All these films, no matter how different they are, expresse complete artistic desillusion about contemporary world, and a very visible disappointment in the human role in the world. They often speak in different ways about a human helplessness, their downsizing, almost litterally, to puppets that serve to someone else. So, all films offer a dystopian view of human future, and even speak about artist’s doubts  about his or her own role in such world, if we consider him or her as the most conscious human being.



F I L M  P R O G R A M M E

3 – 28. 10. 2018.



Curators: Gunnar B. Kvaran and Danielle Kvaran

Film program manager of Cultural Cener of Belgrade: Melina Pota Koljević



Wednesday , 3. 10.

17.00 / Cao Fei, LA TOWN, 42’13’’

The artist builds another, parallel world where human figures and their complete surrounding are made of artificial materials and this parallel world simulates completely the existence of our own world. This similarity is made on purpose to stress and to make very visible the artificial life, the emptiness and sadness of our own reality.


Cao Fei , HAZE AND FOG, 46’30’’

The artist sees our reality as a line of working places where people make same senselessness actions every day, and where occasional incidents are only signs of some life. Such а reality transformes humans, one by one, in zombies that slowly conquer the city.


Wednesday, 10. 10.

17.00     Erró, GRIMACES, 45’

                MECA-MEKE UP, 3’29’’, MARY MONSTERS, 2’56’’, FACES, 6’57’’, STARS, 15’

Erró constructs his collage paintings from media trash and creatеs ever new concoctions, mixing the consumers’ world with art history, political propaganda and documentary photography. Already in the early sixties, he experimented with the medium of film and between 1964–67 produced several black and white short films like “Grimaces” and others: films made up of filmed sequences, “films of images” based on a succession of photographs, or hybrid films combining photographic images and filmed sequences, with numerous colleagues and personalities from art history participating in these productions. “Grimaces”, for example, shows more than 150 personalities from the art world in stationary close-ups: painters, sculptors, and art critics, such as Alechinsky, Arman, Dado, Duchamp, Kudo, Matta, Rosenquist, Stella and Warhol.


Tom Sachs, THE HERO’S JOURNEY, 37’50’’

The film is description, step by step, how one human being learns to work and to get a job, and in nowadays reality to have a job is the sign of a heroic accomplishment. This “creation” of a man who works no matter what is full of artistic irony and humour.


/ Branko Milisković, DAS LIED AUS DEM GRAB (THE SONG FROM THE GRAVE), 5’23’’

There is no more place for true emotion and true love, they are burried. That is why the artist sings “Lilli Marlen” on the grave of Marlene Dietrich, raising in that way the level of irony that emerges from the situation: the true emotion is dead, the world becomes pathetic.


Wednesday, 17. 10

17.00     Елика Хедајат / Elika Hedayat, TAN, 70’

Млада иранска уметница ствара снажан антиратни филм, у славу живота, пратећи животне приче двојице ратних инвалида и једног младог бодибилдера. Кроз њихов однос према сопственом телу, који је идентичан, јер сва тројица воле живот и славе живот, без обзира да ли су им тела осакаћена или изгледају савршено, она говори о суштини рата и суштини живота.

Young Iranian female artist creates strong anti-war film celebrating life, at the same time describing destinies of two men who are disabled ex-warriors and one young healthy bodybuilder. All of them love life and their perception of their own bodies is identical, no matter if these bodies are mutilated or look perfect, and through these three stories she speaks about the essence of war and the essence of life.


Ромуалд Хазуме / Romuald Hazoumè, ONG SBOP, 20’

Уметник користи Брехотв ефекат зачудности да би учинио видљивом сву иронију и лицемерје која је укључена у „помоћ“ коју богати западни свет нуди сиромашним земљама трећег света, какав је Бенин у Африци. Филм прати уметника из Бенина који скупља новац за јадне људе из западног света који пате од недостатка љубави и емпатије за све оне међу њима који немају новца за болницу или пристојан живот.

The artist uses Brecht’s oddity effect to make visible all irony and hypocrisy that is included in all “help” that rich western world offers to the poor countries of third world, such is Benin in Africa. The film follows the artist from Benin who collects money from his countrymen to help poor people from western world who suffer from the luck of love and empathy for all those among them who have no money for the hospital or decent life.


Wednesday, 24. 10.

17.00     Yoko Ono & John Lennon, RAPE, 17’

The film is made from the point of view of a cameraman that follows a young woman through the streets of a city. He chases her down an alley and knocks her over, in a symbolic form of video-assault. No dialogue.


Yoko Ono & John Lennon, FLY, 25’

The camera follows a fly as it walks over the body of a nude woman. Shot in extreme close up (and accompanied by Yoko’s eponymous song) the film sets out to celebrate the human body.


Bjarne Melgaard, LET YOUR MIND BE YOUR BED, 20’

No matter whether they speak about essential truths or talk about something that belongs to common knowledge or to pure banalities, human beings in nowdays world appeare to be simple puppets, so the artist choose to represent them as such figures, with a lot of humour.


Jasmina Cibic, NADA (Act I), 10’56’’

NADA (Act II), 13’01’’

NADA (Act III – The Exibition), 17’14’’


Made especiallly for the exibition, the film questions the ruins of scenography and political context  that are left behind after the disappearance of the country – clearly defined aesthetic and architectural language, are they disappearing when everything that supports them vanished?




Films are shown in the original version without translation, with subtitles in English.

Tickets for the 57th October Salon (200 RSD, Resavska 40b) are also valid for the film screenings.  

The organizer reserves the right to change the programme.