipation, focused intensity, and blissful surrender:
– A tourist anxiously waits to be photographed at Trevi Fountain tossing in a coin for good luck…
-A wedding couple poses for a portrait, their arms extending into the air like a frozen eagle in flight…
Shot with a detached contemplative gaze, many of the vignettes observe and record life’s “suspended moments” unfolding in real time and thus explore the perception and passage of time. The piece is not only a document of human behavior and detail, but also expresses the camera’s subjective and sometimes voyeuristic eye.
SUSPENDED asks the viewer to enter into an unhurried space, to experience time differently, and to see things in a new way through an intensity of the gaze. The video presents situations that are, in one sense, familiar and identifiable but re-contextualizes and transforms these events so they are charged with meaning and metaphor and, thus, seen in a different way.
JP Sniadecki | 2010 | HD | 27 min
“On July 22, 2009, a total solar eclipse darkened the skies over Shanghai. Rather than focus on the eclipse itself, I wanted to explore its effect on the built environment, offering a meditation on the possible tones and meanings generated in the meeting of this celestial phenomena and Shanghai, where I had lived, worked, and learned to speak Mandarin nine years prior. That morning, just before the eclipse, the megalopolis was cloaked in foreboding storm clouds. The camera traverses back and forth across the waters of the Huangpu River – the major artery that separates the city’s two banks of old Puxi and new Pudong, an architectural vision of China’s present moment and a possible global future. Darkness descends, things slow down, boats stop, and the Pudong’s skyline is cast in thick black. Even so, Shanghai does not come to a complete halt – light from office windows and advertisements for the approaching World Expo pierce the darkness.” – Sniadecki