65. Pula Film Festival
Cinemaniac > Think Film 2018 - The Museum Of Found Footage
Artists: Nika Autor, Eli Cortiñas, Harun Farocki, Željko Kipke, Jean Gabriel Periot, Damir Radić
Curated by: Branka Benčić / Tanja Vrvilo
What is left of the existing film and the historical film dispositif, its sensory, cognitive and structural forms after the age of film, in the time of multimedial moving images that rejects physical facture and apparatus, remedializing the artefacts and the active system of an obsolete medium?
Cinemaniac > Think Film is an ongoing research and exhibiting platform questioning the relationships between cinema, moving images and contemporary art. It has been taking place since 2002 as a side programme at Pula Film Festival. The 17th edition is dedicated to practices of found footage film and video, a critical film practice encompassing various models, strategies, methodologies, procedures and conceptualisations, and represents the subsequent life of a film, a reworked film archives. The exhibition Museum of Found Footage is a place that reflects about the global archive of film through the practices of contemporary artists who reach for strategies of cut/edit, repetition, appropriation, using critical potential and the status of an image in the social and cultural field.
The international group exhibition The Museum of Found Footage presents a fragmented panorama featuring the works of international and Croatian artists and builds up on various practices involved in working with found footage film. The artists explore with different issues – from film archives, Hollywood, fetishism, the potentialities of political discourse or unfolding complex social relations, such as the representation of themes of work and labour, migration or feminist discourse. Objects of critical interest are the representations of different positions of power, that unfold moments of social reality, politics, discrimination (J. G, Periot), injustice and migration (Nika Autor), film system itself, represented by Hollywood (Željko Kipke, Eli Cortiñas). In Workers Leaving the Factory, Harun Farocki creates a discursive panorama which spans an entire century of film history and frames relations between work, labour, factory and workers. Meanwhile, in Schnittstelle / Interface, Farocki introduces us to the cut, that key space between the images which takes place on the montage table, as he introduces us by a meta-narrative gesture into the space of film thinking.