Eduardo Williams Eduardo

48 THE IMAGE AND ITS IMAGE 1 Harry Watt Harry Ayo Akingbade

Tito & Tita & Tito THE IMAGE AND ITS IMAGE Martha Atienza

Shannon Te Ao Te Shannon Tanatchai Bandasak

Kidlat Tahimik Kidlat Mariano Blatt

Danech San Danech Duncan Campbell

Taiki Sakpisit Taiki George Clark

Raúl Ruiz Raúl Shirley Clarke

Francisco Rodríguez Francisco Jatiwangi art Factory Jessica Sarah Rinland Sarah Jessica Humphrey Jennings

14-18 OCT 2019

Miko Revereza Miko Joan Jonas

Alain Resnais Alain Barbara McCullough

Morgan Quaintance Morgan Chris Marker

Charlotte Prodger Charlotte Vincent Meessen

Juanita Onzaga Juanita László Moholy-Nagy

Ogawa Productions Ogawa Ismal Muntaha

Kira Muratova Kira Kira Muratova

Ismal Muntaha Ismal Ogawa Productions

László Moholy-Nagy László Juanita Onzaga

Vincent Meessen Vincent Charlotte Prodger

Chris Marker Chris Morgan Quaintance

Barbara McCullough Barbara Alain Resnais Joan Jonas Joan Miko Revereza

NKFS KABELVÅG

Humphrey Jennings Humphrey Jessica Sarah Rinland

Jatiwangi art Factory art Jatiwangi Francisco Rodríguez

Shirley Clarke Shirley Raúl Ruiz

George Clark George Taiki Sakpisit

Duncan Campbell Duncan Danech San Manny Farber, Cézanne avait écrit, 1986, oil on board

Mariano Blatt Mariano Kidlat Tahimik

Tanatchai Bandasak Tanatchai Shannon Te Ao

D ITS IMAGE ITS D N N A IMAGE THE Martha Atienza Martha Tito & Tita Ayo Akingbade Akingbade Ayo Harry Watt Eduardo Williams 2 THE IMAGE AND ITS IMAGE 3

A peculiar fact about termite-tape- worm-fungus-moss art is that it goes always forward eating its own boundaries, and, likely as not, leaves nothing in its path other than the signs of eager, industrious, unkempt activity. - Manny Farber [1]

Poems are not made out of words They’re made out of emotional absences, rips and tears. That’s the incomplete true fabric of the text. - Eileen Myles [2]

[1] Manny Farber, 'White Elephant Art vs. Termite Art', Film Culture, no. 27, Winter 1962–63 [2] Myles, Eileen 'Painted Clear, Patined Black', Evening Will Come, Issue 29, May 2013. http://www.thevolta.org/ewc29-emyles-p1.html 4 THE IMAGE AND ITS IMAGE 5 THE IMAGE AND ITS IMAGE Today, it seems interesting to me to assembling bodies and performing go back to what I would call an animist diverse rituals and phenomena along conception of subjectivity, if need be the way. The unresolved nature of many through neurotic phenomena, reli- œvÌ iÃiܜÀŽÃ«Õà iÃÕÃL>VŽ̜ÀiyiVÌ gious rituals, or aesthetic phenomena. on the constellation of signs and images How does subjectivity locate on the through which we attempt to navigate side of the subject and on the side of the world. the object? How can it simultaneously singularize an individual, a group of Central to the series are three intercon- individuals, and also be assembled to nected themes. 1. The lives of images space, architecture and all other cosmic and the lives of objects. In many of assemblages? - Féliz Guattari [3] the works objects become the central protagonists, leading us across cultures, I am interested in the idea of images economies, temporalities and ecologies. 14-18 OCT 2019 generated by other images and the log- 2. The connection between movement ic that’s involved. I’m not a surrealist.... and creation, both of culture and the self. but I am interested in surrealism on the Works explore how movement, migration level at which its technique can be used and displacement can form new models to examine different levels of conscious- of creation and assembly. 3. The capac- ness. - Raúl Ruiz [4] ity of the moving image to cohere and gather bodies (human and non-human) How can we grasp the elusive nature ˆ˜Ìœ˜iÜVœ˜w}ÕÀ>̈œ˜Ã]Vœ““Õ˜ˆÌˆià of an object or an idea? Images can be and allegiances. NKFS KABELVÅG means of capture but then how do we contain the image itself? The thirty work Subjects are as varied as the politics of assembled here draw on a wide array of London’s social housing (with pre-war subjects but are linked in their explora- works by László Moholgy Nagy and tion of the elusive quality of the image. Humphrey Jennings and contemporary œÕLiÃ]ÀiyiV̈œ˜Ã]iV œiÃ>˜`} œÃÌà work by Morgan Quaintance and Ayo populate the works each of which seeks Akingbade) to oppositional models of ̜w˜`Ì iˆÀœÜ˜Ü>Þ̜>««Àœ>V Vœ˜- self-creation in or despite America (from Domestic Movies, 1985, oil on board Manny Farber, temporary reality and the cosmic assem- Shirley Clarke’s portrait of Ornette Cole- blages of images in which we live. The “>˜̜w“ÃLÞ ˆŽœ,iÛiÀiâ>Ü œˆÛi` works provide models for how thought undocumented in USA for 20 years). The can be contained in what we may call, i«ˆV>ÃÌw“vÀœ“Ì ii}i˜`>ÀÞ"}>Ü> after Ursula Le Guin, the carrier bag of *Àœ`ÕV̈œ˜Ã]>«œˆÌˆV>w“VœiV̈Ûiˆ˜ images [5], which we know under its other Japan to recent work from the Jatiwan- name; cinema. gi art Factory in Indonesia, illuminate [3] Guattari, Félix, 'Assemblages: Félix [4] Raul Ruiz, Ehrenstein, David, Film: The modes of collective practice and embed- The works shift time periods and plac- Guattari and Machinic Animism,' e-Flux Front Line, 1984. Arden Press, Inc., 1984 `i`“œ`iÃvœÀw““>Žˆ˜}]LÕÀÀˆ˜}Ì i Journal #36 July 2012. [5] Le Guin, Ursula K. ‘The Carrier Bag es drawing lines of thought as well as ÌÌ«Ã\ÉÉÜÜÜ°i‡yÕÝ°Vœ“ɍœÕÀ˜>ÉÎÈÉÈ£Óx™É Theory of Fiction’, Dancing at the Edge of line between art and life in rural spaces. seeking new collisions and ruptures, >ÃÃi“L>}iÇyˆÝ‡}Õ>ÌÌ>Àˆ‡>˜`‡“>V ˆ˜ˆV‡ the World: Thoughts on Words, Women, animism/ Places, New York: Grove Press, 1989 6 THE IMAGE AND ITS IMAGE 7 Throughout the week will be a series of [6] Kidlat Tahimik, Aily Nash, Speaking Collaborations across media permeate Directly: Oral Histories of the Moving Image, sited screenings organised in the sur- Cinematograph vol. 7, SFC Books, 2013 many of the works from Eduardo Williams ÀœÕ˜`ˆ˜}>Ài>œvÌ iw“ÃV œœ]`À>܈˜} kinetic recasting of the cumulative poem on the landscape and resonate sites of by Mariano Blatt, to Barbar McCullough’s Kabelvåg. These will range from moun- documentation of Yolanda Vidato’s water taintop screening of Joan Jonas’s perfor- ritual performed in south central Los An- “>˜Viw“Wind to outdoor screening geles. Martha Atienza and Kidlat Tahimik of works gathered under the Animistic provide depictions of communities across Apparatus project curated by Julian Ross generations exorcising bad spirits by re- and May Adadol Ingawanij, exploring how making signs and symbols from Spanish cinema can address all types of being and Manny Farber, New Blue , 1993, oil on board colonisation, American imperialism and a special screening in the old courthouse corrupt governments of the Philippines. featuring works by ńœÀˆ artist Shannon Te Ao and Ismal Muntaha from West Java. The means by which one art form can look at another is put into play in Kira The relation between images and ob- Muratov’s masterpiece The Asthenic Syn- jects, and between human and non-hu- drome, ostensible seeking to identify a man, is the subject of Jessica Sarah “>>ˆÃi]Ì ˆÃw“œv`œÕLiÓ>`i>ÌÌ i Rinland new feature on the hidden rituals collapse of the Soviet Union, is one of NKFS KABELVÅG of museums, a study of those who touch the great works on entropy and dispersal. and care for rare objects. The politics of Raúl Ruiz’s seafaring epic Three Crowns such object relations, taking into account of a Sailor, gathers an abundance of post-colonial discourse and critiques of ghost stories and folk tales farmed from value, links to the double bill of Duncan Ruiz’s life in exile from his native Chile. >“«Li½ÃiÃÃ>Þw“It for Others to ÀˆÃ >ÀŽiÀ>˜`Ƃ>ˆ˜,iØ>ˆÃw“œ˜ Images and stories accumulate, multi- the afterlife of objects Statues also Die plying entrances and exits across these 14-18 OCT 2019 and Vincent Meessen’s performative works in the way that Scheherazade tracing of the afterlife of the colour blue constantly invented new stories through- in his collaboration with African-American out The Arabian Nights. Each tale was spoken word poet Kain. left as a fragment with the promise of a new, more exciting story the following The fragmented narrations of displace- night; her free wheeling invention was ment and belonging are similarly charted the means to prolong her life. As Kidlat ˆ˜À>˜VˆÃVœ,œ`À‰}Õiâw“>à i՘VœÛ- Tahimik has stated “when you work with ers tales of Chinese workers found on the the cosmos, suddenly you get ideas for shores of Chile. In other works Juanita how to treat some visuals, some images Onzaga encounters ghosts in the jungles that had no intention of being in the of Colombia, Charlotte Prodger search- w“°/ >̽ÃÌ ivÀii`œ“œvÌ iˆ˜`i«i˜`- es for a elusive lioness, Tito & Tita hold ent.”[6]

screen test for a cat and Taiki Sakpisit

charts the rising hysteria in Thailand. - George Clark THE IMAGE AND ITS IMAGE ITS AND IMAGE THE 8 THE IMAGE AND ITS IMAGE 9 PARSI THOSE THAT, AT A DISTANCE, RESEMBLE ANOTHER 2:00PM MONDAY 14 OCT 2019

Eduardo Williams & Mariano Blatt, that uncertainty can yield its own sourc- Jessica Sarah Rinland, UK/Argentina/ balances the sterility of her work’s lab Argentina/Switzerland/Guinea-Bissau, es of beauty and forms of small-scale Spain, 2019, color, sound, 67 min environment setting with a sumptuous 2019, colour, sound, 23 min resistance through communal escape VœœÕÀ«>>Ìi>˜`Ì i“>}˜ˆwV>̈œ˜ and shared complicity, so as to chart the Those That, at a Distance, Resemble of textures. More warmth comes from No es (It isn’t) is a cumulative poem by rhythms of autonomy over automatism. - Another is the debut feature by Argen- repeated shots of hands, almost exclu- Mariano Blatt, whose constant writing Biennale de l’Image en Mouvement ̈˜ˆ>˜‡ ÀˆÌˆÃ >À̈Ã̇w““>ŽiÀiÃÈV> sively shown uncoupled from bodies - in process extends over a lifetime. The text Sarah Rinland, the culmination of a close-up and in action. Throughout, we of the poem, to which verses are added Eduardo Williams, born in Argentina series of equally elegant short- and mid- watch these hands undertake a series of over days, months and years, can cover in 1987, studied at the Universidad del length works produced over the past tasks with care and precision, a hypnotic anything: images, people, memories, Cine in Buenos Aires before joining Le several years. Extending from Rinland’s progression of gestures blurring the line landscapes, phrases, ideas, etc. Having Fresnoy – Studio national des arts con- ongoing research into natural habitats between science and art making. that list of “what seems to be but isn’t” temporains in France. He has directed and various forms of preservation, the - Andréa Picard ringing in his head, Eduardo Williams’ Û>ÀˆœÕÃà œÀÌw“Ã>˜`vi>ÌÕÀiEl auge w“ÌÀ>ViÃ]ÜˆÌ Ș՜ÈÌÞ>˜`iÝ>V̈- w“Parsi observes in a perpetual move- del humano/The Human Surge (2016), tude - via chapters and accompanying ƂÀ}i˜Ìˆ˜ˆ>˜‡ ÀˆÌˆÃ >À̈ÃÌw““>ŽiÀ ment the spaces and people to create which have been presented at interna- detours - the production of a lab-engi- Jessica Sarah Rinland has exhibited another poem that is caressed, crashes ̈œ˜>w“viÃ̈Û>Ã° neered replica of an elephant tusk. The work at New York Film Festival, London and spins next to No es. w“}À>`Õ>Þœ«i˜ÃÕ«̜ÀiyiV̈œ˜Ãœ˜ Film Festival, Mar del Plata, Rotter- #1: MARIANO BLATT / JESSICA SARAH RINLAND EDUARDO WILLIAMS #1: MARIANO BLATT Mariano Blatt (b.1983, Argentina) is a ecological and museological conserva- dam, Oberhausen, Edinburgh. She has `Õ>À`œ7ˆˆ>“ýw“ÃiÝ«œÀi>yՈ` poet, literary editor and co-director of tion, fabrication materials, and authen- won awards at Bienal de la Imagen en mode of observation, looking for mutual Blatt & Ríos, an independent publishing ticity. Movimiento, Ann Arbor Film Festival, relations and open adventures in a house. His ongoing poem No es is a London Short Film Festival, and she won physical and virtual network. He believes lifelong writing project. Shooting on warm Super 16mm, Rinland the MIT Schnitzer Prize. 10 THE IMAGE AND ITS IMAGE 11 WIND SEA OF CLOUDS 7:00PM MONDAY 14 OCT 2019

Joan Jonas, USA, 1968, b&w, silent, Joan Jonas (born July 13, 1936) is an 榁䀆 Just as the colonizers made moving-im- £È““w“œ˜ ۈ`iœ]x\ÎÇ“ˆ˜ American visual artist and a pioneer of George Clark, 2016, Taiwan/UK, colour, age propaganda in order to “educate” video and performance art, who is one Ü՘`]£È““w“œ˜`ˆ}ˆÌ>]£È“ˆ˜ and “enlighten” the colonized, the WindˆÃ>£™Èn«iÀvœÀ“>˜Viw“]Ài- of the most important female artists people had the power to deliberately cently restored. Cutting between snowy to emerge in the late 1960s and early Sea of Clouds is structured around an misinterpret it. In the manner of the Bitai wi`Ã>˜`>À>ÜÃi>à œÀi]œ˜>ÃvœVÕÃ- 1970s. Jonas’ projects and experiments interview with contemporary artist Chen Thoan team, they simply threw in a dash es on a group of performers moving provided the foundation on which much ˆi ‡i˜°/ iw“iÝ«œÀiÃÌ iÀi>- of imagination, then allowed for the through a stark, windswept landscape. video performance art would be based. ̈œ˜Ã ˆ«LiÌÜii˜w“]>˜`ÃV>«i>˜` rumors to ferment, magnify and dissemi-

#2: JOA N JONAS / GEORGE CLAR K / i£È““w“pȏi˜Ì]L>VŽ>˜` iÀˆ˜yÕi˜ViÃ>ÃœiÝÌi˜`i`̜Vœ˜Vi«- rural life and the layered histories of nate. - Chen Chieh-Jen Ü ˆÌi]iÀŽÞ>˜`ëi`‡Õ«piۜŽiÃi>ÀÞ tual art, theatre, performance art and these sites as places of self-organization cinema, while its content locates it in other visual media. She lives and works and resistance. the spare minimalism of the late 1960s. in New York and Nova Scotia, Canada. As in Songdelay, another early perfor- Built around the question of translation “>˜Viw“]œ˜>ÈÃVœ˜ViÀ˜i`ÜˆÌ  and the relationship of what we hear to stripping down the medium and fore- Ü >ÌÜiÃii]Ì iw“vœœÜà i˜½ÃÀiÌi- }ÀœÕ˜`ˆ˜}Ì iw}ÕÀi>˜`ˆÌÃÀˆÌÕ>ˆÃ̈V ˆ˜}œvÌ iv>À“iÀ½ÃÌÀ>`ˆÌˆœ˜œvÕȘ}w“ movements in space. Her performers screenings as means of covert political ÃÌÀÕ}}iœÛiÀ>˜`œÛiÀÜˆÌ Ì iˆÀyÕÌÌiÀ- assembly during the Japanese colonial ing coats, battling the gusts of a wind rule of Taiwan. The title榁䀆 (yúnhai) is which, though soundless and invisible, Courtesy Electronic Arts Intermix (EAI), term to describe the view from Taiwan’s `iw˜iÃÌ iVœ˜ÌœÕÀÃœvÌ ˆÃ«ˆiVi°Q ƂR New York. highest mountains when everything below is hidden from view by a sea of clouds. 12 THE IMAGE AND ITS IMAGE 13 THE ASTHENIC SYNDROME 10:00AM TUESNDAY 15 OCT 2019

Kira Muratova, USSR, 1989, colour/b&w, only intertitles inscribe a credo, written ˆÃVÕÃȘ}Ì iw“ˆ˜Positif in 1991, Film Studio. She continued to live and Ü՘`]Îx““w“œ˜`ˆ}ˆÌ>]£xΓˆ˜ as if a jolt of recognition to the specta- Muratova stated: “I could dedicate this work in Odessa, Ukraine for her entire tor: “People don’t like to look at this.” w“̜/œÃ̜ް/ ˆÃˆÃÌ iŽiÞ̜“Þw“° career. ÕÀ>̜Û>½Ã“œÃÌViiLÀ>Ìi`w“]Ì i He says things about the naivety of the #3: KIRA MURATOVA epic The Asthenic Syndrome was winner Constructed like Bach’s The Well-Tem- intelligentsia who believe culture and art iÀˆ`ˆœÃޘVÀ>̈Vw“Ã]vÀiµÕi˜ÌÞvi>ÌÕÀ- of the Silver Bear at the 1990 Berlinale pered Clavier, The Asthenic Syndrome’s can transform the world… I believe we ing unconventional women protagonists, and brought her international acclaim. metier is dissonance. It’s two parts can only draw attention, provoke, make transgressive theatricality, and inventive / iw“ >ÃLii˜V>i`>“>}˜ˆwVi˜Ì ˆ“>}i>`œÕLˆ˜}>Ãޓ“iÌÀÞ°/ iwÀÃÌ «iœ«iÌ ˆ˜Ž°/ÀÞ̜Àiw˜iÌ iÜՏ>˜` formal experiment, were severely cen- fresco and an apocalypse. Muratova «>ÀÌ]ˆ˜L>VŽ‡>˜`‡Ü ˆÌi]>w“ÜˆÌ ˆ˜> raise the mental level. But the essence sored and suppressed during the Soviet created vivid images of desperate char- w“]ÀiV>ÃÌ i>iÃÌ ïVœv ÕÀ>̜Û>½Ã of what is inside cannot be changed. era, yet drew belated recognition during acters determined to endure, capturing wÀÃÌw“ð/ iÃiVœ˜`]ˆ˜VœœÕÀ]vœœÜà / ˆÃw“ˆÃ>ÌÀ>}i`ÞVœ˜ÃiVÀ>Ìi`̜Ì >Ì perestroika and after as political tides and divining the state of the USSR on Ì iÏii«Ü>Žˆ˜}ˆviœv>˜ˆ˜Ãˆ}˜ˆwV>˜Ì v>VÌ°»‡ i˜>œÀw˜Ži]  Ƃ shifted. Her most internationally recog- the eve of its collapse. writer and literature teacher who suffo- nised masterpiece, a feverish vision of cates in the dull routine of his mindless Kira Muratova (1934–2018), one of the late Soviet life, The Asthenic Syndrome A searing portrait of individual malaise environment. Whether they confront the “œÃÌÈ}˜ˆwV>˜Ì>˜`œÀˆ}ˆ˜>ۜˆViÃœv (1989) received a Grand Jury Prize at and collective apathy, with polyphonic brutality and grotesqueries of their sur- ,ÕÃÈ>˜‡>˜}Õ>}iVˆ˜i“>]“>`iÓÓw“à iÀˆ˜>i°,iÌÀœÃ«iV̈ÛiÃœv iÀw“à elements and absurdist tableaus, the roundings through aggression or passivi- over the course of six decades. Born have been presented at International w“ÃÌ՘ÃÌ iۈiÜiÀÜˆÌ à œVŽÌ iÀ>«Þ] ty, each character wanders without goal, in Romania (present-day Moldova) to a Film Festival Rotterdam and Film Society destroying every illusion. Muratova (an ‘progress’ eviscerated. Muratova’s grim Romanian mother and Russian father, of Lincoln Centre, Berwick Film and avowed animal lover) shot documentary hyperrealism is full of harsh contrasts, as both committed Revolutionaries, she Media Arts Festival and Cinematheque footage in a dog pound for one of the irony, entropy and rage destabilise any ÌÀ>ˆ˜i`ˆ˜w“>Ì œÃVœÜ½Ã6]>˜`>v- Française. w“½Ã“œÃÌ >ÀÀœÜˆ˜}ÃVi˜ið/ iw“½Ã single perspective. ter graduating was hired by the Odessa 14 THE IMAGE AND ITS IMAGE 15 STATUES ALSO DIE IT FOR OTHERS 2:00PM TUESDAY 15 OCT 2019

Les Statues meurent aussi la Cinématographie from 1953-63. A Duncan Campbell, UK, 2013, b&w/col- ՘V>˜ >“«Li½Ãw“ܜÀŽÃLi˜`>À- Chris Marker & Alain Resnais, France truncated 20 minute version was made our, sound, 54 min chive footage and documentary material £™xÓqxÎ]LEÜ]Ü՘`]£È““w“œ˜ available in 1963 but the unabridged ÜˆÌ wV̈œ˜>ii“i˜ÌðIt for Others was digital, 30 min w“œ˜ÞLiV>“i>Û>ˆ>Liˆ˜£™Èn° Inspired by Chris Marker and Alain exhibited at the Venice Biennale in 2013 ,iØ>ˆÃ½£™xÎw“Les Statues meurent as part of Scotland + Venice. Other When men die, they enter into history. ‘This is a profoundly humanistic study of aussi (Statues also Die), It for Others is recent solo exhibitions include the Car- When statues die, they enter into art. African art and its decline under coloni- a social and historical examination of negie Museum of Art, Pittsburgh; Artist’s This botany of death is what we call alism, introducing two themes that have cultural imperialism and commodity. Space, New York; Tramway, Glasgow; culture. remained central in Marker’s work-the >ÀŽiÀ>˜`,iØ>ˆÃ½w“Vœ˜˜iVÌÃÌ i Chisenhale Gallery, London and Tate belief that all great human societies rep- death of statues to the commercialisa- Britain, London. Commissioned by the Parisian jour- resent a victory over adversity and posit tion of African art, arguing that colonial- nal Présence Africaine]Ì ˆÃw“œvviÀà a view of man as potential ‘master of the ism compelled African art to appeal to ÀiyiV̈œ˜Ãœ˜Ì iÈ}˜ˆwV>˜ViœvƂvÀˆV>˜ world’; and the belief that such mastery Western consumers. objects as gathered in ethnographic is only possible if man is at one with the

#4: ALAIN RESNAIS / CHRIS MAKER DUNCAN CAMPBELL museums in Europe and as originally natural world. Marker believes that art In It for Others, Campbell expands «Àœ`ÕVi`°/ iw“ >Ã>Vœ“«iÝ ˆÃ̜- should seek to ‘guarantee’ this harmo- Ì iÃiˆ`i>Ș̜>Ãi}“i˜Ìi`iÃÃ>އw“ ry of censorship due to its anti-colonial ny, as early African art does, rather than that includes sections on African art, stance. Following its premiere at the ÀiyiV̈ÌÏœÃ𽇜 ˜7>Ži“>˜]World footage of contemporary commodities, Cannes Film Festival in 1953, and de- Film Directors and a performance made in collab- spite winning the Prix Jean Vigo in 1954, oration with Michael Clark Company Les Statues meurent aussi was banned that seeks to illustrate the principle of in France by the Centre National de exchange value. 16 THE IMAGE AND ITS IMAGE 17 ANITO TURUMBRA 4:00PM TUESDAY 15 OCT 2019

Anito 2011-2015 religion together with their strive for Kidlat Tahimik, West Germany/Philip- “œÃÌÃÌÀ>ˆ} ÌvœÀÜ>À`w“]ȓˆ>Àˆ˜ Martha Atienza, Philippines, 2011-2015, survival, search for identity and need pines 1981, colour, sound, 16mm on tone to the work of Les Blank (a fellow colour, sound, 9 min for creativity. People take a day to step digital, 95 min Herzog friend and another of Tahimik’s & out of themselves and get connected to passionate champions). Despite this Anito 2017 whatever they wish to be. Provoked by The genius of the indigenous culture is more conventional surface, Tahimik Martha Atienza Philippines, 2017, col- current events – super typhoons, Manny still within us. We just have to recognise it, ÌÀ>˜ÃvœÀ“ÃÌ iw“ˆ˜ÌœÞiÌ>˜œÌ iÀœv our, sound, 9 min Pacquiao, the Papal visit, labor migra- >˜`ïÌyœÜœÕÌ°‡ˆ`>Ì/> ˆ“ˆŽ his sly studies of capitalism’s alienation tion, war on drugs – participants assume and exploitation of traditional culture, An animistic festival Christianized and other personas. Inspired by their ances- ƂwV̈œ˜>ˆâi`ÛiÀȜ˜œv/> ˆ“ˆŽ½ÃœÜ˜ ˆ˜ÌiÀÌ܈˜i`ÜˆÌ >˜ˆ˜VˆÃˆÛiÃiv‡ÀiyiV-

#5: MARTHA ATIENZA / KIDLAT TAHIMIK / KIDLAT ATIENZA #5: MARTHA incorporated into Folk Catholicism tors they become powerful, god-like attempt to cash in on the Munich Olym- tion and -critique of his own role in this slowly turns into modern day madness. and mad. pics (a venture that was disrupted by process. - TIFF The Ati-atihan festival means, ‘to be like the infamous Black September massa- Aetas’ or ‘make believe Ati’s.’ The Aeta Martha Atienza (1981) lives and works in cre), Turumba focuses on a village that people are thought to be among the Bantayan Island, the Philippines and in is hired by a German entrepreneur to earliest inhabitants of the Philippines, Rotterdam, the Netherlands. Born into a modify their local papier-maché festival preceding the Austronesian migrations family of seafarers, Martha Atienza cre- w}ÕÀˆ˜iȘ̜7>`ˆ`>V à ՘`“>ÃVœÌà some 30,000 years ago. ates video, sound and installation works for the 1972 Olympics. Commissioned that explore the experience of being at as part of the German broadcaster ZDF’s / ÀœÕ} >ˆ˜yÕi˜ViÃÌ ÀœÕ} œṎ̽à sea and address histories of migration, ÃiÀˆiÃœvà œÀÌw“ȘëˆÀi`LÞ« À>Ãià history, the Philippines is at another labour, environmental degradation and from the Lord’s Prayer - Tahimik was as- ÌÕÀ˜ˆ˜}«œˆ˜ÌœvÕȘ}Ì iˆ˜yÕi˜Vià identity. signed ‘Give us this day our daily bread’ of ancestral belief, with their catholic - the full-length Turumba is the director’s 18 THE IMAGE AND ITS IMAGE 19 DIRECTOR'S CAT SaF05 10:00PM WEDNESDAY 16 OCT 2019

Tito & Tita, Philippines, 2013, b&w, share a tendency towards the playful Charlotte Prodger, UK, 2019, colour, handheld devices such as Prodger’s ȏi˜Ì]£È““w“œ˜`ˆ}ˆÌ>]Ó“ˆ˜ and experimental with varying degrees sound, 39 min smart phone are each used for their of humour and satire. The network’s inherent material properties. The effects /ˆÌœE/ˆÌ>>Ài>w“>˜`>ÀÌVœiVÌi` VÕÀÀi˜Ìˆ˜V>À˜>̈œ˜ˆ˜VÕ`iÃw““>ŽiÀà SaF05, the third part of a loosely au- and affects of these technologies are from the Philippines whose work spans Shireen Seno, Miko Revereza and Gym tobiographical trilogy is named after reverberated in the voiceover’s refer- ˆ˜ÃÌ>>̈œ˜]w“]>ÀV ˆÌiVÌÕÀi]« œÌœ}À>- Lumbera, production designer, Jacyn a maned lioness, a cipher for queer ences to optical devices, while vibrating phy and collective actions. Centrally Esquillon, cinematographer, Jippy attachment and desire. The work draws frequencies – bagpipe drone, cicada concerned with possibilities of photo- Pascua and artist, Charles Salazar. upon multiple sources – archival, scientif- mating call, battery alarm – form aural graphic media and its various histories, ic and diaristic – and combines footage equivalences between animal and hu- their name Tito and Tita is the Tagalog from a number of geographical loca- man, instrument and machine. for ‘uncle and aunts’, suggesting an tions including the Scottish Highlands, informal network of artist collabora- the Great Basin Desert, the Okavango Charlotte Prodger lives in Glasgow tors. Director’s Cat is a hand processed Delta and the Ionian Islands. and works with moving image, printed 16mm, sitting between a home movie, image, sculpture and writing. Her work `ˆÃV>À`i`Ì>ŽiœÀÃVÀii˜ÌiÃÌ]Ì iw“ˆÃ Prodger’s recent works trace the accu- explores issues surrounding queer iden-

#6: TITO & TITA / CHARLOTTE PRODGER VINCENT MEESSEN #6: TITO & TITA balances between a captured off hand “Տ>̈œ˜œv>vw˜ˆÌˆiÃ]`iÈÀiÃ>˜`œÃÃià tity, landscape, language, technology moment and a staged scene. that form a self as it moves forward in and time. time. Her preoccupation with perspec- Tito & Tita often work with small-gauge tive, framing and the physicality of the w“vœÀ“>ÌÃÃÕV >Ã-Õ«iÀn>˜`£È““ camera as a sculptural device is expand- making personal works that deal with ed in SaF05. Film industry cameras, individual histories and neuroses and static camera traps, drones and small 20 THE IMAGE AND ITS IMAGE 21 ULTRAMARINE 10:00PM WEDNESDAY 16 OCT 2019

(The Journey of K) Ultramarine, refering to a deep blue Vincent Meessen, Belgium, 2018, colour, pigment but also to overseas regions, is sound, 42 min a visual poem constructed from locally V œÃi˜ ˆÃ̜ÀˆV>œLiVÌð/ iw“ >à So far, all that has given color to ex- been commissioned by the Printemps istence still lacks a history - Friedrich de septembre in Toulouse (France), Nietzsche, The Gay Science a city historically connected both to ‘pastel’ blue pigment and to the ‘Gay Blue is the chromatic, historical and Science’ of the troubadours. `ˆÃVÕÀÈÛiwÌiÀÌ ÀœÕ} Ü ˆV >«iÀvœÀ- mance by African-American poet Kain / iw“ˆÃVœ˜ViˆÛi`>Ã>Žˆ˜`œv unfolds. The famed precursor of hip- ‘narrated exhibition’ featuring Kain The hop in the late ’60s delivers his “spo- Poet – the Afro-American poet and ken word” as the Belgian percussionist performer, part of the Black Arts Move- Lander Gyselinck improvises to the ment (BAM) at the end of the sixties and

#6: TITO & TITA / CHARLOTTE PRODGER VINCENT MEESSEN #6: TITO & TITA yœÜœv ˆÃÕÌÌiÀ>˜Við/ ÀœÕ} œÕÌÌ i creator of the mythic 1970 album Blue «iÀvœÀ“>˜ViÛ>ÀˆœÕÓÕÃiՓœLiVÌÃp Guerilla. He colors history through spo- v՘iÀ>w}ÕÀˆ˜iÃ]>Õ̜“>̜˜]>ÃÌÀœ>Li] ken word, alluding to his own exile blues “>««>“Õ˜`ˆ]ÌiÝ̈iÃp>ÀiÕÝÌ>«œÃi` in Amsterdam. The music is improvised to Kain’s own props. They invoke affec- by drummer Lander Gyselinck. tive retrospections on exile and belong- ing, slave routes and colonial trade. 22 THE IMAGE AND ITS IMAGE 23 WATER RITUAL #1: AN URBAN ORNETTE: MADE IN AMERICA RITE OF PURIFICATION 4:00PM WEDNESDAY 16 OCT 2019

Barbara McCullough, USA, 1979, b&w, within the blighted urban landscapes Shirley Clarke, USA, 1985, colour, sound, development of one of the 20th Centu- Ü՘`]£È““w“œ˜`ˆ}ˆÌ>]È“ˆ˜ of southern Los Angeles. Consisting Îx““w“œ˜`ˆ}ˆÌ>]ÇÇ“ˆ˜ ries key avant-garde artists. Produced of a series of symbolic actions drawing in collaboration with Ornette over a 20 Water Ritual #1, through visual incan- on African traditions and iconography, ‘I wasn’t trying to make a `documentary’ Þi>À«iÀˆœ`]Ì iw“ˆÃ> ˆ} ÞœÀˆ}ˆ˜> tation, alludes to the vital sources of Ì iw“ÃiiŽÃ̜>V̈Û>ÌiÌ iۈiÜiÀ>à of [Ornette] Coleman. I hope nobody portrait that plays with the standard cultural survival and identity among a participant and as McCullough has }œiÃ̜Ì ˆÃw“iÝ«iV̈˜}>ÀiVœÀ`œv ÃÌÀ>Ìi}ˆiÃœv`œVՓi˜Ì>ÀÞw“ð African-American women in African and stated ‘extract the magical from the Ornette’s musical life because that’s Third World orientations toward na- seemingly mundane.’ not what it is. We wanted people to This multifaceted picture explores the ture, man-made environments, magic, come away feeling a certain way about “>˜ÞVœ˜yˆV̈˜}>˜`Vœ˜ÌÀ>`ˆV̜ÀÞ and art. Grounded in the concrete, it is Made in collaboration with performer somebody and knowing a little bit about pressures that formed the singular work nevertheless provocatively metaphysical. Yolanda Vidato, Water Ritual #1 exam- his music and its relation to him. Ornette of Ornette Coleman. Charting the the

#7: BARBARA MCCULLOUGH / SHIRLEY CLARKE - Clyde Taylor, 1986 ines Black women’s ongoing struggle is not violently well known (outside the 1984 performance of Coleman’s or- for spiritual and psychological space jazz world) and that had something to chestral work Skies of Americ>Ì iw“ Barbara McCullough’s Water Ritual is through improvisational, symbolic acts. `œÜˆÌ “ÞV œœÃˆ˜}̜“>Ži>w“ follows various divergent paths taking in œ˜iœvÌ i“œÃÌœÀˆ}ˆ˜>w“ÃœvÌ iƂ - œÌˆ˜£È““L>VŽ‡>˜`‡Ü ˆÌi]Ì iw“ that could appeal to people who just ˆ˜yÕi˜ViÃ>˜`«>Ã̏ˆÛiÃœvÌ iˆ˜yÕi˜- Rebellion, the radical work of Black inde- was made in an area in Watts that had Ü>˜Ì̜ÃiiÌ ˆÃŽˆ˜`œvw““>Žˆ˜}>˜` tial and elusive artist from the formative pendent cinema from Los Angeles. Her been cleared to make way for the I-105 don’t have to know it’s about Ornette.’ - ˆ˜yÕi˜ViœvÌ ivÕÌÕÀˆÃÌ>ÀV ˆÌiVÌ ÕVŽ- landmark work blends black feminism, freeway, but ultimately abandoned. Shirley Clarke minster Fuller, to the cut-up techniques experimental cinema and ritual. Work- p>VµÕiˆ˜i-ÌiÜ>ÀÌ of William S. Burroughs to his own son ing in collaboration with the performer Shirley Clarke’s virtuoso portrait of the i˜>À`œÜ œwÀÃÌÃÌ>ÀÌi`«iÀvœÀ“ˆ˜} Yolanda Vidato, Water Ritual explores Free Jazz saxophonist Ornette Coleman and recording his with father at age 10. the struggle to mark and create space (1930 - 2015) is a unique picture of the 24 THE IMAGE AND ITS IMAGE 25 RECORDING OF A A MILLION YEARS SCREENING FOR A SPIRIT 7:00PM WEDNESDAY 16 OCT 2019

(Chao Phor Mor Din Daeng) Tanatchai Bandasak (b. 1984) studied at Danech San, Cambodia, 2018, colour, Tanatchai Bandasak, Thailand, 2015, Thammasat University in Bangkok, Thai- sound, 21 min Danech San (1991, Battambang, Cam- colour, sound, 3 min land, and École Nationale Supérieure bodia) graduated in interior design and D’ARTS Paris-Cergy, France. His work A young woman relaxes at a riverfront has worked in production on a variety of In April 2015 Tanatchai Bandasak trav- involves video, photography, found restaurant with a friend. She recounts /6à œÜÃ>˜`w“ÃȘViÓä£{°7ˆÌ Ƃ˜- eled to Khon Kaen with media ethnog- objects and installations and has been iÀ«>ÃÌiÝ«iÀˆi˜ViÃ]w˜`ˆ˜}i˜V >˜Ì- ti-Archive, she worked on Three Wheels rapher Richard MacDonald to research exhibited in National Museum (Bang- “i˜Ìˆ˜Ì iyœÜÃœvÌ iÀˆÛiÀ>˜`Ì i (Kavich Neang, 2015) as Production Ì i«À>V̈Viœv“œLˆiw“«ÀœiV̈œ˜>à kok), Tang Contemporary Art (Bangkok), trees on the mountains nearby. Strange- Manager, and Diamond Island (Davy offerings to the spirits in and around the Nova Contemporary (Bangkok), Ygree ly, she enters a parallel riverfront with Chou, 2016) as Casting Assistant and northeastern city. This is his recording (Paris) and Kadist Art Foundation (Paris). a stranger. They recount stories of Assistant Production Manager. A Million of a projection performance to the spirit ˆÃw“à >ÛiÃVÀii˜i`>̘ÌiÀ˜>̈œ˜> vi>À՘̈à iw˜`à iÀÃivÀi>ˆâˆ˜} iÀ YearsˆÃ iÀwÀÃÌw“° residing on the ground of Khon Kaen Film Festival Rotterdam, Recontres In- existence beyond time, space or reality. University colloquially known as Chao ternationales, WNDX Festival of Moving - Anti-Archive Phor Mor Din Daeng. Image and Bangkok Experimental Film Festival. In 2019, he was artist-in-resi- dence at NTU Centre for Contemporary Art (CCA), Singapore. #8: TANATCHAI BANDASAK / DANECH SAN / JUANITA ONZAGA / TAIKI SAKPISIT ONZAGA / TAIKI BANDASAK / DANECH SAN JUANITA #8: TANATCHAI 26 THE IMAGE AND ITS IMAGE 27 THE JUNGLE KNOWS YOU THE AGE OF ANXIETY BETTER THAN YOU DO 7:00PM WEDNESDAY 16 OCT 2019

Juanita Onzaga, Belgium/Colombia, Juanita Onzaga is a Colombian-Belgian Taiki Sakpisit, Thailand, 2013, colour, Taiki Sakpisit (1975) is a moving image 2016, colour, sound, 20 min w“`ˆÀiV̜À>˜`Vˆ˜i“>̜}À>« iÀVœ“- sound, 14 min artist working in Bangkok. His works Lˆ˜ˆ˜}wV̈œ˜]`œVՓi˜Ì>ÀÞ>˜`iÝ«iÀ- explore the underlying tensions and Colombia is a land of ghosts. Two ˆ“i˜Ì>ii“i˜ÌȘ iÀw“ð- i >à Taiki creates an intense audio-visual Vœ˜yˆVÌÃ]>˜`Ì iÃi˜Ãiœv>˜ÌˆVˆ«>̈œ˜ siblings roam these mystical landscapes a bachelor in direction of photography space crystallising the fear of a nation in contemporary Thailand, through in search of their dead father’s spirit. at IAD and a Master in audiovisual arts as it approaches the end of an era. precise and sensorially overwhelming Their journey takes them from Bogota to at Sint-Lukas Brussel in Belgium. Onza- Abstract shapes and changing lights cut audio-visual assemblage using a wide the Colombian jungle, through realms }>½Ã>ÌiÃÌà œÀÌw“Our Song To War to a hyper rapid montage of fragments range of sounds and images. His pre- of thought and deep into their haunt- premiered in 2018 at the Quinzaine des vÀœ“/ >ˆ“ÞÌ œœ}ˆV>w“ÃvÀœ“Ì i vious work A Ripe Volcano (2011) has i``Ài>“ðiÀiÌ iÞ܈w˜`ܓi Réalisateurs at Cannes Film Festival. In 1980s, and the punk sounds of Moth been screened internationally at more answers and attract the unexpected Óä£Ç] iÀà œÀÌw“The Jungle Knows Drakula. Ì >˜{äw“viÃ̈Û>Ã>˜`“ÕÃiՓði company. - Juanita Onzaga You Better Than You Do won the Jury teaches at Silapakorn University and is Prize for Best Short Film at the Berlinale à œœÌˆ˜} ˆÃwÀÃÌvi>ÌÕÀiw“The Edge in the section Generation 14plus, the Of Daybreak. highly acclaimed VAF Wildcard and other prizes, while being selected in festivals worldwide. #8: TANATCHAI BANDASAK / DANECH SAN / JUANITA ONZAGA / TAIKI SAKPISIT ONZAGA / TAIKI BANDASAK / DANECH SAN JUANITA #8: TANATCHAI 28 THE IMAGE AND ITS IMAGE 29 A MOON MADE OF IRON THREE CROWNS OF A SAILOR 10:00AM THURSDAY 17 OCT 2019

(Una luna de hierro) puters and food were found. They were (Les Trois couronnes du matelot) an immortal story that will continue to Francisco Rodríguez, 2017, Chile / wearing lifejackets and yet their deaths Raúl Ruiz, France, 1983, colour, sound, grow and evolve independent of reso- À>˜Vi]VœœÕÀ]Ü՘`]£È““w“œ˜ were deemed a suicide. The inhabit- £È““w“œ˜`ˆ}ˆÌ>]££Ç“ˆ˜ lution. Drawing on narrative traditions digital, 29 min ants hence stand in front of their homes of seafaring myths and the Chilean sea or on the pebble beaches to recount ‘Imagine a slalom skier propelled with legends that he grew up with, Ruiz cre- In June 2017, a cousin told Carmen their version of events, children learn each turn not just in another direction, ates a hypnotic narrative that approach- that a starving Asian man hid in the to read by deciphering newspapers or but on to a completely different slope. es the metaphysical through its series of lighthouse near his ranch for three days. they recite and sing apocalyptic fables, In this way he manages to travel four wV̈œ˜Ã° Months later, the corpses of Yan Cum- telling of imaginary illnesses that would different journeys at once, though the bao, Wang Hao and Sung Chungman attack their jaws, and dreaming of an ark point is not in the journeys themselves A sailor becomes locked in an exchange #9: FRANCISCO RODRÍGUEZ / RAÚL RUIZ >««i>Ài`yœ>̈˜}ˆ˜Ì i-ÌÀ>ˆÌœv >}i- to harbour them, defying the wind to but in the beauty of his leap from one with series of dead men bargaining his lan. Two of them had malnutrition, the make their voices heard. History stam- world to the next.’ - Raúl Ruiz, Poetics of way to more and more tales. Vividly other scurvy and typhus. A quarter, Yin mers and breaks down, the earth sweats Cinema, 1995 w“i`ˆ˜`iˆÀˆœÕÃVœœÕÀ]Ì iw“Vœ˜- Xinji, was never found. and cadavers emerge. At the end of all tinues to reveal new layers of narrative possible paths, only impressions, direc- Raúl Ruiz’s legendary fantasy Les Trois that echoes history from the Arabian / i} œÃÌÃÜ ˆV wÌ iw“>ÀiÌ œÃi tions, apparitions remain. - Charlotte couronnes du matelot is one of cinemas Nights to the work of Orsen Welles. In of four Chinese workers, who died at Bayer-Broc deepest jewels, a phantasmic work of `iÃVÀˆLˆ˜}7iiýÃw“Citizen Kane, Ãi>>vÌiÀÕ“«ˆ˜}œvv>wà ˆ˜}Lœ>̈˜ untapped depths. Drawing of his father’s Borges declare it a ‘a labyrinth without the hope of reaching Puntas Arenas, a life as a marine captain, Ruiz working >Vi˜ÌiÀ]½>«iÀviVÌV>ÃÈwV>̈œ˜vœÀÌ i Chilean city north of the Strait of Magel- in exile from his homeland in Paris, Þ«˜œÌˆV«i>ÃÕÀiÃœvÌ ˆÃw“° lan. Birds have pecked out their eyes; creates a labyrinthine world wrapping their mobile phones, passports, com- stories within stories seeking to create 30 THE IMAGE AND ITS IMAGE 31 THE NEW ARCHITECTURE LONDON CAN TAKE IT! OF THE LONDON ZOO 2:00PM THURSDAY 17 OCT 2019

László Moholy-Nagy, UK, 1936, b&w, to be impractical homes for their inhab- Harry Watt, Humphrey Jennings, UK, 1940, Humphrey Jennings (19 August 1907 ȏi˜Ì]£È““w“œ˜`ˆ}ˆÌ>]£È“ˆ˜ itants, including the famous (now Grade LEÜ]Ü՘`]Îx““w“œ˜`ˆ}ˆÌ>™“ˆ˜ – 24 September 1950) was an English I-listed) Penguin Pool, this beautifully `œVՓi˜Ì>ÀÞw““>ŽiÀ>˜`œ˜iœv London’s position at the cutting edge « œÌœ}À>« i`w“ˆÃ>ÌiÃÌ>“i˜Ì̜Ì i Humphrey Jennings and Harry Watt’s fa- the founders of the Mass Observation of mid-1930s design is documented to idealism of its day. - BFI “œÕÃw“]«Àœ`ÕVi`>ÌÌ i*"w“՘ˆÌ] organisation. Jennings was described by striking effect in this silent documen- is an enduring example of British self-my- w“VÀˆÌˆV>˜``ˆÀiV̜Àˆ˜`Ã>ÞƂ˜`iÀ- tary, co-commissioned by the London László Moholy-Nagy (July 20, 1895 – thology and rousing evidence of the artis- son in 1954 as: ‘the only real poet that Zoological Society. The occasion was November 24, 1946) was a Hungarian tic potential of supposed propaganda. A British cinema has yet produced.’ the completion of various new buildings painter and photographer as well as a hymn to our capital city’s resilience during at London Zoo and its Bedfordshire professor in the Bauhaus school. He was the Blitz, structured as a day-in-the-life of Harry Watt (18 October 1906 – 2 April counterpart Whipsnade, designed by ˆ} Þˆ˜yÕi˜Vi`LÞVœ˜ÃÌÀÕV̈ۈÓ>˜` stiff-upper-lipped Londoners, its poetic 1987) was a Scottish documentary and Berthold Lubetkin and his architectural a strong advocate of the integration of espousal of British fortitude ensured the vi>ÌÕÀiw“`ˆÀiV̜À]Ü œLi}>˜ ˆÃ practice Tecton. technology and industry into the arts. A w“Ü>Ã܈`iÞiÝ ˆLˆÌi`ˆ˜ÌiÀ˜>̈œ˜>Þ career working for John Grierson and New York Times article called him ‘re- and utilised as a tool to help persuade Robert Flaherty. / ˆÃÜ>ÃÌ iÃiVœ˜`œvÌܜw“Ó>`i lentlessly experimental’ because of his America to join the Second World War. in Britain by Hungarian artist László pioneering work in painting, drawing, Moholy-Nagy, a former teacher at the « œÌœ}À>« Þ]Vœ>}i]ÃVՏ«ÌÕÀi]w“] Realising its power, the Ministry of Infor- Bauhaus design school. Clean, function- theater, and writing. He also worked col- “>̈œ˜ܜՏ`Ài«>VŽ>}iÌ iw“ÜˆÌ > al design was the key concern of the laboratively with other artists, including new voiceover as Britain Can Take It!, with Modernist movement - even with build- ˆÃwÀÃÌ܈viÕVˆ> œ œÞ]7>ÌiÀÀœ«ˆ- the aim of inspiring communities around

#10: LÁSZLÓ MOHOLY-NAGY/HARRY WATT/HUMPHREY JENNINGS/MORGAN QUAINTANCE/AYO AKINGBADE JENNINGS/MORGAN QUAINTANCE/AYO WATT/HUMPHREY #10: LÁSZLÓ MOHOLY-NAGY/HARRY ings intended for animals. And though us, Marcel Breuer, and Herbert Bayer. Ì i1̜ÃÌ>˜`wÀ“>}>ˆ˜ÃÌÌ i˜ˆ} ̏Þ the stark white enclosures often proved onslaught. - BFI 32 THE IMAGE AND ITS IMAGE 33 ANOTHER DECADE DEAR BABYLON 2:00PM THURSDAY 17 OCT 2019

Morgan Quaintance, UK, 2018, colour, Morgan Quaintance is a London-based Ayo Akingbade, UK, 2019, colour, ƂޜƂŽˆ˜}L>`iˆÃ>˜>À̈ÃÌ>˜`w“ sound, 26 min artist and writer. His moving-image sound, 21 min `ˆÀiV̜ÀL>Ãi`ˆ˜œ˜`œ˜°iÀÓä£Èw“ work has been shown recently at LIMA, Tower XYZ received a Special Mention Another Decade combines archive and Amsterdam, Kunstmuseum, Bonn, The future of social housing is threat- Award at International Short Film Festi- found footage from the 1990s with Jerwood Space, London, the 14th ened by the AC30 Housing Bill. Set in val Oberhausen and won the inaugural ÀiVi˜ÌÞà œÌ£È““w“>˜`ÃÌ>˜`>À` Berwick Film & Media Arts Festival, London’s East End, a trio of art students -œ˜>->ۈŇƂÜ>À`>ÌƂÌiÀ˜>̈Ûiˆ“É `iw˜ˆÌˆœ˜ۈ`iœ°-Ì>À̈˜}vÀœ“ÌiÃ̈“œ- London Film Festival 2018, November are eager to raise awareness about their Video Festival (Belgrade). Akingbade’s nies and statements made by artists Film Festival, the Palace International neighbourhood, especially the lives of w“ÃStreet 66, A is for Artist and Dear and art historians during the 1994 INIVA Film Festival, and Videonalle.17. tenants and people who work on the es- Babylon comprise thesocial housing conference ‘Towards a New Internation- tate. Dear BabylonˆÃÌ iw˜>w“ˆ˜Ì i trilogy entitled ‘No News Today’. She alism’, Another Decade ranges across ‘No News Today’ social housing trilogy. is a recipient of the Sundance Ignite diverse cultural territory, and is pro- pƂޜƂŽˆ˜}L>`i Fellowship and exhibited in ‘New pelled by a sense that very little socio- Contemporaries’. Ayo is a graduate of cultural or institutional change has taken London College of Communication and place in the United Kingdom since that is currently studying at Royal Academy time. The dynamic tension explored in Schools. the work is between, on the one hand, art world actors speaking a truth to insti- tutional power and, on the other, lived realities of London’s multiracial citizenry.

#10: LÁSZLÓ MOHOLY-NAGY/HARRY WATT/HUMPHREY JENNINGS/MORGAN QUAINTANCE/AYO AKINGBADE JENNINGS/MORGAN QUAINTANCE/AYO WATT/HUMPHREY #10: LÁSZLÓ MOHOLY-NAGY/HARRY Those who necessarily inhabit a centre of otherness. - BFMAF 34 THE IMAGE AND ITS IMAGE 35 DISTANCING NO DATA PLAN 4:00PM THURSDAY 17 OCT 2019

Miko Revereza, USA, 2019, colour, ˆŽœ,iÛiÀiâ>ˆÃ>˜iÝ«iÀˆ“i˜Ì>w“- Miko Revereza, USA, 2019, colour, constantly obstructed by the smeared sound, 16mm to digital, 10 min maker based in Manila. His upbringing sound, 70 min windows and the electric poles that zip as an undocumented immigrant in the in and out of sight. As the train slows Maybe most things familiar will disap- United States for over 25 years informed “Mama has two phone numbers. We down and a border patrol nears the ve-

#11: MIKO REVEREZA pear or change completely. ˆÃw“Ã]Droga!, Disintegration ‘93–’96, do not talk about immigration on her hicle, the fragility of his status becomes No Data Plan and Distancing. Miko’s Obama phone. For that we use the uncomfortably clear. - œÌœ˜£È““VœœÕÀw“]Distancing w“à >ÛiÃVÀii˜i`܈`iÞ>˜`iÝ ˆL- other number with no data plan.” Living documents the logistics and poetics ited internationally at festivals such as in the United States illegally for over 20 of Miko Revereza’s decision to leave Locarno Film Festival, Yamagata Inter- years, Miko Revereza takes the Amtrak the United States and return to the national Documentary Film Festival, train from Los Angeles to New York in Philippines. ‘My ticket is one way’, the and Film Society of Lincoln Center’s Art this critical moment of hostility against w““>ŽiÀiÝ«>ˆ˜Ã̜ ˆÃ}À>˜`“œÌ iÀ of the Real. He was listed in Filmmaker migrants in the country he has come as she suddenly realizes he isn’t com- Magazine’s 25 New Faces of Independ- to know as home. The journey seems ing back. DistancingˆÃ>w“>LœÕÌÌ ˆÃ ent Cinema in 2018. He was a featured daring, perhaps reckless, yet urgent and personal realization; to leave and thus artist at the 2019 Flaherty Seminar and necessary. become exiled from the country where is an MFA graduate of Bard College. iÜ>ÃÀ>ˆÃi`°/ iw“>VÌÃ>Ã>“i“œˆÀ Conversations with his mother and his and cites a lineage of statelessness in own ruminating thoughts reveal the cinema. It is a personal document of the pains his family has been through since moment anticipating a great departure. their decision to leave the Philippines when he was a young boy. The ‘land of freedom’ viewed from the train is 36 THE IMAGE AND ITS IMAGE 37 TWO SHOOTS THAT TERRA NA SAE STRETCH FAR OUT 10:00AM FRIDAY 18 OCT 2019

Shannon Te Ao, Aotearoa New Zealand, break ups, and make-ups. But in the end Ismal Muntaha, Indonesia, 2018-19, they make music performances, work on 2013-2014, colour, sound, 13 min I used that waiata. My core interest is colour, sound, 11 min exhibitions, organise events, host artists what those words carry.’ - Shannon Te residencies (visual artists, musician, In his video, two shoots that stretch far Ao Ismal Muntaha’s Terra Na Sae, renders theater groups, etc) as well as helping out, Te Ao recites a spoken rendition of the collectives rituals and actions of the village government in organizing so- a 19th Century waiata *GYCKCVCOĥVG Shannon Te Ao is an artist, writer and cu- Indonesia’s Jatiwangi art Factory (JaF) Vˆ>ViÀi“œ˜ˆiÃ]iÌV° œÜ]>“œÃÌwvÌii˜ moe punarua (A Song of Two Wives), À>̜Àœv }ń̈/ŵÜ >Ài̜>`iÃVi˜ÌÜ œ from farming to ceramic musical concert years later, JaF works closely with Jatisu- to a variety of animals. The lament is lives and works in Wellington, Aotearoa with 11,000 participants, in mythic terms ra Village Government, all 16 villages ÜÀˆÌÌi˜LÞ> }ń̈*œÀœÕܜ“>˜ˆ˜Ài- New Zealand. His work investigates and ˆ˜ ˆÃ Þ«˜œÌˆVw“°,ivÀ>“ˆ˜}Ì iVœ- in Jatiwangi District, local government, sponse to her husband taking a second Ài뜘`Ã̜“>ÌiÀˆ>`À>ܘvÀœ“ ńœÀˆ lectives actions against historical devel- the Majalengka District Government and wife. Her waiata is infused with grief. paradigms, testing the implications of opments from ancient cave paintings in many international partners. alternative creative, social and linguistic Sulawesi to Indonesia’s colonial period, ‘It started from wanting to play with that models working across video, instal- Muntaha presents the industrial and For all of JaF’s programme they invite idea: what would happen if I tried to lation and performative practices. He cultural development of Jatiwangi within the art and cultural practitioners from communicate a text to other animals? was awarded the Walters Prize in 2016 the vast epoch of human expression. various disciplines and countries to live, #12: SHANNON TE AO / ISMAL MUNTAHA / GEORGE CLARK #12: SHANNON TE AO / ISMAL MUNTAHA Over a few months, there were three dif- by Auckland Art Gallery, and his work interact and work together with the ferent shoots, in various locations. That has been included at the Edinburgh Art Established in 2005 the JaF is a commu- villagers. These people are invited to helped me test out different aspects Festival (2017), the 11th Gwangju Bien- nity that focuses on how contemporary experiment, formulate and create some- of the project, like what location, what nale (2016), and the Biennale of Sydney art and culture practice is contextualised thing within the existing society that will kinds of animal and how many, and what (2014). in local, rural-urban life, both in form later be presented to them, or, in other text to use. In the lead up, I wrote texts and ideas. JaF started its work with only words, tested out together. >LœÕÌ`œ“iÃ̈VÌÀœÕLiÃp>À}Փi˜ÌÃ] 10 families in Jatisura working togther 38 THE IMAGE AND ITS IMAGE 39 THE SCENT OF JATI TREES 10:00AM FRIDAY 18 OCT 2019

George Clark, Indonesia, 2018, colour, they called the ‘discourses on local rural Ü՘`]Îx““w“œ˜`ˆ}ˆÌ>]Óx“ˆ˜ life’.

Filmed in Jatiwangi, West Java between In 2018 together with Ismal Muntaha, Ó{ՏÞ‡£x"V̜LiÀÓä£Ç°/ iw“ˆÃ> Bunga Saigian and Will Rose, George collaborative portrait of the village arts Clark founded the West Java West York- community Jatiwangi art Factory based shire Cooperative Movement (WJWY- in West Java, Indonesia. Shot over two CM) – a framework to support ongoing “œ˜Ì Ã]Ì iw“ˆÃV Àœ˜œœ}ˆV>ÞÃÌÀÕV- collaborations between artists, commu- ÌÕÀi`>ÀœÕ˜`>ÃiÀˆiÃœvÎx““w“ÀœÃ] nities and organisations in the two re- each of which unfolds against a single gions. Under this framework, they have ՘i`ˆÌi`wi`ÀiVœÀ`ˆ˜}° supported numerous artistic exchanges helping over 20 artists produce new Playing with synch sound and in-camera work and collaborate with communities i`ˆÌˆ˜}]Ì iw“`À>ÜÃœ˜>À}iV>ÃÌ >VÀœÃÃi>V Ài}ˆœ˜°/ iˆÀwÀÃÌVœ>LœÀ>- #12: SHANNON TE AO / ISMAL MUNTAHA / GEORGE CLARK #12: SHANNON TE AO / ISMAL MUNTAHA of local collaborators and performers tive project was the 10th Village Video from school children to factory work- Festival with by Jatiwangi art Factory ers, bodybuilders to farmers. Charting and Pavilion in Leeds. transformations and rebuilding of the Vœ““Õ˜ˆÌÞ]Ì iw“«Àœ«œÃiÃ>˜œ«i˜ form to experience Jatiwangi’s model of art practice and their dedication to what 40 THE IMAGE AND ITS IMAGE 41 THE SUNDIAL CARVED WITH A THOUSAND YEARS OF NOTCHES: A MAGINO VILLAGE TALE 2:00PM FRIDAY 18 OCT 2019

(Sennen kizami no hidokei - Magino-mu- Ƃ“œ˜Õ“i˜Ì>>˜`Vœ“«iÝw“œ˜ The past and present time of this place Ogawa’s method returns to the origi- ra monogatari) time and history, painstakingly crafted is layered through the storytelling of the nal intention of documentary, realising Ogawa Productions, Japan, 1986, col- over more than ten years, and the culmi- people, the rendering of village time, the principle of documentary. What are our, sound, 16mm on digital, 222 min nation of Ogawa Shinsuke’s practice of the temporality of rice harvests, and the the principles and original intention of `œVՓi˜Ì>ÀÞw““>Žˆ˜}° seasons. An archaeological excavation documentary? First it is a love toward The farmers who have appeared in œ«i˜ÃÕ«>“i`ˆÌ>̈œ˜œ˜̈“i°/ iw“ the object documented, a strong admi-

#13: OGAWA PRODUCTIONS #13: OGAWA œÕÀw“Ã]Õ«՘̈˜œÜ]«Àˆ“>ÀˆÞ̜` In 1974 the Ogawa Pro collective settled is cosmic, expanding as it follows the ration and attachment, and it is carrying stories in response to our questions in in the small hamlet of Magino, be- rhythm of the slow growth of crops and Ì ˆÃwÀÃÌ«Àˆ˜Vˆ«iœÛiÀ>œ˜}«iÀˆœ` ˆ˜ÌiÀۈiÜÃÆÌ >ÌÜ>ÃÌ iw“ˆ˜}“iÌ œ` coming involved in the daily life of the the passing of the years. œv̈“i° i>ÀÞ>Ì iw“ÃVœ˜Ãˆ`iÀi` we used. In The Sundial Carved with a village, living communally and learning “>ÃÌiÀ«ˆiViÃvՏwÌ iÃiÌܜVœ˜`ˆÌˆœ˜Ã° Thousand Years of Notches – The Mag- everything they could about the produc- The people tell their stories, recite - Oshima Nagisa ino Village Story we didn’t use this form tion of rice. During the following decade >˜Vˆi˜Ì“ÞÌ Ã]>˜`Àii˜>VÌwV̈œ˜> >Ì>°˜Ì ˆÃw“Ì iv>À“iÀÃÌ>Ž>LœÕÌ they devoted themselves almost exclu- sequences (featuring actors, such as the nothing else than their own matters and, ÈÛiÞ̜Ì ˆÃw“°The Magino Village founder of Butoh, Hijikata Tatsumi). In ˜iÛiÀÌ iiÃÃ]Ì iÞ>ÀiÃÕvwVˆi˜ÌÞVœ˜- Story brings together all the ideas and œÀ`iÀ̜ÃVÀii˜Ì ˆÃ>“LˆÌˆœÕÃw“]"}>- scious that every ‘character’ performs a themes developed in the previous works wa Shinsuke imagined and constructed ‘character’. - Shinsuke Ogawa of the collective – farming, the time of a theatre that he named The Theatre of the village, the deep relations between a Thousand Years. the people and the land, the importance of recording oral history, the long culture of dissidence of the farmers, and their resistance against authority. 42 THE IMAGE AND ITS IMAGE 43

Ogawa productions design for The Theater of a Thousand Years [Sennen shiataa] c.1987 44 THE IMAGE AND ITS IMAGE 45 SCHEDULE MONDAY 14 OCTOBER TUESDAY 15 OCTOBER WEDNESDAY 16 OCTOBER THURSDAY 17 OCTOBER FRIDAY 18 OCTOBER

10:00 AM 10:00 AM 10:00 AM Screenings take place in 10:00 AM the NFKS cinema apart #3: Kira Muratova #6: Tito & Tita / Charlotte #9: Francisco Rodríguez / #12: Shannon Te Ao / George Prodger / Vincent Meessen Raúl Ruiz Clark / Ismal Muntaha from three on location The Asthenic Syndrome Director's Cat A Moon Made of Iron On location: Old Courthouse events which take place (Kira Muratova, 1989, 153 min) (Tito & Tita, 2013, 2 min) (Francisco Rodríguez, 2017, two shoots that stretch far in specially chosed sites 29 min) out (Shannon Te Ao, in Kabelvåg. SaF05 (Charlotte Prodger, 2019, 39 min) Three Crowns of a Sailor 2013-14, 13 min) The on-site screenings Ultramarine (Vincent (Raúl Ruiz,1983, 117 min) Terra Na Sae Meessen, 2018, 42 min) (Ismal Muntaha, 2018-19, 11 min) #2 Monday 7pm: The Scent of Jati Trees At dusk the screening will (George Clark, 2018, 25 min) take place on the hill top behind NFKS 2:00 PM 2:00 PM 2:00 PM 2:00 PM 2:00 PM #8 Wednesday 7pm: #1: Mariano Blatt / Jessica #4: Alain Resnais / Chris #7: Barbara McCullough / #10: László Moholy-Nagy #13: Ogawa Productions Sarah Rinland / Eduardo Marker / Duncan Campbell Shirley Clarke / Harry Watt / Humphrey The Sundial Carved with a At dusk the screening will Jennings / Morgan Williams Statues Also Die (Chris Water Ritual #1: An Urban Thousand Years of Notches - take place in the park in Quaintance Ayo Akingbade front of NFKS. Parsi Marker & Alain Resnais, 4KVGQH2WTKƂECVKQP (Barbara A Magino Village Tale (Eduardo Williams & Mariano 1952–53, 30 min) McCullough, 1979, 6 min) The New Architecture of the (Ogawa Productions, 1986, Blatt, 2019, 23 min) London Zoo (László Moholy- 222 min) #12 Friday 10am: It For Others Ornette: Made in America Nagy, 1936, 16 min) This screening will take Those That, at a Distance, (Duncan Campbell, 2013, 54 (Shirley Clarke, 1985, 77 min) Resemble Another min) London Can Take it! place in the old Kabelvåg (Jessica Sarah Rinland, 2019, (Harry Watt & Humphrey courthouse (now the BUA 67 min) Jennings, 1940, 9 min) building) adjacent to NFKS Another Decade (Morgan Quaintance, 2018, 26 min) Dear Babylon (Ayo Akingbade, 2019, 21 min)

7:00 PM 4:00 PM 7:00 PM 4:00 PM #2: Joan Jonas / George #5: Martha Atienza / Kidlat #8: Tanatchai Bandasak #11: Miko Revereza Clark Tahimik / Danech San / Juanita Distancing (Miko Revereza, On location: Hill top behind Anito Onzaga / Taiki Sakpisit 2019,10 min) On location: Park NKFS (Martha Atienza, 2011-17, 9 min) Recording Of A Screening For No Data Plan (Miko Revereza, Wind Turumba 2019, 70 min) (Joan Jonas,1968, 5 min) A Spirit (Tanatchai Bandasak, (Kidlat Tahimik, 1981, 95 min) 2015, 3 min) Sea of Clouds A Million Years (Danech San, (George Clark, 2016, 16 min) 2018, 21 min) 7:00 PM The Jungle Knows You Better Open Screen Than You Do (Juanita Onzaga, NKFS 3rd yYear Students 2016, 20 min) The Age Of Anxiety (Taiki Sakpisit, 2013, 14 min) 46 THE IMAGE AND ITS IMAGE 47

The Image and Its Image 14-18 October 2019 Curated by George Clark œÀ`>˜`ŽÕ˜Ã̇œ}w“v>}̏i] Kabelvåg, Norway

Thanks to all artists and distributors for supplying work.

Julian Ross and May Adadol Ingawanij curated #8: Tanatchai Bandasak / Dan- ech San / Juanita Onzaga / Taiki Sakpisit as part of the Animist Apparatus project with original title Landscape Of Spirits.

Supported by Nordland kunst- og w“v>}̏i°/ >˜ŽÃ̜˜ÕÌƂÃ`>“] Maria Bratt, Jan Bull and Edvart Falch Alsos.

Thanks to Manny Farber (1917-2008) king of termites.