Third Eye #selfie: film self-portraits
No other word has managed to make the sort of career for itself in recent years that selfie has. Although the concept is new, the need to immortalize oneself for future generations and to talk about oneself in one's own voice is not. Autobiographies and journals are classic literary genres, much like the self-portrait in painting. As part of the Third Eye: #selfie program, we will show audiences a variety-in both formal and emotional terms-of cinematic self-portraits. Film selfies can be extremely intimate video diaries shot over the course of years, examples of ruthless self-analysis, or snapshots of narcissistic self-admiration.
curator: Ewa Szabłowska
"May 1973, I am buying a camera. I want to start filming by myself and for myself. Professional cinema no longer interests me." With these words, David Perlov begins his epic film diary in which his private experiences are interwoven with historical events of the time, and a self-portrait of the director is created through his relationships with people and the world around him. Perlov's Diary is now an institution and an absolute classic of the genre.
In Five Year Diary, American Anne Charlotte Robertson, a pioneer of the phenomenon of "first-person cinema," discusses her life on campus, her toxic relationships, weight loss, nervous breakdowns, and her cats. Her film diary from the 1980s and 1990s is a prototype of today's blogs, and from the time of Anne's nervous breakdown, it also performed a therapeutic function. While Anne battles mental illness, she also wants what every woman wants: to be loved; to be happy, thin, and disciplined; and to quit smoking. She wants to have control over her life-both real and imagined.
Anne is followed up by Justine Pluvinage's Fucking in Love, the Frenchwoman's shamelessly exhibitionistic diary about traveling and picking up men. From a broken condom to a marriage proposal, Justine dutifully records every one of her encounters with men during her two-month vacation in New York (and always with her camera). This is an uncensored, erotic self-portrait that discusses sexuality, lust, and polyamory.
Pretending to be Miley Cyrus in her girlish bedroom, Austrian artist Kurdwin Ayub comes across as somewhat self-conscious about her exhibitionism. Her short film Sexy is a recording of a very private moment. Equally intimate are the films of Frans Zwartjes in the series Home Sweet Home, in which the director heaps praise upon his new home, showing himself and his attractive wife in a different room in each episode. In Living, they roll around on the floor and set out miniature furniture in the freshly painted living room. The erotic tension and sense of isolation from being inside an empty white interior is intensified by incredible organ music.
The program includes a collection called #artselfie on the theme of presenting oneself and one's body. Prepared in collaboration with the Filmoteka at the Museum of Modern Art in Warsaw, the collection includes works by Polish artists such as Paweł Kwiek, Andrzej Lachowicz, Aneta Grzeszykowska, and Ada Karczmarczyk. The curator is Ewa Szabłowska.