Looking at our times through the prism of the moving image.
At Fondazione In Between Art Film, we foster dialogues between video, cinema, and performance, supporting artists and institutions whose visions cross the boundaries between creative disciplines.
NEWS
“No Master Territories: Feminist Worldmaking and the Moving Image” continues at @museomaxxi with a new selection of films until December 3.
The ‘women’s question’ has long been a complex issue for leftist movements, threatening to fracture class unity; as socialist feminist #FloraTristan put it already in 1843: “Even the most oppressed man finds a being he can oppress: his wife. The woman is the proletarian of the proletariat.” Under state socialism, gender equality was officially promoted, but the realities of women’s lives often told a different story. In the films programmed this week (four made in socialist countries and two made in capitalist countries by leftist filmmakers), the intersection of class and gender is an urgent concern.
“No Master Territories: Feminist Worldmaking and the Moving Image” is a screening programme dedicated to women artists and filmmakers from around the world who created new languages between the 1970s and 1990s to represent gendered experience.
Fondazione In Between Art Film invited #ErikaBalsom and peleg_hila to choose three thematic areas of the titular exhibition held last summer at the Haus der Kulturen der Welt, Berlin, and present three screening programs for the MAXXI’s videogallery—one per week—that include a selection of 19 non-fiction films and videos, most of which have never been exhibited in Italy before.
Stills from Miss Universo en el Perú (1982) by Grupo Chaski (María Barea, Fernando Barreto, Fernando Espinoza, Stefan Kaspar, Alejandro Legaspi, and Margreth Noth), Essere donne (1965) by Cecilia Mangini, and Vavila I tyotka Arina (1928) by Nikolai Khodataev and Olga Khodatayeva Groznyy
Join us tomorrow at @museomaxxi for “Moving images and feminist imagination,” a conversation between Erika Balsom, co-curator with Hila Peleg of “No Master Territories: Feminist Worldmaking and the Moving Image,” and @ilaria_gianni, independent curator, writer and lecturer, at 6 p.m. The conversation will be held in English and will be accompanied by a live translation in Italian.
“No Master Territories: Feminist Worldmaking and the Moving Image” is a screening programme dedicated to women artists and filmmakers from around the world who created new languages between the 1970s and 1990s to represent gendered experience.
Fondazione In Between Art Film invited #ErikaBalsom and peleg_hila to choose three thematic areas of the titular exhibition held last summer at the Haus der Kulturen der Welt, Berlin, and present three screening programs for the MAXXI’s videogallery—one per week—that include a selection of 19 non-fiction films and videos, most of which have never been exhibited in Italy before.
Focusing on the period in which women’s liberation movements established themselves internationally, the film screening pays homage to the vital work of the past by women artists, directors and collectives and responds to the urgencies of today.
The programme runs until December 10, 2023, and features experimental films, videos and documentaries from different points of view, addressing issues related to the traditional representation of women; gender equality in the family, the workplace and society; and the economic and colonial exploitation of the planet.
Still from Untitled 77-A (1977) by HAN Ok-hee
“No Master Territories: Feminist Worldmaking and the Moving Image” opens today at @museomaxxi! Running until December 10, 2023, this screening programme is dedicated to women artists and filmmakers from around the world who created new languages between the 1970s and 1990s to represent gendered experience.
Fondazione In Between Art Film invited #ErikaBalsom and peleg_hila to choose three thematic areas of the titular exhibition held last summer at the Haus der Kulturen der Welt, Berlin, and present three screening programs for the MAXXI’s videogallery—one per week—that include a selection of 19 non-fiction films and videos, most of which have never been exhibited in Italy before.
The films programmed from November 21–26 respond to #VivianGornick’s 1971 imperative that described the feminist movement as “a declaration of independence against the false description of the self.” These works, in fact, produce representations of women’s bodies, lives, and worlds that contest the patriarchal mainstream. Recognizing that visual culture is a terrain of both oppression and emancipation, they appropriate the means of image production in order to challenge mass media images of female beauty and experience, with particular attention to the relationship between subjectivity and sexuality.
The initiative will be enriched by “Moving image and feminist imagination,” a conversation between Erika Balsom and Hila Peleg, co-curator of the exhibition, and will be moderated by @ilaria_gianni, independent curator, writer and lecturer, on Friday, November 24, 2023 at 6 p.m. at MAXXI`s Videogallery. The conversation will be held in English and will be accompanied by a live translation in Italian.
Stills from Women’s Camera (1971) by Gardi Deppe, Barbara Kasper, Brigitte Krause, Ingrid Oppermann, and Tamara Wyss; Prowling by Night (1990) by Gwendolyn; Soft Fiction (1979) by Chick Strand; Untitled 77-A (1977) by HAN Ok-hee; We Aim to Please (1976) by Robin Laurie and Margot Nash; and Onanism (1969) by Nalini Malani.
We are delighted to present, together with @museomaxxi, “No Master Territories: Feminist Worldmaking and the Moving Image,” a screening programme running from November 21 to December 10, 2023, and dedicated to women artists and filmmakers from around the world who created new languages between the 70s and 90s to represent gendered experience.
“No Master Territories: Feminist Worldmaking and the Moving Image” is an adaptation�of the exhibition curated by #ErikaBalsom and peleg_hila that was held at the Haus der Kulturen der Welt, Berlin, in summer 2022.
Fondazione In Between Art Film invited the curators to choose three thematic areas�of the exhibition and present three screening programs for the MAXXI’s videogallery—one per week—that include a selection of 19 non-fiction films and videos, most of which have never been exhibited in Italy before.
Focusing on the period in which women’s liberation movements established themselves internationally, the film screening pays homage to the vital work of the past by women artists, directors and collectives and responds to the urgencies of today.
The programme features experimental films, videos and documentaries from different points of view, addressing issues related to the traditional representation of women; gender equality in the family, the workplace and society; and the economic and colonial exploitation of the planet.
The initiative will be enriched by “Moving image and feminist imagination,” a conversation between Erika Balsom and @ilaria_gianni, respectively co-curator of the exhibition and lecturer in Film Studies at King`s College London, and independent curator, writer and lecturer, on Friday, November 24, 2023, at 6 p.m. at MAXXI`s Videogallery. The conversation will be held in English.
The programme is part of the agreement that since 2017 involves MAXXI and Fondazione In Between Art Film together to promote the culture of moving images and support artists who explore the dialogue between different disciplines and time-based media. This commitment takes the form of screenings and talks in the Museum`s Videogallery and the acquisition of film and video works that are donated to the MAXXI Collection.
We are delighted to announce the world premiere of “Bliss Point” (2023), a new film by Gerard Ortín Castellví (b. 1988, Spain), on Friday, November 17, 2023, at 6:20 PM within the context of the 16th @schermodellarte – cinema and contemporary art festival.
“Bliss Point” was produced by Lo schermo dell’arte with Fondazione In Between Art Film. This initiative is part of our ongoing partnership on the VISIO Production Fund, a scheme devised and produced by Lo schermo dell`arte for selected young artists working primarily with moving images that participate in the VISIO residency program in Florence, curated by @leonardobigazzi, which the Fondazione has supported since 2017.
Ortín Castellví’s “Bliss Point” focuses on the transformation of food into moving images by documenting the new regimes and infrastructures of distribution. From the advanced technologies of circulation in AI-managed warehouses to commercial perception and representation in food photography studios, the journey portrays fragmented coexisting realities. The term ‘bliss point’ refers to a specific amount of an ingredient such as salt, sugar or fat in order to optimize the palatability of a product. In the film, this concept is expanded to include other aesthetic and scopic qualities. As the third piece of a trilogy on food production (“Agrilogistics,” 2022), distribution (“Bliss Point,” 2023) and consumption (“Future Foods,” 2021) it completes a long-term investigation of the Technologies and Ecologies of Food Regimes.
Image credit: @gerardortin, “Bliss Point,” 2023. Video still. Courtesy the artist, Lo schermo dell’arte, and Fondazione In Between Art Film
<<The tree as a diagram had been how #AugustoBoal explained the Theatre of the Oppressed. It is rooted in solidarity, supporting the trunk of concrete intervention, creating a canopy that projects onto the future an ongoing revolution toward greater justice. Most of us do not know much about this park, at the outset. The film is called “Olho da Rua”—its literal translation would be “eye of the street.” In Brazil, the idiomatic expression can denote the condition of being jobless: to be cast out onto the eye of the street. The eye might be observers, society, or in this case, the camera>>
– Extract from “Heart of the Street,” a newly commissioned essay to #BrunoCarvalho, professor of Romance Languages and Literatures; and affiliated professor in Urban Planning and Design of harvard Graduate School of Design, and @anamalmaceda, PhD candidate in Romance Languages and Literatures at Harvard University, about @jonathasdeandrade`s work “Olho da Rua” for the catalogue of our first institutional exhibition 𝙋𝙚𝙣𝙪𝙢𝙗𝙧𝙖
Edited by @alessandro.rabottini and @leonardobigazzi with @aaabciinnoppst, this richly illustrated catalogue reflects on the making of the exhibition and offers, for the first time, in-depth essays on the thinking and production processes that led to the works by @karimahashadu, #JonathasdeAndrade, @azizhazara, @hexiangyu_, @masbedo, #JamesRichards, @emilijaskarnulyte, and @___anavaz___presented at Complesso dell’Ospedaletto, Venice
Mirroring the distribution of the works throughout the two floors of the building, the main section of the book is organized into eight chapters that present stills, synopses, and credits of each film, together with original essays commissioned to writers, scholars, and researchers. It also features the essays by exhibition curators Alessandro Rabottini and Leonardo Bigazzi expanding on the methodology and curatorial concept of the exhibition, an essay by @ippopeste on the scenography of the exhibition he designed with his agency, @2050.plus, and an essay by Bianca Stoppani and @ugolinip about #VanishingPoints, the public program they co-curated
Tap the link in the bio to place your order via @moussemagazine
Congratulations to @jonathasdeandrade, whose film “Nó na garganta” [Knot in the Throat] (2022), which we commissioned and produced on the occasion of his participation in the Brazilian Pavilion at the @labiennale Arte 2022, will be screened inside the former Giardino Zoologico, Turin, on November 2, 2023, as part of @artissimafair`s Special Projects.
More info via the link in bio
Images credit: #JonathasdeAndrade, Nó na garganta [Knot in the Throat], 2022. Video still. Courtesy of the artist and Fondazione in Between Art Film
"Dreamless Night" by @ali.cherri is now open at @gamec_bergamo until January 14, 2024.
"Dreamless Night" is a newly commissioned exhibition by Cherri––the largest to date of his multimedia practice––presented by Fondazione In Between Art Film and GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo, with @fracbretagne, where the show will travel in February 2024.
Curated by @alessandro.rabottini and @leonardobigazzi, respectively Artistic Director and Curator at the Fondazione, "Dreamless Night” is the first project launched under #Unison, our new biennial initiative created to commission and produce moving image-based exhibitions together with Italian and international institutions.
Spanning film, video installation, drawing, and sculpture, the work of Cherri is a poetic reflection on visible and invisible forms of violence suffered by people, artifacts, and landscapes.
The exhibition path, conceived by the artist for GAMeC’s Spazio Zero and first floor, presents Cherri’s multimedia practice and breath of recurring concerns. With "Dreamless Night," Cherri delves into the tension between the reality and ideology of power in a time of nationalisms, ethnic conflicts, and hardened borders against migrants and refugees. Set in Cyprus, "The Watchman" (2023) is a new large-scale video installation that proposes a reflection on contested borders and their painful consequences with regard to sovereignty, identity, and ultimately peace. The exhibition rooms also host a series of original sculptures and drawings developed around the scenarios and characters in the film. The artist composes here a set-up where the belief systems that sustain power, authority, and war are unveiled in their theatricality and fragility, and probes the imagination as a radical device to break through their material cracks. (Excerpt from the exhibition guide by @aaabciinnoppst, Editor at the Fondazione).
The exhibition is made possible also thanks to the support of @imanefaresgalerie.
"Ali Cherri - Dreamless Night," installation views at GAMeC, Bergamo, 2023. Photo: Lorenzo Palmieri. Courtesy GAMeC, Bergamo; and Fondazione In Between Art Film