By Toni D’Angela

The texture of Robert Todd’s Still Waters (2016) is branched, an image-silvae that recalls Brakhage and a certain Jack Smith. The still-life of still images slip in the cross and black fades. Beings of being. The watery mirror sparks imperceptibly, a pointillisme of the slightest difference. Vision is obstructed, between the eye and nature, a net, an opacity. Then, the camera starts to move down the vertical axis. Static images stretch on the slowness of motion, while moving ones seem to stand on the immobility of the landscape. Movement and stasis. Again: immobility and water.

Physical Responses (2016), another work by Robert Todd, resonates with this dialectic of stasis and movement. The black and white at the beginning, still vague and undetermined, then takes shape. It even becomes a sort of ornament. It returns into itself unfolding the plays of water and of light, light waves, a brightness/foam: the being. The silence of a crash between water and rock, a primordial constellation. And then a hint of movement that palpates at a distance, a meadow of grass moved by the wind, almost in an elegy for Sokurov. The being appears into the ripples, in the waves of the First Day. The voice of silence. Finally, the movements and “monuments”: the appearance of man and of his life forms. Nature and culture, in comings and goings, a mutual recollection, a carnal membrane between them – such as the game between the sea and the beach. Slowness of nature and movement of culture. As if culture was the escape of nature, not centripetal, but on the spot. 

Stephan Broomer’s The Bow and the Cloud (2016) is a c(a)osmic phenomenology of alterations, processions, accelerated and agitated movements, multiplied superimpressions. The ramifications found in Todd’s films explode here, like a rhizome. A stratified geology of the image that echoes (once again) with Brakhage and with the “strange code” of Canadian experimental filmmaking – to quote Broomer who, deservingly, restores and promotes the works of experimental Canadian filmmakers. The Bow and the Cloud is a swirling and stormy image. The natural abundance is as overwhelmed as by the artistic one. A superabundance. A flight of the images. The landscape is a battlefield between the cosmos and chaos, crossed by scratches, jets of water, electron discharge, human signs, and “solarized” cities. Abstraction and figuration. This is a landscape innervated by escape lines.

Eva Kolcze – also a Canadian filmmaker – in her short Facing the Waves (2016), naturalizes and tears the light from its usual and functional solidity through its anamorphosis and cristalization. Cement is used as a canvas or a screen. The reflecting slabs of the skyscrapers capture the light of the sun the same way plants capture oxygen, to breathe, to move. The crack of a beam between two buildings introduces a pause. The city pulsates in the rhythm of a movement, that of the moving image. The birds are perched on the corniches like tree branches. The image of the city is a movement of escape.  

Scott Barley’s The Green Ray (2017) brings to light hiding, and brings hiding to light. Being is suspended on the threshold, between hiding and appearing. A flow of being, to the point where it can express itself, thundering in the silence of the evening. The earth, with its elements, rises up in the world (of gestures) and the world is rooted in this earth. The night comes out, it raids. Barley’s landscape can be usual, it could have a familiarity, but in the frame, it becomes unusual. The earth becomes the world and the world reveals the earth. Barley’s film is a langue de bois that refers to Rousseau’s La Vallée close, a finesse, a flow that sculpts the landforms and the rocks, echoing in the darkness. An avalé of the source of being, perhaps the encounter and the resistance born from watching the thunder and listening to the darkness. The Green Ray shapes the disorder, the fall, the current of being and the flow of time. 

Ten Mornings Ten Evenings and One Horizon (2016) is an essay on the coalescence of time and duration. Distinctive rhythms, layers, expansions and distances. The six sections in which the frame is divided correspond to the phases of exposure of the film, from morning to evening. These sections present the becoming of time, instead of its linear unfolding. The sun rises and rises through the different perception-durations. Nevertheless, the horizon is always the same. The frame-like horizon is one. Time is this horizon that takes charge, carries on its shoulders the different durations and the twenty points of view from which the bridge over the river is framed. The spatial juxtaposition is also temporal, a construction that reminds us of Hokusai and his thirty-six views of Mount Fuji, and also of Cézanne and his different points of view of Mount Sainte-Victoire. A (re)construction that is marked by image sectioning and abrupt cuts. The space is layered. It is perceived according to different durations on the background of a temporal horizon that is unique. But the visual space is no longer simply Euclidean, but becomes an escape. It flees, escapes (to) itself. A space that folds and unfolds. A temporalized space, a temporal landscape: cars come out of nothing and (re)enter into nothingness (from one section to another). Each section is a black hole that swallows everything. The landscape, natural and human, is an infinite escape, and this infinity is an escape in itself. Thus the landscape is natural but also de-naturalized. The durations are blocks, becoming, that de-compose the fabric of time. But the escape of the durations, of the sections, is articulated by the only landscape left: that of the horizon.

Ana Vaz’s ethnographic excavation continues with Há Terra! (2016), in which she pursues her involvement in both formal and field research, aimed at deconstructing the archival image of the colonialist past and of the postcolonial present. The film orchestrates a heterogeneity of materials, starting with the filmic elements themselves: the materiality, the carnality of the film, of a medium that is felt, one that becomes a body, a “body” in which the almost frenzied machine movement is inscribed. The body of the film is scratched, as is the Brazilian and South American earth, raped by Europeans. There is a frenzy of the subjectile, the support onto which the violent history of the conquerors is written. A support that is impacted by the static nature of the repertory images, a contrast that tears away those images from their peaceful historicity, to which they have been assigned to by a linear representation. Ana Vaz’s linguistic experimentation is this attempt to criticize the training of the subjected body (colonialism) and of the subjectivated body (postcolonialism): the earth escapes, it trembles. Through the flight, the irreducibility of a poetic policy is never reduced to a mere pacifying representation. 

Kelly Sears’ In the Vicinity (2016), is an essay on the logistics of perception, on the observation techniques developed to intersect and organize the territory, to make it a picture, a map, to control it, to map it out as territory, to organize it as an instrument of power. A codified landscape within a topology of control. An operation that brings the cinema back to its origins, to its historical, ambiguous and viscous link with industry and war. You learn to see a territory, you make it a target in order to occupy it. The deconstruction of repertoire images denaturalizes this device of subjugation, and tends instead to dis-occupy the territory that is now increasingly subjected to the strategy of fear deployed by the security state.

The Watchmen (2017) by Fern Silva dialogs with the film of Sears. A palaeontological and palaeological landscape alternates with some marginal urban spaces. The skeleton of a Benthamian prison, like a mammoth, is held with the chimneys of an infernal industrial landscape, a land of Mordor, a tourist village encapsulated in the images of a seaside screen and corners of cities emptied from other images. All the visual landscape is inflated, worn out. It only returns ghosts, like the remains of abandoned prisons. From the panoptic discipline to the spectacle of images in which the reality degrades. The escape is the circular and centrifugal movement always on the verge of crashing, a short-circuit that cuts the walls of the prison and the schizoid paranoia of surveillance.

One the latest works of the collage artist/(re-)animator Lewis Klahr, this film is a composition of beauty and insight. Highways, cars, nights, and especially these (magic) pills that soften and camouflage what is intolerable. These are the motorways of a paranoid and schizophrenic nervous system. Circumstantial Pleasures (2015-17) is an ambitious film, a constellation of reasons assembling the typical refrains and signs that characterize the American consumer society. The film is an exercise in high style and, at the same time, a large tableau mourning the American “pharmacologos” (phármakon is both medicine and poison). A millstone of different elements are combined and incorporated into a collage, a trademark of Klahr’s style, representing the landscape of the American image(ina)ry (going back to Spinoza’s imago, fictio, fingere, doxa). This is a cross-section of profiles and objects dotted around and informed by an “American Romance”.

Screening of the films in Dawawine on 19th January at 8 p.m.

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LAND(E)SCAPES – Screening – 19th January 2018

LAND(E)SCAPES is a program of ten films first proposed by Toni D’Angela for FRONTEIRA, the international documentary and experimental film festival that takes place annually in the city of Goiânia, in Brazil, and that we have the pleasure of hosting at Dawawine. This program gathers films that cast unusual gazes on usual landscapes, presenting the filmic medium as a space where these sceneries can become a getaway, a movement of flight, a fugue, through which one can free themselves and the landscape from its habitual image.

LAND(E)SCAPES text by Toni D’Angela


19th January 2018 screening at 8 p.m.

STILL WATERS by Robert Todd

USA | 2016 | 9′ | Color | Sound | 16 mm presented in digital format


USA | 2016 | 7′ | B&W | Silent | 16 mm presented in digital format

THE BOW AND THE CLOUD by Stephen Broomer

Canada | 2016 | 8′ | Color | Silent | 16 mm presented in digital format


Canada | 2016 | 5′ | Color | Silent | 16 mm and 8 mm presented in digital format

THE GREEN RAY by Scott Barley

UK | 2017 | 12′ | Color | Sound | Digital


Japan | 2016 | 10′ | Color | Sound | 16 mm presented in digital

HÁ TERRA by Ana Vaz

Brasil/France | 2016 | 13′ | Color | Sound | 16 mm presented in digital format with English subtitles

IN THE VICINITY by Kelly Sears

USA | 2016 | 9′ | Color and B&W | Sound | Digital

THE WATCHMEN by Fern Silva

USA | 2017 | 10′ | Color | Sound | 35 mm presented in digital format


USA | 2017 | 15′ | Color | Sound | Digital


Toni D’Angela is the founder and editor-in-chief of LA FURIA UMANA, a multilingual film journal available online and in print: /

Teacher and writer, he’s the author of several books and articles (some of them translated in english, french, spanish, portuguese), especially on American Cinema, classic and avant-garde.

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Zapruder filmmakersgroup “Chamber Cinema” 4 videos

Dawawine is glad to present the work of Zapruder filmmakers group (Roncofreddo, Italy).

On Friday 15th
& Saturday 23rd

At 8 p.m.

2011, 3 min, 3D anagliphic film

**I TOPI LASCIANO LA NAVE (Yes Sir, I can Boogie) 
2012, 30 min.

On a ship at sea: a tempestous noise,
of thunder and lightning heard.
(Shakespeare ‘The tempest’ act 1, scene 1)
Dance competition knockout. Dance floor concert. For loud listeners!


// 10 minutes break //

At 9 p.m.

2010, 22 min, Italian with English subtitles

Inspired by Mauss anthropological essay “The Gift”, Joule is articulated by sums of tableaux, which reconnect the movie to an economic analysis. Joule (J) is the unit of energy value, of work value, it measures what all living organisms do to produce heat. This film depicts the act of living as an infinite self-combustion, in pure loss, proving to be a paradox of profit theories.

2007, 50 min. 3D anagliphic film

Notes for and imaginary biography of Georges Bataille.




ZAPRUDER filmmakersgroup, formed in 2000, is made up by David Zamagni, Nadia Ranocchi, and Monaldo Moretti, with the sound collaboration of Francesco ‘Fuzz’ Brasini.
Their lively productions relie on an artisanal practice and inquisitive spirit, as in their stereoscopic series inaugurated in 2006 and awarded at the Venice Film Festival in 2011. The group film-projects are often flexible cinematic devices, which they define as “Chamber Cinema”: an incarnated environment and disembodied theatre, poised between visual and performing arts.

The group is named after the ‘sharpshooter’ from Dallas who caught J.F.K.’s assassination on camera, ‘creating an outstanding example of amateur film, a fetish document, a violation that goes far beyond the private sphere to become a dream, an obsession, part of our collective heritage’.

The works of ZAPRUDER filmmakersgroup have been presented and awarded at MAXXI museum in 2016, and in festivals such as: Oberhausen Kurzfilmtage, the Geneva Biennale de l’image en mouvement, Centre Pompidou Paris, Steirischer Herbst Graz, Transmediale Berlin, Netmage Bologna, Milanesiana, Milano Film Festival, Santarcangelo Festival, Contemporanea Festival Prato, Kunsten Festival des Arts Bruxelles, Uovo Festival Milano, Festival d’Avignon, Art Fall Ferrara.

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Paul Ardenne le jeudi 7 décembre

Jeudi 7 décembre 18h à 20h

Intervention de Paul Ardenne

Poétique / Politique / Territoire

En partenariat avec le Master en Critique d’Art et Curatoriat de l’USJ
et dans le cadre des événements parallèles de l’exposition

“Poetics, Politics, Places”

(BienalSur, Argentine septembre-décembre 2017)

Agrégé d’Histoire, docteur en Histoire de l’art, Paul Ardenne (France, 1956) est maître de conférences à l’Université Picardie Jules-Verne d’Amiens. Membre de l’AICA-France (Association internationale des critiques d’art), il collabore depuis 1990 à la revue Art press. Il a en outre donné articles ou entretiens aux revues Beaux-arts magazine, L’Œil, Omnibus, Le Voyeur, La Recherche photographique, Figures de l’art, L’image, Parpaings, Visuels, Archistorm, L’Art même ou encore Synesthésie, outre diverses contributions à la presse étrangère.

En plus de textes littéraires et de catalogues d’artistes, Paul Ardenne a publié cette décennie écoulée plusieurs ouvrages ayant pour thème la muséographie (Capc-Musée 1973-1993, éd. du Regard ; Guide Europe des musées d’art moderne et contemporain, éd. Art press, avec Ami Barak), la création artistique contemporaine (Opus, éd. du Figuier ; La création contemporaine entre structures et système, ERBA Rouen ; Analyser l’art vivant, s’il se peut, EAD Strasbourg) ou plus largement la culture actuelle (1989, éd. du Regard).

Paul Ardenne, par surcroît, a été co-commissaire des expositions Micropolitiques (Grenoble, 2000), Expérimenter le réel (Albi-Montpellier, 2001 et 2002), Working Men (Genève, 2008), Technicity (Bologne, 2010). Il a été l’un des commissaires invités de l’exposition La Force de l’art, au Grand Palais, à Paris, en mai-juin 2006, et Ailleurs, Centre culturel Louis Vuitton, Paris, février 2011.

Biographie citée de

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On Fools and Lands / Book launch with Chaghig Arzoumanian

‘On Fools and Lands’ scrutinises the history of Asfurieh; the first mental asylum of the region established in 1898 near Beirut. Its mission was to provide to the mentally ill a proper care without any religious, class or ethnic segregation, hence countering the monopoly of priests who performed exorcism against demoniacal possession, the only form of insanity people believed in.

For 75 years and through many turbulent times it presented avant-garde therapeutic methods, such as the “open-doors policy” or “occupational therapy”. Its founder stressed the importance of the environment: calm and salubrious. This, they believed, had a direct effect on the body and the mind.

In 1973, the medical and administrative board decided to sell the land of Asfurieh and planned to build a new hospital in Aramun, getting in pace with the modern world. Construction started in 1974 and it was meant to open its doors in June 1976. But in April 1975 the Lebanese civil-war broke out. And although the new hospital was almost finished, it was never put into use. Lebanese, Syrians, Palestinians and Israelis damaged it considerably. And when they had all left, the destruction was irreparable and the debts huge.

Combining photographs taken by Chaghig Arzoumanian at Asfurieh’s estate since 2010 and the annual reports of the Hospital, the artist aims to reveal traces and to reflect upon the course of Lebanese history in regard to collective consciousness, modernism and capitalism. 

Read Daily star press article

The launching took place on the 18th of November.

Text and photography: Chaghig Arzoumanian
Design: Studio Safar
Editing advice: Sarah Morris
Color correction: Nadim Kamel

The book was published with the support of the Arab Fund for Arts and Culture – Afac
This production was made possible through Culture Resource’s Production Awards Program (Mawred Al Thaqafi)
The gathering on the 18th was supported by Massaya winery.

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4 movies by Jocelyne Saab

Jocelyne Saab est une cinéaste libanaise qui a réalisé plus d’une quarantaine de films depuis 1970. Alors qu’elle s’est introduite dans le milieu en tant que reporteur de guerre, suivant surtout au quotidien les guerres civiles dans sa ville natale, Beyrouth, son œuvre s’étend vers une pratique très personnelle et engagée produisant autant des reportages et des documentaires que des essais, des films de réemploi et des fictions.

Jocelyne Saab is a Lebanese filmmaker that directed more than forty films since 1970. She started out as a war reporter, following closely the unfolding of the civil wars in her native city of Beirut and very quickly took on a very personal and engaged filmic practice. Her works covers a wide range, from reportages and documentaries to essay, found footage and fiction films.

1975, 75 mins, Version Française, Sous-titres Arabe

Quelques mois après l’incident du 13 avril 1975, au cours duquel des civils palestiniens furent mitraillés par des miliciens phalangistes, le bilan est des plus tragiques: six mille morts, vingt mille blessés, des rapts incessants, une capitale semi-détruite. Ce film retrace les origines du conflit libanais, la perception d’une société qui part à la guerre en chantant. Document unique sur la guerre civile libanaise.

1976, 35 mins, English Version

Shot seven years into the war in July 1982 while Beirut was under siege by the Israeli army, the film is another heartfelt tribute to an almost deserted city reduced to rubble after years of conflict. Saab, acting like a reporter of her own history, tells us about the destruction of her house, a 150-year-old building. The film is haunted by the history and memory of places and names and by the stark reality and unbearable violence of the war.

1986, 17 mins, Version Française

Alexandrie, ville hellénistique, grecque, romaine, copte, était aussi le petit Paris dans les années trente. Avec le poète Cavaffi et l’écrivain Lawrence Durell, c’est l’évocation de cette ville lorsqu’elle était au cœur du monde arabe et Européen dont Jocelyne Saab témoigne.



1980, 52 mins, Version Française

La Révolution iranienne a conduit à la chute du Shah et à l’installation d’une République islamique. Ce film a pris le parti de s’écarter de l’actualité la plus brûlante pour tenter de cerner, à travers l’ensemble de la société, ce que représentait cette vague qui allait déferler sur le monde musulman.

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Performance & Legacy

Une série permanente de projections autour du legs et de la performance.
Toujours par le biais de la performance, il s’agit des facettes et des mécanismes, naturels ou artificiels, de la succession. Il s’agit du temps présent en tant qu’il est observé par le passé et observé par l’avenir.
Il s’agit d’accomplissements et de transformations dont nous sommes témoins et de celles dont nous restons éventuellement ignorants. Elles requièrent de notre part des dispositions variées passant par la soumission et allant jusqu’au volontarisme .


part#1 23/06/17, 17/12/17 & 22/12/17

GO AND TALK TO YOUR GOVERNMENT  A short film by Amanda Piña & Daniel Zimmermann, 2009, 12 min. Aguaruna or Awajún and Austrian German, ENGLISH subtitles

Inspired by interviews with the indigenous peoples of South America and the Awajun tribe, nadaproductions international saw the necessity to initiate a ministry in Austria which is dedicated exclusively to movement affairs.

LETTERS OF FRIENDSHIP by nadaproductions, 2009, 25 min. ENGLISH

In the beginning of the 70’s there was a program in Soviet schools called “Letters of Friendship”. The idea was to promote friendship and peace between children from socialist countries. The letters were written in language classes as part of the foreign language studies. This documentary piece is based on the exchange kept by Chilean child Juan Ramos, and Russian boy Ivan Kamarov.

part#2 14/10/17, 11/11/17, 17/12/17 & 22/12/17

FICTITIOUS FORCE by Philip Widmann, 2015, 15 min. Bengali, ENG subtitles

A theorem from physics that describes apparent forces in circular motion when ob- served from an external frame of reference lends its name to the film. Shot during a festival of devotees of Shiva by a local crew in Kolkata/India, and in a language that the director neither speaks nor understands, the film relies on the visual and leaves us puzzled.

SCHOOL OF MOON par Shonen theater company, 2016, 7 min. film muet

School of Moon est la métaphore d’une post-humanité en éveil, d’une communauté troublante appelant des corps enfantins et robotiques, d’un grand corps de chair et de métal ; et celle de l’évolution de la représentation du corps, des premières pein- tures rupestres, de l’écorché de Vinci, du robot humanoïde, du corps virtuel… 

KIDBIRDS FOR CAMERA par Eric Minh Cuong Castaing & David Daurier, 2014, 12 min. film muet

Eric Minh Cuong Castaing & David Daurier ont appliqué un processus de tournage dans une classe d’enfants sensibilisés à la danse de Merce Cunningham. De cette expérience singulière est née un court-métrage onirique, qui a lui-même connu une ultime métamorphose dans une installation holographique où la chorégraphie devient particules projetées.

part#3 15/12, 17/12, 22/12, 23/12  2017

I TOPI LASCIANO LA NAVE (Yes Sir, I can Boogie) by Nadia Ranocchi, David Zamagni, Zapruder filmmakers group, 2012, 30 min. Silent film

On a ship at sea: a tempestous noise,
of thunder and lightning heard. (Shakespeare ‘The tempest’ act 1, scene 1)

Dance competition knockout. Dance floor concert. For loud listeners!

SUITE, by Zapruder filmmakers group, 2011, 3 min, anagliphic film

JOULE, by Zapruder filmmakers group, 2010, 22 min, Italian with English subtitles

Inspired by Mauss anthropological essay “The Gift”, Joule is articulated by sums of tableaux, which reconnect the movie to an economic analysis. Joule (J) is the unit of energy value, of work value, it measures what all living organisms do to produce heat. This film depicts the act of living as an infinite self-combustion, in pure loss, proving to be a paradox of profit theories.



Amanda Piña
Is a theatre maker, dancer and choreographer. She originally studied theatre following the Jaques Le Coq method in Santiago de Chile and then specialized in contemporary dance and choreography in Europe. She studied theatre anthropology in Barcelona, contemporary dance in SEAD, Salzburg Experimental Academy of Dance and choreography in France in Ex.e.r.ce, Choreographic Centre Montpellier, with Mathilde Monier, Joao Fiadeiro, Xavier le Roy, Olga Mesa, Julien Hamilton among others. In 2005 she received the support of the Chilean government for studying in France with a Fondart Scholarship and in 2006 she was awarded the Scholarship for Young Choreographers by Tanz- quartier Wien, and the DanceWeb Scholarship. She has lived and worked in Vienna since 2006.

Daniel Zimmermann
is a visual artist, dramaturg and director. Originally trained as a wood sculptor, he now works in lm, installation and performance. His work is based on a ctional ‚actionist‘ plot – somewhere between visual and performing arts; a response to situations and environ- ments, inquiries into purpose and sustainability of human actions by way of installations, performance and lm. He has created numerous art projects in museums, exhibition halls and in public spaces. His projects also comprise short films that were selected to be shown at renowned international fillm festivals such as the Berlinale, the International Film Festival Rotterdam and Sundance Film Festival. His work has won him numerous awards and stipends.

David Daurier
Le travail de David Daurier s’articule autour du rapport entre image et son, entre spectacle vivant et cinéma.
Il réalise des films sur la musique, le théâtre, l’opéra et la danse.
Musicien et Sound Designer, David Daurier expérimente la matière sonore documentaire spatialisée au travers d’installations in situ.

Eric Minh Cuong Castaing
Initialement cinéaste d’animation 3D, Eric Minh Cuong Castaing est un chorégraphe multiple, formé tout à la fois au hip-hop et au krump, à la danse contemporaine et au bûto. Il aime mener des projets singuliers, évolutifs et collaboratifs, mettant en scène des enfants, tels Kid birds for camera, inspiré de l’œuvre de Beach birds de Merce Cunningham, adaptée en court-métrage par le réalisateur Elliot Kaplan.

Philip Widmann
is graduated in Cultural Anthropology from the University of Hamburg and in Visual Communications from the University of Fine Arts Hamburg. His film and video works have been shown in art spaces and film festivals internationally, among them the Wexner Center for the Arts, WRO Media Art Biennale Wroclaw, Berlin Film Festival, Rotterdam International Film Festival, New York Film Festival, FID Marseille, CPH:DOX and Visions du Réel.
Since 2016 Widmann is a member of the research training group “The Photographic Dispositif” at the Braunschweig University of Art. He is a member of the selection committee of the Kassel Documentary and Video Festival, and selected film programs for Image Forum Tokyo, Arkipel Jakarta International Documentary and Experimental Film Festival and the Hamburg International Short Film Festival.


Based in Roncofreddo, Italy, ZAPRUDERfilmmakersgroup was formed in 2000 by David Zamagni, Nadia Ranocchi and Monaldo Moretti.
Zapruder’s work creeps into the interstitial area between visual, performance and cinematographic arts; audiovisual outputs driven by an ongoing challenge to language and medium that give rise to what the group defines as “Chamber Cinema”, a sort of incarnated and tactile cinema, as well as a form of incorporeal theatre. Since 2005, the group has been exploring and employing stereoscopic techniques in its production of films and installations.
A significant part of Zapruder’s work has taken place within the context of Italian experimental theatre throughout collaborations with Motus, Fanny & Alexander and Romeo Castellucci/Societas Raffaello Sanzio.

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سيماهم في وجوههم  Self-portrait in dramatic narratives

Self-portrait in dramatic narratives
سيماهم في وجوههم

يقوم تصوير الذات في الرسم الكلاسيكي على إحدى أسس الرسم كشكل فنّي يمثّل لحظة زمنيّة ثابتة أو حتى عدّة لحظات متتالية. في دخول تصوير الذات على السينما، تخابط هذا الشكل التصويري مع طبيعة زمنيّة مختلفة عن الرسم. قبل انجراف السينما داخل السرد، كان للتصوير الذاتي مكانًا في سنوات السينما الأولى بتسجيل أداء الحالة الذاتيّة، لكنّ السرد في السينما أحال شكل التصوير الذاتي إلى التجارب السينمائيّة الطليعيّة.

تكوين السرد الدرامي داخل تسلسل أحداث وبناء حبكة دراميّة تجول فيها شخصية رئيسيّة أو عدّة يكبِّل احتمال تواجد التصوير الذاتي بشكله التصويري الصرف ويلزمه بالبحث عن تشكيلات مغايرة. تقدّم سلسلة “سيماهم في وجوههم” تجارب سينمائيّة حول التصوير الذاتي ضمن سرد درامي تتنوع من أفلام توثيق الذات حتى التخييل الذاتي. 

Self-portrait in classic paintings relied on one of the foundations of paintings as an art form representing an instant, or even a series of instants. In the first years of cinema, the nature of the moving image transformed the self-portrait into a recording of a performance of the self. When narration became dominant in cinema, self-portrait migrated to the experiments of the avant-garde.
In bringing events, plots, and protagonists the dramatic narrative forces the self-portrait form to look for modes more complex than its elementary visual plasticity. The “self-portrait in the dramatic narratives” series proposes different filmic explorations ranging from the documentary to the autofiction.


Wed. 11th Oct – 8 p.m.
THE CORRIDOR by Sarunas Bartas
1995, 85 min., No dialogue

Fri. 13th Oct – 8 p.m.
1996, 88 min., Arabic with English subtitles

Sun. 15th – 8 p.m.
THE CAMERAMAN by Edward Sedgwick & Buster Keaton
1928, 69 min., Silent

Frid. 3rd Nov – 8 pm
MY WINNIPEG by Guy Maddin
2007, 80 min., in English with No Subtitles

Sat. 4th Nov – 8 pm
A MOMENT OF INNOCENCE by Mohsen Makhmalbaf
1996, 78 min., Farsi with English Subtitles

Wed. 8th Nov – 8 pm
LIGHTNING OVER WATER (NICK’S MOVIE) by Wim Wenders & Nicholas Ray
1980, 116 min., in English with No Subtitles

Fri 10th Nov – 8 pm
1971, 97 min., in English with No Subtitles

Wed. 15th Nov – 8 pm
CHAPPAQUA by Conrad Rooks
1966, 82 min., in English with No Subtitles

Wed. 22nd Nov – 8pm
1974, 92 min., in English with No Subtitles

Fri 1st Dec – 8 pm
KYA KA RA BA A (Sky, Wind, Fire, Water, Earth) by Naomi Kawase
2001, 50 min., in Japanese with English Subtitles

Sun 3rd Dec – 7 pm
1979, 77 min., in French with English Subtitles

Wed 13th Dec – 8 pm
2010, 90 min., in French with English Subtitles

Wed 20th Dec – 8 pm
1972, 60 min., in French, German and English 

Wed 27th Dec – 8 pm
JLG PAR JLG by Jean-Luc Godard
1994, 62 min., in French with English Subtitles

Fri 29th Dec – 8 pm
1960, 83 min., in French with English Subtitles

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للّغة العربيّة إقرأ أسفل الصفحة
For English text, scroll down


Direction artistique et enseignement menés par Claudia Castellucci
avec Alessandro Bedosti

Du 6 au 15 mars 2018
9h à 17h (pauses inclues)
Beyrouth – le lieu exact sera précisé bientôt –

L’hégémonie dans la danse que nous proposons est celle de la musique, et non du corps. Il n’est pas question d’expression corporelle, il s’agit plutôt de présence physique ininterrompue, d’une présence apprêtée et déterminée à affronter le temps qui se manifeste dans la musique. Il faut traiter avec le passé lorsqu’il a déjà convergé avec le présent, et quand même la pause est un moment de présence assumé. Le mouvement principal est celui d’une ambulation chorale, construite à partir de canons inspirés de la métrique de la poésie grecque antique, et à partir de l’essence de la motion des chevaux. La danse est ici une révélation de la présence individuelle, qui émerge du – et grâce au – mouvement choral.

Les éléments principaux qui seront pratiqués et étudiés:
⋅ La danse circulaire rythmique, fondée sur la métronomie.
⋅ La cadence (telle que dans la métrique de la poésie grecque antique) comme invention rythmique pour la danse pratiquée ensemble
⋅ Le passage en danse, qui relève des intervalles et des silences musicaux de façon spéci- que, et sa correspondance avec le passage d’une position à une prochaine.
⋅ La psychologie de la durée, entendue en tant que façon d’entreprendre une action sans aucune médiation, préparation ou improvisation.

Les langues parlées par Claudia Castellucci sont l’italien et le français. Une interprète traduira vers l’arabe.

Verso la Specie (ENVERS L’ESPÈCE) est une danse qui s’est formée tout au long des travaux d’enseignement de Claudia Castellucci à Cesena, dans les locaux de la compagnie Socìetas Raffaello Sanzio désormais devenue “Socìetas”. Cette danse est depuis 2016 exportée vers plusieurs villes, d’abord Venise, puis Beyrouth, Moscou, Rio de Janeiro, Athènes, Téhéran et Istanbul.

Le rythme, pour Claudia Castellucci, a été la pierre d’angle de chaque école qu’elle a créé. Il a toujours été distinctif dans son travail d’artiste en cela que les formes qu’elle crée sont investies de modèles rythmiques appréhendés comme mouvement physique et comme ré- exion théorique.

NIVEAU ET PROFIL: Un niveau avancé en pratique physique et corporelle et une aptitude ryth- mique sont requis.

PRIX : 450’000 L.L (300 $)

Prière de nous écrire à: Inscriptions ouvertes jusqu’au 15 décembre 2017.

Claudia Castellucci

Alessandro Bedosti





 نحو الأجناس ٢ في بيروت

إدارة فنية وتدريس بقيادة كلوديا كستيلوتشي

مع أليسّاندرو بيدوستي

(الزمان: ابتداءاً من ٦ آذار/ مارس إلى ١٥ آذار/ مارس ٢٠١٨ من الساعة الـ٩ ص. ا الساعة الـ٥ ب.ظ (مع استراحات

بيروت – سيتم تحديد المكان في وقت لاحق

‮«‬إنّ الهيمنة في هذه الرقصة التي نقترح، هي للموسيقى وليست للجسد. لا‭ ‬ننشغل‭ ‬في التعبير الجسدي، بل في حضور جسماني غير منقطع، وجاهز ومصمِّم على تناول الزمن المتجلّي في الموسيقى. يجب التعامل مع الماضي عندما كان قد اندمج مع الحاضر، فحتّى لحظة التوقّف هي فترة حضور مسؤولة. إنّ الحركة الرئيسيّة هي كناية عن تَمَشٍّ جوقيٍّ من منطلقِ معاييرِ النسبيّة الجماليّة المستوحاة من‭ ‬الشبكات‭ ‬الإيقاعيّة‭ ‬في الشِّعْرِ الإغريقيّ ومِن أساس‭ ‬حركة الجياد. الرقص‭ ‬هنا هو تجلّي الحضور الفرديّ، يطفو من الحركة الجوقيّة، وبسببها

العناصر الأساسيّة التي سيتمّ تناولها، ودراستها، وممارستها:

الرقص الدوريّ المُوَقَّع على أساس النَبْضِ الثابت

الكادانس (أي الهبوط في بروزوديا الخطابة في التقليد الشعري الاغريقي) كوسيلة إيقاعيّة للرقص الممارَس جماعةً

الانتقال في الرقص، والذي يؤدّي إلى مسافات ولحظات صمت موسيقيّة بطريقة محدّدة، وتزامنه مع الانتقال من موضعية إلى أخرى

سيكولوجيا المدّة الزمنيّة، حيث تُفهَم من منظار الشروع في حركةٍ دون أيّ وساطة، أو تحضير، أو ارتجال

تتكلّم كستيلوتشي اللّغتين الإيطالية والفرنسية، وستتم الترجمة إلى العربية.

باتجاه الأجناس هي رقصة تشكلت طوال مسيرة كستيلوتشي التعليميّة في مدينة تشيزينا الإيطالية، على مسارح شركةسوييتاس رافاييلو سانزيوSocìetas Raffaello Sanzio التي أصبحت في ما بعدسوسييتاسSocìetas. وتنتقل هذه الرقصة حالياً الى مدن عدّة أولها البندقية فبيروت ثم موسكو،‭ ‬ريو‭ ‬دي‭ ‬جانيرو، أثينا، طهران وإسطنبول.

الإيقاع بالنسبة لـكستيلوتشي هو حجر الأساس في كل مدرسة أوجدتها، ولطالما تميّز به عملها كفنانة، إذ أنّ الأشكال التي تُنتجها تُستثمر بنماذج إيقاعية محددة كحركة جسدية وكانعكاس نظري.

المواصفات‭ ‬المطلوبة‭:‬

يجب‭ ‬على‭ ‬متقدّمي‭ ‬الطلبات‭ ‬أن‭ ‬يكون‭ ‬لهم‭ ‬مستوى‭ ‬متقدّم‭ ‬في‭ ‬المراس‭ ‬الجسدي‭ ‬والجسماني،‭ ‬وميلٌ‭ ‬طبيعيٌّ‭ ‬إلى‭ ‬الإيقاع‭.‬

رسم الإشتراك : ‮000054 ل.ل.

التسجيل: من الضروري حجز موعد قبل التسجيل، لذا يُرجى مراسلتنا على البريد الإلكتروني التالي

‭ ‬آخر‭ ‬موعد‭ ‬للتسجيل‭: ‬‮51 ‬كانون‭ ‬الأوّل‭ ‬‮7102



Artistic direction and training and dancing master : Claudia Castellucci

With Alessandro Bedosti

From 6th to 15th of March 2018
9 a.m. to 5 p.m. (including breaks)
Beirut – the exact location will be informed soon –

“The hegemony of the dance we propose is the music not the body. It is not about the body expression, it is about uninterrupted physical presence, prepared and determined to address the time that is manifest in the music. The past must be dealt with when it has already converged into the present, and even the pause is a responsible moment of presence. The principal movement is a choral ambulation built on some of the canons inspired by the metrics of archaic Greek poetry and the essential movement of horses. Dance is a revelation of the individual presence, which emerges from – and thanks to – choral movement.”

Principal topics that will be studied and practised in the seminar are:
⋅ circular rhythmic dance, on the basis of metronomy.
⋅ the cadence, taken from the metrics of archaic Greek poetry, as a rhythmic invention for current dance
⋅ ‘passing through” in dance, that treats the interval and the musical rest in a specific way, corresponding to the passage between the position that has just been left behind and the one to be taken up.
⋅the psychology of duration, that is, how to make the action to be undertaken happen without any mediation, preparation or improvisation.

The languages spoken by Claudia Castellucci are Italian and French; She will be assisted by a interpreter who will translate to Arabic or/and English.

Verso la Specie (T o w a r d s  t h e  s p e c i e s)  is a dance that has been formed during the long-standing course held in Cesena, in the premises of theatre company Socìetas Raffaello Sanzio which has now become “Socìetas”. The dance is being exported to other cities, starting with Venice, then Beirut, Moscow, Rio de Janeiro, Athens, Tehran and Istanbul.

Rhythm, for Claudia Castellucci, has been the cornerstone of every school she has created and has always distinguished her work as an artist who invests rhythmic models that can be referred to both physical movement and theoretical reflection.

LEVEL AND PROFILE: An advanced level in physical and bodily practice, and a rythmic ability are required.

PRICE: 450’000 LBP (300$)


Please write to us at :

Registrations are open until 15th of December 2017.

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ALGER / BEYROUTH Exposition et projections


ALGER / BEYROUTH Les Ateliers Sauvages invités.

Commissaire Wassyla Tamzali

Exposition du 5 au 12 mai (avec des projections le dimanche 7, le jeudi 11, et le vendredi 12) 

Adel Bentounsi Plasticien vivant à Annaba

Sofiane Zouggar Artiste plasticien vivant à Alger

Hakim Rezzaoui photographe plasticien

Karim Moussaoui Réalisateur

Damien Ounouri Réalisateur




Les films :

*** Dimanche 7 mai à 18h
*** Jeudi 11 mai à 20h

LES JOURS D’AVANT (The Days Before) réalisé par Karim Moussaoui
2015, Algérie, 40 min.
Deux adolescents pendant les années 90, années du terrorisme en Algérie.

KINDIL EL BAHR réalisé par Damien Ounouri
2016, Algérie, 40 min.
Lors d’une sortie à la plage, Nfissa, jeune mère de famille, est agressée par un groupe d’hommes, alors qu’elle se baignait seule au large. Personne ne semble avoir été témoin de sa disparition. L’inquiétude et l’angoisse s’emparent de la famille. Peu après, sur cette même plage, tous les baigneurs meurent subitement.
Entrée 5000 L.L.

*** Vendredi 12 mai à 19h et 20h

réalisé par Assia Djebar
1982, Algérie, 60 minutes

les mots de Wassyla Tamzali au sujet de la rencontre avec la zerda ici.


Entrée 5’000 L.L.

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