Atlas on Screen

09.12—12.12.10

Screening cycle related to the exhibition

 

Closely related to “Atlas. Truths, Details, Intervals and the Afterlives of the Image”, Atlas on Screen widens the exhibition’s research and reflection upon different presentation formats, both physical and temporal. Seven screenings are presented at the Auditorium Fondation Arditi and at the Cinéma Spoutnik, involving combinations of several films which lead to new spaces of thought.

ABDERRAHMANE SISSAKO

«BAMAKO»
2006, 35MM, COLOURED, 115’, O.S.T. BAMBARIAN/FRENCH SUBTITLES FRENCH

“Bamako” stages, in documentary style, the legal action pursued by Africa against the IMF/World Bank, in a political context still reeking of colonialism. This film highlights the hypocrisy of the West and shows how decisions taken by a few affect millions of individuals.

Bamako

CHRISTOPH DRAEGER/ REYNOLD

REYNOLDS
«THE LAST NEWS»
2002, VIDEO, COULOURED, 13', O.S.T. ENGLISH

In “The Last News” a TV presenter vainly attempts to contact special correspondents as the end of the world takes place. This grotesque parody (that includes 9/11 footage) denounces both large states’ thirst for revenge, and the media’s tendency to resort to sensational, emotive stories.

Christophe Draeger

Reynold Reynolds

RENZO MARTENS

«EPISODE 3: ‘ENJOY POVERTY’»
2009, O.S.T. FRENCH/ENGLISH SUBTITLES ENGLISH

This internationally notorious documentary, “Episode 3: ‘Enjoy Poverty’”, was filmed over two years in the Democratic Republic of the Congo. It shows how the image of poverty —cynically exploited by Western media and other organisations for commercial ends— has become yet another commodity from which the local people derive no benefit.

EDGAR MORIN /JEAN ROUCH

«CHRONIQUE D'UN ÉTÉ»
1960, 35MM , BLACK /WHITE , 90’, O.S.T. FRENCH SUBTITLES ENGLISH

Masterpiece of its genre, this film is both an existential enqui-ry into, and a critical discourse on, its times. It was the first to introduce a debate on the Algerian war and was among the very few to include shots of workers in a factory. It also anticipates questions linked to decolonisation and includes a personal testimo-ny of the Holocaust.

CHARLES HELLER

«NEM-NEE»
2005, VIDEO, COLOURED, 45’, O.S.T. FRENCH

This film examines the legal no-man’s-land many asylum see-kers in Switzerland inhabit due to a recent revision of immigration laws. It shows the daily struggle of some of these immigrants to reassert identities that have been offi-cially denied.

SYLVIE BOISSEAU/FRANK WESTERMEYER

«CHINESE IS A PLUS»
2008, VIDÉO, COULEUR, 40’, VIDEO, COLOURED, 40’, V.O. CHINESE

This work explores notions of identity and mobility by filming two Chinese language classes in Stuttgart: one attended by children of Chinese im-migrants trying to learn their mother tongue and the other by adults who consider Mandarin a useful tongue in modern times.

Boisseau/Westermeyer

GLAUBER ROCHA

«ANTONIO DAS MORTES (O DRAGÃO DA MALDADE CONTRA O SANTO GUERREIRO)»
1969, 35MM , O.S.T. PORTUGUESE SUBTITLES FRENCH

Alluding to the legend of St George and the dragon, this movie tells the story of a killer who sides with the people against wealthy landowners after an encounter with a “holy” woman. A socio-political film by Cinema Novo pioneer Glauber Rocha, which combines avantgarde and mystical aesthetic to destabilizing effect.

TAMÁS SZENTJÓBY (ST AUBY)

«CENTAUR»
1973-1975, 16MM TRANSFERED TO VIDEO, B/W, 39', O.S.T. HUNGARIAN SUBTITLES FRENCH

“Centaur”, begun in 1973 by Geneva-based exile Szentjoby, was banned in Hungary two years later, uncompleted. It was digitally restored and pre-miered at the Istanbul Biennial in 2009. Part documentary, this works criticises social conditions in Hungary in the 1970s in a style that combines the political with poetry and the burlesque.

GORAN GALIC/GIAN-RETO GREDIG

«STANDBY»
2009, VIDEO HD, COULEUR, 75’, O.S.T. ITALIAN SUBTITLES FRENCH

This work deals with the problem of part-time workers forced to re-think their daily routines and family organisation. The case of Reggio Emilia, a town with a thriving economy in one of the wealthiest areas of Italy, reflects the global financial and economic crisis. The artists blur the boundaries between administrative institutions, affected individuals and the public domain.

KAREN MIRZA/BRAD BUTLER

«THE EXCEPTION AND THE RULE»
2009, VIDEO, COLOURED, B/W, 37’, V.O. ANGLAIS

“The Exception and the Rule”, part of an ongoing project, and winner of the Chicago International Documentary Festival 2009, was inspired by two artists residencies in Karachi, Pakistan. This film, which eschews the conventional documentary format, gives an account of daily life in times of civil strife while questioning dualities such as action/inaction in a context subjected to political and economic globalisation.

No.w.here

CHARLES HELLER, still de «Nem-Nee», 2005

SYLVIE BOISSEAU/FRANK WESTERMEYER, still de «Chinese is a plus», 2008

GORAN GALIC/GIAN-RETO GREDIG, still de «Standby», 2009

KAREN MIRZA/RUTH BEALE, stills de «The Voyage of Nonsuch», 2010

BRAD BUTLER/KAREN MIRZA, stills de «The Exception and the Rule», 2009

RENZO MARTENS, still de «Episode 3: 'Enjoy Poverty'», 2009

TAMÁS SZENTJÓBY, still de «Centaur», 1973-1975

ABDERRAHMANE SISSAKO, still de «BAMAKO», 2006. © Trigon-Film

ABDERRAHMANE SISSAKO, still de «BAMAKO», 2006.© Trigon-Film

GLAUBER ROCHA, still de «Antonio das Mortes (O dragão da maldade contra o santo guerreiro)», 1969. © Trigon-Film

EDGAR MORIN /JEAN ROUCH, still de «Chronique d'un été», 1960, © Argos films

TAMÁS SZENTJÓBY, still de «Centaur», 1973-1975

 
Subventionné par la Ville de Genève