Next Events

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.

Esmeray

In this sound lecture we will shed some light on the life and musical career of Esmeray, one of the most interesting and appealing Turkish female singers. While Esmeray has been recognized by an older generation in Turkey she is mostly unknown to an international crowd. Although the Afro-Turkish artist is remembered mainly for her 1977 hit “Gel Tezkere Gel”, her whole musical heritage and cultural background highlight many levels of Turkish cultural legacy. The sound lecture will be a quest to present Esmeray’s music, cultural identity and her impact on contemporary Turkish society.

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.

SİNEMA TRANSTOPIA

Director Anocha Suwichakornpong, Ben Rivers and Tulapop Saenjareon

OV with English subs

Krabi 2562 + Room with a coconut’s view

KRABI 2562
Director: Anocha Suwichakornpong/Ben Rivers, Thailand 2019, 94 Min.

Krabi 2562 looks at the landscape and the history of the touristic destination Krabi in the South of Thailand. The filmmakers manage to capture the city in the moment of change, as the prehistoric and the new pasts - embodied by many protagonists - contest with the present.

ROOM WITH A COCNUT'S VIEW
Director: Tulapop Saenjareon, Thailand 2018, 28 Min.  

In Room with a coconut’s view Kanya guides her guest Alex through the beautiful scenery at the beach but Alex is unhappy with these sterile, touristic images and decides to explore by himself. The histories of Thai cinema and local corruption start to merge and one begins to question how much of our understanding of the world is shaped through film. Both films offer a satirical look into the touristic South of Thailand, which is known worldwide both as an “exotic paradise” and for its mass tourism, while putting the perspectives of the locals and of tourists up against each other.

After the screening there will be a discussion on Thai tourism + Opening Party with Thai food

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.

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.

SİNEMA TRANSTOPIA

Director Visra Vichit-Vadakan and Foundation for Women

OV with English subs

Karaoke Girl + Westwärts: Südostasiatinnen in der BRD

KARAOKE GIRL (สาวคาราโอเกะ)
Director: Visra Vichit-Vadakan, Thailand 2013, 77 Min.

A young girl from the countryside, Sa, moves to the big city to support her family and ends up in sexwork. This kind of story has been told repeatedly in cinema, however never so fluid and poetic as this independent Thai film. The film focuses less on the transactions of sex for money and more on dreams and hopes - both of Sa and of others. Fiction and documentary seem to seamlessly melt into each other, bringing forth the multidimensional portrait of a karaoke girl.

WESTWÄRTS: SÜDOSTASIATINNEN IN DER BRD
Foundation for Women, Germany 1990, 50 Min.

Four women of the Southeast Asian Information Support in Bochum and Foundation for Women (FFW) in Bangkok together have made this reportage about the lives of Asian women in West Germany. Three stories bound together during one period of time - that of a Thai woman during divorce, of a Thai former sexworker and of an undocumented Filipina housemaid - reflect on their social interactions, their daily routines and discriminations they face.

Ban-Ying is one of the oldest women’s projects working to combat human trafficking in Berlin. It campaigns for the rights of migrant women who have experienced violence, exploitation or human trafficking.

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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A travel cookbook about the excursions of the tiger

Workshop Leaders Tuna Arkun and Heather Purcell

The tiger comes to table

Now it's about the sausage! That's what the tiger thought when, for the first time in his life, he saw the meat packed into such small shiny packets. Odor-proof and sterile. He wouldn’t have been able to tell whether it contained pork neck, venison breast or a juicy piece of antelope, if the saleswoman had not shown him the animal symbols on the package. The lady could not say how many animals had found a place in this refrigerator, or where they had come from. Also to the man, who was eating lunch at the meat counter it didn’t really matter, how the sausage came onto his plate. But the tiger knew these animals, with four legs, two ears and a tail, and he was a passionate carnivore. He decided to set off to find the animals that would later become these schnitzels.

Meat and other animal products are present every day in all our meals, but not everyone would appreciate a Sunday visit in a slaughterhouse. We find animals cute, but the stench in the steel is rather uncomfortable. That the schnitzel was an animal is not anymore obvious to everyone. Even more tragic is the fact that the meat is so cheap that we throw it away without hesitation if we do not eat it. 

Meat is valuable to us, because it means the life of an animal. We want to learn more about the history of our food and to see where the animals to which we owe our food live. With our self-bound sketchbooks, we visit various farms around Berlin, inform ourselves about how milk and meat are produced, and draw, ask, taste and cook delicious recipes. As a final product, we want to design a book in which we summarize our image and text research. The book will have the character of a diary documenting the journey of the tiger to the outskirts of Berlin as he visits the places where animals live, complemented by our delicious recipes.

In cooperation with the MIK - Jugendkunstschule Mitte and the Humboldthain Elementary School

Funded by Projekt Jugend ins Zentrum! der Bundesvereinigung Soziokultureller Zentren im Rahmen des Programms Kultur macht stark. Bündnisse für Bildung des Bundesministeriums für Bildung und Forschung.

 

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Experimental Film Workshop

Workshop Leaders Svenja Schulte and Dennis Vetter

Experiment Film

You are invited to an experimental film workshop, in which we will learn to understand cinema through a playful examination of real 35mm film material: How is the image we see actually formed? What influence does light have? Can you really cut film? And what part does sound have to play in film?

Even without a camera or screenplay, we can all become filmmakers: with brushes and scissors, we approach existing film material to create vivid colors, shapes and new relationships on the screen.

 During the course of a 4-day workshop, we will dive into the world of analog film. The children grapple with the film material in a playful and experimental way and learn how film is created by light, cut and sound. Analog film trailers are cut up and glued together again or painted with color. The results are viewed in between with a projector to understand what we are able to create, with the help of film and light. We feel the images, and in the second stage, start to think collectively about which tones could accompany them, which music we want to add in live. 

 After the workshop, the results will be presented in a film screening in bi’bak, to which children, friends, family and neighbors will be invited. Each child also receives a DVD with the digital film versions.

A bi’bakwerk project in cooperation with Erika Mann Primary School

Funded by the Berlin Project Fund for Cultural Education and the Berlin District Office

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SİNEMA TRANSTOPIA

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.

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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. 

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 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?

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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Curated by Özge Calafato

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A DREAM FOR EACH

While the corona pandemic kept the privileged part of the world population in quarantine, precarious living conditions meant that many could not afford to stay at home. But the global economic inequalities that became more visible through this polarization point to a longer history of authority, confinement and unequal distribution of labour and wealth, all entangled within neoliberal power relations. With films that leave room for nuances, A Dream for Each deals with the colonial residues of globalised trade, technology and tourism, whose reverberations are still felt today.

Özge Calafato is a curator, editor and writer. She has worked for numerous film festivals and institutions, including Cinema Akil, the Abu Dhabi Film Festival (ADFF), SANAD Development and Post-Production Fund, Documentarist, DOK Leipzig, DokuFest, The Arab Fund for Arts and the Imagine Science Film Festival. She is co-founder of the National Film Library of the United Arab Emirates.

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