Proslavljamo desetu godišnjicu CZKD 10. oktobra specijalnim programom iz dva dela, u 18h i 20h!

18h Tema festivala u Oberhauzenu:
„Solidarnost kao disrupcija“
Kustoskinje: Branka Benčić i Aleksandra Sekulić

2019. godine smo sastavile program Teme festivala u Oberhauzenu „Solidarnost kao disrupcija“, sa namerom da inspirišemo promišljanje solidarnosti kao disruptivnog događaja rekonstituisanja društva, koji je umesto u 2020, realizovan u 2021. godini na digitalnoj platformi festivala kratkog filma u Oberhauzenu, a nastaviće se 2022. godine u festivalskim bioskopima. Osvrnućemo se na koji način možemo tumačiti našu sopstvenu poruku iz daleke 2019. godine, odnosno ovaj THEME program koji je nameravao da reaktivira resurse kinematografije u potrazi za jednom novom infrastrukturom soldarnosti, i kako je to izveo posle globalnog, ma koliko delimičnog, ukidanja okrutnog toka koji traje 24 sata dnevno sedam dana u nedelji. Pozivamo vas da upotrebite vaša sećanja iz 2019, 2020 i 2021. godine da bi ste učestvovali u igri višestrukih perspektiva kako bismo istražili kako se ideja soldarnosti izmenila između nas.

Program projekcije:

Salvatore Insana: Zapalio sam večnu vatru (I Stared Fire Forever) (2020), 23min
Nika Autor: Filmske novosti 63 (Newsreel 63) (2017) 30 min

Branka Benčić je kustosica i povjesničarka umjetnosti sa središnjim interesom za film i video, kustoske prakse, avangardne, eksperimentalne i radikalne umjetničke pozicije i povijest izložbi. Ravnateljica je Muzeja moderne suvremene umjetnosti iz Rijeke. Kao kustosica realizirala je brojne skupne i samostalne izložbe i filmske programe u institucijama, muzejima, festivalima u zemlji i inozemstvu. Dugogodišnja je umjetnička direktorica Apoteke – Prostora za suvremenu umjetnost, kustosica istraživačke platforme Cinemaniac Think Film i stručna suradnica Pula Film Festivala. Povjerenica je i kustosica Hrvatskog paviljona na 57. bijenalu u Veneciji (2017, Horizont očekivanja).

Aleksandra Sekulić je filološkinja opšte književnosti i teroije književnosti, programska urednica u Centru za kulturnu dekontaminaciju (CZKD) u Beogradu. U 2000im bila je programska urednica i producentkinja u Akademskom Filmskom Centru u Beogradu, i članica pokreta Low-Fi Video, projekta Medijska arheologija i grupe Kosmoplovci. Od 2019. urednica u časopisu Beton.

20h Predavanje i projekcija
Katrin Munt: Losing Touch

Program koji je kurirala Katrin Munt (Katrin Mundt) donosi pet filmova koji se bave telima koja svedoče, i percepcijom kao otporom. Optic Nerve Barbare Hamer je meditacija o pamćenju i empatiji koristeći optičku štampu i montažu da preklope prošlost i sadašnjost i naglasi ranjivost naših tela kroz fragilnost filmskog medija. U filmu Untitled Sequence of Gaps Vika Kiršenbauer reflektuje granice onoga što se može opažati: kako možemo pokazati ono što ne vidimo, i kako možemo pristupiti iskustvu onoga što nismo doživeli? U filmu Ears, Nose and Throat Kevina Džeroma Eversona mlada žena se priseća tragedije kojoj je svedočila, dok se preispituje sposobnost njenog tela da opaža i da se izrazi. Film Losing Sleep Daga Portera bavi se borbom kompjuterskog hakera sa hroničnom insomnijom i njegovim pokušajima da se ponovo poveže sa fizičkim svetom. Film Walled Unwalled je performance pred kamerom zasnovan na dokazima koji su doživljeni ili slušani kroz zidove, čime se promišljaju političke dimenzije zvuka i percepcije.

Program projekcije:

Optic Nerve, Barbara Hammer, US 1985, 17‘
Untitled Sequence of Gaps, Vika Kirchenbauer, DE 2020, 12‘30‘‘
Ears, Nose and Throat, Kevin Jerome Everson, US 2016, 11‘
Losing Sleep, Doug Porter, CA 1996, 15‘
Walled Unwalled, Lawrence Abu Hamdan, UK/DE 2018, 21‘

Katrin Mundt (Nemačka) je kustoskinja i ko-direktorka Evropskog festivala medisjke umetnosti u Osnabriku (EMAF). Kurirala je projekte za umetničke prostore i festivale među kojima su: Videonale u Bonu, Virtenberško udruženje umetnika u Štutgartu, HMKV u Dortmundu, , Intermediæ u Madridu, 25FPS u Zagrebu; i koncipirala je programme na festivalima među kojima su međunarodni festival kratkog filma u Oberhauzenu, Kasseler Dokfest, i Duisburger Filmwoche. Držala je predavanja i radionice u institucijama među kojima su Goldsmiths Koledž u Londonu, Akademija medisjke umetnosti u Kelnu, Rur-Univerzitet u Bohumu, Akademija umetnosti sveta u Kelnu. Redovno piše o umetničkim pokretnim slikama, sa posebnim fokusom na presek dokumentarnih i perfromativnih praksi.

CZKD Bioskop je ustanovljen 2011. godine i ima za cilj osvajanje prostora prikazivanja filma koji ne robuje imperativu samoodrživosti mašine kulturnih industrija već evocira specifičnu tradiciju gledanja i proizvodnje filma koju su negovali kino klubovi i filmske škole i ovom praksom uticali na celokupnu filmsku kulturu upravo odnosom poštovanja prema svim učesnicima i elementima filmskog procesa.

U programima: projekcijama i diskusijama, radionicama, festivalima, perfromansima učestvovali su reditelji, pisci, umetnici, istoričari i teoretičari filma, među kojima i: Slobodan Šijan, Lordan Zafranović, Branko Vučićević, Želimir Žilnik, Lars Henrik Gass, Puriša Đorđević, Ognjen Glavonić, Srđan Vučinić, Jovan Bačkulja, Marko Milićević, Adam Ranđelović, Ivica Đorđević, Petar Mitrić, Sabloč Tolnai, Mladen Đorđević, Stefan Ivančić, Marko Grba Singh, Nebojša Jovanović, Greg De Kjur, Branka Benčić, Igor Grubić, Sava Trifković, Bojan Jovanović, Ivan Obrenov, Miroslav Bata Petrović, Dejan Vlaisavljević Nikt, Petra Belc, Sunčica Fradelić, Dragomir Zupanc, Dragan Ambrozić, Srđan Đile Marković, Filip David, Dragan Velikić, Sebstyen Kodolanyi, Zoran Naskovski, Ines Pletikos, Aleksandar Muharemović, Zoran Krema, Igor Bezinović, Dušan Kojić Koja, Dalibor Martinis, Ivan Velisavljević, John Sundholm, Fransisco Tomshic i mnogi drugi…

Kontakt: aleksandrasekulic@czkd.org

CZKD Bioskop se u 2021. godini realizuje uz podršku Ministarstva kulture i informisanja Republike Srbije.

ENGLISH

We are celebrating 10 years of CZKD Cinema on October 10th, with a special two-part program, at 18h and 20h!

18h
Introduction to “Solidarity as Disruption”
Branka Benčić and Aleksandra Sekulić

In 2019, we have comprised the Theme program titled “Solidarity As Disruption”, for the International Short Film Festival in Oberhausen, which was intended to inspire a reflection on solidarity as disruptive event of re-constituting of the society. We will examine how we read our own message from the distant year of 2019, this Theme program meant to re-activate the resources of cinema in the search of the new social infrastructure of solidarity, after the global suspension of the 24/7 flow. We invite you to use your memory of 2019, 2020 and 2021 to participate in the game of multiple viewpoints, so we can examine how the idea of solidarity has changed between ourselves.

Screening program:

Salvatore Insana: I Stared Fire Forever (2020), 23 min
Nika Autor: Newsreel 63 (2017), 30 min

Branka Benčić is a curator and art historian, director of the Museum of Modern and Contemporary Art in Rijeka, Croatia. She has curated exhibitions and screenings in Croatia and internationally. She served as artistic director at Apoteka Space for Contemporary Art, curated Artists Cinema series at the Museum of Contemporary Art Zagreb, and Cinemaniac Think Film program at the Pula Film Festival. She curated the Croatian Pavilion at the 57th Venice Biennale (2017).

Aleksandra Sekulić is a philologist of general literature and theory of literature, the programme curator at the Center for Cultural Decontamination (CZKD) in Belgrade. In the 2000s, she was programme curator and film producer at the Academic Film Center in Belgrade and a member of the Low-Fi Video movement, Media Archaeology project and the Kosmoplovci collective in Belgrade. Since 2019 editor in Beton magazine.

20h
Katrin Mundt: Losing Touch

The programme brings together five films which revolve around bodies bearing witness, and perception as resistance. Barbara Hammer’s Optic Nerve is a meditation on memory and empathy using optical printing and editing to fold past and present into each other and highlight the vulnerability of our bodies through the fragility of the film medium. In Untitled Sequence of Gaps Vika Kirchenbauer reflects on the limits of what can be perceived: How can we show what our eye cannot see, and how can we access an experience we don’t remember? In Kevin Jerome Everson’s Ears, Nose and Throat a young woman recounts her memories of a tragedy she eye-witnessed, while her body’s capacity to perceive and to articulate itself is examined. Doug Porter’s Losing Sleep revolves around a computer hacker’s struggle with chronic insomnia and his attempts to reconnect with the physical world. Walled Unwalled is a performance to camera based on evidence heard or experienced through walls, which reflects on the political dimensions of sound and perception.

Screening program:

Optic Nerve, Barbara Hammer, US 1985, 17‘
Untitled Sequence of Gaps, Vika Kirchenbauer, DE 2020, 12‘30‘‘
Ears, Nose and Throat, Kevin Jerome Everson, US 2016, 11‘
Losing Sleep, Doug Porter, CA 1996, 15‘
Walled Unwalled, Lawrence Abu Hamdan, UK/DE 2018, 21‘

Katrin Mundt (DE) is a curator, author and co-director of the European Media Art Festival (EMAF), Osnabrück. She has curated projects for art spaces and festivals such as Videonale Bonn, Württembergischer Kunstverein Stuttgart, HMKV Dortmund, Intermediæ, Madrid, and 25 FPS, Zagreb, among others, and was a programmer for Oberhausen Short Film Festival, Kasseler Dokfest, and Duisburger Filmwoche. She has given lectures and workshops at institutions such as Goldsmiths College, London, the Academy of Media Arts, Cologne, Ruhr-University Bochum, and the Academy of the Arts of the World, Cologne. She regularly writes on artists’ moving image, with a particular focus on its intersections with documentary and performative practices.

The CZKD Cinema program is being realized since 2011. The CZKD Cinema aims to open the space of the film without subduing it to the imperative of sustainability of cultural industries. We evoke a specific tradition of film experience, film production and education which was cherished in cinema clubs, a practice which has affected the entire film culture: There must be an attitude of respect for all participants and elements of film process.
Numerous directors, writers, artists, film historians and theorists took part in various programs of CZKD Cinema, screenings, discussions, performances, festivals, and among them are: Slobodan Šijan, Lordan Zafranović, Branko Vučićević, Želimir Žilnik, Lars Henrik Gass, Puriša Đorđević, Ognjen Glavonić, Srđan Vučinić, Jovan Bačkulja, Marko Milićević, Adam Ranđelović, Ivica Đorđević, Petar Mitrić, Sabloč Tolnai, Mladen Đorđević, Stefan Ivančić, Marko Grba Singh, Nebojša Jovanović, Greg De Kjur, Branka Benčić, Igor Grubić, Sava Trifković, Bojan Jovanović, Ivan Obrenov, Miroslav Bata Petrović, Dejan Vlaisavljević Nikt, Petra Belc, Sunčica Fradelić, Dragomir Zupanc, Dragan Ambrozić, Srđan Đile Marković, Filip David, Dragan Velikić, Sebstyen Kodolanyi, Zoran Naskovski, Ines Pletikos, Aleksandar Muharemović, Zoran Krema, Igor Bezinović, Dušan Kojić Koja, Dalibor Martinis, Ivan Velisavljević, John Sundholm, Fransisco Tomshic and many others.

Contact: aleksandrasekulic@czkd.org

In 2021, CZKD Cinema is realized with the support of the Ministry of Culture and Media of the Republic of Serbia.