Video Screening When: Saturday February 12, 2pm – 5pm Organized by: Generous Gestures
About: Screenings of videos made by artists involved in the Generous Gestures. Each artist will make a short introduction. Consists of: The event consists of a screening and a short introduction to the film- Too Long are our Memories (9 min) by Michelle Eistrup and James Muruiki - Mind my hat (10 min) by Amir Zainorin - Growing Vegetables on a Coral Island (22 min) by Søren Dahlgaard - The killing of a Danish swan (25 min) by Juan Hein - The Woman, The Orphan and The Tiger (72 min) by Jane Jin Kaisen og Guston Sondin-Kung Too Long are our (9 min) by Michelle Eistrup and James Muruiki
Mind my hat (10 min) by Amir Zainorin Mind my hat is a short bio and a self portrait. Being on the move and staying in many different places, I get the chance to experience to live with different people and learn different values and cultures. this life journey and experiences has somehow shape and made me the way I am today . ‘We must be the change we wish to see in the world.’ – Gandhi
Hibalhidhoo (22 min) by Søren Dahlgaard From 2002 to 2004 the Danish conceptual artist Søren Dahlgaard chose to make a test-vegetable-project on the small Maldivian island of Hibalhidhoo, located 100 km north of the capital Malé, where he had moved with his Maldivian wife and their child. The question he set himself was: using only existing methods of cultivation derived from modern hothouse market gardening, could he somehow make an essential difference to this small isolated tropical island-society, which up until then had imported almost all essential household articles, including fruit and vegetables? The island has sandy earth and a damp salty subsoil, making conditions for cultivation very difficult, and the project was supposed to clarify whether or not, with the right techniques, these disadvantages could be overcome to allow vegetables to grow on a large scale. The exhibition at Galleri Image tries to tell the story of this experiment. We are on a desert island. The fundamental infrastructure is being built. There are systems in place for desalination, houses, pumping stations, power station, fresh-water well, plus a 3000 square metre hot-house. Using the title HIBALHIDHOO, Søren Dahlgaard creates a living-room arrangement on an "island" of sand in Galleri Image, where visitors can sit down and look in family albums that chronicle the building/construction of the island-project, along with other scenes from daily life. A number of these pictures hang on the walls making a kind of panorama. Meanwhile, on a television monitor, a video installation recalls aspects of the artist's time on the island, with Søren Dahlgaard's father narrating from a letter which he wrote to friends and family during his visit to the island while the project was running. It will be seen that the agricultural project is reminiscent of a giant art installation, centred round lots of research and expertise, logistics, budgets, accounting, economy, employers, production, communication, marketing, buying and selling. The process, the history, the staging and the narratives of this enterprise are all highlighted. Thus an "artistic" project gradually emerges out of a scientific and market gardening starting-point. The killing of a Danish swan (25 min) by Juan Hein
Synopsis, concept and structure of "The killing of a Danish swan": D (Kristian Korsholm) and H (Janus Bakrawi) are a couple composed by a Danish woman and a "new Danish" man. They are having dreams together about some kind of future and projection as a couple, and may be a family, and in relation withthe society they live in. The film shows a game of babushkas where dreams inside dreams make adifficult interpretation of what is happening, what is real and what is not, what is part of their minds and prejuidices and what is in fact the fear of non-communication that they are not confronting. "The killing ofa Danish swan" is constructed by fragments and a collage of visual files and the performance from theactors and their characters in action. At the same time, the film explores the limits and the trespass ofgenres, between the documentary style and the traditional fiction interpretation. The conclusions will be open and there is a conceptual revision quoted along the film related to the H.C. Andersen's tale.
The Woman, The Orphan and The Tiger (50 min) by Jane Jin Kaisen og Guston Sondin- Kung
The Woman, The Orphan, and The Tiger
A film by Jane Jin Kaisen & Guston Sondin-Kung (DVC Pro 720p, 78 min. 2010) The Woman, The Orphan, and The Tiger is the third film in a trilogy of narrative experimental films dealing with international adoption and the ideological, geopolitical, historical, and psychological effects of that. Taking outset in this present generation of young women, the film looks at the legacy of international adoption from a feminist perspective and within a trans-generational and transnational scope. It explores the ways in which trauma is passed on from previous generations to the present through a sense of being haunted and points to the politics involved in search. The physical return of the Diaspora confronts and de-stabilizes narratives that have been constructed to systematically silence histories of injustice committed onto certain parts of the population in South Korea’s process towards democratization and economic development while negotiating the continuous division of North and South and constant US military presence in the country during the past sixty years. In The Woman, The Orphan, and the Tiger a genealogy is created by relating the stories of three generations of women: the around 200,000 former comfort women from various countries in Asia who were kidnapped from their home-countries and subjected to military sexual slavery by the Japanese military between World War I and II – the around one million women who have worked as sex-workers around US military bases in South Korea from the 1950s to the present, a system of military prostitution encouraged by both the governments of the US and South Korea – and the around 200,000 children who were adopted from South Korea to the West since the 1950s through an efficient adoption industry mainly run by American Christian organizations and sustained by a South Koran patriarchal norm system and ideals of racial purity. Thus, The Woman, The Orphan, and the Tiger attempts to situate international adoption within a longer history of military and patriarchal violence against women and children in the aftermath of Japanese colonialism, the Cold War, and the emergence of US Imperialism. The film further explores how bio-political violence onto women’s and children’s bodies became central in geopolitical negotiations between South Korea, the United States, and Japan, and how this part of world history has been systematically silenced, but reverberates in the present moment. It looks at the ways in which multiple generations of women were affected by similar oppressive mechanisms while accounting for the multiple subjectivities and different issues at stake. By portraying the shared desire for recognition, reconciliation, and reparation, the film proposes potentials for further strategic alliances to be formed in order to confront and dismantle the structures and ideologies that enabled these forms of oppression and silencing.
When: Saturday February 12, 2pm – 5pm
Organized by: Generous Gestures
About: Screenings of videos made by artists involved in the Generous Gestures. Each artist will make a short introduction.
Consists of: The event consists of a screening and a short introduction to the film- Too Long are our Memories (9 min) by Michelle Eistrup and James Muruiki
- Mind my hat (10 min) by Amir Zainorin
- Growing Vegetables on a Coral Island (22 min) by Søren Dahlgaard
- The killing of a Danish swan (25 min) by Juan Hein
- The Woman, The Orphan and The Tiger (72 min) by Jane Jin Kaisen og Guston Sondin-Kung
Too Long are our (9 min) by Michelle Eistrup and James Muruiki
Mind my hat (10 min) by Amir Zainorin
Mind my hat is a short bio and a self portrait. Being on the move and staying in many different places, I get the chance to experience to live with different people and learn different values and cultures. this life journey and experiences has somehow shape and made me the way I am today .
‘We must be the change we wish to see in the world.’ – Gandhi
Hibalhidhoo (22 min) by Søren Dahlgaard
From 2002 to 2004 the Danish conceptual artist Søren Dahlgaard chose to make a test-vegetable-project on the small Maldivian island of Hibalhidhoo, located 100 km north of the capital Malé, where he had moved with his Maldivian wife and their child. The question he set himself was: using only existing methods of cultivation derived from modern hothouse market gardening, could he somehow make an essential difference to this small isolated tropical island-society, which up until then had imported almost all essential household articles, including fruit and vegetables? The island has sandy earth and a damp salty subsoil, making conditions for cultivation very difficult, and the project was supposed to clarify whether or not, with the right techniques, these disadvantages could be overcome to allow vegetables to grow on a large scale. The exhibition at Galleri Image tries to tell the story of this experiment. We are on a desert island. The fundamental infrastructure is being built. There are systems in place for desalination, houses, pumping stations, power station, fresh-water well, plus a 3000 square metre hot-house.
Using the title HIBALHIDHOO, Søren Dahlgaard creates a living-room arrangement on an "island" of sand in Galleri Image, where visitors can sit down and look in family albums that chronicle the building/construction of the island-project, along with other scenes from daily life. A number of these pictures hang on the walls making a kind of panorama. Meanwhile, on a television monitor, a video installation recalls aspects of the artist's time on the island, with Søren Dahlgaard's father narrating from a letter which he wrote to friends and family during his visit to the island while the project was running. It will be seen that the agricultural project is reminiscent of a giant art installation, centred round lots of research and expertise, logistics, budgets, accounting, economy, employers, production, communication, marketing, buying and selling. The process, the history, the staging and the narratives of this enterprise are all highlighted. Thus an "artistic" project gradually emerges out of a scientific and market gardening starting-point.
The killing of a Danish swan (25 min) by Juan Hein
The Killing of a Danish Swan (trailer) from Juan Hein on Vimeo.
Synopsis, concept and structure of "The killing of a Danish swan": D (Kristian Korsholm) and H (Janus Bakrawi) are a couple composed by a Danish woman and a "new Danish" man. They are having dreams together about some kind of future and projection as a couple, and may be a family, and in relation withthe society they live in. The film shows a game of babushkas where dreams inside dreams make adifficult interpretation of what is happening, what is real and what is not, what is part of their minds and prejuidices and what is in fact the fear of non-communication that they are not confronting. "The killing ofa Danish swan" is constructed by fragments and a collage of visual files and the performance from theactors and their characters in action. At the same time, the film explores the limits and the trespass ofgenres, between the documentary style and the traditional fiction interpretation. The conclusions will be open and there is a conceptual revision quoted along the film related to the H.C. Andersen's tale.
The Woman, The Orphan and The Tiger (50 min) by Jane Jin Kaisen og Guston Sondin- Kung
The Woman, The Orphan, and The Tiger
A film by Jane Jin Kaisen & Guston Sondin-Kung (DVC Pro 720p, 78 min. 2010)The Woman, The Orphan, and The Tiger is the third film in a trilogy of narrative experimental films dealing with international adoption and the ideological, geopolitical, historical, and psychological effects of that.
Taking outset in this present generation of young women, the film looks at the legacy of international adoption from a feminist perspective and within a trans-generational and transnational scope. It explores the ways in which trauma is passed on from previous generations to the present through a sense of being haunted and points to the politics involved in search. The physical return of the Diaspora confronts and de-stabilizes narratives that have been constructed to systematically silence histories of injustice committed onto certain parts of the population in South Korea’s process towards democratization and economic development while negotiating the continuous division of North and South and constant US military presence in the country during the past sixty years.
In The Woman, The Orphan, and the Tiger a genealogy is created by relating the stories of three generations of women: the around 200,000 former comfort women from various countries in Asia who were kidnapped from their home-countries and subjected to military sexual slavery by the Japanese military between World War I and II – the around one million women who have worked as sex-workers around US military bases in South Korea from the 1950s to the present, a system of military prostitution encouraged by both the governments of the US and South Korea – and the around 200,000 children who were adopted from South Korea to the West since the 1950s through an efficient adoption industry mainly run by American Christian organizations and sustained by a South Koran patriarchal norm system and ideals of racial purity.
Thus, The Woman, The Orphan, and the Tiger attempts to situate international adoption within a longer history of military and patriarchal violence against women and children in the aftermath of Japanese colonialism, the Cold War, and the emergence of US Imperialism. The film further explores how bio-political violence onto women’s and children’s bodies became central in geopolitical negotiations between South Korea, the United States, and Japan, and how this part of world history has been systematically silenced, but reverberates in the present moment.
It looks at the ways in which multiple generations of women were affected by similar oppressive mechanisms while accounting for the multiple subjectivities and different issues at stake. By portraying the shared desire for recognition, reconciliation, and reparation, the film proposes potentials for further strategic alliances to be formed in order to confront and dismantle the structures and ideologies that enabled these forms of oppression and silencing.