Selection #6

Hidden Voices

54 mins

Dead things reawakened by whispered charms, inventories of absence, mourning rituals and bridal chants. The lens caresses the feathers of a lifeless specimen or the grooves of an old record. Images are reframed, replayed, re-enchanted: frozen memories melt and flow into a slow dance, where hidden voices arise from the grain of objects.

Fri 24 Oct

18:30 - 19:30 / ACUD STUDIO

Niyaz Saghari
Ghazal no 884 by Bidel

2020, Iran/UK, S8, bw, sound, 2' 30''

The emotionally intense experience of staying in my mother’s room, sleeping on her dying bed, trying to experience her point of view and going through her mundane objects. Ghazal no 883 by Poet, Bidel Dehlavi, read by a friend and sent as a voice message on What’s app was a soothing company to calm the grieving moment.

Samira Guadagnuolo & Tiziano Doria
Festa nuziale

2020, Italy, 16mm, bw, silent, 10'

First of a series of "bridal feasts" that revisit the archetypal motif of death and the maiden. With the use of found footage and original text.

Anna Kipervaser
How a Sprig of Fir Would Replace a Feather

2019, USA, 16mm, col, silent, 8'

Taking its title from Charles Altamont Doyle, the film is a meditation on ritual, at once a labor of love and of pain, of parting. A taxonomy of the investigation of love, of becoming. In perpetual beginning. In perpetual ending. Coming into vision, into the present, a leaving. A leaving.

Rhys Morgan
Lost Child Reel

2019, USA, 16mm, bw, sound, 8' 30''

"The Lost Child", a tune from the Stripling Brothers (1918-1936), passes through the prism of folk and ethnographic processes, digital and physical media, and never arrives.

Maxime Jean-Baptiste
Nou voix

2018, France, HD, col, sound, 14'

Nou Voix is an autobiographical video departing from the participation of Maxime's father, as a Guyanese figurant, in the movie Jean Galmot aventurier (1990), which deals with the history of French Guiana. By re-enacting a part of the film, Maxime and his father try to amplify other kinds of voices that have been unheard in the original film.

Victor Arroyo
Portrait of a Nation

2019, Canada, Mini DV, bw, sound, 11'

Landscape painting in Mexico often acted as a mechanism for colonial subjugation, perpetuating Eurocentric artistic and historical values. José María Velasco is considered one of the most influential artists who made Mexican geography a symbol of national identity through his landscape paintings. Velasco’s pastoral landscapes aptly depict subjugation and colonial violence as normalized instruments of dispossession. The video piece ‘portrait of a nation’ examines José María Velasco’s pastoral landscapes as instruments of surveillance and colonial violence. By rephotographing Velasco’s landscape paintings with a surveillance camera and re-staging them with the collaboration of the Indigenous Purhépecha’s in Mexico, this video piece addresses the complexities of the political geography of race in Mexico, rendering landscape painting and video technologies as surveillance assemblages.