EUROPA NEUROTISCH # 2 : BAR EUROPA, WEEK 3
03/12/09 13:25
Opening times Bar
Europa: Thursday till Saturday, 20.00 – 23.00
This week in Bar Europa:
Felice Hapetzeder (AT/SE), Onkel Kurti, 23 minutes
In Onkel Kurti my prejudice against Turkish culture is exaggerated to see if it is specific to me, or, as I suspect, that they are intrinsic Western prejudice. The work additionally reflects my struggle with my Austrian inheritance. Such as my growing up in part with a hibernated Nazi from Second World War in Austria as a godfather. The film takes the form of a violent but also humorous encounter with Turkish culture. Thematically it expresses a question on generationally transferred guilt and trauma.
Tzvetana Tchakarova (BG/NL), Void, 3 minutes
According to Zygmunt Bauman the displaced and the stateless, the refugees are 'abjects'. They have become regarded as 'unthinkables' and 'unimaginables' to the dominant imagination in liberal democratic states. At the same time we all are in some sense nomads, wanderers, that is, refugees, though driven by different concerns and circumstances. In our search for ourselves we are all becoming 'border-crossers',
though never finally leaving our familiar old places and never finally arriving in familiarized new places.
Marianne Holm Hansen (UK), Repeat After Me (Common words and phrases), 6 minutes
Using the limited phrase format of the traveler's guidebook, the repetitive dialogue of Repeat After Me aims to bring into play the culture of language, universality and translation, and the potential of the [tourist] encounter. To this extent the work includes a consideration of how place - and our experience of place is constructed and mediated through language, language culture and convention.
Andrea Huyoff (DE), C. THE GREAT (GOLDMAN), 3.30 minutes
Digital total-refractions and total non-refractions of shiny surfaces in cuts from the historical movie “Catherine the Great” (1934) by Paul Czinner. Analog recorded resplendence and the absence of light are digitally exaggerated and interfused with color. The shiny and the dark particles become emotional indicators.
This week in Bar Europa:
Felice Hapetzeder (AT/SE), Onkel Kurti, 23 minutes
In Onkel Kurti my prejudice against Turkish culture is exaggerated to see if it is specific to me, or, as I suspect, that they are intrinsic Western prejudice. The work additionally reflects my struggle with my Austrian inheritance. Such as my growing up in part with a hibernated Nazi from Second World War in Austria as a godfather. The film takes the form of a violent but also humorous encounter with Turkish culture. Thematically it expresses a question on generationally transferred guilt and trauma.
Tzvetana Tchakarova (BG/NL), Void, 3 minutes
According to Zygmunt Bauman the displaced and the stateless, the refugees are 'abjects'. They have become regarded as 'unthinkables' and 'unimaginables' to the dominant imagination in liberal democratic states. At the same time we all are in some sense nomads, wanderers, that is, refugees, though driven by different concerns and circumstances. In our search for ourselves we are all becoming 'border-crossers',
though never finally leaving our familiar old places and never finally arriving in familiarized new places.
Marianne Holm Hansen (UK), Repeat After Me (Common words and phrases), 6 minutes
Using the limited phrase format of the traveler's guidebook, the repetitive dialogue of Repeat After Me aims to bring into play the culture of language, universality and translation, and the potential of the [tourist] encounter. To this extent the work includes a consideration of how place - and our experience of place is constructed and mediated through language, language culture and convention.
Andrea Huyoff (DE), C. THE GREAT (GOLDMAN), 3.30 minutes
Digital total-refractions and total non-refractions of shiny surfaces in cuts from the historical movie “Catherine the Great” (1934) by Paul Czinner. Analog recorded resplendence and the absence of light are digitally exaggerated and interfused with color. The shiny and the dark particles become emotional indicators.