FILMS

Two film screenings will be presented at FAC_research, November 29. Films will start on time.

19:30 Tsoli Love

This Ain’t a Eulogy, Taja Lindley, USA 2017, 10’

Based on Taja Lindley's solo healing performance ritual that debuted at La Mama's SQUIRTS in 2015, "This Ain't A Eulogy" is drawing parallels between discarded materials and the violent treatment of Black people in the United States. People in the African Diaspora have a long history of repurposing, remixing, and transforming oppressive systems into valuable cultural practices. In this post-Ferguson moment, Lindley is calling on this legacy to imagine how we can recycle the energy of protest, rage, and grief into creating a world where, indeed, Black Lives Matter.
"This Ain't A Eulogy" is the origin story of The Bag Lady, and serves as a preamble to Lindley's one woman show "The Bag Lady Manifesta" which debuted at Dixon Place September 2017. TajaLindley.com

Bos Sokak "a bout de souffle", Kaan, Turkey 2008, 3'33''
Part I of a trilogy of films created by Kaan Karacehennem and Boysan Yakar in Istanbul. The creators give a queer twist to Godard's A bout de Souffle.

There is Something Good in Men that Really Yearns for Discipline, Heather Warren-Crow, USA 2019, 7'

There is Something in Good Men that Really Yearns for Discipline is a work of video art starring a crude and glitchy avatar of the artist's toddler son delivering a motivational speech. Spoken with a digitally manipulated, pitched-down version of his mother's voice, his monologue was appropriated (in part) from text by football coach Vince Lombardi, known not only for guiding players to victory, but also for inspiring management and sales executives. There is Something in Good Men that Really Yearns for Discipline deals with issues of masculinity, will, control, and corporate personhood through a queer performance of a mother speaking through and as her male child.

Thalassa, Niki Soumpasi, GR 2019, 3'

The construction of the sea as a greek white-blue monument and a brief exorcism-collage of moving images, memories of the post-traumatic 2004.

Niki Soumpasi studied German Literature and later did Gender Studies. She is interested in things that combine moving image, fragmented narrative, anthropology, pop culture and feminism.

5073, Coco Schwarz & Alina Mann, CH 2016, 3'33''

In this experimental short, Coco Schwarz an Alina Mann question binary genders and (non-)conform sexuality. They wanted to rethink a long tradition of heteronormative nude photos with chessplayers.

Coco Schwarz & Alina Mann are visual artists based in Zurich/Switzerland who started to collaborate together in 2016. They like to challenge the conceptions of gender identity, sexuality and taboos. As a medium they use video, sculptures and sound. Their artworks have been shown in selected festivals and exhibitions in Europe, America and Asia.

Thelo toso na se do, Kopros & Tsolily, GR 2018, 13'
A hot summer day. Εnnui, anticipation and lust. Is Kitty gonna find what she desires? Slurp.

Hunger, Eleni Tomadaki, GR 2019, 1'

Eleni Tomadaki is a Greek artist based in London. Her practice explores how conscious and subconscious memory can be used as a tool to understand Scurgriness. Using moving image, performance and sometimes text, she aims to question the line between fiction and reality; She is particularly interested in how these worlds collide, embrace and inform one another within the construction of an individual’s identity. Tomadaki is a graduate of Royal College of Art 2019, she has shown work at Tate St Ives, South London Gallery, Uppsala Art Museum and Assembly Point amongst others.
elenitomadaki.com

Go tell your friends I’m still a feminist, Prokne & Filomila, GR 2016, 2'

A video of a somatic exploration of sexual and political archives that challenges the fluidity of time. We were feminists and we still are.

Sacred gulps, Eggs & Legs and Clitus Clitoris, GR 2018, 17'

This film is a collection of twisted Christian Orthodox Erotic tales performed by unsavory characters. These lustful beasts unleash the explosive power of disgust provoking bloody sacrificial rites designed to throw open the Gates of Hell.

Eggs and Legs are an artist trio preaching absurd. They meditate on nonsense, spirituality, religion, heroism & sadism.E&L answer questions like: What it means to be a woman, why the good heart has limits, why the nose looks like a phallus and the lips like a vagina, why excrement has the same texture as the tongue and why the forefinger can touch the asshole while the asshole can't reach the finger

21:00 Body and Grief

Piedad, Minus Is Valido, DE 2018, 17'

When Rodolfa and Maria Antonieta, two sex-workers fanatic of Trap music, see her colleague Asunción arrive with a cart full of empty beer bottles to Tempelhofer Feld – an ex-airport in the middle of Berlin turned into a park, and also their favourite place to work -, they never imagined that day would be the most intense in their lives: love, friendship, sex in unthinkable ways, comedy, drama, music and unexpected burials; all this can be found in this postporn romantic thriller, so difficult to classify, which will leave no one indifferent to it.

Trud, Prokne & Filtig, GR 2019, 3'

Trud is a video performance/comment on the capitalist production and reproduction of the self. Between welding and ironing, everything is work, labour, pain. Apart from capitalism there is also the body that sometimes produces itself and we set out hopes on it.

Prokne is a housewife on steroids. In order to speak she uses home appliances instead of the words of big men. Instead of a gun she holds a Merito bottle and generally she has a lot of problems.

While Doing What My Mom Told Me To, Katerina Mimikou, GR 2019, 1'
Why do I have to put the dirty towel to the laundry?
Why do I have to separate the socks to dark and white?
Why do I have to select the correct cycle?
Why do I have to put the washing powder?
Why do I have to put the fabric conditioner?
Why do I have to take the clothes out of the washing machine?
Why do I have to put the sheets on the drying loft?
Why do I have to secure the underwear with pins?
Why do I have to collect the shirts when they dry?
Why do I have to iron?
Why is my brother watching me watching television while I am ironing his pyjamas?
Because that’s what my mom told me to do.

Melankoli, Kaan, Turkey 2013, 4'

Part II of a trilogy of films created by Kaan Karacehennem and Boysan Yakar in Istanbul. This is a queer take on Lars Von Trier's Melancholia.

Elephant the Allison, So Yarli, UK, 2018, 12’

Allison is an elephant who is obsessed with holes, and its sensual encounter with its online babe.

Yarli and Yin are London-based artist and writer who combine their artistic and writing skills to reveal identities of diasporic Asians in the European queer scene. The uncomfortable taboos on body-shame around East/SouthEast Asian community continue to grow strong, which fosters Yarli & Yin to experiment with ways to address diverse sexuality and body positivity as they live aboard away from homeland.

Giving & Receiving, Mac Lewandowski, PL 2019, 1'30''

Camera performance based on translating delicacy into pain. A bouquet of roses symbolising love given on numerous occasions becomes a whip in the context of expectations imposed on a man. Contrast contained in the work undermines the established social and gender role as well as requirements set for the man in the sphere of both romantic and erotic relations.

Mac Lewandowski is an interdisciplinary artist from Poland currently studying at Academy of Fine Arts in Gdańsk. Most of his work is based on queer theory, deconstruction of gender and other social constructs. Proudly representing Polish LGBTQ+ community.

Tukencegiz, Kaan, Turkey 2015, 3'33''

Part III of a trilogy of films created by Kaan Karacehennem and Boysan Yakar in Istanbul.

Borderhole Nadia Granados & Amber Bemak, USA/Colombia 2017, 14’

Borderhole takes place on a mythical border area between Colombia and the United States. We investigate the relationship between North and South America through the lens of the American Dream and the illumination of multiple tensions in and around the border. The piece explores imperialism, globalization through pop music, the gender mutant in an international context, and the choreography of women’s bodies in relation to sociopolitical and ecosystems.

Nadia Granados and Amber Bemak are filmmakers and performance artists, collaborating since 2014. Themes of their work center on relations between Latin and North America, queer love in a cross cultural context, and the political ramifications of patriarchal imperialist power.
http://nadiagranados.com, http://amberbemak.com