Queensland Film Festival’s Aesthetics of Care program, incorporating Love Means Taking Action Parts 1 & 2, present works that engage with caring, parenting, and domestic labour. Presented in partnership with the IMA, these screenings feature films that not only explore the act of caring but also engage in tender and thoughtful methods of production.
Love Means Taking Action Part 2, will screen at the IMA Thursday 16 August.
Accompanying the screening will be a panel discussion about the relationship between art, work, and the labour of caring with feminist economist Andrea Fox, filmmaker Mia Forrest, author Mary-Rose McCall, and art historian, Courtney Pederson.
Love Means Taking Action Part 1 | Mixed | 7:30pm | 18+
Weight | Kate Davis 2012 | 12 minutes
Taking a 1961 BBC documentary about British Modernist artist Barbara Hepworth as its starting point, Weight explores how televised depictions of creativity have constructed our understanding of artistic production and other forms of labour. Courtesy of LUX
Strangely Ordinary This Devotion | Dani Leventhal Restack & Sheila Restack 2017 | 29 minutes
Strangely Ordinary This Devotion is a visceral exploration of feral domesticity, queer desire, and fantasy in a world under the threat of climate change. Courtesy of VDB
Housework | Margaret Salmon 2014 | 6 minutes
Highlighting the current state of female domestic roles as well as the status of women in larger society, Housework portrays daily household chores being completed by themselves as a supernatural phenomenon. Courtesy of LUX
Vivian’s Garden | Rosalind Nashashibi 2017 | 30 minutes
Vivian Suter and her mother Elisabeth Wild are two Swiss/Austrian artists in living in Panajachel, Guatemala, where they have developed a matriarchal compound in an environment that offers both refuge and terror. This film takes a close and dreamy look at their artistic, emotional and economic lives amongst their extended household. Courtesy of LUX
Precious | Valérie Massadian 2012 | 4 minutes
“Stephen Dwoskin was making his last film. He knew, after struggling his whole life, that this time the end was really coming… He asked a few friends to send him a shot, a sound, a photograph, whatever we wanted, somehow like a farewell gift, that he would use or not in the film. This is what we sent.”—Valérie Massadian. Courtesy of Gaïjin and Valérie Massadian
