BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//hacksw/handcal//NONSGML v1.0//EN
CALSCALE:GREGORIAN
BEGIN:VEVENT
DTSTART;TZID=Europe/Berlin:20260416T210000
DTEND;TZID=Europe/Berlin:20260416T223000
SUMMARY:Focus 2: What Remains of Gestures
DESCRIPTION:They worked during the day. At night\, some of them tried to reclaim the time taken from them… The “What Remains of Gestures” programme takes this fault line between exacted and reclaimed time as its starting point.\nThe six films consider work not as some economic category\, but as a sensory experience\, an ordering principle for the visible and the invisible. Work emerges here as an ordering force: It structures spaces\, determines rhythms\, assigns specific gestures to bodies and transforms gestures into functions.\nWith differing geographical\, historical and formal contexts\, the films explore how work becomes inscribed into people’s existences. They examine how work organises time\, allocates spaces\, regulates rhythms and moulds bodies. Work appears less like an action here\, and more so as a sensitive structure: as a modus for drawing the line between the utterable and the unutterable. Yet even within this order\, anomalies become visible – forms of resistance\, of slowing down\, of safeguarding lived experiences.\nIn MARTA\, the repetitive hand movements of a Polish textile worker create a temporal structure determined entirely by necessity. The work extends beyond the production process\, seeping into her private sphere and narrowing her horizon to this ceaseless repetition. The narrative does not focus on the occurrences as such and instead captures the wear-and-tear aspects. Fatigue assumes a shape – as a form\, a duration\, a state.\nIN PRAISE OF SLOWNESS casts a light on occupations that are at risk of disappearing. In this context\, slowness acquires a special significance: it restores depth to gestures and establishes a relationship with a world that evades measurability on purely productive terms. Work unfolds here as a presence\, an awareness\, as being inscribed into life.\nIn 所有动作都应杀死风 (ALL MOVEMENTS SHOULD KILL THE WIND) and FROM ECUADOR WITH LOVE\, gestures repeat themselves to the point of vanishing. Whether working with stone or cultivating roses – it seems as though human labour is being absorbed by the material\, by nature\, or by some industrial logic.\nINVENTORY effects a shift in the perspective on architecture and collective memory. The demolition of a modernist building makes visible the demise of a historical project. The workers involved in its dismantling are part of this transformation: the material crumbles – and with it\, the narrative it once embodied. With the labour thus becoming a medium for a symbolic reconfiguration.\nBy contrast\, KRAHËT E PUNËTORËVE radically narrows this scope. The focus here is no longer on the collective memory\, but on the physical inscriptions on humans. Bodies scarred by accidents serve as a reminder that the work itself does not disappear when the activity as such ends. The discontinued gesture continues to inscribe itself into human flesh. While INVENTORY depicts the disintegration of history\, KRAHËT E PUNËTORËVE makes an ineradicable trace visible.\nThese films pose an aesthetic and political question in the most concrete sense: Who has a right to time\, to visibility\, to utterance? And what remains of these gestures when the production ends\, yet their traces persist?\n\nCurated by Randa Maroufi
LOCATION:Dresden\, Thalia
DTSTAMP;TZID=Europe/Berlin:20260814T091604
UID:6a7ec0b49a1ea
END:VEVENT
END:VCALENDAR