06.05. – 28.05.2022
PLACE INTERNATIONALE is a space for artistic, urban and activist practices that link the memory of past uprisings and the imagination of upcoming ones. Stadtlabor accompanies the FFT’s move to KAP1 at Düsseldorf’s main train station and frames the 2021/22 season.more
THE MAGIC LANTERNMixed-Media Installation Digital Culture Social/Urban Movements
Visual artist Bouchra Khalili uses various media to explore acts of solidarity and strategies of resistance. On the one hand, The Magic Lantern takes up an early predecessor of cinema, with which the ghosts of the French Revolution were ment to be brought back to life in late 18th century Paris. On the other hand, it deals with a little-known example of revolutionary video production: the young Carol Roussopoulos used the first hand-held video camera in the 1970s to support international liberation movements with her early films. Consisting of a digital film, a sculpture, a series of silkscreens and a tapestry, this work follows on Khalili’s investigation into the ethics and genealogy of solidarity from previous works, including „The Typographer“ (2019), „The Tempest Society“ (2017).
The Magic Lantern project continues Khalili’s investigation on the genealogy of movements of decolonisation and international solidarity in the global south and in diasporas. In works such as „Foreign Office“ (mixed media installation, 2015), Khalili focuses on the decade (1962-1972) during which Algiers served as the headquarters for liberation movements. In „Twenty-Two Hours“ (digital film, 2018), Khalili offers a meditation on revolutionary histories considering Jean Genet’s secret visit to the United States in 1970 at the invitation of the Black Panther Party. In both works, Carole Roussopoulos and her commitment to international solidarity through video making had been evident already.
For The Magic Lantern, Khalili reactivates Stephan Kaspar Robertson’s “phantasmagoria”. Robertson, a Paris-based Belgian magic lantern performer, invented the “phantasmagoria” in the time directly following the French Revolution. As a staged performance, the “phantasmagoria” combined storytelling and projected imagery “to let ghosts speak in public”. Those ghosts were deceased revolutionaries such as Marat or Robespierre, inciting the Parisians to pursue revolution. Articulating the birth of video as a revolutionary technology with the most ancient form of revolutionary performance, The Magic Lantern aims to recall the ghosts of revolutionary technologies and emancipatory ideas.
partners in crime
PLACE INTERNATIONALE wird gefördert durch die Kulturstiftung des Bundes von der Beauftragten der Bundesregierung für Kultur und Medien.