What the Sun has Seen, Agnieszka Polska. Courtesy ZAK | BRANICKA". — *What the Sun has Seen,* Agnieszka Polska. Courtesy ZAK | BRANICKA".

Harstad Kino
Kr 110,-

“Lost Dimension” er er et spesialkuratert program med bevegelige bilder av Berlinbaserte Vanina Saracino, som bringer sammen seks internasjonalt anerkjente kunstnere for å reflektere omkring transformasjonen og utviklingen av nye romoppfattelser under simuleringsprinsippet. Filmene inviterer publikum til å ta i bruk kinorommet som et midlertidig rom, heller enn et livløst lerett.

Kuratoren om programmet (på engelsk):

When publishing “Lost Dimension” in 1984, philosopher Paul Virilio imagined a near future dominated by interactive networks, data transfers and interfaces, a world in which any notion of space as we know it, measure and perceive it, would be drastically transformed. Today, new technologies (including the Internet) give us the illusory feeling of unlimited access, with products, information and experiences being at hand reach with the lazy touch of a click. To a certain degree, not being online equals to not exist. Tangible realities and simulated environments begin to merge. Images are no longer a way of representing reality, they are constituting a reality in themselves, and the same notion of inhabiting is dissolving through an increasingly disembodied experience of the space, with our existence being permanently split between online and offline presence.

The Lost Object, Sebastian Díaz Morales

Video installation, HD, 14’ (2016)

Reality goes beyond fiction. In a film-set the elements and language for creating fiction are being disarticulated. A ritual is performed in which the camera, lights, set and objects break through to a place where fiction and reality merge into one single element. Where the paraphernalia to make fiction vanishes and there is no more need of it. Fiction becomes autonomous and auto-generates itself. The universe gets under control by the principle of simulation. Sebastian Díaz Morales explores the relationship between large-scale socio-political power dynamics and individual action in works which create a sense of uneasiness for the viewer. His films are often somewhat surreal, establishing a tension between a depicted social reality and its representation in a visually abstract or fantasy-inflected way. Throughout his works, multiple forms of dependence are explored, including dependent relationships between people, the environment, and social structures. His work has been exhibited widely at many prominent venues—such as the Venice Biennale, VIVA ARTE VIVA; Tate Modern, London; Centre Pompidou.

Sitting in Darkness, Graeme Arnfield

HD video, 16’ (2015)

Out of the darkness a sound emerges. It echoes and drones. Terrified people take to the streets in search of its source. They get their cameras out and document the sky, searching for an author. We watch on, sitting in darkness, our muscles contract and our pupils dilate. “I hope the camera picks this up”. “Sitting in Darkness” explores the circulation, spectatorship and undeclared politics of contemporary networked images.

Graemes work explores issues of communication, spectatorship and history and has been presented worldwide including Berlinale Forum Expanded, International Film Festival Rotterdam, Courtisane Festival, Sonic Acts Festival, Berwick Film & Media Arts Festival, European Media Arts Festival, Hamburg International Short Film Festival, Kasseler Dokfest, Internationale Kurzfilmtage Winterthur, LUX, Institute of Contemporary Arts (ICA) and on Vdrome. He graduated with a Masters in Experimental Cinema at Kingston University.

What the Sun has Seen, Agnieszka Polska

HD animation, 7’ (2017)

The film borrows its title from a poem by Polish poet Maria Konopnicka (1842-1910) recounting in a childish style the quotidian, peaceful, rural activities of the countryside as observed by the sun on its daily journey across the sky. Polska offers her own dark, ironic version of the poem, dealing with contamination by information (information waste) and the role of the `helpless observer` who, like the `Angel of History` in the well-known adage by Walter Benjamin, can only look at the piled-up debris without being able to intervene. Agnieszka Polska’s dreamlike videos explore time and memory. Born in Poland, in 1985, while it was still a communist state, she is interested in obscured histories and cultural myths, particularly those of vanished artists. Using computer animation and live action she rescues, embellishes and re-animates events that are on the verge of oblivion, using a narrative style that is both serious and playful. Polska has had solo exhibitions at the Centre for Contemporary Art Ujazdowski Castle, Warsaw, Nottingham Contemporary, Nottingham, Salzburger Kunstverein, Salzburg, and Summerhall, Edinburgh, among others. Her films have been screened at the 19th Biennale of Sydney, Sydney, Australia, International Documentary Film Festival, Copenhagen, Institute of Contemporary Arts / Lux Biennial of Moving Image, London, and the Tate Modern, London.

EDF, Nicolas Rupcich

HD Video, 5’ (2013)

The Chilean Patagonian landscape of “Torres del Paine National Park” is the protagonist of this work, which focuses on the problem of digital representation in the “post-photography era” - when images are no longer a representation of reality but a way of reality itself. The annulation of the geography is a visually simple but symbolically strong intervention that make us aware of the instability of the representational surface. Nicolás Rupcich (1981, Santiago, Chile) lives and works in Leipzig, Germany. Received his BFA from the Universidad Finis Terrae and his MA from the Universidad de Chile. Between 2013-2015 he did his Meisterschüler studies in Medienkunst at the Hochschule für Grafik und Buchkunst Leipzig. He has exhibited his works mainly in solo and group shows, but also in international video and new media festivals, such as: FILE Festival, Sao Paulo, Brazil. Ars Electronica, Linz, Austria.

Finding Fanon 2, David Blandy and Larry Achiampong

Ultra HD colour video, Stereo Sound, 16:9, 9 min (2015)

Finding Fanon 2 collides art-house cinema with digital culture’s Machinima, resulting in a work that explores the post-colonial condition from inside a simulated environment – the Grand Theft Auto 5 in-game video editor. This video work combines several stories, including how the artists’ familial histories relate to colonial history, an examination of how their relationship is formed through the virtual space, and thoughts on the implications of the post-human condition. Artists Larry Achiampong and David Blandy work collaboratively and share an interest in popular culture and the postcolonial position. They examine communal and personal heritage, using performance to investigate ‘the self’ as a fiction, devising alter-egos to point at their divided selves. Over four years, their research has evolved into a body of work including digital imagery, exhibitions, performance and video. They have exhibited their collaborative work internationally, including at Tate Modern, London; EVA International, Limerick; Plymouth Arts Centre; Stony Island Arts Bank, Chicago; Wysing Arts Centre, Cambridgeshire, New Art Exchange, Nottingham; Iniva, London.

60 Million Americans Can’t Be Wrong, Christopher Kulendran Thomas & The Mycological Twist, in collaboration with Annika Kuhlmann

HD video, 31’ (2017)

"60 million Americans can’t be wrong" is part of the collaborative experiment New Eelam, a long-term artwork in the form of a startup, that brings together specialists from the fields of technology, real estate, art, architecture, finance and design to develop a new form of distributed housing based on a flexible global subscription. It originates from contemporary art’s role in pioneering new lifestyle formats and new forms of labour as part of the processes by which cities around the world are shaped. Its strategy is based on re-engineering some of these structural operations of art - and some of the property relations at the very heart of the present economic system - through collective access rather than individual ownership. Christopher Kulendran Thomas is an artist whose work manipulates the processes of circulation and distribution by which art produces reality. Thomas’s work has been included in the 11th Gwangju Biennale (2016), the 9th Berlin Biennale (2016), “moving is in every direction”, Hamburger Bahnhof - Museum für Gegenwart, Berlin (2017), "Bread and Roses", Museum of Modern Art in Warsaw (2016), "Co-Workers: Network As Artist", Musée d'Art Moderne de la Ville de Paris (2015) and "Art Turning Left: How Values Changed Making", Tate Liverpool (2013). A solo exhibition of his work can currently be seen at Tensta Konsthall (Stockholm).

About the curator:

Vanina Saracino is an independent curator currently based in Berlin. She is the co-founder of OLHO, an international curatorial project about contemporary art and Cinema initiated in 2015 in Rio de Janeiro and São Paulo, also shown at the Teatrino di Palazzo Grassi (Venice, 2017). Since 2013, she curates monthly programs of moving image art on the non-narrative television channel ikonoTV, being also in charge of collaborations and projects with museums and institutions worldwide. With ikonoTV, in 2015, she initiated Art Speaks Out, a yearly exhibition project on the environment and climate change, also shown at the Istanbul Modern Museum (2015) and within the UN Climate Change Conference (Marrakesh, 2016). Graduated in Communication Sciences with a thesis in semiotics of the arts, she holds a masters degree in Arts Management (GIOCA, Università di Bologna) and a MA in Philosophy and Art Theory (UAB, Universidad Autonoma de Barcelona).

LOST DIMENSION