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Slowly Learning to Survive the Desire to Simplify
11-12 September
Film no 1: 19.00 - Film no 2: 21.00
The Film Program
In conjunction with the Symposium “Slowly learning to survive the
desire to simplify” - a Symposium on Critical Documents, Produktionsenheten
presents the following film program. During August and September, 2006,
four films relating to the construction of history, storytelling and documentary
strategies are shown in collaboration with cultural institutions in the
Nordic countries. All screenings are free of charge and open to the public.
Produktionsenheten wishes to thank all the people involved with the screenings
and the filmprogram hosts: UKS, Oslo, Rum 46, Århus, Goethe Institutet,
Stockholm, Galleri Box, Göteborg and CirkulationsCentralen, Malmö.
This program was funded in part by the Nordic Cultural Fund and Nifca.
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Film program, 11-12 September at Cirkulationscentralen,
Nobelvägen 125, Malmö
September 11:
19.00 Lavorare con Lentezza
Directed by Guido Chiesa. Writing credits, Guido Chiesa and Wu Ming.
Italy, 2004, In Italian with English subtitles, 111 minutes
Italy. The 70's. Along with the birth of a free Radio in Bologna (Radio
Alice) and the political developments of the radical Italian left, two
young men get in touch with a new consciousness which is spreading among
the youth. Getting by daily and refusal of given destiny is their way
of life, while tragedies surround them. (During a rally a student is shot
to death in front of them (real story), a friend of them is sent to prison
for the beating up of a moneylender). Directed with a subtle touch, no
rhetoric, no stereotype. There's no judgment, the only aim is just to
tell a story. The Italian Seventies are righteously described without
taboo. Just watch it and have a two-hours-real-good-time!
21.00 The Gladiators
By Peter Watkins
The Peace Game / Gladiatorerna, Sweden, 1969, with English subtitles,
90 minutes.
‘The Gladiators’ is a bleak satire set in the near future,
in which the major powers of the world, East and West, aligned and non-aligned,
recognize the possibility of a major world war within our lifetime, and
try to forestall it by channeling man’s aggressive instincts in
a more controllable manner. They do this by forming an International Commission
along the lines of the United Nations, dedicated to fighting a series
of contests between teams of selected soldiers from each country. These
competitions, which can be fought to the death, are called ‘Peace
Games’, and are broadcast on global television via satellite - complete
with sponsors and commercials. The film follows Game 256, which is being
‘played’ in the International Peace Game Centre near Stockholm,
under the controlling eye of a highly sophisticated computer, hired out
to the International Commission by the (neutral) Swedish Army. The international
group of officers watching Game 256 decide to eliminate a man and a woman
from opposing teams who reach out to each other, because they decide that
such forms of communication would be the gravest threat of all to the
stability of the existing world-system.
September 12:
19.00 This Day
By Akram Zataari. Lebanon, 2003, 90 min.
Directed and written by Akram Zataari.
Lebanon, 2003, with English subtitles, 90 minutes.
Shot between Lebanon, Syria and Jordan, this essay superposes modes of
transportation, video, and photography to comment on our society’s
relationship to iconography, modernity, and questions the meaning and
value of documents.
21.00 The Revolution Will Not Be Televised/Chavez Inside the Coup
Directed and photographed by Kim Bartley and Donnacha O'Briain
Ireland, 2003, Spanish with English subtitles, 74 minutes
"We (the coup organisers) had a deadly weapon: the media."
Vice-Admiral Victor Ramírez Pérez, speaking on Venevision,
a private channel, April 11, 2002
Hugo Chavez, was elected president of Venezuela in 1998. Two independent
filmmakers were inside the presidential palace on April 11, 2002, when
he was forcibly removed from office. They were also present 48 hours later
when, remarkably, he returned to power amid cheering aides. Their film
records what was probably history's shortest-lived coup d'état.
It's a unique document about political muscle and an extraordinary portrait
of the man The Wall Street Journal credits with making Venezuela "Washington’s
biggest Latin American headache after the old standby, Cuba."
The film program will also take place at:
August 23 and 24: Soria Moria Kino in collaboration with UKS in Oslo,
Norway
Vogtsgate 64, 0477 Oslo, ph. (+47) 93 41 19 86
www.uks.no www.soria-moria.net
September 1 and 2: Exhibitions space rum46 in Århus, Denmark
Studsgade 46, st. tv. 8000 Århus C, ph. (+45) 8620 8625 www.rum46.dk
September 6 and 13: Goethe Institutet in Stockholm, Sweden
Bryggargatan 12A, 111 21 Stockholm, ph. +46 8 45912-00 www.goethe.de/ins/se/sto/svindex.htm
Date not set Galleri Box in Göteborg, Sweden
Kastellgatan 10, SE-411 22 Göteborg, ph. +46 (0)31 13 20 37 www.galleribox.se
Slowly learning to survive the desire to simplify:
- A symposium on critical documents
15-17 September at Iaspis, Stockholm
Invited participants include Ronny Ambjörnsson (Professor Emeritus,
Department of History, Umeå University), Matthew Buckingham (Artist,
New York), Carola Dertnig (Artist, Vienna), Emma Hedditch, (Artist, London),
iQuindici (writing/reading collective, Rome) Stefan Jonsson (writer, scholar
and literary critic at Dagens Nyheter, Stockholm), Jee-Eun Kim (Artist,
Seoul/Malmö), Åsa Linderborg (Assistant Professor, Department
of History, Södertörns Högskola) Rabih Mroué (Artist,
Beirut), Patrik Sjöberg Assistant Professor of Film Studies, (Karlstad
University) and Hito Steyerl (artist, film maker and writer, Berlin)
Participants from various fields such as art, film, media criticism and
political theory will discuss the structure of narratives and the construction
of history. What stories are not given space in today’s society
and what alternative strategies exist for the production of images? One
of the aims is to discuss the media’s increasingly monopolized representation
of reality, and its correlation to the art world’s present interest
in the political. But what are the possibilities and the risks of using
art as a way to satisfy a need for “critical documents”?
In light of today’s political and cultural climate, there is once
again a need to raise questions about how stories are constructed and
what effects they have. What are the rights and responsibilities of the
storyteller?
The symposium was initiated by Produktionsenheten (The Production Unit),
and is a collaboration between Produktionsenheten, NIFCA –Nordic
Institute for Contemporary Art and Iaspis –International Artists
Studio Programme in Sweden.
Produktionsenheten is a network for artists working with documentary
storytelling, media criticism and narrative experiments. The project focuses
on a critical analysis of history writing, and how narratives and investigative
journalism are used for political motives. Produktionsenheten includes:
Petra Bauer, Nanna Debois Buhl, Kajsa Dahlberg, Johanna Gustafsson, Sara
Jordenö, Conny Karlsson, Runo Lagomarsino, Ditte Lyngkær Pedersen
and Ylva Westerlund.
To participate in the symposium, please register at this e-mail address:
at@iaspis.com, or call Iaspis at +46 8 402 35 77
When you have registered, a program and a reader containing information
and contributions by the speakers will be sent to you.
For more information please contact ellen.wettmark@nifca.org, +358 9
686 43 102 or at@iaspis.com, +46 8 402 35 77 or visit www.iaspis.com or
www.nifca.org
There is a possibility for people (under the age of 36) who are living
in a Nordic country outside of Sweden to apply for Sleipnir to cover travel
costs.
http://www.nifca.org/2006/projects/2006/Critic_docu.html
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