2018 – PART 1: Three Shorts (18.00 – 19.00)

Sun 1st July: Evening Screening Programme (K – 1.56)

The event is free but please register if you wish to attend (unless you are a conference delegate): BOOK TICKETS

Where were you in 1992?

2018, video, colour, 15’

Amanda Egbe and Rastko Novaković

We were fighting racism and fascism on the streets of London. We were trying to resist and survive the violent ethno-nationalism in Yugoslavia. Where Were You in 1992?: Rumours of War is the outline of the first part of a major audiovisual project. Moving between the personal and the collective, it explores actions and gestures of resistance. It seeks out those that persist and those that haven fallen away. In its expanded form Where Were You in 1992? investigates through films, archives and visual panels,  the global militancy of the 1990’s.

Amanda Egbe and Rastko Novaković

Amanda Egbe is an artist, filmmaker and Lecturer in Media Production at the University of Bedfordshire. Rastko Novaković is an artist working with the moving image, active in trade union and housing struggles. Together, over the past 17 years, they have created short and feature films, participatory videos, web-based projects, expanded cinema and a site-specific panorama. http://1992.maydayrooms.org/ 

Her Name in my Mouth

2017, HD Video, colour, 6’02

Onyeke Igwe

The film revisions the Aba Women’s War, the first major anti-colonial uprisings in Nigeria, using embodiment, gesture and the archive. The film is structured around the repurposing of archival films from the British propaganda arm cut against a gestural evocation of the women’s testimonies.

Onyeka Igwe

Onyeka Igwe is an artist filmmaker and AHRC funded PhD researcher at University of the Arts London. She has been published in MIRAJ and Alphaville: Journal of Film and Screen Media. Her video works have shown at the Institute of Contemporary Arts; London, Trinity Square Video; Toronto; The Showroom; London, articule; Montreal, and the London, Rotterdam International, Edinburgh Artist Moving Image, and Hamburg film festivals. Onyeka was awarded the 2018 British Assoc. of Film & TV Studies Best Practice Research Portfolio: Experimental.

Image Diplomacy

2017, 4k, Colour, 28’ 55”

Vladislav Shapovalov

During the Cold War both sides used photographic exhibitions as a tool to promote their political visions. While the USSR came up with the original format of a portable kit exposition, the United States assembled one ambitious show that toured the globe.

The film documents the battle waged between the two ideological blocs in the field of “exhibition diplomacy” and gives an insight into the unwritten history of Soviet soft power and socialist internationalism. It compares the forgotten archival materials left behind in Europe from the Soviet photographic exhibitions and films with the American Family of Man exhibition, on display today at Luxembourg’s Clervaux Castle and included in the UNESCO Memory of the World Register.

“Image Diplomacy” deals with history and the materials from which it is made. Dedicated to the re-composition of facts and narratives considered obsolete or forgotten, it ruminates over the question: Why do we look at the past?

The film is set inside the archive of Association Italy Russia (ex-friendship society Italy-USSR) in Milan, at the Film Archive in Bologna, and inside the reconstruction of UNESCO recognised photographic exhibition The Family of Man.

Vladislav Shapovalov

Vladislav Shapovalov (1981, Russia) is an artist and researcher living and working in Milan and Moscow. He graduated in Cultural Studies in Moscow and received his MA in Visual Arts and Curatorial Studies at NABA – New Academy of Fine Arts, Milan. He was a member of the art-group Radek Community (1999-2007). Since 2008 he has been working independently on projects that focus on rethinking images, cultural artefacts and the construction of narratives as a way to construe and analyse geopolitical configurations.

He has participated in the exhibitions The Way of Enthusiasts, held during the 13th Architectural Biennale in Venice (2012), The School of Kyiv. Kyiv Biennial (2015), Atlas [of the ruins] of Europe in Madrid (2016), A Thousand Roaring Beasts: Display Devices For A Critical Modernity, Seville (2017) and Holes In The Wall. Anachronic Approaches To The Here-And-Now, Vienna (2018). He was a fellow at International Fellowship Program for Art and Theory 2016–2017 at Künstlerhaus Büchsenhausen, Innsbruck.

His long-term project Image Diplomacy was presented in two solo exhibitions at Moscow Museum of Modern Art (with V-A-C Foundation) and Ar/Ge Kunst, Bolzano.