Please join us in celebrating the closing of our multispecies summer show. We will present the final DUMP!: an evening of postcolonial documentaries by filmmakers Kidlat Tahimik (Perfumed Nightmare, 1977) and Jean Rouch (Jaguar, 1967); stickers from science studies scholar Donna Haraway; the ugliest mushrooms in the world and the largest specimens to be found in Denmark, Pisolithus arrhizus, collected by Henning Knudsen and AURA researchers at Søby Brunkulslejerne.
Special prices on beers and coffee in Kunsthal Café all day.
This is the absolutely last chance to get DUMPED! The exhibition ends 20 September.
See the film about DUMP!
17.30 Welcome and introduction of programme (Elaine Gan, Art Director AURA and Arine Kirstein Høgel, postdoc, Camera as Cultural Critique, Aarhus University)
17:35 Jaguar by Jean Rouch (France, 1967, 88 min.)
19:30-21.00 Perfumed Nightmare by Kidlat Tahimik (Phillipines, 1979, 93 min.)
Perfumed Nightmare and Jaguar are playful ethnographic films where fiction and documentary are entangled to let us in on the condition of being colonised. Both films utilize what has been termed the Aesthetics of Garbage, refering to how postcolonial art from Third World countries subvert, reappropriate objects, techniques, concepts and art left as cultural debris by the colonizers.
Kidlat Tahimik is a pioneer of post colonial essay film and the grandfather of the Phillipine New Wave. Perfumed Nightmare is a auto-ethnographic story playfully interrogating neocolonial identity, phillipine culture and global economies.
In the film, Kidlat Tahimik is a busdriver in Balian, a small town not far from Manila. He dreams of going to the US to become an astronaut. Due to effeorts of Werner Herzog and Francis Ford Coppola the film was released in US and became a hit.
Jaguar is made by ethnographic filmdirector Jean Rouch. Rouch pioneered collaborative filmmaking and elaborate use of handheld camerastyle in the documentary film movement ”Cinema Verité” also known as ”Direct Cinema”. Jaguar is one of his classics. In an innovative blend of fiction and documentary we follow three young men who leave their rural homeland and trek to the coast to seek adventure and fortune in the cities of Ghana. Shot in the 1950es the film is made largely without synchronous sound. Several years later an improvised narration track was recorded by the participants, reflecting on the action on the screen