kagablog

June 5, 2017

Filed under: sex — ABRAXAS @ 7:32 pm

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Vito Laterza on white people

Filed under: 2002 - western4.33,politics,race — ABRAXAS @ 7:11 pm

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Giant Steps

Filed under: 2005 - giant steps — ABRAXAS @ 4:19 pm

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Filed under: art,nicola deane — ABRAXAS @ 4:10 pm

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on the selfie generation

Filed under: philosophy — ABRAXAS @ 3:40 pm

“There will soon be nothing more than self-communicating zombies, whose lone umbilical relay will be their own feedback image – electronic avatars of dead shadows perpetually retelling their own story.”
– Jean Baudrillard in Telemorphosis

June 2, 2017

an excerpt from The Kindly Ones

Filed under: literature — ABRAXAS @ 4:44 pm

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I had thought that the camps of the Einsatz were set up in uninhabited areas, difficult to access; but this one was right next to a little town swarming with German settlers and their families; the main railway linking Galicia to the rest of the GG, on which civilians and soldiers travelled daily, passed right by the barbed wire, through the horrible smell and the smoke: and all these people, trading, travelling, scurrying in one direction or another, chatted argued, wrote letters, spread rumours, told jokes.

Jonathan Littell
The Kindly Ones
page 587

June 1, 2017

NDUDUZO MAKHATHINI WINS A SAMA AWARD FOR BEST JAZZ ALBUM OF THE YEAR

Filed under: kaganof short films,music — ABRAXAS @ 3:34 pm

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first published here: http://www.sun.ac.za/english/Lists/news/DispForm.aspx?ID=4929

LAMENTATION/KLAAGLIED screening in Berlin on 16 June 2017

Filed under: 2015- Lamentation/Klaaglied,christo doherty — ABRAXAS @ 10:48 am

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book your tickets here: http://www.art-action.org/site/en/prog/17/berlin/prog_06_16.php?horaire=17h30

May 31, 2017

The Girl Who Flied to the Sun

Filed under: art,caelan — ABRAXAS @ 1:50 pm

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TO DIE OUT LAUGHING

Filed under: kagagallery,kagapoems — ABRAXAS @ 10:03 am

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May 29, 2017

LAMENTATION/KLAAGLIED

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first published here: http://www.art-action.org/site/en/cat/index.php?p=2

Eggs

Filed under: nicola deane — ABRAXAS @ 11:50 am

“And the secret garden bloomed and bloomed and every morning revealed new miracles. In the robin’s nest there were eggs and the robin’s mate sat upon them, keeping them warm with her feathery little breast and careful wings. At first she was very nervous, and the robin himself was indignantly watchful. Even Dickon did not go near the close-grown corner in those days, but waited until by the quiet working of some mysterious spell he seemed to have cnnveyed to the soul of the little pair that in the garden there was nothing which was not quite like themselves – nothing which did not understand the wonderfulness of what was happening to them – the immense, tender, terrible, heart-breaking beauty of solemnity of Eggs. If there had been one person in that garden who had not known through all his or her innermost being that if an Egg were taken away or hurt the whole world would whirl around and crash through space and come to an end – if there had been even one who did not feel it and act accordingly there could have been no happiness even in that golden springtime air. But they all knew it and felt it and the robin and his mate knew they knew it.”

The Secret Garden

Frances Hodgson Burnett

Vintage Classics

pg 318

May 28, 2017

Lefifi Tladi, A4 Arts Foundation, 23 Buitekant Street, Cape Town, Friday 26 May 2017

Filed under: 2005 - giant steps,kagaportraits — ABRAXAS @ 3:41 pm

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GWEN ANSELL reviews To Breathe INto Another Voice

Filed under: kagapoems,music,poetry,reviews — ABRAXAS @ 11:46 am

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first published here: http://www.news24.com/Columnists/GuestColumn/book-review-poetry-like-jazz-20170528-2

Mick Raubenheimer – The Encounters interview

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first published here: https://weekendspecial.co.za/interview-aryan-kaganof/

May 25, 2017

Spectres Are Haunting Europe

Filed under: film,politics — ABRAXAS @ 1:19 pm

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SHE WHOSE BLOOD IS CLOTTING IN MY UNDERWEAR

Filed under: film as subversive art,sex — ABRAXAS @ 1:15 pm

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May 24, 2017

Filed under: Boarding Pass,caelan — ABRAXAS @ 1:42 pm

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To Breathe Into Another Voice

Filed under: kagapoems,music,music and exile symposium,poetry — ABRAXAS @ 11:52 am

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May 22, 2017

LEFIFI TLADI – Between Space and Time

Filed under: 2005 - giant steps — ABRAXAS @ 9:40 pm

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May 21, 2017

Filed under: sex — ABRAXAS @ 1:42 pm

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DJ KOELKAST ASKS THE QUESTIONS ABOUT NAAR DE KLOTE! (Wasted!). Aryan Kaganof tries to answer them truthfully.

Filed under: 1996 - wasted! (naar de klote!) — ABRAXAS @ 8:39 am

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1: Why was this movie shot on miniDV?

AK: DV was net uit, een nieuw medium. Daarom hebben wij ervoor gekozen. Het leek ons geschikt om iets over de house scene te vertellen. Een bepaalde ingebouwde, inherent kunstmatigheid. Dat zat al in het medium.

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2: Where are the original miniDV tapes? Do you still have them?

AK: Al het materiaal was onmiddelijk gedupliceerd op Digi-Beta en wij hebben op Digi Beta gemonteerd. Ik heb zelf toen de miniDV tapes gebruikt, jaren lang, om een hele reeks films erover te filmen.

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3: The movie ends with ‘for Yvette’. Who is or was Yvette and why is she mentioned?

AK: Mijn vriendin van toen. Het ging uit tussen ons toen de film uitkwam.

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4: The movie has a part that seems like Pulp Fiction in it, why is this there? A hommage to Tarantino? (who is mentioned before in a magazine in the movie)

AK: Een anti-homage.

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5: How long did it take to shoot the movie?

AK: Ik weet het niet zeker meer, ik denk vijf weken, maar misschien iets minder.

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6: Who was most fun to work with of the actors and who was the most difficult to direct?

AK: False vraag. Niet leuk om uitsonderingen van mensen te maken. Iedereen was leuk en niemand was lastig.

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7: Are there any hidden messages, easter eggs or stuff like that in the movie? (maybe the picture of Nelson Mandela in the office of Winston that is a tribute to South Africa?)

AK: Geen geborgen boodschappen nee, behalwe als zij dan ook van mij verborgen zijn. (My Dutch is not so good – is it geborgen or verborgen???)

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8: I’ve heard the movie had a budget of 1.800.000 guilders back in the days, what was the most expensive part of the movie?

AK: Mijn salaris.

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9: Were you 100% happy with the casting of the actors?

AK: 110%

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10: Did you use a body double on the scenes where Fem (Jacqueline) is completely naked? It looks very odd.

AK: I used a body double for most of the directing, misschien daarom.

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11: Were you happy with how the movie ended up and with how people reacted to it?

AK: I was desperately unhappy with the film and everybody hated it. A complete flop. A total abysmal failure. On every level. Ik heb zelfmoord gepleegd. Toen ben ik gestorven. Maar goed. Life goes on…

May 20, 2017

this is not Oberhausen (11-17 may 2017)

Filed under: signs of the times — ABRAXAS @ 7:40 pm

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SAY IT WITH FLOWERS – some reflections

Filed under: 2017 - Say It With Flowers — ABRAXAS @ 5:13 pm

“The whites had no notion yet that they were existing on the mere pittance of inherited and decaying values, soon to be overtaken by an enormous bankruptcy.”
Erich Heller

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The “seed” was a commission that I received from the Africa Open institute to make a film out of the complete Charlie Weich film collection that is housed at the National Film Archive in Pretoria. I was commissioned in 2013 to make the film but it took a very long time to find the right “in” to the material, and I kept on having to postpone the delivery of the work. The Institute very graciously allowed me the extra time that I needed to finally find a way to dissect the cloying whiteness of it all without surrendering or denying my own positionality. In short – it was a very difficult and very personal project for me, one that I would describe as intolerable.

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Because the intolerable is, according to Deleuze “no longer a serious injustice, but the permanent state of the banality of the quotidian” (1), I feel I will have succeeded if Say It With Flowers manages, through the senses, to provoke audiences to see something intolerable in the world.

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With society in flux and the advent of the media world it has become impossible to distinguish the real from the imaginary. Instead of being based on cinema’s traditional action and linear stories, Say It With Flowers is based on montages of “time images” (a term coined by Gilles Deleuze), on time itself.

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My intention here is to estrange white people from their nostalgia for a time that was not, in fact, better than the world we live in, but rather, an intolerable state of serious injustice (for those not classified as “white”).

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Compared to so-called documentary filmmakers, I am not interested in the real as such, it being an ideological, abstract category, but rather in the relationship that can be nurtured with the ontology of Weich’s shots towards generating a post-white consciousness.

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Thus, the (white) world is forced to lose its usual contours and reveal new ones.

Aryan Kaganof
20 May 2017

(1) Gilles Deleuze, Cinema 2: The Time Image, University of Minnesota Press, 1989 (first published in french in 1985)

Everybody Dies!

Filed under: film as subversive art,politics,race — ABRAXAS @ 11:12 am

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