1. City of Women - Flanders Expo Gent

    01:04

    from Noël Hendrikx / Added

    100 Plays / / 0 Comments

    City of Women Flanders Expo - Gent

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    • electoral body does the ballot box (teaser)

      00:46

      from KITCH / Added

      performance by rebellios KITCH controversy

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      • Simona Semenič - drugič / The Second Time

        04:35

        from Cityofwomen / Added

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        Simona Semenič je svoj prvi besedni solo z naslovom Jaz, žrtev. premierno predstavila v okviru trinajstega festivala Mesto žensk leta 2007. V avtobiografskem besedilu in predstavi, ki jo je sama režirala in v njej tudi nastopila, se je ukvarjala s svojimi bližnjimi srečanji s temnimi silami te in one sorte. Spregovorila je o izkušnjah z epilepsijo in zdravstvenim sistemom, z genitalnim herpesom in zdravstvenim sistemom, pa še s čim in z zdravstvenim sistemom. Predstava drugič je vsebinsko nadaljevanje prvega sola; kjer se prvi solo konča, se drugi začne. Dobesedno. »Pustite mi kaditi« – zadnja replika v predstavi Jaz, žrtev. – je prva replika v predstavi drugič. Simona se sprehodi skozi zadnja leta, v katerih se je na ta in oni način spopadala s poslabšanjem epilepsije in, neizogibno, z zdravstvenim sistemom. Besedilo, režija, nastop: Simona Semenič; Vizualna podoba: Barbara Kapelj Osredkar; Oblikovanje svetlobe: Andrej Petrovčič; Dramaturška in čustvena podpora: Barbara Kapelj Osredkar, Simona Hamer, Rok Vevar. Produkcija: kd integrali društvo, Mesto žensk; V sodelovanju: Klub Gromka - AKC Metelkova. ------------------------------------------------------------ Simona Semenič’s first solo theatre piece entitled I, Victim. premiered in the context of the 13th City of Women Festival in 2007. The autobiographical text and performance that Simona directed and performed herself dealt with her close encounters with the dark forces of one kind and another. She shared her experience with epilepsy and the health system, with genital herpes and the health system and bunch of other things and the health system. The performance the second time is a sequel of her first solo; where the first solo ends, the second begins. Literally. “Let me smoke,” the last line in the performance I, Victim. is the first line in the performance the second time. Simona recounts her recent years, during which she – this way or that – coped with the aggravation of her epilepsy and – what else? – the health system. Text, Directed and Performed by: Simona Semenič; Visual Design: Barbara Kapelj Osredkar; Lighting design: Andrej Petrovčič; Dramaturgy and Emotional Support: Barbara Kapelj Osredkar, Simona Hamer, Rok Vevar. Production: kd integrali Association, City of Women; In collaboration with: Klub Gromka - AKC Metelkova.

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        • La Ribot - Režeča (se) luknja / Laughing Hole

          03:59

          from Cityofwomen / Added

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          2006 / 720’ Performans-inštalacija Režeča (se) luknja, ki je nastala leta 2006, je v eni od ponovitev trajala šest ur in bila La Ribotino najdaljše delo. Po besedah pisatelja Jaimeja Conde-Salazarja je tudi njeno najbolj politično delo: izraz jeze in odpora do »nezakonitega zapora v Guantánamu in celotne ideološke operacije, ki obdaja to temo.« Tri performerke, oblečene v halje čistilk, brskajo med kartonastimi plakati, ki so z napisom navzdol nastlani na tleh prizorišča performansa. Ena za drugo dvigajo kartone z besedilom, jih lepijo na stene in polnijo prostor z iztrganimi, pogosto politično obarvanimi frazami, kot so »Umri tukaj«, »Anonimni v Guantánamu«, »Brutalna praznina«, »Zabava v Gazi«, »Skrivnostna smrt«, »Usrani gledalec«, »Priseljenec na prodaj« ali »Impotentni teror«. Performerke se ves čas smejejo in ko jih premaguje utrujenost, jih premaguje tudi brezup. Istočasno oblikovalec zvoka snema in elektronsko spremeni smeh, kar še dodatno obteži že tako konfliktno vzdušje performansa. Smeh v performansu je tudi izraz nestrinjanja z dehumanizacijo verbalnega podobja v množičnih medijih. Režeča (se) luknja, v katerem odmeva brutalnost tabloidnih naslovov, ni zgolj protest proti zahodnjaški zlorabi človekovih pravic, temveč tudi načinu, kako jih mediji predstavljajo državljanom, v katerih imenu so bile pravice zlorabljene. (La Ribot) Avtorstvo in režija: La Ribot; Performerke: Tamara Alegre, Olivia Csiky Trnka, Maria Arantzazu Martinez Rabancho; Oblikovanje zvoka: Clive Jenkins; Glasbenik: Fernando de Miguel; Angleški prevod: Catherine Phelps. Organizacija: Mesto žensk; V sodelovanju: Moderna galerija, Ljubljana. S podporo: Veleposlaništvo Švice v Sloveniji, Veleposlaništvo Kraljevine Španije v RS. -------------- The performance-installation Laughing Hole was launched in 2006 and, in one of its iterations, lasted six hours, making it La Ribot’s lengthiest work. According to writer Jaime Conde-Salazar, it’s also her most overtly political piece: an expression of anger and revulsion towards “the illegal prison of Guantánamo and the whole ideological operation surrounding that subject.” Three female performers dressed in cleaners’ overalls sort through hundreds of cardboard placards that, face-down, litter the floor of the performance space. One by one, they display the cards and tape them to the walls, filling the space with disjointed, often politically tendentious phrases such as “die here”, “anonymous in Guantánamo”, “brutal hole”, “Gaza party”, “secret death”, “shit spectator”, “immigrant on sale” and “impotent terror”. The performers laugh continuously and, as fatigue takes over, with increasing desperation. Also at work is a sound artist who records and electronically morphs the laughter, amplifying the piece’s already conflicted atmosphere. The piece’s laughter is also a gesture of dissent towards the dehumanizing verbal imagery of the mass media. Echoing the brutality of tabloid headlines, Laughing Hole’s texts protest not just Western abuses of human rights but the manner in which the media presents them to the citizens in whose names they’ve been perpetrated. (La Ribot) Written and Directed by: La Ribot; Performers: Tamara Alegre, Olivia Csiky Trnka, Maria Arantzazu Martinez Rabancho; Sound Design: Clive Jenkins; Musician: Fernando de Miguel; English Translation: Catherine Phelps. Organisation: City of Women; In collaboration with: Modern Gallery, Ljubljana. Supported by: Embassy of Switzerland in Slovenia, Embassy of the Kingdom of Spain in Slovenia.

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          • Pika in Packa packata (Prick och Fläck på fläcken) / Spot and Splodge Plottspotting

            10:24

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            227 Plays / / 0 Comments

            Animirani film 2013 / 33' Sedem novih epizod o Piki in Packi. Pika je pikasta. Packa je packasta. Tako, kot mora biti. Pika je oblečena v modre hlače s pikami in rdeče čeveljce. Packa pa nosi roza hlače s pikami in modre čeveljce. Zelo sta prijazni in lepo skrbita druga za drugo. Sta fanta ali punci? Tega ne vemo. Gotovo pa je, da nista zajca. Čeprav imata dolga ušesa in dva sprednja zobka. Če ju zebe, si na ušesa nadeneta tople nogavice. Če ju je strah, jih zvijeta v rog. Večino časa pa sta zelo radovedni in svet opazujeta po svoje, zato znata po ušesih tudi hoditi! Radi pečeta kruh, se sladkata in raziskujeta neznano. Tudi pogumni sta, saj sledita celo kresničkam v nočnem gozdu, kjer utrgata strupeno mušnico! Kaj bosta naredili z njo? V novih epizodah o Piki in Packi bomo tudi videli, kaj bosta ušpičili v cirkusu in kako je videti njuna disko zabava! (Petra Slatinšek) Režija: Lotta Geffenblad, Uzi Geffenblad; Scenarij: Lotta Geffenblad, Uzi Geffenblad; Po knjigah: Lotta Geffenblad; Oblikovanje: Lotta Geffenblad; Montaža: Uzi Geffenblad; Glasba: Uzi Geffenblad; Glas: Katja Preša; Producent: Uzi Geffenblad; Produkcija: Zigzag Animation AB. Organizacija: Kinodvor – Kinobalon; V sodelovanju: Mesto žensk. ------------------------------------------------------------------------ Animation Film Film, 2013 / 33' Seven new sequences about Spot and Splodge. Spot is spotted. Splodge is splodged. Just the way it should be. Spot is wearing blue spotted pants and red shoes whilst Splodge is wearing pink dotted pants and blue shoes. They are very nice and take good care of each other. Are they boys or girls? We don’t know the answer to that. But they’re for sure not rabbits. Even though they have long ears and two front teeth. If they are cold, they put warm socks on their ears. If they are scared, they curl their ears into a horn. But most of the time they are just very inquisitive and have their own view of the world – hence they can also walk on their ears! They like baking bread, eating sweets and exploring the unknown. They are also very brave and they follow fireflies at night in the forest, where they pick up a poisonous fly agaric toadstool! What are they going to do with it? In the new sequences, Spot and Splodge will also go to a circus and we can see what their disco party looks like! (Petra Slatinšek) Directed by: Lotta Geffenblad, Uzi Geffenblad; Screenplay: Lotta Geffenblad, Uzi Geffenblad; Adaptation: Lotta Geffenblad; Design: Lotta Geffenblad; Editing: Uzi Geffenblad; Music: Uzi Geffenblad; Voice: Katja Preša; Producer: Uzi Geffenblad; Production: Zigzag Animation AB. Organisation: Kinodvor – Kinobalon; In collaboration with: City of Women.

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            • Zavoloka & Laetitia Morais + Kotra

              05:48

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              Koncert Kotra (Ukrajina) / 22.00 / 45' Ogrevanje Kotra je vzdevek in glavni umetniški projekt ukrajinskega umetnika zvoka in promotorja Dmytra Fedorenka iz Kijeva. Kotra že vrsto let raziskuje meje percepcije – svoje lastne in občinstva – in kako glasbeni ekstremi vplivajo na telo in duha. Vsi njegovi albumi in koncerti v živo so način radikalne transformacije skozi zvok, ki je eno najmočnejših abstraktnih orodij komuniciranja. Kotra »bombardira« občinstvo z izjemno glasnimi zvoki in na ta način, poleg njene estetske plati, ponuja drugačen obraz glasbe – obraz, ki iritira in moti. http://kotra.org.ua Zavoloka in Laetitia Morais (Ukrajina, Portugalska) / 23.00 Glavni dogodek Zavoloka in Laetitia Morais sodelujeta od leta 2007, ko sta se srečali na dogodku na Portugalskem, na katerem sta obe sodelovali. Zavolokina glasba je globoka in ponotranjena, polna različnih plasti čistega zvoka in kljub silnosti vedno ohranja organsko povezanost z vizualijami Laetitie, ki neprestano išče ravnovesje med fizičnimi in digitalnimi elementi. Obe na odru improvizirata, zato je potek koncerta neznanka. Zgodi se, da je edina »iztočnica« za njun nastop koncept, kar se je zgodilo, ko je Zavoloka začela snemati serijo albumov, posvečenih naravnim elementom: Viter (veter), Vedana (voda) in njen najnovejši album Volya (ogenj), ki bodo prvič predstavljeni v Ljubljani. Skupaj sta nastopili na naslednjih dogodkih: Audiovisiva (Milano), Avalanche (Porto), Madeira Dig (Madeira), Rewire (Haag), Cynetart (Dresden), Kvitvechir (Kijev), Europejski Stadion Kultury (Rzeszów), Mózg – Bydgoszcz and Elbphilharmonie (Hamburg). (Promocijsko gradivo) www.zavoloka.com Dogodek je del SONICA Series XII. Produkcija: MoTA – Museum of Transitory Art, Mesto žensk, CUK Kino Šiška. .... Concert Kotra 10 pm / 45’ Pre-act Kotra is a moniker and the main art project of Ukrainian sound artist and promoter Dmytro Fedorenko, from Kyiv, Ukraine. For many years, Kotra has been exploring his own and his audiences’ perception limits, how music can affect the body and the mind at the most extreme points. The main idea behind all of Kotra’s releases and live concerts is finding a way for radical transformation through sound, as one of the most powerful abstract tools of communication. By sending extremely loud waves toward the audience, Kotra offers another look into the irritating and disturbing physical face of music, alongside its aesthetics side. http://kotra.org.ua Zavoloka & Laetitia Morais, 11 pm Main Act Zavoloka and Laetitia Morais have been collaborating since 2007, when they first met during their participation in an event in Portugal. Zavoloka’s music is deep and intrinsic, filled with several layers of pure sounds, and, despite its force, always keeps an organicity while combining with Laetitia’s visuals, who constantly searches out the affinity between physical and digital elements. They both improvise on stage, so the set-up is open to unknown variations. It happens that the only premise for their show is the concept, which occurred during the release of Zavoloka’s albums Viter for wind, Vedana for water and the recent Volya for fire, all three of which will be revealed together for the first time in Ljubljana. Together the two have had shows at Audiovisiva (Milan), Avalanche (Porto), Madeira Dig (Madeira), Rewire (The Hague), Cynetart (Dresden), Kvitvechir (Kiev), Europejski Stadion Kultury (Rzeszów), and Mózg – Bydgoszcz and Elbphilharmonie (Hamburg). (From the artists’ press kit material) www.zavoloka.com The event is part of SONICA Series XII: Production: MoTA – Museum of Transitory Art, City of Women, Kino Šiška Centre for Urban Culture

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              • Guizo LaNuit

                04:33

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                Alexis O'Hara Performans 2014 / 40' Mešanica drag-a, elektro-balad in ostre, mračnjaške komedije: spektakel Guizo LaNuit ironizira sodobno obsedenost s potrebo, da o čustvih spregovorimo javno in pred neznanci. Guizo predstavlja večjezične glasbene venčke, shizofrene izpade, spolno zmedenost in mikse pop kulture. Predstava je v obliki melanholične retrospektive, v kateri nam Guizo pripoveduje o svoji zmedeni življenjski zgodbi, v kateri je vsaka epizoda poudarjena z interpretacijo komada, ki ga je ‘napisal’ (v resnici gre za panoramo hitov evro-trasha, diska, rocka in folka). (Alexis O’Hara) Performans je v angleškem in francoskem jeziku. Koncept in izvedba: Alexis O'Hara. Organizacija: Mesto žensk; V sodelovanju: Gledališče Glej ............................................................................................. Alexis O'Hara Performance 2014 / 40' Blending drooping drag, electro-balladry and dark, pointed comedy the spectacle of Guizo LaNuit casts an ironic glance at the contemporary obsesssion with sharing one’s feelings on a public stage. Guizo presents multi-lingual musical medleys, schizophrenic rants, gender confusion and live pop-culture mashups. The show takes the form of a melancholic retrospective where Guizo tells us his confusing life story, each episode punctuated by an interpretation of a song he ‘wrote’ (in reality, a panorama of euro-trash, disco, rock & folk hits). Performed in English and French. Concept and performed by: Alexis O'Hara. Production: City of Women; In collaboration: Glej Theatre.

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                • Lula Pena

                  07:59

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                  Koncert »Nekateri poskušajo opredeliti in opisati glas Lule Pena z besedami: ‘Nekaj med Tomom Waitsom in Leonardom Cohenom, vendar v ženski obliki.’ Vse prej kot lahka naloga! Nedvomno gre za edinstven glas v portugalskem govornem okolju, čudovit globok glas, ki je našel navdih v številnih vplivih, ki se prestopajo meje: lizbonski fado, zelenortska morna, brazilska bossa nova, argentinski tango, arabsko-afriški ritmi, francoski šanson … Vzame si vse, ob čemer njena senzibilnost zatrepeta; in z glasom in kitaro, ki nas vabita, interpretira čustva ali tišino … … Potopljeni v njen svojstven odnos z zvokom, z zgodovino, s spominom lahko o Luli razmišljamo ne samo kot o eni od največjih mojstric fada, temveč tudi kot o nekom, ki fado živi. Z njim pljuje do vseh sredozemskih pristanišč, do francoščine, kjer najde besede, s katerimi spregovori o ljubezni, pa tudi prek Atlantika do Brazilije in Medmorske Amerike, ko jo veter ponese tja in iz nje izvabi tudi kakšno angleško besedo.« (Povzeto po novinarskem gradivu) Organizacija: Cankarjev dom; V sodelovanju: Mesto žensk ----------------------------------------------- Concert “Some try to define and root the voice of Lula Pena: ‘Something between Tom Waits and Leonard Cohen, but in the feminine.” Not an easy task! Nevertheless, it’s a unique voice in the lusophone landscape, a beautiful deep voice, inspired by multiple references that play with borders: Lisbon fado, Cape Verdean morna, Brazilian bossa nova, Argentine tango, Arab-African environments, chanson française... She takes for herself everything that can make her sensibility vibrate; and the voice and guitar, that invite us, that interpret the emotions and the silence ... ... Immersed in her own, singular, relationship with sound, with history, with memory, we can think about Lula not only as one of the great craftswomen of fado, but also as someone who lives it. She sails it to every Mediterranean port, towards the French language so that she might add words in which to speak of love, but also across the Atlantic to Brazil and Central America when the wind carries her that way, uttering the English word when she must.” (Lula Pena press kit) Organization: Cankarjev Dom; In collaboration with: City of Women

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                  • Zakaj je Afrika preklela Evropo? / Why Africa Cursed Europe?

                    03:34

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                    Ngozi Onwurah Nevline Nnaji Marina Gržinić Selektorica: Marina Gržinić Projekcijama bo sledil komentar selektorice ter vprašanja in odgovori v dialogu z občinstvom. »Bel obraz ima belo pamet. Včasih ima črn obraz belo pamet. Zelo redko pa ima bel obraz črno pamet.« – Nikki Giovanni (r. 1943), ameriška pesnica. Iz pogovora z Jamesom Baldwinom v Londonu, 4. novembra 1971, v A Dialogue (1973) Video program je nadaljevanje kuratorskega dela za Mesto žensk 2010, ko sem za osrednji festivalski temi – rasa in razred – sestavila neodvisni, kritični filmski program novega tisočletja. Za letošnjo festivalsko edicijo se omenjenih tem lotevam širše, s stališča zgodovine in reprezentacije. Kako si te tri okoliščine nasprotujejo v sodobni produkciji umetnosti v času globalnega kapitalizma? Kako vplivajo na naše razumevanje življenja, smrti, dela in prihodnosti? Program predstavlja dve deli, ki pomenita platformo, kjer je marginalizirane glasove temnopoltih žensk mogoče slišati in validirati. Eden najpomembnejših vidikov programa je dejstvo, da so za pogoje, s katerimi se soočajo temnopolte ženske, dejansko krive njihove temnopolte režiserke. Naslov filma Čudovito telo je zavajajoč. Ob njem najprej pomislimo na številne televizijske oddaje, ki jih vodijo znane igralke, in njihove videe o načinu življenja, v katerih prikazujejo, kako poskrbeti za lepo oblikovano telo, zdravo življenje in psihično ravnovesje. To slednje je neoliberalistična tendenca v kapitalizmu, ki pridiga o možnostih, kako je človek lahko »eno« sam s sabo. Povsem jasno je, da gre za iluzijo, saj se moramo neprestano spopadati z decentraliziranim jazom, ki ni v ravnovesju in je pod ostrim pritiskom deregulacije kapitala. Telo in subjekt sta neprestano izpostavljena procesom deregulacije in diskriminacije. Čudovito telo Ngozi Onwurah se osredotoča na tovrstno sprevrženost. Film pripoveduje zgodbe matere in hčere. V središču dela je vprašanje o reprezentaciji: globoki vplivi, ki so povezani s podobo telesa in pritiski rasne in spolne identitete. ... Ngozi Onwurah Nevline Nnaji Marina Gržinić Selected by: Marina Gržinić The screenings will be followed by the selector’s commentary as well as a Q&A in dialogue with the audience. “A white face goes with a white mind. Occasionally, a black face goes with a white mind. Very seldom will a white face have a black mind.” — Nikki Giovanni (b. 1943), American poet. From a conversation with James Baldwin, in London, Nov. 4, 1971, in A Dialogue (1973). The video-film program is a continuation of the curatorial work I did in selecting screenings for the 2010 City of Women edition, which had race and class as two of the pillars for conceiving an independent, critical program of projections in the new millennium. In the present film program, these two pillars have been retaken and reworked with questions of history, agency and representation. How do these three conditions collide in contemporary arts production in the time of global capitalism? How do they affect our understanding of life, death, labor and the future? The program presents two works that provide a platform in which marginalized black female voices can be heard and validated. One of the most important aspects of this program is that we present films about conditions black women face that are actually made by black women directors. The title of the film The Body Beautiful is a tricky one since at first it leads one to think of the many TV series featuring known actresses and their lifestyle program videos demonstrating how to shape the body and reproduce a healthy life in psychic balance. This last is a neoliberal tendency in capitalism that preaches the possibilities of how to be “one” with oneself at every step. It is clear that this is an illusion, as we have to constantly deal with a decentered self that is out of balance and under harsh pressure from capital’s deregulation. The body and the subject are under constant processes of deregulation, discrimination. The Body Beautiful by Ngozi Onwurah is centered on such a distortion, and the stories of both the mother and the daughter provide the narration for the film. At the center of the work is the question of representation: the profound effects that body image and the strain of racial and sexual identity impose on both of them.

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                    • Silvia Federici - Seminar

                      04:39

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                      174 Plays / / 0 Comments

                      Proces ekonomske globalizacije je v temeljih preobrazil organizacijo ženskega dela doma in zunaj doma ter usmeritev ženskih bojev na tem področju. Federici v svoji prezentaciji preučuje glavne spremembe, do katerih je še posebej v urbanih okoljih prišlo na mednarodni ravni v reproduktivnem delu – plačanem in neplačanem – in strategije, ki so jih ženske razvile kot odgovor na spremembe. Vprašanja, ki jih bo obravnavala, zajemajo globalizacijo in komercializacijo »skrbstvenega dela«, nove nastajajoče oblike »afektivnega dela« in napore, ki jih ženske, še posebej v Latinski Ameriki, vlagajo v produkcijo urbanega »skupnega«, tj. oblik reprodukcije, ki niso podvržene logiki države in trga. Seminar obravnava organizacijo reprodukcije v kapitalistični ekonomiji – nekoč in danes – s posebnim poudarkom na novih oblikah reproduktivnega dela, ki so izšle iz prestrukturiranja svetovnega gospodarstva in bojev, ki jih bijejo ženske na tem področju. Razdeljen je v štiri dele. ------------------------------------------------------------ The process of economic globalization has deeply transformed the organization of female labor, both in and outside of the home, as well as the direction women’s struggles are taking on these terrains. In her presentation, Federici examines the main changes that have occurred internationally in reproductive work, both paid and unpaid, especially in urban environments, as well as the strategies women have developed in response to them. Topics discussed will include the globalization and commercialization of “care work”, the new emerging forms of “affective labor”, and the efforts women are making, especially in Latin America, to produce urban “commons” – that is, forms of reproduction outside the logic of the state and the market. The seminar discusses the organization of reproduction in the capitalist economy – both past and present – with special attention to the new forms of reproductive work that have emerged from the restructuring of the world economy and the struggles that women are having on this terrain. The seminar will be divided into four parts.

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