On Saturday, 18.11.2023, the exhibition space becomes a cinema, screening videos and films by Eden Tinto Collins, Jamie Crewe, Ibro Hasanović and Saša Tkačenko, around topics that came to the foreground during the development of Zomertank 2023: ALL THAT WE HAVE HERE IS ALL THAT WE’VE ALWAYS HAD.
CoNec / 2019, FR, 11’
by Eden Tinto Collins
“I am those others, black bodies, lost in abstruse places, Abdoulaye, LayLa… They take possession of my I, of my role…Those haunting characters remind me of an origin to be embraced, delivered.”
False Wife / 2022, ENG, 15’31’’
by Jamie Crewe
False Wife is a poppers training video that leads its visitors through an ordeal of transformation. A poppers training video is typically a user-made compilation of pornographic clips, uploaded to adult video hosting sites. These clips are paired with text, hypnotic music, voiceovers, and instructions for action. Viewers are told to masturbate and sniff poppers, to let imagery and sensation meld, and reach a gooning ecstatic fervour.
False Wife’s material is obscure. Its narrative is drawn from a variety of folk tales in which transformation occurs, and relationships happen. Its footage is scavenged from sources that reflect these themes, reduced to slivers of significant imagery, rubbed together. These originating sources are warped or inflamed to say ambiguous things: to discuss desire, shame, transgression, and the longing for change, and the various ways we want—and don’t want—to face them.
Perfect ride / 2012, 5’04’’
by Saša Tkačenko
In the interior of the Museum of Contemporary Art in Belgrade, whose purpose was neglected for years (closed down for renovation for 5 years at the moment of making this video), a skater is trying to perform what is most important to him – a perfect ride. The atmosphere of timelessness that is dominant in the space of the “abandoned” Museum of Contemporary Art appears as the perfect scenery for an incompatible action that gives its endless reconstruction a new character. This way, the work shows the intimate and intense connection between a young man and his skills and the forgotten building of the Museum, thereby retrieving the grandeur of the building through a moment that, as the action unfolds, becomes a very important experience for the actor in the video. The work is essentially an homage to the building – a master piece of modernist architecture in Yugoslavia – which, despite all current technical shortcomings, remains monumental and incredibly powerful.
KKKK / 2018, 3’18’’
by Ibro Hasanović
A loose remake of Kenneth Anger’s 1965 film “Kustom Kar Kommandos” set in Kosovo.