Solidarity as Disruption
Solidarity disrupts the systems of inequality and hierarchy. In dealing with the migrations in recent years, the solidarity with refugees and migrants, in contrast to the violent politics of the fortress, lead to a re-examining of the very meaning and possibility of solidarity. How to think of solidarity as
a political project and re/activate its methods through the cinema? How to rethink the historical heritage as a resource and work on a contemporary register of solidarity?
Tracing the connections of modes of production and political practice in cinema, the programme will explore the archive and continuity of emancipation politics, observing solidarity through the disruptive practices of cinema: from the de-elitisation of production (radical amateurism) and the spatial politics of everyday to kinepolitics, the cinema which reflects the movement of the people, to the aesthetic forms and documents of workers’ life practices in the films and film fronts which are re-claiming the future. In screenings, a Podium discussion and lectures, the programme builds on the heritage and contemporary positions of cinema and artistic practice from the former Yugoslavia since the 1960s in an international dialogue, including films by Želimir Žilnik, Tomislav Gotovac, Bojana Marjan, Igor Grubic, Vlado Kristl, Krsto Papic, Dušan Makavejev, Doplgenger, Chto Delat, Nika Autor and others.
Branka Bencic is an independent curator and art historian,currently artistic director at Apoteka – Space for Contemporary art, curator at the Artists cinema screening programme at the Museum of Contemporary Art Zagreb, and founder and curator of the Cinemaniac Think Film support programme of the Pula Film Festival. She curated the Croatian Pavilion at the 57th Venice Biennale (2017).
Aleksandra Sekulic is the programme curator at the Center for Cultural Decontamination (CZKD) in Belgrade. In the 2000s, she was programme curator and film producer at the Academic Film Center in Belgrade and is a member of the organisation Media Archaeology and the Kosmoplovci collective in Belgrade.
Together and individually they curated exhibitions and published essays on the heritage of experimental cinema, early video production and films clubs in former Yugoslavia.
Contact: Kristina Henschel
Topics covered in recent years included "El Pueblo - Searching for Contemporary Latin America" (2016), "The Third Image – 3D Cinema as Experiment" (2015); "Memories Can't Wait - Film without Film"(2014), "Flatness: Cinema After The Internet" (2013), "Provoking reality: Mavericks, MouveMents, Manifestos" (2012), "Shooting Animals. A Brief History of Animal Film" (2011), "From the Deep: The Great Experiment 1898-1918" (2010), "Unreal Asia" (2009), "Bordercrossers and Troublemakers", "Whose History" (2008), "Kinomuseum" and "Don't turn around! Children, Childhood, Cinema (2007).