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Oblivionovni 2012 videos and debat

may8th

to 13th

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LOBSERVATORIARCHIVESa project by OVNI[UNKNOWN FRAME

OBSERVATORY]

With the collaboration o

Centre de Cultura Contemporniade Barcelona

Cooperation with/Touring to:

MUSAC (Museo de Arte

Contemporneo de Castilla

y Len)

Coordination

Abu Ali, Joan Leandre, SimonaMarchesi, Rosa Llop

Research and Programming

Abu Ali

Toni Cots

Joan Leandre

Rosa Llop

Simona Marchesi

Steano Casella

Contributions

Georgia Tsismetzoglou

Jean-Claude Carrire

Patrick WatkinsRebond pour La Commune

Adbelmumin

Daniel and Nadja Monnet

Technical Production

Steano Casella

Production Assistants

Nicola TannoDaniel Sancho

Floor Managers

Vernica Baena

Craig Gawler

Flix Pancho Gawler

Graphic Design

Jordi Calvet

http://jordicalvet.net

Poster image

La Commune

Photograph by Corinna Paltrinie

OVNI Server/ web

Sergi Lario

http://soethic.org

Technical support

VIDEOLAB

Cintex - Sony

HP

Subtitling and translationsEva Reyes de Ua

Nuria Rodrguez

Translations rom the Arabic

Maisda Turki

Anna Alberich

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Oblivion [OVNI 2012]ARXIUS DE LOBSERVATORI

Opening May 8th 2012, 8.30pm

Oblivion intro (70 min)

May 8 - 13 Thematic screenings.

DV Screened in original version with Spanish

- Catalan subtitles.

SCREENINGS PRESENTATIONS AND DEBATES

AUDITORIUM AND HALL:

Simultaneous screenings.6pm midnight

WORKSHOPS

SALA MIRADOR (4th foor): 11am 2pm

May 11 - 13 (Friday to Sunday).

ACCESS TO ARCHIVES

HALL: 5pm midnight

Around 2,000 audiovisual documents.

FREE ADMISSION

ARXIUS DE LOBSERVATORIWWW.DESORG.ORG

The Observatory Archives are structured around partto encourage a critique o contemporary culture and art, independent documentary, mass media archaeolo

The Archives cover a huge range o works that are disdom o expression and probe our individual and cothey oer a multiaceted view, thousands o tiny eyeworld and announce other possible worlds. It is a disneity, plurality, contradiction and subjectivity; an antcorporate mass media.

Given that the call or entries organized by OVNI eveselected over the years oer a reading, a kind o recordo our times. We have seen the range o issues and pre

time, rom works with very diverse themes in OVNI 19the video medium, reinstating the ormal and themasively narrowing down to increasingly specic themes: munity (2000), globalisation (2002), Post-Sept 11th (2Dream - Autonomous Zones (2006), Exodus - The M(2010), and Oblivion (2012).

A selection o the Archives is available online at: http:/

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Oblit[ovni 2012]

1

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and its representation in the

work with non-actors, people

their lives in Paris in 1999.

We will screen this lm in thr

session led by members o

was created as a result o the

Peter Brooks The Mahabha

than taking a historical appro

outside o linear time. It play

stant return and o the diale

remembrance o true human

confict on several levels lin

the survival o lie on Earth

struggle that is ought out wi

Each o the three parts o T

excerpts rom a conversatio

Carrire, the screenwriter in

Brooks The Mahabharata, in

in relation to the notions o c

This program in the orm o an essay aims to shed light on some

o the more disturbing aspects o contemporary lie. Specically, it

looks at experiences involving confict with power and at the immi-

nent arrival o an even greater conrontation. A clash that exceeds

the political realm and expands towards the notion o civilisation

itsel, and that seems to emanate rom a source within the inner lie

o human beings.

Bearing this in mind, we present a series o screenings that look ur-

ther than the immediacy o recent events, the logic o action-reaction,

and the persistent notion o the other as intrinsically negative, in order

to take a step back and observe rom a distance that allows refection.

We convey this vision through a programme with a dual core: La Com-

mune by Peter Watkins, and The Mahabharata by Peter Brook, which

we have contextualised with a series o documentaries and otherdocuments that show contemporary expressions o the central theme.

La Commune oers a vision o contemporary confict that transcends

political oblivion. A cinematic refection that looks back to a histori-

cal milestone the emergence and disappearance o the 1871 Paris

Commune and, at the same time, questions our own social reality

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everything starkly points. We

question is, can we avoid it?

Against this background, ro

takes us on an inner journey

What is the poem about?

It is about you. It is the stwere born. How they grew

history o mankind. I you l

someone else.(2)

The illusion o power

The story gradually introduce

Pandava and the Kaurava. A although it arises rom two al

all their nuances and ambiva

accordance with their quest

seem to be guided only by

power and the ear o losing

sible means to achieve their

This story is about you

The programme begins by ollowing the course o the Mahabharata,

an immense poem that fows with the majesty o a great river, whichis ull o inexhaustible riches, dees all analysis, whether structural,

thematic, historical or psychological. Doors are continually opening,

which lead onto other doors. The Mahabharata cannot be held in

the hollow o ones hand. There are many ramications. Sometimes

seemingly contradictory, they succeed each other and intertwine,

but we never lose the central theme o a looming threat, to which

2

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And they act with the complicity o their parents, a blind king and a

queen who voluntarily blindolds hersel.

Then the two sides play a game o dice, as a way o representing

and temporarily avoiding direct confict; but it is also a rame-up.

The game is rigged power play is always rigged. There can only be

one outcome: deeat and the loss o everything they own, even their

reedom. The Pandava ace a uture o exile and war.

In the present day, this rigged game takes on shapes and names that

oten hide its true purpose: to create a reality that is tailored to the private

interests o a ew. This is the case o so-called ree trade, or example,

which is supposedly a air game in the sphere o economics. But the un-

equal terms o its participants and the non-reciprocal nature o the rules

mean that it is inherently based on a desire or supremacy. Other exam-

ples disguise the obvious corporate and entrepreneurial nature o some

social networks, and o many digital tools that barely hide their dark un-

derside o control. And so we dwell in a realm o appearances: we appear

to choose, we appear to communicate, we appear to be sae, thanks to a

dense network o social devices. But inadvertently, when we comply with

the daily ritual o submission to our work, to the educational and health

system, to culture and to entertainment, we are signing a silent contract:

2

I accept competition as the

though I am aware that it g

the majority o those who

exploited in exchange or

those on a lower rung o th

I accept that, in the name o

expense will be Deence (.

and terriying news rom arcan ascertain the extent to

Obviously, ailure to sign t

orms o exclusion. In view o

channelled through the realm

its transormative power. But

stigmatised as sectarian, agg

means and ends it chooses.

Del Poder (On Power), the

cisely on this aspect: the mo

nature, beyond the ne nam

mise its actions. This mome

true ace comes about when

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3

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What is quicker than the w

What can cover the earth?

Give me an example o gri

O poison? Desire.

An example o deeat. Vict

What is the cause o the w

What is your opposite? My

What is madness? A orgotAnd revolt? Why do men r

To nd beauty, either in lie

And what or each o us is

And what is the greatest w

Each day death strikes, and

we where immortal. (6)

One o the things at stake is t

very roots, because the oppo

or illusion o alterity emerge

its origins is a sine qua non c

possession, illegalisation, and

that ensnares even those wh

side o that illusion.

The Mahabharata presents exile as a period o extreme hardship, in

which death is always present. But so is the growing awareness o its

opposite. To leave ones portion o power, to be banished rom the

city and orced to live in nature, also means embarking on a search

or knowledge and a radical questioning o reality.

A questioning that puts lie itsel at stake. As in the scene where the

Dharma, which has taken on the orm o a lake, cross-examines the

exiled brothers.

4

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To resist alling into dualism, or to remember its origins, also implies

recognising the ambivalence o all experience. Victory is a orm o

deeat; reality is both real and unreal at the same time

Nature and social movements also have their own ambivalence.

The analysis o certain trees and plants that contain both

productive and destructive elements may also enable us to

question certain political tendencies that reduce discourse to adichotomy between good and evil. (7)

The earths complaint

But there is also another reading o this xed game that the Mahab-

harata spoke o, one that goes beyond the clash or power; a broad-

er reading that is not about the triumph o one side or the other, but

deals directly with the survival o mankind and lie on earth.

I have heard the earth complain. What did she say? She said: Men

have grown arrogant, every day they give me resh wounds, there

are more and more o them. They are violent, driven by thoughts

o conquest. Foolish men trample me. I shudder... and I ask mysel,

what will they do next?(8)

2

Violence against nature had

spread as it is under glob

pure alterity.

Coline Serreaus Local Solu

on a specic, crucial aspec

sive agricultural exploitation

the earth, armers, productsthat its origins are closely li

ticularly to a notion o agricu

armers rom countries like

Faso, India and Brazil talk a

and about their work, their

knowledge. This is compare

sees the earth as a source o

mere physical medium or

herbicides, pesticides

The earth ends up becoming

ments that only seek instant

o a sinister utopia that is ab

merous deserts o depleted o

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about the new alternatives

denounce the causes and s

mental and political crisis.

guignon, Brazils landless w

in India, Antoniets in Ukrain

are other options, that a p

ing and oering concrete r

and, more generally, to the cin the midst o.(10)

War

In the dead silence o the

Time, the Jornada del Mue

a light that man had only s

penheimer, who is oten c

bomb or his role in the Ma

world would not be the sam

ple cried, most people wer

the Hindu scripture, the B

where Vishnu () says: No

o worlds. (11)

And again, as in the Mahabharata, we can sense the complicity o

a blind king and a blindolded queen in the background. In this

case, the blindness and partisanship o governments controlled by

blood ties with the big corporations: hundreds o vegetable spe-

cies, types o ruit, etc., are excluded rom authorised seed cata-

logues, and it becomes illegal to grow or sell them. And at the same

time, new genetically modied species are quickly approved even

though their impact on the environment and human health havebarely been tested.

In a process that runs parallel to the political reality, power goes as

ar as to make reality illegal, with the aim o ultimately replacing it.

An attitude that seems to fow directly rom the vision that Antonin

Artaud described in 1947: One must by all possible means o activ-

ity replace nature wherever it can be replaced (...) so we shall see at

last the reign o all the ake manuactured products, all o the vile

synthetic substitutes in which beautiul real nature has no part, and

must give way nally and shameully beore all the victorious substi-

tute products. (9)

But Coline Serreaus lm does not simply present a catastrophic

vision. It allows armers, philosophers and economists to speak

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2

5

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In 1965 Peter Watkins made The War Game (La Bombe), a lm about

the possible eects o a nuclear strike on the United Kingdom. The

heads o the BBC, which had produced the lm, were horried by its

realistic and political orce. Watkins lm is a harsh condemnation o

nuclear escalation as a crime against humanity, and o the ridiculous

protective measures with which the government seeks to reassure

the population. The data rom the atomic blasts in Japan and the

massive air raids over Germany at the end o World War II oer somemeasure, on a small scale, o the magnitude o the disaster. Imme-

diately ater the explosion, the tragedy worsens with police control

and the repression o a population that has been largely abandoned

to their ate. Ater consulting high-ranking government ocials, the

BBC decides to ignore its own internal codes o conduct and block

its broadcast or twenty years. The same thing happens to the Wat-

kins next lm, a political allegory that is critical o the political-police

repression in the US during the Nixon government. Punishment Park

(1970) barely runs or our days ater its New York Premiere and has

never been seen on TV in the United States.

Watkins then continues to make works that are continue to be mar-

ginalised by the media. The combination o a direct and innova-

tive language, his courage and his radical approach to his subject

6

matter makes Watkins burst

audiovisual industry espouse

Commune (Paris 1871), pro

Watkins decides to shoot a

he aptly calls the Monoo

evision and lm industry im

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with supposedly objective and technical criteria such as audience

gures, visibility, programming... The Monoorm doesnt just set

the deault or what audiences are capable o watching and the

content they are interested in, it also predenes their vision o what

they watch. And this vision is highjacked by the eects o visual

over-stimulation arising rom a rapid-re bombardment o images,

sound eects, voices, music, a renetic series o ever-changing

camera angles and movements... These variations on the Mono-orm are all predicated on the traditional belie that the audience is

immature, that it needs predictable orms o presentation in order

to become engaged (i.e., manipulated). This is why so many me-

dia proessionals rely on the Monoorm: its speed, shock editing,

and lack o time/space guarantee that audiences will be unable to

refect on what is really happening to them. (12)

La Commune is a radical departure rom Monoorm. It is shot in

black and white, it lasts almost 6 hours, it is a montage o long,

slow shots, it does not have a musical soundtrack, it uses non-pro-

essional actors who address the camera... The result is nothing

like the etishist monument that Arte would have been happy

to accept. Instead, its content, editing and the collective experi-

ence o the shoot make it into a project that challenges historical

2

oblivion, but also the role o

tion o reality.

Over 200 people participate

at a ormer actory. Most o

ordinary citizens who agreed

historic event that most o th

themselves in the lm accorderences. In this way, history

were in constant dialogue. I

experience that prooundly a

experience did not only allow

their own history an episod

preers to gloss over but als

workers, women and legal an

rent work status, about educa

they play out the struggle in

they are astonished to witnes

gotten massacre o over orty

We are now moving through

- where the conjunction o

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humanistic and critical think

greed engendered by the co

ple under its wing, human,

trophe in the orm o glob

ing and exploitation o the

as well as the mind-numb

caused by the systematic a

synergistically created a woold ashioned. Where exces

come the norm - to be tau

as this, what happened in P

(and still represents) the id

a better world, and o the

cial Utopia - which WE now

need plasma. The notion o

thus born. (13)

La Commune does not t in

a refection on the dicultie

way the old power structure

dency o alternative media

In The Spirit o a World W7

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2

Christoulas, I am a pensioner

cannot look or ood in the ga

to end my lie () I believe

take arms and hang the natio

square. (16)April 4, 2012

In the story o the Mahabhar

ble when those who wield ppeople even enough land t

basic conditions or living are

possesses and blinds those w

Has everything been don

Absolutely everything?

Can it be prevented?

I can tell you with absolu

the choice between peac

What will be my choice?

Between war and anothe

The other war, where wil

On a battleeld or in my

I dont see a real dieren

phrasing a protester, reminds us that political or economic change

is not enough we must overthrow the whole set o values that

this reality has constructed. But above all, we have to change our-

selves. Our way o being, or relationship with others, with things,

with eternity, with God, etc., must be completely overhauled. It will

only be a true revolution i this radical change in our experience

comes about.(14)

Throughout 2001, rom Tunis to Toronto, rom Cairo to Barcelona,

the world saw the emergence o decentralised, autonomous protest

movements. I these popular uprisings have taught us anything, it is

that revolutions do not occur as singular events with the toppling

o a tyrant or the capture o state power but are complex processes

that share the same objectives.(15) And so we see the ailure o the

media, police and cultural barriers that have been put up to keep

people apart. All these protests have something in common: the

desire or reedom and a decent lie, the rejection o a disrealtity that

hides and highjacks lie.

A ew hours beore he died, Dimitris paid the rent or the apartment

in which he lived alone. Then he caught the subway to Syntagma

and shot himsel. A note in his pocket said: My name is Dimitris

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8

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Oblivion[ program ovni 2012 ]

9

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h iliTh M h bh b bl h hi i lWEDNESDAY 9

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hostilitgame

9.15pMastOzanGoogNet. Fto theworld

9.20pLord St01eA reethe Rio FreIn boahatchiFree contro

9.30pLe CoAnonEvery heart othat wI accetem, etion an

The Mahabharata probably have a historical source.Others maintain that the correct interpretation o thepoem lies entirely in the direction o myth. Yet otherspoint out the importance o the teaching books in theepic - political, social, moral and religious - and see TheMahabharata as a long treatise o government initiation

As ar as we were concerned, this immense poem,which fows with the majesty o a great river, carriesan inexhaustible richness which dees all structural,

thematic, historic and psychological analysis. Doorsare constantly opening which lead to other doors. Itis impossible to hold the Mahabharata in the palm oyour hand. Layers o subtext, sometimes contradicto-ry, ollow upon one another and are interwoven with-out losing the central theme. The theme is a threat:we live in a time o destruction - everything points inthe same direction. Can this destruction be avoided?Jean-Claude Carrire

In our interview with Carrire, he talked about whathe sees as the core o the Mahabharata: it is a poem

on oblivion. Mankind seems to constantly orget thesource o its true nature.Indian tradition says: Everything in the Mahabharatais elsewhere. What it is not there is nowhere.Part one, The Game o Dice, shows us a growingconrontation between two sides battling or power.One side is clearly closer to the idea odharma than theother, which barely bothers to respect it. To avoid direct

WEDNESDAY 9HALL AND AUDITORIUM:SIMULTANEOUS SCREENING7PM TO MIDNIGHT

7pmOn the Mahabharata. A conversation withJean-Claude Carrire, 30 minAbu-Ali, Toni Cots, Stefano Casella, France,Catalonia, 2012.

The Mahabharata is the epic poem o oblivion; oorgetting the source.

7.30pmThe Mahabharata, Part One: The Game ofDice. 98 min. Peter Brook Jean-Claude Car-rire, France, UK, 1989.The Mahabharata is one o the worlds greatestbooks. It is also the longest poem ever written.It was written in Sanskrit, and is about teen timesthe length o the Bible.

Maha in Sanskrit means great or complete,Bharata is primarily the name o a legendary character,then that o a amily or clan. So the title can be under-stood as The Great history o the Bharatas. However ina extended meaning Bharata can mean Hindu, and,even more generally Man. So the Mahabharata couldbe translated as The Great history o Mankind.According to most scholars, the events recounted in

I t b h ili t d d l it d i h U b

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I agree to be humiliated and exploited in exchangeor being allowed to humiliate and exploit those ona lower rung o the social pyramid (...)

9.40pmIn collaboration with BccN Festivalwww.bccn.ccDel Poder, 72 minZavn, Spain, 2011.The clash between the State and the social move-

ments in Spain in 2011 laid bare the true nature opower. The police crackdown was a response to thelargest protest to date. Three hundred thousand dem-onstrators were aced with the most violent side odemocracy. Using images o these events taken romvarious sources, this lm refects on democracy, powerand its symbols, the role o the media and violence,as well as questioning the language o lm and thescope o its possibilities.

UrbawwwUrbanbivaleThrouthat comentsdiscourom aworld

collap

Alredand ecout EuBarcepermaBarce

7.30pThe MPeterrire,Havingarrogaorcedor justhe wimust l

THURSDAY 10HALL AND AUDITORIUM:SIMULTANEOUS SCREENING7PM TO 12PM

7pmHALL: presentation

11

The M

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The Mextremso is thdon ththem tsearchstrengstrengtwo enGita in

9.15pPour [fragmAnto

Becasible mbe rephumankeep hin whi

manustitutemust gvictori

9.20pSolut112 m12

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peopl

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peoplronmemassivpeoplmind-by thesynergity, huopporexcess

norm as thisrepresmitmeneed WE noplasmwas th

10:20HALLRoar_

The RJrmI the pthing, eventso statthat pThey i13

but also the systemic transormation o political and SATURDAY 12 sion T

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but also the systemic transormation o political andsocial institutions, cultural norms and values, humanconsciousness and collective action. Such revolutionsare, by their very nature, social and collaborativeprocesses.In this presentation, I will look back at the uprisingso 2011-12 rom the perspective o networked resist-ance, analysing how and why in this time o crisis the world is suddenly aced with the emergence odecentralized, leaderless protest movements rom

Tunis to Toronto. Providing a panoramic overview othe ongoing global revolutionary wave, I will not onlyshow how all these uprisings emanate rom the samesource (a deunct world capitalist system), but alsohow their similar revolutionary tactics might be anindication o the world that awaits us.I will tell my story along the line o videos and songso the movement. My nal video will be a special ad-dress by the Greek resistance hero Manolis Glezos tothe Spanish movement, to be premiered at OVNI.

SATURDAY 12HALL AND AUDITORIUM:SIMULTANEOUS SCREENINGS6PM TO MIDNIGHT

6:00pmErhal / Vs-ten- Diari de la plaa Tahrir, 55 minMarc Almodvar, Egypt, Catalonia, 2011.January 25, 2011. The all o Ben Ali in Tunis on Janu-ary 14, 2011, was a beacon o hope to the Arab world.

All the attention is on Egypt, where groups expressingsolidarity with Alexandrian Khaled Said, a young mankilled by the police, are calling or Egyptians to taketo the streets against the regime. The chosen dateis January 25, National Police Day, seen as one othe pillars o the decades-long regime ruled by Mo-hammed Hosny Mubarak as an ally o the West. Butpeople, demanding reedom and social justice, breakthrough the barrier o ear, go out on the streets, andbegin a rebellion that will send shockwaves aroundthe world. Erhal(Leave) is an inside chronicle o the18-day struggle that toppled one o the most seem-

ingly stable dictators in the Middle East.

6:55pmManipulacin Meditica - El Cairo 17.12.2011,3 min. Anonymous on the Net, 2011.The Egyptian army brutally repressed a demonstrationon December 17, 2011. Images rom independentsources show the harshness o this murderous repres-

sion. Tposed

7pmLondI call BBC, An inton theHave

I donmassehappehappenature

7.05p27 de15MbOn MaPlaa

zens ein a pubecambrutalhistoryviolenFollowcomp

8

13

closed the case without even hearing the complain-

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5

closed the case without even hearing the complainants. This decision eectively let the claimants andall citizens utterly deenceless, and let the perpetra-tors o the serious events that took place on May 27unpunished. It also created a dangerous precedentthat is reminiscent o the impunity that existed inSpain during Francos dictatorship.#SOS27M Police impunity questions Spains democ-racy and justice system and calls or the support o theinternational community.

7.10pmInterview with Eduardo Galeano, 11 min15Mbcn.tv, Catalonia, 2011.An interview with Uruguayan writer and journalistEduard Galeano, who spoke at the Acampadabcnassembly on May 23, 2011. There is another worldbeating inside this one, a world that is dierent andseemingly dicult. It will not easily be born, but itsdenitely beating in this present world, and I senseits presence in these spontaneous demonstrations:in Plaa Catalunya in Barcelona, in Sol in Madrid (...)

People ask me: Whats going to happen now?..Whats next?... What will become o this? And I canonly answer rom my own experience. I say: Well...nothing... I dont know whats going to happen, andit doesnt really matter to me. All I care about are thethings that are happening now, the present moment,and what this moment augurs about another moment

14

that will come into being, although I do not know SUNDAY 13 ings th

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g, ghow it will be. It would be as i, every time I had anexperience o love, I asked mysel what was going tohappen next.

7.30pmLa Commune (Paris 1871), Part Two, 120 minPeter Watkins, 345 min, France, 1999.

9.30pm

HALL:Intervention and debate aroundLa Communeand its relevance today.Rebond pour la Commune and Patrick Watkinswww.rebond.orgThe story o Rebond dates back to January 8, 2000,when some ty actors and lm technicians cametogether to organise the rst weekend o experimen-tation at the Maison Populaire in Montreuil, on March11 and 12, under the title Rebound - mdia et im-mdiat.

SU 3HALL AND AUDITORIUM:SIMULTANEOUS SCREENING6PM TO MIDNIGHT

6pmHall: screening with commentaryTwo Tahrirs: Lights in Cairo, shadows inBaghdadGRECS & OVQ

The Grup de Recerca sobre Exclusi i Control Social(GRECS) and the Observatori de la Vida Quotidiana(OVQ) who are working together on a research pro-

ject called Strong Squares: the political beating othe heart o the city present a screening accompa-nied by a discussion and a thematic workshop basedon a documentary path through the apparent worldo the inormation reedom that the Internet putswithin our reach.In the tumultuous Arab social context o 2011, the Netemerged as one o most crucial tools or spreadinginormation about the popular uprisings in dierent

countries in the region. A year later, i we want to goback and ollow the trail o those revolts, we simplytype keywords into a search engine and we are acedwith millions o possibilities. But beyond this initialavalanche o results, what kind o inormation can weglean rom this noisy, slippery magma?In this intervention we will explore how collectivememory - and also orgetting - is shaped in a contextsuch as this, through a search ocusing on two upris-

gtion inmediaSquarFrom experas a sostreamNet as

GRECControresearthe issbasedhttp://

OVQ: basedarts pro conhttp://

7.35pSembElio GI younot beound

Some images rom the 2011 protests at Puerta del Sol

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g pin Madrid. These are just some impressions, whichI have etched in my mind. With all my respect tothe people who have acted in accordance with theirbelies and gathered in this square or days. And toAntonio, warrior o words who shares his outrage withall those present.

7.40pmLa Barcelona que no se ve,

la que se esconde [ragment], 10 minBlanca Isabel Cardoso, Enrico Missana, FatimaKamal, Marta Corti, Marta Cortiona,(CapturaRaval), Spain, 2004.I dont think politicians have read any history at all,modern or ancient. Situations repeat themselves,and no matter how many guns they have, it will all berepeated again, because it will be necessary. Watchout world leaders, murderers like Mr Bush...this is aBarcelona you cant see; one that hides.

7.50pm

Phi, 15 minJessica Mautner, Greece, UK, 2011.A provocative montage o eyewitness images rom thestreets o Athens, sourced rom youtube. The oot-age is perormatively revoiced by the artist using onlythe sounds ph- and p-, creating a close-up, personalresponse to a highly mediated event, and drawing 15

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WORKSHOPSSALA MIRADOR (4th FLOOR)

attention to certain key sounds that are both beyond FRIDAY MAY 11

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and nearer than the noises o the crowd and the si-rens. The Greek character phi represents the so-calledgolden ratio and is an eternal ideal. Through theconstant voicing o this letter, the soundtrack o thevideo highlights the idea o constant movementin situations o direct action and social change, butalso its shadow side: the state doctrine o never-end-ing linear progress and civilisation. The video alsomakes reerence to the atrocity exhibition and how weexperience and interpret riots in the highly mediatedpresent, in order to explore moral responsesto street violence.

8.05pmLa Commune (Paris 1871), Part Three, 120 minPeter Watkins, 345 min, France, 1999.

11AM 14PMRoarRevolution as a Co-Creative ProcessJrme Roos . www.roarmag.org

I the popular uprisings o 2011 have taught us any-thing, it is that revolutions do not occur as singularevents with the toppling o a tyrant or the capture ostate power but are complex long-term processes

that play out over multiple years or even decades. Theyinvolve not just the removal o a government, but alsothe systemic transormation o political and social insti-tutions, cultural norms and values, human conscious-ness and collective action. Such revolutions are, by theirvery nature, social and collaborative processes.

SATURDAY 1211:00AM - 2:00PMRebond pour la CommuneLa Commune

www.rebond.org

A discpour laparticikins Llocal gand its

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OTHER WORKS INCORPORATED INTO THE ARC

Available for public consultation from May 20

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SUNDAY 1311AM 2PM

Al-MaG

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11AM - 2PMGRECS & OVQwww.ub.edu/grecs/www.ovq.catTwo Tahrirs: Lights in Cairo,Shadows in Baghdad

In the tumultuous Arab social context o 2011, the Netemerged as one o most crucial tools or spreadinginormation about the popular uprisings in dierentcountries in the region. A year later, i we want to goback and ollow the trail o those revolts, we simplytype keywords into a search engine and we are acedwith millions o possibilities. But beyond this initialavalanche o results, what kind o inormation can weglean rom this noisy, slippery magma?A thematic workshop based on a documentary paththrough the apparent world o the inormation ree-dom that the Internet puts within our reach.

4pm - 6pmAlred DeckerUrban Rhizomeswww.permacultura-bcn.org

Urban Rhizomes is a workshop exploring the ambiva-lence o the natural world and social movements.

Through an examination o certain trees and plantsthat contain both productive and destructive ele-ments, we question political tendencies that reducediscourse to good/bad dichotomies. We can learnrom and utilize natural orces in order to build theworld we want to live in today without waiting or thecollapse-in-progress to arrive in ull orce.

GonzHe tracertainrealise

A TalWar DA propPare Ldentiation o

La BoPeterBy labour Gmaniin actprogrTherethe tim

espec- abouabsoluthe BBsouthmake outbrenuclea

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The BBC panicked when they rst saw the lm,d ht t lt ti h i

Culloden, 75 minP t W kti UK 1964

- Is it tChild

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and sought government consultation re showingit. They subsequently denied this, but the sadact remains that the BBC violated their own Chartero Independence, and on September 24, 1965,secretly showed The War Game to senior memberso the Home Oce, the Ministry o Deence,the Post Oce (in charge o telecommunications),a representative o the Military Chies o Sta,and Sir Burke Trend, Secretary to Harold WilsonsCabinet. Approximately six weeks later, the BBCannounced that they were not going to broadcastthe lm on TV - and denied that their decisionhad anything to do with the secret screeningto the government.

Carrire, 250 metros, 90 minJuan Carlos Rulfo, Mexico, 2011.This is a lm about love, nostalgia and reunion, withthe stories o a lietime. Jean-Claude Carrire, ac-claimed writer, scriptwriter, lm critic, traveller, mystic,storyteller, husband and ather, is searching or the

best way to share his lie with his daughters: Kiara,who is six years old, and Iris, who is orty eight. Atsome point, he decides to sum up his existence. Adocumentary about this man who was a aithul col-laborator o Luis Buuel, wrote over a hundred moviescreenplays and was recently decorated with theSpanish Order o Arts and Letters.

Peter Waktins, UK, 1964.The rst lm Peter Watkins made or the BBC wasa historical reenactment o the last battle ought onBritish ground, and the ensuing destruction o theScottish Highlands Clans ollowing the 1745 Jacobiteuprising. Critically acclaimed or its graphic realismand cinema-verit style, the US Army even used thelm in its courses on military history.

Damore si vive, 100 minSilvano Agosti, Italy, 1982.- Why do you think adults treat kids like that...

as i they were stupid?- Because grownups think that we kids cant

do anything...

- Childbe, bethat arcious.

DebtKater2011.Debtotary thcrisis athe ma

The DPeterIn Theated adeveloessioby cincamer

and ocould eectsthe evSoldieo reature osuspe

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Watkins aced because o equipment and locationproblems played a major part in the evolution o this

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problems played a major part in the evolution o thissyncretistic approach.

Espaistn, de la burbuja inmobiliaria a lacrisis, 6 minAleix Sal, Spain, 2011.A video-presentation o the comic Espaistan, whichshows the path that has taken Spain rom the propertybubble to the nancial crisis.

Les Esprits Meurent Aussi, 45 minBakary Sanon, Burkina Faso, 2012.2010 was the 50th anniversary o the Independenceo most countries in western Arica, an event that wascelebrated by ocials and civil servantswith great pomp and ceremony.The ollowing year, 2011, was marked by politicalconfict in Cte dIvoire which ended with the inter-vention o the French Army and the arrest o presidentLaurent Gbagbo and in Libya, with the involvement othe NATO bombings in the hunt or Colonel Muammar

Gadda and his death. These two events underminedthe idea o the independence o the Arican continentand stirred the consciousness o Arican youth.This lm considers the uture o the continent throughthe eyes o our individuals: a socially and politicallycommitted artist, an activist lmmaker involved in theght or human rights, a philosopher and universityproessor, and an economist and ormer Deputy Gen-eral Director o the World Trade Organisation.

The Forgotten Faces, 18 minPeter Waktins, UK, 1960.In this amateur work, Peter Watkins reenacts episodeso the 1956 Hungarian Revolution and continues todevelop the methods he had used in The Diary oan Unknown Soldier. As Watkins himsel claims, hestudied many photographs o this historic event andthis probably had an eect on the number o char-

acters

wouldelemebreakscinemcamercharacact o being that th

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Rousset Martine, France, 1998-2008. o innity, o the unceasing mixing o times, constantfux appearing and disappearing; the presence o

Bharacter

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With my passing travels, Istanbul remains enigmaticand without secret, ar rom prevailing visibilities.(M.J. Mondzain)Everything is mixed, everything is there not in or-ganised, protected, preserved strata, but in accumula-tions, wearing, erasing, emptiness and chaos. A wildgarden, here; the cycle o lie and death; nothing isdestroyed, everything is alive, wearing out, continu-ing. The clock: the Bosphorus. This city is way, thepassing o. Here as nowhere else I perceive something

fux, appearing and disappearing; the presence oother times at the edge o the visible...

The Mahabharata, 180 minPeter Brook Theatrical adaptaion by Jean-Claude Carrire, UK, France, 1989.The Mahabharata is one o the worlds greatestbooks. It is also the longest poem written. It was writ-ten in Sanskrit, and is about teen times the lengtho the Bible.

Maha in Sanskrit means great or complete,

acter, be undHowevmean the Mhistoryeventsa histointerpo myt

teachiand retreatisconcemajesness wpsychwhich the Mo subone an

centrao destion. CCarriout whis a poorgetsays: What

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eco-systems evolve dierently when isolated andsurrounded by unsuitable habitat - to a conception

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surrounded by unsuitable habitat to a conceptiono the Earth in a ew hundred years; the sea levelrising to absurd heights, creating hyperbolic uto-pias that appear as possible uture mini-societies.

Squat, la ville est a nous!, 94 minChristophe Coello, France, 2011.Cristophe Coello spent eight years lmingthe everyday lives and activities o a group o menand women who squatted Barcelona buildings

aected by property speculation (Miles de Viviendas).Squatcaptures direct democracy and invites viewersto immerse themselves in the experimental worldo resistance.

Stop the Machine, 3 minDennis Trainor Jr, USA, 2011.October 2011 is the 10th anniversary o the invasion oAghanistan and the beginning o the 2012 ederal auster-ity budget. It is time to light the spark that sets o a truedemocratic, non-violent transition to a world in which peo-

ple are reed to create air and sustainable solutions.

The Tracks o My Tears II, 14 minAxel Petersn, Sweden, 2011.Saddam Husseins palace is looted in Baghdad 2003.A red Ferrari Testarossa disappears rom his garage.

Years pass by and cars rom the same garage areound around the world; some crashed, some in mint

La Coproduus thetion oThe Uo videmerciaup themonoalso in

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condition. The Testarossa is still out there, ghost ridingthrough the never-ending desert.

The Universal Clock, The Resistance o PeterWatkins, 66 minGeoff Bowie, Canada, 2001.The Universal Clock(UC)is a documentary, whichaccompanies the boxed dvd set o Peter Watkins

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PICTURE CREDITS

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1 Now I become Death,the Destroyer o the Worlds

2 Del Poder3 Punishment Park4 Solutions Locales

pour un Dsordre Global5 La Commune6 A Tale o Two Cities (1946)7 La Commune

8 Fall-winter9,10 The Mahabharata11,12 Solutions Locales

pour un Dsordre Global13 La Commune14 27 de mayo de 2011

Plaa Catalunya15 Sembrando sueos16,17 Roarmag18 Carrire, 250 metros19 La Bombe (The War Game)

20 Debtocracy21 Istambul22 Punishment Park23 Slow Action24 We Teach Lie, Sir

Dedicated to Palestinian Youth25 Slow Action26 La Commune

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AN INITIATIVE OF

COLLABORATORS

WITH THE SUPPORT OF METECNICAL SUPPORT

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FREE ADMISSION

Opening May 8th, 2012, 8.30pOblivion intro program

CENTRE DE CULTURA CONTEMPORNIADE BARCELONA. MONTALEGRE, 5.

WWW.CCCB.ORG