monday sessions was the denomination for an informal cine-club which ran for the course of 5 months and in which four different programme lines were devised to alternate throughout the weeks. In these programme lines there was a conscious option of opening the programming to contributions and collaborations with both invited guests and attendants.

Common to most sessions was the pairing of two — sometimes more — films together, thus opening possibilities of dialogue or clash between them.

 


whatever
or, the worst blind is the one who wants to see
 

a film screening program with usually two or more films per session

 

 

screening program

 

21st January 

Nuts in May
Mike Leigh
80 min., color (1976) 
+ 
Naked
Mike Leigh 
131 min., color (1993) 

 

18th February 

Vai E Vem
[
Come and Go]
João César Monteiro 
176 min., color (2003)

«The only light is the one of the harquebus.
The only art is the one of the blunderbuss.»

 

3rd March

Jeux d’Echecs avec Marcel Duchamp
[
A Game of Chess with Marcel Duchamp]
Jean-Marie Drot
56 min., B&W, color (1963)

«Duchamp: I always thought, or rather I came to the conclusion, that, as Brancusi put it, Art is above all a fraud.»

+

In Girum Imus Nocte Et Consumimur Igni
Guy Debord
95 min., B&W (1978)

«There they are,
Those young girls
Who’ll give you all,
First, good-night
And then their hand…
In Via Filangieri there’s a bell;
And each time it tolls,
There’s a conviction
The flower of youth
Thus dies in prison.»

 

 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

17th March

The Old Place
Jean-Luc Godard 
49 min., color (1998)
+ 
Die Schöpfer der Einkaufswelten
[The Creators of Shopping Worlds]
Harun Farocki
75 min., color (2001)
 

31st March

Eskimo
The Residents/ N. Senada
43 min., B&W, color (2003)

«Winter had almost arrived, for the wind had a more pronounced bite in its insistence. The noonday sun sat momentarily on the horizon before hastening back into the icy waters. 
Floating on the rising winds, the sounds of the narwhal horn and chanting combined to give assurance to the Eskimo hunters.» 

+

F For Fake

Orson Welles
88 min., color (1974)

«Orson Welles: It’s pretty, but is it art?»

 

 

7th April

Ordet
[The Word]
Carl T. Dreyer
119 min., B&W (1955)

«Mikkel: Have you spoken to Johannes?
Parson: Yes
Mikkel: I hope he wasn’t unpleasant to you.
Parson: No, no. But was he born, well, a little…
Mikkel: Yes, we don’t talk much about it up here, but with you… No. Something happened.
Parson: Was it… a love affair?
Mikkel: No, no. It was Soren Kierkgaard.»

+
Rock My Religion
Dan Graham
55 min., B&W, color (1982-84)

«People clapped. They leaped up and down. Some removed their outer clothes. A fit of shaking passed over the group. Some shakers bowed down. Others were doubled over. Feet and hands linked, as they rolled on the floor. They rolled over and over, like wheels, or like rolling logs. Some got down on four legs, like dogs, growled and barked. Carnal mortification freed the shaker from false pride.»


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


14th April

Zombie, Dawn of the Dead
George A. Romero
116 min., color (1978)

«[observing the zombies from the roof of the shopping mall]
Francine Parker: What are they doing? Why do they come here?
Stephen: Some kind of instinct. Memory, of what they used to do. This was an important place in their lives.»

+
The Filth and the Fury
Julien Temple
108 min., color (2000)

«Bill Grundy: Beethoven, Mozart, Bach and Brahms have all died...
John Lydon: They're all heroes of ours, ain't they?»
«We’re not coming. We’re not your monkey and so what? Fame at $25,000 if we paid for a table, or $15,000 to squeak up in the gallery, goes to a non-profit organisation selling us a load of old famous. Congratulations.
[…]»
— excerpt of the official announcement from the Sex Pistols regarding the Rock and Roll Hall of Fame, 24th February 2006