and Ana Hupe
„Maniok, reibe ich dir, Schwesterchen“ (Manioc, I grind you, sister),
2015 – 19, 13 Min.
“Maniok, reibe ich dir, Schwesterchen” is a 2-channel video installation by Brazilian artists Barbara Marcel and Ana Hupe. One channel shows visual material and interviews with local activists and herbalists recorded between 2013 and 2017 in the Amazon region (Santarém, Alter do Chão and the community of Anã). The second channel juxtaposes historical and contemporary footage set to sound composed by the musician Thelmo Cristovam. Fragments from the first film ever shot in the Amazon forest ("No Paiz das Amazonas" [In the Land of the Amazon]) by Silvino Santos and Agesislau de Araújo, Manaus, Brazil 1922) are interspersed with present-day soy monocultures and local politicians.
The traditional process still used by indigenous cultures to produce manioc flour merges here with older sequences of Macushi women singing as they grind the cassava tubers. This footage of indigenous Macushi women singing at work was recorded by the German naturalist Theodor Koch-Grünberg between 1911 and 1913 when he was travelling in the Amazon region in Brazil and Venezuela. To preserve the memory of this traditional method of milling manioc among Amazonian caboclo communities, the artists challenge viewers to listen to the Phonographic Archive at the Botanical Museum in Dahlem (Berlin) from a decolonial perspective.
„Maniok, reibe ich dir, Schwesterchen“ (Manioc, I grind you, sister),
2015 – 19, 43 Min.
Barbara Marcel (*1985, Rio de Janeiro, Brazil) is a Brazilian artist and film-maker. Her works explore historical views of nature and how these relate to colonial imagery. The artist devoted her doctoral dissertation to the essay film as a genre and as a historiographical tool for decolonial thought. Her explicit focus is on issues in history and the links between Germany and Latin America. Parallel to her research, she works regularly with other artists, researchers and activists on projects around public debate in times of growing environmental conflict and social inequality. Marcel studied at the Bauhaus University in Weimar, the Institute for Art in Context at Berlin’s University of the Arts and the Universidade Estácio de Sá in Rio de Janeiro. Venues that have shown her work include ZKM, Karlsruhe; nGbK, Berlin; Savvy Contemporary Berlin; Espacio Pla, Buenos Aires; Tieranatomisches Theater, Humboldt University, Berlin; Haus der Kulturen der Welt, Berlin; CeNak - Zoological Museum, Hamburg; the Athens Biennale and the Galerie für Zeitgenössische Kunst, Leipzig. She holds a bursary from the Heinrich Böll Foundation and has lived in Berlin since 2009.
Ana Hupe (*1983, Rio de Janeiro, Brazil) dedicates herself to rescue hidden histories of resistance that she rewrites in installations with multiple narratives. The installations are counter-memories of colonial archives. Lensbased media, texts, printmaking and sculptures are part of her works. Hupe is Doctor in Fine Arts by Rio de Janeiro’s Federal University (2016, PPGAV - UFRJ). She did one year exchange at UdK, Berlin, supervised by Hito Steyerl. 2019 she was one of the 30 Brazilian artists nominated for "Prêmio Marcantonio Villaça" (MAC-USP); was part of Goldrausch Program Berlin and was recipient of the grant Künstlerkontakte IFA for a research trip to Nigeria. 2020 she will do a solo show in Lagos, Nigeria (Exhibition Funding IFA 2020). She took part at group exhibitions at various venues such as: Savvy Contemporary, Berlin; M_Bassy, Hamburg; Haus am Kleistpark, Berlin; CCSP, São Paulo; MAM, Rio de Janeiro and São Paulo; and did solo shows at renamed Brazilian institutions like Centro Cultural Banco do Brasil Rio de Janeiro (2016), FUNDAJ, Recife (2017), Paço das Artes, MIS (Sound and Image Museum, São Paulo, 2017). She did a lot of residencies around the world: Artista x Artista, Cuba (2019); Vila Sul Goethe Institut, Brazil (2018); Kunstkvarteret Lofoten, Norway (2016); Greatmore House Art Studios, South Africa (2016), La Ene, Buenos Aires (2013).
Luciene Santos: Activist and Herbalist at GECEM- Casa de Chico Mendes, PA-BR
Izilda Godinho (Piquixita): Herbalist from the Community of Anã, Tapajós-Arapiuns, PA-BR
Claudete Munduruku: Defender of the Munduruku indigenous rights and teacher at Aldeia Sauré, Itaituba, PA-BR
Barbara Marcel und Ana Hupe
ContraNatura (2015) by Thelmo Cristovam
Walzenaufnahmen aus Brasilien (1911–1913). Berliner Phonogramm-Archiv Series Historische Klangdokumente – 3. Arbeitsgesänge - Gesang Beim Maniokreiben, Gruppe Makuschí
No Paiz das Amazonas (In the land of the Amazon, Manaus, 1922), a film by Agesilau De Araujo and Silvino Santos
Der Edison-Phonograph, von Unterberger Medien, 2014.
Auftraggeber: Helbling Verlagsgesellschaft mbH Produzent: M&P Unterberger KG.
National Museum: the neglect of history, Tv Brasil. September 2018.
Assistant of Finalization
Transcripts and subtitles
Special Thanks to
Marty Hiatt, Kandyê Medina, Fabio Ribeiro, Hugus Félix, Project Saúde e Alegria, Thais Helena Medeiros, Caetano Scannavino, CEFA – Centro Experimental Floresta Ativa, The Chico Mendes Institute for Biodiversity Conservation – ICMBio, Casa Bicho, MUSA, Mulheres Sonhadoras de Anã, Rodrigo Lopes, Marisa Mello, Luciene Santos, Izilda Godinho (Piquixita), Claudete Munduruku, Alice Alfano
A Sketch of Manners (Alfred Roch’s Last Masquerade), 2013, 12 Min.
"A Sketch of Manners" was prompted by a black-and-white photograph taken in 1924 at an annual masquerade party hosted by prominent Palestinian socialite and politican, Alfred Roch. Guests pose in Pierrot costumes for a group picture, recalling the bourgeois settings of Berlin in the 1920s.
Palestinian artist Jumana Manna discovered the picture and became intrigued with its theatrical and enigmatic depiction of a radiant urban modernity. In re-enacting the photograph, she creates a filmic tableau vivant, peering into the sophisticated world of Palestinian urban elites under their British Mandate. By transposing the event to 1942, Manna repositions Palestine in the history of global crises and their consequences, allowing Alfred Roch’s last masquerade to unwittingly encapsulate a premonition of the difficult years that lie ahead.
"A Sketch of Manners" is the first part of a project called "Imagined Cities", which links the histories of Jerusalem and Los Angeles as different kinds of promised lands.
Jumana Manna was born in New Jersey (USA) in 1987. She studied in Jerusalem, Oslo and Los Angeles and was an artist in residence at Künstlerhaus Bethanien in Berlin. The venues that have so far exhibited her work include the 11th Sharjah Biennale, the Sydney Biennial, the Toronto Biennial, Kunsthall Oslo (Norway), Kalmar Konstmuseum (Sweden), Kunsthal Charlottenberg (Denmark), the ifa-Galerie in Stuttgart, the Hamburger Bahnhof in Berlin, and a number of film festivals. In 2017 she received the ars vive Prize for Visual Arts.
City Language I, 2009, 4:50 Min.
In "City Language I-III" (2009), a work in three parts, Nevin Aladağ creates an audio-visual portrait of Istanbul.
"City Language I" features four traditional Turkish instruments brought to life by elements and living creatures in the city: a tambourine glides across the sea; a ney – a long flute – whistles in the wind of a moving car; a saz – a string instrument – is plucked by pecking pigeons; loose chimes roll along streets and down steps. The boundary between noise and music is fluid, and as the tapestry of sound thickens it weaves a poetic picture of this city where tradition blends with modernity.
City Language II, 2009, 7:31 Min.
"City Language II" is made up of eight pieces, one of which is on show here. It depicts the conservative Istanbul district of Fatih, filmed from a passing motor bike and reflected in its wing mirror. The direct impression is not very distinct as the bike is travelling too fast, whereas the mirrored image is clearly recognisable. Instead of the obligatory safety warning on wing mirrors in the United States and Canada (“Objects in the mirror are closer than they appear”), the mirrors display passages from contemporary pop songs.
Nevin Aladağ was born in Van, Turkey, in 1972. She studied at the Academy of Fine Arts in Munich. Among the venues to have exhibited her work are Hamburger Bahnhof in Berlin, Schirn Kunsthalle, Frankfurt, Künstlerhaus Stuttgart, Wolfsburg Art Museum, the Konsthall in Malmö (Sweden) as well as the 11th Sharjah Biennial, the Venice Biennale (2017) and the documenta 14, Kassel. Aladağ lives and works in Berlin.
Next Year / L’Année Prochaine / 明年, 2016, 17:40 Min.
Ming Wong’s video works are often founded on the artist’s response to feature films or quotations from pop culture. He examines how gender, language and identity are constructed and creates a place in between, an ambiguity.
In "Next Year / L’Année Prochaine / 明年" (2016, 17:40 min.) Wong takes on Alain Resnais’s film "L’Année dernière à Marienbad" (1961). This icon of New Wave cinema is distinctive for its diffuse narrative and innovative visual idiom – and Wong intensifies both these factors in his work. In "L’Année dernière à Marienbad" we never find out where exactly the story is set, and Wong exploited that ambiguity to include Marienbad Café and Fuxing Park in his version. Both these places are in Shanghai and both display colonial influences. This overlaying of cultural codes also leads to some bewildering moments, as when Wong plays both the male and the female roles, breaking with the customary principles of casting.
Ming Wong was born in Singapore in 1971. He studied at the Slade School of Art in London, and at Nanyang Academy in Singapore. Among the venues which have recently shown his works are the Busan Biennale in South Korea, the 53rd Venice Biennale, the Museum of Modern Art in Warsaw, nGbK in Berlin, the Hartware MedienKunstVerein in Dortmund and the Gropius Bau in Berlin. In 2016–2018 he was Guest Professor at the University of the Arts in Berlin. Ming Wong lives and works in Berlin.
Gramophone, 2006, 2:29 Min.
Without ever leading to a specific narrative, there are some themes and aesthetics which weave their way consistently through Haris Epaminonda’s artistic work. In particular, there are recurrent references to the history of her native island of Cyprus and the way it is reflected in collective memory or specific political narratives. She also makes frequent use of archaeological and ethnological photographs, and of kitsch from Greek television programmes and soap operas.
Epaminonda’s early videos usually focus on a small numberofimages, sounds and impressions, but these combine into a highly complex, carefully composed interplay. The fleeting moment captured in a photograph, if watched at length and combined with music, can be transformed into a spectacular, emotionally charged cinematic plot. The artist often uses filmed pages from books or fragments of found footagefrom the cinema and television of the 1960s and 1970s, distilling them intopithy, atmospheric impressions. In her audiovisual montages, she frequently works with cross-fades, repeats and loops, inverts direction or alters the speed. The frames blend with a sound track composed of classical music or subdued background noise, complementing and reinforcing the visual mood and the hints of a narrative. Some of the videos assume an almost abstract atmospheric quality, leaving visitors to their own resources and their own associations.
For the virtual video space the artist has put together a programme from a selection of her early works from 2006. In June we will show Tarahi I, in July Tarahi III and in August Gramophone.
Die Realisierung erfolgt mit freundlicher Unterstützung der