Next Events

Director Suhaib Gasmelbari Chad / France / Germany / Qatar / Sudan 2018

94 min., OV with English subs

Talking about Trees

When Umar al-Bashir and his Islamist “Revolutionary Command Council for National Salvation” (RCC) seized power in 1989, all cinemas in Sudan had to close. He reigned as an  authoritarian president for 30 years until he was overthrown in April 2019 following protests. Talking about Trees premiered just two months earlier. The film shows four older men, veterans of Sudanese cinema and members of the Sudanese Film Club (founded in 1989), in their tireless attempt to build an open-air cinema. With a great deal of wit and laconic humour, they restore films and renovate walls, sit together and fight against the reluctant administration.

Director Emek Bizim İstanbul Bizim initiative Turkey 2016

48 min., OV with English subs

Followed by a talk with Can Sungu, Zeyno Pekünlü and Fırat Yücel

Audience Emancipated - The Struggle for the Emek Movie Theater

The planned demolition of the Emek cinema in Istanbul led to weeks of protests. This protest movement, which was documented by the activists through phone recordings, was one of the first triggers of the Gezi protests. These protests eventually gave rise to a new public consciousness, which organized itself on the streets and via the Internet, documented the events with live videos and tweets, and enabled independent reporting. Audience Emancipated takes into account the constant process of this "reporting from below". Standing in the film’s credits, next to the collective’s email address, is: "this film is an ongoing project by Emek Bizim İstanbul Bizim. As long as the struggle continues, the film's editing will continue". Film footage of the protesters, TV coverage and film clips commenting on the events are contrasted again and again throughout the film. The juxtaposition of two images evokes a third, fourth or fifth idea and a multitude of poignant political arguments. Seldom has activist filmmaking used cinematic means so cleverly, while also keeping the pulse on the times.

Zeyno Pekünlü is an artist based in Istanbul and currently running the Production and Research Program of the Istanbul Biennial (ÇAP) for young artists and researchers. She is part of the editorial board of Red Thread and member of Institute of Radical Imagination. She is also involved in the Emek Bizim İstanbul Bizim initiative.

Fırat Yücel is a film critic and filmmaker. Up until 2019, he was co-founder and editor-in-chief of the independent cinema magazine Altyazı. He is currently editing Altyazı Fasikül: Free Cinema, Altyazı's supplement focusing on the freedom of artistic expression. His filmic works include Only Blockbusters Left Alive (2016), Welcome Lenin (2016), Audience Emancipated (2016), and CemileSezgin (2020). He is part of the Emek Bizim İstanbul Bizim initiative.

Director Tsai Ming-Liang Taiwan 2003

82 min., OV with English subs

Followed by a talk with Yun-hua Chen and Popo Fan

Goodbye Dragon Inn

“There are ghosts in this theater! There are ghosts!” Chen Chao-jung says this to the Japanese tourist Kiyonobu Mitamura, who doesn’t seem to understand a word. Amidst flowing water, empty space and lonely souls, Tsai Ming-Liang’s 2003 feature Goodbye Dragon Inn shows an old cinema’s last night in Taipei, screening the wuxia classic Dragon Inn (1967). Goodbye Dragon Inn is a film about memory and time, seeking utopia and hope for the future in cinema’s past. In 2020, the pandemic has hit the film industry badly and cinemas were forced to close for almost half a year. Coincidentally during the release of this film in 2003, the world was suffering from SARS, an earlier strain of the coronavirus. Apparently the ghosts are haunting the theater to this day.

Yun-hua Chen is a film scholar, critic, and curator with a PhD in Film Studies. Her monograph Mosaic Space and Mosaic Auteurs has been published by Neofelis Verlag in Berlin. She worked as the festival director of the 26th dokumentART film festival in Neubrandenburg, as well as a jury member of Fipresci and the Critics’ Award for Arab Films.

Popo Fan, Popo Fan, born 1985, is a Berlin-based Chinese diaspora filmmaker, curator and writer. Hisfilms include queer activism documentaries and scripted, sex-positive shorts. For more than a decade, he has organized the Beijing Queer Film Festival and founded the Queer University Video Training Camp in China. In 2019 he curated film series “More Than A Midnight Rainbow” about Chinese-made and Chinese-speaking queer films at bi’bak.

Followed by a talk with Oded Erez

Aris San

When Aris San (born Aristeídis Seïsanás in Kalamata, Greece, 1940) arrived in Israel in 1957, he was just an anonymous Greek teenager with a guitar. When he left in 1969, he was the top-selling recording artist in the country. During his twelve years in Israel, he managed to become not only an icon of celebrity, European chic, and musical fashionability but a brand name associated with “wedding music”, working-class audiences, and Mizrahiyut (“Eastern-ness”, or, the culture of Middle Eastern Jews in Israel). San was a key agent in transporting Greek music – or, to be more precise, the conglomerate of styles, sounds and stereotypes loosely held together by this title – from the smoky confines of an immigrant café in Jaffa to Israel’s most prestigious music venues, official Independence Day celebrations, national television, and the homes of leading generals and politicians. In an era when the bouzouki was being established globally as the national instrument of Greece, San wielded an electric guitar as his solo instrument. Employing bouzouki techniques and melodic formulas, he created a unique, signature sound, evocative of both bouzouki and rock-guitar virtuosity. In this and other ways, his musical persona was able to traverse the twin fictions of Western modernity and Oriental backwardness.

The goal of this lecture is to look at San’s career as a window into the negotiation of cultural identities that took place in 1960s Israel/Palestine (and, indeed, the East mediterranean at large) between Eurocentric national elites and marginalized groups often associated with Oriental taste cultures. It will present San’s career as a performer, recording artist, club manager, and public figure not merely for the sake of telling an individual's story: In all these capacities San facilitated the emergence of Mediterranean “Audiotopias”: physical or virtual sonic spaces of identification, where musical stereotypes of East and West were both mobilized and overcome, and where an ideal Mediterranean was outlined, which encompass everything from Umm Kulthum to Mexican Ballads.

Oded Erez (Dept. of Music, Bar-Ilan University) is a scholar of popular music and film music, working in the intersection of historical musicology, ethnomusicology and cultural studies. His work focuses on the relationship between politics and aesthetics, with an emphasis  on music in Israel and the Mediterranean. He is currently completing a book manuscript on Greek music and ethno-class politics in Israel. 

Video programme ART IN DARK TIMES

Art in Dark Times sets out to discuss some of the acute issues afflicting our contemporary societies such as misogyny, racism and historical revisionism. The video programme is a continuation of the discursive programme that has already started earlier this year at bi’bak and brings together three video works. By referring to the story of the okapi brought from Belgian colonies to Antwerp Zoo in 1919, Jelena Jureša's Ubundu (2019) questions the reckless exploitation of nature by modern societies and the cultural projections that accompany this arrogance. Yael Bartana's Inferno (2013) traces the ideas behind the construction project of the third temple of Solomon in Sao Paolo and the inherent self-destructiveness of this neo-conservative mindset. Fatoş Irwen's Şiryan (2012) exposes the increasing pressures placed on the freedom of artistic expression, but also alludes to the perseverance in dealing with such inflictions. 

The videos are presented during Berlin Art Week on the facade of SİNEMA TRANSTOPIA, the cinema experiment by bi’bak at Haus der Statistik.

UBUNDU
Director: Jelena Jureša, 2019, 17 Min.

INFERNO 
Director: Yael Bartana, 2013, 22 Min.

ŞIYAN
Director: Fatoş Irwen,, 2012, 10 Min. (shortened version)

Jelena Juresa was born in Novi Sad and currently lives in Ghent. She has been extensively working with the questions of cultural identity, gender, politics of memory and oblivion through the media of photography, video and text. In her work, she relates individual stories and questions of identity to the collective processes of oblivion and remembrance.

Yael Bartana’s films, installations and photographs explore the imagery of collective identities and the politics of memory by means of ceremonies, public rituals and social diversions. Her film trilogy And Europe Will Be Stunned, which discusses the relationship between Judaism and Polish identity, was shown at the Polish pavilion of the 2011 Venice Biennale. Bartana has also been expanding her work within the cinematic world by presenting projects such as Inferno (2013) True Finn (2014), and Pardes (2015). Bartana's works have been exhibited around the world and are part of museum collections which range from the Museum of Modern Art in New York City, the Tate Modern in London, and the Centre Pompidou in Paris.

Fatoş Irwen was born and raised in the historical Sûr neighbourhood in Diyarbakır, Turkey. After graduating from the visual art department at Dicle University, she began teaching in secondary schools in Batman, Diyarbakır and then Istanbul. She has contributed to several contemporary art exhibitions and performance events. Irwin has been recently released from three years of imprisonment. She remains banned from teaching.

More Event times:

  • 10.09.2020 19:30
  • 11.09.2020 19:30
  • 12.09.2020 19:30
  • 13.09.2020 19:30

Current Series
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By Sebastian Reier aka Booty Carrell, Pamela Owusu-Brenyah aka DJ Pam Bam, Florian Sievers, Oded Erez, Kornelia Binicewicz, Mountains of Tongues, Rahman Məmmədli, Ekaterina Borisova, Yuriy Gurzhy and Can Sungu

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OUTERNATIONALE: Stars from Outer Space

The new bi’bakaudio series OUTERNATIONALE: Stars from Outer Space is devoted to the concept of Outernational Music, a counterposition to so-called “World music”. While “World music” tends to exoticize or tame music produced outside of the Western world, Outernational Music sees the distinction between Western music and World music as an extension of the colonial perspective. In contrast, the emphasis is on sound productions that are received and celebrated in cross-border geographies far away from the Western music market - neither mainstream nor underground, but multilingual and influenced by diverse musical traditions and cultures. The music talk series OUTERNATIONALE presents selected artists, along with their artistic creations and biographies, in conversation with experts. Venturing beyond cultural or linguistic barriers, we begin a project of collective musicological research.

Ekaterina Borisova is a music journalist from Saint Petersburg, Russia. Since the mid-80s she has been writing articles on rock music for Russian magazines and newspapers, whilst remaining a major fan and developing a deep knowledge about the Russian underground rock scene. She’s also the author of several books – two books about Yanka Dyagileva among them, issued and reissued in 1998 - 2005.

Florian Sievers is a journalist, author, and curator who loves to tell alternative stories from African urban spaces where at present a rising middle class is producing hip cultural expressions, from fashion and art to especially music. Originally a trained journalist for politics and economics, Florian researches his forward-looking stories from the mother continent on at least yearly trips to continuously new African metropolises. On a sideline during these trips Florian has also become a hobby collector of old vinyl records from Africa.

Kornelia Binicewicz is a Polish record collector, curator, DJ, and founder of Ladies on Records, a multifaceted endeavour focused on the musical legacy of women all over the world, presenting female music from the past decades.Her passion for female music brought her to Turkey where she started to explore the undiscovered world of Turkish female music scene. She curated “Turkish Ladies. Female Singers from Turkey 1973 - 1988” (Epic Istanbul) compilation and “Uzelli Psychedelic Anadolu” compilation (Uzelli), both released on vinyl. Kornelia is currently working on a special project dedicated to female singers from Turkey from one of the Turkish label’s back catalogues.

Mountains of Tongues, founded by Ben Wheeler and Stefan Williamson-Fa, have spent the last seven years traveling across the Caucasus region making recordings and collecting examples of lesser known musical traditions. Through selected samples from their hours of field recordings, coupled with carefully curated tracks from a personal archive of collected LPs, tapes, CDs, and home VHS recordings from across the region, their live shows present a unique and vibrant take on the soundscapes and cultures of the Caucasus, highlighting the music’s diverse forms and settings and the local musicians that make all of it possible. Whether it’s lo-fi bootlegs of Azeri guitarists, the vocal gymnastics of Gurian polyphony, blaring Yezidi woodwinds at an engagement party, auto-tuned Dagestani techno, circling Chechen Sufi rituals, or vintage Yamaha synthesizers accompany songs in isolate languages, Mountains of Tongues presents music at the intersection of the modern/traditional, the participatory/presentational, and the sacred/secular.

Oded Erez (Dept. of Music, Bar-Ilan University) is a scholar of popular music and film music, working in the intersection of historical musicology, ethnomusicology and cultural studies. His work focuses on the relationship between politics and aesthetics, with an emphasis  on music in Israel and the Mediterranean. He is currently completing a book manuscript on Greek music and ethno-class politics in Israel. 

Pamela Owusu-Brenyah is a music consultant, festival organiser, and DJ, working on an enhanced visibility of contemporary African Pop culture in Germany. With her community platform AFRO x POP she regularly offers a music festival stage for rising artists of the Afro-German scene. Pamela, a studied political scientist, is based in Berlin and has family roots in Ghana. She has worked in Ghana’s capital Accra as a DJ for three years and since then has been commuting back and forth between both musical worlds.

Rahman Məmmədli was born in 1961 in the Füzüli district of Qarabağ and grew up surrounded by and immersed in the music of that region. In his childhood he had already mastered the garmon before coming across the guitar. Being deeply connected to traditional music, both muğam and aşıq music, he has managed to transpose these genres onto the electric guitar through his creation of new and distinct playing techniques. His ability to emulate the voice of classic muğam xanənde singers led to him being known as the man with ‘oxuyan barmaqlar’, (singing fingers). Along with his many solo releases on cassette, VHS, and CD he has performed with many of the greatest artists of Azerbaijan. He has performed at concerts throughout Azerbaijan, Turkey, Iran and Russia. As a master musician Məmmədli continues to inspire new generations of guitarists who continue to develop a unique guitar subculture and style in Azerbaijan.

Booty Carrell is the DJ alias of Vinyl archaeologist, Golden Pudel resident and outernational deejay Sebastian Reier. Carrell does his research in the deep spaces of the vinyl universe. He likes to dig into the second wave of musical globalization.

Yuriy Gurzhy was born in the Ukraine and lives in Berlin. He is a musician, songwriter, DJ and producer and is known for his work with RotFront, Shtetl Superstars and The Disorientalists as well as his party series Russendisko, Born in UA and Disko Kosmopolit.

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Curated by Galit Eilat and Erden Kosova

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ART IN DARK TIMES

The current pandemic paralysis of world societies has changed the definition of the term of ‘‘crisis’’ irreversibly, reinforcing the sense of deepening tectonic changes in relation with the inner structuring of our contemporary societies and the destruction of nature under capitalism. Yet, the appeal to the term of ‘‘crisis’’ decade has already escalated along with successive complications within the political sphere: the turbulence of state sovereignty, the unravelling of basic premises of secularisation by the hands of new and traditional ideological movements, the rise of historical revisionism erasing past crimes to open up for new ones, increasing appeal to misogyny, majoritarian politics and authoritarianism, catastrophic consequences of hyper-consumption and conversely, undeclared resurgence of human slavery. The series of talks framed as ART IN DARK TIMES will try to trace the ways in which artistic and cultural practices (curatorial projects, academic texts, activist campaigns, video and films) have been responding to these antagonising complications. Relating to the specific conflicts of their own burdened geographies, the invited guests will examine the interconnected and global character of these shifting grounds. The program of the series was conceived last autumn and adapted recently to the current pandemic circumstances.

Funded by the Bezirkskulturfonds  Bezirksamt Mitte in Berlin

Erden Kosova is an art critic in Berlin and Istanbul. In 2017 he curated the exhibition "Contemporary Syndromes", which was shown in Thessaloniki, Izmir, Amsterdam and Berlin. In 2019, he was a co-organizer of the Young Curators Academy, which took place at the Maxim Gorki Theater as part of the 4th Berlin Herbst Salon. In 2019 he was also involved in the exhibition of the SIS collective "In the blink of an eye" at the nGbK. Kosova is the editor of the Istanbul online magazine red-thread.org.

Galit Eilat is an interdependent curator and writer based in Amsterdam. She developed her practice through a variety of platforms and roles as an institute director and editor of books and a magazine. Her current research trajectories are dealing with the Syndrome of the Present and Art under authoritarianism. Eilat is the recipient of Keith Haring Fellowship in Art and Activism, Bard College, 2017-18 and she is the director of Meduza Foundation since 2018.

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bi’bar - The Bar Workshop

Designing a Bar for SİNEMA TRANSTOPIA

Concept by Yelta Köm and Herkes İçin Mimarlık – Architecture for All

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bi’bar - The Bar Workshop

Register here

bi'bak (have a look, Berlin) and Herkes için Mimarlık (Architecture for All, İstanbul) held a participatory workshop focusing on commons in 2018. The participants imagined a temporary cinema space that reflects Berlin's multilayered public sphere and questions the role of the architect through the participatory approach of Herkes için Mimarlık.

Now bi’bak’s cinema experiment SİNEMA TRANSTOPIA in Haus der Statistik is coming to life and we call for architects and designers to discuss the cinema foyer as a space for encounter and exchange. SİNEMA TRANSTOPIA explores cinema as a space for social discourse, is a place for exchange and solidarity, and focuses on (post-)migrant, postcolonial and transnational perspectives. The opening will be on the 03.09.2020.

On this occasion, bi'bak and Herkes için Mimarlık want to invite you to a design workshop. The "BAR" workshop aims to think about a common space, develop a design vision for the cinema foyer and finally design a bar structure. The design workshop will take place on the 15th and 16th of August. Interested participants can also participate in the construction phase, namely they are welcome to help build the structure in Haus der Statistik.

Design Workshop: (detailed schedule TBA)
15.08.2020  11:00 - 18:00
16.08.2020  11:00 - 18:00

Construction:  (detailed schedule TBA)
17.08. - 19.08.2020

Funded by Conrad-Stiftung Bürger* für Mitte

Herkes İçin Mimarlık Derneği – HiM (Architecture for All Association) (2011, İstanbul); is a platform where student volunteers and professionals can come together and bring social problems encountered in the country and the world in a creative way to the agenda, raise awareness about these problems and act to produce solutions from the fields of architecture and design.In urban and rural areas, it wants to contribute the formation of an architecture field, which works for and with society, by encouraging participatory mechanisms that are lacking in the design, planning and construction processes of the projects.

Yelta Köm (architect, researcher, co-founder of Herkes İçin Mimarlık – Architecture for All) has been leading numerous workshops and projects on urban commons since 2007. In 2018, he was the associate curator of the Pavilion of Turkey at the Venice Architecture Biennale. His curatorial concept was based on weekly changing international workshops with students. yeltakom.info

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Curated by Popo Fan, Tobias Hering, Malve Lippmann, Branka Pavlovic, Can Sungu, Sarnt Utamachote and Florian Wüst

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RESTART: SİNEMA

The closure of public places during the corona crisis has made it clear that the collective experience of watching films in the cinema cannot simply be relocated into the privacy of one's own four walls. The public sphere needs a cinema where films can be watched together so that this experience can be collectively shared and, above all, discussed with other people. Because cinema is more than just films. Cinema is a space for social discourse, a place for exchange and solidarity. Beyond the commercialism and rigidity of our societal structures, cinema can be a place where people can come together for their love of films, a transtopian space that opens doors, stimulates discussion, educates, moves, provokes and inspires. Cinemas are part of the public urban architecture, while at the same time being self-contained places of longing with an utopian character. On the big screen, a variety of worlds can open up before our very eyes, allowing us to dive into and immerse ourselves into other perspectives. Cinema can therefore create new kinds of connections that extend from the cinematic world into the urban and vica versa. With these thoughts in mind, we will open our cinema experiment SİNEMA TRANSTOPIA in the Haus der Statistik on 3 September 2020 with the series RESTART: SİNEMA. For the opening programme, we have joined forces with various curators to create a series of films that examines cinema as a unique social and aesthetic space.

For over five years, bi’bak has been organising the film programme bi'bakino, which creates a space for transnational, post-colonial and (post)-migrational perspectives and therefore serves to place local events in the context of global developments. bi’bak’s praxis has shown that cinema has not lost its importance as a social meeting place, as a space that brings together different communities and aesthetic approaches. In a similar vein, so too is the Initiative Haus der Statistik transforming the former GDR administration building into a communal space that combines culture, social issues, education and integrated living. As a result, our cinema, which is committed to exchange and participation, has found an ideal location in the pioneering use of the Haus der Statistik

Funded by Hauptstadtkulturfonds

Curated by Popo Fan, Tobias Hering, Malve Lippmann, Branka Pavlović, Can Sungu, Sarnt Utamachote and Florian Wüst

 

Branka Pavlovic studied film and TV in Belgrade and continued her academic career with a master’s degree in Art in Context at the University of Arts Berlin. Since 2009, she has worked for the Free Zone Film Festival in Belgrade as its leading program director. She developed the art education program of nGBK Berlin and teaches as a freelance art instructor at the Freie University Berlin, leading numerous seminars and workshops.

Florian Wüst is an independent film curator, artist, and publisher based in Berlin. He co-founded the Berlin Journals—On the History and Present State of the City. Since 2016 he works as film and video curator of transmediale.

Popo Fan, Popo Fan, born 1985, is a Berlin-based Chinese diaspora filmmaker, curator and writer. Hisfilms include queer activism documentaries and scripted, sex-positive shorts. For more than a decade, he has organized the Beijing Queer Film Festival and founded the Queer University Video Training Camp in China. In 2019 he curated film series “More Than A Midnight Rainbow” about Chinese-made and Chinese-speaking queer films at bi’bak.

Sarnt Utamachote was born in Bangkok in 1992 and has lived in Berlin since 2015. As a filmmaker, he attempts to deconstruct the stereotypes of social issues and search for the humans behind the surface. He works as a screenwriter, director and editor of many short films and music videos, as well as working in the field of audiovisual media. On top of this, he also curates exhibitions and many events.

Tobias Hering is a freelance Film Curator and Journalist. Besides other projects, he is currently responsible for the archive project re-selected at the International Short Film Festival Oberhausen. Migration and interculturality have been recurring topics in his work, most recently in the film series In German Society: Passage-Works by Foreign Filmmakers 1962-1992 (Zeughaus Cinema Berlin, 2017, co-curated by Tilman Baumgärtel), a retrospective of films, which showcased non-german filmmakers in the FRG and the GDR. 

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Upcoming
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bi’bar - The Bar Workshop

Apply here

bi'bak (have a look, Berlin) and Herkes için Mimarlık (Architecture for All, İstanbul) held a participatory workshop focusing on commons in 2018. The participants imagined a temporary cinema space that reflects Berlin's multilayered public sphere and questions the role of the architect through the participatory approach of Herkes için Mimarlık.

Now bi’bak’s cinema experiment SİNEMA TRANSTOPIA in Haus der Statistik is coming to life and we call for architects and designers to discuss the cinema foyer as a space for encounter and exchange. SİNEMA TRANSTOPIA explores cinema as a space for social discourse, is a place for exchange and solidarity, and focuses on (post-)migrant, postcolonial and transnational perspectives. The opening will be on the 03.09.2020

On this occasion, bi'bak and Herkes için Mimarlık want to invite you to a design workshop. The "BAR" workshop aims to think about a common space, develop a design vision for the cinema foyer and finally design a bar structure. The design workshop will take place on the 15th and 16th of August. Interested participants can also participate in the construction phase, namely they are welcome to help build the structure in Haus der Statistik

Design Workshop: (detailed schedule TBA)
15.08.2020  11:00 - 18:00
16.08.2020  11:00 - 18:00

Construction:  (detailed schedule TBA)
17.08. - 19.08.2020

More Event times:

  • 17.08.2020 - 19.08.2020

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Film Workshop with Pimpaka Towira and un.thai.tled collective in cooperation with bi’bak

Workshop Leaders Pimpaka Towira

AB-UND-ZU-GEHÖRIGKEITSANGELEGENHEITEN

To the OPEN CALL

Cinematic practice can offer an opportunity to address hopes and fears that are not easy to put into words. The workshop provides young people of color with the necessary technical and methodological basic knowledge in the areas of story development, public pitching, production preparation, production and post-production to enable them to critically examine their own stories and experiences in film. The production of the four short films created during the workshop will be intensively supervised and developed together with the mentors to potentially circulate at film festivals. The aim of the workshop is to increase the visibility of PoC filmmakers and to enable future generations to enter the world of filmmaking. The four short films will be shown at the un.thai.tled Film Festival 2021 in Berlin.


The workshop will be led by Pimpaka Towira. Pimpaka was one of the first Thai filmmakers whose films were internationally successful. She served as a jury at international film festivals and was awarded the Silpathorn Award of the Thai Ministry of Culture in 2009. Her film The Island Funeral (2015) won the Best Asian Future Award at the Tokyo International Film Festival. Since 2019, Pimpaka has been a mentor of the Deep South Young Filmmakers initiative supported by the Thai Ministry of Culture, through which young filmmakers from the conflict region in southern Thailand can produce their debut films.

Supported by Berliner Projektfonds Kulturelle Bildung, Purin Pictures and Goethe-Institut Thailand

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Curated by Sarnt Utamachote and Rosalia Namsai Engchuan

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un.thai.tled FILM FESTIVAL BERLIN 2020

"Thai" identity has become a kind of hyperreality. For decades, images about Thailand have been circulated and reproduced. These images have become, for many people (also for many Thais) overwhelming and internalized as a part of their identities. As these images of promiscuous women and desexualised men are normalized, the Thai people behind such stereotypes are rendered invisible. The un.thai.tled Film Festival aims to look beyond these one-dimensional, superficial representations and asks the questions: how can we critically deconstruct these reproduced stereotypes? What kind of images appear in the films of Thai filmmakers themselves? This film programme - a mixture of documentaries, poetry and fiction - will delve beyond the surface to offer different insights into Thailand. These hybrid films convey the social experience and lived social realities in Thailand and in the diaspora. 

un.thai.tled is a collective of Thai/diasporic creatives in Germany, which stands against misunderstanding, stereotypes and ignorance within the public discourses in the west and encourages socio-cultural exchanges. un.thai.tled gathers artists and creatives from Thailand or with Thai diasporic background and curates film and cultural programmes that critically untangle the stereotypes and support political engagements. 

Funded by Stiftung Nord-Süd Brücken aus Mitteln der LEZ

Rosalia Namsai Engchuan is a social anthropologist, filmmaker and curator working with audio visual media creators in Southeast Asia. Currently she is being promoted at Max Planck Institut for Social Anthropology with a dissertation on cinematic practices as collective worldmaking. In her video works, she sees film as a method to uncover and overcome invisible structures. Her works have been exhibited in many international film festivals.

Sarnt Utamachote was born in Bangkok in 1992 and has lived in Berlin since 2015. As a filmmaker, he attempts to deconstruct the stereotypes of social issues and search for the humans behind the surface. He works as a screenwriter, director and editor of many short films and music videos, as well as working in the field of audiovisual media. On top of this, he also curates exhibitions and many events.

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Curated by Popo Fan

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How Can We See (each other)?

Historically, the main routes of the Silk Road connected China with Central and West Asia, up to North Africa. These cross-borders exchanges went beyond the economic transfer of goods, transporting and thus influencing the cultures along with it too. Even today, the relationship among those regions is an example of cross-border cultural exchange outside Europe.

The film series How Can We See (each other)? searches beyond eurocentrism for (pop)cultural, social and political connections of an “East-East referencing” and takes a look at transcultural relations among these regions. By pairing filmmakers from different areas, we hope to create a form of transnational dialogue between artists and filmmakers. From Hong Kong to Cairo, Urumchi to Kobanê, and Beijing to a small village in Morocco, the films performatively cross both gender boundaries and national affiliations. Through "cultural drag", reenactments and other transgressive strategies, the films open up a space in which cultural identity can be conceptualised in new ways, beyond questions of potential differences and commonalities. The programme contributes to an understanding of a political resistance that equally reflects the power of cultural, national, ethnic and gender categories and imagines their dissolution.

Popo Fan, Popo Fan, born 1985, is a Berlin-based Chinese diaspora filmmaker, curator and writer. Hisfilms include queer activism documentaries and scripted, sex-positive shorts. For more than a decade, he has organized the Beijing Queer Film Festival and founded the Queer University Video Training Camp in China. In 2019 he curated film series “More Than A Midnight Rainbow” about Chinese-made and Chinese-speaking queer films at bi’bak.

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Curated by Kaspar Aebi

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Accounting the Household!

From the 1900s, Berlin was the largest industrial location in Germany. Yet behind the visible work in the factories lay the invisible work at home. Cooking, caring, cleaning, educating, sex - or as Silvia Federici and Nicole Cox wrote in 1975: “Housework, in fact, is much more than house cleaning. It is servicing the wage earner physically, emotionally, sexually, getting him ready to work day after day for the wage.” Accounting the Household! takes a look at homes, bedrooms and kitchens in the industrial northwest of Berlin. The films show care work and reproductive work between economic coercion and refusal, domestic community and abandonment, children and childlessness, marriage, divorce and social retreat, entangled in dependencies, resistance and social expectations. A special focus is on the years of change from the early sixties to the eighties. After industrial work had dominated everyday life in the north of West Berlin for almost a century, the region's largest employers closed their plants within just twenty years following the construction of the Berlin Wall. What happens to the “servicing of the wage earner” in a time of great uncertainty, between mass layoffs and the construction of the Wall, against the backdrop of the emerging Second Wave Feminism?

Funded by Aktionsfonds QM Soldinerstr

Kaspar Aebi is a film and media studies scholar, curator and author. His main interests are pop culture, architecture, documentary and experimental filmmaking.

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Caravan, Kargo, car parade

Things, people and images in motion

By Anna Faroqui and Haim Peretz

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Caravan, Kargo, car parade

More than ever before in history, our world is determined by mobility: Whether for work, tourism or forced by wars and conflicts, people around the world are on the move. However, who is allowed and who is not allowed to travel is unequally regulated.  Terminology, words like “expat”, “tourist” or “migrant, ”differentiates between who has a right to mobility and who does not. A closer look also makes it clear within the city: Mobility is not a matter of course, but depends on income, residence status and physical requirements. Completely different rules apply to human travelers in the world of things and goods, which can often move freely from one place to another in global trade networks. In contrast to the tedious and risky beginnings of world trade in caravans, millions of goods and goods are in motion around the world today. 

In two workshops, we deal with different forms of being on the road of people and things. Based on various routes, means of transport and travel occasions, we investigate forms of any kind of mobility that lead people as well as goods and goods from one place to another. 

Based on the considerations and personal experiences of the participants, the young people will develop scenes that they then be process in animations. After all, what better way to tell about mobility than with “moving” images? We are inspired by the origins of the film, in which the process of movement, in contrast to digital technologies, is still visible: the Zoetrop, the Thaumatrop, the Laterna Magica and the flip book. The youngsters experiment with these old moving-image devices and finally present their animations in a public exhibition. 

A bi’bakwerk project in cooperation with the MiK Youth Art School Berlin Mitte and the Theodor Heuss School
Funded by Berliner Projektfonds Kulturelle Bildung

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Critical Conditions (AT)

Fields of action in the environmental crisis

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Critical Conditions (AT)

The effects of environmental destruction are closely linked to questions of global justice and the migration movements it triggers. In the Geneva Refugee Convention, however, "climate-induced migration" is not recognized as a reason for asylum. While the consequences of climate change generally hit the countries of the global south first, which contribute comparatively little to greenhouse gas emissions and pollution, those responsible are predominantly global corporations that are not restricted by a market-oriented policy.

The series aims to bring together diverse perspectives on environmental destruction, global responsibility and migratory movements caused by climate change and to stimulate a differentiated examination of the topic. An examination into activism and perspectives from outside Europe, as well as the role of the economy and large corporations.

Funded by Berliner Landeszenrale Politische Bildung

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