On 27 and 28 July, starting at 9pm, as part of the 16th edition of Avvistamenti is (not) a Festival, organized by Cineclub Canudo and directed by Antonio Musci and Daniela Di Niso, realized with the support of the Department of Tourism and Cultural Industry of the Puglia Region, there will be a solo exhibition on OJOBOCA, entitled Some Common Fascinations, curated by Giuseppe Boccassini. OJOBOCA is the pseudonym of two Berlin based filmmakers, Anja Dornieden and Juan David González Monroy. They have worked together since 2010 and practice Horrorism, a simulated method of transformation from the inside to the outside. They are currently members of LaborBerlin, an artist-run film lab in Berlin.
For the two filmmakers, whose works have been shown in many international film festivals, this is the first time they will be showing their work in Puglia. The program will mostly concern 16mm films. The first evening, on July 27th at 9 pm, at Palazzo Tupputi - Laboratorio Urbano in Bisceglie - will be entirely focused on screening films: The Skin is Good (16mm, 12 min, 2018), Heliopolis Heliopolis (16mm, 26 min, 2016), and Comfort Stations (16mm, 26 min, 2018). The filmmakers will be present and they will participate in a meeting with the audience, moderated by the curator, Giuseppe Boccassini. On the second day, the 28th, at 9 pm, at the Chiostro Santa Croce, there will be a performance with a dual 16mm projector performance with additional sound created live by a synthesizer, titled Images We Used to Make (2018, 16mm, 30 min), never before performed by OJOBOCA, an absolute first, exclusively for Avvistamenti. The audience will be invited to cross the projection space, creating a unique experience of immersion in the performative work of the two artists.
Admission is free for both evenings.
As written by the curator, Giuseppe Boccassini: «Their universe displays an evident interest, on the one hand, in figures such as the beginner, the amateur, the ragpicker, interpreted as agents of the dislocation, counterfeiting and derision of History, losers, and, on the other hand, but in a complementary measure, in the cinematographic scenarios of the mockumentary, a derisive overturning of vérités et mensonges, of found footage as a discarded object, orphaned and anonymous and finally of horror, dreamy like an amniotic drift, a non-place submerged by ancestral and bright darkness (Heliopolis Heliopolis) ».
«In the films of OJOBOCA, the spectator, called upon vis-à-vis by the presence of an obstinately seductive voice-over and by the automatic scrolling of typed titles and explicative placards, experiences a metamorphosis, invited to transcendently gush into the demonic folds of the sensible, transuent fragrance (The Skin is Good, 2018), or as is written in Heliopolis Heliopolis about the geology of the outside:
...gutters awaiting the secretions of the residents, the beast's open mouth dripping with foul ooze».
«OJOBOCA, extension of the eye by means of the mouth, as an orifice of the rectum, point of escape, not phagocytizing but rejecting, anti-authoritarian, is expressed in mechanical-demonic and agamic forms first as a simulacrum that is oral (Heliopolis Heliopolis , 2017), musical (Comfort Stations, 2018) and of the typewritten word (The Skin is Good, 2018). The enunciator becomes enunciated - it erupts in a modest discrediting of itself according to Heliopolis Heliopolis - abandoning itself loyally to the oppression of interlocution and, in so doing, becomes mental matter, it disappears demystifying itself, it overflows from the sphere of its inner universe, overturns the domain of History which, on the contrary, exhausts the sensitive nature of the object, naming it».