Films that are challenging norms in society, that are surprising, inspiring, empowering. Films that make you think and laugh.
With discussions, filmmakers, activists, the audience, and guest curations. Entrance on donation – donations help us to continue with the filmscreenings, and to offer workshops. Often, the raised funds are being given to different projects or to the filmmakers. Monthly one wednesday each month and in different languages.
Entrance on donation: 0-10 Euro.
If you have recommendations, suggestions, or questions please contact us: email@example.com
Where: xart splitta | Hasenheide 73 | 10967 Berlin | U7 Südstern
The space is wheelchair accessible – for details please contact us.
new screenings from september on:
wednesday, september 27th, 20h
filmscreening: une crèche en chine
(2014, hd, 30 min, esp/fr/engl/dt, eng. subtitles) a video essay about neocolonial structures in today’s educational programs, conceptions of western museums and the amnesia in germany towards its own colonial history. followed by a discussion with the filmmaker karen michelsen castañón and sandrine micossé-aikins.
The point of departure is an engraving of a French orphanage in late 19th century China. On the back of the seemingly benign image, published in a French illustrated magazine, the filmmaker discovers a racist propaganda text in praise of the “progress” brought by French missions to China. Through a variety of interviews with activists and researchers set in Berlin, Paris and Amsterdam, the film explores the tension within the image and the colonial enterprise it is supposed to justify. The interviewees, who bring to our awareness very distinct inflections and reflections on what the colonial image is saying, are Aretha Apithy (educationist and colonialism researcher), Houria Bouteldja (activist), Ramón Grosfoguel (sociologist), and Hu Ying (professor for East Asian literatures).
As the interviewees interpret the image, they uncover aspects of current relevance, such as neocolonial structures in today’s educational programs, conceptions of Western museums and the amnesia in Germany towards its own colonial history. Finally, the film describes how histories are written in our bodies. The filmmaker weaves in her own personal comments along with the interviews. In this weaving, she finds a connection between the neocolonial discourse of “progress” and the violence that is at the center of modernity. She concludes by questioning her own Western-oriented education in Peru and abroad, as well as the colonial languages she was socialized with during her childhood.
Karen Michelsen Castañón is a Peruvian-Canadian artist, visual artist, mother, filmmaker & art educator. Her work tackles questions of autobiography and cultural translation, migration and historiographies, particularly those concerned with the colonial subject. She is a member of COMPA Berlin & colectivo quellcay.
Sandrine Micossé-Aikins is a curator, arts scientist and activist. She looks into racism and empowerment in arts, the efficacy of colonial images, body politics as well as represenation and participation in the German arts and culture scene. Since beginning of 2017 Micossé-Aikins functions as managing director of the newly founded „DIVERSITY.ARTS.CULTURE – Berliner Projektbüro für Diversitätsentwicklung“.
*The event will be held in English*
wednesday, october 11th, 20h
film: hilar una frase – stringing words together
(esp., eng. subtitles) a critical analyses of instructional material used in so-called german “integration” courses and part of the exhibition project “man schenkt keinen hund,”, which interrogates the identitarian discourses around the concept of “integration”. followed by a discussion with the filmmaker karen michelsen castañón and a protagonist.
man schenkt keinen hund : 1 july–24 september 2017
using various artistic approaches, the research project “man schenkt keinen hund” interrogates the identitarian discourses around the concept of “integration,” it looks at the pedagogic formulation and iconographic design of german textbooks for integration courses. for example, how the characters and individuals that appear in the photographs, illustrations, and texts are distinguished as either “immigrants” or “natives”? which definitions of the “familiar” and the “other” are inscribed in the teaching materials? how are (national) identity and language positioned in relation to each other, and what concept of culture is deployed to produce cultural difference?)
*the event will be held in english*
wednesday, 6th of december, 19h
short film programm: transgressors
guest curation by queer rebels.
queer rebels show “transgressors”, a raised fist of qtPoC experimentations with a mission to transgress, to cross, to border, to aggress and to deviate.