Das Programm umfasst nicht nur etablierte Vertreter*innen der zeitgenössischen Videokunst, sondern auch junge Künstler*innen, deren Werke bisher kaum in Museen zu sehen waren. Ihnen soll in der Berlinischen Galerie ein erster institutioneller Auftritt ermöglicht werden. Punktuell finden zu den Screenings Veranstaltungen wie Künstler*innengespräche oder Performances statt. Im 12×12-Programm waren bereits unter anderem Arbeiten von Hito Steyerl, Laura Horelli, Vajiko Chachkhiani oder Maya Schweizer und Clemens von Wedemeyer zu sehen.
Ohne Titel, 2022
The third part, “The Little Lantern”, tells the story of Anni Høver Kanafani, a Danish woman aged 84, who moved to Lebanon in the 1960s after falling in love with the Palestinian writer and politician Ghassan Kanafani. When her husband and his niece Lamis were murdered – allegedly by the Israeli foreign service Mossad – Kanafani stayed in Lebanon and devoted herself to her life’s great mission, setting up early education centres for Palestinian refugees.
Ohen Titel
The third part, “The Little Lantern”, tells the story of Anni Høver Kanafani, a Danish woman aged 84, who moved to Lebanon in the 1960s after falling in love with the Palestinian writer and politician Ghassan Kanafani. When her husband and his niece Lamis were murdered – allegedly by the Israeli foreign service Mossad – Kanafani stayed in Lebanon and devoted herself to her life’s great mission, setting up early education centres for Palestinian refugees.
This film is named after a fairy tale that Ghassan Kanafani wrote for his niece, which speaks metaphorically of tearing down walls and building a democracy. Rizzi adapted this fairy tale and performed it with children from Kanafani’s kindergartens. The film consists of three parts: apart from footage of rehearsals and of the final production, a central role is played by interviews with Anni Kanafani, where she speaks about her engaged life. Through the dramaturgical linking of these different narrative strands, Rizzi combines past and present, fiction and reality to demonstrate the utopian resilience not only of the arts, but especially of Anni Kanafani’s commitment.
