organized by: InterSpace

Location: The Red House Center for Culture and Debate - Sofia

Date: 7 October,19:30
85 min

The first screening from the series presented at the Red House brings together television, personal stories and revolt. In his potent personal documentary, 1989. The Real Power of TV Guszt?v H?mos (Hungary) mixes an analysis of the TV news of the Romanian revolution, with his grandmother’s stories of living through three wars. Remake I-X is an animation series of ten parts by Csaba Nemes dedicated to street riots that took place in Budapest in autumn 2006. It offers the viewer micro-politics of the street and a series of mini-dramas experienced by individuals caught in the midst of the temporary disruption of the urban order on the 50th anniversary of the Hungarian Revolution.

Date: 12 October,19:30
81 min

The second screening from the series presented at the Red House puts together examples of conscious artistic strategies, mothers and staged action. Anri Sala (Albania) finds video of a political meeting, which shows his mother (but with no sound). Intervista is the story of how he reconstructs her words, and unravels the mystery of the political event. Chto Delat (Russia) choreographs a chorus, who sings the events of August 21, 1991, in Perestroika – Songspiel: The Victory over the Coup. The coup is analysed with the traditional structure of a Greek tragedy. In Everything has been done I members of the Azorro super-group gather to think up a new art project. Pavel Braila (Republic of Moldova) invites his mother to cook a traditional dish, and send it across the border to his exhibition opening, in Eurolines Catering of Homesick Cuisine.

Date: 28 October,19:30
92 min
This screening of the Transitland programme is dedicated to streets (and a bridge). The RADEK Group & Dmitri Gutov (Russia) organize a group intervention to fake a Demonstration. Martin Zet (Czech Republic), on the other hand, performs directly to the camera, evolving slowly to become a clown while relating the telephone conversation he has had about living on Marxova Ulice (Marx Street) in Red Daddy. Hristina Ivanoska (Macedonia) recounts the struggle of an individual’s initiative, in Naming of the Bridge: Rosa Plaveva and Nakie Bajram. The project The City Of Cool - Renaming Streets of. Leipzig, by REINIGUNGSGESELLSCHAFT (Germany), documents the actions of the group in the quarter Plagwitz, and it’s reinvention as a gallery scene and centre of artistic activity in the city. Ivan Moudov (Bulgaria) performs in public, dressing as a Bulgarian Policeman, conducting traffic in a busy Austrian intersection. The unknown uniform causes some confusion before he is carried off, in the work Traffic Control. J?zef Robakowski (Poland) recorded the view from his window, over a period of 20 years, creating a portrait of the neighbourhood and the changes that ultimately transpired during the transition, in From my window 1978-1999. Istvan Kantor (Hungary) refers to his upbringing in Eastern Europe, while fighting for his rights against property developers in Toronto, in his aggressive musical (The Never Ending) OPERETTA.