Director: Vladimir Tomic
Denmark, Serbia, 2015, 70’, color
Bosnian with Turkish subtitles
In 1992 a wave of refugees from the war in Bosnia and Herzegovina reached Denmark. With existing refugee camps completely full, the Red Cross pulled a giant ship into the canals of Copenhagen. The ship, Flotel Europa, became a temporary home for a thousand people waiting for decisions on their asylum applications. Among them was a 12-year-old boy, Vladimir, who fled Sarajevo with his mother and older brother. They spent two years in limbo at Flotel Europa. Two decades later, director Vladimir Tomić takes us on a journey of growing up on this ship filled with echoes of the war — and other ordeals of an adolescent. This coming-of-age story is juxtaposed with personal VHS archive material shot by refugees who shared the “space-time vacuum” of the Flotel.
Trailer
Suggesting alternative models for new social and economic systems, SUPERFLEX works appear before us as energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, or specifically designed public spaces.
1638, the year Louis XIV was born –his second name, Dieudonné, alluding to his God-given status– saw the diffusion of a cult of maternity encouraged by the very devout Anne of Austria, in thanks for the miracle by which she had given birth to an heir to the French throne. Simon François de Tours (1606-1671) painted the Queen in the guise of the Virgin Mary, and the young Louis XIV as the infant Jesus, in the allegorical portrait now in the Bishop’s Palace at Sens.
The various states of viewing nudity entered the Ottoman world on postcards before paintings. These postcards appeared in the 1890s, and became widespread in the 1910s, following the proclamation of the Second Constitutional Monarchy, traveling from hand to hand, city to city.
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