landscapes

You are browsing the search results for "landscapes"

One Thing Leads To Another

Chris Marker, Stopover In Dubai, (2011)

“[Chris Marker’s] late short video Stopover in Dubai is the most minimal effective gesture: it’s the film produced by the Dubai State Security service, of found CCTV footage tracking the assassins on their way to kill Mahmoud al-Mabhouh in his hotel room. All Marker has done is change the soundtrack, adding the first three movements of Henryk Górecki’s ‘String Quartet No. 3’: the dark adagio as the team assembles, drifting in and out of shopping centres; the profound gloom of the second movement, as the circle inexorably closes and the doomed man goes to his hotel room under the watchful eye of the surveillance group; and the escalating frenzy of the allegro as the work is done and the killers scatter.” From Chris Marker’s obituary in Radical Philosophy November/December 2012.

Emily Jacir Europa at Whitechapel Gallery

“Winner of a Golden Lion at the 2007 Venice Biennale, Material for a film (2004–ongoing) is a large-scale, immersive installation based on the life of Palestinian writer Wael Zuaiter who was assassinated near his home in Rome by Israeli Mossad agents in 1972. Jacir reimagines chapters of Zuaiter’s life through materials unearthed by the artist including family photographs, correspondence and documents relating to his death.” From the catalogue accompanying Emily Jacir’s solo exhibition at Whitechapel Gallery, London.

EmilyJacirPhoto“Wael Zwaiter / وائل زعيتر‎ ( 2 January 1934 – 16 October 1972) was a Palestinian translator assassinated as the first target of Israel’s Operation Wrath of God campaign following the 1972 massacre at the Munich Olympics. Israel considered Zwaiter a terrorist for his role in the Black September Group, while his supporters argue that he was “never conclusively linked” with Black September or the Munich massacre and was killed in retribution…[more here]” Courtesy of Wikipedia.

Eric Baudelaire, The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 years without images, (2011)

Trailer for Eric Baudelaire‘s film The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years without Images (2011)

“Who are May and Fusako Shigenobu? Fusako — leader of an extremist left-wing faction, the Japanese Red Army, involved in a number of terrorist operations — has been in hiding in Beirut for almost 30 years. May, her daughter, born in Lebanon, only discovered Japan at the age of twenty-seven, after her mother’s arrest in 2000. And Masao Adachi? A screenwriter and radical activist filmmaker, committed to armed struggle and the Palestinian cause, was also underground in Lebanon for several decades before being sent back to his native country. In his years as a film director, he had been one of the instigators of a ‘theory of landscape’ — fukeiron: through filming landscapes, Adachi sought to reveal the structures of oppression that underpin and perpetuate the political system. Anabasis? The name given, since Xenophon, to wandering, circuitous homeward journeys.

“It is this complicated, dark, and always suspenseful story that Eric Baudelaire — an artist renowned for using photography as a means of questioning the staging of reality — chose to bring forth using the documentary format. Filmed on Super 8 mm, and in the manner of fukeiron, contemporary panoramas of Tokyo and Beirut are blended in with archival footage, TV clips and film excerpts as backdrop for May and Adachi’s voices and memories. They speak of everyday life, of being a little girl in hiding, of exile, politics and cinema, and their fascinating overlap. All of which adds up not so much to an enquiry as a fragmented anamnesis.” Jean-Pierre Rehm (from the FID Marseille catalog).

The film is accompanied by a fascinating publication that’s available for free here from ISSUU (courtesy of Eric).

Jumana Manna – A magical substance flows into me (2015)

JM-WEB-04Courtesy Chisenhale and Jumana Manna

Jumana’s wonderful, inspiring, important new film forms the centrepiece of her first UK solo exhibition at Chisenhale, London.  The exhibition guide includes an Katie Guggenheim, Exhibitions and Events curator at Chisenhale, interviewing Jumana.

“I chose not to emphasise borders, in terms of what is Palestinian territory and what is Israel given that Lachmann’s radio programme took place before the partition of Palestine. I thought of Lachmann’s programme as radio waves spilling out across a territory, defining a certain polity, and participating in shaping the territory. In a sense, when making the film, I physically follow those waves. I follow the path of Lachmann’s research, performing the radio
waves as I travel to the different parts of the country bringing the recordings on my smart phone to where these groups live – even more segregated today than before. In this way, the structure of the work expresses both the loss of that political space –historical Palestine – but also my effort to retrieve it. This labor, and the traversal of various borders are not to idealise the period of the British Mandate, but rather to provide a space from which another Palestine can be imagined. It is part of my interest in going beyond the logic of segregation and separation. This paradigm of partition, the two-state solution that is still the prevalent one for Israel/Palestine is, I believe, no longer realistic or appropriate. It neutralises history by underestimating the pre-1948 realities, and is dysfunctional in the present conditions of the occupation. This is a big discussion, but essentially, given the increasing intertwinements – even if they are asymmetrical and devastating – resulting from the colonial expansion of
Israeli settlements in the West Bank, it is becoming increasingly impossible to imagine two separated states. Part of the decision to ignore borders in the film is also part of my interest in a long-term one-state, bi-national solution. Moreover, Israel is the only recognised state in the world that doesn’t have borders, so why would I adhere to the ones it imposes?” Jumana Manna.

The interview can be downloaded from the Chisenhale website here.

On your way back from, or on your way to, Chisenhale don’t forget to visit Emily Jacir’s exhibition at Whitechapel Gallery:

photo

Eyes On The Ground

Cristina Picchi

Eyes On The Ground

2012, 3’22”, HD, 16:9

7 May – 18 May 2015

cp

.Synopsis 

ITN Productions, which made the original Sri Lanka’s Killing Fields documentary, asked graduate film students to make a short film based on the original documentary.  Eyes On The Ground was selected to air on 4OD – Channel 4 On Demand – and was the most watched video in November 2012.

“Channel 4’s documentary Sri Lanka’s Killing Fields: War Crimes Unpunished (2012) begins with a warning: the film contains shocking images. And it really does. When asked to edit a video using the film’s footage I felt overwhelmed: everything seemed so important yet, when decontextualised from the original narrative, so horrific and unnecessarily graphic. I then decided to take a different approach. Eyes On The Ground is a simple video documenting five people watching Sri Lanka’s Killing Fields for the first time. It deals with human emotions and with the processes of acknowledgement – a disturbing but necessary process that everyone can undertake by simply watching a film, a first small step towards the possibility of some sort of justice.”

Commissioned by ITN Productions for Channel 4, courtesy of the Artist.

Sri Lanka’s Killing Fields

On 17 May 2009 the Liberation Tigers of Tamil Eelam finally declared defeat in the twenty-seven year civil war in Sri Lanka.  Following the end of the war, the Sri Lankan government claimed Sri Lanka as the first country in the modern world to eradicate terrorism on its own soil.  In April 2011, the UN says both sides in the civil war committed atrocities against civilians and calls for an international investigation into possible war crimes.  The Sri Lankan government says the report is biased.  In March 2012, UN Human Rights Council adopts a resolution urging Sri Lanka to investigate war crimes allegedly committed by Government forces during the final phase of the decades-long conflict with the Liberation Tigers of Tamil Eelam.  Sri Lanka says the move usurps its sovereignty.  In March 2013, UN Human Rights Council passes highly critical resolution urging Sri Lanka to conduct an independent and credible investigation into alleged war crimes.  In August 2014, President Mahinda Rajapaksa says a UN team tasked with investigating allegations of war crimes during the civil war will not be allowed to enter Sri Lanka.

It Never Happened

Edited from footage taken from ‘Sri Lanka’s Killing Fields: War Crimes Unpunished’, It Never Happened is a more direct, traditional response to the documentary and was conceived as a companion piece to be set against the more oblique approach Eyes On The Ground.

Screen Shot 2015-05-12 at 15.08.23

2012, 4′

Commissioned by ITN Productions for Channel 4, courtesy of the Artist.

Channel 4’s comprehensive investigation of Sri Lanka’s brutal civil war and analysis of alleged crimes against humanity can be found here and the documentary Sri Lanka’s Killing Fields: War Crimes Unpunished can be viewed on 4OD here.

Zima

A portrait of a season – a journey through North Russia and Siberia, through the feelings and thoughts of the people who have to cope with one of the world’s harshest climates; a reality where the boundary between life and death is so thin that is sometimes almost non-existent, where civilization constantly both fights and embraces nature and its timeless rules and rites. In these remote places, people, animals and nature itself become elements of a millennial yet unpredictable script, in which physical and mental endurance play an important role as much as chance does, where life and death constantly embrace each other. A reflection on fate, adaptation and the immutable cycles of existence.

Zima was created within the Cinetrain project travelling from Moscow to Lake Baikal on the Trans-Siberian Railway in mid-winter 2013.  Zima was exhibited in videoanale.15 (Cristina’s videonale.15 page can be found here) and is currently screening on the film festival circuit (where it has numerous awards – see below).  Consequently, we are only screening a trailer (kindly produced by Cristina specifically for Carroll / Fletcher Onscreen):

 

 

Upcoming Screenings and Exhibitions

Keep the Dream Alive! 29th – 31st of May, Metro Kinokulturhaus, Vienna, as part of VIS -Vienna Independent Shorts 2015

Impossible Landscapes (videoinstallation), Asifakeil, MuseumsQuartier, Vienna, from 3rd of June 2015

Bio

Cristina Picchi is an award winning Italian filmmaker, writer and visual artist based in London.  As a director she has directed and edited the short documentaries Zima (2013), Eyes On The Ground (2012), Under Your Skin (2011) and The Disassociated (2011); her films have been screened in festivals and galleries worldwide, winning prizes in festivals such as Locarno, Clermont-Ferrand and Thessaloniki. In 2013 she was nominated for Best Short Film at the European Film Awards.  Cristina holds a degree and an MA in European Literature from the University of Pisa and and a master’s degree in Screen Documentary from Goldsmiths University.  She is currently working on her first feature film.

www.cristinapicchi.com

Filmography 

2015 Champ des possibles (experimental documentary, CAN, about 15 minutes – currently in post production)

2013 Cinetrain: Russian Winter (RUS, 90 min.) with the episode Zima

2013 Zima (experimental documentary, 11”30”’, RUS)

2012 Eyes On the Ground (experimental documentary, UK, 3 min.)

2012 It Never Happened (experimental documentary, UK, 4 min.)

2011 Under Your Skin (experimental documentary, UK, 8 min.)

2011 Il Disassociato – The Disassociated (documentary, ITA, 33 min.)

Awards for Zima

March 2015: Best International Short Film at Sguardi Altrove Film Festival, Italy

November 2014: Special Mention of the Jury, 22nd Acipelago Film Festival, Italy

October 2014: Audience award for the “Made In Russia” selection of Shnit International Film Festival

September 2014: Best International Short Film, Short Shorts, Mexico

August 2014: Jury Award, Concorto Film Festival, Italy

July 2014: Best score, San Giò Verona Video Festival, Italy

June 2014: Special Mention of the Jury for Cinematography, DokuMA, Croatia

May 2014: Emidio Greco Award for best emerging Italian director (with Zima) from the European Festival of Lecce and CNC – Italian National Centre of Short Film.

Prix Du Public at Visions Du Réel, Nyon for the feature film Cinetrain: Russian Winter

March 2014: WWF Award at Thessaloniki Documentary Film Festival, Nomination for Best Cinematography at Byron Bay Film Festival, Honourable Mention at Oslo Screen Festival.

February 2014: Special Mention of the Jury, Clermont Ferrand Short Film Festival for Zima.

August 2013: Zima wins the Pardino d’Argento Swiss Life, Pardi di Domani International Competition and Locarno short film nominee for the European Film Awards – Pianifica Prize, 66° Locarno Film Festival.

Film Credits – Zima

Written, directed and edited by Cristina Picchi
Produced by Mirumir Studio
Producers Tanya Petrik & Guillaume Protsenko
Cinematographer Saulius Lukoševičius
Sound Director Henri D’Armancourt
Music by Shoefiti
Production Manager Katerina Okhonko
Production Assistants Alina Lobzina and Alexandra Marchenko.
With the financial support of the Ministry of the Russian Federation.
This movie was produced during the Cinetrain: Russian Winter Project, Russia, 2013 (details here)

 

 

 

 

Odds & Ends III - Drones and Warfare

Odds & Ends III – Drones and Warfare

The programme at The Mosaic Rooms on Cromwell Road caught my eye and reminded me of the developing body of work that critically engages with our use of drones in warfare – George Barber, James Bridle, Harun Farocki and Omer Fast spring to mind (see below for examples).  Mosaic Rooms have an exhibitionMouths At The Invisible Event – of David Birkin‘s work “centred around censorship, spectatorship and the legal and linguistic frameworks underpinning war”, and an related programme of films and lectures:

28 January, screening – Tonje Hessen Schei‘s documentary DRONE “looks at the CIA drone war. It follows people on both sides of the drone technology. The unique access to drone victims in Waziristan is juxtaposed to drone pilots who struggle to come to terms with the new warfare.”

Details and booking here.

5 February, panel discussion – Unmanned, reflecting on the growing use of armed drones in modern warfare.  Participants to include Julian Stallabrass and Chris Woods.

Details and booking here.

11 February, screening – Harun Farocki‘s War At A Distance

Details and booking here.

Harun’s four-part series Serious Games (2009 – 2010) also provides a counter-point to War At A Distance and Omer Fast’s 5,000 Feet is the Best (see below).

A FEW MORE WORKS REFLECTING ON THE USE OF DRONES

Omer Fast‘s 5,000 Feet is the Best (2011) can be found in full here (courtesy of the artist and GB Agency).

5_000_Feet_is_the_Best_WEB-1323439132

Still for 5,000 Feet is the Best (courtesy of the artist and GB Agency).

George Barber‘s Freestone Drone (2013)

Courtesy Waterside Contemporary.

Here‘s a link to the 2013 exhibition at Waterside Contemporary.  Sukhdev Sandhu’s Sight and Sound review of the Waterside exhibition (link at the bottom of the Waterside webpage above) is interesting: “New conceptual associations – like playing on the meaning of drone (think ‘thankless labour’) – are overlaid with cinematic links to the French New Wave. The film draw on Georges Delerue’s richly emotional music for Godard’s Le Mepris, uses black-and-whit stills evocative of Marker’s La Jetee and borrows Last Year in Marienbad’s story line of a woman repeatedly telling a man that they’ve never me before. By the end, the drone-as-human conceit has stopped being absurd and has begun to feel weirdly melancholic, saturated with sadness.”

James Bridle‘s Dronestagram: The Drone’s Eye-view (2012 – ongoing).

“Wadi al Abu Jabara. Beit al Ahan. Jaar. Dhamar. Al-Saeed. Tappi. Bulandkhel. Hurmuz. Khaider khel.

These are the names of places. They are towns, villages, junctions and roads. They are the names of places where people live and work, where there are families and schools. They are the names of places in Afghanistan and Yemen, which are linked by one thing: they have each been the location of drone strikes in the past couple of months. (The latest was in the early hours of November 7th, the night of the US election.)

They are the names of places most of us will never see. We do not know these landscapes and we cannot visit them.

What can reach them are drones… [read more here]”

Follow the project on twitter here or on tumblr here or on instagram here.

James’ Drone Shadow series (2012 – ongoing) is an eerie reminder of what might be overhead right now…

135_img9401

Courtesy of the artist.

And then there’s the excellent Tim Wilcox curated exhibition – Sensory War – at Manchester Art Gallery to 22 February 2015 (details here).