Programmeurs van de toekomst in MACA

Programme

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  Shifting the Focus: Women Looking At Men

  Shifting the Focus: Women Looking At Men, compiled by Korée Wilrycx, probes the many ways in which female artists consider men and masculinity in their work. This exhibition combines the work of established female artists such as experimental filmmakers Marie Menken and Tracey Moffatt with works from young, contemporary, local artists, all of whom have found a way, in their various areas of expertise, to challenge and/or redefine the concept of the (fe)male gaze.
  
  For example, there is the installation Picks of 2016 by Amanda van Hesteren, as well as two works that were commissioned for this exhibition, namely the photography series Fabian (2023) by Angie Dekker and the fashion piece Men's Suit (2023) by Sky Verbeek.

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  Black Atlantic Visions

  Black Atlantic Visions, curated by Janilda Bartolomeu, is at the core about the geographical, cultural, historical, experiential, spiritual, and symbolical connection, people of the African diaspora have through the vast knowledge source and conduit that is the Atlantic Ocean. As both a graveyard and a means of opportunity, it is a historical site of continuous multiplicities, colonial negotiations and postcolonial re-imaginations that characterised and still form the undercurrents of Afro-diasporic realities and futures. The Black Atlantic Visions exhibition at MACA represents the constellation of the Black Atlantic and the different lands and communities it's connected.
  
  This includes a site-specific video installation titled Image Frequency Modulation by Ethel Tawe, investigating the sonic, visual and haptic frequencies of images. The work is concerned with ancestral memory, transmission, oral tradition, and metaphors of radio technologies as sites of possibility for the African diaspora. Birthright (2022) a film by Jade O’Belle will also take up its own mesmerising space, an oceanic short that explores heritage, ancestry, fem-identity and ritual. Finally, there is also a curated book space (including fiction, non-fiction, poetry, diaries), made in collaboration with black-owned bookshop The Base Bookspace.

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  Not a Map But a Trace: Former Soviet Land Reclaimed

  The programme Not a Map But a Trace: Former Soviet Land Reclaimed, curated by Programmer of the Future Kseniia Bespalova, features work that follows alternative visual geographies of the former Soviet Union. By highlighting the damaged landscapes that preserve the historical memory of the oppression, these films reclaim them from the hegemonic narratives of state socialism.
  
  State in A State (Tekla Aslanishvili, 2022)
  Tekla Aslanishvili's film debunks the utopian promise of the New Silk Road while investigating the relationship between the railroad infrastructure and the fragmented territories of Caucasus which has always been a crossroad between multiple cultures. It examines railways as the material embodiment of the fragile political borders that have appeared after the collapse of the Soviet Union.
  
  Extinction (Salomé Lamas, 2018)
  Kolya, a citizen of the non-recognized state Transistria, travels through the spaces containing ruins of the Soviet brutalist architecture. These ruins are recognizable spectacles for the West referring to the socialist utopia; however, the film reveals its failure. Behind the awe-inspiring buildings, there is a political trauma of living in the zone of the frozen conflict.
  
  dark matter (Viktor Brim, RU/DE 2020)
  dark matter presents the literal fragmentation and destruction of land caused by resource extraction. In this work, the partition of land becomes literal – the film depicts the hole in the Earth of the diamond mine in the Republic of Sakha, Syberia. Through awe-inducing images, the film investigates the slow infrastructure and extractive violence that leaves marks on the earth.
  
  Turksib (Victor Turin, 1929)
  Classic propaganda film Turksib shows the construction of the railroad that connects the Central Asian part of the USSR and its cotton plantations with Russia. It reveals literally an act of cinematic conquest of lands that are put to work for the sake of socialist progress. Crucially, the installation inside of the booth will play with the claustrophobic nature of this enclosed space: while the images of empires are normally grandiose, this installation will be isolated in an intimate and narrow space.