There Are No Radical Futures

There Are No Radical Futures

PROGRAM

15:00 Arrival

15:15 Introduction by Priscila Fernandes

15:30 Screening of excerpts of Fanfare 2025

16:00 Screening of excerpts of There Are No Radical Futures

17:00 Music participation - fanfares

17:45 End

About the films:

THERE ARE NO RADICAL FUTURES

Filmed in Paris during the summit organized by La Fanfare Invisible in May 2025, the film follows nineteen activist fanfares from different parts of Europe for four days. In rehearsals, workshops, and street actions, the musicians play together to protest against violence, inequality, the climate crisis, patriarchy, racism, and fascism. Participating in the summit were Banda Basaglia (Naples, Italy), Banda Comunale(Dresden, Germany), Fiatelle Braskapelle(Dresden, Germany), XR Block Brass (Netherlands), Beatprotest (Munich, Germany), Acabanda (Bologna, Italy), Antifafare (Brussels, Belgium), Fanfare van de Eerste Liefdesnacht (Amsterdam, Netherlands), Banda Ramua (Munich, Germany), Street Noise Orchestra(Innsbruck, Austria), Fonc (Milan, Italy), Strampalabanda (Turin, Italy), Ottoni a Scoppio (Milan, Italy), Fanfarria Transfeminista (Madrid, Spain), La Fanfare Invisible (Paris, France), Clé de Lutte(France), Fanfare Militante / Fa-mi-le(Lausanne, Switzerland), Flûte des Classes (Paris, France) and La Locomotive Fanfare. (Paris, France).

FANFARE 2025

Fanfare 2025 is a dystopian fiction that unfolds in bucolic settings. Filmed in Giethoorn, a water town in the interior of the Netherlands – the same one where Bert Haanstra shot the Dutch classic Fanfare (1958) – the film recreates and updates the original narrative: a rural philharmonic band divided by internal disputes is still trying to make it in time for the national competition.
But time, here, is different. In this version, the musicians, as in Haanstra's original work, are at odds, divided by petty disputes that waste their time. Fernandes works with a Drents fanfare —De Bergklanken—, which acts as the protagonist of the film.

About PRISCILA FERNANDES

Priscila Fernandes is an artist whose practice spans painting, drawing, installation, photography, video, and book publishing. Through a speculative, fictional, and humorous approach, her work raises concrete questions about the idea of individual and collective freedom—particularly in the context of precarity, the commodification of time, and the looming threat of violence in contemporary societies.

Based in the Netherlands, she is the co-head of the BEAR (Base for Experiment, Art and Research) bachelor’s program at ArtEZ University of the Arts, and co-director of Kunstwerk Kolderveen | Landfall foundation.

Priscila Fernandes has held both solo and group exhibitions at various institutions, including: the São Paulo Biennial Foundation with the work Gozolândia and Other Futures; Playgrounds at the Museo Nacional Centro de Arte Reina Sofía; The Book of Aesthetic Education of the Modern School at the Fundació Joan Miró; Back to the Sandbox: Art and Radical Pedagogy at the Reykjavik Art Museum; PIGS at the Artium Basque Museum; Learning for Life at the Henie Onstad Kunstsenter, Oslo; This is the time. This is the record of timeat the Stedelijk Museum Bureau Amsterdam; Leisure School at CIAJG; 12 Contemporâneos at the Serralves Museum, Porto; Um Oasis ao Entardecer at MAAT, Lisbon, Those bastards in caps come to have fun and relax by the seaside instead of continuing to work in the factory, at TENT, Rotterdam; and This is the time. This is the Record of the Time at Stedelijk Museum Bureau Amsterdam.

Some of her publications include The Book of Aesthetic Education of the Modern School (2014), The Waterslide of Abstract Art (2022), Idleness’ Owl (2022), and Rusted Armour, Skin of Dreams (2023). She was awarded the Brutus Prize in 2018 (AVL Mundo, Rotterdam) and the EDP New Artists Award in 2011 (EDP Foundation, Lisbon).