GPC STREAMS (#4) Vienna plays itself
November 21 - 28, 2023 (each evening from 21:00-22:11)
With works by Miae Son, Charlotte Gash, Laura Nitsch. Curated by Elena Cooke, Katrin Euller.
Vienna plays itself presents works by three feminist filmmakers and artists, each with a linking thread: Vienna. These artists have all studied, lived and worked in Vienna and their works reflect on their experiences. Through the artist's different critical approaches, also towards image production, we witness encounters and struggles with identities, bodies, and art politics.
Miae Son’s work, Bigger, takes a poetical and critical approach towards the dominance of western philosophy. It addresses the difficulties of a migrant woman’s body from her everyday life in a classical European living space.
Blurring the boundaries between documentary and fiction, in Tunnel of Inclusion, Charlotte Gash uses Vienna’s art scene to act, and then presents it back like a mirror to the art world.
In Violett, Laura Nitsch discusses the historical period of Red Vienna in terms of in/visibilities, class differences and the construction of sexuality and gender.
PROGRAM (71 min.)
21:00-21:09 Bigger by Miae Son
21:10-21:39 Tunnel of Inclusion by Charlotte Gash
21:40-22:11 Violett by Laura Nitsch
plants as a site of knowledge
May 25 - June 1, 2023 (each evening from 20:00-21:35)
With works by Patricia Esquivias, Hanna Rullmann & Faiza Ahmad Khan, Shireen Seno, Tin Wilke & Miguel Goya. Curated by Enar de Dios Rodríguez & Marlies Pöschl.
The film programme plants as a site of knowledge collects stories about the relationship between plants and memory, accounts that inform about the socio-political and economic entanglements present in ecosystems’ histories. What kind of memory do plants carry with them? To what extent are they part of cultural memory? Can time be turned back in ecosystems and if so, what are the (political) implications?
The films that will be presented during this screening reflect on how plants have been separated from their environment in the service of colonial representation or economic interests in order to circulate or be grown in another place. Plants are commodified. They are classified, categorised, picked, cut and photographed. Some of them are banned from entering a country as they are considered an invasive species. Behind these activities lie work processes that are often arduous, unhealthy and precarious. Since plants are always part of an entire ecosystem, the way in which they are treated influences their entire environment and hence these films deal with the entanglements between socio-political conditions and the ecosystems into which they are inscribed.
This screening took place first on-site at flucc (Vienna), and it’s part of a larger event which includes a “botanical walk” around the flucc area lead by Birgit Lahner, and artworks by GPC member Pille-Riin Jaik presented on the flucc billboards.
PROGRAM (95 min.)
20:00-20:17 To Pick a Flower by Shireen Seno
20:18-20:57 Cardón cardinal by Patricia Esquivias
20:58-21:15 Habitat 2190 by Hanna Rullmann & Faiza Ahmad Khan
21:16-21:35 Las Flores by Tin Wilke & Miguel Goya
GPC STREAMS (#3) A Succession of Waves
December 14 - December 21, 2022 (each evening from 21:00-21:30)
With works by Simona Obholzer, Clea Stracke & Verena Seibt, Yuyan Wang. Curated by Enar de Dios Rodríguez.
In a 2014 lecture, Stefan Helmreich stated that waves are entities that “flicker between reality and representation.” Waves are arguably one of the most complicated objects that exist in the world: their scientific observation and measurement depends on a slippery amalgamation of recorded events, technological apparatuses, as well as mathematical computations and statistical calculations. This complexity, according to Helmreich, proves that waves are as much physical as cultural objects. It is in the wave where we can see how knowledge is always in-process, always only partial, and intrinsically influenced by prevailing politics and technologies.
A Succession of Waves embraces the impossibility of comprehending the inexhaustible swell by presenting three attempts to represent it through film. First, in Obholzer’s 2 days left, the wave has been constructed artificially: an anthropogenic leisure trick captured through a rather abstract succession of moving images. In the second attempt, Wang’s One Thousand and One Attempts to Be an Ocean, a hasty succession of scenes becomes overwhelming, a flood that reminds us of infinite scrolls and latent threats. The last example, The Ship is Sinking by Stracke & Seibt, goes back to a moment of quietness, where the The Raft of the Medusa, a magnificent symbol of human’s wrecked horizon, is reenacted by collapsing two planes and materialities into one.
PROGRAM (30 min.)
21:00-21:08 2 days left by Simona Obholzer
21:09-21:21 One Thousand and One Attempts to Be an Ocean by Yuyan Wang
21:22-21:30 The Ship Is Sinking by Clea Stracke & Verena Seibt
GPC STREAMS (#2) Unearthed foundations
November 17 - November 24, 2022 (each evening from 20:00-21:33)
With works by Madeleine Andersson, Regina de Miguel, Katharina Swoboda. Curated by Enar de Dios Rodríguez.
The insatiable machine called progress is fed by rocks and minerals. It devours all kinds of stones. Its hunger is evident in the gold that marks economic value, the lithium carried in the pocket, and the coal that powers the city, to name a few examples. It is also evident in the flesh and metal hands that dig into the earth, extracting the rocky matter that serves as foundation to the Capitalocene, its technologies and values. The consequent holes in the ground and gasses in the air are further proof of human’s incapability to respect the material structures and metabolism of the earth.
Unearthed foundations presents three disparate but equally poignant video pieces that deal with specific mined materials and the utilitarian realities that have been ascribed to them. Despite their contrasting approaches—an observational piece, a critical satire and a film essay—these works look upon mineral exploitation with a critical gaze. Sometimes ironic and performative, sometimes documentary and poetic, sometimes quiet and elastic, this program hopes to broaden perspectives on the rocks that have been unearthed in order to shape, construct and support the present moment.
PROGRAM (89 min.)
20:00-20:09 Stones by Katharina Swoboda
20:10-20:18 Dirty Coal by Madeleine Andersson
20:19-21:33 CATÁBASIS by Regina de Miguel
GPC STREAMS (#1) The beginning is the end is the beginning
June 24 - July 8, 2022 (each evening from 21:00-21:47)
With works by Irene de Andrés, Millonaliu (Klodiana Millona & Yuan Chun Liu) and Endi Tupja, Olena Newkryta. Curated by Enar de Dios Rodríguez.
During a guided tour at the Monte Titano, it was explained to me that if humans were to understand geology from another temporal perspective, we (humans) could experience a mountain as a wave, always in movement. A similar revelation might occur while observing a place in ruins, a site that suggests endless instability between what has been, what is and what will be. The ruin is a proof of material flux, like memory itself—not what remains but what is remaining (in present continuous). And, in the present moment, which is characterized by planned obsolescence and collapse, ruination is indeed the new normal.
The beginning is the end is the beginning is a collection of audiovisual works that interact with the ruin in contrasting locations (a Soviet residential building in Oleksandriwka, the now demolished National Theater in Tirana, and Glory’s nightclub in Ibiza). Conceived from different personal perspectives, these interactions enable the collapse of linear time: past, present or future become uncertain, perhaps occurring simultaneously. Far from romantic melancholy, they manifest reality, with its processes of gentrification, tourist massification and dispossession of the commons. In these works, as in the world itself, rubble and debris is just a part of a continuum that never ceases to start, or end.
PROGRAM (47 min.)
21:00-21:25 Ruins in Reverse by Olena Newkryta
21:26-21:33 Earthmovers by Millonaliu (Klodiana Millona & Yuan Chun Liu) and Endi Tupja
21:34-21:47 GLORY’S. Donde nada ocurre by Irene de Andrés
Screen Matters – The Screen As A Place Of Work
March 17 - March 31, 2022 (each evening from 19:00-22:15)
With contributions by Ingrid Burrington, Anna Caterina Dalmasso, Eva and Franco Mattes, Lauren Lee McCarthy, Elisa Giardina Papa, Laure Prouvost, Dorothy R. Santos, Axel Stockburger, Anna Witt. Hosted and organised by Olena Newkryta, Simona Obholzer / The Golden Pixel Cooperative. With support from Andrea Steves.
The online symposium Screen Matters – The Screen As A Place Of Work directs its focus on the different screens surrounding us, as well as the working environments that can be found on and behind their surfaces. Being the basic infrastructure of this symposium, the screen will not only function as a space of production, presentation, and communication, but also as the subject of theoretical and artistic investigations. Playfully examining the possibilities of a pre-recorded virtual symposium, Screen Matters experiments with different forms of audiovisual artistic research. Together with our guests, we will discuss the ways in which users and workers are being bodily and cognitively exhausted by those forms of “screen work” and at the same time search for possibilities in order to oppose these often invisible ways of capitalistic extraction.
PROGRAM (72 min.)
19:00-19:10 Monolog by Laure Prouvost
19:10-19:21 Moderation I by Newkryta, Obholzer
19:21-19:29 Moderation II by Newkryta, Obholzer
19:29-19:45 Artist Talk by Lauren Lee McCarthy
19:45-20:02 Moderation III by Newkryta, Obholzer, Santos
20:02-20:14 Technologies of Care by Elisa Giardina Papa
20:14-20:59 Interview with Anna Caterina Damasso
21:05-21:11 Moderation IV by Newkryta, Obholzer
21:11-21:24 All Work And No Play by Axel Stockburger
21:24-21:28 Moderation V by Newkryta, Obholzer
21:28-21:59 A Cool Million by Anna Witt
21:59-22:14 Moderation VI by Burrington, Newkryta, Obholzer
22:14-22:45 For Internet Use Only by Eva and Franco Mattes
22:45-22:47 Moderation VII by Newkryta, Obholzer
TO PRESERVE A REVOLUTION
January 6 - January 13, 2022 (each evening from 21:00-22:12)
With works by Nada Hassan, Sarah Ibrahim, Maha Maamoun, Salma Shamel, Mohammad Shawky Hassan. Curated by Ahmed Refaat (Contemporary Image Collective).
To try and preserve a revolution is hard work. It's an investigation in collective memory, an exercise in longing for something unattainable as well as an exploration of a medium’s limit. A limit, they say, cannot be seen, it’s always experienced in retrospect. In a way, this is a program about a revolution in retrospect.
To Preserve A Revolution presents works by five Egyptian filmmakers and artists that look at an event and flirt with the impossible ways of representing it. They address the experience of living through such an event as an active participant, a distant witness and a recollector. I imagine recollection as a very radioactive process, to use Laura Marks’ term. In this program a projected recollector is imagined, speaking to us from the past and other more “current” archeologists of those fossil images.
The works in the program map affects through diaries, photographs, testimonies, TV archives, mobile phone footage and texts. The artists intervene with the image/audio sync, dismantling the power that those documents of truths hold in their original form. By doing so, they reintroduce a context that goes beyond informing a viewer. The works seek to explore how memories are kept and how they can be re/membered through the moving image. It’s not a conclusion that they’re after, more like an open investigation for an ongoing historical process that tries to defy forgetfulness.
PROGRAM (72 min.)
21:00-21:11 Those That Tremble as if They Were Mad by Salma Shamel
21:12-21:24 Room at Region (X) by Nada Hassan
21:25-21:38 Masters of Sleep by Sarah Ibrahim
21:39-21:48 Night Visitor: The Night of Counting the Years by Maha Maamoun
21:49-22:12 And On a Different Note by Mohammad Shawky Hassan
July 29 - August 4, 2020 (each evening from 21:00-22:26)
With works by Alyona Larinova, Ali Kazma, Sofia Caesar, Veronika Eberhart, Caroline Garcia and Shambhavi Kaul. Initiated by Marlies Pöschl together with Nathalie Koger and Olena Newkryta. Curated by The Golden Pixel Cooperative, Vienna in collaboration with: Elephy Collective, Brussels, I: project space, Beijing, World Organization of Video Culture Development (VCD) , and WET Film, Rotterdam.NL.
Our allies operate in places we have never seen. The keyboards they type on may have been produced in the same factory as ours, but the lunch they eat is prepared by people we don't know. Yet there is a sense of connectedness between us, as if we were following a secret plan.
This is not true. We can only make a guess at how they feel. We track their status reports and analyze their lives from our screens. Bruno Latour describes "association" as a form that creates connections between actors while maintaining differences between them. Association is the structural principle of this screening, which was jointly curated by five international art collectives according to a Cadavre Exquis principle and explores the tension between automation and improvisation in globalized production chains of goods and images.
PROGRAM (64 min.)
21:00-21:12 Across Lips by Alyona Larinova
21:13-21:25 Obstructions/Jean Factory by Ali Kazma
21:26-21:30 Workation by Sofia Caesar
21:31-21:53 9 is one and 10 is none by Veronika Eberhart
21:54-22:05 Imperial Reminiscence by Caroline Garcia
22:06-22:16 21 Chitrakoot by Shambhavi Kaul
Offline Screening, 29.07.2020, 9 pm., Sunset Kino, Salzburger Kunstverein
May 28 – June 3, 2020 (from 19:00 to 21:30)
With works by Iris Blauensteiner, Mirjam Bromundt, Enar de Dios Rodríguez, Nathalie Koger, Luiza Margan, Olena Newkryta, Lydia Nsiah, Simona Obholzer, Christiana Perschon, Marlies Pöschl, Hanna Schimek, Viktoria Schmid, Miae Son, Katharina Swoboda & Kamen Stoyanov, Lisa Truttmann. Compiled by Olena Newkryta und Lydia Nsiah.
In reaction to COVID-19 and its effects of temporary isolation, physical and spatial distance, this curated program of the Vienna based Golden Pixel Cooperative presents film and video works by its members for the first time online and is thereby launching the newly founded GPC Online Screen platform.
The compilation highlights critical and socio-political encounters with identities, bodies, both human made and humanless spaces as well as their ecological shadows. The moving image works feature documentary, experimental and performative audiovisual comments on the disembodied realms of our time. Watching the program viewers will encounter humans and robots, touch sculptures and bodies, discover sand, pixels and fluids. By STREAMING SPECTRES via their screens they will travel at home and enter real and virtual places, taking time to remember, to forget, to imagine and to dream.
PROGRAM (135 min.)
19:00-19:09 das bin nicht ich, das ist ein bild von mir by Christiana Perschon
19:10-19:11 KatharinaViktoria by Viktoria Schmid
19:12-19:20 and one of them singing by Iris Blauensteiner
19:21-19:24 on arriving (performance) by Olena Newkryta
19:25-19:32 rerouting by Luiza Margan in collaboration with Maya Santiago
19:33-19:45 The Courser by Lisa Truttmann
19:46-19:51 Lufthaus by Miae Son
19:52-19:53 14.03.2020 – Als die Welt noch in Ordnung war im Gemeindebau by Hanna Schimek
19:54-20:15 Aurore by Marlies Pöschl
20:16-20:18 Treffpunkt by Nathalie Koger
20:19-20:21 Cleaning the Black Sea by Katharina Swoboda & Kamen Stoyanov
20:22-21:03 Vestiges (an archipelago) by Enar de Dios Rodríguez
21:04-21:05 Hold Your Breath by Mirjam Bromundt
21:06-21:12 6:00 - 8:00 by Simona Obholzer
21:13-21:30 to forget by Lydia Nsiah
The Golden Pixel Cooperative is a Vienna based association for moving images, arts and media, active within both exhibition and cinema contexts. Our goal is to develop sustainable structures for the production, distribution, and presentation of moving image works by contemporary artists, as well as to facilitate exchange and support between artists.
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