Special Programs of the Festival
Alternative film/video 2008
ACADEMIC CINE CLUB –
ACADEMIC FILM CENTER
1958 - 2008
A very reduced retrospective
Selection: Miodrag Milošević
ZID, Vojislav Kokan Rakonjac, 8:00, 1960.
TRIPTIH O MATERIJI I SMRTI, Živojin Pavlović, 9:00, 1960.
RUKE LJUBIČASTIH DALJINA, Sava Trifković, 11:00, 1962.
KRUŽNICA (Jutkevič - Basie), Tomislav Gotovac, 12:00, 1964.
KOMPOZICIJA, Vjekoslav Nakić, 10:00, 1970.
PUTOVANJE, Bojana Vujanović, 5:00, 1972.
SAMOGLASNICI, Nikola Đurić, 10:00, 1973.
IZDAH, Ivan Obrenov, 12:00, 1976.
KUĆA, Radoslav Vladić, 9:00, 1977.
PRAZNIK, Bojan Jovanović, 11:00, 1983.
MADE IN YUGOSLAVIA, Dejan Vlaisavljević, 15:00, 1986.
RAY CHARLES U BIOSKOPU, Miloje Radaković, 10:00, 1987.
VAZDUŠNE PUŠKE II, Igor Toholj i Dragan VE Ignjatović, 13:00, 1993.
APSOLUTNA POBEDA, Igor Toholj, 4:00, 2000.
SOC.COM, Miroslav Sretenović. 9:00, 2000.
JOHNNY'S VIDEO, Boško Prostran, 2:40, 2006.
Total duration: 147 min
Academic Film Center of the “Students’ City” Cultural Center
Academic cine club was established on April 4 1958 (initiated by Predrag Čonkić) as an alternative to, at the time prestigious Cine club Beograd. It was joint to the “Students’ City” Cultural Center (SCCC) in 1976., and later it changed the name into Academic Film Center. Through its 50 years history, thanks to the authors who created within the center’s activity, it became one of the most significant and most awarded clubs in the country. Except for the production, the importance of the Center is reflected in its educational activity with young people through film and video workshops, screenings, talks and discussions about film, also in organization of festival of experimental film STAF (Study of authentic film, 1967-1970) and Alternative film/video (1982-1990, re-established in 2003), and also European animated film festival Balkanima (established in 2004).
More than 800 films produced in the Center, as well as several thousand alternative films and video pieces produced by other authors is preserved in the Archive of alternative film and video in SCCC. The Center is today a place of gathering of students and young people for whom film and digital arts are a form of artistic expression and communication.
“+-40 Years: 1968-2008”,
Ivica Đorđević, Greg de Cuir, Aleksandra Sekulić, AFC, 2008
Želimir Žilnik: Lipanjska gibanja, 1968
Jovan Jovanović: Studentski grad: 1967-1971
Jovan Jovanović: Kolt 15 GAP, 1971
Mića Milošević: Za i protiv za, 1969
The initial reason for the student rebellion in Students’ City in Belgrade in June 1968 was the incident at the entrance of the only cultural institution at the time in New Belgrade: Workers’ University, (students were stopped from attending a pop music show). In the analysis of the influence and consequences of this protest, there are two cultural institutions in Belgrade which were given to the students after the protests: Students’ Cultural Center (formerly a building in the center of Belgrade which housed State Security forces) and the “Students’ City” Cultural Center (built in the 1970’s as an example of a modern cultural center). This indicative “translation” of the political requests into the cultural infrastructure symbolically marked future comprehension of these protests through their influence in cultural domain. The specificity of Yugoslav protests in 1968 in a global context, as well as the influence of this event on the later development of society and culture, demands serious research. Marking the 40 th anniversary of the protests in Belgrade, in Students’ City, contributes to a wider project of the historicization of this period in Yugoslav society and development of the Belgrade art scene, including the “Black Wave” in cinema. The manifest in Students’ City in the period of June 6-8, 2008 was designed to offer information about the ideas and consequences of the protests to the new generation of students, and also to remind them of the forgotten concept of youth as the “progressive force of the society”, especially of the social responsibility and engagement of the students.
Project Creator: Aleksandra Sekulić
The exhibition of the student magazines from 1968 was realized in collaboration with Center for Cultural Decontamination. Visual program coordinators: Maida Gruden and Marko Veljić
Members of the Jury
Martijn Veldhoen (Amsterdam, 1962) studied painting at the Rietveld Academy in Amsterdam from 1979 until 1984. From the start of his career, Veldhoen has been involved in many multidisciplinary projects that incorporated various disciplines such as music, sculptural objects, and later on, video and film. In 1992 Veldhoen started making videoinstalltions, and exhibited in 1994 at the Montevideo/Rene Coelho Gallery ( Amsterdam, The Netherlands) and in 1995 at the DotCom gallery during the Soho Arts Festival in ( New York, USA). His video installation 'Dislocations' (1998) was exhibited in France (Marseille and Hirouville) and Germany ( Dortmund and Berlin), and was nominated for the international media art price of ZDF/Arte and the ZKM (Zentrum fur Kunst und Medientechnologie, Karlsruhe, Germany).
In recent years, Veldhoen started working on projects that can both be interpreted as video installations as well as experimental short films. These projects have been shown worldwide on exhibitions, film festivals and video festivals. 'Momentum' (2003) was nominated for a 'Golden Calf' for the best short film at the Dutch Film Festival Utrecht, and has won the first prize at the SENEF festival in Seoul and at the exhibition ‘Crysalis’ in Bari, Italy. His second short film ‘Forward’ (2004) has won the Grand Prix at the Split Filmfestival ( Croatia).
'Public Spaces' (2006) is Veldhoen's last filmproject; it has participated in several exhibitions in Holland ( Brabants Museum) and Russia ( St Petersburg and Moscow). Recently it received the Sphinx award at the Videomedeja Festival in Novi Sad. At this moment Veldhoen works on his most recent short film 'RE-constructions'.
The presentation will deal with the influence of feature film upon video art and vice versa. I will especially go into the subject of editing and narrative.
My own work
'Momentum' (2003), short film-video installation, 5:50 min
'(Why do I keep going) Forward' (2004), short film-video installation, 5:30 min
'Public Spaces' (2006), short film, 10 min
Clips from :
Tarkovski, Antonioni, Orson Welles, Sebastian Diaz Morales.
Marina Kožul (1978, Zadar) studied philosophy and Croatian linguistics at the Faculty of Philosophy in Zagreb. In the period from 2002-04, she worked on the production of the monthly television show „Videodrom“, broadcast on HRT (Croatian Radio and Television), and focused on Croatian and international experimental film and video art production. In 2005, with colleagues, she established the association for audio-visual research, 25 FPS, whose main project is 25 FPS - International Festival of Experimental Film and Video. Ko žul also participated in the selection of the experimental film program at Kino Tuškanac ( Šest kratkih u Tuškancu ; Eksperimentalni utorak, 2006/07). With colleagues from the festival, she selects programs of experimental films for presentations on Croatian and other international film and media events, and she is one of the editors of the 25FPS edition Kvadrati sekunde. In 2008 she participated in the 34th congress of the Japanese Association for Visual Art and Science at Seika University in Kyoto, in the symposium „Experiment in Media Art“.
The selection from the fourth edition of the International festival
of Experimental Film and Video 25 FPS
Zagreb , 23. – 28. 9. 2008.
Hirabayashi, Isamu: Juhnanako no kuhkan to ippiki no ujimushi de kohseisareta sakuhin / Priča konstruirana od 17 dijelova prostora i 1 crva, 13'32'', 2007, Japan (Nagrada publike)
Ishida, Takashi: Umino-eiga / Film o moru, 12'00'', 2007, Japan
Morales, Ivan Jr.: Antonio pode / Antonio može / 12'20'', 2007, Brasil
Telcosystems: Loudthings / Glasno, 14'00'', 2008, The Netherlands (Grand prix)
Saito, Daichi: All That Rises / Sve što se pokazuje, 07'30'', 2007, Canada
Srđan Keča was born in Pancevo, the polluted, yet quiet, town where he lives today. Studied experimental and theoretical physics, and graduated from the French school for documentary film, Ateliers Varan. From 2004-08, with colleagues, he established and was the director of Atelier Varan Beograd, a center for production and education in documentary film. In that period he produced 20 films, and some were successful at various international festivals and also broadcast on television. He organized several film workshops and dozens of screenings of documentary films throughout the region of ex-Yugoslavia. His film debut After the War (Posle rata, 2006) was screened at more than 30 international festivals and was awarded 5 times, at festivals in Italy, Germany, Romania and Serbia. Since 2008 he has been the selector of the Free Zone film festival, and also selector of the film program for the course of citizen education in the high school curriculum in Serbia.
Neil Cummings is an artist and professor at Chelsea College of Art and Design London. He often works in collaboration, and on projects that have resulted in a number of different exhibitions, archives and collections. Including work with Tate Modern, Bank of England, Victoria & Albert Museum, and Whitechapel Gallery London, Moderna Museet Stockholm and Tapies Foundation Barcelona.
Will be a presentation of four varied film projects that explore the archive as a rich creative resource. Parade 2007, Social Cinema 2006, Screen Test 2006 and Enthusiasm 2005.
There is an astonishing growth in museums, archives and data-banks of images, sounds and information. These new, emergent forms of archival capital have an increasingly powerful grip upon culture and its reproduction. Future Memory will explore the tensions and possibilities revealed by film memory in the digital age.
For more information visit http://www.chanceprojects.com
The Victory over the Coup
Project authors: Chto Delat? — Olga Egorova (Tsaplya);
Dmitry Vilensky; Natalia Pershina (Gliuklya); Nikolai Oleinikov
Our project deals with a key episode during perestroika in the Soviet Union. The action of the film unfolds on August 21, 1991, after the victory over the restorationist coup. On this day of unprecedented popular uplift it seemed that democracy had won a final victory in our country and that the people should and would be able to build a new, just society. How did our heroes see that society? This is the question we try to answer in our film.The film is structured like an ancient tragedy: its dramatis personae are divided into a chorus and a group of five heroes. Our heroes are key types generated by the perestroika era, each of them with a particular vision of his/her role in history: a democrat, a businessman, a revolutionary, a nationalist, and a feminist. They act and they dream. They analyze their actions, their place in society, and their vision of the country’s political path. The chorus is the incarnation of public opinion. It makes moral judgments on our heroes and it foresees their futures, as if it were gazing on the proceedings from the present day.
Our film analyzes the spec ific configuration of forces during this supremely important historical moment of contemporary history. It critiques political naïveté while also showing how difficult it is for people to realize their vision of the future together.
then about chronicles
The film Chronicles of Perestroyka is based on the documentation of different manifestation at the time of Perestroyka from 1987 till 1991 in Petersburg. The materials are generously provided by the Saint Petersburg Studio of Documentary Films
Special thanks to all camera men who preserved these unique moments of history and to Sergey Gelver, who has saved and is taking care of these precious materials.
Founded in early 2003 in Petersburg, the platform "Chto delat?/What is to be done?" opens space inspired by the need of merging of political theory, art, and activism. The platform's work is coordinated by a workgroup of the same name: its members include artists, critics, philosophers, and writers from Petersburg and Moscow. (see full list at website www.chtodelat.org)
The activity of the platform is realised in a variety of art projects and seminars, including videoworks, installations, public actions, radio programs, artistic examinations of urban space and everyday.
Chto delat has been publishing an English-Russian newspaper on issues central to engaged culture, based on alternative research methods with the focus on a repoliticization of Russian cultural situation in a dialogue with
international context. These newspapers are usually produced in the framework of self-organised collective initiatives such as art projects, educational seminars or activist campaigns.
SCCA, Center for Contemporary Arts – Ljubljana
SCCA-Ljubljana is a non-governmental and non-profitorganisation based in Ljubljana, Slovenia. Our objective is to produce, stimulate and mediate innovative artistic and interpretative practices and to encourage international links between them. We provide the participants and users of contemporary art with knowledge, tools and skills necessary for emancipated and reflected operation within the art system. By establishing a support system and cooperating with numerous NGOs we situate artistic practices into the social framework.
Ever since 1994 SCCA-Ljubljana systematically deals (collects, documents, researches, reflects and presents) with the video production in Slovenia. This can be seen in the extensive research and documentation project Videodokument.
Videodokument (from 1995, http://www.videodokument.org)
Documentation, archival and research project on video art in Slovenia (1969-1998)
The documentation, archival and research project on video art in Slovenia (1969-1998) is a comprehensive overview of thirty years of video art in Slovenia. Videodokument comprises: 1) Catalogue with documentation, 2) A book of essays, 3) CD-rom 4) Web site, 5) Study archive
Through the years Videodokument has become an important part of the education process in the Slovene educational system: it is the prescribed additional literature for learning and studying and a teaching tool for teaching video art on all levels of education, from primary school, secondary school, to humanistic, social studies and media studies faculties. Slovene and foreign researchers, curators and critics have made their studies, exhibitions and texts on the basis of material - meta data collected and classified in Videodokument as well as on the basis of video archive (analogue and digital).
archive of the demo scene
igor djordjevic / kosmoplovci
Today, with the wide accessibility of computer technology in our everyday life, one large, group of people deals with exploring the creative potential of that technology – since the mid 1980s and the appearance of the first 8-bit home computers (Spectrum, Commodore, Atari, etc.). Computer Demo Scene is a parallel universe in which all is possible because the participants are themselves programmers and professionals, not only users…
Media Archaeology: The Nineties
Jovan Bačkulja and Boško Prostran
Sonja Savić hommage
The long-term program “Media Archaeology: The Nineties” deals with the analysis of media forms from the 1990s in Serbia. The project team consists of: Jovan Bačkulja, Boško Prostran, Stevan Vuković, Aleksandra Sekulić, Ivica Đorđević, and Nebojša Petrović. The project is supported by the Ministry of Culture of Serbia.
Sonja Savić ( 1961–2008), actress, graduated from the Faculty of Dramatic Arts in Belgrade. She portrayed more than 50 film and television roles, and she was awarded at numerous festivals, the Venice Film Festival among them. She also had a successful theater career. Besides acting, she also produced numerous video art pieces.
Black Market: 1968
Maybe „Peace brother, love sister“ can be translated as „Go with peace, brother, come closer, sister“, and maybe not. Saša Marković Ganeša and Mićun Ristić analyze the music scene of 1968:
CREAM, PINK FLOYD, BONZO DOG DAH BAND, THE DOORS, 13 FLOOR ELEVATORS, SLY AND THE FAMILY STONE...
And they make jokes, too.
"Neocekivana sila koja se iznenada pojavljuje i resava stvar"
(“Unexpected Force that Suddenly Appears and Solves Everything”)
In existence since December 1997. In a relatively short time, gets the attention of the public thanks to the innovative concept which enabled the band to perform in smaller clubs as well as in big concert spaces, completely adjusting to the ambience. “The Force” uses a method of music creation with which it communicates with contemporary musical trends (techno, break-beat, trip-hop) , and in that way makes the most avant-garde music ideas communicative. Usual performances of “The Force” revision the form of a common rock concert breaking it into two or three musical parts between which a selected DJ completes and shapes the sound event.
Since December 2007, the band has performed as a trio: Vladimir Đorđević (guitar, synth), Boris Mladenović (bass, synth, sampler, effects) and Nemanja Aćimović (drums).
Video Lounge Alt08
Hrvatska / Croatia
Director: Željko Radivoj
Script: Željko Radivoj
Director of Photography: Željko Radivoj
Editing: Željko Radivoj
Animated Sequence:Aleksandar Muharemović
Production: KK Zagreb – SF
Antonio Lauer (a.k.a. Tom Gotovac)
What happened after finishing the film „Plastic Jesus“.
THE MATCHSTICK TRAVELLER
Director: Mareike Wegener
Director of Photography: Florian Riegel, Hannes Lang
Production: Academy of Media Arts Cologne
Script: Mareike Wegener
Editing: Mareike Wegener, Eu Corti as Hidalgo
Actors: Bibbe Hansen, Alison Knowles, Larry Miller
On June 19th, 1995, New York-born artist Al Hansen died in his studio in Cologne. It wasn’ t usual for Hansen to disappear, and his body laid undiscovered for some time. He was found under his desk, smothered in what many consider trash, but what he called working materials. He was 67 years old, and working on a collage made out of matchsticks.
„The Matchstick Traveller“ portrays an artist who was many things simultaneously: beat poet, pop artist, performer, Fluxus artist, author, porn editor, actor, composer, punk band manager – an axis for all post-war movements, and still an outcast. The film looks back at his chaotic life, and examines the notion of failure.
It is a documentary collage that interweaves remarkable archival footage with the thoughts and memories of those who were there, featuring appearances by Fluxus artists Ben Vautier, Alison Knowles, Larry Miller, Ben Patterson, the Vienna actionist Hermann Nitsch, and Hansen’s friends and family.
REPEAT AFTER ME
Director: Marianne Holm Hansen
“Repeat After Me” (Common Words and Phrases) engages the limited phrases found in traveler’s guidebooks and the repetitive format of language learning to consider the culture of language and the potential of the tourist experience.
Director: Ivan Ivanovski
Director of Photography: Ivan Ivanovski
Production: Violeta Kachakova
Editing: Ivan Ivanovski
Music: Vladimir Kaevski - BORG
The nails society constructs.
The sound of a hammer raises the City of Nails.
A hole is opened in the ground.
Huge fluid mass overflows the city.
The fluid shapes as humans.
The humans interfere with the construction.
The nails building ideology is disturbed.
The nails have to nail the humans.
WAR IS STARTING AGAIN
Director: Du Nikt
Director of Photography: Du Nikt
Production: Remaining Light
Script: Du Nikt
Editing: Du Nikt
Actors: Du Nikt
Music: Du Nikt
Promotional video for the song „War is Starting Again“ from the album „No Souvenirs Here“ (2008).
60x60 PROJECT: International Mix 2007
60x60 is an audio-visual project containing 60 compositions from 60 different composers, each composition 60 seconds or less in duration. The visuals for each composition are produced, filmed and edited by multimedia artist Zlatko Cosic.
For more information please visit
www.voxnovus.com/60x60.htm and www.eyeproduction.com/projects/60x60.
Director: Marina Marković