Win Last, Don't Care
Lee Lozano's, "General Strike Piece," 1969.
Tickets are not available. Please check back shortly.
Win Last, Don't Care
Programmed by artists in residence EMILIA-AMALIA
This program examines gestures of failure and withdrawal as deliberate political acts, performed as a necessary struggle against the capitalist patriarchy. Using humour, irony, meticulous analysis and blunt force, the films demonstrate the futility of fighting the status quo, while also showing us the impossibility of giving in.
What Would Lee Lozano Do? Impossible Piece, Onya Hogan-Finlay, 5.5 min
A love song for Lee Lozano, the American artist who famously walked away from the art world and never came back.
Time Passes, Ane Hjort Guttu, 46 min
Time Passes tells the story of Damla, a Norwegian art student, and Bianca, a Roma woman she meets in the street. An alliance that begins as both a project and mutual fascination gradually shifts into something else, as Damla realizes the impossibility of depicting complex social problems within the constructs of contemporary art.
Strike Hito Steyerl, .5 min
In this micro-short, writer and filmmaker Hito Steyerl takes on a television monitor. Using blunt violence, she destroys this tool in turn in a gesture that is simultaneously stupid and powerfully defiant.
The Whistler, Camille Rojas, 6 min
A surrealist pageant, in which the artist and her dog perform as both master and canine in turn. Together, they pose, perform and show off their teeth for an imagined audience, aiming to attain an impossible standard of perfection.
The Taxi Driver, Divya Mehra, 3.5 min
The work documents a performance in which the artist casts herself as an ‘Orange Curry’ taxi driver desperate for fares. She struggles to perform the role of the typecast migrant in an attempt to relate back to her roots.
Hold Your Ground, Karen Mirza/Brad Butler, 8min
Triggered by the artists’ discovery of an instruction pamphlet for pro-democracy demonstrators in Cairo, the piece works to pull apart the semantics of resistance . The resulting sounds and movements are so fragmented as to become unreadable as a coherent narrative, but through their disassembly they are also opened up to new uses.