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Focus Papay Gyro Nights

Papay Gyro Nights, Papa Westray & Hong Kong / presentation by TSZ-MAN CHAN, Frog King Fondation, Hong Kong

Friday the 17th of March – 5.30pm
Maison de la culture
Salle Boris Vian

Papay Gyro Nights is taking a place in unique settings of extreme remoteness of the island Papay, in the North Atlantic, and in the time of extreme winter weather conditions.
The idea of the festival has originated from the ancient Papay tradition of The Night of The Gyros (or Gygr, Gryla, Grylur, Grøleks, Skeklers as its know in other Nordic countries), which till the beginning of 20s century was celebrated on the island in the first full moon of February. Against as reconstructing what is gone and almost forgotten, the Festival is a reflection on the folktale, the island’s landscape and heritage, as well as interpretation of tradition and ritual, through new developments in art and architecture.
The Festival is a Research lab, learning hub and the place for a discussion about interaction between new media and ideas in relation to tradition, ritual and island’s landscape and heritage.
During the Festival the Island is transformed into the art space and artworks are screened and exhibited in old farm buildings, boat house, workshops, ruins and open landscape.


Tsz Man Chan, co-founder of the Papay Gyro Nights Festival

She is the co-founder of Papay Gyro Nights Art Festival and a visual artist. In the past decade, she worked side by side with visual artists and practitioners in art’s field. She is developing transdisciplinary research through visual art, sound art, architecture, anthropology, philosophy, folklore. She lives in a small island of North Pacific and works between her little island and Hong Kong.


Rikke Benborg is a film and video artist, living and working in Copenhagen. Educated from The Royal Danish Academy of fine art (MA visual arts), and from Middlesex University in London (BA hons fine art).


Rikke Benborg / 2016

My works often attempt to explore the illogic of dreams and the unconscious. I prefer surreal fragmented narratives as oppose to traditional cinematic storytelling. Film for me becomes a tool for exploring the logic and the poetics of the image. I often include elements of animation in my work. Animation, with it’s ability to make the inanimate come alive, and make the hidden apparent, almost have an alchemistic quality and thus it encompasses everything magic, oscure and un?
That quality attracts me.
I am similarly seduced by everything theatrical: the gestures and melancholy of early silent film, in particular, and all sorts of work that deals with unrealistic aesthetics, masks and dressing up in weird costumes.
I often work in a formal, minimal language, but strangely I feel informaed by all the opposites.

I bring sleep

Rikke benborg / 2015

8mm film transferred to video.

Concept, Camera, Sound, Edit: Rikke Benborg
Lighting: Christian Alkjær
Costumes, scenography: Rikke Benborg, Sian Kristoffersen
Props: Fie Norsker, Majken Schultz
Styling: Fie Norsker
Stage manager: Sian Kristoffersen
Performers: Stinne Storm, Majken Schultz, Mikkel Olaf Eskildsen
Special thanks: Betty Nansen Teatret, Copenhagen

Silent block

Cédric Dupire / 2013

Silent Block is the primitive meeting and the fight between a man made of flesh and a shopping cart made of metal.
The time is suspended, it is the meditation of the fight.

Carte noire, AT

Michaela Grill / 2014

Born:1971 in Austria. She has studied in Vienna, Glasgow and London. Since 1999 various film/video works, installations and live visuals; various performances in Austria and abroad. Lives and works in Vienna.

White flashes in the dark of the night. As though etched out, dabbed in. Flickering specters, ghostly visions. A veritable phantom ride, a film of tension.
In ‘carte noire’, Michaela Grill’s sinister road movie miniature, she continues her cinematic movement from an object’s abstraction to its alienation. She now arrives at a classical, and highly charged motif from popular culture and cinema: the lonely car ride on an empty road through the countryside, which more or less automatically sets off trans-genre associations. Not only at the surprising end, one can assume that hinted at here, among other things, is a “lost highway,” based loosely on David Lynch.
The film is based on a subjective, straight ahead shot, with a view of the asphalt strip of road including the middle stripe. First it disappears behind a knoll, then surfaces again and leads to the next hill. One seems to make out a sparse steppe landscape on the sides, a gently rising mountain on the horizon. The digital processing has turned it into a negative image in flickering black-and-white, like oil pastels on dark board. It is a scarce two-and-a-half minute fragment of a nocturnal drive on precarious terrain, endowed with a quivering, uncanny sound by Andreas Berger. The asphalt vibrates and the horizon lightens. The motor rattles and view blurs. An imaginary trip. Film noir. carte noire. Based loosely on David Byrne, we’re on the road to nowhere. The little owl is waiting.

(Isabella Reicher)


Mademoiselle L / 2014

Architect, film maker/editor, Mademoiselle L. lives and works in Paris. Her very first short film Diatomée has swiftly turned into a ‘corps-métrage’ concept, as she defines her work, then to a triptych titled Claire Obscure and Malojá, thanks to various collaborations as the acclaimed one with Steven Severin for Malojá during the Nouveau Cinéma Festival of Montreal in October 2010 and at the London Tate Britain in December 2010. Her work on demand of Pieter Nooten’s piece of music ‘Slowed’ reveals the paramount of her sensitivity, it was hosted at FiFi gallery NYC-Miami-Mexico city, premiere in Mexico city in January 2013.



SEED variations

Nicola Schauerman graduated with an MA from the Lansdown Centre for Electronic Arts, Middlesex University in 2006. She is the founding member of the art group Genetic Moo, who have presented work at numerous British venues including the Tate Modern, Whitechapel Gallery, Exploding Cinema, Area10 and the Bargehouse, and at international film festivals in Venice, Munich and New York. Nicola has taught film and video production in Further Education since 2000.

Tim Pickup has worked in multi-media art and programming for over 10 years. He has produced short films, games and toys for the internet, electronic music and radio programmes. He received an MA in Digital Arts from Camberwell College of Arts in 2009.
Since 2006, Schauerman and Pickup have worked on a series of interactive video installations which have been presented at a number of UK venues, including the De La Warr Pavilion. One of the works, Becoming Starfish, received a John Lansdown Award for Interactive Digital Art at Eurographics 2007

SEED variations consists of a series of algorithmically constructed video sequences. Film of our bodies in motion is first split into frames then loaded into a handwritten Java program which applies tinting, rotation and movement. The patterns are defined by mathematical formula and inspired by flowers, seeds and pollen shapes. Slowly the film is rendered frame by frame – usually hundreds of thousands of edits will be involved many more than we could manage by hand.

Maison de la Culture

Maison de la Culture
Salle Boris Vian
Rue Abée de l’Épée
63000 Clermont-Ferrand