New film by Zanny Begg & Oliver Ressler: “What Would It Mean To Win?“
“What Would It Mean To Win?”, Zanny Begg & Oliver Ressler, 40 min., 2008
What Would It Mean To Win?
“Have the cake and eat it too. Institutionskritik als instituierende Praxis”, Kunsthalle Exnergasse, Vienna (A), 13.03. - 19.04.08, http://kunsthalle.wuk.at
“Disclosures”, Plastic People, organized by Gasworks, London (GB), 27.03.08 at 08:00 pm; http://www.gasworks.org.uk
Oliver Ressler presents two recent films: “What Would it Mean to Win?” and “The Fittest Survive” (23 min, 2006). Preceded by an introduction and followed by a Q&A.
Diagonale – Festival of Austrian Film, Graz (A), 03.04.08 at 01:15 pm (+ Q&A); 06.04.08 at 07:15 pm; www.diagonale.at
Festival International d'Art Vidéo de Casablanca, Casablanca (MA), 15.04. – 19.04.08
“What Would It Mean To Win?” was filmed on the blockades at the G8 summit in Heiligendamm, Germany in June 2007. In their first collaborative film Zanny Begg and Oliver Ressler focus on the current state of the counter-globalisation movement in a project which grows out of both artists’ preoccupation with globalisation and its discontents. The film, which combines documentary footage, interviews, and animation sequences, is structured around three questions pertinent to the movement: Who are we? What is our power? What would it mean to win?
Almost ten years after “Seattle” this film explores the impact this movement has had on contemporary politics. Seattle has been described as the birthplace for the “movement of movements” and marked a time when resistance to capitalist globalisation emerged in industrialised nations. In many senses it has been regarded as the time when a new social subject – the multitude – entered the political landscape. Recently the counter-globalisation movement has gone through a certain malaise accentuated by the shifts in global politics in the post 911 context.
The protests in Heiligendamm seemed to re-assert the confidence, inventiveness and creativity of the counter-globalisation movement. In particular the five finger tactic – where protesters spread out across the fields of Rostock slipping around police lines – proved successful in establishing blockades in all roads into Heiligendamm. Staff working for the G8 summit were forced to enter and leave the meeting by helicopter or boat thus providing a symbolic victory to the movement.
“What Would It Mean To Win?”, as the title implies, addresses this central question for the movement. During the Seattle demonstrations “we are winning” was a popular graffiti slogan that captured the sense of euphoria that came with the birth of a new movement. Since that time however this slogan has been regarded in a much more speculative manner. This film aims to move beyond the question of whether we are “winning” or not by addressing what would it actually mean to win.
When addressing the question “what would it mean to win?” John Holloway quotes Subcomandante Marcos who once described “winning” as the ability to live an “infinite film program” where participants could re-invent themselves each day, each hour, each minute. The animated sequences take this as their starting point to explore how ideas of social agency, struggle and winning are incorporated into our imagination of politics.
The film was recorded in English and German and exists also in a French subtitled version. “What Would It Mean To Win?” will be presented in screenings in a variety of contexts and will also be part of the upcoming installation “Jumps and Surprises” by Begg and Ressler, which will present a broader perspective of different approaches to the counter-globalisation movement.
Concept, Interviews, Film Editing, Production: Zanny Begg & Oliver Ressler
Interviewees: Emma Dowling, John Holloway, Adam Idrissou, Tadzio Mueller, Michal Osterweil, Sarah T.
Camera: Oliver Ressler
Animation: Zanny Begg
Sound: Kate Carr
Image Editing: Markus Koessl
Sound Editing: Rudi Gottsberger, Oliver Ressler
Special thanks to Turbulence, Holy Damn It, Conrad Barrett
Grants: Bundesministerium für Unterricht, Kunst und Kultur; College of Fine Art Research Grants Scheme, Sydney