2nd KuFF – the Kumu Art Film Festival
29 September – 2 October 2016
The Kumu Art Film Festival (KuFF) is the first and only cultural event in Estonia to focus on the relationship between film and the visual arts. During the four days of KuFF, documentary, staged and experimental art and artist films will be screened in the Kumu auditorium. The film-makers are all connected to the visual arts in one way or another, and they reveal this relationship in their films. This means focusing on the pictorial language of film and its dislocation, documenting the internal life of the art world, combining film and video art strategies, and much more.
This year, the festival will have familiar formats and thematic blocks (e.g. a focus on one author or archive) but also introduce, more consciously and directly, the relationship between art and film by exchanging the exhibition environment for the screen surface.
The second major novelty is open call. In the early summer, KuFF announced the opportunity to send video works for a pre-screening, based on which the international jury selected videos for the festival programme.
And thirdly, a Super 8mm workshop lead by Christopher Gorski will take place.
KuFF will also continue cooperation with the Short Film Festival Oberhausen, Fundacja ARTon and is glad to present this year two programmes from “Moving Pictures: Artists’ Films from the Film London Jarman Award” curated by the British Council and Film London.
The festival begins on Thursday, 29 September, with the opening and the first screening, and continues from Friday to Sunday.
In addition to films, the festival includes artist talks.
Ticket for one screening 4 €
Festival pass 20 €
Tickets are available at Piletilevi sales points (www.piletilevi.ee) and in the Kumu Art Museum.
“Moving Pictures: Artists’ Films from the Film London Jarman Award“ screening are free of charge.
All films are in the original language and/or with English subtitles.
All main programme screenings will take place in the auditorium of the Kumu Art Museum.
KuFF in Facebook: www.facebook.com/kumukuff/
Dir Yves Montmayeur
France, USA 2015, 65’
Introduction by Tõnu Karjatse
In Kumu Auditorium
Free of charge
Guy Maddin creates artificial worlds reminiscent of films from the distant past. Full of dream logic, spirits and perversions – but always humour. In this documentary filled with beautiful clips, he talks about his work and sources of inspiration, including the actress Isabella Rossellini and the director Fritz Lang.
At Rotermann square
Free of charge
Rež/Dir Murat Haschu 2015, 4’
Rež/Dir Aurelien Dupuis 2015, 6’
Rež/Dir Ricard Carbonell 2015, 3’
Rež/Dir Aurèle Ferrier 2015, 23’
Rež/Dir Manuel Schuepfer 2015, 3’
Rež/Dir Vera Rosa Maria Herr 2015, 18’
Rež/Dir Deborah Kelly 2016, 4’
Rež/Dir Aline Helmcke 2016, 4’
Rež/Dir Jie Shen 2013, 4’
More info about films from here.
In cooperation with the Main Street project “Shoots of the Main Street” KuFF moves on the eve of the festival to the city centre, to Rotermann Square. On the white wall of the Coca-Cola Plaza Cinema we will project the short films submitted for the KuFF open call, which are all in some way related to the environment and urban spaces. Passers-by are welcome to stop and have a look.
Follows: MONO NO AWARE , films from Super 8 workshops, NYC, USA. 60′
A workshop on analogue film will be held as part of KuFF from 29th September to 2nd October. Over four sessions, Christopher Gorski will teach the essentials of film-making on Super 8 cameras. This includes a hands-on, beginner-oriented introduction to the principles of motion picture photography, the functions and operation of a Super 8 camera, and self-processing black-and-white positive (reversal) film. You will shoot one 15m cartridge (approximately 3 minutes, 30 seconds) of Adox B&W Super 8 film during the course of the workshop, which we will hand-process. Participants will watch films in Super 8 format, and discuss the making and showing of analogue films in today’s art scene. All necessary materials will be provided and attendance at all sessions is required. The workshop is meant for film enthusiasts and artists who have no previous experience with the analogue format, and will be held in English.
The cost of the workshop is 35 euros, which includes all materials, the use of a camera and a KuFF free-entry pass to all the screenings. The number of participants is limited to 10 people; your enrolment is guaranteed by the payment of the fee. Additional information and registration at email@example.com
Thu, September 29 4 to 6:30 PM
Fri, September 30 4 to 6:30 PM
Sat, October 1 10 AM to 6 PM
Sun, October 2 11 AM to 12:30 PM
Christopher Gorski is an American film-maker and artist currently living in Hamburg, Germany. His works have been shown at a number of festivals and venues, including Antimatter (BC, CA), Milwaukee Underground Film Festival (WI, USA), Echo Park Film Center (CA, USA), Artists’ Television Access (CA, USA), Microscope Gallery (NY, USA), New York Public Library (NY, USA), backup_festival (Weimar, GER), Haverhill Experimental Film Festival (MA, USA) and EFF Portland (OR, USA). From 2014–2015 he taught 16mm film-making workshops at the Brooklyn-based non-profit MONO NO AWARE.
Introduction by Laura Buckley
Free of charge
It, Heat, Hit
Dir Laure Prouvost, 2010, 7’22’’
Dir John Smith, 2012, 5’9’’
The Magic Know-How
Dir Laura Buckley, 2013, 9’22’’
Origin of the Species
Dir Ben Rivers, 2008, 15’39’’
Dir Andrew Kötting, 2009, 4’16’’
Dir Benedict Drew, 2011, 1’29’’
Dir Clio Barnard, 2006, 8’47’’
Dir Luke Fowler, 2009, 3’25’’
Dir Zineb Sedira, 2008, 15’55’’
The British Council and Film London Artists’ Moving Image Network are presenting “Moving Pictures”, an innovative programme of single-screen moving image works by 20 UK-based artists selected from the Film London Jarman Award.
Inspired by one of Britain’s most innovative and controversial artists of the late 20th century, Derek Jarman, the Film London Jarman Award is an annual prize celebrating the spirit of experimentation and imagination among UK artists working with moving images. The award recognises artists whose work resists conventional definition, encompassing innovation and excellence.
Moving Pictures; Artists’ Films from the Film London Jarman Award is curated by the British Council and Film London.
EKA Faculty of Fine Arts, Lembitu 10B, room no 136
Laura Buckley is the main guest of the Kumu Art Film Festival KuFF, her film The Magic Know-How will be presented at the KuFF’s opening screening Moving Pictures: Artist’s Films from the Film London Jarman Award on 29 September 2016 at 7 pm in Kumu Auditorium.
Curator: Jagna Lewandowska, Poland 1973–2016, 83’
In Polish with English subtitles
Introduction by Jagna Lewandowska, Łukasz Sosinski
10 Works (Visual Principles)
Dir Wojciech Bruszewski, Poland 1973, 7’49’’
Dir Piotr Bosacki, Poland 2014, 3’39’’
Dir Piotr Bosacki, Poland 2013, 10’
Conversation with God II
Dir Paweł Kwiek, Poland 1990, 10’19’’
Dir Łukasz Jastrubczak, Poland 2014, 3’3’’
Dir Józef Robakowski, Poland 1973, 2’56’’
1, 2, 3, 4 (Light Cheeks)
Dir Józef Robakowski, Poland 1993, 1’36’’
Dir Wojciech Bąkowski, Poland 2010, 5’20”
To Lamp from Lamp
Dir Wojciech Bąkowski, Poland 2011, 3’14”
So that you continue like this
Dir Wojciech Bąkowski, Poland 2010, 5’43”
The Straight Curve
Dir Ryszard Waśko, Poland 1973, 7’13”
Cruising the neighbourhood, thinking
Dir Łukasz Sosiński, Poland 2016, 3’38”
Dir Henryk Gajewski, Poland 1985, 12’02”
Dir Karol Radziszewski, Poland 2016, 6’21”
Arton Review Europe is a cycle of screenings based on the resources of the Digital Repository of the Arton Foundation. Young Polish artists were invited to work with the film archives and to create a series of experimental films and videos inspired by the work of the Polish avant-garde masters of the 1970s.
The Arton Foundation is a non-profit organisation which concentrates on researching and exhibiting Polish art of the 1970s and cataloguing private archives of artists. Artworks, documents, negatives, films etc. form a database of the Polish art scene of those years (Arton’s Repository) that is promoted by Arton’s publications, exhibitions and films.
Some of the Arton programme films can be viewed for the duration of the festival at screenings in the lobby of the Kumu auditorium.
See also www.fundacjaarton.pl
Free of charge
Hold Your Ground
Dir Karen Mirza & Brad Butler, 2012, 7’ 47’’
The Call of Mist – Redux
Dir John Akomfrah, 2012, 13’18’’
An Exchange for Fire: Personal Responsibility
Dir Anja Kirschner & David Panos, 2013, 3’ 3’’
Dir Elizabethe Price, 2011, 9’36’’
Come to the Edge
Dir Stephen Sutcliffe, 2003, 1’ 50’’
O come all ye faithful
Dir Stephen Sutcliffe, 2007, 56’’
Looking So Hard at Something It Distorts or Becomes Obscured (Not Blacking Out, Just Turning the Lights Off)
Dir James Richards, 2011, 16’16’’
Death Mask II: The Scent
Dir Ed Atkins, 2010, 8’42’’
Dir Emily Wardill, 2011, 3’ 37’’
The Lion and The Unicorn
Dir Rachel Maclean, 2012, 11’30’’
Introduction by Piibe Kolka
Driving around where the crescents used to be. A skript
Dir Marian Mayland 2015, 15’
Dir Saif Alsaegh 2016, 21’
Dir Ravi Sandberg 2016, 8’
Dir Yuri Muraoka 2016, 10’
The Past Inside the Present
Dir James Siewert 2015, 12’
Dir Susanna Flock 2016, 6’
A Useless Fiction
Dir Cheong Kin Man 2015, 30’
More info about films from here.
At the beginning of summer, KuFF announced an open call for films that would reflect the relationships between visual art and cinematography. The contest aroused great interest and a total of 249 films were submitted for evaluation, including fictional, experimental, documentary and interdisciplinary works. The films were evaluated by an international jury, and the chosen films can be viewed on three special screenings during KuFF.
Introduction by Laurence Boyce
What Happened in the Past Dragon Year / Long Nian Wang Shi What
Dir Sun Xun, China 2014, 9’30’’
Blue and Red
Dir Zhou Tao, Hispaania, Spain, Thailand 2014, 25’
Sound of My Soul / Głos mojej duszy
Dir Wojciech Bąkowski, Poland 2014, 13’
Just My Own / Tolko moi
Dir Alena Tereshko, Russia 2014, 6’
Freedom and Independence
Dir Bjørn Melhus, Germany 2014, 15’
The Lawes of the Marches
Dir Katie Davies, Great Britain 2014, 16’30’’
The International Short Film Festival Oberhausen, founded in 1954, is one of the oldest short film festivals in the world. It has become one of the world’s most respected film events: a place where film-makers and artists, ranging from Roman Polanski to Cate Shortland, from George Lucas to Pipilotti Rist, have presented their first films.
KuFF is happy to present a selection of the 2015 Festival highlights from the “International Competition” and “Artist Film and Video” selections.
This year’s Artist Film programme assembles some of the most intriguing film-makers currently working on the borderline between the film world and the art market. While Katie Davies presents a 500-year-old border ritual in England’s northernmost town, Sun Xun reflects on the last Year of the Dragon, 2012, in vivid animated images with references to Huxley and Magritte. Wojciech Bąkowski, winner of the Grand Prize of the City of
Oberhausen, questions the relationship between language and image. In “Blue and Red”, Guangzhou and Bangkok merge into a fictional city depicted in fascinating night-time images that tell of the people’s resistance against the regime. Bjørn Melhus dramatises Ayn Rand’s menacing rhetoric of unrestrained capitalism in over-the-top science fiction scenes with dance interludes. The films in this programme provide a compelling overview of the current state of media art.
France, Germany 1924–1928, 63’
Silent films with background music
Introduction by Anu Allas
Dir Marchel Duchamp, France 1926, 7 min
Emak – Bakia
Dir Man Ray, France 1926, 16 min
The Seashell and the Clergyman
Dir Germaine Dulac, France 1928, 31 min
Dir Hans Richter, Germany 1928, 9 min
Filmid pärinevad Raymond Rohaueri kogust, mis nüüd kuulub Cohen Film Collectionile. / The films are from Raymond Rohauer’s collection, which now belongs to the Cohen Film Collection.
Several places in Europe are celebrating the 100-year anniversary of Dada this year. For this occasion the KuFF programme includes four absolute classics of Dadaist (and partially surrealist and abstract) cinematography: Marcel Duchamp’s “Anemic Cinema” (1926), Man Ray’s “Emak-Bakia” (1926), Germaine Dulac’s “The Seashell and the Clergyman” (1928) and Hans Richter’s “Ghosts Before Breakfast” (1928). All of the films experiment with the limits and possibilities of the then relatively young film medium, try out various narrative techniques, create visual paradoxes and cognitive shifts and – in the spirit of true Dada – attack the harmonious world of classical aesthetics. Although the films are technically poor by current cinematographic standards, the thought processes and techniques of their authors include quite a few elements that enter into a dialogue with present-day experimental cinema.
Introduction by Kati Ilves
Ene-Liis Semper , 2002, 3’57“, Art Museum of Estonia
Love Is a Treasure
Eija-Liisa Ahtila, 2002
Santeri Tuori, 2006, 14’23’’, sound design Mikko Hynninen, Kiasma
And Then, There Will Come a Time When I Will Forget Even My Name and Cast No Shadow on the Wall
Kai Kaljo, 1997, 1’, with the permission of the artist
A Place Nearby
Mike Marshall, 2005, 5’40’’, with the permission of the artist
Repeat presentation of the video exhibition “Everything is Going to Be Alright” (Contemporary Art Gallery of the Kumu Art Museum, 29 October 2010 to 2 January 2011) as a film programme.
Exhibitions that specifically focus on video art are rarely held in Estonia; in 2011, Maria-Kristiina Soomre, for instance, curated the project “Everything is Going to Be Alright”, which centred around local and global video art. The exhibition brought together works by the then acclaimed young authors of the art scene as well as the oeuvre of classics. According to the curator, the selections included works of art completed within the preceding decade which shared traits of a powerful artistic vision, the occupation of space via the video medium, and a focus on existential matters.
By adjusting the video exhibition to the screen, the installation “House” (2002), by Eija-Liisa Ahtila, has been replaced with the film “Love Is a Treasure” (2002), in collaboration with the artist.
Introduction by Piibe Kolka
Dir Paul Kuimet 2014, 7’32”
Dir Karissa Hahn 2016, 10’30’’
Call to Order
Dir Axel Strashnoy 2016, 13’
Open for New Challenges
Dir Karina Beumer 2016, 30’
Maybe You Can Even Sense Our Lifestyles are Probably Comparable: I Simply am not There
Dir Johanna Lecklin 2016, 11’
Dir Fabio Scacchioli 2015, 5’
But elsewhere is Always Better
Dir Vivian Ostrovsky 2016, 4’
Dir John Grzinich 2016, 15’
More info about films from here.
Dir Laurie Anderson
USA 2015, 75’
Introduction by Liina Siib
Renowned multidisciplinary artist Laurie Anderson charms with this lyrical and powerfully personal essay film that reflects on the deaths of her husband Lou Reed, her mother, her beloved dog, and such diverse subjects as family memories, surveillance and Buddhist teachings.
Focusing on Anderson’s beloved rat terrier Lolabelle, the film is a personal essay that weaves together childhood memories, video diaries, philosophical musings on data collection, surveillance culture and the Buddhist conception of the afterlife, with heartfelt tributes to the artists, writers, musicians and thinkers who have inspired the performance artist and musician Anderson.
It fuses Anderson’s narration with original violin compositions, hand-drawn animation, 8mm home films and artwork culled from exhibitions past and present. It is a tender memoir. It’s Anderson’s love story about her dog, her mother, her husband and her city. In the most uncommon and evocative way, this film has heart.
Introduction by Laurence Boyce, Lars Henrik Gass
The Last Mango Before the Monsoon
Dir Payal Kapadia, India 2014, 19’
Dir Nina Yuen, USA 2014, 11’ 30’’
Dir Basil da Cunha, Switzerland 2014, 18’ 30’’
Rocket Launch / Zlaté Piesky
Dir Josef Dabernig, Austria 2015, 10’
Dir Chan Hau Chun, China 2014, 32’
Dir Lewis Klahr
USA 2002–2015, 90’
Introduction by Piibe Kolka
Experimental film-maker Lewis Klahr (1956) from Los Angeles created “Sixty Six”, the most powerful and ambitious collage/animation of recent years. It consists of 12 chapters, which centre around an archive of found images from newspapers, magazines and comic books compiled by Klahr over decades. The focal image in the film is the number 66, which could refer to several concepts (e.g. Phillips 66 or Route 66), but is primarily reminiscent of the somewhat nostalgic view of the aesthetics and atmosphere inspired by 1960s pop art.
Lewis Klahr completed his first film in 1977, and since then has been using collage and experimental film in his oeuvre. He likes to create dialogues between random images and sounds. Klahr creates visual narratives based on fixed elements from American pop culture, which are amplified, processed, analysed, reversed and deconstructed in his films.
Introduction by Andreas Trossek
Isaac Julien was born in 1960 in London. He studied painting and fine art film at St Martin’s School of Art, and graduated in 1984. He co-founded the “Sankofa Film and Video Collective”, in which he was active from 1983–1992, and he was also a founding member of Normal Films in 1991. In 2008–2015 Julien worked as a Professor of Media Arts at Karlsruhe Staatliche Hochschule für Gestaltung, and currently he is the Chair of Global Art at the University of Arts London.
Julien was nominated for the Turner Prize in 2001; he was the recipient of the Performa Award (2008), the prestigious MIT Eugene McDermott Award in the Arts (2001) and the Frameline Lifetime Achievement Award (2002). In 2003 he won the Grand Jury Prize at the Kunstfilm Biennale in Cologne; in 2008, he received a Special Teddy for a film that he collaborated on with Tilda Swinton, on Derek Jarman, called Derek, at the Berlin International Film Festival.
Isaac Julien has taken part in Venice, Johannesburg, Gwangju, Whitney and other biennials, and Kassel Documenta. He has had solo and group shows in most of the important museums of the world. In Isaac Julien’s oeuvre, the works that the artist originally intended for two, three or four screens live an intense life on the big screen. He has pioneered a form of multiscreen installations with works such as Western Union: Small Boats (2007), Ten Thousand Waves (2010) and Playtime: Kapital (2014).
1993, 8’5”, 35mm, Beta Transfer, single screen
“The Attendant” is set in a museum: Wilberforce House in Hull, England, which is devoted to the history of slavery. It’s a real place, though in Mr. Julien’s hands it looks surreal. The plot revolves around sexual fantasies aroused in a middle-aged black male museum guard – the “attendant” – by a young white male visitor.
Much of the action takes place after closing time. As the guard paces the galleries, a huge 19th-century painting titled “Slaves on the West Coast of Africa”, by the French artist François-Auguste Biard, comes to life, its melodramatic scene of a white master bending over a dying black slave transformed into an up-to-date, leather clad sadomasochistic grouping.
Next, there’s an erotic scene between a guard and a young man in a gallery hung with soft-core drawings by Tom of Finland, one of many references to the contemporary art in the film. Their cries are overheard by a third character, a black woman called the conservator, who approvingly listens through the wall as she cleans the museum’s picture frames.
The film is only 10 minutes long, but it packs in a rich variety of images and moods. They include some funky camp humour (gold-lamé bar-boy; mosquito-size Cupids), a complex sexual and racial dynamic of dominance and submission and a poignant sense of loss, which serves as a reminder that the piece was made at the height of the AIDS epidemic.
Holland Cotter, The New York Times (24 November 2006)
2000, 12’21”’, 16mm, Beta Transfer, 2 Screen Composite
A black female conservator imagines ghosts of 18th-century Black London including a dancing vagabond figure. Filmed with fluid camera movements and sensuous attention to lighting-camera work, Julien makes of the museum a world of shadows, mirrors and frames-within-frames, where statues also dream and the vagabond spirit of colonialism’s repressed memory comes dancing, jerkily, back to life.
Filmed in the Sir John Soane Museum in London.
2003, 11’26”, 16mm, Beta transfer, 3 screen Composite
Baltimore is rich in urban imagery and, like Julien’s earlier pieces Vagabondia and Three, uses museums as a key location and theme.
Inspired by blaxploitation films while he was filming his documentary Baadasssss Cinema, Julien appropriates the styles, gestures, language and iconography of the genre to create a work that defies easy categorization. Starring the veteran black actor and director Melvin Van Peebles, Baltimore was designed in part as an homage to Van Peebles’ films. It unites three Baltimore institutions – the Walters Art Museum, the Contemporary Museum and the Great Blacks in Wax Museum – with blaxploitation cinema, the tough talking, hard-living symbol of black empowerment that Van Peebles helped usher in with his 1971 film Sweet Sweetback’s Baadasssss Song. Baltimore is ironic and funky, nostalgic and futuristic, rough and fine. It is characterized by oscillation and an insistent formal play with linear perspective, which also pays homage to Piero della Francesca and, more particularly, a painting of unknown authorship, c.1500 known as “View of an Ideal City”, which features in the collection of the Walters Art Museum.
Western Union: Small Boats (The Leopard)
2007, 18’9”, 35mm, Beta Transfer, single screen
Western Union: Small Boats forms the final installment of Julien’s compelling trilogy of audiovisual film installations which also includes True North (2004) and Fantôme Afrique (2005). The works explore the impact of location – both cultural and physical – to resounding effect through a juxtaposition of opposing global regions.
Julien’s new work, Western Union: Small Boats concerns journeys made across the seas of the Mediterranean. The journeys and stories of so-called “clandestines” who leave Libya, escaping wars and famines. They can be seen as economic migrant workers, along with certain Europeans – Angels in Walter Benjamin’s terms – who bear witness to modernity’s failed hopes and dreams, and who now travel across oceanic spaces some never to arrive or return.
Expanding the themes of voyages, excursions and expeditions, Western Union: Small Boats is being produced at a time when advances in global telecommunications and new technologies are continually celebrated. One of the major questions arising from this development is the part individuals may play in this flow of information. Questions surrounding the circulation of human lives, the movements of bodies, and their personal stories, are timely when immigration policies generate controversy on a daily basis, and the relationships between nations are the source of much debate.
Introduction by Kati Ilves
Kai Kaljo, 1997, 1’30’’, Tartu Art Museum
Kristin Kalamees, 2002, 11’29’’, Art Museum of Estonia
An Unpleasant Body
Liina Siib, 2007, 45’53’’, belongs to the author; video and drawings by interviewees
Eléonore de Montesquiou, 2009, 15’10’’, Art Museum of Estonia
Tanja Muravskaja, 2009, length varies; belongs to the author; video installation on screen
Shaken, Not Stirred
Marge Monko, 2010, 19’, belongs to the author
Anna-Stina Treumund , 2010, 8’, belongs to the author
Kristina Norman , 2013, 37’, belongs to the author
Flo Kasearu , 2015, 4’, Art Museum of Estonia
Repeat presentation of the video exhibition “Shaken Not Stirred. A Selection of Estonian Video Art from 1997–2015”(Opinion Festival, 11–13 August 2016 in Paide) as a film programme.
The selection of nine works was specifically curated for the Opinion Festival, and shows works of video art made in the past two decades. At the time of their completion, these works dealt with various developments and issues in Estonian society. In their projects, the artists often used material that had also been covered and analysed by the mainstream media, and which had been at the centre of attention in local debates. The audience will see works that add their own point of view to such debated topics in the Estonian society and media as the Registered Partnership Act, the Bronze Soldier removal, refugees, integration, and much more. A number of the topics dealt with in the displayed works of art remain topical, are still without a solution, or have been resurrected once more.