BLUENESS / BLÄUE / BLU
film by Kerstin Schroedinger
24 -28.04 2018
24 April :: 8.30 pm – opening
25-27 April :: 7.30 pm – 10 pm 19.30 – video installation
28 April 8.30 pm :: double screening: “Blueness” by Kerstin Schroedinger and “Appunti del Passaggio” by Raphaël Cuomo and Maria Iorio
Kerstin Schroedinger is invited at Standards by Gaia Martino in dialogue with Paolo Caffoni and Archive Books to present the Italian première of “Blueness”. During the finissage, we are glad to welcome Raphaël Cuomo and Maria Iorio, invited by the artist herself to Milano for a double screening of their “Appunti del Passaggio” and “Blueness”.
BLUENESS / BLÄUE / BLU
“In this situation, I wanted to start from the materiality of my body, analyse the restrictions imposed on it, which have become part of my psychology. From there, I wanted the ability to act and re-appropriate my body, my knowledge and a different practice…” (quoted after Women’s Group Via Cherubini Milano, in: Sottosopra 1976)
Juxtaposing images of the production sites of the pharmaceutical- chemical industry with speculations on the historical, social, and material conditions of Cyanotype photography, “Bläue” is an experimental video that reflects upon the synthesis of the image production processes. The film revisits sites that are related to the history of Prussian Blue, a blue dye stuff, in Seveso, Italy, and Basel, Switzerland. Connections to the pharmaceutical-chemical industry are drawn, which although are latent in the imaging of the blue print, may only become visible between the images and between the periods of exposure and development. The video creates a network of historical events, chemical-material realisations and medicinal-physical experiences of and through the post-industrial body.
But through the process of immaterialisation of labour as well as the production of a re embodied image space, a figure proceeds through the steps of exposing and developing a cyanotype, performing against chemical substances and a neoliberal take-over of their movements, lingering between the roles of scientist, athlete, pharmacist, patient and woman.
She is an artist based in Berlin working in film/video, sound and performance. Her historiographic practice questions the means of image production, historical continuities and ideological certainties of representation. Since 2011 she is a member of the Cinenova Working Group of the feminist film distribution Cinenova in London. Her work has been shown at the Whitney Museum of American Art, Anthology Film Archives New York, Images Festival Toronto, Short Film Festival Oberhausen, International Film Festival Toronto, Gasworks London, and exhibited at MIT List Visual Arts Center Boston, Photo Cairo #6, Les Com- plices* Zürich, The School of Kyiv – 2nd Kiev Biennale, Kunstpavillion Innsbruck, amongst other places. Filmography: Bläue, Video, 48 min, 2017; Fugue, 16mm, optical sound, 8 min, 2015 (F.E. 2016); Rainbow’s Gravity, Video 33 min, w/M. Bernien,2014 (F.E. 2014) Red, she said, Video 13 min, w/M. Bernien, 2011; Translating the other, Video 7 min, w/M. Bernien, 2010 as found, Video, 15 min, w/M. Bernien, 2009; anstatt dass, video essay, 11 min, 2007; Das Monument, animation, Super8, 5 min, 2004.
APPUNTI DEL PASSAGGIO
Appunti del passaggio reconstructs forgotten episodes related to migration from Italy to Switzerland in the 1960s, which was characterized by immigrant workers being restricted to the sphere of production, by discrimination and rising xenophobia, and by the use of “health risks” as a strategy to control immi- gration and the legality of border crossings. Following the narration of a young woman, which gradually gives way to a polyphonic narrative, the film gives precedence to the accounts of the people who lived out the historical event in question from a subordinate position – accounts that were recorded and later used as transcripts for the making of the film. Appunti del passaggio manifests a counter-memory of the period of the “economic miracle” and exposes the logics of biopolitical control that forced the bodies of immigrant workers through intrusive health checks at the border, as well as the effects of the current border regime in this frontier zone, where arrests and deportations of migrants back to Italy are a daily occurrence.
MARIA IORIO, RAPHAËL CUOMO
Maria Iorio and Raphaël Cuomo are an artist duo based in Geneva and Berlin. In the recent years, their collaborative artistic practice involving long-term research has investigated the economies of visibility in relation to past and present mobility regimes over the southern and northern shores of the Mediterranean Sea. Their last projects examine the intertwined histories of migration and cinema and manifest a counter-memory of the “economic miracle”. The resulting body of work includes films, performative moments, collected documents, architectural displays. Iorio/Cuomo’s practice incorporates a curatorial approach. They currently focuses on decolonial “minor” cinemas and previously curated Unfinished histories – histoires en devenir, a series of exhibitions, screenings and talks that revisited the historiographies of the expanded field of moving image practices. Iorio/Cuomo have shown their work in various exhibitions, film festivals and screenings, including The Parliament of Bodies – The Apatride Society of the Political Others, Documenta 14 Public Programs (Athens); If Not For That Wall(CiC, Cairo); Quadriennale 16 (Rome); Logica del passaggio (QueriniStampalia, Venice); Twisted Realism (Argos, Brussels); Chewing the Scenery (54th Venice Biennale); Der Standpunkt der Aufnahme, (Arsenal, Berlin); The Maghreb Connection (Townhouse Gallery, Cairo).
A special thanks to Paolo Caffoni, Careof DOCVA, Sara Serighelli, Fabio Carboni, O’, Daniela Travaglini, Matias Guerra.
With the support of the Prize ON BOARD 2017 promoted by MiBACT Ministry of Cultural Heritage, General Directorate for Contemporary Art and Architecture and Urban Suburbs and by GAI – Association for the Circuit of the Young Italian Artists.