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a---z · 3 years

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TRANSMISSIONS

www.transmissions.tv

For the sixth and final episode of Season 3, we are pleased to announce an episode curated by Tosh Basco with Sophia Al-Maria, Patrick Belaga, Kelton Campos, Enantios Dromos, Josh Johnson, Asma Maroof, Fred Moten, Lorenzo Moten, Julian Moten, Matthew Stone and Wu Tsang broadcasting on Wednesday 6th October 9PM BST / 4PM EST / 4AM CST REPLAY on Friday 8th October 10AM BST / 5AM EST / 5PM CST TRANSMISSIONS is back for Season 3! In the past year we have learned that all forms of community are vital in providing mechanisms to support each other through this precarious time. In the continued pandemic landscape that we occupy many artists, writers and thinkers have had and continue to have exhibitions, opportunities and subsequent fees postponed or cancelled. In response to this, we established TRANSMISSIONS in 2020 as an online platform that commissions artists to share their work within a classic DIY TV show format. Our new season for 2021 comprising 6 episodes will stream on a monthly basis via our website from March to October 2021. Season 3 is supported by: BALTIC Centre for Contemporary Art, Chisenhale Gallery, Forma Arts and Media, Manchester International Festival, Netwerk Aalst, Somerset House Studios, South London Gallery & Wysing Arts Centre.

Tosh Basco is a movement-based performance artist whose work operates through improvisation as a mode of survival and world building in the liminal, performative space where becoming meets representation. Adamant about the visceral experience of live visual performance, she makes a case for how the movement of form can communicate what remains impenetrable in images, and through language. Her performances have been presented at the Gropius Bau, the Venice Biennale, the Sydney Biennial, the Whitney Museum of American Art, MoMA PS1, the San Francisco Museum of Modern Art, the Museum of Contemporary Art Chicago, MOCA Los Angeles, the Stedelijk Museum Amsterdam, ICA London, and Berghain. Tosh Basco has toured with Mykki Blanco, and collaborated with Korakrit Arunanondchai and Wu Tsang, as well as the streetwear label Hood By Air.

Thank you to:

All contributing artists, writers, composers and thinkers; Vanessa Carlos; Carlos Ishikawa; Adam Sinclair; Chloe Page; Maxwell Sterling; Simon Parris; Gabriella Price; Donald Smith; BALTIC Centre for Contemporary Art; Cinenova; Chisenhale Gallery; Forma Arts and Media; Manchester International Festival; Netwerk Aalst; Somerset House Studios; South London Gallery; Wysing Arts Centre.

Transmissions.tv @transmissions2021

TRANSMISSIONS collective is composed of:

Anne Duffau is a cultural producer, researcher, and founder of A—Z, an exploratory/nomadic curatorial platform exploring artistic practices and knowledge exchange through collaborations, presentations, soundscapes, screenings and discussions. She has collaborated with a range of projects and organisations including ArtLicks, Southwark Park Galleries, Mimosa House and Danielle Arnaud Gallery, London Please Stand By, or-bits .com, PAF Olomouc Czech Republic & Tenderflix. Anne has previously run the StudioRCA Riverlight, London programme (2016-2018) and is currently the interim curator at Wysing Arts Center, a Tutor at the School of Arts and Humanities, and is the acting Lead in Critical Practice, within the Royal College of Art’s Contemporary Art Practice Programme. She has performed live music under Alpha through a number of projects and collaborations.

Hana Noorali is an independent curator and writer based in London. In 2019 she was selected (together with Lynton Talbot) to realise an exhibition titled The Season of Cartesian Weeping at The David Roberts Art Foundation as part of their annual curator’s series. She curated Lisson Presents at Lisson Gallery, London from 2017-2018 and from 2017 -2019, produced and presented the podcast series Lisson ON AIR. In 2018 Hana edited a monograph on the work of artist and Benedictine Monk, Dom Sylvester Houédard. Its release coincided with an exhibition of his work at Lisson Gallery, New York that she co-curated with Matt O’Dell. In 2007, she co-founded a non-profit project space and curatorial collective called RUN active until 2011. In Spring 2021 Hana and her curatorial partner Lynton Talbot published an anthology situated at the intersection of language and art with (p) (prototype) titled Intertitles. Forthcoming exhibitions include projects at Galerija Prozori in Zagreb, Croatia (2021) and Amant Foundation, New York (2022). Hana has written for Art Monthly, The Harun Farocki Institute, The Moving Image Review & Art Journal amongst other publications.

Tai Shani is an artist living and working in London. She is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. In 2019 Tai was a Max Mara prize nominee. Her work has been shown at Turner Contemporary, UK (2019); Grazer Kunst Verein, Austria (2019); Fondazione Sandretto Re Rebaudengo, Italy (2019); Glasgow International, UK (2018); Wysing Arts Centre, UK (2017); Serpentine Galleries, London (2016); Tate, London (2016); Yvonne Lambert Gallery, Berlin (2016) and Irish Museum of Modern Art, Dublin (2016).

Lori E Allen is a sound artist and experimental composer working in video, soundtrack/design, text and sculpture. Her collaborative work has been shown and performed in Tate Modern South Tanks, Chisenhale Gallery, Glasgow’s CCA, the Whitechapel Gallery, London Science Gallery, and the Royal College of Physicians. Some publications include Tears of the Material Vulture on the Tapeworm, A Hopeless Place on Wormhole Records, and Pluto’s Return on Bloxham Tapes. She is the Production Director for TRANSMISSIONS.

Mika Lapid is a London based sculpture graduate working as a creative assistant and maker in film and art. She worked with Our Workshop (NGO) and assisted Georgina Gratrix in South Africa before moving to the UK where she currently assists Tai Shani. Alongside this Mika freelances as an art director, set dresser and maker. She is the Production Associate for TRANSMISSIONS.

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letitiapleiades · 4 years

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Glasgow based artist, composer/producer, movement practitioner, performer, activist, DJ and teacher.

Working collaboratively currently, and historically, with Bitter, Radical Bodywork Network, Glasgow Open Dance School (G.O.D.S), Herbal Unity, Letitia Beatriz and Asparagus Piss Raindrop.

EDUCATION

2017 BTEC Sound Production Level 3 Distinction, Academy of Music & Sound, Glasgow

2011 BA First Class Honours Degree, Environmental Art, Glasgow School of Art

2007 BTEC Art Foundation Level 3 Distinction, Manchester Metropolitan University

2004 BA Second Class Honours Degree, Communication Studies w/ Drama & Theatre, Chester University College

UPCOMING:

- Counterflows performance, April 2021

SELECTED PAST:

EXHIBITIONS

- Sonic Seance: The Gathering, Exhibition and events programme - White Fragility reading group, CCA, Glasgow, 2019

PERFORMANCES

- Out on the track my ears on my back, SSW is 40!, Scottish Sculpture Workshop, Lumsden, 2019

- Sonic Seance, VD/A, Take Me Somewhere, Tramway, Glasgow, 2019

- Phase 2 & 3 of R&R Rat Race at The Witch Hazel School, Lunarnova Campout, Jupiter Artland & Radiophrenia, CCA, 2017.

- Positions of Power, Machine Room, Collective, Edinburgh, 2016

- It’s Called Discharge?, Roller Stop, Glasgow International Festival, 2016

-Solo performance, Tectonics, City Halls, Glasgow 2016

- Trans Poncho in Posse, Tectonics, The Harpa, Reykjavik, 2015

- From the Charmed Circle to The Outer Limits, Google Useless Radio, Subcity, Glasgow, 2016

- Club, Spelling Space, The Pipe Factory, Glasgow, 2014

- Sonidos hacia el fin del patriarcado / Sounds towards the end of the patriarchy, Venimos Del Future / We Come From The Future: broadcasting from after the end of the patriarchy in the year 2114 , Beta Local, San Juan, Puerto Rico, 2014

- Posiciones de Poder / Positions of Power, Beta Local, San Juan, Puerto Rico, 2014

- On Performance, Never Come Ashore, Glasgow, 2013

- Select and Dispossess, WUK FM, Vienna, 2013

RESIDENCIES

- One month residency, Scottish Sculpture Workshop, Lumsden, 2019

- Two week choreographic residency, The Work Room, Glasgow, 2016

- One month Infestation residency, Transmission, Glasgow, 2015.

- Two week women’s artists gathering, WE (Not I), Raven Row, Flat Time House & South London Gallery, London, 2015

- Five week residency, Beta Local, Puerto Rico, 2014

- Two week choreographic residency, The Work Room, Glasgow 2014

- One month summer residency, Hospitalfields, Arbroath, 2014

- Select and Dispossess Three month long residency with Cinenova, Kunsthalle Exnergasse, Vienna, 2013

WORKSHOPS & TEACHING

- Practices to sustain, self-care workshops, various, 2018-2020

- Vocal and movement improvisation workshop, MA, Culture Lab, Newcastle University, 2018

- Rough music workshop with Kim O'Neill & Fritz Welch, Summerhall, Edinburgh, 2018

- DJ workshops for people with experience of the immigration system, various locations, 2016-2017

- DJ workshops, Grassroots Glasgow who aim to improve representation across music venues and organisations in Glasgow by supporting Female, POC and LGBTQ+ people in the electronic music scene, The Art School, 2017

- Performance tutor, First Year Fine Art, Glasgow School of Art, 2017

- We Touch Talking The Hum, vocal workshop with Cara Tolmie, The Grounds We Tread, The Pump House Gallery, London, 2016

PUBLICATIONS & TEXTS

- Sink! A poem for embodied reading, commissioned by The Common Guild as a response to Sink / Routine for 24 Women by Janice Kernel, 2018

- Retrospective Asparagus Piss Raindrop scores book, Good Press and Publication Studio, CCA, 2017

- Positions of Power, Flat Time House, London, 2015

- Physical Embodiments of Control, MUSEUMS Press at Grafixx, Antwerp, 2015

- Sometimes the struggle is situated on the dancefloor, 5 outdoor stickers, self published, 2014

- Spelling Space, book initiated by Emily Illet, 2014

- eccys text commissioned by Transmission to accompany The---Family, When we lied on difference, Transmission Gallery, Glasgow, 2014

- Letitia Beatriz untitled text and images, SALT feminist journal, 2012

OTHER NOTABLE PROJECTS & ROLES

Glasgow Open Dance School (G.O.D.S)

Co-founder & organiser, with Ashanti Harris and Romany Dear

2011 - ongoing

- Upcoming Exhibition Glasgow International 2020

- Take a Score + Make a Score, Humber Street Gallery, Hull, 2019 & The Hunterian, 2014.

- Consent for young adults movement workshop, Ignite, Glasgow, 2018

- GODS Weekend, Glasgow International Festival, The Yoga Barn, Pollok Park, Glasgow, 2018

- In Praise of the Dancing Body, after Silvia Federici, Workshop, World is Sudden: Summer School, Newcastle, 2018

- Facilitated collective experience, Lunarnova Campout, Jupiter Artland, 2017

- B:reach: a radical black feminist retelling of Woman at the edge of time by Marge Peircy, with Gallery of the Streets, Arika Episode 8: Refuse Powers Grasp, Tramway, Glasgow, 2017

- Two week choreographic residency with G.O.D.S community, The Work Room, Glasgow, 2017

- Your body is a temple, bookable Sunday studio, Resource Room and workshops, Dance International Glasgow (D.I.G), Tramway, Glasgow, 2015

- Resource Room and workshops, Romany Dear, Dancing in a circle is a reminder we are part of a whole, CCA, Glasgow, 2015

- Black History Month Project: Four weeks of workshops and film screenings, CCA and KPC, Glasgow, 2014

- Miss Prissy, Queen of Krump collaboration Arika Episode 6: Make A Way Out Of No Way. Tramway, Glasgow, 2014

- Lecturing, Forum for Critical Inquiry at GSA, 2014

- Six week programme of movement workshops, bookable dance studio and the G.O.D.S Resource Room, Market Gallery, Glasgow, 2014

Radical Bodywork Network

Organiser

2018 - ongoing

- Currently developing a website for online resources and practitioners at the intersection of bodywork and social justice

- Developed a practice with Ubuntu women’s shelter and created a handbook, making practices available to other groups who wish to use bodywork in their organising, Transmission, Glasgow, 2018-2019

- Organised a workshop on consent in bodywork settings, The Work Room, 2018

Letitia Pleiades

DJ, producer, percussionist, vocalist

2013-ongoing

- DJ and live music performances: Glasgow International Festival, Doune Festival, Supernormal Festival, Counterflows Festival

- LIve performance practice with turntablist Mariam Rezaei, 2018 - ongoing

- Sonic Seance: Displays performances with Mele Broomes at Romanti Clash, Jupiter Artland & Beyond, The Work Room 10 year celebration, The Art School, 2018

- DJ for Beats Per Minute Show Down, an immersive audio visual experience, Raw Materials, George Square, The Commonwealth Games, Glasgow, 2018

- Composer, Take the Credits!, Berwick Film and Media Arts Festival, Berwick, 2017

- Solo performance, Tectonics, Old Fruitmarket, Glasgow, 2015

- The only ones still there are men and women, Radiophrenia, CCA, Glasgow, 2015

- Guest DJ mixes for Rinse FM, Fuego FM and OH141

OTHER NOTABLE COLLABORATIONS

Bitter

co-organiser, quarterly club night for women, trans and non-binary people The Savings Bank, Glasgow

2019 and ongoing

Letitia Beatriz

collaborative artistic practice of myself and Emilix Beatriz, exploring intersectional struggles of womxns* health and or care

2011-2016

Asparagus Piss Raindrop

performance group

2014-2017

Trio with Liene Rozite and Lucy Duncombe

improvisation group

2013

BANDS

Thoth, multi instrumentalist, several UK tours, inc. Cafe Oto, London

2009 - 2017

Fem Bitch Nation, producer and vocalist, toured U.K, self released several EP’s and calendars and tracks on Huntley & Palmers Clyde Built Compilation

2011 - 2016

Palms, drummer and vocalist, vinyl releases on Watts of Goodwill and Some Songs

2012 - 2015

OTHER

Organiser with Herbal Unity, community herbal medicine group 2016 - 2019

Vocalist Androgynous Egg by Georgina Starr, Frieze Projects, Frieze, Regents Park, London, 2017

Zine photocopy parties and library, No Right Way to Cum, Transmission Gallery, Glasgow, 2016

Six weeks studying West African Drum and Dance, Tafi Atome, Ghana, 2016

Dancer for Romany Dear, various works and performances, 2014-2017

Two weeks studying dance at P.A.R.T.S Summer School, Brussels, 2015

Organiser, 3 day DIY music festival, multiple locations, Glasgow, 2014

Judge for Scottish Album of the Year Graduate Award, across Scotland, 2014

Ladyfest Glasgow, organiser, 2014

Movement reading group, fortnightly group, held at home, Glasgow, 2014

Who Takes The Rap? screenings and self publication of booklet in English, French and Arabic with Unity Sisters, various venues, Glasgow and London, 2014

Organiser and member of women’s self defence group, Glasgow, 2014

Dialectic of Sex reading group, Arbroath, Cove Park, Glasgow kitchens, 2014

Design & maintenance of research catalogue for Cinenova: Womenʼs Film & Video Distributor, 2013 - 2015

Women’s and queer health zine library, 2013 - ongoing

Participant in Jean-Luc Guionnet Investigation Project and Propositions for an Inhabited Architecture of Listening, Never Come Ashore, Arika and Glasgow University Music Department, 2012

Glasgow Open School, self organised learning collective, 2010 - 2012

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yoquese77 · 6 years

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"Todos tenemos miedo de algo, así aprovechamos más el valor de las cosas" Viendo de nuevo (en su día 7 u 8 veces en el cine) #elguardaespaldas #1992 #thebodyguard #whitneyhouston #kevincostner #cinenova #nova #peliculas #detodoslostiempos #poramoralséptimoarte

#elguardaespaldas #detodoslostiempos #cinenova #kevincostner #1992 #peliculas #poramoralséptimoarte #nova #whitneyhouston #thebodyguard

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essenstweet · 7 years

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Frühstück @ Cinenova

bei der @Tableau Cinema Tour

Via Foodspotting

#Foodspotting #Frühstück #Cinenova

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aphroditeproject · 5 years

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(scroll down for English) 22 Ιουνίου / 18:00-20:00 BEAVER Ράνα Χαντάντ, Ελένη Τσαμπούρη, Ολυμπία Ζωγράφος Τhe Unexpected Love Objects of Dunya Noor Παρουσίαση βιβλίου και περφορμανς 21:00 ΠΡΟΒΟΛΕΣ > ΤΑΙΝΙΟΘΗΚΗ - ΘΕΡΙΝΟΣ ΚΙΝΗΜΑΤΟΓΡΑΦΟΣ ΛΑΪΣ η επιθυμία της*, η φροντίδα της* Οι Κατίνες μου, Βίλμα Μενίκη, 2019, Ελλάδα, 74’ (EL/EN) The Famous Nurse, Μαργαρίτα Αθανασίου, 2018, Ελλάδα, 7’ (EL/EN) Pirate Boys, Pol Merchan, 2018, Γερμανία, 13΄ (EN/EL) ΔΙΑΛΕΙΜΜΑ 22:45 Cinenova presents: Backcomb, Sarah Pucill, 1995, UK, 5’ (no dialogue) Aletheia, Tran T Kim Trang, 1992, USA, 16’ (EN/EL) Now Pretend, Leah Gilliam, 1991, USA, 10’ (EN/EL) Back Inside Herself, Saundra Sharp, 1984, USA, 4’30’’ (EN/EL) Nice Coloured Girls, Tracey Moffatt, 1987, Australia, 16’ (EN/EL) 17 Rooms (Or What Do Lesbians Do in Bed?), Caroline Sheldon, 1985, UK, 10’ (EN/EL) Wicked Women, Anna Brownfield, 2018, Australia, 6’ (EN/EN,EL) Pembe Hayat Kuirfest Ankara: Room Ex, Demhat Aksoy, Turkey/Sweden, 2018, 8’ (no dialogue) Queer(s´) Talk(s)_translating, transwriting, transreading gender and body. Collaborative sound and video work, 2019, 10’ ❤️ June 22 / 18:00-20:00 BEAVER Rana Haddad, Eleni Tsampouri, Olympia Zographos Τhe unexpected love objects of dunya noor Book presentation / Performance

21:00 SCREENINGS > GREEK FILM ARCHIVE - LAIS OPEN AIR CINEMA her* desire, her* care Οι Κατίνες μου, Βίλμα Μενίκη, 2019, Ελλάδα, 74’ (EL/EN) The Famous Nurse, Μαργαρίτα Αθανασίου, 2018, Ελλάδα, 7’ (EL/EN) Pirate Boys, Pol Merchan, 2018, Γερμανία, 13΄ (EN/EL) BREAK 22:45 Cinenova presents: Backcomb, Sarah Pucill, 1995, UK, 5’ (no dialogue) Aletheia, Tran T Kim Trang, 1992, USA, 16’ (EN/EL) Now Pretend, Leah Gilliam, 1991, USA, 10’ (EN/EL) Back Inside Herself, Saundra Sharp, 1984, USA, 4’30’’ (EN/EL) Nice Coloured Girls, Tracey Moffatt, 1987, Australia, 16’ (EN/EL) 17 Rooms (Or What Do Lesbians Do in Bed?), Caroline Sheldon, 1985, UK, 10’ (EN/EL) Wicked Women, Anna Brownfield, 2018, Australia, 6’ (EN/EN,EL) Pembe Hayat Kuirfest Ankara: Room Ex, Demhat Aksoy, Turkey/Sweden, 2018, 8’ (no dialogue) Queer(s´) Talk(s)_translating, transwriting, transreading gender and body. Collaborative sound and video work, 2019, 10’

Οι Κατίνες μου, Βίλμα Μενίκη, 2019, Ελλάδα, 74’ (EL/EN) Το ντοκιμαντέρ αφορά την ιστορία της Αυτόνομης Ομάδας Γυναικών Θεσσαλονίκης, που έδρασε στην πόλη από το 1985-1995. Οι δράσεις και οι δραστηριότητες της ομάδας περιλαμβάνουν: τη SOS γραμμή για κακοποιημένες και βιασμένες γυναίκες, το φεμινιστικό περιοδικό Κατίνα, το Πρώτο φεστιβάλ Γυναικών, την ομάδα αυτογνωσίας, καλλιτεχνικές εκδηλώσεις και πορείες στην πόλη, και μια ραδιοφωνική εκπομπή. Γυναίκες με διαφορετικές πορείες στην ζωή μας, ξετυλίγουμε το κουβάρι της ιστορίας της ομάδας, με προσωπικές αφηγήσεις, φωτογραφίες και μουσική. Αλλάξαμε εμείς οι ίδιες; Αλλάξαμε κάτι στην κοινωνία; Υπάρχουν σημάδια, ίχνη στην ζωή μας από τη συμμετοχή μας στο αυτόνομο γυναικείο κίνημα; Ας πορευτούμε μαζί σε αυτό το ντοκιμαντέρ, να απολαύσουμε την «πυρίδρομη» διαδρομή της. My Katines, Vilma Meniki, 2019, Greece, 74’ (EN/EL) The film documentary concerns the history of the Autonomous Women’s Group in Thessaloniki which has been active between 1985-1995. Actions and activities of the group were: the SOS support line for abused and raped women, the feminist magazine Katina, the 1st Women’s Festival, the self-consciousness group, art events and demonstrations in Thessaloniki, and a radio broadcast.We, women who took different paths in our lives, unravel the tangle of our group through personal narrations, photographs and music. Did we change ourselves? Did we change some things in the society? Do we still carry marks and tracks in our lives from our participation in the autonomous women’s movement? Let us walk together in this documentary, and enjoy Katina’s fiery path. (Image: @ Vilma Meniki, 2019)

The Famous Nurse, Μαργαρίτα Αθανασίου, 2018, Ελλάδα, 7’ (EL/EN) Δανειζόμενη την γλώσσα των vlogs, η Μαργαρίτα Αθανασίου συνθέτει μια απροσδόκητη, συχνά χιουμοριστική διήγηση, όπου οι αφηγηματικές συμβάσεις χρησιμοποιούνται εργαλειακά όσο και υπονομεύονται. Με πρώτες ύλες προσωπικές αναμνήσεις και καταγεγραμμένα γεγονότα που αφορούν τις ζωές ιστορικών προσώπων, η σπονδυλωτή αφήγηση ξεκινάει με ένα άρρωστο γατάκι και διατρέχει κάθετα τον ιστορικό χρόνο, υφαίνοντας ταχύρυθμα μια σειρά γεγονότων με κεντρικό άξονα την έννοια της φροντίδας ως γυναικεία μορφή εργασίας αλλά και ως πρακτική θρησκευτικής εξιλέωσης. The Famous Nurse, Margarita Athanasiou, 2018, Greece, 7’ (EN/EL) Borrowing the visual language of vlogs, Margarita Athanasiou constructs an unexpected, often humorous account where narrative conventions are as utilised as they are undermined. With personal memories and recorded events as her raw material, Athanasiou collages information into a stream-of-thought narrative that begins with a sick kitten outside her home and ends up narrating the lives of historical women in order to trace notions of nursing as a historically female mode of labour and caring as a religious practice. (Image: @ Μαργαρίτα Αθανασίου, 2018)

Pirate Boys, Pol Merchan, 2018, Γερμανία, 13΄ (EN/EL) Το πορτρέτο με τίτλο Twirl (στροβιλισμός) της πανκ συγγραφέως Kathy Acker (Νέα Υόρκη, 1947 - Tijuana, 1997) αποτελεί το σημείο εκκίνησης για μια συνομιλία με τον/την φωτογράφο Del LaGrace Volcano (Καλιφόρνια, 1957) σχετικά με την ταυτότητα φύλου και τον μετασχηματισμό του σώματος. Το έργο της Kathy Acker συνδέθηκε με το αντι-φορμαλιστικό και πανκ κίνημα των δεκαετιών '70 και '80. Τα μυθιστορήματά της κατασκευάστηκαν χρησιμοποιώντας τις τεχνικές cut-up, της απομίμησης και της οικειοποίησης, και υιοθετήθηκαν από εγκληματίες, επαναστάτριες* και πειρατίνες*. Η ταινία χρησιμοποιεί αποσπάσματα από το μυθιστόρημα "Pussy, King of the Pirates", το οποίο δημοσιεύθηκε το 1996 από το Grove Press. Το Pirate Boys είναι μια υβριδική ταινία, κάτι ανάμεσα σε ντοκιμαντέρ και μυθοπλασία, τραβηγμένο με Super 8 κάμερα και με ένα κινηματογραφικό καστ που αποτελείται από transgender, intersex και genderqueer υποκείμενα. Η ταινία διαδραματίζεται στο Tuntenhaus (House of Fagots), μια κατάληψη του Βερολίνου από το 1981, κατοικημένη από ομοφυλόφιλους άνδρες. Αναζητώντας τα κουήρ ίχνη με τη μορφή και το περιεχόμενο της γραφής της Acker, αυτή η ταινία στοχεύει να παρουσιάσει νέους τρόπους για να νιώσουμε την πλαστικότητα του λογοτεχνικού και του κινηματογραφικού σώματος. Η φυσική παρουσία του σελλιλόιντ εκτίθεται σε όλη την ευαλωτότητα, προσκαλώντας τους/τις θεατές/τριες να δουν την ταινία μέσω μιας οπτικής της υφής. Η ταινία Pirate Boys δημιουργήθηκε με την υποστήριξη του Xposed Queer Φεστιβάλ Ταινιών Μικρού Μήκους, του τμήματος Πολιτισμού του Βερολίνου, της 25p *cine support GmbH και του Interflugs. Pirate Boys, Pol Merchan, 2018, Germany, 13’ (EN/EL) The portrait entitled Twirl of the punk writer Kathy Acker (New York, 1947 - Tijuana, 1997) is the starting point for a conversation with the photographer Del LaGrace Volcano (California, 1957) about gender identity and body transformation. Kathy Acker’s work was associated with the anti-formalist movement and with the punk movement of the 70s and 80s. Her novels were constructed using the cut-up technique, pastiche, and appropriation, and were inhabited by outlaws, rebels, and pirates. The film uses excerpts of the novel “Pussy, King of the Pirates”, published in 1996 by Grove Press. Pirate Boys is a hybrid film, documentary and fiction, shot with Super 8, and with a cast formed by transgender, intersex, and genderqueer subjects. The film is set in the Tuntenhaus (House of Faggots), a Berlin squat first occupied in 1981, inhabited by homosexual men. Searching for queer traces in the form and content of Acker’s writing, this film aims to present new ways of experiencing the plasticity of the literary and the filmic body. The physical presence of the celluloid is exposed in all its fragility, inviting the viewers to look at the film with a tactile eye. Pirate Boys is produced with the support of the Xposed Queer Short Film Festival, the Senate Department for Culture Berlin, 25p *cine support GmbH, and Interflugs. (Image: @ Pol Merchan, 2018)

Διάλειμμα 22:45 / Break 22:45

Cinenova presents:

Backcomb, Sarah Pucill, 1995, UK, 5’ (no dialogue) To Backcomb (ξαίνω) αποτελεί μια συνέχεια της προβληματικής της καλλιτέχνιδας που η ίδια αποκαλεί "η οικιακή σκηνή", και την οποία χρησιμοποιεί για να μιλήσει για τα ζητήματα της σεξουαλικότητας και της κατασκευής της γυναικείας ταυτότητας. Στην ταινία η ανδρική στιβαρότητα αντιπροσωπεύεται μέσα στο τελετουργικό που σχετίζεται με το στήσιμο του τραπεζιού. Στο τελετουργικό αυτό αντιπαραβάλλεται η αστάθεια της θηλυκότητας, καθώς τα σχήματα του μαλακού (φαγητό, μαλλιά, ρούχα) και του υγρού στα κεραμικά δοχεία μεταβάλλονται. Η ταινία επιδίδεται σε μια διαδικασία που περνά από τον διαχωρισμό (μεταξύ της κάμερας και της σκηνής) προς τη διαταραχή που σπάει τα όρια: το φόρεμα, το τραπεζομάντιλο, η κρέμα, το γάλα και τα μαλλιά συνυφαίνονται. Η κλειστοφοβία της οικιακής σφαίρας συγχωνεύει το συναίσθημα με τον εγκλεισμό. Τα νεκρά και σιωπηλά μαλλιά ζωντανεύουν και καταστρέφουν τη σκηνή. Backcomb, Sarah Pucill, 1995, UK, 5’ (no dialogue) This piece continues the artist's concern with what she calls “the domestic scene” which she uses to address issues of sexuality and the construction of feminine identity. Masculine solidity is represented in the film within the ritual associated with the table set. This is set against the feminine of the unstable, changing shape of the soft (food, hair, clothes) and the liquid in the pottery containers. The film processes from an order of separateness (between the camera and the scene) to a disorder where boundaries are broken; the dress, table cloth, cream, milk and hair becoming intertwined. The claustrophobia of the domestic fuses the emotional with confinement. The dead and silent hair comes alive and wrecks the scene. (Image: @ Sarah Pucill, 1995)

Aletheia, Tran T Kim Trang, 1992, USA, 16’ (EN/EL) Μια εισαγωγική ταινία αποτελούμενη από μια σειρά οκτώ μερών σχετικά με την άγνοια και τις μεταφορές της. Οι πολλαπλοί λόγοι εντός των κειμένων (δημοσιογραφικοί, ανεκδοτικοί, πλασματικοί, τεκμηριωμένοι, φανταστικοί και θεωρητικοί) αποσκοπούν να προκαλέσουν ένα δραστήριο πεδίο ποικίλων μυθοπλασιών και προοπτικών. Οι ταινίες είναι δομημένες σε μεταβάσεις ροής/ρεύματος συνείδησης. Παρόλο που τα θέματα ταυτότητας και αναπαράστασης μέσω των μέσων μαζικής ενημέρωσης δε σκιαγραφούνται ως ξεχωριστά (επεισόδια), αποτελούν κυρίαρχη θεματική της σειράς. Το εν λόγω πρότζεκτ επικεντρώνεται στο Hollywood, το Beverly Hills και το Orange County (το οποίο έχει τον μεγαλύτερο πληθυσμό Βιετναμέζων εκτός του Βιετνάμ, καθώς και τον μεγαλύτερο πληθυσμό Ασιατών / από τα νησιά του Ειρηνικού Αμερικανών στις ΗΠΑ). Aletheia, Tran T Kim Trang, 1992, USA, 16’ (ΕΝ/EL) An introductory tape to an eight-part series on blindness and its metaphors. The multiple discourses resound in the texts (journalistic, anecdotal, fictive, factual, fantastic and theoretical) culled to bring on a playing field of various fictions and perspectives. The tapes are structured on stream-of-consciousness transitions. Although issues of identity and mass media representation are not outlined as one of the episodes, they are very much dominant themes in the series. The local of focus for this project is Hollywood, Beverly Hills and Orange County (which has the largest Vietnamese population outside Vietnam as well as the largest population of Asian/Pacific Island Americans in the US). (Image: @ Tran T Kim Trang, 1992)

Now Pretend, Leah Gilliam, 1991, USA, 10’ (EN/EL) Η ταινία Now Pretend (Τώρα προσποιήσου) είναι μια πειραματική έρευνα σχετικά με τη χρήση της φυλής ως αυθαίρετο σημαίνον. Το έργο εκτυλίσσεται μόλις σε δέκα λεπτά μέσα από μια σειρά διαφορετικών εικόνων. Βασιζόμενη στη γλώσσα, στις προσωπικές αναμνήσεις και στο κείμενο του 1959, "Μαύρο σαν εμένα", η ταινία ασχολείται με το λακανικό "στάδιο του καθρέφτη", τις ιδεολογίες της ομ��ρφιάς και τη μεταφορά από το αντικείμενο στο υποκείμενο. Το Now Pretend εξετάζει τη λειτουργία των ολοκληρωτικών ορισμών προς/εναντίον των women of colour αποτελεί μια οπτική και ηχητική προσπάθεια της αναπόλησης του εαυτού. Now Pretend, Leah Gilliam, 1991, USA, 10’ (EN/EL) Now Pretend is an experimental investigation into the use of race as an arbitrary signifier. In just ten minutes, this film quickly cycles through a diverse bank of images. Drawing on language, personal memories and the 1959 text, “Black like me”, it deals with Lacan's “mirror stage”, ideologies of the beautiful and the movement from object to subject. Now Pretend is a look at how totalizing definitions function for/against women of colour - a visual and sonic effort to re/collect the self. (Image: @ Leah Gilliam, 1991)

Back Inside Herself, Saundra Sharp, 1984, USA, 4’30’’ (EN/EL) Εμπνευσμένο από το ομώνυμο ποίημα της κινηματογραφίστριας Πίσω στον εαυτό της, η ταινία παροτρύνει την “Αφρο-Αμερικανίδα γυναίκα” να απορρίψει τις εικόνες που της έχουν αποδοθεί... "από ανθρώπους που δεν ακούν την ανάγκη της και δεν τη χρειάζονται εδώ" ... και να ανακαλύψει τη δική της ταυτότητα. Το συμπυκνωμένο μήνυμα αυτής της ταινίας απευθύνεται, όχι αποκλειστικά στις Αφρο-Αμερικανίδες γυναίκες, αλλά σε όλες τις γυναίκες και σε όλους τους καταπιεσμένους ανθρώπους. Απομακρύνοντας όλες αυτές τις θωρακίσεις εντός των οποίων βρισκόμαστε εγκλωβισμένες, αναζητώντας τους εαυτούς μας και αγαπώντας τους όπως είναι, θα μπορέσουμε να βρούμε τη δύναμη να αντιμετωπίσουμε τις μάχες ενός άδικου κόσμου.

Back Inside Herself, Saundra Sharp, 1984, USA, 4’30’’ (EN/EL) Inspired by the film maker's poem of the same name, Back inside herself urges African-American woman to reject images placed on her... “from people who don't hear her need and don't need her here”... and discover her own identity. The condensed message of this film goes beyond the African American Woman, to include all women and indeed all oppressed people. It says peel off those armours in which you encase yourself, and find yourself and love yourself as you are, then with this strength face the battles of an unjust world. (Image: @ Saundra Sharp, 1984)

Nice Coloured Girls, Tracey Moffatt, 1987, Australia, 16’ (EN/EL) Το Nice Coloured Girls είναι ένα στυλιζαρισμένο πειραματικό δράμα που εξερευνά τη στάση των Αβοριγίνων γυναικών απέναντι στους λευκούς άνδρες και αντίστροφα. Εντοπίζοντας τις στάσεις αυτές, τόσο σε ιστορικό όσο και στο σύγχρονο πλαίσιο, το Nice Coloured Girls διατυπώνει μια ισχυρή δήλωση που αφορά στην καταπίεση των Αβοριγίνων γυναικών. Ταυτόχρονα γιορτάζει το πνεύμα και την εφευρετικότητα τους ως προς τις μεθόδους που χρησιμοποιούν για να γδάρουν τους λευκούς «καπετάνιους» (sugar daddies) που συναγωνίζονται για τις χάρες τους.

Nice Coloured Girls, Tracey Moffatt, 1987, Australia, 16’ (EN/EL) Nice Coloured Girls is a stylised experimental drama exploring attitudes of Aboriginal women to white men and vice versa. By locating these attitudes in both a historical and contemporary context Nice Coloured Girls makes a strong statement about the oppression of Aboriginal women as well as celebrating their wit and ingenuity in the methods they employ for fleecing white “captains” (sugar daddies) who vie for their favours. (Image: @Tracey Moffatt, 1987)

17 Rooms (Or What Do Lesbians Do in Bed?), Caroline Sheldon, 1985, UK, 10’ (EN/EL) Τι κάνουν οι λεσβίες στο κρεβάτι; Με ένα soundtrack αστεριών της μουσικής, παρουσιάζονται γυναίκες να κάνουν τα πάντα στο κρεβάτι, να πλέκουν, να πίνουν τσάι, να παίζουν μαξιλαροπόλεμο. Σε αυτά τα 17 δωμάτια, τα πάντα παρουσιάζονται ... τα πάντα, εκτός από “την πράξη” - το τελικό ειρωνικό σχόλιο. To 17 δωμάτια δεν ικανοποιεί απόλυτα την ηδονοβλεπτική περιέργεια των ανδρών, αλλά επιτρέπει στον/την θεατή να εξετάσει τις οπτικές αναπαραστάσεις των γυναικών, τη σεξουαλική ορολογία, τη λεγόμενη ερωτική μυθοπλασία και τη σημειωτική. 17 Rooms (Or What Do Lesbians Do in Bed?), Caroline Sheldon, 1985, UK, 10’ (EN/EL) What do lesbians do in bed? With a star-studded soundtrack, we're shown women doing everything in bed from knitting and drinking tea to having raucous pillow-fights. In these 17 rooms, everything is shown...everything that is, except “doing it” - the final ironic comment. 17 Rooms doesn't entirely satisfy the curiosity of male voyeurs but it does make the viewer examine visual representations of women, sexual terminology, so-called erotic fiction and semiotics on the way. (Image: @ Caroline Sheldon, 1985)

Wicked Women, Anna Brownfield, 2018, Australia, 6’ (EN/EN,EL) Ως αντίδραση στην πολιτική ορθότητα του λεσβιακού κινήματος της δεκαετίας του 1980, η Jasper (Francine) Laybutt και η Lisa ξεκίνησαν το περιοδικό Wicked Women (Κακές Γυναίκες) το 1988, αμφισβητώντας τις ιδέες για το λεσβιακό σεξ. Το Wicked Women δεν ήταν απλώς ένα πορνογραφικό περιοδικό: χρησιμοποιώντας παιχνιδιάρικες εικόνες και κείμενα διερεύνησε τη σεξουαλική ευχαρίστηση σε όλες τις μορφές της, συμπεριλαμβανομένου και του σαδομαζοχισμού. Λόγω του αμφιλεγόμενου χαρακτήρα της έκδοσης, η παραγωγή του περιοδικού βασίστηκε σε μεγάλο βαθμό σε εκδηλώσεις για τη συγκέντρωση χρημάτων. Η πιο περίφημη εκδήλωση ήταν ο «Διαγωνισμός Μις Κακία» όπου οι γυναίκες έκαναν στριπτίζ και άλλα δρώμενα μπροστά σε γυναικεία ακροατήρια. Το 1994 η Lisa και η Jasper αποχώρησαν από την πρώτη γραμμή της επιμέλειας και το 1996 το Wicked Women σταμάτησε να δημοσιεύεται έχοντας ήδη στο ιστορικό του 28 τεύχη. Wicked Women, Anna Brownfield, 2018, Australia, 6’ (EN/EN,EL) As a backlash to the politically correct 1980s lesbian movement, Jasper (Francine) Laybutt and Lisa started Wicked Women magazine in 1988, challenging the ideas of lesbian sex. Using playful images and text, Wicked Women wasn’t just pornography but explored sexual pleasure in all its forms including S&M. Due to its controversial nature, they relied heavily on fundraising events. The most infamous being the “Ms Wicked Competition” where women stripped and performed acts for an all-female audience. In 1994 Lisa and Jasper stepped back from the front line of editing and in 1996 Wicked Women ceased publication with 28 issues. (Image: @ Anna Brownfield, 2018) Pembe Hayat Kuirfest Ankara presents:

Room Ex, Demhat Aksoy, Turkey/Sweden, 2018, 8’ (no dialogue) Υπάρχουν ψέματα στις ζωές, ψέματα που προσποιούνται την αλήθεια. Σε αυτό το δίλημμα, θα σας μεταφέρω σε ένα δωμάτιο. Ένα δωμάτιο που αγκαλιάζει όλη την τρέλα. Room Ex, Demhat Aksoy, Turkey/Sweden, 2018, 8’ (no dialogue) There are lies in the lives, lies faking the truth. In this dilemma, I will bring you to a room. A room embracing all the madness. (Image: @ Demhat Aksoy, 2018)

Queer(s´) Talk(s)_translating, transwriting, transreading gender and body. Collaborative sound and video work, 2019, 10’ Alex Buschky, Maria F. Dolores, Kristalli Zacharioudaki, Dimitra Ioannou, Vicky Kamp, Ntiana Manesi, Anastasia Memmou, Christina Morfoulaki, Alkystis-Lara Papadaki, Vassiliea Stylianidou aka Franck-Lee Alli-Tis, Anna T., Ourania Tsiakalou, Myrto Tsilibounidi, Christina Foivi, Niovi Fotopoulou, Catherina Chatzidimitriou. Αυτό το οπτικοακουστικό έργο είναι το αποτέλεσμα του εργαστηρίου Queer(s´) Talk(s)_translating, transwriting, transreading gender and body που πραγματοποιήθηκε τον Μάιο 2019 στα πλαίσια του πρότζεκτ Αφροδίτη*. Στο εργαστήριο αυτό εξερευνήσαμε τη σχέση γλώσσας και τρανς*, κουιρ, και έμφυλα μη συμβατών σωμάτων (gender non-conforming bodies), καθώς και τα όρια μεταξύ γλώσσας και σωματικότητας. Οι γλώσσες δημιουργούν τόπους αποκλεισμών αλλά και συνοχής. Σε αυτό το εργαστήριο δεν προσπαθήσαμε να καταργήσουμε τις περιοχές που εμπεριέχουν κενά γνώσης ή κατανόησης, αλλά αντίθετα επιχειρήσαμε να τις κατανοήσουμε και να έρθουμε αντιμέτωπ@ με τα (συνεχώς μεταβαλλόμενα) όρια τους που άλλοτε μας περιλαμβάνουν και άλλοτε μας αποκλείουν. Queer(s´) Talk(s)_translating, transwriting, transreading gender and body. Collaborative sound and video work, 2019, 10’ Alex Buschky, Maria F. Dolores, Kristalli Zacharioudaki, Dimitra Ioannou, Vicky Kamp, Ntiana Manesi, Anastasia Memmou, Christina Morfoulaki, Alkystis-Lara Papadaki, Vassiliea Stylianidou aka Franck-Lee Alli-Tis, Anna T., Ourania Tsiakalou, Myrto Tsilibounidi, Christina Foivi, Niovi Fotopoulou, Catherina Chatzidimitriou. This sound/video piece is the result of the workshop with the title Queer(s´) Talk(s)_Translating, transwriting, transreading gender and body, which took place in May 2019 within the context of the project Aphrodite*. In this workshop we investigated the relation between language and trans*, queer and gender-questioning bodies. Rather than trying to avoid moments of misinterpretation we intend to creatively employ the gaps of knowledge and comprehension as they constantly shift their boundaries including or excluding us. (Image: @ Queers Talks workshop group, 2019)

👀😍 Οι ταινίες θα προβληθούν με ελληνικούς υπότιτλους. Προλογισμός των ταινιών στα ελληνικά, αγγλικά και στη νοηματική γλώσσα All films with Greek subtitles (original version, spoken language / language(s) of subtitles). Introduction of the films in greek, english and sign language

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