2018.

ALTERNATIVE FILM/VIDEO 2018Festival novog filma i videa / Festival of New Film and Video12 – 16. 12. 2018.

www.alternativefilmvideo.orghttps://www.facebook.com/alternativefilmvideo/alternativefilmvideo@gmail.com alternative@dksg.rs

Osnivač i organizator / Founded and organized by Dom kulture “Studentski grad” – Akademski filmski centar / Students’ City Cultural Center - Academic Film Center

v. d. direktora i glavni i odgovorni urednik / Acting Director and Chief EditorBoris Postovnik

Programski tim / Programming TeamDoplgenger artist duo (Boško Prostran, Isidora Ilić), Greg de Cuir, jr., Ivan Velisavljević,Milan Milosavljević, Marija Kovačina

Žiri / Jury Members Scott Barley, Gordana Nikolić, Gerald Weber

Selectors / SelektoriDoplgenger (Competition / Takmičarski program), Greg DeCuir Jr. (South by Southeast / Jug-jugo-istok)

Urednik programa Galerije / Gallery Programmer Maida Gruden

Vizuelni identitet Festivala / Festival Art & Design Anna Kiš Živković

Dizajn kataloga / Catalog DesignAntun Gverović

Špica festivala / Festival Title Clip Marija Kovačina

PR Festivala / Festival PR Marina Lučić

Glavni organizator / Chief Organizer Milan Milosavljević

Koordinator festivala / Festival Coordinator Ana Todorović

Tehnički kordinator / Tehnical Coordinator Marija Kovačina

Organizatori / OrganizersMarija Radosavljević, Dragica Šišović

Tehnička realizacija / Technical Staff Nikola Karlaš, Duško Joksimović, Vlada Todorović, Pavle Marinković, Darko Kanački, Dragan Sto-janović, Milorad Marković

ALTERNATIVE FILM/VIDEO 2018 katalog / catalog

Izdaje / Published by Dom kulture “Studentski grad” / Students’ City Cultural Center

Za izdavača / For Publisher Boris Postovnikv. d. direktora i glavni i odgovorni urednik / Acting Director and Chief Editor

Urednik kataloga / Catalog Chief EditorIvan Velisavljević

Štamparija / Printing House Sajnos doo, Momčila Tanavice 2, Novi Sad

Tiraž publikacije / Circulation 200

Dom kulture “Studentski grad” / Students’ City Cultural Center Bulevar Zorana Dinđića 179Belgrade, Serbia www.dksg.rs office@dksg.rs

2018ALTERNATIVE FILM/VIDEO

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Kolektivizam kao predstavljačka vizija u eri mreža, informacija i postistine

Ove godine je tim ALTERNATIVE FILM/VIDEO festivala odlučio da i takmičarski program po prvi put dobije okvir-nu temu. Zbog heterogenosti savremene filmske prakse, brojnosti filmova i raznovrsnosti festivalske ponude u gradu i regionu, uočila se potreba za fokusiranjem programskih večeri takmičarskog programa kako bi se učinile određeni-jim i intenzivnijim.

Kao kustosima i selektorima ovogodišnjeg AFV festivala smatrali smo da koncept kolektiva u prve dve decenije XXI veka posebno provocira globalni imaginarijum i društveno biće u iznalaženju odgovora i mogućih rešenja za globalno stanje u društvu u kome javno mnjenje ne oblikuju čin-jenice, već emocije i lična uverenja, stanje nazvano postis-tinom. Pokretne slike, kao umetnost čija baza deli karakter-istike reprezentacije, emocija i ličnog, mogla je da posluži kao ogledno polje za proveru. Da li danas više nego ikad važi Godarova teza da je film 24 istine u sekundi? Mo-guće kriterijume za sagledavanje koncepta potražili smo u samoj definiciji kolektiva i u različitim istorijskim mani-festacijama kolektivizma.

Kolektiv (lat. collectivum) je zbirna imenica koja u formi jednine označava mnoštvo individualnosti, odnosno, skup ljudi povezanih zajedničkim radom i interesima. Kolektiv-na nastojanja u doba modernizma u formi kolektivizaci-je umetničkih uloga, funkcija i ličnosti bila su prvi pravi pokušaj da se razvije održiva alternativa potrošačkom

This year, for the first time, the team of ALTERNATIVE FILM/VIDEO has decided to include the international competi-tion program within the organizing theme of the festival. Because the contemporary film practice is heterogeneous, and there are a number of various films and festivals in the city and the region, the need for a more focused program-ming of the competition selection emerged, in an effort to make it more specific and intensive.

As curators and selectors of this AFV edition, we thought that the concept of collective in the first two decades of the 21st century especially provokes the global imaginarium and the social being to find answers and possible solu-tions to the state of society in which public sphere is not modeled by facts but by emotions and personal beliefs, the state called post-truth. To check that, we could use moving pictures, as an art form whose basis is made of representa-tion, emotions and personal traits? Is Godard’s thesis that film is truth 24 times a second valuable today more than ever? We tried to find the possible criteria to check the con-cept in the very definition of collective and in different ways collectivism manifested itself historically.

Collective (lat. collectivum) is a collective noun that in the singular form denotes a multitude of individuality, that is, a set of people associated with common work and inter-ests. Collective efforts in the era of modernism in the form of collectivization of artistic roles, functions and personali-

Collectivism as representation-al vision in the era of networks, information and post-truth

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društvenom životu. Ti kolektivni glasovi i govor u ime nacije, klase ili čovečanstva imali su jedan cilj - uobličiti neku vrstu grupnog postojanja i izbrisati međe između subjekta i sub-jektivnosti, umanjiti ulogu in-dividualnog autora i istaći sin-ergiju ukupnosti svih sastavnih delova. Od umetničkih grupa preko kino-klubova do neoa-vangardnih pokreta, kolektiv-izam posle Drugog svetskog rata obeležava pomak u praksi umetnika s usmerenosti na umetnost kao institucije ka aktivnom uplitanju u oblast masovne kulture. Ideal kolektivizma više nije bio da se os-tvari u društvenom planu već u okviru kulturne razmene. Težnje kolektivizma više ne počivaju na iznalaženju jedin-stvenog avangardnog predstavnika društvenog napora već su se oblikovale u izmešteni i promenljivi identitet. Ne-sumnjivo najznačajnije svojstvo fenomena kolektiv jeste što uvek iznova pokreće pitanja širih društvenih i privrednih uslova proizvodnje koji su uvek kolektivni bez obzira na spoljnu pojavu, čime kolektivizam pokazuje sposobnost da povezuje prošlost i sadašnjost.

Šta podrazumevamo pod kolektivom danas, u osvitu novog istorijskog doba čiji su označitelji tehnološki i informatički imperativ, globalna umreženost i olakšana komunikaci-ja, ekološka katastrofa, masovne migracije, „nevidljiva“ ratna područja, narastajuće klasno i rasno raslojavanje? Da li kolektivizam danas predstavlja samo nostalgično kolektivno sećanje na kolektivni događaj pobune kao što je onaj ’68 ili decentarlizovano kolektivno delovanje koje se širi svim sredstvima: pričom, glasinama, privremenim i

ties were the first real attempt to develop a viable alternative to consumer social life. These collective voices and speech in the name of a nation, class or mankind had one goal - to shape a kind of group exis-tence and to erase boundar-ies between subject and sub-jectivity, to diminish the role of an individual author and to emphasize the synergy of the totality of all the constit-

uent parts. From artistic groups through cinema clubs to neo-avant-garde movements, collectivism after the Second World War marks a shift in the practice of artists with a focus on art as institution towards an active involvement in the field of mass culture. The ideal of collectivism was no longer to be realized in the social plan, but within the framework of cultural exchange. The pursuit of collectivism no longer rested on finding the unique avant-garde rep-resentative of social effort but formed into displaced and changeable identities. The most important feature of the collective phenomenon is that it always raises issues of wid-er social and economic conditions of production that are always collective regardless of the external phenomenon, thereby collectivism shows the ability to connect the past and the present.

What do we understand under the collective today, in the dawn of a new historical era, whose signifiers are tech-nological and informational imperative, global networking and facilitated communication, ecological disaster, mass migrations, “invisible” war areas, rising class and racial stratification? Does today’s collectivism represent only a

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povremenim društvenim pokretima, masovnim medijima, Internetom? Da li su forme današnjeg kolektivizma - od neformalno umrežene zajednice tehnološki obrazovanih umetnika i političkih aktivista, kolektivizma javnog mnjen-ja, kolektivizma kulture masovne potrošnje, preduzetničk-og kolektivizma velikih kompanija do mnoštva koje čine kreativni radnici, lokalni aktivisti i borci za zaštitu životne sredine, gradski baštovani ili oni koji se bave kućnim poslovima, majke - izrazi i posledice kolektivnog nasto-janja ili samo potreba za vrstom kolektivnog identiteta i iskustvom kolektivnog tela? Na posletku, šta bi bila ideja kolektiva u savremenom kontekstu - predstavljačka vizija budućeg društvenog ideala kroz jezik distopije/utopije ili bavljenje društvenim životom kao proizvodnjom i sredst-vom izražavanja?

U festivalskom pozivu tražili smo radove koji se fenomen-om kolektiva i njegovim manifestacijama bave kritički i na refleksivan način, produkcijski i dekonstrukcijski, radove koji predstavljaju kolektivno proizvedenu sliku1 i/ili inter-venišu u sliku kolektiva, istovremeno preispitujući društ-vene, kulturne i političke narative u kojima fenomen kolek-tiva učestvuje i predstavljajući drugačiji uvid u dosadašnje audio-vizuelne i proizvodne kodove kolektivizma.

Tematsko uokviravanje, svojstveno programaciji „klasičnih“ igranih i dokumentarnih filmova, pri selekciji eksperimen-talnog filma donosi izazove, upravo iz idiosinkratične težnje ovog „žanra” da izmiče označenom, da se igra sa označitel-jima, formama i jezicima reprezentacija, ne tretirajući sa-

1 Serž Dane razlikuje istinsku, složenu umetnost slike (slikarstvo, kinematografija) od ravnodušnog beleženja audiovizualnog (TV, oglašavanje u svim oblicima, digi-talni mediji).

nostalgic collective memory of a collective event like that of ‘68 or decentralized collective action that is spread by all means: stories, rumors, provisional and occasional social movements, mass media, the Internet? Are the forms of today’s collectivism - from the informally networked com-munity of technologically educated artists and political ac-tivists, collectivism of public opinion, collectivism of mass consumerism, entrepreneurial collectivism of multinational corporations to the multitude such as the creative workers, local activists and environmentalists, urban gardeners or those dealing with home affairs, mothers - expressions and consequences of collective endeavour or just the need for a kind of collective identity and the experience of the collec-tive body? At the end, what would be the idea of a collective in a contemporary context - an imaginative vision of a fu-ture social ideal through the language of dystopia / utopia or dealing with social life as a production and means of expression?

In the open call for submissions, we were looking for works that deal with the phenomenon of the collective and its manifestations critically and in a reflexive manner, produc-tively and deconstructively, works that represent a collec-tively produced image1 and / or that intervene in the image of the collective, while re-examining social, cultural and political narratives in which the phenomenon of the collec-tive participates and representing a different insight into the current audiovisual and production codes of collectivism.

Thematic framework, more common for programming ‘classical’ films and documentaries, brings challenges to

1 Serge Daney distinguished a true, complex art of the image (painting, cinema) from the indifference of the audiovisual (TV, advertising in all forms, digital media).

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držaj i temu na predstavljački način. Drugim rečima, tema pri selekciji eksperimentalnih i alternativnih filmova sužava dijapazon čitanja filmskih ideja i tako a priori odbacuje značajan broj zanimljivih radova iz razloga njihove tem-atske neuklopljenosti. Sa svešću o ovoj zamci i bez ideje da smo je u potpunosti izbegli, ovogodišnju temu KOLEKTIViz-ma smo želeli da obuhvatimo najšire moguće: od selekcije filmova i video radova produciranih kolektivnim praksama, preko radova koji se direktno bave društvenim kolektivima, do najraznovrsnijih reprezentacija organskih i neorganskih kolektivnih tela, struktura i njihovih jezika.Pristiglo je oko 400 prijava. Tokom selekcije nametnulo se nekoliko opštih utisaka. Većina filmova pristiže iz SAD, Velike Britanije, Nemačke, Holandije i Belgije, potvrđu-jući da zemlje „razvijenog Zapada“ kontinuirano subven-cionišu produkciju eksperimentalnog filma. Iako smo želeli da „prepoznamo” i savremene eksperimentalne filmske prakse (posebno kolektivne) iz zemalja tzv. „trećeg sveta” kao subverzivne potencijalnosti, kao militantne odgovore na globalnu filmsku i medijsku industriju i društvena stan-ja, naišli smo samo na retke primere koji potvrđuju pravi-lo - tamo gde nema sredstava, eksperiment (i u formi i u sadržaju) predstavlja izuzetak. Istovremeno, u formalnom smislu, kako na nivou postupka tako i u i načinu „pripove-danja“, značajan broj prijavljenih filmova interiorizovao je novomedijski jezik i jezik socijalnih mreža. Ovo je posebno vidljivo u tretiranju odnosa slika-zvuk-tekst. Slika ili prizor opstaju kao ilustracija, prazan označitelj, ponekad i ukras, koja zatim tekstom, natpisom na ekranu ili govorom u zvuku postaje vizuelna površina za ličnu ispovest ili teorijsku raspravu pri čemu se prenose velike količine informacija. Uočeni trend samo podseća na savremenu situaciju u kojoj je klasičan filmski jezik montaže i rada kamere prevaziđen, situaciju kada su performansi različitih identiteta, pa i onih

programmers of experimental selections, because the id-iosyncrasy of the ‘genre’ itself is marked by the tendency to evade the signified, to play with the signifier, with forms and languages of representation, to not treat the content and the subject in a representational way. In other words, to have an organizing theme for experimental and alternative films means to narrow the range of possible readings of film ideas and to reject a priori a large number of interest-ing works because they do not fit the theme. We are aware of this trap and we don’t think we have avoid it completely – yet, we understood this year’s theme of COLLECTIVism as wide as possible: from collectively produced films and videos, across the works that deal directly with social collec-tives, to diverse representations of organic and inorganic collective bodies, structures and their languages.

We have received around 400 submissions, and while viewing them, a few general impressions emerged. Most of the films come from the USA, Great Britain, Germany, the Netherlands and Belgium, thus confirming the fact that ‘the developed countries of the West’ continuously subsi-dized the production of experimental films. Although we wanted to ‘recognize’ contemporary experimental film practices (especially collective ones) form the countries of the so-called Third World as subversive potentials, as mil-itant responses to the global film and media industry and social condition, we found only rare examples that confirm the rule – where there’s no resources, experiments (both in form and in content) are exceptions. At the same time, in the sense of form, both on the level of art devices and the ways of ‘storytelling’, a significant number of films interior-ized the new media language and the language of social networks. This is especially visible in treating the relation-ship between sound, image and text. A picture or an image

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u audio-vizuelnim formatima i u digitalnom kontekstu, postali dominantna umetnička praksa XXI veka.

Odabrana su 34 filma – 31 rad je selektovan za bioskops-ko prikazivanje, a 3 rada se prikazuju u formi video in-stalacije u galerijskom prostoru. U toku selekcije pokušali smo da se vodimo sledećim kriterijumima: heterogenost audio-vizuelnih praksi, autorska kritička orijentacija u pos-tupku i temi, tematska i programacijska uklopljenost, pri čemu je ova potonja često podrazumevala jezgrovitost iz-raza s obzirom da je svaki od takmičarskih programa vre-menski ograničen. Upravo ovo je razlog zbog kojeg su iz programa izostali pojedini radovi čije vremensko trajanje nije odgovaralo ni jednom od tri celovečernja programa, a svojim kvalitetom su zaslužili da budu uvršteni u selek-ciju. Prvi program, koji otvara festival, najneposrednije se bavi temom kolektiva i kolektivizma. Filmovi u ovom pro-gramu sinhronijski i dijahronijski preispituju reprezentacije različitih kolektiva. Druga programska celina prati tragove kolektivnih tela, kolektivna sećanja i kolektivne fantazme. Treći program bavi se jezicima kolektiva, njegovim struk-turama, fukcijama i značenjima. Tri video rada, koji će biti izloženi u galerijskom dispozitivu, prevazilaze zadate okvire trajanja filmova, ali smo odlučili da ih uvrstimo u program zbog svojevrsne specifičnosti u postupku i njihove angažo-vanosti.

doplgenger (Isidora Ilić & Boško Prostran)Kustoski i selekcioni tim AFV 2018

survives as an illustration, an empty signifier, sometimes a decoration, that serves as a visual surface for person-al confession or theoretical debates with large number of information, via text, subtitles or speech. This noted trend simply reminds us of the contemporary situation: the classi-cal film language of editing and camerawork is overcome, and the performances of various identities, including those in audio-visual formats and in digital context, became the dominant art practice of the 21st century.34 films are chosen – 31 works for screening in the cine-ma and 3 works as video-installations in the gallery. We have tried to choose works by using the following criteria: heterogeneity of audio-visual practices, critical orientation of authors both in style and theme, thematic and program-ming eligibility, which often meant the concise and crisp expression since all competition screening slots were of lim-ited time. This is the very reason why we decided to leave out certain works whose running time couldn’t fit any of the three evening screenings, although their quality is high and they would have deserved to be selected. The opening pro-gram deals with the theme of collective and collectivism in a most straightforward way. Films in this program question the representation of various collectives both synchronical-ly and diachronically. Second program of the competition selection follows traces of collective bodies, collective mem-ories and collective phantasms. Third program deals with languages of collective, its structures, functions and mean-ings. Three video works exhibited in the dispositive of the gallery overcome the running time from the propositions of the festival, but we decided to select them because of their specific art devices and their engagement.

doplgenger (Isidora Ilić & Boško Prostran)Curatorial and Programming team of AFV 2018

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TAKMIČARSKI PROGRAM /

COMPETITION PROGRAMSlovenia / 201735mm / 1’00

Tara Najd Ahmadi, Jurij Meden, Davorin Marc

Ovaj film može da postoji jedino kao beskonačno mnoštvo, jer će svaki kinooperater projektovati film drugačije, ne samo zato što ima izbor da fokusira gornju ili donju stranu „emulzije“ već i zato što može da stalno pomera fokus sa jednog na drugi sloj slika naređanih jedna na drugu tokom projekcije, time uvek preuzima-jući ključnu ulogu stvaraoca prilikom svake projekcije/ponovnog rođenja 1440 frejmova.

This film can only exist as an infinite multitude, because each film projectionist will project the film differently, not only having the choice to focus either on the upper or the lower side of the »emul-sion«, but being encouraged to constantly shift focus from one lay-er of pasted images to the other during the projection, thus always assuming a vital role of a creator in each projection/re-birth of 1440 Fotogramov: Ostrilec (1440 Frames: Focus Puller).

1440 FRAMES: FOCUS PULLER

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3 DREAMS OF HORSES

Canada / 2018digital / 5’30Mike Hoolboom

Filmska traka je napravljena od konjskog želatina. Oni čekaju da budu zaklani da bi filmovi nastali. Tri scene sa konjima, seća- nje na Hasinta. Prva je ukleta šuma danju koja se završava kao ringišpil, druga je kišna ulica u Portugalu, a završna noćno bdenje nad vatrom i vodom

Film is made out of gelatin that comes from horses. They’re wait-ing to be slaughtered, so that pictures can be made.Three scenes featuring horses, remembering Jacinto. The first is a daytime forest haunting that winds up at a carousel, the second a rainy street in Portugal, the finale a nighttime vigil of fire and water.

A BAR ON MAJORCA

Germany / 2017digital / 15’Marian Mayland

Esen, Nemačka, 2016. Snimci sa super 8mm, eksponirani 30 godina posle isteka svog roka trajanja – i snimci ultra-desničarske Nacional-demokratske partije Nemačke (NPD). Film o teorijama zavere, o stanju levice i o prenošenju ideologije kroz selekciju naizgled neutralnih činjenica.

Essen, Germany, 2016. Super 8mm film stock exposed 30 years past its expiry date – and the far-right National Democratic Party of Germany (NPD). A film on conspiracy theory, on the state of the left, and on how ideology is transported through the selection of seemingly neutral facts.

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AN INFINITE LOOP FOR RESISTANCE

USA / 2017digital / 5’41M. Woods

Ovo je medijski napad na uznemirujuću omnipotentnost hiperre-alizma i fašističke banalnosti – najbolje simbolizovanih kroz spa- ljivanje lutke Donalda Trampa. Ovo je nasilni kolaž – predstavlja parčad simuliranog meteža, nereda na medijskom smetlištu. Osmišljen da bude projektovan bilo gde – kao poziv na borbu, pokušaj razaranja normalizacije bigotizma i autoritarijanizma.

This is a media-fashioned attack aimed at the disturbing om-nipotence of hyperrealism and fascist banality - best symbolized by Donald Trump’s burning latex effigy. This is a violent collage - shreds of simulacral tumult, a riot in media waste. Meant to be projected anywhere - as a call to arms, a way to incite, an attempt at shaking the normalization of bigotry and authoritarianism.

BOTTOM OF 6TH EXPOS VS METS JULY 3, 1973

Canada / 2018digital / 13’13

Allan Brown

Ruinirana ploča otkriva duhove razbijenih dečjih iluzija. 3. jul 1973, ekipa Montreal Expos protiv ekipe NY Mets; hot dog čudovišta putuju oštećenim pejzažom.

A trashed dub plate unveiling the ghosts of childhood disillusion-ment. July 3, 1973, Montreal Expos vs NY Mets, hot dog monsters travel the damaged landscape.

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Slovenia / 2017digital / 9’22

COMMUNITY

Maja Hodošček

Grupa srednjoškolaca okuplja se svake nedelje u školskoj biblioteci gde pravi socijalni dijagram koji počiva na “zajednici” kao ključnoj reči, zamišljen da bude model za način života baziran na snažni-jem povezivanju među ljudima. Svaki učenik iznosi svoju ideju o tome kako zamišlja takvu zajednicu. Film prati skiciranje kraj- njih rezultata — zajedničkog dijagrama kao odgovara trenutnim autoritarnim režimima i poziva za učenje novih navika i strategija povezivanja.

High school pupils meet every week in the school library to construct a social diagram with a ‘community’ as its keyword, as a proposi-tion for a more connected way of living, emphasizing the notion of being together but apart. Each pupil voices out their own ideas on how to imagine a more communal mode of living. The video follows the process of sketching out the final outcome - a joint diagram as a response to current authoritarian regimes and an invitation for learning new habits and modes of attachment.

CONFLUENCE

Germany / Netherlands / Serbia / 2018 / digital / 20’45

Benjamin & Stefan Ramírez Pérez

U središtu filma nalazi se srpska pop pevačica i nekadašnja dečja zvezda, Doris Bizetić. Mešavinom popa i performans-predavanja, njena biografija se ukršta sa istorijom arhitekture u Beogradu. Njene uspomene iz detinjstva i ratne traume povezuju se sa istori-jom zgrade CK, kroz koju se ujedno reflektuju faze života Doris Bizetić i promene političkog sistema u Srbiji.

Confluence centers around Serbian pop singer and former child star Doris Bizetić. In a mixture between pop and lecture perfor-mance Doris biography is conflated with histories of architectures in Belgrade. As Doris recounts memories of her childhood in front of cameras and talks about war trauma, her biography is linked to the history of Belgrade’s CK Tower, in which her life stages as well as the transitions of political systems in Serbia are mirrored.

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France / 2018digital /18’50

DEAD ANGLE

Derek Woolfenden

Film prati medijski spektakl koji se razvijao od priče o čoveku koji je na javnom mestu nožem izbo dva prolaznika. Slika koja prati ovaj gadni spektakl zamenjuje se video fragmentima filmofila koji je spasio jedan od ovih života. To omogućava filmu da usvoji sub-jektivnu tačku gledanja. Instinktivni i filmski imaginarni rasporedi u ovoj perspektivi predstavljaju izazov njegovoj agoniji i pomažu mu da preživi.

This film follows an unfolding news spectacle surrounding the story of a man who stabs two others in a public place. The image that captures this involuntarily sordid spectacle is replaced by video fragments of the cinephile who has saved one of these lives. This allows the film to adopt a subjective point of view. The instinc-tive and cinematic imaginary deployed by this perspective chal-lenges the duration of his agony in order to help him survive...

DIGITAL TRAUMA (AND THE CRYSTAL IMAGE)

Netherlands and Spain / 2018 digital / 8’10

María Molina Peiró

Ukoliko bismo mogli da pristupimo sopstvenoj prošlosti u bilo kom momentu, u kojoj meri bismo uspeli da je se rešimo i konač-no pogledamo u budućnost? Koje bi posledice pristup digitalnoj memoriji (uključujući reči, slike i zvuke užasa iz prošlosti) imao na društva u post-konfliktnom stanju? Da li digitalna memorija može poslužiti kao sredstvo za raspirivanje još veće etničke mržnje, nasilja i ratova?

If we can access our past at any given moment, to what extent can we get rid of it and look ahead? What consequences do the access to a digital memory (including access to the words, images and sounds of the horrors of the past) have for post-conflict societ-ies? Can a digital memory become a powerful tool to ignite more profound ethnic hate, violence and war?.

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DIZZYMESS

USA / 2017digital / 7’43Vivian Ostrovsky

Vrtoglavica — kao stanje koje inspiriše umetnike da se kreću izvan dobro poznatih granica. Ili, kako izmenjena percepcija, nestabilnost i konfuzija mogu biti katalizatori za istraživanje novih okruženja. Otisnimo se od zemlje i prepustimo se stanju ošamućenosti i lakoumnosti.

Dizziness, in the sense that it inspires artists and filmmakers to move beyond their known borders. Or how a state of altered per-ception, instability, and confusion can be a catalyst for exploring new surroundings. Let go of the ground and attain giddiness or perhaps even foolishness?

EMPIRE VALLEY

Canada / 2018digital / 13’

Ryan Ermacora

Ispituju se mogućnosti filma da preko pejzaža predstavi mešavinu vremenskih perioda, bilo geoloških, ličnih ili političkih. Baveći se Čilkotin teritorijom u Britanskoj Kolumbiji, film pokazuje na koji je način pejzaž oblikovan i menjan kako bi se prilagodio određenim ekonomskim uslovima.

The film contemplates cinema’s ability to transmit a confluence of times through landscape—whether that time be geological, person-al or political. Situated within Tsilhqot’in territory in central British Columbia, the film addresses the way in which a landscape is carved out and altered in order to suit particular economic condi-tions.

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FIELD OF INFINITY

UK / 2018digital / 5’22Guli Silberstein

Ovaj rad je inspirisan italijanskim renesansnim slikama i motiv-isan zgranutošću autora nad smrtonosnim odgovorom Izraela na palestinske proteste na granici u Gazi. Rad kombinuje protest na granici sa Izraelom, italijansku podmlađivačku prirodu u formi vibrantnih polja crvenih cvetova maka (sa svim asocijacijama koje oni sa sobom nose) i mladalačku energiju mlade devojke – sliku čistote, ali i straha i esencijalne usamljenosti.

Inspired by renaissance paintings while visiting Italy, and outraged at the Israeli deadly response to Palestinians protests at the Gaza border, I was moved to make this work, connecting classic paintings’ images of divine gestures and landscape views, to contemporary human attraction to news images, beauty, and blood. The work combines Gaza’s protests at the fence bordering Israel, Italy’s nature rejuvenation in the form of vibrant red poppy flower fields (with all the associations those contain) and a young girl’s youthful energy - an image of purity, but also fear and essentially loneliness.

FREQUENCIES

Belgium / 2018digital / 12’50

Thomas Peeters

U nedefinisanom okruženju radnici rade seriju beskonačnih monotonih zadataka. Njihova tela deluju zaglavljeno u repet-itivnim pokretima, ali svojim mislima uspevaju da pobegnu iz ove scene. Misli im odlaze ritmom njihovih akcija. Da li je i ova sloboda ograničena frekvencijom njihovog rada?

In an undefined setting, workers are doing a never-ending series of monotonous tasks. Their bodies seem tobe stuck in repetitive movements, but in their mind they’re able to escape the scene. Thoughts travel away by the rhythm of their actions. Or is this freedom limited by the frequency of the work?

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Haiti and Brazil / 2018digital / 15’

GOAT VISIONJefferson Kielwagen, Jean-Daniel Lafontant, Marcos Serafim and Steevens Simeon

Šetnja kroz Veliko groblje u Port o Prensu koju predvodi jed-na od meštanki: koza. Snimljen go-pro kamerom za vreme 5. Geto Bijenala 2017, ovaj video eksperiment rezultat je saradnje između brazilskih i haićanskih umetnika. Prizori su pomešani sa audio-dokumentacijom vudu pesama i improvizovane poezije, na haićanskom kreolu.

A walk through the Port-au-Prince Grand Cemetery guided by one of its inhabitants: the goat. Shot with Go-Pro cameras during the 5th Ghetto Bienalle in 2017, this video experiment is the result of a collaboration between Brazilian and Haitian artists. The images are combined with audio documentation of Vodou songs and impro-vised poetry, both in Haitian Creole.

HOW FLOWERS NEVER BECAME A FOOD GROUP

Canada / 2017digital / 4’44

Charlotte Clermont and Alain Lefebvre

Poetička i fragmentarna konstrukcija slika i tekstova sugeriše neuspeh i rušenje iluzija o romantizmu. Intenzivne psihodelične boje karakterišu slike cvetova koji kao da su se namučili da održe razigrani ton. Film evocira ambivalentna osećanja koja osciluju između predstava mogućeg i nemogućeg i privlačnosti i odbo-jnosti. Projekat je audiovizuelna saradnja sa eksperimentalnim muzičarem Alanom Lefevrom.

A poetic and fragmented construction of images and text suggests failure and disillusion about romanticism. Intense psychedelic colours characterize images of flowers, as if they were struggling while maintaining a playful tone. Feelings of ambiguity are evoked, oscillating between the notions of the possible and the impossible, as well as attraction and repulsion. The project is an audiovisual collaboration with experimental musician Alain Lefebvre.

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I AM ONE

Germany / Japan / 2016/2017digital / 20’30Kenji Ouellet

Citati o jedinstvenosti i individualnosti poznatih i manje poznatih autora (od Bila Gejtsa do Tvigija i Simon de Bovoar) u kontrapunk-tu su sa slikama gusto izgrađenih i naseljenih urbanih prostora i njegove arhitekture. Citati su tipični primer dobro poznatih narati-va, sa problemima koje oni sa sobom povlače. Slike ih stavljaju u perspektivu, dovođenjem do susreta između kolektivne i individu-alne perspektive jednine.

A collection of quotes about uniqueness and individuality by celebrities and less known authors (from Bill Gates to Twiggy or Simone de Beauvoir) is heard over images of a densely built-up, highly populated urban area and its architecture. The quotes are typical of a well-known narrative with its underlying issues. The images put it into perspective, creating an encounter between collective and individual perspectives on singularity.

INSTRUCTIONS FOR MAKING A FILM IN AN UNDERDEVELOPED COUNTRY

México / 2016digital / 3’23M. Dianela Torres

Satira o nerazvijenosti u Trampovo doba, inspirisana naslovom Hulija Garsije Espinoze. Horor u medijima uništava čak i patri-otske simbole. Destrukcija meksičke zastave kao ironija globalnih problema.

Satire about the underdevelopment in Trump’s age, inspired by Julio García Espinosa’s title. The (ho)rror in media is deteriorat-ing even the patriotic symbols. Destruction of mexican flag as an irony of global problems.

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IT’S SHIT

France / 2018digital / 4’ Yves-Marie Mahé

Četrdeset godina francuske istorije sumiranih u jednom izrazu.

40 years of French history summarized in one expression.

France/ 2017digital / 2’25

Ian Menoyot

Jula 2016. SAD zvanično bombarduju lokacije u Siriji. Istovre-meno Amerikanac postaje prvi čovek koji je skočio iz aviona bez padobrana.

In July 2016 the US officially bombs locations in Syria while an american becomes the first man to dive from an aircraft without a parachute.

JULY

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LEADERS OF THE WORLD, SERVANTS OF BUSINESS: A HISTORY OF THE G7

France / 2018digital / 30’15

Thibault Le Texier

Napravljeno od zvaničnih fotografija i deklaracija sa samita G7. 40 godina proslavljanja ekonomskog rasta.

Made from the official photos and declarations of the G7 sum-mits. 40 years of celebrating economic growth.

MANUS X MACHINA X MORALIA

Srbija / 2018digital / 8’50

Igor Simić

U središtu Silicijumska dolina, mi iz Custom Spines Lab snabde-vamo političke vođe, preduzetnike i vojsku sa našim Spine 2.0, snažnim implantom za pokretljivost kičme, za ujednačavanje čakri, za povezivanje i karakternu ispravnost sa potpisom naših moralnih nano-vlakana. X<3Y je prva aplikacija za upoznavanje sa mo-gućnošću genetičkog i finansijskog povezivanja. Ljudi su algoritmi, a ljubav je samo još jedan tehnički problem. Iskusite hipnotički pretraživač propovedi preko servera.

In the heart of the Silicon Valley, we at Custom Spines Lab supply political leaders, entrepreneurs and the military with our Spine 2.0, a bionic implant for spinal agility, chakra alignment, connectivity and character uprightness with our signature morality-nano-fibers©. X<3 Y is the first dating app for genetic and financial matching. Humans are algorithms, and love is just another technical problem. Witness the hypnotic Search Engine sermon on the servers.

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Spain / 2018digital / 3’26

MARILYN MONROE WANTS TO SPEAK WITH WARHOL

Christian Flores

Jedno od najpoznatijih Vorholovih dela je “Merilin Diptih”. U ovom video postavljam pitanje kako bi se Merilin osećala da je znala da ju je Vorhol portretisao.

One of the most famous art pieces by Warhol is “Marilyn Dyp-tich”. On this video I ask myself how would Marilyn would have felt if she knew that Warhol portrayed her in his art work.

MIXED SIGNALS

USA / 2018digital / 8’45

Courtney Stephens

Snimljen na vojnom teretnom brodu u toku nestanka struje, film koristi standardne pomorske signale zajedno sa standardnim neu-rološkim pregledom da bi obradio ozbiljnu medicinsku dijagnozu. Uz naziranje opasnosti od nepokretljivosti, lik se transformiše iz tela u brod i prođe kroz unutrašnje putovanje. Film je slobodna adaptacija knjige “Code Poems” Hane Vajner iz 1982. Knjiga is-tražuje mogućnost formulaičkog jezika da prenese ljudsko iskustvo.

Shot onboard a military transport ship during a power outage, and uses maritime signal code, along with a standard neurological exam, to process of a severe medical diagnosis. With the threat of immobility looming, the character transforms from body to ship, and makes an internal journey. The film is a loose adaptation of Hannah Weiner’s 1982 chapbook Code Poems, which explores the capacity of formulaic language to convey human experience

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PIVOT

Japan / 2017digital / 6’Maki Satake

Istorija ovog grada je predvođena razvitkom fabrika. Odžak je pivot oko kog se ceo grad okreće.

The history of this city has been led by the development of facto-ries. The chimney is the pivot around which the city revolves.

R_ DON’T GIVE AN INCH

Canada / 2014digital / 9’42 Anne-Marie Bouchard

Deca objašnjavaju šta njima označi otpor. Tim vozača rolera tre-nira. Ledolomac se suočava sa zaleđenim Svetim Lorencom. Film je animiran, izgreban i oštećen. Komunikacija je ometena VHS trakom. Birokrate čekaju autobus. Pružati otpor znači koristiti i druge načine naracije.

Children explain what resistance means to them. A roller derby team trains. An icebreaker confronts the frozen Saint Lawrence. The film is animated, scratched and damaged. Communication is disturbed by VHS tracking. Bureaucrats wait for the bus. Rush hour traffic devours its share of humans. To resist is also to use different means of narration.

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RUNNING IN CIRCLES

USA / Japan / 2018digital / 4’20

Ei Toshinari & Duy Nguyen

Dve različite perspektive u odnosu na doživljaj dela “Spiral Jetty” skulptora Roberta Smitsona.

Two different perspectives of experiencing Robert Smithson’s Spiral Jetty.

SCIPIO’S ELEPHANTS

Spain / 2018digital / 5’49

David Pantaleón & Pilar Aldea

Scipion Afrikanac, odbivši da se bori sa zverima, pobedio ih je glađu. Jedino zlo, koja zapravo može da bude iskorišćeno za hvatanje Numantinaca.

Scipio Africanus, refusing to wrestle with the beasts, reduced them by famine. The only harm, which could actually be used to capture the Numantines.

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UK / 2018digital / 8’30

SPEECH

Steve Hawley

Svetske vođe sa različitih strana drže govor u Engleskoj, ali to su samo prazne reči. Slično rečima današnjih svetskih lidera, koje imaju toliko malo autentičnosti u značenju i namerama koje se iza njih kriju, menjaju se iz dana u dan, dok mi sve više gubimo svoje poverenje u istinu. Svi oni ih izgovaraju na nesumnjivo sve- tskom jeziku – engleskom (čak i Tito).

World leaders from all sides make a collective speech in English, They are just words. Relevant to the words of today’s world leaders which have so little authenticity as the meaning/intentions behind them shifts from day to day, losing our trust and the truth. And they all make them in the de facto world language, English (even Tito).

THE_OTHER_IMAGES

Austria / 2018digital / 17’Iris Blauensteiner

Kratki eksperimentalni, dokumentarni film, koji postavlja pitanje kako je moguće zadržati sećanja kada sva digitalna skladišta propadnu ili im se onemogući pristup, dajući mogući odgovor u vidu recikliranja i ponovnog korišćenja digitalne arhive.

An experimental documentary short film. It raises the question how memory and remembering is possible when all the digital storages fail or cannot be accessed, postulating a possible an-swer in form of recycling and reutilizing the digital archive.

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TRACES:BIRDS

France / 2018digital / 1’00Jean-Michel Rolland

Novembar u Marseju. Ćvorci se okupljaju na kranu, pre njihovog masovnog odlaska u Afriku. Fotografski trag, izgubljen zajedno sa filmom, ovde je ponovo izmišljen kako bi dočarao let ptica u novom aspektu.

November in Marseille, starlings gather on a crane before their big departure to Africa. The photographic trace, lost with the film, is here reinvented to show the flight of birds under a new aspect.

TRANSPOSITION

Srbija / 2018digital / 5’25

Igor Toholj

Osnova za ovaj film je niz animiranih sekvenci koje sadrže razne varijacije detalja ili celih fotografija neobičnih arhitektonskih reše-nja poznatog mađarskog organskog arhitekte Imrea Makoveca.Geometrijske figure nastale od fotografija su međusobno sučel-jene, suprostavljene i poređane po obliku, volumenu, pravcima kretanja unutar svakog animatika. Svi ovi elementi se sabiraju u Mističnoj kuli, kao elementi njene sveobuhvatne strukture.

Transposition is the second film from a series of experimental films that began in 2017 with the Transfiguration. The starting point forthis film is a series of animated sequences that contain various variations of details or complete photographs of unusual archi-tectural designs of the famous Hungarian organic architect Imre Makovecz. The geometric figures from the photographs are inter-connected, contrasted and sorted in shape, volume, direction of movement within each animation. All these elements are summed up in the Mystic Tower, as elements of its comprehensive structure.

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TRENODY FOR THE VICTIMS OF HIROSHIMA

Croatia / 2018digital / 9’50Zorko Sirotić

B-29, jedan od tehnološki najnaprednijih aviona Drugog svetskog rata, imao je mnoge dotad neviđene karakteristika, uključujući mitraljez kojim se upravljalo daljinskim upravljačem. Dve prostori-je za posadu, prednja i zadnja, bile su pod pritiskom i povezane tunelom koji se protezao preko odeljaka za bombe, omogućujući posadi da puže od jedne do druge.

B-29, one of the most technologically advanced World War II air-craft, had many unprecedented features, including a machine gun operated by a remote control. Two crew rooms, both front and rear, were under pressure and bound by a tunnel that stretched across the bomb compartment, allowing crews to stray from one to the other.

UNAMERICA -RELOCATING MEMORIES

Germany / 2018digital / 16’31

Luise Schröder

Video instalacija se bavi sećanjem na internirane Amerikance japanskog porekla u War Relocating Centre u Manzanaru tokom Drugog svetskog rata. Manzanar se nalazi 350 km severno od Los Anđelesa. Luiz Šreder se fokusira na različite istorijske, političke i vizuelne narative sa ciljem da shvati kako se istorijski događaji predstavljaju i rekonstruišu danas i pita se kako (ne)zvanično sećanje utiče na politički, društveni i medijski razvoj..

In her video installation ‘UNAMERICA – Relocating memories’ Luise Schröder deals with the commemoration of the internment of Japa-nese-Americans at the former War Relocating Center in Manzanar during World War II. Manzanar is situated 350 km north of Los Angeles. In her video Luise Schröder focusses on different histori-cal, political and visual narratives with the purpose to understand how and in which way the historical events are represented and reconstructed today. She questions how (in-)official remembrance is affected by political, social and medial developments.

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URBAN SCULPTURES

China / 2017digital / 6’15

Di Hu

Kamera za video-nadzor i pametni telefon, jedno pasivno, a dru-go aktivno, predstavljaju dve vrste društava, disciplinarno društvo i društvo kontrole, kako ih naziva Žil Delez. Prikaz ovog fenomena kroz snimanje uređaja za nadzor i njihovih površina, analiza i poređenje mesta na kojima se nalaze, razjašnjavanje načina na koji su umetnuti u telo Grada. Zamislite scene sa gomilom putnika, koji su svi uronjeni u svoje pametne telefone, kao da je svet oko njih nestao.

The surveillance camera and the smartphone, one is passive and the other is active, represent two types of societies, disciplinary society and society of control as described by Gilles Deleuze. The portrayal of this phenomenon via images of surveillance cameras, their surface, analysis and comparison of the environment where they are placed, clarification of the ways by which they are inserted into the body of the City. Imagine scenes with a carriage of pas-sengers, all immersed in their smartphones, as the world around them has disappeared.

JUG-JUGOISTOK /SOUTH BY SOUTHEAST

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ALTERNATIVE FILM/VIDEO 2018 Jug-jugoistok

Jug-jugoistok je netakmičarski pregled filmova i video radova iz najšire shvaćenog regiona Jugoistočne Evrope. Brojnim zemljama iz ove selekcije zajednička je niža vidljivost u međunarodnoj umet-ničkoj zajednici, najpre zbog manje zainteresovanosti i nebrige dominantnih ustanova i kustosa u Zapadnoj Evropi i Severnoj Americi. Jug-jugoistok predstavlja dela namenjena bioskopima, galerijama, internetu i drugim međudisciplinarnim izložbenim prostorima. Autori tih dela uključeni su u umetničke prakse koje zamagljuju granice i prkose konvencijama savremene vizuelne kulture. Alternative Film/Video ima dugu tradiciju podrške takvim radovima iz regiona. Jug-jugoistok obnavlja i proširuje tu tradiciju i posvećenost u kontekstu 21. veka.

Greg de Cuir Jr Selektor

Filmovi su u katalogu poređani prema redosledu prikazivanja na festivalu.

ALTERNATIVE FILM/VIDEO 2018South by SoutheastSouth by Southeast is a non-competitive survey program that pres-ents new film and video work from the area of Southeast Europe, broadly considered. What the various countries represented in this program share in common is a lower profile in the international cinematic arts community that comes from a lack of interest and care on the part of the dominant institutions and curators in West-ern Europe and North America. South by Southeast presents work built for cinemas, galleries, online, and other cross-disciplinary exhibition spaces. The artists included in the program engage in practices that blur boundaries and challenge the conventions of contemporary visual culture. Alternative Film/Video has had a long tradition in supporting work from this region. South by Southeast renews and extends that tradition and commitment into the 21st century and beyond.

Greg de Cuir Jr Selector

Selector Films in catalog are presented in order of screening at the festival.

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WHAT TIME IS MADE OF

Romania / France / 201710’Diana Vidrascu

Šta ako biste našli poruku u boci u vidu zapečaćene kutije sa film-skom trakom, koju ste pre 30 godina poslali u budućnost samom sebi? Nakon razvijanja 16mm trake, uvidela sam da je more os-tavilo svoj trag na slikama i da film čuva sećanje na sve stvari koje je na putu do kopna susreo. Ipak, ispostavilo se da su to moje lične uspomene iz detinjstva.

What if you found a message in a bottle in the form of a sealed film can, which your younger self had sent 30 years ago? After processing this16mm film reel, I discovered that the sea had left its mark on the images and the film bears the memory of all the things it witnessed in its journey to land. However, these proved to be my own childhood memories.

BRIEF CONVERSATION ABOUT THE D WORD

Romania / 201714’Teona Galgotiu

Život kao platno. Crno platno kao Univerzum. Svako na svom platnu stvara Kosmos bojama koje odabere. Niko ne može znati kako će slika izgledati na kraju, ali može uticati na njen izgled. Moj Kosmos je žut.

Life like a canvas. Black canvas like the Universe. Everyone on they canvas create Cosmos with the colors they choose. No one can know how the image will look at the end, but it can affect its appearance. My Cosmos is yellow.

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ABOUT EYE AROUND

Serbia / 20182’Miloš Peškir

Putem rezbarenja i zviždanja u vizuelnom palimpsestu, video konstruiše alternativnu logiku realnosti. Kompozicija video-arta kreira se kao klackalica, u nasumičnom maniru, na ivici apstrak-tnih prizora, u Dinamičnoj i Konstantnoj borbi između narativa i unutrašnjeg nelinearnog značenja.

Carving and Whistling through Visual palimpsest, video piece constructs Alternative logical reality. Video Art Composition is built, as a Seesaw in a random shift meaner, on the edge of abstract moving images by Dynamic and Constant struggle between narrative and inner nonlinear meaning.

THE DOG TRACE

Bulgaria /201811’

Neno Belchev

Video je posvećen našem psu koji voli da kopa rupe u pesku i tako pravi svoj pseći lend-art. Video takođe govori o odnosu čoveka i životinje (psa). (Ali, nemojte mi verovati previše, glavni lik u filmu najverovatnije je More!)

The video is dedicated to our dog, who loved to dig holes in the sand and in this way, he did his doggy land-art. The video is also about the relationship between man and the animal (dog). (Butyou don;t have to believe me too much, as probably the main character in the video is the Sea!)

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I KNOW

Serbia / 20185’Jovana Ikonić

Život kao platno. Crno platno kao Univerzum. Svako na svom platnu stvara Kosmos bojama koje odabere. Niko ne može znati kako će slika izgledati na kraju, ali može uticati na njen izgled. Moj Kosmos je žut.

Life like a canvas. Black canvas like the Universe. Everyone on their canvas create Cosmos with the colors they choose. No one can know how the image will look at the end, but it can affect its appearance. My Cosmos is yellow.

Serbia / 20185’

Saša Petrović

Intermeco registruje određenu atmosferu, u neimenovanom gra-du, koja je obeležena strepnjom i mračnom slutnjom. Film ima obeležje horora, ali sav užas koji se očitava proizilazi iz svako- dnevnice i određenih simbola, koji samo akcentuju protagonistu, a to je Protok Vremena.

Intermeco registers a certain atmosphere, in an unnamed city, marked by anxiety and darkness. The film has a mark of horror, but all the horror that is being read stems from everyday life and certain symbols, which only accentuate the protagonist, and it is the Flow of Time.

INTERMEZZO

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SHIPS STILL DON’T COME ASHORE

Croatia / 20173’Ivan Ramljak

Legenda hrvatskog eksperimentalnog filma i osnivač festivala GEFF Mihovil Pansini snimio je 1955. svoj film o nemogućnosti bega s ostrva (i od samog sebe) ‘Brodovi ne pristaju’. 62 godine kasnije, brodovi i dalje ne pristaju, u ovoj 16mm posveti koju je snimio njegov pranećak.

In 1955 the legend of Croatian experimental cinema and founder of GEFF (Genre film festival, experimental film festival held in Zagreb in the 1960s) Mihovil Pansini, made his short film about the inability of the escape from an island (and from yourself) Ships Don’t Come Ashore. 62 years later ships still don’t come ashore in this 16mm tribute film made by his grandnephew.

DOKUMENT PARAKOZMIK

Germany / Netherlands / Serbia 2018, digital, 20’45

Univerzalna arhitektura ne-mesta po svojoj tipologiji optimizova-na je za dokumentovanje nespoznatljivog i određivanje topografi-ja neočekivanog. Film sledi intenzivna delovanja entiteta prisutnih u N dimenziji koji generišu svojevrsno izvanljudsko iskustvo. Rad u stereoskopskoj 3D verziji, gotovo fizički utiče na posmatrača uspostavljajući modus radikalno-drugog, audiovizualnog iskustva.

By its typology, the universal architecture of non-place is optimized for documenting the unknowable and determining the topology of the unexpected. The film follows the course of the intense activities of the entities present in the N dimension that generate a sort of beyond-human experience. In its stereoscopic 3D version, the work is affecting the viewer in an almost physical way, setting up a mode of radical otherness in an audiovisual experience.

Vladislav Knežević

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Hungary / 20184’

NUTRITION FUGUE

Peter Lichter

“Kozert” (prevod: “za narod”) bio je lanac državnih prodavnica u Mađarskoj, tokom komunističke ere (1948-1989). Reč kozert se još uvek koristi u mađarskom jeziku. Naš film je napravljen od sirovog 35mm materijala reklama za prodavnice: filmske trake su zatrpane zemljom, istrulile sa hranom i rezane u komade.

“Közért” (translation: “for the public”) was a government owned chain of stores in Hungary, during the communist era (1948-1989). The word Közért is still used in the Hungarian language. Our film was made from the 35 mm celluloid raw footage of its advertisement: the film strips were digged in the soil, rotten with food and cut up in pieces.

THE SILENT SPRING SEAHORSE

Hungary / 20188’Bori Mate

Lični dokumentarac o detinjstvu, pričama i procesu sećanja.

A personal documentary about childhood, tales and the process of remembering.

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Albania / 20177’

REASSEMBLE

Pleurad Xhafa

28. aprila 1945. Valter Audisio, poznat i pod nazivom pukovnik VALERIO, automatskom puškom, kalibra 7,65L, model MAS 1938, F.20830, ubio je Benita Musolinija. U novembru 1957. Audisio je poklonio automatsku pušku, sa šaržerom i 4 metka, narodu Albanije. U novembru 2017. godine ušao sam u Muzej nacionalne istorije, otvorio staklenu vitrinu u kojoj je oružje izloženo i ponovo ga sastavio, dodavši delove koji su nedostajali.

On April 28, 1945, Walter Audisio, also known as Colonel VALERIO, used a submachine gun, caliber 7,65L, model MAS 1938, F.20830, to execute Benito Mussolini. In November 1957 Audisio donated the submachine gun, including its magazine and 4 bullets, to the people of Albania. In November 2017, sixty years after Audisio’s bestowal, I entered the National History Museum, opened the glass vitrine in which the weapon was displayed and reassembled the submachine gun with its missing parts.

BREAKING STONES

Albania / 201710’

Armando Lulaj

U predgrađu grada Tirane čovek se pojavljuje u tamnoj ulici i drži veliki kamen u rukama. Tokom šetnje on lomi kamen dok delići ne postanu dovoljno mali da ih uzmu drugi, za predstojeći protest. Čovek nestaje u tami. Iz druge ulice pojavljuje se drugi čovek i ponavlja istu akciju.

In the suburban area of the city of Tirana a man appears in a dark street holding a big stone in his hands. While walking he crushes the stone until its pieces become small enough to be carried by the others, and supposedly to be used by them, in an upcoming protest. He disappears in darkness. From another street another man appears repeating the same action.

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Pinar Ogrenci

IF YOU SAY IT FORTY TIMES

The Netherlands / 20175’belit sağ

Video istražuje političku amneziju u Turskoj putem javnih ličnosti u poslednjih 40 godina. Šta znači zaboraviti i zapamtiti politički tešku istoriju? Koji su kanali pamćenja i zaborava? Kojim prizori-ma te istorije smo izloženi, kojim trenucima sećanja i zaborava?

The video investigates political amnesia in Turkey through public figures in the last 40 years. What does it mean to forget and remember a politically heavy history? What are the channels of remembering and forgetting? What images we are exposed to of these histories, and moments of remembering and forgetting?

A GENTLE BREEZE PASSED OVER US

Turkey / 20175’

Film uzima naslov od libanske pesme Fairuza o žudnji za domo- vinom i govori o bekstvu jednog mladog muzičara iz Bagdada u Evropu. Bliskoistočni instrument ud nežno klizi preko vode Ege-jskog mora i postaje kulturni simbol drevne kulture koja je sada rasprostranjena širom sveta, tražeći mesto za sebe.

Taking its name from a Lebanese song by Fairuz about longing for one’s homeland, film is an escape story of a young musician from Baghdad to Europe. A Middle Eastern instrument oud that softly slides across the waters of the Aegean Sea is becoming the cultural symbol of a deep culture that is now dispersed all over the world, seeking a place for itself.

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Slovenia / 20173’

WELCOME

Davorin Marc

Napokon sloboda - Beg od civilizacije - sloboda od svih ograničenja. Planinski svet, isprva neprijateljski nastrojen prema životu, zapravo skriva osećanje sigurnosti i odjednom postaje mesto žudnje za posmatrača.

Finally free - Escape from civilization - freed from all constraints. The mountain world, which is so hostile to life in the first place, immediately conveys a feeling of security and immediately be-comes a place of longing for the beholder.

2202M

Macedonia / 20183’

Irena Paskali

pej)(zaž

land)(scape

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KOLEKTIVI I POJEDINCI /COLLECTIVES AND INDIVIDUALS

BESTEŽINSKA SADAŠNJOST /WEIGHTLESS PRESENT

Filmovi militantnog audiovizuelnog kolektiva Los Ingravidos (Meksiko) / Films by militant audiovisual collective Colectivo Los Ingrávidos (Mexico) Kustos / Curated by: Almudena Escobar López

Olympia (2018, 7' 25")

Doblaje y Desfase Guvernamental (2015, 3')

Fracking (2018, 3' 16")

Piedra de Sol (2017, 9')

Has visto? (2017, 7')

Sangre Seca (2017, 9' 18")

Abecedario / B (2014, 5')

CI(s)NE NEGRO (2016, 15)

Filmentos/Disolvencia (2018, 6' 09")

Tokom proleća 2011. Meksički nacionalni pokret za mir i pravdu (Movimiento por la Paz con Justicia y Dignidad) razvio se kao odgovor na Rat protiv narko-kartela u Meksi-ku, koruptivne vlasti i rastuće ekonomske nejednakosti. U aprilu 2011., pesnik Havijer Sicilia organizovao je, po-vodom smrti svoga sina, marš protiv nasilja, kako orga-nizovaong kriminala, tako i meksičke Državne bezbed-nosti. Tokom marša od Kuernavake (Morelos) do Meksiko sitija, porodice žrtava pozvane su da govore o svom bolu i indignaciji putem javnih ispovesti na trgovima. Protesti su odisali kolektivnom žudnjom za pravdom, za krajem ratne strategije vlade, za borbom protiv korupcije i nekažnjivosti, a promovisali su participativnu demokratiju.

?

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During the Spring of 2011 the Mexican National Movement for Peace and Justice (Movimiento por la Paz con Justicia y Dignidad) developed in response to the Mexican Drug War, government corruption, and the growing economic inequality. In April 2011, poet Javier Sicilia, in response to the death of his son, organized a march against violence, both by organized crime and the Mexican State security. During the march from Cuernavaca (Morelos) to Mexico City, families of victims were invited to speak up about their pain and indignation through open testimonies in the public squares. The protests echoed a collective desire for justice, to end the war strategy from the government, fight-ing corruption and impunity while promoting participatory democracy.

Only a year later, on May 11, 2012 the then Institution-al Revolutionary Party (PRI) candidate Enrique Peña Nieto, presented his political project at the Ibero-American Uni-versity in Mexico. As a result a spontaneous protest broke out condemning Nieto’s negligences during the events at Atenco in 2006 while he was the governor of Mexico State. The main national media reported that the protests were a political boycott organized by individuals outside the university. As a response 131 students published a vid-eo where they showed their student credentials declaring their volunteer participation in the protest. This is is how the #YoSoy132 movement started as a direct opposition against the PRI candidate and his politics, and reporting the biased media collection of the 2012 general election. The movement had direct connection with other Occupy move-ments developed since Arab Spring from late 2010, and the anti-austerity Spanish 15-M movement, also known as “The Spanish Revolution” from 2011.

Samo godinu dana kasnije, 11. maja 2012., tadašnji kan-didat Institucionalne revolucionarne partije (PRI) Enrike Penja Nieto predstavio je svoj politički projekat na Iberijs-ko-američkom univerzitetu u Meksiku. Zbog toga su izbili spontani protesti u znak osude Nietovih propusta koje je napravio tokom događaja u Atenku 2006, dok je bio gu-verner države Meksiko. Vodeći mediji u državi izveštavali su da su protesti politički bojkot koji organizuju pojedinci izvan univerziteta. U odgovor na to, 131 student kreirao je video u kom se javno deklariše kao učesnik u protestu. Tako je počeo pokret #YoSoy132 (Ja sam 132), kao direktno protivljenje kandidatu PRI i njegovoj politici i pristrasnom medijskom izveštavanju o izborima 2012. godine. Pokret je imao neposrednu vezu sa drugim Occupy pokretima koji su se razvili nakon Arapskog proleća, s kraja 2010., i španskim 15-M pokretom protiv mera štednje, poznatom i kao “Španska revolucija” započeta 2011. godine.

Colectivo los Ingrávidos (Bestežinski kolektiv) izrastao je iz ovog pokreta kolektivnog delovanja, radeći direktne reportaže tokom masovnih demonstracija protiv vlade na anonimnom YouTube kanalu - anonimnom zbog straha od odmazde, jer je Meksiko druga zemlja na svetu po broju ubistava novinara, nakon Sirije (prema Reporterima bez granica). Zajednički rad bio je nužnost, ali i politička odluka, s ciljem da se razmontira neoliberalni poredak koji umetnika stavlja u centar, a valorizacija predmeta i namera autora predstavljaju središte svakog mogućeg kritičkog an-gažmana. Radeći kao anonimni kolektiv, Los Ingrávidos ne preispituju šta slike/prizori govore već po kojoj logici dobi-jaju smisao; za čiji interes rade slike i zvuci snimljeni i or-ganizovani na neki način, kao određeni tekstualni sistem; drugim rečima, ko kontroliše izgled i dijegezu?

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Colectivo los Ingrávidos emerged from this resistance moment of collective action, directly reporting during the mass demonstrations against the government through an anonymous YouTube channel for fear of being retaliat-ed—Mexico is the second-deadliest country in the world for journalists after Syria, according to Reporters Without Borders. Working collaboratively was a necessity but also a political decision, that dismantles the artist-centered neo-liberal order where the valorisation of the object and the intention of the author are at the center of any possible crit-ical engagement. Operating as an anonymous collective, Los Ingrávidos do not question what the images are saying but according to what logic(s) they make sense; in whose interest are the images and sounds recorded and ordered in a specific way, as one particular textual system; in other words, who controls the look, and the diegesis.

Aside from their direct reporting, Ingrávidos is a response against the consistent use of audiovisual materials as pow-erful tools of domination and control for those in power. Images of violence in the media are often isolated, decon-textualized and even muted with a talking discourse over it. Ingrávidos emerges from the need to dismantle the au-diovisual grammar from the aesthetic-television-cinemat-ic corporatism. Against the exaltation of the image over sound, and the gradual isolation of violence, Ingrávidos proposes a relational image with political determination. Images disintegrate, separate from the sound, multiply, and stutter, connecting with each other and cracking up vi-sual grammar like an egg. The interaction between the im-ages dissociates their communal narrative practices, open-ing up the possibility of new critical approaches. Following Harun Farocki’s dialectical analysis of form and content, Ingravidos subverts the hierarchical relationship between the visual form and the auditory, reclaiming the autonomy

Osim direktnih reportaža, Bestežinski kolektiv je glas pro-tiv moćnika koji konzistentno upotrebljavaju audiovizuelne materijala kao moćne alatke dominacije i kontrole. Prizori nasilja u medijima često su izolovani, dekontekstualizovani, čak potpuno utišani, sa glasom preko njih koji ih objašn-java. Ingrávidos se pojavljuju zbog potrebe da se razdvoji audiovizuelna gramatika od estetike televizijsko-filmskog korporativizma. Protiv nadređenosti slike zvuku, i postep-ene izolacije nasilja, Ingrávidos donose relacione prizore sa političkom odlučnošću. Prizori se dezintegrišu, odvaja-ju se od zvuka, umnožavaju, zamuckuju, povezuju jedni s drugima i uništavaju vizuelnu gramatiku kao ljusku od ja-jeta. Interakcija prizora odvaja ih od uobičajene narativne prakse i otvara mogućnost za kritički pristup. U duhu Haru-na Farokija i njegove dijalektičke analize forme i sadržaja, Ingrávidos podrivaju hijerarhijske odnose između vizuelne i auditivne forme i ponovo uspostavljaju njihovu autonomi-ju. Zvuk postaje centar naše pažnje – politički diskursi, mitraljezi, kiselina koja bubri i razara tela, audio-snimci

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between them. The sound becomes the center of the at-tention, political discourses, machine guns, bubbling acid that dissolves bodies, and the audio recordings of police prosecutions create an overwhelming sound landscape that speaks directly to the political situation in Mexico, generat-ing a complex and paradoxical relationship that disrupts the sense of discourse, and stimulates the perceptive do-main of the viewer.

The projector is a machine that carves the war against the neutralization of images on the celluloid before letting the ideological image die. The frames in Abecedario / B get punctured, the celluloid in Sangre Seca melts with its own chemistry, and in Fracking the film derails out of frame to show how each single image is a container of time and ideas. Like Kafka’s harrow In the Penal Colony, the viewers see how the image disintegrates in the process of being seen; viewing becomes the sentence of the image. The bro-ken images of Ingrávidos and their material quality leave the space of representation open so that, sound and image become independent entities. This forced separation and gradual disappearance of the image, construct a space of shared listening deviating the center of the discussion from viewing to listening.

Ingrávidos relational image also operates structurally with-in their film production. Each piece relates to previous work or future work, creating an intricate constellation of multi-ple threads and themes. Perhaps the clearer mapping of their production is the alphabet series from 2014 where each letter opens up thematically and aesthetically to a new series of films. This how M (2014) for Mujer (wom-en), Muerte (death) and Mexico, is intimately connected to Medea (2014) and Sangre Seca (2017). This cosmological

policijskih gonjenja – sve to kreira moćnu zvučnu sliku koja govori neposredno o političkoj situaciji u Meksiku i stvara kompleksan i paradoksalan odnos koji može da uzdrma smisao diskursa i stimuliše perceptivni domen gledalaca.

Projektor je mašina koja vodi rat protiv neutralizacije slika na celuloidu pre nego što ideološku sliku ostavi da umre. Frejmovi u Abecedario / B su probušeni, celuloid u San-gre Seca topi se u sopstvenoj hemiji, a u Fracking film se izdvaja iz okvira da bi pokazao kako je svaki prizor kutija ideja i vremena. Smisao je sličan smislu Kafkine drljače iz pripovetke U kažnjeničkoj koloniji: gledaoci vide kako se prizori raspadaju tokom procesa gledanja; gledanje posta-je presuda prizorima. Izlomljene slike i kvalitet materijala u radovima Ingravidosa ostavljaju prostor reprezentacije otvorenim, tako da u zvuk i slike postaju nezavisni entite-ti. Ova nasilna razdvojenost i postepeno nestajanje slike konstruiše prostor zajedničkog slušanja, a centar diskusije pomera sa čina gledanja na čin slušanja.

Relaciona slika Ingrávidosa takođe funkcioniše I struktural-no, u okviru njihove filmske produkcije. Svaki sledeći rad upućuje na prethodni ili na budući rad, stvarajući zapletenu mrežu prepunu tema i čvorišta. Njihovu produkciju možda najbolje mapira abecedna serija iz 2014, u kojoj se svako slovo otvara tematski i esteski novim nizom filmova. Tako je M (2014) povezan sa Mujer (žena), Muerte (smrt) i Meksiko, pa opet povezan sa filmom Medea (2014) i Sangre Seca (2017). Ova kosmologijska organizacija ne stvara hijer-arhiju diskursa, već se mnogostrukost i njegova poroznost bolje shvata kao mreža koja operiše bez određenog centra i tačke prekida. Ne postoji sekvencijalni niz, mada posto-ji logička veza između delova i subliminalna organizaci-ja putem određenih struktura poput abecede, a svaki rad

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organization does not create a hierarchy or discourse, in-stead its multiplicity and its porosity is better understood as a network that operates without a particular center or point of departure. There is no sequential order, and although there is a logical connection between the parts, and a sub-liminal organization through certain structures such as the alphabet, every work can be seen individually or as part of a synergic totality. This interconnectivity has to do with the understanding of history as an ongoing process, with-out periodization. Against the supposed neutrality of doc-umentary images, the archival sound recordings reactivate dominant political discourses, reconnecting the old injus-tices with the present. Colectivo los Ingrávidos understands history as a continuum, where the present in the future cre-ated by past cultural traditions and atrocities. Their work is in intimate relation to their community because they are participants, active agents in dialogue with the past. Los Ingrávidos work needs to be understood from the point of view of their collective origins, their collaborative pro-duction process, and their decentralized approach to con-tent and form. Their radical visual experimentation with sound and their relational approach are tools to dismantle audiovisual ideological discourses. Their films capture the emergency, spontaneity and energy of direct political ac-tion, proposing a shared critical space.

Almudena Escobar López

***Acción Cultural Española (AC/E) supports the participation of Spanish curator Almudena Escobar López in this edition of the Al-ternative Film/Video Festival through the Programme for the Inter-nationalisation of Spanish Culture (PICE), in the framework of the Mobility grants.

može da se gleda zasebno ili kao deo sinergijskog totalite-ta. Ova povezanost tiče se razumevanja istorije kao proce-sa koji traje, bez periodizacije. Delujući protiv pretpostavl-jene neutralnosti dokumentarnih prizora, arhivski zvuk ponovo aktivira dominantne političke diskurse, povezujući stare nepravde sa aktuelnim. Bestežinski kolektiv razume istoriju kao kontinuum, gde se sadašnjost budućnosti krei-ra putem prošlosti, kulturnih tradicija i zločina. Njihov rad je intimno vezan za njihovu zajednicu, jer su oni učesnici, aktivni delatnici u dijalogu sa prošlošću.

Rad kolektiva Los Ingrávidos mora se razumeti putem nji-hovog kolektivističkog porekla, kolaborativnih procesa u produkciji i decentralizovanog pristupa sadržaju i formi. Njihovi radikalni vizuelni i zvučni eksperimenti i njihov relacioni pristup, alatke su za demontažu audiovizuelnih ideoloških diskursa. Njihovi filmovi prikazuju hitnost, spon-tanost i energiju diretke političke akcije, i nude nam zajed-nički kritički prostor.

Almudena Eskobar Lopez

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IMAGES CONTRE NATURE"All We Need" – 8 films //

"Sve što nam treba" – 8 filmova / 87'

Present and chaos, history and current events… The pro-gram "All We Need" develops a social, economic and political criticism. By various experiments, from the found footage to the documentary, appear alternately the beauty and monstrousness. How to denounce, to resist, to invent in response to consumerism and the outrageous profits, the capital gain and the injustice, an organized contempt of the life in the name of the profit, of the identity or any om-nipotence? The story begins with the myth, the Mediterranean, the shore and the sea, reflections of the moon on a silver dress, trace on the ground and body's loss in the night. In strug-gle, women and men undergo moral and physical tortures to open the earth to a better world, loneliness of being and despair, resistance, revolt, revolt, resistance. In a luxurious hotel of Barcelona, place of life and work of anarchists, the Collectivist Anarchism occurs. Far away, everything is fine, profit's prose, capitalist's festival, and so smooth are wom-en and they give in to paradise, ecstatic. What a whiteness of ideas, what purity, the reality cleansed by the advertising rhetoric and the mortification of time. One minute for the hero, than another one, and the fable collapses. The most grandiose stories, however magnificent they are, always end. But there are laughter and #.

Sadašnjost i haos, istorija i aktuelni događaji... Program "Sve što nam treba" razvija društvenu, ekomonsku i političku kritiku. Putem različitih eksperimenata, od faund-futidža do dokumentaraca, naizmenično se pojavljuje lepota u mon-struoznost. Kako odbaciti, odupreti se, izumeti nešto kao odgovor na konzumerizam i nečuvene nepravde, profit i kapitalnu dobit, na organizovan prezir prema životu u ime profita, prema identitetu i bilo kakvoj svemoći?

Priča počinje od mita, od Mediterana, obale i mora, mesečevog odraza na srebrnoj haljini, tragova na zemlji i izgubljenog tela u noći. U borbi, muškarci i žene prolaze kroz moralne i fizičke torture da bi stvorili tlo za bolji svet, usamljeno bivstvovanje, očaj, otpor, revolt, revolt, otpor. U luksuznom hotelu u Barseloni, mestu života i rada anarhis-ta, pojavljuje se kolektivistički anarhizam. Daleko odatle, sve je u redu, proza profita, kapitalistički festival, žene su fine i odaju se raju, ekstatično. Kakva belina ideja, kakva čistoat, realnost ispražnjena retorikom reklama i mortifik-acijom vremena. Minut za heroja, pa još jedan, i fabula se raspada. I najgrandioznije priče, ma kako da su veličanst-vene, završe se. Ali tu su smeh i #.

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PROGRAM

KAÏROS by Stefano Canapa & Elisa Ribes 11 min 18, b/w, stereo,2016, France production & distribution: 529 Dragons

Kairos is a dance-poem, a march on the shores of the Mediterranean that evokes both the disappearance of the Mediterranean that evokes both the disappearance of the myth of sirens and the journey of migrants, between exile and resistance. Mediterranean that evokes both the disap-pearance of the myth of sirens and the journey of migrants, between exile and resistance.

*Kairos je plesna poema, marš obalama Mediterana koji evocira nestanaka mita o sirenama i put migranata, između egzila i otpora.

LOS (DE)PENDIENTES by Sebastian Wiedemann 24 min, b/w, stereo, 2016, Argentina self-production, self-distribution

"Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what re-mains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows."

Nicole Brenez

"Uklapajući odlomke iz argentinskih kritičkih i revoluciona-rnih filmova od 1956. do 2006, Los (De)pendientes nudi veliki iskorak u koncepciji filmske istorije. Bez reči, razma-trajući prošlost, film govori da su vizuelna dela verna real-nim problemima svog vremena; razmatrajući sadašnjost, pokazuje u kakvom su jadnom stanju ključne slike života i borbe; razmatrajući postajanje, nagoveštava nam šta osta-je da se uradi kako bi se rekonstruisala poštenija i istinitija istorija filma; razmatrajući večnost, film je auratička poema ogoljenih senki." Nikol Brenez

POBLE by Albert Bayona 4 min 25, color & b/w, stereo, 2018, Spain self-production & distribution

A few days after the outbreak of the Spanish Civil War in 1936, the Ritz was taken over by the trade unions and turned into the “Gastronomic Hotel No.1”. A picture of Le-nin was hung in the hall and “collective dining rooms” were established.

Par dana nakon izbijanja Španskog građanskog rata 1936., sindikati su zauzeli Hotel Ritz i pretvorili ga u "Gas-tronomski hotel br. 1". Lenjinova slika stajala je u hodniku i ustanovljene su "kolektivne trpezarije".

SURPLUS by Doplgenger 5 min 40, color, stereo, 2008, Serbia production and distribution: Doplgenger Formally intervening with found footage of commercials, this experimental video allows one to rethink image while creating narrative which discovers one of many skillful-

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ly covered senses of media images. As the title suggests this video performs Lacan's opinion that in contemporary capitalism 'surplus value' is no longer capitalized for later libidinal enjoyment - nowadays surplus value is re-invested in production process.Formalno intervenišući u faund-futidž reklama, ovaj eks-perimentalni video omogućava nam da ponovo promisli-mo slike i kreiramo narative koji otkrivaju jedan od mnogih vešto prikrivenih značenja medijskih prizora. Kao što naslov sigeruieš, video se oslanja na Lakanovu tezu da u savre-menom kapitalizmu "višak vrednosti" više nije kapitalizovan za kasnije libidinalno uživanje – danas se višak reinvestira u proizvodni proces.

SCHERZO by Fabio Scacchioli & Vincenzo Core 5 min 15, color & b/w, stereo, 2015, Italy self-production & distribution

“O, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world. That has such people in't!” William Shakespeare, The Tempest.

„O čuda! Kol’ko je mnogo krasnih bića ovde! /Kako je lep taj ljudski rod! O divni novi svete koji imaš/ Baš takve lju-de!“ (Vilijam Šekspir, Bura, prema prevodu Živojina Simića i Sime Pandurovića)

SLAPSTICK SOCIAL by Frank Gatti 15 min 25, color, dolby stereo, 2008, France self-production & distribution

A DROITE TOUTE by 360° et même plus 16 min 10, color, stereo, 2007, France self-production & distribution Saturday June 9th 2007, upon a call from The Closed Cir-cles Private Union, the right wing spreads over Marseilles.Subota, 9. jun 2007., nakon poziva Privatnog sindikata Za-tvorenih krugova, desnica se širi Marsejom.

AN INFINITE LOOP FOR RESISTANCE by Michael Woods 5 min 55, color & b/w, stereo, 2017, USA self-production & distribution 2018 Official Rotterdam International Film Festival Selec-tion

An avant-garde is a front line. This is a work for the re-generation of the avant-garde. This is a media-fashioned attack aimed at the disturbing omnipotence of hyperrealism and fascist banality - best symbolized by Donald Trump's burning latex effigy. This is a violent collage - shreds of sim-ulacral tumult, a riot in media waste. Meant to be projected anywhere - as a call to arms, a way to incite, an attempt at shaking the normalization of bigotry and authoritarianism. This is a call to #Revolt more than #Resist. This is not for photo ops. Rather than bathe in the aesthetics of nothing-ness, it is time to wake up and fight the active evil that ra-diates from the seat of "power" and alters the real through mediated nihilism.

Avangarda je prva linija fronta. Cilj ovog rada je obnavl-janje avangarde. Ovo je medijski napad na uznemirujuću svemoć hiperrealizma i fašističke banalnosti – najbolje sim-bolizovanih kroz spaljivanje lutke Donalda Trampa. Ovo je nasilni kolaž – predstavlja parčad simuliranog meteža,

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nereda na medijskom smetlištu. Osmišljen da bude projek-tovan bilo gde – kao poziv na borbu, pokušaj razaranja nor-malizacije bigotizma i autoritarijanizma. Ovo je pre poziv na #revolt nego na #otpor. Nije za foto-priloge. Umesto da se kupamo u estetici ničega, vreme je da se probudimo i odupremo aktivnom zlu koje se širi iz centara "moći" i utiče na stvarnost putem medijatizovanog nihilizma.

IMAGES CONTRE NATURE (ICN)

Images Contre Nature, international festival of experimen-tal video, offers to the festival-goers a selection distribut-ed in 8 programs - animated (young audience program), space, identity, long, movement, perception, sense, time - and presents formal and contemporary works where the image take a preponderant place whatever the subject of

the movie. It follows in the footsteps of the experimental and different cinema, the experiences of Dadaism, Surreal-ism or Underground culture. Its 19th edition will take place at the beginning of July in the Videodrome 2, Marseilles. The entry call will be opened from January to March, 2019. The festival is organized by the association P' Silo. All infor-mation on p-silo.org

Images Contre Nature, međunarodni festival eksperimen-talnog videa, posetiocima nudi izbor radova raspoređen u 8 programa: animirani (program za mladu publiku), prostor, identitet, dugi, pokret, percepcija, osećaj, vreme – i predstavlja formalističke i savremene filmove u kojima slika ima nadmoćno mesto bez obzira na temu. Festival nastavl-ja put eksperimentalnog i nekonvencionalnog filma, da-daizma, nadrealizma i andergraund kulture, a 19. izdanje biće održano od januara do marta 2019. godine. Festival organizuje asocijacija P' Silo. Sve informacije na p-silo.org

*** Gostovanje programa Images Contre Nature i njegovih kustosa na ovogodišnjem festivalu Alternative Film/Video deo je saradnje sa udruženjem Transimage i omogućeno je podrškom Ministarstva kulture i informisanja Republike Srbije.

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SKOT BARLI /SCOTT BARLEY Nightwalk (2013, 6')

Closer (2016, 7')

Womb (2017, 16')

Hinterlands (2016, 7')

Hunter 2015, 14')

The Sea Behind Her Head (in production, preview)

The Sleep Has Her House (2017, 90')

Scott Barley is a British artist and filmmaker from South Wales, UK. His work has been associated with the Remod-ernist and Slow Cinema movements. His films are primar-ily concerned with the Anthropocene, nature, cosmology, phenomenology, and mysticism, and have been compared with the sensibilities of Stan Brakhage, Philippe Grandrieux, Béla Tarr, Maya Deren, and Jean Epstein.

Since early 2015, Barley has exclusively shot his films on an iPhone. His short film, Hinterlands was voted one of the best films of 2016 in Sight & Sound's yearly film poll. His first feature-length work, Sleep Has Her House was re-leased in early 2017, garnering universal acclaim. It was later voted one of the best films of 2017 in Sight & Sound, Senses of Cinema, and The Village Voice film polls.

Skot Barli je britanski umetnik i filmski autor iz Južnog Velsa, UK. Njegov rad povezan je sa remodernističkim pokretom i tzv. sporim filmom. Njegovi filmovi bave se prvenstveno

antropocenom, prirodom, kosmologijom, fenomenologi-jom i misticizmom, i često su poređeni sa senzibilitetom Stena Brekidža, Filipa Grandrijea, Bele Tara, Maje Deren i Žana Epštajna.

Od 2015. Barli snima filmove isključivo iPhoneom. Njegov kratki film Hinterlands uvršten je na listu najboljih filmo-va 2016. godine po anketi časopisa Sight&Sound. Barlijev debitantski celovečernji film San ima svoju kuću pojavio se 2017. i dobio je pohvale sa svih strana. Takođe je proglašen jednim od najboljih filmova iz 2017 u časopisima Sight & Sound, Senses of Cinema i The Village Voice.

NIGHTWALK

Several figures move through the darkness on a cliff-edge. An inaudible conversation near the brow of the cliff may be the cause for the group to disband. The rest of the film follows the solitary journey of the youngest member of the group, until she rests; where land meets the sea.

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Nekoliko figura kreće se kroz mrak prema ivici klisure. Nerazumljiva konverzacija nadomak grebena možda je ra-zlog što se grupa razilazi. Ostatak filma prati usamljeničko putovanje najmlađeg člana grupe, sve dok ne zastane da se odmori, tamo gde se zemlja spaja s nebom.

CLOSER

Upon liminal spheres where dreams are woven, Adrift between stars and the trees, I pass closer to the golden dawn.

There’s a warmth beyond the shadow. I feel the aurum under my eyelids, And I hope the birds will sing.

Oh, I hope I will hear the birds sing...

Perhaps a knowledge that never comes.

for David Robert Jones (8th January 1947 - January 10th 2016) HUNTER

It is nightfall. A hunter lurks in the darkness, wandering further towards the impenetrable. Do the meanings lie in the stream, in the mountains, the stars, or in the death of things?

Pada noć. Lovac vreba u tami, luta dalje prema neprobo-jnom. Skrivaju li se značenja u potocima, planinama, zvezdama, ili u smrti stvari?

HINTERLANDS

Through a structuralist and simultaneously ambiguous form, the image's reality treads closer to the abstract, leav-ing the sunset and trees behind. As we enter the image's gloaming, it reveals its true eye: reality's pure haptic energy, where there is nothing but sonorous light, and the dregs of the Unknown.

Putem strukturalističke i, u isto vreme, višeznačne forme, realnost prizora se približava apstrakciji, ostavljajući suton i drveće iza sebe. Kako ulazimo u zatamnjenje prizora, on nam otkriva svoju pravu stranu: čistu haptičku energiju st-varnosti, gde nema ničeg sem sonorne svetlosti i ostataka Nepoznatog.

WOMB

The Mouth screams. Like a shadow, it looms on the event horizon. It swells, hunting the night like a snake in the dark. The laceration tears through the stars, devouring its meal.Within the nothing swims something of a memory of move-ment. Far beyond, something out of the black reveals itself. In the infinite womb, limbs drift suspended, like flies in a giant spider web. An infinite sea of pale flesh. Bodies without organs. Death's renewal awaits, as the bodies pass through the void.

Usta vrište. Poput senke, preteći se uzdižu na horizontu.Otiču, love noć poput zmije u mraku.Razdiru zvezde, proždiru obroke.Usred ničega pliva neko sećanje na pokret.

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Daleko iza, nešto se pojavljuje iz crnog. U beskonačnoj materici plivaju sputani organi, poput muva u ogromnoj paukovoj mreži. Beskrajno more bledog mesa. Tela bez or-gana. Obnova smrti čeka, dok tela prolaze kroz prazninu. THE SLEEP HAS HER HOUSE

The shadows of screams climb beyond the hills. It has hap-pened before. But this will be the last time. The last few sense it, withdrawing deep into the forest. They cry out into the black, as the shadows pass away, into the ground.Through long static takes, the film develops a contempla-tive, hypnotic experience, akin to paintings that move, mix-ing live action and still photography (shot on iPhone) and hand-drawn images.The film is dedicated to the late French filmmaker and friend, Philippe Cote, who passed way in 2016.

Odjeci vrištanja dopiru s one strane brda. To se događa-lo i ranije. Ali ovo je zadnji put. Oni jenjavaju dok senke prolaze i nestaju u tlu.

Putem dugih, statičnih kadrova, film prenosi iskustvo hip-notičke kontemplacije, nalik na slikarstvo u pokretu – meša igrane delove i fotografije (snimljene iPhoneom) sa crteži-ma. Film je posvećen pokojnom francuskom filmadžiji i pri-jatelju, Filipu Kotu, koji je preminuo 2016.

***Gostovanje Skota Barlija podržao je Filmski centar Srbije.

ROUZBEH RASHIDI(born in Tehran, 1980)

is an Iranian-Irish filmmaker. He has been making films since 2000, at which time he founded the Experimental Film Society in Tehran. He has always worked completely away from mainstream conceptions of filmmaking, striv-ing to escape the stereotypes of conventional storytelling. Instead, he roots his cinematic style in a poetic interaction of image and sound. He generally eschews scriptwriting, seeing the process of making moving images as explora-tion rather than illustration. His work is deeply engaged with film history.

Ruzbeh Rašidi (rođen u Teheranu, 1980) je iransko-irski filmski stvaralac. Filmove je počeo da snima 2000. go-dine, kada je i osnovao Društvo za eksperimentalni film u Teheranu. Njegov rad je u potpunosti van komercijalnih i glavnih tokova filmskog stvaralaštva, u kojem teži da iz-begne stereotipe konvencionalnog pripovedanja. Umesto

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toga, korene svog vizuelnog i filmskog stila traži u pesničkoj interakciji slike i zvuka. Uglavnom izbegava pisanje scenar-ija, smatrajući proces stvaranja pokretnih slika više kao is-traživanje nego kao ilustraciju. Njegov rad duboko je pov-ezan sa istorijom filma.

Phantom Islands is an experimental film that exists at the boundary of documentary and fiction. It follows a couple adrift and disoriented in the stunning landscape of Ireland’s islands. Yet this deliberately melodramatic romance is con-stantly questioned by a provocative cinematic approach that ultimately results in a hypnotic and visceral inquiry into the very possibility of documentary objectivity.

Fantomska ostrva su eksperimentalni film na granici doku-mentarca i fikcije. Priča prati par koji je prepušten slučaju i dezorijentisan u predelima irskih ostrva koji oduzimaju dah. Ipak, ova svesno melodramska romansa konstantno se dovodi u pitanje provokativnim filmskim pristupom, koji na kraju dovodi do hipnotičkog i visceralnog ispitivanja same mogućnosti objektivne dokumentarnosti.

ALTERNATIVE & ARHIVI /ALTERNATIVES & ARCHIVES

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S ONU STRANU FILMA Podzemni film i mediji 1960-ih i ranih 1970-ih u Austriji

Kad pogledamo unazad na 1960-e godine, vidimo da one nisu karakteristične samo po društvenim nemirima, već i po umetničkom napretku koji je išao pod ruku sa promenama u društvu, podrivši postojeće tradicije i strukture. Umetnost je, u različitim oblicima, postala deo društvenih pokreta, pokušavajući da se oslobodi od ekonomskih i instituciona-lnih ograničenja.

U umetnosti je takođe kolektiv trebalo da zameni hijerarhi-ju kao model za društvo. Upućeni na film koji je doveo do formiranje filmskih kooperativa/zadruga u nekoliko zemal-ja, poput SAD, Engleske, Nemačke, i drugih, u Austriji su Ernst Šmit mlađi, Kurt Kren, VALIE EXPORT, Hans Šojgl, Peter Vajbel i Gotfrid Šlemer osnovali Austrijsku filmsku zadrugu 1968, da bi im se kasnije priključili filmski autori poput Mukl Blekaut i Marka Adriana. Zadruga je sebe definisala kao organizaciju posvećenu difuziji filmova “koji nisu u sk-ladu sa konvencionalnim filmom”. Pre osnivanja zadruge većina njenih članova provela je godine u “podzemnoj”, andergraund kinematografiji: Kurt Kren razvio je tehni-ku montaže unutar (jednog) kadra i postao jedan od na-jpoznatijih predstavnika strukturalnog filma. Sredinom 1960-ih Kren je sarađivao sa bečkim akcionistima. Isto važi i za Ernsta Šmita mlađeg i donekla za Petera Vajbela. Ernst Šmit mlađi i Hans Šojgl, koji su napustili bečku filmsku ak-ademiju (Filmakademie Wien) pre diplomiranja, pisali su o novim talasima evropskog filma u raznim filmskim časopi-sima. Razmene mišljenja i iskustva na međunarodnim sus-retima eksperimentalnih filmadžija širom sveta, od Nokea

BEYOND CINEMAUnderground film and media of the 1960s and early 1970s in Austria

Looking back to the 1960 they are not only known for their social turmoils but also for its artistic progress which went along the changes in society in undermining existing tradi-tions and structures. Art in its various expressions became part of the social movement trying to free itself from eco-nomic and institutional constraints.

And also in art the collective should replace hierarchy as a model for society. Refering to film that lead to the founda-tions of film-cooperatives in several countries like the USA, England, Germany and others, in Austria Ernst Schmidt jr, Kurt Kren, VALIE EXPORT, Hans Scheugl, Peter Weibel and Gottfried Schlemmer founded the Austria Filmmakers Cooperative in 1968 later joined by fellow filmmakers like Moucle Blackout or Marc Adrian a.o. The Coop defined itself as a organization for diffusion of films „which do not accord to conventional filmmaking“. Before the founding of the Coop most of its members have already experienced intense years of underground filmmaking: Kurt Kren de-veloped his single-frame-editing technique becoming one of the main representatives of structural filmmaking. In the mid-1960s Kren collaborated with the Viennese Actionist. The same goes with Ernst Schmidt jr and in some respect also Peter Weibel. Ernst Schmidt jr and Hans Scheugl, who both left the Vienna Filmacademy before graduating, re-flected about the upcoming New Waves in European Cinema in various cinema publications. Experiences and exchanges at international meetings of experimental film-makers from all over the world, in Knokke (Belgium) and

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Hamburg and Cologne in Germany, throughout the year 1967, lead finally to the formation of the group in Vien-na. Beside the remarkable theoretical background which expressed on one hand in their writing about film and on the other in their own experimental filmmaking, it became just another distinctive characteristics of the group to reflect on cinema in its core as “institution“. Comparable to others groups, the members of the Austrian Filmmakers Coop de-veloped on a huge scale elaborated concepts of a so called “Expanded Cinema“: Cinema as a social space and its illu-sionistic and manipulative mechanisms became scrutinized in often humorous and sometimes audience-challenging performances.

Nevertheless all of these artists continued making moving images. While Scheugl und Kren kept working with ana-logue material, Schmidt jr and later EXPORT focused on feature films, but it was mainly VALIE EXPORT and Peter Weibel who pushed their artistic practices also on to other medias like photography and upcoming new medias like video and TV. The public actions and art performances have partly been perceived as provocations and their pro-tagonists were facing strong agitations of a conservative press. That way some of the artists got in conflict with the law, got prosecuted and later left the country subsequently. Only decades later and after already been highly acknowl-edged abroad several of these artists finally also became recognized in Austria.

The present program shows an excerpt of this – by self-defi-nition - underground filmmaking in Austria between the early 1960s and early 1970s.

Gerald Weber

***With the support of Österreichisches Kulturforum Belgrad

u Belgiji do Hamburga i Kelna u Nemačkoj, tokom 1967. godine, konačno su doveli do formiranja grupe u Beču. Osim izvanrednog teoretskog zaleđa koje se ispoljavalo s jedne strane u njihovim tekstovima o filmu, a sa druge u sopstvenim filmovima, jedna od zajedničkih crta svima bilo je označavanje filma kao “institucije” u svojoj suštini. Kao i druge grupe, tako su i članovi Austrijske filmske zadruge razvili i naširoko objasnili koncept “Proširenog filma”: film kao socijalni prostor, njegovi iluzionistički i manipulativni mehanizmi, postali su predmet pažljive i često duhovite an-alize, koja je katkad bila i zahtevna za publiku.

Ipak, svi ovi umetnici nastavili su da stvaraju pokretne slike. Šojgl i Kren i dalje su radili sa analognim materijalom, Šmit mlađi i kasnije EXPORT fokusirali su se na celovečern-je filmove, ali su uglavnom VALIE EXPORT i Peter Vajbel pomerili svoje umetničke prakse u druge medije poput fo-tografije i novih medija poput videa i televizije. Javne akcije i umetnički performansi delom su shvatani kao provokacije i njihovi su se protagonisti suočavali sa snažnim napadima konzervativne štampe. Na taj način su se neki od umetnika sukobili i sa zakonom, bili osuđivani, a potom napuštali zemlju. Tek decenijama kasnije, nakon što su postali vi-soko cenjeni u inostranstvu, neki od ovih umetnika postali su priznati i u Austriji.

Ovaj program predstavlja mali uvid u – po vlastitoj definici-ji – andergraund, “podzemni” film u Austriji između ranih 1960-ih i ranih 1970-ih godina.

Gerald Weber

***Uz podršku Austrijskog kulturnog foruma Beograd

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PROGRAM:

HALLO / Ernst Schmidt jr 1964-1973, 16mm, silent, 0,5 min

RANDOM / Marc Adrian 1963, 16mm, sound, 5 min

ORANGE / Marc Adrian1962-64, 16mm, silent, 4 min

7/64 LEDA MIT DEM SCHWAN / Kurt Kren1964, 16mm, silent, 4 min

16/67 20. SEPTEMBER / Kurt Kren1967, 16mm, silent, 7 min

PULLOVER / Günter Brus1967, 16mm, silent, 3 min

FINGERPRINT / Peter Weibel1968, 16mm, silent, 1 min

TAPP & TASTKINO / Valie Export1968, video on digital file, sound, 2 min (en subt)

SAFETY FILM / Hans Scheugl1968, 16mm, silent, 4 min

SCHNIPP-SCHNAPP / Ernst Schmidt jr, Peter Weibel1968, 16mm, Sound, 3 min

20/68 SCHATZI / Kurt Kren1968, 16mm, silent, 3 min

WALK IN / Moucle Blackout1969, 16mm, sound, 5 min

GRAF ZOKAN / Friedl vom Gröller1969, 16mm, silent, 3 min

BODY POLITICS / Valie Export1970, video (file), 2 min

TV-AQUARIUM / Peter Weibel1970, video, 1,5 min

SYNTHESIS EIN/AUS (SYNTHESIS ON/OFF) / Peter Weibel1972, video, 2 min

ABBILDUNG IST EIN VERBRECHEN (DEPICTION IS A CRIME) / Peter Weibel1970, video, 1,5 min

MANN & FRAU & ANIMAL / VALIE EXPORT1970-73, 16mm, Sound, 8 min

23/69 UNDERGROUND EXPLOSION / Kurt Kren1969, 16mm, silent, 5 min

DAS HAPPENING / Ernst Schmidt jr1969-1979, 16mm, silent, 0,5 min

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Crno i u boji: jugoslovenski filmovi 1970-ih ponovo izabrani iz arhiva meðunarodnog festivala kratkog fil-ma u Oberhauzenu

„Ovaj festival je groblje“, glasi jedan od naslova u izvešta-ju Međunarodnog festivala kratkog filma u Oberhauzenu 1971. godine. Ova izjava nije bila upućena samom Ober-hauzenu, već je preuzeta iz manifesta o jugoslovenskoj ki-nematografiji, koji je Želimir Žilnik izneo u Beogradu, na Festivalu dokumentarnog i kratkometražnog filma, par nedelja ranije. Te godine Oberhauzen festival posvetio je specijalni program novosadskoj filmskoj produkciji Neo-planta, sa predlogom da kontekstualizuje njihove eksper-imentalne filmove u okviru „socijalističkog eksperimenta“ kojem je smatrano da je Jugoslavija podvrgnuta. „Ovo su ljudi koji sanjaju komunizam, ali shvataju da ih socijali-zam ne može nahraniti“, komentar je Prvoslava Marića o radnicima emigrantima u njegovom filmu 70te - sezonci, koji je bio posebno istaknut u izveštaju Festivala. Industrijski grad u problemima, poput Oberhauzena, i intenzivna mi-gracija radne snage u Nemačku, dali su specifičnu zaleđinu Neoplantinoj kritici društva.

Od svog početka 1950-ih, festival u Oberhauzenu bio je siguran prostor za prikazivanje filmova iz Istočne Evrope, naročito jugoslovenskih: redovno prikazujući radove za-grebačke škole crtanog filma, bio je jedan od prvih festiva-la sa sluhom za sarajevske dokumentariste u ranim šezde-setim, a promovisao je i filmove „crnog talasa“ - političke satire nastale nakon nemira 1968. godine. Jugoslovenski filmski autori – Žilnik, Godina, Papić, Filipović i drugi, re-

Black and in color: Yugoslav 1970’s re-selected from the archive of the International Short Film Festival Oberhausen

„This festival is a cemetery“, said a headline in the official report of the 1971 Oberhausen Short Film Festival. The statement was not directed at Oberhausen itself, however, but was taken from a scolding manifesto on Yugoslav cin-ema which Želimir Žilnik had put forward at the Belgrade Documentary and Short Film Festival a few weeks earlier. In that year, the Oberhausen festival dedicated a special showcase to the Novi Sad based film production Neoplan-ta, suggesting to contextualize their experimental films in the controversy over the „socialist experiment“ which Yugo-slavia was seen to be undertaking. „These are people that dream of communism, but realize that socialism cannot feed them“, is a comment by Prvoslav Marić about the labor emigrants in his film 70te-Sezonci, which was duely quoted in Oberhausen’s festival report. In a struggling industrial city like Oberhausen, the intense labor migration into Ger-many provided a particular background for Neoplanta’s social critique.

Since its beginnings in the 1950’s, the Oberhausen festival had been a steady showcase for Eastern European films and especially for Yugoslav cinema: it had faithfully fea-tured the annual output of the Zagreb animation school; it was among the first international festivals to appreciate the Sarajevo documentarists in the early 1960’s; and it pro-moted the „Black Wave“ films and the political satires that emerged from the turmoils of 1968. Filmmakers from Yu-

OBERHAUSEN: RE-SELECTED OBERHAUSEN: RE-SELECTED

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dovno su bili nagrađivani u Oberhauzenu. Kako je festi-val zadržavao kopije nagrađenih filmova, afinitet prema jugoslovenskom filmu ostao je zabeležen u arhivi festivala, sve do danas.

Izbor filmova pred vama poziva se na formativne godine jugoslovenske kinematografije, iako ne sadrži nužno dela koja su kritički prepoznata kao takva. Veza između četi-ri filma može se pronaći u njihovoj prenaglašenoj potrebi da se suprotstave vladajućem sistemu svog doba, ali prava slast ovog programa nalazi se u dijametralnim razlikama izraza, glasova (kao i tišina).Tobias Hering

Ovaj program deo je projekta Međunarodnog festivala kratkog filma u Oberhauzenu pod nazivom re-izabrani, čiji cilj je da predloži ponovno čitanje filma i (društvene) istori-je, a kroz prizmu arhive festivala. Re-izabrani, koji je uredio Tobias Hering, ne želi samo da ponovo otkrije značajne filmove, već i da ukaže na značaj određenih istorijskih ten-dencija i opažanja u okviru zasebnih arhivskih dela. Izbor je nastao u saradnji sa Gregom De Kjurom JR. i Ivanom Ramljakom.

***Re-izabrani je zajednički projekat Međunarodnog festivala kratkog filma u Oberhauzenu i Arsenala – Instituta za film i video umetnost u Berlinu. Nastao je u okviru „Archive ausser sich“ koji je deo „The New Alphabet“, projekta podržanog od strane Kuće svetske kulture, Berlin, pod pokroviteljstvom Saveznog vladinog komesarijata za kulturu i medije.

goslavia – Žilnik, Godina, Papić, Filipović and others – reg-ularly picked up awards in Oberhausen. Since the festival would usually acquire archive prints from award winning films, the great appreciation for films from Yugoslavia has resulted in their being well represented in the festival ar-chive today.

The selection presented here recalls a critically formative decade in Yugoslav cinema and its international percep-tion, while not only featuring films that have been canon-ized as such. A connection between the four films might be found in their palpable urge to obstruct the dominant agenda of their time, but the pleasure of the program lies in the sheer diversity of expressions and voices (including the silences).

This program is part of re-selected, a three-year project of the International Short Film Festival Oberhausen that pro-poses to re-read film (and social) history through the prism of the festival’s archive. Curated by Tobias Hering, re-se-lected is not only about rediscovering remarkable films, but also gives credit to the specific itineraries and histories of reception represented by individual archive prints. The se-lection was made in dialogue with Greg de Cuir Jr. And Ivan Ramljak.

***Re-selected is a joint project of the International Short Film Fes-tival Oberhausen and the Arsenal – Institute for Film and Video Art (Berlin) within the framework of “Archive ausser sich”. “Archive ausser sich” is funded in the context of “The New Alphabet”, a project of the House of World Cultures, Berlin, supported by the Federal Government Commissioner for Culture and the Media.

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PROGRAM:

U PRAVCU POČETKA (IN THE DIRECTION OF THE BEGINNING)Dejan Ðurković / Yugoslavia, 1970, 12’ (digital, 35mm print w/German subtitles in non-screening condition)

A wild bunch of mercenaries led by a noble Black general descends on Belgrade. Their mission is to liberate the city from carnivorous cars and buses whose main diet appear to be women. It is time for a truly humanitarian interven-tion.

Divlja horda plaćenika vođena plemenitim Crnim gener-alom juriša na Beograd. Njihova misija je da oslobode grad od krvoločnih automobila i autobusa koji jedu žene. Vreme je za istinsku humanitarnu intervenciju.

DVE KORAČNICE (TWO MARCHES)Dušan Povh / Yugoslavia, 1972, 9’ (35mm print w/English subtitles)

Using newsreel footage and stealing the words from speak-ers’ mouths, Dusan Povh discovers the secret axiom of po-litical arithmetics: one plus one equals – approximately – two. A scorching post-1971 satire.

Koristeći se kadrovima iz žurnala i kradući reči iz usta voditelja, Dušan Povh otkriva tajni aksiom političke aritme-tike: jedan plus jedan jednako je – otprilike – dva. Zapalji-va satira nakon događaja iz 1971. godine.

DASKE KOJE ŽIVOT ZNAČE Aleksandar Mandić / Yugoslavia, 1972, 17’ 30’’ (35mm print w/English subtitles)

After an unspecified failure to perform his duties, a former model worker and his family are assigned to live on an abandoned theater stage. Their daily quarrels become a spectacle for an audience that doesn’t show up, but ap-pears to be well-informed nevertheless.

Nakon neuspeha da ispuni svoje dužnosti, bivši radnik udarnik i njegova porodica primorani su da žive u na-puštenom pozorištu. Njihove svakodnevne prepirke posta-ju predmet podsmeha za publiku koja se ne pojavljuje, ali koja izgleda da je svejedno dobro obaveštena.

DAE (MOTHER)Stole Popov / Yugoslavia, 1979, 17’ 30’’ (35mm print, no dialogue)

The tormented grunts of a woman in labor burst into an enthusing celebration of life in a shanty camp at the banks of a river. Floating freely between social document and out-law phantasia, the film appears as a manifestation for the desire to live in community without fear.

Mučni grčevi žene na porođaju eskaliraju u oduševljeno slavlje života u straćarama na obali reke. Slobodno pluta-jući između socijalnog dokumenta i fantazije o bezakonju, film je manifestacija želje za životom u društvu bez straha.

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FILMSKE I VIDEO PRAKSE U REGIONU VOJVODINE: ISTORIZACIJA I MUZEALIZACIJA (izbor iz kolekcije Muzeja savremene umetnosti Vojvodine, Novi Sad)

Pogled iz perspektive kustoske prakse u muzeju na kon-tekst, diverzitet praksi i produkcija, značajne prostore i manifestacije sticanja i razmene znanja o filmu i videu u regionu Vojvodine.

Centar za film, video i fotografiju u Muzeju savremene umetnosti Vojvodine (MSUV) osnovan je 2008. godine i bavi se istraživanjem autorskih produkcija, umetničkih ra-dova, praksi i različitih inicijativa, manifestacija i znanja iz oblasti filma, videa i fotografije od sredine XX veka do danas. Poseban značaj u programima Centra imaju eks-perimentalni, konceptualni i inovativni autorski pristupi u produkcijama kratkometražnih, igranih, dokumentarnih i animiranih i TV filmova, videa i fotografskih radova, kultura kino-klubova, kao i produkcije najznačajnijih filmskih kuća u Vojvodini (Neoplanta film, Pan film itd).

Na primeru autorskog projekta i izložbe Tehnologija naro-du! Film i video u Vojvodini1 realizovane u MSUV 2013.

1 Projekat i izložbu Tehnologija narodu! Film i video u Vojvodini su koncepcijski os-mislili i realizovali kustoskinja Gordana Nikolić i Aleksandar Davić (reditelj i profesor filmske i pozorišne režije na Akademiji umetnosti Novi Sad i profesor na predmetu Digitalni video na Univerzitetu umetnosti Beograd).

FILM AND VIDEO PRACTICES IN THE REGION OF VOJVODINA: HISTORIZATION AND MUSEAL-IZATION(selected from the Museum of Contemporary Art of Vojvodina collection)

A view from the perspective of curatorial practice in the museum on the context, diversity of practices and produc-tions, significant spaces and manifestations of acquiring and sharing the knowledge about film and video in the region of Vojvodina.

The Center for Film, Video and Photography at the Museum of Contemporary Art of Vojvodina (MSUV) was founded in 2008 and is engaged in the research of author’s produc-tions, works of art, practices and various initiatives, man-ifestations and knowledge in the field of film, video and photography from the mid-20th century until present time. Special significance in the Center’s programs has experi-mental, conceptual and innovative authorial approaches in the productions of short films, feature films, documentary and animated films and TV films, videos and photographic works, cine-club culture, as well as the production of the most important film companies in Vojvodina (Neoplanta film, Pan film etc.).

On the example of the author’s project and the exhibition

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godine predstavićemo projekciju jedne moguće muzejske (re)istorizacije umetnosti na filmu i videu usmerenu ka skici-ranju neke buduće kolekcije ili stalne izložbene postavke u muzeju čiji je fokus ka umetnosti jednog regiona. Na izlož-bi je bilo predstavljeno više od stotinu filmskih i video ostva-renja od pionira filma do kraja prve decenije XXI veka iz re-giona Vojvodine. Bavili smo se analizom opštih i specifičnih režima pokretnih slika u mreži tehnoloških skokova, društ-venih ideja i političkih moći, a pokušali smo da pokrenemo širu diskusiju o efektima digitalizacije na (van) instituciona-lne prakse (re)konstruisanja istorije (umetnosti). Ovaj prim-er istorizacije predstavlja ujedno i pokušaj da se eksperi-mentalna i amaterska produkcija upiše u master narative istorije umetnosti. Avangardne ideje su se probijale i kroz glavni tok profesionalnog kinematografskog sistema, pa je za izučavanje filmske i video produkcije kroz istoriju bitno da se zaobiđu tradicionalne distinkcije koje partikularno valorizuju amaterizam i profesionalizam. Ovaj pristup do-prinosi da se sagleda cela amplituda najvažnije umetnosti.

Festivalskoj publici ćemo predstaviti foto-arhivu i projekto-vati nekoliko izabranih filmskih/video radova čije se kopije nalaze u kolekciji Muzeja savremene umetnosti Vojvodine.

Gordana Nikolić

Technology to the people! Film and video in Vojvodina1, realized in MSUV in 2013, we will present a projection of a possible museum (re)historization of film and video art, directed towards sketching a future collection or perma-nent exhibition in the museum, focusing on the art of the region. The exhibition featured more than hundred films and videos from the region of Vojvodina, from the pioneers of film until the end of the first decade of the 21st century. We analyzed general and specific regime of moving imag-es in the network of technological leaps, social ideas and political power, and we tried to launch a wider discussion on the effects of digitization on (un)institutional practices of (re)constructing the (art) history. This example of history is also an attempt to include experimental and amateur pro-duction in the master narrative of art history. Avant-garde ideas had made their breakthrough into the mainstream system of professional cinema, and for studying film and video production through history, it is important to avoid the traditional distinction that particularly valorizes ama-teurism and professionalism. This approach contributes to seeing the whole amplitude of the most important art.

We will present to the festival audience a photo archive and several selected film/video works, copies of which are in the collection of the Museum of Contemporary Art of Vojvodina

Gordana Nikolić

1 The Technology to the people! Film and video in Vojvodina project and exhibition were conceptualized and realized by Gordana Nikolić and Aleksandar Davić (film director and professor of Film and theater directing at the Academy of Arts in Novi Sad and also Digital video at the University of Arts in Belgrade.)

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I Am Mad / Ivan Martinac (Yugoslavia/Croatia, 1967, 8mm, 4' 56'')

H / Vjekoslav Nakić (Yugoslavia/Serbia, 1973, 16mm, 3' 46'')

Ludnica u 24 kvartu / Madhouse at the 24th quarter / Ivan Kaljević (Yugoslavia/Serbia, 1974, super 8mm, 20')

Intervju sa ljubavnicom / Interview with a Lover, Ivica Matić (Yugoslavia/Bosnia and Herzegovina, 1969, 16mm, 7' 16'')

Proces / Process / Ivica Matić (Yugoslavia/Bosnia and Herzegovina, 1970, 16mm, 4' 34'')

Na koncu konopac / Rope at the End / Vladimir Pavić (Yugoslavia/Serbia, 1970, 5')

Ultima pagina / Rolf Mandolesi (Italy 1968, 16mm)

USA Flashes / Rolf Mandolesi (Italy, 1971, 16mm)1

Program pripremili: Nikola Ðurić, Sava Trifković, Ivko Šešić i Ivan Velisavljević

"Kažu da su studenti progresivna snaga društva, dokažite delom (na filmu mislimo)!" "nijedan autor politički angažovanog filma neće biti uhapšen... večernje odelo na 2. if stafu nije obavezno... politika: taj gest mladih ljudi, studenata, da okom objektiva gledaju u ovaj svet, oslobođen i svih ograničenja, društ-venih ili subjektivnih normativa, u istoj je meri plemenit, koliko je za njihovu prirodu razumljiv."

1 Filmovi Ivice Matića dobijeni ljubaznošću Amira Muratovića. Filmovi Rolfa Man-dolezija ljubaznošću autora. Film Vladimira Pavića ljubaznošću Miroslava Bate Petro-vića. Film Ivana Martinca ljubaznošću Sunčice Fradelić i Kino kluba Split.

SEĆANJE NA IF STAF (1970-1974) REMEMBERING IF STAF (1970-1974)

“They say that students are the progressive strength of soci-ety, prove that (on film, we mean)!”

“no author of a politically engaged film will be impris-oned... the evening suit is not required at if staf... politics: that gesture of the youth, of students, to observe this world by an eye of the lens, free from all restrictions, social or subjective norms, it’s as noble as much as it is understand-able, given their nature”

These quotes are from the proclamation written for the oc-casion of the second International Festival of Student Ama-teur Film known as IF STAF which was held in 1971. These sentences certainly testify to the alternative nature of the festival which was one of the most important foundations of the Yugoslav film avant-garde, but it should also be noted that this festival was the only Yugoslav international festival of its kind in that time. It was founded in 1970 and the sec-ond time it was held was in 1971 and both years surprised the organizers because it turned out that a very large num-ber of Belgrade citizens were interested in the experiences IF STAF offered. There were masses of people who failed to enter the projections at the opening of the festival.

However, if the first and second festival brought change, the third one brought a revolution. The main title (IF STAF) was held the same, but the full title was changed to Interna-tional Festival of Study of the Amateur Film. The festival also changed the concept alongside with the title. It became a place where you could study the amateur film without being necessarily a student and thus the festival became much

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Navedeni citati dolaze iz proglasa povodom drugog In-ternacionalnog Festivala Studentskog Amaterskog Filma poznatijeg kao IF STAF koji je održan 1971. godine u Beo-gradu. Ove rečenice svakako već same po sebi svedoče o alternativnoj prirodi festivala koji je bio jedan od temeljaca jugoslovenske filmske avangarde, ali uz to valja napome-nuti da je ovaj festival u svoje vreme bio jedini jugoslov-enski internacionalni festival ove vrste. Njegovo osnivanje 1970, kao i nastavak sledeće godine, organizatore festiva-la je ostavio, u najmanju ruku, blago iznenađenim, jer se ispostavilo da se povelik broj građana Beograda, ali i van njega, interesovalo za iskustva kakva je IF STAF nudio, o čemi svedoči i masa ljudi koja nije uspela da uđe na pro-jekcije na otvaranju prvog festivala.

Međutim, ako su prvi i drugi festival doneli promene, treći je doneo revoluciju. Zadržavši skraćenicu, ali promenivši ime u Internacionalni Festival Studija Amaterskog filma, festival sa nazivom menja i koncept. S obzirom na to da je postao mesto gde se studijski, a ne nužno studentski pristu-pa filmu, festival dobija još jednu dimenziju demokratizaci-je, jer pruža mogućnost svim zainteresovanim kino-ama-terima da učestvuju, a ne samo studentima amaterima kao što je to prethodno bio slučaj. Osim toga, uvodi se i pravilo da se filmovi neće razvrstavati po žanrovima i rodovima (dakle, podela na dokumentarni, igrani i eksperimentalni film, na koju je obavezivala UNICA – međunarodni savez kino-amatera), ovde više ne postoji), jer je ta podela, pre-ma rečima organizatora, izrađena na nizu kompromisa i veštačkih konvencija.

Umetnički direktor 3. IF STAF- a Sava Trifković danas navo-di da je smatrao i ostao pri tome da narativ u filmu ne može biti dominantan, jer je on prirodi filma nametnut. Budući da su sve žanrovske i rodne podele proistekle iz

more democratized. In addition, the films were not sorted by genres, there was no division into documentary, feature or experimental films (which was an obligation imposed by UNICA, the international union of cine-amateurs). This division, according to the organizers, is made based on a series of compromises and artificial conventions which were imposed by force on the nature of the film.

Artistic director of IF STAF Sava Trivković says nowadays that he still considers that the narrative can not be seen as dominant because it is imposed on the nature of film. Since all genre division originated from different approach-es to narratives, they are incomplete and are very often not applicable for some films like experimental films without narration. The essence of the estimation of films during the festival was not based upon the competition in the films’ quality. It was necessary to evaluate whether the film, how-ever experimental and atypical it was, contained an inte-grative essence that creates a coherent system. Thus, a se-lection of 20 films was made in the official program and ten of these films were selected by the jury as the most important. And the films were not hierarchically ranked. Also, one day of the festival, from ten in the morning to four in the afternoon, all the films that were registered for participation were screened. That was a sign of the abso-lute democratization.

Democratization was also important for the festival in an-other context: to provide an alternative and critically en-gaged perspective of film and society. Trifković points out that amateurism in socialist Yugoslavia was extremely im-portant as a mean for young and non-professionals to gath-er and to do social and artistic work. Amateurism, Trifković says, was constantly financed by the state. However, in the

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različitih pristupa narativima, one su nepotpune i vrlo često neprimenljive, naročito u slučaju eksperimentalnog filma koji nema naraciju. Ono što je bila suština u vrednovanju, navodi Trifković, nije bio ni kvalitativni kriterijum, već je tre-balo proceniti da li film, koliko god on bio eksperimentalan i imao netipičnu formu, u sebi sadrži integrativnu nit koja bi stvorila koherentni sistem. Tako je napravljena selekcija od 20 filmova koji su prikazani u zvaničnom programu, od kojih su 10 odlukom žirija izabrani kao najznačajniji filmovi festivala (bez hijerarhijski raspoređenih nagrada), dok su određenog dana, od deset ujutro do četiri popodne, svi filmovi koji su bili prijavljeni za učešće imali svoju pro-jekciju, kao znak otvorenosti i demokratizacije.

Demokratizacija je festivalu bila važna i u kontekstu pružanja alternativnog i kritički nastrojenog pogleda na film i društvo. Trifković ističe da je amaterizam u socijalis-tičkoj Jugoslaviji bio izuzetno značajan kao sredstvo koje će okupiti mlade i neprofesionalce da društveno i umet-nički delaju. Amaterizam je, kaže Trifković, bio konstantno finansiran od strane države. Međutim, sredinom 1970-ih grupa okupljena oko Akademskog kino kluba, iz kog je i iznikao IF STAF, počinje da se preispituje i shvata da, uko-liko žele da budu shvaćeni ozbiljno, a ne kao "deca koja se igraju", moraju izbeći da im uz imena ide pridev amaterski. Odlučuju se da za svoja stremljenja van mejnstrima isko-riste naziv "alternativa".

Organizatori festivala Ivko Šešić i Nikola Ðurić, uz Savu Trifkovića, navode da je naš reditelj Jovan Jovanović zaslužan za korišćenje ovog termina. Budući da je Jova-nović imao radna iskustva u Zapadnoj Nemačkoj, susretao se sa kinematografijom koja je bila pod čvrstom stegom komercijalizma i amerikanizacije, te su filmovi bez strogih žanrovskih, konvencijskih i komercijalnih kalupa bili retkost – do pojave novog nemačkog filma. Novi nemački film,

mid 1970’s a group gathered around the Academic Cine Club, from which IF STAF emerged, recognized and un-derstood that they have to avoid being called “amateur” if they want to be taken seriously and not simply as “children playing”. They decided to use a term “alternative” for their work which is outside the mainstream.

The organizers of the festival (Ivko Šešić and Nikola Đurić alongside with Sava Trifković) said that Yugoslav director Jo-van Jovanović is responsible for this term. Since Jovanović had a working experience in West Germany, he met with cinematography that was under the strong control of com-mercialism and Americanism. Films without strict genre, without conventional and commercial restrictions were a great rarity – until the occurrence of New German film. The New German film led by Fassbinder, Herzog, Wenders and many others and inspired by Godard and French New Wave, was an alternative in West Germany. Jovanović be-lieved that Belgrade’s experimental and avant-garde ten-dencies should have the same function in Yugoslavia. Un-der this influence and as a direct continuation of IF STAF, the Alternative festival, later renamed to Alternative film/video festival, was founded in 1982.

Nonetheless, IF STAF did not remain “alternative” in terms of publicity. Dušan Stojanović, a prominent Serbian film theorist, was initially giving support to the festival and he participated in the creation of its concept. The guests of the festival who were invited to participate in lectures and discussions after the films were internationally known and recognized theorists and thinkers like Christian Metz, Peter Wollen and Giafranco Bettetini (unfortunetely, they couldn’t come because of lack of funding, although they agreed to come – Wollen would come a decade later). And these

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predvođen Fazbinderom, Hercogom, Vendersom i mnogim drugim značajnim rediteljima, a inspirisan Godarom i francuskim novim talasom, bio je alternativa u Zapadnoj Nemačkoj, te je Jovanović smatrao da beogradske eks-perimentalne i avangardne tendencije treba da imaju istu funkciju u Jugoslaviji. Pod ovim uticajem i kao direktan nas-tavak IF STAF- a 1982. godine nastaje festival Alternative, nešto kasnije preimenovan u Alternative film/video festival. Ipak, IF STAF koliko god bio alternativan nije ostao "alterna-tivan" i po svom publicitetu, kao ni po kredibilitetu. Dušan Stojanović, jedan od najeminentnijih srpskih teoretičara fil-ma, od samog početka je davao podršku festivalu i imao udela u stvaranju njegovog koncepta. Gosti festivala koji su pozvani, i pristali, da aktivno učestvuju u predavanjima i diskusijama nakon filmova bili su svetski cenjeni i značajni mislioci o filmu, poput Kristijana Meca, Pitera Volena i Ðan-franka Betetinija (nažalost, zbog nedostatka sredstava nisu došli, ali je Volen bio gost Akademskog kino kluba desetak godina kasnije). Upravo su ti razgovori i razmena iskustva neposredno nakon gledanja filmova predstavljali stavke na kojima se naročito insistiralo. Pažljivo su se promatrali svi elementi filma, sa naglaskom na formi i promovisanju ino-vativnog filmskog jezika.

Nama je danas u kontekstu Alternative film/video festivala svakako potrebna slična vrsta međunarodne komparacije, ali i povratka u prošlost, koja bi nam poslužila kao pod-setnik ili, uostalom, kao informacija koju prvi put saznaje-mo. Jer, ipak se i avangarda – koliko god to paradoksalno zvučalo – treba ponekad osloniti na sopstvenu tradiciju, kako bi se uočilo šta iz te tradicije može biti podsticajno danas. Upravo tim povodom su Sava Trifković, Ivko Šešić i Nikola Ðurić pripremili izbor filmova sa IF STAF-a koji će biti prikazani na ovogodišnjim Alternativama.

Borisav Matić

talks about film and the exchange of experiences just af-ter screenings were one of the key practices of the festival. All elements of the film were analyzed, but talking about the form and promoting the innovative film language were particularly insisted on.

We need a similar international comparison today in the context of Alternative film/video festival, but the re-thinking of the past as well, as a reminder to those who know, or new information to those who don’t. No matter how para-doxical it may sound, even avant-garde should sometimes rely on its own tradition to see how it may be used to em-power it today. Therefore Sava Trifković, Ivko Šešić and Ni-kola Ðurić prepared a selection of films from IF STAF to be shown at this year’s Alternative.

Borisav Matić

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IZLOŽBE /EXHIBITIONS

STILLS FROM A FILM THAT IS MISSING: PROMISES OF A NEW FORMCurated by Maria Iorio and Raphaël Cuomo

Freedom, a difference of generosity and love in the gestures of filmmaking, cinema's power to activate (re)imagination and to transform: this project retraces some transnation-al histories of "minor cinemas" and their involvement with decolonial processes, and engages with these distinctive qualities. They constitute significant aesthetic and political stakes in making films as an "amateur" – "for the love of the thing". Opening up a perspective on amateur cinema from North Africa that questions the common understanding of the term, stills from a film that is missing: promises of a New Form focuses on the neglected, marginalized and in some ways impossible histories of the "amateur" ciné-cul-ture that developed in the early 1970s in the context of the Fédération tunisienne des cinéastes amateurs (FTCA): in local clubs, at international festivals and via informal trans-national networks. It also investigates that culture's ciné-ge-ography during the period of the Ré-Forme, a reforming movement that positioned "amateur" cinema as a "militant" art of the Third World.

The programmatic texts of the Ré-Forme of the FTCA ex-plicitly referred to and contested the dominant, Western definition of amateur cinema as something safely tucked away within the nuclear family. The reform movement in this organization—a federation of several local film clubs—aimed to establish amateur film as a broader cultural movement that would be able to challenge the hegemonic (Western and Egyptian commercial) models of cinema. The

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SLIKE IZ FILMA KOJI NEDOSTA-JE: OBEĆANJA NOVE FORMEKustosi: Marija Jorio i Rafael Kuomo

Sloboda, razlika koju čine velikodušnost i ljubav u činu st-varanja filma, moć filma da aktivira (re)imaginaciju i da nas transformiše: ovaj projekat prati neke transnaciona-lne istorije "manjinskih kinematografija" i njihovog učešća u procesima dekolonizacije, i hvata se ukoštac s njihovim karakterističnim osobinama. One stavljaju značajan es-tetski i politički ulog u proces stvaranja "amaterskih" film-ova: rad "iz čiste ljubavi". Otkrivajući pejzaž amaterskog filma Severne Afrike i dovodeći u pitajne uobičajeno ra-zumevanje tog pojma, izložba slike iz filma koji nedostaje: obećanja Nove forme fokusira se na zanemarene, mar-ginalizovane i na neki način nemoguće istorije "amater-skog" filma i kino-kulture koja se razvila u ranim 1970-im godinama u kontekstu Federacije filmskih amatera Tunisa / Federation tunisienne des cineastes amateurs (FTCA): u lokalnim klubovima, na međunarodnim festivalima i pre-ko neformalnih transnacionalnih mreža. Ona takođe is-tražuje kino-geografiju te kulture tokom perioda Re-Forme, reformišućeg pokreta koji je pozicionirao "amaterski" film kao "militantnu" umetnost Trećeg sveta.

Programski tekstovi FTCA Re-Forme su eksplicitno pominja-li i osporavali dominantnu, zapadnu definiciju amaterskog filma kao nečeg što je ušuškano unutar nuklearne porod-ice. Reformski pokret u ovoj organizaciji – savezu nekoliko lokalnih filmskih klubova – imao je za cilj da uspostavi am-aterski film kao širi kulturni pokret koji bi mogao da ospori hegemonističke (zapadnjačke i egipatske komercijalne)

promoters of the Ré-Forme, many of whom belonged to the youngest generation of filmmakers, attempted to institute collective, non-hierarchical modes of organization in the clubs, a more democratic structure to counter the influence of opportunistic individuals and the bureaucracy, and to give filmmakers a more equal access to means of produc-tion and resources. This anti-authoritarian praxis was in-tended as an assault on individual power correlated with abuse and illegitimate profit; it was deliberately provocative in a country where all institutional structures were molded in the image of the State and the presidential function, at a time when Bourguiba's regime was becoming increasing-ly autocratic. The Ré-Forme also promoted film education and attempted to create a parallel network of film produc-tion and distribution. While the more concrete pedagogical aspects related to the introduction of progressive methods for training and film production were lastingly applied, some of the other measures envisaged were only partly implemented and the ambitions of the Ré-Forme never ful-ly materialized. The reform had to contend with external pressures from the regime, as well as internal ideological debates that resulted, several years later, in 1980, in a new charter of principles, the Plateforme d'action culturelle. In pursuit of the change deemed necessary to bring about the conditions for independence and creative freedom within the clubs, the Ré-Forme candidly promised a "New Form" of amateur cinema.

The productive dynamics between the amateur film clubs and the ciné-clubs of the Fédération tunisienne des ciné-clubs (FTCC) contributed to the development of a rich ciné-culture at the local and national levels. Coopera-tion between the FTCA and the FTCC, between those who made films and those who presented and theorised cin-ema, is exemplified by the short-lived joint publication of

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filmske modele. Promoteri Re-Forme, od kojih su mnogi pripadali najmlađoj generaciji filmskih stvaralaca, pokušali su da uvedu kolektivne, nehijerarhijske načine organizacije u klubove, demokratičniju strukturu koja bi se suprotstavila uticaju oportunističkih pojedinaca i birokratije i da filmskim stvaraocima pruže ravnopravniji pristup sredstvima za proizvodnju i resursima. Ova antiautoritarna praksa bila je svestan napad na moć pojedinca i njenu korelaciju sa zloupotrebama i nelegitimnim sticanjem profita; ona je bila namerno provokativna u zemlji u kojoj su sve institucio-nalne strukture bile oblikovane prema slici države i pred-sedničke funkcije, u vreme kada je režim Habiba Burgibe bio sve više autokratski. Re-Forma je takođe promovisala filmsko obrazovanje i pokušala da stvori paralelnu mreže produkcije i distribucije filma. Iako su, dugoročno gleda-no, neki konkretniji pedagoški aspekti vezani za uvođenje progresivnih metoda filmske obuke i produkcije na kraju i primenjeni, druge predviđene mere samo su delimično sprovedene i ambicije Re-Forme nikada nisu u potpunosti ostvarene. Reforma je morala da se suprotstavi spoljnim pritiscima režima, kao i unutrašnjim ideološkim debatama koje su rezultirale, nekoliko godina kasnije, 1980., novim principima rada u povelji sa naslovom Plateforme d'action culturelle. U potrazi za promenom neophodnom da stvori uslove za nezavisnost i kreativnu slobodu unutar klubova, Re-Forma je otvoreno zagovarala "novu formu" amatersk-og filma.

Produktivna dinamika između amaterskih filmskih klubova i kino-klubova koji su pripadali Fédération tunisienne des ciné-clubs (FTCC) doprinela je razvoju bogate kinokulture na lokalnom i nacionalnom nivou. Saradnja između FTCA i FTCC, između onih koji su snimali filmove i onih koji su se bavili predstavljanjem filmova i teorijom filma, vidi se

the magazine Charit Cinéma, which was launched in Tunis in 1972. Through this alliance, the "collegial" organization and action centered on cinema were able to expand into a broader cultural struggle whose aim was to "militate" for "a free African and Arab world". Cinematographic structures became the object of intense critical scrutiny: chiefly con-trolled by the industry and the North, they cause alienation and acculturation, as well as maintaining relations of dom-ination; as a consequence, they must be thoroughly ana-lyzed. But cinema, if it changes hands, is taken over, can be transformed and counter the visions of commercial film. It can resolutely oppose "African realities" to these fabrica-tions and expose problems as they are lived by the people. Cinema must become a liberation "weapon" opposed to all forms of domination, as Abdelwaheb Bouden stated in the text of the Ré-Forme published in 1972 in Charit Ciné-ma – the most openly activist version, which expanded the initial text that had previously circulated within the clubs. Positioned as an art of the Third World, "amateur" cinema had to be "militant".

The heterogeneous productions that emerged from the lo-cal clubs of the FTCA in the late 1960s/early 1970s echo the ideological debates of the time and reflect some con-tradictory takes on what a "militant" amateur film practice might be. The plurality of approaches shows that "amateur" films can be a meaningful form of personal expression, ar-tistic experimentation and political intervention. In Patricia R. Zimmerman's terms1, they mobilized an active process of reimagining and reinvention. The influential cinéphilie and the broader ciné-culture that germinated in the ciné-

1 See: Patricia R. Zimmermann, “Morphing History into Histories”, in Kar-en I. Ishizuka, Patricia R. Zimmermann (eds), Mining the Home Movie. Ex-cavations in Histories and Memories, University of California Press, 2008

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u zajedničkom izdanju časopisa Charit Cinéma, koji nije dugo trajao, a pokrenut je u Tunisu 1972. godine. Ovim savezom, "kolegijalna" organizacija i akcija usredsređena na film uspele su da prodru i u širu kulturnu borbu čiji je cilj bio da se "militantno" bori za "slobodni afrički i arapski svet". Kinematografske strukture podvrgnute su intenzivnoj kritici: uglavnom pod kontrolom industrije i Severa, one izazivaju otuđenje i akulturaciju i održavaju odnose domi-nacije; zbog toga moraju biti detaljno analizirane. Ali film, ako se preuzme, ako se zauzme, može se transformisati i suprotstaviti vizijama komercijalnog filma. Može se odluč-no suprotstaviti "afričkoj stvarnosti" i njenim izmišljotinama i izložiti stvarne ljudske probleme. Film mora postati "oruž-je" oslobođenja, suprotstavljeno svim oblicima dominaci-je, kao što je pisao Abdelvaheb Buden u tekstu Re-Forme objavljenom 1972. godine u Charit Cinéma – reč je o otvoreno aktivističkoj verziji teksta, proširenoj u odnosu na original koji je ranije kružio u klubovima. Pozicioniran kao umetnost Trećeg sveta, "amaterski" film morao je biti "mil-itantan".

Heterogeni filmovi nastali u lokalnim klubovima FTCA kra-jem 1960-ih i početkom 1970-ih odražavaju ideološke rasprave svog vremena i prikazuju određene kontradik-torne pokušaje da se uobliči "militantna" amaterska filmska praksa. Pluralitet pristupa pokazuje da "amaterski" filmovi mogu biti značajan oblik ličnog izražavanja, umetničkog eksperimenta i političke intervencije. Terminima Patriše R. Cimerman1, filmovis su pokrenuli aktivan proces reimag-

1 Vidi: Patricia R. Zimmermann, “Morphing History into Histories”, u: Karen I. Ishizuka, Patricia R. Zimmermann (eds), Mining the Home Mov-ie. Excavations in Histories and Memories, University of California Press, 2008

clubs give a sense of the particularity of this process. It en-couraged a practice of film as "creation", emphasizing the subjective dimension. According to this view of the task of filmmakers, "the world is not re-presented, but subjectively re-constructed" in films. Beyond social themes and the typi-cal figures of the underclass, new minor subjects appeared in the production of amateur filmmakers – emancipated ur-ban youth, women, disabled people, minorities, etc. "Ama-teur" films became sites for emergent subjectivities.

For the Alternative Festival, stills from a film that is miss-ing: promises of a New Form offers an exhibition and a reader, based on a selection of rare historical documents, films and the recollections of some of those involved in the movement, available now through translation. This artistic project experiments with new ways of making visible and reconstructing this little-known ciné-culture in the absence of many historical films and other material artefacts. Faced with the lack of any official archive and the dissemination, loss and destruction (by natural disaster, confiscation and deliberately by the autocratic regime) of sources, this con-tribution does not pretend to be exhaustive, nor is it in any way complementary. It is rather an outline of work to be done, one that attempts to capture enthusiasm, visionary moments and potentialities. All it can do is present an in-complete picture, a few fragments – "stills from a film that is missing".

Maria Iorio and Raphaël Cuomo

*** Exhibition supported by Swiss foundation ProHelvetia.

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MARTA JELENA GLIŠIĆ – "Layers Of Self"

Na izložbi će biti predstavljeni video radovi, fotografije i objekti nastali u proteklih nekoliko godina. Svi izloženi ra-dovi rezultat su duhovne i psihološke potrage za sobom, intimne beleške o protoku vremena, prekretnicama i trans-formacijama u životu, u duhu, na telu...

Marta Jelena Glišić (1980) završila je slikarstvo na Fakultetu likovnih umetnosti u Beogradu.Trenutno je doktorand na istom Fakultetu, na Odseku za nove medije. Od 2001. go-dine redovno izlaže, bavi se istraživanjem u oblasti kulturne politike i menadžmenta u kulturi i produkcijom kulturnih projekata.

The exhibition will present videos, photos and objects made in the previous couple of years. All exhibited works are the result of spiritual and psychological pursuit for one's own Self, personal, intimate notes on the passing of time, land-marks and transformations of life, of the spirit, of the body...Marta Jelena Glišić (1980) graduated painting at the Fac-ulty of Fine Arts in Belgrade. She is a phd candidate at the same faculty (Department of New Media). Exhibits regulary since 2001, and her research is also focused on cultural policy, management and production.

inacije i reinvencije. Uticajni filmofili i šira filmska kultura koja je procvetala unutar kino-klubova daju nam osećaj posebnosti ovog procesa. Podsticala se praksa filma kao "stvaranja", naglašavala se subjektivna dimenzija. Po tom shvatanju, zadatak filmskog autora nije da "svet re-prezen-tuje, već da ga subjektivno re-konstruiše". Pored socijalnih tema i tipičnih ličnosti sa margine, pojavili su se i novi man-jinski subjekti u filmovima amaterskih stvaralaca – eman-cipovana urbana omladina, žene, osobe sa invaliditetom, etničke manjine itd. "Amaterski" filmovi postali su mesta naglašenog subjektiviteta.

Na Alternative festivalu, projekat slike iz filma koji nedo-staje: obećanja Nove forme sastoji se od izložbe i publik-acije, a čine ih retki istorijski dokumenti, filmovi i sećanja ljudi koji su bili uključeni u pokret, sada dostupni u prevo-du. Ovaj umetnički projekat eksperimentiše novim načini-ma da se ova malo poznata filmska kultura rekonstruiše i učini vidljivom, uprkos tome što nam nedostaju sačuvani filmovi i drugi materijalni artefakti. Suočeni sa nedostat-kom zvaničnih arhiva i sa diseminacijom, zagubljenošću ili uništenjem izvora (prirodnim katastrofama, konfiskaci-jom ili namerom autokratskog režima), naš doprinos ne pretenduje da bude iscrpan, niti je na bilo koji način kom-plementaran. To je pre lista zadataka za obiman rad koji treba obaviti, pokušaj da se prikažu entuzijazam, vizionar-ski trenuci i potencijali. Sve što možemo da uradimo zasad jeste da predstavimo nepotpunu sliku, nekoliko fragmena-ta – "slike iz filma koji nedostaje".

Marija Jorio i Rafael Kuomo

***Izložbu je pomogla švajcarska fondacija ProHelvetia.

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