OPENING: FRI, 24. MARCH 2017, 7 – 10 PM
    EXHIBITION: 25. MARCH – 23. APRIL 2017
    Curated by Elodie Evers and Camila Palomino
    Monira Al Qadiri’s works lend a highly political visual language to the experiences of the Gulf, articulating both the angst and the richness of the culture. The exhibition at ACUD is Al Qadiri’s first solo-show in Germany, encompassing a selection of recent sculpture and video works.
    In her earlier works, the artist experimented with questions of gender and performance. She created images and videos using representations of her own body, presenting herself as male characters, and having male dancers play female roles in videos portraying traditional Arabic music. These works relate narcissism, gender roles, and melancholy—highly figurative and sumptuous depictions of Arab Culture. Her most recent pieces continue to work through the same cultural spectrum but with particular consideration to economic histories and tradition.
    The title of the show, “Bubble,” refers to both liquid crude oil—its effervescent and iridescent nature—and the term “economic bubble,” relating to a bubble market, or a trading of assets whose price is incongruous with its intrinsic value. The video projection Rumors of Affluence (2012) speaks directly to the latter, giving viewers an exclusive and voyeuristic look into the Kuwait Stock Exchange. Al Qadiri zooms in on different traders, men wearing traditional, long, white dishdashas, lounging aimlessly about the Stock Exchange, and presumably conducting business. Coupled with deeply percussive music building tension, the voice of the narrator—the artist herself vocally disguised as a man—recounts stories of wealth, consumption, and corruption before and after the financial crisis. The reveals another bubble: a world directed by men, of unimaginable wealth and fraud—a precarious bubble, ready to pop.
    The video Travel Prayer (2014) features found footage from a camel race, a popular sport and betting event in the Middle East. In the past, children were trafficked, and used as jockeys at races. Most Middle Eastern countries have now recognized the use of children as a human rights violation; and as a result, camels today are fitted with robotic jockeys, as seen in the video, that are controlled from SUV vehicles that ride along the camels. Al Qadiri invokes a subtle humor in her works that allows her to navigate sensitive political and cultural spheres, with sharp poignancy that renders absurd the corrupt and perverse. The video confronts the dark, traditional history of this sport by making the footage vibrantly colored, and accompanying the images with two sounds: a children’s tune as staccato as the camel’s galloping is fused with the words of an Islamic travel prayer. Merging together symbols of wealth, tradition, and religion, these parts create a critical portrait of the Gulf States, where child abuse is traded for crude machines.
    Al Qadiri’s pointed sense of irony is even more present in another video, SOAP (2014), in which she superimposes images of migrant domestic workers onto scenes from various Gulf Soap Operas. Domestic workers constitute an invisible presence in the immaculately manicured homes and lifestyles of characters on these television shows, yet in reality, these workers are a ubiquitous part of everyday life in most Gulf households. As a result, SOAP presents a surreal image and acerbic criticism of not only these soap operas, which themselves are cleaning and editing their depictions of reality, but also on a culture that is based in superficiality. As with Rumors of Affluence and Travel Prayer, SOAP continues to explore and expose the histories and experiences that are obscured in Gulf culture.
    Deep Float, (2017) the newest work presented in the gallery, provides different sorts of intimacy. A bathtub standing at the center of gallery, what would seem to be a private moment of self-indulgence and self-care, is perverted. Instead, the bathtub is filled with a dark, nacreous substance portraying crude oil, while two hands seem to reemerge from the ooze. Both drowning and emerging from the muck, the absent body symbolizes the precarious and overwhelming economic reliance that the Middle East, and the rest of the world, have to crude oil.
    Monira Al Qadiri (born 1983 in Dakar, Senegal) lives and works in Amsterdam. Born in Senegal and raised in Kuwait, she left her home country at 16 and spent a decade in Japan, where she received a PhD in intermedia art in 2010. In 2011 she relocated to Lebanon. She is a founding member of the artist collective GCC, and is currently in residence until 2018 at the Rijksakademie in Amsterdam, Netherlands.
    Selected previous exhibitions include: Academy of Fine Arts, Vienna; New York University, Abu Dhabi; Haus der Kulturen der Welt, Berlin; Center for Contemporary Art, Warsaw; Kunstverein Dusseldorf; Maraya Art Center, Sharjah; Tokyo Museum of Contemporary Art, Tokyo.
    Al Qadiri’s video works have been screened at: Centre Pompidou, Paris; Safar: Festival of Contemporary Arab Cinema, London; Ludlow 38, New York; Whitechapel Gallery, London; Marian Goodman Gallery, Paris; Berlin International Film Festival, Berlin; New Museum, New York.

    Image: Monira Al Qadiri, Rumors of Affluence, 2012, video still
    With kind support by

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    Join us for a night of films, live performances and music introducing FRACTO the new format for experimental film screenings at ACUD whose first edition will take place on May 20th/21st.
    N I H I L , or All the Time in the World
    a film by ULI M. SCHUEPPEL
    16mm; 54min; b/w; West-Berlin 1988
    starring: Olivier Picot, Kai F, Friedrich Wall, Gesine Böhle and Blixa Bargeld
    filmmusic: Alexander Hacke (Einstürzende Neubauten)
    + special screening t.b.a.
    CINÉ-CONCERT Giuseppe Boccassini & Valerio Cosi
    Special Screening of “Lezuo” and “The Tin Hat” (Boccassini) accompanied by Valerio Cosi
    Everest Magma live performance
    Please crowdfund Fracto with a donation from 8-12€.
    Image by Uli M. Schueppel
    N I H I L , or All the Time in the World
    16mm; 54min; b/w; West-Berlin 1988
    starring: Olivier Picot, Kai F, Friedrich Wall, Gesine Böhle and Blixa Bargeld
    filmmusic: Alexander Hacke (Einstürzende Neubauten)

    “… Almost nothing is explicit, everything is a determination of the atmosphere, dark, morbid, mysterious, religious, mystic, poetic. NIHIL from a film school student… Its a type of underground Tarkowskij, without imitating the already known, or even quoting it.” Der Tagesspiegel (9.2.88)
    „Summer 86 the ideas for the script were created in a couple of nights. Usually, I sat in the same corner at „Hansa-Studio“-WestBerlin. Bands like „Einstuerzende Neubauten“, „Nick Cave & The Bad Seeds“ and „Crime and the City Solution“ were recording their albums after another. I only had to close my eyes and the projector was running, like weeds images grew emberantly to the background of the new sounds. I felt the mood, the quiet-intensive atmosphere that the film was to carry with it. The parabel and the baladesque was created. The expressive strength and poetry of the picture was to be more important than the story and action.
    No reality, no contemporary was to be shown directly, but only to be seen in the presence of the actors faces. No cars, no people, no Berlin! Still, WestBerlin was to be present throughout the film, and no other city. The feeling and the conception of the world shown could have only been created here, at the end of the 80s. Small groups develop everywhere, energies which move forward desperately. Anywhere. An illusion of losers who become heroes. No aim (which?) is relevant anymore. Only the movement…“
    (Uli M Schueppel, Excerpts from „Chronicle of an unexplored film“, 1987)
    Along with a number of short films, numerous music videos, and animations, he is the author, director, producer, and cameraman of 14 full-length films ranging from feature films, essay films, and music films to documentaries. He is also teaching direction and documentary film at the Deutsche Film- und Fernsehakademie (DFFB) and the Nederlandse-Filmacademie, Amsterdam. He has given numerous master class workshops on the topics of “music documentary”, “independent filmmaking”, and “digital storytelling“. // Homepage

    Giuseppe Boccassini & Valerio Cosi
    Special Screening of “Lezuo” and “The Tin Hat” (Boccassini) accompanied by Valerio Cosi. // Homepage
    For this special ciné-concert Boccassini and Cosi will weave together the two films in a passage through time and space which will take you from a pre-cinematic voyage by sea to the mechanized imagery of the battlegrounds of the First World War.
    Lezuo MiniDv, 17 min, Italy, Germany, 2013

    In 1843 Andrea Lezuo, a carver born in Arabba, Northern Italy, sets sail towards “La Merica” on board the Ehon Ship. Through an anthological collage of heterogeneous audiovisual material, the film portrays the physicality of the voyage, as it traces an experience that is a sort of initiation.
    “Compared to the contemporary world, the imagination of that era was less bound by the power of mechanical imitation of man: movement. It would soon do so. In a certain sense, the film tries to relocate that visual dimension which is uncertain, shaky, and at the same time occult, mysterious, alive, and now lost, through a proposed aesthetic that comes about through the mixture of form and non-form, of the knowable and the unrecognizable, of reality and the imagination.” // The Tin Hat MiniDv, 15 min, Italy, Germany, 2014.

    In every battle it is the eyes that are the first to be subjugated (Tacitus , Germania) “To prove Tacitus’ point, Boccassini uses a plethora of distorting filters, lens, and irises to distance this footage even further from reality, though the amateur and newsreel cinematography, already crackling with grain and faded in spots, already resembles no discernible reality we know.” (Matthew Levine)
    … is an Italian, Berlin-based film director. He has a degree in film theory from the University of Bologna, Italy. He also has a degree in movie direction from The New University of Cinema and Television located in Cinecittà, Rome, Italy. He works as film editor and dp. He has participated in several international film festivals and exhibitions with his own experimental films.
    VALERIO COSI [IT / DE – Berlin]
    Italian-born and Berlin-based performer Valerio Cosi is a saxophonist and multinstrumentalist known for tirelessly investigating the widest possibilities of electronic music mixed with psychedelia, free-form jazz and rhythms borrowed from African, experimental techno and Krautrock music since more than 10 years. Starting as a saxophonist and then incorporating his multi-instrumentalist skills into his electronic recordings, Cosi released a long series of solo records and collaborations starting from 2006 until today (Digitalis Industries, Porter Records, Last Visible Dog, Type, Preservation, Small Voices/A Silent Place and his own Dreamsheep etc.). // Homepage
    … is the latest incarnation of the prolific musician and songwriter already known as Rella the Woodcutter and as member of Eternal Zio – both projects have had releases on Boring Machines, the same label that published Everest Magma’s two albums. As Everest Magma, he put aside his earlier psych-folk attitude and got his hands on a bunch of machines, tape recorders and pedal effects. His performance at Acud Studio will be the second in town ever, after his Berlin debut at Occulto Fest 2015, where he opened for no less than Pure and z’ev. // Homepage

    … is a 2 day encounter inviting filmmakers to present their work and discuss contemporary means of audiovisual experimentation. Exceeding an entirely negative conception of today’s perceptual landscape, how can the reconfiguration of audiovisual media and technologies therein be a productive foundation for new means of ever-changing and heterogeneous narratives? How can this landscape be reflected, dissolved or disrupted in film itself? What are the appropriate means of sorting and resetting these influences, and what – if any – other modes of representation emerge between mere categories of newness and obsolescence, documentary, fictional, poetic, latent or evident imagery? // Homepage
    … is an independent, interdisciplinary magazine that focuses on hard sciences and their history while featuring also artist’s projects as well as music compilations curated by Onga Boring Machines. A public program of music and arts events in several Berlin venues is connected to and informed by the magazine. Occulto is a weird creature designed, edited and curated by Alice Cannavà. // Homepage
    SA 1.4 // 20H // 8-12€
    introducing the new format for experimental film screenings
    FB Event

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    Sat 01.04 21:00 // CONCERT, CLUB NIGHT // ACUD CLUB

    Berlin Community Radio’s Mr and Mr Power once again take a break from embarassing themselves on the airwaves to host a NIGHT OF PUNK!
    Guests of honour this time around include Barcelona’s hot new item, LUX as well as Berlin up n comers IDIOTA CIVILIZZATO who have just flushed out a debut 7″ with London’s Static Shock Records… records potentially to be physically brought across the pond by Static Shock Label boss and GUEST DJ FOR THE NIGHT, TOM ELLIS! He’ll be joined behind the decks by none other than the other Static Shocker Herr CHRISTIAN IFFLAND *applause* and stealth pilot DUCKFACE as well as of course THE FREAK and maybe Nordberg. Doors and DJs from 21:00, drinks specials and strong vibe.
    LUX [live]
    Some mad Crass Records vibe here with a touch of post, maybe like Dirt but if they had to play through Paralisis Permanente’s equipment. Members of Sect, Fracaso, Louis Harding band et al, watch the video in the comments and listen to the other thing at the top of this paragraph.

    Ahem, “Who put these 4 people in a room together?! What is the Italian version of Midwest USA? And how did it show up in Berlin? These weirdoes look like they met at a bus station and together make up the ripping hardcore version of a house of cards that feels like it could fall apart at any moment and then it does but thats actually how the song goes so uno, due, tre, quattro and on with the next one, kapisce paisan? Just like that freak from The Grabbies learned to speak English by listening to punk and repeating the word FUCK, Idiota is gonna teach you a little bit of Italian with some catchy romance language grunts and groans, the meanderings of a blue collar immigrant stuck in a kitchen behind a door, away from the public, away from people. This is the sound of pent up frustration and the things you do to keep your head above water in a world that doesnt understand you and doesnt want to try. The tension built up from not being able to have a wank because too many of your workmates are crashing on your floor. This is the sound of writing songs in the kitchen after nightshift. This is some stylised vintage sounding shit!”

    SA 1.4 // 21H // 6-8€
    a night of punk!
    FB Event

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