| PAVILION [journal for politics and culture] on Sun, 19 Jun 2011 22:29:03 +0200 (CEST) |
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| [Nettime-ro] 21 iunie PAVILION SCREENINGS curated by Stefan Voicu |
/for English please scroll down PAVILION SCREENINGS Farmecul Discret al Activismului Politic Curator: Stefan Voicu SchimbÄrile culturale Èi extinderea socialului Ãn cyberspaÈiu au generat noi modele Èi scheme de a acÈiona. Trecerea cÄtre post-uri (post-modernism, post-industrial, post-socialism etc,) Èi identificarea societÄÈii cu spectacolul, constituie cadrul estetic Èi social, cele douÄ confundÃndu-se aici, al manifestÄrilor vizuale contemporane. Considerate a fi desublimate prin comodificarea lor, vechile acÈiuni transgresive au fost Ãnlocuite de proteste, revolte semiotice Èi rebeliuni cybernetice. Tony Smythe afirma Ãn 1960, ca reacÈie la un articol care Ãncuraja violenÈa Ãn activism, cÄ Ãn adevÄrata luptÄ de clasÄ nu ne luptÄm cu oameni ci cu idei.[1] Filmele din acestÄ serie de proiecÈii se prezintÄ ca forme de activism simbolic, Ãn care manipularea semnelor este ontologic comodificatÄ, mai exact, acÈiunea de a regiza un film are o funcÈie economicÄ a priori pe care autorul o scoate la suprafaÈÄ sau o exploreazÄ critic. Privite in relatie cu condiÈiile economice, politice Èi sociale Ãn care au fost realizate, La dialectique peut-elle casser des briques? este un atac adresat miÈcÄrilor din mai â68, la fel ca Èi filmele lui Godard (care ar putea fi si un elogiu al acestora). Bananas dezvoltÄ subiectul revoluÈiei cubaneze Èi ce a Ãnsemnat aceasta pentru SUA, dar mai ales poziÈionarea SUA faÈÄ de situaÈia respectivÄ. CÃt despre Louise-Michel, Du Levande, Trash Humpers si seria de filme scurte ( episoadele din Dumbland a lui David Lynch Èi cele trei scurte ale lui Jay LaRay Keener & Jeremiah Ledbetter three short films), acestea trateazÄ probleme cu care societatea contemporanÄ se confruntÄ. Contextualizare lor puncteazÄ cÄtre adaptarea discursului la condiÈiile existente la momentul realizÄrii cinematografice, oferind legitimitate imaginilor folosite Ãn mod subversiv Èi autoreflexiv. Ãn acest tip de practicÄ, asumarea unei estetici politice care sÄ atace autoritarianismul- fie prin violenÈÄ simbolicÄ, fie prin deconstruirea miturilor contemporane- transcede identitatea politicÄ declaratÄ a subiectivitÄÈii fiecÄrui act regizoral- definit Ãn comun prin asamblarea eclecticÄ a ideilor circulate Ãn reÈele sociale. Privite precum manifeste vizuale, filmele funcÈioneazÄ ca alternativÄ, articulatÄ sub o formÄ agonisticÄ, Ãn lupta hegemonicÄ. Astfel, cinema-ul Ãl putem defini ca pe un cÃmp de forÈe, unde filmele sunt proiecÈii vizuale ale unui tip de gÃndire ideologicÄ Èi participÄ, documentÃnd totodatÄ, 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 al PAVILION-journal for politics and culture. Un curator va fi desemnat 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 aceaÈi linie Ãn care ridicolul, absurdul Èi tragicul se provoacÄ Ãntr-o construcÈie omogenÄ, ultimul film al regizorului Harmony Korine exploreazÄ temele ce pot fi integrate Ãn asamblul teoretic al noilor forme de anarhism. Constituirea relaÈiilor de putere Èi reproducerea lor, paleta amplÄ de specificitÄÈi tolerate Èi intolerabile. 21 iunie 19.00 Bananas (1971) Woody Allen Bananas este un film care face aluzie la revoluÈia cubanezÄ dar Èi la evenimentul denumit criza rachetelor. Woody Allen duce comicul la extrem, ridiculizÃnd astfel manifestÄrile revoluÈionare, intervenÈiile pacifiste legitimate hegemonic Èi asumpÈiile de veridicitate ale mass-mediei. Prin abordarea sa regizoralÄ, Allen nu avanseazÄ cÄtre o revoluÈie cinematicÄ, el proiecteaza Ãntr-un limbaj al semnelor impotenÈa oricÄrei reactiuni. 19 iulie 19.00 La dialectique peut-elle casser des briques? (1973) Renà ViÃnet âPoate dialectica sÄ spargÄ cÄrÄmizi?â este deturnarea integralÄ a filmului The Crush regizat de Tu Guangqi. Deturnarea, asa cum se defineÈte Ãn primul numÄr al revistei Internationale Situationniste din iulie 1958, reprezintÄ prescurtarea de la 'deturnarea elementelor estetice preexistente'. Integrarea productiilor artistice prezente sau trecute Ãntr-o construcÈie a unui mediu superior. Ãn acest sens nu poate exista o picturÄ sau muzicÄ situaÈionistÄ, ci doar un mod situaÈionist de a folosi aceste mijloace. Mai simplu, deturnarea Ãn vechile sfere culturale este o metodÄ de propagandistÄ, o metodÄ care relevÄ demodarea Èi lipsa de importanÈÄ a acestora[1]. Prin dublarea imaginilor, ÃnÈesate de tehnici de arte marÈiale, cu discursul public al intelectualitÄÈii franceze de stÃnga din anii â60-â70, Renà ViÃnet reuÈeÈte sÄ demistifice coerenÈa acÈiunilor de revoltÄ desfÄÈurate Ãn contextul unor schimbÄri majore la nivel mondial, care pÄtrund Ãn plan local. TotodatÄ, prin aderarea sa la miÈcarea situaÈionistÄ Èi apropierea tehnicilor propuse de aceÈtia, el militeazÄ pentru o perspectivÄ a refuzului prin semne. [1] Internationale Situationniste 1, 1958 20 septembrie 19.00 Louise-Michel (2008) Gustave de Kervern, BenoÃt DelÃpine Prin situarea unor acte violente de revoltÄ Ãn contextul unei societÄÈi pluraliste, democratice, regizorii acestui film evidenÈiazÄ imposibilitatea unor astfel de gesturi. Aceasta imposibilitate survine nu datoritÄ unui cadru juridic sever ci mai degrabÄ din cauza normelor tolerabilitÄÈii. Turnura absurdÄ pe care filmul o ia, Ãl transformÄ, prin analogie cu discursul ÃnrÄdÄcinat referitor la astfel de practici, Ãntr-o armÄ subversivÄ care agitÄ Ãn scopuri introspective. 18 octombrie 19.00 Du levande (2007) Roy Andersson RenunÈÃnd parÈial la naraÈiune Èi preferÃnd alÄturarea scenelor Ãntr-un mod dialectic, uneori deconstructivist, regizorul pledeazÄ pentru o epuizare a subiectului multiplu, arÄtÃndu-ne inerÈia metodelor de investigaÈie Èi manifestare postmoderne. Ca Èi Ãn Louise-Michel (2008) Gustave de Kervern, BenoÃt DelÃpine, asistÄm la un absurd care defineÈte normalitatea relaÈiilor sociale. 22 noiembrie 19.00 Trash Humpers (2009) Harmony Korine Pe aceaÈi linie Ãn care ridicolul, absurdul Èi tragicul se provoacÄ Ãntr-o construcÈie omogenÄ, ultimul film al regizorului Harmony Korine exploreazÄ temele ce pot fi integrate Ãn asamblul teoretic al noilor forme de anarhism. Constituirea relaÈiilor de putere Èi reproducerea lor, paleta amplÄ de specificitÄÈi tolerate Èi 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 animaÈii de David Lynch Èi cele trei scurmetraje ale regizorilor Jason LaRay Keener & Jeremiah Ledbetter ne adÃncesc Ãn viziunea sumbrÄ a societÄÈii contemporane. FÄrÄ sisteme de valori la care sÄ ne raportÄm, lumea Ãn care trÄim transformÄ orice extraordinar Ãn banal. Dar acest status-quo defineÈte 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 by PAVILION - journal for politics and culture, dedicated to films. A curator will be appointed to create a concept and a 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 âaims 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.[â] When intellectuals have the means to make films, since the working class doesnât, whe must approach them and listen to be able to transmit their words. We know they arenât 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 isâ. [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) Renà ViÃnet "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 âdÃtournement of preexisting aesthetic elements.â 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, dÃtournement within the old cultural spheres is a method of propaganda, a method which reveals the wearing out and loss of importance of those spheres.â [1] By dubbing the images of martial arts practices, with the discourse of french left intellectuals from the '60-'70, Renà ViÃnet 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, ViÃnet pledges for a refusing attitude, through signs. [1] Internationale Situationniste 1, 1958 September 20 19.00 Louise-Michel (2008) Gustave de Kervern, BenoÃt DelÃpine 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, BenoÃt DelÃpine. 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 in educational purposes. No pictures or video can be recorded during the screening. --- To unsubscribe click http://pavilionmagazine.org/phplist/?p=unsubscribe&uid=a47cb6344a766aff4809decbb263694c To forward this message click http://pavilionmagazine.org/phplist/?p=forward&uid=a47cb6344a766aff4809decbb263694c&mid=184 _______________________________________________ Nettime-ro mailing list Nettime-ro@nettime.org http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-ro --> arhiva: http://amsterdam.nettime.org/