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የጋራ ድንበር ዓለም አቀፋዊ የቪዲዮ ስነ-ጥበብ ፌስቲቫል International Video Art Festival

3rd Edition

Dece

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01

ALEXANDERISAENKO

HELINA METAFERIA

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AURÈLE FERRIERCRISTINA

PICCHI

KIBROM GEBRE

MEDHIN

MAXIME JEAN-

BAPTISTE

NAWEEN NOPPAKUN

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LUCAS GALLO

MAURO MOVIA

FRIEDERIKEGOEBBELS

ERICK MSUMANJE

ROGER HORN

PAVLE AND ANUK JOVOVIĆ

TEWODROS KIFLE

SHEWA

SOOJIN CHANG

SHARLENE BAMBOAT

MOLTOT

ABOUT ////////////////////////////////////////////////////

ADDIS VIDEO ART FESTIVAL IS AN BI-ANNUAL INTERNATIONAL VIDEO ART FESTIVAL IN ADDIS ABABA ETHIOPIA.

THE FESTIVAL INTENDS TO PROVIDE A PLATFORM FOR INNOVATIVE VIDEO ART IN ADDIS ABABA ETHIOPIA. THE FESTIVAL SCREENS THROUGHOUT THE CITY IN A VARIETY OF LOCATIONS INCLUDING STREET CORNERS, ROOFTOPS, PUBLIC CENTERS AND ART CENTERS. BY SHARING VIDEO ART IN BOTH CONVENTIONAL AND NON-CONVENTIONAL SETTINGS THE FESTIVAL WILL REACH BOTH THE ARTIST COMMUNITY AND THE EVERYDAY PASSERBY. THE FESTIVAL AIMS TO CREATE A DIALOGUE BETWEEN LOCAL AND INTERNATIONAL ARTISTS BY ENCOURAGING MEDIA CULTURE.

TEAM /////////////////////////////////////////////////////

BETELHEM MEKONIN (ARTIST . ETHIOPIA / U.S.A.)CELESTE RICCI (CURATOR . ITALY)CHIARA CARTUCCIA (CURATOR/ ARTIST . ITALY)DAGRUN ADALSTEINSDOTTIR (ARTIST/ CURATOR . ICELAND)EZRA WUBE (ARTIST . ETHIOPIA / U.S.A)KIBROM GBREMEDHIN (ARTIST/ EDUCATOR . ETHIOPIA / U.S.A)MIHIRET KEBEDE (ARTIST / CURATOR . ETHIOPIA)ROBEL TEMESGEN (ARTIST . ETHIOPIA)PORTIA MALATJIE (CURATOR . SOUTH AFRICA) WILLIAM CORWIN (ARTIST/ CURATOR . U.S.A.)

THEME: MUTUAL PERIPHRY////////////////////////////////////

THE BORDER BETWEEN ETHIOPIA AND ERITREA HAS REOPENED AFTER 20 YEARS OF SHUTDOWN FOLLOWING A WAR WITH MORE THAN 80000 FATALITIES. THESE SISTER COUNTRIES WERE ONCE A UNIFIED NATION, SHARING HISTORY, CULTURE AND LANGUAGE, THE ONLY TWO COUNTRIES IN THE WORLD TO FOLLOW THE THIRTEEN MONTH JULIAN CALENDAR.

IN RESPONSE TO THIS HISTORIC MOMENT THE FESTIVAL PRESENTS VIDEO SHORTS THAT EXAMINE IDEAS AND INTERPRETATIONS OF ‘MUTUAL PERIPHERY’.

SELECTIONS ////////////////////////////////////////////////

FOREVER BRO, 7’34”, 2017. ALEXANDER ISAENKO . UKRAINETRANSITIONS, 12’48”, 2017 . AURÈLE FERRIER . SWITZERLANDTHE FABRIC OF THE WORLD, 10’, 2018 . CRISTINA PICCHI . ITALYMY FATHER’S GHOST, 15’, 2017 . ERICK MSUMANJE . HAITI/TANZANIABOUNCER34, 4’25”, 2018/9 . FRIEDERIKE GOEBBELS . GERMANYTHE CALL, 15’, 2019 . HELINA METAFERIA . ETHIOPIA/ U.S.A.MELTING JEWELS, 5’32”, 2016 . KIBROM GEBREMEDHIN . ETHIOPIAAMERICAN INDEPENDENCE PARK, 2’34”, 2016 . LIAM ZE’EV O’CONNOR . U.S.A.THE PROCESSION, 10’19”, 2019 . LUCAS GALLO . CUBA / ARGENTINAOUR VOICES, 14’27”, 2018 . MAXIME JEAN-BAPTISTE . FRANCEINTIMATE IMMENSITY, 9’20”, 2018 . MAURO MOVIA . ARGENTINAWE LOVE ME, 13’20”, 2017 . NAWEEN NOPPAKUN . THAILANDOUR GREAT DAY 1967, 2’53”, 2018 . ROGER HORN . SOUTH AFRICATHE WIND SLEEPS STANDING UP, 12’16”, 2016 . SHARLENE BAMBOAT . CANADAMAWLID, MOTHER, PERSIMMONS, 15’, 2019 . SOOJIN CHANG . SOUTH KOREA/ U.K.THE SOCIAL NETWORK DIARY, 4’47”, 2018 . TEWODROS KIFLE SHEWAMOLTOT . ETHIOPIAFORM AND ABANDON, 15’, 2018 . PAVLE AND ANUK JOVOVIĆ . SERBIA/ SWITZERLAND

2ND EDITION SELECTIONS ////////////////////////////////////

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//////////////////////// Forever bro . 7’34” . 2017 . Alexander Isaenko . Ukraine

Young generation is playing with weapons. They are reviving the culture of war. As time passes, firecrackers will turn into grenades, and plastic-soldiers into the real ones. Soldiers will go to the war. An old lonely man is going to follow this conflict on the news. After the stroke TV is the only interlocutor that`s left. Now he will be able to evaluate if brotherhood really is forever.

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//////////////////////// Transitions . 12’48” . 2017 . Aurèle Ferrier . Switzerland

TRANSITIONS is a journey from the civilizing void of the desert to a maximal urban, capitalistic and hedonistic density, which in the case of Las Vegas assumes some bizarre expression. The film is a contemplation without any people or moving machines in it, focussing on the built and designed.

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///////////// The Fabric of the World . 10’ . 2018 . Cristina Picchi . Italy

An embracing choreography of natural, biological and technological elements turned into abstraction, sounds broken up into ancestral rhythms and fragments of melodies: The Fabric of the World creates a dialogue between the different phases of the eco-sustainable textile process and the cycles of the natural elements, ultimately unifying weaving with life itself, like in the myth of the Parcae, the dei- ties that in ancient Roman times presided over the human destinies, controlling the metaphorical thread of life of every mortal and immortal, from birth to death. While the clothing industry is currently the second largest polluter in the world, second only to oil, a more respectful and harmonious way of conceiving and producing textiles - and ultimately fashion and beauty itself - is still possible.

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////////////// My Father’s Ghost . 15’ . 2017 . Erick Msumanje. Haiti/Tanzania

A short piece exploring minimal gestures of the body, lingering trauma, and feeling out of place.

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/////////////////// Bouncer34, . 4’25” . 2018/9 . Friederike Goebbels . Germany

TThe work started with a general consideration of what borders are or can be and how quickly their alleged protective function can collapse into exclusion. The captured images show the infrastructure found in the exhibition space in a roller coaster ride, which is always a balancing act between fun and (simulated) danger. Likewise, the audio recordings of compos- ite safety regulations are always on the edge between protection and exclusion. Everywhere decisions are made by people, on who is allowed to participate, who has to stay outside, who fulfills the “right” criteria. Often under the pretext of maintaining safety. But if the danger is just simulated, why do we need restrictions at all? And who should be allowed to de- cide?

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//////////////////////// The Call . 15’ . 2019 . Helina Metaferia . Ethiopia/ U.S.A.

The project documents video performances by descendants of prominent civil rights activists across the United States. Pictured here is Melani Douglass and Ashera Douglass (descendants of abolitionist Fred- erick Douglass), Ayanna Gregory (daughter of activist Dick Gregory), and Paula Whaley (sister of James Baldwin), in Paula Whaley’s home in Baltimore, MD, and at Fells Point in Baltimore, a historic slave port. Through a mixture of spoken word, song, and sculptural work, the descendants gathered as a “call to ac- tion” for social solidarity and strength during our current political times marked by an awakening of the historical racial and sexual violence against black bodies.

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//////////////// Melting Jewels . 5’32” . 2016 . Kibrom Gebremedhin . Ethiopia

The inspiration for this body of work is from a personal experience that I had before eight years ago when I lost my Father after he was battling with cancer for several months, and also my family didn’t only lost my father but after a year of his death we also lost his shop, which he was making and selling jewelries of gold and silver that he was owning for more than 30 years. After these incidents happened I started to be fascinated and interested on the idea of memories, especially the memories of loss that affects of our hu- man nature and personally me and my family, and the relationship between the loss of a person, loss of a place or a space. Similarly with my personal experiences whenever I found myself walking on the city of Addis Ababa, I see losses a space almost throughout the entire city. A lot of places are demolished to make a space for the new buildings and infrastructure. These places, which were wrecked for “development”, hold a lot of sto- ries of culture, social life, communal living system that are now simply memories. In my animation I integrate my personal memories and experience and also the observation of my envi- ronment in my day-to-day life.

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//////////////// The Procession . 10’19” . 2019 . Lucas Gallo . Cuba / Argentina

A Procession, a dream, a night and a memory. A memory, a dream, a night and a Procession. A dream, a memory, a procession and a night.

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///////////////////// Our Voices . 14’27” . 2018 . Maxime Jean-Baptiste . France

‘Nou Voix’ is an autobiographical video departing from the participation of Maxime’s father, as a Guyanese figurant, in the movie ‘Jean Galmot aventurier’ (1990), which deals with the history of French Guiana. By re-enacting a part of the film, Maxime and his father try to amplify other kinds of voices that have been unheard in the original French film.

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///////////////// Intimate Immensity . 9’20” . 2018 . Mauro Movia . Argentina

“The house, the room, the barn where we were alone, provides the frames of an endless dream, of a dream that only poetry, through a work could finish, perform”. These words of Gastón Bachelard condense a bit the nature of “The Intimate Immensity”, a documentary that works the re-encounter of a man with the places of his past, through the scars that still persist in those spaces that he inhabited his childhood.

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////////////////// We Love Me . 13’20” . 2017 . Naween Noppakun . Thailand

The heavily compressed time and space where all survival images from my memory live in. After journey, what will remain could be something we cannot talk to, but perceive.

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///////////////// Our Great Day 1967 . 2’53” . 2018 . Roger Horn . South Africa

Comprised of found footage from apartheid era South Africa, Our Great Day 1967, imagines what a day would look like if black and coloured South Africans had the same rights and privileges afforded to white citizens of the time. Audio for the film was recorded in one take from filmmaker Roger Horn’s balcony, lo- cated across the street from a formerly segregated beach in Cape Town. Despite the filmmakers efforts to integrate the protagonists into areas they were formerly discriminated or excluded from, the painful reminders of the past in the form of domestic worker uniforms and the short or accidentally captured footage of them renders the past inescapable.

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The Wind Sleeps Standing Up . 12’16” . 2016 . Sharlene Bamboat . Canada

Memory and biography are examined through experiments in narration as Bamboat plays with ambigu- ous boundaries between fact and fiction. Lists of personal preferences of various quotidian textures such as pop culture, food, and sexuality are described both in first and third person, sketching a constellation of clues to form a biography. Footage shot by the artist in Pakistan several years apart becomes both an indicator of image technology and a metaphor for memory.

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Mawlid, Mother , Persimmons . 15’ . 2019 . Soojin Chang . South Korea/ U.K.

A machine-man searches through a new world alone, looking for a missionary he must kill. Multiple wo- ven narratives re-mythify the relationship of religion and colonialism. From Mawlid in Kaolack, Senegal, to interviews with a follower of World Mission Society Church of God in South Korea, “Mawlid, Mother, Persim- mons” is a subversion of traditional ethnography, documentary, and revenge narratives. By holding claims to identity and authenticity to be the product of patriarchal and colonialist epistemolo- gies, it simultaneously rejects and returns to theories of structural opposition and temporal progression as points of departure for critical reevaluation of universalism and agency.

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The Social Network Diary . 4’47” . 2018 . Tewodros Kifle Shewamoltot . Ethiopia

This screen recorded video piece from a mobile phone shows my personal social network diary; especially my social interaction and celebration with other Facebook users during the reunification of a long-lasting conflict between Ethiopia and Eritrea. Social sites had become humans a basic form of expression (good or bad) and it had been used as a bridge connecting people miles away and serve as a “mutual periphery”. This video intentionally made to symbolize the society’s day to day activity, screening a swipe of information and expression in a communal medium and document exceptional moments in life.

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Form and Abandon . 15’ . 2018 . Pavle and Anuk Jovović . Serbia/ Switzerland

Form and Abandon is set within an other-worldly architectural complex where a group of expressionless characters enact a series of enigmatic rituals. While the processes and symbols presented are partly rooted in Serbian mythologies and traditions, each of the personas play archetypical roles that chart universal cycles of progression, regression, fusion, and rupture. At once futuristic and archaic, the video stages fundamental interactions between visual elements to dem- onstrate essential principles that transcend time and space.

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