The What And The How: Intro

As part of the re-structuring of our activities over the next five years, we’ll be discussing the question: what could a socialist cinema potentially be, and do, and mean? We’re looking for definitions and visions and plans for action, we’re aiming to better ourselves, and we’re asking you all for help to do this.

bloggbild Paletten

We were featured in issue #309 of Swedish art magazine Paletten. In the article we laid out our central question for the next five years: what could a socialist cinema be, potentially? How would a socialist cinema be organised and how would decisions be made, how would it be financed and where would it be placed? Who are the audience in a socialist cinema and what role does the audience play, why would they be there, and how would they watch the films, how would they discuss the films, and what would they take away with them when they leave? What films would be shown in a socialist cinema, how would they be produced, what would they look like, how would they be shown, how would they be selected, and what would watching and discussing these films do with us? What would happen to us in a socialist cinema? We gratefully accept thoughts and replies to these questions from everyone in what we call our audience.

We’ve asked writers, artists and thinkers to supply us with food for thought, to get the ball rolling. Meaning there will be some commissioned texts, which attempt to answer or go beyond the questions we’re posing. We’re very excited to launch this feature, The What And The How, which will reoccur periodically over the coming years. Our first three contributions come from John Jordan, Frida Sandström, and Lisa Rosendahl.

Today we begin with the text There will be no Cinema in Utopia, which was written by John Jordan on the occasion of the 40 year jubilee of the revolts in May 1968.

John Jordan is an art activist.  He founded the direct action groups Reclaim the Streets and the Clown Army, worked as a cinematographer for Naomi Klein’s film The Take (about worker-occupied factories in Argentina), co-edited the book We Are Everywhere: the irresistible rise of global anti-capitalism (Verso 2004) and lecturers in theatre and fine art. Together with Isabel Fremeaux he founded the art activist collective The Laboratory of Insurrectionary Imagination, which is currently based in the ZAD, “a liberated territory against an airport and its world”.

Coming up next!

Program 2018: Tutorial: How To Make A Short Video About Extinction, by David Blandy

As part of the program on May 18 in Kristianstad we’ll be screening Tutorial: How To Make A Short Video About Extinction, by David Blandy.

Extinction still 8David Blandy, Tutorial: How To Make A Short Video About Extinction. Courtesy the artist.

Tutorial: How to make a short video about Extinction” (2014) is a step by step tutorial showing you how to make a short video about extinction, using just the internet and video editing software.

David Blandy is an artist who works with the moving image in the digital world, from YouTube tutorials, music videos, television series, anime and the narrative sections of computer games; highlighting our relationship with popular culture and investigating what makes us who we are.

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David Blandy, Tutorial: How To Make A Short Video About Extinction. Courtesy the artist.

David Blandy (b. 1976) has exhibited at venues nationally and worldwide such as Bloomberg Space, London, UK; Art Tower Mito, Tokyo, Japan; Kiasma Contemporary Art Museum, Helsinki, Finland; Tate Modern, London; The Baltic, Gateshead; Turner Contemporary, Margate; Spike Island, Bristol; Random Acts on Channel Four; Künstlerhaus Stuttgart, Germany; MoMA PS1, New York, and Museum of Contemporary Art, Shanghai, China. He co-wrote the graphic novel Out of Nothing, published by Nobrow Press. He is represented by Seventeen Gallery and his films are distributed by LUX.

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David Blandy, Tutorial: How To Make A Short Video About Extinction. Courtesy the artist.




Program 2018: How To Civilize A Waterfall, By Hanna Ljungh

As part of the program on May 18 in Kristianstad we’ll be screening How to Civilize a Waterfall by Hanna Ljungh.

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Hanna Ljungh, How to Civilize a Waterfall, (still). Courtesy the artist.

“In the video How to Civilize a Waterfall, artist Hanna Ljungh performs an authoritative confrontation with nature, an indifferent and independent force. Inspired by the dramatic expressiveness of hard rock music, Ljungh challenges a waterfall and tries to persuade it to turn into a hydroelectric power plant. The text used in the video is based on the information about hydroelectric power distributed by one of Sweden’s largest power companies. The work reveals humanity’s comical and paradoxical relationship with nature.”  – more info over at the artist’s website

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Hanna Ljungh, How to Civilize a Waterfall, (still). Courtesy the artist.



Program 2018: The Fall Of Communism, By Hannah Black

As part of the program on May 18 in Kristianstad we’ll be screening The Fall Of Communism by Hannah Black.


Hannah Black, Fall Of Communism, 2015 (still). Courtesy the artist and Arcadia Missa.

Quoting the Open Source website:

The Fall of Communism is a video initially made for the Whitney Independent Study Programme in New York. The work is a body falling into a hole into the ground and transforming into different people, expressed as remembered moments of different lives, as it falls deeper in towards the centre of the earth, but based very loosely on the life of Whitney Houston — her famous long notes become the cry of someone falling.”

Quoting Mousse Magazine:

“In The Fall of Communism (2015), the melismatic first syllables of Whitney Houston’s “I Will Always Love You” chorus are aggressively chopped up as the camera plummets forever into a sinkhole that becomes a wet bodily passage that becomes a furry wormhole. We never get beyond that broken ‘and I’.”

Quoting Hannah Black from her Vimeo page:

“A person falling into the centre of the earth/of their body becomes another person and that person becomes another person and so on as they fall. Everyone becomes everyone else, it’s utopia or a disaster, or just everyday Life.”

We will be screening more works by Hannah Black this summer. Check the blog for more info!


Hannah Black, Fall Of Communism, 2015 (still). Courtesy the artist and Arcadia Missa.

Hannah Black is an artist and writer from the UK, living and working in New York. Her work has been recently exhibited at Centre D’Art Contemporain (Geneva), mumok (Vienna) and Chisenhale (London) and in a number of galleries including Real Fine Arts (New York), Arcadia Missa (London), Château Shatto (Los Angeles) and W139 (Amsterdam). Readings and performances have taken place at the New Museum, Interstate Projects and Cage (New York) the Whitechapel, the Showroom, and Cafe Oto (London). Her writing has been published in Artforum, Texte zur Kunst, Harpers and frieze d/e, among other magazines. She is the author of two little books: Dark Pool Party (Dominica/Arcadia Missa, 2016) and Life (a collaboration with Juliana Huxtable (mumok, 2017).



First Screening Of The Year Of The Dog

Our first screening of the year takes place in the yard of the regional museum and konsthall of Kristianstad, on the night of May 18. The talk and the screening begins at 22.30 and lasts for about an hour.

biosphere heapWater strategy: scramble for altitude

The screening follows a concert by Gaby and the Guns, and is part of an introduction to the project Man and Biosphere:

“Man and Biosphere, precarious situations, is an interdisciplinary, site specific project initiated by Caroline Mårtensson in cooperation with Kristianstads Konsthall and Naturum Vattenriket and together with a coregroup consisting of the artists Terje Östling, Nilsmagnus Sköld, Malin Lobell and the political scientist Johannes Stripple, as well as an external network of researchers and community workers. The project is based on the biosphere reserve of Kristianstad Vattenrike, -2.32 m below sea level, which means that the situation in relation to a changing climate is precarious. Part of climate psychology means that we need local examples to understand and take in what is happening globally.” – Quoted from the website of artist Caroline Mårtensson.

The regional authority Länsstyrelsen Skåne employs water strategists and have issued maps of the region of Skåne, showing what the waterlevels will be like in 100 years time. These maps are the basis for our introductory talk before the screening of the films in Kristianstad. Check out their work at link.

More info on the screening coming up shortly, including presentations of the videos in the program.

We’re Back Online

kronartskocka 1Artichoke called Green Globe, technically not supposed to survive the Swedish winter, but now sprouting at the main facility of the Sunshine Socialist Cinema

After a lengthy winter break, we’re back in full force, both at the blog and in public space. Friday next week there’ll be a screening outside Kristianstad Konsthall, with three videos and a talk on the future flooded landscape of Scania. More info over the next few days, right here at the blog.

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Another artichoke sprouting. Technically, again, our part of the country went straight from what is termed meteorological autumn to meteorological spring (seven days straight with rising average temperatures between 0 and 10 degrees C), without any winter inbetween.

Coming up at the blog, finally, are the first three texts from various writers on the theme of what a socialist cinema could potentially be, and do, and mean. We’re very excited to launch this feature, which will reoccur periodically over the coming years. Our first three contributions come from John Jordan, Frida Sandström, and Lisa Rosendahl. It’s all part of our ongoing discussion on how to develop what we do here at the Sunshine Socialist Cinema. Check back shortly for the first entry!

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Artichokes are grown in the communist utopia of Marinaleda in Andalusia since the tending of them is quite labor-intensive, meaning that they create job opportunities – Marinaleda has virtually no unemployment, whereas the rest of Andalusia has an unemployment rate of 24 % (2018 Q1).



Recent articles on the activities of the Cinema:

Daily newspaper HD ran a piece in anticipation of the last screening, ‘Dags igen för solkraftsbio i Höja’, written by Henrik Berglind-Dehlin and found here

Elina Pahnke wrote a piece about the screening and the films shown, ‘Höjas soliga socialister konfronterar det radikalt annorlunda’, published on the ‘Culture’ page of local daily HD, here

Syndicalist weekly paper Arbetaren published an article about the cinema, ‘Skånsk utomhusbio på solceller femårsjubilerar’ (a follow-up piece to another article they ran about us five years ago), written by Andréa Hillgren and available here