Daily introduction

As Mindaugas is the medium of the Triennial so The Cinema of Self takes a similar solipsistic organising principle to present a series of contemporary artists’ films selected for their relationship to constructions of self hood. As Mindaugas embodies the many into the one so the Cinema is the channeling of the subjectivities of the many into the singular perspective of the one camera-screen-spectator.  While presenting a plurality of subjects, positions, politics The Cinema of the Self makes no proposition beyond how we experience it, how the artist relates and relates us to their subject, a cinema of myself, yourself, her self, his self, ourselves.

Films in the Cinema of the Self include Scottish artist Luke Fowler’s personal humanist portrait of radical Scottish psychiatrist R.D. Laing, All Divided Selves. Catherine Sullivan and Farhad Sharmani’s  The Last Days of British Honduras which subsumes narrative in exaggerated gesture and emotional states to produce an uncanny statement on ontological insecurity. Moyra Davey’s Les Goddesses, a cool objective portrait of Eighteenth-century British writer, philosopher Mary Wollstonecraft which is gradually refracted into a highly subjective portrait of the artist herself. Gonda, by Austrian artist Ursula Mayer deconstructs the work of infamous Russian writer, Ayn Rand and her extreme individualist philosophical system of ‘objectivism’ through a polyphonic fracturing of her’s 1937 play Ideal. Rania Stephen’s The Three Disappearances of Soad Hosni reconstructs the life of popular Egyptian film star Soad Hosni through the VHS tapes with which her fans owned and experienced her; while Ed Atkin’s The Trick Brain, presents a series of invocations triggered the objects in André Breton’s apartment. Eric Baudelaire’s The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images uses the metaphor of the ‘anabasis’ (a Greek word for a military expedition inland) to explore the history of Japanese Red Army Faction through the personal histories of two of its protagonists, while problematising role image making plays in both personal and political expression. Neïl Beloufa’s Sans Titre is an anti-realist documentary circling around a seeming terrorist invasion in Algeria where all the central protagonists are removed and the narrative is presented at the distance of the indirect witness stressing the ultimate fragility and subjectivity of the cinema. Finally The Cinema of the Self will also embody the Triennial, its participants, audience and location through Mark Aerial Waller’s project Time Together, an accumulative film production which will be presented on a daily basis in the cinema and across the CAC.

The Cinema of the Self programme shows once per day from 12 noon until 8pm in the CAC Cinema Hall. For a detailed program, please visit the Website of CAC Cinema Hall.