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OV with English subs

Followed by a talk with Necati Sönmez and Lorena Díez A.

The Vampires of Poverty + REW-FFWD

Agarrando Pueblo
The Vampires of Poverty
Carlos Mayolo/Luis Ospina, Colombia 1977, 28 min., OV with English subtitles

A manifesto-like mockumentary on “misery porn” produced and consumed by the western world. The influential Colombian filmmaker Luis Ospina and his childhood friend Carlos Mayolo act as a film crew working for German TV who chase after poor people, street kids, and hookers in the streets of Cali. A quirky film full of black humour and satire addressing the exploitation of misery in the Global South by the western audiovisual industry.

REW-FFWD
Denis Villeneuve, Canada 1994, 31 min. OV with English subtitles

In his directorial debut short Denis Villeneuve traveled to Jamaica planning to film a travelogue. Instead, he made an experimental documentary about his position as a filmmaker, the cultural shock he experienced, and the people he met. The story about a fictional French-Canadian photojournalist oscillates between psychodrama and documentary: “This human hell is a paradise for photography,” he says at one point.

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Necati Sönmez works as a film critic, journalist and documentary filmmaker. He is the initiator of Which Human Rights? Film Festival and one of the founders of Documentarist – Istanbul Documentary Days, which soon became the most important documentary festival in Turkey. He has served as jury member in over 30 festivals and curated documentary programmes as a guest curator. For 2021 he is a fellow at bi’bak.

Lorena Díez A. is an artist and museologist interested in public space, community relations, collective memory, and territorial tensions. She holds master’s degrees in Plastic Arts from Instituto Departamental de Bellas Artes Cali, Museology and Cultural Heritage Management from Universidad Nacional de Colombia, and Intercultural Conflict Management from Alice Salomon Hochschule Berlin.

Director Yeşim Ustaoğlu Turkey/Netherlands/Germany 1999

104 Min., OV with English subs

Journey to the Sun

Journey to the Sun follows the story of Mehmet, a young Turkish man who is trying to make it in Istanbul; his developing friendship with a Kurd, Berzan; and the transformation Mehmet undergoes through these encounters. The film marks an important point in Turkish cinema as it considers the Turkish-Kurdish issue critically and “externally” (from a Turkish point of view). At the same time, the film also questions this perspective of Turkishness as a dominant identity against Kurdishness. Journey to the Sun is akin to a panorama of Turkey in the 90s, produced when war and state violence in the Kurdish regions and societal violence in the west of Turkey were intensely present. The film is set in Istanbul and Kurdish geographies, where unsolved murders, bodiless corpses and dead bodies that cannot be buried exist, where violence spreads from the state across society, the state's militarist machine colonizes geographic and social space, poverty prevails, and where the living are like the dead and the dead continue to live.

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Director Handan İpekçi Turkey/Hungary/Greece 2001

120 Min., OV with English subs

Big Man, Little Love: Hejar

Little Hejar, who lost her family to state violence in the Kurdish region, encounters a retired public prosecutor, Rıfat Bey. The relationship between Hejar and Rifat, who do not understand each other's languages, turns into a metaphor for the encounter between Turkishness and Kurdishness. Big Man, Little Love is an early example of a reflexive and critical view of Turkishness in relation to the Turkish-Kurdish question by using the possibilities of allegory and metaphorical expression. It’s a film which sees the relationship between Turkishness and Kurdishness as one of dominance and domination. Its awareness of Kurdish geopolitics as a colonial issue makes it an exception in Turkish cinema.

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Workshop Leaders Sarnt Utamachote, Popo Fan, Kit Hung, Robert Moussa, Sailesh Naidu, Zara Zandieh, Lamin Leroy Gibba, Ygor Gama and Wing-Ho Kloud Wan

BASIC FILMMAKING WORKSHOP FOR QUEER BIPOC

Application deadline: 15th June 2021 23:00 CET
Participants announcement: end of June 2021

This workshop aims to facilitate both technical and intellectual conversations around decolonial queer filmmaking. It aims to provide basic tools for each participant to realize at least two small projects during the one-month intensive workshop. From the history of postcolonial queer cinema, decolonial aesthetics, basic storytelling to pitching, basic camera and documentary techniques to montage, the participants’ project conceptualization and production will be accompanied by the main mentor (Kit Hung). Throughout the process, participants will be inspired, provoked, and urged to reflect through sessions hosted by invited guests.

How to apply?

For more information and details of the workshops and how to apply, click the links below: 

Imagining Queer Bandung Filmmaking Workshop

If you have any queries or problems with using the forms, please email: hudaragil-at-gmail.com

Funded by Fonds Soziokultur and The European Solidarity Corps in cooperation with  ‘Queer’ Asia in Germany.

More Event times:

  • 17.07.2021 (10:00) - 17.07.2021 (18:00)
  • 18.07.2021 (10:00) - 18.07.2021 (18:00)
  • 24.07.2021 (10:00) - 24.07.2021 (18:00)
  • 25.07.2021 (10:00) - 25.07.2021 (18:00)
  • 31.07.2021 (10:00) - 31.07.2021 (18:00)
  • 01.08.2021 (10:00) - 01.08.2021 (18:00)
  • 07.08.2021 (10:00) - 07.08.2021 (18:00)
  • 08.08.2021 (10:00) - 08.08.2021 (18:00)

Sarnt Utamachote is a filmmaker, photographer and curator. He is a co-founder of un.thai.tled, a collective of Thai-diasporic creatives in Germany, through which he curated un.thai.tled Film Festival Berlin as well as Beyond the kitchen: Stories of Thai Park. His video installation I Am Not Your Mother (2020) was officially exhibited at the International Film Festival Rotterdam.

Popo Fan, born 1985, is a Berlin-based Chinese diaspora filmmaker, curator and writer. His films 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.

Kit Hung graduated with an M.F.A. from the Department of Film, Video and New Media, School of the Art Institute of Chicago. His films have won numerous international awards, and was screened at over 120 international film festivals. His debut feature "Soundless Wind Chime" (2009, Hong Kong/Switzerland/China) was nominated for the Teddy Award at the Berlin International Film Festival and won him Best Director and Best New Director in Spain, Italy and Canada. He was teaching at the Academy of Film, Hong Kong Baptist University, he is currently a post-graduate student at the Goldsmiths College, University of London, UK. His main research interest are Cinema Affects and Queer Asian Cinema.

Robert Moussa is the coordinator of Soura Film Festival which is a queer film festival focused on the Middle East and North Africa region. Soura—which means ‘image’ in Arabic, is about sharing a vision of life that is joyful, poignant, defiant and unique. The festival is based in Berlin, which has been called, perhaps somewhat ironically, the new cultural centre of the Arab world. Soura Film Festival aims to step across borders and set aside political conflicts, to weave together those threads that connect queer experience throughout the vibrant and complex MENA region. 

Sailesh Naidu is an artist and development consultant based in Berlin, Germany. For over ten years he has worked with marginalized populations around the world to help people tell their stories, surface solutions, and co-create projects that put their clients at the center. At the heart of any social problem are individual stories and within those stories solutions can be uncovered. Sailesh specializes in developing programs for and working with youth and gender/sexual minorities. His unique style of deep listening and practical engagement can help your organization understand how to work with target populations better and with more empathy.

Zara Zandieh (they/she) is a filmmaker born and based in Berlin. Zara’s works have been nominated for awards at various film festivals including the BFI FLARE Film Festival, Queer Lisboa, and Dok Leipzig. Zara’s most current project, Octavia’s Visions premiered at Oberhausen Film Festival 2021. Zara was selected for the 2021 edition of Berlinale Talents.

Lamin Leroy Gibba, born in 1994, grew up in Hamburg St.Pauli and studied acting and film at the New School University in New York. During his studies he already acted at various theatres (Classical Theater of Harlem, Lincoln Center, Performance Space New York) and realised his own short films. These include "Fever Source", which was selected for the Art of Brooklyn Film Festival, and the medium-length film "Cloud Zero". Lamin lives in Berlin, where he writes scripts for film and series projects and works as an actor. During the 2020/2021 season, he will be a guest performer at Theater Oberhausen.

Ygor Gama is a Director & Media Artist based in Berlin. After award-winning short films like LEAVING in 2012, he co-directed #YA, a mix of film and urban intervention about civil disobedience actions around the world, which was nominated to the Crystal Bear in the Berlinale Film Festival, and honored by international film prizes, as well as in Deutsche Welle and Canal ARTE. He discovered XR technologies as IDFA DocLab alumni, mentored by Casper Sonnen. He is the video-artist for Maqamat Dance Theatre and Omar Rajeh in Beirut, a leading voice of contemporary dance in the Arab World. He is member of the Selection Committee for the Generation Program in the Berlinale Int. Film Festival.

Wing-Ho Kloud Wan was born in Hong Kong. He graduated from the School of Creative Media, City University of Hong Kong in 2008. With his strong background in knowledge of New Media Art and Film Production, he is now a filmmaker in the Art Department. Lately, he has worked in the positions as a Set Decorator and an Art Director. He also works with freelance artists for various fields, like props, set and video design for theatre, consultant for media productions. Moreover, he finds great pleasure in being a guest lecturer in an academic field. 

Director Uğur Yücel Turkey 2004

102 Min., OV with English subs

Toss-Up

Toss-up handles a phenomenon that has never been examined in Turkey, neither in cinema nor in literature: post-war syndrome. The film follows the traumatic lives of Devil Rıdvan, who lost his right leg during the conflict in the Kurdish region and is back to his hometown Göreme, and Ghost Cevher, made deaf in one ear and who is back in Istanbul. Mirroring a frequent theme of anti-war films made in America following Vietnam, Toss-up also takes post-war syndrome as its subject. Yet the film presents a war which is seemingly endless, showing how the Turkish-Kurdish issue turns into ongoing violence in the Kurdish region.

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Critical Conditions

Fields of action in the environmental crisis

Curated by Sarnt Utamachote, Malve Lippmann, Rosalia Namsai Engchuan and Pia Chakraverti-Würthwein & Eirini Fountedaki

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Critical Conditions

The causes of the man-made environmental crisis and the social disruptions it triggers are closely linked to questions of global justice. Despite contributing comparatively little to greenhouse gas emissions and the production of waste, the countries of the Global South are generally hit first by the repercussions. Yet, those responsible are predominantly global corporations, who are able to continuously cause tremendous harm within the framework of neoliberal policies. The collectively-curated programme aims to bring together diverse perspectives from within the environmental crisis, by examining the socioeconomic shifts and continuations of power relations between the Global North and South. The film series draws attention to the neo-colonial structures embedded in the climate crisis, the global consumption of resources, and the role of extractive neoliberal capitalism.   

Funded by Berliner Landeszentrale Politische Bildung, the Berliner Senatsverwaltung für Kultur und Europa and the Berliner Projektfonds Urbane Praxis

 

Malve Lippmann studied at the State Academy of Fine Arts Stuttgart and at the Institute for Art in Context at the Berlin University of the Arts (MA). She worked as a freelance stagedesigner and artist. Since 2010 she has also been active as a cultural manager in various cultural and community projects. She is co-founder and artistic director of bi'bak and Sinema Transtopia.

Pia Chakraverti-Würthwein & Eirini Fountedaki form a curatorial duo interested in embodied knowledge and slowing down processes of production. They co-curated the film series Residing in the Borderlands at SAVVY Contemporary, and are now part of the Berlin Biennial 11 curatorial workshop how now to gather.

Rosalia Namsai Engchuan is a social anthropologist and filmmaker based between Berlin and Southeast Asia. She is currently working on a collaborative project with artists and cultural producers in Southeast Asia on artistic investigations and interventions into problem clusters of modernity that pivot around notions of climate change.

Sarnt Utamachote is a filmmaker, photographer and curator. He is a co-founder of un.thai.tled, a collective of Thai-diasporic creatives in Germany, through which he curated un.thai.tled Film Festival Berlin as well as Beyond the kitchen: Stories of Thai Park. His video installation I Am Not Your Mother (2020) was officially exhibited at the International Film Festival Rotterdam.

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Curated by Eirini Fountedaki, Cornelia Lund & Holger Lund (fluctuating images), Philip Rizk and Shohreh Shakoory

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Disrupt, Dismantle, Desire

In Disrupt, Dismantle, Desire we aim to explore cinematic languages that challenge hegemonic narratives. Each of the films selected looks deeper at (neo)colonial ways of being and queries how we might dismantle colonial modes of knowledge production. By highlighting various aesthetic strategies that interrogate cinematic forms developed in the self-proclaimed “center of civilization,” the films collectively ask: Can the ways in which we perceive, produce and distribute cinema play a critical role in our struggles to question and subvert neo-colonial and capitalist infrastructures, borders, and gender norms?

Funded by Berliner Landeszentrale für Politische Bildung, the Berliner Senat für Kultur und Europa and the Projektfonds Urbane Praxis

fluctuating images is an independent and non-commercial platform for the presentation of and reflection on (media) art and design run by Cornelia Lund and Holger Lund. Its aim is to foster a fruitful exchange between aesthetic and discursive approaches to the multilayered challenges presented by our technology- and media-driven world from a global and decolonial perspective.

Eirini Fountedaki is an independent curator, writer and researcher. Between 2018 and 2020 she worked at SAVVY Contemporary as a curator of film. She is a co-editor of the publication How does the world breathe now? She studied musicology and violin in Greece, and Contemporary Art Theory at Goldsmiths, University of London. In 20202020, she co-founded the curatorial collective Cruising Curators.

Philip Rizk is a filmmaker from Cairo living in Berlin. Amongst others, he co-directed the film Out on the Street (2015) with Jasmina Metwaly, which premiered at the Berlinale and was part of the German pavilion at the Venice Biennale in 2015. Rizk is a member of the Mosireen, the collective behind the video archive 858.ma. His texts have appeared online, in journals and in collected volumes.

Shohreh Shakoory is an independent researcher and editor based in Berlin. Born and raised in Tehran, she finished her BA in art history and film and media studies in Rome and graduated with a master of fine arts from Bauhaus university in Weimar. Her research deals with politics of representation, aesthetic and archival knowledge.

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BITTER THINGS | LUCRURI CARE DOR | Brasov

Narratives and Memories of Transnational Families

Curated by Malve Lippmann and Can Sungu

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BITTER THINGS | LUCRURI CARE DOR | Brasov

After having been displayed in Timisoara and Cluj, BITTER THINGS - Narratives and Memories of Transnational Families moves to the Centrul Multicultural al Universităţii Transilvania din Braşov in Braşov, Romania.

BITTER THINGS Narratives and Memories of Transnational Families is a research-based exhibition project by bi’bak that explores the impact of labor migration on the notion of motherhood and family from the perspectives of women migrant workers and the children left behind. The installation takes the experiences of transnational families from both the past and present as a point of departure and brings narratives together with objects that play a central role within the families.

Labor migration is worldwide creating new models of the transnational family, which despite geographical distances strives to maintain contact between the separated family members. In the time of the recruitment agreements in the 1960s, many parents were forced to leave their children behind since working hours were too demanding to make childcare on the side possible. Today it is predominantly migrant workers from Eastern Europe, who have to leave their families to earn a living in wealthier countries. Turkey, as a former country of emigration, has in turn become a destination for many workers, especially in the care sector, from Eastern Europe, the Caucasus or the Central Asian region.

But how is the relationship between parents and children to be redefined whenever gifts and material support take the place of shared experience? When physical closeness has to take second place to communication programs like Skype and WhatsApp? How does this changing family landscape impact children and their parents? BITTER THINGS retraces positions on this topic from the 1960s right up to present-day perspectives.

Besides the exhibitions, a publication has been released which includes academic and literary contributions, interviews, songs, and photos examining the topic from interdisciplinary perspectives. Order your copy here. A booklet with selected texts in German and photographs of the exhibition can be downloaded here.

The exhibition is accompanied by a side program including film screenings and discussions.

Opening hours: Monday–Friday 14:00–19:00

In cooperation with Centrul Multicultural al Universităţii Transilvania din Braşov

Malve Lippmann studied at the State Academy of Fine Arts Stuttgart and at the Institute for Art in Context at the Berlin University of the Arts (MA). She worked as a freelance stagedesigner and artist. Since 2010 she has also been active as a cultural manager in various cultural and community projects. She is co-founder and artistic director of bi'bak and Sinema Transtopia.

Can Sungu studied film and visual communication design in Istanbul and at the Institute for Art in Context at the Berlin University of the Arts. He has given workshops and seminars in the field of film and published texts on film and migration. As an artist, he participated in numerous exhibitions, including at MMSU Rijeka, Künstlerhaus Vienna and REDCAT Los Angeles. He is co-founder and artistic director of bi‘bak.

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Curated by Necati Sönmez

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Decolonizing the Screen

As Louis Malle once put it, “A westerner with a camera is twice a westerner”. Afterall, cinema started its long journey in a colonial context, considering the Lumière Brothers visited countries of the Global South in order to film the “Other”. Consequently, the early ethnographical documentary works were often associated with an authoritative colonial gaze. At present, the documentary industry is still to a large extent based on well-funded films produced by western filmmakers framing the Global South as a site of misery, exploiting images in order to satisfy the demand of the West. In response, non-western filmmakers created their own images by reversing the colonizer's gaze, and some western filmmakers ended up questioning themselves rather than feeding into the expectations. Decolonizing the Screen shows a selection of perspectives which challenge the continued history of the colonial gaze and open up discussions on the legacy of ethnographic films as well as the politics of documentary production.

Funded by MRI

Necati Sönmez works as a film critic, journalist and documentary filmmaker. He is the initiator of Which Human Rights? Film Festival and one of the founders of Documentarist – Istanbul Documentary Days, which soon became the most important documentary festival in Turkey. He has served as jury member in over 30 festivals and curated documentary programmes as a guest curator. For 2021 he is a fellow at bi’bak.

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Curated by Sebahattin Şen

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THE GHOST ON BOARD / GEMIDEKI HAYALET

This film program, centering around the 2019 book titled The Ghost on Board: The Construction of Kurdishness and Turkishness in Turkish Cinema, will trace the Kurdish issue in Turkish cinema from the 2000s to the present and the forms in which Kurdishness and Turkishness are represented in relation to it. How do the representation practices and methods of these films differ from previous periods? How are conventions and representations of, and discourses about, Turkishness and Kurdishness constructed in relation to the Kurdish issue? With which emotions and ideas were the films conceived and fictionalized? The Ghost on Board is a program consisting of eight films and aims to critically discuss the construction of Turkish and Kurdish identities around these critical questions.

Funded by Berliner Senatsverwaltung für Kultur und Europa and the Projektfonds Urbane Praxis

Sebahattin Şen studied Media at Akdeniz University (BA) and Sociology at Muğla University (MA) before receiving his PhD degree from Dep. of Sociology, Istanbul Mimar Sinan University of Fine Arts in 2016. His articles have been published in various journals such as Cogito, Kültür ve İletişim, Teorik Bakış and Dipnot. In 2017 he was expelled from Van Yüzüncü Yıl University, where he used to work as a research associate, because he signed the petition “Academics for Peace”. In 2019 his book The Ghost on Board: The Construction of Kurdishness and Turkishness in Turkish Cinema was published by Metis Publishing.

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AQUARIUM SÜDBLOCK

Workshop Leaders Ragil Huda, Abby Baheerathan, Abilaschan Balamuraley, Dorjee Lhamo, Rodrigo Zorzanelli and Sung Un Gang

PODCASTING WORKSHOPS FOR QUEER BIPOC

Application deadline: 15th June 2021 23:00 CET
Participants announcement: end of June 2021

These workshops are designed to provide you with the knowledge, practical skills, and tools to produce your own podcasts, as well as knowledge of gender and sexuality, culture and history outside a Western/Eurocentric perspective. This workshop will cover audio storytelling basics, including concept, format, structure, the art of the interview (researching guests, forming questions, active listening, and how to prepare and conduct various interview types), sound-mixing, editing, distribution, and project sustainability. The workshops are suitable for those who have zero to basic knowledge yet have interests in podcasting. 

The selection criteria are your project’s conceptual potential, artistic originality, and logistical realizability. The applicants should also reflect on the visions of Imagining Queer Bandung and be willing to solidarize and create a safe space. We also aim for a well-balanced set of representations amongst the participants. 

How to apply?

For more information and details of the workshops and how to apply, click the links below: 

Imagining Queer Bandung Podcasting Workshop

If you have any queries or problems with using the forms, please email: hudaragil-at-gmail.com

Funded by Fonds Soziokultur and The European Solidarity Corps in cooperation with  ‘Queer’ Asia in Germany.

More Event times:

  • 14.08.2021 (11:00) - 14.08.2021 (13:30)
  • 15.08.2021 (11:00) - 15.08.2021 (13:30)
  • 21.08.2021 (11:00) - 21.08.2021 (13:30)
  • 22.08.2021 (11:00) - 22.08.2021 (13:30)

Ragil Huda is an organizer, independent curator, and graduate student at the Asien-Afrika Institut, Universität Hamburg. He co-founded QTIBIPOC Hamburg and is also one of the organizing committees of the international platform and network called Queer' Asia in Berlin. His community engagement and academic work specifically center on queerness, intersectionality, community building, critical pedagogy, and the social-political realities of marginalized communities through various methodologies and collaborative curatorial practices.

Abby Baheerathan is a journalist and media coach from the Ruhr area. Now they live in Paderborn and are completing a traineeship at Westdeutscher Rundfunk (WDR). For five years, Abby has been helping kids, teens, and students to develop their media skills in the areas of radio, cross-media journalism, audio drama, and podcasts. In their own German-Tamil podcast Acca Pillai, they talk about culture, tradition, and social taboos from a queer perspective.

Abilaschan Balamuraley lives in Berlin and is host of "Maangai Podcast", the community podcast for queer South Asian perspectives in German-speaking countries and "Transculture Express the artistanian podcast for queer and postcolonial perspectives". He is also a member and moderator at the queer and post migrant educational collective " erklär mir mal..". Abilaschan is beside his functions as a podcast host also active as a diversity trainer within the club scene in Berlin.

Dorjee Lhamo Gerhard is a host/author of workin’ Germany on Instagram and an anti-discrimination facilitator working for Arbeit und Leben Hamburg. In her work, she focuses on an intersectional understanding of society and furthers allyship as well as self-empowerment in order to help her listeners unlearn racism and other forms of discrimination. She uses her bachelor's degree in media studies to corporate it into her work as an artist and activist. Her goal is to help diversify the media landscape by using her experience in media planning/production as well as empathic management skills. As an admin of QTIBIPOC Hamburg, she has helped organize weekly events and has represented the community as a spokesperson on several occasions.

Rodrigo Zorzanelli produces and hosts the podcast “intersectional islands”, an anthology of queer and feminist narratives. With a background in cultural anthropology and social sciences, their practice situates personal narratives into social and political contexts, particularly by highlighting agency and representation of (post)migrant, decolonial and queer perspectives. Rodrigo’s interdisciplinary work is orientated towards performance art, theater, writing, and gender education through art. Although based in Berlin, they have lived and studied in São Paulo, in Buenos Aires and in Delhi.

Sung Un Gang teaches Korean history at University of Bonn and produces "Bin ich süßsauer?" (=Am I sweet-sour?), the monthly interview podcast with queer Asian people in Germany. He was a finalist of Spotify SoundUp LGBTQIA+ Podcast Workshop in Berlin 2019. He loves roaming around cities and going to markets.

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Curated by Can Sungu, Karina Griffith, Enoka Ayemba, Jacqueline Nsiah and Biene Pilavci

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Fiktionsbescheinigung. 16 Cinematic Perspectives on Germany

Fiktionsbescheinigung (literally “fiction certificate/certificate of fictionality”) is a concept used in German officialese. When people from non-EU countries apply to have their residence permits extended, they receive this particular certificate to cover the period during which their application is processed, thus enabling them to prove their temporary right of residency in Germany. Yet this period is a time of insecurity for them nonetheless. Will the application be rejected or approved? Processing can take several months and sometimes even years. The application itself would actually be more than enough to prove the right of residency, but the German authorities seemingly prefer a more bureaucratic approach. With this in mind, the film series Fiktionsbescheinigung. 16 Cinematic Perspectives on Germany, poses the question: who is able to enter German cultural history, cinemas and the film canon and who is left outside? Who determines what is shown? The series sees itself as a snapshot of an ongoing, self-determined process of intervention and protest. Each of the films functions as a suggestion as to how the white German gaze can be countered with diverse, intersectional perspectives, with all of them having one thing in common: their own visual and textual practice of testimony from within, not from the margins. In the process, Fiktionsbescheinigung encourages viewers to ask themselves where these films have been previously hiding and why the majority of them have not been accessible to a wider audience.

In collaboration with the Berlinale Forum and Arsenal - Institut für Film und Videokunst

Biene Pilavci began the directing programme at the DFFB in Berlin in 2005 where she made numerous short films. Pilavci completed her studies in 2012 with her third-year film Alleine tanzenabout the power of family. In 2013, she made Chronik einer Revolte – Ein Jahr Istanbul together with Ayla Gottschlich with support from ZDF and ARTE. She is co-founder of the film-political initiative NichtmeinTatort and the film network Neue Deutsche Filmemacher*innen.

Can Sungu studied film and visual communication design in Istanbul and at the Institute for Art in Context at the Berlin University of the Arts. He has given workshops and seminars in the field of film and published texts on film and migration. As an artist, he participated in numerous exhibitions, including at MMSU Rijeka, Künstlerhaus Vienna and REDCAT Los Angeles. He is co-founder and artistic director of bi‘bak.

Julien Enoka Ayemba was born and raised in Cameroon. Since many years he is working as a film scholar and film critic with a focus on African films. He curated film series amongst others for Werkstatt der Kulturen, Ballhaus Naunynstrasse and Africavenir and was a member of the Selection Committee of Berlinale Talent Campus. He is one of the founders of curators group Remember Resistance Berlin. Recently, he initiated the project Run, comrade, run, the old world is behind you - The Cinema of Med Hondo. Ayemba lives and works in Berlin.

Jacqueline Nsiah is a freelance film festival, arts and cultural consultant. Her years of experience across the world include her work as co-director of the Cambridge African Film Festival in 2008 and as producer of the Real Life Documentary Film Festival in Accra. Nsiah currently works as a curator for the Berlinale Forum and as a project manager for the Goethe-Institut’s African industry film platform cinidb.africa.

Karina Griffith’s work has been shown at international galleries, theatres and festivals. She has curated film and interdisciplinary programmes for the Goethe-Institut and Ballhaus Naunynstraße among others. She teaches at the Berlin University of Art Institute for Art in Context and is a PhD candidate at the University of Toronto where her research on Black authorship in German cinema interacts with theories of affect and intersectionality.

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Curated by LaborBerlin e.V.

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Out of Focus LaborBerlin

LaborBerlin´s vitality comes from the shared interest in sustaining a collective space built around practices involving photo-chemical film. This space is constantly in flux thanks to the people who pass through it, their various perspectives, and origins. Out of Focus LaborBerlin is a film series that approaches the laboratory as a transitory place. On five evenings, the limits of the collective’s visible structure will be explored. Join us for conversations with and works by current and former members exploring themes and perspectives beyond actual analogue film-making itself.

Funded by Berliner Senatsverwaltung für Kultur und Europa

LaborBerlin e.V. is a self-organized space for working with film. The collective is open to anyone interested in an experimental approach to analogue film practice. LaborBerlin is a platform for the exchange of ideas and experiences of film making, and provides all the tools necessary to its members.

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