cinemaniac 2013...jezika, ispitivanja filmskog materijala, preko formalnih eksperimenata, strategija...
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CINEMANIAC 2013
21. srpnja – 6. kolovoza 2013, MMC LUKA, PulaJuly 21 - August 6 2013, MMC Luka, Pula
Publikacija je tiskana povodom izložbe Misliti film (21. srpanj - 6. kolovoz, 2013) MMC LUKA, Pula
uz 60. Festival igranog filma u PuliPublished on the occasion of the exhibition Think film
(July 21 - August 6, 2013) MMC Luka, Pula, marking the 60th Pula Film Festival
CINEMANIAC > MISLITI FILM THINK FILM 2018
www.cinemaniac-thinkfilm.com
NIKA AUTOR / ELI CORTIÑAS / HARUN FAROCKI /
ŽELJKO KIPKE / JEAN-GABRIEL PÉRIOT / DAMIR RADIĆ
Kustosice / Curated by
BRANKA BENČIĆ / TANJA VRVILO
popratni program / in the framework of Pula Film Festival
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Cinemaniac - misliti film, research in progress
uvod kao fusnota
Izložba cinemaniac > misliti film predstavlja dugoročnu istraživačku platformu koja je usmjerena na veze filma, pokretnih
slika i suvremene umjetnosti, a od 2002. godine realizira se kao popratni program na Pulskom filmskom festivalu.
Cinemaniac je kontinuiran višegodišnji istraživački i izložbeni projekt koji nastaje iz želje za predstavljanjem radova iz svijeta umjetnosti i filma, radova koji nastaju na raskrižju medija, gdje
filmski festival pruža kontekst i organizacijski okvir. Projekt je posvećen sustavnom promišljanju alata medijskog mišljenja
u suvremenim umjetničkim i kustoskim praksama, u radu s pokretnim slikama, slikama iz projektora, njihovim međuodnosima,
te načinima njihova istraživanja, kontekstualizacije, prezentacije i recepcije. Ispituje se povijest i trenutna situacija, kako bi se osmislila budućnost rada s pokretnim slikama umjetnika u
različitim uvjetima i kontekstima. Cinemaniac > misliti film okuplja različite umjetničke pozicije koje
formiraju specifičan odnos prema ideji filma kao “prostora mišljenja”, mjesta u kojem se reflektiraju aspekti društva, ideologije,
kulture, ulazeći u institucionalne prostore galerija, muzeja, kina, festivala, u smislu otvaranja društvenog prostora u kojem se aktivno
radi na značenjima, pričama, povijesti i funkcijama kulturnog materijala, a u javne se prostore uvode teme i ideje, stvarajući
aktivnu interakciju socijalnog i kulturnog polja. Predstavlja prostor gdje se integriraju društveni, kulturni i estetski aspekti, opisuju i publici predstavljaju kreativni i istraživački procesi i konteksti iz
kojih proizlaze, te nagovješta imaginacija i perspektive budućnosti. Na taj način cinemaniac > misliti film ispunjava međuprostore kao prepoznatljivo mjesto odakle se mogu razvijati dosadašnja iskustva i
suradnje, kao i realizirati nova. / Branka Benčić, kustosica
Misliti film je proces, izložba, eksperiment, polazna točka, zaključak…
Cinemaniac – Think film, research in progress
introduction as a footnote
Cinemaniac > think film is an ongoing research platform questioning the relationships between cinema, moving images and contemporary
art. It is established in 2002 as the side program at the Pula Film Festival. As an ongoing research and exhibition project, Cinemaniac emerged from the desire to present works from the worlds of art and film. From its beginning, it has been an active context enabling the presentation of works of art, a meeting place where social, cultural, technological, media and aesthetic aspects integrate, an intersection where art, artists, institutions and audiences meet, where new forms
of collaboration are formed, and where relationships between film and visual arts are discussed. The project is dedicated to the systematic
re-thinking of tools and tactics in contemporary artistic and curatorial practices, working with moving images, projected images,
their relations and the ways they are researched, contextualized and exhibited. By mapping knowledge and experience, past events
and historical trajectories of moving image are explored in order to understand the context and the future developments within various
frameworks of artists’ moving images, which has been the central interest of the project.
Cinemaniac gathers different artistic positions that form a specific relationship with the idea of film as a place that reflects social, ideological and cultural aspects, where film becomes a cultural
interface. Questioning the concept of visual media or moving images in different ways, the exhibition questions different perspectives of film
practice, cinematic medium and language, ways of interpretation and representation, in the framework of curating and exhibiting
cinema. In that sense, the exhibitions are unfolding as a potentiality of a new critical space to work on meanings, stories, history and
functions of cultural material, tracing possible future perspectives. / Branka Benčić, founder and curator
Think film is a manifest, a process, an exhibition, an experiment, a starting point, a conclusion...
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JEAN-GABRIEL PÉRIOT: THE DEVIL, 2012, FILM STILLLjubaznošću umjetnika i Local-films / Courtesy of the artist and Local films
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Kao specifičan podžanr eksperimentalnoga filma i videa, found footage film, filmska je praksa aproprijacije postojećega snimljenog materijala, a fenomen found footagea, iako široko rasprostranjen, već desetljećima postoji na marginama dominantne kulture, u okvirima kinematografije i vizualnih umjetnosti. U spoju različitoga materijala igranih, narativnih scena, s autentičnim, dokumentarnim prizorima, demonstrira se potencijal pokretnih slika kako bi stvorio nove kompleksne forme fikcijskih i nefikcijskih elemenata.1 Upravo etika, estetika i politika aproprijacije u found footageu otvaraju nove prostore filmskoga mišljenja, kao prakse koja obuhvaćajući različite modele, strategije, metodologije, postupke i konceptualizacije, predstavlja naknadni život filmskoga djela, prerađen filmski arhiv.
U prostoru između metodologije i ideologije, rada s pronađenim filmom, arhivskim, kompilacijskim filmom, izložba koja se formira kao ovogodišnje izdanje projekta Cinemaniac > Misliti film “Muzej pronađenog filma” otvara pogled na neke pozicije i prakse filmskih i vizualnih umjetnika koji se pronađenim filmom bave kao kritičkom metodologijom i praksom.
U okviru filmskih i umjetničkih pozicija found footage shvaćamo kao mjesto oslobađanja filmskog materijala, refleksije, te čuvanja i sjećanja, a ukazuje na kino i galeriju (muzej, izložbu) kao institucionalan i diskurzivan prostor, mjesto artikuliranja, oživljavanja globalnoga arhiva filma kroz prakse suvremenih umjetnika. U tom smislu o institucionalnoj poziciji izlaganja filma i muzealizaciji filmskoga arhiva u digresijama ukazuje izložba The Museum of Found Fooatge / Muzej pronađenog filma. Međutim, s druge strane, promotrena kao ishodišno subverzivna praksa koja postoji na rubovima umjetničkoga sustava, found footage, oblicima muzealizacije i izlaganja potencijalno se približava uključivanju u dominantni poredak.
FRAGMENTI, FRAGMENTI FRAGMENATA
Found footage film - sjećanje filma i emancipacijski potencijal
Branka Benčić
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Sjećanje filma
U recentnim umjetničkim praksama od 1990-ih umjetnici upravo prostor galerije prisvajaju kao prostor preispitivanja povijesti filma: filmskim i video radovima mobiliziraju strategije remakea, citata, aproprijacije, ukazujući na arheologiju medija, kroz eksploziju referenci na povijest filma.2 Pritom su digitalni mediji te razvoj i dostupnost digitalne video tehnologije, u okviru produkcije, kao i pristupačnost za pretraživanje i distribuciju sadržaja imali vodeću ulogu.
Muzej pronađenoga filma predstavlja posvetu filmu – odabirom radova koji se formiraju oko filmskih referenci i citata, a umjetnici posežu za postupkom aproprijacije, rade s postojećim materijalom, te se found footage upotrebljava kao filmski ready made.
U predgovoru prve izložbe Cinemania[c], iz 2002. godine, koji je zamišljen kao vrsta manifesta ističe se kao fokus izložbe, ono što je uspostavljeno kao višegodišnji interes: (…) produkt je društva meta-medija, koje reciklira postojeće medijske slike, u kojem pojedino djelo funkcionira kao istraživački laboratorij u kojem se materijal sintetizira, analizira i kritički ispituje. To je “cut&paste” kultura, koja je naslijedila avangardne tehnike montaže i kolaža, te dodala tehnike sempliranja i digitalne manipulacije…3
Francuski kustos i teoretičar Nicholas Bourriaud u knjizi Postprodukcija: kultura kao scenarij: kako umjetnost reprogramira svijet 4 upravo putem koncepta postupaka postprodukcije koji su prisutni u radovima suvremenih umjetnika (poput Douglasa Gordona ili Christiana Marclaya) ističe značaj korištenja alata kulturne reaproprijacije kinematografije. Postojeći se materijal preispituje, promišlja, reciklira i prerađuje, a umjetnički se rad upisuje u mrežu znakova i referenci. Arhiv fotografskih i filmskih slika 20. stoljeća kao dio kolektivne memorije čuva se kroz radove umjetnika. Na tom su tragu brojni umjetnici razvili različite prakse dekonstrukcije i prerade arhiva, ističući važnost ponovnoga čitanja i odnosa s prošlim.
Teatar popularnih fantazija
Found footage film pruža istovremeno i inspiraciju i materijal kao resurs umjetnicima i filmašima, estetski, kritički i konceptualni okvir, prostor za eksperimentiranje. Postavljajući pitanja – od dostupnosti arhiva, pitanja kulturne produkcije, zatim dekonstrukcije filmskog jezika, ispitivanja filmskog materijala, preko formalnih eksperimenata, strategija montaže, ponavljanja, aproprijacije, referenci i citata, pitanja reprezentacije, do kritičkog potencijala i statusa slike u društvenom i kulturnom polju – istovremeno ukazuje na kontekste i diskurse koji se (pro)izvode u kritičkim odnosima jukstapozicije korištenog materijala, a umjetnici posežu za arhivom kao materijalnim, konceptualnim i estetskim resursom. Radovi na izložbi ukazat će na to što sve prezentiraju umjetnici korištenjem strategija pronađenoga filma, koja se pitanja postavljaju artikulirajući odnose i kontekste koji pri tom nastaju ili postoje u pozadini.
Međunarodna grupna izložba Muzej pronađenog filma predstavlja fragmentarnu panoramu kroz koju se radovima međunarodnih i hrvatskih umjetnika publici približavaju i čine vidljivima raznolike prakse rada s found footage filmom. Umjetnici se bave različitim temama – od filmskog arhiva, Hollywooda, fetišizma, i njihove dekonstrukcije, zatim potencijala političkog govora ili analize kompleksnih društvenih žarišta, poput reprezentacije tema rada, problema migracije, feminizma – stvarajući nove diskurzivne mreže odnosa, ukazuju na društvene nepravde, mogućnosti drugačijeg pogleda, omogućavajući nam ogoliti nevidljive mehanizme u proizvodnji slika i smisla.
Found footage filmovi strukturirani kao kolažni ili kompilacijski filmovi reinterpretiraju slike iz filmskih i televizijskih arhiva, ali ne dovode u pitanje njihovu reprezentacijsku prirodu. Pritom slika ima dvostruku ulogu, ona ne govori isključivo sama za sebe, već je značenje određeno kontekstom u jednakoj mjeri koliko i sadržajem. Na tom se tragu formira produkcija i recepcija filmova-eseja – na logici koja operira upravo na odnosu filmskih slika i konteksta, te njihove sposobnosti da u kombinaciji s drugim slikama proizvodi (nove) asocijacije i ideje, mogućnost da se nevidljivo učini vidljivim, a neke misli ili ideje razumljivim, dok u pozadini prepoznajemo napore otjelotvorenja nevidljiva svijeta imaginacije, misli, ideja, poruka.5
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eDva su središnja referentna mjesta oko kojih uporište razvijaju radovi uključeni u izložbu Muzej pronađenog filma. Objekti kritičkoga interesa reprezentacije su različitih pozicija moći koje ogoljuju i dekonstruiraju trenutke društvene zbilje, uokvirujući politiku, diskriminaciju, (J. G. Périot), nepravdu, migracije (Nika Autor), pa i sam sustav kinematografije kojega reprezentira Hollywood (Željko Kipke, Eli Cortiñas).
Dok Harun Farocki u Workers Leaving the Factory stvara diskurzivnu panoramu koja se proteže cijelo stoljeće i kroz perspektivu povijesti filma uokviruje mrežu odnosa rada, tvornica i radnika, u Schnittstelle / Interface otvara izlaganje o rezu, tom ključnom mjestu između slika, koje se odvija na montažnom stolu, dok nas metanarativnom gestom uvodi u prostor filmskog mišljenja.
Poput historijske veze radnika, tvornica i filma, i antologijska veza filma i vlaka traje koliko i sama povijest kinematografije. Upravo je izložba Junctions and Journey: Trains and Films Muzeja moderne umjetnosti u New Yorku 1991. godine bila posvećena tom stoljetnom fenomenu esencijalnom za kinematografiju.
Newsreel 63 – The Train of Shadows (Filmski žurnal 63 - Vlak sjena) Nike Autor, realiziran u kontekstu kolektiva Obzorniška fronta (Newsreel front), dokumentira filmski i mapira geopolitički trag nekoć važne okosnice, željezničke pruge na relaciji Ljubljana-Beograd, trasira putovanja mogućih vlakova kroz filmsku povijest i društvene transformacije, a recentno snimljeni materijal isprepleten je i uokviren filmovima poput Specijalni vlakovi Krste Papića, Vlak bez voznog reda Veljka Bulajića ili Ulazak vlaka u stanicu Ciotat braće Lumière, prizorima iz filmova General Bustera Keatona, Antonionija (Le Amiche)… Newsreel 63 predstavlja vizualno istraživanje konteksta željeznice, ideje, želje i potrebe za putovanjem u kontekstu povijesnih, društvenih, ekonomskih i političkih narativa. Preispitujući režime pokretnih slika i modalitete njihove recepcije, slike koje pri tom nastaju funkcioniraju kao projekcija sadašnjosti, prošlosti i budućnosti. Posjetitelj kao da je postavljen u poziciju “između rezova” kako bi povezao značenja i upisao neka nova, sve kako bi razotkrili načine na koje umjetnost i pokretne slike sudjeluju u stvaranju političke i društvene stvarnosti. Na pozadini tih zbivanja raspliće se kritičko preispitivanje i raslojavanje društvene zbilje, putem filma kao prostora transformacijskog potencijala.
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eUokviren snažnim glazbenim ritmom i porukom koju jasno pozicionira odabrani soundtrack, montaža fragmenata dokumentarnih, arhivskih snimki donosi prizore buđenja afro-američke borbe za ljudska prava 1950-ih i 1960-ih godina, kroz demonstracije i javne govore. Snažna vizualnost ovog crno-bijelog video eseja dokumentira fragmente povijesti otpora Crnih pantera, konstituiranje pokreta i mogućnosti identifikacije. Premda je interes usmjeren na konkretnu skupinu i specifičan povijesni kontekst, osnaživanje kojim govori The Devil Jean – Gabriel Périota stvara upravo emancipatorski potencijal za puno šire, univerzalno područje političke i društvene borbe koja je jednako potrebna i aktualna danas u globalnom kontekstu, kad su i dalje brojna ljudska prava i slobode dovedene u pitanje, a nepravda, fašizam, diskriminacija, stvarnost koja nas okružuje. Upravo u tome leži snaga rada The Devil, istovremeno predstavlja istiniti povijesni dokument i relevantnu kritiku suvremenoga društva, a koristeći povijesni materijal postavlja suvremena pitanja.6
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Pariz pripada nama! Damira Radića trodijelni je found footage film posvećen Parizu i temi nasilja, a naslovom se referira na istoimeno novovalno ostvarenje Jacquesa Rivettea. Prvi dio rada, kroz manje znane kadrove iz legendarnog filma Do posljednjeg daha Jean-Luca Godarda slika Pariz bezbrižnosti, a kraj unosi dozu nemira. Drugi dio, Zločin, dovodi do središnje teme nasilja (ali i solidarnosti), snimkama s nadzorne kamere terorističkog napada u Parizu, dok treći dio, Pitanje krivnje, koristeći televizijske snimke pokušaja novinarskog razgovora s mladim muškarcem osumnjičenim za silovanje maloljetnice, problematizira (ne)mogućnost jasnog određivanja odgovornosti i krivice u pitanjima zločina. Tim zaključkom bez razrješenja, film završava, upućujući na ograničene mogućnosti ljudske spoznaje i nesigurnost svijeta. 7
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ePosveta found footageu i Hollywoodu u radovima Željka Kipkea prekoračuje uobičajene medijske okvire i iskoračuje iz prostora filma kao pokretnih slika u medij slikarstva. Radovi okupljeni u seriju Unyielding Look into the Future (istoimeni video i serija slika) referiraju se na zvijezde hollywoodskoga filma 50-ih godina (John Wayne, Mary Castle, Nancy Olson…) i “tvornicu snova” kao mjesto reprodukcije pogleda u budućnost. Dijagnoza koju donosi Kipke remedijacija je prevođenja jednoga medija drugim, koja uključuje sjećanje filma i stranice popularnih filmskih žurnala. U prizorima takvoga zaustavljenog vremena, naziru se poput duhova statične i pokretne slike na tragu slike nostalgije kao slike dvostruke ekspozicije, kako je tumači Svetlana Boym.
Kao kompleksan i razvijen sustav reprezentacije film postavlja pitanja o načinima na koje se (oblikovano dominantnim poretkom) strukturira viđenje i užitak gledanja. U svojem je ključnom djelu Vizualni užitak i narativni film Laura Mulvey secirala odnose promatrača i objekta unutar okvira dominantnih pozicija muškarca kao promatrača i žene kao objekta na filmu. Odjeke Laure Mulvey možemo prepoznati kao središnje mjesto filmskoga kolaža Confessions with an Open Curtain Eli Cortiñas koji se razvija u nizu fragmentarno povezanih citatnih prizora, aproprijacija klasičnog hollywoodskog filma, a uprizoruju kadrove u kojima je središnji protagonist ženski lik prikazan s leđa. U slici je upisana i dvostruka uloga zastora – kao rekvizita, scenografije, filmskog dekora i pozornice, poprišta zbivanja, mjesta raslojavanja prostora, simboličkih značenja i atmosfere. Dok rad s jedne strane definira ulogu ženskoga lika na filmu, ono što uprizoruje ovaj film je pogled, a s filmom se povezuju različite vrste pogleda: pogled kamere koja bilježi neki događaj, pogled publike ili ono što nedostaje u Confessions with an Open Curtain pogledi što ih razmjenjuju likovi s filmskoga platna, dok režimi pogleda i mogućnosti njihova variranja, premještanja, naglaska i izlaganja, uokviruju ideologiju reprezentacije koja se vrti oko pozicije subjekta i objekta.
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Na kraju, možda nije nevažno istaknuti i kako found footage film svoju popularnost i pristupačnost duguje i specifičnim odnosom prema publici. Prisvajajući elemente filma kao jedne od ključnih i široko rasprostranjenih formi spektakla popularne kulture, fragmenti filmova u galeriji uvelike utječu na raspoloženje publike koja prepoznaje prizore hollywoodskih ili europskih filmova, prisjećajući se onih omiljenih, postaje impresionirana mnoštvom nepoznate filmske građe ili zapanjena intenzitetom dokumentarnog materijala, istinitim zapisom svijeta i krhotinama prošlih događaja. Taj nestrukturiran, nekatalogiziran, nesustavan, slobodno interpretiran i subjektivan “arhiv” igranog ili dokumentarnog filma, televizije ili pak pronađenih anonimnih filmskih zapisa prisutan i rekontekstualiziran radovima umjetnika ukazuje na prošlo vrijeme – memoriju, povijest, vezu filma i sjećanja, kao trag nostalgične filmofilije ili odražava emancipatorsku gestu.
1 Cut: Film as Found Object in Contemporary Video, ur. Stefano Basilico, Milwaukee Art Museum, 2004.2 Erika Balsom: Exhibiting Cinema in Contemporary Art, Amsterdam University Press, 20133 Branka Benčić: Cinemaniac 2002., katalog izložbe, Pula, 2002.4 Nicholas Bourriaud: Postprodukcija: kultura kao scenarij: kako umjetnost reprogramira svijet, Muzej suvremene umjetnosti, Zagreb, 2013.5 Dragan Dimčić: Uvod u Found Fooatge Film, u: katalogu Alternative Film Video 2009, AFC – DKSG, Dom kulture Studentski grad, Beograd, 2010.6 Chiara Puntil, recenzija filma The Devil; Cineuropa, http://shorts.cineuropa.org/sh.aspx?t=article&t2= news&did=2601817 Damir Radić, izjava umjetnika, iz korespondencije
ELI CORTIÑAS: CONFESSIONS WITH AN OPEN CURTAIN, 2011, VIDEO STILL Ljubaznošću umjetnice / courtesy the artist
and/i Waldburger Wouters, Brussels; Soy Capitán, Berlin
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FRAGMENTS, FRAGMETS OF FRAGMENTS
Found footage film - film, memory and the emancipatory potential
Branka Benčić
As a specific sub-genre of experimental film and video, found footage film is a film practice which deals with the appropriation of existing recorded material. Meanwhile, even though it is widely disseminated, the phenomenon of found footage has for decades existed on the margins of a dominant culture, within the frameworks of cinema and visual art. The potential of the moving images to create new and complex forms of fictional and non-fictional elements is demonstrated via a convergence of different materials relating to live-action, narrative scenes and authentic, documentary material.1 It is the ethics, aesthetics and politics of appropriation of found footage which open up new spaces for film thinking, as a practice which, comprising various models, strategies, methodologies, procedures and conceptualisations, presents the emancipation, a subsequent life of the film work and a reworked film archive. In the existing space of methodology and ideology, of works created with found film, specifically archival and compilation films, the exhibition shaping the project Cinemaniac > Think film 2018 “The Museum of Found Footage” unfolds certain positions and practices belonging to film and visual artists who have been involved with film as a critical methodology and practice.Within the framework of film and contemporary art, we look upon found footage as a place of reflection, as well as safekeeping and memory. At the same time, it presents the cinema and gallery (the museum, the exhibition) as an institutional space where discourse can develop, as a place of articulation which accords the global film archive a new lease of life through the practice of contemporary artists. This particular institutional position of the film presentation and the transposing, by means of digression, of the film archive into a museum piece is the subject of the exhibition “The museum of found footage”. On the other hand, viewed as an originally subversive practice which exists on the edges of the artistic system, found footage is, through the forms of musealization and presentation, perhaps approaching an inclusion into the dominant structures.
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The memory of film
In the recent art practices of the 1990s, artists specifically use the gallery space as a space to reposition the history of film. Through film and video they mobilise the strategies of remakes, quotations and appropriation, indicating the medium’s archeology, via an explosion of references relating to the history of film.2 At this time, the leading role was taken by digital media, including the development and availability of digital video technology, within the frame of the production, availability and distribution.The Museum of found footage stands as a dedication to film – through a selection of works which are developed around film references and quotations, while the artists search for an appropriation method and work with existing material, using found footage as a film ready-made.The introduction to the first Cinemania[c] exhibition from 2002., which was imagined as kind of manifesto, highlights the focus of the exhibition that has been established as a long-term interest: (…) it is the product of a meta-media society, which recycles existing media images, where an individual work functions as a research laboratory where the material is synthesised, analysed and critically researched. It’s a “cut&paste” culture, which has inherited the avant-garde montage and collages techniques, as well as added new mixing, sampling and digital manipulation techniques (…)3 In his book Post-production. Culture as a scenario: how art is reprogramming the word, French curator and critic Nicholas Bourriaud highlights the meaning of usage of tools belonging to cinematography’s cultural re-appropriation. He does this specifically through the concept of post-production techniques present in the work of contemporary artists (such as Douglas Gordon or Christiana Marclay). The existing material is questioned, deliberated, recycled and reworked, while the artwork is ascribed to the network of symbols and references.4 As part of the collective memory, the 20th-century photographic and film archive is preserved through the works of artists. Following this path, many artists developed different deconstruction practices and archive reworkings, highlighting the importance of another reading and interpretation and the relationship with the past.
The theatre of popular fantasies
Found footage film at the same time offers both inspiration and material as a resource for artists and film-makers, an aesthetic, critical and conceptual framework, a space for experiment. It poses a number of questions – from archive accessibility and questions of cultural production, to the deconstructions of film language and questioning of film material, across formal experiments, montage strategy, repetition, appropriation, references and quotes, questions of representation, to the critical potential and status of the image in the social and cultural field. Through such questions, it also points to contexts and discourses produced through the critical relations of used-material juxtapositions, while the artists reach towards the archive as a material, conceptual and aesthetic resource. The works showcased in the exhibition will demonstrate what the artists talk about when using the strategies of found footage and what questions they pose when articulating the relationships and contexts which happen during this process or exist in the background. The international group exhibition “The Museum of Found Footage” presents a fragmented panorama featuring the works of international and Croatian artists, and builds up on various practices involved in working with found footage film. The artists explore different issues – from film archives, Hollywood, fetishism, and their deconstructions, followed by the potential of political discourse or analysis of complex social hot spots, such as the representation of themes of work and labour, migration or feminism. By demonstrating social injustices and the possibilities of a different perspective, they allow us to dismantle the invisible mechanisms behind the production of images and meaning.
Found footage films structured in the manner of collage or compilation films reinterpret images from film and television archives, but they don’t bring into question their representational nature. In this instance, the image has a dual role. It does not speak exclusively for itself, rather, the meaning is decided in equal measure by both the context and subject matter. This is the basis on which the production and reception of the film essay is shaped – on the logic which operates specifically upon the relationship between film images and context, as well as their ability to create, in combination with other images, (new) associations and ideas, and the possibility to make the invisible visible and certain ideas understandable.5
Meanwhile, we recognise in the background the efforts to portray the invisible world of the imagination, thoughts, ideas and messages.
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eThere are two central reference points around which a stronghold is developed of artworks featured in the exhibition The Museum of Found Footage. Objects of critical interest are the representations of different positions of power, that unfold and deconstruct moments of social reality. These cover politics, discrimination (J. G, Périot), injustice and migration (Nika Autor), and even the cinematic system itself, which is represented by Hollywood (Željko Kipke, Eli Cortiñas).
In Workers Leaving the Factory, Harun Farocki creates a discursive panorama which spans an entire century and through the perspective of film history frames the network of reletionships between work, labour, factory and workers. Meanwhile, in Schnittstelle / Interface, Farocki introduces us to the cut, that key space between the images which takes place on the montage table, as he introduces us by a meta-narrative gesture into the space of film thinking.
As is the case with the historical link between workers, factory and film, the anthological link between the film and the train lasts as long as the history of cinema itself. In fact, the exhibition Junctions and Journey: Trains and Films held at the Museum of Modern Art in New York in 1991 was dedicated to that phenomenon which was essential to the century of cinema.
Produced within the collective context of the Newsreelfront Newsreel 63 – The Train of Shadows by Nika Autor documents and maps through film the actualization of a geopolitical line, a formerly important backbone, the Ljubljana – Beograd railway, tracing the possible train journeys through film history and social transformations. Autor’s more recently filmed material is interwined and framed by films such as Special trains (Specijalni vlakovi) by Krsto Papić, The train with no timetable (Vlak bez voznog reda) by Veljko Bulajić or Arrival of a Train at La Ciotat by the Lumiere brothers, scenes from the film General by Buster Keaton and from Antonioni’s The Girlfriends (Le Amiche)… Newsreel 63 presents a visual research of the railway’s context, that is, the idea, wish and need for travel within the context of historical, social, economical and political narratives. The images which are created through a study of moving image regimes and the modalities of their reception function as a projection of the present, past and future. It’s as if the viewer is placed in a position “in between cuts”, so as to be able to link the meanings together and come up with new ones, all with the intention of discovering ways by which contemporary art and moving images participate in the creation of political and social realities. On the background of such happenings, a critical re-evaluation and destructuring of the social reality unravel, through film as a space of transformative potential.
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Framed by a powerful musical rhythm and a clear message of the soundtrack, the montage of fragmented documentary and archival recordings presents scenes from the stirrings of the African-American struggle for human rights during the 1950s and 1960s, through demonstrations and public speeches. The powerful visual imperative of this black-and-white video essay documents historical fragments of the Black Panther resistance, the constitution of the movement and possibilities of identification. Although interest is focused on a specific group and a specific historical context, the empowerment spoken of by The Devil by Jean -Gabriel Périot creates in fact the potential for emancipation across a far wider, universal area of the political and social struggle. A revolution that is just as necessary and real in today’s global context, when many human rights and freedoms are still being put into question, and injustice, fascism and discrimination are part of our everyday reality. The power of the work The Devil lies precisely there, since it simultaneously presents a true historical document and a relevant critique of contemporary society through the use of historical material as a means of posing contemporary questions.6
Paris belongs to us! by Damir Radić is a three-part found footage film dedicated to Paris and the theme of violence, while the title refers to the eponymous New Wave work by Jacques Rivette. Through the use of less well-known frames from the legendary film Breathless by Jean-Luc Godard, the first part of this work paints a picture of a carefree Paris, while the ending infuses it with a dose of unease. The second part, The crime, brings in the central theme of violence (but also solidarity) by means of security-camera recordings of the terrorist attack on Paris. Finally, the third part, A question of guilt, uses television recordings of the attempted newspaper talk with the young man suspected of raping an adolescent to problematise the (im)possibility of a clearcut decision regarding the responsibility and guilt involved in criminal acts. With such an unresolved conclusion, the film ends, highlighting the limited possibilities of human knowledge and the world’s uncertainty.7
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In the works of Željko Kipke, the dedication to found footage and Hollywood looks beyond the usual media framework and steps away from the space of film/moving image and into the medium of painting. The works which are gathered to form part of the Unyielding Look into the Future series (eponymous video and series of paintings) refer to the Hollywood stars of the 1950s (John Wayne, Mary Castle, Nancy Olson…) and to the “dream factory” as a place of creating views into the future. The diagnostics determined by Kipke is remediation, translation of one medium by another, which comprises the remembrance of film and the pages of popular film magazines. In the scenes of this halted time, one senses the ghost-like presence of the static and moving image in search of the image of nostalgia as an image of double exposure, as it is referred to by Svetalan Boym.
As a complex and developed system of representation, the film questions the ways in which looking and the pleasure are structured (shaped by the dominant order). In her key work, Visual pleasure and narrative cinema Laura Mulvey discussed the relationships between viewer and object within the framework of the male’s dominating gaze as viewer and the woman as object in the film. We can recognise traces of Laura Muvey’s work echoing in the film collage Confessions with an Open Curtain by Eli Cortiñas. Developed as a series of fragments and scenes, the appropriation of the classic Hollywood film, the work explores frames which have as their central protagonist a female figure seen from behind. The images also position the curtain as specific ambiguous role – as a prop, part of film décor and stage setting, and as function in spatial delayering, unfolding symbolic meanings and atmosphere. While the work defines the role of the female character in the film, what marks the work is the gaze. There are various kinds: the look of the camera which is recording a specific event, the gaze of the audence, or that which is lacking in Confessions with an open Curtain – glances exchanged between the actors on the film screen, while the regimes of gaze and the possibilities of their variations, changes, accents and discourse frame an ideology of representation, which closely moves around the position of the subject and the object.
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Finally, it may be worth pointing out how found footage film also owes its popularity and accessibility to the specific relationship it has with its audience. By appropriating film elements as one of the key and widely disseminated forms of the popular culture or entertainment, the film fragments in a gallery influence, to a great extent, the moods of the public. It is the viewer which recognises the scenes of Hollywood and European films and, remembering its favourites, becomes impressed by the multitude of unfamiliar unknown film production or astounded by the intensity and authenticity of documentary material, the truthful record of the world and the debris of past events. This unstructured, uncatalogued, non-systematic, freely interpreted and subjective “archive” of the feature or documentary film, television or even of found anonymous film footage is presented and recontextualised through the work of artists. It directs us to the past – to memory, history and the relationship between film and remembrance, as a trace of nostalgic cinephilia – or reflects the gestures of emancipation.
1 Cut: Film as Found Object in Contemporary Video, ed. Stefano Basilico, Milwaukee Art Museum, 2004.2 Erika Balsom: Exhibiting Cinema in Contemporary Art, Amsterdam University Press, 20133 Branka Benčić: Cinemaniac 2002., exhibition catalogue, Pula, 2002.4 Nicholas Bourriaud: Post-production. Culture as a scenario: how art is reprogramming the word, Sternberg Press, 20055 Dragan Dimčić: Introduction to Found Fooatge Film, in: Alternative Film Video 2009, catalogue, AFC – DKSG, , Beograd, 2010.6 Chiara Puntil, review, The Devil; Cineuropa, http://shorts.cineuropa.org/sh.aspx?t=article&t2=news&did=2601817 Damir Radić, personal statement, from correspondence
ŽELJKO KIPKE: UNYIELDING LOOK INTO THE FUTURE, 2013, VIDEO STILLLjubaznošću umjetnika / Courtesy of the artist
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NIKA AUTOR: NEWSREEL 63 - THE TRAIN OF SHADOWS / FILMSKI ŽURNAL 63 -VLAK SJENA, 2017, VIDEO STILLLjubaznošću umjetnice / Courtesy of the artist
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Pronađene slike trebaju svjedočiti protiv sebe
Tanja Vrvilo
Što ostaje od postojećega filma i povijesnoga filmskog dispozitiva, njegovih osjetilnih, misaonih i strukturnih obličja nakon doba filma, u vremenu višemedijskih digitalnih slika koje odbacuje fizičku fakturu i aparaturu, remedijalizirajući artefakte i djelatni sustav zastarjeloga medija? Institucionalna filmska gesta i njezina tehnička slika, koju Vilém Flusser krajem filmskoga stoljeća dekodira iz perspektive (ne)posluha gledateljstva1, od prvih se otkrića formirala u sprezi s tehnološkim inovacijama: od uvođenja zvuka, boje, širokih ekrana, prijenosnih tehnika za sinkrono snimanja zvuka, lakših kamera, trodimenzionalnih atrakcija koje je kontrolirala industrijska kinematografija prevladavajući aktualne krize dominantnog filma. No ipak, u dijakroniji tehničkih slika digitalna mutacija i njezine tehnološke i stilističke inovacije nisu samo jedna od točaka periodizacije poput prijelaza s tintiranog i toniranog crno-bijeloga filma na film u boji nego, izlaskom filmova i gledatelja iz kina i zatvaranjem postojećih artefakata u njihove arhive i filmske muzeje, kreiraju dvostruki prekid duljega trajanja. Recentne studije o učinku arhiva, često prešućujući materijalnost artefakata, naslućuju novo stanje za korištenje i recepciju dostupne stoljetne povijesti filma svih rodova i formi stvarane na filmskoj vrpci, u kojem filmsko gradivo postaje središnja materijalna, fizička stvarnost – zbilja po filmu. Taj složeni obrat, iskupljenje zastarjele i već snimljene fizičke stvarnosti, mogli bismo
proglasiti i efektom svih postojećih filmova (u povijesnom smislu) u funkciji remedijaliziranih objekata u muzeju, efektom found footagea. Nije više u pitanju politika détournementa filmova koji su ukradeni društvu spektakla, izvlaštenja izvlastitelja – Debordovim riječima, nego kakvo se prisvajanje događa izmještanjem i naturalizacijom bilo kojega kino-filma u nefilmičnom dispozitivu. Ništa neće biti sačuvano od filma osim onog što će se moći preraditi, najavio je Serge Daney krajem filmskoga doba.2
Obljetničke proklamacije o smrti filma iz 1990-ih, kada su filmaši koji su desetljećima radili filmove za kino počeli sustavnije osmišljavati svoje radove za galerijske prostore i muzeje suvremene umjetnosti, često nastavljajući filmsku praksu found footagea, još su se mogle pripisati permanentnim diskursima modernističkih mitova o avangardi i dekadenciji. Tijekom filmskoga stoljeća mogu se izdvojiti mnoge avangardističke strategije osporavanja dominantnih odrednica filmskoga djelatnog sustava kao jedne od konstanti filmske povijesti koje dijele anti-institucionalani poticaj: od politika prisvajanja i dekonstrukcije postojećih filmova ili stvaranja filma bez kamere (umjesto snimanjem), različitih oblika proširenoga filma (umjesto kina pažnje i hipnoze), pa sve do postdramske i antifilmske poetike vizionarskoga filma čije se struje, pokreti i individualna majstorstva najčešće klasificiraju unutar eksperimentalnoga roda ili, u posebno radikalnim
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slučajevima, filmskih avangardi (umjesto institucionalnih modusa proizvodnje i prikazivanja igranoga i dokumentarnog filma). Dva vrhunca protuspektakla su bez-slikovni filmovi za kino, jedan od situacionističkih “neukradenih” filmova Guyja Deborda Urlici u slavu de Sadea (Hurlements en faveur de Sade, 1952.) i metrički strukturalni šok Petera Kubelke Arnulf Reiner (1960.) za estetički purizam filmskoga aparata bez protofilmske stvarnosti: mozaici crnih i bijelih blankova, svjetla i tame, zvuka / bijelih šumova i tišine u lažnom kretanju s prekidima i ponavljanjima. Film nije kretanje. Film je projekcija statičnih slika.3 – temelj je Kubelkine materijalističke pedagogije.
Poznate su glavne odrednice razvoja arhivskih i kompilacijskih metoda u dokumentarističkim i fikcijskim filmskim formama, kao i razmišljanja nad montažom atrakcija sovjetskoga revolucionarnog filma. Nekim filmovima su postojeće snimke osnovno izražajno i gradivno sredstvo koje podvrgava filmski materijal i njegove geste analitičkim operacijama te ponavlja i rekontekstualizira pronađene pukotine i diskontinuitete, na tragu razmišljanja Waltera Benjamina: Koncept citiranja podrazumijeva da se svaki povijesni predmet mora istrgnuti iz svog konteksta.4 Povijesna petlja ukradenoga filma počinje mitom o arhetipskom protudokumentarcu Francisa Doubliera, vjerojatno prvog sineaste koji je iskoristio
već snimljene materijale za lažni činjenični film. Doublier bi tako mogao biti i prvi poznati sineast koji je odlučio koristiti vlastiti arhiv za nove radove, a o tom filmskom afinitetu i ustrajnosti te filmske prakse svjedoče radovi suvremenih filmskih umjetnika koji dekonstruiraju i remedijaliziraju svoju analognu ostavštinu. Periodizacijski međaš je 1898. godina u carskoj Rusiji gdje je Doublier, jedan od slavnih snimatelja braće Lumière, predstavljao njihov kinematograf, stroj za snimanje, razvijanje i projiciranje filmova, s čijim je filmskim aktualitetima i atrakcijama započela povijest sovjetske kinematografije. Sam je Doublier prepričao anegdotu 1941. godine predavajući na Sveučilištu New York: “U to je doba afera Dreyfus izazivala veliko zanimanje, pa sam napravio malu priču koja mi je donijela dosta novaca. Sastavio sam snimak nekih vojnika, zatim bitke, snimku Palais de Justice i kadar visokog sijedog čovjeka te naslovio film L’Affaire Dreyfus.”5 Učinak istinitosti snimaka potvrđivao je izvanprizornim komentarima, kao pripovjedač-svjedok iz mraka projekcije, izvan okvira. Razotkrio ga je upućeni gledatelj koji je znao da afera nije mogla biti snimljena 1884. – godinu dana prije otkrića kinematografa. Na drugoj strani petlje je komična negacija izvlaštenja koju je pobudio uspjeh Projekta Vještica iz Blaira (The Blair Witch Project, Daniel Myrick, Eduardo Sánchez, 1999.): standardizacija found footage žanra u komercijalnom filmu strave,
s lažnim nađenim snimkama kao MacGuffinom i listama 100 najboljih FF horora ovoga desetljeća. Filmski povjesničar David Bordwell na svojoj web stranici kradljivcima pojma predlaže drugi naziv za motiv nađenih snimaka u fikcijskom filmu, film otkrivenih snimaka (discovered footage), uz poveznicu na knjigu Williama C. Weesa Recikliranje slike: umjetnost i politika found footage filmova kako bi se naziv za eksperimentalne struje manjinskoga filma vratio na svoje povijesno mjesto.6
Za čisti found footage filmašima ne treba kamera, njihove se politike temelje na doživljajnom efektu ukradenih filmova, procesima prisvajanja i samo-referencijalnom radu montaže, s montažom i protiv montaže, film je oduvijek težio samo jednome - montaži, to je bila stvar koju je čovjek XX. stoljeća toliko trebao (Daney). Neki found-footage filmovi, kao remek-djela prve i drugih povijesnih avangardi makar rubno pripadaju velikom narativu filmske povijesti, na primjer Rose Hobart (1936.), wanderlust film lutalačke žudnje i snoviđenja umjetnika kolaža i kutija asemblaža Josepha Cornella s prisvojenom glumicom pustolovnog B-filma Istočno od Bornea (East of Borneo, 1931.), vizionarski film kao siromašna umjetnost A Movie (1958.) Brucea Connera montiran iz više postojećih izvora, filmovi umjetnika distancirane montaže Artavazda Pelešjana s dijelom snimljenim materijalima, inventara
za povijest fantomskoga stoljeća destrukcije Yervanta Gianikiana i Angele Ricci Lucchi koji počinje od zemlje, od minimalnog, od detalja ili film-esej Hansa Richtera i esejistički pamtivijeci Chrisa Markera. Politike détournementa letrista i situacionista Guyja Deborda, Isidorea Issoua, Renéa Viéneta s filmovima ukradenim društvu spektakla imale su teorijsko uporište u njihovim manifestima i umjetničko-revolucionarnim praksama, kao u tekstovima Uputstvo za primjenu détournementa (Mode d’emploi du détournement, Debord i Gil J Wolman, 1956.) i Bilješka za korištenje ukradenih filmova (Note sur l’emploi des films volés, Debord, 1989.): “Ovi ukradeni fikcijski filmovi, strani mojim filmovima, ali u njih uključeni, primijenjeni su, bez obzira na izvorno značenje, kako bi reprezentirali negaciju ‘umjetničke negacije života’. Spektakl je protjerao stvarni život iza ekrana. Tražio sam ‘izvlaštenje izvlastitelja’.”7
U found footageu Kena Jacobsa Savršeni film (Perfect film, 1986.) montaža je zabranjena, pronađene snimke odbačenih televizijskih vijesti iz 1965. nakon atentata na Malcolma X svjedoče protiv sebe, Jacobsovim riječima: Mnogi filmovi su savršeni takvi kakvi jesu, savršeno su otkrivajući u svojoj nesvjesnoj ili polusvjesnoj formi. Tako i Hollis Frampton s heziodovskim Poslovima i danima (Works and Days, 1969.) ostavlja svoj nađeni filmski predmet (kupljen za jedan dolar) netaknutim. Taktilni, manualni cut-up na
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fotokemijskom materijalu, kopiranja i dekadriranja pomoću optičkoga printera, promjene formata, brzine i kretanja slika, boje, svjetla, teksture, zvuka neka su istraživanja materijalne infrastrukture recikliranoga filma, poput filma Tom, Tom, frulašev sin (Tom, Tom, the Piper’s Son, 1969.), Jacobsove dekompozicije i proširenja iluzije istoimenoga filma Billyja Bitzera iz 1905. godine. Treća generacija austrijskih filmskih avangardista od 1980-ih je intenzivno zaokupljena forenzičnim traganjem za esencijom prisvojenoga filmskog materijala, umjetničke strategije opusa Petera Tscherkasskyja, Gustava Deutscha, Martina Arnolda, Dietmara Brehma, Norberta Pfaffenbichlera simptomatologija su geste celuloidnoga found footagea.
Film esej je naziv za srodne dokumentarističke i fikcijske struje koje koristeći, dijelom ili u cijelosti, arhivski materijal, metode kompilacijskoga filma i teorije montaže razvijaju ideje, misli, koncepte. Siegfried Kracauer u Teoriji filma: iskupljenju fizičke stvarnosti (Theory of Film: The Redemption of Physical Reality, 1960.) filmove u kojima prevladava sklonost prikazivanju mentalne stvarnosti i konceptualnog promišljanja imenuje nefilmičnima. Deleuze u predavanju o filmovima Jean-Marie Strauba i Danièle Huillet postavlja pitanje: Što znači imati ideju u filmu? Nije riječ o konceptima, nego o blokovima kretanja-trajanja: Ako netko sastavlja blokove kretanja-trajanja, možda radi
film.8 Za Jean-Luca Godarda i Haruna Farockija to znači rad schnittstellea - supostavljanje i šivanje blokova kretanja-trajanja za montažnim stolom. Godardovim povijestima filma prethodili su njegovi lekcijski programi na Conservatoire d’art cinématographique u Montrealu 1978. godine, gdje je za blokove filmskih sažimanja koristio cijele filmove ili odabrane dijelove u uobičajenom konsekutivnom načinu prikazivanja i trajanja filmskoga aparata. Za paralelnu viziju različitih filmova koja se neće odvijati samo u gledateljskom sjećanju trebao mu je novi sustav i novo kompresijsko pismo – video, kojim će zahvatiti arheologiju filmskoga medija u misaonoj sinkroniji postojećih filmskih snimaka za svoje (Pri)povijesti filma [Histoire(s) du cinéma, 1988.-1998.].
Prošla dva desetljeća mnogostruki prijelazi nađenih slika potvrđuju pluralnost nefilmičnih situacija i iskustava. Možda smo prerano odustali od razlikovanja: Prebrzo smo naslijeđe ocijenili kao neopipljivo, možda ono što prelazi nije očito, pisao je Daney krajem 1980-ih, napominjući da je Godard o svojim filmovima emitiranim na televiziji govorio kao o reprodukcijama. Upravo je Daney mapirao obrise kino-demografije za materijalističku povijest filma koja tek treba biti napisana, prijelazom od filmova s velikim brojem ljudi u filmu i kinu do opstanka samo nekoliko ljudi u filmu i u kinu: “Kriza kinodvorane postaje neosporiva onoga dana kada
je dosegnuta granica: u dvorani je jednako malo gledatelja, kao i likova u filmu. Postoji efekt jeke u filmovima kao što je India Song: nije napravljen za televiziju nego za veliku, gotovo praznu dvoranu.”9 Filmovi za televiziju postojali su i prije televizije, a postojale su i instalacije za kino prije nego što je James Benning osmislio taj izraz za dispozitiv svojih posljednjih filmova pažnje snimljenih na 16-mm filmskoj vrpci, 2007. godine. Taj prekid datira početak beskrajnog izmještanja njegove politike estetike na modalitete prisvajanja tuđih radova i objekata. Njegov strukturalni krajolik i dalje povezuje filozofija matematike, ali obuhvaća desetljeće dekodiranja i prerade citirajućih gesta slikama, zvukovima i objektima u proširenim slikovnim, pejzažnim i izvedbenim formama. Benningova epska nefilmična gesta povezuje izmještene materijale, od gradnje replika koliba H. D. Thoreaua i T. Kaczynskija, slikanja kopija radova američkih autsajderskih slikara, šivanja duplikata quiltova ženskog kolektiva Gee Bend do remedijacije i prerade vlastitog analognog arhiva, dekonstrukcija i re-enactmenta drugih filmova i groznice youtubea, samo jedan projekt 52 Films (2018.) znači i 52 filma, found footage film tjedno. “Može se reći su svi (...) filmovi o krađi, riječi koju smo koristili 1950-ih, a onda je 1960-ih postala oslobađanje, 1970-ih prisvajanje, 1980-ih sempliranje, 1990-ih piratiziranje, a nakon 2007. za mene je digitaliziranje.” (James Benning)
Strukturirajući materijalističku filmsku povijest samim filmovima, Peter Kubelka i Gustav Deutsch odgovaraju na ontološko Bazinovo pitanje Što je film? Kubleka je koncipirao kustoski program od 63 prikazivačka bloka esencijalnoga avangardnog filma Was ist film? (1996.) za svoj treće kino Invisible Cinema10 (Austrijski filmski muzej / Österreichisches Filmmuseum), a Gustav Deutsch fenomenologiju found footagea s otvorenom točkom u zasad trinaest poglavlja Film ist. 1-6 (1998.) i 7-12 (2002.), a girl & a gun (2009.) koristeći postojeće snimke (arhivske i pronađene) na 35-mm filmskoj vrpci za dvostruko podrijetlo filma u znanstvenom laboratoriju i/ili varijeteu i studiju, Erosu i Tanatosu medija.11 Istodobno, Bazinovo pitanje zamijenjeno je kustoskim pitanjem (umjetnika kao kustosa i kustosa kao umjetnika) Gdje je film?, u konceptualnim trenjima dispozitiva koja dematerijaliziraju razlike onoga što imenujemo filmom. Danas se tekst Rolanda Barthesa Nakon izlaska iz kina (1975.)12 čini manifestnim za doživljaj filmskog aparata. Povijest filmskih i digitalnih datoteka ujednačio je nebeski multipleks, ali što čini filmski muzej uistinu filmskim muzejom u vremenu rastjelovljenog i razdijeljenog filmskog iskustva?13 Još uvijek smo suočeni s obiljem slika i istodobnosti vizualnih iskustava koje, iako dolaze iz suvremenosti, svjedoče o paralelnim vremenima. Kakva je ta treća slika filma, nakon stoljeća filmskih slika koje je Gilles Deleuze povezao diptihom blokova: slika-
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kretanje i slika-vrijeme? Obilježena je zaustavljenom slikom (Deleuzeu bi trebao čitav treći dio za zamrznutu sliku, pisao je Daney uoči digitalnog doba) i izlaskom iz kina. Neki je imenuju neuro-slika, slika-mozak, a za Raymonda Belloura, jednog od najsustavnijih mislioca slika prijelaza i singularnosti filmskog dispozitiva, estetiku konfuzije međuslika drugog filma treba promatrati u prijeporu dispozitiva, pritom držeći film na oku. Prijepori dispozitiva (Film – instalacije, izložbe)14 naslov je njegove iscrpne zbirke eseja o filmološkim mutacijama u kojoj usustavljuje neke simptome drugog vizionarskog filma.
Slike trebaju svjedočiti protiv sebe, naslov je eseja Haruna Farockija o radu s postojećim snimkama iz koncentracijskih logora koje svjedoče o onima koje nedostaju. Misao sažima njegove politike slika od prvoga intervencijskog filma Neugasiva vatra (Nicht löschbares Feuer, 1969.) do epskih found footagea o ljudskom stanju, radu, proizvođenju, djelovanju.15 Njegova treća slika događa se u međuprostorima, filmaši analognih slika rekli bi na mjestu reza, u zaljepcima, za montažnim stolom ispred i između dviju slika. Dva Farockijeva rada iz prijelomne 1995. godine paradigmatična su slika-protuslika filma i muzeja, Izlazak radnika iz tvornice (Arbeiter verlassen die Fabrik) i Sučelje (Schnittstelle). Naslov braće Lumière je ujedno i prvi pojam u Farockijevom imaginarnom arhivu vizualnih koncepata, a slijede ga Ekspresije ruku (Der Ausdruck
der Hände, 1996.) i Zatvorske slike (Gefängnisbilder, 2001.). Prva kamera u povijesti filma bila je usmjerena prema tvornici, podsjeća nas Farocki svojom arheologijom medija na izlasku, kao i proširenom verzijom za dvanaest ekrana Izlazak radnika iz tvornice u jedanaest dekada (Arbeiter verlassen die Fabrik in elf Jahrzehnten, 2006.). Diptih Sučelje, prvi Farockijev rad za muzeje suvremene umjetnosti16, bavi se osobnom poviješću mekanog prelaska. Mekana montaža, montaža na udaljenosti, uputstva su za politike rada s nasljedstvom slika i ponavljanja njihovih motiva i gestusa: od arhetipskog događajnog filma braće Lumière, preko otkrivenih snimaka pred kojima se zatvaraju oči, kolektivnih videograma revolucije i nadzornih zatvorskih snimaka do radikalnog dekodiranja ratnih i kompjutorskih igara. Harun Farocki nas podsjeća na brehtijansku teoriju montaže Pelešjana, njegovu teoriju distance, montaže na udaljenosti koja usložnjava misaone i afektivne spone razdvajanja odgađajući i pojačavajući njihov efekt u vrtlogu spirale do najudaljenijeg, gdje su naši prostorno-vremenski zakoni beskorisni. Kinogledatelj ulaskom na izložbu pronađenog filma, zaustavljajući se između višekanalnih pokretnih slika, postaje pronađeni promatrač na mjestu reza i ulazi u spiralu udaljenog rakorda s radnim motrištem filmskog umjetnika i mislioca.
1 Vilém Flusser, Into the Universe of Technical Images (Ins Universum der technischen Bilder, 1985.), University of Minnesota Press, Electronic Mediations, 2011. i Gestures (Gesten: Versuch einer Phänomenologie, Bollmann Verlag, 1991./1993.), University of Minnesota Press, Electronic Mediations, 2014.2 Serge Daney, Journal de l’an passé, Trafic 1, P.O.L. 1991.3 Jonas Mekas, Interview with Peter Kubelka, Film Culture, An Anthology, ur. P. Adams Sitney. London, 1971. i Film Unframed: A History of Austrian Avant-Garde Cinema, ur. Peter Tscherkassky, sixpackfilm, Filmmuseum Synema Publikationen, Vienna, 2012.4 Walter Benjamin, N [Theoretics of Knowledge: Theory of Progress], The Philosophical Forum XV, 1-2, 1983.-1984.5 Francis Doublier, Reminiscences of an Early Motion-Picture Operator, u Marhsall Deutelbaum (ur.), ‘Image’ on the Art and Evolution of Film: Photographs and Articles from the Magazine of the International Museum of Photography (Dover Publications, New York 1979.), str. 23 (tekst predavanja iz 1949. izvorno u časopisu Image, sv. 5, br. 6, 1956.).6 William C. Wees, Recycled Images: The Art and Politics of Found Footage Films, Anthology Film Archive, NY, 1993. http://www.davidbordwell.net/blog/2012/11/13/return-to-paranormalcy/ 7 Guy Debord, In girum imus nocte et consumimur igni, Éditions Galimard, 1999., str. 65-67.8 Gilles Deleuze, Having an Idea in Cinema, transkript Deleuzevog predavanja 1987. na filmskoj školi FEMIS iz Deleuze & Guattari: New Mappings in Politics, Philosophy, and Culture (ur. E. Kaufman i K.J. Heller), University of Minnesota Press, 1998. 9 Serge Daney, Pour une Ciné-démographie (Devant la Recrudescence des vols de sacs à main, cinéma, télévision, information, 1988-1991, Aléas Editeur, 1991.10 Peter Kubelka o izvornom Nevidljivom kinu, stroju za gledanje filma blokiranog pogleda: “Imenovao sam taj koncept Invisible cinema kako bih naglasio činjenicu da se idealno kino ne smije ni u kojem smislu osjetiti, ne smije voditi svoj život, praktički ne smije niti postojati. Kino koje je bilo sagrađeno za Anthology Film Archives bilo je relativno male veličine, sa sjedalima za manje od 100 ljudi. Stropovi, zidovi i sjedala bili su presvučeni crnim plišem; pod je bio prekriven crnim tepisonom. Vrata i sve ostalo bilo je obojeno crno. U cijeloj sobi samo ekran nije bilo posve crn.”, u: Sky Sitney, The Search for the Invisible Cinema, Clayton Patterson, Captured: a film/video history of the lower east side, Seven Stories Press, 2005., str. 559-564. The Essential Cinema, ur. i P. Adams Sitney, Anthology Film Arhives and NYU Press, NY 1975.11 Gustav Deutsch, Film je. (Film ist.) 1-6 (1998.): 1. Kretanje i vrijeme (Bewegung und Zeit), 2. Svjetlo i tama (Licht und Dunkelheit), 3. Instrument (Ein Instrument), 4. Materijal (Material), 5. Treptaj oka (Ein Augenblick), 6. Zrcalo (Ein Spiegel); 7-12 (2002.): 7. Komično (Komisch), 8. Magija (Magie), 9. Osvajanje
(Eroberung), 10. Pisanje i govor (Schrift und Sprache), 11. Osjećaji i strasti (Gefühl und Leidenschaft), 12. Pamćenje i dokument (Erinnerung und Dokument); a girl & a gun (2009.)12 Roland Barthes, En sortant du cinéma, u: Communications, 23, 1975. Psychanalyse et cinéma, ur. Raymond Bellour, Thierry Kuntzel i Christian Metz, On Leaving the Movie Theatre, u: Apparatus. Cinematic Apparatus: Selected Writings, ur. Theresa Hak Kyung Cha, Tanam Press, NY 1981.13 Kristin Thompson The Celestial Multiplex, u: Film Curatorship. Archives, Museums, and the Digital Marketplace, ur. Paolo Cherchi Usai, David Francis, Alexander Horwath, Michael Loebenstein, Filmmuseum Synema Publikationen, Vienna, 2008.14 Raymond Bellour, La Querelle des dispositifs, Cinéma - installations, expositions, P.O.L. éditeur 2012. i Between-the-Images, JRP, Ringier Kunstverlag AG & Les Presses du réel, 2012.15 Harun Farocki, Die Bilder sollen gegen sich selbst aussagen / The Images Should Testify Against Themselves, 2007. u: Harun Farocki, Another Kind of Empathy (ur. Antje Ehmann i Carles Guerra), Fundación Antoni Tàpies, Barcelona, 2016. Izvorno: Auszug aus dem Lager. Zur Überwindung des modernen Raumparadigmas in der politischen Philosophie, ur. Ludger Schwarte, Akademie der Künste, Berlin, 2007.16 Farockijeva prva dvokanalna video instalacija Sučelje nastala je na poziv Muzeja moderne umjetnosti iz Lillea (Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut (LaM), ranije: Musée d’Art moderne de Villeneuve-d’Ascq) da napravi video “o svojem radu” za izložbu Svijet fotografije, (Le monde après la photographie), 1995. Izvorni naslov Schnittstelle je igra riječi koja koristi dvostruko značenje riječi “Schnitt”: šnit koji Farocki montira za montažnim stolom i sučelje čovjek-stroj.
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Found images should testify against themselves
Tanja Vrvilo
What remains of the existing film and the historical cinematic dispositif, its sensory, cognitive and structural features after the age of film, in the time of digital multi-media that rejects physical facture and apparatus, remedializing the artefacts and the working system of an outdated medium? The institutional film gesture and its technical image, decoded by Vilém Flusser at the end of the film century from the perspective of the (dis)obedience of the spectatorship1, was formed in conjunction with the technological innovations ever since the first discoveries: from the introduction of sound, colour, wide screens, mobile techniques for the sinchronous recording of sound, lighter cameras, threedimensional attractions controlled by the film industry overcoming the actual crises of dominant cinema. Still, in the diachrony of technical images, digital mutation and its technological and stylistic innovations are not just one of the points of periodization like the transition from the tinted and toned black and white film to the colour film but, with the films and spectators exiting the movie theaters and the existing artefacts being closed in their archives and film museums, they create a double interruption of a longer duration. Recent studies on the archive effect often remain silent on the materiality of artefacts and anticipate a new state for the usage and reception of the available centennial history of film of all genres and forms created on film tape, in which archival records become the central material and physical reality – real according to film. This complex turn, the redemption of outdated, already filmed physical
reality, might be defined as the effect of all existing films (in a historical sense) in the function of remedialized objects in a museum, the found footage effect. It is not about the politics of détournement of films that were stolen from the society of the spectacle, the expropriation of the expropriators – in Debord’s words, but about the kind of appropriation happening with the displacement and naturalization of any cinema-film in an uncinematic dispositif. Nothing will be saved of film except that which can be remade, said Serge Daney at the end of the film era.2
The anniversary proclamations on the death of film in the 1990s, when filmmakers who had been making films for movie theatres for decades started creating works for galleries and contemporary art museums more systematically, often continuing the film practice of found footage, could still be ascribed to permanent discourses of modernist myths about avant-garde and decadence. During the film century, one can single out many avantgardistic strategies of contestation of the dominant determinants of the cinematic working system as one of the constants of film history sharing an anti-institutional impulse: from the politics of appropriation and deconstruction of existing films or the creation of film without a camera (instead of filming), different forms of expanded cinema (instead of the cinema of attention and hypnosis), to the postdramatic and antifilmic poetics of visionary film whose streams, movements and individual masteries are mostly classified within
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the experimental or, in especially radical cases, the film avant-gardes (instead of the institutional modes of production and representation of feature and documentary film). The two essentials of the counterspectacle are the imageless films for the cinema, one of the situational “unstolen” films by Guy Debord, Howlings in favour of de Sade (Hurlements en faveur de Sade, 1952), and the metric structural shock of Peter Kubelka Arnulf Reiner (1960), for the aesthetic purism of the film apparatus without proto-filmic reality: mosaics of black and white blanks, light and darkness, sound/white noise and silence in false movement with repetitions and stoppages. “Cinema is not movement. Cinema is projection of stills.”3 – the foundation is of Kubelka’s materialist pedagogy.
The main determinants of the development of archival and compilation methods in documentarist and fictional film forms are known, along with the reflections over the montage of attractions of Soviet revolutionary film. To some films the existing footage is the basic material of expression and creation, subjecting filmic inscription and its gestures to analytical operations and repeating and recontextualizing the found interstices and discontinuities, on the trail of Walter Benjamin’s thought: “The concept of quotation implies that any given historical object must be ripped out of its context.”4 The historical loop of stolen films starts with a myth on the archetypal proto-documentary by Francis Doublier, perhaps the first cineaste who used already filmed footage
for the fake factual film. Doublier might thus be the first known filmmaker who decided to use his own archive for new works, but the works of contemporary film artists deconstructing and remedializing their analogue heritage testify of the medium’s persistance and affinity for this artistic practice. The year 1898 marks a point of periodization with Doublier, one of the famous cameramen of the Lumière brothers, introducing their cinematographe, a machine for the filming, printing and projecting films, in imperial Russia where their cinema of actualities and attraction initiated the history of Soviet cinema. Doublier himself retold the anecdote in 1941 during a lecture at New York University: “The Dreyfus affair was still a source of great interest in those days, and out of it I worked up a little film-story which made me quite a bit of money. Piecing together a shot of some soldiers, one of a battleship, one of the Palais de Justice, and one of a tall gray-haired man, I called it L’affaire Dreyfus.”5 The effect of authenticity of the footage was reinforsed with his off-screen commentary, as a narrator-witness from the darkness of the projection, outside of the frame. He was exposed by a well-informed spectator who knew the affair could not have been filmed in 1884 – a year before the invention of the cinematographe. On the other side of the loop is the comical negation of expropriation initiated by the success of the film The Blair Witch Project (Daniel Myrick, Eduardo Sánchez, 1999): the standardization of the found footage genre in commercial horror films, with fake found footage
as MacGuffin and the lists of the 100 best FF horror films of the decade. The film historian David Bordwell on his web page proposes to concept-snatchers the other name for the found footage motif in fictional movies, the discovered footage films, with a link to the book by William C. Wees Recycled Images: The Art and Politics of Found Footage Films, in order to make the name for experimental streams of minoritarian cinema return to its historical place.6
For the pure found footage films filmmakers do not need a camera, their politics are based on the experience effect of stolen films, the processes of appropriation and self-referential work of montage, with montage and against montage, the cinema has always sought only one thing - montage - something twentieth-century man has desperately needed. (Daney) Some found-footage films, like masterpieces of the first and the following historical avant-gardes belong, even if marginally, to the major narrative of film history, for example Rose Hobart (1936), a film of wanderlust and the dream visions of the artist of collage and assemblage boxes Joseph Cornell with the appropriated actress of the adventure B-film East of Borneo (1931), the visionary film as a “poor art” A Movie (1958) by Bruce Conner, edited from various existing sources, the films of the distanced montage artist Artavazd Pelešjan with partially filmed materials, the inventory for the history of the phantom century of destruction by Yervant Gianikian and Angela Ricci Lucchi beginning from the ground, from the minimal, from the
detail or the film-essays by Hans Richter and the essayist immemories of Chris Marker. The politics of détournement of the Lettrists and Situationists Guy Debord, Isidore Issou, René Viénet with films stolen from the society of spectacle had a theoretical foothold in their manifestos and artistic-revolutionary praxes, as in the texts Instructions for the use of détournement (Mode d’emploi du détournement, Guy Debord and Gil J Wolman, 1956) and Note on the use of stolen films (Note sur l’emploi des films volés, Debord, 1989): “These stolen fiction films, external to my film but brought into it, are used, whatever their original meanings, to represent the negation of the ‘artistic negation of life.’ The spectacle has deported real life behind the screen. I have claimed to ‘expropriate the expropriators’”.7
In Ken Jacobs’ found footage Perfect Film (1986) editing was forbidden, the found reels of TV newscast discard 1965, just after Malcolm X’s assassination testify against itself, in Jacobs’ words: Many films are perfect as they are, perfectly revealing in their un- or semi-conscious form. Similarly, Hollis Frampton and his Hesiodic Works and Days (1969) leaves his found film object (bought for one dollar) intact. The tactile, manual cut-up on the photochemical material, copying and deframings using an optical printer, changes of format, speed and movement of the images, colour, light, texture, sound are some researches into the material infrastructure of recycled films, like Tom, Tom, the Piper’s Son (1969),
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Jacobs’ decomposition and the expanse of the illusion of the homonymous film by Billy Bitzer from 1905. The third generation of Austrian film avant-gardists from the 1980s was intensely engaged in forensic search of the essence of appropriated film material, the artistic strategies of the oeuvre of Peter Tscherkassky, Gustav Deutsch, Martin Arnold, Dietmar Brehm, Norbert Pfaffenbichler are a symptomatology of the gesture of celluloid found footage.
Film essay is the term used for related documentarist and fictional streams which develop ideas, thoughts and concepts through the usage, partial or complete, of archival footage and methods of compilation film and theory of montage. In his Theory of Film: The Redemption of Physical Reality (1960) Siegfried Kracauer defines films with affinity for prevailing mental reality and conceptual reasoning as uncinematic. Gilles Deleuze in the lecture on Jean-Marie Straub’s and Danièle Huillet’s films, poses the following question: What is having an idea in cinema? It is not about concepts but blocks of movements/duration: If one put together a block of movements/duration, perhaps one does cinema.8. For Jean-Luc Godard and Harun Farocki it is the work of schnittstelle - of juxtapositioning and suturing blocks of movement/duration at the editing table. Godard’s film histories were preceded by his lecture-programmes at Conservatoire d’art cinématographique in Montreal in 1978, where he confronted blocks of filmic compressions using whole films or chosen parts for the usual consecutive
way of presentation and duration of the film apparatus. For the parallel vision of different films that will not take place only in the memory of the viewer, he needed a new system and a new compression writing - video, to enfold the archaeology of film medium in thoughtful synchrony of the existing film fragments for his Histoire(s) du cinéma (1988-1998).
In the past two decades the multiplied passages of found images repeatedly confirm a plurality of uncinematic situations and experiences. Perhaps we have abandoned differentiation too early. We have pronounced heritage as intangible too soon, perhaps what is passing is not obvious, wrote Daney at the end of the 1980s, pointing out how Godard spoke of his films shown on television as reproductions. It was Daney who mapped the outlines of cine-demography for the materialist history of film that has yet to be written, the passage from films with a large number of people in film and cinema to the survival of only a couple of people in film and cinema, “The crisis of movie theatres becomes incontestable the day a limit is reached: as few people in the theatre as there are characters in the film. There’s an echo effect in a film like India Song: it isn’t made for television, it’s made for a large and almost empty movie theatre.”9 Films for television existed before television itself and there were also installations for the cinema before James Benning gave that name for the cinematic dispositif of his last films of attention made on 16-mm film tape, in 2007. This interruption
marks the beginning of the infinite displacement of his politics of aesthetics on the modalities of appropriation of the pre-existing artworks and objects. His structural landscape is still held together by the philosophy of mathematics but it encompasses a decade of decoding and re-making gestures quotable with images, sounds and objects in expanded visual, land art and performative forms. Benning’s epic uncinematic gesture connects displaced materials from the construction of replicas of H.D. Thoreau’s and T. Kaczynski’s cabins, the painting of copies of the works of American outsider artists, the suturing of duplicates of the Gee’s Bend’s quilts, to the remediation and remaking of his own analogue archive, the deconstruction and re-enactment of other films and the fever of Youtube, only one project 52 Films (2018) means 52 films, a found footage film a week. “You can simply say that all (…) of the films are about stealing, a word we use in the 1950’s, then in the 60’s it became liberating, and in the 70’s appropriating, in the 80’s sampling, 90’s pirating, and since 2007 for me it’s been digitizing.” (James Benning).
Peter Kubelka and Gustav Deutsch, by structuring the materialist film history with the other films, respond to Bazin’s ontological question What is cinema? Kubelka conceived a curatorial programme out of 63 projection block of the essential film avant-garde, entitled Was ist film? (1996) for his third Invisible Cinema10 (Austrian Film Museum) and Gustav Deutsch created the phenomenology of found footage in
thirteen chapters with an open point, Film is. (Film ist.) [1-6 (1998) and 7-12 (2002), a girl & a gun (2009)] using existing footage (archival and found) on 35-mm for the double origin of film in a scientific laboratory and/or music hall and studio, Eros and Thanatos of the medium.11 At the same time, Bazin’s question merged with the curatorial search (of the artist as curator and curator as artist) Where is cinema?, in the conceptual frictions of dispositifs dematerializing the differences of what we call film. Today, Roland Barthes’ text On Leaving the Movie Theatre (1975)12 seems manifest for the experience of the cinematic apparatus. The history of film and digital data has been assimilated by the celestial multiplex, but what is it that makes the film museum truly a film museum in times of a disembodied and divided film experience?13 We are still facing a myriad of images and a simultaneity of visual experiences that, though contemporary, testify of parallel times. What is this third image of cinema, after a century of cinematic images connected by Gilles Deleuze in a diptych blocks of the movement-image and the time-image? It is marked by a stopped, still image (Deleuze would need a whole third part for a freeze-frame, wrote Daney shortly before the digital age) and the exit from the cinema. Some name it the neuro-image, the image-brain, and for Raymond Bellour, one of the most systematic thinkers of the passages of images and the singularity of the film dispositif, the aesthetics of confusion and between-images of the other cinema have to be observed in the quarrel
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of the dispositifs, keeping an eye on film. The Quarrel of the Dispositifs (Cinema - Installations, Exhibitions)14 is the title of his extensive collection of essays on cinematic mutations in which he systematizes some symptoms of the other visionary cinema.
The images should testify against themselves is the title of Harun Farocki’s essay on working with existing footage from concentration camps testifying of those that are missing. The thought summarizes his politics of image from the first interventional film Inextinguishable Fire (Nicht löschbares Feuer, 1969) to the epic found footages on the human condition, labour, work and action.15 His third image happens in interstices, analogue filmmakers would say in the cut, in the splices, at the editing table before and between two images. Two Farocki’s works from the groundbreaking 1995 are a paradigmatic image/counter-image of cinema and museum Workers Leaving the Factory (Arbeiter verlassen die Fabrik) and Interface (Schnittstelle). The Lumière brothers’ title is also the first entry in Farocki’s imaginary archive of visual concepts, followed by The Expression of Hands (Der Ausdruck der Hände, 1996) and Prison Images (Gefängnisbilder, 2001). The first camera in the history of film was pointed at a factory as Farocki reminds us with his archaeology of the media on exit, as well as with the expanded version for twelve screens Workers Leaving the Factory in Eleven Decades (Arbeiter verlassen die Fabrik in elf Jahrzehnten, 2006). The diptych
Interface, the first Farocki’s work for the museums of contemporary art16, deals with the personal history of the soft passage. Soft montage, montage at a distance, are directions for politics of work with the heritage of images and reusing of their motifs and gestus: from the archetypal cinematic event by the Lumière brothers, to the revealed images before which eyes are shut, collective videograms of revolution and prison surveillance footage to the radical decoding of war and computer games. Harun Farocki reminds us of the Brechtian montage theory of Pelešjan, his distance theory, montage at a distance, interrelating thinking and affective disjoints and postponing and amplifying their effect in a whirling spiral to the outermost, where our notions of time and space are useless. Cinema spectator entering the found footage exhibition and stopping between the multi-channel moving images, becomes a found viewer in the place of the cut who enters the spiral of the distant raccord with the working viewpoint of a film artist and thinker.
1 Vilém Flusser, Into the Universe of Technical Images (Ins Universum der technischen Bilder, 1985), University of Minnesota Press, Electronic Mediations, 2011 and Gestures (Gesten: Versuch einer Phänomenologie, Bollmann Verlag, 1991/1993), University of Minnesota Press, Electronic Mediations, 2014.2 Serge Daney, Journal de l’an passé, Trafic 1, P.O.L. 1991.3 Jonas Mekas, “Interview with Peter Kubelka”, Film Culture, An Anthology, ed. P. Adams Sitney. London: 1971 and Film Unframed. A History of Austrian Avant-Garde Cinema, ed. Peter Tscherkassky, sixpackfilm, Filmmuseum Synema Publikationen, Vienna: 2012.
remembering and document; a girl & a gun (2009.)12 Roland Barthes, En sortant du cinéma, in Communications, 23, 1975. Psychanalyse et cinéma, ed. Raymond Bellour, Thierry Kuntzel and Christian Metz. On Leaving the Movie Theatre, in Apparatus. Cinematic Apparatus: Selected Writings, ed. Theresa Hak Kyung Cha, Tanam Press, NY: 1981.13 Kristin Thompson, The Celestial Multiplex, in Film Curatorship. Archives, Museums, and the Digital Marketplace, ed. Paolo Cherchi Usai, David Francis, Alexander Horwath, Michael Loebenstein, Filmmuseum Synema Publikationen, Vienna: 2008.14 Raymond Bellour, La Querelle des dispositifs, Cinéma - installations, expositions, P.O.L. éditeur: 2012 and Between-the-Images, JRP, Ringier Kunstverlag AG & Les Presses du réel: 2012.15 Harun Farocki, Die Bilder sollen gegen sich selbst aussagen / The Images Should Testify Against Themselves, 2007 in Harun Farocki, Another Kind of Empathy (ed. Antje Ehmann and Carles Guerra), Fundación Antoni Tàpies, Barcelona: 2016 Original: Auszug aus dem Lager. Zur Überwindung des modernen Raumparadigmas in der politischen Philosophie, ur. Ludger Schwarte, Berlin: Akademie der Künste, 2007)16 Farocki’s first two channel video installation Interface was created after the invitation from the The Lille Métropole Museum of Modern, Contemporary and Outsider Art (formerly known as Villeneuve d’Ascq Museum of Modern Art) to make a video “on his work” for the exhibition The World of Photography, 1995. The original title Schnittstelle is a wordplay using the double meaning of the word “Schnitt”: cut edited by Farocki at the editing table and the human-machine interface.
5 Francis Doublier, ‘Reminiscences of an Early Motion-Picture Operator’ u Marhsall Deutelbaum (ur.), ‘Image’ on the Art and Evolution of Film: Photographs and Articles from the Magazine of the International Museum of Photography (New York: Dover Publications, 1979), p. 23 (text of the 1949 lecture originally in the magazine Image, vol. 5, no. 6, 1956)6 William C. Wees, Recycled Images: The Art and Politics of Found Footage Films, Anthology Film Archive, NY, 1993. http://www.davidbordwell.net/blog/2012/11/13/return-to-paranormalcy/ 7 Guy Debord, In girum imus nocte et consumimur igni, Éditions Galimard, 1999, pp. 65-67.8 Gilles Deleuze, Having an Idea in Cinema, transcript of Deleuze’s lecture in 1987 at the film school FEMIS from “Deleuze & Guattari: New Mappings in Politics, Philosophy, and Culture” (ed. E. Kaufman and K.J. Heller), University of Minnesota Press: 1998. 9 Serge Daney, Pour une Ciné-démographie (Devant la Recrudescence des vols de sacs à main, cinéma, télévision, information, 1988-1991, Aléas Editeur: 1991.10 Peter Kubelka on the original Invisible cinema, a machine for film viewing with seat hoods for the blocked vision “I gave this concept of cinema the name Invisible Cinema to underline the fact that an ideal cinema should not be at all felt, should not lead its own life, it should practically not be there. The cinema was built for Anthology Film Archive, was comparatively small in size, seating less than 100 people. Ceiling, walls, seats were all covered with black velvet; the floor was covered with black carpeting. Doors and everything else were painted black. In the whole room, only the screen itself was not completely black.”, in Sky Sitney, “The Search for the Invisible Cinema”, Clayton Patterson, captured: a film/video history of the lower east side, Seven Stories Press: 2005, pp. 559.-564. The Essential Cinema, ed. P. Adams Sitney. Anthology Film Arhives and NYU Press, NY 197511 Gustav Deutsch, Film is. 1-6 (1998): 1. Movement and Time, 2. Light and Darkness, 3. An Instrument, 4. Material, 5. The Blink of an Eye , 6. A Mirror; 7-12 (2002.): 7. comic, 8. magic, 9. conquest, 10. writing and language, 11. emotions and passions, 12.
4 Walter Benjamin,“N[Theoretics of Knowledge: Theory of Progress]”, The Philosophical Forum XV, 1-2: 1983-1984.
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HARUN FAROCKI: SCHNITTSTELLE / INTERFACE / SUČELJE, 1995, VIDEO STILL / Ljubaznošću / Courtesy of: Harun Farocki
GbR – Antje Ehmann, Anna Faroqhi, Lara Faroqhi
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RADOVI NA IZLOŽBI / EXHIBITED WORKS
Nika Autor: Newsreel 63 - The Train of shadows / Filmski žurnal 63 - Vlak sjena video, 39 min, 2017 Ljubaznošću umjetnice / Courtesy of the artist
Eli Cortiñas: Confessions with an open curtainjednokanalni video / single channel video, 5:30 min, 2011Ljubaznošću umjetnice / courtesy the artist and/i Waldburger Wouters, Brussels; Soy Capitán, Berlin
Harun Farocki: Schnittstelle / Interface / Sučeljedvokanalna video instalacija / double channel video installationvideo, 23 min, 1995Ljubaznošću / Courtesy of: Harun Farocki GbR – Antje Ehmann, Anna Faroqhi, Lara Faroqhi
Harun Farocki: Arbeiter verlassen die Fabrik / Workers leaving the factory / Izlazak radnika iz tvornicevideo, 36 min, 1995Ljubaznošću / Courtesy of: Harun Farocki GbR – Antje Ehmann, Anna Faroqhi, Lara Faroqhi
Željko Kipke: Unyielding Look into the Futureulje na platnu / oil on canvas, 2013Ljubaznošću umjetnika / Courtesy of the artist
Željko Kipke: Unyielding Look into the Futurevideo, 2013Ljubaznošću umjetnika / Courtesy of the artist
Jean-Gabriel Périot: The Devilvideo, 7:50 min, 2012Ljubaznošću umjetnika i Local-films / Courtesy of the artist and Local films
Damir Radić: Paris pripada nama! / Paris belongs to us!video, 5:08 min, 2016Ljubaznošću umjetnika / Courtesy of the artist
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Biografije...Biographies
Nika Autor suvremena je slovenska vizualna umjetnica. Završila je Akademiju likovnih umjetnosti u Ljubljani i doktorski studij na Akademiji likovnih umjetnosti u Beču. Radove realizira u mediju eksperimentalnog videa i dokumentarnog filma, filmskih eseja, newsreela, te filmskih i video instalacija. Njezin je rad usmjeren na istraživanje nevidljivog i nečujnog, te na ispitivanje proizvodnje dominantnih reprezentacija i njihovih značenja u okviru današnjih društvenih, političkih i ekonomskih okolnosti. Dio je kolektiva Obzoriška fronta. Izlagala je na brojnim izložbama i festivalima, među kojima se ističu Film d’actualites- l’actu est a nous /Jeu de Paume, Pariz; Between Worlds II, Galerija Miroslav Kraljević, Zagreb; U3, 7. trijenale suvremene umjetnosti, Ljubljana; Shifts in Time: Performing the Chronic, Mumok, Beč; Alternative film/video, Festival novog filma i videa, Beograd.Predstavljala je Sloveniju na 57. bijenalu u Veneciji (2017), a film Newsreel 63 nagrađen je na IFFR Međunarodnom filmskom festivalu u Rotterdamu (2018).Nika Autor finished her studies at the Academy of Fine Arts in Ljubljana (BA and MA) and finished her PhD in Practice at Academy of Fine Arts Vienna. Her practice is primarily based on experimental videos and documentary films, film essays, newsreels and spatial video and film installations. The focus of her work is a research of the invisibilities/ inaudibilities dealing with concealed topics of the forgotten past and the silenced present. Her work focuses on the production of particular images, specific constructions of collective memory as well as on personal/oral narratives and examines asylum and migration policies, workers rights and politics of memory. She is part of the collective Newsreel Front (Obzorniška Fronta), an informal collective of workers coming from the field of film theory and art practice.
Eli Cortiñas, rođena 1979. u Las Palmasu (Kanarski otoci, Španjolsa), živi i radi u Berlinu. Njen se rad kreće oko istraživanja filmske memorije kroz analizu i ponovnu montažu već postojećeg materijala, metode “montaže kao pisanja”. Eli Cortiñas je studirala na Akademiji medijskih umjetnosti u Koelnu, te na Europskoj filmskoj školi u Ebeltoftu u Danskoj. Odabrane samostalne izložbe uključuju Always bite the hand that feeds you, Convent Space for Contemporary Art, Ghent (2017), Five Easy Pieces and Some Words of Wisdom, Soy Capitán, Berlin (2015), Kunstraum Innsbruck (2012). Sudjelovala je i u brojnim grupnim izložbama kao što su Film Footage Fotografie. Bildnerische Augenblicke mit filmischen Bezügen, Museum for Photographie Braunschweig (2017), Double Feature, Schirn Kunsthalle, Frankfurt (2017), Les Rencontres Internationales u Centru Pompidou, Pariz (2011). Eli Cortiñas je nagrađena brojnim stipendijama.Eli Cortinas, born 1979 in Las Palmas de Gran Canaria, Spain, lives and works in Berlin. Her practice revolves around the idea of challenging cinematic memory through analysing and re-editing pre-existing footage.This method of “editing as writing” generates a mixed feeling of both identification and alienation. In her videos, as well as in her collages and objects, Eli Cortiñas creates an ambiguous and affirmative transparency – unveiling the role plays of a generation vaunted in the media as “lost”. Eli Cortiñas studied at the Academy of Media Arts Cologne and at the European Film College Ebeltoft, Denmark. Selected solo exhibitions include Always bite the hand that feeds you at Convent Space for Contemporary Art, Ghent (2017), Five Easy Pieces and Some Words of Wisdom at Soy Capitán, Berlin (2015), Kunstraum Innsbruck (2012). Her work was part of several group exhibitions, such as Film Footage Fotografie. Bildnerische Augenblicke mit filmischen Bezügen, Museum for Photographie Braunschweig (2017), Double Feature,
Schirn Kunsthalle, Frankfurt (2017), Les Rencontres Internationales at Centre Pompidou, Paris (2011). Eli Cortiñas has been awarded with grants and fellowships.
Željko Kipke (Čakovec, 1953), slikar, pisac, povremeno djeluje u području filma. Diplomirao je slikarstvo na ALU u Zagrebu 1976, bio je suradnik Majstorske radionice Lj. Ivančića i N. Reisera 1976 – 1980. Početkom 80-ih snima kratke filmove u S8 formatu kojima dokumentira vlastite akcije u javnim prostorima. Piše eseje i kritike o filmu te likovnoj praksi u dnevnom tisku, časopisima i web portalima (Kontura, Oris, Vijenac, Globus, Jutarnji list…) Član je međunarodnog udruženja likovnih kritičara (AICA) i HDFK Hrvatskog društva filmskih kritičara. Izlagao je na brojnim samostalnim i skupnim izložbama, te filmskm festivalima u Hrvatskoj i inozemstvu (Artist space, New York, Kairo Biennale, Galerija suvremene umjetnosti, Zagreb, Gradske galerije Osijek, Galerija umjetnina Split… Predstavljao je Hrvatsku na Venecijanskom bijenalu 1993. godine. Živi u Zagrebu.Željko Kipke (Čakovec, 1953), painter, writer, occasionally active in cinema. Graduated painting at the Visual Arts Academy in Zagreb in 1976, attended the Master’s workshop of Lj. Ivančić and N. Reiser 1976-1980. In the beginning of the 80s he realized some short films in S8 format documenting his own actions in public spaces. Writes essays and film and art critique in the daily newspapers, magazines and web (Kontura, Oris, Vijenac, Globus, Jutarnji list…). He is member of the AICA and HDFK - Croatian Association of Film Critics. He exhibited in numerous solo and group exhibitions, film festivals in Croatia and internationally (Artist space, New York, Kairo Biennale, Contemporary Art Gallery, Zagreb, City Gallery Osijek, Art Gallery Split…). He represented Croatia at the Biennale in Venice in 1993. He lives and works in Zagreb.
Harun Farocki (1944.-2014.) jedan je od najvažnijih i međunarodno najutjecajnih njemačkih filmskih autora i mislioca. Njegov opus, u razdoblju od 1966. do 2014., obuhvaća više od 120 eksperimentalnih i dokumentarnih filmova, filmskih i video-eseja, instalacija za galerije i muzeje, kao i obiman rad filmske i medijske teorije. Bio je višegodišnji kritičar i urednik filmskog časopisa Filmkritik, a svoj je pedagoški pristup razvijao i kao predavač na sveučilištu u Berkeleyju, Akademiji likovnih umjetnosti u Beču, Berlinskoj filmskoj školi. S umjetnicom i kustosicom Antje Ehmann koncipirao je nekoliko instalacija i izložbi, a 2011. godine pokrenuli su višegodišnji produkcijsko-radionički projekt Rad u jednom kadru u 15 gradova svijeta. Njegovi radovi uključuju: Neugasiva vatra, 1969., Slika, 1983., Slike svijeta i zapis rata, 1989., Videogrami revolucije (1993., koautor: Andreia Ujicǎ), Izlazak radnika iz tvornice, 1995, Zatvorske slike, 2000., Oko / Stroj I, II (2000.-2001.), Radnici izlaze iz tvornice u jedanaest dekada, 2006., Proždirati ili letjeti (2008, koautorica: Antje Ehmann), Ozbiljne igre I-IV (2009.-2010.), Paralele I-IV (2012.-2014.). U Berlinu je 2015. osnovan Institut Harun Farocki (HaFI).Harun Farocki (1944-2014) is one of the most important and internationally influential German filmmakers and thinkers. His oeuvre, from 1966 to 2014, comprises more than 120 experimental and documentary films, film- and video-essays and installations for museums and galleries, as well as extensive works of film and media theory. He was a long-time author and editor of the magazine Filmkritik, and his pedagogical approach extended with his activity as a professor at the University of Berkeley, at the Academy of Fine Arts in Vienna, and at the Berlin Film School. He co-authored and co-curated with artist and curator Antje Ehmann several installations and exhibitions and in 2011 started a long-
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run production project Eine Einstellung zur Arbeit (Labour in a Single Shot) in 15 cities worldwide. His works include: Nicht löschbares Feuer (Inextinguishable Fire, 1969), Ein Bild (An Image, 1983), Bilder der Welt und Inschrift des Krieges (Images of the World and the Insciption of War, 1989), Videogramme einer Revolution (Videograms of a Revolution, 1993, with Andrei Ujicǎ), Arbeiter verlassen die Fabrik (Workers Leaving the Factory, 1995), Gefängnisbilder (Prison Images, 2000), Auge / Machine I, II (Eye / Machine I, II 2000, 2001), Arbeiter verlassen die Fabrik in elf Jahrzehnten (Workers Leaving the Factory in Eleven Decades, 2006), Fressen oder Fliegen (Feasting or Flying, 2008, with Antje Ehmann), Ernste Spiele I-IV (Serious-Games I-IV, 2009-2010), Parallele I-IV (2012-2014). In 2015, The Harun Farocki Institut (HaFI) is founded in Berlin.
Jean Gabriel Periot Rođen u Francuskoj 1974., režirao je više kratkih filmova te razvio vlastiti stil montaže s arhivskim materijalom. Većina njegovih radova, na razmeđi dokumentarnog filma, animacije i eksperimentalnog filma, tiče se nasilja i povijesti. Njegovi kratki radovi, uključujući “Dies Irae”, “Čak i da j bila kriminalka...”, “Nijuman no Norei” i “Vrag” prikazani su na brojnim festivalima te su osvojili brojne nagrade. “German Youth”, njegov prvi cjelovečernji dokumentarac, otvorio je Panorama sekciju Berlinalea 2015 te je prikazan i u Francuskoj, Njemačkoj i Švicarskoj te j osvojio brojne filmske nagrade. Natsu no Hikari (Ljetna svjetla), njegov prvi fikcijski cjelovečernji film, premijerno je prikazan na San Sebastian filmskom festivalu 2016 te na drugim festivalima prije prikazivanja u francuskim kino dvoranama 2017. Born in France in 1974, directed several short movies, develops his own editing style with archives. Between documentary, animation and experimental, most of his works deal with violence and history. His short works,
including “Dies Irae”, “Even If She Had Been A Criminal…”, “Nijuman no Norei” and “The Devil” were shown in numerous festivals and were honoured by many prizes. “A German Youth”, his first documentary feature film, opened the Panorama section of the Berlinale 2015 and was released in France, Germany and Switzerland and received many prizes in festivals. “Natsu no hikari (Summer Lights)”, his first fiction feature film, was premiered in the San Sebastian film festival 2016 and shown in festivals before its release in French cinemas in 2017.
Damir Radić Rođen u Zagrebu, 1966. Diplomirao povijest i komparativnu književnost na zagrebačkom Filozofskom fakultetu. Autor knjige “Milenijsko kino – film na početku 21. stoljeća”, suautor monografije “Ante Babaja”. Dobitnik Nagrade “Vladimir Vuković” za filmsku kritiku. Nagrađivani i antologizirani pjesnik, te nagrađivani filmski autor (Grand prix, Međunarodni festival nijemog filma Pssst!; Posebna nagrada /zajedno sa Sanjom Ribičić Radić/ Revija hrvatskog filmskog i video stvaralaštva za ostvarenje “Mima i Marta – aktivistički ljubavni film”.Born in Zagreb in 1966, graduated history and comparative literature at the Faculty of Philosophy in Zagreb. He is author of the book “Millenium cinema – film at the beginning of the 21st century”, co-author of the monograph “Ante Babaja”. He was awarded with the “Vladimir Vuković” award for film critique. He is also an awarded poet and an awarded filmmaker (Grand Prix, International silent film festival Pssst!, Special award (together with Sanja Ribičić Radić), Review of Croatian film and video production for “Mima and Mirta – activist love film”.
U razgovoru o politikama pronađenog filma Antje Ehmann će govoriti o novim fazama radioničkog projekta Rad u jednom kadru, kustoskom iskustvu i radu s Carlesom Guerrom na prikazivanju Farockijeva rada u filmskim i muzejskim dispozitivima te istraživanjima, programima i publikacijama Instituta Harun Farocki u Berlinu.-Antje Ehmann je video umjetnica i kustosica, članica odbora Instituta Harun Farocki u Berlinu. Koautorica je niza radova i izložbi s Harunom Farockijem, između ostalog Film kao nikad prije (Kino wie noch nie, 2016.), War Tropes (2011.), Proždirati ili letjeti (Fressen oder Fliegen, 2008.) te kolektivnog radioničkog projekta Rad u jednom kadru (Eine Einstellung zur Arbeit, 2011.-2014.) s više od 400 jednominutnih filmova na temu rada, snimljenih u 15 gradova širom svijeta. Autorica je brojnih tekstova, urednica knjiga i publikacija, npr. Harun Farocki, Another Kind of Empathy (sa Carlesom Guerrom, 2016.), Harun Farocki. Against What? Against Whom? (s Kodwom Eshunom, 2009.), Serious Games. War – Media – Art (s Ralfom Beilom, 2011.). Neke kustoski projekti: Harun Farocki. By other Means (sa Carlesom Guerrom, n.b.k. Neuer Berliner Kunstverein, Berlin, 2018.), Harun Farocki. Another Kind of Empathy (sa Carlesom Guerrom, Fundació Antoni Tàpies, Barcelona, 2016.), Harun Farocki. What is at Stake (sa Carlesom Guerrom, IVAM, València, 2016.), Labour in a Single Shot (Venice Biennale 2015.).
In a conversation on the politics of found footage, we will talk with Antje Ehmann about recent stages of the project Labour in a Single Shot, her curatorial experience and collaboration with a curator Carles Guerra on exhibiting Harun Farocki’s work in different dispositifs of cinema and museum, as well as about researches, programmes and publications of the Harun Farocki Institute.-Antje Ehmann is an artist, author and curator, a member of the Board of The Harun Farocki Institut in Berlin. Her artistic and curatorial projects with Harun Farocki include Cinema like never before (2016), War Tropes (2011), Feasting of Flying (2008), a collective workshop project Labour in a Single Shot with more then 400 one-minute films made in 15 cities worldwide (2011-2014), among others. Her recent publications are: Harun Farocki, Another Kind of Empathy (with Carles Guerra, 2016), Harun Farocki. Against What? Against Whom? (with Kodwo Eshun, 2009), Serious Games. War – Media – Art (with Ralf Beil, 2011). Her recent curatorial projects include: Harun Farocki. By other Means (sa Carlesom Guerrom, n.b.k. Neuer Berliner Kunstverein, Berlin, 2018.), Harun Farocki. Another Kind of Empathy (with Carles Guerra, Fundació Antoni Tàpies, Barcelona, 2016.), Harun Farocki. What is at Stake (with Carles Guerra, IVAM, València, 2016), Labour in a Single Shot (Venice Biennale 2015).
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KATALOG / CATALOGUE
Nakladnik / Publisher Apoteka / Prostor za suvremenu umjetnost / Trgovačka 22, 52215 Vodnjan, Hrvatska / www.apotekapsu.hr
Za nakladnika / For the publisher Matija Debeljuh
Urednica / Editor Branka Benčić
Tekstovi / Texts Branka Benčić / Tanja Vrvilo
Fotografije / Photographs Ljubaznošću umjetnika / Courtesy of the artists /Local Films i/and Harun Farocki GbR – Antje Ehmann, Anna Faroqhi, Lara Faroqhi
Prijevod / Translation Iva Štekar / Ana Vrkljan
Lektura / Proofreading Miodrag Kalčić
Dizajn / Design Studio Bilić_Müller
Tisak / Print Kersch
Naklada / Number of copies 250
ISBN 978-953-58623-4-5
IZLOŽBA / EXHIBITION
Cinemaniac / misliti film / think film / 2018Muzej pronađenog filma / The museum of found footage
Kustosice / Curated by Branka Benčić / Tanja Vrvilo
15. – 30. 7. MMC Luka, Istarska 30, Pula
Postav izložbe / Exhibition set up Branka Benčić
Tehnički postav izložbe / Technical set-up Miro Ploj, Matija Debeljuh, Jasna Čagalj
Organizacija / Organized by Apoteka – Prostor za suvremenu umjetnost/Apoteka – Space for Contemporary Art / www.apotekapsu.hr
Partneri / Partners Pulski filmski festival www.pulafilmfestival
Filmske mutacije: Festival nevidljivog filma / Film-protufilm Kino umjetnika – MSU Muzej suvremeneumjetnosti, Zagreb
Program je realiziran sredstvima / The program has been made possible with the funding provided by: Ministarstva kulture Republike Hrvatske, Grada Pule, Hrvatskog audiovizualnog centra, Istarske županije / Ministry of Culture Republic of Croatia; City of Pula; Croatian Audiovisual Center; Region of Istria; Zahvale / Aknowledgements: Umjetnicima / Artists; Antje Ehmann, Carles Guerra, Anna Faroqhi, Lara Faroqhi, Matthias Rajmann, HDLU Istre, prijateljima i suradnicima/friends and collaborators.
www.ciemaniac-thinkfilm.com