{"id":16083,"date":"2020-04-17T10:18:40","date_gmt":"2020-04-17T09:18:40","guid":{"rendered":"https:\/\/bonnierskonsthall.se\/?post_type=bonnier_exhibition&p=16083"},"modified":"2026-03-07T17:09:08","modified_gmt":"2026-03-07T16:09:08","slug":"artists-film-international-del-iii","status":"publish","type":"bonnier_exhibition","link":"https:\/\/bonnierskonsthall.se\/en\/utstallning\/artists-film-international-2020\/artists-film-international-del-iii\/","title":{"rendered":"Artists’ Film International del III"},"content":{"rendered":"\n
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Artists’ Film International del III<\/h2>\n\n\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n
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Miguel Fernandez de Castro Grammar of Gates\/Gram\u00e1tica de las puertas<\/em>, 2019<\/h3>\n

Selected by Ballroom Marfa, Texas, USA
\nDuration: 20:31 minuter <\/p>\n

Miguel Fern\u00e1ndez de Castro\u2019s video Grammar of Gates\/Gram\u00e1tica de las puertas<\/em> is a dynamic visual and aural collage that traces the overlapping territories, languages, and conflicts that mark the border between Mexico and the U.S. within the sovereign Tohono O\u2019odham Nation. The artist weaves together excerpt from the 1970 movie Geronimo Jones with drone and surveillance-like imagery of the landscape and an affectless recitation of phrases out of A Practical Spanish Grammar for Border Patrol Officers. The rote repetition from the textbook sets a backdrop for the banal and brutal architectures of power situated at the border. <\/p>\n

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Miguel Fernandez De castro, Grammar of Gates\/Gram\u00e1tica de las puertas, 2019. Still from film.<\/figcaption><\/figure>\n

Lerato Shadi, Mabogo Dinku<\/em>, 2019<\/h3>\n

Selected by Friends of Iziko South African National Gallery, Cape Town, South Africa.
\nDuration: 6 min <\/p>\n

Lerato Shadi\u2019s work challenges common assumptions to critique Western notions of history and make visible that which is invisible or overlooked. In particular, she critiques the assumption that Western history is world history. In the video, the artist\u2019s hand makes enigmatic gestures and she sings a folk verse in a South African language. But she provides no subtitles or guidance on what the words and gestures mean because she is narrating the un-narratable, the history of her people, marginalized during apartheid South Africa. <\/p>\n

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Lerato Shadi, Mabogo Dinku, 2019. Still from film.<\/figcaption><\/figure>\n

Mohamed A. Gawad, betalpha (Balbalah)<\/em>, 2018<\/h3>\n

Selected by Mohammad and Mahera Abu Ghazaleh Foundation. Amman, Jordan.
\nDuration: 5:31 min <\/p>\n

Mohamed A. Gawad\u2019s film betalpha (Balbalah) takes off at a time before time, when a Big Bang in Babel sets in motion a perpetual process of language breeding. Gawad depicts a dystopic scenario where language, depleted and stripped of its initial inertia, can no longer keep up. It slowly starts to crumble into phonetic fragments of indistinct meaning. Yet, this loss seems to open for the opportunity to ascribe new meaning to words.<\/p>\n

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Mohamed A. Gawad, betalpha (Balbalah), 2018. Still from film.<\/figcaption><\/figure>\n\n\n<\/div>\n\n\n<\/div>\n\n\n\n
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Utst\u00e4llning<\/p>\n\n\n\n