|UTSTÄLLNINGSPLATSER och ADRESSER / EXHIBITION VENUES and ADDRESSES
Medverkande / Participants
FILMPROGRAMME MODERNA MUSEET:
•13.11• JEAN-LUC GODARD
•16.11• 10 MINs WITH THE WORKING CLASS
•11.12• IMAGES OF WORK, WORKING IMAGES
•15.01• KEN JACOBS PERFORMANCE
SEMINARS AT IASPIS:
•20.11• REPRESENTATIONS OF LABOUR
•27-28.11• BAC WORKSHOP AT IASPIS: On the Conditions of Production
•3-4.12• ART FOR SOCIAL AND SPATIAL CHANGE
•30.11• GEOFFREY BATCHEN LECTURE AT INDEX
•25.4•FILMPROGRAMME AT E-FLUX
•25.4•IMAGE AT WORK PUBLICATION RELEASE
|Film programme at e-flux||e-flux
Monday 25 April 2011, 7pm
still from Studio (1978)
Curator Helena Holmberg presents a selection of films from the Image at Work exhibition project, shown at Index and the Romanian Cultural Institute (October 2010 and February 2011), and from the accompanying film screening series at the Moderna Museet, Stockholm.
Image at Work focused on the notion of work and regarded it as an activity that structures and transforms the world around us, sets boundaries and defines the individual and society. Setting out from a conception of work as a fundamental human activity, the way in which we handle given conditions, the project explored various aspects of work.
The understanding of work as a structuring activity is the starting point for Kajsa Dahlberg’s performance Kitchen (2000). Here presented in its documented form, the performance was based on Swedish research into the perfect architectural measurements of kitchens, which came to define household work, working conditions and, in a wider perspective, women’s place in society. In addition to the screening of Kajsa Dahlberg’s work, the programme will include an excerpt from the Swedish 1940 newsreel A Modern Kitchen.
The relationship between body, work and the definition of space recurs in Studio (1978) by Geta Bratescu, but in this case more as a statement about artistic work. Geta Bratescu uses her body as a tool for defining and appropriating space. In contrast to the limitations imposed on women by the definition of the kitchen-space, the power relationship is here the opposite: the artist inscribes herself in the studio space which becomes an extension of her body.
Training Analysis of Toilet-Soap Pressing (1938) is an industrial film, “designed for organizational functionality rather than for expression or social analysis”, as Patrick Vonderau remarked in his introduction to the screening programme he curated. Nevertheless, this film, like many other industrial films, contains aspects of both expression and analysis, which are wider than indicated by the title. The defined and controlled body is exposed in full view.
One Victim and Many Culprits (1983) also belongs to the group of industrial films, but in contrast to Training Analysis of Toilet-Soap Pressing, it has a clear authorship. Employing his unique cinematic language, director Ovidiu Bose Pastina transcends the restrictions of a traditional health-and-safety film and manages to present a critique of the working conditions depicted in the film, as well as provide the protagonists, the factory workers, with a real presence, despite the fact that he aims for depicting “distance and alienation, not intimacy”, as he points out in the interview with curator Adina Bradeanu presented in the Image at Work publication.
The Image at Work exhibition aimed to view the meaning-creating processes, which build contexts and critical potential within an artistic work, as a kind of the image’s own work, suggesting a broader span of perspectives and considering art as a process that constitutes meaning. This aspect is at the core of Centaur (1973-75) by Tamas St.Auby, which employs the medium of film to highlight discrepancies in society and formulate a political critique, not only through the work’s topic but through its aesthetics. By deconstructing and separating the elements of the film, new meaning is extracted, and by separating sound and image, the artist accentuates the alienation of the characters’ lives. The title of the film refers to the division that is the life condition of the mythical animal the centaur – half horse, half human being – and of film, which also operates with a division between sound and image. By charging the soundtrack with a philosophical and political dialogue, Tamas St.Auby steers our attention towards a human potential that was not cared for in socialist society.
Films included in the programme:
Kitchen, Kajsa Dahlberg (Sweden, 2000), documentation of performance, 11’30’’
A Modern Kitchen [Ett modernt kök] (Sweden, 1940) excerpt app 5’
Studio, Geta Bratescu (Romania, 1978), 17’40’’
Training Analysis of Toilet-Soap Pressing (Great Britain, 1938) 7’15’’
One Victim and Many Culprits [O victima si mai multi vinovati], Ovidiu Bose Pastina (Romania, 1983), 10’
Centaur, Tamas St.Auby: (Hungary, 1973-75), 39’45’’