{"id":12044,"date":"2022-09-02T14:39:27","date_gmt":"2022-09-02T12:39:27","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=12044"},"modified":"2022-09-02T14:46:51","modified_gmt":"2022-09-02T12:46:51","slug":"le-cercle-vide","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/le-cercle-vide\/","title":{"rendered":"The empty sphere"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\"><strong><strong><em>The empty sphere<\/em><\/strong><\/strong><\/h1>\n\n\n\n<h2 class=\"caps is-style-noMarginBottom wp-block-heading\"><strong>ST\u00c9PHANIE ROLAND<\/strong><\/h2>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Film<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<div class=\"wp-block-group is-layout-flow wp-block-group-is-layout-flow\">\n<p><strong><em>Nothing really survives here.<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>The bottom is so deep that no light ever reaches it.<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>Very few boats go through.<\/em><\/strong><\/p>\n\n\n\n<p><strong><em>It is unknown when the falls will take place.<\/em><\/strong><\/p>\n<\/div>\n\n\n\n<p>This experimental documentary portrays a space object and its fall into the darkness of a space cemetery. A woman scientist reveals her attachment to this object and the absence of images documenting this mysterious place. As a reverse sci-fi journey, this essay mixes real and fictional archives to guide us, like a stalker, to the outskirts of an invisible place.<\/p>\n\n\n\n<p>In general, a hero of Science Fiction leaves for somewhere else, another planet, a solar system, he moves away from the planet for many possible reasons. Here, we also explore unknown lands, but the movement is reversed, the space object returns to the earth, dives into the water and returns to the heart of the earth.<\/p>\n\n\n\n<p>In the same way, I wanted to make a journey into the materiality of cinema. We start with contemporary 4K Digital Cinema, typical of SF films, and then return to the archive, both real and fictional, in film. The abstract images were made with a homemade camera which mixes the properties of a sonar and an instrument to analyze exoplanets, linking here the ocean and space.<\/p>\n\n\n\n<p>The vast majority of SF&#8217;s protagonists are white Western men between the ages of 30 and 50. It is important to me that the only character here is a scientist woman in her fifties, an age and gender range that is underrepresented in science as well as in film representation in general.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"554\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/The-empty-sphere_Roland_07-\u00a9-Stephanie-Roland-1024x554.jpg\" alt=\"\" class=\"wp-image-12041\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/The-empty-sphere_Roland_07-\u00a9-Stephanie-Roland-1024x554.jpg 1024w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/The-empty-sphere_Roland_07-\u00a9-Stephanie-Roland-300x162.jpg 300w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/The-empty-sphere_Roland_07-\u00a9-Stephanie-Roland-768x415.jpg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/The-empty-sphere_Roland_07-\u00a9-Stephanie-Roland-1536x830.jpg 1536w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/The-empty-sphere_Roland_07-\u00a9-Stephanie-Roland.jpg 1998w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption><meta charset=\"utf-8\">\u00a9 St\u00e9phanie Roland<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The empty sphere_St\u00e9phanie Roland_teaser\" src=\"https:\/\/player.vimeo.com\/video\/657066665?dnt=1&amp;app_id=122963\" width=\"640\" height=\"346\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"is-style-default\"><meta charset=\"utf-8\">Partagez cet \u00e9v\u00e9nement sur les r\u00e9seaux sociaux<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/le-cercle-vide\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/le-cercle-vide\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=The+empty+sphere&amp;url=https:\/\/chroniques-biennale.org\/en\/le-cercle-vide\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n\n\n\n<h4 class=\"wp-block-heading\">Artistes<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><img decoding=\"async\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2022\/09\/stephanie-roland_portrait-\u00a9-stephanie-roland_HD-1000x1000.jpg\" alt=\"\" \/><\/div><div class=\"artisteBlockRight\"><h2>St\u00e9phanie Roland <sup>(BEL)<\/sup><\/h2><div class=\"artistContactLine\"><ul class=\"artisteSocials\"><li><a href=\"https:\/\/www.instagram.com\/stephanie_roland_studio\/\" target=\"_blank\" class=\"iconLink\"><i class=\"fab fa-instagram\"><\/i><\/a><\/li><\/ul><a href=\"https:\/\/www.stephanieroland.be\" target=\"_blank\">www.stephanieroland.be<\/a><\/div><div class=\"artisteContent\"><p><span style=\"font-weight: 400;\">St\u00e9phanie Roland is a belgian \/ micronesian visual artist and filmmaker.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Working between documentary and the imaginary, Roland makes films and installations exploring invisible structures, hyperobjects and deep time; from ecological and political to the geologic and cosmic.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">After graduating from La Cambre and following Hito Steyerl\u2019s class in UDK Berlin, she completed post-graduates studies at Fresnoy &#8211; Studio National. Her work is regularly shown at international level, her projects have been included in exhibitions from major institutions among these Louvre Museum, Benaki Museum, Botanique, Kampala International Art Biennale, Bozar and Wiels. Breda Photo, Belfast Photo festival, Manifesto, Encontros da Imagem, BIP Li\u00e8ge, MOPLA and Unseen are amongst the festivals dedicated to photography in which she took part.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In 2017, she was selected in the group exhibition of the Antarctica Pavilion for the 57th Venice Biennale.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Her films have been screened in international festivals such as Visions du R\u00e9el, FID Marseille, ZINEBI, FEST New Directors \/ New Films, Rencontres Internationales Paris \/ Berlin, among others. Her second short film, Podesta Island, had its world premiere at FID Marseille, where it wons the Alice Guy Prize. The empty sphere won the T\u00cbNK Award at Visions du R\u00e9el 2022.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Filmography<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8211; Deception Island, 2017<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8211; Podesta Island, 2021<\/span><\/p>\n<p><span style=\"font-weight: 400;\">&#8211; The empty sphere, 2022<\/span><\/p>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\"><meta charset=\"utf-8\">Cr\u00e9dits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>Production: Fresnoy &#8211; Studio National<\/p>\n\n\n\n<p><br>With the support of Neuflize OBC, Thal\u00e8s Alenia Space, Centre National d&#8217;Etudes Spatiales, European Space Agency, Actes Acad\u00e9mie, Toast Agency and the Wallonia-Brussels Federation.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p class=\"is-style-noMarginBottom\"><\/p>\n","protected":false},"featured_media":12043,"menu_order":0,"template":"","edition":[66],"type_oeuvre":[100],"class_list":["post-12044","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/12044","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/12043"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=12044"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=12044"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=12044"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}