In the meanwhile.... "...there is no beginning and we do not tremble, we are not sentimental. We are a furious Wind, tearing the dirty linen of clouds and prayers, preparing the great spectacle of disaster, fire, decomposition..." Tristan Tzara
Two cultures clash. Two different mentalities. Transatlantic & Mediterranean. M: Dance by force. M: Participate by force. T: The proud patron stand up and sing his karaoke thing. T: It's his moment. M: Natives dance together. Choose. What's the difference between them? Individuality vs. Mass.
PLATFORMA VIDEO7, the annual independent film festival hosting two competition sections, a series of film tributes and parallel events, is held on 7-12 December 2007 at the Athinaϊs Cultural Multispace, downtown Athens. 'Flesh Me' will be screened for the Audience Prize Competition.
Small towns fight any surrealist tentacle. They are the keepers of the realism's realm. Small town delis. Bulk buying. Sedated. Live a good life and avoid unsafe places. Western stereotypes are the pillars of reality. Clothes made in China, Peru, Macao, Colombia, Thailand, Mauritius. Could they feel free without history's tons on their shoulders? They prepare future. I excuse some of their mistakes. Uncharted, unwritten. They're brave enough to draw a path for the future. Not a stylish one, but it is a path.
Shoe salesmen drive nation's aesthetics. Scarecrows visits tall signs in the middle of nowhere. Skyscrapers are the last viable fragmented space in the gargantuan nature. Modded cars for cheap tacky luxury, things of a past. News flash. 'Italian mobster shoots a lobster!'. Plastic pastiche helmets will save the 50+ years old macho dignity. Bem vindos aos Estados Unidos da América.
Project “PUBLIC SCREEN"
In the need to address the concept of “heterotopias” under today’s terms within contemporary societies, the Public Screen project attempts to redefine the relationship between contemporary art and the public-urban space.
In the text titled “Des Espaces Autres-Heterotopies” of 1967, Michel Foucault identifies heterotopias as real places as opposed to utopias that constitute locations without an actual place, an ideal version of society or a reversal of actual places.
The heterotopias are functional places, within the societies, with explicit, established principles as well as rules for access and transit. As examples of such spaces, the author uses cemeteries, psychiatric institutions, prisons, nursing homes, gardens, museums, libraries, record offices, as well as festivals, Turkish baths, cinemas, brothels, colonies and ships; according to the author, the later ones are considered as the major aspects of heterotopias.
Heterotopias are associated with the concept of time in complicated ways. In certain cases, such as in museums and libraries, time is accumulated endlessly, while in festivals, time has a recursive appearance.
In the modern globalized market, the manner in which works of art are produced and distributed has certainly changed, nevertheless, it has never stopped being a process of an economic nature in which the artists and the consumers have diverse potentials of access.
The purpose of this project is to bring together and expose works of art, screened in selected sites of the city, which utilize the medium of photography or video.
Curated by: Syrago TsiaraWatch Waiting film:
Thessaloniki Port, 1, Warehouse A, Museum of Photography
[Monday 17/9 to Sunday 30/9 Screening hours: 9-12:30 PM.]
The space becomes perceptible through pain. The urban spatial extent is fragmented in areas: commercial centre, industrial region, campus, recreation areas. All these uses follow an urban planning that is dictated centrally. There are possible economic and disciplinary profits through the exploitation of residents' behaviours within the common acceptable limits. The degree of predictability of human behaviours is related positively with the effectiveness of the repressive and marketing mechanisms. The defeat is imminent even if you will invert the land use. The invention of new geographies should be painstakingly articulated. Do not forget the signs of corruptness and incuriosity. Follow the alleys and you'll bump into them.
A psychogeography festival in Manchester, 19th - 22nd June 2008
Call for Papers and Projects
* Deep topography
* Urban interventions
* Locative media
* Collaborative Mapping
Between June 19 and 22, 2008, TRIP brings together artists, academics, movers, shakers, do-ers and dissenters in a unique event combining an interdisciplinary conference with a city-wide series of actions, exhibitions, and screenings. TRIP enables the previously separate worlds of theory and practice to interact, initiating new approaches and energies, and furthering techniques to take on and alter the physical environment.
Beginning as a reaction to the industrial revolution, the re-imagining of the city by romantics, bohemians, and avant-gardists evolved into a diverse range of strategies, practices and arguments, from the psychogeographic drift or derive to the artistic intervention. By the 1990s these were being utilised by artists, writers, activists, and historians, attempting to negotiate urban and rural space in the post-modern world.
But practices developed in the twentieth century encounter a different world in the twenty first - a more observed and policed world on the one hand, a more corporate, globally-connected world on the other. Increasingly the body, social, individual and political, is the site of contradictory demands - the demands to consume versus the demands of control.
TRIP will be based at Manchester Metropolitan University, on the city’s main southerly corridor, Oxford Road. But we want events to take place throughout Manchester, in as wide a variety of spaces and venues as possible. Like many northern cities, Manchester is changing fast. Perhaps you want to critique the implications of “regeneration”, or perhaps you want to stimulate new ways of engaging with an increasingly consumerised environment. Maybe you’re passionate about the possibilities of inventive walking and drifting, or maybe you’re a performance artist aiming to change the energy of a public space. Wherever you’re coming from, TRIP wants to hear from you with your ideas.
To submit a paper, you should send an abstract outlining your subject and the key points of your presentation.
To submit an idea for an intervention, performance or a walk involving members of the public, please outline in one paragraph the aims and ideal locations for your project.
To submit an idea for a gallery-based project, please outline in one paragraph the thinking behind your installation or work.
Please try to keep your paragraphs to a maximum of 200 words. And don’t forget your contact details. Deadline for submissions: October 1st 2007.
Submissions should be emailed to: TRIP@mmu.ac.uk
The festival proceedings will be fully documented and recorded, and an edited volume of essays, art and photography will be published at a later date.
The role of observer is a convention, a fault, a mask of excuse that covers all the senses of joy. Observer's 'talk' is hyper analytical. The reasons of observer are untold statements of embarrassment. In the reasons of observer something else should always have been said. It is his medicine of repression. It is the safety of observation.
Writer/ Directed: BroodingSideOfMadness
Music: 'Inside A Metal Nutshell'
Time: 4.39 min
Production Year: 2004
'VAIA'Concealed moments of an unforeseen small family feast, which we are compelled to see concealedly behind a metal curtain. We are reconciled with the idea of loss and end. We know that 'outside' it is daylight and that we are quite far from an illness.
The emblem as a concealed human characteristic of pathology.
A. Wealth B. Appearance C. Place.
The 'call for attention' via pessimistic/optimistic attitude of life. The two identical streets. The false sanctification of personal space. Two bodies are colliding. Two lives sharp as razor blades. Thrown in lousy districts.
We all have certain looks, aspects ready to use. We equip them all the time. How much they accommodate us!. But now all the things are equivalent, really quantic. Yes and No are mixed together. So fast and funny. I am 'above' you are 'under'. You don't even have to speak. The terror in front of joy. The extreme improvisation in the use of objects is a supreme art.
Because we live. Lean your head. You had a good life. Is it safe for me to say 'Are you dead?'? You taught us how to be agnostic.
Interspersed In WallsWriter/ Directed: U. Cassavetes
Music: 'There is No Soul, Alone' by BroodingSideOfMadness
Editing: AddTech/ ReUsed Parts
Actors: Aggeliki Matopoulou, BroodingSideOfMadnessTime: 2.17 min
Production Year: 2007
'You: Coma'It is a difficult, brutal and at the same time hetero-destructive life-game, played without any rules. As the personal stagnant pool of the heroes has - with characteristic certainty - become their own life, that game requires predetermined results from its participators. They should intersperse and scatter their mental reserve in between the cementitious walls of their action space and each one of them should create the impression of repeated happiness – infelicity. The impression will have a big soothing force. The game of the heroes is supposed to be finished, even if the last ones decide to free themselves, to gather the pieces that have penetrated the dam of walls and reverse a pre-programmed mesh of commands, which are always related to the viewpoint of gender and its expected stereotypes.
Video: U. Cassavetes
Music: 'A Dying Breed of Urban Planners' by BroodingSideOfMadnessTime: 3.14 min
Production Year: 2007
The deformity and abandonment of natural space constitute an absolute metre for the final mental collapse of Jerszy. His body has been absorbed by the sovereign urban parameters, as it pushes every dehydrated human sensory to contribute in the death of hero. As an idea, henceforth Jerszy, and incarnating each hopeless and optimistic forecast for an ideal relation of the city - individual, he will try with a heart-breaking voice to enter in the world of absolute lack of body control, in order to survive in the space of the collective impositions’ drama.
Amour lettristiqueThe probability of sentimental transcriptive narration. The fight for a cinema without pictures. The lettristic model as the minimal possible line in a clearly possible altered pseudo-normality. The phonemes of passion are opposed to the given filmic residues of academism.Writer/ Directed: U. Cassavetes
Music: 'Amour lettristique ' by BroodingSideOfMadness
Editing: AddTech/ ReUsed Parts
Time: 1.59 min
Production Year: 2007
Flesh MeVideo and Music: BroodingSideOfMadness
Voice: U. Cassavetes
VAIA 2007No sentimental condescension with the likely spectator and in particular with the facility which is proposed by the hero-from the first moment- takes place without dysfunctional optics. This happens as the hero tries to restore a rationalized attitude toward a very limited life, with which it cannot even reconcile itself. Thus the flesh becomes the base for the search of rudimentary humanity and mainly the deeper means for a need for communication that exceeds the limits of very socially protected tolerance for love. The question is, however, how much the hero might incorporate the right flesh in his life and mainly becomes a new and spiritual part of it without pain and mental loss.
Screening of 'Flesh Me':
[13 June 2007 - 17 June 2007]
DIPEAP VideoArt Exhibition
Dimotiko Politistiko Parko St. Kotsis
Themistokleous & Spartis
Ag. Paraskevi, Athens
From 17 to 23 May and within the framework of its regular screenings the Greek Film Archive is presenting a tribute to European filmmakers at the Trianon Filmcenter (Codringtonos 21 & Patission 101), in collaboration with the British Council, the Goethe Institute, the Greek Film Centre, the General Secretariat for Equality, the University of Athens Pregraduate Studies program for issues of Gender and Equality, the German Film Archive and the LUX distribution company. Communications sponsor: The Hellenic Broadcasting Corporation ERT S.A.
Check out the screening of 'Waiting' film. (Music by BroodingSideOfMadness 'Momentar Jump To Eternity')
[Wednesday 23 May 2007 : 19.00- 21.00]
Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage. Hommage.Description: The space becomes perceptible, dystopian and futuristic. Commercial centre, industrial region, campus, recreation zones. The supremacy of geometry. Algebraic forms and wounds of the flesh. Al-Mariyat, the great beacon. Please, draw a line from Berlin [ 52°31'14.73"N , 13°24'33.79"E] > Almeria [ 37° 1'5.67"N , 2°22'50.66"W] > Bonar Bridge [ 57°53'35.94"N , 4°20'33.02"W]. The Ruins of the 70's decade. 'Just married couples' populate the destroyed new buildings. We are the newborn Klaus! Klaus constitutes - for the modern western cities - an element of social inversion.
One more festival entry. This time it's the Crash Festival 2007 in Salonica, Greece. We participate/compete in the 'Exprerimental Films' section. The film is called 'Waiting' and I wrote the music piece called 'Momentar Jump To Eternity'. Please check out the screening dates. Film has the #49 number.
[Thursday 26 April 2007 : Room 1 - 16:00]
Museum of Cinema - Port
[Friday 27 April 2007 : Room 3 - 18:00]
ΙΕΚ AKMI (Venizelou & Tsimiski 14)
[Sunday 29 April 2007 : Room 1 - 16:00]
Museum of Cinema - Port
Experimental Films Competition
Here's the full credits:Waiting [GR, 2006]Writer/ Directed: Ursula Cassavetes
Assistance: Thanos Papoulis
Actors: Georgia Thanou, Costas VarotsosThe waiting, as divergence from a delimited horizon of expectations but also as a cancellation, constitutes the basic questioning of "Waiting". Two persons seem to wait for anything and they apply to their anxienty/ indifference a different structure of patience: the woman reacts quite mechanically and she’ s suffering, she’ s full of stress and passion, whereas the man’ s reaction is pathetic and overdriven by an exhausting mysticism. Between the two of them, lies the immaculate gap of all applied communication techniques and dexterities.
The ostensible communicational intercourse of the two central characters will never take place, as the logic of waiting has reversed the levelling of expectation and reversely. The solution, as at least it will be presented in the imaginary level of the two persons, will be absolute and unexpected, interrupting not only the process of the waiting but of the development, too.
Music holds a descriptive role, trying to elect the non synergy of the two characters. The two elements, as the melodiousness and the brutal metronomic rhythm, should be converged into a single form. Using the deconstruction according to the big tradition of ‘dub’ music, it is searched if finally this is feasible. Through the pattern ‘whole - abstraction – solution’, the spectator is imported violently in the waiting and he is called to identify the two characters with the two basically elements of the musical part.
There are two entries in Athens Video Festival this year you should check out. Matiko is the 1/3 of our documentary team and during the last months we work on our Greek Civil War documetary project . We share a common love for the UK 60's free cinema and music. I edited his 'Dub One' video. He made the video and audio part. Ursula Cassavetes is my partner in our artistic explorations and she's heavily into Marta Meszaros, Kasimir Malevich and Asger Jorn. I wrote the music for her great 'Asunder' video . The music piece is called 'Too Many Video Games / Rotten Brain'. It's great to know that there are some people living in the same city with such great interests.
[ Saturday 28 April 2007 : Room B'. 16:00 ]
Ursula Cassavetes - Asunder 
[ Sunday 29 April 2007 : Room A'. 16:00 ]
Matiko - Dub One 
Censored and exhausted. I'm going to abandon all my projects and stick to a white collar day. People are easy going. The Monday's boring talks and goodmornings. Car repair talks and weddings en provence. Where do they sell this happy flesh mask? I could be your samaritan. Today. I could be your evil thought. No, the tide is low and i should have known this. At least I had a good deed last weekend. Now pass me the razor camera and fake for me.
Day #2. The whole system is malfunctioning. Some hidden processes recompiled old code snippets of the past. The results are erratic. Vulnerable. Is ‘lost + found’ a sustainable place for us?
I returned to
Africa. The landscape is sandy and windy. 'Pass me that lager top'. It's the fifth time in twenty years. Packed with great music of the past and all the dreadful connotations - This morning, I called all my super heroes for help: Fontela Bass, Derek Bailey, Joe Strummer, Betty Carter, Roddy Frame, Big Joe, Sun Ra,Trinity, Mark Stewart, Art Ensembe of Chicago,Patrick Fitzgerald, Go Betweens, Slits. No luck. This land is vast and I should cross it on my own. “…Why did you have to go and pick on me?”
Contact by 3=4
Dance theatre performance
20 March and 23 March
Performers: R. Papadopoulou , D. Hatzipavlidou
Video: U. Cassavetes
Part A: Preliminary
Part B: 1. Etched Love 2. Etched Love (für ein Mädchen)
Part C: 4. Change My Heart Beat
Production Year: 2007