Oberhausen short films tour eleven countries
International Short Film Festival Oberhausen
The fifth edition of “Oberhausen on Tour” gets on the road on 19 January 2011 for a debut screening in Hanover. From January to June 2011, the International Short Film Festival Oberhausen will once again be sending award-winning shorts and audience favourites off on a trip around the world. A selection of 50 short films from the last two festivals will be on view at 27 venues from Almaty to Jakarta.
One focal point of the present tour is Eastern Europe: dates in Riga, Sofia, Almaty and other Eastern European cities are scheduled, along with screenings in Paris, Innsbruck, Lausanne, Jakarta and elsewhere. Viewers in Germany will be able to catch the programme in Bamberg, Bochum, Bottrop, Brühl, Freiburg, Hamburg, Hanover, Karlsruhe, Cologne, Lüneburg, Mainz, Munich, Münster or Nuremberg.
The countries:
Belgium, Bulgaria, Germany, France, United Kingdom, Indonesia, Kazakhstan, Latvia, Austria, Rumania, Switzerland.
The festival has put together eight different programmes for Oberhausen on Tour 2011. Organizers can choose from several “best of” line-ups with award-winners, audience favourites and highlights from the competitions, a selection of artist’s films, the clips from the MuVi Award 2010, or the works of Herbert Fritsch. Included are the winners of the Grand Prize of the City of Oberhausen, Magnus Bärtås’s Madame & Little Boy, and the best entry award in the German Competition, Gesang der Jünglinge by Andree Korpys and Markus Löffler, as are current works by artists such as Yael Bartana, Jeanne Faust, Mounira al Solh and Jaan Toomik. Also awaiting discovery are films like Thiago Ricarte’s Chapa, the story of a Brazilian day labourer, or Catching, which tells of a Finnish woman working at a sawmill in Argentina, a fiction film by the young Finnish director Hannaleena Hauru.
The fifth edition of “Oberhausen on Tour” gets on the road on 19 January 2011 for a debut screening in Hanover. From January to June 2011, the International Short Film Festival Oberhausen will once again be sending award-winning shorts and audience favourites off on a trip around the world. A selection of 50 short films from the last two festivals will be on view at 27 venues from Almaty to Jakarta.
One focal point of the present tour is Eastern Europe: dates in Riga, Sofia, Almaty and other Eastern European cities are scheduled, along with screenings in Paris, Innsbruck, Lausanne, Jakarta and elsewhere. Viewers in Germany will be able to catch the programme in Bamberg, Bochum, Bottrop, Brühl, Freiburg, Hamburg, Hanover, Karlsruhe, Cologne, Lüneburg, Mainz, Munich, Münster or Nuremberg.
The countries:
Belgium, Bulgaria, Germany, France, United Kingdom, Indonesia, Kazakhstan, Latvia, Austria, Rumania, Switzerland.
The festival has put together eight different programmes for Oberhausen on Tour 2011. Organizers can choose from several “best of” line-ups with award-winners, audience favourites and highlights from the competitions, a selection of artist’s films, the clips from the MuVi Award 2010, or the works of Herbert Fritsch. Included are the winners of the Grand Prize of the City of Oberhausen, Magnus Bärtås’s Madame & Little Boy, and the best entry award in the German Competition, Gesang der Jünglinge by Andree Korpys and Markus Löffler, as are current works by artists such as Yael Bartana, Jeanne Faust, Mounira al Solh and Jaan Toomik. Also awaiting discovery are films like Thiago Ricarte’s Chapa, the story of a Brazilian day labourer, or Catching, which tells of a Finnish woman working at a sawmill in Argentina, a fiction film by the young Finnish director Hannaleena Hauru.
Open Call
Within the framework of the 7th Berlin Biennale for Contemporary Art in 2012, curated by Artur Żmijewski, artists from all over the world are requested to send in their artist material for a research investigation, following the conditions below.
We accept artistic material in hard copy formats not bigger than A3 (297 x 420 mm or 11.69 x 16.54 in.), printed images, digital data, as well as DVDs.
PDFs in A4 (297 mm x 210 mm or 11.7 x 8.3 in.) or fax will also be accepted.
Please do not send any original artworks.
We welcome all possible languages of your artistic comments and explanations. However there should equally be an English version.
As the research also focuses on the question whether artists consider themselves to be political, please inform us about your political inclination (e.g. rightist, leftist, liberal, nationalist, anarchist, feminist, masculinist, or whatever you identify yourself with) or whether you are not interested in politics at all.
Please send your artistic statement or presentation as a hardcopy via regular mail, via e-mail or fax to the following address or number before January 15, 2011:
Berlin Biennale
– Open Call –
KW Institute for Contemporary Art
Auguststraße 69
10117 Berlin/Germany
e-mail: call@berlinbiennale.de
fax: +49. 30. 24 34 59 88
This open call is not guarantying that you will be invited to take part in the 7th Berlin Biennale. Please be aware that your submission might be used and published within its framework. Please also consider that the 7th Berlin Biennale is not able to send back any received material, but that everything will be integrated into the public research archive of the Berlin Biennale.
A short explanation by Artur Żmijewski can be found on the website www.berlinbiennale.de.
The open call is available for download in various languages (Arab, Chinese, English, French, German, Hebrew, Hindi, Italian, Polish, Portuguese, Russian, Spanish) on the website www.berlinbiennale.de.
The Berlin Biennale is organized by KW Institute for Contemporary Art and funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation).
KW Institute for Contemporary Art
Berlin Biennale for Contemporary Art
Auguststraße 69
D-10117 Berlin
We accept artistic material in hard copy formats not bigger than A3 (297 x 420 mm or 11.69 x 16.54 in.), printed images, digital data, as well as DVDs.
PDFs in A4 (297 mm x 210 mm or 11.7 x 8.3 in.) or fax will also be accepted.
Please do not send any original artworks.
We welcome all possible languages of your artistic comments and explanations. However there should equally be an English version.
As the research also focuses on the question whether artists consider themselves to be political, please inform us about your political inclination (e.g. rightist, leftist, liberal, nationalist, anarchist, feminist, masculinist, or whatever you identify yourself with) or whether you are not interested in politics at all.
Please send your artistic statement or presentation as a hardcopy via regular mail, via e-mail or fax to the following address or number before January 15, 2011:
Berlin Biennale
– Open Call –
KW Institute for Contemporary Art
Auguststraße 69
10117 Berlin/Germany
e-mail: call@berlinbiennale.de
fax: +49. 30. 24 34 59 88
This open call is not guarantying that you will be invited to take part in the 7th Berlin Biennale. Please be aware that your submission might be used and published within its framework. Please also consider that the 7th Berlin Biennale is not able to send back any received material, but that everything will be integrated into the public research archive of the Berlin Biennale.
A short explanation by Artur Żmijewski can be found on the website www.berlinbiennale.de.
The open call is available for download in various languages (Arab, Chinese, English, French, German, Hebrew, Hindi, Italian, Polish, Portuguese, Russian, Spanish) on the website www.berlinbiennale.de.
The Berlin Biennale is organized by KW Institute for Contemporary Art and funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation).
KW Institute for Contemporary Art
Berlin Biennale for Contemporary Art
Auguststraße 69
D-10117 Berlin
Absolutamente
Esa palabra se expande, se dilata en mis oídos. Te oí decirla: "absolutamente", y repetir su eco en tu mirada. Luego te levantaste, tomaste un cigarrillo y, posando exageradamente, intentando por tres segundos ser un galán de cine de mal gusto, me dijiste: "vete". Tu orden se mezcló impertinentemente con el eco decreciente de tu anterior palabra: "absolutamente" y, aunque entendía lo que me decías, no era capaz de reaccionar. "No te conozco; esta es mi casa y quiero que te largues. Vete". Lentamente me fui incorporando, me puse de pie y recogí mis cosas. Las guarde como pude en mi mochila, tome mi abrigo y automáticamente ví la hora: las tres de la mañana. Sin meditarlo demasiado abandoné tu territorio, ese espacio inverosímil de montaje escénico. Ese espacio donde las acciones discurren dentro de un guión establecido con ciertas libertades improvisativas que no alteren la estructura dura de la narración. Ese espacio que es tu hogar.
Tras cerrarse la puerta la oscuridad me abrazó por completo y tiernamente me perdió en su complejidad. Generosamente me liberó de la visión para permitirme escuchar, oler y palpar, logrando hacerme sentir mi propia presencia fuera de este mundo. Y mi miedo a la soledad. Desde este universo paralelo llegué naufragando al puerto de lo no absoluto.
Tras cerrarse la puerta la oscuridad me abrazó por completo y tiernamente me perdió en su complejidad. Generosamente me liberó de la visión para permitirme escuchar, oler y palpar, logrando hacerme sentir mi propia presencia fuera de este mundo. Y mi miedo a la soledad. Desde este universo paralelo llegué naufragando al puerto de lo no absoluto.
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