Schedule for March 11, 2014

Additional screenings of films by Aryan Kaganof will take place from 12:00 pm - 3:00 pm

12:00 pm: "Matthew Barney: Creating Stories"; 24 minutes
12:30 pm: "SMS Sugarman"; 87 minutes
2:00 pm: "Sweetness"; 20 minutes
2:30 pm "Western: 4:33"; 31 minutes

5:30pm – 5:45pm
Welcome and Introduction with David Freedberg

5:45pm – 6:45pm
Film Screening: "Nice to Meet You, Please Don't Rape Me" (1994); 35 min.;
NY Premiere. Followed by discussion.
Aryan Kaganof
Hlonipha Mokoena
Columbia University

6:45pm – 8:35pm
Film Screening: "An Inconsolable Memory" (2013); 110 min.; US Premiere

Schedule for March 12, 2014

3:30pm – 4:30 pm
Film Screening: "Night is Coming: A Threnody for the Victims of Marikana" (2014); 52 min.;
World Premiere.

4:30 – 5:30 pm PANEL DISCUSSION on the films of Aryan Kaganof

With Aryan Kaganof, Anna Grimshaw, Emory University
Sean Jacobs, The New School of Public Engagement
Hlonipha Mokoena, Columbia University
Richard Peña, Columbia University

5:30pm – 7:00pm
Film Screening: "Guerilla Blues and Holy Ghosts" (2012); 60 min.; NY Premiere.
Followed discussion.
Aryan Kaganof
Richard Peña, Columbia University

7:00pm – 8:30pm
Film Screening: "The Uprising of Hangberg" (2011); 90 min.; US Premiere. Directed by Aryan Kaganof and Dylan Valley

On March 11 and 12, 2014, South African independent filmmaker Aryan Kaganof will present and discuss his selected films, most of which have never been seen in the United States. On Wednesday, March 12 at 4:30 pm he will join Richard Peña (Columbia), Hlonipha Mokoena (Columbia), Sean Jacobs (The New School) and Anna Grimshaw (Emory University) in a panel discussion about his work.

The screenings will include
• the U.S. premiere of An Inconsolable Memory, Kaganof's 2013 documentary on The Eoan Group Book Project, an initiative to collect the forgotten history of a set of "coloured" performers from Cape Town's District Six who performed Italian opera to mixed audiences during and after apartheid;

• the world premiere of Night is Coming: A Threnody for the Victims of Marikana, an examination of past and current South African culture through the lens of the 2012 strikes in the Rustenburg area of Marikana, South Africa (unrest that resulted in the deaths of 48 people, most of whom were striking miners, in the single most lethal use of force by South African security forces against civilians since the Sharpeville Massacre of 1960);

• the U.S. premiere of Guerilla Blues and Holy Ghosts, a compelling portrait of Gylan Kain, one of the founders of "The Last Poets," the Harlem spoken-word group established in 1968 which is said to be a precursor to hip-hop;

• the U.S. premiere of The Uprising of Hangberg, Kaganof and Dylan Valley's dynamic documentary of the struggles of the marginalized communities of the Hout Bay suburb of Cape Town, which occurred when police tried to forcibly remove them from their homes; and

Nice to Meet You, Please Don't Rape Me, Kaganof's 1994 musical satire of the newly post-apartheid South Africa.

Featured screenings begin at 5:30 pm on Tuesday, March 11. On Wednesday, March 12, a panel discussion on Kaganof's work will take place at 4:30 pm. Additional screenings of films by Aryan Kaganof will run from 12:00 pm on March 11. Films are intended for an adult audience. Admission is free. Registration and further information at


The Italian Academy
1161 Amsterdam Avenue
(south of 118th Street)
New York, NY 10027
Free and open to the public


Aryan Kaganof


South African independent filmmaker, Aryan Kaganof is a visual artist, novelist and poet, who explores provocative and politically charged subject matter. Born in 1964 as Ian Kerkhof, he left South Africa for the Netherlands at nineteen to avoid conscription into the South African army during Apartheid. Before enrolling in the Netherlands Film and Television Academy in 1990, he worked for the Dutch Anti-Apartheid Movement, while also writing for international publications and programming jazz for pirate radio stations. He won a Golden Calf (Best Feature) for Kyodi Makes the Big Time, a self-produced 16mm production shot in 14 days while still a second-year student. In 1996 he pioneered the use of digital video as a feature film medium with the transfer to 35mm of Naar De Klote! (Wasted!) and went on to direct the first Japanese film utilizing this process (Tokyo Elegy, 1999).

In March 2000, following Kaganof's return to South Africa, a retrospective of his films was held at the Yerba Buena Center for the Arts in San Francisco. His 2002 film Western 4.33, which tells the story of the German concentration camps on Shark Island off the coast of Luderitz, Namibia, was screened at the 2004 Berlinale and won awards for Best Video Made in Africa at the 12th Milan African Film Festival, and Best Documentary Made in Africa at the Reunion Africa and Islands Film Festival. In 2005, he shot the world's first feature film made with a mobile phone camera (SMS Sugarman) and was a Visiting Professor at K3 Malmo University, Sweden following the film's success there. He has had solo exhibitions in Cape Town's Association for Visual Arts (AVA) and in Durban at the NSA Gallery, where he was also artist in residence.

Kaganof has worked as an editor with many South African film directors including Akin Omotoso (Jesus and the Giant, which Kaganof also scripted) Ntshavheni wa Luruli (Elelwani) (Imagine) and Craig Matthew (Welcome Nelson, a documentary about the 20th anniversary of Nelson Mandela's release from prison, screened by eTV in 2010).

His on-going music research project the African Noise Foundation performed as part of the Badilisha Poetry Festival at Spier in December 2009 features Zim Ngqawana, Mantombi Matotiyana and the Kalahari Surfers. In November 2010, he collaborated with Cape Town filmmaker Dylan Valley on The Uprising of Hangberg, a documentary exposing human rights violations in Hout Bay (a Cape Town suburb) by the Metro police force. Recently a retrospective film festival of his work, AK47, organized by DOMUS was held in Stellenbosch. In November, 2013 he screened An Inconsolable Memory, a long form documentary about the Eoan Group Book Project, at the International Documentary Film Festival in Amsterdam.

David Freedberg

Pierre Matisse Professor of the History of Art and Director of The Italian Academy for Advanced Studies in America Columbia University

David Freedberg is best known for his work on psychological responses to art, and particularly for his studies on iconoclasm and censorship (see, inter alia, Iconoclasts and their Motives, 1984, and The Power of Images: Studies in the History and Theory of Response, 1989). His more traditional art historical writing originally centered on the fields of Dutch and Flemish art. Within these fields he specialized in the history of Dutch printmaking (see Dutch Landscape Prints of the Seventeenth Century (1980)), and in the paintings and drawings of Bruegel and Rubens (see, for example, The Prints of Pieter Bruegel the Elder (1989) and Rubens: The Life of Christ after the Passion (1984)). He then turned his attention to seventeenth century Roman art and to the paintings of Nicolas Poussin, before moving on to his recent work in the history of science and on the importance of the new cognitive neurosciences for the study of art and its history. He has also been involved in several exhibitions of contemporary art (eg. Joseph Kosuth: The Play of the Unmentionable (1992)). Following a series of important discoveries in Windsor Castle, the Institut de France and the archives of the Accademia dei Lincei in Rome, he has for some time been concerned with the intersection of art and science in the age of Galileo. While much of his work in this area has been published in articles and catalogues, his chief publication in this area is The Eye of the Lynx: Galileo, his Friends, and the Beginnings of Modern Natural History (2002). He is now devoting a substantial portion of his attention to collaborations with neuroscientists working in fields of vision, movement and emotion.

Although Freedberg continues to teach in the fields of Dutch, Flemish, French, and Italian seventeenth century art, as well as in historiographical and theoretical areas, his research now concentrates on the relations between art, history, and cognitive neuroscience. For some time now he has been engaged in experimental collaborations with colleagues in the neurosciences, but he continues to hope that one day he will be able to return to his longstanding project on the cultural history of the architecture and dance of the Pueblo peoples. For the last three years, Freedberg has led the campaign to save Liberty Hall in Machiasport, Maine, a major historical building overlooking the site of the first sea battle of the American Revolution.

Much of Freedberg's time is now taken up by his directorship of the Italian Academy for Advanced Studies in America and his commitment to fostering interdisciplinary work across the humanities and the sciences. Since a number of his publications on Warburg, on the Pueblo peoples, and in the field of art and neuroscience have appeared in foreign languages, a selection appears in English under "Selected Publications" below.

Professor Freedberg is a Fellow of the American Academy of Arts and Sciences and of the American Philosophical Society, as well as of the Accademia Nazionale di Agricultura and the Istituto Veneto di Scienze, Lettere e Arti.

Anna Grimshaw

Professor of Anthropology Emory University

Anna Grimshaw is Professor at Emory University. She teaches courses on ethnographic cinema, visual culture, experimental ethnography, and ethnographic filmmaking. She was a founder and editor of the innovative Prickly Pear Pamphlet Series. Her books include The Ethnographer's Eye: Ways of Seeing in Modern Anthropology (2001) and Observational Cinema: Anthropology, Film and the Exploration of Social Life, (2009), coauthored with Amanda Ravetz. She was an editor for the book Visualizing Anthropology: Experiments in Image-based Practice (2005). She has recently completed a series of films: Mr. Coperthwaite: A Life in the Maine Woods.

Richard Peña
Professor of Professional Practice in Film Columbia University

Richard Peña is Professor of Professional Practice at Columbia University. He served as the Program Director of the Film Society of Lincoln Center and the Director of the New York Film Festival from 1988 to 2012; there he organized retrospectives of Antonioni, Guitry, Kiarostami, Aldrich, Figueroa, Ghatak, Muratova, Chahine, Ozu, Saura and Bachchan, as well as film series devoted to African, Chinese, Cuban, Polish, Hungarian, Arab, Korean, Japanese Soviet and Argentine cinema. He is also currently the co-host of Channel 13's weekly Reel 13.

Sean Jacobs
Assistant Professor of International Affairs, The New School of Public Engagement

Sean Jacobs is on the faculty of the New School for Public Engagement. He is currently writing a book on the intersection of mass media, globalization and liberal democracy in post-apartheid South Africa. Sean founded the website Africa is a Country. He is a native of Cape Town.

Hlonipha Mokoena

Assistant Professor of Anthropology Columbia University

Hlonipha Mokoena is Associate Professor of Anthropology at Columbia University. She teaches and studies South African intellectual history. Her current research focuses on Magema Fuze, author of Abantu Abamnyama Lapa Bavela Ngakona (The Black People and Whence They Came). Her articles have been published in Journal of Natal and Zulu History, Journal of Religion in Africa, Journal of Southern African Studies, Scrutiny 2: Issues in English Studies in Southern Africa, and Baobab: South African Journal of New Writing.