festival

Film Mutations: The Festival on Invisible Cinema 04


time: 01.12.2010. - 05.12.2010.
place: MSU, Zagreb, Croatia
Film Mutations: the Festival of Invisible Cinema is a filmological project on the modes of film presentation and interpretation, or the politics of film curatorship, and that is the main topic of this year’s program and symposium.

Check for more detailed programme here

‘This year’s festival-symposium will take place from 1 to 5 December, at the Museum of Contemporary Art, with programs and lectures by world film scholars, Alexander Horwath (director, Austrian Film Museum), Olaf Möller (permanent curator, Film Festival in Oberhausen), Nicole Brenez (professor, University Paris III) and Go Hirasawa (lecturer, Tokyo University Meiji-Gakuin) and filmmakers Lech Kowalski and Klaus Wyborny, who will start a debate and reflexion on the modes of non-commercial exhibition and on the ethics, aesthetics and politics of poor, minority curatorship.

In previous years, amid discussions of the digital, of the death and mutations of analog film, of the expectations for the archival and museum destiny of film on celluloid tape, a challenge with which film museums and archives will confront the digital age, of the utopian role of museums in relation to the image market, there was a call for a redefinition of the notion of film curatorship. The symposium on the Politics of Film Curatorship, whose first part will take place at 11 a.m., Saturday, 4 December, will debate our starting points, in relation to this year’s film programs, while the opinions, lectures and conclusions will be incorporated in a collection of texts on selected historical and contemporary modes of film representation and interpretation.

In the program by Nicole Brenez Does There Exist a More Futile Activity Than Showing Images?, we will discover a lyrical anarchism of Pierre Clémenti, while Lech Kowalski will present several works, like an early punk film D.O.A.: THE RIGHT ON MATURITY, about the first and last American tour of Sex Pistols, as well as the latest film, THE END OF THE WORLD BEGINS WITH ONE LIE, which had its premiere a month ago at the French Cinemateque. In that film, Kowalski deconstructs the staged reality of Robert Flaherty's LOUISIANA STORY (that was commissioned by the Standard Oil Company), by filming the internet actualities of the recent ecological disaster that occurred on that same site (British Petroleum purchased Standard Oil in 1970). Lech Kowalski will conclude this year's Mutations with live editing, sampling the chapters of his online film-eye http://camerawar.tv, which attempts to capture the reality that exceeds that of the closed film.

Alexander Horvath, in a program entitled A Sound Selections, proposes a historical turn within certain brief histories, actualizing the disturbing hiddenness of the Austrian director Gerhard Benedikt Friedl whose films KNITTELFELD – A TOWN WITHOUT A HISTORY and DID WOLFF VON AMRONGEN COMMIT BANKRUPTCY OFFENCES he will displace onto an historical avant-garde, while showing us Vigo and Vertov as potential invisible contemporaries.

Olaf Möller will reveal to us the secrets of materialist film through his extravagantly entitled program Olaf’s World. A Walk Through The Wondrous Wides Of Unconventional And Non-Confomist Film Aesthetics. The program opens to the question of the politics, aesthetics, and ethics of working with "found" and archival materials: the avant-garde filmmaker Klaus Wyborny will present his HISTOIRE DU CINÉMA and will hold a lecture on the temporal structures of film and the contemporary adaptations of early film narration.

The program by Go Hirasawa, Film & Situations will present Japanese revolutionizing art: from a version of situationism in the film WHITE HARE OF INABA about the radical Japanese neo-avantgarde performance group Zero Dimension, who with their naked bodies and rituals occupied the streets of Tokyo in the 1960s, to the political philosophy of Masao Adachi in his film PRISONER/TERRORIST with cell-texts by Blanqui, Gramsci, Negri.

We will inquire into the related question of poor, minor curatorship of performance art. Petra Zanki’s and Tea Tupajic’s three-day performative installation ZERO PHASE - Short insight into the research phase of THE CURATORS’ PIECE - will present their project of “occupying” the thought of Western curatorship.’

Text by Film Mutations Team

(Source: MSU)

(D.H., 29.11.2010)


 



http://www.forum.tm/vijesti/cekate-animator-kulture-koji-je-odgojio-generacije-teslasa-i-koncarevaca-i-jos-uspjesnoOčito je prioritet betonizacija, umjesto humanizacije prostora - See more at: http://www.forum.tm/vijesti/ocito-je-prioritet-betonizacija-umjesto-humanizacije-prostora-1954#sthash.5VEPunem.dpuf
Očito je prioritet betonizacija, umjesto humanizacije prostora - See more at: http://www.forum.tm/vijesti/ocito-je-prioritet-betonizacija-umjesto-humanizacije-prostora-1954#sthash.5VEPunem.dpuf
Očito je prioritet betonizacija, umjesto humanizacije prostora - See more at: http://www.forum.tm/vijesti/ocito-je-prioritet-betonizacija-umjesto-humanizacije-prostora-1954#sthash.5VEPunem.dpuf
Očito je prioritet betonizacija, umjesto humanizacije prostora - See more at: http://www.forum.tm/vijesti/ocito-je-prioritet-betonizacija-umjesto-humanizacije-prostora-1954#sthash.5VEPunem.dpu