Cinemaniac >Think Film 2016

Jasmina Cibic
Assaf Gruber

10 07 – 16 07 2016

Opening: July 10th at 20:00 h

Curated by: Branka Benčić

This year’s Forum is a constelation of independent presentations and it brings us two art postions: Jasmina Cibic and Assaf Gruber. On the exampe of their recent films, similarly to undertaking a “detailed reading”, we will analyse different art positions and practices of working with moving images and we will examine “new narratives”, opened up by different forms of working with film or video, where boundaries and possibilities of representation, language, image, space for political speech, models of production, distribution and presentation are contested. Films made by artists are placed in the space in between, as a form of a critical form and practice that brings forth many questions: from the institutions such as galleries, museums and cinemas, visual art, cinema.

Films and videos by Jasmina Cibic are constructed around the idea of architecture and discourse that she produces. The artist centres her exploration around the manners in which architecture can become an embodiment of national ideologies, identities and power representations. Her creative work is linked to a place and a context. It is performative and it uses a wide array of mediums and stage techniques in order to redefine and reconsider the exitsing envi ronment and its policy. The film Tear Down and Rebuild (2015), shot inside the Palace of the Federation in Belgrade, centres around four female speakers. Each woman embodies a certain ideological position as a variation of the Mother State (nation builder, pragmatist, conservationist, and artist-architect). The films Tear Down and Rebuild and The Nation Loves It are part of the Spielraum trilogy. Jasmina Cibic is an internationally acclaimed artist born in Ljubljana. She lives and works in London.

THe-RIGHT-1Assaf Gruber’s film The Right is a part of the complex project The Anonymity of the Night which centres around the questions about the manner in which political ideologies of subjects are intertwined with individual, personal stories and about the way in which they form social relations within private and public spheres. The Right puts art and its institutions in the spotlight. The short length film, structured as a monodrama, is developed around a letter by a retired security guard at the Old Masters Picture Gallery in Dresdner to the director of the Muzeum Sztuki in Lodz. The retired museum security guard is a 73-year-old woman who expresses her attitudes toward art and ideology in a letter by which she applies to volunteer in a Polish museum, an institution with a relevant collection of modern and contemporary art. Assaf Gruber (1980, Jerusalem) lives and works in Berlin.

Cinemaniac > Think Film, established in 2002 as a side programme of the Pula Film Festival, is a long-term research platform questioning the connection between film, moving images and contemporary art. The project provides a systematic exploration of tools and media considerations in terms of contemporary art and curatorial practices, working with moving images, images from the cinema projector, their interrelations and manners of their exploration, contextualization, presentation and reception.

Cinemaniac > Think Film is organized by Apoteka I Space for Contemporary Art


Museum of Contemporary Art Zagreb / Gorgona Hall, 7PM
A screening program of recent film production by Jasmina Cibic. Curated by Branka Benčić.

The program brings together several works by Jasmina Cibic shaped around the idea of architecture and discourses it produces. Architecture as a performative gesture understood as text and context. Its central focus is an inquiry into the ways in which architecture can become the incarnation of national ideologies. Architecture plays a significant role, becoming an important protagonist, acting not just as a décor or setting, but cast as a subjective relation – as a fictional character.

The program gathers recent film production by Jasmina Cibic between 2013 and 2015, from the works exhibited at the Slovenian pavilion at the Venice biennale (2013), followed by her recent trilogy Spielraum (2015) to her latest productionThe Pavillion (2015).


Tear Down and rebuild (2015), 15.30 min /The Nation loves it (2015), 15.45 min / The Double Game (2014), 2.37 min /Framing the Space (2013), 10.45 min /The Pavilion (2015), 6.45 min / Total running time: 52 min


May 23, 8.30PM / Museum of Contemporary Art, Zagreb

Artists Cinema presents three films by American artist Gordon Matta-Clark (1943 – 1978): Conical Intersect (1975), Splitting (1974) and Bingo Ninths (1974) – a key to understanding the artist’s practice of “building cuts”, sculptural transformation of abandoned buildings, articulated as “anarchitecture”” and “non-u-ments.” Film works by Gordon Matta-Clark are in dialogue with urban planning and development, public art, its transformative potential and critical and social role. Term anarchitecture coined by Matta-Clark, a combination of architecture and anarchy, refers to “a mental battle with the discourse of architecture,” a radical act of destruction / deconstruction of architectural structure.

Three films approach the issues of deconstruction and intervening in buildings scheduled for demolition. Splitting is the first “cutting” while Conical Intersect represent a documentation of a cutting performed for the Paris Biennale in 1975, in the urban fabric of Paris, near the constriction site of Centre Georges Pompidou, while the process of work is inspired by “expanded cinema”, one of the first abstract film installation with projector – Line Describing a Cone by Anthony McCall.

On this occasion Artists’ Cinema becomes a cinematic installation which exposes the film apparatus (screen and projector),while films by Gordon Matta-Clark engage into dialogue with the building of the Museum of Contemporary Art.

Conical intersect, 1975 / 16 mm / 19′ 00
Splitting + Bingo ninths, 1974 / 16 mm / 24′ 00

ARTISTS’ CINEMA is a program activity of the Museum of Contemporary Art established in 2012, aimed at introducing contemporary artists and their cinematic works, created at the meeting point of contemporary art and cinema, of film and visual arts. The program presents recent film/video works outside the context of production of entertainment and spectacle as well as historical perspectives and developments. It completes the programmatic conception of the Museum and complement the presentation of this hybrid form. It will intensify the dialog and exchange on the cultural scene of the city, connecting artists, curators, and critics with the public; in this way we will contribute to an active internationalization of the art scene engaged in the media of moving images.

Project Manager: Tihomir Milovac / Curator: Branka Benčić



The works by Ibro Hasanović present places whose meaning is being articulated in the fissures between the past, the present, and the future. They are meeting points of various references, narratives and texts, taken from the domains of film, art, and literature, such as Tarkovsky, Godard, Sidran or Caspar David Friedrich. The images and stories that Ibro’s films bring to us are immersive and poetic, and special attention is paid to soundscape forming, while the artist uses visual codes and cinematic language to explore complex relations between the individual and society.

The program will show three recent films by Ibro Hasanović: A short story (2011), Piccolo Greenland (2012) and Spectre (2012).

The landscape in A short story represents a space whose territory and destiny has been intertwined for centuries; a (construed) glacier in Piccolo Greenland, and a (real) ship, Galeb, in Spectre, represent almost mythical places in which the author relates a premonition of a certain situation. The meaning of these places is deeply ingrained in the collective memory, and they become topoi of artistic interest, of describing the ineffable, of articulating a visual language as a transfer vehicle between the subconscious and the images; and, the moving pictures draw us into a space of relations between reality and fiction.

In A short story the narrator relates a series of events that happened in the recent past, and some premonitions of the future, mediated by oral tradition. The act of narration and the performative monologue of the narrator present a frame of reference and the central place around which the narrative of the work formss, while the cyclical repetition of mythical elements reveals the patterns that participate in forming and regulating the social and natural order, with codes inscribed into the collective memory.

In Piccolo Greenland we re-read the relation between man and nature, where poetic scenes of cold, frozen landscape, in the spirit of romanticism, present a frame for individual struggle and engagement, oriented toward reaching a specific goal, while in the binary pair of nature and culture we recognize a melancholic scene.

The last film, Spectre, is the only one that is devoid of human presence. It takes its form by camera moving through the inner spaces of the navy ship, Galeb, anchored in the port of Rijeka. The “ghosts” of Galeb, as spectres of the system, take the emptied social and ideological place as their referential field.

A short story / Kratka priča, 16 mm, converted to HD, 10:20 min, 2011.
Piccolo Greenland, $K converted to HD, 6:22 min, 2012.
Spectre / Bauk, HD video, 7:30 min, 2012.
After the screening, a conversation with the artist is scheduled.
Ibro Hasanović (1981) lives and works in Bruxelles, He studied at the Academy of Fine Arts in Sarajevo and at Le Fresnoy – Studio national des arts contemporains in France. The central themes of his works – films, videos, photographs and installations are individual and collective memories. He showed his works at Turku Art Museum, Finland (2012); Open Space – Zentrum für Kunstprojekte, Vienna; SPACE Gallery, Bratislava, Galleria A+A, Venice, 52. Oktobarski salon, Belgrade; Panorama 13, Le Fresnoy; Brot Kunsthall, Vienna, Mestna Galerija Ljubljana, Ljubljana; Galerija P74, Ljubljana (2010), Galleria d’Arte Moderna Palazzo Forti, Verona; Galerija Galženica, Velika Gorica (2009); SPAPORT Banja Luka (2008); and Busan Metropolitan Art Museum, South Korea (2006).