From the 14th to the 19th of November 2016, we helped welcome the Pirate Cinema group from Berlin with a stream show at the Community Center for Refugees KHORA, an open source all-night event of pirate screenings, performances at Occupied Self-Organised Theatre EMBROS, and an open public talk at the Athens Biennale AB5to6 "Omonoia', in the spirit of celebrating activism, community, solidarity, grassroots empowerment, open access to technological tools, and global trafficking of art. For the organization of Pirate Cinema short Psychogeographical Festival in Athens, C.A.S.A. is proud to team up with Aυτόνομη Ακαδημία / Autonomus Academy, the Athens Biennale AB5to6 "Omonoia", Void Network, the Community Center for Refugees KHORA and +the Institute [for Experimental Arts]
In the context of the Pirate Cinema Berlin Short Psychogeographical Film Festival in Athens, Dimitra Mitsaki (C.A.S.A / Collectiva Balkana) curates a series of participatory performance art and new-media works within the thematic framework of open-source, technological mediation and copy-left. Participating artists: Tizo All (Brazil) / Kostas Voulgaris (Greece) / Tomas Diafas (Greece).
Pirate Cinema, as a space, exists since 2004 in Berlin, and unlike other ventures that use the term “pirate”, it is actually pro-piracy. It begins with the observation that in the 21st century, copyright infringement is the most most promising tendency in cinema. It’s no wonder that cinema has started a war against piracy, since file-sharing has more to offer than just unlimited access to scarce commodities: From Napster to BitTorrent, it offered protocols for the redistribution of the means of distribution, which in turn undermines the existing modes of production and consumption. The “crisis of cinema” – as an art, as a space, as an economy and as an ideology – is precisely the fact that it has become a proprietary system, fortified against communication technology, using copyright as a new form of censorship. Pirate Cinema operates under the assumption that a critique of cinema has to be practical, and that the fight against intellectual property is pointless if it doesn’t create, and celebrate the creation of, zones, scenes and places where copyright is already suspended.