"There is tenderness only in the coarsest demand: that no-one shall go hungry any more" – Theodor Adorno, Minima Moralia (1974: 156)
“After the philosophy of cinema must come—is already coming—philosophy as cinema, which consequently has the opportunity of being a mass philosophy.”
-Alain Badiou (2009: 5)
All good things must come to an end…
An eventful research trip to Berlin now seems like a sepia-tinged memory. That said, an imminent return for the premiere of Katrin Rothe’s new film Die Ex bin ich at the Prater Kino has me very excited!
Speaking of film, I recently attended the launch of Hinterland’s latest phase. Hinterland is a Nottingham-based art project curated by Jennie Syson and which has over the past few years created a series of temporary site-specific events along the River Trent with a view to exploring, re-imagining, and even re-animating some of Nottingham’s own hinterlands.
With this in mind, it is perhaps not surprising that the latest event took place under the spectacular concrete fly-over of the Clifton Bridge on the south bank of the Trent. A clear summer’s night was a perfect occasion for the latest installment of Annexiema which has itself been using some of Nottingham’s neglected sites as venues for the showcasing of a wide range of films. 12 short films formed a challenging programme itself powered by the bicycles and technology provided by the Magnificent Revolution. The sound of horns blasting from overhead lorries soon mingled with the quiet whirr of busy bicycles.
Much could be said of the films themselves though I would point you to Frank Abbott’s excellent review on the Nottingham Visual Arts website for a more detailed discussion. Highlights for me were Mischa Leinkauf’s playful film (Zwischenzeit) of an undoubtedly harrowing journey on a handcart through the U-Bahn tunnels of Berlin while Downside Up by the Derby artist Tony Hill offered an arresting topsy-turvy view of the world and brought the programme to a memorable end.
In many respects, however, it was the site itself that was the star attraction. As Abbott rightly points out, a lot of the work that featured in the programme has traditionally carried with it an exclusive avant-garde branding. To place such work in a wholly new context was itself revelatory though doing so also succeeded in eschewing the hackneyed principles that have increasingly come to underwrite what is often now referred to as “relational art”. If anything, Hinterland’s latest ‘event’ managed to not only combine playfulness and criticality, but also give rise to new modes of participation and presentation. One could perhaps even say that art’s precarious claims to reconfiguring the “territory of the common” (Rancière, 2009: 22) had found an unlikely and temporary new home under the arches of the Clifton Bridge.
For pictures of the event see here.