Sharon Daniels

Exposition du 26 septembre au 17 novembre 2013 @ STUK, Leuven

 

public-secrets_sharon_daniel

 

The exhibition Convictions brings together four projects of Sharon Daniel. Public Secrets, Blood Sugar, Undoing Time and Inside The Distance manifest Daniel’s fully engaged and critical understanding of the prison-industrial complex, criminal justice system, and theories of justice and punishment. What characterizes Daniel’s work is the belief that complex sites of socio-political experience are best examined by creating a context for multiple perspectives and engaging public participation. The interactive interfaces that are typical of her work allow viewers to find their way through a difficult terrain, become immersed in it, and have a transformative experience. The works in this exhibition introduce marginal and often silenced voices and present alternative visions, enabling public engagement with questions of social justice across social, racial, political and economic boundaries.

The exhibition is organised in the framework of the project “Art for Social Change: Exploring Justice through New Media Documentary”, a co-production by LINC-KU Leuven, STUK Arts Centre, Courtisane, University of California Santa Cruz, European Forum for Restorative Justice, Suggnomè Forum voor herstelrecht en bemiddeling vzw & Alba, and funded by OPAK.

opening hours:

We – Th 14:00 – 21:00
Fr – Su 14:00 – 18:00

opening 26 September 19h00

Ritwik Ghatak

Projection le 3 octobre à 20h30 @ KASKCinema, Gent

 

Ritwik_Ghatak_-_Jukti_Takko_Aar_Gappo_-_trio_1

 

In 1947 Ritwik Kumar Ghatak (1925–1976) was one of the over 10 million refugees who left behind their homes in East Bengal, fleeing from the surge of communal violence and human devastation that erupted in the aftermath of the Bengal famine and the partition of India. The terrible specter of this tragedy would continue to haunt Ghatak’s life and work, until his body and mind finally gave up thirty years later, ravished by illness and alcohol. Thirty years of struggle, against the postcolonial establishment, against the political and intellectual corruption of the middle class, against the crumbling appearance of a divided Bengal, against a world denying its own people their dignity and humanity. A struggle he began in the realms of literature and militant theatre, before taking up the camera and making his foray into cinema, the only medium he saw capable of reaching a mass audience – a wish that, in regards to his own work, sadly never came true during his lifetime. In his quest to express his pangs and agonies about his suffering people and reawaken the suppressed powers of Bengali culture and history, he chose to experiment with one particular form: the epic melodrama. But rather than looking towards the obvious example of Hollywood for inspiration, Ghatak found his touchstones in the cinema of Sergei Eisenstein and Ray Satyajit, the theatrical traditions of Bertold Brecht and Constantin Stanislavski, and especially the poems and songs of Rabindranath Tagore, considered by many as the pinnacle of Bengali culture. One of the most accomplished and heart-rending uses of Tagore’s music can surely be found in Jukti Takko Aar Gappo, Ghatak’s final, most autobiographical and allegorical film, in which he himself played his own role: that of a tormented leftist intellectual, burdened and ultimately broken by the weight of history.

Sorry, the comment form is closed at this time.

   
© 2012 QueerPunxBelgium Suffusion theme by Sayontan Sinha