President's Dream Colloquium on Creative Ecologies

The Karrabing Film Collective screening

The Karrabing Film Collective is an Indigenous media group based in Australia’s Northern Territories.

 The collective uses filmmaking and installation as a form of grassroots resistance and self-organization. The collective, co-founded with Elizabeth Povinelli, who has directed six of its films, includes approximately 30 members—predominantly living in the Belyuen community—who together create films using an “improvisational realism” that opens a space beyond binaries of the fictional and the documentary, the past and the present. Meaning “low tide” in the Emmiyengal language, karrabing refers to a form of collectivity outside of government-imposed strictures of clanship or land ownership. Shot on handheld cameras and phones, most of Karrabing’s films dramatize and satirize the daily scenarios and obstacles that collective members face in their various interactions with corporate and state entities. Composing webs of nonlinear narratives that touch on cultural memory, place, and ancestry by freely jumping in time and place, Karrabing exposes and intervenes into the longstanding facets of colonial violence that impact members directly, such as environmental devastation, land restrictions, and economic exploitation. The Karrabing Film Collective has presented its work at IMA Brisbane; Van Abbemuseum, Eindhoven; Institut fur Auslandsbeziehungen, Berlin; Jakarta Biennale; Centre Pompidou, Paris; e-flux, New York; Wexner Center for the Arts, Columbus, Ohio; Tate Modern, London; Documenta 14, Kassel; the Melbourne International Film Festival; Berlinale, Forum Expanded; and Biennale of Sydney; the MoMA, New York, among others.  

This screening will be held on September 12, 2019 at 7:00 PM in Djavad Mowafaghian World Art Centre, Goldcorp Centre for the Arts, Vancouver.

Readings

Recommended:

  • Povinelli, Elizabeth. “Tidalectics: Imagining an Oceanic Worldview through Art and Science,” In The Kinship of Tides. Stefanie Hessler, ed. MIT Press, 2019.