NORDLAND KUNST OG FILMFAGSKOLE
Oct
22
1:10 PM13:10

NORDLAND KUNST OG FILMFAGSKOLE

   We, The Born Capitalists

We, The Born Capitalists

Harstad Kino
Kr 110,- 

NORDLAND KUNST OG FILMFAGSKOLE PRESENTERER TODELT PROGRAM

Nordland kunst- og filmfagskole presenterer, i samarbeid med AMIFF, et todelt program som diskuterer kjønnsidentitet, spesielt makulinitetsbegrepet, og visningsrommet for film- og videoverk. Dette vises gjennom seks filmer som innehar fokus på performativitet og narrativ. I løpet av programmet blir det også samtale og diskusjon med skaperne av verkene om de ulike tematikkene. NKFS utdanner studentene til å arbeide i rommet der film møter visuell kunst, og nettopp derfor er samarbeidet med NKFS spesielt interessant for AMIFF og noe vi søker å bygge videre på og fortsette med. 

// Nordland College of Art and Film presents a two-part program with a focus on discussing gender identity, especially regarding the term masculinity, in addition to reviewing the screening room as a platform for various film- and video works. Six films will be shown that all employ performative and narrative elements. NKFS educates their students to work within the space between cinema and visual art, which is why our cooperation with the school is particularly interesting and something we wish to continue and build upon in the future.

PROGRAM 1: 

Inn i der ute // Into out there

Alexander K. Brucki, 2017 (16 min)

En mannsskikkelse beveger seg og handler, i bruddet og i skogen. Performativ-narrativ utforskning av kroppens evne til å nærme seg noe utenfor seg selv. // A male figure moves and acts, in the quarry and in the woods. Performative-narrative exploration of the body’s capability to approach something outside itself.

   Inn i der ute  

Inn i der ute 

I kveld er det lov å være mann //You Can Be a Man Tonight

Marin Håskjold, 2017 (13 min)

Rollene i vennegjengen utfordres i det Martin ankommer julebordet ikledd kjole. Festen blir en utforskning av forventninger til mannsrollen, og der skjulte begjær kommer til syne. // The dynamics between friends are challenged when Martin arrives at the Christmas party wearing a dress. The evening becomes an exploration of male roles, and where hidden desires come forth.

   I kveld er det lov å være mann  

I kveld er det lov å være mann 

Tidevann //Ebb Tide

Sverre Matias Glenne, 2017 (10 min)

Som samfunn har vi vansker med å definere hva maskulinitet egentlig innebærer, men ingen problemer med å annerkjenne at det eksisterer. "Tidevann" skildrer en ung kvinnes forsøk på maskulinisering av kroppen indre og ytre, i møte med mennesker og objekter i hennes umiddelbare omkrets. //As a society, we have difficulty defining what masculinity really entails, but no trouble in recognising that it exists. "Ebb Tide" depicts a young woman's attempt at masculinising her body's interior and exterior, in the face of the people and the objects in her immediate circle.  

   Tidevann

Tidevann

///gress ///grass 

Adam Kjær, 2017 (4 min)

Video av sol og mennesker. Et sted. // Video of sun and humans. Somewhere.

   ///gress

///gress

I Wanna Write You Love Songs // I Wanna Write You Love Songs

Hamid Waheed, 2017 (4 min)

En type forelesning angående observasjoner ved det å legge seg ned, dø og - til syvende og sist - kjærlighet! // A type of lecture on observations in the field of lying down, dying and - ultimately - love!

   I Wanna Write You Love Songs

I Wanna Write You Love Songs

We, The Born Capitalists // We, The Born Capitalists

Anette Gellein, 2017 (7 min)

Champagne-tårnet er et konsumobjekt som holder på luksuriøs væske tilknyttet overflod og merverdi. I We,The Born Capitalists ser vi en karakter som utøver handlinger relatert til denne skulpturelle og medierte konstruksjonen. // The champagne tower is an object of consumption containing a luxurious liquid connected to excess and surplus value. In We,The Born Capitalists we see a character performing acts connected to this sculptural and mediated construction.

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NORSK KORT DOK OM HELSE
Oct
22
12:15 PM12:15

NORSK KORT DOK OM HELSE

Stillbilde_Husker du meg__2016.jpg

Harstad Kino
Kr 110,- 

I dette Open Call spesialprogrammet har vi satt sammen tre innsendte norske bidrag i dokumentarsjangeren som alle fokuserer på ulike tema innen helse. I Husker du meg? ser vi hvordan unge menneskers liv har endret seg som følge av demens. I  Møterommet, en hybrid mellom teater og dokumentar, får vi innsikt i en ung schizofren gutts møte med helsevesenets byråkrati. Og til slutt den eksperimentelle Touch Tours , som med sin meditative tilnærming, tar oss med på turer for blinde i botanisk hage. Det er laget en fotobok til prosjektet, som vil være tilgjengelig i kinoen. Programmet er kuratert av Helene Eggen, og filmene vil innledes av henne. Filmskaper Ellen Ugelstad besøker festivalen, og vil delta på en samtale etter filmene.

// In this Open Call special program, we have put together three submitted Norwegian contributions in the documentary genre, all focusing on various topics related to health. In "Do you remember me? (Husker du meg?)" we see how young people's lives have changed as a result of dementia. In the "Meeting room (Møterommet)", a hybrid between theater and documentary, we get insight into a young schizophrenic boy's meeting with the healthcare bureaucracy. And finally, the experimental "Touch Tours", that with a meditative approach, takes us on guided tours for the blind in the botanical garden. A photo book has been as part of the the project, which will be available at the cinema. The program is curated by Helene Eggen, and the films will be introduced by her. Filmmaker Ellen Ugelstad will be present at the screenings and talk about her film.

Se filmprogrammet listet under //See the full program listed here:

 

Husker du meg, Ragnhild Nøst Bergem, 2016, Norge. Språk: Norsk. 34 min. (No english subtitle)

 Still Husker du meg?

Still Husker du meg?

Siri fikk demensdiagnosen i en alder av 38 år. Hun bor nå på en institusjon, mens ektemannen må fortsette hverdagslivet hun egentlig skulle vært en større del av. Minnene binder oss mennesker sammen. Hva skjer når minnene forsvinner?

Om filmskaperen:

Ragnhild Nøst Bergem er en dokumentarfilmregissør og fotograf med utdannelse fra Høgskolen i Lilleammer og Oslo Fotokunstskole. Hennes dokumentarer kan sees på norske nett-tv kanaler og er vist på festivaler i innland og utland.


"Møterommet", Ellen Ugelstad, 2017, Norge. Språk: Norsk. 14 min. English subtitles.

 Still Møterommet

Still Møterommet

Møterommet er et formekspriment i grenseland mellom teater og dokumentar. Filmen skildrer et kafkesk møte på en psykiatrisk avdeling. Helsevesenet som i utgangspunktet skal hjelpe mor og sønn, gjør vondt verre. Manus er basert på dokumentarisk materiale, men spilt inn med skuespillere. Historien er basert på regissørens egne erfaringer med en bror som lever med en schizofreni diagnose.

//In this kafkaesque meeting a mother and her son is fighting a clogged bureaucracy that intensify the personal suffering it is supposed to remedy.The film is a study of a meeting in psychiatric ward unfolding on a theater stage. The story is based on the directors own experiences with her brother suffering from schizophrenia and is inspired by both theater and documentary. Møterommet / The Meetingroom recently received the prize for best script at the Norwegian Shortfilmfestival.

Om filmskaperen//About the filmmaker:

Ellen Ugelstad er utdannet ved Academy of Art, San Francisco, California, hvor hun studerte og jobbet i syv år. Dokumentarfilmen, Indian Summer, hadde premiere under Den Europeiske Dokumentar-filmfestivalen og ble deretter nominert til International Young Talent Award under Dok Leipzig (hvor den hadde internasjonal premiere) og Nordic Dox Award under CPH:DOX. I 2012 ble filmen nominert til Gullruten for beste regi og beste dokumentar. Filmen, inkludert sin brors tegninger og foto, ble vist som installasjon på Høstutstillingen 2012. Hun mottok ettårig arbeidsstipend fra Statens Kunstnerstipendier i 2012 (dramatikerne) , og to årig arbeidsstipend fra Billedkunstnernes Vederlagsfond 2014. I 2013 var hun juryleder for Amandakategorien beste dokumentar. Hun har akkurat ferdigstilt en kortdokumentar som heter JEG SKRIVER og en musikkfilm trilogi for bandet Highasaktie. Twentyone PIctures er i gang med et dokumentarisk filmessay som undersøker forholdet mellom makt og avmakt i psykiatrien. Les mer her.

//Ellen Ugelstad is a visual artist working with documentary, fiction, photography and outreach. She was educated at the Academy of Art University, San Francisco, California, where she lived for seven years, before she relocated to Oslo, Norway. Her documentary Indian Summer was nominated for the International Young Talent Award at DOK Leipzig, and Nordic Dox Award under CPH:DOX and received two nominations at the Norwegian “Emmy-Award” called Gullruten. The film was showed at the Annual National Art Exhibition at the Artist House in Oslo. Ellen has recieved working grant from the Norwegian Art Council and recently a two-year artist grant from Norwegian Visual Artist Fund. She has also collaborated with the band Highasakite and is currently working on a new hybrid documentary inspired by both theater and documentary called Making Sense Together.
Read more here.


Touch Tours, Ellen Henriette Suhrke, 2015, Norge. 10 min. No dialogue.

 Still Touch Tours. Foto: Tor Willy Ingebrigtsen

Still Touch Tours. Foto: Tor Willy Ingebrigtsen

“Touch Tours” is a series of tactile tours, arranged for blind participants in the Botanical Gardens in Oslo. The video “Touch Tours” lingers on one of these tours, where a young, blind woman is given a personal tour. “Touch Tours” offers a seeing audience a glimpse into a different way of navigating through ones surroundings.

Om filmskaperen//About the filmmaker:

My practice may be described as meditations on nature and culture, where human interaction with the environment plays a vital role. Each work is based on careful planning and background studies, but still leaves room for the poetic and unexpected. My most recent project explores how you experience your surroundings without the sense of sight, and the experience of something described versus seen. I have my education from Kuvataideakatemia in Helsinki and Bergen Academy of the Arts, where I received an MFA in 2013.

Les om utstillingen Touch Tours i Kunstkritikk // Read about the exhibition Touch Tours here: http://www.kunstkritikk.no/kritikk/bygger-broer-helt-lydlost/?d=no

 

 

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Oct
22
11:40 AM11:40

ARCHITECTURE FILM FESTIVAL LONDON

 White Mountain 

White Mountain 

WHITE MOUNTAIN OG SCRIPTYCH

Harstad Kino
Kr 110,- 

Er du nysgjerrig på hva arkitekturfilm er? 

Architecture Film Festival London, ved Anna Ulrikke Andersen, gjester og kuraterer program med arkitekturfilm i fokus, og samtaler med filmmskaper Ollie Palmer som er til stede under visningen.

Anna Ulrikke Andersen vil kuratere en visning på AMIFF med de to britiske kunstnerne Emma Charles og Ollie Palmer som begge var del av festivalens konkurranse. Som tidligere Competition Director ved Architecture Film Festival London 2017 drev hun festivalens internasjonale konkurranse, som mottok 154 bidrag fra 33 forskjellige nasjoner. Hun var kurator av ”From Above”: et utvalg kortfilmer som ble vist ved ICA under festivalen. Anna Ulrikke Andersen er filmskaper, kurator og arkitekturhistoriker, bosatt i London. Hun arbeider med en PhD avhandling i arkitektur ved The Bartlett School of Architecture, UCL, hvor hun grunnla The Bartlett Film+Place+Architecture Docotoral Network i 2014.

ArchFilmFest London er en seks dager lang festival dedikert til arkitektur og film, grunnlagt av Charlotte Skene Catling og Manuel Toledo-Otagui. Festivalen finner sted annethvert år og består av visninger, utstillinger, symposium, workshop og en en internasjonal film konkurranse. Den første utgaven av festivalen, som tok for seg tematikken "Scale", fant sted på de to arenaene ICA og Bargehoues, Oxo Tower Wharf mellom 6. - 11. juni 2017.

WHITE MOUNTAIN

White Mountain is a 16mm docu-fiction film is set primarily in the Pionen data center, a former Cold War-era civil defence bunker in Stockholm redesigned in 2008 by architect Albert France-Lanord as a data center to house servers for clients, which at one point included Wikileaks and The Pirate Bay. Starting by surveying the rough topography of the surrounding Södermalm landscape, the film gradually pushes beneath the surface, illuminating the ordinarily concealed network infrastructure. As the camera idles on the florescent-lit server stacks, issues of privacy, surveillance and digital sovereignty inevitably emanate. Located 30 meters under the granite rocks of Vita Bergen Park in Stockholm, the hydrogen bomb proof subterranean hub has been constructed with direct references to science fiction films such as Silent Running, and the classic Ken Adams set design. Part Bond villain lair, part retro-futuristic spaceship, fish and lush greenery coexist alongside the flashing lights of the data storage systems. Playing on the science fiction aesthetic and with poetic narration written by Jussi Parikka, White Mountain uncovers the varying forms of temporality brought about through an exploration of data space and geology. Gathering vibrational and electromagnetic sound from the rock face above the data center as well as deep inside the server room itself, a soundscape has been created both revealing and processing the reverberations of the hidden environment.

 White Mountain

White Mountain

Emma Charles (b.1985) is a London-based artist. Working with photography, sound and moving image, her practice explores the way contemporary value systems of time, productivity and labour are altered through technological progress. Recently Emma has situated her research towards the materiality of the Internet, going beneath the urban veneer to uncover the hidden infrastructures within our technologically driven modern life. Emma holds a MA in Photography from Royal College of Art. She has exhibited and screened at Jerwood Visual Arts, London; Serpentine Galleries, London; ZKM, Karlsruhe; HKW, Berlin; Jeu de Paume, Paris, LUX and ICA, London and is the recipient of a 2015 & 2017 Arts Council England award, ZKM commission and has been published in ‘Reset Modernity!’ edited by Bruno Latour (MIT Press). 


SCRIPTYCH

In Scriptych a couple attempt to communicate from afar using an interface which translates their movements into words. Structured across three micro-acts, Scriptych takes precision in choreography to an extreme, embedding sensors on dancers which measure their movements and control both the music and the words spoken aloud, in real time. The couples’ communication becomes increasingly fragmented as the piece develops, posing questions about the location of meaning in messages and movements, and the impossibility of communicating true intent.

 Scriptych

Scriptych

Ollie Palmer (b.1985) is a British artist and filmmaker based in Rotterdam. He was artist-in-residence at the Palais de Tokyo's research lab, and holds a PhD by Design at the Bartlett School of Architecture, University College London on the subject of scripted performances. His work has been exhibited in galleries worldwide, including a large human computer at the V&A Museum, dancing ants at London Zoo and FutureEverything Festival in Manchester, and an over-knowledgable surveillance cameraat the Royal Institute of British Architects. He formerly taught at Masters level at the Bartlett School of Architecture and he is alumni of the Bartlett’s Interactive Architecture Lab.

 

 

 

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OPEN CALL SPESIAL - RUINS RIDER
Oct
21
10:15 PM22:15

OPEN CALL SPESIAL - RUINS RIDER

For information in english scroll down

Harstad Kino
Kr 110,- 

I denne Open Call Spesial visningen, Ruins Rider av Pierre-Luc Vaillancourt, trer du inn i et hypnotisk, pulserende univers og er garantert en eksplosiv, energisk og kraftfull opplevelse!

Filmet i Balkans ødeland utforsker Ruins Rider mystiske ruiner som gjennom århundrene har vært kjent for å utløse transer. Filmen er del av et arkeologisk prosjekt som utforsker fortapte sivilisasjoner. Pierre-Luc Vaillancourt er beskrevet som en kulturell gerilja, og arbeidene er vist på mange store internasjonale festivaler, museer og cinemateker.

Regi og produsent: Pierre-Luc Vaillancourt År: Montenegro/Canada 2017 Spilletid: 49 min

 RUINS RIDER

RUINS RIDER

Information in english

Harstad Kino
Kr 110,- 

Filmed in the lost territories of the Balkans, Ruins Rider portrays the secret ruins that triggered trances over the past centuries. Using an array of hypnotic pulsating flickers, filmmaker Pierre-Luc Vaillancourt conceived an explosive kinetic experience. Accompanied by a powerful soundtrack by Marc Hurtado of the cult project Étant Donnés, Ruins Rider is a visceral experience of hypnagogic archeology and raw energy. 

Working within the ontological fabric of reality, filmmaker Pierre-Luc Vaillancourt explores the wild territories of trance, technological liminality and experimental archeology. His work has been described as cultural guerrilla of striking force and aims to produce visceral and hypnotic experiences marked by a powerful energy charge. Vaillancourt’s films and videos have been presented at the Zagreb Museum of Contemporary Art, Russia National Centre for Contemporary Arts, Lausanne Underground Film Festival, Kiev Foundation for Contemporary Art, Festival du nouveau cinema de Montreal, Fylkingen, Raw Territories Gatherings, Bunkier Sztuki, Wro Art Center and in many international festivals, museums and cinematheques.

 RUINS RIDER

RUINS RIDER

Ruins Rider is marked as the most powerful of the films that I have seen. It’s a real subject explored with great energy using the new art of the computer to great effect and viscerally stimulating. There is history and ideas and technological wizardry.
— FILMMAKER, WRITER & PHOTOGRAPHER TIMOTHY NEAT
Remarkable, invigorating and immersive work. A deeply committed and brilliantly hypnotic film. Powerful.

— ALCHEMY FILM & MOVING IMAGE FESTIVAL
Ruins Rider is an atlas of power-zones. A magical current is charged through the act of filming, flowing through my whole body and mind, piercing through the image. This life force guided my shooting, deeply fusing the mythical portals and the volcanoes of my consciousness. This approach is sustained by a meticulous and deep dedication to the transmutation process of the hypnotic ruins, the image’s revelatory nature and within my own cognitive’s elemental structure. The pulsating and magnetic ruins embody the numinous fire and limitless light. High voltage telluric blast.
— PIERRE-LUC VAILLANCOURT
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LOST DIMENSION
Oct
21
3:40 PM15:40

LOST DIMENSION

  What the Sun has Seen,  Agnieszka Polska. Courtesy ZAK | BRANICKA".

What the Sun has Seen, Agnieszka Polska. Courtesy ZAK | BRANICKA".

Harstad Kino
Kr 110,- 

“Lost Dimension” er er et spesialkuratert program med bevegelige bilder av Berlinbaserte Vanina Saracino, som bringer sammen seks internasjonalt anerkjente kunstnere for å reflektere omkring transformasjonen og utviklingen av nye romoppfattelser under simuleringsprinsippet. Filmene inviterer publikum til å ta i bruk kinorommet som et midlertidig rom, heller enn et livløst lerett.

Kuratoren om programmet (på engelsk):

When publishing “Lost Dimension” in 1984, philosopher Paul Virilio imagined a near future dominated by interactive networks, data transfers and interfaces, a world in which any notion of space as we know it, measure and perceive it, would be drastically transformed. Today, new technologies (including the Internet) give us the illusory feeling of unlimited access, with products, information and experiences being at hand reach with the lazy touch of a click. To a certain degree, not being online equals to not exist. Tangible realities and simulated environments begin to merge. Images are no longer a way of representing reality, they are constituting a reality in themselves, and the same notion of inhabiting is dissolving through an increasingly disembodied experience of the space, with our existence being permanently split between online and offline presence.

 

The Lost Object, Sebastian Díaz Morales

Video installation, HD, 14’ (2016)

  The Lost Object,   Sebastian Díaz Morales

The Lost Object, Sebastian Díaz Morales

Reality goes beyond fiction. In a film-set the elements and language for creating fiction are being disarticulated. A ritual is performed in which the camera, lights, set and objects break through to a place where fiction and reality merge into one single element. Where the paraphernalia to make fiction vanishes and there is no more need of it. Fiction becomes autonomous and auto-generates itself. The universe gets under control by the principle of simulation. Sebastian Díaz Morales explores the relationship between large-scale socio-political power dynamics and individual action in works which create a sense of uneasiness for the viewer. His films are often somewhat surreal, establishing a tension between a depicted social reality and its representation in a visually abstract or fantasy-inflected way. Throughout his works, multiple forms of dependence are explored, including dependent relationships between people, the environment, and social structures. His work has been exhibited widely at many prominent venues—such as the Venice Biennale, VIVA ARTE VIVA; Tate Modern, London; Centre Pompidou.

 

Sitting in Darkness, Graeme Arnfield

HD video, 16’ (2015)

  Sitting in Darkness,   Graeme Arnfield

Sitting in Darkness, Graeme Arnfield

Out of the darkness a sound emerges. It echoes and drones. Terrified people take to the streets in search of its source. They get their cameras out and document the sky, searching for an author. We watch on, sitting in darkness, our muscles contract and our pupils dilate. “I hope the camera picks this up”. “Sitting in Darkness” explores the circulation, spectatorship and undeclared politics of contemporary networked images.

Graemes work explores issues of communication, spectatorship and history and has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Sonic Acts Festival, Berwick Film & Media Arts Festival, European Media Arts Festival, Hamburg International Short Film Festival, Kasseler Dokfest, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA) and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University.


What the Sun has Seen, Agnieszka Polska

HD animation, 7’ (2017)

  What the Sun has Seen,   Agnieszka Polska

What the Sun has Seen, Agnieszka Polska

The film borrows its title from a poem by Polish poet Maria Konopnicka (1842-1910) recounting in a childish style the quotidian, peaceful, rural activities of the countryside as observed by the sun on its daily journey across the sky. Polska offers her own dark, ironic version of the poem, dealing with contamination by information (information waste) and the role of the `helpless observer` who, like the `Angel of History` in the well-known adage by Walter Benjamin, can only look at the piled-up debris without being able to intervene. Agnieszka Polska’s dreamlike videos explore time and memory. Born in Poland, in 1985, while it was still a communist state, she is interested in obscured histories and cultural myths, particularly those of vanished artists. Using computer animation and live action she rescues, embellishes and re-animates events that are on the verge of oblivion, using a narrative style that is both serious and playful. Polska has had solo exhibitions at the Centre for Contemporary Art Ujazdowski Castle, Warsaw, Nottingham Contemporary, Nottingham, Salzburger Kunstverein, Salzburg, and Summerhall, Edinburgh, among others. Her films have been screened at the 19th Biennale of Sydney, Sydney, Australia, International Documentary Film Festival, Copenhagen, Institute of Contemporary Arts / Lux Biennial of Moving Image, London, and the Tate Modern, London.


EDF, Nicolas Rupcich

HD Video, 5’ (2013)

   EDF,    Nicolas Rupcich

EDF, Nicolas Rupcich

The Chilean Patagonian landscape of “Torres del Paine National Park” is the protagonist of this work, which focuses on the problem of digital representation in the “post-photography era” - when images are no longer a representation of reality but a way of reality itself. The annulation of the geography is a visually simple but symbolically strong intervention that make us aware of the instability of the representational surface. Nicolás Rupcich (1981, Santiago, Chile) lives and works in Leipzig, Germany. Received his BFA from the Universidad Finis Terrae and his MA from the Universidad de Chile. Between 2013-2015 he did his Meisterschüler studies in Medienkunst at the Hochschule für Grafik und Buchkunst Leipzig. He has exhibited his works mainly in solo and group shows, but also in international video and new media festivals, such as: FILE Festival, Sao Paulo, Brazil. Ars Electronica, Linz, Austria.

 

Finding Fanon 2, David Blandy and Larry Achiampong

Ultra HD colour video, Stereo Sound, 16:9, 9 min (2015)

   Finding Fanon 2,    David Blandy and Larry Achiampong

Finding Fanon 2, David Blandy and Larry Achiampong

Finding Fanon 2 collides art-house cinema with digital culture’s Machinima, resulting in a work that explores the post-colonial condition from inside a simulated environment – the Grand Theft Auto 5 in-game video editor. This video work combines several stories, including how the artists’ familial histories relate to colonial history, an examination of how their relationship is formed through the virtual space, and thoughts on the implications of the post-human condition. Artists Larry Achiampong and David Blandy work collaboratively and share an interest in popular culture and the postcolonial position. They examine communal and personal heritage, using performance to investigate ‘the self’ as a fiction, devising alter-egos to point at their divided selves. Over four years, their research has evolved into a body of work including digital imagery, exhibitions, performance and video. They have exhibited their collaborative work internationally, including at Tate Modern, London; EVA International, Limerick; Plymouth Arts Centre; Stony Island Arts Bank, Chicago; Wysing Arts Centre, Cambridgeshire, New Art Exchange, Nottingham; Iniva, London.

 

60 Million Americans Can’t Be Wrong, Christopher Kulendran Thomas & The Mycological Twist, in collaboration with Annika Kuhlmann

HD video, 31’ (2017)

   60 Million Americans Can’t Be Wrong,    Christopher Kulendran Thomas & The Mycological Twist, in collaboration with Annika Kuhlmann

60 Million Americans Can’t Be Wrong, Christopher Kulendran Thomas & The Mycological Twist, in collaboration with Annika Kuhlmann

"60 million Americans can’t be wrong" is part of the collaborative experiment New Eelam, a long-term artwork in the form of a startup, that brings together specialists from the fields of technology, real estate, art, architecture, finance and design to develop a new form of distributed housing based on a flexible global subscription. It originates from contemporary art’s role in pioneering new lifestyle formats and new forms of labour as part of the processes by which cities around the world are shaped. Its strategy is based on re-engineering some of these structural operations of art - and some of the property relations at the very heart of the present economic system - through collective access rather than individual ownership. Christopher Kulendran Thomas is an artist whose work manipulates the processes of circulation and distribution by which art produces reality. Thomas’s work has been included in the 11th Gwangju Biennale (2016), the 9th Berlin Biennale (2016), “moving is in every direction”, Hamburger Bahnhof - Museum für Gegenwart, Berlin (2017), "Bread and Roses", Museum of Modern Art in Warsaw (2016), "Co-Workers: Network As Artist", Musée d'Art Moderne de la Ville de Paris (2015) and "Art Turning Left: How Values Changed Making", Tate Liverpool (2013). A solo exhibition of his work can currently be seen at Tensta Konsthall (Stockholm).

 

About the curator:


Vanina Saracino is an independent curator currently based in Berlin. She is the co-founder of OLHO, an international curatorial project about contemporary art and Cinema initiated in 2015 in Rio de Janeiro and São Paulo, also shown at the Teatrino di Palazzo Grassi (Venice, 2017). Since 2013, she curates monthly programs of moving image art on the non-narrative television channel ikonoTV, being also in charge of collaborations and projects with museums and institutions worldwide. With ikonoTV, in 2015, she initiated Art Speaks Out, a yearly exhibition project on the environment and climate change, also shown at the Istanbul Modern Museum (2015) and within the UN Climate Change Conference (Marrakesh, 2016). Graduated in Communication Sciences with a thesis in semiotics of the arts, she holds a masters degree in Arts Management (GIOCA, Università di Bologna) and a MA in Philosophy and Art Theory (UAB, Universidad Autonoma de Barcelona).

  Foto: Basim Magdy

 Foto: Basim Magdy

 

 

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OPEN CALL INTERNATIONAL PROGRAMME
Oct
21
1:45 PM13:45

OPEN CALL INTERNATIONAL PROGRAMME

 How Flowers Never Became A Food Group, Charlotte Clermont

How Flowers Never Became A Food Group, Charlotte Clermont

Harstad Kino
Kr 110,- 

På denne andre utgaven av AMIFF fikk vi inn mange bidrag, som favnet alt fra fiksjon, dokumentar og animasjon, til eksperimentell videokunst og hybridfilm, fra kunstnere og filmskapere rundt om i hele verden innen både film- og kunstfeltet. Open Call programansvarlig, Helene Eggen, sammen med festivalsjef Helene Hokland, har gjort et utvalg på ni filmer til hovedprogrammet, samt tre Open Call - spesialprogrammer: "Norsk kort dok om helse", Spesialvisning av hypnotiske "Ruins Rider" av Pierre-Luc Vaillancourt og den grønlandske filmen "Kaassassuk - The Orphan" for hele familien. Filmene dekker et bredt spekter av geografi, alder, form og uttrykk, og holder et høy kunstnerisk nivå.

Alle filmen i hovedprogrammet responderer på årets tema "Transformasjon" ved å forholde seg til transformasjon av samfunn, steder, landskap og filmmediet. Videre er noe fragmentarisk, kaleidoskopisk, abstrakt og ugjennomtrengelig til stede i verkene, samt at flere konfronterer oss med en intenst psykedelisk fargepalett.

Flere av filmskaperne vil være til stede på AMIFF for samtale etter visningene.

//On this second edition of AMIFF, we received many contributions, ranging from fiction, documentary and animation, to experimental video art and hybrid films, from artists and filmmakers around the world in the field of film and art. Open Call program director Helene Eggen, together with festival director Helene Hokland has made a selection of nine films for the main program, as well as three Open Call special programs: "Norwegian Short Docs on Health", Open Call Special screening of the Hypnotic "Ruins Rider" by Pierre-Luc Vaillancourt and the Greenlandic movie "Kaassassuk - The Orphan" for the whole family. The films cover a wide range of geography, age, form and expression, and maintain a high artistic level.

All the movies in the main program respond to this year's theme "Transformation" by relating to transformation of society, places, landscape and media. Furthermore, there is something fragmentary, kaleidoscopic, abstract and impenetrable present in the works, and often we are confronted with an intense psychedelic color palette. 

Some of the filmmakers will be present at the screenings and participate in a Q&A as part of the program.

Cinema programme (see full information about the works see further down the page):

1000 Smiles Per Hour, Fabian Altenried, Tyskland, 2016, 15 min 

Interstices, Michel Pavlou, Norge, 2015, 4 min 

Journey to Italy, Anna Ulrikke, Norge/England, 2016, 14 min

A close up on time travels. Reidun Solvik, Norge, 2016, 6 min

How Flowers Never Became A Food Group, Charlotte Clermont, Canada, 2017, 4 min

Lipstick Sync, Eili Bråstad Johannessen, Norge/Tyskland, 2017, 4 min

The Baths, Sofia Pancucci-McQueen & Anouska, England, 2009, 12 min

Eyelid and Dragon Boy, Elisabeth Molin, England, 2017, 7 min

It Was Mine, Kajsa Næss, Norge, 2017, 8 min

 

1000 Smiles Per Hour, Fabian Altenried

A rough seaside town. One night. And two humans, strange to one another, Mar and Esth. Esth, a jester, on the way back from an invisible stage in front of an invisible audience, cleaning off the make up and with a clean face, E rarely approaches the outside world, stays alone, fallen through the net. But E is at the right place, there below, on the outside, without the need for an external purpose. Later that night E meets Mar. Mar is living in a high rise, one of these brutalist blocks on the coast line, built for a long gone time when many tourists came during the summer. Here, high above the coast line, above the run-down arcades and lost people, the two humans approach each other, together as two outsiders. For a moment they live in the warmth of a stranger before returning to their home that only holds place for one.

1000 Smiles Per Hour 04.jpg

About the artist:

Writer, director, producer, cinematographer, and filmmaker. Explores post-structuralism, identity & gender theories, performativity, theories of animality, as well as post-ideological leftism. Uses narrational strategies to investigate the critical and political potential of fiction. Studied fine arts in Düsseldorf and philosophy in Berlin.

 

Interstices, Michel Pavlou, Norge, 2015, 4 min

A series of scenes shot in an underground station, edited to the rhythm of the trains’ automatic doors. The kaleidoscopic effect of viewing through the windows of trains as they pass each other determines the geometry of the image. A composition of parallel and divergent vertical and horizontal movements: those of the camera but also of the trains and the scrolling publicity panels. The film moves in the interstices of time and space, addressing the tensions between static and dynamic, actual and virtual, fiction and reality.

interstices still4 (1).jpeg

About the artist:

Michel Pavlou is a visual artist and filmmaker whose work has been shown and awarded since 1990, in numerous exhibitions and festivals worldwide. Born in Greece (1960), he moved to France in 1978 where he studied economics in Strasbourg and Fine Arts at the National (Hight) School for Visual Arts in Nancy. From 1988 to 1998 he lived and worked in Paris then in Oslo where he founded in 2003 (with the artist F. Kalantary) "Atopia", an art space dedicated to the moving image. He now lives and works in Oslo and Brussel. Together with Martin Slaatto, Michel will also be part of the specially curated art intervention an project Lys i Bevegelse (The Movement of Light), curated by Brynjar Bjerkem. You will find Michels work in the cinema as part the opening, The Diving Board, as well as outdoors where he will project videoinstallations on the walls, Lilith and Cross Road.

 

Journey to Italy, Anna Ulrikke, Norge/England, 2016, 14 min

The film Journey to Italy (2016) springs from a five day train-journey taken between Norway and Italy in February 2016, following in the footsteps of the Norwegian architectural theorist Christian Norberg-Schulz (1926 – 2000). The film takes as a starting point his appearance in the film Livet finner sted (Life Takes Place, Helgesen, 1992, TV, NRK, 41:00); its opening scene depicting the aging theorist looking out the window of a train, recalling when he many years prior developed his theory of genius loci. The project considers the window of a train as a quite specific, and highly mobile, site where both thinking and life can take place as landscape, light and time goes through transformation. The lens constantly aimed towards west reinforces the theorist’s western focus, where use of MRI footage of the foot, uses this imaging technologies to create alternative, even conflicting views of mobility and spatial orientation.

journey-to-italy-6.jpg

About the artist:

Anna Ulrikke Andersen (BA Art History, MA in Architectural History) is a PhD candidate of architectural design at the Bartlett School of Architecture, focusing on the window in the life and theory of Christian Norberg-Schulz using a practice led research methodology of filmmaking. She had presented her academic work at Oxford University, AA school, The 2014 Venice Architectural Biennale, Oslo School of Architecture and Design, the University of Oslo and Trondheim Academy of Fine Arts. Her films has been screened at the Royal Academy of Arts, University of Gothenburg, University of Tallinn and the 2017 Essay Film Festival at Birkbeck University, while her writing has been published in Lobby Magazine, Montages.no and Film Resonance (2017). She is founder of the Bartlett Film+Place+Architecture Doctoral Network, and previous Competition Director of Architecture Film Festival London. In relation to that, she will also be part of the program as guest curator introducing the audience to architecture films in a special AFFL program.

 

A close up on time travels, Reidun Solvik.

Imagining life in a distant past is difficult, even how life was a few generations back. What will the future humans make of the past? When they see through the microscope, what will they make out of my layer of dust and crumbled bits that once was my belongings? Technic: Various medium on 16 mm film, digitalized.

A close up on time travels 6.jpg

About the artist:

Reidun Solvik (f.1986) artist and art director. She holds an bachelor in Visual Communication and have later studied Interactive art direction at Hyper Island, Stockholm. After her studies she joined the Montreal based “Moment Factory”, a industry leading studio creating multimedia stage shows and interactive installations world wide. In 2014 moved back to Norway and continued to produce artwork within the field of moving images and interactive art installations. She have received several grants, one of them allowing her to focus on direct filmmaking using 16 mm film. (The film submitted is one of the creations). In the winter 2016/2017 “Yiuwtide”, an art installation created in collaboration with Ingrid Solvik, was commissioned for the facade of Oslo Central station. The light sculpture demonstrate the increasing amount spent on Christmas shopping in Norway over the last 30 years, the sculpture was surrounded with generative lights reflecting the mood of the city as it prepared/shopped for Christmas.

 

How Flowers Never Became A Food Group, Charlotte Clermont.

Distorted by analog manipulations, images of flowers evokes ambiguous romanticism, oscillating between notions of possible and impossible. Intense psychedelic colours confronts the essence of the nature, while maintaining a playful tone. Through the materiality and transformation of the image, a struggle is suggested, combined to feelings of failure and disillusion, attraction and repulsion. Exploring the aesthetic aspects of found footage, the video takes form into a fragmented rhythm and provides characteristics related to mysterious confidences. The work is a collaboration with experimental musician Alain Lef.

02HowFlowersNeverBecameAFoodGroup_Clermont (1).jpg

About the artist:

 

Charlotte Clermont's work revolves around establishing a dialogue between the materiality of images and personal narrative. She is interested in the moving image and the possible connection from the treatment of her materials and the themes which she explores. Working with film and magnetic-tape cameras, her approach focuses on exploring textures and glitches by consicously misusing equipment. Through analog manipulations, she seeks a variety of distortions and tranformations that tend to capture the complexity of her relationship towards people and her environment. The intimate feeling provided by her videos raises questions related to psychological and emotional development. Charlotte Clermont holds a BFA in Studio Arts from Concordia University. Her work has been presented in Canada and internationally (Biennale Itoshima Arts Farm, Les Rendez-vous du cinéma québécois, Festival Oodaaq, European Media Art Festival, Montreal Underground Film Festival). She has participated in audiovisual performances in Montreal (Nuit Blanche, Suoni Per Il Popolo, Jeunesse Cosmique, mercredimusics, Montreal Electronic Groove) and Kuala Lumpur (KLEX Experimental Film, Video and Music Festival). Her videos are distributed by Videographe, VIVO Media Arts Centre and Winnipeg Film Group. In Spring 2018, she will be an artist in residency at Fusion Gallery in Torino, Italy.

 

Lipstick Sync, Eili Bråstad Johannessen.

A conversation about the alphabet versus femi-divinity, and on the offensive female body.

lipstick sync (1).jpg

About the artist:

Eili Bråstad Johannessen is an artist who works with photography, video and text. She grew up in the northern part of Norway, but lives and works part time in Berlin. Her film Inverted Views was screened at AMIFF 2016.

 

The Baths, Sofia Pancucci-McQueen & Anouska, England, 2009, 12 min

Tucked away in the corner of an industrial estate in the East End of London is a steam baths where men meet to wash, eat and chat. Visited daily by culturally diverse groups, it’s where bathing rituals intertwine and collective memories are forged.Made by two female filmmakers, ‘The Baths’ explores masculinity in a unique setting and invites us to observe often unseen cultural traditions and social interactions. As the film unfolds, the transcultural nature of the baths is revealed – while each group of bathers may at first sight appear separate from one another, it becomes clear that in sharing the same space they are also sharing wider cultural histories.

The Baths (1) (1).png

About the artist: 

Sofia Pancucci-McQueen and Anouska Samms first started working together while studying Film Production at the University of Westminster in London. Since graduating in 2014 they have continued to collaborate, producing work that explores the transcultural nature of contemporary British society primarily through focus on homosocial spaces.Sofia has just graduated from an MA in Art and Visual Culture at the University of Westminster, while Anouska has recently graduated from an MA in Contemporary Art Theory at Goldsmiths, University of London. They have been invited to speak about their research and practice at a number of events, including a recent study day organised by CREAM (Centre for Research and Education in Arts and Media) which centred around Mary Louise Pratt’s concepts of ‘the contact zone’ and ‘transculturation.’

 

Eyelid and Dragon Boy, Elisabeth Molin, England, 2017, 7 min.

Eyelid and Dragon boy is inspired by an encounter with a person who is 90 % blind. This meeting made me reflect on and write about the experience of being close to and seeing the world through his eyes.   This experience also made me reflect more generally about the nature of vision today, how it is considered the primary sense and how technology forefronts vision to other senses. The writing draws parallels between the body and the screen, and between the camera as device for recording reality and its failure to do so.   The footage is filmed in Mallorca where I met the character and it is partly shot through his monocular, a device that he uses for navigating.

EyelidandDragonBoy.jpg

About the artist:

Elisabeth Molin (1985) is a visual artist based between London and Copenhagen, working with video, performance and storytelling. She studied at Chelsea College of Art and Royal College of Art in London. She has shown work at Sixty Eight Institute and Charlottenborg Kunsthal in Copenhagen, The Danish Institute in Edinburgh, Art Current Institute in New York and CCA Scotland. She has been awarded residencies at Cite Internationale des Arts in Paris, Danish Cultural Institute in Rome and Athens and at CCA Andratx in Mallorca. In 2013 she was shortlisted for the Tenderflix Award at Tenderpixel Gallery and in 2017 she was awarded a fellowship from Hasselblad Foundation at ISCP in New York.

 

It Was Mine, Kajsa Næss, Norge, 2017, 8 min.

Is there really such a thing as coincidence? R. is scouring bookstore after bookstore in search of a remarkable book that he yearns to read. He finally finds it in the most unexpected way. A playful and offbeat reflection on the surprising moments where you get the feeling that everything is somehow connected. Based on a short story by Paul Auster.

ItWasMine_still5.jpg

About the artist: Kajsa Næss studied animation at Volda University College in Norway. She is one of the founders of Mikrofilm AS.

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LENE BERG FILM PROGRAMME
Oct
20
to Oct 21

LENE BERG FILM PROGRAMME

 Kopfkino

Kopfkino

For english scroll down

Harstad Kino
Kr 110,- per visning


Visninger :

Gompen og andre beretninger om overvåking i Norge 1948-1989// Fredag 20. oktober kl.15.35 // Harstad Kino


Weimar Conspiracy Kopfkino + kunstnersamtale // Lørdag 21. oktober kl. 19.40 // Harstad Kino


Internasjonalt anerkjente Lene Berg er årets etablerte kunstnerprofil på AMIFF. Hun kommer til Harstad med tre av sine filmer, Kopfkino (2012), Gompen (2014) og The Weimar Conspiracy (2007), som vil introduseres av kunstneren selv. Etter filmene vil hun samtale om sin kunstnerpraksis som motsetter seg kategoriseringer, med kurator Sarah Schipschack. Schipschack er årets gjestekurator, og kuraterer også årets bestillingsverk av Ørjan Amundsen.

Tekst av kurator Sarah Schipschack (på engelsk):

Lene Berg is a Norwegian artist originally trained as a film director at Stockholm's Dramatiska Institutet. Working without preconceived concepts or established norms, her projects are incised, humorous and often outside the cultural consensus. Berg uses moving image, installation, text, and photography – her projects often contains all of these mediums. One could say Lene Berg's production invests in reforming and reshaping storytelling. In her moving image works, Berg investigates questions about truth and falsehood, reflecting political issues in personal stories from our recent cultural history. By merging facts and fiction, her moving image work interrogates in contradictions and how history and storytelling is made and narrated. 

 Gompen

Gompen

 

På AMIFF vil hun vise tre verker, alle fra de siste ti årene:

I Kopfkino (2012), en spillefilm fra 2012, møter vi en gruppe på åtte damer som arbeider i et S&M studio, sittende bak et bord på en scene, alle vent mot kamera, snakkende om rollespill og makt. Samtalene og kamerabevegelsene er begge frigjorte fra konvensjonelle begrensninger. 

Gompen (2014) er en isenesatt høring som tar for seg overvåking i Norge, av det norske samfunnet under den kalde krigen. Filmen er en hybrid av historiske fakta og fiksjon, og debatten knyttet til nasjonal sikkerhet versus individets rett til privatliv, er en tematikk som er like relevant i dag. 

The Weimar Conspiracy (2007) viser i syv kort episoder, hvordan filmskaperen Lene vandrer rundt i Weimar, der hun utforsker de mange akkumulerte historiske minnene, og betydningen de har i dag. 

The Weimar Conspiracy 

 

Om gjestekurator Sarah Schipschack: 

Sarah Schipschack er en filmkurator, programmerer, og produsent, basert i Leipzig, Tyskland og i Tromsø. De siste 15 årene har Sara stått bak flere initiativer for formidling av art house film, og eksperimentell film - Artists' Moving Image/Kunstners bevegelige bilder. Hennes siste initiativ,  Polar Film Lab, en analog film lab i Tromsø, ble etablert i 2016 sammen med kunstneren og filmskaperen Emilija Skarnulyte fra Litauen. Hun underviser også i et fag om kunstners bevegelige bilder ved Nordland Film- og kunstfagskole i Kabelvåg. Sarah er gjestekurator for den andre utgaven av AMIFF i Harstad, der hun setter sammen en miniretrospektiv av den anerkjente kunstneren Lene Berg, og kuraterer bestillingsverket,  det ambisiøse nye flerskjermsverket til Ørjan Amundsen. 

Information in english

Internationally renowned Lene Berg is this years established artist profile on AMIFF. She will attend the festival with three of her films, Kopfkino (2012), Gompen og andre beretninger om overvåking i Norge 1948-1989 (2014) and The Weimar Conspiracy (2007), all introduced by the artist herself. Afters the screenings she will have a conversation about her artistic practice with guest curator Sarah Schipschack. Schipschack also curates Infinite Loop by Ørjan Amundsen.

Text by curator Sarah Schipschack:

Lene Berg is a Norwegian artist originally trained as a film director at Stockholm's Dramatiska Institutet. Working without preconceived concepts or established norms, her projects are incised, humorous and often outside the cultural consensus. Berg uses moving image, installation, text, and photography – her projects often contains all of these mediums. One could say Lene Berg's production invests in reforming and reshaping storytelling. In her moving image works, Berg investigates questions about truth and falsehood, reflecting political issues in personal stories from our recent cultural history. By merging facts and fiction, her moving image work interrogates in contradictions and how history and storytelling is made and narrated. 

At AMIFF we will show three moving image works, all from the last ten years. 

Gompen og andre beretninger om overvåking i Norge 1948-1989 (2014) is a reenactment staged as a hearing dealing with surveillance in the Norwegian society during cold war times. The film is a hybrid of historical facts and fiction, and the continued relevance nowadays in the debate about a national security versus the individual rights to privacy stays the same. 

In Kopfkino (2012), a feature length film from 2012, we see a group of eight women working in S&M studios, sitting behind a table on a stage, all facing the camera, talking about role play and power. The conversations dense and equally liberated is the camera movement from conventional limitations.

The Weimar Conspiracy (2007) shows in seven short episodes how the film maker wanders around in Weimar, examining the numerous accumulated historical memories, interrogating the meanings they may have today. 

About the curator:

Sarah Schipschack (*1976 in Dresden) is a film curator, programmer, and producer, based in Leipzig, Germany and Tromsø, Norway. During the last 15 years Schipschack has established several initiatives to produce and present film, mainly art house films, experimental film - Artists Moving Image. In the years 2017–2018 Schipschack is Film Curator in Residence and in charge of building up a film screening program for artists run initiative Kurant. In October 2017 she is guest curator for the second edition of AMIFF – Arctic Moving Image & Film Festival in Harstad, Norway where she will put together a mini- retrospective of renown female artists Lene Berg, as well as commissioning an ambitious new multi-screen work by young artists Ørjan Amundsen. Schipschack teaches an Artists' Moving Image course at the Nordland Film- og kunstfagskole, Kabelvåg, Norway.

 Kopfkino

Kopfkino

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NOTHING HAPPENS - A CINEMATIC VIRTUAL REALITY EXPERIENCE
Oct
20
to Oct 21

NOTHING HAPPENS - A CINEMATIC VIRTUAL REALITY EXPERIENCE

NH_06.jpg

Michelle and Uri Kranot

Friday 20 October: kl 15:00 - 19:00
Saturday 21 October: kl 10:00 - 19:00
Venue: Ungdommens Hus (next door to Harstad Kino)

En filmatisk og interaktiv VR- opplevelse, om å se og bli sett, som utvider horisonten for hva visuell kunst, film og VR kan være.

// It is freezing cold on the outskirts of town. Yet people gather. I watch them form a row across the horizon. We all wait for something to happen. However, nothing does...
We have been assembled to witness an event. To participate in being seen. The spectacle of watching and being watched. We live in a society which fears confrontations and chooses anticipation over action. We are lucky to be part of the privileged crowd. We do our best to belong. However, privilege is fragile. It can all flip in a split of a second, and no one will lift a finger. We could easily become the ones being watched by the crowd.

 Still Nothing Happens

Still Nothing Happens

Directors Commment

As a film, NOTHING HAPPENS is a powerful, cinematic journey and a thought provoking encounter. As a VR experience, we can take a step further into the realm of participatory visual art. We want the audience to become active participants in the scene - and therefore be part of the passive crowd. Altering narrative and perspective based on player behavior provides a unique experience for every participant.

Animation can convey an entire imaginary world: For whatever reason, telling stories one frame—one image—at a time, feels like the purest form of art making. There’s something alchemical about watching, becoming aware of the procession of frames. To borrow tools from animated documentaries: The contract with the viewer transcends the hurdle of resistance, since the setup is undeniably fabricated; it is the subjective experience and not reality which is questioned.

Through multiple perspectives, the project conveys a clear message to the audience: You are part of it as well. What was it you passively participated in?

NH_03.jpg

About the whole project with installation:

An Animated VR Experience by MICHELLE AND URI KRANOT

In the cold outskirts of of town, something is about to happen. A crowd of people has assembled to witness a spectacle...

NOTHING HAPPENS is a cinematic VR experience which question the role of the spectator, by inviting the individual to participate in an event. VR allows us to choose our perspective, allows us to become absorbed in the unique atmosphere and participate. The project explores a different kind of narrative, a new way of being in a painting, a work of art that is truly comprehensive and immersive. NOTHING HAPPENS offers a new way of looking.

Behind the project is award-winning directors Michelle and Uri Kranot who with this project challenge the narra ve form by applying an innovative approach to the possibilities as well as limitations of traditional techniques. The project is produced by Marie Bro on be- half of Dansk Tegne lm and in co-production with the French company Miyu Productions.

It is about spectatorship, about watching and being watched. It is about being present.

AMIFF experiencing Nothing Happens at Venice Film Festival, 2017.

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RAZZLE DAZZLE - 16 MM PERFORMANCE MED POLAR FILM LAB
Oct
19
11:00 PM23:00

RAZZLE DAZZLE - 16 MM PERFORMANCE MED POLAR FILM LAB

razzle_01.jpg

For english scroll down.

Razzle Dazzle, Britt Al-Busultan, Finland, 2016/2017, 30 min.

Ungdommens hus

Polar Film Lab, i regi av gjestekurator Sarah Schipschack, presenterer en "live cinema performance", fremført av Britt Al-Busultan med lydkunstner Greg Pope, med 16mm prosjektorer, håndlagede filmruller, speil og diverse gjenstander. 

Polar Film Lab presents at AMIFF a cinema live performance by Britt Al-Busultan.

Razzle Dazzle is a live cinema performance by Britt Al-Busultan with live sound Greg Pope, for two 16mm projectors, handmade film loops, mirrors and assorted objects. By moving the projectors around in front of the audience, a continuously shifting site specific spatial and immersive environment is created, with the intention to make it difficult to estimate the targets range, speed and heading. Flickering reflections create the experience of becoming absorbed into, or mixed up with, the physical space around, the perception of being physically present in a non-physical world.

Britt Al-Busultan

The work of Britt Al-Busultan (née Kootstra) shows itself as “tableaux vivants,” and manifests as hand-processed analog films, film installations and live cinema performances in which seemingly everyday places and events separate themselves from our world. She currently works and lives in Övermalax, Finland, where she founded the artist-run film lab Filmverkstaden.

Greg Pope

After dabbling in punk rock bands and absurdist performance, he founded film collective ‘Situation Cinema’  (Brighton 1986) and ‘Loophole Cinema’ (London, 1989). Working collaboratively and individually, Pope has made video installations, live art and single screen film works since 1996. These works include live cinema performance pieces as well as 35mm film productions and slide projection performances.

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LYS I BEVEGELSE (THE MOVEMENT OF LIGHT)
Oct
19
to Oct 22

LYS I BEVEGELSE (THE MOVEMENT OF LIGHT)

 Still from Cross Road, Michel Pavlou

Still from Cross Road, Michel Pavlou

For information in english scroll down

Med Michel Pavlou og Martin Slaatto, kuratert av Brynjar Bjerkem

Prosjektet er et samabeid mellom AMIFF og produsenten TrAP ( www.trap.no)

The Diving Board + performance // Torsdag 19. 19.00-21.00 // Se åpningsarrangement //Harstad Kino // Kr 110,- .

Kurator og kunstnersamtale // Harstad Kino // Torsdag 19. oktober, kl.21.45 // Gratis

Videoinstallasjoner "Lilith" og "Cross Road" // Byrommet (Scandic og Hårek) //Torsdag 19.-  søndag 22., i Loop

 Performance Hvalstrand, Martin Slaatto.

Performance Hvalstrand, Martin Slaatto.

Konsepttekst for kunstnerisk intervensjon, AMIFF Harstad 19. - 22. oktober, 2017

Brynjar Bjerkem - Programsjef, TrAP

"Lys i bevegelse" er et intervensjonsprosjekt i Harstads byrom i anledning årets festival. Det er på sin plass at når det også er en filmfestival  som samtidig interveneres og utvides, så handler prosjektet om lys - ja om lys, flyktighet og forflytning., om mennesker i bevegelse. For lys er også det livgivende mediet i filmprojeksjon, slik forøvrig luft er det for forflytning av lyd. Lys har til evig tid vært menneskers vis å kontrollere sine omgivelser på. Lyset fortrenger kaos og fremmer felleskap. Sollyset er vår livgivende kraft, gitt oss av den naturen vi springer ut fra. Men finnes det et mørkt lys, et nattens lys, et lys vi hverken kan kontrollere eller utnytte? Månelyset har alltid hatt en sterk og mørk tiltrekningskraft, både som en komplementær til sollyset og som bilde på det mørke i oss selv. Nordlys er allikevel i en særstilling. På en skyfri vinternatt kan nordlyset flamme i overlappende slør av farger, som et mykt teppe som favner om deg eller som et heftig slyngende bånd ut i det endeløse verdensrommet. Det er et forførende syn, og en opplevelse stadig flere oppsøker det nordlige Norge vinterstid for å erfare. Nå vet vi at nordlyset oppstår ut av solvind, hvor elektromagnetiske partikler slynget ut fra Solen treffer Jordas atmosfære og avgir energi. Det er forholdsvis nylig og mulig kjedelig kunnskap. Men selv i dag møter vi mennesker som har vokst opp med utrygge andre fortellinger om egenskapene til dette nattens lys. Barn har vokst opp med å vite at en ikke skal gå under nordlyset alene og heller ikke fornærme det, siden nordlyset kan ta barn. Dette urovekkende lyset som vi ser vandre over himmelen har en parallell i nord-europeisk folketro, i beskrivelsen av Aasgaardsreien - Joulogadze på samisk - og gjenkjennelig i den tyske fortellingen om die Wütende Heer / die Wilde Jagd. I tiden før og under jul kunne en oppleve å se et folkeferd bevege seg over nordhimmelen, satt sammen av krigere, gjenferd og underjordiske. Dette følget var bestemt et utrygt syn å få, siden følget fort tok deg med, skulle du ikke ha forberedt deg godt til midtvinter. En kan godt tenke seg uroen folk følte for at dette følget skulle komme til syne, vandrende i det flammende lyset. Utysker skal en passe seg for, men også for vandrende folk, synes fortellingen å si oss. Historien om die Wütende Heer skriver seg mulig tilbake til den europeiske folkevandringstiden, med mange folkegrupper på flukt fra konflikter i øst. For fastboende har vandrende folk alltid føltes truende. Vi kjenner samtalen. 

 Still from Lilith, Michel Pavlou

Still from Lilith, Michel Pavlou

Vi har latt oss inspirere av fortellingen om nordlyset - og at det vandrer folk i lyset. Vi har invitert to kunstnerne; Michel Pavlou og Martin Slaatto, til å gjøre intervensjoner som forbinder lys og mennesker i vandring, hver for seg og i fellesskap.   

Martin Slaattos arbeid vil finne sted på Harstad kino under åpningsarrangementet i dialog med kortfilmen til Michel Pavlou "The Diving Board", og fortsette ut i foajeen og utendørs, som en performance improvisert og sprunget ut av Slaattos konsept Transporteringdans. Stikkordene er migrasjon, bevegelse, paradis og velstand - og et enkelt ønske om å være sammen, leve sammen, krangle sammen. Michel Pavlou gir oss to videoinstallasjoner i Harstads byrom på fasader i nærhet til kinoen, Lilith og Cross Road. Pavlous arbeider preges av lysintensitet, arkitektur og menneskers plass i byrommet. Gjennom narrativ og komposisjon preges bildene av lys og rytme, for slik å samhandle med byens egen topologi og kronologiske flyt, med mål å skape en historisk tematisk samtidighet for oss som er til stede. 

 Performance Martin Slaatto,  Light of the city . Foto Marek Jančúch.

Performance Martin Slaatto, Light of the city. Foto Marek Jančúch.

Brynjar har med forskjellig intensitet arbeidet med kuratering av filmprogram i drøye 20 år, mest omfattende som programansvarlig hos Film Fra Sør i tidsrommet 1995-97 og senere som del av samme festivals programråd til og med 2012. Senest har han gjennom sin nåværerende arbeidsplass TrAP satt sammen korresponderende filmprogram på Cinemateket i Bergen til utstillingene Mother Tongue (2015) og Transcultural Flux (2016) og kuratert programserier til Kortfilmfestivalen (2016) og Performance Art Oslo 2016. Han var co-kurator for utstilling med Apichatpong Weerasethakul på Stenersenmuseet i 2013. 

Martin Slaatto er født i Norge og er utdannet danser og skuespiller fra London og Oslo. Han har erfaring som utøvende kunstner siden 1973 og foretrekker gjerne arenaer utendørs. Prosjektene hans befinner seg i brytningen mellom dans, teater, performance og installasjon. Gjennom gruppeprosjekter bruker han ulike bevegelsesmåter, stillinger og sinnstilstander for å skape refleksjon rundt kroppsbevegelse. 

Michel Pavlou er født i Hellas og har sin utdanning i økonomi og visuell kunst fra Strasbourg og Nancy. Han arbeider fra flere land og har vært en av grunnleggerne av kunstnerinitiativet Atopia i Oslo.  Over de siste ti årene har arbeidene hans utforsket forholdet mellom fiksjon og det dokumentariske, mellom det virtuelle og det faktiske. Gjennom bilder utforske han denne gjensidigheten. 

Kunstnerne jobbet først sammen under dette konseptet under markedsfestivalen Dobrý trh  i Bratislava i 2016. Den gang var fortellingen om et lysfenomen de fleste i publikum aldri hadde opplevd. Med å nå vise arbeidene i Harstad kan en trygt hevde å ha brakt prosjektet "hjem". 

IMG_8032 (1).JPG

Test av Lilith i Harstad.


Information in english

With Michel Pavlou and  Martin Slaatto, curated by Brynjar Bjerkem

This project is a collaboration between AMIFF and the producer TrAP (trap.no)

The Diving Board + performance // Thursday 19. 19.00-21.00 // See opening event //Harstad Kino // Kr 110,- .

Curator and art talk // Harstad Kino // Thursday 19. october at 21.45 // Free

Videoinstallations "Lilith" and "Cross Road" // Outdoors in the city (Scandic and Hårek) //Thursday 19.-  sunday 22., in Loop

THE MOVEMENT OF LIGHT

Conceptual text for an artistic intervention, AMIFF Harstad 19. - 22. oktober, 2017
Brynjar Bjerkem - Artistic programme manager, TrAP

Light has forever been humanity´s way to control its environment. Light displaces chaos
and promotes unity. Sunlight is our life-giving force, given us by the nature we spring
from. However is there a dark light, a light of night, a light we neither may control nor
exploit? The moonlight has always had a strong and dark attraction, both as a
complementary to sunlight and as a mirror to darkness in us. The northern light still has
a particular position. It can rarely be experienced as far south as Bratislava and appears
stronger the closer one is to the magnetic poles. On a clear winter night in northernmost Europe the northern light may flame in an overlapping shroud of colours across the full sky, appear as a soft veil surrounding you or as a vehement ribbon into endless space. It is a seductive sight and an experience an increasing number of visitors seek out in Norway in winter. Luck is required, as the northern light never will be controlled, and rarely be predicted. We now know the light to arise from solar wind, where electro-magnetic particles are slung out of the Sun to hit the Earth´s atmosphere and emit energy. That´s fairly recent
and possibly fairly boring knowledge. Even today we meet people who grew up with
uncanny explanations of this light of night. Children have grown up to learn that one
should not walk under the northern light alone, and be careful not to insult it, as the
northern light may grab children on its way. This disturbing light we may see wander the sky has its parallel in northern European folklore, in the narration of Aasgaardsreien - Jouldaze in Sami language - and in the Germanic story about die Wütende Heer and die Wilde Jagd. In the time before and during Christmas one may experience the sight of a parade of warriors, phantoms and goblins move across the northern sky. This parade was definitely a bad sight to behold, as the creatures could easily take you along, should your preparations for mid-winter be somehow lacking. It is easy to imagine the unease people had for this parade to appear, wandering in the flaming light. Creatures are to behold, - as is wandering people, the story seems to tell. The story about die Wütende Heer possibly originates from the historic European Migration Period with groups of people escaping conflicts in the East. For a residential population wandering people has always appeared as a threat.

We have been inspired by the story of the northern light - and that there may be
people wandering in the light. We bring two artists from Norway, - Michel Pavlou and
Martin Slaatto, to do interventions in Harstad on AMIFF that connect light to humans on the move, in separate projects and in collaboration.

Martin Slaatto´s work will take place during the opening of the festival on thursdayin connection with a screening of "The Diving Board" by Michel Pavlou, after the opening film. It will start in the cinema and continue outside in the city, as a performance improvised and arising from Slaattos concept of Transporting Dance. Keywords are migration, movement, paradise and wealth- and a simple wish to be together, live together and fight together. Michel Pavlou presents a series of video installations, spread out through Harstad city on walls close to the cinema, Lilith and Cross Road. Pavlou´s works are characterised by intensity of light, architecture and the search for people´s place inside a city landscape. Through narrative and composition his images are characterised by light and rhythm, in order to interact with the topology of the city itself and its chronological flow - and make the visitor experience her / his own historical simultaneity in the world.

Martin Slaatto is born in Norway and has his education as a dancer and stage actor from
London and Oslo. His experience as practicing artist goes back to 1973 and he usually
prefers to work outdoor arenas. His projects are at the intersection between dance,
theatre, performance and installation. Through group projects he uses different ways of
movement, positions and moods to generate reflection around body and movement.

Michel Pavlou is born in Greece and has his education in economy and visual arts from
Strasbourg and Nancy. He is based in several countries and is one of the founders of the
artist initiative Atopia in Oslo. Over the last decade his work has mainly explored the
relationship between fiction and documentary, the real and the virtual, examining this
mutuality through images.

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HEIS (PILE OU FACE) WEB-SERIES
Oct
19
to Oct 22

HEIS (PILE OU FACE) WEB-SERIES

For english scroll down.

HEIS (PILE OU FACE) WEB-SERIE

Anaïs Volpé, Frankrike, 2016.

En web-serie i fem deler, med elleve minutter lange episoder som er tilgjengelig på gamle tv-set i HEIS (ON THE WALL) kunstinstallasjonen. 

The director about the series:

_heis (pile ou face) is a series about life contrasts and choices. Love/break-up, to progress in a group/to progress alone, dreams/resignations, family/emancipation, job opportunity goals/lack of job security.

Where does all the situations we chose or those we are subjected to lead us ?

_heis (pile ou face) is made of 5 eleven minutes episodes viewable independently as short-films even though all the episodes complement one another. This is dedicated to the web.

HEIS (PILE OU FACE) WEB-SERIES

Anaïs Volpé, France, 2016.

A web series in 5 parts, 11 minutes long each. Available on tablets in the art installation at view in HEIS (ON THE WALL, the art installation.

The director about the series:

_heis (pile ou face) is a series about life contrasts and choices. Love/break-up, to progress in a group/to progress alone, dreams/resignations, family/emancipation, job opportunity goals/lack of job security.

Where does all the situations we chose or those we are subjected to lead us ?

_heis (pile ou face) is made of 5 eleven minutes episodes viewable independently as short-films even though all the episodes complement one another. This is dedicated to the web.

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HEIS - CROSS MEDIA PROSJEKT
Oct
19
to Oct 22

HEIS - CROSS MEDIA PROSJEKT

For english scroll down.

Franske ANAÏS VOLPÉs cross-media prosjekt "HEIS" vil ha ekslusiv norgespremiere på årets AMIFF i Harstad, 19.-22. oktober. Et av flere verk som bidrar til å skape forbindelse mellom kinoen og rommet utenfor, og som forener ulike kunstuttrykk og medier. "HEIS" er et cross-media prosjekt, bestående av en spillefilm "-heis (chroniques)"(90´) som vises i kinoen, en web tv-serie "-heis (pile ou face)" (50´) i fem deler med elleve minutter lange episoder, som kan ses isolert som kortfilmer, men som henger sammen, og en kunstinstallasjon "_heis (on the wall)" bestående av ulike medier, både fysiske og digitale, som peker på både spillefilmen og web tv-serien. Med sin kombinasjon av gammel og ny teknologi (VHS og HD), et hypersamtidig og nostalgisk blikk, fanger Anais sin generasjons tidsånd, barn fra 90-tallet og voksne fra 2010-tallet, i det hun selv kaller for «emergency-cinema». Men prosjektet tar også for seg og utforsker universelle og tidløse problemstillinger og okkupasjoner i mennesket, som familie, skyld, og den daglige kampen mellom hode, kropp og hjerte, derav det greske heis: å bli ett.

 ANAÏS VOLPÉ 

ANAÏS VOLPÉ 

ANAÏS VOLPÉ er en fransk filmskaper, skuespiller og visuell kunstner, som grunnet sin evne til å fange sin generasjon og samtid, har blitt kalt den franske Lena Dunham. På årets AMIFF presenterer hun sitt multimedia-prosjekt "HEIS" (2016), med spillefilm, web-serie og kunstinstallasjon. Ved å arbeide på tvers av kunstuttrykk og utfordre de ulike medienes grenser, skaper hun tre ulike lesninger som også er komplementære. ANAÏS begynte sin karriere som skuespiller på ulike teatre i Paris. Med sin første kortfilm "Blast" (2013) vant hun «Juryens pris» på International Festival of Young Talents France / China.

Prosjektet i sin helhet har blitt valgt, nominert og vunnet priser på en rekke internasjonale festivaler ( Los Angeles Film Festival, International Film Festival of Bordeaux -FIFIB-, International Film Festival of Rotterdam -IFFR-, Angers Film Festival). Kunstinstallasjonen har blitt vist ved gallerier i Paris, London og Rotterdam, og vises for tiden ved et galleri i Paris.

Les mer om prosjektet her: http://www.heis.fr/en/ 

Kunstinstallasjonen og web-serien vil befinne seg i kinoens foaje og er tilgjengelig hele dagen i kinoens åpningstider. Spillefilmen vises på Harstad Kino lørdag 17.35. Alexandre Desane, som er både skuespiller, filmfotograf og Anais partner, vil gjeste festivalen og gi kunstnersamtaler med publikum.

heis_chroniques_still_05.jpg
 

AMIFF will have an exclusive Norwegian premiere of Anaïs Volpés unique cross-media project "HEIS", with feature film, web-series and art installation, in Harstad 19.-22. october. One of the works at the festival this year, expanding the notion on cinema and art. The art installation an web-series will be on view and available all days during the festival. The feature film will be screened at Harstad Cinema saturday 17.35. Actor and filmmaker Alexandre Desane will be there to present the project.

 Alexandre Desane

Alexandre Desane

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HEIS / ART INSTALLATION
Oct
19
to Oct 22

HEIS / ART INSTALLATION

For english scroll down.

_HEIS (on the wall) Kunstinstallasjon

Anaïs Volpé, Frankrike, 2016.

-heis (on the wall) er kunstinstallasjon bestående av ulike medier, både fysiske og digitale, som peker på både spillefilmen og web tv-serien. Med sin kombinasjon av gammel og ny teknologi (VHS og HD), et hypersamtidig og nostalgisk blikk, fanger Anais sin generasjons tidsånd, barn fra 90-tallet og voksne fra 2010-tallet. Kunstinstallasjonen har blitt vist ved gallerier i Paris, London og Rotterdam, og vises for tiden ved et galleri i Paris.

Les mer om prosjektet her: http://www.heis.fr/en/ 

Information in english

_HEIS (on the wall) art installation

Anaïs Volpé, France, 2016.

_heis (on the wall) is made of digital, sounds and visual arts works in connection with the feature film and the web series. _heis (on the wall) is an artistic installation which mixes ART and Digital, it deals with the despair of a generation that will never be truly poor but only rich of itself. The art installation has been on view in galleries in London, Rotterdam, and is currently on view in Paris.

"Where are we coming from ? Where are we going ? Do we remember the last time our mom carried us? Nostalgia of a period we will never know. Kids from the 90’s, adults of the 2010’s. Kids’ memories against minimum wage or the opposite, I don’t know anymore.
The fear of rising terrorist attacks in the world. The fear to be the first generation who won’t be able to help their own children. Listen to news loop. Youth, Parents. Family, Guilt. Listen to the mother’s voice. The duty to stay with her or the right to leave and free ourself from her? Notion de quête de rêves, de sang, de vie. Collages and VHS. Patch things up and try be one. Past, present, future. Uncertain youth wishing to have a future. »

Read more about the project here: http://www.heis.fr/en/ 

 

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ONE INFINITE LOOP
Oct
19
to Oct 22

ONE INFINITE LOOP

  One Infinite Loop  (2017) av Ørjan Amundsen.

One Infinite Loop (2017) av Ørjan Amundsen.

For information in English, please scroll down

Flerskjermsverk i byens kjøpesentre

One Infinite Loop, Ørjan Amundsen, 2017

Visningstider i kjøpesentrene er:

Fredag 20: AMFI Bertheus: 10:00- 19:00, Salto Bysentret: 10:00-22:30, Sjøkanten Senter: 8:00- 23:00 (vises på hele og halve timen)

Lørdag 21: AMFI Bertheus: 10:00- 16:00, Salto Bysentret: 10:00- 22:30, Sjøkanten Senter: 8:00- 22:00(vises på hele og halve timen)

Søndag 22: AMFI Bertheus: 11.00-14.00, Salto Bysentret: 15:00- 21:00, Sjøkanten Senter: stengt, men kan sees gjennom vinduene(vises på hele og halve timen)


Kunstnerpresentasjon og tur med Ørjan Amundsen:

Fredag 20 oktober kl. 10.30 utenfor kinoen +samtale i kinoen 11.20.
Gratis

I forbindelse med årets Arctic Moving Image & Film Festival har den Tromsøbaserte kuratoren Sarah Schipschack kuratert et todelt kunstprosjekt som består av bestillingsverket One Infinite Loop og et filmprogram med innen bevegelige bilder av filmer av Lene Berg, med påfølgende samtale. One Infinite Loop er et flerskjermsverk laget av multikunstner Ørjan Amundsen. Det vil bli vist for første gang under festivalen, dette i offentlige rom, på skjermer som vanligvis brukes til reklame på utvalgte kjøpesentre i Harstad. Ørjan går i dialog med det offentlige rom og bringer sine verker til rom der byens innbyggere ferdes og er. Noe som gjør verkene tilgjengelig for flere enn festivalpublikummet i kinoen, og som utvider og utfordrer rommet for hvordan og hvor kunst vises.

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Ørjan Amundsen tok BA ved Tromsø Kunstakademi (2014), og MA ved Trondheim Kunstakademi (2016). Han er for tiden del av kunstnerkollektivet Phuture Club, og lager musikkbasert performance under navnet A Promise. Les mer om Ørjans praksis her: https://orjanamundsen.com/works/


Tekst av gjestekurator Sarah Schipschack (på engelsk):

"In the new work, as in most of his previous ones, Amundsen works with found (footage, music, literature, etc.) material from online archives. One Infinite Loop is a work that is critical towards the belief that the ever evolving technological advancement is the permanent solution for our society. In the process of reusing and recontextualizing the found material, Amundsen is examining desire, fetishism, manipulation and promise in the consumer culture. With questioning the value and the ideology of consumerism Amundsen opens concurrently the question about the power above mentioned consumer culture."


Ørjan om verket//Ørjan about the work:

In nova fert animus mutatas dicere formas corpora; 



(“I intend to speak of forms changed into new entities;”).



— — “Metamorphoses”, Ovid (8 A.D)  

One Infinite Loop, Ørjan Amundsen, 2017

Screening time in the shopping centres::

Friday 20: AMFI Bertheus: 10:00- 19:00, Salto Bysentret: 10:00-22:30, Sjøkanten Senter: 8:00- 23:00 (screened on whole and half hour)

Saturday 21: AMFI Bertheus: 10:00- 16:00, Salto Bysentret: 10:00- 22:30, Sjøkanten Senter: 8:00- 22:00(screened on whole and half hour)

Sunday 22: AMFI Bertheus: 11.00-14.00, Salto Bysentret: 15:00- 21:00, Sjøkanten Senter: stengt, men kan sees gjennom vinduene(screened on whole and half hour)

One Infinite Loop is a multi channel video work screened at different shopping centres in Harstad. Visually speaking the work is an assemblage of appropriated images, language, style and aesthetics of current advertisement. In general it is a meta-reflection on advertisement, consumption and production. The work asserts that consumption has gone beyond the fulfilment of basic needs, and become a cultural activity. It explores the transformation of raw material into products and then into signs. Signs that constitute a sort of language of it own, through which we as consumers attempt to express our identity, differentiate ourselves from others and experience ourselves as part of a larger whole. The cycle of production and consumption has become an important part of our culture. It is also an integral part of our economical system in which improved productivity and economic growth is perpetually linked to innovation, material wealth and cultural progress. One Infinite Loop is not out to judge the activity of consumption in itself as bad or immoral, but it nonetheless invites its viewers to see beyond the seductive, polished imagery and the impoverished or perhaps poetic language. 

  One Infinite Loop  (2017) av Ørjan Amundsen.

One Infinite Loop (2017) av Ørjan Amundsen.


Om kuratoren/about the curator:

Sarah Schipschack er en filmkurator, programmerer, og produsent, basert i Leipzig, Tyskland og i Tromsø. De siste 15 årene har Sara stått bak flere initiativer for formidling av art house film, og eksperimentell film - Artists' Moving Image/Kunstners bevegelige bilder. Hennes siste initiativ,  Polar Film Lab, en analog film lab i Tromsø, ble etablert i 2016 sammen med kunstneren og filmskaperen Emilija Skarnulyte fra Litauen. Hun underviser også i et fag om kunstners bevegelige bilder ved Nordland Film- og kunstfagskole i Kabelvåg. Sarah er gjestekurator for den andre utgaven av AMIFF i Harstad, der hun setter sammen en miniretrospektiv av den anerkjente kunstneren Lene Berg, og kuraterer bestillingsverket,  det ambisiøse nye flerskjermsverket til Ørjan Amundsen. 

 

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