IN/FLUX III

INFLUX Cover 3

 

 

Title: In/Flux III

Published with: Lowave (Paris, France)

Official Release: July 2013

 

 

 

 

 

 

 

 

 

 

Cliquez ici pour une version en français

 

 

 

 

The works included in the third volume explore issues of body politics. How, they ask, does the body function, willingly and not, as a site of political engagement? To what kinds of experimentation does it lend itself and to what ends? In the face of radically unequal power relationships characteristic of the late capitalist era in which we live, what is its margin of maneuver? To what manner of autonomy and agency can its aspire? As with the previous two volumes, the focus here is primarily on urban spaces and cultures.

Volume III includes 10 films, 10 interviews with the artists, 10 biographies, runs for a total of 105 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 III here

To purchase the DVD, please click here

You can read the Press Release here 



 

Filmakers and films featured:

 

Nadira Patel (South Africa) - I Like When It Goes Fast - 2010 | 5'58

PATEL gap

An ongoing image and sound project, I like It When It Goes Fast explores notions of desire, intuition and acceleration. The physical focus of the project is a rollercoaster. Designed for pleasure and amusement while simultaneously restricted and safe, the rollercoaster is an urban structure through which one is able to relinquish anxiety and restraint, a momentary suspension of life, death and (dis)belief. The intoxication of the speed and adrenaline it procures is a rush pursued for its own end.  

 

 

 

Ala Eddine Slim (Tunisia) - Journal D'Un Homme Important - 2010 | 7'47

SLIM gap

In a space out of time, an unknown man is undergoing an unidentified form of torture – or so it seems, for as the minutes pass it begins to appear that the violence is self‐inflicted. Words appear in Arabic script, overlain over a hood covering his face and on his naked body: they describe his status as a middle-aged bureaucrat. The video was filmed over a few days in December 2010, at the height of the events in urban Tunisia that brought on the “Arab Spring”. 

 

 

 

Heddy Maalem (Algeria - France) & Benoit Dervaux (Belgium)- Une Rose Est Une Rose Est Une Rose [with Benoit Dervaux] - 2007 | 10'37


MAALEM gapAs we move in and out of urban spaces defined by powers that be, how do we find the place that is specifically ours? How do we stake our ground? How do we move beyond preconceptions of race and gender, status and origins? These questions are at the heart of choreographer Heddy Maalem’s work. In this piece, a solo for female dancer, a body does the asking, alternately questioning, asserting, appearing full-screen and disappearing at the edges, as if being slowly devoured by the impossibly white landscape against which its owner seeks to affirm her identity. 

 

 

 

Kgafela Oa Magogodi & Jyoti Mistry (South Africa) - Itchy City - 2006 | 5'37


MAGOGODI gap

Itchy City is a poem by Johannesburg‐based author and spoken word artist Kgafela oa Magogodi. It is part of a larger project, titled I Mike What I like: a play adapted for the screen by Magogodi and filmmaker Jyoti Mistry. The film melds sequences from a live performance of the poem with filmed and painted images of Johannesburg, resulting in a powerful commentary on the complexities and the absurdities of everyday life in South Africa's economic capital.  

 

 

 

Zen Marie & Jonathan Cane (South Africa) - Foucault's Children: An Examination - 2009 | 6'35



MARIE CANE gap
Zen Marie and Jonathan Cane asked the students in their Critical Studies class to explain what discourse means according to Foucault. The film is a collection of the least and most interesting responses. What began as a kind of examination for students turned into one for the teachers: an examination of their pedagogy and of their handling of theory. 

 

 

 

 

Steven Cohen (South Africa) - Chandelier - 2002 | 16'25'

COHEN gap

Chandelier was filmed in 2001 during the destruction of a squatter camp in Newtown, Johannesburg, by municipal employees known as Red Ants (after their red overalls). “Artists have always painted the social concerns of their time, and by my moving in a chandelier-tutu through a squatter camp being demolished - and filming it - that’s what I’m doing too, a digital painting of a social reality, half beautifully imagined, half horribly real – where Hollywood glamour meets concentration camp horror. I am trying to shed light on what is seldom seen, by creating amid destruction.” (Steven Cohen)

 

 

 

Ezra Wube (USA - Ethiopia) - Hold De Door - 2011 | 6'11

WUBE gap

“As a person of two cultures”, writes Ezra Wube,” I am in a continual dialogue between here and there, past and present, tradition and modernity. I require a narrative to reconcile these experiences. I currently perceive time and place as uncertain. This uncertainty makes time and place appear in my work as idealized or imagined. My effort to make a narrative is left ambiguous, so that the line between what is real and what is imagined, what is sensical, and nonsensical becomes faint. By refusing a concrete representation, I have found the freedom to make art that is consistent with the flux of my life”.