Brengen internet en sociale media de gebruikers dichter bij mekaar? Of leidt al datbloggen eerder tot een confrontatie met hun eenzaamheid? Met materiaal geplukt van internetfora creëren de cineastes hun eigenvpoëtische universum. 

2013 | Documentaire| 47′ | BE |vo Eng  st Fr Nl 

What is the value of images as objective testimonies of a conflict? Can we believe what we see? In her new work, Sarah Vanagt turns her attention to an important chapter in recent European history: the International Criminal Tribunal for the former Yugoslavia in The Hague. The artist examines obstacles to reconstructing a war that is nevertheless well documented. She has started from a simple movement of the hand – a pencil being rubbed on a sheet of paper placed over an object – and adapted this “revelatory” rubbing process to the courtroom. The film Élevage de poussière / Dust Breeding offers a penetrating account of her exploration. Measuring the gap between the facts, the material proof of these facts, the images that represent them and their interpretation, she attempts to decipher the secret language formed by traces of war. Sharpening her eye until it becomes a microscope lens, Vanagt reveals a landscape of details inviting us to look at things differently.

“Something is past and something has yet to emerge and we don’t know what that is. But how can one already tell something”

Evelyne Axelle is een Belgische kunstenares en internationaal bekend. Eindelijk erkenning na 30 vergeten te zijn. Zij was een van de weinige leerlingen van Magritte. Haar leven, schoonheid en expressie waren onlosmakelijk met elkaar verbonden. Zij was een feministe, provoceerde graag en was totaal vrij. Als eerste vrouw in de kunstgeschiedenis schildert zij een naakt zelfportret, waarin lust nadrukkelijk zichtbaar is. Aan de hand van zeldzame archieven en getuigenissen reconstrueert men haar leven als comedienne.

2013 | Documentaire |10‘ | BOS/CZE | vo Bos st Fr Eng

“Personal Images: Personal Semiotics of War’ deals with my personal experience and memory of the war. It is an experimental video with documentary elements that presents parts of my collection of articles, diaries, letters, and photographs I was collecting during the war in Bosnia, from 1992 to 1995. The diaries cover different periods including the beginning of the war, police interrogations of my father, hiding in the basements, living without electricity and water, falling in love, separations, and wish to escape… The whole video also contains video footage of an intimate talk with my family discussing the dilemma and decision to remain in Bosnia during the war, as well as their emotional experiences of that period. The music used in the video was composed by my sister. I named the video ‘Personal Images: Personal Semiotics of War’ because it deals with the meaning of signs and language I was subconsciously creating as teenager during the war. It also deals with the language as such,broken communication, and letters as the only possible communication during the war, without phones or any other way of communication with the outside world.”