Tag Archives: Deleuze

A Communist Utopia?

23 Feb

A Beaubourg268 Workshop & Extensive Explorative

A Communist Utopia?
Sunday 1 – 3:10pm  

Instructor: Gina Clark                           

Office Hours: Wed 8am – 2pm,  San Francisco.
Email: sledovane_fotografie@hotmail.com

QUOTE HERE

Course Summary

According to the filmmaker Jiri Menzel,  

This course will combine Marx’s fundamental mistake that a new, higher social order (Communism) is possible – and run with it, not by reading Marx, but by making an 8 foot paper mache Karl Marx bust, as shown in Dusan Makavejev’s Sweet Movie (Criterion Collection) (1974). Weekly screenings of para-Communist flicks such as Sweet Movie will hopefully underline the point that Marxian Communism destroyed and inspired so many different countrires; nevertheless, this bodily notion of a society of pure unleashed productivity outside the frame of Capital (a body without organs as Deleuzians would say) is still operative in maintaining Albert Meister’s utopian vision of the beaubourg – a place that acts as both the ideal art school and the perfect Commune (a Tarkovskyian zone where all of your authentic desires become actualized).

Virtually everyone today “knows that” Communism was the central catastrophe of the XXth century – but how many of us “knows how” to repeat Marx’s mistake – to sensually actualize unbridled productivity as something that is ultimately independent of the concrete capitalist social formation? We are all too aware that an 8 foot, gray, paper mache sculpture of the head of Marx will not resuscitate Marxian Communism – nor would we want to; nonetheless, we’d like to not only celebrate Marx – but underline the influence of a certain Marxian Communism in cinema and the utopian symbolic order.

Today it is

Tentative Film Screenings

Oblomov (KINO Video) (1979), Nikita Mikhalkov(Director), 142 mins (M. also directed Burnt by the Sun)
Capricious Summer (Facets Video) (1967), Jiri Menzel (Director), 74 mins,                                                           Closely Watched Trains (Criterion Collection) (1966), Jiri Menzel (Director), 93 mins.                                       Skrivánci na niti ( Larks on a String ) (1969), Jiri Menzel (Director).
The Flat (Kimstim Collection) (1968), Jan Svankmajer (Director), 13 mins.
Stalker (Russian Cinema Council) (1979), Andrei Tarkovsky (Director), 163 mins, color.
Sweet Movie (Criterion Collection) (1974), Dusan Makavejev (Director), 98 mins, color.
WR: Mysteries of the Organism (Criterion Collection) (1971), Dusan Makavejev (Director), 85 mins, color.
The Omega Man (1971), Boris Sagal (Director) Color
XXY (2007) , Lucía Puenzo (Director), 86 mins, color                                                                                                           The Firemen’s Ball, (1967), Milos Forman (Director), 73 mins.

Course Requirements
– Faithful attendance / meetings and office hours negotiable
– Regular weekly viewings

General Policies
1. Attendance: Absences may be offset with meetings and office hours
2. Office hours: Please feel free to contact me so we may arrange an alternate time to meet.

Provisional Schedule
TBA

AN OPEN INVITATION TO THE PUBLIC / 18 NOV

19 Nov

If you live in the bay area, and you are at all interested in joining, or even contributing something to our little beaubourg – we invite you to leave a comment on our Beaubourg 268 blog (below). Beaubourg 268 is located  at the southern periphery of the San Francisco Peninsula. Adjacent to San Francisco State Universiity, the institution’s new home is a modest two story residential building that hopes to attract educators and students alike. The ground floor contains a small garden, sound studio, and outdoor planning areas; the second floor holds a small archive-library, along with lodging accommodations.

Most of the artists and thinkers in Steven Henry Madoff’s new big book, Art School suffer from one of two opposing superstitions: either art schools are the new business schools preparing designers and emerging artists for the real world, or art schools are the new pockets of resistance and reform informing social stakeholders for the real world challenges of global consumer capitalism. As a literary terrorist, one of whose concerns is the future of art school, I sometimes am asked: “Which theoretician should I know?” To their astonishment, I have yet to reply to them with the usual French names: Baudrillard, Deleuze, Derrida, Foucault, etc. Rather, I’ve tended to answer with one of two names: Gina Clark & Robert Hansen.

Gina Clark was born and raised in Southern California. Over the past decade she has worked across a variety of media including performance, film, photography, installation, and curating. Within these practices, the desert-based CalArts graduate has supported the preservation of the innovative and exploratory arts; always mindful of the fact that we are living in an age dominated by Domesticity & Artifice.  Robert Hansen is a sound artist, visual artist, writer and founder of the renowned group Mini Voyeur. From its initial formation, the group was exploring properties in speech, sound and acoustics; all the while, infusing humor in to the concepts of music, memory and logic. Robert has maintained an extended library of recorded audio and video documents created with the help of friends and family.

The newly established Beaubourg 268 will offer the public a series of classes, projects and improvisational “adventures” that remain more or less outside the existing coordinates of art schools such as Cal Arts and Goldsmiths. Under its co-founder Gina Clark, her weekly Carnal Knowledge workshops will stress the emancipatory potential of performance, as it relates to issues as varied as familial piety, animal welfare, and Czech cinema. Students, if they so desire, will have an opportunity to work with Clark’s nonprofit group, Unsichtbar Birnbaum Exploratory. Sound artist Robert Hansen will offer weekly workshops to appreciate the visual arts, through the lens of sound, music, or voice. I will offer bi-monthly ‘Reading’ Slavoj Zizek group seminars to provide theoretical supplement for those emerging artists who desire it. To the degree that art schools can play a “revolutionary” role today, I will attempt to open up a space in which isolated Japanese youths and North Korean defectors can be heard.

As the art teacher John Baldessari put it “[I]f you’re lecturing in a class and there’s a car crash outside, you better bring that car crash into what you’re saying or you’ve lost them.” It is from this perspective that the crucial first step, for us, is to foster an informal classroom environment that treats art as both a past-time and a means for exploration. To the degree that students may indeed require a postpostmodern vocabulary, Beaubourg 268 firmly believes that what students need most is the unconditional permission to use everything in the world, including their own naivete, fears, and desires.

Beaubourg 268 will be comprised with approximately fifteen students from the surrounding area who are diverse in terms of their backgrounds, ages, and aspirations. We invite every one – no matter what your age or artistic background – to participate in the fun. Ideally, we here at the beaubourg want to learn from you as much as you might learn from us. An informal meeting is set for Tuesday, 19 January 2010. The official opening is set for mid-February.