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


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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, RenÃ
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.



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