THE MUSEUM OF FOUND FOOTAGE / MUZEJ PRONAĐENOG FILMA
NIKA AUTOR, ELI CORTIÑAS, HARUN FAROCKI, ŽELJKO KIPKE,
JEAN GABRIEL PERIOT, DAMIR RADIĆ
Kutosice / Curated by Branka Benčić and Tanja Vrvilo
16. 7. – 30. 7.
Venue: MMC LUKA, Pula, Istarska 30
Otvaranje: Opening: Monday July 16th, 8 PM
What is left of the existing film and the historical film dispositif, its sensory, cognitive and structural forms after the age of film, in the time of multimedial moving images that rejects physical facture and apparatus, remedializing the artefacts and the active system of an obsolete medium?
Cinemaniac > Think Film is an ongoing research and exhibiting platform questioning the relationships between cinema, moving images and contemporary art. It has been taking place since 2002 as a side programme at Pula Film Festival. The 17th edition is dedicated to practices of found footage film and video, a critical film practice encompassing various models, strategies, methodologies, procedures and conceptualisations, and represents the subsequent life of a film, a reworked film archives. The exhibition Museum of Found Footage is a place that reflects about the global archive of film through the practices of contemporary artists who reach for strategies of cut/edit, repetition, appropriation, using critical potential and the status of an image in the social and cultural field.
The international group exhibition The Museum of Found Footage presents a fragmented panorama featuring the works of international and Croatian artists and builds up on various practices involved in working with found footage film. The artists explore with different issues – from film archives, Hollywood, fetishism, the potentialities of political discourse or unfolding complex social relations, such as the representation of themes of work and labour, migration or feminist discourse. Objects of critical interest are the representations of different positions of power, that unfold moments of social reality, politics, discrimination (J. G, Periot), injustice and migration (Nika Autor), violence (Radić), film system itself, represented by Hollywood (Željko Kipke, Eli Cortiñas). In Workers Leaving the Factory, Harun Farocki creates a discursive panorama which spans an entire century of film history and frames relations between work, labour, factory and workers. Meanwhile, in Schnittstelle / Interface, Farocki introduces us to the cut, that key space between the images which takes place on the montage table, as he introduces us by a meta-narrative gesture into the space of film thinking.
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Što ostaje od postojećega filma i povijesnoga filmskog dispozitiva, njegovih osjetilnih, misaonih i strukturnih obličja nakon doba filma, u vremenu višemedijskih pokretnih slika koje odbacuje fizičku fakturu i aparaturu, remedijalizirajući artefakte i djelatni sustav zastarjeloga medija?
Sedamnaesto izdanje izložbe CINEMANIAC > MISLITI FILM, koja se realizira kao popratni program Pula Film Festivala, posvećeno je filmskim i umjetničkim praksama found footagea. Žanr found footagea / pronađenog filma specifična je praksa filmskog mišljenja, kritička filmska praksa koja obuhvaća različite strategije, postupke i konceptualizacije, a predstavlja naknadni život filmskog djela, prerađeni filmski arhiv. U tom smislu Muzej pronađenog filma, ukazati će i podsjetiti na mjesto filma u kontekstu filmske baštine, na umjetničke prakse found footagea i prostore galerija i muzeja kao mjesta čuvanja i sjećanja, oživljavanja i emancipacije globalnog arhiva filma kroz prakse suvremenih umjetnika, koji posežu za strategijama reza / montaže, ponavljanja, aproprijacije, upotrebe referenci i citata, kritičkog potencijala i statusa slike u društvenom i kulturnom polju.
Međunarodna grupna izložba Muzej pronađenog filma predstavlja fragmentarnu panoramu kroz koju se radovima međunarodnih i hrvatskih umjetnika publici približavaju i čine vidljivima raznolike prakse rada s found footage filmom. Umjetnici se bave različitim temama – od filmskog arhiva, Hollywooda, fetišizma, potencijala političkog govora ili analize kompleksnih društvenih pitanja, propitujući teme rada, probleme migracije, feminizma – stvarajući nove diskurzivne mreže odnosa. Objekti kritičkoga interesa reprezentacije su različitih pozicija moći koje ogoljuju trenutke društvene zbilje, uokvirujući politiku, diskriminaciju (The Devil, J. G. Periot), nepravdu, nasilje (Radić), migracije (Filmski žurnal 63 – Vlak sjena Nike Autor, predstavljen u slovenskom paviljonu na 57. Bijenalu u Veneciji 2017 i nagrađen na International Film Festival Rotterdam 2018), pa i sam sustav kinematografije kojega reprezentira Hollywood (Željko Kipke, Eli Cortiñas), dok Harun Farocki u Workers Leaving the Factory kroz perspektivu povijesti filma uokviruje mrežu odnosa rada, tvornica i radnika, a u Schnittstelle / Interface otvara izlaganje o rezu, ključnom mjestu između slika, koje se odvija na montažnom stolu, dok nas metanarativnom gestom uvodi u prostor filmskog mišljenja.
Organized by: Apoteka – Space for Contemporary Art
Partner: Pula Film Festival
Institutional support:
Film – protufilm u. o. / Film Mutations: Festival of Invisible Cinema
Kino umjetnika / Artist Cinema – MSU Museum of Contemporary Art Zagreb
Financial support provided by City of Pula, Ministry of Culture of the Republic of Croatia, HAVC Croatian Audiovisual Centre and Region of Istria
www.apotekapsu.hr
www.pulafilmfestival.hr