In the 1980s, collectives were widespread in the fields of experimental film and video art. In many cases, such a collective approach, based on mutual support and group commitment, was the only option, since the necessary equipment, from camera to editing suite, was beyond the financial means of individual artists. During this period, there were also feminist collectives created to subvert the patriarchal order of filmmaking.
In the meantime, structural change has taken place in these fields. In the 1990s, a neoliberal mindset based on individual property seems to have taken hold, and many feminist collectives disappeared, with Bildwechsel (Hamburg) and Circles (London) among the few exceptions that have survived into the present.
Today, film equipment is cheaper; films and video art are far easier to make, using mobile phones or on the computer at home. In spite of this, there is a growing interest in collective working methods, and the number of feminist and queer collectives is on the rise. Where does this need to form alliances come from?
On the evening, the following collectively produced films will be screened:
➔ Captain Fiffy
WASSERMUSIK, 8 Min., HD, 2022
➔ Gossing & Sieckmann
SOUVENIR, 20 Min., 16mm transferred to HD, 2019
➔ Isabell Spengler, Antonia Baehr, Jule Flierl
DIE HÖRPOSAUNE, 31:06 Min., DCP, 2022
Filmed in an installation by Nadia Lauro
LAKE OF FIRE, 11 Min., found footage video, 2022
The screening will be followed by a discussion between several of those involved in these productions on the theme of “Collective art production today. Utopia or opportunity?”
Moderated by Ingrid Wagner and Kat Lawinia Gorska
In cooperation with attaque(e)r le visible