All the films shown by Sunshine Socialist Cinema so far:
Gillian Wearing Bully
Basim Magdy 13 Essential Rules For Understanding The World
Annika Eriksson Staff At Moderna Museet
Joanna Malinowska In Practice
Phil Collins marxism today (prologue)
Phil Collins use! value! Exchange!
Beatrice Gibson F for Fibonacci
Catarina Simão Effects of Wording
Priscila Fernandes For a Better World
Björn Lövin Till minne av en stor man – ILAC
Deimantas Narkevičius His-story
Adrian Paci Turn on
Maja Bajevic Women at Work I – Under Construction
Petra Bauer Conversations: Stina Lundberg Dabrowski meets Petra Bauer
Joanna Lombard Details from the Future
Sandra Schäfer The Making Of A Demonstration
Kennedy Browne The Myth of the Many in the One
Jean Rouch and Jacques D’Arthuys Makwayela
Mario Pfeifer Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974
Paulina Orlowska and Bonnie Camplin A Like Akarova
Anders Rundberg, Leo Palmestål and Jennifer Jerez I’m A Fucking Panther
Hans Carlsson Films from the archive of Höganäsbolaget
Søssa Jørgensen and Geir Tore Holm Astrid Noack’s Atelier
Jonathas De Andrade The Uprising
Chim Pom Black of Death
Beata Berggren Sekvens 1 och 2 i Huaröd 2
Kolonial Odling The Return Of Lenin
Journalfilmer Från Göteborgskommunen Stadsodling i Kvillebäcken
Maria Draghici och Anders T Carlsson CASESTORY_Komettorgets Odlingslotter
Rosa Barba Outwardly from Earth’s Center
Victor Alimpiev Summer Lightnings
Caroline Mårtensson Illuminated
Jean Painlevé The Love Life Of The Octopus
Tehching Hsieh One Year Performance 1980-1981 (Time Clock Piece)
Saskia Holmkvist Interview With Saskia Holmkvist
Cao Fei Whose Utopia
Rabih Mroué With Soul, With Blood
Fia-Stina Sandlund An Idealistic Attempt
Fia-Stina Sandlund Reconstruction Of An Action That Never Took Place
Tod Seelie The Swimming Cities Of Serenissima
Billesholms Hembygdsforening Billesholm I Helg Och Socken
Anna Molska The Weavers
Cecilia Parsberg The World’s Smallest Bible Thrown In The Biggest Man-made Hole
Bertille Bak Faire Le Mur
Open Call The Ojnare Protests
SSC To Own The Means Of Image Production
Florin Iepan 10 Minutes With The Working Class
Sandra Schafer The Making Of A Demonstration
Tamas St.Auby Centaur
Rita Winde Hello My Name Is Rita
Paula von Seth The Crowd Is Your Element
Marie Bondeson A Ruda Road Movie
SSC/Ex-Indymedia Gothenburg Newsreels From The Gothenburg Commune
Margarida Cardoso Kuxa Kanema
Black Audio Film Collective Handsworth Songs
Indymedia Gothenburg This Is How We Do It In Gothenburg
Oliver Laxe Todos Vós Sodes Capitáns
Monika Marklinger and Johan Waerndt Har Byggs Ett Nytt Sverige
Andrey Gryazev Tomorrow
Annika Larsson Pirate
Baylis Glascock We Have No Art
Students at Munka Folk High School The Future
Ernst Larsson Glassplates From 1913
Marysia Lewandowska and Neil Cummings Enthusiasts Archive
Lene Berg Stalin by Picasso or Portrait of Woman with Moustache
Kuxa Kanema Newsreels
Oliver Ressler and Dario Azzelini 5 Factories – Worker Control in Venezuela
SSC From Mining Industry To Entertainment Industry
Harun Farocki Workers Leaving The Factory
Claudia Del Fierro Politicamente Correcto!
Lina Persson Space Debris
(Approximately 35% women, 30% men, 35% collectives as filmmakers)
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Older posts from our program, with details of films shown:
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Next screening on Wednesday July 30th 2014 at 21.00:
Tehching Hsieh One Year Performance 1980-1981 (Time Clock Piece)
Saskia Holmkvist Interview With Saskia Holmkvist
Cao Fei Whose Utopia
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On Sunday August 11 2013, we begin at 21.00!
Todos Vós Sodes Capitáns by Oliver Laxe
Har byggs ett nytt Sverige by Monika Marklinger and Johan Waerndt
As a recently graduated film director Oliver Laxe moved to Tangier in Morocco in 2007. He founded the filmschool Dao Byed, where socially disadvantaged kids learn to film with 16 mm cameras. His work with the children has also formed the basis for a meta documentary, the film You All Are Captains, or Todos Vós Sodes Capitáns, where we see Oliver Laxe the director end up in a conflict with the children over his unorthodox working methods. Laxe says he chose to be the bad guy of the film:
“I chose to embody the typical European neocolonialist artist. I didn’t want to be portrayed as a missionary nor a do-gooder. It was crucial for me to show that art goes far beyond good and evil; all means can be justified to get images.”
The version of Oliver Laxe who appears in the first half of the film disappears after a midway mutiny. The children take over the cameras, and the film becomes much harder to categorise. Laxe describes the way the children make films:
“I was taken by their curiosity and their way of perceiving things as if each time were always the first. I liked their sense of freedom in the creative process, their total lack of academic formalism. Another feature that interested me a lot was how maladjusted the children were. All their desires, their needs, their spiritual impulse, stem from that maladjustment. Creativity springs from one’s experience and in this context it was obvious that these kids had had to reflect on what their lives were like from a very young age.
Todos Vós Sodes Capitáns has won the international filmcritics’ FIPRESCI award at the Cannes film festival in 2010.
Before the Swedish general elections in 2002, Monika Marklinger collected political slogans and propaganda images from the history of Swedish election campaigns. She then had Indian sign painters from Bangalore translate the ideological messages. A few weeks before the national election, the signs and the banners were installed and presented at an exhibition just a stone’s throw from the Government Chancellery Rosenbad.
In the slideshow Har byggs ett nytt Sverige (“This is where a new Sweden is constructed”) we are transferred back to the original Indian context and get to observe the production of the signs and the banners taking place. The slideshow, produced and compiled by Monika Marklinger and Johan Waerndt, makes visible not only the actual conditions of production which form the basis of our everyday lives, but also poses questions concerning the prerequisites for a so-called global community.
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On Sunday July 14 2013, we begin at 21.00!
Tomorrow by Andrey Gryazev
Pirate by Annika Larsson
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On Friday May 24 2013, we begin at 20.00!
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On Wednesday April 17 2013 we begin at 19.00!
We’re starting our 2013 season with a screening of the Enthusiasts Archive, a collection of amateur films made by Polish workers within the context of the film clubs in socialist times. In these film clubs, the enthusiasts would receive instruction in filmmaking techniques from visiting professional filmdirectors, and the films would be screened in locally arranged filmfestivals. The films often reflect the conditions of life of the workers, and the film clubs opened up a social space for critique, discussion and celebration of this life. The Enthusiasts Archive has been compiled and the films restored by artists Marysia Lewandowska and Neil Cummings after two years of research. Their interest in the Polish film clubs came from seeing the film Amateur made by Krzysztof Kieslowski.
The Enthusiasts Archive will be the first introduction to a series of screenings devoted to films developed in amateur workshops led by established artists and filmmakers.
From the website Chanceprojects:
“With 16mm film stock, cameras and editing tables supplied by the factory/state, a large number of clubs were created throughout Poland from 1950′s onwards. The films made, range from 2-minute animations, short experimental films, documentaries on family, village, city or factory life; to historical dramas, features and ambitious mini epics.
We are aware of around 300 clubs registered since 1960 in a number of different industrial zones e.g. Nowa Huta, Biesko Biala, Poznan, Oswiecim, Bialystok, Warszawa, Katowice, Szczecin and Gdansk.”
The screening is arranged in cooperation with the International Cafe of Angelholm.
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On Saturday December 1 2012, we begin at 15.45!
“If they had been here I would have looked down upon both of them – even without heels” – filmstill from Stalin by Picasso or Portrait of Woman with Moustache by Lene Berg
During the Socialist Forum 2012 at ABF in Stockholm, we will introduce the Sunshine Socialist Cinema to a new audience, and screen the film Stalin by Picasso or Portrait of Woman with Moustache by Lene Berg.
In 1953 Joseph Stalin died. Pablo Picasso was asked to draw a portrait of Stalin for a commemorative issue of the French Communist weekly Les Lettres françaises, which was edited by Louis Aragon, a friend of Picasso. The drawing provoked strong reactions from the French Communist Party, and the party’s Central Committee published a condemnation of both Picasso and Aragon on the front-page of the daily L’Humanité. The major criticism of the portrait was that the style in which it was drawn did not do justice to “the moral, spiritual, and intellectual personality of Stalin”.
Filmmaker Lene Berg writes about her work Stalin by Picasso or Portrait of Woman with Moustache:
“The project deals with the so-called ‘Portrait Scandal’, or `L’affaire du Portrait`, which later has been named the first consequence of Joseph Stalin’s death in 1953. It centers around two great, short men and a drawing that created strong reactions. On one level, it is about how two icons from the 20th Century, Stalin and Picasso, once were perceived and how much their public personas have changed since then. On another level, it is about art and artistic freedom, or un-freedom, and of ways of reading and using images, particularly images of so-called great men. But perhaps the most interesting aspect of this anecdote from the beginning of the Cold War, is how one simple charcoal drawing can initiate so many feelings, discussions and intrigues as this one did – both in 1953, and in 2008.
The reactions towards Picasso’s drawing in 1953 expressed a need to control what was presented in public, and strong demands for obedience towards common beliefs in something particular, in this case Joseph Stalin. Seemingly these are thoughts from a distant past. But the project proved to be less nostalgic than expected when the party-secretary of the governing Norwegian Labor-party unexpectedly withdrew the permission to use the façade of the People’s Theatre Building in Oslo for the public part of the project, a permission that had been granted by the board of the building some months before.This attitude was later more or less repeated when I was invited to show the project at Cooper Union in New York in October 2008. After two days of a planned 6 weeks show, the three façadebanners were taken down from the façade without a warning and without discussing it neither with me nor with the curator before hand. In 1953 one of the problems with Picassos drawing was that it was considered bad propaganda for Stalin and thus for the communist cause. In 2008 one of the problems was that the façade-banners were not clear publicity, and that some people found it unacceptable that the project did not express a clear critique of Joseph Stalin.”
During the Socialist Forum, The Sunshine Socialist Cinema will be sharing the stage with artist Nina Svensson and writer Margareta Ståhl, who’ll be presenting a graphics portfolio made by Albin Amelin and Ruben Blomqvist in 1933, Humanitet, with printed images protesting against the rise of fascism. We’ll look at similarities and differences in how a political work of art can be constituted and distributed.
The Socialist Forum takes place between 10-18 on December 1 2012 in the ABF house at Sveavägen 41. The full program for the Socialist Forum 2012 can be found here.
Stalin by Picasso or Portrait of Woman with Moustache is distributed by Filmform!
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On Thursday November 15 2012 we begin at 19.30 ca.!
Kuxa Kanema in Mozambique – talk and filmclips
During the symposium CIRCULAR GROUNDS #1 the Sunshine Socialist Cinema will introduce a couple of clips from Kuxa Kanema newsreels, recorded in Mozambique in the mid 1970’s. Kuxa Kanema means “Birth of Cinema”. When Mozambique gained independence in 1974 after nearly 500 years of colonial rule, the Marxist FRELIMO party and the president Samora Machel founded the National Institute of Cinema in order to produce and distribute images of the country re-building itself into an independent nation. The 10 minute Kuxa Kanema newsreels were screened weekly in cinemas and through mobile screening units transported around the country in old VW buses.
The people working on these newsreels were all novices, educated by foreign filmmakers invited by FRELIMO from Yugoslavia, Cuba, Brazil and the Soviet Union. Jean-Luc Godard attempted to help set up a national television system, teaching people in rural villages to film using video cameras. The anthropologist Jean Rouch set up documentary filmmaking workshops which shot so-called Cartes Postales every morning on 8 mm and then screened them the same evening, in the first instance of what became known as Varan Workshops. Postcards on film, of the people, by the people, and presented to the people.
In Kuxa Kanema, film was meant to be an educational tool used to create an independent Marxist state. Its’ example has inspired several contemporary artists to comment upon it. Kuxa Kanema speaks of jilted idealism and of conflicting desires, of a wish for art to get to play a part in the construction of a new society.
The symposium CIRCULAR GROUNDS #1 is arranged by Redakzia at Skogen in Gothenburg, and includes presentations by Håkan Thörn and Kuba Szreder. Redakzia is produced by curator Corina Oprea and artist Maria Draghici.
http://edit-projectroom.org/projects/redakzia
Skogen is located at Masthuggsterrassen in Gothenburg.
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On Friday September 21 2012, we begin at 19.30!
“A Ruda Road Movie” c Marie Bondeson
During the Open Studios at IASPIS in Stockholm, we will be introducing the Sunshine Socialist Cinema to a new audience, debut our new mobile solarpowered pocket cinema, launch an Open Call for submissions, and screen the film A Ruda Road Movie by Marie Bondeson.
In 2002, the Konsthall in Virserum produced two exhibitions about local industries shutting down. One was the papermill Silverdalen, the other was Moteco in the small town Ruda. Moteco benefitted from the Telecom boom, but eventually laid off all employees in Ruda and moved its’ production to Malaysia. For the second exhibition at Virserum, the artist Marie Bondeson was asked to visualise the term outsourcing. In the film A Ruda Road Movie, she follows unemployed Douglas Fransson around Ruda, while he details the effects of outsourcing upon his hometown. We also get to hear about Högsby city council making plans for the survival of the region.
IASPIS is located at Maria Skolgata 83 in Stockholm.
A Ruda Road Movie is distributed by Filmform!
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On Sunday August 12 2012, we begin at 21.00!
“5 Factories” c Dario Azzelini & Oliver Ressler
5 Factories – Worker Control in Venezuela by Oliver Ressler and Dario Azzelini
Slideshow by the study group
5 Factories–Worker Control in Venezuela by Oliver Ressler and Dario Azzellini is a film about the current socialization of the industrial sector in Venezuela. The changes in Venezuela’s productive sphere are demonstrated with five large companies in various regions: a textile company, aluminum works, a tomato factory, a cocoa factory, and a paper factory. In all, the workers are struggling for different forms of co- or self-management supported by credits from the government. “The assembly is basically governing the company”, says Rigoberto López from the textile factory “Textileros del Táchira” in front of steaming tubs. And coning machine operator Carmen Ortiz summarizes the experience as follows: “Working collectively is much better than working for another–working for another is like being a slave to that other”.
The protagonists portrayed at the five production locations present insights into ways of alternative organizing and models of workers’ control. Mechanisms and difficulties of self-organization are explained as well as the production processes. The portrayal of machine processes could be seen as a metaphor for the dream machine of the “Bolivarian process”, and the hopes and desires it inspires among the workers. The situation in the five factories varies, but they share the common search for better models of production and life. This not only means concrete improvements for the workers. Aury Arocha, laboratory analyst at the ketchup factory “Tomates Guárico”, emphasizes that the difference between “social production companies” (EPS) and capitalist corporations is that the EPS “work for the community and society”. Carlos Lanz, president of the second largest aluminum factory in Venezuela, Alcasa, coins the key question: “How does a company push toward socialism within a capitalist framework?”
Before the film we will present a slide show made by the study group of Sunshine Socialist Cinema after a field trip to the slag heap in nearby Nyvång, Åstorp. The slag heap sits atop what used to be the largest coal mine in Sweden. 500 people worked here underground, and about 100 people above ground. After the mine closed down in 1966, the slag heap more recently became the site of Dinoland, a dinosaur theme park. During the field trip, we saw in the ruins of the now defunct theme park an attempted transition from industrially based local economy to culture-entertainment based economy.
Screening takes place at Höja landsväg 293 outside Ängelholm.
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On Wednesday July 25:th 2012, we begin at 20.30!
“Workers Leaving the Factory” c Harun Farocki, 1995
Workers Leaving the Factory by Harun Farocki
Politicamente Correcto! by Claudia Del Fierro
Space Debris by Lina Persson
Workers Leaving the Factory by Harun Farocki starts from the first film ever shown in a cinema by the brothers Lumière, and traces the recurring image of workers exiting a factory throughout filmhistory, setting the stage for the post-industrial condition. What is the image of the worker, when the worker has left the factory, and labor is performed in every aspect of life? Is the dissolution of the workforce outside the factory gates where films pick up on individual characters and follow them away from collective life?
In Politicamente Correcto!,Claudia Del Fierro dresses up like the workers at a textile factory in Santiago, Chile, and joins them whenever they exit the building for a cigarettebreak. An artist blending in visually with the workers, entering and exiting the gate unnoticed, she creates an ambiguous picture of both alienation and of the artists’ desire to place herself on the side of the workers.
We end with Space Debris by Lina Persson, a film showing the perspective of a camera detached by accident from an astronaut, who is in the process of trying to free a stuck solar array on the international space station. The camera drifts into space and continues transmitting film as it moves further and further out of range.
Screening takes place at Höja landsväg 293 outside Ängelholm.
Sunshine Socialist Cinema 