Sept 5th, 16:00 – 18:00
ONLINE, on zoom
*Free participation based on prior registration through mail at contact@bidff.ro, mentioning your full name, a phone number and the event for which the registration is made.
About the online lecture
Time-based arts (performance, poetry, sound, cinema...) and their relatives have discreetly developed myriads of time theories, as side effects of their work, by borrowing time-shaping gestures from each other: overexposure, cut-up, rewind, field depth, swarm, voice over... These editing techniques have a side effect: not only do they manipulate time, but they are the very texture of u/distopias: exposing what exists, what can be hosted, what can haunt us, and what are the laws of transformation. Time reassembles itself within us in fragments, shards made out of living bodies, colouring our relation to the real.
“Arab future fiction thinks the ecological battle is not about who will control the future, but about the very fabric of time. That the monocentric representation of time, as it is being imposed, is the most dangerous game. Arab future fiction is like a fly, bothering us and biting us at the heels to remind us that thinking of time linearly is only one of the many options. Defining what time is once and for all, that is the oldest trick in the book of the master: ‘encapsulate humans and plants and animals in time, and you will have them at your mercy’. We claim that maintaining a good life is associated with maintaining a multiplicity of definitions of time. How do we maintain effectively different representations of time in order to maintain a good life? By being the most discreet and most generous hosts. By practicing the most radical kind of hospitality.” Dalia ekht el Majnoon
About Jassem Hindi (de)
Performer, sound artist, story-teller, Jassem Hindi is an artist working on the physical relation between poems and performance. He is an independent philosophy researcher - studying the bound between haunting and hospitality.
Recent research and performances have been focused on Arab female death poetry as a way to understand slow violence and slow revolutions. Specialist of nothing, there should always be something I'm missing in my practice. My work is made out of nervousness and necessity, haunted by the voices of others. I use performance and sound as an extended technique of poetry, helping me to revisit how a poem can be used as a space for a collective political and environmental practice.