African Cinema Series, 9. – 13. Mai 2012
Längst ist das Oeuvre afrikanischer Filmemacher international bekannt und wird für seine eigenen, von den westlichen Konventionen des Erzählkinos verschiedenen Formen geschätzt.
Dazu setzen sich viele neue Produktionen thematisch und ästhetisch stark von den Filmen der Gründergeneration des afrikanischen Kinos (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé u.a.) ab, sind auf der Suche nach einer zeitgemäßen, globalen afrikanischen Filmsprache. Deren experimenteller Umgang mit dem urbanen Leben spielt bei der Entwicklung neuer erzählerischer und stilistischen Formeln ebenso eine herausragende Rolle wie der differenzierte Rekurs auf den postkolonialen und Gender-Diskurs.
Der Portikus in Zusammenarbeit mit der Kuratorin und Filmwissenschaftlerin Marie-Hélène Gutberlet lanciert im Mai die Reihe African Cinema Series mit fünf aufeinanderfolgenden Filmabenden. Die Reihe wird in den kommenden Monaten regelmäßig Filme im Spektrum der Kunst-, Dokumentar-, Spiel- und Essayfilm- und Videoproduktion im Portikus präsentieren. Die Filme stammen aus den späten 1950er Jahre bis heute. Die Programme werden jeweils nach spezifisch ästhetisch/politischen und formalen Fragestellungen strukturiert.
Die Filme der ersten fünf Filmabende (9. – 13. Mai 2012, jeweils 19 Uhr) nehmen explizit Bewegung in den Blick – die wortwörtliche physische Gehbewegung ebenso wie Motive geopolitisch strukturierter Mobilität.
9. Mai, 19 Uhr: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
Der Dokumentar/Spielfilmhybrid Conversations on a Sunday Afternoon streunt durch Johannesburg auf der Suche nach einer inspirierenden Migrationsgeschichte.
10. Mai, 19 Uhr: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, Deutschlandpremiere!
Der Spielfilm Relentless macht Streifzüge durchs nächtliche Lagos, um der Vergangenheit zu entfliehen.
11. Mai, 19 Uhr: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
Der Spielfilm Heremakono parallelisiert verschiedene Ankunfts- und Abreiseerzählstränge zu einem multiperspektivischen Gewebe.
12. Mai, 19 Uhr: Vier Filme von Penny Siopis, SA, Filmlänge insgesamt 45’
Die südafrikanische Künstlerin Penny Siopis arbeitet mit gefundenem Amateurfilmmaterial. Ihre vier experimentellen, visuell und akustisch komplex montierten Filme – My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010 und Communion, 2011 – bringen persönliche Erinnerungen und kollektive Bilder der Apartheid-Zeitgeschichte zusammen.
13. Mai, 19 Uhr: Indochine, sur les traces d’une mère – Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Der gleichermaßen investigative und cineastische Dokumentarfilm Indochine, sur les traces d’une mère befasst sich mit der Teilnahme afrikanischer Söldner im französisch-vietnamesischen Kolonialkrieg.
Bio
Marie-Hélène Gutberlet (*1966) studierte Kunstgeschichte, Philosophie und Filmwissenschaft in Frankfurt am Main und Basel (Dr. Phil.), sie lehrte Film und Medien am Institut für Theater-, Film- und Medienwissenschaft der Universität Frankfurt am Main und ist als freie Autorin und Kuratorin tätig. Gutberlet ist Mitgründerin der Experimentalfilmreihe reel to real Frankfurt am Main (www.reeltoreal.de/) und Mitinitiatorin des laufenden Projekts Migration & Media (www.migrationandmedia.com/) mit Plattformen in Frankfurt/Main, Bamako und Johannesburg.
Zahlreiche Veröffentlichungen, Herausgeberschaften und Zeitschriftenbeiträge zum afrikanischen Kino, Experimental- und Dokumentarfilm und Film im Kunstkontext.
Die Veranstaltung wird in Kooperation mit dem Lehrstuhl für Filmwissenschaft der Goethe-Universität Frankfurt a.M. ausgeführt.
Portikus
Alte Brücke 2 / Maininsel
D-60594 Frankfurt am Main
Tel: +49 (0)69 96244540
Fax: +49 (0)69 962445424
info(at)portikus.de | www.portikus.de
African Cinema Series, May 9–13, 2012
The oeuvres of African filmmakers have long enjoyed international renown. Viewers appreciate the distinctive forms of African filmmaking, which differ from the conventions of Western narrative cinema. Many more recent productions distance themselves both thematically and aesthetically from the films created by the founding generation of African cinema (Ousmane Sembene, Moustapha Alassane, Souleymane Cissé, et al.), trying to define a contemporary and global African filmic language. Their experimental engagement of urban life plays a crucial role in the development of new narrative and stylistic formulae, as does a nuanced recourse to the discourses of postcolonial and gender studies.
This May, Portikus, in collaboration with the curator and film scholar Marie-Hélène Gutberlet, launches African Cinema Series with screenings on five consecutive days. Over the coming months, the series, held at Portikus, will present films from the spectrum of art, documentary, feature, and essayistic films and videos at regular intervals. The films were created between the late 1950s and the present. Each program will be structured to examine specific aesthetic/political and formal questions.
The films presented during the five initial screenings (May 9–13, 2012, always at 7pm) take an explicit look at motion—from literal movement, the physical act of walking, to issues of geopolitically structured mobility.
May 9, 7pm: Conversations on a Sunday Afternoon, Khalo Matabane, SA 2005, 80’
The documentary/feature hybrid Conversations on a Sunday Afternoon roams Johannesburg, looking for an inspiring story of migration.
May 10, 7pm: Relentless, Andi Amady Okoroafor, Nigeria 2010, 91’, German premiere!
The feature film Relentless forays through nocturnal Lagos to escape the past.
May 11, 7pm: Heremakono – Waiting for Happiness, Abderrahmane Sissako, Mau/Sen 2002, 95’
The feature film Heremakono interweaves several parallel storylines about arrivals and departures to create a multi-perspectival fabric.
May 12, 7pm: Four films by Penny Siopis, SA, 45’ in total
South African artist Penny Siopsis works with found footage created by amateur filmmakers. Complex visual and acoustic montages, her four experimental films—My lovely day, 1997; Pray, 2007; Obscure white messenger, 2010; and Communion, 2011—blend personal recollections with collective images from the contemporary history of Apartheid.
May 13, 7pm: Indochine, sur les traces d’une mère—Indochine, Traces of a Mother, Idrissou Mora-Kpai, F/Benin/Vietnam 2011, 71’
Investigative and cinematically ambitious at once, the documentary Indochine, sur les traces d’une mère examines the participation of African mercenaries in the French-Vietnamese colonial war.
Bio
Marie-Hélène Gutberlet (b. 1966) studied art history, philosophy, and film studies in Frankfurt am Main and Basel (PhD) before teaching film and media at the Institute of Theater, Film, and Media Studies at the University of Frankfurt am Main. She is now a freelance writer and curator. Gutberlet cofounded the experimental film series reel to real in Frankfurt am Main (www.reeltoreal.de/) and co-initiated the ongoing project Migration & Media (www.migrationandmedia.com/) with platforms in Frankfurt am Main, Bamako, and Johannesburg.
Numerous publications, editorial contributions, and journal articles on African cinema, experimental and documentary filmmaking, and film in the art context.
This program of events is produced in collaboration with the film studies chair at the Goethe University, Frankfurt am Main.
Mittwoch, 25. April 2012
Montag, 23. April 2012
Peter Greenaway
Vortrag
Peter Greenaway: The Cinema is dead, long live the Cinema
Mittwoch, 25. April 2012, 19 Uhr, Aula
"The cinema of our fathers and forefathers is rapidly changing. We have new technological languages and procedures of great and marvelous aspect. We should put new wine in new bottles, revise our cinematic intelligences, reinvent a new cinema that should certainly be architectonic, multi-medial and inter-active. We can say why the old cinema is dying, better still - we can intimate what the new possibilities might be. Here are some new possibilities".
Peter Greenaway was born in Wales and educated in London. He trained as a painter for four years, and started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his making of installations for the Palazzo Fortuny in Venice, the Joan Miro Gallery in Barcelona, the Boymans -van Beuningen Museum in Rotterdam, the Louvre in Paris, the Rijksmuseum in Amsterdam, the Hoffburg in Vienna, the Brera in Milan and the Armory in New York. He has worked and collaborated with the composers John Cage, Philip Glass, Michael Nyman, Wim Mertens, Louis Andriessen, Goran Brekovic, Giovanni Sollima and David Lang, and toured the world with his Tulse Luper Suitcases VJ Show. He has regularly been nominated for the Film Festival Competitions of Cannes, Venice and Berlin, published books and written for the theatre and opera. His first feature film, The Draughtsman´s Contract, completed in 1982, received great critical acclaim and established him internationally as one of the most original and important film makers of our times, a reputation consolidated by the films, The Cook, The Thief, his Wife & her Lover and The Pillow-book and most recently by Nightwatching and the documentary rembrandt’s j’accuse.
Peter Greenaway: The Cinema is dead, long live the Cinema
Mittwoch, 25. April 2012, 19 Uhr, Aula
"The cinema of our fathers and forefathers is rapidly changing. We have new technological languages and procedures of great and marvelous aspect. We should put new wine in new bottles, revise our cinematic intelligences, reinvent a new cinema that should certainly be architectonic, multi-medial and inter-active. We can say why the old cinema is dying, better still - we can intimate what the new possibilities might be. Here are some new possibilities".
Peter Greenaway was born in Wales and educated in London. He trained as a painter for four years, and started making his own films in 1966. He has continued to make cinema in a great variety of ways, which has also informed his making of installations for the Palazzo Fortuny in Venice, the Joan Miro Gallery in Barcelona, the Boymans -van Beuningen Museum in Rotterdam, the Louvre in Paris, the Rijksmuseum in Amsterdam, the Hoffburg in Vienna, the Brera in Milan and the Armory in New York. He has worked and collaborated with the composers John Cage, Philip Glass, Michael Nyman, Wim Mertens, Louis Andriessen, Goran Brekovic, Giovanni Sollima and David Lang, and toured the world with his Tulse Luper Suitcases VJ Show. He has regularly been nominated for the Film Festival Competitions of Cannes, Venice and Berlin, published books and written for the theatre and opera. His first feature film, The Draughtsman´s Contract, completed in 1982, received great critical acclaim and established him internationally as one of the most original and important film makers of our times, a reputation consolidated by the films, The Cook, The Thief, his Wife & her Lover and The Pillow-book and most recently by Nightwatching and the documentary rembrandt’s j’accuse.
Etcetera…
Vortrag
Etcetera… present the International Errorist: From the Relative Truth to the Absolute Error.
Dienstag, 24. April 2012, 19 Uhr, Aula
Today, errors and failures are confronting permanently with the social pressure to follow the preconception and stereotyped ideas of successful and perfection, the main motor of the all social life in the contemporary western societies. The title of the conference works as metaphor about both philosophic and scientific concepts, playing with the notions of absolute and relative truth, and taking the error as a key-word between relativism and dialectic.
Etcetera… was formed in 1997 in Buenos Aires by a group of visual artists, poets, puppeteers and actors. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions. Etcetera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence).
Etcetera members Federico Zukerfeld and Loreto Garin Guzman have exhibited at the Istanbul Biennial (Errorist Kabaret, 2009) and Kunsthal Charlottenborg (2011).
Etcetera… present the International Errorist: From the Relative Truth to the Absolute Error.
Dienstag, 24. April 2012, 19 Uhr, Aula
Today, errors and failures are confronting permanently with the social pressure to follow the preconception and stereotyped ideas of successful and perfection, the main motor of the all social life in the contemporary western societies. The title of the conference works as metaphor about both philosophic and scientific concepts, playing with the notions of absolute and relative truth, and taking the error as a key-word between relativism and dialectic.
Etcetera… was formed in 1997 in Buenos Aires by a group of visual artists, poets, puppeteers and actors. They all shared the intention of bringing art to the site of immediate social conflict -the streets- and of bringing this conflict into arenas of cultural production, including the media and art institutions. Etcetera… worked closely with the human rights group H.I.J.O.S. (Children for Identity and Justice Against Forgetting and Silence).
Etcetera members Federico Zukerfeld and Loreto Garin Guzman have exhibited at the Istanbul Biennial (Errorist Kabaret, 2009) and Kunsthal Charlottenborg (2011).
Richard Jackson
Vortrag
Richard Jackson: Unusual Behavior - Expanded Definition of Painting
Montag, 23. April 2012, 19 Uhr, Aula
Since the early 1970s, Los-Angeles-based artist Richard Jackson has expanded the definition and practice of painting more than any other contemporary figure. Beginning with his large scale site-specific wall paintings and room-size painted environments, and continuing with his monumental stacked canvases and more recent anthropomorphic painting “machines”, Jackson’s wildly inventive, exuberant, and irreverent take on Action Painting has dramatically extended its performative dimensions, merged it with sculpture, and repositioned it as an art of everyday experience rather than one of heroic myth.
Jackson´s work was shown in numerous exhibition such as ‘Art about Art’ (Whitney Museum of American Art, 1978), the Venice Biennale (curated by Harald Szeemann in 1999) and ‘The Artist’s Museum’ (MoCA, Los Angeles, 2010). In his lecture at the Städelschule Jackson will show examples of 35 years of work and try to explain himself.
Richard Jackson: Unusual Behavior - Expanded Definition of Painting
Montag, 23. April 2012, 19 Uhr, Aula
Since the early 1970s, Los-Angeles-based artist Richard Jackson has expanded the definition and practice of painting more than any other contemporary figure. Beginning with his large scale site-specific wall paintings and room-size painted environments, and continuing with his monumental stacked canvases and more recent anthropomorphic painting “machines”, Jackson’s wildly inventive, exuberant, and irreverent take on Action Painting has dramatically extended its performative dimensions, merged it with sculpture, and repositioned it as an art of everyday experience rather than one of heroic myth.
Jackson´s work was shown in numerous exhibition such as ‘Art about Art’ (Whitney Museum of American Art, 1978), the Venice Biennale (curated by Harald Szeemann in 1999) and ‘The Artist’s Museum’ (MoCA, Los Angeles, 2010). In his lecture at the Städelschule Jackson will show examples of 35 years of work and try to explain himself.
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