Film Screenings and Lectures: March 24 – 28
All events take place on the Bard College Campus and are free and open to the public. For more information, please call CCS Bard at 845.758.7598 or firstname.lastname@example.org.
Monday, March 24th
Avery Theater – 4:30-6:30pm
Introduction to The Greenroom, CCS Graduate Program Director Maria Lind
Hito Steyerl presentation and screening – November, Lovely Andrea
Tuesday, March 25th
Avery Theater – 10-1pm
Harun Farocki – Videograms of a Revolution, 1992, 106 minutes
Jeremy Deller and Mike Figgis, Battle of Orgreave, 2001, 60 minutes
Avery Theater – 4:30-6:30pm
Screening and Discussion with Hito Steyerl and Peggy Ahwesh, Faculty, Bard Film Department
Peggy Ahwesh, Beirut Outtakes, 2007, 7minutes
Black Audio Film Collective, Handsworth Songs, 1986, 58 minutes
Amar Kanwar, A Season Outside, 1998, 30 minutes
Wednesday, March 26th
Avery Theater – 10 to Noon
Presentations with The Greenroom reference group, including special guests Petra Bauer, Matthew Buckingham, Carles Guerra, and Walid Raad.
Avery Theater – 4:30-6:30
Johan Grimonprez – Dial H-I-S-T-O-R-Y, 1997, 68 minutes
Thursday, March 27th
2pm-4pm – Discussion with Carles Guerra, Petra Bauer, and Hito
Steyerl at CCS Seminar Room.
Avery Theater – 4:30pm-6:30pm
Chantal Akerman, From the Other Side, 2002, 99 minutes
Film Screenings in New York City: May 27 and 28, 2008
Tuesday, May 27, 2008 – 6:30 to 8:30 p.m.
Wednesday, May 28, 2008 – 6:30 to 8:30 p.m.
The New School, Wollman Hall
65 West 11th Street, 5th floor
New York City
Admission: $8, free for all students, as well as New School and CCS Bard faculty, staff and alumni with valid ID.
Two evenings of special screenings introduce The Greenroom, a large-scale exhibition exploring the “documentary turn” in recent contemporary art practice and its heritage in relation to the history of film, documentary photography, and television. Set to open in Fall 2008, The Greenroom, curated by CCS Bard graduate program director Maria Lind, will feature works by more than forty artists and extend beyond the exhibition format to include a long-term research project and related publications.
The research project is a collaboration between the Center for Curatorial Studies and the artist and theoretician Hito Steyerl, and is co-sponsored by the Vera List Center for Art and Politics at The New School and CCS Bard.
These preview screenings, organized by CCS graduate student and curatorial assistant Fionn Meade, include selected works from artists participating in the exhibition.
Program 1: Tuesday, May 27, 6:30-8:30pm
- Yael Bartana, Mary Koszmary (2007, 11 minutes)
- Rosalind Nashashibi, Ambassador (with Lucy Skaer), (2004, 5 minutes)
- Matthew Buckingham, Situation Leading to a Story (1999, 21 minutes)
- Chantal Akerman, D’Est: Au bord de la fiction (1993, 110 minutes)
Yael Bartana, Mary Koszmary (2007, 11 minutes)
Recently commissioned by the Foksal Foundation and Hermès, Mary Koszmary considers the complex legacies and realities of European anti-Semitism and xenophobia. A young man, played by Polish leftist author and politician Slawomir Sierakowski, enters an empty stadium and entreats the three million Jewish Poles who left Poland to return to their homeland while a troupe of Boy and Girl Scout-like youths stencil a message of hope for reconciliation across the stadium floor.
Rosalind Nashashibi, Ambassador (with Lucy Skaer) (2004, 5 minutes)
Playing with the rules of ethnographic framing, this monochrome study of the British Consul moving about his Hong Kong residence presents the enigma of a representative figure within an un-exoticized, quotidian context.
Matthew Buckingham, Situation Leading to a Story (1999, 21 minutes)
Buckingham uses the cinematic space of film and video to stage personalized narratives that question the relationships between the living presence of the viewer, the phantasms of history, and the politics of institutions, archives, and cultural memory. Situation Leading to a Story recounts and complicates the artist’s having found four amateur movies dating from the 1920s in an abandoned box on a New York street.
Chantal Akerman, D’Est: Au bord de la fiction (From the East: Bordering on Fiction) (1993, 110 minutes)
D’Est retraces a journey from the end of summer to deepest winter, from East Germany, across Poland and the Baltics, to Moscow. It is a voyage Akerman wanted to make shortly after the collapse of the Soviet bloc “before it was too late,” reconstructing her impressions in the manner of a documentary on the border of fiction. By filming “everything that touched me,” Akerman sifts through and fixes upon sounds and images as she follows the thread of a subjective crossing.
Program 2: Wednesday, May 28, 6:30-8:30pm
- Anri Sala, Dammi I Colori (2003, 16 minutes)
- Harun Farocki, Workers Leave the Factory (1995, 36 minutes)
- Hito Steyerl, November (2004, 25 minutes)
- Julia Meltzer and David Thorne, We Will Live to See These Things or Five Pictures of What May Come to Pass (2007, 47 minutes)
Anri Sala, Dammi I Colori (2003, 16 minutes)
Dammi I Colori accompanies artist and Mayor Edi Rama on a slow tour of Tirana, attentive to Rama’s ongoing narration as the camera visits various projects throughout the city that attempt to offer a new direction for its residents, including the geometrical painting in rich and primary colors of various housing complexes in the most impoverished areas.
Harun Farocki, Workers Leave the Factory (1995, 36 minutes)
“Workers Leaving the Factory” was the title of the first cinema film ever shown in public. For 45 seconds, workers at the photographic products factory in Lyon, owned by the brothers Louis and Auguste Lumière, hurry out of the shadows of the factory gates and into the afternoon sun. But where are they rushing? In his documentary essay, Harun Farocki explores variations upon this scene right through the history of film, exploring how the space before the factory gates has always been the scene of contested social conflicts and narratives.
Hito Steyerl, November (2004, 25 minutes)
A short film loosely based on the life of Steyerl’s close friend, Andrea Wolf, who, prior to her assassination as a suspected Kurdish terrorist in 1998, was accused of being a member of the Red Army faction in Germany. November is an elegy to a distant friend, an essay on the construction of mythic identities, and a commentary on the defunct ideologies of revolution.
Julia Meltzer and David Thorne, We Will Live to See These Things or Five Pictures of What May Come to Pass (2007, 47 minutes)
Shot in 2005–06 in Damascus, Syria, We Will Live deals with competing visions of the future. Each section—the chronicle of a building in Damascus, a recitation anticipating the arrival of a perfect leader, an interview with a dissident intellectual, a portrait of a Qur’an school for young girls, and an imagining of the world made anew—offers a different perspective on what might happen in a place caught between the competing forces of a repressive regime, a growing conservative Islamic movement, and intense pressure from the United States.
The Greenroom Series
Every Tuesday 9:30 p.m. on Public Access cable TV Time Warner Cable channel 23
A collaboration between PANDA 23 & CCS
For more information and updated program please visit: http://www.pandatv23.org/
The exhibition The Greenroom: Reconsidering the Documentary and Contemporary Art, curated by Maria Lind, is the inaugural event of a long-term research project on “the documentary.” The research project aims at investigating the heritage of documentary practices in contemporary art, in relation to the history of film, documentary photography and television as well as to video art. It also aims at situating these contemporary documentary practices within current cultural production and exploring their role within mainstream media and activism.
In conjunction with the exhibition, CCS has initiated a collaboration with PANDA 23. PANDA will function, in a sense, as an additional venue for the exhibition, broadcasting a weekly, thematic series of works by selected artists in the exhibition, organized by curatorial assistant Milena Hoegsberg. The series aims to introduce a broader local community to the framework of the exhibition and to provide another dimension to the ideas of dissemination of information under discussion in the exhibition as a whole.
In addition to The Greenroom video series, PANDA will broadcast a series of interviews with the artists in the exhibition.
The Greenroom: Reconsidering the Documentary and Contemporary Art is on view from September 27, 2008 through February 1, 2009.
The series will air at 9:30 p.m. every Tuesday evening. Reruns will be shown every Sunday at 8 p.m. and streamed live at http://www.pandatv23.org at those times.
Tuesday, October 21, 2008 9:30 p.m. : The Documentary Portrait
Rebels of the Dance
Video, color and sound
10 minutes, 52 seconds
Courtesy of the artist and Galerie Chantal Crousel.
Staff at São Paulo Biennale
Collection of Malmö Konstmuseum, Malmö.
Video installation with sound
7 minutes, 58 seconds
Courtesy of Galerie Michel Rein, Paris.
Willy as DJ
Courtesy of the artist and Nicolai Wallner, Copenhagen.
Tuesday, October 28, 2008 9:30 p.m. : Interview as Form (Part 1)
New Sexual Lifestyles
Video installation with plasma screens on Omnimount stands, dvd player and 5 C-prints
59″ x 49″ x 1.6″ (150 x 125 x 4cm) each
Collection of Joanne Gold and Andrew Stern.
The Role of a Lifetime
Super 8 transferred to DVD
Courtesy of GB Agency, Paris.
Courtesy of Ideal Audience International, Paris; Marian Goodman Gallery, New York; Galerie Chantal Crousel, Paris; Johnen Schottie, Berlin, Cologne.
Tuesday, November 4, 2008 9:30 p.m. : Interview as Form (Part 2)
N for Negri
2 hours, 10 minutes
Courtesy of the artist.
Tuesday, November 11, 2008 9:30 p.m. : Narrating the Documentary
Courtesy of the artist.
Tuesday November 18, 2008 9:30 p.m. : The Document in Question
Courtesy of the artist.
Julia Meltzer and David Thorne
It’s Not My Memeory Of It: Three Recollected Documents
Collection of Center for Curatorial Studies, Bard College.
authentic, objective, subjective. Or which rules does one follow?
Installation, video on monitor, collages and photocopy hand-outs
Courtesy of the artist and Galleri Nicolai Wallner, Copenhagen.
Tuesday, November 25, 2008 9:30 p.m. : Fictions of War
Courtesy of the artist and Murray Guy, New York.
Tuesday, December 2, 2008 9:30 p.m. : Found Footage: Enthusiasts
Selection of Amateur films collected, restored and made available by Marysia Lewandowska/Neil Cummings on http://www.enthusiastsarchive.net/. Enthusiasts is a long-term research project devoted to the amateur film clubs in socialist Poland in the 1960s and 70s, which Lewandowska and Cummings collaborated on. Although the former state run industries distinguished strictly between ‘productive’ labor, and un-productive “leisure,” leisure time was organized through factory-sponsored clubs such as film clubs where workers could make amateur films after work. The factory supplied 16mm film stock, cameras and editing tables and by the late 1960’s there were almost 300 clubs in Poland. Interested in bringing to view overlooked aspects of cultural production, the artists presented a selection of the hundreds of films they watched on their research trips in a reconstructed interior of a film club-house at the Centre for Contemporary Art, Ujazdowski Castle in Warsaw in 2004. The project is documented online at www.enthusiastsarchive.net, where an archive of found and restored amateur films have been made available as open source material under a Creative Commons License. For exact film program please visit: http://www.pandatv23.org/