Santiago Sierra, NO Global Tour, 2009-2011
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Santiago Sierra, NO Global Tour, 2009-2011
Santiago Sierra, Barbara Hammer
Premiere Party for Barbara Hammer and Santiago Sierra
Feb 14, 2011, 6pm


On the occasion of Barbara Hammer’s and Santiago Sierra’s participation in the 61st Berlin International Film Festival’s Forum Expanded special series, we would like to invite you to join the artists for a premiere party.

In her most recent film, Barbara Hammer (b. Hollywood, 1939), a pioneer of queer cinema, immerses herself in the private spaces of a trailblazer of American avant-garde filmmaking: Maya Deren (1917–1961). “Maya Deren’s Sink” (2010) seeks out intimate places to trace the biography of a remarkable filmmaker and theorist whose work paved the way for many authors of experimental cinema. The uses Deren made of time and space were at odds with the American narrative cinema of the 1940s and 1950s, as was the self-confidence with which she worked both in front of and behind the camera. Hammer literally projects filmic documents and principles from the small but influential oeuvre of Deren, who died at the age of 44, onto the environments of her early life.
Hammer’s second contribution to the Berlinale, “Generations” (2010), was created in collaboration with the 30-year-old Gina Carducci. For their documentary project, the two filmmakers drew on the same subject and used identical footage and soundtracks in order to interweave their different perspectives and techniques. The resulting work shows the double gaze of a four-handed filmic practice interested in differences.

Barbara Hammer, Maya Deren's Sink, 2010, 30 min, World Premiere
Barbara Hammer, Gina Carducci, Generations, 2010, 30 min, European Premiere
February 11, 3pm, Cinema Arsenal 1
February 14, 4pm, CinemaxX 5

Santiago Sierra’s projects respond to local situations in which people find themselves confronted with forms of economic and political regimentation and stigmatization that are as specific as they are usually typical of Western capitalism. So Sierra has been on the road a lot in recent years. In order to slow down his own movements, he conceived the NO Global Tour (2009), a sculptural format that would work without him: operating independently, it would take on the task of raising questions about aspects of repression and emancipation in different local situations.
Resting on the back of a truck, the word NO, designed out of dark plywood and measuring 3.2 by 4 m (10.5 by 13 ft), embarked on an indeterminate journey across Europe and North America, time and again accompanied by cameras. Sierra’s two-hour documentary of the NO Global Tour takes a patient and steady look at the movements his NO performs as a sculptural apparatus during its transportation from place to place. Set against the backdrop of varying contexts, the two letters from the Arial typeface become a text that takes semantic shape in forever-new ways. In the filmic representation, this text remains related primarily to the work environments that either line its path or are created by Sierra’s project itself, for example as his letters are set up and taken down for various art events and fairs. With regard to Sierra’s own practice, the NO Global Tour also appears as a rejection of the global art world’s demand for permanent mobility from an artistic subjectivity that, like Sierra’s, seeks to maintain a critical relation to defined places and situations.

Santiago Sierra, NO Global Tour, 2011, 120 min, World Premiere
February 14, 3pm, Cinema Arsenal 1
February 17, 8:30pm, Cinema Arsenal 2