Skip to content

mumok kino: Séances: Performing Film

14.03.2012 to 23.05.2012

mumok kino: Séances: Performing Film


mumok kino: Séances: Performing Film mumok kino: Séances: Performing Film

Previous dates

wed, 23.05.2012
tue, 22.05.2012
mo, 21.05.2012
sun, 20.05.2012

All dates

Days with event

March 2012
01 thu
02 fri
03 sat
04 sun
05 mo

06 tue
07 wed
08 thu
09 fri

10 sat

11 sun
12 mo
13 tue
14 wed
15 thu

16 fri
17 sat
18 sun

19 mo
20 tue

21 wed
22 thu
23 fri
24 sat
25 sun

26 mo
27 tue

28 wed
29 thu
30 fri

31 sat
April 2012
01 sun
02 mo
03 tue
04 wed
05 thu

06 fri
07 sat
08 sun
09 mo

10 tue

11 wed
12 thu
13 fri
14 sat
15 sun

16 mo
17 tue
18 wed

19 thu
20 fri

21 sat
22 sun
23 mo
24 tue
25 wed

26 thu
27 fri

28 sat
29 sun
30 mo

May 2012
01 tue
02 wed
03 thu
04 fri
05 sat

06 sun
07 mo
08 tue
09 wed

10 thu

11 fri
12 sat
13 sun
14 mo
15 tue

16 wed
17 thu
18 fri

19 sat
20 sun

21 mo
22 tue
23 wed
24 thu
25 fri

26 sat
27 sun

28 mo
29 tue
30 wed

31 thu

mumok cinema
Séances. Performing Film

Date: Wed, Mar 14, 21, 28 and Thu, Mar 29, 19:00
Wed, Apr 4, 18, 25, 19:00
Venue: mumok cinema
Tickets: € 6,-


Wed, Mar 14

Wed, Mar 21
The Three Stages of Cinematography: Théâtre du Vieux Colombier, Nov. 21, 1924 

Wed, Mar 28 and Thu, Mar 29
Albert Oehlen and Christopher Williams 

Wed, Apr 4
Cinema of Attractions, Reprise 

Wed, Apr 18
A Rendez-vous with Offenbach: Joseph Cornell and Marcel Broodthaers 

Wed, Apr 25 
Paul Chan: What Can 1 Know? What Ought 2 Do? What May 3 Hope For?

Wed, May 16, 19:00
Wendelien van Oldenborgh: Séance of Production

Wed, May 23, 19:00
Eva Meyer & Eran Schaerf

Contemporary artists frequently organize screenings of films or put together film programs, either in art spaces or in cinemas (often in conjunction with one of their exhibitions). Some of the more interesting examples of this widespread practice can be seen as reflections on the screening session as a medium, or rather as a model of artistic practice that tries to go beyond dominant and often-criticized forms of movie consumption. In this respect, these screening practices recall historical attempts to explore alternative modes of presentation and turn film screenings into performative events. Such screenings sought to operate directly on the present by reworking the past, in an attempt to foster new relationships between audience and screen.


For our historical investigation of different screening practices, we have adopted the French term séance, which carries the meaning «seat, » «session» or «sitting,» referring in a general sense to public meetings of a parliamentary or governmental nature, as well as to film screenings- une séance de cinéma. The usage of the term in English is more limited. It may follow the French in signifying the «meeting of a society,» yet since the 19th century its meaning has been mostly restricted to that of a spiritualist session, a private gathering to receive and relay messages by means of a spirit medium. As Marx famously stated at mid-century, the tables began to dance in bourgeois culture at the exact same time that the specter of communism began to rove across the European landscape. For Marx, the spiritualist séance was but one more symptom of the phantasmagoric reality of capitalism-a deceitful mode of social exchange that dissolves solid reality into a shadow play of displaced affects and longings.


Even before the Lumière brothers invented the cinema as we know it, thereby adding another layer to the semantic richness of the word séance, its destiny within the English-speaking world appears to have been fixed. We would like to bring the various meanings of the word séance- public gathering, political meeting, cinema program-back into play by organizing a series of film screenings that restage selected moments in the history and social experience of cinema exhibition. In particular, we are interested in the question how cinema programs have functioned as models for establishing a possible or impossible public, or socius. The screening as event and the past as archive; these are the twin poles between which this series of film screenings will oscillate.


In the age of the DVD and online streaming-those forms of post-séance culture-the nature of film viewing is once more being reconfigured, making a historical and theoretical examination of the séance all the more necessary.
(Eric de Bruyn & Sven Lütticken)



Back to main navigation

Cookie Settings

This websites uses cookies to give you the best possible service. Detailed information can be found in our Terms of use and Data Protection Regulations.

Technically essential

Technically essential cookies used to ensure the basic functionality of the website.


Functional cookies used to ensure the proper performance of the website.


Target-oriented cookies used to improve user experience.