{"id":14123,"date":"2021-02-24T14:44:40","date_gmt":"2021-02-24T14:44:40","guid":{"rendered":"https:\/\/hangar.com.pt\/online\/?p=14123"},"modified":"2021-12-07T21:26:07","modified_gmt":"2021-12-07T21:26:07","slug":"never-cross-the-same-river-twice","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/online\/never-cross-the-same-river-twice\/","title":{"rendered":"NEVER CROSS THE SAME RIVER TWICE
International Contemporary Film Performance"},"content":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1591205395657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text css=”.vc_custom_1614172985033{padding-left: 25px !important;}”]<\/p>\n

NEVER CROSS THE SAME RIVER TWICE<\/h1>\n

International Contemporary Film Performance<\/h1>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1614177800145{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;background-image: url(https:\/\/hangar.com.pt\/online\/wp-content\/uploads\/2021\/02\/Emo-de-Medeiros-Transmutations.jpg?id=14195) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_empty_space height=”1080px”][vc_column_text css=”.vc_custom_1614177876241{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]\u00a9 Transmutations, Emo de Medeiros, 2017<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Info<\/h3>\n

[\/vc_column_text][vc_separator color=”black”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1614172912666{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Title[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1614172941728{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]NEVER CROSS THE SAME RIVER TWICE
\nInternational Contemporary Film Performance
\nChapter One: Semiotics of Subjectivity[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205158832{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Curated by[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1614964110430{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Kisito Assangni[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1598972101792{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Artists[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1615402810275{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Lazara Rosell Albear & Sammy Baloji, Emo de Medeiros, Gilivanka Kedzior, Moataz Nasr, Daisuke Takeya, Harold Offeh[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1598972106365{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Location[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205238787{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]HANGAR ONLINE[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205246127{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Opening[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1613742249609{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]March 10th – 7 pm[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205271348{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Dates[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1613742258262{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]March 10th – 7 pm |\u00a0 April 10th[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1601746603539{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Talk[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1613737958515{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]To be announced[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205299977{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Videos[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1615294810410{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Bare Faced – Sammy Baloji (DR Congo) & Lazara Rosell Albear (Cuba), 2015<\/p>\n

Transmutations – Emo de Medeiros (Benin), 2017<\/p>\n

All Along The Way – Gilivanka Kedzior (France), 2018<\/p>\n

The Mountain – Moataz Nasr (Egypt), 2016<\/p>\n

Untitled Passing – Daisuke Takeya (Japan), 2017<\/p>\n

Two Positions – Harold Offeh (Ghana\/UK), 2016[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Synopsis<\/h3>\n

[\/vc_column_text][vc_separator color=”black”][vc_column_text]The international exhibition NEVER CROSS THE SAME RIVER TWICE underlines the transnational dialogues on negotiating identities and everyday life through performance gestures that wish to cross borders on experience and subjectivity.
\nThe title derives from the ancient Greek philosopher Heraclitus\u2019 quote: \u201cNo man ever steps in the same river twice, for it\u2019s not the same man”. People are looking to make deep changes in our environmental and energy systems, our economic, representative and regulatory systems.<\/p>\n

This research project is a time shifting narrative providing a space for reflection in the age of constant accessibility. The participating artists tackle subjects that challenge us to reflect on the changing world in which we live.<\/p>\n

Many of the works are a critical “intervention”: they are sites of visual contestation; cinematic aesthetics, with narratives that re-member; and they decolonize both the mind and the imagination.
\nThe collective ranges from films that feature those who were colonized and subjugated, to films that work as forms of activism; and what Walter Mignolo terms “epistemic disobedience”.
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_column_text]Kisito Assangni<\/strong> is a Togolese-French curator, consultant, and farmer who studied museology at Ecole du Louvre in Paris. Currently living between UK, France and Togo, his research focuses primarily on psychogeography and the cultural impact of globalization. He investigates the modes of cultural production that combine theory and practice. He inherently aims at going beyond the usual relations between artist, curator, institution, audience, and artwork in order to engage audiences in encounters with art that are unexpected, transformative, and fun.<\/p>\n

Assangni is heavily involved in video, performance, and experimental sound.
\nHis discursive public programs and exhibitions have been shown internationally, including the Venice Biennale, ZKM Museum, Karlsruhe; Whitechapel Gallery, London; Centre of Contemporary Art, Glasgow; Museum of Contemporary Art, Sydney; Malmo Konsthall, Sweden; Torrance Art Museum, Los Angeles; Es Baluard Museum of Art, Palma, Spain; National Centre for Contemporary Arts, Moscow; Marrakech Biennale among others.<\/p>\n

Assangni has participated in talks, seminars, and symposia at numerous institutions such as the British Museum, London; Palais de Tokyo, Paris; Ben Uri Museum, London; Pori Art Museum, Finland; Kunsthall 3.14, Bergen (Norway); Bamako Encounters Photography Biennial, Mali; Sala Rekalde Foundation, Bilbao; COP17 Summit, South Africa; Depart Foundation, Malibu (USA); Sint-Lukas University, Brussels; Motorenhalle Centre of Contemporary Art, Dresden (Germany); Kunsthalle S\u00e3o Paulo, Brazil; Museo d\u2019Arte Contemporanea Ticino, Switzerland.<\/p>\n

He is a contributing editor at ArtDependence Magazine.
\nAssangni is the founder of TIME is Love Screening – International video art program and curatorial advisor to Latrobe Regional Gallery in Victoria, Australia.[\/vc_column_text][vc_separator color=”black”][vc_column_text]<\/p>\n

Scientific coordination and organized by M\u00f3nica de Miranda
\nThis project is part of the project \u00a0Post-Archive<\/a>:\u00a0Politics of Memory, Place and Identity, CITCOM-CEC-FLUL
\nThis project was produced with national funding from the FCT-Funda\u00e7\u00e3o para a Ci\u00eancia e a Tecnologia, I.P. under the project UIDB\/00509\/2020.<\/p>\n

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