Kdo se boji ideologije?
Razstava
Vodstvo po razstavi z umetnico
Otvoritev razstave 4. oktobra ob 20.00, odprta do 31. oktobra.
Organiziranje informacij je inherentno politično dejanje. Izbiranje prioritet, reduciranje in izključevanje niso le načini pripovedovanja zgodb, temveč sredstvo sooblikovanja sveta. Ključni vidik ustvarjanja dokumentarnega filma je tako vselej povezan z ozaveščanjem o izbirah in vplivih, ki jih ima tovrstno odločanje. Dela Marwe Arsanios stremijo h kljubovanju konvencijam in zakritim načinom prepričevanja, pri tem pa ne upodabljajo le paradoksov, ki jih živijo njeni dokumentirani subjekti, marveč tudi nasprotja, ki nastanejo, ko želijo tovrstne kompleksnosti ujeti na kamero.
Kdo se boji ideologije? 1. del, posnet v gorah Kurdistana v začetku leta 2017, se v osnovi osredotoča na avtonomno žensko gibanje v Rojavi ter njegove strukture samoupravljanja in produkcije znanja. Gre za gverilsko gibanje, ki spolno osvoboditev vidi kot boj, soobstoječ in enakovreden reševanju vojnih konfliktov, fevdalizma, verskih napetosti in ekonomskemu boju. Čeprav avtonomno žensko gibanje temelji na ekologiji in feminizmu, pa to ni liberalni projekt. Je ideologija, ki je vzniknila iz vojne in se skoznjo tudi izvaja. Gibanje se je priključilo sirski revoluciji, ki se je pričela leta 2011, in še traja.
Ste že kdaj ubili medveda ali Postajati Jamila je video, v središču katerega je Jamila Bouhired, alžirska bojevnica za svobodo. Raziskava se osredotoča na različne reprezentacije Jamile v filmih ter na njeno asimilacijo in promocijo med šestdesetimi in sedemdesetimi leti prejšnjega stoletja v egipčanski reviji Al-Hilal [polmesec], pomembni nekdanji arabski kulturni reviji.
Amaterji, zvezde in statisti ali Delo ljubezni se preko različnih jezikov in različnih skupin ljudi, ki govorijo o domačem delu, ukvarja z nevidnim skrbstvenim delom. Film ima v nenehni dialektiki med delom kot reprezentacijo in reprezentacijo dela ter njegovim izkoriščanjem optimističen pogled na kolektivitete in kolektivne politične projekte.
Padanje ni sesedanje, padanje je širjenje za izhodišče vzame rušitev hiše, v kateri je umetnica odraščala, nato pa razišče, kako se ruševine uporabljajo kot material, ki ga pomešajo z odpadki na smetiščih. Uporabijo ga za gradnjo podaljškov v morje, s čimer širijo ozemlje in prispevajo k privatizaciji bejrutske obale kot del strateškega neoliberalno-kapitalističnega razvoja nepremičninskega trga.
Kdo se boji ideologije? 2. del raziskuje različne ekofeministične skupine, vključno z avtonomnim ženskim gibanjem v Rojavi in načinom, na katerega želijo skrbeti zase in za okolje. Arsanios v tem prepoznava alianso med skupnostjo žensk, naravo in živalmi ter se osredotoči na različne vidike, ki jih tovrstna alternativna ekonomija in gradnja drugačnega sveta predlagajo. Ob tem film problematizira tudi nevarnost zdrsa v skrbstveno vlogo, ki je ženskam pripisana kot »naravna«.
Bralnica je instalacija, ki jo polnijo tematsko ukrojene knjige. Platforma, ki bo odprta med celotnim trajanjem razstave, želi povabiti obiskovalke_ce k individualnemu branju, še raje pa k skupnostnim branjem, porajajočim se iz spontanih bralnih skupin. Ob različnih priložnostih se bodo dogodile aktivacije Bralnice v obliki panelov, okroglih miz ali predavanj.
4. 10., 15.00–17.00
Aktivacija št. 1:
Ime česa je svoboda?, z Jeleno Petrović, Marino Gržinić in Anjo Zalta
16. 10., 17.00–19.00
Aktivacija št. 2:
Skrb kot nasilje, z Darjo Zaviršek, Ireno Šumi in Marto Verginella
27. 10., 17.00–19.00
Aktivacija št. 3:
Teorija video umetnosti, s Slavkom Kačunkom in Barbaro Borčič
Vstop prost.
Kustosinja Teja Reba v sodelovanju z Marwo Arsanios
Koprodukcija: Mesto žensk, Galerija Škuc, Kunstencentrum Vooruit
Who is afraid of Ideology?
Exhibition
Guided tour with the artist.
Exhibition Opening on October 4th at 8 PM. The exhibition open until October 31st.
Organizing information is an inherently political act. What
one chooses to prioritize, reduce or exclude is not simply a way of
making stories. It is a way of making a world. Being aware of these
choices and the impact that such decision-making entails is a key facet
of making documentary films. It endeavours to counter conventions of
making documentary films and their concealed modes of persuasion. Marwa
Arsanios’ films depict not only the paradoxes its documented subjects
live but also the contradictions of trying to capture such complexities
on camera.
Who is afraid of ideology? Part I, shot in
the mountains of Kurdistan in the early 2017, primarily focuses on the
Autonomous Women's Movement in Rojava and its structures of
self-governance and knowledge production. This is a guerrilla-led
movement that views gender liberation as a coexisting and equal struggle
to that of resolving the conflicts of war, feudalism, religious
tensions and economic struggle. But despite its core emphasis on ecology
and feminism, the autonomous women’s movement is not a liberal project.
It is an ideology that has emerged from and is practiced through war.
The movement’s most recent participation includes the Syrian Revolution
which began in 2011 and remains ongoing.
Have You Ever Killed a Bear or Becoming Jamila
is an inquiry into Jamila Bouhired, the Algerian freedom fighter. The
research focuses on the different representations of Jamila in the
cinema, and on her assimilation and promotion during the 1960’s and
1970’s in the Egyptian magazine Al-Hilal [the crescent] which used to be
a major Arab cultural magazine.
Amateurs, Stars and Extras or the Labor of Love looks
at the invisible care work through different languages and different
groups of people talking about domestic work. In a continuous dialectic
between work as a representation and the representation of work and its
exploitations, the film has an optimistic take on collectivities and
collective political projects.
Falling is not collapsing, falling is extending
takes as its starting point for the destruction of the building where
the artist grew up, and proceeds into investigating how rubble is used
as a material on garbage dumps, mixed with waste, in order to build land
extensions to gain land and privatize the seashore of Beirut as a
strategic neoliberal capitalist real estate development.
Who is afraid of ideology? Part II looks
at different ecofeminist groups including the Autonomous Women's
Movement in Rojava and the way they attempt to take care of the land and
themselves. Taking this as an example of an alliance between a
community of women, nature and animals, Arsanios focuses on different
aspects that such alternative economy and world re-building proposes.
The film also problematizes the role “naturally” assigned to women,
potentially falling back into care work.
Another essential component of the exhibition is the Reading Room,
presented as a platform for books that expand on the themes addressed
in the exhibition. Open throughout the duration of the project, it
invites visitors to sit and read as well as to engage in communal
reading, hosting spontaneous reading groups.
The activation of the Reading Room will happen on various occasions bringing together various guests discussing particular themes or presenting new publications.
4 October, 3–5 PM
Activation No. 1:
What does Freedom Stand For?, with Jelena Petrović, Marina Gržinić and Anja Zalta
16 October, 5-7 PM
Activation No. 2:
Care as Violence, with Darja Zaviršek, Irena Šumi, Marta Verginella
27 October, 5-7 PM
Activation No. 3:
Video Art Theory, with Slavko Kačunko and Barbara Borčič
Free entrance.
Curated by Teja Reba in collaboration with Marwa Arsanios.
Co-production: City of Women, Škuc Gallery, Kunstencentrum Vooruit.
Več dogodkov
