The solely artist and volunteer-run, grassroots international festival of experimental film, video art and music, KLEX – Kuala Lumpur Experimental Film, Video & Music Festival, is back with its 10th edition! KLEX 2019: ZERO ONE 0 1, will take place from 6-8 December 2019, at The Saxophone Store (Level 2 & Level 4), and RAW Art Space, spaces run independently by artists. The festival includes KLEX Open Programmes, International Guest Programmes and Music Performances.
The 10th festival theme is 0 1 Zero One. The 0 and 1 are binary codes; of nothingness and of existence; of a recurrent life cycle that begins, ends, and begins again. KLEX acknowledges this cycle of existence that is supported solely by artists and volunteers, serving as an important platform in South East Asia that introduces contemporary experimental cinema and improvised music, from the region and worldwide, to the Malaysian audience.
KLEX 2019 is made possible with the gracious support from Goethe-Institut Malaysia and Japan Foundation Asia Centre, and other organisations that support our international guests. Come join us for our 10th birthday celebration! And please spread the word and bring your fantastic friends along!
OPENING NIGHT: FRIDAY, 6 December, 7:30pm
@ The Saxophone Store (Level 2)
with light refreshment & opening film screening for free!
Guided Tour by Dr. Markus Heidingsfelder, Assistant Professor, Communication and Design at Habib University, through the German part of Outsiders: Geniale Dilletanten.
Hail, Hydra! Immortal Hydra! We shall never be destroyed! Cut off a limb, and two more shall take its place! We serve none but the Master—as the world shall soon serve us! Hail Hydra! (The Hydra Oath)
Our daily lives are dominated by organizations. This was not always the case. For example, the European system of estates only included a few organization-like entities. Our contemporary age, in contrast, is characterized by a profusion of this type of social system.
The new dominance of organizations is also reflected in our shared social fictions, in which they increasingly assume the role of protagonist. It is almost possible to speak of an ‘organization narrative’, which is particularly prevalent in science fiction films. Here, organizations have assumed the role of the villain, who is no longer an individual. Even if they are embodied, by necessity, in their individual representatives, organizations like the Tyrell Corporation (Blade Runner), the Mirando Corporation (Okja), Abstergo Industries (Assassin’s Creed) or the Data Recovery Foundation (Biomega) have become the adversary of the hero figure. The future anxieties associated with ‘being organized’ are also more evident in the scifi genre than elsewhere, in which the imminent global domination of organizations – or in the worst case, that of one particular organization – is presented as something to be feared.
Because organizations are usually presented as economic enterprises, they are not particularly interested in the good of humanity but solely in that of the organization; and ‘good’ is defined in this instance as financial gain (‘profit’). They act more ruthlessly in their pursuit than any super-rogue whose self-conception is still rooted in an – however monstrous – ‘ideology’. In the film Deepwater Horizon (USA 2016), the consequences of this profit-driven thinking lead to the oil spill in the Gulf of Mexico, the greatest environmental disaster of this kind in our time. The remarkable career of ‚CSR’, the idea of an organization’s institutionally implemented ethical self-regulation, has been quickly adopted by the scriptwriters, appearing in the movies and novels as a way to both distract the public and guarantee returns in the form of reputation.
The preoccupation with the new power of the organization can even be found in comedy, where it is also imagined as evil:
“In modern day America, the corporations run our lives. But one man is prepared to take our country back.” Pootie Tang trailer (USA 2002)
The Catholic church, particularly as it existed during the Reformation when it was forced to assert its monopoly over other religious organizations (or to put it more simply: during the period of the witch trials), appears to provide a model for many of the later sinister fictions about organizations. Hence, it is simply consistent when Francis Ford Coppola uses it in The Godfather: Part III (USA 1990) to drive Michael Corleone, who is seeking public recognition, even deeper into the clutches of the criminal world from which he is trying to break free. The message here is that organized crime has nothing on organized religion (although the church in The Godfather is infiltrated by another occult organization, a Masonic lodge: indeed, nested structures are by now a standard narrative component of organization fictions).
But organizations whose operation is understood as being driven by political decisions also feature prominently in these fictions: surveillance bureaucracies like the NSA and CIA, whether hijacked or not, and private security companies. Long before Edward Snowden, a surveillance scenario in which the NSA plays the main role became a reality in Public Enemy No. 1 (USA 1998).
The ‘selfhood’ of organizations enables Hollywood to substitute them for the individual villain, the super-rogue. Even James Bond no longer goes head to head with an individual Dr. No, Goldfinger or man with the golden gun these days, but an organization – Spectre, the Special Executive for Counterintelligence, Terrorism, Revenge and Extortion – although it is led by an uber-villain, of course. Someone must ultimately make the decisions. In the film Captain America: The Winter Soldier (USA 2014), Captain America does not fight Nazi Germany, a state, or the Nazi party or the SS, although collateral damage does arise, but against Hydra, an organization that is independent of Hitler and has infiltrated a ‘good’ organization: S.H.I.E.L.D. – another example of the aforementioned nested structures. (Again, Marvel made this organization into the hero of a television series, Agents of S.H.I.E.L.D., in which the formal-informal reality of the organization is also acknowledged; leadership battles and the constant conflict with politics are a central element. In one of the last seasons, the formerly virtuous members of S.H.I.E.L.D. end up as loyal members of HYDRA in a virtual world, something that enables the series to find remarkable manifestations of the ambiguity – temporary disloyalty – familiar to us all from the experience of being processed as employees. What is remarkable is that the series has already reacted to current social developments, for example when the director refers to the design of the “media, corporate S.H.I.E.L.D. machine”.)
The other prominent Marvel hero, Iron Man, is also a ‘boss’, in this instance of Stark Industries, the corporation he inherited from his father (USA 2008). He is a capitalist in the strict sense of the word, the owner of means of production, which he no longer uses, however, to generate profit but to produce his iron suit and save the world – the ‘added value’ here lies in the moral, selfless component of his action. The fact that the suit ultimately only came into being through exploitation is concealed – it would be possible to refer to latency here.
‘Teams’ as embodied most significantly by the A-Team (USA 1983-87) represent a special case in this new type of fiction. Particular characteristics of the team include its project-focus, the associated independence of organizations – in the words of Peter F. Drucker: “they work with a company, not for a company” – as well as the idiosyncratic individuality of the individual members, which no organization could be expected to accept in this form. The excessive acting-out of this individuality and the high price paid for it are justified by the specialized expertise and knowledge associated with it. All calls for role-conformity are dashed in the face of this expertise, which calls to mind, among other things, the concept of genius in aesthetics.
Organizations are perfectly suited to generating tension through contrast effects: the individual pitted against the ‘anonymous’, inhuman machinery, whose engine is concealed from him. A certain social unconditionality (innocence) is often imagined on the part of the hero; the conditionalities are located on the side of the organization. It is the organization that ties, enchains and processes the individual through the wastelands and unbending rigour of the same old bureaucratic procedures and rituals. It replaces the ‘system’, that is modern society per se, which – as seen clearly in a late western movie like Lonely are the Brave (USA 1963) – cannot be defeated because it cannot even be addressed. In Miller’s film, modern society is represented by police bureaucracy. Those who cannot be processed by bureaucracy don’t exist.
Officer 1: Identification?
Officer 2: He hasn’t got any.
Officer 1: You mean to say you got no identification at all?
Jack: That’s right.
Officer 1: No draft card, no social security? No discharge, no insurance, no driver’s license, no nothing?
Jack: No nothing.
Officer 1: Look young boy, you can’t go around with any identification, it’s against the law. How are people gonna know who you are?
Jack: I don’t need a card to figure out who I am, I already know.
This spectre of state bureaucracy continues to assume a key role in these fictitious worlds – it plays on our fear that we could wrongly fall under the ‘wheels of justice and end up being ‘processed’ as is the fate of the protagonist in Terry Gilliam’s Brazil (USA1985) or the real-life experience of German-born Turkish citizen Murat Kurnaz.
Does this dark perspective on organizations reflect reality? It would appear so at times. The mass media, for example, are convinced that a dark, dystopian data company called Cambridge Analytica gave the world Donald Trump and, moreover, used military methods to effect mass sentiment change (winning ‘hearts and minds’). Tamsin Shaw, an associate professor of philosophy at New York University, fears the worst: “To have so much data in the hands of a bunch of international plutocrats to do with it what they will is absolutely chilling.” And the commitment shown by Google, Cloudflare, Spotify, Facebook, Godaddy, Paypal, AirBnB to oppose Nazi propaganda on the internet demonstrates, above all, the new power of these organizations; the flow of information in society is no longer controlled by the political sphere but by them, a matter of great concern to the mass media: “This power can be used not only against right-wing radicals. The civil rights organization Electronic Frontier Foundation draws attention to the fact that right wing groups are already trying to classify the Black Lives Matter movement as a ‘hate group’ in retaliation – and companies could again be pressurized into opposing the latter’s online presence.” The fears of imminent world domination are also confirmed to a certain extent by empirical analyses, for example those carried out by Autor et al. (2017) which draws attention to the “rise of superstar firms” in the USA – the fact that market concentration has increased in basically all broad industrial categories – and link this market dominance with growing inequality: the employee share of national income is falling while the share accounted for by organizational profits is growing. Blogger Noah Smith is scared that “monopoly power could potentially become Public Enemy #1 for economists” (Smith 2017).
As we have seen, it is already the number one enemy in Hollywood.
The Roppongi Art Night Executive Committee will be hosting Roppongi Art Night 2017 for 2 days on September 30 (Sat) and October 1 (Sun), 2017. This year’s Roppongi Art Night 2017 will be featuring art and performance from around the world, including many from Asia, proposing a new creative form of ‘matsuri (festival). Its theme is ‘Mirai no Matsuri’ (festivals of the future), and Roppongi Art Night is excited in welcoming Photographer and Film Director Mika Ninagawa as the main artist.
In addition, Roppongi Art Night will be launching the ‘Southeast Asia Project’ in which artists from Southeast Asia as well as Japanese artists will work together with the Roppongi community and its people to create and present art.
Overview of Roppongi Art Night 2017
|Official Title||Roppongi Art Night 2017|
|Overview||Roppongi Art Night is a one-night celebration of art staged in the district of Roppongi. The event proposes a pioneering model for urban development as well as a lifestyle that celebrates the enjoyment of art in our everyday lives. Presenting modern art, design, music, film, and performances, Roppongi Art Night offers a surreal, extraordinary experience. Launched in March 2009, the event is growing every year.|
|Time and Date||September 30(Sat) 10:00- October 1(Sun)18:00, 2017
<Core Times> September 30(Sat) 17:27(Sunset) – October 1(Sun) 05:36(Sunrise)
*Core times is the period with the highest concentration of events with many performances and workshops held.
|Venues||Roppongi Hills, Mori Art Museum, Tokyo Midtown, Suntory Museum of Art, 21_21 DESIGN SIGHT, The National Art Center, Tokyo, Roppongi Shopping District, other cooperating facilities and public spaces in the Roppongi area.|
|Admission||Free (however, fee is required for certain programs and museum events)|
|Organizers||Tokyo Metropolitan Government, Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture), Minato City, Roppongi Art Night Executive Committee [The National Art Center, Tokyo, Suntory Museum of Art, Tokyo Midtown, 21_21 DESIGN SIGHT, Mori Art Museum, Mori Building, Roppongi Shopping District Association]|
Thanks to Peter Bürger, the writings of my grandfather have been finally published. Peter did a great job in collecting all those articles – they show my grandfather as an engaged citizen and Catholic, who was very critical about the Adenauer regime and its attempts to supplant the horrible crimes that took place in Nazi Germany. I wish there would be an English translation, as those texts show a different post-war Germany … There is also no English translation for ‘Trauerarbeit’, but that is what he mainly did: reminding the Germans of their guilt, asking them to remember. Of course not many were ready for that. As filmmaker Christian Petzold once said, there is a big gap in German Cinema:
“The Germans had to have this ‘coming home’ story in 1945, but they didn’t make it. They don’t want to have a picture of themselves. Because they are guilty and because they don’t want to stand in front of their guiltiness. I think this is a scar, a wound, which goes through our film history through today. I think someone like Fassbinder, who started to make period pictures, in Fassbinder you can find the fascists in the contemporary movies, but then he starts to make period pictures, and he uses Douglas Sirk—also a German director, for example, who’s a refugee—to go back to this gap, this moment, where we don’t have the cinema. We had propaganda, and after we had propaganda again, and there’s a big gap.”
This gap is not only to be found in German Cinema. The collection of my grandfather’s writings can help fill that gap – just like Petzold’s latest movie did.