01
A Very Long Exposure Time (2020)
Chloé Galibert-Laîné, 7 min
Inventing a poetic path through images created with Louis Daguerre's centuries-old photographic device, 16mm film cameras, pixelated video games consoles, early smartphones and contemporary computer interfaces, this video asks: what aspects of reality have these different technologies been designed to document? What phenomena, either too slow or too fast to be recorded, have escaped their capture? Are there still dimensions of our experience on Earth that have never been visually documented, and for which photographic technologies are yet to be invented ? An investigation of the explicit and unspoken ideologies encapsulated in technology, the video unfolds as a web of apparently unrelated stories, progressively revealing patterns of technologically-determined political erasure.
Chloé Galibert-Laîné is a French researcher and filmmaker, currently working as a Senior Researcher at the Hochschule Luzern in Switzerland. Their work explores the intersections between cinema and online media, with a particular interest for questions related to modes of spectatorship, gestures of appropriation and mediated memory. They hold a practice-based PhD from the ENS de Paris (SACRe) and have taught at institutions that include the Royal Academy of Art in The Hague, the Ecole des Beaux-arts in Marseille and the California Institute of the Arts. Their video essays and desktop films have shown at festivals such as IFFRotterdam, FIDMarseille, Kurzfilmtage Oberhausen, True/False Festival, transmediale, and the Ars Electronica Festival.
02
Sight Leak (2022)
Peng Zuqiang, 12 min
“The moon, the sometimes dark street, trees, it's warm […] at last, a certain eroticism possible (that of the warm night).” When Roland Barthes visited China in 1973, he jotted down some notes that would become part of his Travels in China (Carnets du voyage en Chine), an underplot of desire in his imagination of the country. Barthes did not publish these writings during his lifetime, and his unsettling judgments about China are refracted in Peng Zuqiang's work Sight Leak, as fragments of dialogues on class and looking, responding to the reflections on the same matters elicited alongside Barthes' sense of eroticism. The local tourist in the film travels through different spaces and gatherings, seemingly never looking at anyone, yet silently looking at someone, turning towards a certain collectivity in spite of a foreign homoerotic gaze
Peng Zuqiang works with film, video and installations. Recent exhibitions and screenings include EMAF, Alchemy, 25FPS, KasselerDok, Cell Project Space, E-Flux screening room, IDFA, Antimatter, and Open City Doc Festival. He is the recipient of the dialog prize at EMAF 2023, and a ‘Special Mention’ from Festival Film Dokumenter, Yogyakarta for his first feature film, Nan (2020). A resident artist at Rijksakademie van beeldende kunsten, he lives and works in Amsterdam.
03
Between Relating and Use (2018)
Nazlı Dinçel, 9 min
"Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display..."* Borrowing words from Laura Mark's "Transnational Object" and DW Winnicott's "Transitional Object", this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards- on how we use our lovers.
*Destination Culture by Barbara Kirshenblatt-Gimblett, 1998
Nazlı Dinçel’s hand-made work reflects on experiences of disruption. They record the body in context with arousal, immigration, dislocation and desire with the film object: its texture, color and the tractable emulsion of the 16mm material. Their use of text as image, language and sound imitates the failure of memory and their own displacement within a western society.
Born in Ankara, Turkey, Dinçel immigrated to the United Sates at age 17. Dinçel resides in Milwaukee, WI. They obtained their MFA in filmmaking from UW-Milwaukee. Their works have been exhibited globally including the Museum of Modern art in New York, International Film Festival Rotterdam, Vienna Modern art Museum, Buenos Aires International Film Festival, Walker Art Center and Hong Kong International Film Festival. They were most recently a 2019/2020 Radcliffe Institute fellow for advanced study at Harvard University, and a 2019 Emerging Artist recipient of the Mary L. Nohl Fund Fellowship. In addition to exhibiting with institutions, Dinçel avidly self-distributes and tours with their work in micro-cinemas, artist run laboratories and alternative screening spaces in order to support and circulate handmade filmmaking to communities outside of institutions. Dinçel transitioned to they/them in 2022. All genders in previous works and writings should be understood accordingly.
04
Once in the XX Century (2004)
Deimantas Narkevičius, 8 min
This film is based on pre-existing video material. The material which I acquired from the Lithuanian National TV archive documents the action of the taking down the statue of Lenin. In addition, I have bought video footage of the same event from a freelance video reporter. So, there is a two-camera perspective on the event. | The images of the taking down the statue of Lenin in Vilnius are in fact familiar, as the materials were widely broadcast by CNN and some other major media networks. The images of Lenin hanging above the crowd and waving his hand had been repeated thousands of times by CNN during the last decade as a symbol of the disintegration of the Soviet Union and a failure of the idea of communism. In this work, the materials are edited in such a way that it looks as if the crowd were preparing, and then celebrating, the erection of the statue of Lenin.
Deimantas Narkevicius was born in 1964 in Utena, Lithuania and lives and works in Vilnius. He graduated from the Art Academy in Vilnius as a sculptor and spent a year in London in 1992/93. On his return to Lithuania he was concerned with site-specific objects but a strong interest in narrative led him to record interviews and conversations with artists. This process evolved into an exploration of different narrative structures through film and video, the work for which Narkevicius is now best known.Narkevicius is one of the most consistent and widely recognised Lithuanian artists on the international art scene. He represented his country at the 49th Venice Biennale in 2001 and exhibits at the 50th Venice Biennale in 2003 in ‘Utopia Station’ curated by Molly Nesbit and Hans Ulrich Obrist.
05
Turtleneck Phantasies (2022)
Gernot Wieland, 18 min
Turtleneck Phantasies is dedicated to the murmuring, the illegible, the unspeakable, the sketches and doodles, fragments of childhood memories, the stumbling that looks like a dance, the absurd moments. The film tells the story of a German writer who spent over 30 years in psychiatric institutions tattooing his fellow inmates. Born in Germany shortly before World War II, he wrote poems and worked as a sailor on a British cargo ship. In the 1980s he was one of only four people to survive a serious shipwreck. Severely traumatised, he was committed to a psychiatric clinic in England for several years and later moved to a home in West Berlin, where he lived until his death. In the homes he began tattooing words and (mostly illegible) texts and drawings on the skin of his fellow patients. The phenomenon of tattoos runs throughout Wieland’s video as a leitmotif, bringing together various biographical levels with memories and episodes from the artist’s childhood. Tattoos reveal different facets—they appear as a kind of obsession, as a protective “second skin”, anchor point, and pictorial medium of location and reorientation in the wake of traumatic experiences. Turtleneck Phantasies continually deals with the theme of who is situated in society and who is excluded. What stories do I tell myself, whose stories are told, and what remains? The ubiquitous presence of the past, which resonates in a specific way in the subject of the tattoo, is always linked to real, phantasmatic longings. “Phantasies, phantasies, I have phantasies. I have turtleneck phantasies ..”
Gernot Wieland (b.1968, Horn, Austria) is an artist whose films, drawings, lecture-performances and installations comment on the idea of human belonging within inherited social, political and psychological contexts. Wieland’s works have been shown, among others, at the Salzburger Kunstverein; International Film Festival, Rotterdam; Kunstverein Kassel; Kunsthaus Graz, and the Liverpool Biennial. Wieland has received several awards, including, the EMAF Media Art Award 2019 from the German Film Critics, and most recently, the Prize of the German Competition at this year's International Short Film Festival Oberhausen.
06
Stationary Music (2005)
Jayne Parker, 15.30 min
Stationary Music – music that doesn’t develop/music that stands still.Stationary Music takes its name from the first movement of Stefan Wolpe’s ‘Sonata 1’ composed in 1925. It is introduced and performed by his daughter, pianist Katharina Wolpe. Stationary Music – music that doesn’t develop/music that stands still.After the fire what Shall we do?”firsTonE step;aFterthAt,aNother.”We’realOnethe music is difficuLtto Play.wE must work at it.”In memorial S. W. by John Cage
Jayne Parker was born in Nottingham in 1957. She studied at Mansfield College of Art, Canterbury College of Art and the Slade. She was a visiting lecturer at Goldsmiths’ College, from 1984 until 1998 and has taught at the Slade School of Fine Art since 1989. Her work has been shown at art venues, on television and in film festivals internationally.
