[for English please scroll down] PROGRAMA 4 17.12.2018 | 18h30 Goethe-Institut, Auditório Chekhovian Motifs (Chekhovskie motivy, 2002, 120 Min.) de Kira Muratova Discussão: Emily Wardill, Michael Marder As obras de arte, nomeadamente aquelas que trabalham a partir de material documental, podem oferecer um apelo particularmente desafiante para refletir sobre a realidade. Enquanto a ligação indexante à realidade que abordam garante ao som e à imagem uma credibilidade especifica, a postura do artista, a sua escolha estética, temática e política, bem como a posição autorreflexiva, podem gerar uma avaliação critica sobre a constituição dessa realidade. É neste ponto que a arte encontra a filosofia. A reflexão sobre a relação entre o mundo factual e a sua apropriação subjetiva, questionando as reivindicações hegemónicas de objectividade e autoridade e problematizando as contradições inerentes à sociedade, são, por imanência, questões filosóficas. Problematizar a realidade – encontros entre arte, cinema e filosofia é um conjunto de programas que decorre de uma parceria entre IFILNOVA (CineLab) / FCSH / UNL, Goethe-Institut Portugal e Maumaus / Lumiar Cité e em colaboração com Apordoc / Doc’s Kingdom. Estes encontros internacionais entre artistas e investigadores focam-se no momento em que a arte, o cinema e a filosofia se entrelaçam num diálogo produtivo. O quarto programa decorre no Auditório do Goethe-Institut, com o encontro entre a artista plástica Emily Wardill e o filósofo Michael Marder, acompanhado pela projeção de Chekhovian Motifs (Chekhovskie motivy, 2002) da autoria da relevante cineasta ucraniana Kira Muratova (1934-2018), falecida no passado mês de Junho. Embora durante a preparação, Kira Muratova tenha lido de forma abrangente a obra de Anton Chekhov (1860-1904), refletindo sobre as suas personagens, temas e motivos, Chekhovian Motifs é a adaptação livre de dois textos curtos: o conto Difficult People (1886) e a peça teatral Tatiana Repina (1889). Por meio de um registo estilizado e hiper-realista, Muratova divide em duas partes o conto de uma família rural em que um estudante reclama o dinheiro que assegure as despesas relativas à sua partida de casa, colocando no meio a peça teatral em que uma mulher rica casa com um cantor de ópera, cuja antiga pretendente se suicida e regressa para assombrar o evento. Ao combinar atores profissionais e amadores, juntamente com participantes de um programa cómico televisivo conhecido pelo slapstick e pela composição artesanal, Muratova transforma o rapaz em observador da decadência material e intelectual das classes sociais privilegiadas e testemunha de um tempo mumificado a preto e branco, evocando a arte muda dos primórdios do cinema, época de que datam as comédias de repetições de Chekhov que serviram de base para o filme. Emily Wardill apresentou internacionalmente o seu trabalho artístico, incluindo as exposições individuais: Espaço Projeto, Museu Calouste Gulbenkian (2017), Bergen Kunsthall (2017), SMK – National Gallery of Denmark (Copenhaga, 2012), de Appel arts centre (Amsterdão, 2010), Contemporary Art Museum St. Louis (2011) e ICA-Institute of Contemporary Arts (Londres, 2007–08). Participou na Biennale of Moving Images (Geneva, 2016) e na 54ª Bienal de Veneza (2011), e em exposições colectivas na Hayward Gallery (Londres), Witte de With (Roterdão), Museum Moderner Kunst Stiftung Ludwig Wien (Viena) e Museum of Contemporary Art (Miami). Wardill foi premiada com o prestigiado Jarman Award (2010) e o The Leverhulme Award (2011). Atualmente, é Professora na Malmö Art Academy. Michael Marder é Professor Investigador no Departamento de Filosofia da Universidade do País Basco (Vitoria-Gasteiz). O seu trabalho abrange os campos da fenomenologia, filosofia ambiental e pensamento politico. Marder é Editor Associado da publicação “Telos: A Quarterly Journal of Critical Thought” e autor de diversos livros, incluindo: “Heidegger: Phenomenology, Ecology, Politics” (2018), “Energy Dreams: Of Actuality” (2017), “Dust” (2016), “Pyropolitics: When the World Is Ablaze” (2015), “Phenomena-Critique-Logos: The Project of Critical Phenomenology” (2014), “Plant-Thinking: A Philosophy of Vegetal Life” (2013), “The Philosopher's Plant: An Intellectual Herbarium” (2014), “Groundless Existence: The Political Ontology of Carl Schmitt” (2010) e “The Event of The Thing: Derrida's Post-Deconstructive Realism” (2009). Duração da sessão: 150 Min. | M/12 | Entrada livre, sujeita à lotação da sala. Para mais informações, por favor contactar: Tel: +351 21 352 11 55 | info@problematisingreality.com Parceria: IFILNOVA (CineLab) / FCSH / UNL, Goethe-Institut, Maumaus / Lumiar Cité Colaboração: Apordoc / Doc’s Kingdom Apoio: Câmara Municipal de Lisboa, FCT - Fundação para a Ciência e a Tecnologia, Ministério da Cultura / Direção-Geral das Artes ------- PROGRAMME 4 17.12.2018 | 18h30 Goethe-Institut, Auditorium Chekhovian Motifs (Chekhovskie motivy, 2002, 120 Min.) by Kira Muratova Discussion: Emily Wardill, Michael Marder Artworks, especially those that comprise documentary material, can offer a particularly challenging appeal to our thoughts about reality. While their indexical link to the reality they address grants images and sounds a specific credibility, the position of the artist, her aesthetic, thematic and political choices and self-reflexive stance, may generate a critical assessment of the very constitution of reality. At such a point, art meets philosophy. In order to reflect on the relationship between the factual world and its subjective appropriation, questioning hegemonic claims to objectivity and problematising the inherent contradictions of society are inherently philosophical issues. ‘Problematising reality – Encounters between art, cinema and philosophy’ is a series of projections and discussions that takes place in various cultural spaces in the city of Lisbon, in a partnership between IFILNOVA (CineLab) / FCSH / UNL, Goethe-Institut and Maumaus / Lumiar Cité and in collaboration with Apordoc / Doc’s Kingdom. These encounters between artists and researchers of international renown focus on the very moments where art, cinema and philosophy enter into a productive dialogue. The forth programme takes place at the Goethe-Institut Auditorium and brings together artist Emily Wardill and philosopher Michael Marder in discussion around the screening of Chekhovian Motifs (Chekhovskie motivy, 2002), a film directed by the Ukrainian filmmaker Kira Muratova, who passed away last June. In preparing the film, Muratova comprehensively read the work of Anton Chekhov (1860-1904), reflecting on Chekhov’s motifs, themes and characters. Chekhovian Motifs is a free adaptation of two short texts: the tale Difficult People (1886) and the play Tatiana Repina (1889). Through a combination of hyper-realistic and stylized images, Muratova divides the tale in two parts, focusing on a rural family where a student is demanding money to cover the basic expenses related to his departure from home, while in the middle integrating the play in which a wealthy woman marries an opera singer whose former fiancée had committed suicide but returns to haunt the wedding. By bringing together professional and amateur actors, as well as participants from a television comedy show known for its slapstick and crude production quality, Muratova transforms the young man into an observer of the material and intellectual decay of the privileged social classes and a witness of a black and white mummified time evoking the art of silent film from the early years of cinema, when Chekhov's comedies of repetition that serve as the inspiration for the film were originally written. Emily Wardill has exhibited internationally, including her solo exhibitions at Gulbenkian Project Spaces (Lisbon, 2017); Bergen Kunsthall (2017), The National Gallery of Denmark, Copenhagen (2012); de Appel arts centre, Amsterdam (2010); Contemporary Art Museum St Louis (2011) and Institute of Contemporary Arts, London (2007–08). She participated in the Bienalle of Moving Images, Geneva (2016), 54th Venice Biennale (2011) and in group exhibitions at Hayward Gallery, London; Witte de With, Rotterdam; Museum Moderner Kunst Stiftung Ludwig Wien, Vienna; and Museum of Contemporary Art, Miami. In 2010, Wardill was the recipient of the prestigious Jarman Award and in 2011 The Leverhulme Award. She currently works as a Professor at Malmö Art Academy (Sweden). Michael Marder is Ikerbasque Research Professor in the Department of Philosophy at the University of the Basque Country, Vitoria-Gasteiz. His work spans the fields of phenomenology, environmental philosophy, and political thought. He is the Associate Editor of ‘Telos: A Quarterly Journal of Critical Thought’ and the author of twelve books, including 'Heidegger: Phenomenology, Ecology, Politics' (2018), ‘Energy Dreams: Of Actuality’ (2017), ‘Dust’ (2016), ‘Pyropolitics: When the World Is Ablaze’ (2015), ‘Phenomena-Critique-Logos: The Project of Critical Phenomenology’ (2014), ‘Plant-Thinking: A Philosophy of Vegetal Life’ (2013), ‘The Philosopher's Plant: An Intellectual Herbarium’ (2014), ‘Groundless Existence: The Political Ontology of Carl Schmitt’ (2010) and ‘The Event of The Thing: Derrida's Post-Deconstructive Realism’ (2009). Session duration: 150 Min. | M/12 | Entry is free and limited to the number of seats available. For further information, please contact: Tel: +351 21 352 11 55 | info@problematisingreality.com Partnership: IFILNOVA (CineLab) / FCSH / UNL, Goethe-Institut, Maumaus / Lumiar Cité Collaboration: Apordoc / Doc’s Kingdom Support: Câmara Municipal de Lisboa, FCT - Fundação para a Ciência e a Tecnologia, Ministério da Cultura / Direção-Geral das Artes
