Il potere sarà costituente o decostituente? Chiedetelo a Batman! proiezione video dalle 18.00 alle 23.00:
_ Exarchia – Monia Cappuccini – “In Europa c’è una piazza. Non quella dei mercati finanziari e dello spread ma la piazza delle relazioni sociali e delle pratiche urbane, dei processi di partecipazione e del conflitto politico: la piazza perduta – e per questo così spesso invocata – capace di dare ancora forma allo spazio urbano in nome e per conto del diritto alla città”.
_ Decolonizing the mind – Alessandro Petti – architetto e ricercatore in Bethlehem. Directore del DAAR in Palestina, attraverso il suo lavoro cooperativo e partecipato in questo talk per TEDxRamallah dichiara la decolonizzazione come pratica politica del presente e la necessità di pianificare il riuso piuttosto che la distruzione delle installazioni militari israeliane in Palestina, e illustra la produzione di vero e proprio manuale architettonico per la decolonizzazione.
_ Il prezzo del prezzemolo – Manolo Luppichini e Vittorio Arrigoni – con i contadini palestinesi, per la raccolta del prezzemolo. A 300 metri dal confine israeliano.
_ Smarra- Palinopsia – Stefano Rotamasada Galanti – video-groviglio nichilista liberamente ispirato al racconto “Smarra o i demoni della notte” di Charles Nodier.
_ Il Cavaliere Oscuro – Il Ritorno – Christopher Nolan – “Criticare il film, sostenendo che la sua descrizione di Occupy Wall street è una caricatura ridicola, non è sufficiente. La critica deve individuare all’interno del film una pluralità di segnali che rimandano a quello che succede realmente. Ricordate, per esempio, che Bane non è semplicemente un terrorista assetato di sangue ma una persona capace di amore profondo, dotata di spirito di sacrificio. Insomma, l’ideologia pura non è possibile. L’autenticità di Bane deve lasciare delle tracce nel tessuto del film. Ed è per questo che Il cavaliere oscuro – Il ritorno merita una lettura attenta. Il fatto – la Repubblica Popolare di Gotham City, una dittatura del proletariato a Manhattan – è immanente al film. È il suo centro assente”. Slavoj Žižek
TOPOGRAPHIXX: Trans in the landscape
An international program of video art concerned with landscape, border, zone and territory, in a transgender spectrum
Curated by Tobaron Waxman. Introduction by Francesco Macarone Palmieri aka Warbear
1.Chris Vargas (USA) Have you ever seen a transsexual before? _ 2010 (04 min)
“The first half of the video records a guerilla performance, and through repetition, becomes a declaration and a campaign for Female-To-Male (FTM) transsexual visibility. When the campaign proves futile I enter a magical animated world where I observe and am greeted by colorful and flamboyant wildlife. Dedicated to friend Sam Lopes.” – Chris Vargas
2. Barbara de Genevieve (Chicago) Out of the Woods _ (08 min)
Una scena di sesso nel bosco tra FTM (Female-To-Male) e MTF (Male To Female), girato durante il Camp Trans.
Vincitore del Paris Post Porn Film Festival Award 2010.
3. Del LaGrace Volcano (London/Stockhölm) The Passionate Spectator _ 2004 (10 min)
An elegantly costumed genderqueer apparition traverses a European urban landscape. Inspired by Baudelaire and the late Brixton Brady, this short embodies the magic of the flaneur who sees but does not buy, who is in constant movement across borders which s/he refuses to recognize. (note: both the late BriXton Brady and Del are ‘herm’ identified. This film may be the first non-narrative example of an ‘intersex cinema’.)
4. Raafat Hattab (Jaffa) Bidun Unwaan _ (06 min)
In much of his work, Raafat performs in a non-traditional drag as ‘Arouse Falastin’ (The Bride of Palestine) عروس فلسطين. The Bride of Palestine is a traditional Palestinian reference to the ancient port city of Jaffa. In ‘Bidun Unwaan’ (untitled) the refrain of the soundtrack is “I leave the place”, and in Arabic the title also means ‘without mailing address’. As the loving caregiver to the tree, both Raafat and the olive tree as symbol for the Palestinian village are two figures who have never left the place. When the camera zooms out, the context for this nurturing is revealed to actually be in the middle of Tel Aviv’s Rabin Square, and the source of the water is the fountain pool by City Hall, at the centre of Zionism’s largest city.
Raafat Hattab: “For me, the tree that represents my Palestinian identity, is planted in a place that, on one hand, it was Palestine, the original land of it. And now it’s planted in a place that is framed, so its not its natural place, its not an olive grove and it’s lonely. It represents me, that’s how I feel.”
5. Mirha Soleil Ross (Quebec) _ 2002 (13 min)
Allo performance _ 2002 (13 min)
From May 2001 to February 2002, artist Mirha-Soleil Ross, who is a trans woman, appeared pregnant every time she was in public as part of her 9 month long performance art cycle “The Pregnancy Project”. Ross’ seemingly innocuous dress is inspired by Shulamit Firestone, in this carefully layered performance video. “My mother never used spiritual terms related to Christianity. In this video she uses words that to me, go across culture and are related to Aborginal Culture, and come from 500 years of old, converted Anusian religion (Anushim are crypto-Jews forced to convert in Portugal and Spain who escaped to be early settlers of New France.) Her spirituality is in terms of ‘destiny’ and that is very Aboriginal. Those are things that most people wouldn’t understand, but we didn’t care. So much of the content is to render and recodify a sense of who the woman is. At the end of the video I fall in the water, I collapse, I fail in the water, to be a woman who can reproduce, can reproduce either Jewishness or Aboriginalness, on foreign territory.” – Mirha Soleil Ross
6. Raafat Hattab (Jaffa)
Houria _ (07 min)
In “Houria” (Mermaid/Freedom), Hattab interviews Yousra, his aunt, who tells him generations of stories she has inherited, about where they lived, and where parts of the family dispersed to in 1948. The image of her storytelling is interwoven with imagery of Hattab dressed as a mermaid on the shore of Al-Manshiyeh, the northern Palestinian neighbourhood that borders the sea and Tel Aviv. Hattab, who ID’s as (what is in English codified as) genderqueer, is perpetually between contexts, not unlike the beached mermaid.
7. Rémy Huberdeau (Canada)
Au pays des esprits (Home of the Buffalo) _ 2009 (04:26 min)
Constructed from Canadian prairie archival images taken between 1920 and 1940, this film lyrically explores a son/daughter’s relationship with his/her father and the family’s relationship to their land.
8. Yossi Yacov (Berlin/Tel Aviv)
The National Erection _ 2007 (04 min)
Referencing a historic cannon-monument from 1948, Queer activists create a giant pink cannon-cock, to squirt giant cumshots on Tel Aviv’s military and Zionist monuments as a protest gesture, thus ‘dragging’ the national ethos as a squirting pink satin penis. Locals report that the police felt compelled? justified? jealous? enough to destroy the ‘national erection’ with clubs, castrating the queer phallus, in response to the activists perversion of the landscape of national myth.
3D animation / Digital Video. A Queer Creation Myth Story based on the artist’s mother’s drawings and vocals. Jacolby described “Reifying Desire” to me as a “queer, non sensical, psychosexual landscape….built from drawings made by a schizophrenic, and her son vogues around the material culture she drew.” He went on to define ‘Queer’ as “queer in the definition of outside of normativity”.
Since March 2011, after the outbreak of the Libyan War, many African migrants and refugees escaped from the country. While a part of this flow has found shelter in refugee camps at the border with Tunisia, others managed to reach Italian coasts by boat. Many of them had been previously pushed back by Italy as a result of an agreement signed by Berlusconi and Gaddafi in 2008. Since the signature of this deal, all migrants intercepted at sea by the Italian navy were forcibly returned to Libya, where they were exposed to any kind of abuses by local police.
Our documentary aims to tell what actually happened to African refugees on the Italian ships during these “push back operations” and in Libyan prisons after their deportation. We met our witnesses in Shousha refugee camp, at the border between Libya and Tunisia, and in two reception camps for asylum seekers (C.A.R.A.) in southern Italy. Their interviews constitute the main part of the documentary, along with a session of the European Court of Human Rights in Strasbourg, where one of our witnesses sued Italy. The Court has recently condemned Italy for violation of the European Convention on Human Rights.
Presentation also with Fernando Chironda _ Amnesty International and ZaLab.
The group Canecapovolto was founded in Catania in 1992 on the model of philosophical brotherhood. The research of DC go through various experiences which promote scientific matrix of communication and especially his spectacular response. The themes are always reference on social universe, with particular consideration for the society of the spectacle and the Man-mass, which strengthens a bond with some matrix situationist practices. Canecapovolto has based its identity and its message between the gray areas and between hearing and vision that . canecapovolto.it
It’s a choral, lucid and exact story of the authoritarian management of power in Italy by emergencies. A real investigation, as in a detective story that leads you through four clues to reconstruct the changes which occurred in recent years in the Civil Protection Department and the way it was handled the post-earthquake in L’Aquila: the failure reconstruction of the immediate construction of the controversial CASE Berlusconi. But it is not just a story about L’Aquila. In Italy, the disaster is spreading to all the normal democratic life. And all the normal democratic life can be managed “in derogation”. It’s the story of a management model of authoritarian power, but by the gentle face that is emerging in Italy and worldwide. Command and control
independent biennale of critical housing