tag:blogger.com,1999:blog-31913655824590453222024-02-19T08:42:56.138-08:00documentary in context - Workshops and Lectures on Design and Production of Better Media.documentary in context konzipiert, berät und realisiert innovative, transmediale Film- und Veranstaltungsformate für Web, TV/Kino und Ausstellungsräume.intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comBlogger9125tag:blogger.com,1999:blog-3191365582459045322.post-31953137322748372332017-02-24T10:23:00.000-08:002017-03-03T05:36:11.501-08:00Wikipedia für alle?! – im Rahmen der #LiMA17 am 4. April 2017, 14 bis 17 Uhr<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "trebuchet ms" , sans-serif;"><b>Einführung in das Verfassen und Optimieren von Beiträgen für die Online Enzyklopädie (Interface, Arbeitsweise, Beitragsformen, Relevanzkriterien, Community) für Autor*innen und Interessierte mit und ohne Vorkenntnisse</b></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixtwi1SviE0R8zvkDH9feGWRjfvtO2YyaSuDL5NKmc5r2iSuY_szwx77Bh_CSduldjhkVCEwuN3eqdrd-RwSlbPF-aDNs-ooA3mjXGROtTI6kdkrzsTirYojb-cmYGFfXXVqWsgVZIuQ/s1600/LiMA_Polarisierung.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixtwi1SviE0R8zvkDH9feGWRjfvtO2YyaSuDL5NKmc5r2iSuY_szwx77Bh_CSduldjhkVCEwuN3eqdrd-RwSlbPF-aDNs-ooA3mjXGROtTI6kdkrzsTirYojb-cmYGFfXXVqWsgVZIuQ/s400/LiMA_Polarisierung.jpeg" width="400" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: x-small;"><span style="font-family: "trebuchet ms" , sans-serif;">© Linke Medienakademie 2017</span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;">Die Polarisierung von Meinungen und Haltungen wird durch Geschichtsrevisionismus begleitet und befeuert. Eine differenzierte, faktenbasierte Geschichtsschreibung und Weltwahrnehmung ist wichtiger denn je.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br />Die Wikipedia möchte die Chance bieten, sich an einer kollektiven Produktion von Wissen zu beteiligen und eine differenzierte, faktenbasierte Wahrnehmung von Vergangenheit und Gegenwart ermöglichen. Gleichzeitig werfen die Zusammensetzung der Community und die gezielte finanzielle und personelle Einflussnahme fragwürdiger Interessengruppen berechtigte Kritik an der Online-Enzyklopädie auf. Wie z.B. der <a href="http://www.fr.de/politik/wikipedia-wer-steckt-hinter-afd-freund-lukati-a-989868" target="_blank">Journalist Mar<span style="font-family: "trebuchet ms" , sans-serif;">v</span>in Oppong mit seinen Recherchen</a> belegt. Ob kritisiert oder nicht – die Wikipedia erfreut sich großer Popularität und reger Nutzung. Sie braucht deshalb Autor*innen, die sich reflektiert und fundiert für relevante Ideen, Konzepte und Ereignisse der Weltgeschichte einsetzen und diese in der Wahrnehmung halten.<br /><br />Ziel des Workshops ist es, Wikipedia-interessierte Menschen, Autorinnen und Autoren aller Fachbereiche und Generationen ohne oder mit wenig Erfahrung an die Wikipedia heranzuführen und zu vernetzen. Er vermittelt grundlegende Kenntnisse zur Arbeitsoberfläche, Arbeitsweise, Beitragsformen, Relevanzkriterien und ermöglicht Austausch zu spezifischen Fragen rund um das Verfassen von eigenen Beiträgen und die Arbeit in der Community.<br /><br />Für den Workshop ist ein eigenes Laptop notwendig. Es kann an einem eigenen Wikipedia-Eintrag gearbeitet werden. Im Vorfeld sollte bereits ein Benutzerkonto angelegt sein. Bei Fragen dazu helfe ich gern weiter. Schreibt mir einfach an info(at)documentaryincontext.org.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Zielgruppe/Niveau: keine Vorkenntnisse benötigt.</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://pentabarf.linkemedienakademie.de/export/lima17/events/436.de.html" target="_blank"><span style="font-family: "trebuchet ms" , sans-serif;">Zum Programm der </span>#Li<span style="font-family: "trebuchet ms" , sans-serif;">MA17 zum Thema "Polarisierung"</span></a> </span></div>
<div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comtag:blogger.com,1999:blog-3191365582459045322.post-73033896645530999132017-02-24T09:56:00.000-08:002017-02-24T10:02:04.610-08:00Welcome to Futuristan. 30 Jahre galerie futura. Wikipedia-Seminare für Frauen* in Kunst und Kultur// Art+Feminism<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>18. Juni - 20. August 2016<span style="color: #cc0000;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"><br />Letzter</span> Termin. <span style="font-family: "trebuchet ms" , sans-serif;">20</span>. August 2016, 1<span style="font-family: "trebuchet ms" , sans-serif;">1</span> bis 18 Uhr</span></span></b><br /> </span></span><br />
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<tr><td style="text-align: center;"><a href="http://www.alpha-nova-kulturwerkstatt.de/wp-content/uploads/2016/04/RethinkingMedia.jpg" style="margin-left: auto; margin-right: auto;"><img height="211" src="https://blogger.googleusercontent.com/img/proxy/AVvXsEiNGihIBJAWYIhg75rRby42HZe5rgYP_lRBNQZT4d9xBhahTJCTI8SN8W2SIPb_ZT2J70yRwypXcXCfC8-Kp_EAQqIl1KWvvzIUytfgn9-aUe7t9Z8N_N2LHeKGuhKFTGZUc_TprztxmtRmWdAkPDOFHXU-raTrL0BPcqby9l8kVuCSzNeCSTYn9QVM8p9ujvDQ2KovW1SJtcGh3nD1Ags=s0-d-e1-ft" width="320" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;"><span style="font-size: x-small;">Bild: Tanja Vietzke, Rethinking Media, 2014</span></span></td></tr>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">Anmeldung bitte<span style="font-family: "trebuchet ms" , sans-serif;"> unter info@intersub<span style="font-family: "trebuchet ms" , sans-serif;">jektiven.org</span></span><br /><br />
Wie schreibe ich in der Wikipedia? Ziel der Workshops anlässlich des
30jährigen Jubiläums der galerie futura ist es, Künstler*innen,
Autor*innen und Lai*innen aller Generationen an die Arbeit für die
Wikipedia heranzuführen, um so den Anteil von Autor*innen in der
Community sowie die Sichtbarkeit relevanter Künstler*innen,
Institutionen, Theoretiker*innen und feministischer Perspektiven in der
Kunst zu stärken.<br /><br />Arbeitsort ist das erlebbare Archiv der galerie
futura (18. Mai bis 27. August 2016). Das Archiv, die
Jubiläumsausstellung “Welcome to Futuristan” (07. bis 27. August 2016)
und das Umfeld der Galerie sollen inspirieren für Wikipedia relevante
Arbeiten, Orte, Biografien feministischer Künstler*innen, Autor*innen,
Kurator*innen oder Theoretiker*innen zu identifizieren, Materialien für
Wikipedia-Artikel zu sammeln, Artikel zu verfassen und zu überarbeiten.
Es kann natürlich auch an anderen eigenen Projekten geschrieben werden.<br /><br />Die Workshops werden von der Autorin Anett Vietzke (<a href="http://www.documentaryincontext.com/">www.documentaryincontext.com</a>) und der Künstlerin Sandra Becker01 (<a href="http://www.sandrabecker01.de/">www.sandrabecker01.de</a>) im Austausch mit Wi! kimedia e.V. organisiert und begleitet.<br /><br /><a href="https://de.wikipedia.org/wiki/Wikipedia:Edit-a-thon/GalerieFutura" target="_blank">Wikipedia<span style="font-family: "trebuchet ms" , sans-serif;">-</span>Seite der Veranstaltung</a><br /><a href="https://www.facebook.com/events/281549028889071/" target="_blank">Facebook-Event</a></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /><b>18. Juni 2016 / 11 bis 18 Uhr, im </b></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b><span style="font-family: "trebuchet ms" , sans-serif;">E</span>rlebbaren Archiv</b></span></span> der galerie futura</b><br />Einführung in Wikipedia und Vorstellung der Initiative „Art+Feminism“ (angefragt)<br /><br />Der
erste Teil führt in die kollaborative Wissensproduktion im Kontext des
Wikimedia e.V. und die Produktion für die Plattform Wikipedia ein
(Einrichten eines Kontos, Erklären der Benutzer*innenseite,
Relevanzkriterien für Künstler*innen). Es wird mit der Recherche im
offenen Archiv und der Arbeit an Artikeln begonnen.<br /><br /><b>09. Juli 2016 / 11 bis 18 Uhr, im </b></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b><span style="font-family: "trebuchet ms" , sans-serif;">E</span>rlebbaren Archiv</b></span></span> der galerie futura</b><br />Recherche im Archiv und die Produktion von Artikeln werden fortgesetzt.</span></span><br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">06. August 2016 / 14 bis 18.30 Uhr, im Erlebbaren Archiv der galerie futura, ab 19 Uhr Besuch der Ausstellungseröffnung </span></span></b><br />
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> </span></span></b></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-weight: normal;">Interessierte und Einsteiger*innen sind herzlich willkommen. Wir führen je nach Bedarf in die Arbeit für die Wikipedia ein. Recherche im Archiv und die Produktion von Artikeln werden fortgesetzt. Ab 19 Uhr gemeinsamer Besuch der Ausstellungseröffnung „Welcome to Futuristan“ im Kunstquartier Bethanien.</span></span><br />
<h3>
<span style="color: #cc0000;"><span style="color: #990000;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #990000;"><span style="color: #990000;"><span style="color: red;"><b><br /><span style="color: black;">20. August 2016/11 bis 18 Uhr, im <span style="font-family: "trebuchet ms" , sans-serif;">E</span>rlebbaren Archiv der galerie futura<span style="font-family: "trebuchet ms" , sans-serif;">, </span>Ausklang // </span></b></span></span></span></span></span></span></span></h3>
<span style="color: #cc0000;"><span style="color: #990000;"><span style="color: #990000;"><span style="color: #990000;"><span style="color: red;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;">Wir treffen uns das letzte Mal in dieser Runde im offenen Archiv der
Galerie. Interessierte und Einsteiger*innen sind herzlich willkommen.
Bei Bedarf führen wir in die Arbeit für die Wikipedia ein. Ansonsten
setzen wir unsere Arbeit an den begonnenen Beiträgen fort und beenden
diese. Ein Besuch der Ausstellung <b>Welcome to Futuristan</b> im Kunstquartier </span><a href="https://de.wikipedia.org/wiki/Bethanien_%28Berlin%29" title="Bethanien (Berlin)">Bethanien</a> <span style="color: black;">ist von 14 bis 19 Uhr möglich. Für einen Imbiss und Getränke ist gesorgt.</span></span></span></span></span></span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><a href="http://www.alpha-nova-k!%20ulturwer%20kstatt.de/welcome-to-futuristan-30-jahre-galerie-futura-wikipedia-seminare-fur-frauen-in-kunst-und-kultur-art-and-feminism/" target="_blank">Zur galerie futura und alpha nova-Kulturwerkstatt</a></span></span></div>
<div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comtag:blogger.com,1999:blog-3191365582459045322.post-88814938528230867542015-03-26T01:45:00.001-07:002015-07-03T09:02:08.664-07:00BILDER, DIE WIR HABEN. BILDER, DIE WIR BRAUCHEN: Vortrag im Rahmen von united nations revisited (Berlin, 2013)<div dir="ltr" style="text-align: left;" trbidi="on">
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<div style="text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><b><a href="http://www.unitednationsrevisited.com/en" target="_blank">united nations revisited: Künstlerische Interventionen im politischen Raum</a><br />Kuratorin und Künstlerische Leitung: Singe Theill.</b></b></span></span></div>
<div style="text-align: left;">
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b><br /></b></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><b>In
Kooperation mit Bundeszentrale für politische Bildung, Galerie M,
Gefördert durch Mittel aus dem Programm Aktives Zentrum Marzahner
Promenade, Bezirk Marzahn/Hellersdorf, Institut fürAuslandsbeziehungen
e.V. (ifa), Königlich Norwegische Botschaft, Goethe Institut und degewo</b><br /><br />
</span></span></div>
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<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCSdLtjXCJgzYFH7-5IrtGHeeJvB7AtLh86PzxBYCP4Pa_Jjy5CVT4IGVP0A-fIzAP8tne_7qOISxAy6w2L4MKIcbVC4ghWoiGHDpVagDDWPK5SguvR54azpArVITGGDy52HDF5L3Kkw/s1600/mail-Plakat_4.4_blog.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCSdLtjXCJgzYFH7-5IrtGHeeJvB7AtLh86PzxBYCP4Pa_Jjy5CVT4IGVP0A-fIzAP8tne_7qOISxAy6w2L4MKIcbVC4ghWoiGHDpVagDDWPK5SguvR54azpArVITGGDy52HDF5L3Kkw/s1600/mail-Plakat_4.4_blog.jpg" /></a><a href="http://www.unitednationsrevisited.com/" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqcv0CDVdFqabxGtgU78zb0qIqSowUF5WGniOZoaxTLQVeA30amQTWEo5LRNrJMCUA4Xd_01_Yik57fsINcm9VdxpNEzVsF4huPgNGrU2ZotyyC9gmi9dQ2DImGx3bi4Tpo4oOOXpE-A/s1600/unrevisited.tiff" /></a></span></span></td></tr>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></span>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><b>Auszug aus meinem Vortrag: </b></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><b>Bilder, die wir haben. Bilder, die wir brauchen. Über die Grenzen dokumentarfilmischer Repräsentation.</b></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><br /></span></span></div>
<div style="text-align: left;">
<span style="font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;">„Das dokumentarische Bild
repräsentiert vielleicht. Es vergegenwärtigt jedoch auf jeden Fall
seinen eigenen Kontext: Es bringt ihn zum Ausdruck.“, schreibt die
Künstlerin und Theoretikerin Hito
Steyerl in <a href="http://www.turia.at/titel/hito.html">Die
Farbe der Wahrheit</a> (1). Damit formuliert sie das zentrale
Thema dokumentarisch-filmischen Schaffens und seiner politischen
Dimension überhaupt. Vergegenwärtigen wir kurz: Repräsentation
bedeutet zum einen in der künstlerischen und philosophischen Praxis
die „Darstellung“ oder „Vorstellung“ von etwas. In der
Politik wird Repräsentation als „Sprechen für“, im „Namen
von“ oder „in Vertretung von“ verstanden.<br />Gerade in der dokumentarfilmischen Praxis aus und über Afrika fallen Aspekte einer
politischen und künstlerischen Repräsentation zusammen. Diese strukturellen, formalen und inhaltlichen Verfahren
der politischen wie künstlerischen Repräsentation konfrontieren uns
jedoch nicht mit den Dingen der dargestellten Welt, sondern mit bestimmten
Begriffen, Überlegungen und Modellen dazu. Sie entwerfen die Welt als
Bild ihrer Wahrheiten. Weil Bilder wie Wahrheiten nach bestimmten
Konventionen der politischen wie kulturellen Macht erzeugt werden,
müssen diese stets aufs Neue in Bezug auf ihre Rechtmäßigkeit
hinterfragt werden. Filme wie <a href="http://www.kinshasa-symphony.com/">Kinshasa Symphony</a> und <a href="https://www.youtube.com/watch?v=WWymaW07OXU">Congo in Four Acts</a> bieten den passenden Anlass. <a href="http://www.intersubjektiven.net/2015/05/bilder-die-wir-haben-bilder-die-wir.html" target="_blank">>> Weiterlesen</a></span></span></div>
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<div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comtag:blogger.com,1999:blog-3191365582459045322.post-69460271201360990682014-05-23T10:29:00.002-07:002014-05-23T10:41:12.807-07:00(IM)POTENCIA dokumentarische Theaterinstallation (Bühnentext) @ Theaterverlag Hofmann-Paul (Berlin, 2010)<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilCyHmYBvzIdSs8Dfp-WvTTsvjQkPJjR1hNBEN3LkfanPXknCtK_qDp7yYSC6ocF-vq1KvabSGJ7oMqrT_Xb-WaRikWwmQ9qFnp-mRYecpTC3CvWpZs0a-acqxw1rUkO4SOFXH2D0eGg/s1600/impotencia_plakat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilCyHmYBvzIdSs8Dfp-WvTTsvjQkPJjR1hNBEN3LkfanPXknCtK_qDp7yYSC6ocF-vq1KvabSGJ7oMqrT_Xb-WaRikWwmQ9qFnp-mRYecpTC3CvWpZs0a-acqxw1rUkO4SOFXH2D0eGg/s1600/impotencia_plakat.jpg" height="640" width="452" /></a></div>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Stell Dir vor, Du willst am Bankautomaten Geld holen, aber es gibt keines mehr, für niemanden. Impotencia bedeutet Ohnmacht. In diesem Stück geht es um die Ohnmacht des Einzelnen vor dem ökonomischen System. 2001 traf eine verheerende Wirtschaftskrise Argentinien. Wenn eine Firma bankrott geht, löst sie sich auf, wenn ein Staat bankrott geht, was geschieht dann? Welchen Einfluss hat die Krise auf das alltägliche Leben der Menschen? Und wer profitiert selbst noch von diesem Zusammenbruch und der Ohnmacht?</span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><br /></span>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">Diesen Fragen sind die beiden Theater- und Perfomancekünstlerinnen Veronika Bökelmann und Anett Vietzke in Buenos Aires nachgegangen. Vor Ort gesammelte Interviews, Töne, Videobilder und Objets Trouvès als dokumentarisch-subjektive Beschreibungen des Alltags bilden die Grundlage der Arbeit. Entstanden ist ein Stücktext, der Freiräume lässt für Improvisation.</span></div>
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;">(IM)POTENCIA beleuchtet das hochaktuelle Thema Krise im ganz persönlichen Alltag – authentisch und humorvoll, selbstkritisch, unbequem und erotisch. Gespielt, erzählt und gezeigt werden die Überlebensstrategien eines Architekten und seiner Familie, eines Obdachlosen, der Frau von Nebenan und die Geschichte eines Psychologen der Überlebensstrategien verkauft. „Wenn ich das Erleben des ökonomischen Zusammenbruchs in drei Wochen beschreiben sollte, wären es Angst, Ohnmacht und schließlich Hoffnung. In dieser Reihenfolge.“</span></div>
<span class="Apple-style-span" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 18px;"><a href="http://documentaryincontext-projects.blogspot.de/2010/03/sneak-preview-impotencia-at-marstrand.html" target="_blank">Mehr über die Theaterinstallation (IM)POTENCIA>>></a></span><br />
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<span class="Apple-style-span" style="color: #333333; line-height: 18px;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><a href="http://www.theaterverlaghofmann-paul.de/theaterstuecke/im-potencia" target="_blank">Ein Exemplar des Textes bestellen>></a></span></span></div>
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</span></span><div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comtag:blogger.com,1999:blog-3191365582459045322.post-19909029986531100942014-05-23T03:54:00.001-07:002015-07-06T08:08:21.181-07:00AMBIGUOUS BEING: Who is afraid of identity? video-library and film program (catalogue) (Taiwan, 2012)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><a href="http://documentaryincontext-projects.blogspot.de/2012/05/ambiguous-being-who-is-afraid-of.html" target="_blank">Konzept und Programm der Ausstellung/concept and program of AMBIGUOUS BEING>></a><span id="goog_1978749559"></span><span id="goog_1978749560"></span></span></div>
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<div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comtag:blogger.com,1999:blog-3191365582459045322.post-75413153557195508222012-09-25T13:42:00.001-07:002015-07-06T08:06:22.039-07:00AMBIGUOUS BEING: Who is afraid of identity? (lecture) @ video-library and film program curated by Jia Zhen Tsai (Taipei), Sally Haftel Naveh (Tel Aviv) and Anett Vietzke (Berlin) <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="background-color: white; font-family: 'Trebuchet MS', sans-serif; font-size: large;"><b>Supported by Chews Culture Foundation (Taiwan), National Culture and Art Foundation (Taiwan), Hong-Gah Museum (Taipei), Taipei Contemporary Art Center, Israel Economic and Cultural office (Taipei), Taipei Economic and Cultural Office (Tel Aviv), KAV 16 Community Gallery (Tel Aviv), Goethe Institut (Taipei), Senatskanzlei für kulturelle Angelegenheiten (Berlin), tamtamART Gallery (Berlin).</b></span></div>
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<span class="Apple-style-span"><span style="background-color: white; font-family: "Trebuchet MS",sans-serif; font-size: large;">Concept and realization by Jia Zhen Tsai (Taipei), Sally Haftel Naveh (Tel Aviv) and Anett Vietzke (Berlin).</span></span></div>
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<span style="background-color: white; font-family: "Trebuchet MS",sans-serif; font-size: small;">Showings.</span></div>
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<span class="Apple-style-span" style="background-color: white;"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">tamtamART
Gallery (Berlin): June/2nd </span><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> </span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "Trebuchet MS",sans-serif;"> – </span></span>30th, 2012</span></span></div>
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<span class="Apple-style-span" style="background-color: white;"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">KAV 16 Community Gallery (Tel Aviv):
July/ 5th </span><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> – </span>31st, 2012 </span></span></div>
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<span class="Apple-style-span" style="background-color: white;"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">Hong Gah Museum (Taipei): August/
25th </span><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"> – </span>September/ 23rd, 2012</span></span></div>
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<span style="background-color: white; font-family: "Trebuchet MS",sans-serif; font-size: small;">Derive Art Space (Taichung): October/ 13th – November/ 28th, 2012</span></div>
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<span style="background-color: white; font-family: "Trebuchet MS",sans-serif; font-size: small;">Kaohsiung (Taiwan): February/ 23rd – May/ 12th, 2013 </span></div>
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<span style="font-size: small;"><span style="background-color: white; font-family: "Trebuchet MS",sans-serif;">The
videoart-library and film program presents works of artists based in
Taipei, Tel Aviv and Berlin. Political, social and cultural identities
of the cities, as centers of controversial debates on the future of
community values and society, are determined, demanded and related by
crucial boundary experiences and confrontations with the other. That has
a deep impact on the local artistic and cultural practice. The
exhibition highlights artworks that develop and stimulate relevant
strategies of identity construction by exploring the self and the other,
the options of acting and suffering, ways of finding and inventing, the
role of the conventional and the extraordinary against a background of
colliding reality concepts.<span style="font-size: small;"><a href="http://documentaryincontext-projects.blogspot.de/2012/05/ambiguous-being-who-is-afraid-of.html" target="_blank">>> </a><span style="font-size: small;"><a href="http://documentaryincontext-projects.blogspot.de/2012/05/ambiguous-being-who-is-afraid-of.html" target="_blank">S<span style="font-size: small;">ee </span>More</a></span></span></span></span><br />
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<span style="font-size: small;"><i><span style="font-family: "Trebuchet MS",sans-serif;"> </span></i></span><br />
<span class="Apple-style-span" style="font-family: 'Trebuchet MS',sans-serif;"><span style="font-size: x-small;"><br /><span style="font-size: small;">Curatorial statement Anett Vietzke:</span></span></span><b><span style="font-family: "Trebuchet MS",sans-serif; font-size: large;"> </span></b><br />
<b><span style="font-family: "Trebuchet MS",sans-serif; font-size: large;">One never lives elsewhere.*</span></b><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Although the city of Berlin was never re-presentative of the German society in its entirety, it has always been a decisive culminating point of distinctive corporate tendencies. The spatial and social manifestations of tolerance and totalitarianism, exclusion and openness, self-realization and destruction resulting from the city´s history have created an urban continuum of motion and steadiness. It is embedded in a stress field of quotidianity and adventure that has made Berlin an adorable laboratory for multiple visions of how one can live and make the terrain inhabitable. The city, constantly determined and demanded upon by crucial boundaries experiencing collapse, seems to successfully link diverse social, cultural, and political environments and lifestyles. Political and socio-cultural ruptures and upheavals have caused borderlands of happening and reconstruction. Periods of conflict and precariousness have initiated inventive movements, seeking independence and corporate perspectives. The outcomes have an impact far beyond the city´s zones of influence. <br /><br />But one never lives elsewhere. Motion and transition beget a threshold that can offer the possibility of entering new spaces of sociability or corporate attitudes. Movement without a sustainable vision marks a temporary state rather than a future perspective. It even bears the potential for the irrevocable destabilization of important community values that shape individual and social identity – in particular, as permanent mobility and flexibility have become decisive factors of a transnational economy that seeks to expand and dominate by total liberation and exchange. The most insidious operation of this economy is its ability to project itself as an inevitable and stable development that offers orientation, even though complex societal orders and social bonds have been destroyed by the very same policies. Here, permanent transformation, the absence of community caused by casualization becomes another specification of this total market, as well as its main result. It is essential for the further deregulation and defamation of common public interests. Precariousness is necessary as a foundation to implement the problematic propaganda of prosperity and growth as the only truth, because it profoundly affects the person who suffers it by making the whole future uncertain. It enervates, prevents all rational anticipation and, in particular, the basic belief in a common future that one needs in order to rebel, especially collectively, against present conditions – even the most intolerable, as Pierre Bourdieu states. <br /><br />Of course, motion enables encounter by connecting people and mind-sets. But to the same extent, our contemporary ways of commuting and re-locating tear holes into our capacities for coherent social and individual perception and identification. So, the current Berlin hype can also be seen as an aspect of the ongoing scenario of crisis: as an urbanity in transition, ruptures, crisis and transformation in the city of Berlin create open spaces that attract an intercultural, international audience. As on-sided interests, as well as the increasing struggle for economic resources, and social and cultural participation have made parts of our world barely inhabitable, notably a merely young generation is longing for creative and future perspectives here, what is totally eligible. Nevertheless the spaces of possibility in Berlin accrue more and more high-priced merchandise. Marketing images of hope and opportunity support questionable policies that try to establish precariousness, mobility, and flexibility as something sexy and re-presentative. Coeval for many locals the ongoing movements, often related to the phenomenon of gentrification and segregation, complicate self-concepts, and result in the loss of a familiar pattern of identification. <br /> </span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The Sting of the Other.<br />But how to organize without destroying what made life a site of inventive social, political, and economic realities? How to live in precarious mobility without losing consistency and coherence but also without becoming exclusive, indifferent, or intolerant? <br />To learn how we can regard everything that is ours as something strange and that which seems strange as a part of ourselves, as Maurice Merleau-Ponty stresses, might be an opportunity. After creating a context of immaterial field tension that blurs and questions existing boundaries, we tend to formulate relevant concepts of civil disobedience and urban sociability. The city is a site of collective self-determination. In a globalized universe of floating meaning, fiction, and knowledge, inclusive social values and identity have to be actively built. One does not have to plan it like a monument but re-construct it constantly. It is a process of individual and civil consciousness requiring communication, mental mobility, attitude and the ability to include differences by respecting them. To maintain that, we definitely need to continue developing a language of aesthetics as a process of subjective and collective investigation that implements the virtual and material realities in its instruments and addresses the individual's needs and desires to live as an entire personality in a community. Ongoing debates about urban sociability in the city of Berlin raise questions on the future of sociability and community life in general.</span></span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><br />The selected works are fragments of that debate. Concerning this matter, they explore the meaning of the Self and the Other, the options of Acting and Suffering, the results of Finding and Inventing, the meaning of the Conventional and the Extra-ordinary as essential issues of individual and social identity construction against a background of colliding concepts of reality and the ongoing crisis of re-presentation. Moreover, all selected works testify to an urgent need to reconstruct a personal and social imaginary, mentioning the absence of medial, social or political consistency by addressing distinctive aesthetics as well as narrative layers. At once, they all recognize the impossibility of doing this without recourse to delegitimized discourses or theories. So, they tend to denaturalize the established strategies of re-presentation, supporting the activity of the audience by encouraging critical reflection on the role of visual art and culture. As seeing and visualizing can and should no longer be associated with knowledge, most works invariably hesitate at the point of locating their individual studies within a larger, overarching narrative. Individuals or particular images are not easily interpreted as representative of anything broader than themselves, refusing the allegorical impetus of one big picture. <br /> </span></span></div>
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The selection seeks to cross-link works that develop artistic strategies and implement contemporary mindscapes as social labs of global relevance. Nevertheless, it is subjective and fragmented following the framework and possibilities of its exhibition context. It does not aim to be representative.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The Self and the Other highlights works, such as Passing down, frame one (2007), Anything but my pictures (2010), STREETS OF THE WORLD (2012), Imagine the border between us (2012), A Portrait in three Colors, all Pink. Part II (2012), that explore the very basic aspects of an organizing system and its limits, as well as its contingencies that sometimes make it difficult to see any form of identity as definite. In order to define identity, the boundary experience is always essential. </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">That underlines the relation of Acting and Suffering to expose further video works that address the process of identification and artistic expression as creative forces contributing to the system that one is and wants to be part of, consistently formulating the questions one wants to answer. Nevertheless, any act of identification by expression bears the moment of violence and the potential to cause suffering, in that it excludes or limits in the very moment it creates, as addressed in Land of Banality (2002-2012), The New MIDDLE (2010), No Place Home (2010), WHAT YOU DON`T PUT INTO THE SOUP GOES INTO THE LOO (2011), TERRITORy OF BEAUTIES (2012). </span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Finding and Inventing unites works that discuss the fact that any organizing principle is neither part of the object or subject itself nor exists outside or before an entity, but rather has to be constructed actively from within individual and social context. This regards, in particular, the realm of labor and technology as thematized in THRESHOLD (2006), No Place Home (2010), In the works (2012), Magnetic Eye Berlin (2012), Berlin Recyclers (2012), No more words, no other thoughts. About the rituals of speaking (2012).</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">The Conventional and the Extra-ordinary intimates the borderlands where the common and uncommon are confronted with each other instead of being encapsulated, keeping quotidian life opened up for the exceptional by avoiding a strict separation in The Magic Desk (2008), SLIGHTLY CLOSER/ MV (2010), Märkisches Viertel – Faces of a Neighborhood (2010) or LYING IN BETWEEN (2011).</span></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">Anett Vietzke.</span></span><br />
<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;">AMBIGUOUS BEING is the second curatorial work of the experimental documentarist and media theorist Anett Vietzke. It continues the investigation of visual art as a source of approaches to document and explore concepts of reality in its re- and de-construction. It thereby seeks to empower a productive, community-oriented artistic and cultural practice that understands itself as a laboratory of inclusive socio-culture. Acting productively within this frame means acting in order to consciously contribute to a system one wants to be part of, as well as formulating the questions one has. On the borderline of art and science Anett Vietzke seeks to reflect contemporary concepts of truth and visualization, discussing them with diverse audiences. In 2011, she co-curated ARGENTINA VICE VERSA, a film cycle and symposium dedicated to the New Argentine Cinema (1999-2010) for Cinemateket Oslo and Bergen, as well as Verdensteatret TromsØ. The film cycle dealt with the aesthetics and artistic strategies of local film-art in the context of the economic breakdown and the resulting crisis of re-presentation in Argentina, which experienced it´s peak in 2001. </span></span><br />
<span style="font-size: small;"><br style="font-family: "Trebuchet MS",sans-serif;" /><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS",sans-serif;">* Subtitles and main questions are inspired by the contemplations of the philosopher Bernhard Waldenfels as manifested in his publication DER STACHEL DES FREMDEN/ THE STING OF THE OTHER (suhrkamp taschenbuch wissenschaft, Frankfurt am Main, 1998)</span></span></span><br />
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<div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comtag:blogger.com,1999:blog-3191365582459045322.post-48830248312139907282011-08-30T05:48:00.000-07:002015-07-06T08:01:00.557-07:00SICHTBARKEIT UND SICHTBARMACHUNG: FILMKUNST- UND MEDIENVERMITTLUNG (Workshops und Seminare)<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span class="Apple-style-span" style="color: #444444; font-size: large;"><span style="font-family: "Trebuchet MS",sans-serif;">Für und in Kooperation mit </span><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-family: "Trebuchet MS",sans-serif;"><a href="http://die-werkstatt-tagebuch.blogspot.de/">Werkstatt für Veränderung</a> (Berlin), <a href="http://www.filmakademie.de/ueber-uns/kinderfilmhaus/">Kinderfilmhaus der Filmakademie Baden-Württemberg </a>(Ludwigsburg), Verband der Jugendpresse Baden-Württemberg (<a href="http://issuu.com/jugendpressebw/docs/noir8/13?e=0">Jugendmedientage</a>), </span></span><span style="font-family: "Trebuchet MS",sans-serif;">Friedrich Schiller Gymnasium Ludwigsburg, CVJM eV. (Ludwigsburg)</span></span></b><br />
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<span style="color: #444444; font-family: "Trebuchet MS",sans-serif;">Die Auseinandersetzung mit dem bewegten Bild schafft besondere Möglichkeitsräume für gemeinschaftliches Handeln und Denken. Die Filmkunstvermittlung und medienpädagogische Arbeit von <b>documentary <i>in context</i> </b>liefert Impulse und Inspirationen für den kreativen, bewussten und nachhaltigen Umgang mit dem Bewegtbild. Interaktive Workshops, Vorträge und Seminare führen Kinder, Jugendliche und junge Erwachsene in die Geschichte, Entstehung und Wirkungsweise des Filmes in Theorie und Praxis ein. Im Folgenden einige Projektbeispiele:</span></div>
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<tr align="left"><td class="tr-caption"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">© 2011 Werkstatt für Veränderung</span></span></td></tr>
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<tr align="left"><td class="tr-caption"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">© 2011 Werkstatt für Veränderung</span></span></span></td></tr>
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<tr align="left"><td class="tr-caption"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">© 2011 Werkstatt für Veränderung</span></span></span></td></tr>
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<tr align="left"><td class="tr-caption"><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: xx-small;">© 2011 Werkstatt für Veränderung</span></span></span></td></tr>
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;">WORKSHOP
FÜR JUGENDMEDIENTAGE (2,5 Tage) Die Macht des Bildes in der Reportage
ergründen junge Medienmacher im Alter von 14 bis 20 Jahren in einem
Workshop der für die Jugendmedientage des Verbandes Jugendpresse
Baden-Württemberg konzipiert wurde. In zwei Gruppen realisieren die
Seminarteilnehmer zwei filmische Kurz-Reportagen. Dabei geht es um die
Tendenz des subjektiven Blickes. Eine der Reportagen beschreibt allein
das Negative, die andere zeichnet ein positives Bild der Veranstaltung.</span><br />
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><span style="font-size: small;">WORKSHOP
FÜR SCHULEN (5 bis 10 Tage)
Nach einer Einführung in Konzeptentwicklung und Kamera- und
Schnitttechnik realisiert eine Gruppe von 12 Schülern (14 bis 19 Jahre)
die Recherche, Konzeption, Dreharbeiten, Montage und Postproduktion für
einen 10 minütigen Film über ihre Schule selbstständig unter
begleitender Anleitung. Die Gruppe setzt sich aus Schülern mit
vollkommen unterschiedlichen Kenntnissen zusammen. Der Film wird zur
Präsentation der Schule vor Eltern und Schülern der neuen Jahrgänge
dienen. </span></span></span></div>
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<span style="font-size: xx-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUcgAHBG8xXDBhM-qm4LEymkotGvj4ut8M-Fi0qnmE2TivAEU9CQkzpBDUJUZDNVDI1INOdJewUOk90tsnJvbR5oAzB7VyGTof8Hsn9smTSgyP1FSJvJ-NJ3ScrVOaTNWAmOPiDuy-vA/s1600/JMTBW08-020.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"> </a></span><br />
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<tr><td style="text-align: center;"><span style="font-size: xx-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvcShilpYepHBXj5enGEgqmB065zQlRoi1cHdfP-SlWLJFBPAjg3fPV65cMif_NOoCXBZWFDfMD-v309KKSml2d3CUy6x9xGQrtNJL0BpYVEJhyUUj_2UMoI3MthVrUjsWC0sTnBPWpg/s1600/JMTBW08-020.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvcShilpYepHBXj5enGEgqmB065zQlRoi1cHdfP-SlWLJFBPAjg3fPV65cMif_NOoCXBZWFDfMD-v309KKSml2d3CUy6x9xGQrtNJL0BpYVEJhyUUj_2UMoI3MthVrUjsWC0sTnBPWpg/s1600/JMTBW08-020.jpg" title="Workshop Reportage auf den Jugendmedientagen Baden-Württemberg" width="640" /></a></span></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-family: "Trebuchet MS",sans-serif; font-size: xx-small;">©2008 Schmidt für Jugendmedientage Baden-Württemberg</span></td></tr>
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<tr align="left"><td class="tr-caption"><span style="font-family: "Trebuchet MS",sans-serif; font-size: xx-small;">©2008 Schmidt für Jugendmedientage Baden-Württemberg</span><br />
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<div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comtag:blogger.com,1999:blog-3191365582459045322.post-35612627715066996972011-08-30T01:48:00.001-07:002014-05-23T03:55:44.051-07:00IN DEN RUINEN EINER ALTEN ANGST (2007) / GRAUZONE (2006) (Prosa) @ PRIMERO VERLAG MÜNCHEN<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ_KFweg_s_dS5CnE7sCO_h9OtYk6OLF9UCAFQfe88UEgRjvkRvHG6ilp8xKaOtD8bfPZGeXKBKDMALvTveKBNKb1PkensIXAbecG6XjOPG_-yCDR6IuM3D_oZlzrluABLla858dn9uQ/s1600/UTOPIA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ_KFweg_s_dS5CnE7sCO_h9OtYk6OLF9UCAFQfe88UEgRjvkRvHG6ilp8xKaOtD8bfPZGeXKBKDMALvTveKBNKb1PkensIXAbecG6XjOPG_-yCDR6IuM3D_oZlzrluABLla858dn9uQ/s400/UTOPIA.jpg" height="320" id="BLOGGER_PHOTO_ID_5399351754963759874" style="display: block; margin-top: 0px; text-align: center;" width="400" /></a><span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b>IN DEN RUINEN EINER ALTEN ANGST. IN UTOPIA 07. published by PRIMERO VERLAG MÜNCHEN<span style="font-size: small;"> </span></b></span><br />
<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b>www.primeroverlag.de. </b></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b>256 pages, 112x190 mm (D) EUR 13,90 / (A) EUR 14,30 / (CH) CHF 25,50 ISBN 978-3-9810943-3-6 </b></span><br />
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<span style="font-family: "Trebuchet MS",sans-serif; font-size: small;"><b>Readings: Rakete 2000 (Ä Programmwirtschaft, Berlin), Leipziger Buchmesse, Hochschule für Film und Fernsehen "Konrad Wolff" (Potsdam), Literaturfestival Ludwigsburg</b></span><span style="font-size: small;"><b style="font-family: "Trebuchet MS",sans-serif;"> </b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFPEw3FUMfj5rgZf5b1VFBu8fbMRPEwybiTYckcVtFFv8QUBqvgEGsuRSe78dQLOZL3RkoDGM6gTAxzUvJGXuoXwPhyphenhyphenIBLxK3BUTqOq668gyqkJiVnBg4yTjnPoAaIP_03YWqZxwH_Bg/s1600/MEINHERZ.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFPEw3FUMfj5rgZf5b1VFBu8fbMRPEwybiTYckcVtFFv8QUBqvgEGsuRSe78dQLOZL3RkoDGM6gTAxzUvJGXuoXwPhyphenhyphenIBLxK3BUTqOq668gyqkJiVnBg4yTjnPoAaIP_03YWqZxwH_Bg/s400/MEINHERZ.jpg" height="325" width="400" /></a></div>
<span style="font-size: small;"><b style="font-family: "Trebuchet MS",sans-serif;">GRAUZONE. IN MEIN HERZ IN FREMDEM LAND. Published by PIMERO VERLAG MUNICH. www.primeroverlag.de. </b></span><br />
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<span style="font-size: small;"><b style="font-family: "Trebuchet MS",sans-serif;">288 pages, 112x190 mm (D) EUR 13,90 / (A) EUR 14,30 / (CH) CHF 25,50 ISBN 3-9810943-2-8/ 978-3-9810943-2-9. </b></span><br />
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<span style="font-size: small;"><b style="font-family: "Trebuchet MS",sans-serif;">Readings: Literaturfestival Ludwigsburg, Highlights Filmtage (Filmakademie Baden-Württemberg)</b><span style="font-family: "Trebuchet MS",sans-serif;"><b> </b></span></span><br />
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<div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.comtag:blogger.com,1999:blog-3191365582459045322.post-17842579433325253802011-06-08T16:05:00.000-07:002014-08-16T04:17:30.536-07:00ARGENTINA VICE VERSA: On the aesthetics and strategies of New Argentine Cinema (1998-2011) (symposium and film program)<div dir="ltr" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP1ewEAPDeiZOzngrTga0IDLh7O7q1BcD-PXDH7ZiylkOw9esPmaWnecVCvMVCZVbEfN0Jj-Qiv4SVSYpfZRveZXTcbqGy1APybHFoUbq3-gflFE2Qfz5lJqkgHr7dw5P5usWJHlXKLA/s1600/PlakatAVV.jpg" imageanchor="1" style="background-color: white; clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP1ewEAPDeiZOzngrTga0IDLh7O7q1BcD-PXDH7ZiylkOw9esPmaWnecVCvMVCZVbEfN0Jj-Qiv4SVSYpfZRveZXTcbqGy1APybHFoUbq3-gflFE2Qfz5lJqkgHr7dw5P5usWJHlXKLA/s400/PlakatAVV.jpg" height="400" width="282" /></a></div>
<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif;"><b>Supported by EMBAJADA ARGENTINA (Oslo), FOND FRITT ORD (NO), FOND FILM OG KINO (NO). In collaboration with NORWEGIAN FILMINSTITUT, CINEMATEKET (Oslo, Bergen) and VOLUMEN EXPRESS and friends.
<br /><br />Concept and realization: Veronika S. Bökelmann and Anett Vietzke</b></span>.</span></div>
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<span style="font-family: "Trebuchet MS",sans-serif;"><span style="font-size: small;"><b style="background-color: white;"><a href="http://www.nfi.no/Program+%26+aktiviteter/Nyhetsarkiv/Sjokk+og+virkelighet+i+argentinsk+film.98122.cms" target="_blank">PROGRAM: ARGENTINA VICE VERSA. SJOKK OG VIRKELIGHET I ARGENTINSK FILM (1998 - 2011). </a><a href="http://www.nfi.no/Program+%26+aktiviteter/Nyhetsarkiv/Sjokk+og+virkelighet+i+argentinsk+film.98122.cms" target="_blank">FILMCYCLE & SYMPOSIUM. CINEMATEKET OSLO. SEPT. 27TH - OCT 6TH. www.nfi.no.</a></b></span></span></div>
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<b><span class="Apple-style-span" style="font-family: 'Trebuchet MS', sans-serif; font-size: large;">lectures and tutorials (2011,2012)<br />KUNSTAKADEMIET Oslo, Cinemateket Oslo, HFF Munich,<br />Filmakademie Baden-Württemberg</span></b><br />
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<tr><td class="tr-caption" style="text-align: left;">>>Englisch version below</td></tr>
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Curatorial statement and program:<br />
<span class="Apple-style-span" style="font-size: large;"><b>ARGENTINA VICE VERSA: On th aesthetics and strategies of New Argentine Cinema</b></span><br />
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<i><span style="font-size: small;"><span style="color: black;">“It is easier to imagine the end of the world </span></span><span style="font-size: small;"><span style="color: black;">than to imagine the end of capitalism.”</span></span></i></div>
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<i> </i><span style="font-size: small;"><span style="color: black;"><i>Slavoj Žižek.</i></span><br />
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<b><span style="background-color: black; color: white;">INTRODUCTION.</span></b> </span><span style="font-size: small;"><span style="color: black;">Argentinian cinema till today indicates how deeply neo-liberal policies and their failure have penetrated the organisation of labor, family, intimacy and public life. Even though the country´s economic break down began in the 90ies, it meant a massive shock to the country´s population when in 2001 the Argentinian state had to declare its bankruptcy. The economic crisis signified an all-embracing representational crisis: People lost faith in the stately system as democratic force, in money as reliable representative of value, as well as in mass media and their modes of representing reality. Parallel to Argentina´s economic degradation, the local film industry went through a internationally acclaimed creativity and quantity boom. The film makers succeeded to develop their genuine cinematographic language to mirror the radical transformations of society and concepts of reality. </span>Their cinema has become a relevant inspiration and impulse for renewal.<br />
<b><br style="background-color: black; color: white;" /><span style="background-color: black; color: white;">BUDGET SHORTNESS AND INFORMAL PRODUCTION MODES.</span></b><br />
The film industry in Argentina got heavily effected by the collapse. Costs for film stocks as imported products tripled with the rapid devaluation of the peso while funds massively had been cut down. Despite of budget shortness, film creators developed inspiring strategies to produce often without waiting for funds to come in. Literally filming in the grandmother’s living room, they were often supported by family members and friends as crew. Many directors took the role of producer, cinematographer or editor for others or produced their own films. Consequently, informal structures granted a greater artistic freedom and have led to a softening of fixed roles, gender boundaries and standard formulas of movie making. </span><span style="font-size: small;"><br />
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<span style="background-color: black; color: white;">PRESENTING AND RE-PRESENTING.</span></b><br />
The financial constraints often unleashed synergetic effects with the film makers’ attempts to question established modes of reality representation. Most films reject both, symbolism and didactic political messages. Depicting highly subjective worlds, they investigate and introduce distinctive living environments of the people. Both due to budget limitation and as aesthetic choice, the films let enter physical reality in form of location, character, action, time or relation. Merging formal and narrative elements of documentary and fiction film, the movies question the strict distinction between the genres.<br />
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<b><span style="background-color: black; color: white;">I LABOR, BODY, CIRCULATION.</span></b><br />
This segment is dedicated to the interrelation of economic system and social bonds. The 90ies in Argentina were a time of artificial wealth, based on short-term profit-oriented privatizations, until this bubble burst with the crash. In SILVIA PRIETO (1998) Martin Rejtman shows with humor the unconcern of the 90ies and the weakening of social relations in times of total ephemerality. Jobs and partners are exchanged with the same easiness as the tester of the brandnew American washing powder “Brite“ is spread around. Pablo Trapero’s MUNDO GRUÁ – CRANE WORLD (1999) registers, how this lightness begins to be undermined by a threat of unemployment and the devaluation of work.<br />
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<b><span style="background-color: black; color: white;">II INTIMACY AND DEGENERATION. </span></b><br />
Rising unemployment and criminality accompanied by a media campaign claiming the threat of “the insecurity“ have led to an increasing social segregation in Argentina since the mid of the 90ies. There has been less and less mobility between the classes. The living worlds depicted by the curated films are increasingly closed systems. LA CIÉNAGA – THE SWAMP (Lucrecia Martel, 2001) shows the degeneration of a high-class family that tries to expel all danger of the outside world, like a lake without inflow that tends to tilt. LOS MUERTOS – THE DEADS (Lisandro Alonso, 2004) follows the journey of the outsider Vargas, when he gets released from prison, where he spent half of his life after seemingly having killed his brothers.<br />
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<b><span style="background-color: black; color: white;">III IDENTITY RUPTURE.</span></b><br />
Without stately protection thousands of people in Argentina lost money, future plans and identity in 2001. In CAMA ADENTRO – LIVE IN MAID (Jorge Gaggero, 2004) Señora Beba desperately tries to maintain the image of her former wealth. Her only support is her maid Dora, whose wages Beba cannot pay anymore. In the comedy ABRAZO PARTIDO – LOST EMBRACE (Daniel Burman, 2004), the Jewish-Argentine Ariel dreams of getting a Polish passport to escape the shop gallery in Buenos Aires, where he helps out his mother in her underwear-shop. Also on a national level Argentina experienced a shift of identity, from a country of opportunities it descends to a place of emigration back to Europe. The films denote how a crisis can open room for a further questioning of social role models and relationships. Shot during the high-peak of the crash, TODO JUNTOS – EVERYTHING TOGETHER (Federico León, 2002) describes the putridity of a couple unable to separate until a humiliating turning point. The actors are the director and his girlfriend themselves, who were actually splitting up.<br />
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<span style="background-color: black; color: white;">IV ABSENCE OF THE STATE AND CRIME.</span></b><br />
In the urban western UN OSO ROJO – A RED BEAR (Adrian Caetano, 2002) the state’s power is expressed exactly in its weakness as its failure heavily effects people’s lives. When Bear comes out of prison after the economic collapse of 2001, he finds an altered Buenos Aires where crime and self justice rule. EL CUSTODIO – THE MINDER (Rodrigo Moreno, 2007) describes the life of Rubén, guarding a minor important minister who is not really in danger. Arbitrariness, boredom and dependency create an unpredictable mixture that discharges at the film’s show-down. LOS RUBIOS – THE BLONDS (Albertina Carri, 2003) goes further back in Argentina´s history, following the traces of the director’s parents. Those were two of 30.000 that “disappeared“ during the military dictatorship in Argentina (1976 - 1983), kidnapped and killed by the state. Merging documentary and fictional elements in an subjective way, it reflects and challenges individual and collective memory and its institutionalization.<br />
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<b><span style="background-color: black; color: white;">V OTROS MUNDOS. OTHER WORLDS. </span></b><br />
The program´s closing section is dedicated to the latest tendencies of Argentine cinema as a future prospect. In these films the distinct living environments seem to reach out and touch each other in daily life, work, family or culture. LOS LABIOS – THE LIPS (Ivan Fund and Santiago Loza, 2010) pictures the experiences of three women from the city, who volunteer in a socially disadvantaged, rural environment. Instead of featuring social milieus the movie blurs the borders of the otherness and highlights encounter of significantly diverging realities with respect and openness. In SUEDEN (Gaston Solnicki, 2008) the compelling music of composer and conductor Kagel stars as main character, inspiring the world of film making. Kagel re-encounters his birth-place Buenos Aires after an absence of 35 years in order to work with local musicians.<br />
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<b><span style="background-color: black; color: white;">DAILY PROGRAM IN CINEMATEKET OSLO. <a href="http://www.nfi.no/" target="_blank">www.nfi.no</a></span></b><br />
In five segments the event investigates the rupture of a social and economic reality in interdependence with the development of genuine aesthetics in contemporary Argentinean cinema. The thematic introduction based on interviews with the directors of the respective films, exclusively produced by the curators in 2011, offers essential background information in order to inspire a wide audience.</span></div>
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<span style="font-size: x-small;"> </span> <span style="font-size: x-small;"><span style="background-color: black; color: white;"> </span><b><span style="background-color: black; color: white;">Tuesday, September 27th</span></b></span></div>
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<span style="font-size: x-small;"> 18:00 OPENING: Welcome with Argentinian embassador.</span> </div>
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<span style="font-size: x-small;"> 18:30 Mariano Llinás, HISTORIAS EXTRAORDINARIAS (2008) 245min</span></div>
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<span style="font-size: x-small;"> (ca 21.00 Pause with Mate tea & whiskey)</span></div>
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<span style="font-size: x-small;"> <b><span style="background-color: black; color: white;">Wednesday, September 28th</span></b></span></div>
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<span style="font-size: x-small;"> 17:00 INTRODUCTION TALK & FILMMAKERS ON SCREEN (NO ENTRANCE FEE!)</span></div>
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<span style="font-size: x-small;"> Segment 1: BODY, LABOR, CIRCULATION.</span> </div>
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<span style="font-size: x-small;"> 18:30 Martin Rejtman, SILVIA PRIETO (1999), 92 min</span></div>
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<span style="font-size: x-small;"> 20:30 Pablo Trapero, MUNDO GRUÁ – CRANE WORLD (1999), 90 min</span></div>
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<span style="font-size: x-small;"> </span></div>
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<span style="font-size: x-small;"> <b><span style="background-color: black; color: white;">Thursday, September 29th</span></b></span></div>
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<span style="font-size: x-small;"> Segment 2: INTIMACY AND DEGENERATION.</span></div>
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<span style="font-size: x-small;"> 19:00 Lisandro Alonso, LOS MUERTOS – THE DEADS (2004), 78 min</span> </div>
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<span style="font-size: x-small;"> 20:30 Lucrecia Martel, LA CIÉNAGA – THE SWAMP (2001), 103 min</span></div>
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<span style="font-size: x-small;"> <b><span style="background-color: black; color: white;">Friday, September 30th</span></b></span></div>
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<span style="font-size: x-small;"> Segment 3: IDENTITY RUPTURES.</span></div>
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<span style="font-size: x-small;"> 18:00 Federico León, TODO JUNTOS - EVERYTHING TOGETHER (2002) 65 min</span></div>
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<span style="font-size: x-small;"> 19:30 Jorge Gaggero, CAMA ADENTRO - LIVE-IN MAID (2004) 83 min</span> </div>
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<span style="font-size: x-small;"> 21:30 Daniel Burman, ABRAZO PARTIDO - LOST EMBRACE (2004) 99 min</span></div>
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<span style="font-size: x-small;"><b> <span style="background-color: black; color: white;">Saturday, Oct 1st</span></b></span></div>
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<span style="font-size: x-small;"> Segment 4: ABSENCE OF THE STATE AND CRIME.</span></div>
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<span style="font-size: x-small;"> 17:00 Albertina Carri, LOS RUBIOS - THE BLONDS(2003) 89 min</span></div>
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<span style="font-size: x-small;"> 19:00 Israel Caetano, UN OSO ROJO - RED BEAR (2002), 95 min</span> </div>
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<span style="font-size: x-small;"> 21:00 Rodrigo Moreno, EL CUSTODIO - THE MINDER (2007), 95 min</span></div>
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<span style="font-size: x-small;"> </span></div>
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<span style="font-size: x-small;"> <b><span style="background-color: black; color: white;">Sunday, October 2nd</span></b></span></div>
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<span style="font-size: x-small;"> Segment 5: OTHER WORLDS.</span></div>
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<span style="font-size: x-small;"> 17:30 Gaston Solnicki, SUEDEN (2008), 67 min</span></div>
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<span style="font-size: x-small;"> 19:30 Ivan Fund and Santiago Loza, LOS LABIOS –THE LIPS (2010), 100 min</span> </div>
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<span style="font-size: x-small;"> Finissage.</span></div>
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<span style="font-size: x-small;"> </span></div>
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<span style="font-size: x-small;"> <b style="background-color: black;"><span style="color: white;">FILM REPETITIONS.</span></b></span></div>
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<span style="font-size: x-small;"> <i>Tuesday, October 4th</i></span> </div>
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<span style="font-size: x-small;"><i> 18:30 Albertina Carri, LOS RUBIOS – THE BLONDS(2003) 89 min</i></span></div>
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<span style="font-size: x-small;"><i> 20:30 Lucrecia Martel, LA CIÉNAGA – THE SWAMP (2001), 103 min</i></span></div>
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<span style="font-size: x-small;"><i> </i></span></div>
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<span style="font-size: x-small;"><i> Wednesday, October 5th</i></span> </div>
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<span style="font-size: x-small;"><i> 18:30 Pablo Trapero, MUNDO GRUÁ – CRANE WORLD (1999), 90 min</i></span></div>
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<span style="font-size: x-small;"><i> 21:00 Israel Caetano, UN OSO ROJO – RED BEAR (2002), 95 min</i></span></div>
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<span style="font-size: x-small;"><i> </i></span></div>
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<span style="font-size: x-small;"><i> Thursday, October 6th</i></span></div>
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<span style="font-size: x-small;"><i> 20:30 Ivan Fund and Santiago Loza, LOS LABIOS – THE LIPS (2010), 100 min</i></span></div>
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<span style="color: #cc0000; font-size: x-small;"><b style="background-color: white;"><a href="http://www.nfi.no/Program+%26+aktiviteter/Nyhetsarkiv/Sjokk+og+virkelighet+i+argentinsk+film.98122.cms" target="_blank">PROGRAM: ARGENTINA VICE VERSA. SJOKK OG VIRKELIGHET I ARGENTINSK FILM (1998 - 2011). </a><a href="http://www.nfi.no/Program+%26+aktiviteter/Nyhetsarkiv/Sjokk+og+virkelighet+i+argentinsk+film.98122.cms" target="_blank">FILMCYCLE & SYMPOSIUM. CINEMATEKET OSLO. SEPT. 27TH - OCT 6TH. www.nfi.no.</a></b></span></div>
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<div class="blogger-post-footer">documentary in context konzipiert und realisiert innovative Medien- und Kommunikationsprojekte mit Fokus auf Dokumentation, Information und Dialog.</div>intersubjektivenhttp://www.blogger.com/profile/10124770245447274026noreply@blogger.com