COOP ~ Curating Positions: Location In Reverse- Care For a Place Through the Cinematic Lens from Month to Month
Seminar 3 & 4: 10 - 17 March 2020
Session three of “Curating Positions: Location In Reverse- Care For A Place Through The Cinematic Lens” will be led by Marwa Arsanios and Leire Vergara and will have Essia Jaibi, Jalila Baccar, Manel Souissi and others as guests.
We will also continue with the Listening Group, an initiative by Leon Filter that started in 2017 and that has been specifically thought in relation to the materials and exercises we will work with in the session.
20.00-22.00: Evening screening and discussion towards our convention in Tunis.
10:30 – 18:00: Preparation for our convention in Tunis and visiting some cine clubs in the city.
As part of the preparation for our convention we will watch together some film materials: a film proposed by Kari Rosenfelt and La Chambre (1972) by Chantal Akerman and The Silences of the Palace (1995) by Moufida Tlatli. Tunisian film investigates issues of gender, class and sexuality in the Arab world through the lives of two generations of women at a prince's palace. Seen through the eyes of an attractive young wedding singer, it exposes the sexual and social servitude of a group of women in an elaborate palace during the French Protectorate in Tunisia. Tlatli wrote the film in response to her own mother's sudden severe illness and her subsequent realization of how little she knew about her life.
Moufida Tlatli is a Tunisian film director. She was the first Arab woman to direct a full feature-length film (The Silence of the Palace) in the Arab World.
Please! Watch in advance at home The Silences of the Palace by Moufida Tlatli to open the discussion on the convention we are organizing in the city of Tunis.
20.00-22.00: Screening: Sisters! (2011) by Petra Bauer
Sisters! is a collaborative project between Swedish artist Petra Bauer and the Southall Black Sisters (SBS) – the radical, pioneering London-based feminist organization who since 1979 have politically engaged in the contemporary social and political conditions of black and minority women.
The resulting film Sisters! Is not “about” the Southall Black Sisters, but a two-way project between Bauer and the staff at the organization. It documents one week in the life of SBS, taking its daily activities as a springboard for a visual discussion on feminism, politics and aesthetics in today’s society.”
Petra Bauer works as an artist and filmmaker. She is concerned with the question of film as a political practice, and sees it as a space where social and political negotiations can take place. Recent exhibitions include: Soon Enough: art in action, Tensta Konsthall (2018); Everything Was Forever, Until It Was No More, Riga Biennial (2018): Show Me Your Archive and I Will Tell You Who is in Power, KIOSK, Ghent (2017); Women in Struggles, on tour to different Folkets Hus (People’s Houses) in Sweden (2016–17); A Story within a Story, Göteborg International Biennial for Contemporary Art (2015); and All the World’s Futures, 56th Venice Biennale (2015). Petra is an initiator of the feminist platform k.ö.k (Kvinnor könskar kollektivitet – Women Desire Collectivity).
10:30 – 18.00: Convention with Essia Jaibi, Jalila Baccar and others
We will be coming together with theater makers, actors and filmmakers dealing with feminists and women’s histories through their work. We will enter the history and the contemporaneity of cultural production in the city from their stories and politics.
20.00-22.00: Screening of Nostalgia for the Light by Patricio Guzmán
Nostalgia for the Light is a documentary released in 2010 by Patricio Guzmán to address the lasting impacts of Pinochet’s dictatorship in Chile. Guzmán focuses on the similarities between astronomers researching humanity’s past, in an astronomical sense, and the struggle of many Chilean women who still search, after decades, for the remains of their relatives executed during the dictatorship.
10:00- 13:00: Location scouting in the city of Tunis with the Listening Group. In this occasion we will do two listening groups together and then we will have a longer conversation back in Sidi Bou Said
Session 3 Listening Group led by Zoe Moutsokou and Niccolò Masini with readers Clara Amaral and Jon Mikel Euba.
- Lucia Farinati & Claudia Firth, “The Force of Listening”, chapter 4: Collective listening or Listening and collectivity, Errant body press: Doormats, Berlin 2017.
-Jon Mikel Euba, “Writing Out Loud”, chapter locationscouting. Publishers: DAI and If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, 2016.
Session 4 Listening Group led by Iva Kovač and Kari Rosenfelt with readers Görkem Yalim and Ruth Noack
-Kaja Silverman, „The acoustic mirror“, chapter 5. Disembodying The Female Voice: Irigarary, Experimental Feminist Cinema and Femininity, Indiana University Press, 1988.
--Ruth Noack, “Events take place“
Clara Amaral graduated from the Dutch Art Institute (DAI) in 2019 and School for New Dance Development (SNDO) in Amsterdam in 2013.
Her work Do you remember that time we were together and danced this or that dance? premiered in Julidans Festival in 2017 and was presented in Veem House for Performance, Amsterdam; Something Raw at Frascati Theatre, Amsterdam; Circular Festival in Vila do Conde; Temps D’Images in Lisbon; Chambres D’O in Ostende, Belgium and in Teatro Municipal do Porto, Rivoli, Portugal. Her last work, In our eyes, a cascade premiered in November 2018 in Bâtard Festival in Brussels and afterwards was presented in Veem House for Performance in Amsterdam and in Far festival in Nyon, Switzerland. Her texts have been published in the Theaterkrant, Theatermaker and in Contemporary Cruising.
Jon Mikel Euba is an artist based in Bilbao. His work is grounded in drawing, as a procedure, and sculpture, as a program resolved in diverse media. Since the late 90s, he completed a number of residencies in Arteleku, San Sebastián, (1994-1995), Künstlerhaus Bethanien in Berlin (2000-2001), Re:location Academy in Luxembourg (2004), Platform Garanti in Istanbul (2005) and Vrije Ruimten Zuidas in Amsterdam (2008), where he developed a particular system of production through an 'economical technique' which has guided his practice since. This search, which he also considers a form of resistance, requires processes that involve other people, in which Euba plays the role of a mediator or filter.
From 2006 on, continuing his performative work in other media, he developed a series of performances whose result condensed in the Re:horse series at MUSAC in León (2006), Flacc in Genk (2006), Festival a/d Werf in Utrecht, De Appel (Lecture on Re: horse) (2008), in Stedelijk Museum Bureau Amsterdam (2009) in Amsterdam, Project Arts Centre in Dublin (2009) El Farol Auditorium in Valparaiso (2010), and in Transcoding Re: horse at the Van Abbemuseum, Eindhoven (2010), for which he developed a didactic approach for different participants with whom he collaborates.
In 2010 he, Txomin Badiola and Sergio Prego devised the experimental pedagogical project “Primer Proforma 2010. 30 Exercises, 40 days, 8 hours a day”. In 2015 together with Itziar Okariz, Asier Mendizabal and Sergio Prego carried out the school project Kalostra in San Sebastian. He has been core tutor of Action Unites, Words Divide (On Praxis, An Unstated Theory) II in the Dutch Art Institute in Arnhem during three years.
In 2017 he published Writing Out Loud that brings together the transcriptions of eight lectures created by Euba during the course Action unites, words divide (On praxis, an unstated theory) at the Dutch Art Institute across the academic year 2014 – 2015. The resulting texts sit within a larger writing-centred project by the artist, which he has been pursuing for almost a decade, with the aim of defining a form of praxis that could evolve into a technical theory.
Baha Görkem Yalım (1987, Izmir) is a visual artist. After having worked as an engineer, Yalım completed their BA in Fine Arts at the Gerrit Rietveld Academy in Amsterdam, receiving the award in the Thesis category. Additionally, they completed an Honours Degree in Art and Research at the Gerrit Rietveld Academie and University of Amsterdam and received their MA in Art Praxis at the Dutch Art Institute (DAI). Yalım’s exploration, not only of contents but also of the use of artistic media, is in constant flux - refusing to crystallise in a particular form. Yalım employs video, sculpture, and performance sometimes in variations and sometimes as folds of the same. Their practice at times crosses the borders of a writer, educator, and curator. Although the range of subjects that they touch upon is varied, some notions appear with recurrent energy, such as the poetically changed vertical/horizontal allegory, which functions as an oblique critique on modernity and patriarchy. Objecthood and history -with a particular interest in the concept of keepsake- are also often thematised. Their work is often accompanied by texts that are in the crossing of poetry, fiction, and academic reflection.
Ruth Noack trained as a visual artist and art historian, she has worked as author, art critic, university lecturer and exhibition maker since the 1990s.
Noack was curator of documenta 12 (2007). Exhibitions include Scenes of a Theory (1995), Things We Don’t Understand (2000), The Government (2005) and Not Dressed for Conquering – Ines Doujak’s Loomshuttles/Warpaths (2012). Notes on Crisis, Currency and Consumption (2015) was the first of a series of ten essay-exhibitions on issues of contemporary life. Next will be Sleeping with a Vengeance − Dreaming of a Life and Fragments and Compounds.
Head of the Curating Contemporary Art Program, Royal College of Art, London (2012-13), she acted as Research Leader for the EU-project MeLa - European Museums in an age of migrations. Noack was Šaloun professor at the Academy of Fine Arts, Prague (2013-14) and lead the Gwangju Biennale International Curator Course in 2014. Since 2015, she is responsible for one of the DAI Roaming Academy trajectories. As per October 2019 Ruth Noack will be building up a new cultural center for Whitman-Walker Health in Washington DC.
16.00-19.00: Sound debate (The debate will be recorded in order to make it arrive to the readers of the session 3 and 4 of the Listening Group and for our archive).
20.00-22: Screening of Too Early Too Late (1982) by Jean-Marie Straub and Danièle Huillet
“If there is an actor in Too Early, Too Late, it is the landscape. This actor has a text to recite: History (the peasants who resist, the land which remains), of which it is the living witness. The actor performs with a certain amount of talent: the cloud that passes, a breaking loose of birds, a bouquet of trees bent by the wind, a break in the clouds; this is what the landscape’s performance consists of. This kind of performing is meteorological. One hasn’t seen anything like it for quite some time. Since the silent period, to be precise.”
Serge Daney, Cinemeteorology, Libération, 1982
Jean-Marie Straub and Danièle Huillet were a duo of filmmakers who worked between 1963 and 2006. Their films are noted for their rigorous, intellectually stimulating style and radical politics.
10:00- 13:00: Student led sessions by Georgia Stellin and Maxime Gourdon followed by feedback
13.00- 14.00: lunch
14.00- 17.00: Student led sessions by Niccolò Masini and Zoe Moutsokou followed by feedback
17.00- 19.00: Teaching by Marwa Arsanios and Leire Vergara on the materials sent to read during the DAI WEEKS and the material screened so far.
20.00- 22.00: Screening of News From Home (1977) by Chantal Ackerman
Letters from Chantal Akerman’s mother are read over a series of elegantly composed shots of 1976 New York, where our (unseen) filmmaker and protagonist has relocated. Akerman’s unforgettable time capsule of the city is also a gorgeous meditation on urban alienation and personal and familial disconnection.
Chantal Akerman was a Belgian film director, screenwriter artist and film professor at the City College of New York.
10.00 - 13.00: Meeting Manel Souissi from the confederation of Cinema Clubs in the city of Tunis. We will continue with some derives and scouting location in the city of Tunis.
13.00- 14.00: Lunch
15.00- 19.00: Teaching by Marwa Arsanios and Leire Vergara on the materials sent to read during the DAI WEEKS and the material screened so far. This time will be employed also to speculate on the final project.
10:00- 18:00: Time for the Final project
20.00 - 22.00: Screening to be confirmed of Tunisian films by Leyla Bouzid and Moufida Tlatli.
10.00- 18.00: Face to face with everybody
20.00-22.00: Screening of films by Mohamed Khan
Bibliography for the week:
-Pier Paolo Pasolini Appunti per un’ Orestiade Africana (Notes Towards an African Orestes, 1970)
-Trinh T. Minh ha Viet Given Name Nam (1989)
-Chantal Akerman La Chambre (1972)
-Kaja Silverman: 5th Chapter “Disembodying the Female Voice: Irigaray, Experimental Feminist Cinema and Femininity in The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema”
-Andrea A. Lunsford and Gloria Anzaldua: Interview “Towards a Mestiza Rhetoric: Gloria Anzaldúa on Composition and Postcoloniality”
-Gloria Anzaldúa: “Let us Be the Healing Of the Wound: The Coyolxauhqui Imperative-la sombra y el sueño”
Seminar 2: 26 - 29 January 2020
Session two of “Curating Positions: Location In Reverse- Care For A Place Through The Cinematic Lens” will be led by Marwa Arsanios and Leire Vergara and will count with Wendelien van Oldenborgh and Ricardo Liong a Kong as guests.
During this second session, we will continue with the Listening Group, an initiative by Leon Filter that started in 2017 and that has been specifically thought in relation to the materials and exercises we will work with in the session.
Sunday, January 26:
20.00-22.00: Screening of the following films and materials:
-Reassemblage by Trinh T. Minh-ha (1983) Duration: 39,37 minutes
Women are the focus but not the object of Trinh T. Minh-ha’s influential first film, a complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, Reassemblage reflects on documentary filmmaking and the ethnographic representation of cultures.
-Après la Reprise, la Prise Wendelien van Oldenborgh (2009) Duration: 16 minutes
This analogue slide work takes as its point of departure conditions of work and more specifically the changing nature of this, which is having its effect on the contemporary “self”. Manual labour, women and production of culture meet in this piece, which is made in collaboration with two women who were former assembly line workers of one of the Levi’s jeans factories in Belgium which closed in 1998, leaving all of its (female) workers unemployed. Many of them had spent their whole working life with Levi’s. A group of these women had found new roles as actresses after putting forward their experience in a theatre production. For this slide piece, they share their story with students of the Royal Technical Atheneum Mechelen.
-Supposing I love you Wendelien van Oldenborgh (2011) Duration: 13 minutes
The work brings the voice of the Swiss-Egyptian philosopher and theologian Tarq Ramadan into exchange with a group of five young adults of various origin from Belgium and the Netherlands. Against the backdrop of a de Stijl-inspired broadcast building designed by Piet Elling, the Dutch architect and friend of Gerrit Rietveld, the work is set up as a polyphonic mini-tragedy. Unrehearsed forms of performance and speech, stemming from private experience, form the building blocks of the ‘drama’.
Wendelien van Oldenborgh will be present during the screening so she will introduce her works and take questions afterwards.
Monday, January 27:
- 10.00-13.00: Session with Wendelien van Oldenborgh. The artist will share with the group her way of working and she will connect it to Trinh T. Minh-ha’s articulation of the idea of the political: “The distinction offered in: ‘making a political film’ or ‘writing and making films politically’ that helps to widen the scope of the political. She will share different works during the session to introduce her ideas around the role of sound and text in her filmic work and the different methodologies employed in working with specific locations. Her session will also comprise an exercise thought for the COOP.
14.00- 16.00: Session with Wendelien van Oldenborgh continues.
Please, read for Wendelien van Oldenborgh session the following text:
16.00-19.00: Teaching by Marwa Arsanios and Leire Vergara on the materials sent to read during DAI WEEKS.
20.00-22.00: Session with Ricardo Liong-A-Kong. Ricardo has been invited to do several contributions to the COOP along the year. This will be his first presentation:
“One will always return to where one's birth cord is buried.' When you are born you are delivered in this world, on its soil. The soil in which we sow (seeds) for fruits, flowers, vegetables. The soil that will produce your food. If we move away from our (buried) birth cord, can we take soil and seeds with us to our new location?”
Ricardo Liong-A-Kong will show seeds he collected in Suriname, and talk about their names, what plants they will become. Furthermore, he will show some of his artist's books in connection to 'soil of Suriname'.
Ricardo Liong-A-Kong: Although he loves gardens, plants and trees, he doesn't consider himself as a gardener. Being in nature, a garden, working in/on it or just sitting there and contemplating is one of Ricardo's favorite 'activities'. Meanwhile trying to find out the why and how plants grow, more in the artistic way than the scientific way. Learning what they are used for, what they are called (in Surinamese and Dutch), how to grow them. And finding a way to use this in his artistic work.
Tuesday, January 28:
10.00-13.00: Student led session by Dorothy Hunter, Iva Kovac and Azul Monte
14.00-15.00: Session 2 Listening Group with readers Yen Noh and Vinita Gatne
Texts include: Kaja Silverman - Chapter two of "The Acoustic Mirror" and Bell Hooks, „choosing the margin as a space of radical openness“ from „women, knowledge and reality - explorations in feminist philosophy“ ed. by Ann Garry and Marilyn Pearsall
Biography of readers
Vinita Gatne (Mumbai,1988) is an artist working on sculptural installations. By weaving narratives through her installations, Vinita attempts to forefront multiple facets aspirations which otherwise are either ignored or mediated in globally standardized information systems. These interests bud from her prior training in architecture which steered her to be involved in several urban studies with a view to understand the impacts of large-scale development projects.
Yen Noh (Daegu, 1983) studied at Dutch Art Institute and the University of Applied Arts in Vienna. Her work investigates intimate histories of trauma, upheaval, and freedom during the Japanese colonisation of Korea, unearthing and recreating radical practices of everyday anarchy by those whose history is overlooked and unthought by an imperial/national project. She currently researches the Korean poet and architect Yi Sang and the Japanese art group MAVO as challenging comparatist histories that present non-Western avant-gardes as particular, local and derivative versions of a “universal” historical avant-garde originating from the West.
15.00-16.30: Sound Debate (The debate will be recorded in order to make it arrive to the readers of the session 2 of the Listening Group and for our archive).
16.30-19.00: Group feedback to the student led sessions and discussion towards the project in Tunis
20.00-22.00: Screening proposed by Kari Rosenfelt and discussion towards the project in Tunis continues.
Wednesday, January 29:
10.00-13.00: face 2 faces.
Bibliography for the week:
- Lucy Lippard's "On not having seen the Bilbao Guggenheim" from Learning from the Bilbao Guggenheim
- Chapter two of Kaja Silverman's "The Acoustic Mirror"
- Chapter one of Trinh T Minh-ha's "Women, Natice, Other"
- Natasha Myers' "How to Grow Liveable Worlds, Ten not so Easy Steps"
-Wendelien van Oldenborgh “Asset as Set: Filmmaking in Relation to a Certain Realness of Site”
Seminar 1: 1-4 December 2019
Seminar one of “Curating Positions: Location In Reverse- Care For A Place Through The Cinematic Lens” will be led by Marwa Arsanios and Leire Vergara who will introduce their positions - through their practices - regarding notions of care for a place, care for knowledge and care for the land. The introductions will set the basis of the conceptual space for the COOP study group.
The participant students will also be asked to introduce their practice in regards to the thematic of the study group.
During this first session, we will start with the Listening Group, an initiative by Leon Filter that started in 2017 and that has been specifically thought in relation to the materials and exercises we will work with in the session.
Sunday, December 1:
19.30-20.15: Screening of the film Scuola Senza Fine by Adriana Monti (1983) Duration: 36 minutes
Between 1979 and 1983, Monti worked on a film with a group of women, most of them housewives, who in 1976 had taken the “150 Hours” course in Affori, Milan. The “150 hours” course is the name that received the contractual improvement that the Italian workers coming from the steel and automobile sector gained in 1973. This agreement extended soon to other industrial sectors and even to the unemployed and adults in general which finally gave access to many women and housewives to the course. Adriana Monti filmed a group of women that after completing the course and being awarded with the diploma decided to continue studying and formed with the help of the teacher a study group. Monti filmed the group between 1979 and 1981 and worked on the edition until 1983 in collaboration with the participants.
20.15-22.00: Round of weird questions among the participant students and the tutors.
Monday, December 2:
10.00-11.30: Presentation by Leire Vergara (care for a space: Bulegoa z/b). An introduction to the organisation behind this COOP in relation to the text Maria Puig de la Bellacasa: “Matters of Care in Technoscience: Assembling Neglected Things” in Social Studies of Science 2011 41: 85 or as an extended version in Matters of Care: Speculative Ethics in More Than Human Worlds University of Minnesota Press, 2017 pp. 27-69
11.30-13.00: Introduction to the Convention of Women Farmers and Ecological Feminists, an initiative by Marwa Arsanios for Biennale Warszawa 2019 in relation to Eve Tuck’s and Marcia McKenzie text “Relational Validity and the “Where” of Inquiry: Place and Land in Qualitative Research” in Qualitative Inquiry 1-6 2015)
-The Script of the film Scuola senza fine translated by Fausta Daldini Einhorn; -Introduction to the script of the film Scuola senza fine, translated by Giovanna Ascelle, Scuola senza fine by Adriana Monti;
-Matters of Care: Speculative Ethics in More Than Human Worlds, Maria Puig de la Bellacasa University of Minnesota Press, 2017;
-On Earth we are briefly Gorgeous, Ocean Vuong, Jonathan Cape, 2019
Karolin Meunier : Karolin Meunier is an artist and writer from Berlin and teaches at the Academy of Fine Arts in Munich. She is a member of the publishing house and book shop B_Books in Berlin. Her performance, text and video works observe how access to individual experience is accomplished through cultural and standardized practices like translation processes, conversations, or learning methods. The artist book A Commentary on "Vai Pure" by Carla Lonzi will be published with B_Books/Archive Books in 2020.
Valentina Curandi : I a practitioner with an experimental approach to text-based research, performance and publishing. I develop performative work that focuses on the material-symbolic setup of the sexed and contracted willful subject, inquiring the socio- historic-economical conditions affecting the relationship of women to mortality. My theoretical and artistic research on feminist political economy and contract theory inquires the normalizing effect of legal regulations and devices on the everyday management of my reproductive bonds and obligations. The work Kate (2016 - ongoing) - a proposition of bequeathment of the body of my artistic work to the school I attended for my Master (Dutch Art Institute) - stretches the field of operation of the device of last will and testament’s legal language, extending it from the field of private transactions to the public-ness of a series of scripted performative acts.
15.00-16.30: Sound Debate (The debate will be recorded in order to make it arrive to the readers of the session 1 of the Listening Group).
16.30- 16.45: short break
17.00-18.00: Presentation by Leire Vergara (care for a location). Brief introduction to her PhD research “Dispositifs of Touching: A Curatorial Study on the Plazas of Sovereignty” (read in 2017 within the framework of Curatorial/Knowledge at Visual Cultures, Goldsmiths College University of London)
20.00-22.00: Screening of How is Afraid of Ideology? by Marwa Arsanios Video 57 minutes.
As an introduction, standing on a stony path, director Marwa Arsanios faces the camera and wonders: “What does it mean to belong to a place? What does it mean to “be here”? What does the word “nature” encompass? What does it imply when we say “we”? These political questions arise from experiments conducted by women in three war-torn places. First, in the mountains of Kurdistan, in early 2017, the guerrilla led by the Kurdish women’s autonomist movement invites us to experience and consider space, plants, survival, ecology and economic battles in a different way. The process, so we are told, ensues from practical concerns: how do you set up an organic food production cycle? When does a tree need to be cut down? Then in Jinwar, literally the “place of women”, a village in Rojava, Northern Syria, built by women for the exclusive use of women. And finally, in a cooperative in the Bekaa Valley, near the Syrian border, which has become a sanctuary-like community for refugees. In these communities, the issue of the reappropriation of the land and means of production and subsistence is paramount, and it creates a different landscape. These three eco-feminist strategies at work bring about self-governance, and the creation and transmission of knowledge. These fragile yet so precious experiments are like pages in an herbarium, featuring carefully collected and hand-drawn plants, arranged in the film like silent, up-front manifestos. (Nicolas Feodoroff)
Tuesday, December 3:
10.00-13.00: Presentations by the participant students (open face to face)
14.00-18.00: Presentations by the participant students (open face to face)
20.00-22.00: Open discussion: Listening to a place (a new methodology to develop as part of this COOP, proposals for a collective project in Tunis)
Wednesday, December 4:
10.00-13.00: Introduction to the methodologies of the COOP (Listening Group, Sound Debates, Performative Screenings, Listening to a place…) for the different students-led parts, chronicles… Distribution of the different students-led parts across the year.