EDITO 2002

The International Experimental Video Festival Images Contre Nature presents, for its second edition, a selection of 21 works from Europe, the Middle East, North America and Australia. 125 videos were received from Germany, Australia, Belgium, Canada, the United States, Israel, Portugal, Slovakia, Taiwan and France. From the 1st to the 6th of July 2002, at Daki Ling and The Jardin des Muses, is proposed a program, where the importance of the image takes precedence over the importance of the subject.
The videos are regrouped into four programmes : Time - Perception - Space - Mouvement
The festival will open with the projection of Don’t smoke that cigarette! by Kenneth anger, on Monday the 1st of July. The Closing night concert, played by Belladonna 9 ch, alongwith a simultaneous projection of Méta-Morphoses by Claude Ciccolella, will take place on Saturday the 6th of July.
The Videoteque à la carte contains the totality of the videos received by the festival. It is housed at the Videodrome in collaboration with the association Libellule. The unselected videos can be consulted from the 2nd to the 6th of July.
Invited guests; Xavier Moreno and the Companie Sur le Chemin des Collines Xavier Moreno will expose from the 1st to the 6th of July. The actors Sandra Tittoni, Mike Reveau and Franck Vidal of the Companie Sur le Chemin des Collines will intervene on Tuesday the 2nd and Wednesday the 3rd of July.
There will be, for the public, after each projection, the opportunity to make contact and conversation.
Images Contre Nature has retained in its selection, films realised on video, or which contain at least this format of realisation. The intention is to make known the experimental images, made possible by this format, without opposing the celluloid support, even though numerous parallels can be made as to their respective uses. The principal rests that the support has priority over the content and will determine an approach which primes visual sensation. In this framework, all types of documentary, narrative and video art nourish experimental video. However, the perspective of the representation, bends to a work of rhythm, of colour and of composition, up unto a point of disappearing as a normative truth of what is real. The overabundant production of images and the immediate access to their lecture changes our conceptions of that which we can see. But in the initial stages, how is it possible to not push the interrogation of the fact of filming in itself, to capture what is real and to reconstruct it, linking all the methods of editing and transformation, so that our perception of an image becomes keener.