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International Competition

HFF AudimaxX

Nathalie Joffre, Data History Voyage, 2016, 8’ © Nathalie Joffre


(FRA/GBR 2016, HD, 8’, ENGLISH)


By filming the process of an archeological excavation in Dorchester (UK) with a team of the University of Oxford, the narrator experiences several mysterious memory disorders. Having started to film the excavation site, the first rushes of the excavation have disappeared from her harddrive. While observing archeologists at work, some memories from her childhood start coming to the surface of her memory... A film about loss and resurfacing of memory in all forms intimate, digital, and archeological.

Lives in Paris. Studied Visual Arts, History of art and photography in Paris, Amiens and London. Exhibitions since 2011 a.o. at Kunsthaus Bethanien, Berlin; Le CENTQUATRE, Paris; Bethlem Museum of the Mind, London. Participated in the British Shorts Film Festival, Berlin; Festival Vidéoformes; FIVA, Buenos Aires. Besides several nominations, she was awarded the PRIX ICART for Contemporary Art (Paris) in 2013.

Selected works: Apparitions (2016), At the edge of the double (2015), Les Tranchées... (2013-14)


Simon Fujiwara, Joanne, GBR 2016, 13’34’’, Mixed media installation with video projection. Commissioned by FVU, The Photographers’ Gallery and Ishikawa Foundation, supported by Arts Council England. Courtesy of the artist


(GBR 2016, HD, 13’34’’, ENGLISH)

A portrait of Joanne Sally, former Miss Northern Ireland, an artist, teacher and professional boxer. Fujiwara got to know her during his time at Harrow School, a distinguished English school for boys, where she promoted and lastingly shaped his artistic talent. Years later, when private nude photos of Sally were discovered and circulated by some students, she became the focus of a defamatory media campaign that destroyed her reputation. Five years after the scandal, the film tries to draw a more complex picture of her.

Born in 1982, lives in Berlin. Studied at Städelschule, Frankfurt. Recent solo shows a.o. at the Kunsthalle Düsseldorf, 2016; Irish Museum of Modern Art, Dublin 2016. Group shows a.o. at the Camden Arts Centre London, 2016; Solomon R. Guggenheim Museum, New York 2015; Centre Pompidou, Paris 2014; Espace Louis Vuitton, München 2013. Participated in the 9th Berlin Biennale 2016; Ruhrtriennale 2012; São Paulo Biennale 2010 et al.

Selected works: Humanizer (2016), Hello (2015), Studio Pietà (King Kong Komplex) (2013)


Sue de Beer, The Blue Lenses (still), USA/ARE 2015, 19’3’’, Still reproduced in color, Two-channel video installation. Courtesy the artist and Marianne Boesky Gallery, New York




In her short story The Blue Lenses, Daphne du Maurier tells the tale of a woman who will supposedly regain her vision after an operation. When the bandage is removed from her eyes, however, she suddenly sees people completely differently. Instead of human heads, she sees dangerous beasts. Like du Maurier‘s story, the film also questions reality and fiction as well as trust and deception, with a current political problem as ist protagonist: The Middle East. The film was originally developed by Sue de Beer as an installation.

Born in 1973, lives in New York and studied at Columbia University and Parsons School of Design. Exhibitions a.o. at MoMA, New York; ZKM, Karlsruhe; Schirn Kunsthalle Frankfurt. Solo exhibitions since 2000 a.o. at KW Berlin; MuHKA, Antwerp; Whitney Museum, New York; Künstlerhaus Bethanien, Berlin; Sammlung Goetz, Munich.

Selected Films: Room 309 (2012), The Ghosts (2011, KdK 2013), Silver and Gold (2011)


Jacob Dwyer, Dat Likwid Land, DEU/NLD/USA 2016, 29’ © Jacob Dwyer




At a bus stop, an invisible, laconic narrator finds a red notebook with the inscription “Ignatius Reilly. Journal of a Working Boy”. On the search for the journal‘s owner, who describes himself as an outsider, the film travels from Rotterdam to New Orleans, and into a strange, paradoxical country consisting of cemeteries and cypress swamps... For this film, which features his typical humorous manner, Dwyer won the project pitch of the last KINO DER KUNST, which is endowed with EUR 10,000 for post-production services.                                                                                                                                            

Born in 1988, lives in Amsterdam. Studied Fine Art at the Newcastle University before completing a Master degree in Experimental Film at Kingston University. His former films were screened at festivals such as IFFR in Rotterdam, Lo schermo dell’arte in Florence, and DocNext in Amsterdam. The sound installation PAULALIEN KNOWS BEST premiered at Juliette Jongma and Cood Children Gallery, New Orleans.

Selected Films: Donovan Garcia (2016), The Celtic Body (2014; KdK 2015), The Camaguey Hustle (2012)


AES+F, Inverso Mundus, Still #1-05, 2015 © AES+F I ARS New York. Courtesy of the artists, MAMM and Triumph Gallery


(RUS 2015, HD, 38’20’’, NO DIALOGUES) 

Pigs carved by butchers, a child punished by the teacher, men and women in reversed roles, or a rich man who is provided generous alms by a beggar in rags: Inspired by medieval engravings and drawings depicting absurd situations – which served as models for artists such as Dutch painter Hieronymus Bosch – these sometimes comical yet tragic motives are brought forward into our day and age. A cinematic reinterpretation of reality, a type of poetic vision in the usual surrealist style.

A Russian artist collective formed by Tatiana Arzamasova (born in 1955), Lev Evzovich (born in 1958), Evgeny Svyatsky and Vladimir Fridkes (born in 1956). Live in Moscow. They have been presenting their work since the end of the 1980s in the most important biennals and at exhibitions worldwide. Participation in the 56th Venice Biennal 2015; 6th Moscow Biennale 2015 et al. Exhibitions at ZKM Karlsruhe; Moderna Museet Stockholm; Tate Britain, London; The State Russian Museum, St Petersburg et al.

Selected works: The Liminal Space Trilogy: Last Riot (2005/07), Feast of Trimalcho (2009), Alegoria Sacra (2011)



Mod.: Julienne Lorz, Curator, Haus der Kunst, Munich 

21.04.2017, 5.00 p.m.