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Posted: April 5th, 2009 | Author: marta.popivoda | Filed under: announcements | Tags: '68, documentary_film, terrorism | No Comments »
[illegal_cinema] PRESENTS
CZECH DREAM (2004, thumb Czech Republic)
Directors: Vit Klusak, myocarditis Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, prescription culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, thumb Czech Republic)
Directors: Vit Klusak, myocarditis Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, prescription culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, dosage Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, thumb Czech Republic)
Directors: Vit Klusak, myocarditis Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, prescription culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, dosage Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, dosage Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, help
director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, thumb Czech Republic)
Directors: Vit Klusak, myocarditis Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, prescription culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, dosage Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, dosage Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, help
director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE WEATHER UNDERGROUND (2002, here USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
In October 1969, hundreds of young people wielding lead pipes and clad in football helmets marched through an upscale Chicago shopping district, pummeling parked cars and smashing shop windows. Thus began the “Days of Rage,†the first demonstration of the Weathermen, later known as the Weather Underground. Outraged by the Vietnam War and racism in America, this group of former student radicals waged a low-level war against the United States government through much of the 1970s, bombing the Capitol building, breaking Timothy Leary out of prison and finally evading the FBI by going into hiding. In THE WEATHER UNDERGROUND, former Weathermen including Bernardine Dohrn, Bill Ayers, Mark Rudd and David Gilbert speak frankly about the idealist passions and trajectories that transformed them from college activists into the FBI’s Most Wanted.
The Weather Underground emerged when Dohrn and a group of fellow University of Chicago students split with the campus-run Students for a Democratic Society, or SDS, because they disagreed with the SDS’s peaceful protest tactics against the Vietnam War. Dubbing itself the Weathermen, this new organization took its name from a line in Bob Dylan’s “Subterranean Homesick Bluesâ€â€”“you don’t need a weatherman to know which way the wind blowsâ€â€”and within months had set off bombs at the National Guard headquarters and set in motion plans to bomb targets across the country that it considered emblematic of the worldwide violence sanctioned by the U.S. government.
As an exploration of the Weathermen in the context of other social movements of the time, the film also features rare footage and interviews with former SDS members and the Black Panthers, further examining the U.S. government’s suppression of dissent during the 1960s and 1970s. Looking back at their years underground, former Weather Underground members paint a compelling portrait of troubled times, revolutionary times and the forces that drove their resistance home.
Awards:
•   Documentary award, Seattle International Film Festival, 2003
•   Golden Gate Award, San Francisco International Film Festival, 2003
•   Marlon Riggs Award, San Francisco Film Critics Circle, 2003
•   Critics Week Award, Locarno International Film Festival, 2003
•   Nomination IDA Award, International Documentary Association, 2003
•   Nomination for Grand Jury Prize, Sundance Film Festival, 2003
•   Nomination DGA Award,Directors Guild of America, 2004
•   Nomination Academy Awards, USA, 2004
See online:
http://www.filmcritic.com/misc/emporium.nsf/reviews/The-Weather-Underground
http://www.pbs.org/independentlens/weatherunderground/film.html
http://www.samgreen.to/store/#weathe
http://en.wikipedia.org/wiki/The_Weather_Underground
Saturday, February 28, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
Posted: April 4th, 2009 | Author: marta.popivoda | Filed under: texts | Tags: consumerism, documentary_film, east_europe, post-socialism, review | No Comments »
Barbara Kruger, malady an American artist, medicine is the author of the famous statement I go shopping, therefore I am. The slogan from her poster - an ironic perversion of a famous philosophical statement - brings us into a situation, in which all the media perform different forms of seduction in order to fulfil our needs, in which even culture has long ago become a product and we have all become entangled in the market system. It was this circulation into which Marcel Duchamp has placed art one hundred years ago. He exhibited a mass production object as an object of art and thus turned the artistic creation into an equivalent of a capitalist production. The products are consumed in a feverish tempo and the accelerated consumption requires an increased production, which again encourages consumption, as we all know in theory from Marx’s Critique of Political Economy. Today the artists use the fact that consumption and production become more and more entangled and that production becomes post-production, that is making use of, sampling, creating collage, cutting out of the ready made products. This was very well described by a French sociologist Nicolas Bourriaud in his book Postproduction. Culture As Screenplay: How Art Reprograms the World.
The artists move happily in this global culture and hedonically consume in order to produce and vice versa. According to Bourriaud, a DJ and a programmer become the heraldic figures of the new age. The question remains how to avoid being drowned in the consumer culture, how to keep a critical view in the never ending process of satisfying one’s delight of consuming. In order to fulfil their old critical duty towards the society, the artists have to look for new strategies. They have to get around in the same way as hackers do: they have to acquire the system, identify with it and occupy it as thoroughly as their own house. If they treated the system ironically or passed moral judgements over it, no one would believe them. Only when the artists control the system and seemingly totally identify themselves with it, they can uncover its obscene basis. At the same time they put the viewers in a situation that requires his or her critical attitude. They do not answer their questions, but ask them.
We believe that this is the context of the CZECH DREAM project, that has started as a shooting of a film about those, to whom the statement of Barbara Kruger /I go shopping therefore I am/ applies. But the project has grown and a stage for a spectacular show was created as its “postproduction” or its parallel product. It illustrates what our “realistic” socialist life has turned into. For some of the participants, the staging of this show might change an entertaining game into an unpleasant awakening. But this is the role of contemporary art: to show how manipulated our everyday “reality” is by the means of this very “reality”.
Posted: April 3rd, 2009 | Author: marta.popivoda | Filed under: announcements | Tags: consumerism, documentary_film, east_europe, post-socialism | No Comments »
[illegal_cinema] PRESENTS
THE REVOLUTION WILL NOT BE TELEVISED (2003, view Ireland)
Directors: Kim Bartley, cheap Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Revolution Will Not Be Televised (a.k.a. Chavez: Inside the Coup) is a 2003 documentary about the April 2002 Venezuelan coup attempt which briefly deposed Venezuelan President Hugo Chavez. A television crew from Ireland’s national broadcaster, RTE happened to be recording a documentary about Chávez during the events of April 11, 2002. Shifting focus, they followed the events as they occurred. During their filming, the crew recorded images of the events that they say contradict explanations given by Chávez’s opposition, the private media, the US State Department, and then White House Press Secretary Ari Fleischer.
Filmmakers Kim Bartley and Donacha O’Briain were inside the presidential palace on 11 April 2002 when Chávez was deposed and two days later when he returned to power, recording “what was probably history’s shortest-lived coup d’état.”
The pivotal role of the media before and during the coup is highlighted throughout its 75 minutes, with emphasis in the importance that both Chávez government and the opposition who executed the coup gave to gaining control over channel 8, the only TV Channel owned by the state, shut down the day of the coup and recovered afterwards to communicate the news that the rest of the channels were not communicating, such as the fact that Chávez had not resigned but was actually being held as a prisoner and the fact that what was happening was not a democratical transition but actually a coup d’état.
Awards:
•   Banff Rockie Award, Banff World Television Festival, Best Information & Current Affairs Program.
•   Grand Prize, Banf World Television Festival.
•   Chicago International Film Festival, Silver Hugo, Best Documentary.
•   EBU Golden Link Award.
•   Full Frame Documentary Film Festival, Seeds of War Award.
•   International Documentary Association, IDA Award, Feature Documentaries.
•   Leeds International Film Festival, Audience Award.
•   Prix Italia, TV Documentary - Current Affairs.
•   Seattle International Film Festival, Documentary Award.
•   Seattle International Film Festival.
See online:
http://en.wikipedia.org/wiki/The_Revolution_Will_Not_Be_Televised_(documentary)#Reception_of_the_film
http://www.chavezthefilm.com
http://ipsnews.net/news.asp?idnews=28456
Saturday, February 14, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE REVOLUTION WILL NOT BE TELEVISED (2003, view Ireland)
Directors: Kim Bartley, cheap Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Revolution Will Not Be Televised (a.k.a. Chavez: Inside the Coup) is a 2003 documentary about the April 2002 Venezuelan coup attempt which briefly deposed Venezuelan President Hugo Chavez. A television crew from Ireland’s national broadcaster, RTE happened to be recording a documentary about Chávez during the events of April 11, 2002. Shifting focus, they followed the events as they occurred. During their filming, the crew recorded images of the events that they say contradict explanations given by Chávez’s opposition, the private media, the US State Department, and then White House Press Secretary Ari Fleischer.
Filmmakers Kim Bartley and Donacha O’Briain were inside the presidential palace on 11 April 2002 when Chávez was deposed and two days later when he returned to power, recording “what was probably history’s shortest-lived coup d’état.”
The pivotal role of the media before and during the coup is highlighted throughout its 75 minutes, with emphasis in the importance that both Chávez government and the opposition who executed the coup gave to gaining control over channel 8, the only TV Channel owned by the state, shut down the day of the coup and recovered afterwards to communicate the news that the rest of the channels were not communicating, such as the fact that Chávez had not resigned but was actually being held as a prisoner and the fact that what was happening was not a democratical transition but actually a coup d’état.
Awards:
•   Banff Rockie Award, Banff World Television Festival, Best Information & Current Affairs Program.
•   Grand Prize, Banf World Television Festival.
•   Chicago International Film Festival, Silver Hugo, Best Documentary.
•   EBU Golden Link Award.
•   Full Frame Documentary Film Festival, Seeds of War Award.
•   International Documentary Association, IDA Award, Feature Documentaries.
•   Leeds International Film Festival, Audience Award.
•   Prix Italia, TV Documentary - Current Affairs.
•   Seattle International Film Festival, Documentary Award.
•   Seattle International Film Festival.
See online:
http://en.wikipedia.org/wiki/The_Revolution_Will_Not_Be_Televised_(documentary)#Reception_of_the_film
http://www.chavezthefilm.com
http://ipsnews.net/news.asp?idnews=28456
Saturday, February 14, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
CZECH DREAM (2004, glands Czech Republic)
Directors: Vit Klusak, shop Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
Czech Dream is a documentary film directed by two young Czech directors: Vit Klusak and Filip Remunda. The film was released in February 2004. It recorded a large-scale hoax perpetuated by Klusák and Remunda on the Czech public, pills culminating in the “opening event” of a fake hypermarket. The film was their final project for film school.
Remunda and Klusák invented the “ÄŒeský sen” hypermarket and created a massive advertising campaign around it. Posing as businessmen, the two film students managed to persuade an ad agency and a public relations agency to create a campaign for them. Billboards appeared on Czech highways, and 200,000 pamphlets were distributed in Prague. A jingle was recorded, and there was a series of television commercials. The advertising campaign slogans were “don’t come” and “don’t spend”, etc. Still, the filmmakers succeeded in attracting more than 3000 shoppers.
The idea for the hoax came from a 2002 study by Incoma Research reporting that 30% of Czechs shop mainly at hypermarkets. There has been growing concern in the country about the growth of consumerism.
How easily we can fool ourselves is perhaps summed up by a quote in the film. Somewhere in the middle of the advertising campaign, the employees of the advertising agency (BBDO) have some moral doubts about advertising untrue things. One of them says: “Maybe you filmmakers lie to people, but we advertisers don’t!”
Awards:
•   Traverse City Film Festival (dir. Michael Moore), USA 2005: Best Nonfiction Film Award
•   FFFB.be Filmfestival Brussel 2005, Belgium: Prize Be TV for best Film
•   2005 Zolotoy Vityaz (Golden Knight) Chelyabinsk, Russia: Award for the Best Directing Award
•   45th Cracow Film Festival 2005, Poland: People’s Choice Award
•   48th San Francisco International Film Festival, USA 2005: Golden Gate Award for Best Documentary Feature
•   2005 Jeonju International Film Festival, South Korea: JJ-Star Award
•   Lubuskie Film Summer, Lagow 2005: Silver Grape Award
•   2005 Febiofest, Czech Republic: Best Documentary Kristian Award (Czech Film Critics)
•   Aarhuus Film Festival, Denmark 2004: Best Documentary Award
•   International Documentary Festival Jihlava, Czech Republic 2004:
Best Czech Documentary Award 2004 and Audience Award
•   International Film Festival Ljubljana, Slovenia 2004: FIPRESCI Award
•   Has been nominated by the Film Academy in Prague for the student Oscars
See online:
http://www.ceskatelevize.cz/specialy/ceskysen/en/
http://www.16beavergroup.org/mtarchive/archives/000666.php
http://en.wikipedia.org/wiki/Czech_Dream
Saturday, February 21, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
Posted: April 2nd, 2009 | Author: marta.popivoda | Filed under: announcements | Tags: chavez, documentary_film | No Comments »
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, buy Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, stuff January 31, cialis 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, buy Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, stuff January 31, cialis 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, apoplectic Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, cost January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, buy Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, stuff January 31, cialis 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, apoplectic Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, cost January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, pill Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, visit this January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, buy Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, stuff January 31, cialis 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, apoplectic Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, cost January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, pill Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, visit this January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, pill Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, visit this January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, epidemic
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, site
director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, buy Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, stuff January 31, cialis 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, apoplectic Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, cost January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, pill Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, visit this January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, pill Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, visit this January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, epidemic
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, site
director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, here Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, erectile January 31, click 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, Sildenafil
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, cialis 40mg
director William Greaves presides over a beleaguered film crew in New York’s Central Park, drugs
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, find USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, unhealthy director William Greaves presides over a beleaguered film crew in New York’s Central Park, advice
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, no rx
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, buy Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, stuff January 31, cialis 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, apoplectic Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, cost January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, pill Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, visit this January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, pill Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, visit this January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, epidemic
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, site
director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, here Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, erectile January 31, click 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, here Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, erectile January 31, click 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, order
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, approved
director William Greaves presides over a beleaguered film crew in New York’s Central Park, leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] PRESENTS
THE REVOLUTION WILL NOT BE TELEVISED (2003, public health health Ireland)
Directors: Kim Bartley, discount rx Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Revolution Will Not Be Televised (a.k.a. Chavez: Inside the Coup) is a 2003 documentary about the April 2002 Venezuelan coup attempt which briefly deposed Venezuelan President Hugo Chavez. A television crew from Ireland’s national broadcaster, prothesis RTE happened to be recording a documentary about Chávez during the events of April 11, 2002. Shifting focus, they followed the events as they occurred. During their filming, the crew recorded images of the events that they say contradict explanations given by Chávez’s opposition, the private media, the US State Department, and then White House Press Secretary Ari Fleischer.
Filmmakers Kim Bartley and Donacha O’Briain were inside the presidential palace on 11 April 2002 when Chávez was deposed and two days later when he returned to power, recording “what was probably history’s shortest-lived coup d’état.”
The pivotal role of the media before and during the coup is highlighted throughout its 75 minutes, with emphasis in the importance that both Chávez government and the opposition who executed the coup gave to gaining control over channel 8, the only TV Channel owned by the state, shut down the day of the coup and recovered afterwards to communicate the news that the rest of the channels were not communicating, such as the fact that Chávez had not resigned but was actually being held as a prisoner and the fact that what was happening was not a democratical transition but actually a coup d’état.
Awards:
•   Banff Rockie Award, Banff World Television Festival, Best Information & Current Affairs Program.
•   Grand Prize, Banf World Television Festival.
•   Chicago International Film Festival, Silver Hugo, Best Documentary.
•   EBU Golden Link Award.
•   Full Frame Documentary Film Festival, Seeds of War Award.
•   International Documentary Association, IDA Award, Feature Documentaries.
•   Leeds International Film Festival, Audience Award.
•   Prix Italia, TV Documentary - Current Affairs.
•   Seattle International Film Festival, Documentary Award.
•   Seattle International Film Festival.
See online:
http://en.wikipedia.org/wiki/The_Revolution_Will_Not_Be_Televised_(documentary)#Reception_of_the_film
http://www.chavezthefilm.com
http://ipsnews.net/news.asp?idnews=28456
Saturday, February 14, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
Posted: April 1st, 2009 | Author: marta.popivoda | Filed under: texts | Tags: '68, afro-american, author_theory, experimental_film, greaves, review | 1 Comment »
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Every articulation is a montage of various elements - voices, cheap images, sick
colors, passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Every articulation is a montage of various elements - voices, cheap images, sick
colors, passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Å kart group was founded in 1990 in abandoned graphic atelier in Belgrade’s Faculty of Architecture, denture as a 2-person-quarrel&dialogue sort of collective. Å kart (means ’scrap’ in Serbian) was formed by Dragan Protić and Djordje Balmazović, who call themselves ‘collective-in-progress’ and base their activities on ’selfproduction-and-selfdistribution of critical communication’. Å kart often collaborates with the groups of amaterus, enthusiasts or fans, whose motives, driving forces and modes of incorporation are contrary to the logic of interests, effective production or team management. Their work is based on the combination of various experiences - poetry, performing arts, architecture, graphic design and community engagement.
The Your Shit—Your Responsibility project humorously symbolizes the need of a nation’s populace to understand and think critically about their political decisions. It is one of the famous Å kart slogans which is commenting on personal responsibility in/of not only the hard times, but also in everyday life and day-to-day situations. In this sense, the “baggage” of irresponsible act is equated with dogshit with an underwhelmingly triumphant flag placed in it and left for someone else to clean up. This action was followed by the distribution of stickers, posters, and dogshit in different cities and villages in Serbia and abroad. The four short films screened for this occasion represent some kind of ephemera of this urban action.
Jelena Vesić
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Every articulation is a montage of various elements - voices, cheap images, sick
colors, passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Å kart group was founded in 1990 in abandoned graphic atelier in Belgrade’s Faculty of Architecture, denture as a 2-person-quarrel&dialogue sort of collective. Å kart (means ’scrap’ in Serbian) was formed by Dragan Protić and Djordje Balmazović, who call themselves ‘collective-in-progress’ and base their activities on ’selfproduction-and-selfdistribution of critical communication’. Å kart often collaborates with the groups of amaterus, enthusiasts or fans, whose motives, driving forces and modes of incorporation are contrary to the logic of interests, effective production or team management. Their work is based on the combination of various experiences - poetry, performing arts, architecture, graphic design and community engagement.
The Your Shit—Your Responsibility project humorously symbolizes the need of a nation’s populace to understand and think critically about their political decisions. It is one of the famous Å kart slogans which is commenting on personal responsibility in/of not only the hard times, but also in everyday life and day-to-day situations. In this sense, the “baggage” of irresponsible act is equated with dogshit with an underwhelmingly triumphant flag placed in it and left for someone else to clean up. This action was followed by the distribution of stickers, posters, and dogshit in different cities and villages in Serbia and abroad. The four short films screened for this occasion represent some kind of ephemera of this urban action.
Jelena Vesić
Å kart group was founded in 1990 in abandoned graphic atelier in Belgrade’s Faculty of Architecture, mind as a 2-person-quarrel&dialogue sort of collective. Å kart (means ’scrap’ in Serbian) was formed by Dragan Protić and Djordje Balmazović, viagra who call themselves ‘collective-in-progress’ and base their activities on ’selfproduction-and-selfdistribution of critical communication’. Å kart often collaborates with the groups of amaterus, medstore enthusiasts or fans, whose motives, driving forces and modes of incorporation are contrary to the logic of interests, effective production or team management. Their work is based on the combination of various experiences - poetry, performing arts, architecture, graphic design and community engagement.
The Your Shit—Your Responsibility project humorously symbolizes the need of a nation’s populace to understand and think critically about their political decisions. It is one of the famous Å kart slogans which is commenting on personal responsibility in/of not only the hard times, but also in everyday life and day-to-day situations. In this sense, the “baggage” of irresponsible act is equated with dogshit with an underwhelmingly triumphant flag placed in it and left for someone else to clean up. This action was followed by the distribution of stickers, posters, and dogshit in different cities and villages in Serbia and abroad. The four short films screened for this occasion represent some kind of ephemera of this urban action.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Every articulation is a montage of various elements - voices, cheap images, sick
colors, passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Å kart group was founded in 1990 in abandoned graphic atelier in Belgrade’s Faculty of Architecture, denture as a 2-person-quarrel&dialogue sort of collective. Å kart (means ’scrap’ in Serbian) was formed by Dragan Protić and Djordje Balmazović, who call themselves ‘collective-in-progress’ and base their activities on ’selfproduction-and-selfdistribution of critical communication’. Å kart often collaborates with the groups of amaterus, enthusiasts or fans, whose motives, driving forces and modes of incorporation are contrary to the logic of interests, effective production or team management. Their work is based on the combination of various experiences - poetry, performing arts, architecture, graphic design and community engagement.
The Your Shit—Your Responsibility project humorously symbolizes the need of a nation’s populace to understand and think critically about their political decisions. It is one of the famous Å kart slogans which is commenting on personal responsibility in/of not only the hard times, but also in everyday life and day-to-day situations. In this sense, the “baggage” of irresponsible act is equated with dogshit with an underwhelmingly triumphant flag placed in it and left for someone else to clean up. This action was followed by the distribution of stickers, posters, and dogshit in different cities and villages in Serbia and abroad. The four short films screened for this occasion represent some kind of ephemera of this urban action.
Jelena Vesić
Å kart group was founded in 1990 in abandoned graphic atelier in Belgrade’s Faculty of Architecture, mind as a 2-person-quarrel&dialogue sort of collective. Å kart (means ’scrap’ in Serbian) was formed by Dragan Protić and Djordje Balmazović, viagra who call themselves ‘collective-in-progress’ and base their activities on ’selfproduction-and-selfdistribution of critical communication’. Å kart often collaborates with the groups of amaterus, medstore enthusiasts or fans, whose motives, driving forces and modes of incorporation are contrary to the logic of interests, effective production or team management. Their work is based on the combination of various experiences - poetry, performing arts, architecture, graphic design and community engagement.
The Your Shit—Your Responsibility project humorously symbolizes the need of a nation’s populace to understand and think critically about their political decisions. It is one of the famous Å kart slogans which is commenting on personal responsibility in/of not only the hard times, but also in everyday life and day-to-day situations. In this sense, the “baggage” of irresponsible act is equated with dogshit with an underwhelmingly triumphant flag placed in it and left for someone else to clean up. This action was followed by the distribution of stickers, posters, and dogshit in different cities and villages in Serbia and abroad. The four short films screened for this occasion represent some kind of ephemera of this urban action.
Å kart group was founded in 1990 in abandoned graphic atelier in Belgrade’s Faculty of Architecture, mind as a 2-person-quarrel&dialogue sort of collective. Å kart (means ’scrap’ in Serbian) was formed by Dragan Protić and Djordje Balmazović, viagra who call themselves ‘collective-in-progress’ and base their activities on ’selfproduction-and-selfdistribution of critical communication’. Å kart often collaborates with the groups of amaterus, medstore enthusiasts or fans, whose motives, driving forces and modes of incorporation are contrary to the logic of interests, effective production or team management. Their work is based on the combination of various experiences - poetry, performing arts, architecture, graphic design and community engagement.
The Your Shit—Your Responsibility project humorously symbolizes the need of a nation’s populace to understand and think critically about their political decisions. It is one of the famous Å kart slogans which is commenting on personal responsibility in/of not only the hard times, but also in everyday life and day-to-day situations. In this sense, the “baggage” of irresponsible act is equated with dogshit with an underwhelmingly triumphant flag placed in it and left for someone else to clean up. This action was followed by the distribution of stickers, posters, and dogshit in different cities and villages in Serbia and abroad. The four short films screened for this occasion represent some kind of ephemera of this urban action.
The tumultuous New York film and theater world of the late 1960s oscillated between two opposing ideas: the auteur and the collective. The American version of Cahiers du cinéma’s auteur theory inflated the idea of the director as “auteur†into that of an individual artist whose stardom could eclipse that of any mere actor and whose power was greater than the Hollywood studio system. On the other hand, side effects
the sixties counterculture at large, and in particular its political wing—the overlapping civil rights movement and the New Left, which was primarily an anti–Vietnam War movement—idealized the collective, the commune, and the group, notwithstanding the fact that its image was built around its leaders and stars. In this crazy, mixed-up moment, the films of the radical documentary collective New York Newsreel (soon to become Third World Newsreel) showed at the Filmmakers Cinematheque side by side with the works of such avant-garde filmmakers as Andy Warhol and Stan Brakhage, the cinema vérité films of Richard Leacock, D. A. Pennebaker, and Albert and David Maysles, and Elia Kazan’s 1956 Baby Doll, made with a cast of Actors Studio members and at that point still condemned as pornographic by the Legion of Decency. Early in 1968, Leacock and Pennebaker’s company acquired Jean-Luc Godard’s La Chinoise and brought the celebrated French new wave director to the United States to tour with the film. Godard returned to Paris just in time to take to the streets in May of 1968, but he returned to the United States in the fall of that year—his identity now split between JLG the auteur and JLG a member of the Dziga Vertov Film Group—to collaborate with Leacock and Pennebaker on One American Movie (One AM), a project he abandoned in postproduction. JLG’s on-screen instructions to the crew at the opening of One American Movie bear a striking resemblance to William Greaves’s on-screen instructions to his crew at the opening of Symbiopsychotaxiplasm Take One, the film Greaves shot in the late spring of 1968 (several months before One American Movie) but that would not receive its first screening until 1971.
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Posted: March 30th, 2009 | Author: marta.popivoda | Filed under: announcements | Tags: '68, afro-american, experimental_film, film, greaves | No Comments »
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, physiotherapist Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, pharm January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, physiotherapist Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, pharm January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, physiotherapist Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, pharm January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, ambulance Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, physiotherapist Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, pharm January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, ambulance Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, pilule Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, physiotherapist Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, pharm January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, ambulance Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, pilule Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, sick Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, try January 31, medical 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, physiotherapist Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, pharm January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, ambulance Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, pilule Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, sick Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, try January 31, medical 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, view Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, physiotherapist Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, pharm January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, ambulance Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
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[illegal_cinema] PRESENTS
The Seventh Continent (1989, pilule Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
Tütün Deposu
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, sick Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, try January 31, medical 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, view Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, view Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
[illegal_cinema] PRESENTS
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, prosthetic
USA)
Director: William Greaves
Duration: 75 min
Film proposed by Fia Backstrom
Symbiopsychotaxiplasm: Take One is a documentary written and directed by William Greaves. The film involves Greaves auditioning acting students for a fictional drama while shooting a free-form behind-the-scenes drama.
In his one-of-a-kind fiction/documentary hybrid Symbiopsychotaxiplasm Take One, read
director William Greaves presides over a beleaguered film crew in New York’s Central Park, ed
leaving them to try to figure out what kind of movie they’re making. A couple enacts a break-up scenario over and over, a documentary crew films a crew filming the crew, locals wander casually into the frame: the project defies easy description. Yet this wildly innovative sixties counterculture landmark remains one of the most tightly focused and insightful movies ever made about making movies. Criterion presents this long-unreleased gem in a special two-disc edition, along with its sequel, Take 2 1/2, made thirty-five years later with executive producers Steven Soderbergh and Steve Buscemi.
National Society of Film Critics honored Symbiopsychotaxiplasm: Take One and Take 2 1/2 with its 2005 Experimental Award, calling the films a “remarkable investigation into the nature of the acting process and power relationships on a movie set.”
See online:
http://www.criterion.com/current/posts/460
Saturday, February 7, 19:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
Posted: March 30th, 2009 | Author: marta.popivoda | Filed under: announcements | Tags: exodus, film, haneke | No Comments »
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[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, somnology demonstration, sales micro and macro revolutions…
ALEXANDER NEVSKY (1938, ed Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
proba
[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, somnology demonstration, sales micro and macro revolutions…
ALEXANDER NEVSKY (1938, ed Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, viagra approved demonstration, anaemia micro and macro revolutions…
ALEXANDER NEVSKY (1938, healthful Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, visit ailment demonstration, pfizer micro and macro revolutions…
ALEXANDER NEVSKY (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, visit ailment demonstration, pfizer micro and macro revolutions…
ALEXANDER NEVSKY (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
…thematic cinema which gathers a number of films related to the topics of crowd, cure demonstration, viagra micro and macro revolutions…
ALEXANDER NEVSKY (1938, prescription Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, visit ailment demonstration, pfizer micro and macro revolutions…
ALEXANDER NEVSKY (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
…thematic cinema which gathers a number of films related to the topics of crowd, cure demonstration, viagra micro and macro revolutions…
ALEXANDER NEVSKY (1938, prescription Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, viagra 40mg demonstration, micro and macro revolutions…
Alexander Nevsky (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, visit ailment demonstration, pfizer micro and macro revolutions…
ALEXANDER NEVSKY (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
…thematic cinema which gathers a number of films related to the topics of crowd, cure demonstration, viagra micro and macro revolutions…
ALEXANDER NEVSKY (1938, prescription Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, viagra 40mg demonstration, micro and macro revolutions…
Alexander Nevsky (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
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[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions…
Alexander Nevsky (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, visit ailment demonstration, pfizer micro and macro revolutions…
ALEXANDER NEVSKY (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
…thematic cinema which gathers a number of films related to the topics of crowd, cure demonstration, viagra micro and macro revolutions…
ALEXANDER NEVSKY (1938, prescription Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, viagra 40mg demonstration, micro and macro revolutions…
Alexander Nevsky (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
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[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions…
Alexander Nevsky (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, caries demonstration, infection micro and macro revolutions…
Alexander Nevsky (1938, there Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[ILLEGAL_CINEMA] ISTANBUL EDITION
…thematic cinema which gathers a number of films related to the topics of crowd, visit ailment demonstration, pfizer micro and macro revolutions…
ALEXANDER NEVSKY (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
…thematic cinema which gathers a number of films related to the topics of crowd, cure demonstration, viagra micro and macro revolutions…
ALEXANDER NEVSKY (1938, prescription Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
LA COMMUNE (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
OCTOBER: TEN DAYS THAT SHOOK THE WORLD (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
PUNISHMENT PARK (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
SYMBIOPSYCHOTAXIPLASM: TAKE ONE (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
THE BATTLE OF ALGIERS (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
THE BATTLESHIP POTEMKIN (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
THE DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
THE POWER OF NIGHTMARES (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
THE SEVENTH CONTINENT (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
THE TRAP: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
THE WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
JUST GREAT / TOUT VA BIEN (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
ZABRISKIE POINT (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
ZIDANE: A 21ST CENTURY PORTRAIT (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
YOUR SHIT—YOUR RESPONSIBILITY (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
ARTICULATION OF PROTEST
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
CALL FOR DEMONSTRATION (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
APPROPRIATE CULTURAL-ARTISTIC PROGRAMME FOR THE OCCASION OF OPENING OF THE FIRST BUILT PART OF THE TATLIN’S MONUMENT TO THE III INTERNATIONA (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I WORK MORE TO GET MORE MONEY (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
THE MACHINE (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
TERROR OF TRAVESTITES (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
WE ARE MARCHING (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
TRAVESTITES (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, viagra 40mg demonstration, micro and macro revolutions…
Alexander Nevsky (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
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[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions…
Alexander Nevsky (1938, Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[illegal_cinema] Istanbul edition
…thematic cinema which gathers a number of films related to the topics of crowd, caries demonstration, infection micro and macro revolutions…
Alexander Nevsky (1938, there Soviet Union)
Directors: Sergei M. Eisenstein, Dmitri Vasilyev
Duration: 112 min
Film proposed by Olga Kisseleva
CZECH DREAM (2004, Czech Republic)
Directors: Vit Klusak, Filip Remunda
Duration: 90 min
Film from the illegal_cinema Belgrade archive
La commune (2000, France)
Director: Peter Watkins
Duration: 345 min
Film from illegal_cinema Belgrade archive
October: Ten Days That Shook the World (1928, Soviet Union)
Director: Grigori Aleksandrov, Sergei M. Eisenstein
Duration: 103 min
Film from illegal_cinema Belgrade archive
Punishment Park (1971, USA)
Director: Peter Watkins
Duration: 88 min
Film from illegal_cinema Belgrade archive
ROCK MY RELIGION (1982, USA)
Director: Dan Graham
Duration: 55 min
Film proposed by Susanne Burner
STALKER (1979, West Germany/Soviet Union)
Director: Andrei Tarkovsky
Duration: 163 min
Film proposed by Igor Grubic
Symbiopsychotaxiplasm: Take One (1968, USA)
Director: William Greaves
Duration: 70 min
Film proposed by Fia Backstrom
The Battle of Algiers (1966, Italy/Algeria)
Director: Gillo Pontecorvo
Duration: 121 min
Film from the illegal_cinema Zagreb archive
The Battleship Potemkin (1925, Soviet Union)
Directors: Sergei M. Eisenstein
Duration: 75 min
Film proposed by Asena Gunal
The DREAMERS (2003, France/UK/Italy)
Director: Bernardo Bertolucci
Duration: 115 min
Film proposed by Balca Ergener
The Power of Nightmares (2004, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
The REVOLUTION WILL NOT BE TELEVISED
(2003, Ireland, Netherlands, USA, Germany, Finland, UK)
Directors: Kim Bartley, Donnacha O’Briain
Duration: 74 min
Film from the illegal_cinema Belgrade archive
The Seventh Continent (1989, Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
The Trap: What Happened to Our Dream of Freedom
(2007, UK)
Director: Adam Curtis
Duration: 180 min
Film proposed by Vladimir Jeric Vlidi
THE WAR GAME (1965, UK)
Director: Peter Watkins
Duration: 48 min
Film from illegal_cinema Belgrade archive
The WEATHER UNDERGROUND (2002, USA)
Directors: Sam Green, Bill Siegel
Duration: 92 min
Film from the illegal_cinema Belgrade archive
Just Great / Tout Va Bien (1972, France)
Directors: Jean-Luc Godard, Jean-Pierre Gorin
Duration: 95 min
Film proposed by CHTO DELAT / Dmitry Vilensky
Zabriskie Point (1970, USA)
Director: Michelangelo Antonioni
Duration: 110 min
Film proposed by Jelena Vesic
Zidane: A 21st Century Portrait (2006, France/Iceland)
Director: Douglas Gordon, Philippe Parreno
Duration: 90 min
Film proposed by Claire Staebler
Your Shit—Your Responsibility (2000-present, Serbia)
Authors: Skart
Duration: 8 min
Video proposed by Jelena Vesic
Articulation of Protest
Author: Hito Steyerl
Duration: 38 min
Video lecture proposed by Jelena Vesic
Call for Demonstration (2006)
Author: Annika Strom
Duration: 5 min
Video proposed by Jelena Vesic
Appropriate Cultural-Artistic Programme for the occasion of opening of the first built part of the Tatlin’s Monument to the III Internationa (2007)
Authors: The Henry VIII’s Wives, Horkestar, BGYSS, WoO, Vladmarx, Jelena, Ana, Milos and the group of enthusiasts from Belgrade
Duration: 19 min
Video proposed by Jelena Vesic
I work more to get more money (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 16 min
Video proposed by Olga Kisseleva
The Machine (2008, France)
Authors: New Forms of Art workshop 2008, Sorbonne University
Duration: 5 min
Video proposed by Olga Kisseleva
Terror of travestites (2006, Turky)
Director: Aykut Atasay
Duration: 18 min
Film proposed by Sibil Cekmen
We are marching (2007, Turky)
Director: Aykut Atasay
Duration: 50 min
Film proposed by Sibil Cekmen
Travestites (2008, Turky)
Director: Aykut Atasay
Duration: 26 min
Film proposed by Sibil Cekmen
[illegal_cinema] PRESENTS
THE SEVENTH CONTINENT (1989, hemophilia Austria)
Director: Michael Haneke
Duration: 104 min
Film proposed by Marta Popivoda
Saturday, sildenafil January 31, 20:00
TÃœTÃœN DEPOSU
Lüleci Hendek caddesi 12 / Tophane
[illegal_cinema] is conceived as an open (self-) educational project of exchange and contextualization of the auteur, documentary, political, activist, queer, anarchist, censored and other marginalized and in the local context hardly accessible films. The project is open to everyone interested to propose films, with obligation to speak about them, to open up discussion, or to invite guests – wherewith we try to erase the boundaries between the editor (curator) and audience and to perform a long-term process of (collective) self-education. During its realization the project is constantly developing and expanding its original framework, generating different program-lines and trying to explore new modes of facilitating art and culture as a space for diverse knowledge production. In collaboration with ‘No More Reality: Crowd and Performance’ the project [illegal_cinema] appears as new edition of thematic cinema which gathers a number of films related to the topics of crowd, demonstration, micro and macro revolutions.
Posted: March 24th, 2009 | Author: marta.popivoda | Filed under: texts | Tags: film, igor_grubic, tarkovsky | No Comments »
The tumultuous New York film and theater world of the late 1960s oscillated between two opposing ideas: the auteur and the collective. The American version of Cahiers du cinéma’s auteur theory inflated the idea of the director as “auteur†into that of an individual artist whose stardom could eclipse that of any mere actor and whose power was greater than the Hollywood studio system. On the other hand, diabetes and pregnancy healing
the sixties counterculture at large, caries and in particular its political wing—the overlapping civil rights movement and the New Left, psychiatrist which was primarily an anti–Vietnam War movement—idealized the collective, the commune, and the group, notwithstanding the fact that its image was built around its leaders and stars. In this crazy, mixed-up moment, the films of the radical documentary collective New York Newsreel (soon to become Third World Newsreel) showed at the Filmmakers Cinematheque side by side with the works of such avant-garde filmmakers as Andy Warhol and Stan Brakhage, the cinema vérité films of Richard Leacock, D. A. Pennebaker, and Albert and David Maysles, and Elia Kazan’s 1956 Baby Doll, made with a cast of Actors Studio members and at that point still condemned as pornographic by the Legion of Decency. Early in 1968, Leacock and Pennebaker’s company acquired Jean-Luc Godard’s La Chinoise and brought the celebrated French new wave director to the United States to tour with the film. Godard returned to Paris just in time to take to the streets in May of 1968, but he returned to the United States in the fall of that year—his identity now split between JLG the auteur and JLG a member of the Dziga Vertov Film Group—to collaborate with Leacock and Pennebaker on One American Movie (One AM), a project he abandoned in postproduction. JLG’s on-screen instructions to the crew at the opening of One American Movie bear a striking resemblance to William Greaves’s on-screen instructions to his crew at the opening of Symbiopsychotaxiplasm Take One, the film Greaves shot in the late spring of 1968 (several months before One American Movie) but that would not receive its first screening until 1971.
Read the rest of this entry »
Posted: March 22nd, 2009 | Author: marta.popivoda | Filed under: texts | Tags: artivism, review, skart, video | No Comments »
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Every articulation is a montage of various elements - voices, cheap images, sick
colors, passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Every articulation is a montage of various elements - voices, cheap images, sick
colors, passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
Å kart group was founded in 1990 in abandoned graphic atelier in Belgrade’s Faculty of Architecture, denture as a 2-person-quarrel&dialogue sort of collective. Å kart (means ’scrap’ in Serbian) was formed by Dragan Protić and Djordje Balmazović, who call themselves ‘collective-in-progress’ and base their activities on ’selfproduction-and-selfdistribution of critical communication’. Å kart often collaborates with the groups of amaterus, enthusiasts or fans, whose motives, driving forces and modes of incorporation are contrary to the logic of interests, effective production or team management. Their work is based on the combination of various experiences - poetry, performing arts, architecture, graphic design and community engagement.
The Your Shit—Your Responsibility project humorously symbolizes the need of a nation’s populace to understand and think critically about their political decisions. It is one of the famous Å kart slogans which is commenting on personal responsibility in/of not only the hard times, but also in everyday life and day-to-day situations. In this sense, the “baggage” of irresponsible act is equated with dogshit with an underwhelmingly triumphant flag placed in it and left for someone else to clean up. This action was followed by the distribution of stickers, posters, and dogshit in different cities and villages in Serbia and abroad. The four short films screened for this occasion represent some kind of ephemera of this urban action.
Jelena Vesić
Posted: March 21st, 2009 | Author: marta.popivoda | Filed under: texts | Tags: hito_steyerl, video | No Comments »
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, denture dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
If my son demonstrates for a Museum of Contemporary Fine Art now it could take 20 years for it to happen. Then he’ll be 25 and he’ll have been fighting for a Museum for 20 years.
Annika Ström’s videos, dysentery songs and paintings are centered around the banality and the preoccupations of her own everyday life as an artist. In her videos, a Swedish artist sings and frequently uses the soundtracks, mainly concentrating on her existence. Call for a Demonstration is the documentation of the children’s march to raise a call for a Museum of Contemporary Art to be built on seafront of Hove, South-East England. This video performance brings Annika Ström’s observations about her immediate environment into dialogue with ongoing public debate about the re-development of this seafront, recently a target of elaborate gentrification proposals from the side of commercial interests. In calling for a Museum of Contemporary Art to be built the artist questions the nature of the civic realm and the place of art and art institutions within it. At the core of the project is the children’s demonstration which took place in Hove on Saturday, 24th of June 2006. Call for a Demonstration archives Ström’s act of preparation for an unexpected museum of the future, and further creates the possibility for it to arrive. Through the children’s demonstration we see the matrix of competing economic interests in Hove with fresh eyes, as they open new visions based on the principle of pleasure rather than the cost/benefit analysis.
Poetic, utopian and unreal, this project remind us also on a similar performance No More Reality organized in 1991 by Philippe Parreno, where a group of children were demonstrating with No More Reality banners on an American Campus. Call for a demonstration is a video made out of the performance, and also a book published by onestar press.
Claire Staebler
Every articulation is a montage of various elements - voices, generic
images, shop colors, information pills
passions or dogmas - within a certain period of time and with a certain expanse in space. On the one hand, it indicates finding a language for protest, its vocalization, its verbalization or its visualization. On the other, this combination of concepts also designates the structure or internal organization of protest movements. In other words, there are two different kinds of concatenations of different elements: one is at the level of symbols, the other at the level of political forces. The dynamic of desiring and refusal, attraction and repulsion, the contradiction and the convergence of different elements unfolds at both levels.
Naturally, protest movements are articulated at many levels: at the level of their programs, demands, self-obligations, manifestos and actions. They are also articulated as concatenations or conjunctions of different interest groups, NGOs, political parties, associations, individuals or groups. Alliances, coalitions, fractions, feuds or even indifference are articulated in this structure. At the political level as well, there is also a form of montage, combinations of interests, organized in a grammar of the political that reinvents itself again and again. According to which rules, though, is this montage organized? Who does it organize with whom, through whom, and in which way? What is the image of a protest movement? Is it the sum of the heads of speakers from the individual groups added together? Is it pictures of confrontations and marches? Is it new forms of depiction? Is it the reflection of forms of a protest movement? Or the invention of new relations between individual elements of political linkages? With these thoughts about articulation, I refer to a very specific field of theory, namely the theory of montage or film cuts.
Hito Steyerl
* The video-lecture by Hito Steyerl was recorded and presented as a part of discussion program of No More Reality-Step 2, held in Belgrade in 2006.
