IN/FLUX II

INFLUX Cover 2

 

 

Title: In/Flux II

Published with: Lowave (Paris, France)

Official Release: July 2013

 

 

 

 

 

 

 

 

 

 Cliquez ici pour une version en français

 

 

 

 

 

The works included in the second volume of the IN/FLUX series address the dual theme of urban history and memory. They consider ways in which past and present intersect in the city, interrogating, destabilizing and at times radically shifting perceptions of one another. Individually and as a group, they offer richly nuanced, politically and ethically engaged takes on urban conditions, cultures and imaginaries planetwide.

Volume II includes 8 films, 8 interviews with the artists, 8 biographies, runs for a total of 100 minutes, is PAL/NTSC competitive , compatible with all zones, available in stereo as 16:9 & 4:3 and featuring a critical text by Joanna Grabski, Associate Professor and Chair of Art History at Denison University. 

 

Watch the trailer for IN/FLUX II here

To purchase the DVD, please click here

You can read the Press Release here 



Filmakers and films featured:

  

Zineb Sedira  (Algeria - UK) - Retelling Histories, My Mother Told Me - 2003 | 8'46  

Zineb gap

The artist and her mother are seated at a table. In Arabic and French, they talk about the violence done to women by the French army and its allies during the Algerian War. With a remarkable economy of means, the film speaks in terms at once viscerally direct and tender of one survivor’s experiences in a conflict that continues to haunt Algeria and France alike.

 

 

 

 

Theo Eshetu (Ethiopia - UK) - Lightning Strikes  - 2009 | 7'41

Eshetu gap

In 1935, the Italian army stole a historical monument from the city of Axum, in Ethiopia: a 24‐meter high granite obelisk dating from the 4th Century AD. In 1947, as part of a peace treaty, the Italian government agreed to return the obelisk. For decades, it reneged on its promise. Only in 2005, and after countless delays, was the monument returned. Theo Eshetu’s experimental documentary recounts this repatriation. 

 

 

 

 

 Bofa da Cara (Angola - Spain) - My African Mind - 2010 | 6'12

BOFA DA CARA gap

Cut‐outs of pictures drawn from comic books, movie posters, advertisements and 19th century missionary accounts flash across the screen, rendered in 3D. Moving back and forth between image and text, My African Mind interrogates the violence of the colonial gaze and its present-day avatars. Even as we fly through filmic landscapes of dramatically shifting foregrounds and backgrounds, the images grip us firmly. They insist that we face head-on the (not so) past horror of one continent’s encounter with the other and the scars this has left on the face of the present. 

 

 

Sammy Baloji (DRC) - Mémoire - 2007 | 14'06

BALOJI gap

In the town of Lubumbashi, in the Katanga province of eastern Congo, stand the ruins of what was once a thriving copper mining industrial site. Against this backdrop, Sammy Baloji’s haunting images – part documentary, part dreamscape – meet the sinuous choreography of dancer Faustin Linyekula and a soundtrack of successive leaders (Patrice Lumumba and Joseph Kasa‐Vubu, Mobutu Sese Seko and Laurent‐Désiré Kabila) promising political and economic renewal. Masterfully woven together, these elements tell a history of colonial violence, followed by postcolonial hope and its gradual demise. 

 

 

Aryan Kaganof (South Africa) - Society Ff Spectacle - 2011 | 3'37


KAGANOF gap

Archival black and white media images flash across the screen at break-neck speed to a hypnotic soundtrack. The urban narrative that results is slick, modernist, and without flaw. It demands our submission. It is at once seductive and, in its proficiency to captivate, slightly alarming. With its hammering pace and seamless composition, there is no place for intervention or insertion of alternative pictures. To elbow our way into the storyline would entail a brawl.

 

 

 

 

 

Fayçal Baghriche  (Algeria/ France) - Le Sens De La Marche - 2002 | 5'15

BAGHRICHE-gap

The course of time is reversed. The artist appears as the only reasonable figure in a world that works in reverse. Baghriche is standing at a crossroad. No sign distinguishes him from other people but his motionless stature generates a distanced reading and transforms the scene into a true choreography. Attention shifts to the repetitive gestures of passers-by, to the absurdity of a walk without apparent destination and the authority of trajectories induced by urban development. Society is stigmatized for its consumption of energy and blindness in this frantic race. The impassive presence of the artist in the heart of urban unrest challenges the impact that one person can make and shows how inaction can be a crippling method that disrupts a system. 

 

 

Nina Barnett - (South Africa) - River Come Back - 2010 | 3'06

BARNETT gap

Inspired by the Chicago River’s famous current reversal in 1887 and the state of rivers in cities throughout the world, this animation serves as a psycho-geographical text, and an earnest request to a river to change its course. There is a pervading sense of longing and urgency in the narrative, and an admission of process in moments when the drawn meets the real, when image becomes live action.

 

 

 

 Berni Searle (South Africa) - Black Smoke Rising - 2009-10 | 18'02


SEARLE gap
This work, a trilogy, was sparked by rising levels of discontent among the poor in South Africa, which became overwhelmingly apparent in a wave of attacks against foreigners in 2008 and continue to manifest in protests by unions and mass demonstrations against shoddy service delivery. Fire is a recurrent image throughout the trilogy, as is – in the first and third videos – the burning tire, a potent symbol of civil unrest since the apartheid era. More recently, this image has also come to be associated with poverty and unemployment, as tires are burnt to recover the wire inside, giving off toxic smoke with harmful effects for the environment.