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Summer Screenings

Accompanying its exhibition program, LUMA Arles is organizing a series of artists’ film screenings at the auditorium of The Tower. 


These screenings are an invitation to delve deeper into the ways in which each artist approaches the medium of film, in resonance and conversation with their exhibitions at LUMA Arles.

Practical Information

From July 26, 2023 to August 27, 2023
The Tower, Auditorium, Level 1
The "all exhibitions" ticket gives access to all screenings.
Access guaranteed subject to availability.
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Thursday, July 27
From 5:30 p.m.


LUMA Arles presents two evenings of screenings to echo the exhibitions at the Parc des Ateliers of Bouchra Khalili, Shahryar Nashat, Rachel Rose, and Sara Sadik.

At 5:30 p.m.

Artist: Sara Sadik

Carnalito Full Option
2020, 20', in French

Carnalito Full Option is the second phase of Hlel Academy, a four-part project exploring teenage interactions and displays of emotions. Hlel Academy is a fictive training center that welcomes those whom love has forgotten–heartbroken men between 16 and 20. Its academic program is based on emotional and sentimental rehabilitation with the goal of training the elite Hlels of tomorrow.

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Carnalito Full Option, video, 2020, 20’. Video still.
Courtesy of the artist

At 5:55 p.m.

Artist: Sara Sadik

KHTOBTOGONE
2021, 16', in French

KHTOBTOGONE is the intimate portrait of Zine, a 20 years old man on a quest to become the best version of himself before asking for his girlfriend’s hand. KHTOBTOGONE depicts his daily life, love story and friendships as well as emotional roller-coasters, torments and inner demons he must continuously manage in order to regain self-confidence, self-love and self-esteem. KHTOBTOGONE is inspired by real-life stories and words of Ahmed Ra’ad Al Hamid and Brian Chiappetta.amid et de Brian Chiappetta.

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KHTOBTOGONE, video, 2021, 16’. Video still.
Courtesy of the artist

At 6:15 p.m.

Artist: Rachel Rose

Enclosure
2019, 29', in English

Originally co-commissioned by LUMA Arles and the Park Avenue Armory, Enclosure unfolds against the social and political backdrop of the Enclosure movement – the large-scale privatization of common land that transitioned England from a feudalist to a capitalist society, and from an unpolluted landscape to a dramatically industrialized one.

The film’s story follows an imagined cult-like clan of land grifters, called the Famlee, led by Jaccko, a hustler who swindles people into selling him deeds to their land.

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Rachel Rose, still from Enclosure, 2019. HD video; 29'.
Courtesy of the artist, Gladstone Gallery, New York, Brussels, and Seoul, and Pilar Corrias Gallery, London.

At 6:50 p.m.

Artist: Rachel Rose

Wil-o-Wisp
2018, 10', in English

Originally co-commissioned by LUMA Arles and the Park Avenue Armory, Enclosure unfolds against the social and political backdrop of the Enclosure movement – the large-scale privatization of common land that transitioned England from a feudalist to a capitalist society, and from an unpolluted landscape to a dramatically industrialized one.
The film’s story follows an imagined cult-like clan of land grifters, called the Famlee, led by Jaccko, a hustler who swindles people into selling him deeds to their land.

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Rachel Rose, still from Wil-o-Wisp, 2018. Single-channel video; 10'.
Courtesy of the artist, Gladstone Gallery, New York, Brussels, and Seoul, and Pilar Corrias Gallery, London.

At 7:05 p.m.

Artist: Shahryar Nashat

Image Is an Orphan
2017, 18', in English

Throughout this 18-minute work, a voice asks, “How will I die? Who will carry me? Who will feel my after-effects?” which, combined with its soundtrack, lends it an elegiac quality. It is unclear whether the voice belongs to a living person, or whether it speaks on behalf of an image questioning its own existential status. Images that border on abstraction nonetheless bristle with natural textures, suggesting that the line between the digital and the organic is blurred.

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Image Is an Orphan, 2017. (5 + 2 AP)
HD video, color, sound
18'
Still from video

Friday, July 28,
From 5:30 p.m.

 

At 5:30 p.m.

Artist: Bouchra Khalili

Foreign Office
2015, 22', Language: Algerian Kabyle, Arabic, English and French
Subtitles: English

Foreign Office focuses on the period during which Algiers – between 1962 and 1972 – became the "mecca of revolutionaries," hosting representations of many liberation movements from Africa, Asia and the Americas. Taking as a starting point this forgotten past of post-independence era and internationalism, Foreign Office, invites one to reflect on history and its transmission, and on emancipation as essentially linked to poetry.

The film shows two young Algerians "re-writing" this history through images, language, and orality, articulating a historiography defined by "cinematic montage" as well as by translation as forms of writing, investigating, and reflecting on history and its resonances.

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Foreign Office, digital film, 2015, 22', from The Foreign Office Project, 2015, mixed media installation: digital film, 15 photographs, silkscreen print.
Video still.
Courtesy of the artist

At 5:55 p.m.

Artist: Bouchra Khalili

Twenty-Two Hours
2018, 43', Language: Algerian Kabyle, Arabic, English and French
Subtitles: English

Twenty-Two Hours investigates Jean Genet's visit to the United States between March and May 1970. Invited by the Black Panther Party, the French poet stood in solidarity with the movement and its leadership, who was at that time arbitrarily detained. During the two months he spent in the US, he toured the country, tirelessly calling for solidarity.

Nearly 50 years later, two young African-American women examine Genet's commitment to the Party in the very same area where Genet delivered his first public speech.

Simultaneously, Doug Miranda, a former prominent member of the Black Panther Party who was involved in organizing Genet's tour on the East Coast, narrates his meetings with Genet and his own commitment to the Party.

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Twenty-Two Hours, digital film, 2018, 43'. Video stills.
Courtesy of the artist

At 6:45 p.m.

Artist: Bouchra Khalili

The Magic Lantern
2020-2022, 27', Language: Arabic, English and French
Subtitles: English

The Magic Lantern takes its starting point from The Nero of Amman, a film by Swiss activist and video pioneer Carole Roussopoulos (1945-2009) made in the wake of the massacres of Palestinian refugees by King Hussein's Jordanian army in 1970. Only three minutes of the original footage remain from this Portapak-filmed work, the pioneering analog video camera, battery-powered and portable, used by Roussopoulos.

In The Magic Lantern, Khalili attempts to reclaim the film’s essence in a language she describes as "trans-Arabic [...] mixing different dialects.” In doing so, she reactivates the art of phantasmagoria, a late 18th-century technology that combined projected images with living narratives to conjure up ghosts, and which was notably used to maintain the memories of Maximilien Robespierre and Jean-Paul Marat within the collective imagination.

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The Magic Lantern, digital film, 2022, 27', from The Magic Lantern Project, 2019-2022, mixed media installation: digital film, 26 silkcreen prints, objects, and textile. View of The Magic Lantern at "Between Circles and Constellations'', solo exhibition at Macba, Barcelona. Photo by La Fotografica. Courtesy of the artist

Saturday, August 26

From 5:30 p.m.

At 5:30 p.m.

Artist: Theaster Gates

Black Artist Retreat : Reflections on 10 Years of Convening
2023, 1 hour 23 min, VO

First premiered at the Venice Biennale of Architecture in 2023, this film chronicles a decade of Theaster Gates’ celebrated Black Artist Retreat (B.A.R), an ongoing project of convening artists in Chicago. Since 2013, Gates has invited artists from all over the world to reflect together on their making practices, explore challenges in the industry, and advance mentorship and knowledge sharing. The documentary Black Artist Retreat: Reflections on 10 years of Convening (2023) acts as a document of witness to the gatherings that Gates has hosted almost annually over the past decade for Black artists, considering the architecture of convening, and demonstrating the creation of space through joy and inhabitance.

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Theaster Gates, "Black Artist Retreat: Reflections on 10 years of Convening", 2023 (video still).
Courtesy of Theaster Gates Studio.

Sunday, August 27

From 5:30 p.m.

At 5:30 p.m.

Artist: Theaster Gates

Billy Sings Amazing Grace
2013, 12 min 24 sec, VO

In Billy Sings Amazing Grace, Gates collaborates with soul singer Billy Forston and presents a performance where they both sing "Amazing Grace," sharing a poignant rendition of the classic within a dimly lit auditorium. Produced in 2013, this film underscores Gates' profound connection to the emotional and spiritual resonance of music, a theme that permeates his diverse body of work encompassing ceramics, urban planning, and archiving.

 

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Theaster Gates, "Billy Sings Amazing Grace", 2013–14 (video still).
Courtesy of Theaster Gates Studio.

At 5:45 p.m.

Artist: Theaster Gates

Gone Are the Days of Shelter and Martyr
2014, 6 min 31 sec, VO

Continuing his exploration of the interplay between sound and space, this film showcases Gates and members of The Black Monks in a performance intervention within the Catholic church of St. Laurence on the South Side of Chicago, during its demolition. The Black Monks are an experimental musical ensemble founded by Gates in 2008. Their music is rooted in the Black music of the South, including the blues, gospel, and wailings, but also linked to ascetic practices, related most closely to Eastern monastic traditions.

The group has been a through line in Gates's artistic practice. Gone Are The Days of Shelter and Martyr mourns the loss of sacred spaces and acknowledges their enduring spiritual significance.

 

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Theaster Gates, "Gone Are the Days of Shelter and Martyr", 2014 (video still).
Courtesy of Theaster Gates Studio.
Photo: Sara Pooley.

At 5:50 p.m.

Artist: Theaster Gates

The Flood
2023, 24 min 31 sec, VO

This new film by Gates interweaves gospel renditions by Gates' ensemble, The Black Monks, the Uniting Voices Chicago youth choir, and members of the Thompson Community Singers with scientific commentary on evidence of the Great Biblical flood and the possibility of impending mass geological extinction. Through this unique combination of the scientific and the biblical, The Flood serves as a thought-provoking reflection on the urgency of the climate crisis. Premiering at the Venice Architecture Biennale, the film further exemplifies Gates's ongoing commitment to blending artistic expression with social engagement.

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Theaster Gates, “The Flood" (video still), 2023.
Courtesy of Theaster Gates Studio.

Sara Sadik

Sara Sadik

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Sara Sadik was in residence at LUMA Arles from march to june 2021.

Sara Sadik was born in 1994 in Bordeaux. In 2018, she obtained a master’s degree from Bordeaux School of Fine Arts. She lives and works in Marseille. She works on French youth from working-class neighborhoods and its culture, documenting its mysteries and deconstructing social mythologies, particularly those related to adolescence and masculinities. Her work is expressed in videos and performances, ranging from documentaries to science fiction and reality TV. Her work has been shown in group exhibitions at 221 A (Vancouver, 2017), Karma International (Zürich, 2017), the Open’er Festival (Gdynia, 2017), Roodkapje (Rotterdam, 2018), Wallach Gallery-Columbia University (New York, 2019), Galerie Édouard Manet (Gennevilliers, 2019), Triangle France-Astérides (Marseille, 2021), Munchmuseet (Oslo, 2021) Magasins généraux (Pantin, 2021). She performed at the Do Disturb Festival, as part of the Triangle France-Astérides program (Palais de Tokyo, Paris, 2019), and at the Parallèle Festival (Frac PACA and Friche Belle-de-Mai, Marseille, 2020). Her work is also featured in public collections such as the Cnap, the Frac Nouvelle-Aquitaine MÉCA, the Frac PACA, and the City of Paris Museum of Modern Art. She is represented by the Crèvecœur Gallery, in Paris.

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Rachel Rose

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The work of Rachel Rose (b. 1986) explores how our changing relationship to landscape has shaped story-telling and belief systems. Rose draws from and contributes to a long history of cinematic innovation, and through her subjects - whether investigating cryogenics, the American Revolutionary War, modernist architecture, or the sensory experience of walking in outer space - she questions what it is that makes us human and the ways we seek to alter and espace that designation.
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Shahryar Nashat

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Shahryar Nashat was in residence at LUMA Arles in 2022 / 2023.

Shahryar Nashat is a Swiss visual artist based in Paris. Focusing on our physical limits and the possibilities of extension, he treats digital and analogue technologies—from LEDs to stone and cast resin—as prostheses, props, or stand-ins. He has had solo shows at the Art Institute of Chicago (2023), Museum of Modern Art, New York (2020); SMK—Statens Museum for Kunst, Copenhagen (2019); Swiss Institute, New York (2019); Kunsthalle Basel (2017); Portikus, Frankfurt (2016); and Schinkel Pavillon, Berlin (2016).

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Bouchra Khalili

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Bouchra Khalili is a Moroccan-French artist. She graduated in Film & Media Studies at Sorbonne Nouvelle and Visual Arts at the École Nationale Supérieure d’Arts de Paris-Cergy. Khalili’s work has been subject to many international solo exhibitions including recently at the Museum of Fine Arts, Boston (2019); Museum Folkwang (2018); Jeu de Paume National Gallery, Paris (2018); Secession, Vienna (2018); Wexner Center for the Arts (2017); MoMa, Museum of Modern Art, New York (2016); Palais de Tokyo, Paris (2015); MACBA, Barcelona (2015); PAMM, Miami (2014-2013), among others. Her work was also included in collective exhibitions and biennales, such as Documenta 14 and the Milano Triennale (2017); Telling Tales, MCA, Sydney (2016); The Future of History, Kunsthaus, Zurich (2015); Positions, Vanabbe Museum (2014); Here and Elsewhere, New Museum (2014); The Encyclopedic Palace, 55th Venice Biennale (2013); “Intense Proximity: La Triennale”, Palais de Tokyo, Paris (2012); the 18th Biennale of Sydney (2012); and the 10th Sharjah Biennial (2011); among others.
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Theaster Gates

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Theaster Gates lives and works in Chicago. Gates creates work that focuses on space theory and land development, sculpture and performance. Drawing on his interest and training in urban planning and preservation, Gates redeems spaces that have been left behind. Known for his recirculation of art-world capital, Gates creates work that focuses on the possibility of the “life within things.” Gates smartly upturns art values, land values, and human values. In all aspects of his work, he contends with the notion of Black space as a formal exercise – one defined by collective desire, artistic agency, and the tactics of a pragmatist. Gates has exhibited and performed at Palais de Tokyo, Paris, France (2019); Sprengel Museum Hannover, Germany (2018); Kunstmuseum Basel, Switzerland (2018); National Gallery of Art, Washington D.C., USA (2017); Art Gallery of Ontario, Canada (2016); Fondazione Prada, Milan, Italy (2016); Whitechapel Gallery, London, UK (2013); Punta della Dogana, Venice, Italy (2013) and dOCUMENTA (13), Kassel, Germany (2012). He was the winner of the Artes Mundi 6 prize and was a recipient of the Légion d’Honneur in 2017. He was awarded the Nasher Prize for Sculpture 2018, as well as the Urban Land Institute, J.C. Nichols Prize for Visionaries in Urban Development. Gates is a professor at the University of Chicago in the Department of Visual Arts and the College. Gates also serves as the Senior Advisor for Cultural Innovation and Advisor to the Dean. Gates is Director of Artists Initiatives at the Lunder Institute for American Art at Colby College Museum of Art and the 2018/2019 Artist-in-Residence at the Getty Research Institute (GRI).