Chantal Akerman | 3 first short films
Wednesday 13/7 22:00
Mamuta at Hansen House
Screen in the Open Air Garden | Free Entrance
Presented by Vivian Ostrovsky
Saute Ma Ville
1968 | 13min
Saute ma ville (1968), the first short film by Chantal Akerman, allows each of us to identify with the position of women assigned to the home (here, the kitchen is the emblematic space of this universe) and, as a retort, glorifies the revolt against this confinement, doomed to its own destruction.
Saute ma ville is supported by images constructed like a burlesque and the performance of an actress that seems to come straight out of a slapstick comedy. This exuberant character is played by the filmmaker herself, who literally bursts in front of a large building (the sounds of the city being omnipresent there), flowers in hand, to get back to her apartment. Akerman’s humming adds an enthusiastic and light touch to this jaunty entrance.
La Chambre
1972 | 11min
A camera slowly and silently pans 360 degrees around a cramped tenement apartment several times, on each rotation picking up the same objects as well as Akerman herself, lying on a bed, brilliant shafts of light streaming through the window behind her. The only figure in the room, Akerman changes her position and demeanor every time the camera returns to her. Her behavior grows odder, and so, ultimately, does that of the camera, which, on the fourth rotation, suddenly changes direction.
Hotel Monterey
1972 | 62 min
Through a succession of elegantly composed, silent shots Akerman transforms a run-down Upper West Side single-room-occupancy hotel (where she had sometimes spent nights with a friend) into a site of contemplation and unconventional beauty. The shoot lasted one night, during which Akerman and Mangolte would put the camera down wherever it felt right and roll until Akerman’s gut told her to stop. The result is minimalist yet rich: the viewer, wandering these mostly vacant hallways, elevators, and bedrooms, grows hyperaware of her or his own physical presence. A hotel is a place meant to be occupied, yet this one is largely drained of visible people, so it often seems like a way station on the road to some netherworld.
20:00 at Hansen House
The Experimental Cinema and Video Art Awards 2016 : Dana goldberg & Efrat Mishori – No Shadow , Elham Rokni – The Wedding, Hila Ben Ari – Naamah: A Tribute to Nahum Benari , Nira Pereg – Ishmael , Orit Ben Shitrit – Onomono, Sirah Foighel Brutmann& Eitan Efrat – Orientation
program time: 61 min
22:00 Hansen House .
Chantal Akerman | 3 first short films
Presented by Vivian Ostrovsky
Saute Ma Ville, 1968 (13 min)
La Chambre, 1972 (11 min)
Hotel Monterey, 1972 (62 min)
the programs are part of Intersections, initiated and supported by the Ostrovsky Family Fund. Produced by Mamuta Art and Media Center. Curated by Vivian Ostrovsky and Sala-Manca
The Wedding
Dir.: Elham Rokni
The work is based on the wedding video of the artist’s parents, which took place during the Islamic Revolution in Iran. Struggling to remember the exact date of the event, Rokni’s relatives draw a picture of the excitement, confusion, and eventual disappointment of those historic months.
2015 | 12 min.
No Shadow
Dir.: Dana Goldberg . Text: Efrat Mishori
a video poem, a surreal-associative dream-nightmare, and a cinematic experiment that echoes the silence of one woman’s subconscious. The film was shot with a smartphone (Samsung Galaxy S4).
2015 | 8 min.
ONOMONO
Dir.: Orit Ben-Shitrit
Onomono depicts a circle of destruction and the impact of capitalism on our psyche. This short video captures the ailments of our society through a montage of archival footage, including depression-era economic graphics, catatonic patients, original footage of the Atlantic Ocean, Cappadocia and a dilapidated outpost in Abu-Ghosh.
2016 | 4:25 min.
Orientation
Dir.: Sirah Foighel Brutmann, Eitan Efrat
The work focuses on the ability of architectural material, sound and image to register collective experience by looking at two locations: the public sculpture in Tel Aviv that commemorates the city’s founders, and the shrine of Salame, a Palestinian village that once stood in today’s Israeli Kfar Shalem.
2015 | 13 min.
Naamah: A Tribute to Nahum Benari
Dir.: Hilla Ben Ari
Naamah is a gender interpretation on the play Tubal Cain, which was written by the artist’s grand-uncle, Nahum Benari.. The film focuses on Tubal-Cain’s sister, Naamah, a mute gleaner, and uses choreography to express a range of physical situations, from strong to weak to a total collapsed state.
2015 | 14:17
Ishmael
Dir.: Nira Pereg
Ishmael continues Pereg’s ongoing investigation of the everyday routine at the Cave of the Patriarchs ( also called the Ibrahimi Mosque الحرم الإبراهيمي). Under close military supervision, Pereg spends a whole day following the adhan- the five Muezzin calls for prayer- from 4am to 9pm, documenting the singularity in which this ritual is conducted there.
2015 | 10:41 min.