{"id":32476,"date":"2026-06-05T09:19:53","date_gmt":"2026-06-05T07:19:53","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/how-to-disappear\/"},"modified":"2026-09-09T18:34:24","modified_gmt":"2026-09-09T16:34:24","slug":"how-to-disappear","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/how-to-disappear\/","title":{"rendered":"How to Disappear"},"content":{"rendered":"\n
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Total Refusal AT<\/sup>
How to Disappear<\/em><\/h2>\n\n\n\n
Video installation<\/strong><\/h5>\n<\/div>\n<\/div>\n\n\n\n
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Exhibition :<\/strong> \u201cDisobedience in the Digital Age\u201d<\/strong><\/a><\/strong><\/h5>\n\n\n\n

From October 23 to December 13, 2026<\/strong>
From Wednesday to Sunday, 2pm to 7pm<\/p>\n\n\n\n

Friche la Belle de Mai<\/strong>
La Tour, 4th floor
Marseille<\/p>\n\n\n\n

Credits<\/summary>\n

Directors: Total Refusal (Robin Klengel, Michael Stumpf, Leonhard M\u00fcllner) Distribution: Lemonade Films Production, Screenplay, and Direction: Robin Klengel, Leonhard M\u00fcllner, Michael Stumpf – Text: Robin Klengel, Michael Stumpf – cinematography: Michael Stumpf – sound recording: Michael Stumpf – sound design: Bernhard Zorzi (Blaut\u00f6ne) – editing: Leonhard M\u00fcllner – music: Adina Camhy – set design: DICE – credits: Michael Stumpf – Subtitles: Franz-Josef Windisch-Graetz.

21 min, 2020<\/p>\n<\/details>\n<\/div>\n\n\n\n

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“How to Disappear<\/em> ” is an anti-war film in the truest sense of the word, exploring possibilities for peace in the most unlikely of places: the online war game *Battlefield V<\/em>*. This is a tribute to disobedience and desertion, both in digital warfare and in physical, real-world warfare.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Total Refusal (Robin Klengel, Michael Stumpf, Leonard M\u00fcllner)<\/h2>\n
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The collective of artists, researchers, and filmmakers\u2014as well as pseudo-Marxist media guerrillas\u2014 Total Refusal (Susanna Flock, Robin Klengel, Leonhard M\u00fcllner, Michael Stumpf) appropriates and reinvents contemporary video games, while writing about games and politics. The themes addressed by the collective draw inspiration from critical studies of video games and social theory, with the aim of promoting and popularizing a counter-hegemonic left.<\/p>\n

He also draws inspiration from gaming communities to practice \u201cagitainment\u201d\u2014a blend of agitation and entertainment. By infusing post-Marxist analysis into the sanitized world of video games, the collective aims to offer an accessible yet critical examination of mass media and the ideological algorithms underlying it. Her work spans film, video art, live in-game performances, writing, and educational initiatives. They call their films \u201cMachinifestos\u201d\u2014political manifestos expressed through machinima. By bridging the worlds of academia, art, film, and video games, Total Refusal catalyzes a Marxist critique of society through a playful, analytical, and humorous approach, with the aim of radicalizing its audience.<\/p>\n

Since its founding in 2018, their work has been recognized with more than 70 awards and honorable mentions, including the European Film Award, the Best Short Film Director Award at the Locarno Film Festival, and Vimeo\u2019s \u201cStaff Pick\u201d Award, among others. Total Refusals\u2019 works have been screened at more than 400 film and art festivals\u2014such as the Berlinale, Doc Fortnight at MoMA in New York, and the Locarno Film Festival\u2014and have been presented in various exhibition spaces, including the 2021 Venice Architecture Biennale, the HEK in Basel, and Ars Electronica in Linz.<\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n","protected":false},"featured_media":32477,"menu_order":0,"template":"","edition":[140],"type_oeuvre":[28,100],"class_list":["post-32476","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/32476","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/32477"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=32476"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=32476"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=32476"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}