Traces AIR Antwerpen

Film Screening Saddie Choua & Stijn Van Dorpe

The videos 'Voices' by Stijn Van Dorpe and 'The Chouas' by Saddie Choua show personal narratives and how easily this becomes politically recuperated. As a countermovement they both create - yet a very different - artistic portrait in which nuances are lifted and subtleties make the difference. After the screening, the artists engage in conversation with Alan Quireyns about the social discourse that is being conducted within an art practice.

Doors: 19h
Start screening: 19:30h
Income: Free contribution

voices, Stijn Van Dorpe, 2016
video (26'.55")
Voices starts from recordings of stories / voices from local residents of the Tarwewijk in Rotterdam. These stories were collected during the production of Short Cut Tarwewijk, but did not end up in the final video. During (the course of) two afternoons, these recordings were used by local children during a singing workshop in a music studio. The documentation of these workshops demonstrates the political potential of the voice. A double, contrasting transfer takes place; Stories expressing the moral and political visions of local residents (a kind of linguistic / mental architecture) are passed on (like things evolving in life), but in addition there is a learning process that focuses on the voice and its physical, material characteristics. A dichotomy continues to exist between the stories and the musical experiments. The physical space of Tarwewijk and the metaphysical space of art do not really merge or serve each other but rather comment on each other.

The Chouas # Episode 3 I swear by God Almighty, I say the truth and nothing but the truth, Saddie Choua, 2016
video, (24'.37")
The Chouas - A Work in Progress is not a reality show or a soap opera about family affairs with juicy stories about cultural or religious conflicts. It is rather a context, an environment where Saddie Choua, daughter of one of the Chouas, tries to find and restore the language of the migrant. In the tradition of Frantz Fanon, an existential humanist thinker familiar for his radical views on decolonization and the psychopathology of colonization, she is aware that migrants have no control over 'their images'. The images of the migrants as we see them in the media are not their images. These images cause a false perception of 'the other', leading to distance and alienation. It is her intention to create a context where images, sound and spaces disconnect with contemporary media language wich feeds an excited hunger for exoticism or worse.

In # Episode3 the artist searches for the ruins of her grandfather's house in Kebdana in the Rif region. He was there, an authoritative person, and the ruins embody the family history. Apparently twelve testimonies were needed to prove that the house once belonged to the Choua family. Parallel to the narrative, the creation of stereotypes is questioned; Does the reproduction of stereotypes maintain the prevailing powers? When Saddie Choua questions concepts such as origin, identity and roots, strangely enough her search becomes a discovery of (images of) the future.