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| [Nettime-ro] PAVILION SCREENINGS Farmecul Discret al Activismului Politic Curator: Stefan Voicu |
/for English please scroll down PAVILION SCREENINGS Farmecul Discret al Activismului Politic Curator: Stefan Voicu Schimbarile culturale si extinderea socialului in cyberspatiu au generat noi modele si scheme de a actiona. Trecerea catre post-uri (post-modernism, post-industrial, post-socialism etc,) si identificarea societatii cu spectacolul, constituie cadrul estetic si social, cele doua confundandu-se aici, al manifestarilor vizuale contemporane. Considerate a fi desublimate prin comodificarea lor, vechile actiuni transgresive au fost inlocuite de proteste, revolte semiotice si rebeliuni cybernetice. Tony Smythe afirma in 1960, ca reactie la un articol care incuraja violenta in activism, ca in adevarata lupta de clasa nu ne luptam cu oameni ci cu idei.[1] Filmele din acesta serie de proiectii se prezinta ca forme de activism simbolic, in care manipularea semnelor este ontologic comodificata, mai exact, actiunea de a regiza un film are o functie economica a priori pe care autorul o scoate la suprafata sau o exploreaza critic. Privite in relatie cu conditiile economice, politice si sociale in care au fost realizate, "La dialectique peut-elle casser des briques?" este un atac adresat miscarilor din mai ‘68, la fel ca si filmele lui Godard (care ar putea fi si un elogiu al acestora). "Bananas" dezvolta subiectul revolutiei cubaneze si ce a insemnat aceasta pentru SUA, dar mai ales pozitionarea Americii fata de situatia respectiva. Cat despre Louise-Michel, Du Levande, Trash Humpers si seria de filme scurte (episoadele din "Dumbland" a lui David Lynch si cele trei scurt-metraje ale lui Jay LaRay Keener & Jeremiah Ledbetter), acestea trateaza probleme cu care societatea contemporana se confrunta. Contextualizare lor puncteaza catre adaptarea discursului la conditiile existente la momentul realizarii cinematografice, oferind legitimitate imaginilor folosite in mod subversiv si autoreflexiv. in acest tip de practica, asumarea unei estetici politice care sa atace autoritarianismul - fie prin violenta simbolica, fie prin deconstruirea miturilor contemporane - transcede identitatea politica declarata a subiectivitatii fiecarui act regizora l- definit in comun prin asamblarea eclectica a ideilor circulate in retele sociale. Privite precum manifeste vizuale, filmele functioneaza ca alternativa, articulata sub o forma agonistica, in lupta hegemonica. Astfel, cinema-ul il putem defini ca pe un camp de forte, unde filmele sunt proiectii vizuale ale unui tip de gandire ideologica si participa, documentand totodata, la acest conflict perpetuu al pluralismului politic. (Stefan Voicu) [1].In the real class struggle it is not people we are fighting but the wrong ideas. Vernon Richards (ed.), Violence and Anarchism.A polemic, Freedom Press, London, 1993 Stefan Voicu este sociolog si teoretician. Pavilion Screenings este un nou program curatorial. Un curator va fi desemnat pentru fiecare sesiune pentru a crea un concept si o selectie. Imagine: Still din "Tout va bien" (1972) by Jean-Luc Godard, Jean-Pierre Gordin. Program 2011 Toate proiectiile au loc la PAVILION UNICREDIT, Bd. Nicoale Titulescu nr. 1 (Piata Victoriei), Bucuresti. 24 mai 19.00 Tout va bien (1972) Jean-Luc Godard, Jean-Pierre Gordin Pe aceasi linie in care ridicolul, absurdul si tragicul se provoaca intr-o constructie omogena, ultimul film al regizorului Harmony Korine exploreaza temele ce pot fi integrate in asamblul teoretic al noilor forme de anarhism. Constituirea relatiilor de putere si reproducerea lor, paleta ampla de specificitati tolerate si intolerabile. 21 iunie 19.00 Bananas (1971) Woody Allen Bananas este un film care face aluzie la revolutia cubaneza dar si la evenimentul denumit criza rachetelor. Woody Allen duce comicul la extrem, ridiculizand astfel manifestarile revolutionare, interventiile pacifiste legitimate hegemonic si asumptiile de veridicitate ale mass-mediei. Prin abordarea sa regizorala, Allen nu avanseaza catre o revolutie cinematica, el proiecteaza intr-un limbaj al semnelor impotenta oricarei reactiuni. 19 iulie 19.00 La dialectique peut-elle casser des briques? (1973) René Viénet “Poate dialectica sa sparga caramizi?” este deturnarea integrala a filmului The Crush regizat de Tu Guangqi. Deturnarea, asa cum se defineste in primul numar al revistei Internationale Situationniste din iulie 1958, reprezinta prescurtarea de la 'deturnarea elementelor estetice preexistente'. Integrarea productiilor artistice prezente sau trecute intr-o constructie a unui mediu superior. in acest sens nu poate exista o pictura sau muzica situationista, ci doar un mod situationist de a folosi aceste mijloace. Mai simplu, deturnarea in vechile sfere culturale este o metoda de propagandista, o metoda care releva demodarea si lipsa de importanta a acestora[1]. Prin dublarea imaginilor, intesate de tehnici de arte martiale, cu discursul public al intelectualitatii franceze de stanga din anii ’60-’70, René Viénet reuseste sa demistifice coerenta actiunilor de revolta desfasurate in contextul unor schimbari majore la nivel mondial, care patrund in plan local. Totodata, prin aderarea sa la miscarea situationista si apropierea tehnicilor propuse de acestia, el militeaza pentru o perspectiva a refuzului prin semne. [1] Internationale Situationniste 1, 1958 20 septembrie 19.00 Louise-Michel (2008) Gustave de Kervern, Benoit Delépine Prin situarea unor acte violente de revolta in contextul unei societati pluraliste, democratice, regizorii acestui film evidentiaza imposibilitatea unor astfel de gesturi. Aceasta imposibilitate survine nu datorita unui cadru juridic sever ci mai degraba din cauza normelor tolerabilitatii. Turnura absurda pe care filmul o ia, il transforma, prin analogie cu discursul inradacinat referitor la astfel de practici, intr-o arma subversiva care agita in scopuri introspective. 18 octombrie 19.00 Du levande (2007) Roy Andersson Renuntand partial la naratiune si preferand alaturarea scenelor intr-un mod dialectic, uneori deconstructivist, regizorul pledeaza pentru o epuizare a subiectului multiplu, aratandu-ne inertia metodelor de investigatie si manifestare postmoderne. Ca si in Louise-Michel (2008) Gustave de Kervern, Benoit Delépine, asistam la un absurd care defineste normalitatea relatiilor sociale. 22 noiembrie 19.00 Trash Humpers (2009) Harmony Korine Pe aceasi linie in care ridicolul, absurdul si tragicul se provoaca intr-o constructie omogena, ultimul film al regizorului Harmony Korine exploreaza temele ce pot fi integrate in asamblul teoretic al noilor forme de anarhism. Constituirea relatiilor de putere si reproducerea lor, paleta ampla de specificitati tolerate si intolerabile. 13 decembrie 19.00 Shorts by David Lynch and Jason LaRay Keener & Jeremiah Ledbetter Dumbland, 8 episodes (2002) David Lynch The Man with Apple-Shaped Boxing Cloves (2006) Hail Cracking Cobra Eggs (2007) Hollow Porcelain Fish Chamber (2009) Jason LaRay Keener & Jeremiah Ledbetter Cele opt episoade din seria de animatii de David Lynch si cele trei scurmetraje ale regizorilor Jason LaRay Keener & Jeremiah Ledbetter ne adancesc in viziunea sumbra a societatii contemporane. Fara sisteme de valori la care sa ne raportam, lumea in care traim transforma orice extraordinar in banal. Dar acest status-quo defineste noua ordine. Proiectiile au scop educational. Accesul cu aparate de inregistrare de orice tip este interzisa. --- The Discreet Charm of Political Activism Curated by Stefan Voicu The cultural turn and the extension of social activities into cyberspace have generated new methods and schemes of action. The reconfiguration into post- (post-modernism, post-industrial, post-socialism etc.) and the spectacle identity of society constitutes both social and aesthetic frameworks, here the two being mistaken for one with the other, in which contemporary visual manifestation occur. Considering them as de-sublimated by their commodification, the old transgressive actions have been replaced by semiotic revolts and cybernetic rebellions. Tony Smythe said in 1960, as a reaction to an article which encourage physical violence in activist practices, that 'in the real class struggle it is not people we are fighting, but the wrong idea'.[1] The films presented in this series of screenings are forms of symbolic activism, in which the manipulation of signs is ontologically commodified, more precisely, the action of directing a film has an a priori economic function which the auteur reveals or explores in a critical manner. Watched in relation with the economical, political and social conditions in which they were made, La dialectique peut- elle casser des briques? is an attack to the social movements of may '68, the same as for Godard's film (that could be seen even as an eulegy of it). Woody Allen's Bananas deals with the Cuban Revolution and what it represented for the US, but mostly on the political stand of this country in relation to the events that occurred during those years in Cuba. As for Louise-Michel, Du levande, Trash Humpers and the short films series (David Lynch's Dumbland episodes and Jay LaRay Keener & Jeremiah Ledbetter three short films) , they stand for more contemporary problems which our society faces. Their contextualization emphasizes the adaptability of the discourse, within them, promoted at the moment of the making of, therefore giving more legitimacy to the images used in a subversive, but self-reflecting, way. In this type of practices, assuming a political aesthetics of anti-authority - characterized by symbolic violence or contemporary myths deconstruction - transcends the declared political identity of any subjective film directing process - defined by an eclectic assembly of circulated, through social networks, ideas. Regarded as visual manifests, the films work as alternatives, articulated agonistically, in the hegemonic struggle. In this sense, we can define cinema as a power field, where the films are visual projections of a certain type of ideological thinking which participates, simultaneously documenting, in this constant conflict of political pluralism. Stefan Voicu is sociologist and theoretician. Pavilion Screenings is new curatorial program dedicated to films. A curator will be appointed to create a concept and selection. Imagine: Still din "Tout va bien" (1972) by Jean-Luc Godard, Jean-Pierre Gordin. The program 2011 All the screenings take place at PAVILION UNICREDIT, Bd. Nicoale Titulescu nr. 1 (Piata Victoriei), Bucharest. May 24 19.00 Tout va bien (1972) Jean-Luc Godard, Jean-Pierre Gordin The film “aims to fight for those who want change, and in particular for the core element, which is the exploited, the oppressed, represented in France by the men and women of the working class.[…] When intellectuals have the means to make films, since the working class doesn’t, whe must approach them and listen to be able to transmit their words. We know they aren’t allowed to speak neither in films nor on French TV. I tried to create images that were simpler and less complicated, precisely to show just how complex the situation is”. [1] [1]Jean Luc Godard , Tout va bien interview, 1972, at http://www.youtube.com/watch?v=dRIxYdq_CAk&playnext=1&list=PL5650B2ED5E4644A0 June 21 19.00 Bananas (1971) Woody Allen Bananas is a film that refers to the cuban revolution and the event called missiles crisis. Woody Allen takes the comic to the extreme, ridiculing the revolutionary acts, pacifist interventions hegemonically legitimated and the mass-media truthfulness assumptions. Allen's directing approach isn't proposing a cinematic revolution, it is rather a projection, in an unique language of sign, of the impotency of any reaction. July 19 19.00 La dialectique peut-elle casser des briques? (1973) René Viénet "Can dialectics break some bricks?" is the complete deturnation of The Crush film, directed by Tu Guangqi. The deturnation, as defined in the first edition of Internationale Situationniste magazine from july 1958, is "short for “détournement of preexisting aesthetic elements.” The integration of present or past artistic productions into a superior construction of a milieu. In this sense there can be no situationist painting or music, but only a situationist use of those means. In a more elementary sense, détournement within the old cultural spheres is a method of propaganda, a method which reveals the wearing out and loss of importance of those spheres.” [1] By dubbing the images of martial arts practices, with the discourse of french left intellectuals from the '60-'70, René Viénet manages to demystify the supposedly coherent revolt actions happening worldwide, that became vivid in the local scene. In the same time, taken into consideration his international situationist movement adhesion and the usage of the subversive techniques proposed by them, Viénet pledges for a refusing attitude, through signs. [1] Internationale Situationniste 1, 1958 September 20 19.00 Louise-Michel (2008) Gustave de Kervern, Benoit Delépine By situating violent revolt acts in the context of a pluralist, democratic society, the directors of this film emphasize the impossibility of this kind of gesture. This impossibility arises not because of a severe legal frame but due to high tolerability norms. The absurd turn of the film, transforms it, in comparison to the established discourse of this kind of practices, in a subversive weapon of introspective agitation. October 18 19.00 Du levande (2007) Roy Andersson Giving up, partially, to narrating and preferring the presentation of scenes into a dialectic, sometimes deconstructive, manner, the director pledges for a depletion of the multiple subject, demonstrating the inert method and manifestations of post-modernism. We're being presented with an absurdity which defines the normal of the social relationships, likewise in Louise-Michel (2008) Gustave de Kervern, Benoit Delépine. November 22 19.00 Trash Humpers (2009) Harmony Korine On the same line in which the ridicule, absurd and tragic provoke each other into an homogeneous construction, the last Harmony Korine film explores the themes approached in contemporary anarchism studies. The constituent power relations and their reproduction, the vast array of tolerable and intolerable specificities. December 13 19.00 Shorts by David Lynch and Jason LaRay Keener & Jeremiah Ledbetter Dumbland, 8 episodes (2002) David Lynch The Man with Apple-Shaped Boxing Cloves (2006) Hail Cracking Cobra Eggs (2007) Hollow Porcelain Fish Chamber (2009) Jason LaRay Keener & Jeremiah Ledbetter The eight episodes of David Lynch's animated series and the three short film of Jason LaRay Keener & Jeremiah Ledbetter, takes us thoroughly through the gloomy contemporary society. Without precise values which we can relate to, the world in which we live transforms any extraordinary into plain ordinary. But this status-quo is the new order we're facing. The screenings are educational purposes. No pictures or video can be recorded during the screenings. --- PAVILION journal for politics and culture Sos. Nicolae Titulescu 1 (Piata Victoriei) Bucharest 011131 Romania T: + 4 031 103 4131 E: pavilion@pavilionmagazine.org www.pavilionjournal.org --- Facebook: www.facebook.com/pavilionjournal --- PAVILION, BUCHAREST BIENNALE and PAVILION UNICREDIT are projects devised and founded by Razvan Ion and Eugen Radescu --- To unsubscribe click this link To forward this message click this link _______________________________________________ Nettime-ro mailing list Nettime-ro@nettime.org http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-ro --> arhiva: http://amsterdam.nettime.org/