Colonialismo

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            Colonialismo

              115 Archival description results for Colonialismo

              115 results directly related Exclude narrower terms
              Exodus
              ES ES-OVNI CTX-S012 · Series · 2008
              Part of Non-Identified Video Observatory (OVNI)

              The Margins of the Empire _ OVNI 2008

              / CONTEXT 1994 - 2020

              The Margins of the Empire _ OVNI 2008

              "Open your eyes and look within. Are you satisfied with the life you're living? (...) So we gonna walk, alright, through the roads of creation. We're the generation (Tell my why) trod through great tribulation". Exodus Bob Marley

              The videos screened at OVNI 2008 will offer an initial reflection on the “marginal” and the desire to cross margins, on forms of personal or collective exodus – whether physical or as a state of mind. They include perspectives on different forms of marginalization and exploitation which lie directly under the oppressive vertical force of power, such as workers in Chinese export factories or clandestine Palestinian day workers in Israel. And perspectives on armed conflict zones that go beyond the “propaganda-counter propaganda” dialectic: in South America, Chechnya, Lebanon, Iraq, Darfur, Afghanistan...

              But they also include reflections and perspectives on other realities and forms of organization that grow on the margins: self-organization of the homeless, indigenous communities in Ecuador and Columbia, brotherhoods of transvestites in India, ancient heterodox traditions and their rituals, self-managed collectives in Barcelona, groups of deserters in the US... Together with accounts of dreams and the inner revolution, of seeking and of exodus... These are videos that question and consider this attraction towards exodus, the desire to abandon a reality and a set of values that we can no longer believe in, or wish for. Perspectives that refuse to remain trapped in an eternal “against” stance and use resistance tactically, but embark on a journey to other possible worlds. Exodus itself is another world, functionally unmappable, because exodus is always on the side of emptiness and movement, of listening to voices of the others (?) and recognising oneself in them. What gets left behind are societies swing between an abundance of poverty – made visible and turned into spectacle by the media – and the increasingly obvious misery of abundance, the misery of consumer societies.

              Let's allow fragments of transcriptions from some of the videos that will be projected talk to us about the journey:

              “A society that is always sicker, but always stronger, has everywhere concretely re-created the world as the environment and decor of its illness, a sick planet. A society that still hasn't become homogenous and that isn't determined by itself, but is always more determined by a part of itself that places itself above the rest and is exterior to it, has developed a movement that dominates natures but isn't itself dominated. (...) The production of non-life has more and more pursued its linear and cumulative process; overcoming a final threshold in its progress, it now directly produces death”. (1)

              “The consumer society has destroyed the environment. Exterminated millions of species of plants and animals. Poisoned the seas, the rivers and the lakes. Polluted the air. Filled the atmosphere with carbon dioxide and other harmful gases. Destroyed the ozone layer. Exhausted our oil, coal and gas reserves and rich mineral resources. Exterminated our forests and destroyed their own. So what is left for us? Underdevelopment. Poverty. Dependence. Underdevelopment. Debt. Uncertainty. For the super developed societies the problem is not growth but distribution. Not only amongst themselves but amongst everybody. Sustainable development is impossible without fairer distribution amongst all nations. After all, mankind is one great family all sharing the same destiny”. (2)

              “Today's ideal is consumerism. It is a homologating civilisation that makes everything the same. Without ideology? What, it has no ideology? With a consumer ideology you don't... instead of having a flag, the clothes they wear are their flag. Some of the means and some of the external phenomena have changed but, in practice, it's a depauperation of individuality which is disguised through its valorisation (...) During the so-called “repressive” ages sex was a joy, because it was practiced in secret and it made a mockery of all the obligations and duties that the repressive power imposed. (...) And so, at a certain point, one of the characters in the films says exactly this: “Repressive societies repress everything... therefore, men can't do anything.” But I have added this concept which for me is lapidary: permissive societies permit a few things and only those things can me done. Hey! That is terrible! A degree of bestowed freedom that later becomes compulsory. As it is bestowed it becomes compulsory.

              Sadomasochism is an eternal category of man: it was there in De Sade's time, it's here today, etc. But this is not what I care about. I also care about this, but the real sense of sex in my films is a metaphor of the relation between power and its subject. Therefore, in reality, it is true for all times. The drive came from the fact that I detest, above all things, today's power. Everyone hates the power he is subject to. Therefore, I hate the power of today, of 1975, with particular vehemence. It is a power that manipulates bodies in a horrible way, it has nothing to envy Himmler's or Hitler's manipulation. It manipulates them, transforming their conscience, in the worst way, establishing new values which are alienating and false. The values of consumerism, which accomplish what Marx called genocide of the living, real, previous cultures.

              In reality, the producers force the consumers to eat shit. Knapp bouillon or... They give adulterated, bad things, little Robiola cheeses, processed cheese for babies,... all horrible things that are shit (...)

              Power remains exactly the same, only its characteristics change, the subject is no longer parsimonious or religious, he is a consumer and so he is short-sighted, irreligious, secular, etc. The cultural characteristics change, but the relationship is identical. Therefore, it (Salò) is a film not only about power, but about what I call “the anarchy of power”. Nothing is more anarchic than power. Power does what it wants and what it wants is totally arbitrary or dictated by its economic reasons which escape common logic.

              My real vision, the older, more archaic one given to me at birth and shaped in my early childhood, my original way of seeing is a sacred vision of things. In the end, I see the world like those who have a poetic vocation do, that is, like a miraculous, almost sacred fact. And nothing can desecrate my fundamental sacredness”. (3)

              Constant work, constant consumption

              “... We are terrorized into being consumers. We can choose between brand A, brand B or C, that's the freedom we have. Yes, I think there are too many things. Constant work and consumption, it's crazy. This is what's destroying everything, and it has to go. I can see very little worth preserving. I don't see any benefit or wellbeing in preserving this system. Achieving all these things is actually coercion. People are forced to work in mines and packaging factories. Without them we don't have all this. A world of things, which we have to spend our whole lives fighting for. I don't think anybody really takes it seriously, but inertia keeps it moving. This has to be stopped, it has to be destroyed (...)

              Why do people go out and try to protest or try to do something? That's not violence. Sitting there doing dope and watching MTV. Then you go and get a job. Just schlep along. To me that is violence.

              It is necessary to damage or destroy property, it lies outside political confines o the politics of the everyday. What do you achieve by holding a sign at the usual demonstration? I've seen the same thing for decades, it doesn't achieve anything! But when people fight, that’s something else. They capture people’s attention, it’s real. Corporate property is the most obvious legitimate target in my view. Banks, e

              Fes. Ciutat Interior
              ES ES-OVNI CTX-S010-SS007-0076 · Item · 2002
              Part of Non-Identified Video Observatory (OVNI)

              An initiatic journey Videos from an exhibition at the Centre de Cultura Comtemporània de Barcelona from March 26 to May 30, 2002 (a project by Albert Garcia-Espuche and Toni Serra). Into the innermost parts of the city of Fes.Using audiovisual recordings that illustrate some of the different anthropologic, sociologic, urbanistic and religious aspects that make up the fabric of the city. A journey that requires both objectivity (in the working method) and subjectivity (for the experience of the journey and immersion in another culture).

              ES ES-OVNI RSC-1914 · Item · 1999
              Part of Non-Identified Video Observatory (OVNI)

              A journey of initiation into a city and a its culture. The set of projections (10 screens) aimed to create a journey in the complex sense of the term: using audiovisual segments to illustrate aspects of the anthropological, sociological, urban and religious tissues of the city. A journey claiming both: a certain objectivity (in the working method), and the subjectivity (of the travel experience and approach to another culture). Moreover, the projections do not meet the criteria of a film with a beginning and an end, but rather the creation of a landscape, so the viewer choosed the time he/she wished to dedicated to each fragment. This made it possible to enjoy a deeper level of inquiry to specific fragments (artisans, rituals interviews, etc.). Consequently, the result of each visit to the exhibition gave an unique combinatorial fragments, since the total length of the projections would be about 6 hours. VideoInstallation 10 screens total lenght: 6h 40' Toni Serra , Albert García Espuche CCCB Centre de Cultura Contemporània de Barcelona 2002

              Untitled
              First Contact
              ES ES-OVNI CTX-S011-SS003-0004 · Item · 1983
              Part of Non-Identified Video Observatory (OVNI)

              In the 1930s, Australian miners lead by Michael Leahy and his brothers made their first trek into the New Guinea highlands. This was the first contact between white people and highlanders. Compelling footage of the initial meetings is combined with interviews of the surviving brothers and highlanders who recall the impressions and shock of those long ago events.

              Untitled
              Forest of Crocodiles
              ES ES-OVNI CTX-S014-SS001-0008 · Item · 2010
              Part of Non-Identified Video Observatory (OVNI)

              In January 2008 the filmaker visited his mother in SA and he found the whiterural community she lives in very pessimistic about the future andin particular being ruled by an African government. Then the firstnational power cuts started – serving as the perfect metaphor forthem being plunged into African darkness. He set out to make a film about their fears and how they dealt with them. The crocodile served as a good metaphor – a reptile that stopped evolving but still survives. Along my journey, I discovered many different types of crocodiles and was amazed to find people who had embraced their fears and overcome them – finally offering some hope for future harmony in this troubled country.

              Untitled
              Frontline
              ES ES-OVNI RSC-4354 · Item · 1976
              Part of Non-Identified Video Observatory (OVNI)

              Frontline is a documentary by René Vautier about apartheid in South Africa, made at a time when almost no films addressed the subject. Banned for twenty years in France, the film offers a unique and powerful historical testimony. Through interviews, archival footage, and critical commentary, Vautier denounces the brutality of the South African regime and the complicit silence of powers like the United States, France, and the United Kingdom. Figures such as Oliver Tambo and Miriam Makeba give voice to the resistance. The film was conceived not as an artistic work, but as an educational and political tool, reflecting Vautier’s tireless commitment to all struggles against oppression.

              ES ES-OVNI RSC-4352 · Item · 1985
              Part of Non-Identified Video Observatory (OVNI)

              In Guerre aux images en Algérie (War on Images in Algeria), René Vautier revisits the footage from Algérie en flammes (Algeria in Flames), shot alongside Algerian fighters in the ALN maquis in late 1956 and throughout 1957. These war images, filmed in the Aurès-Nementchas region, were meant to serve as a basis for dialogue between French and Algerians in the pursuit of peace in Algeria. They show the presence of an armed organization close to the people. In Guerre aux images en Algérie, Vautier sheds light, in 1985, on the context and often dramatic conditions in which the film was made.

              in Limbo
              ES ES-OVNI CTX-S016 · Series · 2014
              Part of Non-Identified Video Observatory (OVNI)

              falling and flying / OVNI 2014

              / CONTEXT 1994 - 2020

              falling and flying / OVNI 2014

              Limbo (Lat. Limbus) ~ the world between the living and the dead ~ the storage space where deleted files are sent ~ a tale by Aldous Huxley.

              There is an enormous, constant, and well-organised pressure on social rights and freedoms, backed by a media apparatus that appropriates language and steals our words. Meanwhile, nature is still the source from which we extract the fuel that feeds the engines of progress for the few.

              Borders spill beyond boundaries and permeate cities like the laboratory for a new totalitarian society.

              Fall & Winter, Cómo robar la vida a un ser humano, Terrorisme d'Auteur, Barcelona the Dead City, Deleuze à Vincennes, Marinaleda, iPhone China, Detroit Wildlife, Barcelona panAfrica, Agustín García Calvo at Sol, Homeland Security.

              Thematical screenings

              Hall and Auditorium. Simultaneous Screenings

              Centre de Cultura Contemporània de Barcelona

              Montalegre 5. 08001 Barcelona

              Image: Pour Auguste (2010). Chantal Michel