{"id":37773,"date":"2017-02-02T17:09:57","date_gmt":"2017-02-02T16:09:57","guid":{"rendered":"http:\/\/camera-austria.at\/?p=37773"},"modified":"2017-02-02T17:09:57","modified_gmt":"2017-02-02T16:09:57","slug":"forum-expanded-berlinale-2017-2","status":"publish","type":"post","link":"https:\/\/camera-austria.at\/en\/2017\/02\/forum-expanded-berlinale-2017-2\/","title":{"rendered":"Forum Expanded \/ Berlinale 2017"},"content":{"rendered":"<p>9 \u2013 19 February<\/p>\n<p>The <i>Forum Expanded<\/i> curatorial team has now completed the 2017 <a href=\"https:\/\/www.berlinale.de\/media\/pdf_word\/service_7\/67_ifb_1\/Forum_2017.pdf\">selection<\/a>. 44 artistic works from a total of 21 countries have been invited, including 28 films of various lengths, 15 installations and a performance. The opening of the group exhibition at the Akademie der K\u00fcnste at the Hanseatenweg already takes place on February 8, one day before the start of the Berlinale. 13 video and sound installations are being shown there, once again supplemented by film screenings from February 10 onwards. SAVVY Contemporary present the exhibition \u201eThe Law of the Pursuer\u201c by <strong>Amos Gitai<\/strong> and the multichannel sound installation <i>Lago<\/i> by <strong>Joshua Bonnetta<\/strong> is being exhibited at the Marshall McLuhan Salon of the Embassy of Canada.<\/p>\n<p><strong>Sharon Lockhart<\/strong>\u2019s <i>Rudzienko<\/i> celebrates its world premiere in the film programme. Lockhart examines a recurring theme of her artistic practice in this new work: the experience of childhood and adolescence. For a period of three years, she worked with the inhabitants of the Youth Centre for Sociotherapy in Rudzienko, Poland. Milena is one of the girls featured, who Lockhart met while shooting <i>Podw\u00f3rka<\/i> (<i>Forum Expanded <\/i>2010). The film emerged from the work with the teenagers and shows a mixture of conversations which deal with everyday teenager worries and philosophical questions in equal measure.<\/p>\n<p>Works by other artists invited to the programme also forge links to films and installations previously shown at <i>Forum Expanded <\/i>and the <i>Forum<\/i>: <strong>Noam Enbar<\/strong> presents the installation <i>Pana Ha&#8217;Geshem <\/i>(<i>The Rain is Gone<\/i>) in which a theatre group performs a structured, improvised vocal composition. The installation is based on material created as part of <strong>Avi Mograbi<\/strong>\u2019s film <i>Between Fences<\/i>, which was shown at the <i>Forum<\/i> in 2016. Enbar and Mograbi already took part at the 2012 edition of Forum Expanded with a live installation.<\/p>\n<p><i>Izadora (listening to versions of herself)<\/i> by <strong>Philip Scheffner, Merle Kr\u00f6ger and Izadora Nistor<\/strong> describes a moment that belongs to 14-year-old Izadora and her alone. Scheffner and Kr\u00f6ger already worked with Izadora and her family in their films <i>Revision<\/i> (<i>Forum<\/i> 2012) und <i>And-Ek Ghes\u2026 <\/i>(<i>Forum<\/i> 2016).<\/p>\n<p>\u201eThe Stars Down to Earth\u201c is the title of this year\u2019s <i>Forum Expanded<\/i> programme and is taken from the text of the same name by Theodor W. Adorno in which he grapples with the role of the irrational in mass culture. The works assembled around this theme confront an era that\u2019s gone off the rails and engage with it by taking a keen look at the concrete and the present as well as the past.<\/p>\n<p>In this way, the <i>Bawabet Yafa<\/i> (<i>Jaffa Gate<\/i>) multimedia installation conceived by <strong>Khaldun Bshara<\/strong> examines the history of the Jaffa Gate in Jerusalem, which was completely redesigned in line with the wishes of the new colonial rulers after the British conquest of the city. One part of the installation is the video <i>ON THAT DAY<\/i> by Mohanad Yaqubi which was produced by the RIWAQ Centre for Architectural Conservation and takes a closer look at the gate via historical photos.<\/p>\n<p><strong>Mohanad Yaqubi<\/strong>\u2019s <i>Off Frame AKA Revolution until Victory<\/i> also forms part of the film programme. For <i>Off Frame<\/i>, he rummaged through archives across the entire globe to try and find films by Palestine Film Unit (PFU), a filmmaking collective whose militant practice accompanied the Palestinian Revolution and brought it into international view. Only a small number of the numerous films created between 1968 and 1982 still exist today, which makes rediscovering and interrogating them in relation to their current relevance all the more vital.<\/p>\n<p>Yaqubi also presents his research as part of this year\u2019s \u201cThink Film\u201d conference series. \u201cThink Film No. 5: Archival Constellations\u201d takes place in compact fashion over one day at the silent green Kulturquartier in Wedding. Eight archive presentations, three archive visits and a performance are planned.<br \/>\nWhat role does the location of an archive play, whether as a shelter, repository, production facility or sometimes even as a danger zone? Archives are movable entities; they can make new connections which bring them to life. The film archive of the INCA (Instituto Nacional de Cinema e Audiovisual) in Guinea-Bissau thus also holds films from the former Soviet Union. Works from the Kiev School of Scientific Film ended up in a contemporary art context in similar fashion. The archive visits lead into Amos Gitai\u2019s exhibition at SAVVY Contemporary as well as into the Arsenal \u2013 Institute for Film and Video Art e.V. film archive, where concert footage (including that of Einst\u00fcrzende Neubauten, Malaria, Nick Cave) from 1980s West Berlin can be seen that stems from the !K7 archive. The day comes to a close with a special edition of the \u201cRising Stars, Falling Stars\u201d series at which archivist and performer Ms. Vaginal Davis will be presenting a small 16mm excavation.<\/p>\n<p><u><b>Films<\/b><\/u><br \/>\n<i>Aapothkalin Trikalika<\/i> (<i>The Kali of Emergency<\/i>) by Ashish Avikunthak (India \/ Germany, 79\u2019)<br \/>\n<i>Asbestos<\/i> by Sasha Litvintseva, Graeme Arnfield (United Kingdom, 20\u2019)<br \/>\n<i>A Tall Tale<\/i> by Maya Schweizer (Germany \/ Ireland, 16\u2019)<br \/>\n<i>The Brick House<\/i> by Eliane Esther Bots (Netherlands, 16\u2019)<br \/>\n<i>Camera Threat<\/i> by Bernd L\u00fctzeler (Germany, 30\u2019)<br \/>\n<i>Dark Adaption<\/i> by Chris Gehman (Canada, 14\u2019)<br \/>\n<i>HASHTI Tehran<\/i> by Daniel K\u00f6tter (Iran, 59\u2019)<br \/>\n<i>Heliopolis Heliopolis<\/i> by Anja Dornieden, Juan David Gonz\u00e1lez Monroy (Germany, 26\u2019)<br \/>\n<i>Im Geh\u00e4us<\/i> (<i>In His Room<\/i>) by Eva C. Heldmann (Germany, 27\u2019)<br \/>\n<i>Jokinen<\/i> by Laura Horelli (Finland, 45\u2019)<br \/>\n<i>Not Every Day is Spring<\/i> by Haig Aivazian (Lebanon, 46\u2019)<br \/>\n<i>Off Frame AKA Revolution until Victory<\/i> by Mohanad Yaqubi (Palestine \/ France \/ Qatar, 63\u2019)<br \/>\n<i>One Plus One Makes a Pharaoh&#8217;s Chocolate Cake<\/i> by Marouan Omara, Islam Kamal (Egypt \/ Switzerland, 37\u2019)<br \/>\n<i>Popeye Sees 3D<\/i> by Ken Jacobs (USA, 21\u2019)<br \/>\n<i>Ride Like Lightning, Crash Like Thunder<\/i> by Fern Silva (USA, 9\u2019)<br \/>\n<i>Rudzienko<\/i> by Sharon Lockhart (Poland \/ USA, 53\u2019)<br \/>\n<i>Seif Tagreeby<\/i> (<i>Experimental Summer<\/i>) by Mahmoud Lotfy (Egypt, 69\u2019)<br \/>\n<i>Serce Mi\u0142o\u015bci \u2013 Director\u2018s Cut <\/i>(<i>A Heart of Love \u2013 Director\u2018s Cut<\/i>) by \u0141ukasz Ronduda (Poland, 88\u2019)<br \/>\n<i>Set<\/i> by Peter Miller (Germany, 10\u2019)<br \/>\n<i>The Shortest Day <\/i>by Kar\u00f8 Goldt (Austria, 3\u2019)<br \/>\n<i>Sokun Al Sulhufat<\/i> (<i>Turtles are Always Home<\/i>) by Rawane Nassif (Qatar \/ Lebanon, 12\u2019)<br \/>\n<i>SPIN<\/i> by Ginan Seidl (Germany, 80\u2019)<br \/>\n<i>Tashlikh<\/i> (<i>Cast Off<\/i>) by Yael Bartana (Israel \/ Netherlands, 12\u2019)<br \/>\n<i>Ten Mornings Ten Evenings and One Horizon<\/i> by Tomonari Nishikawa (Japan, 10\u2019)<br \/>\n<i>Studies on the Ecology of Drama<\/i> by Eija-Liisa Ahtila (Finland, 26\u2019)<br \/>\n<i>Ulrike\u2018s Brain<\/i> by Bruce LaBruce (Germany \/ Canada, 55\u2019)<br \/>\n<i>Ulysses in the Subway <\/i>by Paul Kaiser, Marc Downie, Ken &amp; Flo Jacobs (USA, 59\u2019)<br \/>\n<i>The Welfare of Thom\u00e1s \u00d3 Hallissy <\/i>by Duncan Campbell (United Kingdom, Ireland, 31\u2019)<\/p>\n<p><b><u>Performance<\/u><\/b><br \/>\n<i>Confessions of an Actress<\/i> by Susanne Sachsse (Germany)<\/p>\n<p><b><u>Group Exhibition at the Akademie der K\u00fcnste am Hanseatenweg<\/u><\/b><br \/>\n<i>Bawabet Yafa<\/i> (<i>Jaffa Gate<\/i>) by RIWAQ (Conzept: Khaldun Bshara) (Palestine)&#8217;<br \/>\n<i>Constructed Futures: Haret Hreik<\/i> by Sandra Sch\u00e4fer (Germany)<br \/>\n<i>Hawamesh Aan Al-Hegra <\/i>(<i>Footnotes on Migration<\/i>) by Take to the Sea (Egypt)<br \/>\n<i>Isla Santa Maria 3D<\/i> by Oliver Husain (Canada)<br \/>\n<i>Izadora (listening to versions of herself)<\/i> by Merle Kr\u00f6ger, Izadora Nistor, Philip Scheffner (Germany)<br \/>\n<i>Pana Ha&#8217;Geshem<\/i> (<i>The Rain is Gone<\/i>) by Noam Enbar (Israel \/ France)<br \/>\n<i>Purple, Bodies in Translation &#8211; Part II of A Yellow Memory from the Yellow Age<\/i> by Joe Namy (Lebanon)<br \/>\n<i>Twelve<\/i> by Jeamin Cha (Republic of Korea)<br \/>\n<i>UHF42 E01+E02<\/i> by Mike Crane (USA \/ Palestine)<br \/>\n<i>Untitled Fragments <\/i>by James Benning (USA)<br \/>\n<i>When Things Occur<\/i> by Oraib Toukan (Palestine \/ United Kingdom)<br \/>\n<i>Wutharr, Saltwater Dreams<\/i> by Karrabing Film Collective (Australia)<br \/>\nAnd:<br \/>\n<i>Towards Memory<\/i> von Katrin Winkler (Germany)<\/p>\n<p><b><u>Marshall McLuhan Salon of the Embassy of Canada<\/u><\/b><br \/>\n<i>Lago<\/i> by Joshua Bonnetta (Canada \/ USA)<\/p>\n<p><u><b>SAVVY Contemporary<\/b><\/u><br \/>\nThe Law of the Pursuer&#8221; by Amos Gitai (Israel)<\/p>\n<p><b><u>Think Film No. 5: Archival Constellations<\/u><\/b><br \/>\nMaterial to Investigate the Present, the Future Past &#8211; An Encounter with the Archive by the Harun Farocki Institut<br \/>\nLab Space \u2013 Film Lab as Physical Space and Its Influence on Creative Process by Lisabona Rahman (Indonesia)<br \/>\nReclaiming History, Unveiling Memory Part II by Didi Cheeka (Nigeria)<\/p>\n<p>Archive visits to:<br \/>\nSAVVY Contemporary: The Law of the Pursuer by Amos Gitai; Arsenal \u2013 Institute for Film and Video Art: Living Archive &#8211; 10.000 Films &amp; Subkultur Berlin80, a !K7 video archive.<br \/>\nThe Solid Image by Filipa C\u00e9sar (Germany \/ Portugal) and Sana Na N\u2019Hada (Guinea Bissau)<br \/>\nFor an Imperfect Archive by Reem Shilleh and Mohanad Yaqubi (Palestine)<br \/>\nPerforming Moments of an Archive by Jasmina Metwaly and Philip Rizk (Egypt \/ Germany)<br \/>\nKinotron: The Kyiv School of Scientific Film by Oleksiy Radynski (Ukraine)<br \/>\nReclaiming History, Unveiling Memory Part II by Didi Cheeka (Nigeria)<br \/>\nSaltwater Dreams: Archives of the Present by Karrabing Film Collective (Australia)<br \/>\nVaginal Davis Presents: Rising Stars, Falling Stars<\/p>\n","protected":false},"excerpt":{"rendered":"<p>9 \u2013 19 February The Forum Expanded curatorial team has now completed the 2017 selection. 44 artistic works from a total of 21 countries have been invited, including 28 films of various lengths, 15 installations and a performance. The opening of the group exhibition at the Akademie der K\u00fcnste at the Hanseatenweg already takes place [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32],"tags":[],"class_list":["post-37773","post","type-post","status-publish","format-standard","hentry","category-redaktion-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Forum Expanded \/ Berlinale 2017 - Camera Austria<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/camera-austria.at\/en\/2017\/02\/forum-expanded-berlinale-2017-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Forum Expanded \/ Berlinale 2017 - Camera Austria\" \/>\n<meta property=\"og:description\" content=\"9 \u2013 19 February The Forum Expanded curatorial team has now completed the 2017 selection. 44 artistic works from a total of 21 countries have been invited, including 28 films of various lengths, 15 installations and a performance. 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