Critical Tourism: Spatial Remembrance (Film program in Korcula)

Critical Tourism: Spatial Remembrance

15 & 17. 08. 2018.
open-air cinema, Korčula

Wednesday, 15. 08., 21 h: Ivan Ramljak
Friday, 17. 08., 21 h: Ana Hušman, Davor Sanvicenti, Igor Grubić

free entrance

Film program Critical Tourism: Spatial Remembrance is named after the film program How Space remembers? from 2010., with which the grey) (area presented the films by Mihovil Pansini (1926-2015), for the first time in his hometown, where all the films were shot.
On August 15 the program starts in the City of Korčula Summer Cinema with three new films by the member of grey) (area, the film director Ivan Ramljak. Two of the films were shot in Korčula. Conversation with the author will be led by Petar Milat. The program continues on August 17 with the films of three authors: Ana Hušman, Davor Sanvicenti and Igor Grubić. Films by Hušman and Sanvicenti were shot on the island of Korčula, within the project that refers to the work by the French composer Luc Ferrari, created in Vela Luka on the island of Korčula in 1968. The project will be presented by its initiator Petar Milat. A film by the artist Igor Grubić Monument deals with the period of the 1990s, when Croatia, among other horrid circumstances, suffered systematic violation and destruction of its anti-fascist monuments. By combining the images of these impressive works of abstract sculpture with the potent nature surrounding them, the film Monument creates a visual metaphor to reflect on their purpose nowadays.

15 . 08 – 21 h

Ivan Ramljak: Mezostajun, 2018., 20′
This documentary experimental film investigates spatial and temporal relations in the Mediterranean city of Korčula, in which the roles taken by public space differ according to a season.
The film tackles dramatic differences between the summer and winter life of the city. In the perception of a spectator, the intertwined elements of summer and winter create a new, interstitial space called «mezostajun» (the Dalmatian version of mezzo stagione).

Ivan Ramljak: Ships Still Don’t Come Ashore, 2018., 2’46”
In 1955 the legend of Croatian experimental cinema and founder of GEFF (Genre film festival, one of the two oldest experimental film festivals in Europe, held in Zagreb) Mihovil Pansini, made his short film about the inability of the escape from an island (and from yourself) ‘Ships Don’t Come Ashore’. 62 years later ships still don’t come ashore in this 16mm tribute film made by his grandnephew.
Ivan Ramljak: Home of the Resistance, 2018., 49′
In 1974, the communist authorities built the so-called „Memorial Home for WWII Resistance Fighters and Youth of Yugoslavia“ in Kumrovec – the hometown of the legendary president Tito. Following the collapse of Yugoslavia, the Memorial Home was closed in 1991, 11 years after Tito’s death. Still, a few fighters remain there.

17. 08 – 21 h

Ana Hušman: Almost Nothing, 2016. 15’ 00’’
J.L. Nancy says that pleasure in views, fragrances and sounds has been a political question since the birth of Europe. The idea of a landscape has nothing in common with the idea of unspoiled nature. Landscapes are formed in planned processes of afforestation, controlled and planned to plant influenced by economic, health and other policies documented in the systematic and taxonomic languages of the land registry. Mapping the flora of the island, recording the resistance of the vegetation to the wind, and recording the sounds of friction I document the sound signals that reflect the changes, fashions or economic conditions of a particular location. These cultivation policies return to our houses and apartments like the wind, producing a complex feedback loop between interior and exterior space.

Davor Sanvincenti: Almost Nothing: So Continues the Night, 2017, 12′
The film revolves around a light bulb like the Earth around the Sun. Light makes the film visible. In the orbit of the film tragedy and our reality, the image resists the cruelty of the experiment.

Igor Grubić: Monument, 2015. 50′
During the 1990s, Croatia suffered systematic violation and destruction of its anti-fascist monuments. By combining the images of these impressive works of abstract sculpture with the potent nature surrounding them, Monument creates a visual metaphor to reflect on their purpose nowadays.

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