Block Museum Of Art At Northwestern University Continues ‘Year Of Global Modernisms’ Exhibition Series
Chadd Scott, February 12, 2020
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"Now is an exciting time for art lovers. Art history is being rewritten before our eyes. It is being rewritten in a broader, richer, more complete fashion which not only includes a greater diversity of creators, but a greater diversity of work."
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CINEMA AND CONVERSATION
The Fabulous Life and Thought of Ahmad Fardid (2015) with Hamed Yousefi, Hannah Feldman, and W.J.T. Mitchell
Thursday, February 20, 6 PM, FREE
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At the center of this engrossing documentary is Ahmad Fardid, a 20th-century Iranian philosopher who rejected “Westoxification,” or the pernicious effect of Western culture on Iranian society. Directors Hamed Yousefi and Ali Mirsepassi navigate his inscrutable, yet highly influential theories using scholarly interviews and astonishing archival footage. Whether praised as an intellectual leader or condemned as a charlatan, Fardid’s peculiar example tests the limits of Modernism’s claims to universality. In English and Farsi with English subtitles.
Hamed Yousefi (Co-director and Northwestern University doctoral candidate in Art History), Hannah Feldman (Northwestern Associate Professor of Art History), and W.J.T. Mitchell (Professor of English and Art History at University of Chicago and editor of Critical Inquiry) will take part in a post-screening discussion moderated by Danny Postel (Assistant Director of the Center for International and Area Studies.)
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Co-presented by Block Cinema with the Iranian-American Fund for Cultural Programming, the Critical Theory Program, the Department of Philosophy, the Department of Art History, and the Middle East & North African Studies Program at Northwestern.
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CONVERSATION
Open the Door: Memory, Mourning, and the Ancestor as Foundation – M. Carmen Lane with Michael Rakowitz
Tuesday, February 18, 5 PM, FREE
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February 18, 2020 marks posthumously the 86th birthday of Audre Lorde and the 89th birthday of Toni Morrison (the first since her death on August 15, 2019). M. Carmen Lane and Michael Rakowitz will engage in a public talk on ancestry, place, dispossession, and the steadfastness of survival. Using textual prompts from both Lorde and Morrison, the artists continue a dialogue between each other that began half a decade ago and which has impacted both of their practices—which involves grief as both a material and a process that resists disconnection.
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M. Carmen Lane is the February 2020 Artist in Residence of the Department of Art Theory and Practice and the Alice Kaplan Institute for the Humanities. This talk is also part of the Kaplan Institute's 2019-2020 Memorializing Dialogue, a year-long public conversation about commemorating, contesting, and claiming from humanistic perspectives. This event is co-presented by The Block Museum of Art, Department of Art Theory and Practice, Kaplan Humanities Institute, and ATNSC Center for Healing & Creative Leadership
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CINEMA
Gelin (The Bride) (1973)
Friday, February 21, 7 PM, FREE
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Regularly cited as one of the best Turkish films of all time, Ömer Lütfi Akad’s The Bride narrates the struggles of a family who moves from rural Anatolia to modern Istanbul. With compassion and keen sociological insight, The Bride examines the effects of migration on traditional family structures, revealing the impossible demands placed on women as caregivers and providers. Known as the “masterless master” of Turkish film, Akad pioneered a realist style that transformed the nation’s cinema; The Bride, the first feature in his landmark trilogy on migration, is his masterpiece. Shown in a new digital restoration. In Turkish with English Subtitles.
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Co-presented by Block Cinema with the Keyman Modern Turkish Studies program.
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BLOCK STORIES
“I invest in myself and I make my films”: Jessie Maple on breaking boundaries and filmmaking [Audio]
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On January 31, 2020 Block Cinema welcomed trailblazing, independent filmmaker Jessie Maple for a screening and conversation on her career in film. Maple sat down with film curator Michael Metzger to share her story of becoming the first African-American woman to join the cinematographers union:
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"After I passed the test and got into the cameraman’s union, then they told the studios not to hire me and blacklisted me. I decided, well, I’m going to fight this. When you get ready to do something and you’re going to fight for it, you have to know what you’re doing. I knew that I knew it. And I did something crazy. I decided, let me get this out the way, I sued them all at once, ABC, CBS, NBC, and I won."
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