A screening as part of Aesthetics of Resistance: Straub-Huillet and Contemporary Moving-Image Art, a series of screenings taking place at e-flux Screening Room in monthly chapters between December 2022 and March 2023 curated by Lukas Brasiskis. Read more on the series here.
Screening of the film The Crown Against Mafavuke in Mascara Film Club, an intermittent artist-run film club which takes place in a bar in North-East London. It regularly screens artists’ moving image in more convivial contexts, “batting lashes to the rhythm of the unexpected, the seductive, the challenging, the political, the overlooked and the underseen”. Mascara Film Club is organised by Rufus Rock, Daisy Smith and Kasia Lukasik.
Screening of the film Remnants of the Future, by Uriel Orlow, in the second edition of Villa Medici Film Festival, from 14 to 18 September 2022. Created in 2021, the festival is dedicated to artists and film directors who explore contemporary practices of the moving image. Essays, fictions or documentaries: it shows films that invent their own form and offers a glimpse of the most contemporary filmic creation.
Screening of Theatrum Botanicum Trilogy by Uriel Orlow, including the films Imbizo Ka Mafavuke (2017, 28min), Muthi (2016-2017, 17min) and The crown against Mafavuke (2016, 18min), as part of a film programme that expands on the topics of the journey of seeds between the Svalbard Global Seed Vault and Lebanon, patent battles over traditional plant medicine in South Africa and the traces of colonial ambitions of explorers in the Natural History Museum Berlin. In the context of the three-day performative conference UNEXPECTED LESSONS #2, part of the festival Goethe Morph* Iceland at Nordic House in Reykjavik, September 13th – 15th, 2022.
Just like its predecessor event in Berlin and Nairobi, UNEXPECTED LESSONS #2 is dedicated to the theme of decolonization. This time we put a focus on nature, from different perspectives. What makes nature the other? What role does the decoupling of nature and culture play in this? Is the culture/nature dichotomy tenable at all? And how can we decolonize our view of the world and think nature differently?
Screening of Imbizo Ka Mafavuke at X-Centric Futures as part of the monthly cycle We’d like to add, organised by Giovanbattista Tusa and Bartholomew Ryan, in collaboration with the CultureLab of the Institute of Philosophy of Nova and Carpintarias de São Lázaro Cultural Centre.
Screening and conversation with Sofia Lemos as part of a public assembly on the space and time of epidemics, curated by Andrea Bagnato and Ivan L. Munuera.
Vulnerable Beings: Sounding Out starts from the consideration that the current COVID-19 pandemic is neither unprecedented nor the only one: for a large part of the world, infectious diseases were and remain part of daily life. What were modernity’s blind spots in dealing with disease, and to what extent are they still with us today? What geopolitical maps and bodies matter? To answer these questions, we will reach back to unexpected histories and geographies, and look ahead toward possible futures. The ideas developed in the first assembly will be built upon and expanded into other bodies, environments, narratives, and politics. Sounding Out will explore invisible vulnerabilities and co-dependencies; wildness as a way of confronting exclusion; and the colonial traces embedded in medical institutions. We will highlight localised medical traditions and their conflict with Western medicine; investigate targeted violence in the context of settler colonialism; and explore local and global genealogies of activism. For three days, we will sound out the voices of Jack Halberstam, Himali Singh Soin, Isabel Amaral, Sofia Lemos, Edwin Nasr, Uriel Orlow, Jasbir K. Puar, Sarah Schulman, Nerea Calvillo, Lucía Casani and Mónica Carroquino, Tamara Giles-Vernick, Michael Marder, Elise Misao Hunchuck, Françoise Vergès, and Michael Wang.
Online survey screening and conversation with Wang Shuman at Fosun Foundation Shanghai, organized by Pro Helvetia Shanghai and Centre for Experimental Film (CEF) who commissioned three curators from China and gave them free rein to select their favorite Swiss artists and artworks for this exhibition built upon their personal research interests and curatorial sensibilities. While these featured artists have previously been shown in major biennials and other exhibitions around the world, this event organized by Pro Helvetia marks the first time they are being presented as a group to the Chinese public. Curated by Yuan Fuca, Wang Shuman, Huang Wenlong with Ursula Biemann, Uriel Orlow and Maria Iorio & Raphaël Cuomo.
Screening of Sounds from Beneath as part of The Listening Act 1, a program composed for the section New Visions at Doclisboa 2021, a programme that suggests we primarily engage with these films through sound. Listen to them. Screening alongside Hildegard Westerkamp, Mike Hoolboom & Heather Frise, David Gatten, Paula Gaitán.
To mark the 50th anniversary of Earth Day, Mikhail Karikis and Uriel Orlow’s evocative film Sounds from Beneath will be available online for 72 hours.
For this piece, Karikis asked the Snowdown Colliery Male Voice Choir in Kent, UK to vocalise the industrial sounds of a former coalmine based on their memories. The result is a moving ode to an extinct landscape; the industrial chimes and low rumbling hummings attaining a meditative quality as the performance progresses. The miners tell a wordless story of the strength, loss and resolve of a community built through work and song.
Arter presents an online selection of video works from 15 April to 15 May 2020. Entitled #playathome, the selection features eight videos related to sound and/or music in various performative ways.
Selected from the Arter Collection to be played at home, these works explore the potential of sound to trespass physical boundaries and its ability to offer alternative ways to communicate, manifest, traverse and transgress.
With works by Annika Kahrs, Cevdet Erek, Mikhail Karikis & Uriel Orlow, Sarkis, Ali Mahmut Demirel, Sophia Pompéry, Ayşe Erkmen, Nevin Aladağ.
Projections of artists films in the urban space of St Gallen, Switzerland. With works by Shirana Shahbazi, Felix Bächli, Simone Kappeler, Uriel Orlow, Maya Rochat, Hannah Weinberger, Beni Bischof and others. Curated by Anna Vetsch and Nina Keel.
Screening of Imbizo Ka Mafavuke and Muthi as part of Seeds & Soil event at CCS Paris, Saturday 9 March 2019, 16:30-18:00. Followed by in-conversation with Nataša Petrešin-Bachelez.
Screening programme curated by Oliver Ressler with films by Angela Anderson and Angela Melitopoulos, Rosa Barba, Ursula Biemann, Julia Lazarus and Uriel Orlow.
A group screening programme at Kasseler Documentary Festival.
With works by Sky Hopinka, Romain Champalaune, and Anythony Svatek.
Over two days, sixteen multi-screen films and video installations by pioneering filmmakers and artists, many of them Asian premieres, will be presented in a cinema, which will feel a bit different every time you step back into it. A film festival within the festival.
Group screening curated by Shaina Anand.
In collaboration with Filmhuis Mechelen and Academie Mechelen, in the context of Un | arranged, a screening of 7 fascinating short films in which the theme of displacement – the feeling of being uprooted, degenerated, being somewhere other than what one experiences as home – plays an important role plays.
Curated by Hans Martens director of Academy Mechelen, and Fleur van Muiswinkel artistic coordinator visual arts and performing arts, NONA.
The London premiere of Orlow’s new film Imbizo Ka Mafavuke (Mafavuke’s Tribunal), will be followed by a discussion between Uriel Orlow, Emily Pethick and Shela Sheikh and the launch of Theatrum Botanicum, published by Sternberg Press, with contributions by Sita Balani, Melanie Boehie, Clelia Coussonet, Karen Flint, Jason Irving, Nomusa Makhubu, Bettina Malcomess, Karin van Marle, Khadija von Zinnenburg Carroll, designed by In the shade of a tree (Samuel Bonnet, Sophie Demay, and Maël Fournier-Comte).
The films presented here, chosen from those exhibited at the Parco Arte Vivente in the last two years, investigate the antagonistic relationship between environmental activism and neoliberal policies on a global scale. Policies that, in spite of the imminent depletion of fossil fuels, continue to devastate vast areas of the planet, replicating exploitative practices that constitute a new colonialism and acting to the detriment of the dignity à and the rights of indigenous peoples of the North and South of the world .
Uriel Orlow’s films Imbizo Ka Mafavuke and The Crown Against Mafavuke are screened alongside works by Pedro Neves Marques, Oliver Ressler, Ursula Biemann and Paulo Tavares, curated by PAV Turin.
The question of the restitution of patrimonial objects is currently hotly debated in a world which is a return to the European colonial past and which questions the origin of extra-European objects torn from their original context, as well as their exposure patterns in the West. Director Susan Vogel , an expert on African art, recounts the fast-paced and tragically burlesque journey of a Fang statuette through the 20th century, since its delivery to the West. In his film The Visitor (2007), the Swiss artistUriel Orlow goes to meet Oba Erediauwa, then king of Benin, to question him on the need to repatriate or not the famous bronzes of Benin preserved in the British Museum. Finally, the Senegalese videographerFatou Kandé Senghor films a Casamance artist-ceramist, Seni Camara, whose ancestral know-how is threatened with extinction.These different films help to question the fate and transmission of confiscated objects, all too often dedicated to museification alone.
Uriel Orlow’s film The Visitor is screened alongside Fatou Kande Senghor’s work Giving Birth, and Susan Vogel’s film, Fang: An Epic Journey, followed by an in-conversation with curator Alicia Knock
Inspired by Tarek Atoui’s current exhibition The Ground: From the Land to the Sea at NTU CCA Singapore, this screening series features artist videos, documentaries, and filmic essays that examine how the image and the sonic create immersive ways for multiple sensorial elements to come together and form a singular space. Maybe I hadn’t been paying attention is further guided by the Centre’s overarching research topic CLIMATES. HABITATS. ENVIRONMENTS. by focusing on artistic interpretations that reflect our present-day ecology, bringing attention to global issues we tend to overlook, and by observing how we navigate different environments, particularly through aural perception.
The screening series features works by Robert Ashley (United States), Lawrence Abu Hamdan (Jordan/Lebanon), Melanie Bonajo (Netherlands/United States), Camille Henrot (France/United States), Alison O’Daniel (United States), Uriel Orlow (Switzerland/United Kingdom), Simon Ripoll-Hurier (France), Ben Russell (United States), and Nico Vascellari (Italy).