COOP ~ Curating Positions: Logics of Montage. In Between the Cinematic Apparatus and the Exhibition from Month to Month
Seminar 3: 13-17 January 2019
Session 3 of Curating Positions: Logics of Montage. In between Cinematic Apparatus and the Exhibition, will be led by Marwa Arsanios, Leon Filter and Leire Vergara. Our week will revolve around Gramsci's text "The Southern Question" that will be practiced through different reading methodologies, focusing on reading and writing tools adapted from key montage concepts. We will take the opportunity to work in the different locations that will potentially be used in our final project in Cagliari. Leon Filter will introduce thoughts around "the situated image" which will transform our classroom into a Camera Obscura for the Participants' led sessions. This weeks seminar will be accompanied by film screenings, the student-led sessions, reverse location scouting walks and face to faces.
Sunday, January 13:
19.30-22.30: Film screening: Teorema (1968) by Pier Paolo Pasolini (with COOP The Immemorial Body: Betraying Carmelo Bene in Nine Acts)
In the Hostels’ cinema
Teorema is the first non-realist movie made by Pasolini and it was released in 1968. It is related to the political and social context of the industrial North of Italy and depicts and fractures the codified language of capitalism and family values through silence and body language. In a very Pasolinian manner, it is also a meditation on the disappearance of the sacred and vernacular mysticism from the fabric of modern/capitalist societies.
Monday, January 14:
10.00-10.45: Introduction by Leon to the Camera Obscura room (situated image)
11.00-13.00: Session led by Clara Amaral (followed by reflection round)
Will be sharing a practice for the eyes and body. The software\hardware of closing\opening the eyes will allow us to experience the eyes as the first technology that interacts with image. The eyes as the first window to the outside and to the inside. When our eyes are open, images travel inside and follow through to our brains giving us access to the real. I would like to purpose the body as the first place for the camera obscura. The room>>>The camera obscura inside the room>>>The body inside the room>>>The body inside the camera obscura>>>The body with closed eyes>>>The camera obscura inside the body. In this working session we will be exploring different kind of gazes and how these different gazes can inform our bodies and also our understanding of the real.
14.00-16.00: Session led by Livio Casanova (followed by reflection round)
Based on the ‚Camera Obscura setting‘ suggesting two possible positions: the ‚inside‘ and the ‚outside,‘ or the ‚real‘ and the ‚constructed.‘ Looking at it from a rational point of view the outside is the ‚real,‘ and the inside is the ‚image,‘ of the ‚real.‘ Contrary, from an imaginary point of view, both, the inside and the outside, are connected to each other by the sun and, in our case, possibly by our respective bodies and imaginations. At this point I’m interested into how to make visible or blur connections and conjunctions between the ‚inside‘ and the ‚outside‘ by the means of our ‚bodies‘ and imaginations. With examples from film and artist video, plus group ‚choreography’.
16.00-18.00: Session led by Ciaran Wood (followed by reflection round)
Working inside the camera obscura turning it into a live video production, incorporating the idea of ‘dancing with the camera’ in direct communication with the performers. As if an imaginary piece of string was tied between the camera, operator and performer. Incorporating examples from artist film, technique and discussion, combined with a group live performance filmed and projected in real time. The montage and edit happens in camera and in-situ with all involved partaking. With links to Livio’s session with regards the sun, movement and objects in light. Bringing my question of montage, through the use of a single shot as opposed to editing. Considering the final result of group collaborative project (our COOP) offering this as an exercise as way of cutting and montaging method together.
20.00-22.00: Film screening: Banditi a Orgosolo (1961) by Vittorio De Seta
Banditi a Orgosolo is a film that follows the ethnological field research (published under the same name) of Franco Cagnetta in Sardinia which focused on the emergence of bandits in the region of Orgosolo as a way of resistance against governance/occupation of the ruling states. De Setas film, which is realized exclusively with amateur actors from Sardinia, focuses on a shepherd who loses his flock through a coincidental witnessing of the murder of a policeman and in the aftereffects of the event, becomes a bandit himself.
Tuesday, January 15:
10.00-11.45 Montage Workshop with the southern question
12.00-13.00 Meeting with Cinema Odissea
14.00-18.00 Montage Workshop with the southern question
20.00-22.00 Montage Workshop with the southern question
Wednesday, January 16:
10.00-13.00: Speculation for the final project
14.00-17.30: Reverse Location Scouting with Sara Cattin and Ciaran Wood
Documentation: Clara Amaral
19.00-22.00: Reverse Location Scouting with Livio Casanova and Raphael Diabert
Documentation: Clara Saito
Thursday, January 17:
10:00- 13.00 face to face
-Acker, K. (1995) „Paragraphs“, in The Journal of the Midwest Modern Language Association, Vol. 28, No. 1, Identities (Spring, 1995), pp. 87-92
-Acker, K. (1995) „Writing, Identity and Copyright ins the Net Age“, in The Journal of the Midwest Modern Language Association, Vol. 28, No. 1, Identities (Spring, 1995), pp. 93-98
-Kathy Acker, (1987) „Lulu“, in Performing Arts Journal, Vol. 10, No. 3 (1987), pp. 102-117
-Kathy Acker, Against ordinary language, the language of the body
-Gramsci, A., (1926) „some aspects of the southern question“, in Selections from political writings (1921-1926)", translated and edited by Quintin Hoare (Lawrence and Wishart, London 1978)
Seminar 2: 9-12 December 2018
Session 2 of Curating Positions: Logics of Montage. In Between the Cinematic Apparatus and the Exhibition, will be led by Beatriz Cavia and Leire Vergara. Beatriz Cavia will introduce some connections and assemblies between Social Science and Contemporary Art. We will approach with her some references and tools from Visual Anthropology through a selection of ethnographic cinema, the concept of “drama” (Erving Goffman) and the notion of performativity (Judith Butler).
The session will also involve a series of students led parts and face to face meetings.
Sunday , December 9:
19.00: Film screening of Chronique d’un été directed by Jean Rouch and Edgar Morin in 1961. (90 minutes) and The Question Would be The Answer to the Question, Are you happy? (2009-2012) (41 minutes) by Sarah Pierce.
Chronique d’un été (1961)
Following the sociological/anthropological approach of the makers, the film is an example of Cinema Verité and deals with issues of performativity in front of a camera.
The Question Would be the Answer to the Question, Are you happy? (2009 – 2012)
Four channel synchronised video with single channel audio. Simultaneous translation in English, Danish, French, Irish. Shown on four flat screen monitors or as a single projection.
For each chapter of this four-channel video work, Sarah Pierce visited specific locations where she invited small groups of local university students from various fields to view the film Chronicle of a Summer (1961) by the French filmmakers Jean Rouch and Edgar Morin. The screenings were followed by a recorded conversation motivated by a set of five questions asked to each group at each of the locations. Soon the students realise they are the subjects of a conversation that ensues about language, colonialism, nationhood, and happiness. In each chapter the discussion takes place in a language other than English (Spanish, French, Danish and Irish, respectively). A translator, present on the day, performs simultaneous translation in English. The final work shows all four conversations at the same time, so that the translators dominate as they perform their daunting task. They are the real subjects; their faltering exposes an impossibility of identification that runs through each country’s narrative.
The screening will be shared with COOP: The Immemorial Body: Betraying Carmelo Bene in Nine Acts.
Monday, December 10:
10.00-13.00: Session by Beatriz Cavia
14.00-17.00: Reverse Location Scouting led by Clara Amaral and Maxime Gourdon
17.00-18.00: Continues session by Beatriz Cavia
18.00-19.00: Face to Face (with Beatriz Cavia and Leire Vergara)
Tuesday, December 11:
10.00-13.00: Student-led session by (Clara Saito, Dina Mohamed and Sara Cattin)
14.00-18.00: Continues Student-led session (Clara Saito, Dina Mohamed and Sara Cattin)
20.00-22.00: Face to Face
Wednesday, December 12:
10.00-13.00: Time for the final project
-Butler, J. (2015) "Gender politics and the right to appear", in Notes toward a performative theory of assembly. Cambridge: Harvard University Press. pp. 24-65.
-Clifford, J. (1981) "On Ethnographic Surrealism", in Comparative Studies in Society and History, Vol. 23 Nº 4. pp. 539-564.
-Goffman, E. (1956) "Framework", in The presentation of self in every day life. Edinburgh: University of Edinburgh. pp. 152-162.
Seminar 1: 12-15 November 2018
Seminar 1 of Curating Positions: Logics of Montage. In Between the Cinematic Apparatus and the Exhibition, will be led by Marwa Arsanios, Leon Filter and Leire Vergara, who will each introduce a position in respect to the logics of montage from a curatorial perspective. The introductions will define a form of teaching as an operation of montage that will be developed across the year.
The session will also involve presentations by all the participants, who will be asked to introduce their practice in respect to their interest within the thematic of the study group.
Finally, during this first session we will test the methodology of Reverse Location Scouting.
Please bring headphones and a portable device to play audiofiles. A smartphone with Whatsapp would be sufficient.
- "The Articulation of Protest", Hito Steyerl
- "Soft Montage", Harun Farocki
- "Montage my Fine Care", Jean-Luc Godard
Monday, November 12
19.30-22.30 Film screening of Pasolini Pa* Palestine, video, 51 minutes, 2005 by Palestinian artist Ayreen Anastas.
Pasolini Pa* Palestine is an attempt to repeat Pasolini's trip to Palestine in his film, Seeking Locations in Palestine for "The Gospel According to Matthew" (1963). It adapts his script into a route map superimposed on the current landscape, creating contradictions and breaks between the visual and the audible, the expected and the real. The video explores the question of repetition.
Ayreen Anastas is looking for a biography that is easily translatable. Her name is this and she does such and such. She thinks or she does not think this and that. She is today this one she is tomorrow that one. What is the use of writing if it were without echo without meaning without delirium. Write write and fill the page with words. A life, a path, a biography, a with. A thought, a with. A feeling, a with. A shadow, a light, a fog, an image, a with. A thread, a mountain, a sea, a word, a with. A forgetfulness, a glimpse, a meaning, a with. A breath, a now. A together. A with them. A with you.
Who is she? Who are you? Who are we?
Tuesday, November 13
10.00-12.00: Introduction by Leire Vergara
14.00-16.00: Introduction Leon Filter
16.30-18.30: Introduction Marwa Arsanios
Wednesday, November 14
10.00-13.00: Presentations by the participant students (open face to face)
14.00-18.30: Presentations by the participant students (open face to face)
20.00-22.00: Distribution of the different students-led parts (“reverse locations scoutings”, distribute the different roles according to film production (camera, sound editing), curatorial/montage sessions led by the students, face to face).
Thursday, November 15
10.00-13.00: First test for the Reverse Location Scouting led by artist and former DAI student Auremnari Ee.
Areumnari Ee is a multidisciplinary artist from South Korea. She obtained her BFA from Konkuk University, Seoul, South Korea and MA from Dutch Art Institute, The Netherlands. Her works stem from everyday surroundings and personal stories as well as from imagination, and are embodied through digital media. By adding literature and theoretical texts, poetic expressions and performative settings, she creates multi-sensory experiences within her singular way of working. Her films and performances have been presented in many different countries including South Korea, The Netherlands, Greece, China, Philippines, Ecuador and Uruguay.