Screening program by Goran Petrovic: film screenings and discussion with Zachary Formwalt

Screening program Reappearing Things 

Friday, October 3rd, 6 p.m., Belgrade City Museum, 40b Resavska Street

 

Zachary Formwalt
Through a Fine Screen, 2010 and Unsupported Transit, 2011
Courtesy of the artist

Discussion moderator: Goran Petrović

Discussion will be in English language.

 

This film and the book, Reading the Economist, both depart from a single image — a print often referred to as the first photograph to be printed in a newspaper without the intervention of an artist’s hand. As such, the photograph became a part of histories of photography and photojournalism, but remains absent from histories of urban development. This has left the objects and the place depicted in the image unclear. It could have been an image of the place that became Central Park, or it could be somewhere else.

 

Zachary Formwalt lives in Amsterdam. Solo exhibitions include: ‘Zachary Formwalt’, VOX Centre de l’image contemporaine, 2013; ‘At Face Value’, Wexner Center for the Arts: The Box, 2010; ‘The Form of Practical Memory’, Kunsthalle Basel, 2009. In 2013, his film, ‘Unsupported Transit’, received a Tiger Award for Short Films at the IFFR.

 

 

My selection of films for the screening Reappearing Things, has been inspired by a dissensual role of art. This approach, I believe, opens up an opportunity for a reappearing of the political dimension of art, which otherwise remains deprived from its inherent critical dimension and, as such, subsumed and silenced within the indistinct sphere of neoliberalism.

From the text Artistic Strategies of Engagement : Hampering Neoliberal Silencing of Dissensus Art
Goran Petrović, 55.October Salon, catalogue

 
Goran Petrović (Belgrade, Serbia) currently lives in Brussels. He is a PhD researcher at Ghent University (Belgium) and the Research center S:PAM (Studies in Performing Arts & Media). His research combines performance theory with the post-foundational political philosophy, and evolves around the notion of paradox. Petrović holds Master Degree in Art History from the University of Belgrade (Serbia). Since 2000, he has been working as a freelance researcher, curator and producer in visual and performing arts and film.

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