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- Exhibition ''Sequences'' until August 20th at the Museum of Contemporary Art
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Film screening „May 68, a Strange Spring“/ Museum of Contemporary Art, 7.6.18. at 6 p.m.Talk programs | 07.06.2018
May 68, a Strange Spring at the Museum of Contemporary Art
Museum of Contemporary Art, Ušće 10
Auditorium “Miodrag B. Protić”
Thursday, June, 7, 2018 at 6 p.m.
May 68, a Strange Spring (Mai 68, Un étrange printemps), 2018
Director: Dominique Beaux
In cooperation between the MoCAB and the French institute in Serbia.
The film is divided in two parts.
Admission is free of charge.
“The late 1960s witnessed social and political unrest all around the world. It shook both the Eastern bloc (Poland, Czechoslovakia...), the developed world (Japan, United States, Netherlands, West Germany, Italy...), and what was then called the “Third World” (Egypt, Senegal, Mexico where a bloody repression took place). All these movements were characterized by an unprecedented youth mobilization. One explanation was the “Baby Boom” following the Second World War. Economic growth had also allowed a growing part of this youth to access higher education. And bloody National Liberation conflicts had revived ideological cleavages. The Algerian War had ended in 1962; the Vietnam War was to extend until 1975.
A large part of this youth started recapturing the dream of revolutionary emancipation born in the nineteenth century. In the late Sixties, Skies Are Turning Red, to refer to the title of a 1977 film by French filmmaker Chris Marker. Small groups of activists started to contest everywhere the established authority, the consumer society, the power of capital, but also the betrayal and oppression of “real socialism”, and even in some cases the new elites born out of decolonization... Reviews, leaflets, demonstrations, "happenings" shook the campuses and the streets of the big cities, sometimes followed by violent responses from the authorities.”
“How could the initial unrest of few rowdy students end up into the most important strike in history, and occupy for fifty years the imagination of the French from all classes, all convictions and all ages? This question lays at the outset of my long personal quest which led to the making of this film. I wanted to bring my contribution to this event which has often been reduced in collective memory to a kind of "cultural revolution", and restore it in all its historical dimension. That's how I decided to approach the decision-makers of the day.
I wanted to make a film that would allow its viewer to relive events from this somewhat unusual perspective, and I wanted him or her to understand how the memory of a witness is an intellectual construction, and not THE truth. Therefore, I systematically confronted my witnesses with archives and our own research. And I lilmed this confrontation. Because my own look on things could not be blindfolded. If voice-over narrations are almost absent from the film, it is to let dramaturgy arise from the movement back and forth between recollections and images. The film shows what the witnesses say, what the archives say, how our memory builds upon images, and how it can be modified by new images. I tried to bring the past alive on the screen: anonymous people remember May 68 in a garden, they embody a kind of collective memory, and images from archives are not treated as mere illustrations, but intervene almost like living figures.”
Dominique Beaux, Director of the film May 68, a Strange Spring