E*Cinema Academy 10th of June – Diary films: the poetics of Super8

On the 10th of June E*Cinema Academy will be dedicated to the darling of artist’s film practice, the Super8 film, bringing together a special selection of films from different artists all shot on this format, some of which were recently preserved by EYE but rarely seen before. The evening focuses on Dutch artist Jaap Pieters, probably the best known Super8 practitioner in Holland, also known as the EYE of Amsterdam. His films are small gems of the everyday life, poetic diary films, shot from and around his apartment in Amsterdam. The evening offers a rare occasion to see Super8 films projected in its original format by the artist in person. The program includes short films by Luk Sponselee, Peter Rubin, Barbara Meter and Jean-Pierre Sens and is presented by Simona Monizza, curator of experimental film in EYE.

A performance by Caroline Ruijgrok en improvisation musician Oscar Jan Hoogland will accompany the program.

• Part 1: introduction by Simona Monizza followed by a selection of Jaap Pieters’ Super8 films projected by the artist (selection not yet known), and a short Q&A.

• Part 2: a music and spoken word performance by Caroline Ruijgrok and Oscar Jan Hoogland using the films Bereklauw (Jaap Pieters, 1992, 35mm, 3 min); Opwaaiingen (Jaap Pieters, 2009, 35mm, 3 min) and Convalescing (Barbara Meter, 2000, 35mm, 3 min) projected in new blow-up 35mm copies.

• Part 3: a selection of artist’s Super8 films restored to 16mm: Hidden Mystery (Luk Sponselee, 1988, 4 min); Walk 1 (Jean-Pierre Sens, 1991, 6 min); Browsers Welcome (Peter Rubin, 1982, 15 min).

Some extra information-links:

Grazia Ingravalle (Film PhD candidate at the University of St Andrews) interviews Jaap Pieters about his aesthetics, life, music and many anecdotes:


An interview with Fred Pelon and Jaap Pieters about their exhibition JAAP PIETERS PORTRAITS launched during the 2006 edition of the Rotterdam IFF, and the release of the documentary film JAAP PIETERS PORTRAIT (2006, 45 minutes) by Fred Pelon.

Short film on Jaap Pieters:

Link to the experimentele film in Nederland website to see or read more on Barbara Meter and Jaap Pieters: http://experimentele.filminnederland.nl/

An interview with Jaap Pieters and Simona Monizza (EYE experimental film curator) around this specific film program in EYE, but also on other facets…

Films in the program:

DE BEREKLAUW (THE HOGWEED), Jaap Pieters, 1992, 35mm, 3 min. A work on the thin borderline of photography and film, where the element ‘time’ transforms the perception of the image and challenges the spectator. Again a subtle film about the contrasts between time & space where ‘the invisible’ plays the leading role.

OPWAAIINGEN, Jaap Pieters, 2009, 35mm, 3 min. A green cloth wrapped (around) iron legs, heavily moved by a fierce wind… what does it cover, what is uncovered & what does the camera eventually disclose???

CONVALESCING, Barbara Meter, 2000, 35mm, 3 min. Convalescing (2000) was shot on one roll of super 8 at Glyn Road, Hackney, London. Editing and dissolves were done in camera using a Nikon. It is a meditation on time passing by and the perception of changing light over the course of a day. A beautiful and personal film done exploring the intrinsic properties of the Super8 medium.

HIDDEN MYSTERY, Luk Sponselee, 1988, 4 min. The film is an ode to the birth of Luk Sponselee’s daughter. WALK 1, Jean-Pierre Sens, 1991, 6 min. A walk through the dunes of Overveen, where nature prevails.

BROWSERS WELCOME, Peter Rubin, 1982, 15 min. A study in brain perception, visual image and zen. Hand-out: Hand Out super8

The program is presented and curated by Simona Monizza, the EYE curator and archivist of experimental film.

Highlight from the EYE library

Unfortunately the EYE Film Institute Library doesn’t have a lot of literature on Gustav Deutsch, but we do have a real gem amongst the few titles.

The beautifully manufactured book Gustav Deutsch, edited by Wilbirg Brainin-Donnenberg and Michael Loebenstein tracks the way in which the cinema of Gustav Deutsch surpasses our common notion of film.

In addition to being a creator of found-footage films, a visual artist,an architect, a researcher, educator and archaeologist, Viennese filmmaker Gustav Deutsch also describes himself as a traveller. Henceforth it is no wonder this Austrian Jack of all trades lives by the adagium “Film is more than film”.

The editors have gathered a wide range of respected colleagues from different, but relevant fields. They all appreciate Gustav Deutsch’s work via their own specific disciplines whether they are archivists, film scholars, musicians, psychoanalysts or museum curators.

The intention of the work is ‘to chart Gustav Deutsch’s universe in a manner both specific and wide-ranging’. They succeed surprisingly well in this endeavour.

This volume is available for browsing at the EYE Film Institute Library.


27 May – 3 June : Focus on Gustav Deutsch

After amazing visits of Peter Tscherkassky (2012) and Mara Mattuschka (2013) in EYE for the E*cinema academy programs, we are happy to announce that also this year we will continue our discovery of the Austrian experimental cinema with great works and presentations of Gustav Deutsch.

Edward Hopper, Hotel Room, 1931.
Edward Hopper, Office at Night, 1940.

The Austrian film director Gustav Deutsch, known for his previous works such as Welt Spiegel Kino (2005) and FILM IST.(1998-2002), presents with its latest film, Shirley – Visions of Reality, a stylized ode to the American painter Edward Hopper (1882 – 1967). The film sets in which the actors perform are exact reproductions of 13 famous paintings by Hopper, including Office at Night, Western Motel, Usherette and A Woman in the Sun. The initial inspiration for this work has been the research about the staging of reality, the telling of histories/stories and the dialogue of painting and film.

Hopper was a prominent American realist painter and printmaker. While he was most popularly known for his oil paintings, he was equally proficient as a watercolorist and printmaker in etching. Both in his urban and rural scenes, his spare and finely calculated renderings reflected his personal vision of modern American life. Inspired by the film noir, Hopper integrated direct references to the cinema in paintings like New York Movie and Intermission. On the other side, he influenced filmmakers like Alfred Hitchcock, Jim Jarmusch, Martin Scorsese, Wim Wenders and now, Gustav Deutsch.

Edward Hopper, Morning Sun, 1952.

Edward Hopper, Room in New York, 1932.

Hopper’s sharp contours, minimalistic composition, vivid colours and use of light have been meticulously imitated in Deutsch’s most recent film about the politically active actress Shirley (Stephanie Cumming). In the years between the 1930s and the early 1960s, Shirley hopes to make her mark on the course of history. As she does in the roles she performs, she wants to question, design and change reality. Major events in modern history pass by in short flashes of radio messages, from the Great Depression, the Second World War, the McCarthy era and racial conflicts to the Kennedy era and the civil rights movement.

Shirley01_photo_by_Jerzy_Palacz_web Shirley06_photo_by_MichaelaC_Theurl_web

Gustav Deutsch: As the starting point for this film, which has at its heart the staging of reality and the dialogue of painting and film, I selected Edward Hopper’s picturesque oeuvre, which on the one hand was influenced by film noir – in his choice of lighting, subject and framing as seen in paintings such as … More here: http://gustavdeutsch.net/index.php/en/component/content/article/194-visions-of-reality.html

More information about Edward Hopper’s life and works here: http://www.edwardhopper.net/#

Shirley02__photo_by_Jerzy_Palacz_web Shirley03__photo_by_Jerzy_Palacz_web

Shirley04_photo_by_MichaelaC_Theurl_web Shirley05

Shirley – Visions of Reality will be released in EYE and national film theatres on 29 May and Gustav Deutsch will be in EYE to attend its premiere, as well as to present some other film programs and to launch his new installation in the Arena of EYE, the Associative Image Atlas.

27 May 19:15: E*Cinema- Gustav Deutsch meets Edward Hopper.

Pre-premiere: 2 short talks and the opening of the Associative Image Atlas installation.
Mark Paul Meyer (senior curator at EYE) talks about Deutsch’s method of re-using existing images: Hopper’s paintings in Shirley and silent film fragments in his earlier work. Meyer supported Deutsch in making his Film Ist series as collection curator.
Jan van den Brink (programmer and film specialist) focusses on Hopper and discusses the extent to which the painter was influenced by German Expressionism and Hollywood B films of the 1930s and 1940s. He also discusses Hopper as a source of inspiration for filmmakers, with many film excerpts as examples.

After the pre-premiere, the Associative Image Atlas installation will be launched in the Arena (h 21.30). The Image Atlas was researched, selected and arranged as part of the film and exhibition project Shirley – Visions of Reality, which deals with the theme of staging of reality and of replication and reconstruction in art, using the example of Edward Hopper.


Pictures of the Associative Image Atlas:

atlas gustav deutschatlas gustav deutsch2

31 May 19:15: FILM IST. a girl & a gun with live music by Michel Banabila and Machinefabriek, who will be performing an original new score. Gustav Deutsch and Hanna Schimek are this evening’s special guests. The event is organized with financial support from CineSonic and the Goethe Institut Amsterdam.

Please find here a review about an interesting book on Film Ist and Gustav Deutsch by Livio Belloi:


31 May 21.30: Shirley – Visions of Reality (2013, 92 min, Austria, Language: English), with an introduction by Gustav Deutsch and Hanna Schimek.

3 June 19:15: Masterclass Visions of Reality by Deutsch and Schimek. (Language: English)

Please find here more information about a recently released book called “Light Image Imagination”, which is an anthology of text-and-image-essays, investigating the creation, perception and projection of images (both mental and material) and their specific relationship with light and imagination. The book was written by international scholars and artists who lead critical discourses in audio-visual media history, practice and theory, and edited by Martha Blassnigg, Gustav Deutsch and Hanna Schimek:


In this book the project of the Camera Obscura Building at the Aegina Island and its related Aegina Academy, a forum for Arts and Science, is presented by Deutsch and Schimek. Some introduction notes can be found here:


On Gustav Deutsch:
Gustav Deutsch (1952) has been described as a ‘filmmaker without a camera’ and a ‘juggler of found footage’. Like an archaeologist of film, he offers the audience a perspective on film history, re-arranged according to his own insights. Lifted out of their original context, the images re-edited by Deutsch prove to have a new appeal. His previous highly original explorations of the history of film from its earliest beginnings showed us how to ‘re-view’ early cinema. Deutsch made use of film fragments from EYE’s collections for his earlier work, including Welt Spiegel Kino (2005) and Film IST (1998), both of which were released by the Film Museum. For his first staged film, Shirley – Visions of Reality, Deutsch reviewed Edward Hopper’s paintings.
Here more information about Deutsch’s biography, filmography and related writings: http://gustavdeutsch.net/index.php/en.html


On Hanna Schimek:
Hanna’s interests and activities range among photography, installations, conception and organisation of interdisciplinary art projects. She has been involved in artistic research and curatorship in visual media and film, as well as in artistic works dealing with sociocultural context. Since 1985 she collaborates with Gustav Deutsch, and since 1997 she works under the label of D&S.


On Stephanie Cunningam:
Her biography: http://www.liquidloft.at/article175.htm


An exerpt from one of her performances:

Text and image compilation: Anna Dabrowska.

Documentation of Absence & Departure, 13 May 2014

On the 13th May 2014 EYE presented experimental films by students from VAV, department of Moving Image, Gerrit Rietveld Academy and three 16mm films from the EYE collection on the themes of Absence & Departure, curated by students of the MA in Preservation and Presentation of the Moving Image, Artistic Research, Film Studies and the Research Master in Art Studies at the University of Amsterdam.


During breaks between the three blocks of films, postcards were given to the audience with one solicitation: “Share a memory”.

Absence & Departure - PostcardPhoto by Carole Elizabeth. Car tracks crisscross each other into the fog. Ocean Park, Washington USA, 30th September 2012. http://trippingwest.blogspot.com.


By the end of the screening, the audience could read the postcards:

Absence & Departure - Written Postcards

Please click in the image above to read all shared memories.

Absence & Departure

The students of the MA in Preservation and Presentation of the Moving Image, Artistic Research, Film Studies and the Research Master in Art Studies at the University of Amsterdam, in collaboration with students from VAV, department of Moving Image, Gerrit Rietveld Academy, present an evening of experimental film on the themes of Absence & Departure. The programme consists of eleven short films from the students at Rietveld, as well as three specially selected 16mm films from the EYE collection. To guide you through the evening each section will be introduced with performances featuring the work of Rietveld student Ken Wolff.
Artists’ descriptions of the films are available below:

Intro: letter written by Storm Patterson and Paloma Nicolas, performed by Gant Lee


Along The Road N.5: No Rush (Ruud Monster, 1986, 16mm, sound, 6’20”)
In several series of observational short films, Ruud Monster shows us various facets of Holland and its inhabitants. Part five gives a different view of the Dutch landscape through the inventive camerawork.

Essence of Absence (Carmen Navarro Puig, 2013, digital, sound, 1’42”)
The real essence is not what you can see, hear or feel but that what is not present. The fear of experiencing with the absence of all the components has to be conquered.

Bumpers 1 (Marion Molle, 2013, digital, sound, 52”)
Some strange things are happening at the bottom of the garden. While playing on a trampoline a young man and his best friend discover the consequences of bouncing too close to the sun.
Image Image Image

 (Ebony Hoorn, 2014, digital, sound, 4’08”)
The transition of the spiritual shift from the old to the “new” consciousness.
Image Image Image

Bumpers 2 (47”)

Home: Birth of Ultrabeast (Senne Hartland, 2013, digital, sound, 1’34”)
Four blue rectangles are forced out of their safe homes and into adventure. When confronted by a powerful enemy they must team up with strangers to defeat it, reaching their full potential in the process.
Image Image

Bumpers 3 (48”)

De Slagboom / The Boom Barrier (Carlijn Fransen, 2013, digital, sound, 2’49”)
In the middle of a vast plain I transform into the object.
Image Image

Letter written by Elisa Matse, performed by Storm Patterson


INSIDEOUT (Ken Wolff, 2014, digital, sound, 3’29”)
An experimental short about living in a schizophrenic mind. People with this disease often believe things that are untrue, and may have difficulty accepting what they see as “true” reality. By manipulating time and space, I recreate this emotion in a surrealistic visual experience.
Image Image Image

Icarus (Max Kutschenreuter, 2014, digital, sound, 6’11”)
What if they could dance forever?
Flying, soaring so high
Yet why couldn’t they die together?
Drowning in the ocean, falling out of the sky.
Image Image Image

Transformation by Holding Time – Artist and His Muse (Paul de Nooijer, 1976, 16mm, sound, 2’58”)
We see a photographer taking shots with a Polaroid of a naked model on a sofa. He sticks the Polaroids progressively onto an invisible pane of glass right in front of the camera until in the end only this newly created photographic “mosaic” of the woman can be seen.

Desert of Stones (Raluca Tudorache, 2014, digital, sound, 5’42”)
The work describes a historical gap between then and now, the emptiness caused by a traumatic war experience and the resistance against forgetfulness in a world of perpetual transition to something new, unexpected, full of hope and dreams. More about the film. More about Desert of Stones.
Image Image Image

Letter written and performed by Ricci Hessling


The Boat (Marco Pando, 2009, 16mm, silent, 9’12”)
Historically, the boat exemplifies the adventure of discovery of the unknown and lost paradise. Nowadays citizens from those places that have been discovered, travel by boats in the hope for freedom in countries of the “discoverers”. As a temporary Dutch citizen I developed a collaboration project with immigrants living in The Netherlands. From the shore of the Dutch sea, as a metaphor of the discoverer’s journey and the journey of those who were discovered, the immigrants performed a walk in a shape of a boat through the city of Amsterdam and back to the sea. The narrow streets and main squares of Amsterdam represent the historical stage of past and present. More about The Boat (Marco Pando website).
Image Image

Waar ik ook ben / Wherever I Am (Kim Dijkstra, 2013, digital, sound, 4’11”)
The revelations of a wandering mind can be confusing at times. Subconsciously mixing up the future, past, present, and daydreams may lead to the realization you are not always where you think you are.
Image Image

Future Branche (Hugo Rocci, 2013, digital, sound, 2’18”)
A Parrot comes from the future to give you an advice.
You will be happier in the future.
Image Image

Zonsopgang / Sunrise (Merel van Beukering, 2014, digital, silent, 2’33”)
This recording of the sunrise arose from my fascination with the mystery of our existence. When you really see the sunrise it’s possible that you have a sublime experience. I wonder that the sunrise can give a sublime experience while it’s at the same time a really daily happening.
Image Image Image

Epilogue: extracts of a letter written by Stieg Larsson on 9th February 1977, performed by Lisandro Suriel



Absence & Departure – Hand Out

Text and image compilation: Bobbie Noë, Dana de Leeuw, Elisa Matse, Gant Lee, Ines Aisengart Menezes, Lisandro Suriel, Luisa Fernanda Ordóñez Ortegón, Paloma Nicolas, Ricci Hessling, Stevie Cattigan, Storm Patterson, Victor Pranchère.

Departure Board image – concept and creation: Stevie Cattigan.

University of Amsterdam supervisor: Manon Parry.

Gerrit Rietveld Academy supervisors: Margriet Kruyver, Mariken Overdijk, José Vonk.

Special Film program: John Smith.

John Smith’s films in presence of the filmmaker.

On the 29th of April E*cinema academy will present a special program dedicated to the works of the British experimental filmmaker John Smith, ranging from the 1970s until nowadays. John Smith will attend this screening and introduce his variegated oeuvre and filmmaking experience.

As Michael O’Pray wrote in Art Monthly (2002), John is “one of the most talented filmmakers of the postwar generation, he has attracted admirers from way beyond the narrow confines of the Avant Garde. His reputation rests on a quite unique sensibility which has successfully married three traits – humour, documentary and formal ingenuity – into an indissoluble whole.”

John Smith initiated filmmaking in the 1970s when the Film Co-op London (a film-making worksharing cooperative, which assisted production as well as distribution. It was founded in 1966 and ceased to exist in 1999 when it merged with London Video Arts to form LUX. Work produced by members of the LFMC in the late 1960s and early 1970s has been labelled Structural/Materialist Film http://www.luxonline.org.uk/articles/theory_and_definition%281%29.html) was already experiencing a vital period in which film was under the complete control of the artists: they had their own production company, equipment, optical printer and a distribution network of like-minded people with their own cinemas. What attracted John Smith in film was, among the many aspects, the possibility to experiment with the relationships between language, sound and image. Through this formal approach and a careful investigation of ordinary objects and situations, Smith allows the hidden complexity of the world to be disclosed and perceived.

john smith
John Smith in his film “Regression”, 1999. To be watched on the Lux Gallery website:

Film program on the 29th of April, h 19.15, cinema 4 in EYE:

Leading Light (1975, 16mm, 11’)
“John Smith’s Leading Light evolves a sense of screen depth and surface through the simple agency of light. The film is shot in a room over a period of a day and records the changes in light through the single window. The image is controlled through manipulation of aperture, of shutter release, of lens, but the effect is more casual than determined and the spectator is aware primarily of the determining nature of following sunlight.” Deke Dusinberre ‘Perspectives on British Avant-Garde Film’ catalogue 1977.


Associations (1975, 16mm, 7’)Images from magazines and colour supplements accompany a spoken text taken from ‘Word Associations and Linguistic Theory’ by Herbert H Clark. By using the ambiguities inherent in the English language, Associations sets language against itself. Image and word work together/against each other to destroy/create meaning.


Om (1986, 16mm, 4’)
“This four minute film explores our response to stereotypes – aural, visual and ideological. Smith signals these stereotypes to the viewer through a chiefly associational system, which deftly manipulates the path of our expectations. The structure is stunningly simple and deceptively subtle. We are taken on a journey from one concrete stereotype to its diametric opposite, as images transform and juxtapose to, ultimately, invert our interpretation of what we see and hear.” Gary Davis.


The Girl Chewing Gum (1976, 16mm, 12’)
“In The Girl Chewing Gum a commanding voice over appears to direct the action in a busy London street. As the instructions become more absurd and fantasised, we realise that the supposed director (not the shot) is fictional; he only describes – not prescribes – the events that take place before him. Smith embraced the ‘spectre of narrative’ (suppressed by structural film), to play word against picture and chance against order. Sharp and direct, the film anticipates the more elaborate scenarios to come; witty, many-layered, punning, but also seriously and poetically haunted by drama’s ineradicable ghost.” A.L. Rees, ‘A Directory of British Film & Video Artists’ 1995.


The Black Tower (1985-7, 16mm, 23’)
“In The Black Tower we enter the world of a man haunted by a tower which, he believes, is following him around London. While the character of the central protagonist is indicated only by a narrative voice-over which takes us from unease to breakdown to mysterious death, the images, meticulously controlled and articulated, deliver a series of colour coded puzzles, jokes and puns which pull the viewer into a mind-teasing engagement. Smith’s assurance and skill as a filmmaker undercuts the notion of the avant-garde as dry, unprofessional and dull and in The Black Tower we have an example of a film which plays with the emotions as well as the language of film.” Nik Houghton, Independent Media.

Catherine Lacey’s notes on John Smith’s Black Tower in the Catalogue for The Elusive Sign, a touring exhibition organised by the British Council and the Arts Council, 1988 : http://www.luxonline.org.uk/articles/the_elusive_sign%281%29.html


Unusual Red cardigan (2011, SD video, 13’)
The discovery of a VHS tape of the artist’s films on eBay triggers obsessive speculation about the seller’s identity.


Dad’s Stick (2012, HD video, 5’)
Dad’s Stick features three well-used objects that were shown to the filmmaker by his father shortly before he died. Two of these were so steeped in history that their original forms and functions were almost completely obscured. The third object seemed to be instantly recognizable, but it turned out to be something else entirely. Focusing on these ambiguous artifacts and events relating to their history, Dad’s Stick creates a dialogue between abstraction and literal meaning, exploring the contradictions of memory to hint at the character of “a perfectionist with a steady hand”.


John Smith was born in Walthamstow, East London in 1952 and studied film at the Royal College of Art. Initially inspired by conceptual art and the structural materialist ideas that dominated British artists’ filmmaking during his formative years, but also fascinated by the immersive power of narrative and the spoken word, he has developed an extensive body of work that deftly subverts the perceived boundaries between documentary and fiction, representation and abstraction. Often rooted in everyday life, Smith’s meticulously crafted films rework and transform reality, playfully exploring and exposing the language of cinema.
Since 1972 John Smith has made over fifty film, video and installation works that have been shown in cinemas, art galleries and on television around the world and awarded major prizes at many international film festivals.
John Smith lives and works in London. He teaches part-time at the University of East London where he is Professor of Fine Art. In 2011 he received a Paul Hamlyn Foundation Award for Artists and in 2013 he was the winner of Film London’s Jarman Award. His work is held in numerous collections including Arts Council England, Tate Gallery, Ella Fontanals-Cisneros, Kunstmuseum Magdeburg, Ferens Art Gallery and Wolverhampton Art Gallery. He is represented by Tanya Leighton Gallery, Berlin.

Please refer here for the complete filmography of John Smith:


Some article links to discover more about John Smith:

On the Films of John Smith by Adrian Danks, Senses of Cinema online magazine (2003):

Interview with Bryan Frye, Millennium Film Journal issue 39/40 (2003):

John Smith: Of process and puns Pushed to the Limit – Films and Videos by John Smith
Fred Camper, Chicago Reader (2001):

Text and Image compilation by Anna Dabrowska. References: http://www.johnsmithfilms.com, http://www.lux.org.uk and the above listed article links.

Hand-out: Hand Out John Smith

Text and image compilation: Anna Dabrowska.


(Excerpts from) ‘MAN [MADE GODS] AND COMMUNICATION’ is curated by the Department of Man and Communication*, one of the design departments of the Design Academy in Eindhoven and pays homage to technology, failure and curiosity. Departing from the pioneering explorations of the former research and development department of Philips’ ‘Natlab’ and Le Corbusier, Iannis (Yean) Xénakis and Edgard Varèse’s le Poème Électronique, the program will take the audience on a time-traveling quest for the future, confronting the complexities of every day life by illuminating contemporary digital means and sensibilities within media explorations and technology battles.
Accompanied by an interactive orchestra of students and recent alumni from the department of Man and Communication and followed by a discussion about ‘The role of film in design education’.

* in dialogue with the EYE film collection (films presented by the EYE senior curator, Mark-Paul Meyer)

With: Magnús Ágústsson, Georg Gross, (Misha Gurovich,) Quentin Pechon, Filip Setmanuk, Stefania Vulpi (interactive orchestra), Daniela Treija (triptych), Valéry Overhoff (Tweets), Tessel Brühl, (Matthijs Holland,) Thalia de Jong and Hannah Vischer (alumni)

Moderated by: Catelijne van Middelkoop & Ryan Pescatore Frisk

Original performance by: Rebecca Absil, Magnús Ágústsson, Tao Chan, Jella van Eck, Eelke Eugelink, Georg Gross, Misha Gurovich, Kim Hou, Ymkje Kamphuis, Anastasia Kubrak, Dewi Kruijk, Laura Mangone, Valéry Overhoff, Quentin Péchon, Gwendolyne Röttger, Willeke Scholl, Aina Seerden, Filip Setmanuk, Dion Soethoudt, Sara Sturges, Emma Verhoeven, Stefania Vulpi & Jinny Wonggornworawej


Georg Gross, Quentin Pechon

“When the era of digital breakdown will really happen, all inputs, medium and media, computers…, will be gone. The electronic will subsist in its most simple way. We anticipated this and brought together as a curiosity cabinet, the most essential electronic machines, and give them a voice, this speechless voice, where the technology is outdated, but still receives and produces: waves, lights, noises… So that people can bound with analog technology, we propose several forms of interaction, and forms of creation It is a poetic approach towards the interaction with analog devices and whether they still can belong to our future. We refer to the Nat Lab couple: Dick Raaijmakers and Tom Dissevelt in the sense that they were pioneers of the analog.”


G. Gross, Q. Pechon (Natlab 22-11-13)

Homegrown Soundscape
Magnús Ágústsson

“I envision a future genre of music. It is living, and originates from two worlds which we encounter every day, but never hear. It is the sounds of the planets and the microbes living around us. By recording the growth of certain microbes (yeast for example) and harvesting the radio signals emitted by the planets. The songs are living and evolve according to the growth patterns of the microbes and the state of the planets. The soundscape has an aesthetic quality obtained from the contrast in size, the rhythmic properties of the microscopic sounds and the slow melodic ambience from the macroscopic These methods of growing and harvesting sounds could be used as a platform for a new music genre. The two different worlds offer a living source of sounds, constantly changing, which can be obtained for composing music. Creating a new genre of a homegrown soundscape.”


M. Ágústsson (Natlab 22-11-13)

Be Thou My Vision – Psalm 139:1-18
Filip Setmanuk

“The Internet has become our everyday religion, we follow its rules and systems that have been given to us, many of us dedicating our daily time to this medium. Since the internet works as an open database of information, it consists of many different branches, both positive and negative. We individually and communally, use these to our advantage in many different ways, which is also an idea that reflects though out religious practice. Religion itself holds tradition and knowledge of the past but on the other hand it can also sometimes be described as radical and in some cases violent. My intension was to create computer pipe organ which consists of sounds from different branches that we find on internet: social networks, supranational institutions, advertisements, chat rooms, pornography, games, pointless and brand websites. With the internet as our religion, the content creates our hymns. Religion has inspired music over hundreds of years and I believe that as our world revolves more and more around the internet, it in turn will do the same.”


F. Setmanuk (Natlab 22-11-13)

Stefania Vulpi

“The word was the power of men. They invented machines and created technologies to extend the possibilities of communication, beyond the given limits of nature. Thanks to them men could see, talk, write to anyone in the world, with no effort at all. The distance in time and space was suddenly solved. The emotive distance instead was only enhanced. Men started hiding behind screens instead of talking to each other, alluded that communication was just growing easier, faster and better. They were in touch with the whole world in the loneliness of their rooms. This is the future. This project is the exasperation of future communication. A striving attempt to communicate with the world and the impossibility of understanding the message.”


S. Vulpi (Natlab 22-11-13)

Human Made Nature
(Misha Gurovich*)

“Explanation #1: We are homo sapiens, which means that we are smart. The fact that we are smart makes us ambitious, and our ambition is to control and influence everything around us. We are comforting our existence by implementing technology into our surrounding. It started many centuries ago when the first men made their first tools, weapons and learnt how to control fire. For a long time we were just organizing things into order. Building cities, gardens, parks. Then we scarred the surface of the earth with highways and trains. We pollute, genetically modify and clone. We learnt how to modify something, that maybe we shouldn’t modify. We started to change alive beings, we interrupted sacred process of evolution, we play GOD. If we can make things that look, taste, smell, grow and live diverse from the natural way, i guess there is no big deal that it also sounds different.
Explanation #2: The truth is I really wanted to make music instruments.
Explanation #3: The truth is I really wanted to make music instruments and connect it to one of the topics in the Poème Électronique. I chose harmony. I believe that harmony is something that could be achieved by total compromise of A and B. In my situation nature would be A and technology would be B. By mixing them together I hope that harmony could be reached, with the little help of music.”

* Played by Magnús Ágústsson

Screen Shot 2014-04-04 at 11.22.52 AM

(Rebecca Absil, Valéry Overhoff, Sara Sturges &) Daniela Treija (triptych)

“Shrine [shrahyn] noun · a place regarded as holy because of its associations with a divinity or a sacred person or relic.
As we move into a time where we become our own gods, become one with technology and involve ourselves in worldly matters more than ever before, how does technology and outer influence change the way we see ourselves? We want to celebrate and commiserate this with our own interpretation of a shrine, an interactive experience where the amount of information and involvement is controlled by the participant, a shrine for us in our modern time.”



T. Brühl (DAE, Man and Communication, June 2011)

T. Brühl (DAE, Man and Communication, June 2011)

in de hoop dat rouw draagbaar wordt
Tessel Brühl

“een film die in visuele metaforen een persoonlijk verhaal laat zien dat bij iedereen die het verlies van een naaste kent herkenbaar is

het rouw ritueel is in onbruik geraakt.
we rouwen niet openlijk meer
we dragen geen rouwkleding
we vieren geen sterfdagen
we vinden dat rouwen iets persoonlijks is,
wat je dus ook persoonlijk op moet lossen
iedereen rouwt op zijn eigen manier,
zeggen ze.”


M. Holland (DAE, Man and Communication, June 2013)

M. Holland (DAE, Man and Communication, June 2013)

Escapism ’13
Matthijs Holland

“It is 2013.
The world is so accessible that everything comes towards you all at the same time. We have access to almost all the information and choises are innumerous. Sometimes it is so much that you would like to escape it for a while. Escapism is something from all times however now in 2013 we have put our ability to escape in somebody else’s hand. Nowadays we are surrounded by passive entertainment such as video games, social media and downloadable movies that give us the chance to comfortably slip away for a moment.
We have lost the contact with our own capability to escape hence to the overload of input and choises. We have become so accustomed to only taking without looking for it within ourselves. However the most beautiful tool to escape is something we all posess, namely our abilty to imagine and fantasise. They are our access to a greater world where all freedom lies to dream.
With a film I wanted to show that in our selves there is a much bigger world that can let you escape reality. The viewer is sucked in the mind of a man and exposed to his fantasy and imagination until you are brought back again in the present. His world shows us bizarre scenes that stimulate us in their incomprehensibility. In the same manner everyday life can trigger your fantasy and let you escape. With this movie I want to show us the wonderfull world of fantasy and imagination that we all posess in ourselves that we can use to escape reality.”


H. Vischer (DAE, Man and Communication, December 2013)

H. Vischer (DAE, Man and Communication, December 2013)

Informatie als product
Hannah Vischer

“Informatie is een product, net zo goed als een stuk kaas of een rol ducttape dat zijn.
Ergens aan het begin van het productieproces zijn al allerlei keuzes gemaakt, is een benadering gekozen, zijn kernzaken vastgesteld en bijzaken weggelaten, en is het onderwerp afgebakend en ingekaderd.
Dat wil zeggen dat informatie eigenlijk altijd een menselijke stempel heeft. Of met andere woorden: informatie en data zijn in wezen altijd subjectief. Maar het gekke van informatie is dat het wel wordt gepresenteerd als de waarheid, de manier ‘hoe het nu eenmaal ís’.
Wanneer je deze subjectiviteit zo veel mogelijk verhult, lijkt het of de data objectiever zijn, dus ‘waarder’, en dus ook waardevoller.
Hier schuilt dus een contradictie in. Het lijkt alsof het zijn waarde verliest, op het moment dat we ‘bekennen’ dat het eigenlijk een weergave is.
Piecharts functioneren in het project als icoon voor data en informatie.
In deze film laat ik informatie (piecharts) de rol innemen van een tastbaar product, waar zowel producenten (het maken van informatie) als de consumenten (het gebruiken van informatie) worden getoond.”

Texts by: Catelijne van Middelkoop & Ryan Pescatore Frisk and students and alumni of the Department of Man and Communication @ Design Academy Eindhoven


Hand-out:Hand Out Design Academy EINDHOVEN

E Cinema Academy with AKV St. Joost – Stranger than fiction

On Tuesday 18th of March the Master of Animation at AKV St. Joost will host the edition of E Cinema Academy. In STRANGER THAN FICTION, we will look at how technology changes our view on animation.

Animation has become more and more pervasive in contemporary image culture. Technology has played a big part in this development, particularly digitalization. New technology also makes us look differently at history: animation has usually been understood as a subset of film, but now with animation and special effects taking over, some argue film has become a subset of animation. TinTin, a feature film relying on motion capture for the creation of its characters, sparked an interesting debate at the Oscars about where to draw the line between live-action and animation. So technology makes us review the boundaries, or even the essence of what we think is animation.

atoneviewIn dialogue with the EYE archive we will look at the past and present of the animation practice.
Floris Kaayk (former student at AKV St. Joost) will talk about his project ‘Human Birdwings‘ and how the internet has brought about new opportunities for storytelling. This project made use of the Xsens motion capture technology AKV St. Joost has available for the students. Floris will also look back at how technology has changed during his artistic career. Jeroen Koffeman, currently a student at the Master of Animation, will demonstrate motion capture connected to a project he has worked on and will explain a little bit about the working process.
In the film program that follows we show ‘At One View’ (1989), a classic experimental film by Paul & Menno de Nooijer in which they discuss photography as an art form and its relation to film and painting.

‘Pas de Deux’ (1968), a film by Norman McLaren, is coupled with a project from the master, called ‘Infusion’, made by former students Laura Dumitru and Setareh Goodarzi. McLaren worked with an optical printer to animate the movements of a dancer; Laura and Setareh used MoCap and After Effects.

aliceatseaFinally Disney’s ‘Alice’s Day at Sea’ (1924) makes us aware that some ideas never change, and that even what all the technical changes animation is always going to be about its unlimited potential to visually represent scenarios that have little or no relation to our experience of the ‘real’ world. In this film we follow Alice diving from the real world into an animated world. To top it of you as a visitor can plunge into the virtual worlds of the Oculus Rift, a new VR technology, which is set up at the end of the program for you to try out.

Get your tickets here.

Program curated and presented by Sarah Lugthart, teacher of mediatheory and coaching research projects at art academy St. Joost.

Text and image selection by Sarah Lugthart.

Hand-out: Hand Out StJoost

Suggested reading by the EYE Film Institute Library

When you search for Andy Warhol in the EYE Film Institute Library Catalogue you get over a hundred hits. Dozens of books, articles and clippings written on the life and works of this infamous artist.

One of the founding fathers of Pop art, working with a group of like-minded souls in the illustrious Factory, Andy Warhol is mainly known for his paintings of celebrities and depictions of commercial brands.


However, the man responsible for the iconic picture of a peelable banana on the Velvet Underground album cover, also made several movies. A lot of people deem Warhol’s movies unwatchable. He, for instance, made a six-hour long movie called Sleep in which you watch a man sleeping for six hours.


The movie Empire depicts the Empire State Building shot from a distance for the duration of 8 long hours. Surprisingly enough not many people came to the conclusion that boredom might be a factor in Warhol’s reasons for creating these movies. Julian Jason Haladyn writes about the boredom of Warhol’s movies.


Andy Warhol is one of the most copied artists in the world. Innumerable reproductions and adaptations of his works can be found everywhere. British street artist Banksy gave the famed notion of ‘in the future every person will be famous for 15 minutes’ a twist with his adaptation ‘in the future every person will be anonymous for 15 minutes’. More on this subject can be found on the website by this Quote Investigator.

If you want to do some old-skool flipping through the paper pages, you are more than welcome to visit our library. You can for instance dive into Pop : the Genius of Andy Warhol by Tony Scherman and David Dalton. Or you can give The black hole of the camera : the films of Andy Warhol by J.J. Murphy a try. If you’re done with those, I promiss you there’s lots more where that came from!

Please make an appointment by sending an email to bibliotheek@eyefilm.nl.

Famous for Fifteen Minutes (1960’s) – 4 March h 19.15


On Tuesday the 4th of March at h 19.15 E*cinema academy will present a film program about Pop culture and mass media, which played an important role in the aesthetics of the New York underground of the 1960s. One of the most relevant figure of those times was Andy Warhol to whom this screening is dedicated. For him, filming was life, and life was a film.
The program will be presented by Anna Abrahams, programmer EYE, experimental film director, teacher at KABK and author of the book “Warhol film”, Rongwrong, 1989.

Music live performance by The Job. http://www.thejobmusic.com
Ibelisse Guardia Ferragutti – Wurlitzer, bass, Korg, voice
Oscar Jan Hoogland – electric clavichord, guitar, Moog, voice
Jochem van Tol – organ, guitar, turntable, voice
Onno Govaert – drums

EYE will screen:

Andy Warhol’s Silver Flotations by Willard Maas (16 mm, 1966, 5 min, colour, sound, Lightcone film copy)
Andy Warhol’s Silver Flotations is a portrait of Warhol’s famous installation of floating silver helium-filled balloons at the Leo Castelli Gallery in 1966. Willard Maas’s lyrical “film poem” is the only visual document of this seminal exhibition.

silver floatations

Filmmaker and poet Willard Maas (1906-1971) was married to filmmaker and painter Marie Menken. Together they were a legendary couple in the New York art world, not only for their influential underground films, but also for their lavish parties and salons, which brought together artists, writers, filmmakers and intellectuals. According to Warhol, “Willard and Marie were the last of the great bohemians. They wrote and filmed and drank (their friends called them ‘scholarly drunks’) and were involved with all the modern poets.” (www.eai.org)

Andy Warhol by Marie Menken (16 mm, 1965, 22 min, colour, silent, Lightcone film copy)
Andy Warhol is a lyrical exploration of Warhol’s creative process by filmmaker, painter, and actress (Chelsea Girls) Marie Menken. Using a hand-held camera, Menken captures Warhol and his assistants, including Gerard Malanga, as they work at the Factory. The result is an intimate portrait of the artist in the process of creating some of his most famous works, including the Brillo boxes, the Jackie series, and the Flowers silkscreens.


With her husband, underground filmmaker and poet Willard Maas, Menken (1910-1970) created the Gryphon Group (which also included Stan Brakhage, Charles Boultenhouse, Gregory Markopolous, Ben Moore, and Charles Henri Ford) as a cooperative organization to further the production and distribution of independently made films. Writes Warhol, “Marie was one of the first to do a film with stop-time. She filmed lots of short movies, some with Willard, and she even did one on a day in my life.” As a painter, Menken was concerned with capturing light and its effect on textured surfaces and colors, qualities that are carried over into her films. (www.eai.org)

Blow Job by Andy Warhol (16mm, 1963, 36 min, colour, silent, EYE film copy) with live music performance of THE JOB.
Blow Job consists of one, silent, monochrome shot filmed in January 1964. It depicts the face of an uncredited DeVeren Bookwalter as he apparently receives fellatio from an unseen partner. While shot at 24 frame/s, Warhol specified that it should be projected at 16 frame/s, slowing it down by a third.


An article about “Blow Job”, Andy Warhol and POP on Senses of Cinema: http://sensesofcinema.com/2001/cteq/blow_job-2/

Andy Warhol (August 6, 1928 – February 22, 1987) was an American artist who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture and advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist.
Warhol’s art encompassed many forms of media, including hand drawing, painting, printmaking, photography, silk screening, sculpture, film, and music. He was also a pioneer in computer-generated art using Amiga computers that were introduced in 1984, two years before his death.
Between 1963 and 1968, he made more than 60 films plus some 500 short black-and-white “screen test” portraits of Factory visitors. In the early 1970s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol’s death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. (wikipedia)
More inforomation on: http://www.warholstars.org

Hand-out: Hand Out POP