As part of the project Remembering Landscapes (http://www.mgk-siegen.de/eng/exhibitions-und-collection/exhibitions/remembering-landscape/landscape.html) which was initiated by the Museum of Contemporary Art in Siegen (Germany), CZKD is organizing a film program consisting of three newer and quite prominent authors, artistic films dealing with the ways in which events are written into the landscape, the question of traumatizing spaces through violence, as well as the way in which landscapes become a space for memory or a space of forgetting.
3 PM. Landscapes of War, Landscapes of Peace
Director Aron Sekelj
Serbia, Germany, 52′, 2017
Trailer: https://vimeo.com/208915713
4 P.M. The Monument / Spomenik
Director Igor Grubic
Croatia, 50′, 2015
Trailer: https://vimeo.com/151037590
5 P.M. – 6 P.M. Break
6 P.M. Depth Two / Dubina dva
Director Ognjen Glavonic
Serbia, France, 80′, 2016
Trailer: https://vimeo.com/178747664
7:30 P.M. Discussion with Ognjen Glavonić, Aron Sekelj and Branislav Dimitrijević.
The seminar is organized by the Center for Cultural Decontamination (CZKD) in Belgrade (RS) in conjunction with the Museum fur Gegenwartskunst (Siegen, DE), LUCA School of Arts (Brussels, BE) and the Museum of Contemporary Art, Bucharest (RO).
Landscapes can be described as a culturalization of a physical space. Although this concept is still mostly understood as a genre of art history – a picturesque or sublime sight – landscapes are always a representation of an ideological naturalization of cultural and societal circumstances through direct physical facts. These facts are a result of a tense coexistence of natural conditions and social-economic processes which fill it up and empty it out, all of which affects the creation of an ambience in which we move and in which we imagine our lives.
How are events written into the landscape and how does this concept of space become culturalized and normalized as a physical, imaginary and symbolic space in which a society lives? How do landscapes remember and forget? What is the relationship between the landscape and the violence of political power? What is the relationship of pro-film physical space and film representation of narrative capacities of the space outside of today’s dominant spectacularization, commodification and neutralization of critical thinking? Why do these films return to landscapes, why here and why now?
The film program is realized as part of a field seminar for students of art and humanities from Germany, Belgium, Romania and Serbia and is open for the public.