The screening by AV-arkki presents five different “anthroposceneries” from practical ecologies to post-human sketches. The opening film, Maija Blåfield’s On Destruction and Preservation, was awarded with the main award at Ann Arbor Film Festival. It approaches its subjects with a subtle sense of humour even when they can be as dark as the snowless arctic Svalbard before Christmas. Minna Suoniemi’s Practical Ecology and Maarit Suomi-Väänänen’s Minispectacles: Squatting introduce us the virtue of scarcity, personified as a handy grandpa inventing a variety of objects of waste or as a group of Swiss squatters. However, Man is not the measure of all things, as Jonna Kina points out in her almost conceptual but all the more impressive Somnivm. The subject is the quarries of Carrara, but with almost all traces of industry effaced in the post-production – apart from the rocky ornaments of the quarries themselves. Kina’s discreet cinematographical anarchism is paired with Jukka Silokunnas’s one-minute film Vanishing Point, portraying the death of a camping trailer.
Five stories on destruction and preservation. The narration ranges from essay film to direct documentary while stories vary from a sex scene of fungi to a sightseeing tour into the climate change in the arctic Svalbard.
Practical Ecology portrays a 74-year-old man, born during the World War II, demonstrating objects he’s invented. He has for example made a wooden cutting board out of an old leather sofa and skates out of old skis. All of the objects are made of found objects or waste which has no other use. The importance of the objects for him is in the invention, in completing the thinking process by using his skill of making something out of nothing, regardless of how useful the final object may turn out to be. The value of the object is defined by the invention and time spent to create it.
Minispectacles Squatting portrays living at the squat in Zürich.
Relations between anarchism and the marble industry in the quarries of Carrara, in Italy, the chopped mountains, sculpted in time, lost traces of human activity, are present in the seemingly documentary film work. The absence created by the acts of erasing almost all the quarry equipments relating to the contemporary industry in post-production changes the site towards poetic or post-human landscape.
“When I was a kid we used to traveler a lot with my family. I used to Iook the changing landscape through the caravan window. Only older I realized: I changed, not the landscape.”