<div dir="ltr"><div class="gmail_quote"><span style="font-family:tahoma,sans-serif"><font><div><font><span style="font-family:tahoma,sans-serif"><br><br>Dushanbe Art Ground</span></font><div class="gmail_default" style="display:inline"><font><span style="font-family:tahoma,sans-serif"> </span></font></div><font><span style="font-family:tahoma,sans-serif">is happy to announce<font>:</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><font><br></font></span></font></p><font><span style="font-family:tahoma,sans-serif"><b>LIFE ON SCREEN</b> - a lecture/video presentation & <b>FROM COAL TO GOLD</b> – a film program curated by Florian Wüst (Berlin)<br><br><b><br>LIFE ON SCREEN</b><br>A lecture/video presentation by Florian Wüst (Berlin)<br>Date: 25th of MARCH<br>Time: 14.00<br>Location: Dushanbe Art Ground<br>Address: Str. Aini 31, Dushanbe, Tajikistan (State University of Visual Arts and Design of Tajikistan)<br><br>T<font>he lecture gives a short
survey of Western video art and its relationship to mass media: from television
to the internet. By showing and discussing a selection of historical and
contemporary videos that make use of the deconstruction of images and sounds,
Florian Wüst will elaborate on the positioning of the artist in connection to
shifting socio-political realities and change of technologies. </font><font>
</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><font>With films and film excerpts
by, amongst others, Christoph Doering, Birgit Hein, Steina Vasulka and Wolf
Vostell.</font></span></font></p><p><font><span style="font-family:tahoma,sans-serif"><font><br></font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font><b> </b></font><font>
</font><b>FROM COAL TO GOLD</b><br>A film programme curated by Florian Wüst (Berlin)<br>Date: 26th of MARCH<br>Time: 14.00<br>Location: Dushanbe Art Ground<br>Address: Str. Aini 31, Dushanbe, Tajikistan (State University of Visual Arts and Design of Tajikistan)<br><br></span></font><p><font><span style="font-family:tahoma,sans-serif"><font>The
mining and processing of coal propelled the modernization of life in the
Industrial Age. Today, the coal industry has long declined in many places,
especially in Europe. Nuclear power was praised the energy source of the
future. Industrial production as well moved elsewhere. Countless Western
consumer goods, like computers and mobile phones, are manufactured in China.
After use, they land on dump sites in Africa for recycling. A sort of reverse,
post-colonial mining cycle closes: Young men extract precious metals from the
hazardous waste that once were harvested from the same African soil. Florian
Wüst will present a selection of international documentary, industrial and
experimental films, made between 1910 and 2014, that address the theme of global resources,
labour conditions and alternative economies in a world that bears the inherent
ambiguity of ongoing technological progress.</font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><font>
</font></span></font></p><font><span style="font-family:tahoma,sans-serif"><b>A Day in the Life of a Coal Miner</b>, Kineto Production Company, United Kingdom 1910, 9 min<br><b>Kahl</b>, Haro Senft, West Germany 1961, 12 min<br><b>Coal Spell,</b> Sun Xun, China 2008, 8 min<br><b>On the Third Planet from the Sun,</b> Pavel Medvedev, Russia 2006, 31 min<br><b>Lighthouse</b>, Chi Jang Yin, China/USA 2009, 16 min<br><b>All That Is Solid,</b> Louis Henderson, France 2014, 16 min<font><br><br><br>Film descriptions:</font></span></font>
<p><font><span style="font-family:tahoma,sans-serif"><b>A Day in the Life of a Coal Miner</b><br>Kineto Production Company, United Kingdom 1910, 9 min<br>Sponsored by L.N.W. Railway, this early silent film provides a picture of British coal mining at the be<font><span style="color:black">ginning of the 20<sup>th</sup> century. </span><span style="color:black">Conceived primarily as an instructional film, it documents the various
industrial processes involved in coal production. Although a male coal miner is
seen leaving and returning to his family at the beginning and end, the film
highlights work mostly done by women above ground at the pit. Whether by intention
or not, </span><span style="color:black">through its
final scene <i>A Day in the Life of a Coal
Miner </i>draws parallels between the hard physical nature of the labour and
the luxury of those who rely on the miners' toil.</span><span style="color:black"></span></font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><font><span style="color:black"></span></font><b>Kahl</b><br>Haro Senft, West Germany 1961, 12 min<br>Commissioned by AEG (General Electricity Company), Kahl is a documentary report on the planning and building of the first West German nuclear power station in Kahl, located on the Main River. N<font><span style="color:black">ewsreel clips are
used to emphasize the connections between the technical functions of the plant,
the need for electricity, and international politics. Haro Senft's film
displays remarkable mastery in the use of filmic techniques, accompanied by a
musical soundtrack of Hans Posegga. <i>Kahl</i>
was nominated for an Oscar in 1961, and was awarded at several industrial film
festivals.</span></font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><b>Coal Spell</b><br>Sun Xun, China 2008, 8 min<br>Inspired by a five Yuan RMB note, Coal Spell recounts the rise and fall of Fuxin, an old industrial coal city located in Northeast China. Huge smokestacks pierce the sky, clouds of black smoke block the<font>sun. Political
slogans blast away, drowning out any form of curiosity about the outside world.
The city is a tremendous prison where history is boxed in like a fierce
monster, until a screeching Soviet excavator is forced to gouge the land. Sun
Xun's meticulously drawn animation film questions the relationship of history
and power, based on the artist's own experiences and nostalgia for his
upbringing.</font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><font>Courtesy of the Archive of the International Short
Film Festival Oberhausen.</font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font><b>On the Third Planet from the Sun</b><br>Pavel Medvedev, Russia 2006, 31 min<br>Ar<font>khangelsk, a resource-rich region in the North of
Russia, is know for the first gulags and for decades of hydrogen bomb testing. Today, people pick the
debris of the nuclear experiments out of the swamp, then sell the scrap metal
or use it in housekeeping and farming. Pilgrims on their way to sacred icons
suffer greatly from swarms of mosquitoes in the forest. In <i>On the Third Planet from the Sun</i>, Pavel Medvedev extends the
boundary of the creative documentary through a striking visual exploration of
environmental destruction and the rebirth of a community at the margins. </font><font>
</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><font>Courtesy of the Archive of the International Short
Film Festival Oberhausen.</font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font><b>Lighthouse</b><br>Chi Jang Yin, China/USA 2009, 16 min<br>The district of Guangdong is the largest metropolitan area in one of China's wealthiest provinces.<font>One of its cities, Guangzhou, attracts farmers
from the countryside looking for factory jobs. Chi Jang Yin portraits Guangzhou
workers on and off work: while assembling<span>
</span>electronic parts at the conveyor belt, at breaks, during drawing classes
or dance sessions in public space at night. <i>Lighthouse</i>
reflects on how individualism is influenced by social and political
infrastructures. The poetic images of the video aim to open borders that separate cultural,
linguistic and historical differences in the global labour system.</font><font>
</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><font>Courtesy of Video Data Bank, Chicago.</font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font><b>All That Is Solid</b><br>Louis Henderson, France 2014, 16 min<br>All<font><i> That Is Solid </i>exposes the artist’s computer desktop where the film is being edited
before the viewer. Layer after layer of video clips, notes and
photographs—taken off Google Image and other internet sources—finally produce a story: By looking at artisanal
gold miners and the world’s greatest dump site
for illegally exported obsolete computers from the West in
Ghana, where young men recycle precious metals from the electronic waste, the video demonstrates how
important it is to do away with the capitalist
myth claiming the immateriality of computer technology and communication.<br><br></font><font> </font><font>
</font></span></font><p><font><span style="font-family:tahoma,sans-serif"><font>B</font></span></font></p><div class="gmail_default" style="font-family:arial,helvetica,sans-serif;font-size:small;display:inline"><font>io</font></div><font><b><br>Fl</b><font><b>orian Wüst</b> is a visual artist and independent film curator based in
Berlin. His work revolves around the history of post-war Germany and modern
social, economic and technical progress. He has shown film programs at numerous
international venues and festivals, such as the Austrian Film Museum in Vienna,
the International Short Film Festival Oberhausen, Arsenal – Institute for Film
and Video Art, Berlin, or Tate Modern, London. Wüst frequently writes and
lectures about topics related to film and society. In 2011, he co-initiated
Haben und Brauchen, an open platform for discussion and action that advocates
for the recognition and preservation of a self-organized artistic practice
which has grown out of the specific urban conditions and free spaces in Berlin.</font></font><p></p><font><span style="font-family:tahoma,sans-serif"><font> </font><font>
</font></span></font><p class="MsoNormal" style="text-align:justify"><font><span style="font-family:tahoma,sans-serif"><font><b>Florian Wüst’s </b>lecture and film program is part of art
residence program developed by Dushanbe Art Ground kindly supported by Goethe
Institute, Tashkent.</font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font></span></font><p class="MsoNormal" style="margin-bottom:0.0001pt"><font><span style="font-family:tahoma,sans-serif"><font> </font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font>
</font></span></font><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify"><font><span style="font-family:tahoma,sans-serif"><font>Organizer:</font></span></font></p><font><span style="font-family:tahoma,sans-serif"><font> </font><font>
</font></span></font><p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify"><font><span style="font-family:tahoma,sans-serif"><font><b>Dushanbe Art Ground (Public Foundation “Sanati Muosir”)</b> - is a
non-profit organization registered in 2012 in Dushanbe. DAG mission is to
advocate for the development of contemporary art practices in Tajikistan, to
redefine the role of the artist in contemporary society and shift the function
of the artist from mere producer to engaged researcher and critic. DAG strategy
is to achieve long-term sustainable development for new media arts and new
platforms where creative and civic communities could collaboratively invent
alternative avenues for social development and change. Dushanbe Art Ground
activity is supported by Open Society Institute – Assistance Foundation in
Tajikistan and Swiss Cooperation Office, Tajikistan.</font><span lang="RU"></span></span></font></p>
</div></font></span><div dir="ltr"><div><div><div dir="ltr"><div><br><br><br> <div class="gmail_default" style="font-family:arial,helvetica,sans-serif;font-size:small;display:inline"></div><br><font size="1"><span style="font-family:courier new,monospace"><font><br><font>+++++++++++++++++++++<br><br>stefan rusu - curator<br><br>dushanbe art ground<br>tel: <a value="+992935036903">+ 992 935036903</a><br>
email: <a href="http://compose/?mailto=mailto%3asuhebator@gmail.com" target="_blank">suhebator@gmail.com</a><br>
skype: suhebator1</font></font><br></span></font><br></div></div></div></div>
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