From September 2020 on bi’bak will embark on a cinema experiment at Haus der Statistik.
SİNEMA TRANSTOPIA explores cinema as a space for social discourse, a place for exchange and solidarity. SİNEMA TRANSTOPIA brings together diverse social communities, links geographically distant and nearby places, the past, present and future, and decentres an eurocentric view through transnational, (post-) migrant and postcolonial perspectives. SİNEMA TRANSTOPIA is a transtopia, a place where “cross-border ties and connections converge, are reinterpreted and condense into everyday contexts” (Erol Yıldız). As part of the pioneering urban policy Initiative Haus der Statistik, the cinema experiment bridges the gap between everyday urban practices and film to create an alternative art form that connects different social perspectives.
SİNEMA TRANSTOPIA is funded by Haupstadtkulturfonds, Conrad Stiftung and the Programm NEUSTART KULTUR
bi'bakino is a curated film program that focuses on transnational narratives, migration and mobility discourses in film and seeks to stimulate differentiated discussions and changes of perspective. The program highlights films from outside Europe that have often not been shown in Berlin before, as well as archive excavations and rediscoveries. Following the film screenings, moderated discussions take place with filmmakers and experts.
Past event series can be found in the archive.
In cooperation with Azin Feizabadi, Jan Kulka, Anja Dornieden, Juan David Gonzales Monroy, Ming Poon, Darunee Terdtoontaveedej, Alejandro Bachmann, Bernd Schoch, André Siegers.
SİNEMA+++ expands the spatial possibilities of cinema beyond the screen and explores its artistic and social potential. What is the relationship between the screen and the theatre, the cinematic images and the bodies in the space? How can newly developed projectors, expansive cinematic experiences and alternative forms of social exchange explore the relationship between film image and the bodies on and in front of the screen? The event series SİNEMA+++ invites artistic projects to experiment with cinema experiences and develop crossover formats that examine the intersections of film, education, and performance.
The focus of the workshop Abgeguckt is the exchange of and through images. Being a copycat (abgucken) means to peer unabashedly, all lopsided and wonderfully, at images, wholly unnoticed by those in authority. Copycat means to embrace a community that is constituted through this way of seeing. Abgeguckt #8 examines this notion of a change of perspective. Here, the aesthetic and the political merge into one. The participants are sent a (film) excerpt on this topic, to which they will respond with a clip. This marks the beginning of a collective chain of images and thoughts.
More Event times:
Jan Kulka, Czechia 2016, 16mm found footage, 20 min.
Jan Kulka, Czechia 2016, flickering light, stencils, 25 min.
The Archeoscope is an analogue, hand-operated projecting apparatus for live film performances. Understanding film as an “articulation of light”, the apparatus was created to experiment with and experience the physiology of perception. It can project all standard film formats, as well as various other materials such as adhesive tape, bandages and lace. The only way to witness the projection of The Archeoscope is to attend a live projection and see it with one's own naked eyes, as the phenomena perceived on the screen are technically irreproducible.
Jan Kulka is a Prague-based experimental filmmaker. His primary focus is the invention of special projection apparatuses for live performances. Rather than telling a story, he tries to target the senses of each spectator directly with light and sound to reveal some of the foundations of our perception.
霸王别姬 Farewell my Concubine
Chen Kaige, China/Hong Kong 1993 (excerpts)
The opera film Farewell My Concubine can be considered one of the most notable examples of female impersonation, also prevalent in Beijing Opera: Male actors act as female characters, often projecting onto them a distorted portrayal of hyperfemininity. The film is also considered a queer icon in Asian Cinema for its portrayal of homosexuality as well as the gender-fluid performance of Leslie Cheung. However, its portrayal of women remains problematic. In Constructing Women, images and representations of women in Farewell My Concubine, specifically the Beijing Opera acts, will be dissected and reimagined by choreographer Ming Poon. This becomes an investigation to emanicipate female impersonation of classic heroine characters from the male gaze, while re-adapting it for a queer feminist future.
Ming Poon is a Berlin-based choreographer and dancer. He creates interventions, where spectators are invited to exercise their agency to create change. His practice is influenced by Buddhist concepts of interdependence and care, Judith Butler’s resistance in vulnerability, Augusto Boal’s theatre of the oppressed and Nicolas Bourriaud’s micro-utopias.
Darunee Terdtoontaveedej is a curator and researcher based in Rotterdam. Trained as an architect and designer, Terdtoontaveedej specialises in cross-disciplinary collaboration through the designer’s lens. She is currently the LGBTQ+ programme curator at CinemAsiaFilm Festival and has been selected as the Young Curator of the 49th edition of International Film Festival Rotterdam.
The Hot & The Cold
Ojoboca (Anja Dornieden, Juan David González Monroy), 2018, 40 min., 16mm, slide projection
Ojoboca (Anja Dornieden, Juan David González Monroy), 2018, 26 min., 16mm
The Hot & The Cold is an expanded cinema performance using 16mm and anaglyph 3D slide film, sound, light, and a fog machine. Inspired by phantasmagoria, the 18th century magic lantern spectacle of mysticism and horror, the screening uses the cinematic apparatus as a means to generate a state simultaneously suspended between being caught in the illusion while being aware of its unreality. The Hot & The Cold is screened together with the found footage film Comfort Stations.
Anja Dornieden and Juan David González Monroy are filmmakers based in Berlin. Under the moniker Ojoboca they have presented their work in a variety of venues and festivals, including Österreichisches Filmmuseum, Anthology Film Archives, Haus der Kulturen der Welt, Berlinale, International Film Festival Rotterdam, and New York Film Festival.
Shadowless adapts the plot of the novella Peter Schlemihl's Miraculous Story (1813) by Adelbert von Chamisso, which follows a man who sells his shadow to the devil. Inspired by the expressionist film of the 1920s, the collage of drawings, photographs, film clips, found footage recordings and performatively read text excerpts situates the plot in today's Berlin real estate industry. Slowly, a fantastic psychodrama unfolds.
Screenplay, Image Design & Reading: Azin Feizabadi
Co-writer Treatment: Judith Funke
Storyboards: Ghazaleh Saketi
Live Music: Chloe Lula
Dramaturgical Consulting: Moritz Schönecker
Developed in the framework of the Fellowships BS Projects Braunschweig 2019.
Funded by the Research Grant of the Berlin Senate for Culture and Europe 2020.
Azin Feizabadi is a filmmaker, visual artist, and educator born in Tehran and raised between Iran and Germany. Feizabadi has screened, staged, published, and exhibited his works in museums, film festivals, biennials, and theaters internationally. He is a member of the Berlinale Shorts selection committee and the programming team for the Kassel Video & Documentary Film Festival.