Where Dreams Cross – Danviksbron 14 Aug!

We’re very happy to welcome you to a place we have had our eyes on for several years, the site under Danviksbron. The film program which was postponed twice because of covid related issues is now finally possible, and we are very excited to show it! 

Participating artists: Yumna Al-Arashi (United Kingdom), Pushpamala N (India), Sophie Vuković (Sweden) and Rawane Nassif (Lebanon). We often try to create programs where the audience gets to see a broad variety of film in both form and theme, which also this program is curated by.

The program is made in collaboration with Filmform which distributes the film Mother’s Milk by Sophie Vuković.

We follow the recommendations of the public health authorities and urge everyone to keep some distance.

Feel free to come by before the screening for a drink or something to eat at the lovely restaurant Boule & Berså, which is right next to the site. 

DATE and TIME: Sat 14 Aug 21.00 (sunset)

LOCATION: Danviksbron (Under the bridge, the Henriksdal side)

Hope to see you on the 14th of August! ♥♥♥

Attend and invite friends to the Facebook event!

About Where Dreams Cross

The art project Where Dreams Cross is based on the idea of trying to make film and video art more accessible and open, seeking to create new exhibit opportunities. Our main goal is to create a free, spontaneous, surprising, and more personal experience for the spectator. This by screening film- and video art in public spaces. We believe that art should be available for all, regardless of prior knowledge or cultural background. The project started in 2011 and has since had many different screenings and collaborations around Sweden and internationally.


PROGRAM 

99 Names of God

99 NAMES OF GOD by Yumna Al-Arashi 

The 99 Names of God embraces the rhythmic rituals that have run alongside Islamic tradition throughout the centuries in this surreal and poetic short film. Piecing together old and new, Arab-American filmmaker Yumna Al-Arashi aims to create dream-like imagery which breathes fresh air to a subject hardly seen in a positive light. The importance of geometry, nature, spiritual connectivity, style, meditation, and feminine power in Islamic tradition is something modern media has failed to depict – Al-Arashi’s goal was to revive these themes in a truly beautiful manner. Islam’s underlying inherent meditative, universal, and spiritual value has been washed over by negative media representation and male-dominated dogmatic imposition. It is time we see new imagery dedicated to truly understanding a religion filled with mysticism and beauty.  7 min, United Kingdom, 2018.

Yumna Al-Arashi is a Yemeni-American photographer and filmmaker. Born in Washington, DC in 1988. In her work, she explores the intersections between feminism, sexuality, human rights, and the Middle East. She has shot for titles like CR Fashion Book, Dazed, The New York Times, and Vogue. In the much-appreciated photo project Face, she documented the last generation of Muslim women with facial tattoos in North Africa. Her latest exhibition, entitled “I Am Who I Am Who Am I” at Anahita Contemporary, Berlin, uses self-portraiture as a form of resistance. She is currently studying for an MFA, at Zürich University of the Arts. www.yumnaaa.com

Hygiene / Good Habits 

Good Habits by Pushpamala N

The artist, helped by friends, performs various acts with medical models. The actions are like rituals, performed with the panache of magic tricks on stage. The films are part of a long-term project using multiple media in which the artist interrogates the idea of the nation-state. Here she looks at the notorious histories of anthropology, ethnography, and eugenics that ironically define modernizing government projects with the dream of building an ideal community. The artist, by performing in the works, places herself at the center of inquiry, playing the role of agent as well as the effect of history.

Hygiene / Good Habit

The artist, dressed as Mother India washes the medical model of a brain. 

Direction : Pushpamala N / Videography: Clay Kelton / Cast: Pushpamala N, Babitha Lingraj. 02:16 min, India, 2016.

Birth Control / Good Habits

Birth Control / Good Habits

The artist, dressed as Mother India, operates a mechanical childbirth model.

Direction: Pushpamala N / Videography: Clay Kelton / Cast: Pushpamala N, Babitha Lingraj. 49 secs, India, 2016.

Pushpamala N has been called “the most entertaining artist-iconoclast of contemporary Indian art”. In her sharp and witty work as a photo- and video-performance artist, sculptor, writer, curator, and provocateur, and in her collaborations with writers, theatre directors, and filmmakers, she seeks to subvert the dominant cultural and intellectual discourse. She is known for her strongly feminist work and her rejection of authenticity and embracing of multiple realities. As one of the pioneers of conceptual art in India and a leading figure in the feminist experiments in a subject, material, and language, her inventive work in sculpture, conceptual photography, video, and performance have had a deep influence on art practice in India. www.pushpamala.com

Mother’s Milk

Mother’s Milk by Sophie Vuković  

Mother’s Milk is a poetic formulation of a mother-daughter relationship, where everyday considerations are interwoven with gestures that are both tender and violent to create a touching and thoughtful study of ideas about care. The film takes off in the caring femme body that is in constant motion through various types of reproductive work in a home environment. Housework, childcare – a sequence of repetitive actions and gestures that never seem to end. The title Mother’s Milk refers to what is involuntarily passed on and inherited between one generation and the next.

The film is constructed and deconstructed through fragmentations of movements and sound, which interfere with the possibility of a single, coherent narrative. Repetitions of actions resemble the nature of a rehearsal, suggesting thereby the idea of “staged domesticity” and the performative characteristics of gender roles. 14:03 min, Sweden, 2019. (The film is distributed by Filmform)

Sophie Vuković is a filmmaker and artist based in Stockholm. Her practice is situated between documentary and fiction and has previously investigated the construction of identity, intimacy, and migration. Her films explore how personal relations and experiences are shaped and affected by social and political structures. In her short film 09:55-11: 05, Ingrid Ekman (2015) won numerous awards at film festivals around the world. Her feature film debut Shapeshifters (2017) explores migration and belonging beyond national borders in a hybrid documentary form. Shapeshifters were nominated for several awards and were received critical acclaim in connection with the Swedish cinema release in the fall of 2017. Her films have been shown at film festivals, TV, and cinemas, as well as in art exhibition contexts, for example at the Barbican Centre and at Moderna Museet in Stockholm, where she was one of the artists who participated in the Moderna Exhibition 2018. The film installation Mother’s Milk (2019) is her thesis work from the Royal Institute of Art and was awarded Bonniers Grant. www.sophievukovic.com

Turtles Are Always Home

Turtles Are Always Home by Rawane Nassif

This is a short essay about the meaning of home and the search for it in a transient environment. It is a personal journey inwards with an intimate camera that observes and takes its time to look at the buildings and the surroundings only to find its reflections. Houses have memories too. They hide them under their windowsills, tuck them in layers of paint, and sometimes whisper them to birds passing by. I wonder whose memories these houses will keep. I live here but I am unable to leave a trace. I try to attach myself to the walls, dirty them, mark them… but I fail. They are constantly cleaned, watched, and protected. I caress them instead. And I film them, lest I forget. Home is where the heart is, they say. I disagree. My heart is everywhere. It left with the music. Like a turtle, I am always home. 13 min, Lebanon, 2016.

Rawane Nassif is a Lebanese/Canadian filmmaker and anthropologist. Rawane works in research and films often addressing subjects such as space, traditions, identities, displacement, and memory. She collaborated on several social documentaries in Lebanon, worked with immigrants and indigenous people in Canada, conducted visual research on nomadic traditions in Kyrgyzstan, taught anthropological courses in Tajikistan, wrote children’s books based on collected oral histories in Honduras, and worked as a film researcher for various anthropological art films with the Doha Film Institute for the National Museum of Qatar. She has a BFA in Filmmaking from the University Saint Joseph in Lebanon and an MA in Cultural Anthropology from the University of Alberta.