Free Falls into the Image, Forensickness and Heads May Roll were presented as part of the remote. response. request. series of film exhibitions at transmediale festival 2021. Crossing the lines between cinema, exhibition, and performance, remote. response. request. offered a distinct film-festival format through a series of commissioned works extended across the transmediale studio space and website.
remote. response. request. III. brings together two filmmakers exploring the conditions through which the film image produces and asserts its power over us, and the ways in which this power can operate both in favour of, or against political demands and actions. Through their works, Chloé Galibert-Laîné and Katerina Suvorova question, generate and in some cases, amplify the power of the image in order to reframe debate and produce social change.
Working with archival imagery that includes YouTube conspiracy theories, state propaganda, artist films and Hollywood movies, Chloé Galibert-Laîné questions the spectator’s desire for certain types of image by deconstructing their meanings. Adopting an essay-film format, her documentaries emerge through a series of staged interactions between the filmmaker and the pictures, movies and text files gathered on her PC desktop. In discussion with these materials, Galibert-Laîné dismantles the image to reveal the spectacle at its heart, revealing new connections and ways of seeing that equip the spectator with the agency to refuse its aura and power; a right of reply to the image.
For the final series of remote. response. request. III. Galibert-Laîné combines a new commissioned work Free Falls into the Image (co Ben Evans James) with screenings of her recent feature Forensickness and short film A Very Long Exposure Time.
In Heads May Roll, Katerina Suvorova presents a conversation between herself and fellow activist and writer Moldiyar Yergebekov. Together the pair discuss subjects explored in Suvorova’s forthcoming feature films One Year Chronicles and Qyz Bolsyn (May It Be A Girl) and draw attention to the daily acts of defiance performed by citizens demanding social change in Kazakhstan. Exploring the legacy of Suvorova’s film works, their conversation highlights ongoing political oppression, systemic gender discrimination and colonialism's continuing consequences in the ex-Soviet state.
Artists:
Chloé Galibert-Laîné, Katerina Suvorova and Moldiyar Yergebekov
With thanks:
Rebecca Smith
Photos:
Luca Girardini and Ben Evans James
remote. response. request. III. brings together two filmmakers exploring the conditions through which the film image produces and asserts its power over us, and the ways in which this power can operate both in favour of, or against political demands and actions. Through their works, Chloé Galibert-Laîné and Katerina Suvorova question, generate and in some cases, amplify the power of the image in order to reframe debate and produce social change.
Working with archival imagery that includes YouTube conspiracy theories, state propaganda, artist films and Hollywood movies, Chloé Galibert-Laîné questions the spectator’s desire for certain types of image by deconstructing their meanings. Adopting an essay-film format, her documentaries emerge through a series of staged interactions between the filmmaker and the pictures, movies and text files gathered on her PC desktop. In discussion with these materials, Galibert-Laîné dismantles the image to reveal the spectacle at its heart, revealing new connections and ways of seeing that equip the spectator with the agency to refuse its aura and power; a right of reply to the image.
For the final series of remote. response. request. III. Galibert-Laîné combines a new commissioned work Free Falls into the Image (co Ben Evans James) with screenings of her recent feature Forensickness and short film A Very Long Exposure Time.
In Heads May Roll, Katerina Suvorova presents a conversation between herself and fellow activist and writer Moldiyar Yergebekov. Together the pair discuss subjects explored in Suvorova’s forthcoming feature films One Year Chronicles and Qyz Bolsyn (May It Be A Girl) and draw attention to the daily acts of defiance performed by citizens demanding social change in Kazakhstan. Exploring the legacy of Suvorova’s film works, their conversation highlights ongoing political oppression, systemic gender discrimination and colonialism's continuing consequences in the ex-Soviet state.
Artists:
Chloé Galibert-Laîné, Katerina Suvorova and Moldiyar Yergebekov
With thanks:
Rebecca Smith
Photos:
Luca Girardini and Ben Evans James
