Director: Beatriz Santiago Muñoz
2014, 11', color
Post-Military Cinema was shot in Ceiba, Puerto Rico, in a cinema that was once part of the Roosevelt Roads US Naval Base. The cinema apparatus—light, audience, projections, sound—offers up frames through which Santiago Muñoz regards new events taking place in the defunct architecture. A beekeeper manages the bees that are part of the soundtrack; afternoon light streams in for about an hour each day, projecting images of the forest that has reclaimed the base since its closure.
Having penetrated the Balkans in the fourteenth century, conquered Constantinople in the fifteenth, and reached the gates of Vienna in the sixteenth, the Ottoman Empire long struck fear into European hearts.
Coffee was served with much splendor at the harems of the Ottoman palace and mansions. First, sweets (usually jam) was served on silverware, followed by coffee serving. The coffee jug would be placed in a sitil (brazier), which had three chains on its sides for carrying, had cinders in the middle, and was made of tombac, silver or brass. The sitil had a satin or silk cover embroidered with silver thread, tinsel, sequin or even pearls and diamonds.
In 1998 Ben Jakober and Yannick Vu collaborated on an obvious remake of Marcel Duchamp’s Roue de Bicyclette, his first “readymade” object. Duchamp combined a bicycle wheel, a fork and a stool to create a machine which served no purpose, subverting accepted norms of art.
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