The Suspension and Excess of Time

ONLINE: Screening Chapter #1,

The indefinite period of standing in line represents a multi-faceted experience of ‘transition’. Chantal Akerman gets to the heart of this experience in her 1993 film D’EST (From the East), shot during the period of upheaval of the 1990s. With the filmic travelogue that moves from Russia to Poland, Hungary, the Czech Republic across the former GDR and to Belgium, her documentary essay film shows people standing wordlessly in endless queues. It thereby creates the cinematic feeling of being-in-between – a situation experienced by people at the time.

Starting with this testament to historical transformation, the feeling of being in transition – as a condition between the past and the imagined future – forms the point of intersection for the screening chapter’s works. Challenging the idea of isolating the past, The Suspension and Excess of Time follows a conception of historicity in which a multiplicity of times coexist, opening up parallel perspectives. The selected video works follow a chrono-political understanding of history. They deal with different temporal poetics that unfold as durational documentation (Józef Robakowski); live actions (Ulrike Rosenbach); live sculptures (Eglė Rakauskaitė / Rakė); and re-enactments (Sanja Iveković). They move between the historical imagining of life in a transcended system (Sasha Pirogova) to the envisioning of a time machine (Clarissa Thieme). Understood as a transformation process with multiple trajectories, feminist and political practices stand in the focus of this screening chapter. These demonstrate the time-transcending influence of political and social structures, the power of influence of religion and patriarchy as conditions that render personal daily life political. As a structural principle, the interaction of different layers of time within the work threads its way through the screening as a whole, whether in the form of confrontation with different historical and religious models of identity, the actualization of political and economic transformation in Eastern Europe at the end of the 20th century, or processes of technological or physiological, human development and change. The performatively staged views (which look backward and forward) intersect through the concept of history, which only becomes manifest in its actualization. Spanning an arc from the 1970s through the 1990s and into the present, cross- and back-references abound.

  • EXHIBITION: D’EST Viewing Station at Easterndaze x Berlin (Nov. 28-30, 2019)

    D’EST Viewing Station at Easterndaze x Berlin

    From November 28-30, 2019, D’EST will cooperate with the music festival Easterndaze x Berlin and install a temporary viewing station. Easterndaze x Berlin is a festival for DIY electronic music collectives from Minsk, Tallinn, Bucharest and Berlin.

    → See the screening dates in the Program

  • EVENT: D’EST Video Screening in Plovdiv, Bulgaria

    Rose Queen’s Gestures of De-Monumentality

    As part of the European Capital of Culture Plovdiv, D’EST curators Ulrike Gerhardt and Jana Seehusen will be guests at a symposium on the Alyosha monument in Plovdiv, Bulgaria, curated by Kamen Stoyanov and Katharina Swoboda on November 1, 2019. They present the screening program “Rose Queen's Gestures of De-Monumentality,” which creates an extended, resistant and performative perspective on monuments and encourages an artistic and civic reappropriation of public space. Participating artists: Tal Alperstein and Julia Turbahn, Gery Georgieva, Szabolcs KissPál, Ilona Németh, Eglė Rakauskaitė / Rakė and Adnan Softić

    → See the screening dates in the Program

  • EVENT: D’EST Discussion at Scriptings Berlin

    Lene Markusen: Sisters Alike. Female Identities in the Post-Utopian

    On the basis of selected scenes, the filmmaker Lene Markusen will provide brief insights into the variety of images and themes that form her new artist book “Sisters Alike. Female Identities in the Post-Utopian.” Her everyday ethnological and cinematographic view of female subjectivities and lifestyles has been roaming through the last three decades since her first trip to St. Petersburg in 1993. Screening and discussion with: Lene Markusen (filmmaker), Anne König (publisher Spector Books), Alexandra Köhring (art historian) and Ulrike Gerhardt (initiator of D’EST). Moderated by Achim Lengerer (Scriptings).

    → See the screening dates in the Program

  • EXHIBITION: D’EST Viewing Station at Portable Landscapes: Unweaving the Iron Curtain (June 21-July 25, 2019)

    Portable Landscapes: Unweaving the Iron Curtain

    D’EST will participate in the exhibition Portable Landscapes: Unweaving the Iron Curtain at District Berlin. De-centring, contaminating, and queering dominant historical narratives, the project is part of the Latvian Centre for Contemporary Art project Portable Landscapes which examines stories of exiled and emigree Latvian artists locating them within the broader context of 20th century art history, and wider processes of migration and globalization. D’EST’s temporarily installed viewing station makes our archive of the histories of post-/socialist transformation accessible in the exhibition. With contributions by Valdis Āboliņš, Decolonizing 1968, D’EST, Inga Erdmane, Leonards Laganovskis, Elske Rosenfeld, Margo Zālīte, Nguyen Phuong Linh, Tuan Mami, and Revolt She Said. Curators: Andrea Caroline Keppler, Suza Husse, Antra Priede, Elske Rosenfeld and Andra Silapētere.

    → See the screening dates in the Program

  • EVENT: D’EST Video Screening in Belgrade, Serbia

    Martovski Festival, REZ* na D’EST (CUT to D’EST)

    Martovski Festival REZ* na D’EST (CUT to D’EST): A selection of (feminist) video art with Marwa Arsanios, Pauline Boudry & Renate Lorenz, Maha Maamoun, Elske Rosenfeld, Sanja Iveković, and The Bureau of Melodramatic Research, curated by Marta Popivoda. *REZ is a festival of contemporary experimental film in Belgrade

    → See the screening dates in the Program

  • EVENT: D’EST Video Screening in Tallinn, Estonia

    D’EST at TOKSI-LINE: feminism ­– environment – geopolitics festival

    Toxic masculinity, toxic ignorance, toxic anger… But can feminism also be toxic? Toxic to whom and in what circumstances? At the end of January, D’EST will travel to Tallinn and bring together the themes of feminism, the environment and Eastern Europe in order to discuss toxicity in our increasingly polluted world. Estonia has one of the lowest levels of environmental awareness in Europe (Eurobarameeter 2017). What roles do gender, the communication context, and geopolitics play in this? D’EST video screening with Marwa Arsanios, Ioana Cojocariu, Factory of Found Clothes, Elske Rosenfeld and The Bureau of Melodramatic Research, introduced by Ulrike Gerhardt.

    → See the screening dates in the Program

  • The screening chapter ReTopia acknowledges “post-socialism” not only as a continental but also as a global phenomenon, though with palpable regional specificity and intensity. It looks at transitional shifts and modes of remembrance of historical processes that evoke forms – rejected, outmoded, disposed from power, gender political, architectural, and even full of potential. Without being afraid of utopian ideology, it looks back and forth and sideways in search of radically different futures. Both curators, Bettina Knaup and Katja Kobolt ask these questions against the backdrop of their individual and collective endeavors to create “temporary archives”: re.act.feminism (2009-2013), a travelling performing archive Bettina Knaup initiated with Beatrice E. Stammer; and Perpetuum Mobile. The Artotheque, a collection of videos and other digitized works initiated by feminist curatorial collective Red Mined within the Living Archive (2011-2015) through the simple act of giving.

    → See the screening dates in the Program

  • Entwining autobiographical, historical, and fictional narratives, this screening program examines generational, personal, and political frictions, breaks and entanglements, taking place in the dystopian context of post-1989. The tension bears down on the sphere of the personal and the political maintained through the relationship of the four figures: the figure of Neighbor, the figure of Mother, the figure of Lover and the figure of Other.

    → See the screening dates in the Program

  • The chapter examines the body as a collective, as a singular entity, as a social choreography of an alliance of states, as an organless, cognitive-capitalist, cerebral network, as a corporeal reading instrument of past, former socialist indices, as a place of textual and discursive inscription, but also as a genuine place of affective encounters and material practices. The curators focus on video works and films that flare up the affective, somaesthetic, relational and transformative potentials of the body after 1989 / 1991.

    → See the screening dates in the Program

  • Political protocol tends to dispossess, overwrite, and refurbish unwanted narratives. Parallel to this, there are new agencies that enhance the intersections, reciprocities, and movements between bodies, spaces, objects, and memories. The video art and experimental film works of COSMOS COSMETICS: Unresting Memoryscapes and Corpofictions are concerned with architectural, corporeal, and phantasmatic materializations of internalized mnemonic, and bio-political regimes. Meanwhile they address surface porosities and subcutaneous layers of post-socialist cities. Hence this chapter of screenings in D’EST brings together artistic strategies and methods for unsettling, decontaminating, and queering artificial mono-histories, which stem from the urge to untag and distance the subject from the constraints of conformity, imposed belonging to a certain ethnic group or community, and identitarian politics in general.

    → See the screening dates in the Program

  • The changing role and function of language before and after the “transition” cannot be discussed without considering the dimension of authoritarian speech acts in the last phase of socialism. Anthropologist Alexei Yurchak shares the observation that during the authoritarian speech act, sign and reference, language and gesture, word and action merge into each other. This thesis is the foundation for an understanding of the variety of linguistic and performative experiments in post-socialist video art. The curators will focus on video works that reflect upon shifts in language and meaning and employ diverse silent, verbal, performative, activist, and other strategies to discuss collective and personal memory, identity, power relations, gender roles, and socio-political change.

    → See the screening dates in the Program

  • The curatorial selection The Suspension and Excess of Time explores the role of time within a period of radical political, social, and economical change. The selected video works focus on the changes different societies were going through during the Perestroika era, the fall of the Berlin Wall, and the collapse of the soviet empire. Paying tribute to speculative temporalities, curators Becker and Seehusen will trace people’s everyday experiences in the former “East” and “West” before and after 1989 / 1991.

    → See the screening dates in the Program

  • EVENT: Screening Chapter #1 Preview

    D’EST: The Suspension and Excess of Time at WRO Media Art Biennale 2017

    At the WRO Media Art Biennale 2017, D’EST’s first line of inquiry The Suspension and Excess of Time, a collaboration with the Video-Forum at Neuer Berliner Kunstverein (n.b.k.) will be introduced by its curators Kathrin Becker and Jana Seehusen by way of two selected video works. Screening and discussing Sanja Iveković’s INSTRUCTIONS No. 2 from 2015 and Ulrike Rosenbach’s 1976 video Glauben Sie nicht, dass ich eine Amazone bin. (eng.: Do not believe I am an Amazon.), visitors gain insight into the politics of living as a woman and how they manifested in (Post-)Yugoslavia and West Germany.

    → See the screening dates in the Program

  • In 1957, Roland Barthes stated that in “Western” mythology the USSR would be a world halfway between the Earth and Mars to exemplify that the communist world was considered as foreign as another planet. Similar to Barthes’ literary method in his Mythologies book, curator, filmmaker and artist Xandra Popescu scripted three semi-fictional short stories to introduce major paradigms of her screening program O’ Mystical East and West.

    → See the screening dates in the Program