Book & film
cora piantoni


Website of Cora Piantoni

Cora Piantonis
in Munich, and lives and works in Munich and Zurich. The artist works with photography, installations and video, as well as organizing art projects herself, like the Event Horizon exhibition, Ausstellungsraum Klingental, Basel (2009). Recent exhibitions include: 2016 – Abriss. Wir haben viel erlebt, Kunstraum, München; 2015 – Europa. Die Zukunft der Geschichte, Kunsthaus, Zürich; Streuflüsse, Haus der Künste, Brno; Quem Conta Um Conto Acresenta Um Ponto. If You Tell A Story You Add More, Mira Forum, Porto; 2014 – Werk- und Atelierstipendien der Stadt Zürich 2014, Helmhaus, Zürich; 2103 – Visions of Labour, Kunsthalle Sao Paulo; Till tomorrow! Ideologies of city planning and the tactics of dwelling, WYSPA Institute of Art, Gdansk; 2012 – Reality Manifestos, or Can Dialectics Break Bricks?, Kunsthalle Exnergasse, Wien; Expedition of Slowness, Quartair, Den Haag.

saturday 7 oct 15.00 uhr werkstattkino

We Were Cinema



15 min – German

B+DOP+E+S: Cora Piantoni           

A lot has been reported about the Fall of the Berlin Wall. Main focus of this film is the period before, affected by discontent with the outdated political system, hope and a sense of impending change. Those who worked in cinema in Dresden before 1989, such as former cinema managers, film projectionists, cashiers, ushers and caretakers, talk about their experiences. The position of those sitting and discussing in the foyer, in the gap between fiction on the screen and reality beyond the cinema doors. Topics of conversation besides the films were the obsolete political system and the utopia of changing the system from within.  




11 min – Polish

B+DOP+E+T: Cora Piantoni        

The industrial climbing cooperative Świetlik was developed from the Solidarność movement in 1980 in Gdansk. Świetlik was a community of dissidents working in factories throughout Poland under somewhat dangerous conditions. They strongly supported the opposition, by distributing leaflets amongst the factory workers and by hanging banners with political statements on high-rise buildings.
The film shows a re-enactmentof a typical working situation in an industrial setting. In excerpts of interviews, which form the audio part of the installation, former Świetlik members are talking about their experiences within the company, their support of the opposition, the blending of their private and professional life and how the past experiences form the basis for their current participation in society and politics in Poland.




11 min – Portuguese

B+DOP+E+S: Cora Piantoni      

I usually develop my films on the basis of interviews together with moving images and re-enactments of past events. For an exhibition at the stonemason’s cooperative in Porto, I continued to research about worker‘s communities, focusing on the worker‘s traditional songs and the sound of the working process. Do the traditional songs still exist which reflect the monotony of the work, but also help to perform it? In what other way sound / rhythm / music plays a role at work?
Besides the masons, I was interested in the background and culture of the students of the school which is now located in the building of the cooperative. I connected the young generation of the students with the older generation of the masons who are working at the factory and are aware of the history.


Radio GAP. The Interfences



15 min – Italian

B+DOP+E+S: Cora Piantoni        

The group 22 Ottobre or Terzo Radio GAP was founded in October 1969 in Genoa, the city with very strong resistance by partisans against the German occupation during World War II. Radio GAP was the first group taking part at the armed struggle ‚lotta armata’ (armed struggle). The name ‚Gruppi d’Azione Partigiana’ refers to the history of the partisans and at the same time uses a contemporary medium of communication: the television. Other groups such as the Brigate Rosse informed about their actions with leaflets. Radio GAP directly brought the information to the public, in their livingrooms. After the news, during the advertising, their messages interrupted the programme’s sound. They choose a strategy of propaganda similar to an artistic action, a communication guerrilla, as in the Situationist movement happening at the same time in Paris.