2nd edition

Global involvement, archaeologies

While the first edition of Trauma & Revival video screenings dealt with fundamental subjects of war, memory, and trauma, the goal of the second edition is to reflect on thematic horizons, which will reveal the European post-war period as a condition without an exterior; for the epithet “European” points to the perpetrator (Europeans, but also the modern project itself), not the locality – the ideas of rationalization and modernization with their aspiration for totality made it so that there are no “unrelated matters”. We intend to study some of these connections during the 2nd edition of the project.

Assuming such perspective can lead to two extremes – a paranoid conviction that everything is connected to everything else, and the vision of “history as a heap”, where events are related accidentally, through proximity (in space, in time, in an archive). The works of Lutz Dammbeck are closer to over-determination, as he tirelessly conducts cinematic archaeology of contemporaneity as the story of the alluring power of totalitarian systems and a fantasy on the whole, while the image of a heap as undetermined history comes from Thomas Heise, whose works we hope to present in the next part of the cycle.

The thickening of associations and connections, multiple methods of extracting sense from the (dis)order of things (e.g. fabrications and popular transformations), or even leaving the designated chronological framework proposed in Trauma & Revival are all attempts to distort the Manichean logic, which held the 1945-1968 period hostage. The obviousness and strength of Cold War divides left many matters and areas outside of our field of view.


March 7th, 2017
Peripheries of an Instrumental Mind. Archives of Destruction of the Native Americans of Tierra del Fuego
Mario Pfeifer, Approximation in the digital age to a humanity condemned to disappear
Discussion with the artist: Krzysztof Pijarski

This production is the result of Mario Pfeifer’s four-month stay among the Yaghan people who inhabit Cape Horn. Featuring unusual colours and moods, and at the same time steeped in sensual substance film captures the last moment when forms of living and feeling past resound behind a curtain of sterile unification. Although the Iron Curtain that divided Europe (and the world) designated the axis of our experience during the two post-war decades, it is really the most telling symptom of a modern drive towards totality, the influence of which is also visible in places that seem to lie at the fringe of the world.

March 21st, 2017
Re-education as Permanent Revolution
Lutz Dammbeck, Overgames (2016)
Discussion with the artist: Krzysztof Pijarski

In his film, Lutz Dammbeck looks at three problem threads, intersecting in the fates of a generation that led post-war Germany to a decade of revolution. Children born in West Germany in 1943 became the material of transforming a totalitarian community into democracy. We face the history of the idea of permanent revolution – attempts of applying modern methods to create a society insusceptible to deviations, based on the ideas of reason, truth, and equality. The post-war version of these attempts uses new scientific tools, such as cybernetics, systems theory, and new sociology to write the “future code” – a new algorithm of free men. How should this programmed liberty be understood, however?

April 4th, 2017
Afterimages of the German Autumn. The Japanese United Red Army in Bangladesh
Naeem Mohaiemen, The Young Man Was, pt. 1: United Red Army (2011)
Introduction: Joanna Ostrowska

United Red Army can be considered an anti-visual work – most time the viewer is kept in the dark, confronted only with the transcript of negotiations between the Dhaka Airport control tower and the hijackers of the Japan Airlines Flight 472, who forced the pilots to land the plane in Bangladesh – a then young country, torn by internal conflicts. The film was created as an answer to the twilight of leftist movements, recognized by Mohaiemen and becoming apparent outside of Bangladesh as well. The artist decided to go back to the 1960s and the 1970s, when some international leftist movements were still hoping for a revolution. Although we know how that story ended, Mohaiemen’s tale of leftist solidarity is ultimately a tale of hope.

April 25th, 2017
The Man Who Fell to Earth. Rebuilding David Bowie’s “Warsaw” out of the Ruins of the Present Day
Daniel Malone, The Visitor (performative lecture held as a part of the project-in-progress entitled The Whole World Builds Your Nation)

The new project by Daniel Malone, while referencing the story of alleged visit of David Bowie in Warsaw, tackles the problem of cultural production, playing it out on several levels. On the one side, it questions production as a once-and-for-all established system of generating meanings; on the other, it criticizes cynical and tautological use of empty signs for the purposes of ideology (nation, market). While establishing an incredibly detailed, but neat network of relations and meaningful comparisons, Malone shows that a well-devised story can interfere with the status quo, regardless of whether it will be instrumentalised by politics or radicalised by the creators of culture.

May 9th, 2017
Doppel Logic: Hitchcock and the Iron Curtain
Johan Grimonprez, Double Take (2009)
Introduction: Kuba Mikurda

Based on the themes of duality, playing for both sides, and doppelgänger fantasy, the film by Johan’s Grimonprez tells not only the tale of Alfred Hitchcock’ lifelong fascination with such motifs, but also of the Cold War (and its influence on our contemporaneity) as a Hitchcock-esque reality. Known mainly for his gallery and theoretical project, the artist offers a distanced, playful, and slightly histo/erical tale of the duplexity of a divided world.

May 23rd, 2017
What Marxism Really Was?
Phil Collins, Marxism today (prologue) (2010)
Introduction: Magda Szcześniak

The film marxism today is the result of the artist’s visit to Berlin for the 20th anniversary of the fall of the Berlin Wall. The event inspired Collins to look at the fates of the Marxism-Leninism lecturers in East Germany. It is a kind of visual archaeology – going back to better understand the world today and be able to imagine the alternative. While presenting the reality of this side (or “that side”, as we often like to believe) of the Iron Curtain as not only filled with ideology, but also ideas, the film uncovers the troubles we have with contemporaneity. It highlights what the artist calls “emptying the social field” – removing any ideas of community from the “interpersonal” sphere.

Project organizer: Palais des Beaux-Arts (BOZAR)
Partners: Bunkier Sztuki Gallery of Contemporary Art (Kraków), Kunst und Medientechnologie (Karlsruhe), Cittadellarte-Fondazione Pistoletto (Biella), University of Jyväskylä, Contemporary Art Centre (Riga)
Associated Partners: Pushkin State Museum of Fine Arts (Moscow), Tretyakov State Gallery (Moscow), ROSIZO Gallery (Moscow), Austrian Cultural Forum / Embassy of Austria in Moscow
With the support of the European Union “Creative Europe” Programme
Cooperation: View. Foundation of Visual Culture
Curator: Krzysztof Pijarski
Location: Bunkier Sztuki Gallery of Contemporary Art
Free admission
The project is co-funded from the Culture Programme of the European Union