Thursday, 22 August 2019

Small Talks Screening Neukolln, Berlin


  small talks: location Berlin - a project by Manuela Johanna Covini


CAMINATA NOCTURNA Two Channel Video Projection. A/V. 22 min.



Karl Ingar Røys Caminata Nocturna documents both the flight and pursuit of illegal economic migrants across the Mexico-U.S border. Or at least that's what it initially appears to document. In actuality, the video depicts a facsimile of such events, a tourist sideshow put on by the inhabitants of the town of Alberto 2000 kilometres from the border. This adventure holiday allows mainly Mexican tourists to experience and enjoy-since tourism is always about an attempt at happiness- something like an illegal border crossing into the United States. The simulation of migrating hopes and fears in Alberto began July 2004 as part of the Parque EcoAlberto, a holiday eco-park established with financing from the Mexican State. The dual screens of Caminata Nocturna present sharply edited fragments of bodies running or pushing stealthily forward, police trucks screeching down roads and the barked bureaucratic speech of border lockdown amidst a night bisected by the converging torch light tunnels of flight and pursuit. One screen is panic and the other screen is pursuit 
- Text excerpts from John Cunningham

Sunday, 4 August 2019

Burmese satirists behind bars



By YE MON | FRONTIER

PRIME MINISTER U Nu, a former anti-colonial dissident who led Burma in the early years of independence, was once at the receiving end of a biting satirical skit by a group performing the traditional art of thangyat, according to veteran poet Maung Thway Thit. “The people thought the troupe would be arrested after U Nu invited them on stage to perform. Their verse contained very strong criticism,” Maung Thway Thit said. “But U Nu gave them a prize instead. There has never since been another leader like him.”

The Tatmadaw’s recent decision to initiate legal action against members of a thangyat troupe in Yangon has shown that Myanmar’s military, which retains considerable governing powers as well as influence over the judiciary, is incapable of emulating the tolerance of U Nu, or even of the pre-colonial Bamar kings. With five young performers held in Yangon’s Insein Prison, facing a trial that could result in prison sentences, the National League for Democracy government meanwhile has been unwilling to stand up for a traditional form of expressing free, critical speech.

Censoring witty verse

Thangyat is a form of popular theatre that combines poetry, music and dance. It was first performed during the New Year festival of Thingyan under the patronage of the Bamar kings, before colonisation by the British in the 19th century. The form has always had a subversive edge, satirising social conditions in the country and the rule and behaviour of governing authorities. The king and his top ministers were not spared, despite being absolute rulers.
Like other traditional art forms, thangyat went into decline during the colonial era, but was preserved by some dedicated artists and underwent a revival after independence in 1948. Troupes performed on the ceremonial stages, called mandats, that are erected in public areas every Thingyan in mid April, and entertained people with witty verse that spoke directly to their troubles and grievances.
Under the dictatorship of General Ne Win, who seized power in 1962, thangyat performances were subject to the same censorship as other creative forms. The words to be used in a performance had to be approved beforehand by a censor board, which frustrated thangyat’s purpose of satirising the powerful through verse.
The military junta that took power in another coup in 1988 banned thangyat outright. Underground performances continued, and the junta turned a blind eye to some of these, for instance one led by actor and social activist U Kyaw Thu outside the Yangon home of Daw Aung San Suu Kyi when she was under house arrest.
The ban was maintained by the Union Solidarity and Development Party government until 2013, two years after it took office, when it was permitted albeit with the prior censorship of the verse, similar to the Ne Win era. Uncensored thangyat was cautiously revived after the NLD government took office in 2016, though it re-introduced censorship the following year.


Forbearance’s limit

Maung Thway Thit expressed disappointment that censorship was occurring under the government of State Counsellor Daw Aung San Suu Kyi. The NLD government should stand for freedom of expression, he said.
His comments came after the Tatmadaw filed criminal complaints against multiple members of a youth thangyat group in Yangon called Daung Doh Myo Sat, which means Peacock Generation, for allegedly defaming the military in their Thingyan performance, which they did on the street in order to circumvent the censorship order.
On April 15, Lieutenant-Colonel Than Tun Myint from Yangon Command lodged the complaint at Mayangone Township Court against Ko Zeyar Lwin, Ko Paing Ye Thu, Ma Kay Khine Tun, Ko Phoe Thar and Ko Paing Phyo Min under section 505(a) of the Penal Code. The five have been held in Insein Prison since a court appearance on April 22.




The Generation of the Peacocks (EXCERPT)
Duration: 05.17 min. Single screen HD 
Karl Ingar Røys





Wednesday, 3 July 2019

Institut d'études politiques de Lille





RIANXEIRA Single Channel HD Video. 15.30 min.
 

La Solfónica is a choir based in Madrid, which grew out of the protests at Puerta del Sol on May 15, 2011, the day after which the “15-M” movement is named. Formed in the run-up to regional elections, its members, inspired by the Arab Spring, demanded change. Performing classical music at demonstrations, the choir follows the tradition of composers like Giuseppe Verdi, who in the opera Nabucco propagated the liberation of northern Italy from Austria. This opera was written in 1841 and became closely linked with the Italian unification movement. David Alegre, conductor of La Solfónica, says the same message still resonates today in Spain, more than 170 years later. At that time he says, “it was a political military occupation but today the occupations are economic and ideological.” Rianxeira is a film about collective resonance and dissonance as dissidence. 


As part of the IIPPE joint conference with AFEP (French Association for Political Economy/L’Association Française d’Économie Politique), with the participation of ADEK (Association for the Development of Keynesian Studies), AHE (Association for Heterodox Economics) and EAEPE (the European Association for Evolutionary Political Economy) Rianxeira  - a film about the Spanish protest choir La Solfonica will be screened with following panel debate on July 4th at 14.30. 


12.000 spanske sjøfolk tar den norske staten til Menneskerettsdomstolen




Outside the Parliament of Norway. Photo: Long Hope

De var spanske og betalte skatt til Norge, men er blitt nektet pensjon. Etter nederlag på nederlag i det norske rettsvesenet, tar 12.000 spanske sjøfolk nå saken sin til Strasbourg.  (2019)

 https://www.aftenposten.no/norge/i/qLe3oO/12000-spanske-sjofolk-tar-den-norske-staten-til-Menneskerettsdomstolen--Norge-eier-ikke-skam

https://www.longhope.es/A2015/recursos/8.html
 

L’Association Française d’Économie Politique

Sciences Po Lille
9 rue Auguste Angellier
59000 Lille
France

Saturday, 18 May 2019

WIR BLEIBEN ALLE - ZK/U BERLIN



Karl Ingar Røys. S/CAR. Sculptures 2019







OPENHAUS PLUS 

- open studios, performances, videos, installations, resident talks, publication, sculpture, food, drinks

May features the next OPENHAUS PLUS, an extended version of the regular public format, an opportunity for the audiences to connect with the hosted projects and explore the process of the residency artists.

The third Fact Finding Committee (UA#03): Solidarity3 explores the notion between art, club-culture and resistant structures. “If under attack - how to react” constitutes the frame for their investigations into rise of right-wing forces, spaces and precariousness. The theme of solidarity entrenches a common ground for various hosted projects: one research highlights the aspect of mutual support amongst artistic communities facing precariousness, others on the the destruction of social symbols of mobility and a video installation looks at collective efforts of transforming abandoned sites while private performances scrutinize exclusiveness of luxury property development.


Don’t miss the opportunity to meet the artists and researchers in residence and explore ZK/U’s space and surroundings, to ask questions, to discuss and to exchange ideas about ongoing projects and artistic practices.
This month with: Pablo Alboreda, Semâ Bekirović, Kate Fahey, Noa Heyne, Pawel Jankiewicz, Gabriel Vallecillo Márquez, Elena Mazzi, Yasemin Özcan,Cha Ji Ryang, Karl Ingar Røys, Byungseo Yoo, Laura Yuile. 

Programme: 

19.00-22.30 Open studios, drinks & food
17.00h Katharsis der Räume: Demotreffpunkt /Meeting Point Hansaplatz
19.00h Beerdigungsperformance von UA#03 / Funeral Performance by FFC #03  

19.30h Leichenschmaus / Food
20.00h Führung / Guided Tour
20.45h Lecture Performance by Yasemin Özcan
21.30h Performance by Christine Bonansea & Byungseo Yoo
22.30h End
 

Free entry

Adresse:
ZK/U Zentrum für Kunst und Urbanistik
Siemensstraße 27 10551 Berlin

Thursday, 2 May 2019

Speisekino // Censor Must Die at ZK/U Berlin



                                                          Censor Must Die (2012) by Ing K & Manit Sriwanichpoom
                                                                       Language: Thai with English subtitles

Censor - not the censors, not the film board, but censorship, the monstrous entity embedded in Thai society, a lumbering prehistoric beast with prejudices and a life of its own - must die. When ‘Shakespeare Must Die’, a Thai adaptation of ‘Macbeth’, that supreme song of tyrannical rule, is banned by the Thai Yingluck Shinawatra government for reasons of national security, producer Manit Sriwanichpoom begins an epic trek through the corridors of power to unban his Shakespearean horror movie; from the Cultural Ministry that had funded and then banned his film, to the Senate and the Human Rights Commission, all the way to the Administrative Court where he is suing the government for abuse of power. Followed by a camera he ventures amidst political upheaval in a land of fear into secret places long hidden from the sun, where witnesses are not welcome. The resulting cinema vérité is the living story of a struggle for justice and human dignity, for the fundamental right to freedom of expression, which Thai filmmakers do not have. This is a dark cinematic record of democracy in action, in all its farcical, obscene and heartbreaking details.





 
Karl Ingar Røys:

- Burmese Days, (17.05 min) Dual screen projection (Burma)
- Caminata Nocturna (22.21 min) Dual screen projection (Mexico)
- The Generation of the Peacocks (5.17 min) Single screen projection (Burma)
- Rianxeira (15.30 min) Single screen projection (Spain)




 



Karl Ingar Røys, artist, filmmaker, activist and resident at ZK/U - Center for Art and Urbanistics, selected the movie “Censor Must Die" together with a choice from his own work to spark a debate on cultural activism.
 

“‘Censor Must Die’ is one of my favourite films in the whole history of cinema.” - Film critic & academic Nicole Brenez









 
Menu: Thai Street Food  

Thursday, 30 May 2019 from 19:00-22:30

ZK/U - Zentrum für Kunst und Urbanistik
Siemensstrasse 27, 10551 Berlin, Germany

Entrance to the film is free as usual. Food from 7.30 p.m., films from 8.30 p.m.
A meal costs €10. Please, reserve your plate until the evening before by sending an email to speisekino(at)zku-berlin.org.

#censormustdie #IngK #ManitSriwanichpoom #zensur #democracy #grundrecht #KarlIngarRøys #artistinresidence #film #shortfilms #videoart #food #filmscreening #movie #speisekino #zkuberlin

Copyright: Ing K und Manit Sriwanichpoom, Karl Ingar Røys

///

SPEISEKINO // FOOD AND FOOTAGE is part of ‘Shared Cities: Creative Momentum’ and co-funded by the European Union's Creative Europe Programme and the Berlin Senate Department for Culture and Europe.

Sunday, 7 April 2019

Wir bleiben alle - ZK/U Berlin





The slogan "Wir bleiben Alle" is seen on fewer and fewer weary facades in Berlin. The commanding words no longer manages to live up to what they promise and the message fades behind freshly painted houses covered by evergrowing scaffolding that comes with an increased gentrification. 

Burning cars as a form of urban protest has become a growing phenomenon in many European cities. In 2016, 372 cars were set on fire in Berlin. Burning and destroying cars expresses something more than just a simple urge to vandalize private property. Cars offer and symbolize a form of (social) mobility and an opportunity for change. This is something some people often lack or oppose, both in terms of fear and resistance of the multicultural or an overwhelming gentrification. Read and interpreted in this context, a car has many meanings and ideas associated with it. However, it is perhaps not just as a symbol that the car is important, but rather as a communication unit between several different realities. Using a car in this way, as a starting point for opening up new understanding of reality that insists on being explored, not only challenges the different interpretations of these events, but also the very understanding of a city itself. The project “Wir bleiben alle” is exploring and recording the city's social acoustics by analyzing strategies, aesthetics, content and actions as potentially choreographed actors. 




April 1 - May 31 2019 
ZK/U – Zentrum für Kunst und Urbanistik
Siemensstrasse 27 
10551 Berlin
Germany



OPEN/OCCUPY FLUTGRABEN BERLIN