Billetter

Bergen Kunsthall og Cinemateket i Bergen presenterer en filmkveld som en del av programmet rundt utstillingen til Hana Miletić, “Patchy”.

Programmet består av tre filmer, Od 3 do 22 av Krešo Golik (1966), Najbolji muž (The Best Husband) av Vera Jocić (1968) og In Our Hands, Greenham av Tina Keane (1984) , og undersøker temaer for feministisk fagforeningsaktivisme, tekstilproduksjon og omsorg.


Bergen Kunsthall and Cinemateket i Bergen present a film screening evening as part of the programme connected to Hana Miletić´s exhibition.

The evening consists of three films, Od 3 do 22 by Krešo Golik (1966), Najbolji muž (The Best Husband) by Vera Jocić (1968), and In Our Hands, Greenham by Tina Keane (1984), and investigates themes of feminist union activism, textile production and care.

Image courtesy of Tina Keane and LUX, London.

This event is a cooperation between Cinemateket i Bergen and Bergen Kunsthall.

 

More about our screening:

A film programme on textiles and community

 

Bergen Kunsthall presents at the moment two exhibitions by artists that work in different ways with textiles, Elisabeth Haarr and Hana Miletić. Both shows focus, besides their material qualities, specifically on the long social history of the use and production of textile. For humans, textiles provide fundamental care of basic needs, such as warmth and protection, and their production has produced sophisticated knowledge and technologies. On the other hand, textiles were traditionally connected to homework and female labour, and remained for centuries in a gendered system of unequally distributed visibility and valuation. The two artists investigate these histories in their exhibitions, in Hana Miletić’s works for example through collaborations with former workers of closed down textile industries.

 

This film programme, selected by Hana Miletić and Scott Elliott, presents three films that look at the intersection of politics, feminist organizing and textile crafts. Two of the films were made by documenary film makers in former Yugoslavia in the 1960s, the third is an experimental film by British artist Tina Keane from 1984.

 

Od 3 do 22 by Krešo Golik (1966), Najbolji muž (The Best Husband) by Vera Jocić (1968), and In Our Hands, Greenham by Tina Keane (1984), and investigates themes of feminist union activism, textile production and care.

 

The Best Husband (Najbolji muž), Vera Jocić, 1968, 15 mins.

The first film portraits a women’s weaving cooperative in the former Yugoslavia as a way to reflect on the bonds between weaving and community. The documentary made by the Yugoslav-Serb director Vera Jocić, one of the few women filmmakers active in this context, focuses on the preparations for the election and award ceremony of the «Best Husband» prize organised by the women’s cooperative in the region of Dragačevo. Located in the heart of the mountains in the village Donji Dubac (Servia), the cooperative was founded by Rajka Borojević (1913–1973) and had almost 800 members in the 1960s. Besides education, as well as the promotion, support and distribution of the handmade textiles created by the female villagers, the cooperative organised cultural gatherings («Weavers’ Assemblies»), moments of sociability, joy and cultural encounters to rewards efforts at work. Amongst those, from 1966 onwards, the «Best Husband» election took place every July. The film, set against the backdrop of this election, shows the work of the cooperative which enabled, through its actions, the emancipation of women’s work and safeguard their livelihoods and that of their fellow villagers. The voice-over underlines the independence granted to members of the community, whose «life was better».

 

From 3 to 22 (Od 3 do 22), Krešo Golik, 1966, 14 mins. 

Krešo Golik’s sharp and visually strong film is one of the most acclaimed documentaries made in former Yugoslavia. It follows the day of a working mother, employed in the Pobjeda textile factory, through her exhausting daily routine, from getting up at 3am in the morning to 10pm in the evening, when she goes to bed. Life is depicted in raw realism, with sequences from work interrupted only by short, calmer moments of rest during breaks and playing with the child. Golik portraits society and working conditions through the destiny of an individual, everyday subject. The film won the International Film Critics Association Award at the Oberhausen Short Film Festival in 1967.

 

In Our Hands, Greenham, Tina Keane, 1984, 38 mins. 

In Our Hands, Greenham depicts women’s struggle against nuclear weapons. The soundtrack is a collage of interviews, songs and music, and the images are of actions at Greenham Common, filtered through the outline of a woman’s hands. The Greenham protest began in 1981 in opposition to the housing of cruise missiles on RAF Greenham Common. Hundreds of women came together for a ten-day march to make a single and dramatic statement of opposition. Greenham subsequently became famous for the women’s camp and a human chain of 70,000 people which ran for 14 miles. In her film, Tina Keane uses the strong symbolism of hands silhouetted against black to frame extracts of footage from the camps and overlays it with narration and song, to keep a memory of collective feminist action, solidarity, and making.

 

Exhibitions:
Elisabeth Haarr: Festspillutstillingen 2021

Hana Miletić: Patchy

27 May – 15 August 2021

Bergen Kunsthall

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