Cellular Cinema 29 – Adam Khalil: Anti-Ethnography

Sunday, November 5, 2017
7:00 pm / Doors open at 6:30pm

Tickets: $6-$12 sliding scale

Anti-Ethnography is a selection of video works which examines the violence inherent in the ethnographic impulse, and unveils the absurd fetishism underpinning the discipline.

For indigenous peoples the camera is a dangerous weapon, one that has been wielded against us since the device’s inception. Anthropology's obsession with preserving images of our “vanishing” cultures, through ethnographic films or archives filled with boxes of our ancestors' remains, has long been a tool used to colonize and oppress indigenous peoples.

By relegating our identities to the past, and forcing us to authenticate ourselves through this past, our existence as contemporary individuals living in a colonized land is denied. It is in this sense that ethnography confines indigenous agency.

The anthropologist's encapsulating gaze ignores the fact that for indigenous communities tradition is not an immutable set of truths handed down by revelation, but a set of ever-evolving social practices whose continuity cannot be repaired by preservation, only elaborated through struggle, and finally achieved under conditions of genuine self-­determination.

- AK/ZK

“We have never been simply ignored, or simply romanticized, or been merely the targets of assimilation or genocide. It is rather all these things and many more, often at the same time in different places. The prison is a dreamcatcher, a vapor. It is both vicious and flattering, flexible and never monolithic. It can’t be refuted or denied, it just is. Most devastating of all, the ideological prison is capable of becoming an elixir that we Indian people ourselves find irresistible.”

Everything You Know about Indians Is Wrong, Paul Chaat Smith

Sioux Ghost Dance, W.K.L. Dickson/Thomas Edison, 1894, digital projection, 1 min
Welcome to the Third World, Guillermo Gómez-Peña, 2004, digital projection, 2 mins
The Laughing Alligator, Juan Downey, 1979, digital projection, 27 mins
Overweight with Crooked Teeth, Shelley Niro, 1997, digital projection, 5 mins
Auntie Beachress - Are You Looking at Me?, Tonia Jo Hall, 2015, digital projection, 15 secs
Instant Identity Ritual, Guillermo Gómez-Peña and Gustavo Vázquez, 2007, digital projection, 2 mins
Bizarre Thanksgiving Performance Ritual, Guillermo Gómez-Peña and Gustavo Vázquez, 2013, digital projection, 2 mins
Shooting Geronimo, Kent Monkman, 2007, digital projection, 11 mins
Auntie Beachress – Love’s All Native Men, Tonia Jo Hall, 2015, digital projection, 15 secs
Auntie Beachress - Lakota Language Challenge, Tonia Jo Hall, 2015, digital projection, 15 secs
wawa, Sky Hopinka, 2014, digital projection, 6 mins
Auntie Beachress - Only Boring People Get Bored, Tonia Jo Hall, 2015, digital projection, 14 secs
Dance to Miss Chief, Kent Monkman, 2010, digital projection, 5 mins
Auntie Beachress - Life's Struggles, Tonia Jo Hall, 2015, digital projection, 14 secs

Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, UnionDocs, e-flux, Maysles Cinema, Microscope Gallery (New York), Spektrum (Berlin), Trailer Gallery (Sweden), and Carnival of eCreativity (Bombay).They both graduated from the Film and Electronic Arts program at Bard College and are UnionDocs Collaborative Fellows and Gates Millennium Scholars.

Cellular Cinema is an organically evolving, ongoing screening series of experimental film, video, and performance. We are the only regularly occurring event in Minneapolis or St. Paul that features short form, experimental contemporary moving image art.

The Cellular Cinema community is dedicated to the idea that moving image art can be a realm of exploration, improvisation and play on a small scale, using a wide range of tools, techniques and technologies, unbound by the commercial considerations of mainstream narrative media.

We have the capacity to screen work on 16mm, super-8, sometimes with multiple projectors, sometimes including live sound or performance accompaniment, as well as HD and SD video.

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