pills for a real flu

 

Locked in the house for, finally, a real flu, I could swim and jump from a movie to another, a pleasure and pointless time.

On Social Metamorphosis by Luigi Coppola, 2012


Realized on the frame of the exhibition “Enacting Populism in its Mediæscape” curated by Matteo Lucchetti at Kadist Art Foundation – Paris.

“On Social Metamorphosis” springs from a collaboration between Luigi Coppola and the Belgian economist and antropologist Paul Jorion. Starting from a section of the famous blog of the latter, the two have worked on a text that gathers the propositions written by visitors of the blog, that collectively participated in the creation of a « realist utopia » – as the title of the section recites – together with texts by Louis Antoine de St Just, John Maynard Keynes and Franklin Roosevelt. The blog users were invited by Jorion himself to suggest their own ideas about the economical crisis and the subsequent crisis of democracy. Coppola staged this new script through the structure of the classical greek choir, so as to articulate a parallelism of demands and propositions around the issues raised in the text. While the figure of the hero/leader is absent, the voice of the choir, here interpreting the so-called “people”, is empowered by the use of neutral masks.

Riprendimi di Anna Negri, 2008

Three-weeks shooting with DVCam in Piazza Vittorio, Rome. It’s a very cheap mockumentary. Willing to make a documentary around the figure of the temporary employee (aka precario), two documentarists break in the life of a couple with a kid exactly when they break up, ending up to shoot the end of a love story in the contemporary age, a way to look at the instability of life in general?

{pointless + funny + simple + nice the idea of ​​the “chorus” of friends}

The director is the daughter of Toni Negri, an Italian Marxist sociologist and political philosopher. Condemned to 12 years of prison (crimes: armed band, subversive association and participation, in terms of moral complicity, to the robbery of Argelato where the police sergeant Andrea Lombardini died), member of the Radical Party, fugitive in France etc etc.

Chiapas, Mexico – meanwhile someone sent me to have a look to what the campesinas in Mexico did and were doing, and i found this on youtube:

the 1998 documentary A place called Chiapas, Eight Months in the Zapatista Uprising. The director Nettie Wild takes the viewer to rebel territory in the southwestern Mexican state of Chiapas, where the EZLN live and evade the Mexican Army.

 

Here there’s an interview to Subcomandante Marcos about university. It sounds very familiar.

 

University was a large corral for the domestication of youth. It was also a place where the youth refused to be domesticated and there was a lot of rebellion and organization.

In general, this was the problem with student movements: that their horizon was the classroom.

I found this in the Enlace Zapatista website: “Carta gráfica del Sup a los críticos chafas”, 8 de enero del 2013.

subcomandante marcos_car-color

in the same article (from Enlace Zapatista website) they suggested to listen to this Zombilaridad, that is a pitorreo of Solidaridad.

 

Another intersting extract from a document in Enlace Zapatista website:

from  Them and Us, Part V. – The Sixth.

Our analysis of the functioning, strengths, and weaknesses of the dominant system has led us to believe and to emphasize that unified action is possible if we respect what we call the “modos” [manner, way of doing things] of each of us.
And these things we call “modos” are nothing but the knowledges that each of us, individual or collective, have of our own geography and calendar. That is, of our pains and our struggles.
We are convinced that any attempt at homogeneity is no more than a fascist effort at domination, regardless of whether it is hidden in revolutionary, esoteric, religious, or any other language.
When one speaks of “unity” they elide the fact that such “unity” occurs under the leadership of someone or something, be it individual or collective.
On the false altar of “unity,” not only are differences sacrificed, but the survival of all of the small worlds under the tyranny and injustice is obscured.

(…)

Batallaremos.

Resistiremos.

Lucharemos.

Moriremos tal vez.

Pero una, diez, cien, mil veces, siempre venceremos siempre.

Por el Comité Clandestino Revolucionario Indígena-Comandancia General del

Ejército Zapatista de Liberación Nacional

La Sexta-EZLN.

Subcomandante Insurgente Marcos.

Chiapas, México, Planeta Tierra.

Enero del 2013.

And to end about this topic i found this video, Subcomandante Marcos without his mask:

 

– going back to Toni Negri, then I started jumping from people to people that had a common meeting point on the figure of Giuseppe Pinelli.

Giuseppe Pinelli (1928-1969) was an Italian railway worker and anarchist activist, who died in the custody of Italian police in 1969 after being arrested for interrogations around the Piazza Fontana Bombing of three days before. He was seen falling/suiciding/thrown from the window of the police station. On his death, a feature film in two episode was made by Elio Petri and Nelo Risi.

The episode by Elio Petri (Ipotesi su Giuseppe Pinelli o Tre ipotesi sulla morte di Giuseppe Pinelli, 11′) is ironical about the three versions that the police gave on the “suicide” of Pinelli, each of them reconstructed following the different and contradictory information given by the police station, with the aim of demonstrating to which level those declarations were describing a practically impossible volontary or accidental fall from the window of the anarchic guy. This episode was made in collaboration with the actors Gian Maria Volontè, Luigi Diberti e Renzo Montagnani. (I strongly suggest the first episode, cause the second episode has a terrible audio and I couldn’t follow)

Gian Maria Volontè (1933-1994) is an actor that i really liked in Sacco e Vanzetti (his/Vanzetti’s final speech in front of the court, here). I didn’t know anything else about him, and I discovered that he became famous through the mid-60s spaghetti western movies by Sergio Leone and then in the 70s he decided to work for a most politically engaged cinema.
The first one, the one i saw, is Investigation of a Citizen Above Suspicion, 1970, directed by Elio Petri, the same director of the episode on Giueppe Pinelli. It is a dramatic, psychological, black-humoured satire on corruption in high office, telling the story of a top police officer, played by Gian Maria Volonté, who kills his mistress, played by Florinda Bolkan, and then tests whether the police would charge him for this crime. During the movie, he is seen planting obvious clues while the other police officers ignore them, either intentionally or not.

Great movie, and for Gian Maria Volonté: bravo! and very nice music by Ennio Morricone.

then I passed to

Manu Chao (1961-) is a French singer of Spanish descent. He sings in French, Spanish, English, Italian, Galician, Arabic and Portuguese and occasionally in other languages.

but I just leave here a quote that caught me:

“La Mano Negra” is also a common expression in Spanish to say, “Aquí hubo mano negra” (“There was a black hand here”) to say that someone with authority, in a particular event, manipulated things illegally for its benefit. The expression is also used sometimes as a name for illegal employment.

and two songs that i didn’t know before:

1. Me llaman calle, 2004, written for the Spanish film Princesas

 

2. Le mille paillettes, from the 2004 album Sibérie m’était contéee

 

so warm, so simple.

 

[unexpectedly, i went through different matters that, each of them in different ways, touch the figure of the chorus, the choir]

 

 

from Wikipedia, Enlace Zapatista, YouTube, Kadist Art Foundation, TrovaCinema, IMDb and with the help of que-significa.com, GoogleTranslate, wordreference.com

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freeky, moral and stuffed rats

i went downstairs in the kitchen of my flatmates and the radio was on. A song was playing something like: I think you’re freaky and I like you a lot.

Die Antwoord observed that journalists and critics, particularly in the United States, frequently ask if their creative output is a joke or a hoax. When asked if he was playing a character, Ninja said, “Ninja is, how can I say, like Superman is to Clark Kent. The only difference is, I don’t take off this fokken Superman suit.”They have described their work as “documentary fiction” and “exaggerated experience” designed for shock value. Ninja told Spin:

People are unconscious and you have to use your art as a shock machine to wake them up. Some people are too far gone. They’ll just keep asking, “Is it real? Is it real?” That’s dwanky. That’s a word we have in South Africa, “dwanky.” It’s like lame. “Is it real?” Dwanky. You have to be futuristic and carry on. You gotta be a good guide to help people get away from dull experience.

Die Antwoord’s musical and visual style incorporates elements of Zef culture, described as modern and trashy, appropriating out-of-date, discarded cultural elements. Yo-Landi said, “It’s associated with people who soup their cars up and rock gold and shit. Zef is, you’re poor but you’re fancy. You’re poor but you’re sexy, you’ve got style.”Their lyrics are performed in Afrikaans, Xhosa, and English.

Zef is a South African counter-culture…

A counterculture (also written counter-culture) is a subculture whose values and norms of behavior deviate from those of mainstream society, often in opposition to mainstream cultural mores.

Mores (generally pronounced /ˈmɔreɪz/, and often /ˈmɔriːz/. From Latin mōrēs, [‘moː.reːs], grammatically plural: “behavior”). William Graham Sumner (1840 – 1910), an early U.S. sociologist, recognized that some norms are more important to our lives than others. Sumner coined the term mores to refer to norms that are widely observed and have great moral significance. Mores include an aversion for societal taboos, such as incest or pederasty. Consequently, the values and mores of a society predicates legislation prohibiting their taboos.

Una delle domande più frequenti quando si parla di etica, è quale sia la differenza tra etica e morale. Innanzitutto bisogna dire che i due termini possono essere usati come sinonimi, cosa che fa la maggior parte della gente, comprese le persone più istruite. Tuttavia, specialmente negli ambienti intellettuali e scientifici, i due termini sono normalmente usati con accezioni diverse, intendendo per “morale” l’insieme delle consuetudini sociali legate ad una certa tradizione culturale o gruppo sociale o individuo particolare, e per “etica” lo studio filosofico universale del bene e del male e quindi della morale. In tal modo, “etica” ha un livello di astrazione più alto rispetto a “morale”.

…movement.

The word zef stems from an Afrikaans word, which roughly translates to the English word common. Jack Parow, in an interview, describes the movement as “kind of like posh, but the opposite of posh.”

Some of their music videos have incorporated artwork by the noted photographer Roger Ballen.

Roger Ballen was born in New York City in 1950. He has lived in Johannesburg South Africa since the 1970s. Beginning by documenting the small dorps or villages of rural South Africa, Ballen’s photography moved on in the late 1980s and early 1990s to their inhabitants; through the late 1990s Ballen’s work progressed. By the mid 1990s his subjects began to act where previously his pictures, however troubling, fell firmly into the category of documentary photography, his work then moved into the realms of fiction.

alter-ego-2010

ballen-roger_42

big_Onearmgoose2004RogerBallen

big_Headinsideshirt2001RogerBallen

Room-of-the-Ninja-Turtles

Wall-shadows-2003-P737-RT

Washing-line-2005-P1091-RT

Chas Bowie: Your photographs tend to always have an element of spontaneity to them, as still as they might appear.

Roger Ballen: There has to be. That’s such an interesting thing that I’ve discovered in photography. A lot of artists today use photography, and they create these sort of installations or conceptual photographs. But you remember almost none of those photographs. They just sort of sit there and you have to figure out the guy’s theory to get into the work. The reason the images don’t get inside you is because the artists don’t understand anything about photography. You can’t just set things up and photograph them and expect the picture to “zap.” It is very important that the mind feels that there is a moment of truth or a moment of authenticity. It’s really crucial, because if the artist’s hand is seen as too strong, the pictures seem either dead or contrived. The mind doesn’t believe it. The mind has to see that photograph as commenting on some aspect of truth, whatever truth means.

The most common question people ask me, especially in Shadow Chamber, is “Is this place real, did you make it, did you do this, did you do that?” The answer is, there are so many answers to that question. Everything you see in Shadow Chamber is me, because nobody else could take those pictures, even if they went to the same place as me. So it’s way of viewing the world photographically, it’s a very complex way of seeing it. Then, each one of those pictures involves thousands and thousands of subconscious and conscious steps to get to that point. Because photography is such an easy medium to master technically, especially with today’s cameras, people don’t realize that it’s not just being able to pick up a camera. When I lift that camera up to take a picture, I’ve gone through thousands of steps to get to that point. That’s what you’re really seeing; it’s a complex view of the world, through my imagination, through my experiences. It’s a science and art at the same time.

from wikipedia and others