Das Un-Zuhause der Bilder


Film screening


Di 28.9., 19.30 - Archäologie des Politischen
Jim Finn (USA) Great Man and Cinema 2009, 3’49’’ /
Abu Ali Mustafa (PS) They do not exist 1974, 25‘ /
Michael Mraktisch (D/CH) Djibouti oder Die Gewehre sind nicht geladen, nur nachts 1975, 53‘ 19‘‘
Di 5.10., 19.30 - Kulturalisierung
Harun Farocki (D) Die Bewerbung 1997, 58‘ /
Stephan Geene (D) Aftereffect 2007, 75‘
Di 12.10., 19.30 - Bruchlinien
Gintaras Makarevicius (LT) Testament of Siberia 2008, 14‘ /
Yael Bartana (IL) Mary Koszmary (Nightmares) 2007, 11‘ /
Francois Bucher (F) Haute Surveillance 2007, 36‘ /
Jeanne Faust (D) Global Girl 2003, 12‘ /
Köken Ergun (D) Wedding 2007, 12‘

Festivalzentrum im Stadtpark

Production specifics
Mit Unterstützung durch Ammar Abu Ali, arsenal – institut für film und videokunst (Berlin), Bissan Film (Ramallah), Engholm Engelhorn Galerie (Wien), Foksal Gallery Foundation (Warschau), Annet Gelink Gallery (Amsterdam), Generali Foundation (Wien), Harun Farocki Filmproduktion (Berlin), galerie schleicher + lange (Paris), Florian Schneider, Video Data Bank (Chicago), SWR (Stuttgart) & Mohanad Yaqubi

If the ”not-at-home”, as Paolo Virno says, has become a constant, unchanging state that chiefly affects the host of refugees and migrants, but paradoxically also the creative classes in a precarious work situation, every postulate of virtuosity of everyday life becomes a romantic, even cynical show of flexibility. Against this background, do subversion, trickery, creolisation or balkanisation still offer a starting-point for the ”rusty revolutionary lever”? (Virno)

”The not-at-home of images” parallels the dispersion of the social sphere with a dispersion of images: visuality as a bricolage of realities, references and relationships. Do we find ourselves faced with an oversized hotchpotch of images, in which everything is somehow connected to everything else, appears together, albeit without being able to create a joint space of appearance: a fundamental not-at-home of images? A visual construction of the social sphere as a bricolage in which entertainment, discipline and politics fuse? Or do images of bombed-out Palestinian settlements from the 1970s, of application interviews in Germany from the 1990s, and of a love story between art, cultural capital and marketing from the 2000s politicise each other? However, how could images talk of a politics that may actually no longer exist?

Kuratorin / Kurator: Reinhard Braun