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Join us on e-stream Video & Film for Interrelational Arrangements (Interdependency and Survival), the third installment in the Me, You, and Everyone We Know series of films and online discussions curated by Irmgard Emmelhainz.

No biological organism can live on its own, yet our relationships with others and with the environment are determined by the modern fantasy of the independent individual fighting for himself in a Darwinist quest for success and survival. These relationships also shape how we support each other, how we survive in the world, and how we see ourselves as individual subjects. Under global capitalism, the qualities and intensities of interpersonal and environmental relationships also pass through the market and are characterized by extreme alienation and dissociation. The works in this program deal with the hopes and dysfunctions of contemporary subjectivity and interrelational arrangements as determined by modernity and capitalism. Today, the market has erased the boundaries between biological and political life, perpetuating the colonial hierarchy of a racialized social and political life that makes certain bodies vulnerable and subject to the technologies of oppression and dispossession, while protecting them from other. As precariousness is exacerbated by the COVID-19 pandemic, discussions of decolonial internationality, reciprocity and mutual aid emerge in an effort to finally transcend the white savior complex behind human rights rhetoric. and the welfare state. In our hyper-individualized imaginaries, we have set up empathy as a structural emotion to relate to others, but we are either unresponsive to their pain or embedded in toxic forms of empathic codependency. One can only hope for impossible attachments and autonomous forms of mutual aid.

Me, you and everyone we know: Interrelationality, otherness, globalization
Part Three: Interrelational Arrangements (Interdependence and Survival)

Screening: from Wednesday July 21 to Tuesday August 3, 2021

Miguel Calderon, Camaleon, 2017, 26:23 minutes
In falconry, when birds hunt, they create a bridge between the falconer and the sky, losing sight of each other; but they usually come back because of the symbiotic relationship they have established. Camaleon explores this link through a real character who depends on his bird as if it were an anxiolytic he needed to face reality. This film explores the connection between humans and nature by following the protagonist for twenty-four hours, from his position as a bouncer in a city nightclub, until he emerges at dawn to take his falcon on the hunt. The protagonist subtly explores the parallelism between the animal instinct to kill and the implications of this act when it involves a human being.

Emily Vey Duke and Cooper Battersby, Beauty and pity, 2009, 14:19 minutes
Combining songs, stories, cartoons, salvaged video footage and the installation of taxidermized animals and other sculptural elements, Beauty and pity investigates the perverse ethical, emotional and existential relationships between adults, children, animals and God. Canadian Syracuse artists Emily Vey Duke and Cooper Battersby suggest that generational legacies and natural cycles comfort us with their promise of continuity and trap us in destructive patterns. They are fascinated by how redemption can sprout from the present just like a tree sprouts from a seed. By reciting Philip Larkin’s poem on parental dysfunction, “This Be The Verse”, they urge us to “get out as soon as possible” from our parents’ grip “and not to have children yourself” . Although children are not good, says the narrator, they contain a potential for goodness.

Miguel Calderon, El placer después (The pleasure after), 2019, 30 minutes
Many of Miguel Calderón’s pieces incorporate personal experiences by exploring encounters and objects that have marked his memory. Immediately after the September 19, 2017 earthquake that hit Mexico City, Calderón established a close relationship with the maintenance staff of the Cibeles fountain. The video tells a series of events narrated by a real character who also recreates them around this specific landmark.

Emily Vey Duke and Cooper Battersby, You were a wonder the day you were born, 2019, 30 minutes
You were a wonder the day you were born is a visually rich film that follows a woman through a life characterized by damage and loss, but one in which she finds humor, love and joy. With a score that follows Lenore’s span of life, from his birth in the early 1970s to his death in the 2040s, the film takes us from moments of heartbreaking loss to those of poignant and dark humor. His life is told in voiceover, told by performers aged nine to sixty-nine, and is beautifully illustrated with images of animals (including humans), insects and landscapes. Film theorist Eli Horwatt writes “Yor have been a wonder … shows how the ineluctable death drive of the human animal can be the source of both deep comedy and tragic cruelty. In the many stories relayed through this short but talkative film, viewers are invited to an intimate identification with the experiences of other marginalized people.

bh Yael, Lessons for polygamists, 2017, 14:33 minutes
Using animation and collage, Lessons for polygamists takes place in the diary of a teenage girl who grows up in a polygamous household. She lists the lessons she would pass on to Dad, if only she could. Every teenager knows their life better than the adults. Lessons for polygamists reflects the correct voice of adolescence as the young narrator tries to make sense of her family dynamic, and more so of her father’s behavior. Lessons for polygamists is the story of the artist who grew up in a polygamous family. Through animated play, images are drawn from photographs and family documents, and the stories extend the lessons to a wider audience.

Discussion: Tuesday, August 3, 2021 at 1 p.m. EST
bh Yael, Cooper Battersby and Emily Vey Duke, moderated by Irmgard Emmelhainz
Livestream and Q&A with the audience.

About series
In the prehistory of globalization, modernity was promoted by post-war international agencies which prescribed epistemologies, means of economic organization and methods of production, and even cultural sensitivity to so-called third world countries. From a decolonial point of view, modernity and colonialism are inseparable; indeed, they form the basis of our contemporary globalized socio-economic and political systems: predatory market-based relationships. In order to normalize those toxic forms of interdependence and interrelationships that lead to civilizational and environmental collapse, the human and non-human inhabitants of the world are differentiated by means of signifiers, for example, otherness, class, sex. , ethnicity and religion. These differentiations affect our relationships with each other and the way we become subjects. This series brings together audiovisual works from Canada, Europe, North and South America and Australia, from within or from the margins of Western civilization. Beyond asking the question of whether decolonizing would mean undoing these differential categories and bringing justice to oppressed peoples, they provide pieces of a puzzle that could allow us to better see global capitalism not as a generalized and abstract whole, but as heterogeneous processes composed of beliefs. , knowledge, relationships, daily practices, and the dissociation of our bodies and social relationships that denigrate the reproduction of life for the benefit of production and consumption cycles. As such, they provide a pressing point of view on the contradictions and toxic interrelationships inherent in the subject of Western modernity, which has sought to feel at home anywhere on the globe, but now increasingly finds itself. more foreign to the basic means to reproduce life.

Me, You, and Everyone We Know: Interrelationality, Alterity, Globalization is a new film and online chat series programmed by Irmgard Emmelhainz for Video & Film e-flux. It will take place in four thematic parts from June 23 to August 18, 2021. Each part will include a two-week group screening and live discussion.

With films and videos of Ariela Aïsha Azoulay, Yael Bartana, Cooper Battersby and Emily vey duke, Ursula Biemann, bh Yael, Jean Bock, Maja borg, Christmas Burch and Allan Sekula, Miguel Calderon, Sara Eliassen, JOhn Greyson, Clarisse hahn, Mike Kelley and Paul mccarthy, Nicolas mangan, Juan Manuel Sepúlveda, and Miguel Ventura; and discussions with Franco “Bifo” Berardi, Anita chari, Elena Comay del Junco, Siobhan F. Guerrero Mc Manus, Jean-Paul Ricco, Miguel Ventura, Soyoung Yoon, and more to be announced.

For more information, contact [email protected]