// Geodesics //

// 7:00 pm // Friday, March 2, 2018 //
// Woodland Pattern Book Center //
// 720 E Locust St, Milwaukee, WI 53212 //

SONNTAG BÜSCHERHÖFCHEN 2 (2014), Miriam Gossing & Lina Sieckmann

13 minutes, 16mm transferred to video

A private house in the Bergisches Land on Sunday. Surrounded by unremarkable single-family homes, the sunlit estate with its yellow facade sits enthroned on the hill at dawn.
The inside of the house reveals an aesthetic living environment, where everyday life is staged within an exotic scenery of individual fantasies.
Domestic automation happens parallel to the residents’ daily routine and grants the place a life of its own.

Artist Bios:
Miriam Gossing was born 1988 in Siegburg (GER). Lina Sieckmann was born 1988 in Engelskirchen (GER). From 2009-2015 they have studied experimental film, performance and photography at the Academy of Media Arts Cologne with Matthias Müller,Phil Collins and Sophie Maintigneux. As a duo Miriam Gossing and Lina Sieckmann have produced several experimental documentary films on 16-mm film, investigating urban and private architectures, hyper staged sceneries and surfaces of desire. In their montage they are combining documentary images with fictional and found footage elements.

Tôi Muốn Rao Lên (A Silent Shout) (2014), Đỗ Văn Hoàng

21 minutes video

The movie is about traces, disintegration, and the feeling of being adrift. Two people are in love with each other through the tangible objects. The film opens with a break-in and several stolen objects. A sense of losing traces, filled with shadows of violence and unexpectedness is provoked, foreseeing a disintegrated future. In theanxious space remained an old cloth - a hidden, humble and sensitive trace. The story tells the journey of the old cloth with the Man – the Woman and the Anonym, challenging their sensitive and hard-to-identify existences.

Artist Bio:
Đỗ Văn Hoàng (1987) graduated from the University of Theatre and Cinema at Hanoi. Some of his works include: Underneath it all (documentary, 17m), At water’s Edge (documentary, 17m), A film on sofa (short film, 17m), A silent shout (short film, 20m), False Brillante (short film, 22m), Drowning dew (collaboration work with Art Labor Collective, co-director with Trương Quế Chi). His works have been shown at Hanoi Docfest, Yamagata Film Festival, Centre Pompidou, Times Museum.

Enterrement de nuit (2018), Laure Subreville

10 minutes, HD video

The links that unite these men are complex and ambiguous. It’s a community that meets. These men are not blood brothers. They are ceremonial brothers. Links, other than friendship, exist beyond. They are performers, smugglers between different worlds. That of the living, the dead and the visions between the two. These men are here to perform a ritual they all know. They are focused and connected to this task. The ceremony time is a time stopped or maybe accelerated. It's a time without time. And men are all men at once. The ritual decenters man and multiplies him.
He’s at the same time inside his body, the one who performs and out of his flesh, the one who’s the witness. The film features a burial ceremony in the forest. The group of men is accompanied by a mechanical shovel which is the main character of this fiction. It’s a sacred and monstrous animal that can, at the same time, be disturbing and docile. He helps the men who salute in return his great strength.

Artist Bio:
It’s easy to recognize the stony forests, the lakes and the deserts through my films. The walk is the first step of my process. Then comes the sample and the fragmentation of the landscape. I tell the details of a dream, original nature, through the myth and the metaphor in my writing. I recall a course where the frontier between what lives and what dies overlap. A world populated by wild beasts, a dense flora and men who have complex and rich relationships. I see my entire work as the attempt of an initiatory journey of a hunter-gatherer who learns to know its territory and to be wary of the monsters which populate it.
My writing is consistent and adds to the reflection on my plastic work. Writing allows me to create shapes, and shapes, in turn, allow me to write again. The work is pushing like a stone, always more forward.
The video that follows the writings is essential. Filming in the wild is important in my production. The exploration dimension in my research is too. I collaborate to the maximum with figures that have a strong relationship to the land, their territory and have a special listening to the forest. Maintaining rich connections with a small team is slow and continuous.