The predecessors and contemporaries of Tomislav Gotovac explored different approaches to creation in European cinematography by challenging the norms, stereotypes and standards imposed by the Marshall Plan in the period which we now call the “Cultural Cold War.” On the other hand, the generations of today turn to the critique of neoliberalism, exposing the process of homogenisation brought on by globalisation.

In the years following the Second World War, the cinematographic practice used a method of structuralist analysis characterised by technical rigour and the specificity of using reception time opposite to conventional organisation of social time. However, such approach evolved with the ascent of digitalisation. The digital image is a media course that is simultaneously fragmented and integral, which accelerates and stratifies into different formats such as screening, installation, programmation, streaming, etc. Art critique seeks to counteract this frenetic rhythm with conceptual (e.g., anti-stories and the use of archive) and technical means (recording, sampling, etc.).

This film programme proposes a diagram (on the left) initially put together by George Maciunas in 1969, and elaborated by Slobodan Šijan in 1976, as the starting point for the expansion of this principle and accentuating the predecessors of contemporaries of Tomislav Gotovac’s cinematographic oeuvre, but also as the possibility of insight – albeit evidently not entirely comprehensive one – into the extent of his conscious or unconscious influence on followers from new generations of filmmakers or on video artists at the international level.

This programme is an attempt at giving a temporary new life to Kinoklub Zagreb. It features 4 cycles of short films which alternate every 3 weeks, while longer films will be screened at the Gorgona Hall.

Group 1

Josef Dabernig
Gertrud & Tiederich
2018
HD video (Super 16mm snimka), crno-bijelo, zvuk / HD Video (Super 16mm footage), b/w, sound
Director, Script, Editing, Cast, Voice and Production: Josef Dabernig
Co-Producers: Dieter and Gertraud Bogner, Kunstraum Buchberg
Camera: Christian Giesser
Music: Christoph Herndler
Sound design: Michael Palm
10'14''
courtesy of the author

Moyra Davey
My Saints
2014
HD video with sound
30'45''
 courtesy of the author

Brice Dellsperger
Body Double 34
2015
three films, H264 to Apple ProRes 422 HQ, colour, sound
3 x (05'05'')
courtesy of the author and Air de Paris, Romainville

Ivan Ladislav Galeta
PiRaMidas 1972–1984
1984
experimental, 35 mm
12'16''
Croatian Film Association

Marina Gioti
b-alles
2005
single-channel video, / digital video, colour, sound
02’21’’
courtesy of the author

Jeff Wall Production
Circle
2023
visual essay by Pierre Bal-Blanc
video, sound, colour
03’54’’
courtesy of the author

Jeff Wall Production
Olympia Between
2022
visual essay by Pierre Bal-Blanc
video, sound, colour
14’17’’
courtesy of the author

Bouchra Khalili
Back to Abnormal (a cinetract)
16 mm film transferred to video
b/w, silent, 
3'
courtesy of the author

Jean-Charles Massera
The Carrot and the Night
2017
Apple ProRes 422 HQ
08’09’’
courtesy of the author

Dóra Maurer
Idömérés
1973-1980
b/w, no sound, 16mm
10’09’’
Kontakt Collection, Vienna

Mihovil Pansini
Scusa Signorina
1963
SD video
05’13’’
Croatian Film Association

Ivan Ramljak
Daj mi kino!
02’11’’
film in colour, sound
Croatian Film Association

Jordan Strafer
Peak Heaven, Love Forever
2022
film in colour, sound
22’23’’
courtesy of the author

Slobodan Šijan
Pesma za Toma
2010
colour, b/w, stereo
12’18’’
courtesy of the author

Mark Ther
Sortir kurvo, čubko!
2021
digital video, colour, sound
03’56’’
courtesy of the author