online video

TOURISMES
programme

Theme parks, sites with amenities, historical reconstructions, leisure centres, and “natural” sites … the conception of tourism is traced and developed with its geography, its contexts, its economy, and its public and fans.

Marie Ouazzani & Nicolas Carrier

Sand Plants

2016, 6 mn 25

Sand Plants follows the journey of a foliage plants group going to the Xiamen’s beach facing Taiwan to do sightseeing, and evoke the historical tensions of this former military zone and the transformation of its landscape into a resort station. MO&NC

Dominik Ritszel

Turist / Turysta

2015, 11 mn 21

Video presents the series of scenes from holidays. The images of nature, which refers to postcard landscapes, scenes from adventure or discovery movies were linked with the scenes recorded by the hidden camera, shows resting people on the beach, on the lake and the carnival. DR

Marion Balac

Les enfants de Val d’Europe – Lomé

2015, 4 mn

Disneyland Paris opened in 1992. Today, it is possible to talk about it with the first generation of young European adults who have grown up with the park. How does daily life happen in a place which seems to propose an unreal relation to the world? How has the installation of Disney in the region influenced the childhood and teenage years of these young people? MB

Elsa Abderhamani

Le cirque

2016, 8 mn 55

Production : ENSAPC/EESI Poitiers-Angoulême

Le Cirque is a film which presents tourists, workers, observers and gladiators. Everything happens around and in the old hippodrome in Rome, the Circus Maximus. The site and empty and looks like any old plot of wasteland, but it welcomes thousands of tourists come to photograph it. The idea is to over lay several time-frames, and several ways of capturing the landscape surrounding us. EA

Alex Anikina

God Ate My Passport CCTV

2015, 6 mn 27

The artist uses webcam recordings of the public place around the village of Saas Fee with the aim of creating a situation of alienation. The camera’s eye is diverted. Instead of the face, the lens is aimed at the peak of a mountain. The facial recognition software has nothing to recognize any more. When a technological surveillance tool is used in a context other than that of the city or town, it is no longer potentially invasive and dangerous for the citizen and becomes a tool of contemplation. In this new visual space, the relation between the two objects—the camera and the recorded landscape—becomes a form of spiritual practice where the “spirit” is not human. AA

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