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Mary Otis Stevens. The i Press Series
14 Feb 2020, Fri - 14 Jun 2020, Sun

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Mary Otis Stevens (b.1928) is a pioneering American architect. Her architectural designs, along with the founding of i Press (1968-1978), an important publisher of books on architecture, urbanism, and social space, were linked to her ability to radically re-envision space and relationships. In the context of the Cold War and American political activism in the 1960s, her work, which were often in collaboration with her partner, fellow architect and i Press co-founder Thomas McNulty, revealed her foundational training in philosophy and her commitment to de-centralising hierarchies. Revisiting her work more than fifty years later, the themes of active citizen participation in government, integrated planning, and genuine risk-taking to make substantial change in people’s lives remain relevant and crucial means of incorporating a social context into the practice of architecture. On view is Mary’s sensitivity to variations, large and small, visible in her work as a publisher as well as her drawings and architectural designs. This research presentation also explores The Ideal Communist City, an i Press publication by Alexei Gutnov et al. from 1970 that offers a deep dive into a utopian proposition that “the new city is a world belonging to all and to each.”

In order to help introduce the i Press series on the human environment to a wide audience, NTU CCA Singapore, with series editors Ute Meta Bauer (Founding Director, NTU CCA and Professor, NTU ADM), James Graham (Director of Publications, Columbia University GSAPP), and Pelin Tan (2019-2020 Keith Haring Fellow in Art and Activism, Bard College), is currently working with i Press and Mary Otis Stevens to republish several original i Press books with revisions and commentary by contemporary theorists and practitioners.

Mary Otis Stevens. The i Press Series is curated by Dr Karin Oen, Deputy Director, Curatorial Programmes, NTU CCA Singapore

 

Download the brochure here.

 

Image: Mary Otis Stevens, early concept model for the Lincoln House, architecture expressed as wave motion, 1965.

 

Residencies Online Screening Programme
Stakes of Conscious(ness) 
22 May 2020, Fri - 5 Jun 2020, Fri

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With national frontiers sealed worldwide and bodies forced into a standstill, it can be all the more relevant to embark onto journeys of the mind and explore different states of consciousness. Which shape(s) does human consciousness take when time unfolds within conditions of spatial confinement? What happens when the body plunges into increasingly immaterial networks and disembodied social relations? Is an emancipated society already inscribed in the deep recesses of our conscious? Stakes of Conscious(ness) brings together works of Danilo Correale (Italy/United States), Liu Yu (Taiwan), and a new film by Marianna Simnett (United Kingdom) specifically produced for this occasion, three artists whose residency at NTU CCA Singapore has been disrupted by the viral pandemic. Each work modulates a unique mindscape and pushes our imagination beyond the boundaries of normative reason, the entrapments of capitalistic development, and the limits of our sensorium.

Curated by Dr Anna Lovecchio, Curator, Residencies

 

DANILO CORREALE

Reverie. On the Liberation from Work. Transition, 2017

HD colour and sound, 20 min. Courtesy the artist.

 

Developed in collaboration with a hypnotherapist, Reverie. On the Liberation from Work (2017) is a two-part hypnosis exercise that soothes the body and the mind into a state of relaxation wherein “the ease of a post-work society” slowly comes into focus. Through the lull of the voiceover and mesmerising visual aids, Transition releases our mental confines and prompts us on a inward journey towards a future society where work is no longer commanded and humanity is free to dedicate itself to mutual care and collective improvement. Neither a retreat nor an escapist lure, Reverie. On the Liberation from Work rather paves the way for visions of future freedom by eliciting a renewed sense of presence and the empowering awareness that the future is there for us to shape.

The practice of Danilo Correale (b. 1982, Italy/United States) critiques contemporary life and investigates the opacity surrounding complex cultural and economic systems. In recent years, his research revolves around the dichotomy between labour and leisure and the relation between sleep and enforced wakefulness under the neoliberal economic regime. His work has been presented in numerous international group exhibitions and his solo shows include They Will Say I Killed Them, Metropolitan Arts Centre, Belfast, United Kingdom (2019); At Work’s End, Art in General, New York, United States (2017); and Tales of Exhaustion, La Loge, Brussels, Belgium (2016). In 2017, he was awarded both the New York Prize for Italian Young Art and an Associate Research Fellowship at Columbia University.

 

LIU YU

Somehow I feel relaxed here, 2017

HD colour and sound, 12 min 52 sec. Courtesy the artist.

 

Taking place within the ruins of Taiwan’s former Zhongxing Paper Factory—built by the Japanese in 1935 and heavily bombed during WWII—Somehow I feel relaxed here (2017) overlaps fragmentary experiences and visual narratives that blend the boundaries between past and present, space and time, sleep and wakefulness. Recounts of World War II air raid survivors, images captured by urban explorers’ handheld cameras, and sequences from online war gaming sessions unfurl along a guided meditation path led by a entrancing voiceover. Through these site-specific and mind-shifting detours, the film draws an imaginary map where the entanglements of historical decay, memory, and disembodied experience chart out different modes of consciousness while also speculating on the status of contemporary corporeality.

Merging fictional stories and historical accounts, the works of Liu Yu (b. 1985, Taiwan) cuts across video, installation, and text to re-contextualize stories of marginalised communities and comment on the intricacies of domineering power structures. Using field work and site-specific methodologies, she reconstructs alternative narratives strung together by fragmented representations of space, history, image, and narration. Among her solo exhibitions are The history of the concave and the convex, Hong-Gah Museum, Taipei, Taiwan (2018) and Several Ways to Believe, Taiwan Academy, Los Angeles, United States (2016). She has recently participated in 2019 Asian Art Biennial, Taichung, Taiwan.

 

MARIANNA SIMNETT

Tito’s Dog2020

HD colour and sound, 6 min 56 sec. Courtesy the artist.

 

What impact does lockdown have on identity when borders are closed and movement is restricted? In this work, produced during the recent global lockdown and performed in Croatian and English, Marianna Simnett enacts the remarkable story of Tito and his dog, Luks. Tito, the former President of Yugoslavia, was a contested symbol of unity in the artist’s childhood memory and this month marks the 40th anniversary of his death. Continuing her investigation of interspecies relationships whilst also confronting her own identity, Simnett uses makeup and prosthetics to transition from human to German Shepherd as she tells a story of survival and animal suicide.

Marianna Simnett (b.1986, United Kingdom) lives and works in London. Her interdisciplinary practice includes video, installation, performance, sculpture and watercolour. Simnett uses vivid and visceral means to explore the body as a site of transformation. Working with animals, children, organs, and often performing herself, she imagines radical new worlds filled with untamed thoughts, strange tales, and desires. Simnett has shown in major museums internationally. Recent solo exhibitions include LAB RATS, Kunsthalle Zürich, Switzerland (2019), My Broken Animal, Frans Hals Museum, Haarlem, Netherlands (2019), CREATURE, Institute of Modern Art, Brisbane, Australia (2019), Blood In My Milk, New Museum, New York, United States (2018) among others. She is a joint winner of the Paul Hamlyn Award 2020, receivedthe Jerwood / FVU Award in 2015, and was shortlisted for the Jarman Award in 2017.

 

 

Header Image: Danilo Correale, Reverie. On the Liberation from Work. Transition, 2017, film still, 20 min. Courtesy the artist.

Online Screenings, Selections from Third Way / After Bandung
12 Jun 2020, Fri - 17 Jun 2020, Wed

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Selected films from our film programme Third Way / After Bandung, originally intended to be screened on-site in parallel with the exhibition Non-Aligned, are being made available to be streamed on our website for limited periods of time. To learn more about the original scope and sequence of this film programme, curated by Mark Nash and Vladimir Seput, please click here. CCA gratefully acknowledges the collaboration of the curators, filmmakers, and distributors in making this transition to an online film programme possible during the global COVID-19 crisis.

 

The film will be available from 12 June, 00:00 SGT to 17 June, 23:59 SGT. Register here to receive the password to view the film. You will also receive an email reminder with the viewing link and password 1-2 days before the screening. 

 

12 – 17 June 2020
Mikhail Kalatozov, I am Cuba (Soy Cuba), 1964
35mm transferred to digital file, b&w, sound, 141 min

Narrated by Raquel Ravuelta, a seminal figure in Cuban theatre, film, television and radio, as “The Voice of Cuba,” I am Cuba follows four stories of Cubans during the Cuban Revolution. Maria works at a Havana nightclub; Pedro is a tenant farmer; Enrique, a young university student, is part of the intellectual resistance; and Mariano is a peasant who joins the rebel army. The script was co-authored by the Cuban novelist Enrique Pineda Barnet and the Soviet poet Yevgeny Yevtushenko.

 

BIOGRAPHY

Mikhail Kalatozov (Russia) was a prominent film director who largely contributed to both Georgian and Russian cinema. He studied economics before starting his extensive filmmaking career in 1923. He had his solo directorial debut in 1930 with the documentary Salt for Svanetia and directed several propaganda films during World War II. He also worked as a cultural attaché at the Soviet Embassy in the United States, and was later appointed Deputy Film Minister of the Soviet Union. He is best known for his World War II drama, The Cranes Are Flying (1958), which won the Palm d’Or at the 1958 Cannes Film Festival.

 

Image: Mikhail Kalatozov, I am Cuba (Soy Cuba), 1964, film still. Courtesy the artist.

Exhibition (de)Tour: Nonlinear Trajectories by Dr Itty Abraham, Professor and Head, Department of Southeast Asian Studies, NUS
18 Jun 2020, Thu 07:00 PM - 08:30 PM

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This lecture will be streamed live on Zoom. Stay tuned to this page as the link will be live on 18 June 2020. Or sign up here receive a Zoom reminder with the link sent to your inbox 1 or 2 days before the event.

 

Taking the dis-connections between the three cinematic projects in the exhibition as points of departure, Professor Abraham will engage in a critical conversation about the multiple pasts of what is today called the Global South. A historical overview of the Bandung Conference and its links to the Non-Aligned Movement, real and imagined, will help contextualise different Cold War trajectories as structure and as possibility. 

 

BIOGRAPHY

Dr Itty Abraham (United States/Singapore) is Professor and Head of the Department of Southeast Asian Studies at the National University of Singapore (NUS). Earlier, he was director of the South Asia Institute at the University of Texas at Austin and program director at the Social Science Research Council (SSRC), New York. He was a Fulbright-Nehru senior fellow in 2011 and has received research grants from the US National Science Foundation, Ford, Rockefeller, and MacArthur foundations, among others. He has written about nuclear power, criminal borderlands, foreign policy, digital cultures, and postcolonial technoscience. He is currently working on a book on refugees and forced migration in Asia.

Singapore Art Book Fair 2020, Presented with NTU CCA Singapore
26 Jun 2020, Fri - 26 May 2020, Tue 12:00 PM - 11:30 PM
27 Jun 2020, Sat 12:00 PM - 08:00 PM
28 Jun 2020, Sun 12:00 PM - 08:00 PM

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*This workshop has been postponed till further notice. Stay tuned for more updates.

 

Exhibitor applications are NOW OPEN. Apply here before 27 March 2020 to be part of one of the biggest art fair in Singapore.

Singapore Art Book Fair (SGABF)  serves as a platform that celebrates and represents artists’ books, zines, monographs, contemporary art editions, and other printed ephemera. Over the course of the weekend, the fair is complemented by a range of programmes such as talks and performances. These programmes aim to provide resources that will deepen the appreciation and increase the awareness of the printed matter.

Its seventh year running, SGABF has well established itself as one of the leading art book fairs in Asia. While the fair continues to grow in exhibitors and audience, it remains committed to building an environment of support for artists, small and/or independent presses, and publishers working in the medium. SGABF serves to capture the energy and vision of artists, and believes in evolving and presenting the diversity of our community, as well as exposing the audience to new and innovative publishing practices.

This event is free and open to the public. Stay tuned to this page for regular updates of programmes.

Alignments from the Archive
4 Apr 2020, Sat - 27 Sep 2020, Sun

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In this period of solidarity, the Centre brings forth a collection of archival videos, featuring lectures, conversations, and discussions that relate to themes of decolonisation, legacies of colonialism, and post-war independence movements explored in the exhibition Non-Aligned.

 

#1: Mise-en-Scéne and Misalignments: Resetting the Postcolonial Stage

While the Cold War raged on in the years following 1945, in the spaces between East and West, smaller theatres of war were emerging throughout the postcolonial world. This collection highlights moments of mise-en-scène that reset a global stage framed by colonial axes of power, featuring thinkers and artists such as Isaac Julien, Mark Nash, Stefano Harney, Škart, and Bojana Piškur.

Watch channel

 

Paradise Lost: Lecture: Postcolonial critique today – Stefano Harney
7 March 2014

Referencing the works of Zarina Bhimji and Trinh T. Minh-ha in the exhibitionParadise Lost, Dr Stefano Harney investigates the renewed power of postcolonial critique today. By returning to the great thinkers of the “colonial situation” and its aftermath, Harney re-evaluates the proposition that globalisation has erased “old ideas of the lines between coloniser and colonised.”

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Theatrical Fields: Special Brunch and Screening Session with Isaac Julien and Mark Nash
26 October 2014

Dr Mark Nash and Isaac Julien discuss theatricality as criticality through Vagabondia (2000), Julien’s seven-minute film for Theatrical Fields, in which the figure of the vagabond is used to explore how the Sir John Soane’s Museum collection has benefitted from colonisation. Julien’s Playtime (2014), a part-documentary part-fiction exploration of global capital, plays following their conversation.

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Residencies Insights: Non-Aligned Movement: New Spaces of Liberty, New Lines of Alliance, New Modes of Creativity
22 November 2017

Belgrade-based collective Škart and Bojana Piškur situate the Non-Aligned Movement’s ideas, ideals, and principles in the present and apply them to exhibition-making and cultural exchange. Looking beyond the complex history of the Non-Aligned Movement, they map out possible prototypes for institutions, networks, and politics within art and culture today.

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#2: Phantasms and Futurities: Decolonial Propositions

From a global stage reset in Mise-en-Scéne and Misalignments, this collection rescripts the linear trajectories of colonial pasts and postcolonial presents, towards the realisation of decolonised futures. Prof Timothy Murray noted in his keynote lecture that “the theatrical script always opens to the arrival of the future; they are contingent and dependent upon futurity”. Artists, performers, and curators, such as Zarina Muhammad and Brigitte van der Sande enact and identify heterotopias — spatial alterities or counter-sites wherein alternative realities are constructed — that rewrite these politicised narratives through explorations of mythmaking and science fiction.

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Theatrical Fields: Symposium: Screening Theatrical Phantasms: Toward an Uncertain Futurity
Keynote Lecture by Prof Timothy Murray
23 August 2014

This talk addresses the fascination of artworks in our previous exhibition Theatrical Fields in 2014, which introduces theatricality as a critical strategy in performance, film and video. In providing a brief theoretical overview of “the politics of theatricality,” Murray will reflect on the exhibition’s screenic re-possession of cinematic characters, buried stories, and influential texts in ways that challenge the historical groundings of theatricality in the ethnocentric certainty of culture and law. 

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Lecture Performance: Flowers from our Bloodlines by Zarina Muhammad, artist; Stefania Rossett, choreographer; Vivian Wang pianist; Eric Lee, artist; and Tini Aliman, sound artist
22 September 2017

Drawing from concepts of the demonised and desired body, gender-based archetypes, and mythmaking, this lecture performance invokes family histories and revokes the lineages of colonisation in Southeast Asia. Intergenerational and cross-cultural exchanges, facilitated by storytelling, rituals, gestures, and embodied movement, are explored through the rites of the Wolf Spider and the Harimau Jadian (Were-Tiger), and their multiple translations and adaptations.

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Residencies Insights: Speculations on other futures by Brigitte van der Sande, former Curator-in-Residence
6 December 2018

Brigitte van der Sande explores how science fiction is used to envision alternative futures and critique existing power structures while shunning censorship, within countries where continuous change is the status quo because of war or political instability. Her long-term project Other Futures, “a multidisciplinary online and offline platform for thinkers and builders of other futures”, features non-Western science fiction makers and thinkers.

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Online Resource for Reading Groups, Non-Aligned
4 Apr 2020, Sat - 27 Sep 2020, Sun

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Accompanying this exhibition is a library of over 50 books on postcolonialism, decoloniality, the history of the Cold War, the Non-Aligned Movement, archiving, as well as theory of the moving image and publications on and by John Akomfrah, Naeem Mohaiemen, and The Otolith Group. Authors include Frantz Fanon, Stuart Hall, and Richard Wright, as well as Kodwo Eshun, Rosalind C. Morris, Bojana Piškur and Gayatri Chakravorty Spivak, among many others. In light of our Centre’s temporary closure, we have selected texts on, or in conversation with, some of them to be used for online reading groups. These additional texts including articles by Vijay Prashad and Eslpeth Probyn, and book chapters by Adil Johan and S.R. Joey Long.

 

Reading list:

Akomfrah, John, “The Partisan’s Prophecy: Handsworth Songs and Its Silent Partners”, in Stuart Hall: Conversations, Projects, and Legacies, Julian Henriques, David Morley, and Vana Goblot. (Cambridge: The MIT Press, 2017): 185–203. https://muse.jhu.edu/chapter/2060422

Bhambra, Gurminder K, “Postcolonial and Decolonial Dialogues”, Postcolonial Studies 17, no.2 (2014): 115-121. https://doi.org/10.1080/13688790.2014.966414

Bogues, Anthony, and Akomfrah, John, “The Black Intellectual in the African Diaspora”, Callaloo 40, no.1 (2017): 81–90. doi:10.1353/cal.2017.0054

Johan, Adil, “Decolonising Motifs,” in Cosmopolitan Intimacies: Malay Film Music of the Independence Era (Singapore: National University of Singapore Press, 2018): 41–92. http://www.jstor.com/stable/j.ctv7h0tcd.8

Long, S.R. Joey, “Bringing the International and Transnational Back In: Singapore, Decolonization, and the Cold War,” in Singapore in Global History, ed. Derek Heng and Syed Muhd Khairuddin (Amsterdam: Amsterdam University Press, 2011): 205–223. https://library.oapen.org/bitstream/id/2adedfa2-d277-4dfe-bdfe-f1ef072c5898/381653.pdf

Parashar, Swati “Feminism and Postcolonialism: (En)gendering Encounters”, Postcolonial Studies 19, no.4 (2016): 371–377. https://doi.org/10.1080/13688790.2016.1317388

Paulson, Steve. “Critical Intimacy: Interview with Gayatri Chakravorty Spivak”, Qualitative Research Journal 18, no.2 (2018): 89–93. https://doi.org/10.1108/QRJ-D-17-00058.

Piškur, Bojana, “Southern Constellations: Other Histories, Other Modernities” in Southern Constellations: Poetics of the Non-Aligned, Bojana Piškur, Zdenka Badovinac, Chương-Đài Võ, Samia Zennadi, Teja Merhar, and Anej Korsika (Ljubljana: Moderna Galerija, 2019): 9–21. [Download PDF file]

Prashad, Vijay, “Naeem Mohaiemen’s Tragic History of the 1907s Left”, Afterall: A Journal of Art, Context and Enquiry 47 (2019): 59–66. https://afterall.org/journal/issue.47/naeem-mohaiemen-s-tragic-history-of-the-1970s-left

Probyn, Elspeth, “A Feminist Love Letter to Stuart Hall; or What Feminist Cultural Studies Needs to Remember”, Cultural Studies Review 22, no.1 (2016): 294–301, https://doi.org/10.5130/csr.v22i1.4919

Roberts, Brian Russell, and Foulcher, Keith, eds., “Gelanggang’s ‘A Conversation with Richard Wright’ (1955)” in Indonesian Notebook: A Conversation with Richard Wright (Durham: Duke University Press, 2016): 95–105. https://read.dukeupress.edu/books/book/2275/chapter/370904/Gelanggang-s-A-Conversation-with-Richard-Wright 

Wilson-Goldie, Kaelen, “Shifting Ground: On Stories and Archives in the Work of Naeem Mohaiemen”, Afterall: A Journal of Art, Context and Enquiry 47 (2019): 67–75. https://www.afterall.org/journal/issue.47/shifting-ground-on-stories-and-archives-in-the-work-of-naeem-mohaiemen.

“A Conversation with Stuart Hall”, The Journal of the International Institute 7 no.1 (1999), http://hdl.handle.net/2027/spo.4750978.0007.107

 

 

 

 

 

 

 

 

 

 

Film Programme: Third Way / After Bandung
7 Apr 2020, Tue - 27 Sep 2020, Sun

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This film programme originally intended to be screened on-site in parallel with the exhibition Non-Aligned, has moved online! Selected films are being made available to be streamed on our website for limited periods of time. Click here for more details. CCA gratefully acknowledges the collaboration of the curators, filmmakers, and distributors in making this transition to an online film programme possible during the global COVID-19 crisis.

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This programme features films that engage post-colonial processes covering different moments and geopolitical contexts. The Asian-African Conference in 1955, known as the Bandung Conference, amidst the complex processes of decolonization, established self-determination, non-aggression, and equality as part of the core values that then formed the Non-Aligned Movement. This history is unpacked and contextualised through this series of screenings.

Co-curated by writer and curator Mark Nash and film researcher Vladimir Seput.

Screening on loop during opening hours.

Joris Ivens, Indonesia Calling, 1946 
35mm transferred to digital file, b&w, sound, 22 min
Screening on Loop

The film gives a glimpse of the immediate post-World War II Sydney, where trade union seamen and waterside workers refused to service Dutch ships which contained arms and ammunition, destined for Indonesia, utilising them to bring the Indonesian National Revolution to a halt. The film seeks to distil aspects of the historical context of the events depicted in the film and give insight to the major re-alignments in the relationship between Australia and Indonesia.

 

First conference of Non-Aligned Movement, 1961
Archive footage, colour, sound, 10 min 51 sec
Screening on Loop

Archive footage from the first conference of the 1961 Non-Aligned Movement, otherwise known as the Belgrade Conference, presenting historical events from the meeting. The inaugural conference was initiated by three key figures: Josip Broz Tito, President of Yugoslavia; Gamal Abdel Nasser, President of Egypt; and Jawaharlal Nehru, First Prime Minister of India. Attended by 25 countries from Asia, Africa, and Latin America, the conference is a direct response to the division of sphere of influence settled between the major world forces after WWII and the Cold War, enabling members to independently formulate their own position in international politics.

 

Ousmane Sembène, Borom Sarret, 1963
35mm transferred to digital file, b&w, sound, 18 min
Screening on Loop

Borom Sarret is often considered the first film ever made in Africa by a black African. The stark masterpiece chronicles a day in the life of a Dakar cart driver. The frustrating day of this “borom sarret” (a Wolof expression for cart driver), where he encounters an unfortunate array of characters, leaving him cheated out of his wages and deprived of his cart. In this powerful evocative film with urban details and a socially critical voice, Sembène conveys the toll of natural loss, poverty, and the stain of European colonisation of Africa.

Restored in 2013 by The Film Foundation’s World Cinema Project in association with Institut National de l’Audiovisuel and the Sembène Estate. Restoration work was carried out at Laboratoires Éclair and Cineteca di Bologna/L’Immagine Ritrovata laboratory. Restoration funding provided by Doha Film Institute. 

 

Mikhail Kalatozov, I am Cuba (Soy Cuba), 1964
35mm transferred to digital file, b&w, sound, 141 min
12pm, 2.30pm, 5pm

Narrated by Raquel Ravuelta, a seminal figure in Cuban theatre, film, television and radio, as “The Voice of Cuba,” I am Cuba follows four stories of Cubans during the Cuban Revolution. Maria works at a Havana nightclub; Pedro is a tenant farmer; Enrique, a young university student, is part of the intellectual resistance; and Mariano is a peasant who joins the rebel army. The script was co-authored by the Cuban novelist Enrique Pineda Barnet and the Soviet poet Yevgeny Yevtushenko.

 

Ousmane Sembène, Black Girl (La noire de… ), 1966
35mm transferred to digital file, b&w, sound, 60 min
Every Hour

The film follows Senegal’s first years of independence through a young ambitious woman, Diouana. She secures a job as a maid with a French couple working in Dakar. Seduced by the apparent kindness of her employers, she accepts their offer to follow the family to the French Cote d’Azur. In France, she finds herself imprisoned, being denied any time off and treated like an object. A harrowing human drama as well as a radical political statement, critiquing the colonial mind-set of a supposedly postcolonial world. Black Girl is the first black African feature film which screened at Cannes and won the Prix Jean Vigo and top prize at the Carthage Film Festival.

Celebrating the 30th Anniversary of The Film Foundation. 
Restored by Cineteca di Bologna/ L’Immagine Ritrovata laboratory, in association with the Sembène Estate, Institut National de l’Audiovisuel, INA, Eclair laboratories and the Centre National de Cinématographie. Restoration funded by The Film Foundation’s World Cinema Project. 

 

Tomás Gutiérrez Alea, Memories of Underdevelopment, 1968
35mm transferred to digital file, b&w, sound, 97 min
12pm, 1.45pm, 3.30pm, 5.15pm

The film’s narrative presented through the lens of Sergio, a wealthy bourgeois aspiring writer, during the aftermath of the Bay of Pigs Invasion. His family decides to retreat to Miami during the turmoil of social changes. The film is interspersed with real-life documentary footage of protest and political events in which Sergio’s life and personal relationship unfolds. As the threat of foreign invasion intensifies looms over Sergio, his desire for companionship also intensifies.

Restored by the Cineteca di Bologna at L’ Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematograficos (ICAIC ). Restoration funded by the George Lucas Family Foundation and The Film Foundation’s World Cinema Project.

 

Želimir Žilnik, Early Works (Rani Radovi), 1969
35mm transferred to digital file, b&w, sound, 58 min
12pm, 1.30pm, 3.00pm, 4.30pm, 5.45pm

Early Works (Ravi Radovi) recounts a story of youths who took part in student demonstrations, set June 1968 in Belgrade. Three young men and a girl, Yugoslava, set out to defy the petit-bourgeois routine of everyday life. Wanting to change the world and inspired by the writings of the young Karl Marx, they go to the country to persuade the peasants in their fight for emancipation. They eventually get arrested. Frustrated as the planned revolution has not been realised, the three young men decide to kill Yugoslava. They shoot her, cover her with the party flag and burn her body. The smoke rising up into the sky is the only thing that remains of the intended revolution.

 

Želimir Žilnik, Shorts: Black Film (Cri Film), 1971
16 mm transferred to digital file, b&w, sound, 14 min
1pm, 2.30pm, 4pm, 5.30pm, 6.45pm

The film chronicles Žilnik picking up a group of homeless men from the streets of Novi Sad and taking them to his home. Žilnik carries along a film camera to witness his efforts to “solve the problem of the homeless,” while the group of homeless men enjoy themselves in his house. He speaks to social workers, members of the general public, and even engages with the policemen. However, they turn a blind eye to the “problem” at hand.

 

Karpo Godina, Litany of Happy People (Zdravi ljudi za razonodu), 1971 
35mm transferred to digital file, colour, sound, 15 min
Screening on Loop

The Litany of Happy People is a song-film about the diverse group of people living harmoniously in rural Vojvodina, an autonomous province of Serbia known for its multi-cultural and multi-ethnic identity. The film presents families with multi-ethnic backgrounds, standing in front of their seemingly similar but colourful rural houses. The film won numerous awards at short film festivals.

 

Karpo Godina, About Art of Love or a Film with 14441 Frames (O ljubavnim veštinama ili film sa 14441 kvadratom), 1972 
Colour, sound, 10 min
Screening on Loop

This film presents an almost journalistic report of the female textile workers and male military soldiers in the Macedonian village of Stip. Interwoven with military footage and shots of the village, the alternating scenes present the two groups in proximity, while being completely isolated.  The film went through a thorough restoration process in 2016 and was shown at the 30th edition of Il Cinema Ritrovato in Bologna, Italy.

 

Isaac Julien, Frantz Fanon: Black Skin White Mask, 1995
35mm transferred to digital file, colour, sound, 70 min
12pm, 1.30pm, 3.00pm, 4.30pm, 5.45pm

This film interrogates the life and work of Frantz Fanon, a highly influential anti-colonial writer, civil rights activist, and psychoanalytic theorist from Martinique. The docudrama is interspersed with archival footage of Fanon as well as interviews with family members and colleagues. Reflecting on the black body and its representations, the film is rooted in the black arts movement in Britain and North America.

 

 

Image: Production still from Želimir Žilnik, Early Works (Rani Radovi), 1969, 35mm transferred to digital file, b&w, sound, 58 min. Courtesy Andrej Popovic.