Mit: Iris Blauensteiner, Zorica Čolić, Doplgenger, Marlies Pöschl, Dušan Rodić, Bárbara Palomino Ruiz, Igor Simić, Lisa Truttmann, Katharina Swoboda, Enar de Dios Rodríguez, Katarina Zdjelar
Kuratiert von: Maja Ćirić
Termin: 15.-18.April 2021
Online: http://they-sie-oni.goldenpixelcoop.com
Design: Miloš Nikolić
Web-Programmierung: Vera Sebert

Im Screening/Streaming Programm They I Sie I Oni sind serbische Künstler*innen sowie Filmemacherinnen der in Wien verorteten Golden Pixel Cooperative vertreten. Konzipiert wurde das Online-Projekt von der in Belgrad lebenden Kuratorin Maja Ćirić.
They I Sie I Oni thematisiert das Ausstellen von künstlerischen Filmen im Kontext des Internets und den dort konkurrierenden Bildern. Das Projekt ist eine veröffentlichte Reflexion über filmische Daten und wie ihre Sichtbarkeit in diesen mit Informationen überfüllten digitalen Räumen eingebettet und präsentiert werden kann.

Vom 15.-18. April 2021 wird täglich ein neuer Teil des Filmprogramms auf der Website http://they-sie-oni.goldenpixelcoop.com veröffentlicht.
Stay tuned!

Programm

15.04. They I

1. Igor Simić, Melancholic Drone, 7’, 2018
2. Iris Blauensteiner, the_other_images, 17’, 2018
3. Marlies Pöschl, Cinema Cristal, 14’30’’, 2017

16.04. They II

1. Katarina Zdjelar, AAA (Mein Herz), 4’30’’, 2016
2. Bárbara Palomino Ruiz, La imagen pertenece al pueblo, 8’, 2016
3. Zorica Čolić, Cutaneous vision, 4’ 15’’, 2020
4. Katharina Swoboda, Lella (Rehearsal), 3’01’’, 2021
5. Doplgenger, Comrade Women, 6’ 10’’, 2018

17.04. They/Them/Theirs

1. Lisa Truttmann, Pirate Bay, 6’33’’, 2020
2. Dušan Rodić, The Soul is in the Breath, 6’33’’, 2020
3. Enar de Dios Rodríguez, Vestiges (an archipelago), 40’48’’, 2020

18.04. BONUS All In (termites included)
Lisa Truttmann, Tarpaulins, 78’, 2017

With the benefit of hindsight following the digital turn and the tech-explosion, it is clear that technology IS forever the second self (Turkle, Sherry, 1984). Permanently hooked to our interfaces, our ways of doing and thinking are being reshaped. If “Physicality is a bug, not a feature,” (Tyler Winklevoss) an online screening is an opportunity to tell a different story about both physicality and bugs. Decentralized and decontextualized, once exclusive frames collide indefinitely with one another.

Contrary to what one may think, dissolving this saturation with images is not the only way to carry on in this second year of the pandemic. The key is to find a way of participating in this virtually expanded reality by trying to capture and also manage attention. What might have been an autonomous screening in the black box is exchanged for the logic of expanded internet art (Ceci Moss) in a sense that it is a continual hybrid becoming. An artistic film is not only a film, it also represents high-quality data competing with the low-quality data of SnapChat and TikTok. The frames are expanding, there is a need for adaptation, for instantaneous change. It is time to get personal—after all, the content is to be viewed in the intimacy of our homes, as a relationship between the subject of the film and subjects outside of it.

They is a way of addressing and testing the exposure of artistic films in an environment of competitive images. It is a public reflection on how connected end embedded filmic parcels can behave within the expanded circumstances. The title They shows respect to non-binary gender identities, while at the same time implying that in a wider view this respect extends to nationality, to other non-anthropocentric entities, to technology, to whatever different perspectives there might be.

Instead of representing bilateral cultural relations, for example between Austria and Serbia, these artistic films connect their authors through the emotions and sensations they evoke, rather than through their national origin. Narratives are not only a subtle manipulation of possible visuals amidst current conditions and the hyper-mediated realities, they also serve as a tool suggesting different ways of looking at and after the environment as well as the experiences of both self and the Deleuzian notion of the ‘dividual’—a person made of data which can be endlessly subdivided and recombined.”

All kinds of subjects are considered as and within They: a melancholic drone, a hard drive with 2.8 terabyte leftover data, a street in the city of Teheran, overlapping melodies, archival images from Yugoslav cinema, tools for bodily ‘enhancements,’ a female Formula 1 driver, a machine weaving an image of the Virgin of Guadalupe, the oldest oak tree in Belgrade, sand dunes. All content is interwoven in an only seemingly binary constellation, because these images representing both a cultural anthropology and ecocentrism consist of a myriad of non-static complexities.
(Curatorial text by Maja Ćirić)

Initiiert von The Golden Pixel Cooperative www.goldenpixelcoop.com
Das Projekt wird unterstützt vom Österreichischen Kulturforum Belgrad
Medienpartner des Projekts: SeeCult
The Golden Pixel Cooperative wird unterstützt von BMKÖS & Wien Kultur