e-flux Film Award presents: Special Screenings. Parts II & III

e-flux Film Award presents: Special Screenings. Parts II & III

Chulayarnnon Siriphol, ANG48 (still), 2022.

e-flux Film Award presents: Special Screenings. Parts II & III

Admission starts at $5

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Date
February 24, 2024, 3pm
172 Classon Avenue
Brooklyn, NY 11205
USA

We are delighted to invite you to parts II and III of a special three-part screening of artists’ films presented by e-flux Film Award and curated by the award’s 2023 pre-selection committee members. This exploration of the forefront of recent artists’ films continues on Saturday, February 24 at 3pm with films by Yuan Zheng, Daryna Mamaisur, and Chulayarnnon Siriphol introduced by pre-selection committee member Lukas Brasiskis; and at 5pm with a screening of films by Alia Ardon and Safdar Ahmed, Sim Hahahah, and Tulapop Saenjaroen, introduced by pre-selection committee member Steff Ling. See details on Parts I, which take place on Thursday, February 22, here.

Films

3pm Screening
Introduced by Lukas Brasiskis

Yuan Zheng, Hepingli Playthrough
China/United States
35 minutes, 2022
Hepingli Playthrough features a fictional world that appears to derive from the recent past or the remote future. The video borrows aesthetics from text-based adventure games once popular in the 1990s. The given “playthrough” structure opens the possibilities of potential interaction between viewers and narrator, bringing together seemingly discrete moments to examine what options remain and what can be let go with the help of a built-in SAVE/LOAD system, wherein it makes visible the process of time travel, remembrance, and amnesia, resonating from crisis to banal, observation to engagement, a dystopia to the chance of a restart.

Daryna Mamaisur, Smoke of the Fire 
Ukraine/Portugal
2022, 21 minutes
There is Portugal, there is the Portuguese language, and there is a Ukrainian filmmaker who learns the language and approaches the role of the potential migrant. Between languages, between images from here and those from a country at war, a voice tries to put into words the state of longing.

Chulayarnnon Siriphol, ANG48 
Thailand/South Korea/China,
2022, 25 minutes
ANGSUMALIN 48 is the full name of ANG48, which stands for the fictional organization Alliance of Nippon Girls 48. The film is a synthesis of archival materials from Asian film history, from different countries. The result is an intelligent operating system of 48 digits, born into a half-human, half-golden-snail figure. ANGSUMALIN 48 can dissolve and become invisible to human eyes in order to penetrate through the air as a secret cultural agent. ANGSUMALIN 48 women have the role of building connections, spreading good relations, and providing support for the alliance of Asian women in different countries to rise up and release their past pain—from WWII to the Cold War to today. The name of this operating system is chosen to commemorate and give honor to Angsumalin, a fictional character from the Thai novel Khu Kam (1969) by Thommayanti, and an emblem of honesty, loyalty, and love for the homeland.

-
5pm Screening 
Introduced by Steff Ling

Alia Ardon and Safdar Ahmed, Border Farce 
Australia
2022, 15 minutes
Border Farce explores the experiences of Kazem Kazemi, whose love of heavy-metal guitar helped him survive five years of imprisonment by the Australian government as a refugee in the offshore detention center of Manus Island in Papua New Guinea. The film follows Kazem’s musical collaboration with artist Safdar Ahmed and his band Hazeen (featuring Can Yalcinkaya on drums and Kiyan Dayani on bass), in collaboration with filmmaker Alia Ardon. The film allows Kazem to reflect creatively on his experiences of incarceration, trauma, and the important role which music played in his physical and psychological survival. Border Farce develops an excoriating critique of the Australian government’s race-driven policies towards refugees, culminating in a defiant assertion of Kazem’s agency and steadfastness.

Sim Hahahah, Memory Playthrough 
United States
2022, 2 minutes
Someone shows us how we can safely recount memories. The process is secure and virtually painless.

Tulapop Saenjaroen, Mangosteen 
Thailand
2022, 40 minutes
A story about storytelling: After returning to his hometown to work in his sister’s fruit processing factory, Earth slowly but surely pulls out of the family business due to his disagreement with his sister. Earth then dedicates himself to writing an abstract, gory novel.

About e-flux Film Award
e-flux Film Award is a prize for artists’ films that push the boundaries of the aesthetic and critical potential of moving images in the age of planetary circulation of information. Selected by a jury of distinguished artists, filmmakers, and film selectors and curators from open submissions, it is awarded annually. e-flux Film Award welcomes submissions from both emerging and established artists who subvert and redefine traditional narrative forms and broaden our understanding and perception through the mastery of both film form and content. “How does one see what is hidden behind the images?,” Harun Farocki once asked. In line with e-flux Film’s programming that aims to challenge the expectations established by the commodification of moving-image art and to facilitate the critical discussion of artists’ films, e-flux Film Award is committed to recognizing works that deviate from the dominant and conventional regimes of visibility providing insightful and critical perspectives on today’s world.

For more information, contact program [​at​] e-flux.com.

Accessibility
– Two flights of stairs lead up to the building’s front entrance at 172 Classon Avenue.
– For elevator access, please RSVP to program@e-flux.com. The building has a freight elevator which leads into the e-flux office space. Entrance to the elevator is nearest to 180 Classon Ave (a garage door). We have a ramp for the steps within the space.
– e-flux has an ADA-compliant bathroom. There are no steps between the Screening Room and this bathroom.

Category
Film
Subject
Experimental Film, Video Art, Documentary, Awards

Safdar Ahmed is a multidisciplinary artist, writer, musician, and educator who lives and practices on the traditional lands of the Gadigal and Wangal peoples of what is otherwise known by its colonial name as Sydney. He works across a range of mediums, including drawing, graphic narratives, painting, musical performance, and video installation. Safdar’s art practice focuses on issues of representation and belonging, referencing personal history, graphic storytelling, cultural exegesis, and Muslim tradition.

Alia Ardon is an Australian-Moroccan-French filmmaker based between Gadigal Land and Marrakech, Morocco. Coming from the intersections of multiple cultures, places, and peoples, Alia’s work reflects the perspectives of those she captures. She believes that films have the potential to submerge and sensitize audiences, and she seeks to use the medium to these effects. Recent collaborations include Safdar Ahmed’s Border Farce commissioned by documenta fifteen (2022), as well as the short films Colours of Country (2022) and The Street (2023), commissioned by the PACT Centre for Emerging Artists.

Sim Hahahah is an emotional security analyst and fairly reliable documentarian.

Daryna Mamaisur (b. Kyiv, Ukraine) is a visual artist and filmmaker. In her practice, she combines theoretical research, filmmaking, and photography. Her main focus lies in the transformations of landscape and public spaces in relation to visual culture, memory, and political ecology. Daryna’s two recent films were personal journeys around distance, migration, and fragility within language when it comes to describing the shocking reality of war. In 2022, she graduated from the DocNomads, a joint master’s program in documentary filmmaking based in Lisbon, Budapest, and Brussels. Her films and video works have been screened in art exhibitions, and she has participated in international film festivals such as Visions du Réel, FIDMarseille, Kassel Dokfest, DOK Leipzig, RIDM and others.

Tulapop Saenjaroen is an artist and filmmaker whose works interrogate the correlations between image production and the production of subjectivity as well as the paradoxes intertwining control and freedom in late capitalism. In combining narrative and the essay film genres, he investigates subjects such as tourism, self-care, mental illness, free labor, power relations in storytelling, and cinema itself through re-making and re-interpreting the produced images and their networks. Saenjaroen received his MFA in Fine Art Media from the Slade School of Fine Art, UCL, and MA in Aesthetics and Politics from CalArts. Saenjaroen’s works have been shown in film festivals, screenings, and exhibitions internationally including at the Berlinale; Locarno Film Festival; International Film Festival Rotterdam; New York Film Festival; Cinéma du réel, Paris; DOK Leipzig; Images Festival (Toronto); European Media Art Festival; International Short Film Festival Oberhausen; Valdivia International Film Festival; Curtas Vila do Conde; Museum of the Moving Image, NYC; and CROSSROADS at SFMOMA among many other venues. His work has been the subject of focus at e-flux Screening Room, NYC; Conversations at the Edge at Gene Siskel Film Center, Chicago; M+ Museum After Image; Korean National Film Archive; and doc club festival Bangkok. Saenjaroen has won awards from Germany, Switzerland, Indonesia, Singapore, Russia, and Thailand.

Both a filmmaker and an artist, Chulayarnnon Siriphol (b. 1986) employs moving images and his body as his main medium. His works are wide and varied in genre, ranging from experimental film and documentary to performance video and video installations. From adaptations of local mythology and science fiction to transformation of analog body to digital spirituality, he questions contemporary issues and political ideology through his own sense of sarcasm. His short film Vanishing Horizon of the Sea won Special Mention from the 2014 Singapore International Film Festival. His solo exhibitions include Behind the Painting, curated by Hiroyuki Hattori at the Art Centre at Silpakorn University, Bangkok (2015); Museum of Kirati, Bangkok CityCity Gallery (2017); and Give Us A Little More Time, Bangkok CityCity Gallery (2020). Siriphol has taken part in group exhibitions such as the 5th Fukuoka Asian Art Triennale, Japan (2014); the 19th Contemporary Art Festival Sesc_Videobrasil, São Paulo (2015); Soil and Stones, Souls and Songs, Para Site, Hongkong (2017); Ghost:2561, Bangkok, Thailand (2018); and the 7th Taiwan International Video Art Exhibition, Taipei (2020). His short film Planetarium premiered at 2018 Cannes Film Festival as part of 10 YEARS THAILAND, a feature film by four Thai directors (Apichatpong Weerasethakul, Wisit Sasanatieng, Aditya Assarat, and Chulayarnnon Siriphol) in the Special Screenings section. He currently lives and works in Bangkok.

Zheng Yuan lives and works in Beijing. Working primarily in time-based media, his works have been shown at UCCA, Tai Kwun, University of Chicago, and Centre d’Art Contemporain Genève. He also screened at film festivals including Visions du Réel, Oberhausen, and Ann Arbor Film Festival among others. He received his MFA from the School of the Art Institute of Chicago in 2015.

Lukas Brasiskis is a Curator of Film and Video at e-flux. He is also a cocurator of the 14th Shanghai Biennale (2023–24). He received his PhD degree in Cinema Studies from New York University in 2022. His writings on moving image are widely published, and most recently he was the coeditor of Cinema and the Environment in Eastern Europe (Berghahn Press, 2024) and Jonas Mekas: The Camera Was Always Running (Yale University Press, 2022).

Steff Hui Ci Ling is a cultural worker, labor researcher, and occasional critic and film programmer living as a guest on the unceded territories of the xwməθkwəy̓əm (Musqueam), Skwxwú7mesh (Squamish), and Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh) First Nations. She is currently organizing the circulation of an Art Workers’ Inquiry for Decolonial Potential. The Inquiry is concerned with the political tradition of workers’ inquiries and its application in the cultural sector and our labor’s relationship to settler-colonial property.

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