e-flux Film Award presents: Special Screenings

e-flux Film Award presents: Special Screenings

Hey-Yeun Jang, live/leave (still), 2024.

e-flux Film Award presents: Special Screenings

Admission starts at $5.

Date
January 25, 2025, 3pm
172 Classon Avenue
Brooklyn, NY 11205
USA

e-flux Film Award is proud to present a special screening of shortlisted works from the 2nd e-flux Film Award, featuring work by Dhiaa Biya, Kara Ditte Hansen, Eitan Efrat and Sirah Foighel Brutmann, Hey-Yeun Jang, Kyllachy, Minki Hong, and the Moojin Brothers. Taking place at 3pm on Saturday, January 25, 2025, the program is curated and presented by the pre-selection committee members Lukas Brasiskis, Dmitry Frolov, and Steff Hui Ci Ling.

Read more about the e-flux Film Award here, and see details on the award ceremony of January 16, 2025 here.

Films

Dhiaa Biya, What else grows on the palm of your hands? (2023, 16 minutes)
In the midst of repetition and apparent numbness, Hayat lives a normal life. The gestures of her hand are constantly linked to the past, where her grandmother’s image resides. As she makes food or waits silently, her hands speak for her and connect past and present. The memories of her beloved grandmother come back time and time again. There is an ongoing dialogue between the two women, the two sets of hands, the two simply beautiful routines. ​In the film we see Hayat between the now and the then. As a child next to her grandmother and as an adult who floats over the memories. The hands of the women in the film are generous, compassionate and kind. They are characters in themselves: teaching and learning, playing and waiting. The preserved routine and the simplicity of daily acts reunites Hayat with her grandmother. They are together despite the passing of time.

Kara Ditte Hansen, Semi-Precious (2024, 15 minutes)
Semi-Precious is a portrait of the filmmaker’s mother, a retired holistic practitioner framed through her crystals, supplements, jewelry, healing instruments, and household adornments. Handwritten labels populate the exteriors of these objects to recall their emotional or spiritual use and are a vital remedy to her memory loss. Geologic and mortal time become enmeshed through: weathered landscapes, wrinkled hands, vibrating exercise machines, sound representations of planets, resonant quartz crystals in clock faces, and the profile of the oldest earth rock identified, the moon.

Eitan Efrat and Sirah Foighel Brutmann, Un Âne (2023, 12 minutes)
Un Âne – ‘a donkey’ in French – follows the route laid out by Chantal Akerman’s shooting in Al-Naqab desert in her last film No Home Movie (2015). The artists, following Akerman’s footsteps, decide to turn the camera where Akerman didn’t and pronounce the name of this particular desert in its Arabic name. By this simple gesture, Un Âne frames this location including its geopolitical history, and actuality, where evidence of colonial practices of segregation and deprivation of the Bedouin community is present and practiced. Efrat and Brutman’s film Vents Violents, shortlisted for the 2nd e-flux Film Award, puts together two films, originally Un Âne and [anan].

Hey-Yeun Jang, live/leave (2024, 14 minutes)
live/leave expresses personal inner discovery of an equilibrium between living and leaving, appearing and disappearing, being and becoming. Amid her domestic daily routine, a woman uses a mirror as a vehicle to reach beyond her space and time. Originally shot on celluloid film, selective frames were transferred to 35mm slide film, which after being mounted was transferred back to the moving image. This process explores the distinction between still image and moving image and what happens in the space and time between.

Kyllachy, Insignificant Specks of Dust in a Tapestry of Stars (2024, 8 minutes)
Astronauts venture to the moon in search of fresh resources. Illegal miners scavenge depleted gold deposits in Africa. The true cost of progress is complex.

Minki Hong, Paradise (2023, 30 minutes)
Jongno, an important commercial district and cultural hub in South Korea’s capital city Seoul, was also an important home for movie theaters, beginning with the establishment of Danseongsa Theater in 1907. However, the number of moviegoers visiting these theaters gradually diminished, and one by one, they closed their doors. However, several discount theaters survived, gradually becoming transformed into meeting places for gay men who sought to establish their own cultural spaces on the fringes of society. Alongside these “theaters patronized by homos,” gay bars also began opening in the back alleys of Jongno, with the area becoming a paradise for gay men in the 1980s.

Moojin Brothers, Three Worlds’ Dialogue (2024, 11 minutes)
Three Worlds’ Dialogue is an omnibus-style video project comprising three volumes: Between Trees, Bipedal Human’s Stride and Silent Transformation. The work explores the material foundation of technological media, humans, and nature discovered in the contemporary secular city. We have scrutinized an individual’s past trajectories and deviated from the technological civilization progressing in a singular direction. Moreover, we have also examined the human epoch, precariously founded on endless standards and judgements, as well as the scenes in nature where human life and death are constantly exchanged as commodity values. We hope that this exploration of the contemporary era, too material and secular, will provide an opportunity to contemplate human compulsions, restrictive pursuits of values, and ecological issues from a broader perspective.

For more information, contact program@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
Awards, Experimental Film, Video Art

Dhiaa Biya is a Moroccan photographer and filmmaker based in Brussels. After obtaining her bachelor’s in image techniques at L’Institut supérieur des métiers de l’audiovisuel et du Cinema in Rabat, she pursued her master’s in filmmaking at LUCA school of Arts. Dhiaa Biya works primarily with film, photography, and text. Inspired by patterns in speech and gestures, Dhiaa focuses on tracing the rhythms of daily actions and the subtleties of memory. To make anything at all, Dhiaa relies on visual composition, poetry, and a lot of observation.

Kara Ditte Hansen is an artist and filmmaker based between Milwaukee WI and the unceded territory of the Musqueam, Squamish, and Tsleil-Waututh peoples now known as the city of Vancouver. Her practice looks at human and non-human relationships with the material of the earth, systems of extraction and waste, and how these seemingly external materials collide with the interior worlds of beings. She received her MFA from the Cinematic Arts program at University of Milwaukee—Wisconsin. Her films have been screened at Prismatic Ground, Light Matter Film Festival, Vancouver International Film Festival, Flat Earth Film Festival, Vertical Cinema, Gene Siskel Film Center, Onion City Film Festival, and Antimatter [Media Art].

Eitan Efrat and Sirah Foighel Brutmann are working in collaboration, creating works in the audiovisual field, installation and performance. They live and work in Brussels. Sirah and Eitan’s practice focuses on the performative aspects of the moving image. In their work they aim to mark the spatial and durational potentialities of reading of images – moving or still; the relations between spectatorship and history; the temporality of narratives and memory and the material surfaces of image production. Their works have been shown in duo exhibitions in Kunsthalle Basel (CH); Argos, Brussels (BE) and CAC Delme (FR); at group exhibitions in Argos (BE); Museum für Kunst und Gewerbe, Hamburg (DE); Portikus, Frankfurt (DE); Jeu de Paume, Paris (FR) and STUK, Leuven (BE). In film festivals such as EMAF, Osnabrück (DE); Atonal, Berlin (DE); Doc Lisboa (PT); Oberhausen Film Festival (DE); Rotterdam Film Festival (NL); Les Rencontres International, Paris and Berlin (FR/DE); New Horizons, Wrocław (PL); Images, Toronto (CA); 25FPS, Zagreb (HR).

Hey-Yeun Jang is a Korea-born, New York-based artist. She often uses sequences of 16mm film still images to examine fleeting moments and meaning of swallowed words: explore ‘in-between’. Her works have been exhibited in museums internationally: Haus der Kulturen der Welt (Berlin, Germany), Wurttembergischer Kunstverein Stuttgart (Stuttgart, Germany), Queens Museum (New York, USA), Carrillo Gil Museum (Mexico City, Mexico), Centro Cultural Tijuana (Tijuana, Mexico), National Museum of Contemporary Art (Seoul, Korea), Hangaram Art Museum (Seoul, Korea), Pacific Art Museum (Seoul, Korea), Museum 63 Artist Commune (Hong Kong, China), Bund 18 Creative Center (Shanghai, China), and Ludwig Foundation of Cuba (Havana, Cuba). Her films have been screened at film venues: New York Film Festival, Rotterdam Film Festival, Edinburgh International Film Festival, Metropolitan Museum of Art (New York, NY), Brooklyn Museum of Art (Brooklyn, NY), National Museum of Contemporary Art (Seoul, Korea), Anthology Film Archives (New York, NY), Los Angeles County Museum (Los Angeles, CA), the Berkeley Art Museum (Berkeley, CA), and Kabuki Theater (San Francisco, CA). Her exhibitions have received reviews including Art in America, the New York Times, New York Arts, Berliner Zeitung, Stuttgart Zeitung, Asia Art Pacific, Taipei Times, Korea Times. She has been awarded the Fellowship Grant in New Genre by The National Endowment for the Arts, Finishing Fund by Experimental TV Center. She received her BFA in sculpture from Ewha Women’s University (Korea) in 1991 and BFA in sculpture from San Francisco Art Institute in 1994, MFA from Cranbrook Academy of Art in 1996.

Kyllachy is an experimental film project immersed in found footage and repurposing material from the cutting room floor.

Minki Hong was born in 1992. She is the creator of the short documentary I Smell Wedding Bells (2021), which was selected as the opening film for the Indie Forum festival in Seoul.

“Moojin (無眞)” is the starting point of work; by questioning and deconstructing (無, Moo) things that have solidified as dominant values and belief systems (眞, Jin) of society, Moojin Brothers recreate the “human-environment system” of the contemporary era. Humans who reveal themselves through the images of persons and collective voices of those engulfed in the misery of life, and the world heavily armed with common sense and economic rationality form the basis of the artists’ works. They thereupon shed light on those who survive, rearrange collected stories, and address the problems of today’s world. Furthermore, the artists document discourse on technological and environmental risks, and reconstruct new images from it. Moojin Brothers experiment with an expansive range of media in accordance with the concepts and themes of their works, utilizing the methods that they have acquired from various contemporary channels.

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