Jaromil is a researcher in philosophy of technology, an artist and a software artisan, whose creations are endorsed by the Free Software Foundation. He is CTO and co-founder of the Dyne.org, a home to a community of digital artists, critical makers and free software developers on cryptography, peer to peer networks, decentralisation and blockchain technologies. Jaromil takes audiences into this world and explains how creativity is at the heart of the hacking community. In 2009 Jaromil received the Vilém Flusser Award at Transmediale. https://jaromil.dyne.org/
Hackers are the rebellious rockstars of our times. Manning, Assange, Snowden and the omnipresent mask of Anonymous have all become incredibly influential in drawing a part of human history that can hardly be forgotten. Hacker communities – with their disruptive, creative ethos – have played a key role in a number of technical, economic, political and social innovations in the past decades.
In his lecture, Jaromil will go across some major events, milestones for the hacker community worldwide, to demonstrate that the ethical code of hackers can be regarded as a novel and extremely important heritage. He will use practical examples in history of hackers, artists and activists who changed the world.
Chris Keulemans is a writer, journalist and lecturer. He is the founder of Perdu, a literary platform, and of de Tolhuistuin, a cultural centre, as well as manager of de Balie, a centre for culture and politics, all of which are in Amsterdam. He has published six books of fiction and non-fiction, and numerous articles about art, political commitment, migration, war, music, cinema and cities in publications such as de Volkskrant and Vrij Nederland. He visited artists in cities such as Beirut, Jakarta, Algiers, Prishtina, Sarajevo, Tirana, New York, New Orleans, Kiev, Qamishlo and Ramallah as part of a research project on art in times of crisis.
Rob Schröder is a graphic designer and a documentary maker. He was one of the founders of Wild Plakken (illegal billposting), a designers’ collective that does work for cultural institutions as well as for social and political groups. Wild Plakken inspired politically activist designers worldwide. Rob was a professor at the graphic design department and the audio visual department of the Gerrit Rietveld Academy and one of the founders of the Sandberg Institute, which he also headed for five years. As a documentary maker, he works for the VPRO and makes independent documentaries about a wide range of subjects, often relating to art or political issues.
Jonas Staal is an artist and the founder of the artistic and political organization New World Summit and the New Unions campaign. His work includes interventions in public space, exhibitions, theatre plays, publications and lectures, focusing on the relationship between art, democracy and propaganda. His projects have been exhibited widely. Recent books by Staal include ‘Nosso Lar, Brasília’ (Jap Sam Books, 2014) and ‘Stateless Democracy’ (BAK, 2015). The artist is a regular contributor to e-flux journal and a researcher at the PhD Arts programme on Propaganda Art in the 21st Century, at the University of Leiden.
Jonas Staal and Rob Schröder talk about art and activism on 1 November 2017.
After an Uprising: Art and Politics in Egypt Post-2011
This presentation will sketch the political and cultural landscape in Egypt prior and after the 2011 uprising and will consider the role and practice of artists and art institutions in such a volatile context.
The Russian Revolution, Soviet Montage and the Promise of Intellectual Cinema
The lecture explores the radical innovations that were introduced in early Soviet film by iconoclasts such as Kuleshov, Eisenstein and Vertov with the aim of turning cinema into a truly revolutionary art form.
Anik Fournier teaches contemporary art theory in the Fine Arts department of ArtEZ Arnhem (BEAR-Base for Experiment, Art and Research). She is part of the team of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, an organisation dedicated to exploring the evolution and typology of performance and performativity in contemporary art. Since obtaining her doctorate from the Amsterdam School of Cultural Analysis, she has given guest lectures at the University of Amsterdam, the Sandberg Institute and the School for New Dance Development. Previously she was a resident at the Banff Research in Culture, and a curatorial fellow with the Whitney Museum Independent Study Program in New York. Recent curatorial projects include Art Newsroom at Circa Dit, Arnhem (with Lado Darakhvelidze) and Lets Play, Lux Nijmegen (with Andree van de Kerkhove). She is co-author of Undercurrents: Experimental Ecosystems in Recent Art. See film programme in Arnhem.
Erik Viskil is a researcher, writer, lecturer and advisor in the field of contemporary art and design, and a film enthusiast. Over the years he has organized film programmes and lecture series on cinema, in cooperation with various parties. He has curated seminars and a conference on American underground cinema, highlighting the views and works of Jonas Mekas. He has made film programmes and given lectures on the German Red Army Faction and the hallucinatory effects of cinema. Erik was the architect of the new programme of BEAR Fine Art in Arnhem in 2012. He is a tutor at PhD Arts in Leiden and chair of the Examination Board of Design Academy Eindhoven.
The Revolution Will Come Unexpected – Introduction To The Film Festival
Still from Jean-Luc Godard’s Week-end, 1967
How to remember an event that ultimately led to harsh dictatorship, injustice and war? Could we celebrate the 100th birthday of the Russian Revolution? Even if the ideals might still be valid … the doctrine is not. But there is one thing we can celebrate: the compassion for and belief in the power of the avant-garde. The Russian Revolution gave us a totally renewed language of cinema. It showed us how sharp-witted, socially committed, experimental and pioneering cinema can be.
That was one of my reasons to propose the film programme How To Make A Molotov-Cocktail? The Cinema of Revolution. Not intending to stop at the Russian Revolution, but to start from it, discovering films with a similar attitude and energy. My second starting point was a short activist film which the title of the programme refers to. It was made by the film student Holger Meins in 1968. The film got lost, Holger Meins died in prison, and his fellow students continued with the camera. We will show Gerd Conradt’s Farbtest – Die Rote Fahne and Harun Farocki’s Videogramme einer Revolution.
Erik Viskil’s lecture is a kaleidoscopic preamble to the festival day, with many links to the rest of the programme. He will introduce the films and the directors, and their connections to other highlights of cinema. He will talk about Rainer Werner Fassbinder, who once shouted “I don’t throw bombs, I make films” and about his compelling discussion with his mother about dictatorship in Deutschland im Herbst. A discussion which is now mirrored in Jehane Noujaim’s overwhelming documentary about the Egyption Revolution at Tahrir Square. He will define what a film essay is, and what the importance is of Chris Marker and his relation with Jean-Luc Godard. He will show some stunning stills from Week-end and compare it to La Chinoise, Godard’s other film which explicitly deals with revolution. He will show you the place where the Arab spring began so unexpectedly. And last but not least, he will show you a bright reconstruction of Holger Meins’ lost activist student film from 1968 which was one of the sources of inspiration for the programme.
Noam ToranNoam Toran’s work involves the creation of intricate narratives developed as a means of reflecting upon the interrelations of history, memory, and storytelling as embodied in cinematic, literary, and performative forms. Research-based, the works examine how fictions influence the collective consciousness and are realised through an original way of reconfiguring narrative codes, conventions and structures, interweaving them with historical materials. His work is exhibited, screened and published internationally.
In May 2017, Noam Toran presented The Jungle, the first in a series of immersive works drawing on the traditions of political theatre and performing arts from the first half of the 20th century. The work is based on the 1906 novel of the same name by Upton Sinclair and is considered to be a classic ‘muckraking’ exposé on the dehumanising labour practices of the Chicago meat-packing industry. ‘I was drawn to Upton Sinclair’s novel because his depiction of working class struggles, corporate corruption, and the failures of capitalism are depressingly relevant to this day.’
Kalib Batta is (spoken word) artiest, muzikant en schrijver en studeert Creative Writing aan ArtEZ. Ze draagt de tijdsgeest om de ‘waarheid’ te vertellen, middels kunst. Ze is geboren te Amsterdam, opgegroeid in Zeeburg en op zee; Bonaire. Haar biculturaliteit draagt bij aan de vraag wat een nationaliteit nu eigenlijk is voor de identiteit. De vraag van tegenwoordig.
Kalib Batta is ook een nongender, polyamoreuze queer, veganist. En in een wereld waar ieder van deze termen als ‘politieke keuzes’ wordt verondersteld, is de kunst een openbaring van nieuwe waarheden. De waarheden van tegenwoordig.
Kalib treedt op op 9 november bij Revolte in Enschede.