Chapter 5

LINES
Screenings

African Community Youth Centre, International Academy of Art Palestine, Ramallah, French Institute Gaza, Dar Al Kalima University, College of Arts and Culture, Bethlehem, French Institute, Nablus

In Deleuze and Guattari’s work there is an emphasis on the expression ‘se rabat sur’ or ‘to fall back onto’ as a term in projective geometry. It is like knowing that a short-looking line actually indicates a long line with an angle on an architectural plan, or that things, events, and people can be perceived and experienced differently depending on the locations of the points and lines. Our distance to, and viewpoint of, different realities, different lives, different conditions, different dreams, and different fallacies shape our assumptions in life. This screening programme, which is free of charge and open to the public, consists of four chapters and a feature film, responsively reflecting on the shifting points and lines in life.



I
Shifts and Interruptions
Curated and written by Anne Barlow

Just as the word ‘fracture’ suggests a break or disruption, the experience of time in these films is fragmented, distorted, ambivalent or indeterminate. In Shifts and Interruptions, artists use – and in some cases, blend – various genres, from science fiction to animation to documentary, to create situations in which different histories or time frames are evoked, various 'realities' appear to coexist, or an imaginary space-time is created. Whether reflective of a state of contemporary consciousness or a search for a constructed space that is at once futuristic and suggestive of times past, these works speak of anticipation, longing, disassociation and loss.

Basim Magdy, Crystal Ball, 7' (2013)
Brad Butler and Karen Mirza, The Space Between, sound by David Cunningham, 12' (2005)
Luiz Roque, O Novo Monumento, soundtrack by Márcio Biriato, Courtesy of the artist and Sé Galeria, São Paulo, 5'35“ (2013)
Minouk Lim, The Weight of Hands, 13'50'' (2010)
Tintin Wulia, Everything’s OK, 4'51'' (2003)
Wura-Natasha Ogunji, My father and I dance in outer space, 1' (2011)

Artists in alphabetical order.

II
Repetition
Curated and written by Yazid Anani

Adapting excerpts from Søren Aabye Kierkegaard’s book Repetition, the selected shorts suggest getting our cognitive and moral bearings not through prompted remembering, but quite unexpectedly as a gift from the unknown and as a revelation from the future: as ‘repetition’. The shorts are viewed as an epiphany that sometimes makes the old new again, and sometimes present something radically new. The broad question which these shorts pose is: how can a sense of meaning and direction in life be regained as we suffer its absence?

Carolee Schneemann, Fuses, 18’ (1965)
Marie Menken, Lights, 6’05’’ (1966)
Maya Deren and Alexander Hammid, Meshes of the Afternoon, 14’12’’ (1943)
Maya Deren, Ritual in Transfigured Time, 14’27’’ (1946)
William K.L. Dickson, Annabelle Serpentine Dance, 45’’ (1895)
William .K.L. Dickson, William Heise & James White, Annabelle Dances And Dances, 5’20’’ (1894-1897).

The selection was made from YouTube. Artists in alphabetical order.

III
Too Much History
Curated and written by Branko Franceschi

A selection of recent videos made by artists from the West Balkans reverberate the peculiar state of mind created by the prevailing notion of historical determinism. By employing strong narrative traditions that mark the region’s heritage, artists approach diverse cultural and political channels through which history spills out into the present and the future. Efficient mechanisms that plant the poisonous seeds of the atrocities committed by generations yet to come are revealed. Elaborate apparatuses of oppressive control that do nothing but rebound unlearned historical lessons are demystified. Finding the way to break the perpetual return of history is allocated to future generations. We have already failed.

Boris Cvjetanović, Sleepless in Suwon, 1’20’’ (2014)
Ibro Hasanović, A Short Story, 10’20’’ (2011)
Željko Kipke, Surveillance Camera, 31’07’’ (2011)
Zlatko Kopljar, K 16, 10’42’ (2012)
Mladen Miljanović, Do You Intend To Lie To Me?, 14’ (2011)

Artists in alphabetical order.

IV
Dislocating Patterns
Curated and written by Basak Senova

Living in different time zones simultaneously; listening and repeating contradictory stories of the same land; trying to imagine multiple histories coexisting together; getting closer with the distant and being detached from what’s closest; still bordering the unfamiliar.

Dislocating Patterns brings four not allied, but most probably remarkably connected, works together; they detect and process diverse approaches, viewpoints, geographies, and catastrophes yet to come. Each of them show paths to be lost, stories to be told, and personal details to haunt. Dislocating Patterns suggests a challenging act for the viewer: it is a tidal experience between watching and witnessing sorrow and beauty at the same time.

Ali Cherri, The Disquiet, 20’ (2013)
Fatma Bucak, Blessed are you who come. Conversation on the Turkish-Armenian Border, 8’42’’ (2012)
Hiraki Sawa, Sleeping Machine I, 7’07’’ (2011)
Yane Calovski, Hollow Land, 8’24’’ (2009)

Artists in alphabetical order.

The Palestinian Premier of the film SIVAS (2014)
Directed by Kaan Müjdeci

The programme:

Saturday, 25 October 2014, The Jerusalem Show film screening program presentation by curators Yazid Anani, Anne Barlow, Branko Franceschi, and Basak Senova.
18:30 to 20:00, African Community Youth Centre

Saturday, 25 October 2014, Sivas, directed by Kaan Müjdeci
20:00 to 22:00, African Community Youth Centre

The dates of the screening programme will be announced for International Academy of Art Palestine, Ramallah, French Institute Gaza, Dar Al Kalima University, College of Arts and Culture, Bethlehem, French Institute, Nablus.