Kurant Kino Presents: Trope Raiders & Moderation


We are presenting two curated programs by Kurant, and Sarah Schipschack:
-7pm we will show Trope Raiders, a program with artist´s moving images.
-8:30pm Moderation by Anja Kirschner

Please note that we are at Tromsø Kunstforening!


Kurant Kino presents a programme of six artists. The works consciously manipulate the forms of cinema as an act of revelation, while joyfully and willfully participating within its frame. The audience is submerged in the moving image as it is consistently being unveiled that they are partners in crime in the cinematic experience.

- HDHB -
Corin Sworn, Charlotte Prodger, UK, 2011, 9.46min

- Phantom Avantgarde -
Mark Aerial Waller, UK, 2010, 8.20min

- Monolog -
Laure Prouvost, UK, 2009, 12min

- The Crystal Gaze -
Ursula Mayer, UK, 2007, 8min

- Gesture Pieces -
People Like Us (aka Vicki Bennett), UK 2013, 15.43min

- And Yet.. Part Two: WTB -
Jeremy Welsh, UK, 1992, 12min

- Moderation -
Anja Kirschner, 2016
149 mins, Format: DCP / HD video
Moderation, set in Egypt, Greece and Italy, revolves around a female horror director (Maya Lubinsky) and a screenwriter (Anna De Filippi), whose latest collaboration is haunted by encounters with its ‘raw material’ and the escalation of conflicting desires.
Faced with the disintegration of their project, the director becomes more and more drawn into conversations with the actors she has cast (Aida El Kashef, Michele Valley and Giovanni Lombardo Radice), which reflect on the way horror traverses the affective and material realities of their lives on and off screen.
Much of the film is shot handheld, combining low-fi special effects with HD camcorder, Skype and mobile phone footage in order to heighten the sense of immediacy and interplay between fictional, factual and genre elements.
In line with certain tendencies in horror cinema from cold-war Europe, Infitah-era Egypt and post-junta Greece, lived experience is neither naturalistically represented nor is it sublimated by recourse to the irrational. Rather, the ‘irrational’ is used to externalise and to de-subjectify what ‘haunts’ the protagonists, in order to reground the possibility of rational agency operating at its limits.