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Presentation of the jury and the selection committee of the AVIFF Cannes “Art Film Festival” 2015



Under the chairmanship of Sir Richard Conte, visual artist, Professor at the University Paris 1 Panthéon-Sorbonne, Director of the Institute ACTE


-Elina Löwensohn is a cosmopolitan actress born in Romania, American and living in France. Her acting career includes films, videos, photos, performances and theater plays with a pronounced desire for metamorphosis.
Starting her career in the early 90s, in the independent New York theatrical and cinema scene, she is remarked in the most famous films of Hal Hartley « Simple Men »and  « Amateur », in « Basquiat » by Julian Schnabel and « Nadja » by Michael Almereyda.
In the American theater she collaborates many times with Richard Foreman and Travis Preston.
She also plays in more commercial films such as: « Schindler’s List »by S. Spielberg, « The Wisdom of Crocodiles » by Po Chih Leong or the comic series « Seinfeld », as well as « Dark Water » by Walter Salles.
In the mid 90s, she begins living in France, where she continues her high standard choices, taking part in « Somber » by Philippe Grandrieux, « The Black Venus » by A. Kechiche, « Lourdes » by Jessica Hausner , « De la guerre » de Bertrand Bonello, and again with Hal Hartley in Fay Grimm.
As well as other more mainstream films such as « Declaration of War » by V. Donzelli, « A very long engagement» by J.P Jeunet, « Romaine 30º Below « by Agnes Obadia.
Her taste for the art of performance as well as her interest in the visual arts, leads her to collaborations with artists such as Marcelline Delbecq, Tom de Pekin, Valerie Mrejen, as well as the filmmaker Bertrand Mandico, for whom she played in many of his films: «Boro in the Box », « Living Still Life », « Our Lady of the Hormones »…
Together with Mandico, she imagines a series of films and polymorphous creations, exploring the mise en abyme of the director-actress relationship.


-Françoise Parfait is professor of visual arts and new media at the Université Paris I – Panthéon-Sorbonne, and an artist. She has published Vidéo: un art contemporain with the Editions du Regard in 2001 (paperback, 2007), a historical, aesthetic and analytical journey through four decades of video production. She has published many writings on historical and contemporary artists who use video (Victor Burgin, Thierry Kuntzel, David Claerbout, and Samuel Rousseau…), as well as on video exhibition systems (MNAM catalogue of the Collection nouveaux médias/Installations). Her research, practical and theoretical alike, deals with the issue of time-related images, as posited in the field of art.


-Clarisse Hahn is an artist and film maker who was born in Paris in 1973.
Through her films, her photos and her video installations, Clarisse Hahn pursues documentary research into com- munities, behavioural codes and the social role of the body.
Clarisse Hahn has a diploma from the École des Beaux-Arts in Paris and holds a master’s degree in Art History from the Sorbonne. She writes art criticism for the magazines Art press, Omnibus, Bloc Notes and Crash.
In 2002, the MAMCO (Geneva) offered Hahn her first personal exhibition. She has produced many videos and pho- tos that circulate in international exhibitions: Palais de Tokyo (Paris), Centre Pompidou (Paris), Musée d’Art Moderne de la Ville de Paris, Museo Reina Sofía (Madrid), Guggenheim Bilbao, MAMCO Geneve, Arts Santa Mònica (Barcelona), Miami Art Central (USA), International Biennial of Photography (Bogotá), South London Gallery (London), MCA (Sydney), Beijing Center for Creativity, and the Museo de Arte Raúl Anguiano (Guadalajara), among others.
In 2003, she produced KARIMA (98 minutes), a documentary video on the everyday life of a sadomasochistic mistress, which has been exhibited as much in art spaces (like the Palais de Tokyo) as in festivals (such as FID Marseille).
In 2005, she won the Gilles Dusein Prize for her body of work. The same year, she made THE PROTESTANTS (85 minutes), a video on the rites and gatherings of the Protestant bourgeoisie.
In 2008, the Musée d’Art Moderne de la Ville de Paris gave her a solo exhibition where she showed the video instal- lation BOYZONE (work in progress, 1998/2014/...), dedicated to groups of males. The series BOYZONE also resulted in personal exhibitions in London (T1+2 artspace) and Mexico City (PETRA).
Her film KURDISH LOVER (2010) was released in cinemas in September 2012. KURDISH LOVER won the Public Prize and the French Film Prize at the international film festival Entrevues de Belfort, the prize for the Best Film at the international competition at Forumdoc in Belo Horizonte (Brazil), the Grand Prix in the international competition at the Traces de Vie Festival (Clermont-Ferrand), and a Special Mention by the jury in the Women’s International Film Festival in Rio de Janeiro.
She produced NOTRE CORPS EST UNE ARME (2012), a series of 3 video installations shot in France, Mexico and Turkey. The series was shown for the first time in the Galerie Jousse Entreprise and won the main prize at the in- ternational competition at the Fest Curtas Festival, in Belo Horizonte (Brazil), as well as the Prize for the best short film in the international competition at the Milano Film Festival in Italy.
Clarisse Hahn’s video and photographic work appears in the collections of the CNAP, the Musée National d’Art Moderne, and the Musée d’Art Moderne de la Ville de Paris.
In 2014, the French cinémathèque mounted a retrospective of her videos in Nicole Brenez’ cycle dedicated to avant-garde cinema


-Michel Gouéry

Born in 1959 in Rennes, Michel Gouéry studied science and art before going to Rome as fellow at the French Academy (Villa Medicis) in 1987. He began his career primarily as a painter, but since the turn of this century, sculpture, in particular ceramics, has been his privileged medium. As with the paintings that preceded them, his sculptures mix the grotesque and the comical with more classical fabrications. Carapaces, statuary Vorlons, inside out sea creatures, lacy skin necrosis glazed in delicate colors, the sculptures appear to have a double origin: Egyptian science fiction. Other sculptures seem to have been inspired by Khmer columns, outsider art and the delirious decorations in porcelain at the Schönbrunn palace. Technically the imprint dominates. Molds of diverse objects serve as templates. Children’s toys, blister packaging, friends’ faces, form incongruous couplings, fetish objects from close yet unknown civilizations. Recent solo shows include Sentinelle at the Galerie Anne de Vilepoix, Sortie de Vortex at the FRAC Auvergne, and Planète Claire at the Centre d’art de Pontmain. Recent group shows: Body and Soul at the Museum of Art and Design in New York, Forcefield in Bruxelles, and Underrealism at ACMCM in Perpignan.




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