Cinémas hors circuits



68 Septante

68 Septante is a non profit-making association created in Brussels in 2004. Its aim is to promote, circulate and help in the creation of contemporary and audio-visual works both in Belgium and abroad.
Since 2005 the association has been developing the planning and organisation of events activities in different types of places.
The association brings support to artists and to members of the associative and cultural sector through partnerships, advice and specific performances.
Since 2006, 68 Septante has been involved in an independent DVD editor approach whose aim is to favour the visibility of contemporary works.
These editions unfold following two areas organised in series:
- Electrons libres: A series open to discoveries. A platform of diffusion for contemporary arts and mixed artistical experiences. Artists 'videos, focusing on a creative process or practice, recording performances, retrospectives events and conference meeting, but also using the interactive possibilities of this particular medium.
- VID (Very Important Documentary): The goals of the series is to promote masterpieces which seem essential to us and are relevant to improve the image and to diffuse widely to inform and sensibilize the public to social, cultural, educational and artistic questionings.
The selected films are the artist's subjective glance on the world, inviting to a politically engaged analysis of society mechanism, placing its disfunctionality into light.
Documented ideas, original and free, willing to be an answer to the superficial and spectacular treatment of the information by the dominant press and medias.




Site :


Adresse/contact :
68 SEPTANTE asbl
Place Saint Géry 25 (head office)
1000 Bruxelles
68 Septante c/o Le Fresne Randazzo
Rue du Canada 53 (mailing address)
1190 Bruxelles
+32 (0)2 330 12 69

Where to find our DVD ?
> France
- Bimbo tower
- Blaq out
- Hors-circuits
- Le Pied de biche
- Tekhnê bookshop
- Vidéosphère
- Berrien : L’Autre rive bookshop
- Besançon : Les Sandales d’Empédocle
- Blois : Labbé bookshop
- Bordeaux : La Mauvaise réputation
- Brest : bouquiniste Daniel Roignant / La Petite librairie
- Dijon : Interface galerie appartement
- Guimaëc : CapLan & Co
- La Roche Derrien : La Cour des miracles
- Lille : L’Hybride
- Lyon : À plus d’un titre / La Gryffe / La Plume noire / Michel Descours bookshop / Ouvrir l’oeil
- Marseille : Histoire de l’oeil / L’Odeur du temps / Le Lièvre de mars
- Montpellier : Scrupule bookshop
- Morlaix : La Nuit bleu marine / Les Moyens du bord
- Nantes : Bientôt
- Rennes : Alphagraph
- Saint Maur des Fossés : L'Atelier Myriagone
- Toulouse : Oh les beaux jours / Ombres blanches / Terra nova
- Tréguier : Le Bel aujourd’hui
- Troguéry : Le Café éphémère
> Foreign countries
- Berlin : B_books / Image Movement / Leïla M / Neurotitan / Videodrom / Zadig
- Brussels : Aden / Bozarshop / Cook & Book / Galerie 100titres / L’Imaginaire / Les Yeux gourmands / Brillat Savarin bookshop / Mikroboutique - cinema Le Nova / Quartiers latins / Tropismes / Vidéo express
- Liege : La Carotte / Le Comptoir / Entre-temps bookshop / Le Livre aux trésors
- Barcelona : Laie CaixaForum
- Bologna : Modo info shop
- Geneva : La Librairie du cinéma




DVD HC#02<br />

Sébastien Demeffe
Belgium, 2009
documentary, experimental

A month’s wandering, hitch hiking towards eastern Europe with a few rolls of 16 mm film, a microphone and an old Bolex camera.
An intuitive recollection of sounds and images from the journey’s chance meetings and landscapes.
One conviction leads me on these roads: different forms of association between sound and image are possible.
The recording device is at the heart of the encounters as the emotional barometer of an atypical journey.
From car to car, the film unfolds itself and finds its way, slowly drawing a self-portrait.

Suppléments :
A very crafty DVD box, home made with cardboard by Denis Verkeyn (Patate édition) including FAIRE UN FILM, a notebook of 92 pages, which relate all the creative process before, during and after the shooting ; where craft working and sense meaning are questioning ourselves (only in french).

DVD EL#07<br />

Jérôme Giller
Belgium, 2009
contemporary art

LA CRISE DE LARD is a video series produced as a small, satirical, pamphleteering play in which Jérôme Giller adopts an absurd, deliberately polemical tone to comment on historical works of art, the artistic world and the way it works.
The chattering and media events surrounding works of art are inclined to make the works disappear in favour of comments, be these appropriate or not.
It is as though reviewing art today was becoming art itself.
Art has become a cultural industry and Duchamp’s viewer is now a mere spectator who must, at all costs, be persuaded of the relevance and quality of what he sees.
The viewer is stripped of any critical sense, goaded as he is into "hyperconsuming" contemporary art.
By assuming the role of a polemical spectator, the artist proposes an attempt at liberating our perception and critical sense.
- First season
Objects are perceived first and foremost in terms of instrumental values.
The object’s usefulness is the principle governing consumption.
Working on the presumption that the work of art is an object like any other (that is "for consumption"), Jérôme Giller, in the first season of LA CRISE DE LARD, strips down the mechanisms linked to the political economy of works of art.
He compares their usefulness or lack of usefulness to everyday items of consumption and singles out the symbolic values attached to their possession, thus analysing the invisible mechanisms of their sensually gratifying economy.
- Second season
Jean-François Lyotard, in an article titled Le sublime et l’avant-garde, remarks that [today] sublimity is no longer found in art, but in speculation on art.
In other words, Lyotard observes a mutation in the concept of the sublime, and its shift away from the value of transcendence to the value represented by money.
The second season of LA CRISE DE LARD highlights the ideologies underlying capitalist society: religiosity and financialisation of art, along with the glorification of the individual-artist-egotist.
- Third season The artist is an entrepreneur like any other and artistic creation is inevitably constrained by the capitalist economy model and market conditions.
By way of Ereignis (Heidegger), artists go on churning out the same banal gestures, dressed up as innovation.
The third and last season reveals the repetition of plastic forms and the strategies artists implement to adjust to the market economy. And glorify it at times!

DVD VID#02<br />

Patrick Taliercio
Belgium, 2005-2009

Tuesday January 1st, 2002, a single currency comes was born. An event that seemed unimaginable. Robert Kalina, Euro, graphic designer, chose to dispaly, virtual bridges rather than anonymous faces on the notes.
This film attempts to understand what such a choice tells us about European construction.

Suppléments :
HOW ICELAND CHANGED ITS GOVERNEMENT (19’ - 2009 - ov st en and fr – documentary)
Iceland’s banks, after having championed in financial acrobatics, were hard hit by the financial crisis and plunged the country into bankruptcy in October 2008.
At the end of January 2009, the parliamentary year starts with a week of demonstrations, which force the government to resign.
After getting rid of its neo-liberal politicians, Iceland might also see the end of a system of consumption.

DVD VID#03<br />

Bernard Mulliez
Belgium, 2009
documentary/ artist's film

Présentation du film (en anglais) :
Within the framework of Europalia Europa festival (2007-2008), the CIVA in partnership with a supermarket group organized an exhibition called Supermarkets of Europe 1957-2007 in La Cambre Architecture School.
Initially a mere financial supporter, the trade group became the very object of the exhibition, which illustrates the final outcome of the privatization of the cultural public services.
Brand does no longer restrict itself to advertising. From now on it has become an actor of history, a hero legitimized by the academic field. The customer has become a cultural receiver invited to appreciate the value of the brand.
The supermarket’s architectural approach proposed by the exhibition is used as a pretext for the audacious aesthetization of the agent of significant social transformations, suddenly cleared and rid of its many urban and social consequences.
In a textbook example of cooperation, the cultural and political officials displayed deliberate blindness and cynicism, a behavior deprived of any attempt at resistance against the colonization of cultural public services by a mundanely capitalist company.
In this context, guides and teachers put the finishing touches to the propagandist device displayed in the exhibition in order to leave its mark and to fidelize very young customers.

Suppléments :
LA JOIE DE SERVIR (11’30’’ - ov fr st en)

Christophe Bailleau
Belgium, 2002-2008
sound and visual arts

8 recovering films, in collaboration with Julie Maréchal
With the following works:
La pause, Inconsolable, La renverse, Sérotones, Pilule, La perte, Cosmétique, Le va-et-vient
Christophe Bailleau is a multidisciplinary artist.
For nearly ten years, he has been developing an unusual musical project. His compositions are built on acoustic sources (guitar, percussion and vocal sounds) that are treated and mixed with every day sounds. He has developed an approach based on waiting, silence and stormy tension.
Since 2004, his compositions have been put out by various European labels (Le cri de la harpe, Stilll, Carte postale, Eglantine, Annexia, Fenetre records, Soundscaping...).
He also creates sound poetry produced for radio and sound installations, often in collaboration with Julie Marechal; they also create photographic work together.
Christophe has also directed short films that are intriguing and poetic – recordings of the moments lost before or after action. His musical performances are often accompanied by his non-narrative films, in which the feeling of solitude and a sense of the absurd are omnipresent.
His videos are like unidentified incursions into our days and nights; they attract us in their care for unique detail, in their thick darkness as in their vibrating lights. Here, silent characters, both close and distant, wander through the houses and landscapes of a semi-wild countryside. These ghostly presences direct us to workrooms for other mental images. Guided mainly by the exploration of sensation and intuition, Christophe Bailleau’s soundtrack is composed of electronic processing, piano, guitar, fugitive voices and field recordings, which determine the meaning of a strange “story” - without ever defining it.

Suppléments :
Nos restes a film by Julie Maréchal
Derrière la porte a slide show made with Julie Maréchal.
This DVD production has received the support of the Ministry of the French-speaking community of Belgium – Directorate-General for Culture - Visual Arts department and Trancultures asbl.

Nelson Sullivan
USA, 1989
video art / documentary

Sound design: Krikor & Sandrine Arnone
With the video works:
Monologue for TV-show, A visit to Christina, Walk to east village and A bus trip to Washington.
Before his death in 1989, New Yorker Nelson Sullivan was continually filming the people and events around him. He did not edit the films he made by holding out his arm, focusing the wide-angle lens on himself, wandering through the city, and commenting on what he saw all the while. He often let his camera illustrate what he found important to show us.
Through his camera the viewer is taken on a personal guided tour of his New York neighbourhood, cafés, the Chelsea Hotel and other places frequented by Nelson. Nelson’s camera mediates his conversations with his friends, many of whom are transvestites. They play up to the camera with the utmost grace, conscious of the fact that Nelson’s identity has been transferred to his camera.
Nelson Sullivan’s work reveals incredibly precocious “subjective” camera work (which has, since then, notably been taken up by television) and provides rare testimony to an extraverted gay way of life in New York that has only started to quiet down recently. More than ever, the form and content of Nelson’s films seduce the spectator.

Suppléments :
La bande à Nelson, a documentary by Stéphane Goël and Fernand Melgar.
The first one in Europe, this DVD production was able to be implementation thanks to the Swiss association Climage. Then the parisian association, Points de Vues, with the help of our structure realized this edition.
In the years 2007, Points de Vues stop its activities. We thus naturally suggested them resuming within our catalog their only title and putting in construction the realization of the volume 2...

DVD EL#03 <br />
REDHA<br />

Vincent Matyn Wallecan
Belgium, 2006
visual arts/documentary

At the crossing of a multimedia installation and a documentary creation, this set up is a combination between voice, calligraphy, video and electronic music... Through this arrangement, a voice arises, the voice of Redha, a local inhabitant who has a special status.
This DVD is a coproduction with Les Halles de Schaerbeek as part of the Voisins project.

DVD EL#04 <br />

David Legrand and Philippe Zunino, original drawings by Emmanuel Tête
France, 2007
critical essay

THE PSYCHOANALYSIS OF GUY DEBORD BY FREUD is a video series entirely dedicated to revolt and human cannibalism. In this video series, two great figures of history, namely Guy Debord and Sigmund Freud, are reduced to destructive, grotesque drives by David Legrand and Philippe Zunino. Our modern world’s licentiousness is metaphorically presented by their characters. Capitalization on lies, aesthetization
of meaning, manipulation of the media, collective bad faith and the industrialization of happiness and suffering are openly unveiled as the simultaneous expression of truth and falsity through the power of differentiation and the use of humour. Whereas our present consumer society so often leads to addictions, resulting in suffering and social and psychological disorders, THE PSYCHOANALYSIS OF GUY DEBORD BY FREUD examines and dissects the intrinsically addictive side of desire – in other words, our need to devour one another.
This exultant movie presents an idealized picture of a perfect group murder in four delirious psychoanalysis sessions.
A symbolic picture that is somehow unanimously shared, for lies are just a different way of expressing the truth.

Suppléments :
Jean-Luc Godard's opinion
Art gives a meaning to money

Dominique Berger and Sarah Fautré
Belgium, 2004

Two Belgians arrive to Venezuela 6 months after the putsch and discover an extremely polarised mediatic landscape: commercial medias calling for the destitution of the President, the national TV station and local TVs encouraged by the Government. In this conflictual situation, the authors of MEDIA VERSUS DRUMS ask themselves about the hidden motivations of the Venezuelans and european medias.

DVD EL#05<br />

Antonin De Bemels

This collection of video works and previously unreleased material provides insight into the research and experiments Antonin De Bemels has been elaboratingfor more than a decade. Video, installation and scenography are just some of the artistic media he employs. The main subject in all these worksis the body, and more particularly the dancing body or rather its spatial and temporal recomposition,obtained through various editing and processing methods.Thus, overlappings, collisions, repetitions, backward and forward motions, still images, residual images, as well as syncopated and elliptical editing hinder, repress and condition movement’s natural fluidity. This balance of power gives rise to fragmented bodies that struggle between the intervals and cuts. Bodies move restlessly, merge, give life to new hybrid creatures and symbolic figures such as the double, the marionette and the androgyne and conjure up mythological references such as Narcissus and Lilith.
Suppléments :
Original super-8 rushes , Unrendered(video installation),Les entrailles de Narcisse (multiangle track ; extracts from the show), Lilith (capture from the video installation) and Polyscopic Noise(capture from the multimedia performance).
A 24 page trilingual booklet accompanies this DVD.
Edition: 500 copies

DVD EL#01<br />

Jean-Marc Munerelle
Belgium, 2006
visual arts

PORTRAITS CIRCUS is a series of individuals shot without knowing in the european public spaces. In these portraits the subjects reveal their intimacies. While the body frees itself from the costume, while the porous and diffused surfaces out of the costume show off : the face and the gestures
The streets and the public places are waiting places (in the bus), travelling places (at work). In this chaotic universe where individuals with different centers of interest cross and join in a chaos of behaviours from which escape mimics, and sign-gestures from a lonely rapture.
These gestures are sequences which by the repetitions at the editing have became patterns. The pattern, which is repeated, is emotive, contaminating and produces an amnesia which inspires the manner of editing and exhibiting this piece.
The title of each portrait is a reference to a generic term, to a function: EATER, NEIGHBOUR, TRAVELLER, WALKER, SMOKER, PLAYER, PHONER.

DVD EL#02<br />

BlowUp and Vincent Matyn
Belgium, 2006
visual arts/documentary

In 2004, during the PleinOpenAir festival (co-organized by the Nova and City Min(e)d non-profit organisations), many different initiatives from the Brussel's associative world have emerged to forebring the attention and stimulate thoughts upon the becoming of the site of the administrative City of the State, outstanding urban site, sold to private investors.
The collaboration between the BlowUp collective and the artist Vincent Matyn started in this occasion, on a shared interest concerning the administrative city and its dismantling.
Producing images and collecting sounds, meeting the civil servants, users, gardens, corridors, lifts, perspectives, colors... This DVD release contains a slideshow, using photographs and audio accounts by civil servants.

Suppléments :
Other visual, textual and audio documents resituates the original context of the project, the artistic process of the authors and the participation of the ethnographer David Jamar.