Cikel feminističnega filma
From the data base of the online video programming platform ArtFem.TV, a monthly selection of videos and films is screened at the cinema Udarnik in Maribor, Slovenia. The selection of works is chosen each month on an issue of contexts in the feminist field by Evelin Stermitz.
During the year 2012 also FemLink is invited to screen their International Video Collages within the Cinéma Féministe screening program.
Cinéma Féministe is a screening program curated by Evelin Stermitz and organized in collaboration with son:DA and Zavod Udarnik.
Program for December 2012. december2012 27-i ob 20h
next date is on 27-12-2012 at 20h with
Video Art from Norway
Curated by Margarida Paiva
The Foreignness of Her, by Iselin Linstad Hauge 2011, 4’
The Foreignness of Her consists of text and moving images, that show a waterbuck calf trapped inside a structure of high concrete walls. The calf shifts between standing completely still to walking back and forth, as if trying to find a way out, while the camera follows her every move closely. The walls are all too high, and there seems to be no exit. She gets increasingly restless while examining their height. The Foreignness of Her speaks of human self-knowledge and our relation to living beings, other than ourselves. It is about the potential understanding of something familiar that lies within the emotional closeness with the animal.
Lost in the Woods, by Ingeborg Stana 2011, 4’
In Ingeborg Stana’s film Lost in the Woods the perspective is strange, at an angle, upside down. We see the treetops, the horizon lines and the lake as we have never seen them before, and in this way Stana makes us see them afresh.
City Heart, by Kristina Kvalvik 2011, 5’30’’
The urban space is the scenery for a woman’s journey in the film City Heart. The woman in the night and the city in the dark draw an eerie atmosphere. Through an unresolved story the film examines how we are seen in the public space by asking questions about who are looking at whom.
Help, by Teresa Puig 2008, 2’40’’
In Ciudad Juárez (Mexico), at least one woman disappear every week. Her body will appear in the dessert surrounding the city after a while, with clear proof of having been brutally tortured, raped and mutilated, or perhaps only a cadaver or a few bits of bone will appear, the only witnesses to vicious and cruel murder.
Darkness at Noon, by Mariken Kramer 2010, 2’23”
The title of film is borrowed from Arthur Koestler’s book from 1940 of the same name, which depicts the madness behind the Stalinist purges and Moscow show trials. In his book Koestler shows how Rubashov, the main character, becomes a victim within the ruthless logic of the same system in which he once acted as a perpetrator. This paradox as well as the inherent contradiction of the title (darkness at noon) serves as a starting point for this work. The film is a visual reflection of the potential for evil that lurks within us all, and my fear of who I, as a “moral” subject, can allow myself to become. “Darkness that Noon” is a personal, mental and emotional journey, a Captain Marlow’s quest up the river. The film is a collage of Super8 film, dv and stills.
Motholic Mobble part 1, by Kaia Hugin 2008, 3’40”
On the top floor of a dark apartment building, a woman stares into the wall. There is a sound of dripping water. Suddenly her head falls onto the table, the chair gets ripped away and she falls to the floor. Her body glides backwards, down the stairs, out of the door, it doesn’t stop until it reaches the ocean..
House of Stairs, by Margarida Paiva 2004, 2’35’’
A woman is trapped in a house of endless stairs, and as she tries for an escape she repeatedly finds herself back at the same place.
Who lives in my head?, by Margarida Paiva 2009, 4’
Who lives in my head? is an experimental video which, with the use of repetition, explores the compulsions of madness and the sense of fear. Vaguely inspired in the fictional character of the madwoman in the attic, the video looks into the role of the rebellious and insane woman in certain film representations.
Nightfall, by Margarida Paiva 2006, 5’
Nightfall is a fragmentary montage of night shots recalling feelings of loneliness and melancholy. Its photographic quality and the flowing rhythm of images turns narrative into an enigmatic atmosphere and dreamy mental states.
Untitled Stories, by Margarida Paiva 2007, 11’30’’
A female narrator is telling about her fears and memories. As she expresses herself to an imaginary friend, mental images of enigmatic interiors of buildings, streets and landscapes flow through the story. The characters remain unknown, seen only in glimpses or heard only through fragmented sounds. The video explores mental and emotional disorders by reflecting on questions such as the need to change the present but remaining in the past and the difficulty of expressing one’s feelings.
Every story is imperfect, by Margarida Paiva 2012, 9’10’’
Every Story Is Imperfect is an interrupted narrative which deals with the fictionalization of news reports and fragmented stories. The film starts as a common story, we hear news on the radio about a missing woman, but soon there are breaks, interruptions, unfinished actions, an unraveling of places and voices. The characters remain emotionally distant and unavailable, wondering around in trains or empty rooms, absentminded. The stories touch on themes such as loss, murder, abuse and rape. Between the fictional and the documentary, the film approaches the inability to communicate when confronted with random acts of violence.
Program for November 2012
Video Art from Sweden (Pleasing (by) control) curated by Eva Olsson
with video works by Eva Olsson, Nina Lassila, Radmila Knezevic
Eva Olsson http://www.evaolsson.net
I’m a Swedish artist who works with contemporary art. Moving image and animation are my major way of expression. I have studied at art colleges and universities in England and Japan. My works are philosophical reflections on everyday life and social issues in the modern western world. I’m reconstructing familiar situations to create new insights to become short animations.
Nina Lassila http://www.ninalassila.com
Born in Helsinki 1974, lives and works in Gothenburg / Berlin. Nina Lassila is a visual artist working mainly with video and performance. In many of her works she deals with questions of identity – specifically identity affected by social barriers, conventions based on gender and upbringing and cultural differences. Her other bodies of work explore issues of supernatural phenomena and economic structures. She criticizes, scrutinizes and dwells into different topics. As an artist Nina sees herself having a sort of an artistic license with which she moves freely around in different areas of phenomena and themes.
Radmila Knezevic http://www.knezevicart.com
Born 1958 in Yugoslavia and came to Sweden when she was 12 years old. She lives and works in Sweden.
Mirror, mirror … Eva Olsson 2006 2:11 min
Through impossible ideals we are constantly kept occupied, as apathetic standardized dummies.
Taking control Eva Olsson 2007 2:28 min
Is it okay for anyone to take control, or can unexpected control be seen as unacceptable control, control which can be understood as a threat.
Good Girl Eva Olsson 2007 1:58 min
Why are girls raised to be ‘good girls’, to give but not to demand when it is also important to put your foot down and to say no.
Glimpses Eva Olsson 2007 1:22 min
After been looking closer on the adulthood life, there is no hurry to grow-up.
Thumbs down Eva Olsson 2008 0:38 min
About shallow and everyday dissatisfactions from a middle age woman.
One home – Two lifes Eva Olsson 2008 2:27 min
While the life passes by we fill it with different things after each persons dreams, wishes but also conditions and bravery. So when autumn comes somebody is pleased just to share his or her life with someone, while somebody else feels holden back and longs for something else.
Good cut(e) girls Eva Olsson 2008 3:05 min
The syndrome of being good exists among girls already when they are in day care. For many girls in school the syndrome of being good rules their lives completely. The syndrome of being good makes girls starve themselves, cut themselves and feel stupid, bad and not seen.
Piiskaa! Beat it! Nina Lassila 2005 1:13 min
In Piiskaa! / Beat it! we see a woman cleaning a carpet. Though clearly she is beating the carpet up…is she angry and why? There is something provocative about a physical woman; even a loud laughter can provoke some people. There is a prevailing notion that a loud physical woman is somehow deranged, out of control.
Girl Nina Lassila 2007 1:15 min
This video is a experiment in the act of childlike anger. Although the child is a grownup woman here. The reversed sound makes her resemble something similar to a monster, a horror figure. As in my earlier work Piiskaa! my interest lies in the prevailing notion that a loud physical woman is somehow deranged, out of control.
ILONA (Joy) Nina Lassila 2008 1:59 min
We see a woman blowing balloons by a table. She is obviously preparing for a party. She looks very happy and smiles a lot to the camera. Ilona is my personal study of the frustration felt by people who feel unhappy while trying to reach perfection.
Woman with knife? Nina Lassila 2009 1:49 min
We see a woman sitting on a carpet sharpening many knifes that she keeps in a red suitcase. She is doing it fast and somewhat furiously. Her face is not visible. When she is finished she closes the suitcase, gets up and leaves the frame. When doing this piece I was thinking quite much about guilt and old torturing memories. I got into thinking that guilt would somehow be planted in our minds the day that we are born.
Woman Nina Lassila 2009 0:58 min
Declaration of the real woman. Supposedly a wish to be a ”fucking” real woman, in the most beautiful city of the world, Paris. A playful video with a slight provocative touch. ‘Gender is a lived ideology – a system of ideas about men and women with which we live our lives. As lived ideology those ideas get transformed into specific bodily practices. Socially produced sex differences are embodied and lived out as real. They are materialized as habit and taken for granted as second nature.’ (Bordieu)
Drilljob Nina Lassila 2011 1:33 min
We see a woman drilling a white wall. Her clothing resembles a school uniform. This site specific video / performance was made for the exhibition Strike at Atelierhof Kreuzberg in January 2011.
The last dance Eva Olsson 2009 1:25 min
What will there be left, when there is no longer any sorrow and regret.
The Capsule Eva Olsson 2009 1:18 min
To be seen. To be respected. To be listened to. It is not the pill that will make you happy.
The Labyrinth Eva Olsson 2009 3:41 min
Trapped in a world not of one’s making, in a life not of one’s design.
Respite Eva Olsson 2010 2:12 min
When life is spinning and each hour booked, its vital to breathe.
On non-freehold property Eva Olsson 2011 3:02 min
What to do when trapped in a situation which cannot be changed. A situation that involves the right of possession but not ownership.
Patience Dear Eva Olsson 2012 3:18 min
Patience is the level of endurance one can take before acting on annoyance in a negative way.
You loved my hair Radmila Knezevic 3:09 min no sound
Since i was a kid I can’t decide about my hair, -You must have braids! said my father and my teachers. I wanted to have ponytail. When we came to Sweden and I saw Swedish girls with tresses hair. I wanted to have same as them but it doesn’t work for me because my hair was too thick. So i cut away all my hair with my neck and I was satisfied, but my mother find what I have done so she cut away rest of my hair. I looked like a scarecrow. My father always said ” Half of women’s beauty is HAIR!” so stupid I think , but his thoughts still control me.
Pappa loves braids… Radmila Knezevic 2:31 min
Since i was a kid I can’t decide about my hair, -You must have braids! said my father and my teachers. I wanted to have ponytail. When we came to Sweden and i saw Swedish girls with tresses hair. I wanted to have same as them but it doesn’t work for me because my hair was too thick. So i cut away all my hair with my neck and I was satisfied, but my mother find what I have done so she cut away rest of my hair. I looked like a scarecrow. My father always said ” Half of women’s beauty is HAIR!” so stupid I think , but his thoughts still control me.
You was like a little dog Radmila Knezevic 1:49 min
You was like a little dog when you lived with that man, said a man I barely knew … It was so obvious that people could see something that they really knew nothing about, for the life I lived, I wish no one not even one dog.