Foto main site: © Angela Anderson Three (or more) Ecologies
Foto © Nika Autor Obzornik 63 - VLAK SENC
SYMPOSIUM
FRAMED EXISTENCES
November 30, 2018, 4:00 - 9:00 pm
Medienwerkstatt Wien
Neubaugasse 40a, 1070 Wien
Organized by The Golden Pixel Cooperative
Framed Existences addresses various artistic strategies of depicting the world and its social, political, and ecological systems. Their specific approaches to ‘framing’ humans and non-humans contribute significantly to our perception of the subject involved. As a result, they produce social, political, and cultural valuations and effects.
4:00 pm Jana Seehusen: framing with/out frames
5:00 pm Nika Autor: Aesthetics in Politically Engaged and Committed Artistic Practice
6:30 pm Sílvia das Fadas: Auguries for a Non-Hierarchical Framing and Flourishing
7:30 pm Angela Anderson: Three (or More) Ecologies: A Feminist Articulation of Eco-Intersectionality
Framed Existences addresses various artistic strategies of depicting the world and its social, political, and ecological systems. Their specific approaches to ‘framing’ humans and non-humans contribute significantly to our perception of the subject involved. As a result, they produce social, political, and cultural valuations and effects. In her lecture, artist and writer Jana Seehusen addresses history and memory in film and explores how memory becomes visible, or ‘actualized,’ through the act of framing in Lola Arias’ Teatro de Guerra (2018). Artist Nika Autor presents her work with the “Newsreel Front” (“Obzorniška Fronta”) collective, which understands the newsreel as an emancipatory and engaged practice. Filmmaker Sílvia das Fadas provides insight into her current film project by talking about “Auguries for a Non-Hierarchical Framing and Flourishing,” and looking at the ruins of a commune in Alentejo, Portugal. Film artist Angela Anderson presents her audio-visual research project Three (or more) Ecologies, which juxtaposes the Dakotas (US) and Rojava (northern Syria) by focusing on the local women’s resistance against ecologically harmful machines of the capitalist military-industrial complex.
Jana Seehusen’s practice as an artist and writer focuses on modes of language and action in relation to concepts of inbetweenness, otherness, and transitionings. Her work in the field of art theory, aesthetic theory in film, and cultural studies relates to questions of in/visibility, subject and gender theory, and identity politics. Her most recent publications are: Performing Documentary. Birgit Kohler im Gespräch mit Jana Seehusen (2014), Echo: Lauter widerständige Entwürfe. Künstlerische Praktiken von Korrespondenz und Transfer (2015), How To Perform Entangled Memories: Vom Sehen im Nichtsehen (2016), Imagine Another Topology! Zu ‘Time to Sync or Swim’ von Katrin Mayer & Eske Schlüters (2016), Visualität und Abstraktion. Eine Aktualisierung des Figur-Grund-Verhältnisses, with Hanne Loreck (ed.) (2017). In June 2018, she curated the D’EST screening chapter The Suspension and Excess of Time together with Kathrin Becker.
Sílvia das Fadas is a filmmaker, a researcher, a teacher, a wanderer. Born in Portugal in 1983, she studied cinema and aesthetics in Lisbon and Rome. Driven by a militant nostalgia, she moved to Los Angeles to craft her personal films in 16mm at the California Institute of the Arts. She worked as a visual history researcher for the Academy of Motion Picture Arts and Sciences and collaborated with Los Angeles Filmforum until her visa expired and she moved to Vienna in search of a lively film culture. She is currently a participant in the PhD in Practice program at the Academy of Fine Arts in Vienna. She is interested in the politics intrinsic to cinematic practices and in cinema as a way of being together in restlessness and brokenness.
Nika Autor studied at the Academy of Fine Arts in Ljubljana (BA and MA) before completing the PhD in Practice program at Academy of Fine Arts Vienna. Her practice is primarily based on experimental videos and documentary films, film essays, newsreels, and spatial video and film installations. In her work, she focuses on researching invisibilities/inaudibilities concerning concealed topics of the forgotten past and the silenced present, while examining asylum and migration policies, workers rights, and the politics of memory. She is part of the collective Newsreel Front (Obzorniška Fronta), an informal collective whose members work in the field of film theory and art practice.
Angela Anderson is an artist and filmmaker working at the intersection of the fields of philosophy, ecology, economics, migration, media, as well as feminist and queer theory. Central to her work is an awareness of the intimate connection between media production, memory and apprehension, and audio-visual media’s potential to introduce new alignments. Since 2013 she has been collaborating with Angela Melitopoulos on the audio-visual research projects Unearthing Disaster (2013-2015), The Refrain (2015), and Crossings (2017), which was shown at documenta 14. Recent exhibitions include CAAC (Sevilla - 2018), Minnesota Street Project (San Francisco - 2017), Framer Framed (Amsterdam - 2016), Holbaek Images (2016) and the Thessaloniki Biennale (2015). Originally from Wisconsin, USA, she lives and works in Berlin.
Medienwerkstatt Wien
Neubaugasse 40a, 1070 Wien
Organized by The Golden Pixel Cooperative
Framed Existences addresses various artistic strategies of depicting the world and its social, political, and ecological systems. Their specific approaches to ‘framing’ humans and non-humans contribute significantly to our perception of the subject involved. As a result, they produce social, political, and cultural valuations and effects.
4:00 pm Jana Seehusen: framing with/out frames
5:00 pm Nika Autor: Aesthetics in Politically Engaged and Committed Artistic Practice
6:30 pm Sílvia das Fadas: Auguries for a Non-Hierarchical Framing and Flourishing
7:30 pm Angela Anderson: Three (or More) Ecologies: A Feminist Articulation of Eco-Intersectionality
Framed Existences addresses various artistic strategies of depicting the world and its social, political, and ecological systems. Their specific approaches to ‘framing’ humans and non-humans contribute significantly to our perception of the subject involved. As a result, they produce social, political, and cultural valuations and effects. In her lecture, artist and writer Jana Seehusen addresses history and memory in film and explores how memory becomes visible, or ‘actualized,’ through the act of framing in Lola Arias’ Teatro de Guerra (2018). Artist Nika Autor presents her work with the “Newsreel Front” (“Obzorniška Fronta”) collective, which understands the newsreel as an emancipatory and engaged practice. Filmmaker Sílvia das Fadas provides insight into her current film project by talking about “Auguries for a Non-Hierarchical Framing and Flourishing,” and looking at the ruins of a commune in Alentejo, Portugal. Film artist Angela Anderson presents her audio-visual research project Three (or more) Ecologies, which juxtaposes the Dakotas (US) and Rojava (northern Syria) by focusing on the local women’s resistance against ecologically harmful machines of the capitalist military-industrial complex.
Jana Seehusen’s practice as an artist and writer focuses on modes of language and action in relation to concepts of inbetweenness, otherness, and transitionings. Her work in the field of art theory, aesthetic theory in film, and cultural studies relates to questions of in/visibility, subject and gender theory, and identity politics. Her most recent publications are: Performing Documentary. Birgit Kohler im Gespräch mit Jana Seehusen (2014), Echo: Lauter widerständige Entwürfe. Künstlerische Praktiken von Korrespondenz und Transfer (2015), How To Perform Entangled Memories: Vom Sehen im Nichtsehen (2016), Imagine Another Topology! Zu ‘Time to Sync or Swim’ von Katrin Mayer & Eske Schlüters (2016), Visualität und Abstraktion. Eine Aktualisierung des Figur-Grund-Verhältnisses, with Hanne Loreck (ed.) (2017). In June 2018, she curated the D’EST screening chapter The Suspension and Excess of Time together with Kathrin Becker.
Sílvia das Fadas is a filmmaker, a researcher, a teacher, a wanderer. Born in Portugal in 1983, she studied cinema and aesthetics in Lisbon and Rome. Driven by a militant nostalgia, she moved to Los Angeles to craft her personal films in 16mm at the California Institute of the Arts. She worked as a visual history researcher for the Academy of Motion Picture Arts and Sciences and collaborated with Los Angeles Filmforum until her visa expired and she moved to Vienna in search of a lively film culture. She is currently a participant in the PhD in Practice program at the Academy of Fine Arts in Vienna. She is interested in the politics intrinsic to cinematic practices and in cinema as a way of being together in restlessness and brokenness.
Nika Autor studied at the Academy of Fine Arts in Ljubljana (BA and MA) before completing the PhD in Practice program at Academy of Fine Arts Vienna. Her practice is primarily based on experimental videos and documentary films, film essays, newsreels, and spatial video and film installations. In her work, she focuses on researching invisibilities/inaudibilities concerning concealed topics of the forgotten past and the silenced present, while examining asylum and migration policies, workers rights, and the politics of memory. She is part of the collective Newsreel Front (Obzorniška Fronta), an informal collective whose members work in the field of film theory and art practice.
Angela Anderson is an artist and filmmaker working at the intersection of the fields of philosophy, ecology, economics, migration, media, as well as feminist and queer theory. Central to her work is an awareness of the intimate connection between media production, memory and apprehension, and audio-visual media’s potential to introduce new alignments. Since 2013 she has been collaborating with Angela Melitopoulos on the audio-visual research projects Unearthing Disaster (2013-2015), The Refrain (2015), and Crossings (2017), which was shown at documenta 14. Recent exhibitions include CAAC (Sevilla - 2018), Minnesota Street Project (San Francisco - 2017), Framer Framed (Amsterdam - 2016), Holbaek Images (2016) and the Thessaloniki Biennale (2015). Originally from Wisconsin, USA, she lives and works in Berlin.