Participating artists:Daniela Takeva, Nikolina Nedialkova, Jonas Roßmeißl, Andrėja Šaltytė, Yu Hsin Su
Venue:online
The third program CULTURAL ECOLOGIES of the HGB class Expanded Cinema deals with artistic research and interventions into the nature of cultural practices, language and commodity exchange. The artists direct their gaze to Ukraine, Japan, Nigeria and Bulgaria. (total duration: 41 min)
I PUT A SPELL ON YOU (Episode 2)
BGR / BRD 2020, Daniela Takeva & Nikolina Nedialkova, video performance / web series, 8 min, OV (English & Bulgarian)
I PUT A SPELL ON YOU is a digital video performance and web series (2020) by the artists
Nikolina Nedialkova and Daniela Takeva. In four episodes, they negotiate the reclamation of female power in the identity of the witch and feminist artist. Both invoke and counter a tortuous history of misogyny and are a symbol of overcoming women's oppression. The performative-speculative outcome of the event honors the witch as a feminist icon, but specifically references Bulgarian mysticism. Guided by a voice-over, a speculative examination of the historical witch figure unfolds first, sliding into occult acts from Bulgarian everyday culture, to end with a futuristic fiction claiming that women artists are the modern witches of the 21st century.
century. The film was shot in the Bulgarian mountains and on the Internet. By making the series available online, it attempts to democratize access to digital art and liberate it from theInstitution.
"In a past world, magic was part of an accepted and dynamic reality and integrated into everyone's culture and mentality." Episode 2 "A deed without a name" takes this starting point to question the transformation of the Western world through secularization, epistemology of the Enlightenment and last but not least capitalism
HOW TO MEASURE THE QUALITY OF LIFE AFTER A REVOLUTION | (O.5)
BRD / NGA 2018, Jonas Roßmeißl, video work, 2 min.
The new global gig economy, in its digital nature, promises a "revolution" of the
working conditions, towards self-determined and egalitarian structures, as an emancipatory path for workers*. To what extent can this promise be fulfilled under the auspices of capital? Does it negate the progressive structural reproduction of global economic hegemony and break with its colonial genesis? Along these questions, the video work HOW TO MEASURE THE QUALITY OF LIFE AFTER A REVOLUTION | (O.5) investigates these new means of production of a globally networked charity and entertainment industry with the contentious method of mimesis. The video was shot in a space between Lagos
(Nigeria)and Leipzig (Germany).
KIEV TONGUE: WERHOVNA RADA
BRD / UKR 2019, Andrėja Šaltytė, video work, 9 min.
After the citizen* protests on the Maidan in 2014, language in Ukraine has become particularly guilty. The sound of your language is now your face. The Russian-Ukrainian conflict at the center of the political landscape is superimposed on language. A meeting of the Ukrainian Parliament in May 2019 on the draft law on language 5670d "On the function of the Ukrainian language as an official language" is the starting point of an examination of language for the film "KIEWER ZUNGE. You speak, but the language does not belong to you".
MORI
TWN 2018, Yu Hsin Su, three-channel video installation, 22 min, OmeU (English & Japanese with English subtitles).
Taiwan National Culture and Arts Foundation Visual Arts Production Grant 2018.
Mori explores the relationship of affect-laden places and their ecology in Yamaguchi Prefecture, Japan.
The titles of the three chapters, "守(protect)"、"森(forest)"、"杜(spirit)" are different in form and meaning, but are all pronounced as "Mori" in Japanese. Along the actions at a karst cave, with groundwater, soils, villagers, the "ritual of the burning mountain," scientists, Buyō dancers, majestic oak trees, and forests, the work questions the way nature is viewed through ritual and folklore, and how such landscapes have been historically constructed. Dan Graham's installation "Two-way Mirror Triangular Pavilion with Shoji Screen" serves as a conceptual model against which the entire work is mirrored. Mori is also a landscape as a process and internal mechanism defined by our detached gaze and defined by body and mind. It is a panorama that is constantly changing as we move forward in history.
Online-room Cinémathèque Leipzig: www.cinematheque-leipzig.de
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