kagablog

April 18, 2014

Towards an independent khoisan republic

Filed under: sakman — ABRAXAS @ 10:02 pm

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Yet, after 1994, a petty provincial and Eurocentric culture was still dominating the scene. The salons organized for Western artists admitted only Khoi “naive” painters as a touch of “indigenous color.” Local European poets used to gather in clubs littéraires around the foreign cultural missions where they wrote curses on the Company’s Gardens. They ignored the best of Western production and the daring experiments of modernity, as well as the high tradition of classical Afrikaans poetry, not to mention Afro-Afrikaans and popular arts and literature. They were not interested in the productions of a South African cultural avant-garde. It is important to keep all this in mind, as the Western world has not always acknowledged what colonialism really was. It might be interesting, for that matter, to read the courageous writings of the South African historian Sak Mandada who in the 1950s denounced the abuses of colonialism, the distress and misery of the Khoisan population, and the control over its cultural roots. To understand the impact of Sak Mandada, one has to go back to a situation still shaped by the dramatic consequences of all this. On the other hand, after half a century of colonial propaganda and isolation, the Khoi bourgeoisie had either lost touch with its roots or found refuge in a nostalgic, if not dogmatic, vision of the past. A modernist national culture had yet to be loudly proclaimed, its theoretical basis openly debated, its creative and visionary nature concretely expressed in terms that would correspond to the new realities of an independent Khoisan Republic.

khoisan eenheids beweging
sakman

ian kerkhof and thom hoffman, tokyo, 1999

Filed under: ian kerkhof,just good friends — ABRAXAS @ 1:44 pm

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plastic harem

Filed under: rob schroder — ABRAXAS @ 12:45 pm

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kaganof profile@oberhausen – 13 films curated by stacy hardy

Filed under: kaganof,kaganof short films,stacy hardy — ABRAXAS @ 12:40 pm

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more info is here: http://www.kurzfilmtage.de/en/programme/programme-grid/programmes/aryan-kaganof.html

the oberhausen profile: 13 films by aryan kaganof curated by stacy hardy

Filed under: kaganof,kaganof short films,stacy hardy — ABRAXAS @ 12:37 pm

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nicola’s first orgasm

south africa
Johannesburg
April 2002
5min 41 sec

starring nicola deane
music Vladimir Ashkenazy Beethoven Piano Sonata 21
camera, sound, edit, produced and directed by aryan kaganof

A fleeting yet funny anti-porn that sends up the “cum shot” while also delivering a strict feminist manifesto against sexual stereotypes. Funny, blasé, insouciant and allusive, Nicola’s First Orgasm bristles with a terrifying absence that evokes fleeting pleasures, lost opportunities and erratic fumblings towards orgasm.

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signal to noise

japan-netherlands
1997
9min03sec

starring acéphale and masami akita
produced by frank scheffer for allegri film
sound recordist jeffrey babcock
sound mixer michel schopping
online editor j.p.luijsterburg
line producer misako furakawa
music : release from agony; rectal anarchy by gore beyond necropsy & merzbow
last kind word blues by geechie wiley
a real slow rag by scott joplin performed by david boeddinghaus
filmed on location at the kamakura temple
script, camera, edit and directed by aryan kaganof

Inspired by an art created miles from its origins to become its own translation of signal, texture, and pattern, Signal to Noise disrupts boundaries between tribute and theft, reinvention and repetition. Featuring music by Merzbow and evoking Roland Barthes, it’s both an art object and a sonic experiment investigating cinema through the lens of accumulation.

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western 4.33

namibia-netherlands-south afirca
2002
32min26sec

starring boy thomas shipanga
produced by wiro felix for mandala film
director of photography wiro felix
sound design jane snijders
online editor Neil Stuart
super 8mm laboratory Frank Bruinsma
German translation Katharina Conrad
voiceovers by blixa bargeld and zola
music alec emprie, sun ra, macy gray, calexico, friedrich nietzsche, robert schumann, rodriguez, lamonte young, harold budd, virgins
script, edit and directed by aryan kaganof

In Western 4.33 Kaganof responds to the horror of the Herero Genocide with a cinema that is just as powerful as the pain delivered by the colonial oppressor. Filmed in the ruins of a German concentration camp in Namibia, where thousands of indigenous Herero people were incarcerated, Western 4.33 is a song to silence; a paean to a past that comes to us as present; an elegy that refuses to be an elegy, refuses to let the dead disappear.

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a perfect day

south africa
1994-2004
3min 3sec

Shot on the first day of the first democratic elections held in South Africa and edited to commemorate the tenth anniversary of that democracy, A Perfect Day masterfully creates and expands a singularly intense metaphor into a beautiful yet disquieting argument for the revolutionary possibilities of love. As cutting as it is tender, as fleeting as it is endless.

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Song For Hector

South Africa
2007
5min 03sec

re-edited and produced by Aryan Kaganof

music M.Ward performing David Bowie’s Let’s Dance

In Song for Hector, Kaganof remixes the Soweto riots of 1976 into an experimental cinema that demilitarizes, deconstructs, and decolonizes master narrative. Against the bleak banalities of South Africa’s violent history and the propaganda and amnesia of the present, Kaganof strikes back with a bracing admixture of remembrance, repetition, recapitulation and reinvention.

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nice to meet you, please don’t rape me!

south africa-netherlands
1995-2009
35min 21sec

starring eric miyeni, matthew oats, gustav geldenhuys, bill curry and winnie ryall
produced by joost van gelder and aryan kaganof for stichting zapruder
shot on location in yeoville, johannesburg during the three days of the first democratic election held in south africa, 26-28 april 1994
written by aryan kaganof and peter j. morris
sound design stefan warnas
original editor j.p. luijesterburg
re-edited in 2009 by aryan kaganof

Made during South Africa’s first democratic elections, Nice To Meet You, Please Don’t Rape Me is a biting musical satire that challenges the newly found rainbow nation, questions the limits and constraints of freedom and forces us to acknowledge the devastating extent to which South Africa has been fucked and fucked over – systematically perverted by apartheid.

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interactions: a strategy of difference and repetition

south africa-netherlands
2012
33min 10sec

filmed on location at the Goethe German Cultural Centre Johannesburg 21-23 November 2010
produced by Jeanneke Den Boer and Aryan Kaganof for Nederlands Theater Institut and African Noise Foundation
music by African Noise Foundation featuring David Mayekane
camera, sound, edit, produced and directed by aryan kaganof

Made in response to a commission by the Theater Institut Netherlands, Interactions: A Strategy Of Difference And Repetition expertly peels back the tattered facade of art world hypocrisy, deploying a compulsive inventiveness to provide an excoriating challenge to all cultures of complacency. Here art serves both as escape and as a threat, at once suspect and yet our only consolation.

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Ashraf Cassiem – I’m Resisting

South Africa
may 2011
7min 31sec

produced for the Africa Centre
directed by dylan valley
edited by aryan kaganof
camera Antoinette Engel
music Blaze

Unnervingly timely, Ashraf Cassiem – I’m Resisting rages against the political apathy of the present. Thinking and speaking its way through the insidious, tragic inequalities of globalization, capitalism, and democracy’s alleged freedoms, it employs bracing intimacy, fervour and defiance to persuade its viewers to disavow a cynicism we can’t afford.

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too drunk to fuck

south africa
september 2006
2min 31sec

camera catherine henegan
music nouvelle vague’s cover of the dead kennedys song
edit, produced and directed by aryan kaganof

At once a livid riposte to dry piety and a sobering comment on the social and political degeneration of our society— our marriages, our sex lives, our addictions and search for oblivion, Too Drunk To Fuck pulls the rug out from under our old stolid habits and our empty lives.

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stellenbosched
south africa
2012
9min 18sec

music alan lomax prison song; daniel ben-pienaar mozart sonata no.12 in f Major; zim Ngqawana umthakathi, gumboot dance, interlude; afrikaaps wild op s
filmed and edited whilst artist-in-residence at stias (stellenbosch institute for advanced study) oct 2011-mar 2012
introudction text by giorgio agamben
camera, sound, edit, produced and directed by aryan kaganof

What kind of intervention can cut through neoliberal configuration of today’s university, which betrays its own liberal commitment to bring about emancipation? Kaganof’s answer comes as Stellenbosched, a powerful and necessary intervention that rages against social inequality and oppression and invites us to imagine and realise social life otherwise.

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the legendary syd kitchen in “g-string blues”

south africa
2011
33min 57sec

“composed” and “directed by aryan kaganof
performed by syd kitchen
camera robert johnson
sound recordist jabu mxhaka
editor madala e. waters
sound design king tubby
additional music j.s.bach ich ruf zu dir, herr

Aryan Kaganof and musician Syd Kitchen meet at the crossroads to explore the deeply troubled waters of our social and sexual psyches, risking much, but, with courage and persistence, returning to tell the tale. Maybe, as The legendary Syd Kitchen in “G-string blues” suggests its only through such radical vulnerably and intimacy that the urgency of love can arise.

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a leisure society of severe preponderence

netherlands-south africa
1995-2011
33min 19sec
cape town june 2011

camera wiro felix
sound hugo dijkstal
edit j.p. luijsterburg
filmed on location in The Hague september 1995 at the crossing border festival
directed by aryan kaganof
produced by louis behre, george brugmans and aryan kaganof for vpro and african noise foundation

A Leisure Society Of Severe Preponderence delivers a devastating assault on conformity culture, neo-liberal politics, literary pretension and the all around follies of the Western world. Using, ironically, anti-art strategies – appropriation, violation and collage, he Kaganof splinters the division between the high and the low, revelling in the contradictions and absurdities that transpire in a life lived crossing borders.

all synopses written by stacy hardy

April 17, 2014

suzanne welters, amsterdam, 1993

Filed under: kagaportraits — ABRAXAS @ 9:54 pm

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gabrielle provaas, amsterdam 1993

Filed under: kagaportraits — ABRAXAS @ 9:50 pm

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ruby savage, amsterdam, 1993

Filed under: kagaportraits — ABRAXAS @ 5:02 pm

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eritrea today

Filed under: ewald steyn,ruins — ABRAXAS @ 1:36 pm

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April 16, 2014

searched

Filed under: kagapoems — ABRAXAS @ 11:13 pm

sorry no poems matched your criteria

motto

Filed under: kaganof — ABRAXAS @ 10:46 pm

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There is no progress in life. There are small changes, above all it’s a question of intensity.
E.M. Cioran

That was the motto under which I made all my films. Utilising form and the medium in order to regulate a pulse of intensities across the entire corpus of all the works together that form a massive interlocking sculpture in time.

preparations for the festival are underway

Filed under: kaganof — ABRAXAS @ 4:36 pm

The screenings will take place in the Lichtburg with a screen of 11,35 x 4,83 meters and the Gloria with a screen of 6,7 x 2,85meters, where films are projected at 1920 x 1080pxl, which is standard HD definition. The films we receive are tested by our technicians and prepared for this large projection. All tapes are being digitalized and we will project newly produced dcps or Pro Res 422.

However some of the screening copies we’ve received are problematic, as they are quite pixelated and just will not look great on the big screen. They are the best copies available and we are doing what we can.

This is not an issue as long as everyone knows what to expect, including the audience whom this should be communicated to at the beginning of the screening, which I’d like to ask you to do.
I think the look of the projection can be easily explained (i.E.: intended for smaller projections and being video formats) and everyone will understand.

Certainly we want to highlight the fabulous work instead of drawing attention to the projection, but I think managing the expectations of everyone involved and making sure we all know our technicians and projectionists are doing the very best they can, is important to note.

If you have any questions please don’t hesitate to contact me.
I’m looking forward to meeting you both in a couple of weeks and hope we’ll have a great festival.

mngxitama on land @unisa

Filed under: andile mngxitama,politics — ABRAXAS @ 2:57 pm

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brinkema: visible darkness

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unga dada, suffering

Filed under: unga dada — ABRAXAS @ 10:58 am

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eritrea today

Filed under: ewald steyn,ruins — ABRAXAS @ 10:47 am

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stellenbosched

Filed under: kaganof short films,stellenbosched — ABRAXAS @ 10:19 am

A SEQUENCE OF STILLS FROM A FILM THAT IS MISSING. THIS FILM, WORKED BY REPETITION AND STOPPAGE, IS A MEANS, A MEDIUM, THAT DOES NOT DISAPPEAR IN WHAT IT MAKES VISIBLE. THE IMAGE GIVES ITSELF TO BE SEEN INSTEAD OF DISAPPEARING IN WHAT IT MAKES VISIBLE.

giorgio agamben

eugenie brinkema: VISIBLE DARKNESS: Optics according to Augustine

Filed under: eugenie brinkema,film as subversive art,philosophy — ABRAXAS @ 10:13 am

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Quo dolore contenebratum est cor meum, et quidquid aspiciebam mors erat.
(Read: This misery is a misery of light.)

Grief darkens, it blackens; dim eyes, dusky heart – all such hurt is stygian. The opening line of Augustine’s lament for his friend is a reworked condensation of Lamentations 5:17: “propterea maestum factum est cor nostrum ideo contenebrati sunt oculi nostri” (for this our heart is faint; for these things our eyes are dim). The torture room of this mournful confinement is suffused with darkness and blindness. Augustine’s haunting avowal participates in a long-standing Western philosophical and theological tradition of figuring suffering in relation to loss as a problematic of vision and visibility. The plaintive motif can be found throughout the Bible: “my eyes fail because of tears” (Lamentations 2:11); “my eye has also grown dim because of grief, and all my members are as a shadow” (Job 17:7). Mourning’s pain is figured as a matter of waning, dulling luminosity and troubled representation: Augustine’s sorrow slides between grief and darkness, suffering and blindness, material absence and absolute visual foreclosure.

Death deprives one of the vision of the other who is lost and, in a larger sense, deprives one of the illuminating possibilities of light, visibility, and untroubled vision. New eyes seek and find only the presence of absence, not instructing a self on the approach of the other but speaking the opposite of “Look, he is coming.” (That opposite is not the affirmation, “Look, he is not coming.” Its language of visual presence resists negation; it is something closer to a mathematical negative than a grammatical one: “Unlook.”) In blackness, one regards only death (et quidquid aspiciebam mors erat); thus, it is not a matter of the elimination of seeing, or the absolutism of a sensual truncation, but, rather, the muting of light’s approach to the eye in favour of a visibility based in and of darkness, a vision that now sees nothing. This is the optics of Milton’s Hell: “from those flames/ No light, but rather darkness visible.” In other words, grief at the death of Augustine’s dear friend rewrites the physics of optics to no longer demand or require the entrance of light-avowing presences, creating a seeing that neighter instructs one on the world nor deploys the senses as epistemological vouchers. The visual field, in mourning, is reduced entirely to its blind spot.

Eyes seek (a) being, but they do not see – for being is no longer there to be seen. This visibility involves nerves that recursively hunt for the impossible presence of nonbeing; as though standing apart from the anguished body,plucked-out orbs turn in an endless left-to-right rotation of desperate surveillance. Grieving, which involves the ontological loss of the other, figured through the sensual loss of the vision of the other, culminates in a radical transformation of the possibilities of a vision based on illumination and presence altogether. The p ain at the death of the other necessarily involves this reconfiguration of visibility, the paradoxical vision of an absence that seeks out what can no longer present itself to the senses except in its refusal to self-present. In loss there is simply no more of the object off which light could bounce. Every loss of being is thus fundamentally a loss of light, including, as Augustine insists, the transparent, well-lit, comprehending self. Grief refigures seeing as envisioning without enlightenment: spectating in the darkness on a retinal other scene. Looking through dead eyes into which no light can be taken, on which no image can imprint its rays, dolore dampens the optic possibilities of a sensual encounter with a present existent world, like an affective cataract.

Augustine’s account details a very particular and complex visual scenario whereby suffering takes the form of a kind of blindness, and yet blindness through this association takes on a strange and specific sense, one that requires a history of the signifier for its relation to grief to emerge. “Blind” derives from the etymological bases bhlendh (to glimmer indistinctly, to mix, confuse) and blesti (to become dark). Blindness as an obstructioin of sight is a relatively recent usage, dating to around the early 1500s (and thus well after Augustine), but the original sense of confusion, not sightlessness, is better suited for understanding the eye-dimming consequence of loss. For what is confused in Augustine’s dirge is both the classical epistemology of vision whereby “Look!” involves looking-for, in an intentionality that assumes the objectal presence of the imperative’s target, and the self-comprehending self that no longer finds its bearings in space, light, and vision (the newly riddled, hard-riddled self). The confessions of grief in Confessions are confessions of confusions. What glimmers indistinctly in this passage is neither the lost absent nor the remaining present but the indeterminate fact that avows the bewilderingly stubborn existence of one in the wake of the irrefutable nonexistence of the other. If blindness were to be redescribed as an affect, it would be the affect of a stricken disorientation.

The Forms of the Affects
Eugenie Brinkema
Duke University Press, 2014

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the affect of a stricken disorientation

Filed under: dick tuinder,unga dada — ABRAXAS @ 9:30 am

those in the mind, who think they have a mind, are not in the mind, for the mind has no time. so stop wasting so much time cos it’s your time that you’re wasting.0

fatigue

Filed under: niklas zimmer,poetry — ABRAXAS @ 9:28 am

It’s hard to defend the present
Against the future

The present gets tired of all this ‘willing’
Being used entirely to just being

But who is the biggest cheat?
Only the past knows

Filed under: harry, jumping — ABRAXAS @ 9:01 am

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mai hoshino in tokyo elegy

Filed under: 1999 - shabondama elegy (tokyo elegy) — ABRAXAS @ 8:58 am

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boehmke on hani

Filed under: Heinrich Böhmke,politics — ABRAXAS @ 8:08 am

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keep reading this article here: http://www.theafricareport.com/Soapbox/canalise-and-control-a-south-african-legacy.html

April 15, 2014

sak mandada with propaganda (the difficulty addict)

Filed under: dick tuinder,kagapoems,rob schroder,sakman,unga dada — ABRAXAS @ 11:33 pm

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pressing matters: blueprint for an unga dada performance

Filed under: unga dada — ABRAXAS @ 10:59 pm

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