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Monokino X Beaufort www.monokino.org www.beaufort21.be 27.05.2021 mono•7.11.2021 Kino & Beaufort CRACKS“To accept one’s past never be used; it – one’s history – cracks and crumbles is not the same thing under the pressures as drowning in it. of life like clay in a An invented past can season of drought.” A James Baldwin,N The Fire Next Time D CRUMBLES Cracks_2021.indd 1 18/05/21 14:04 Vorig jaar zorgde Black Lives Matter voor beweging op straat. De Last year, Black Lives Matter caused film archives raise a number of questions maken deze filmarchieven een aantal vragen bij ons los: hoe movement in the street. The wave of for us: how exactly does that film and golf van protesten in Amerika waaide over naar België. Naast protests which came from America, flew visual culture determine our (colonial) bepaalt die film- en beeldcultuur toen én vandaag precies onze George Floyd werden hier ook andere namen geroepen: Adil, over to Brussels, Gent, Antwerp and image, then and today? And how can we (koloniale) beeldvorming? En hoe kunnen we film en video van- Ostend. Besides George Floyed, other see film and video today as a medium Mehdi, Semira, Lamine, Mawda… In Brussel vonden er acties names were called out through the for alternative knowledge transfer? daag dan zien als een medium voor alternatieve kennisoverdracht? plaats voor het Justitiepaleis, een gebouw bijeengehouden door streets: Adil, Mehdi, Semira, Lamine, Simnikiwe Buhlungu questions knowledge Ook Siminikew Buhlungu’s film Vitamin See (2017) stelt stellingen die ondertussen zelf aan vernieuwing toe zijn. Zo lijken Mawda… The Brussels protest took place production with her film Vitamin See onze manier van kennisproductie in vraag. Wat is wetenschap- next to the Palace of Justice, a building (2017). What is Scientific Knowledge? de woorden van James Baldwin te echoën in haar grote, koude held together by scaffolds. The words Who ‘produces’ this knowledge? Two pelijke kennis, en wie ‘produceert’ deze juist? Twee kinderen voe- hallen: “Een verzonnen verleden kan nooit worden gebruikt; het of James Baldwin seem to echo in her big, children have a dialogue about the sea as ren een dialoog over de zee als metafoor voor kennisoverdracht. barst en brokkelt af onder de druk van het leven zoals klei in een cold halls: “An invented past can never a metaphor for knowledge transfer. In het korte parcours neemt Christian Nyampeta met zijn film be used; it cracks and crumbles under In the short program, Christian droogseizoen”. the pressures of life like clay in a season Nyampeta takes a central role with his Sometimes It Was Beautiful (2018) een cen- Het Justitiepaleis is één van de talloze voorbeelden van archi- of drought.” film Sometimes it was Beautiful trale plek in. In een cinemazaal bespreken verschillende histori- The Brussels Palace of Justice is (2018). In a cinema, several historical tectuur in België die werd opgetrokken met het geld dat Leopold II one of the many examples of colonial figures discuss how we should frame dis- sche figuren hoe we de historische beeldvorming over de kolo- opstreek door het plunderen van zijn kolonies Congo, Rwanda en architecture in Brussels, financed with cussions about historical imagery of the nies vandaag moeten omkaderen. Wie heeft het recht om deze Burundi, het zogenaamde ‘Kongogeld’. Ook in Oostende treffen so-called ‘Kongogeld’ [Congo-money], colonies today. Who has the right to (re) geschiedenissen te (re)presenteren? En hoe? Met het program- which came from the plundering of present these histories? And how? With we deze koloniale geschiedenis aan in de vorm van standbeelden Belgian colonies in Congo, Rwanda the program Cracks and Crumbles, ma Cracks and Crumbles wil Monokino aantonen en gebouwen. De Koningin der Badsteden ver- and Burundi. In Ostend, we find similar Monokino wants to emphasize that dat er geen eenduidig beeld op het verleden bestaat. Daarom zijn examples in the forms of statues and there is no singular or straightforward kreeg haar royale reputatie en Belle-Epoque erfgoed door koning- architecture. The Queen of Coastal imagery of our past, and therefore there er ook geen eenduidige antwoorden. ‘De’ geschiedenis is een on- architect Leopold II, die opdracht gaf voor de aanleg van gebou- Cities earned her royal reputation and is no singular answer. ‘The’ history is an houdbare constructie, die op barsten staat. En zo zochten we naar wen zoals de Koninklijke Gaanderijen, de Koninklijke Stallen, de Belle-Epoque architecture through the untenable construction, about to burst. persoonlijke en intieme narratieven, die een alternatief bieden actions of Leopold II who took care of This is why we searched for personal and Wellingtonrenbaan, het Leopoldpark of het toenmalig Kursaal the construction of buildings such as the intimate narratives, as a counterweight voor de eenzijdige visie van de monumentale standbeelden. alsook de plattegrond van het vissersdorpje Oostende grondig Royal Galleries, the Royal Stables, the to the monumental statues. Naast het vaste parcours willen we via een aantal evene- Wellington Racecourse, the Leopoldpark, To make way for an active dialogue, hertekende. Leopold II werd dan ook in Oostende geëerd door the late kursaal… Leopold II was honoured we also weaved a number of events next menten ook een actieve dialoog opstarten. Beginnen doen we het ruiterstandbeeld dat de Drie Gapers bekroont. in Ostend through the equestrian statue to the permanent program. We start with met de vertoning van Soleil Ô (1970), een film van Med Hoe gaan we om met dit erfgoed? Op vraag van Beaufort which crowns the Drie Gapers. a screening of Med Hondo’s film Soleil Ô Hondo die we combineren met een book launch over de filmma- What do we do with this heritage? (1970) accompanied by a conversation probeert Monokino de nasleep van onze koloniale geschiedenis At the request of Beaufort, Monokino between our very own Anouk De Clercq ker. Geïntroduceerd door Pascale Obolo, filmmaakster, activiste in Oostende in een ander licht te plaatsen. We verruilden echter attempts to address the aftermath of and Pascale Obolo, a filmmaker, activist en curator reflecteren we samen met Anouk De Clercq over Med colonial history in Ostend through a and curator. In late summer, we planned een blik op de monumenten voor een aantal dynamische video- different approach, I, the form of an a city walk with Aldo Esparza Ramos Hondo’s oeuvre dat vandaag relevanter dan ooit blijkt. In de installaties doorheen de stad. Waar de statische standbeelden installation of videoworks throughout the and Yuchen Li. Together they form the late zomer staat een stadswandeling met Aldo Esparza Ramos in de stad van bovenaf op ons neerkijken, wil Monokino onze blik city. Where the statues of the city look collective “Weaving Realities” in which en Yuchen Li op de planning. Samen vormen ze het collectief down on from above, Monokino flips the they address ancestral knowledge omkeren. We zochten naar verhalen die niet beschreven werden gaze. We searched for stories which are about food traditions. In Ostend they ‘Weaving Realities’, dat via kennis over voedsel en recepten onze in geschiedenisboeken, naar stemmen die ons toefluisteren van not described in history books and voices will talk about the (colonial) history of sensoriële link met de geschiedenis onderzoekt . In Oostende which whisper behind monumental chocolate through ancestral stories. We achter deze monumentale façades. Zo beschrijft de film Drei facades. In this manner, Mirjam Charles’ conclude with an evening with Belgian vertellen ze over de (koloniale) geschiedenis van chocolade door Atlas (2018) van Mirjam Charles bijvoorbeeld hoe een dienst- film Drei Atlas (2018) describes how filmmakers Sandra Muteteri Heremans middel van voorouderlijke verhalen. We sluiten het programma af meisje wordt verdacht op de moord op haar voormalige werk- a servant girl is suspected of the murder and Maxime Jean-Baptiste who put met een avond gecureerd door de Belgische filmmakers Sandra of her former employer. As a viewer, together a program of ‘black’ or absent gever. Als kijker stap je mee in het verhaal van de protagoniste we experience the perspective of the images. Together with these artists, Muteteri Heremans en Maxime Jean-Baptiste die een programma die een agente moet overtuigen van haar onschuld. protagonist who has to convince a police filmmakers, thinkers and the people of over ‘zwarte’ of afwezige beelden samenstellen. Samen met Waar de oude standbeelden dikwijls vervreemdend of zelfs woman of her innocence. Ostend, Monokino enters into a dialogue deze kunstenaars, filmmakers, denkers en het Oostendse publiek, As an everyday medium, film offers about our collective past and we think buitenaards lijken, is film juist een herkenbaar medium waar we more recognizability than the statues about how we deal with these histories gaat Monokino in dialoog over hoe we vandaag samen kunnen elke dag mee worden geconfronteerd. Het is om die reden dat which often appear strange and alien. in the present. So that the cracks and omgaan met dit collectief verleden. Zodat de barsten en de krui- This is why the audiovisual medium was the crumbs do not lead to a collapse audiovisuele media als film dikwijls ook werden ingezet als ko- often used for colonial propaganda. As a today, but serve as inspiration for a future mels vandaag niet leiden tot een instorting, maar als inspiratie loniale propaganda. Als nomadisch film- en kunstencollectief, nomadic film and arts collective, these shared and imagined together. dienen voor een samen gedeelde en verbeelde toekomst. Cracks_2021.indd 2-3 18/05/21 14:04 Vast Parcours DREI ATLAS 2018 films en speelfilms geproduceerd en gefotografeerd, en beoordeeld als ‘wetenschappelijke kennis’ in Permanent Program is ook de regisseur van een aantal kortfilms. Miryam Charles Miryam Charles is a director, producer and cinematographer vraag stelt en analyseert.
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