Cite as: Rosa Barotsi, Introduction to the lecture Filipa César, ‘A Grin Without Marker’, part of the symposium Recurrences, ICI Berlin, 29 April 2016, video recording, mp4, 02:12 <https://doi.org/10.25620/e160429-1_3>
29 Apr 2016

Introduction

By Rosa Barotsi

Video in English

Format: mp4
Length: 00:02:12
First published on: https://www.ici-berlin.org/events/filipa-cesar/
Rights: © ICI Berlin

Part of the Lecture

A Grin Without Marker / Filipa César

Epistolary fadings keep flashing moments of danger. An assemblage of ruined celluloid and magnetic tape got transferred into digital matter. A map of a ciné-archeology of solidarity and alliances beamed through the lenses, into the light. Transmissions from African Liberation Movements. Irrelevancies. Humbleness. Flaschenpost. A projectile accompanied for an instant in its never accomplished flight – an aeronautic drive, a subject matter for a nomadology. Ungraspable. An abdication of history.

Filipa César is an artist and filmmaker interested in the porous borders between the moving image and its reception, fictional dimensions of the documentary and the economies, politics and poetics inherent to cinema praxis. She uses media to expose counter narratives of resistance to historicism. Since 2011, César has been looking into the origins of cinema in Guinea-Bissau, its imaginaries and potencies, developing that research into the collective project Luta ca caba inda (the struggle is not over yet). She was a participant of the research projects Living Archive (2011-13) and Visionary Archive (2013-15) both organized by the Arsenal – Institute for Film and Video Art, Berlin. Selected Film Festivals include Curtas Vila do Conde, 2012-15; Forum Expanded – Berlinale, 2013 and 2016; Indie Lisboa, 2010 and 2016; DocLisboa, 2011. Selected exhibitions and screenings include: 8th Istanbul Biennial, 2003; Tate Modern, London, 2007; SFMOMA, 2009; 29th São Paulo Biennial, 2010; HKW Berlin, 2011-2015; Jeu de Paume, Paris, 2012; Kunstwerke, Berlin, 2013; SAAVY Contemporary, Berlin 2014-15, Futura, Prague 2015; Mumok, Vienna, 2016.

Venue

ICI Berlin
(Click for further documentation)

Organized by

Maria José de Abreu
Preciosa de Joya
Ursula Helg

Part of the Symposium

Recurrences: Fetish, Magic, and the Gift

Concepts such as fetish, magic, and the gift have often been attributed to ‘kinship communities’, and taken to be ‘out of place’ if not ‘overcome’ in modernity. But is Hegel’s notion of the magic fetish in Africa so different from Marx’s and Freud’s descriptions of the crucial role of fetishes in modern societies? Freeing ourselves from evolutionist and structuralist conceptions allows us to take the fetish not merely as the object of an irrational and arbitrary choice of people in primitive cultures but a potentially universal mechanism of deception, fantasy or desire. Art and art history likewise attest to the continuing legacy of terms originally devised for the description of other, non-Western cultures and has most recently focused not only on fetishism and magic but the materiality and mediality of their objects. We are all fetishists; and if we tend to see the fetish through the optics of fixation, it is precisely because of its unsettling nature and composite fabrication; its capacity to produce and/or reproduce originary acts and events and to destabilize the boundaries between faith and law, icons and idols, object and referent, the natural and the artificial.

Venue

ICI Berlin
(Click for further documentation)

With

Joshua Barker
Iracema Dulley
Wyatt MacGaffey
Ursula Helg
Rosalind C. Morris
Roger Sansi-Roca
Bruno Sotto Mayor
Filipa César
James T. Siegel

Organized by

Maria José de Abreu
Preciosa de Joya
Ursula Helg
An ICI Event, in cooperation with DFG-Research Unit 1703 ‘Transcultural Negotiations in the Ambits of Art. Comparative Perspectives on Historical Contexts and Current Constellations’, Freie Universität Berlin