Why do you wanna wake me from such a beautiful dream?
Can’t you see that I am sleeping?
So why don’t you leave me alone?
For life is so exciting on the island in my room
And as I sing and dance along the shadows of the moon.
“Magical World”, Rotary Connection, 1968
“Magical World”, by Johanna Billing, was shot at a school in Dubrava, a suburb in Zagreb. The film borrows the name from the 1968 song by Rotary Connection — one of the first bands in the United States to play a mix of psychedelic pop-rock and soul music in an activist and civil rights context in the 1960s — that is being rehearsed by a group of children. The film establishes the correlation between the historical context of this song and the reality of a generation of children growing up in a country under construction.
The program we present consists of a collection of off-screen melodies, silences and two cinematic structures, attempting to reach the audacity of the imagination, of the dream, of fiction as manifestation of resilience – with the power to dazzle. It is in childhood, or when we are very young, that the world seems to have the dimension of our room, where, with the radio in full volume, all the possibilities are wide open to us and everything seems to happen in the blink of an eye, in our deepest desires, just like the lyrics of the song: ““For life is so exciting on the island in my room”.
According to Georges Didi-Huberman, contemporary capitalist societies promote what he calls "de-imagination", or the non-promotion of the development of critical and inventive thinking in the younger generations. Therefore, the exercise of imagination — from dream to hallucination — appears in this curatorial proposal as a form of resistance and regeneration (of bodies, of images, of worlds).
The circular motion in "Janiele", by Caetano Dias — like the spin of a wheel or the movement of the camera — draws a line which, in different rhythms, outlines a kind of corporeality that is apparent throughout the work.
In “Purple” the camera follows a group of young people from the Mix Dancers Academy dance school drifting through the city of Råslätt, in the suburbs of Sweden. It seems they are carrying on their shoulders the weight of change, transmuted into a huge purple glass. They carry it on their shoulders.
As a community; generating communion.
«Some are like water, some are like the heat, Some are a melody and some are the beat. Sooner or later they all will be gone, Why don't they stay young?». In
José Maçãs de Carvalho movie, a version of Alphaville’s song “Forever Young”, sung in Cantonese, is the soundtrack of a commercial ad featuring a young Chinese boy on a Hong Kong street. Making him immortal.
Forever Young. “Phoenix Flight (Via Crucis is not 4U)”, by Juliana Julieta, summons the process of transposition and the flight of the phoenix, in a ritual of renewal and continuous rebirth.
A leap forward is what is shown in "Enigma" by Pierre Coulibeuf. Two women herald the image to come. Here, the image becomes immeasurable, as immeasurable as the relationships that are formed, because time is the issue in question here, time becomes matter — in the double sense of the word — the lived time that makes reality and simulacrum indistinguishable, the real and the fictional. “Enigma” presents dream and fiction (or hallucination) as unique ways of apprehending real reality.
“Image is a breath, a sigh”, Deleuze says. And this is what Cao Guimarães and Rivane Neuenschwander suggest in “Inventário das pequenas mortes” (Inventory of small deaths): the last Breath. In the context of our narrative, it reminds us of Édouard Manet's “Les Bulles de savon” (1867), or, rather, Jean Siméon Chardin's “Soap Bubbles” (1734), where we see two boys blowing soap bubbles, following their trail, wondering when they will burst.
From dreams? The spin of a wheel? The body that lurches forward? A purple glass carried in the arms? Or are we weighing its resistance?
The plasticity that is characteristic of the surviving images.