PAVILION SCREENINGS

TOUT2

Farmecul Discret al Activismului Politic
Curator: Stefan Voicu

Schimbarile culturale si extinderea socialului în cyberspatiu au generat noi modele si scheme de a actiona. Trecerea catre post-uri (post-modernism, post-industrial, post-socialism etc,) si identificarea societatii cu spectacolul, constituie cadrul estetic si social, cele doua confundându-se aici, al manifestarilor vizuale contemporane. Considerate a fi desublimate prin comodificarea lor, vechile actiuni transgresive au fost înlocuite de proteste, revolte  semiotice si rebeliuni cybernetice. Tony Smythe afirma în 1960, ca reactie la un articol care încuraja violenta în activism, ca în adevarata lupta de clasa nu ne luptam cu oameni ci cu idei.[1]

Filmele din acesta serie de proiectii se prezinta ca forme de activism simbolic, în care manipularea semnelor este ontologic comodificata, mai exact, actiunea de a regiza un film are o functie economica a priori pe care autorul o scoate la suprafata sau o exploreaza critic. Privite in relatie cu conditiile economice, politice si sociale în care au fost realizate, La dialectique peut-elle casser des briques? este un atac adresat miscarilor din mai ‘68, la fel ca si filmele lui Godard (care ar putea fi si un elogiu al acestora). Bananas dezvolta subiectul revolutiei cubaneze si ce a însemnat aceasta pentru SUA, dar mai ales pozitionarea SUA fata de situatia respectiva. Cât despre Louise-Michel, Du Levande, Trash Humpers si seria de filme scurte ( episoadele din Dumbland a lui David Lynch si cele trei scurte ale lui Jay LaRay Keener & Jeremiah Ledbetter three short films), acestea trateaza probleme cu care societatea contemporana se confrunta. Contextualizare lor puncteaza catre adaptarea discursului la conditiile existente la momentul realizarii cinematografice, oferind legitimitate imaginilor folosite în mod subversiv si autoreflexiv.

În acest tip de practica, asumarea unei estetici politice care sa atace autoritarianismul- fie prin violenta simbolica, fie prin deconstruirea miturilor contemporane- transcede identitatea politica declarata a subiectivitatii fiecarui act regizoral-  definit în comun prin asamblarea eclectica a ideilor circulate în retele sociale. Privite precum manifeste vizuale, filmele functioneaza ca alternativa, articulata sub o forma agonistica, în lupta hegemonica.  Astfel, cinema-ul îl putem defini   ca pe un câmp de forte, unde filmele sunt proiectii vizuale ale unui tip de gândire ideologica si participa, documentând totodata, la acest conflict perpetuu al pluralismului politic. (Stefan Voicu)

[1].In the real class struggle it is not people we are fighting but the wrong ideas. Vernon Richards (ed.), Violence and Anarchism.A polemic ,Freedom Press, London,1993

Stefan Voicu este sociolog si teoretician.

Pavilion Screenings este un nou program curatorial al PAVILION-journal for politics and culture. Un curator va fi desemnat pentru a crea un concept si o selectie.

Imagine: Still din "Tout va bien" (1972) by Jean-Luc Godard, Jean-Pierre Gordin.

Program 2011
Toate proiectiile au loc la PAVILION UNICREDIT, Bd. Nicoale Titulescu nr. 1 (Piata Victoriei), Bucuresti.

24 mai
19.00
Tout va bien (1972) Jean-Luc Godard, Jean-Pierre Gordin
Pe aceasi linie în care ridicolul, absurdul si tragicul se provoaca într-o constructie omogena, ultimul film al regizorului Harmony Korine exploreaza temele ce pot fi integrate în asamblul teoretic al noilor forme de anarhism. Constituirea relatiilor de putere si reproducerea lor, paleta ampla de specificitati tolerate si intolerabile.

21 iunie
19.00
Bananas (1971) Woody Allen
Bananas este un film care face aluzie la revolutia cubaneza dar si la evenimentul denumit criza rachetelor. Woody Allen duce comicul la extrem, ridiculizând astfel manifestarile revolutionare, interventiile pacifiste legitimate hegemonic si asumptiile de veridicitate ale mass-mediei.  Prin abordarea sa regizorala, Allen nu  avanseaza catre o revolutie cinematica, el proiecteaza într-un limbaj al semnelor  impotenta oricarei reactiuni.

19 iulie
19.00
La dialectique peut-elle casser des briques? (1973) René Viénet
“Poate dialectica sa sparga caramizi?” este deturnarea integrala a  filmului The Crush regizat de Tu Guangqi.  Deturnarea, asa cum se defineste în primul numar al revistei Internationale Situationniste din iulie 1958, reprezinta prescurtarea de la 'deturnarea elementelor estetice preexistente'. Integrarea productiilor artistice prezente sau trecute într-o constructie a unui mediu superior. În acest sens nu poate exista o pictura sau muzica situationista, ci doar un mod situationist de a folosi aceste mijloace. Mai simplu, deturnarea   în vechile sfere culturale este o metoda de propagandista, o metoda care releva  demodarea si lipsa de importanta a acestora[1]. Prin dublarea imaginilor, întesate de tehnici de arte martiale, cu discursul public al intelectualitatii franceze de stânga din anii ’60-’70, René Viénet reuseste sa demistifice coerenta actiunilor de revolta desfasurate în contextul unor schimbari majore la nivel mondial, care patrund în plan local. Totodata, prin aderarea sa la miscarea situationista si apropierea tehnicilor propuse de acestia, el militeaza  pentru o perspectiva a refuzului prin semne.
[1] Internationale Situationniste 1, 1958

20 septembrie
19.00
Louise-Michel (2008) Gustave de Kervern, Benoît Delépine
Prin situarea unor acte violente de revolta în contextul  unei societati pluraliste, democratice, regizorii acestui film evidentiaza imposibilitatea unor astfel de gesturi. Aceasta imposibilitate survine nu datorita unui cadru juridic sever ci mai degraba din cauza normelor tolerabilitatii. Turnura absurda pe care filmul o ia, îl transforma, prin analogie cu discursul înradacinat referitor la astfel de practici, într-o arma subversiva care agita în scopuri introspective.

18 octombrie
19.00
Du levande (2007) Roy Andersson
Renuntând partial la naratiune si preferând alaturarea scenelor într-un mod dialectic, uneori deconstructivist, regizorul pledeaza pentru o epuizare a subiectului multiplu, aratându-ne inertia metodelor de investigatie si manifestare postmoderne. Ca si în Louise-Michel (2008) Gustave de Kervern, Benoît Delépine, asistam la un absurd  care defineste normalitatea relatiilor sociale.

22 noiembrie
19.00
Trash Humpers (2009) Harmony Korine
Pe aceasi linie în care ridicolul, absurdul si tragicul se provoaca într-o constructie omogena, ultimul film al regizorului Harmony Korine exploreaza temele ce pot fi integrate în asamblul teoretic al noilor forme de anarhism. Constituirea relatiilor de putere si reproducerea lor, paleta ampla de specificitati tolerate si intolerabile.

13 decembrie
19.00
Shorts by David Lynch and Jason LaRay Keener & Jeremiah Ledbetter
Dumbland, 8 episodes (2002) David Lynch
The Man with Apple-Shaped Boxing Cloves (2006)
Hail Cracking Cobra Eggs (2007)
Hollow Porcelain Fish Chamber (2009) Jason LaRay Keener & Jeremiah Ledbetter

Cele opt episoade din seria de animatii  de David Lynch si cele trei scurmetraje ale regizorilor Jason LaRay Keener & Jeremiah Ledbetter ne adâncesc în viziunea sumbra a societatii contemporane. Fara sisteme de valori la care sa ne raportam, lumea în care traim transforma orice extraordinar în banal. Dar acest status-quo defineste noua ordine.

Proiectiile au scop educational. Accesul cu aparate de inregistrare de orice tip este interzisa.

The Discreet Charm of Political Activism
Curated by Stefan Voicu

The cultural turn and the extension of social activities into cyberspace have generated new methods and schemes of action. The reconfiguration into post- (post-modernism, post-industrial, post-socialism etc.) and the spectacle identity of society constitutes both social and aesthetic frameworks, here the two being mistaken for one with the other, in which contemporary visual manifestation occur.

Considering them as de-sublimated by their commodification, the old transgressive actions have been replaced by semiotic revolts and cybernetic rebellions. Tony Smythe said in 1960, as a reaction to an article which encourage physical violence in activist practices, that 'in the real class struggle it is not people we are fighting, but the wrong idea'.[1]

The films presented in this series of screenings are forms of symbolic activism, in which the manipulation of signs is ontologically commodified, more precisely, the action of directing a film has an a priori economic function which the auteur  reveals or explores in a critical manner. Watched in relation with the economical, political and social conditions in which they were made, La dialectique peut- elle casser des briques?  is an attack to the  social movements of may '68, the same as for Godard's film (that could be seen even as an eulegy of it).  Woody Allen's Bananas deals with the Cuban Revolution and what it represented for the US, but mostly on the political stand of this country in relation to the events that occurred during those years in Cuba. As for Louise-Michel, Du levande, Trash Humpers and the short films series (David Lynch's Dumbland episodes and Jay LaRay Keener & Jeremiah Ledbetter three short films) , they stand for more contemporary problems which our society faces. Their contextualization emphasizes the adaptability of the discourse, within them, promoted at the moment of the making of, therefore giving more legitimacy to the images used in a subversive, but self-reflecting, way.

In this type of practices, assuming a political aesthetics of anti-authority – characterized by symbolic violence or contemporary myths deconstruction – transcends  the declared political identity of any subjective film directing process – defined by an eclectic assembly of  circulated, through social networks, ideas. Regarded as visual manifests, the films work as alternatives, articulated agonistically, in the hegemonic struggle. In this sense, we can define cinema as a power field, where the films are visual projections of a certain type of ideological thinking which participates, simultaneously documenting, in this constant conflict of political pluralism.

Stefan Voicu is sociologist and theoretician.

Pavilion Screenings is new curatorial program by PAVILION – journal for politics and culture, dedicated to films. A curator will be appointed to create a concept and a selection.

Imagine: Still din "Tout va bien" (1972) by Jean-Luc Godard, Jean-Pierre Gordin.

The program 2011
All the screenings take place at PAVILION UNICREDIT, Bd. Nicoale Titulescu nr. 1 (Piata Victoriei), Bucharest.

May 24
19.00
Tout va bien (1972) Jean-Luc Godard, Jean-Pierre Gordin
The film “aims to fight for those who want change, and in particular for the core element, which is the exploited, the oppressed, represented in France by the men and women of the working class.[…] When intellectuals have the means to make films, since the working class doesn’t, whe must approach them and listen to be able to transmit their words. We know they aren’t allowed to speak neither in films nor on French TV. I tried to create images that were simpler and less complicated, precisely to show just how complex the situation is”. [1]
[1]Jean Luc Godard , Tout va bien interview, 1972, at http://www.youtube.com/watch?v=dRIxYdq_CAk&playnext=1&list=PL5650B2ED5E4644A0

June 21
19.00
Bananas (1971) Woody Allen
Bananas is a film that refers to the cuban revolution and the event called missiles crisis. Woody Allen takes the comic to the extreme, ridiculing the revolutionary acts, pacifist interventions hegemonically legitimated and the mass-media truthfulness assumptions. Allen's directing approach isn't proposing a cinematic revolution, it is rather a projection, in an unique language of sign, of the impotency of any reaction.

July 19
19.00
La dialectique peut-elle casser des briques? (1973) René Viénet
"Can dialectics break some bricks?" is the complete deturnation of The Crush film, directed by Tu Guangqi. The deturnation, as defined in the first edition of Internationale Situationniste magazine from july 1958, is "short for “détournement of preexisting aesthetic elements.” The integration of present or past artistic productions into a superior construction of a milieu. In this sense there can be no situationist painting or music, but only a situationist use of those means. In a more elementary sense, détournement within the old cultural spheres is a method of propaganda, a method which reveals the wearing out and loss of importance of those spheres.” [1] By dubbing the images of martial arts practices, with the discourse of french left intellectuals from the '60-'70, René Viénet manages to demystify the supposedly coherent revolt actions happening worldwide, that became vivid in the local scene. In the same time, taken into consideration his international situationist movement adhesion  and the usage of the subversive techniques proposed by them,  Viénet pledges for a refusing attitude, through signs.
[1] Internationale Situationniste 1, 1958

September 20
19.00
Louise-Michel (2008) Gustave de Kervern, Benoît Delépine
By situating violent revolt acts in the context of a pluralist, democratic society, the directors of this film emphasize the impossibility of this kind of gesture. This impossibility arises not because of a severe legal frame but due to high tolerability norms. The absurd turn of the film, transforms it, in comparison to the established discourse of this kind of practices, in a subversive weapon of introspective agitation.

October 18
19.00
Du levande (2007) Roy Andersson
Giving up, partially, to narrating and preferring the presentation of scenes into a dialectic, sometimes deconstructive, manner, the director pledges for a depletion of the multiple subject, demonstrating the inert method and manifestations of post-modernism. We're being presented with an absurdity which defines the normal of the social relationships, likewise in Louise-Michel (2008) Gustave de Kervern, Benoît Delépine.

November 22
19.00
Trash Humpers (2009) Harmony Korine
On the same line in which the ridicule, absurd and tragic provoke each other into an homogeneous construction, the last Harmony Korine film explores the themes approached in contemporary anarchism studies. The constituent power relations and their reproduction, the vast array of tolerable and intolerable specificities.

December 13
19.00
Shorts by David Lynch and Jason LaRay Keener & Jeremiah Ledbetter
Dumbland, 8 episodes (2002) David Lynch
The Man with Apple-Shaped Boxing Cloves (2006)
Hail Cracking Cobra Eggs (2007)
Hollow Porcelain Fish Chamber (2009) Jason LaRay Keener & Jeremiah Ledbetter

The eight episodes of David Lynch's animated series and the three short film of Jason LaRay Keener & Jeremiah Ledbetter, takes us thoroughly through the gloomy contemporary society. Without precise values which we can relate to, the world in which we live transforms any extraordinary into plain ordinary. But this status-quo is the new order we're facing.

The screenings are in educational purposes. No pictures or video can be recorded during the screening.

PAVILION
journal for politics and culture
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PAVILION, BUCHAREST BIENNALE and PAVILION UNICREDIT are projects devised and founded by Razvan Ion and Eugen Radescu