Sarabande continues its exciting journey as a part of a large Hamburg based exhibition NOT FULLY HUMAN, NOT HUMAN AT ALL curated by Nataša Petrešin-Bachelez and Bettina Steinbrügge. The questions of dehumanization, identity and migration in Europe are explored by various artists tackling these issues through versatile practises and approaches. This is an unusual setting for Sarabande but at the same time the right place for it. The exhibition will be open from 24/10/2020–24/01/2021 – KUNSTVEREIN IN HAMBURG

Not Fully Human, Not Human at All takes its name from Donna Haraway’s essay “Ecce Homo, Ain’t (Ar’n’t) I a Woman, and Inappropriate/d Others”, a text which challenges the “universal” claims of Enlightenment Humanism in order to propose conditions of what she calls “non-generic” collective humanity. In this text, Haraway refers to Hortense Spillers’ description of the levels of dehumanization faced by slaves in the United States, their treatment of being disposable, and their lack of any legal subjectivity—conditions that we can find in Europe today.”

Nataša Petrešin-Bachelez, Bettina Steinbrügge.

Lucid Dreaming with Kaltrina

Lucid Dreaming: CONVERSATIONS WITH 29 FILMMAKERS is a beautiful collection of deeply engaging interviews conducted and edited by writer and film curator Pamela Cohn. Our director Kaltrina Krasniqi is one of the filmmakers interviewed where among other things she talks about the process of making Sarabande documentary and her current film project Vera Dreams of the Sea. Lucid Dreaming is published by OR Books and now is available here. More on the content of the book and other voices represented in it can be read in this thorough review

“In these engaging, challenging and beguiling dialogues, Pamela Cohn expertly draws from her subjects, personal biography and conceptual intent, process and nearly subconscious motivation, personal revelation and political mission. The result is a work that not only provides a road map to the furthest regions of cinematic possibility in the early 21st century but one whose spirited back-and-forth inspires the reader to think anew about artistic possibility.”
—Scott Macaulay, editor-in-chief of Filmmaker Magazine