Illegal_Cinema session 1_Bulegoa z/b, 7/12/2010. W.R. Mysteries of the Organism (Dusan Makavejev, 1971).

Sunday 15 November 2020, 19:00: Yugoslavia. How Ideology Moved Our Collective Body (2013). Screening and conversation with Marta Popivoda at Bilbao Fine Arts Museum.

We would like to commemorate the tenth anniversary of Bulegoa z/b with a double programme dedicated to Illegal_Cinema, in collaboration with ZINEBI: a special session of Cine_ilegal, No. 89, at Bulegoa at z/b, proposed by all the coordinators, past and present, of the sessions in Bilbao; and secondly, a screening at the Bilbao Fine Arts Museum of Yugoslavia. How Ideology Moved Our Collective Body (2013) by Marta Popivoda, the initiator of Illegal_Cinema. This will be followed by a conversation between the filmmaker and Isabel de Naverán.

Sunday 15 November 2020, 19:00
Yugoslavia. How Ideology Moved Our Collective Body (2013)
Screening and conversation with Marta Popivoda
Venue: Auditorium, Bilbao Fine Arts Museum
Ticket: 3,50€

Monday 16 November 2020, 17:00
Yugoslavia. How Ideology Moved Our Collective Body (2013)
Venue: Auditorium, Bilbao Fine Arts Museum
Ticket: 3,50€

Thursday, 19 November 2020, 18:00
Illegal_Cinema, Session 89
Special session proposed by the six coordinators of Illegal_Cinema
Venue: Bulegoa z/b
Limited capacity
To take part in the session, contact

Soon after the opening of our first office in December 2010, we invited Marta Popivoda and Ana Vujanović to speak about Walking Theory–TkH [Teorija koja Hoda], an independent, extra-academic platform based in Belgrade and made up of theoreticians and artists working with performance, theatre, visual arts and film. The platform was set up in 2000 following the wars in what was then Yugoslavia, and we saw affinities between TkH and what we were hoping to do at Bulegoa z/b, which was to build bridges between the practice of art and theoretical reflection.

On their first visit to Bulegoa z/b, Popivoda presented Illegal_Cinema, a programme set up by her in Belgrad in 2007, which since then has travelled to other cities; Zagreb and Istanbul held special editions of the event in 2008–2009, and regular screenings have been held at Les Laboratoires d’Aubervilliers, Paris since 2010. In December that year sessions began in Bilbao, which is the only city where they still run.

Over the ten years of our existence, Cine_Ilegal has made its contribution to how we work here. But what is it? In the words of the coordinators of our sessions:

“Cine_Ilegal works simply. Someone proposes a film. This can be any kind of audiovisual document except for the person’s own work (…). We get together. There’s a presentation and then we watch what they have proposed as we should. At the end of the screening, we have enthusiastic conversations about it.” (Pablo Marte, September 2018 – now)

“It’s an open, (self-)educational project for exchanging and contextualising something whose nature we are unsure of: illegal cinema.” (Jorge Núñez, March 2011 – February 2012)

“It’s a framework or situation where we discuss the audiovisual, its forms, its texts; and the relationship between text and context, and how aesthetics becomes ethics and vice versa.” (Cristian Villavicencio, March 2012 – June 2013)

“It’s a medium that allows a varied group of people to get together by the light of the projector to give the term itself a meaning. Cine_ilegal is always circumstantial.” (Leire San Martín, July 2013 – December 2014)

“We see Cine_ilegal sessions as a way of fostering another kind of production of knowledge and discourse among people who aren’t necessarily specialists.” (Marion Cruza Le Bihan, February 2015 – September 2016)

“Cine_ilegal is not curated or programmed. The coordinator receives and accompanies the proposals towards each session, before and during its progression.” (Ainara Elgoibar, October 2016 – January 2018)

In 2013 we once again invited Marta Popivoda to take part in Staging Ideologies of The Social alongside Bojana Cveji, Asier Mendizabal and Vujanović. During the seminar, we screened Jugoslavija, kako je ideologija pokretala naše kolektivno telo. Seven years later, as part of ZINEBI and our celebration of Bulegoa z/b’s tenth anniversary, we have invited the filmmaker and researcher to screen her film/essay once again. In her own words,

“This research-based essay film is a very personal perspective on the history of socialist Yugoslavia, its dramatic end, and its recent transformation into a few democratic nation states. Experience of the dissolution of the state, and today’s “wild” capitalist reestablishment of the class system in Serbia are my reasons for going back through the media images and tracing the way a specific social system changed by performing itself in public space.”

Marta Popivoda (Berlin/Belgrade) is a filmmaker, video artist, and researcher. Her work explores tensions between memory and history, collective and individual bodies, as well as ideology and everyday life, with a focus on antifascist and feminist potentialities of the Yugoslav socialist project. Her work is strongly related to the TkH (Walking Theory), a theoretical-artistic platform and journal, where she has been a member of the editorial collective since 2005. Her work has been part of exhibitions and programs at Tate Modern London, MoMA New York, M HKA Antwerp, 21er HAUS and Q21/ MuseumsQuartier Vienna, HOME Manchester, McaM Shanghai, Beirut Art Center, Musée de la danse Rennes, Museum of Modern Art + MSUM Ljubljana, Arsenal – Institut für Film und Videokunst, HAU – Hebbel am Ufer, SAVVY Contemporary, NGBK Gallery, and District Berlin, Kampnagel Hamburg, Matadero and La Casa Encendida Madrid, Forum des Images, MK2 Beaubourg, École Nationale Supérieure des Beaux-Arts, Les Laboratoires d’Aubervilliers, and Khiasma Gallery Paris, Beursschouwburg and Kaaitheater Brussels, Museum of Yugoslav History and Museum of Contemporary Art Belgrade, etc.