EURO—VISION: Screening and Conversation. Curated by FRAUD (Audrey Samson and Francisco Gallardo)

Still from Rita Macedo: Weeks of sand, months of ash, years of dust, 2020; courtesy the artist

Join us for an evening of online screening and discussion curated by artist duo FRAUD as part of EURO–VISION, an artist led inquiry into the extractive gaze of European institutions and policies, commissioned by Arts Catalyst and Radar. 

The event features artist FRAUD's Unclaimed latifundium: Eat more, fish further!Rita Macedo’s Weeks of sand, months of ash, years of dust and Sajan Mani’s Tyger von Otherspur, and will be followed by a live discussion and Q&A with Sajan Mani and Rita Macedo.
This event is free but booking is essential. The event will take place via YouTube and Zoom, links for which will be emailed to attendees in advance of the event starting. Book here. The event will be also streamed live via YouTube
FRAUD: Unclaimed latifundium: Eat more, fish further! (2020)
Running Time: 7min
This video-piece collates several excerpts from NO-DO newsreels related to Spanish fishing and fisheries propaganda under Franco's regime. His agenda was partly disseminated in cinemas through programmes called ‘NO-DO’, an acronym for Noticiarios y Documentales (news and documentaries). NO-DOs were screened prior to films, usually lasting 30 minutes. These cinematographic preambles slowly constructed the myth of Francoist modernity, the latter including the aggressive development of industrial fisheries supported by the nostalgic backdrop of artisanal river fishing.
Rita Macedo: Weeks of sand, months of ash, years of dust (2020)
Running time: 19 minutes
Through the form of a personal yet distant essay film, Weeks of sand, months of ash, years of dust introduces Macao, a former Portuguese colony handed over back to China in 1999. Having partly grown up in Macao, the filmmaker revisits the learned history of this territory from a Portuguese perspective, addressing post-imperial forms of disavowed political affect alongside the progressing dementia of her own mother.
Carefully positioning personal loss next to reflections on colonial narratives, the film ponders questions of looking back into a troubled past from the instability of a presently self-erasing memory.
"I look at you and I see your gaze devouring the world, but I have no idea what world is being devoured".
Sajan Mani: Tyger von Otherspur (2020)
Running time: 25 minutes
Recycling selected visuals from the thrice produced film Das Indische Grabmal / The Indian Tomb (1921, 1938, 1959) and its second part Der Tiger von Eschnapur / The Tiger of Eschnapur (1921, 1938, 1959), Sajan Mani rediscovers Indianness as an ambiguous cultural construct made in Europe and assembled in India. 
Born in Kerala, South India and based in Berlin, Germany, Sajan has been exploring the question: “Are you really Indian, we have seen Indians on TV and they are fairer?” Unleashing his quotidian angst in answer, the artist carefully selects the architectural blunders, cultural appropriation and racial coalescence of exoticization and othering embodied in the film and makes a potpourri of visceral images with videotexts.
Artist bio
Rita Macedo is a Portuguese filmmaker and video artist based in Berlin.
Fascinated by the poetic affinity between moving images and fluxes of thought, Rita’s works often operate within the realm of documentary and speculative fiction, with a focus on meaning, memory and history.
Her films have been shown at numerous festivals, amongst others at Encounters South Africa Documentary Film Festival, IndieLisboa International Film Festival, Kasseler Dokfest, European Media Art Festival, São Paulo International Short Film Festival, Curtas Vila do Conde, Encounters Short Film and Animation Festival.
Since 2018 she works as a permanent lecturer for digital film and video at Braunschweig University of Art.
Sajan Mani is an intersectional artist hailing from a family of rubber tappers in a remote village in the northern part of Keralam, South India. His work voices the issues of marginalized and oppressed peoples of India, via the “Black Dalit body” of the artist. Mani’s performance practice insists upon embodied presence, confronting pain, shame, fear, and power. His personal tryst with his body as a meeting point of history and present opens onto “body” as socio-political metaphor.
Several of Mani’s performances employ the element of water to address ecological issues particularly related to the backwaters of Kerala, as well as to the common theme of migration. His recent works consider the correspondence between animals and humans, and the politics of space from the perspective of an indigenous cosmology. Unlearning Lessons from my Father (2018), made with the support of the Asia Art Archive, excavates the artist’s biography in relation to colonial history, botany, and material relations.
Sajan has participated in international biennales, festivals, exhibitions and residencies, including CODA Oslo International Dance Festival, Norway (2019); Ord & Bild, Sweden (2019); India Art Fair (2019); “Specters of Communism,” at Haus der Kunst, Munich (2017); Dhaka Art Summit, Bangladesh (2016); Kampala Art Biennale, Uganda (2016); Kolkata International Performance Arts Festival (2014–16); and Vancouver Biennale, Canada (2014). In 2021 he was awarded the Berlin Kunstpreis for Visual Art. From 2019 – 2021, he received an artistic research grant from the Berlin Senate, Fine Arts Scholarship from Braunschweig Projects, and the Akademie Schloss Solitude Fellowship, Germany.