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Astrid Noacks Atelier

Rådmandsgade 34, 2200 København N

"Light Reading", "Pictures on Pink Paper", "Saute Ma Ville" & "She Said"

12.04.2016 -

På et lærred, som også deler rummet op i to viser vi fire kortere kunstfilm, der på forskellig vis behandler feministiske spørgsmål, blik, positioner, destruktion og modstand. Lis Rodes’ 'Light Reading' (20min) og 'Picures on Pink Paper' (35min) og Chantal Akerman’s 'Saute ma ville' (12min) og Susan Steins 'She said' (26 min). Der vil være the og popcorn. 

Descriptions of the films:


Lis Rodes, UK, 1978 (20min) 

‘LIGHT READING begins in darkness as a woman's voice is heard over a blank screen. She speaks of her search for a voice: of presence and absence, of experience and history. Her voice continues until the images appear on the screen and then it is silent. In the final section of the film she begins again - reading the images as these are moved and re-placed, describing the piecing together of the film as she tries to piece together the strands of her story. 'She watched herself being looked at She looked at herself being watched but she could not perceive herself as the subject of the sentence ...' (Lis Rhodes).


Lis Rhodes, UK, 1982 (35 min) 

‘In Pictures on Pink Paper Rhodes analyses language as a cause rather than symptom of gender inequalities by looking at the ways in which the association of women with nature and men with culture is linguistically embedded, (seen, for example, in the consistent use of female pronouns to refer to "natural" objects). This film asks how women's oppression can be articulated without mimicking that very expression and language which defines power relations. Despite the structuring of the women's voices the film is non-narrative - here, even time is broken down.’ -- from WACK, Catalogue for 'Art and the Feminist Revolution', Museum of Contemporary Art, Los Angeles, 2007


Chantal Akerman, Belgium, 1968 (12min). 

Akerman’s first film, a young woman runs up the stairs, the atmosphere is joyful. She locks herself in her apartment and the rest of the film is practices and destruction in the kitchen.


Susan Stein, UK, 1982 (26 min.)

‘She Said explores the theme of women and work, using the formal properties of film to reflect on the overlap between work and free time. The film begins with a series of old and contemporary photographs, cut to a rhythm, which echoes the rhythm of monotony. A fragmented dialogue creating a feeling of alienation and lack of control often identified with the labour process interrupts further sequences of live action and images. 'Feeling strongly that women's work is continuous, I realised that the film work could only be seen after work or in moments of non-work which I hesitate to call leisure. With this in mind I tried to bring this contradiction to the surface within the film itself.' (from the Cinenova archive)

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