Die Büchse der Pandora ist der feministische Container des Festivals, in dem Filme und Videoinstallationen von Künstler*innen u.a. aus Deutschland, Chile, Pakistan, den Niederlanden und Korea versammelt sind. Begonnen als Ort der Dokumentation und Konfrontation mit der künstlerische Realität während der Corona-Lockdowns, geht Pandaros Box nun zum Thema Feminist Futures ins dritte Jahr. Bist du bereit, ihren Inhalt zu erkunden? Dann steige die Stufen zu ihrer Blechwand hinauf, folge dem Luftzug, der den Eingang bewegt, und betrete einen Raum zwischen Fiktion und Realität.
Dort triffst du auf den atmenden Psoas, Pin-up-Girls mit Edding-Unterwäsche, Beziehungen mit Smartfons, die sich verselbständigen, auf eine feministische Demonstration in Pakistan, queere Ballroom-Culture, die Auflösung von Körpern ins Transzendente und vieles mehr. Nach einem ersten Erkunden der vielfältigen Zukunftsversionen kannst du auf gemütlichen Sitzgelegenheiten Platz nehmen und so lange bleiben, schauen, fragen und staunen wie dich die Gaben aus Pandoras Box in ihrem Bann halten.
Dort triffst du auf den atmenden Psoas, Pin-up-Girls mit Edding-Unterwäsche, ,Beziehungen mit Smartfons, die sich verselbst.ndigen, auf eine feministische Demonstration in Pakistan, queere Ballroom-Culture, die Auflösung von Körpern ins Transzendente und vieles mehr.
Through a performative act that mimics the manner of ancient Southern Italian funeral laments, past and future converge in a set of gestures, sounds and words.
Here, technological objects do not only appear as irresistable fetishes but become protagonists of absurd emotional relationships with human beings.
A short-film that emerged as a response to the obsession of the physical form and the transformation of the body. Liberation and dissipation of physicality, which now becomes an incorporeal reflection. Spirituality manifests as a way of reflecting on social constructions, the material organization of the world and the relationships we establish with it. A poetic analysis of materiality, the problems and adversities that arise from it. The physical body as a mark of a social framework, context and the questioning of this physicality.
What is femininity and what relationships does it establish with the physical world? Through the amorphous, vague and dispersed femininity is portrayed as an incorporeal, imposing, constantly changing, versatile and detached force. The search for mutability, liberation from social judgment and impermeability through the spiritual or psychic.
The freedom beyond shame. How do you feel as a woman in your sex-life? How much is shame
holding you back? Five women of different ages, generations and backgrounds are meeting in a
hotel in Frankfurt. In their bags: themselves and their personal stories about their sexual and body
shame as women in the 21stcentury in Western Europe. In the companionship of sisterhood and
driven by the desire to finally break free from the roots of patriarchy and the limiting beliefs about
feminine desires and sexuality, these women are opening up courageously and share their
experiences, doubts and fears like never before. As they are speaking vulnerably about themselves,
they are speaking for all women and giving a glimpse of what is possible for all of us beyond
fear and shame.
The project consists of an 8-minute video with a dreamlike aesthetic. In the video, Guacolda women’s experiences of violence are narrated. The narratives focus on experienced acts of violence and refer, among other things, to an object, a body part, and a place. In advance, it is important to think about the multiple interpretations and meanings that violence has for each person. There are events that are inherently and undeniably violent, such as physical violence that leaves visible marks. But there are also other forms of violence such as that which emanates from the state, that which establishes the social consensus of patriarchy, or something more subtle such as psychological violence in interpersonal relationships. Words and sounds, voice recordings, conversations, readings, poems, drawings and photographs combine to create a visual and emotional narrative. A personal processing of trauma in the protective circle of sisterhood.
Spanish with German subtitles
The stream, the wind, the sunbeams,
they have formed us.
Listen to the little stones’ dreams,
they have stories to tell,
history to share.
Transformations, from stone to heart.
Speak out loud!
Listen with senses. The stones also don’t speak with words. Two weeks long a diverse group in age and culture researched together in physical theater and created a performance, a film, a soundscape, visuals and dreams.
Performers: Ule, Panicha, Yasmin, Dani.
This project was set up and directed by Beni, Lucas, Dani, Edith.
Queer Mercury (17 min) is a short documentary about the utopian impulse embedded in queer
collectivity. Queer futurity, as explained by José Esteban Muñoz, is essentially about the rejection of the ‘here and now’ and an insistence on potentiality for another world. More important than defining an end goal is striving for, and moving towards, more inclusive worlds. The film follows three members of the Dutch ballroom scene during the preparations for the Utopia Ball, held in Kunsthal in September 2021. The three protagonists reflect on how ballroom culture pursues this utopia by creating an inclusive space in which all gender- identities and -expressions are welcome.
Der Film begleitet drei Mitglieder der niederländischen Ballroom-Szene bei ihren Vorbereitungen auf den Utopia-Ball, der im September 2021 in Kunsthal stattfand. Die drei Hauptfiguren denken darüber nach, wie Ballroom-Culture diese Utopie verfolgt, indem sie einen inklusiven Raum schafft, in dem alle Genderidentitäten und -ausdrücke willkommen sind.
The video installation shows a 9-minute long recording of a theatre play, written and performed for the Women’s Freedom March on 8th March 2022 in Islamabad, Pakistan. The play is based on an early 20th century writing, “Soltana’s Dream”, written by Roquiya Sakhawat Hasan and begins with a reading of “A Woman’s Laughter”, written by the legendary feminist Urdu poet, Fahmida Riaz. The songs with revolutionary and existentialist lyrics are by Ammar Rashid. It was a deliberate effort to include a transwoman, along with non-binary actors. The vulnerability of the performers results from the fact that for many it was their first public performance. The filmmaker, Jawad Sharif, insisted on recording the piece for posterity. Now it can be shown to international feminist comrades.
“Fever Dreams of a Hermit” critizises, grieves and transforms the prevalent capitalist mindset of carelessness. It tries to understand the multiple sides of caregiving, where the giver and receiver of care are never fully in an equal power balance. Thereby, it does not provide a concrete solution for the world’s carelessness. Instead, using Tarot as a metaphor for the uncertainties of life and the many unintended layers of our actions, there is the hope to encourage the viewer to question their
caregiving practices and to care more gently. Can we tip the scales of carelessness to
one of conscious interdependent care?
Crossing space and bending it, multiplying and mending it, bodies of flesh and of resonance are
stacked and duly blended. Teaching colors and reaching for tools, playing roles and sensing hues,
meaning is implied through correspondence with another side’s side. Delivery and deliverance… Oh the home inhabited by all, a mass of undisclosed appeals and extended distances.
The change of the structure of our bodies. A poetic view of found and made footage. Image of the human body that can be transformed. The neutral biological is in transformation. Donor implants can be swap for lap grow body parts. The imagination around the outlook of the body can be made real through the developing of technology.
ein AnimaDok Film
Strong women and girls from different backgrounds tell their stories of loneliness, fear and exclusion and how they managed to find their way back into life.
With martial arts, concentration and meditation they learn to smash cement slabs with their bare hands. A film about the unfolding of unimagined powers and a place created by Stephanie Taibi that offers protection and safety. The hybrid form of animation and documentary makes the narratives about depression, death wish and the way out visible in a symbolically condensed way.
Drawings: Katrin Köster
with: Daneen, Hareem, Patrycja, Wardat, Kira, Saskia, Naemi, Sened und Stephanie Taibi
Mit freundlicher Unterstützung von: Stiftung Frauen in Europa, TuWas Stiftung für Gemeinsinn, Frauenreferat Frankfurt am Main, Frauenbüro der Stadt Offenbach, Demokratie Leben, Hessische Kulturstiftung.
The film creates a speculative-utopian body and a togetherness of man and nature. Breath and field recordings open fragmentary atmospheres of pain and transformation. In search of another existence, the body breathes itself through the vulva and the landscape into questions of the future of coexistence. How can the body relate to nature? How can they transform together? How can they be together? The breath opens up a performative game of transformation: stone to skin, breath to wind, voice to vulva, smoke to blood, water to wind. The magical-poetic transformation of the actors allows nature to appear as a somatic body and psychogram. The film aims to create visibility for a taboo subject and is an ode to all traumatised bodies.
As a child, Helena Riog Prats spent the afternoons playing at their family’s factory, where they made blinds. The walls were covered by calendars of naked women, some commissioned by their own grandfather. One morning, when the thirty men started their shift, the women were not naked anymore. Prats had drawn underwear for all of them with permanent marker.
In the context of these early interactions with objectification, the photo, and the body, Prats began to develop a project relating photography with sex work. Prat’s friend Moon Baby agreed to collaborate under one condition: helping her create content for her OnlyFans account.
아빠 옆에 누워도 생각이 나요Da Hye Yang
…traces the itinerary of a relationship developing across oceans and land borders, gendered and cross-cultural perspectives, and a generational divide. This is a longitudinal creative collaboration between the artist and her father, where the continuous task of building, sustaining, and repairing a singular relationship in our currently globalized context takes form as an assemblage of sound, performance, and text. This work-in-progress constitutes one part of a larger multidisciplinary project exploring Korean masculinity through the voices of daughters.
The collapse of the world as we know it is inevitable. In the face of climate change, the humanitarian crisis and deepening social inequalities, we expect the end of patriarchy and the rise of ecofeminist, social and anticapitalist narratives. The artists in this film ask questions about the necessity of the end, and their vision of it is not tragic or post apocalyptic. The end of the Anthropocene, of human patriarchal and capitalist domination will be a deep breath for other beings. Maybe the end is near, or maybe it has come long ago, and everything that surrounds us is an illusion, a simulacrum as in the poem by Czesław Miłosz: “there will be no other end of the world”. The video for the song “What a Nice End” was made entirely by women.