5 April – Roger Ross Williams interview + The Apollo

Documentary maker Roger Ross Williams is interviewed by Nagaré Willemsen, visual artist and coordinator of the Black Student Union at the Sandberg Institute and the Gerrit Rietveld Academy. Williams’ virtual reality work Travelling While Black is the starting point for a discussion on Black Identity in American society and how black artists engage with it. Followed by a screening of The Apollo, Williams’s latest film and audience favourite at the previous edition of IDFA.

Eye presents Roger Ross Williams’ VR project Traveling While Black (13.00-21.00) from 4-14 April.


The Apollo

8 March : Avant-Noir

Curator and media scholar Greg de Cuir Jr, a specialist in the field of black cinema, presents a selection of contemporary short films by black filmmakers. In 2019  De Cuir Jr curated the pioneering programme Black Light for the film festival of Locarno. The lengthiest contribution is the intense Handsworth Songs, an experimental account of the riots in Handsworth, Birmingham and London in 1985.

Greg introduces the evening with a brief presentation on the – marginally known – history of black film and filmmakers.



Until, Until, Until… (Edgar Arceneaux, US 2017/2018, 48’)
So They Say (Ayo Akingbade, GB 2019, 12’)
Handsworth Songs (Black Audio Film Collective / John Akomfrah, GB 1987, 61’)

3 March – New Selected Artist’s Moving Image

New Selected Artist’s Moving Image

The new selection of Eye’s artist’s moving image: experimental and artist films that are distributed by Eye to international festivals. The programme highlights recent trends in the artist’s film and the short experimental film. Most of the filmmakers featured in the programme are present for a Q&A.


Re-sculpted in Time: Sanatorium Zonnestraal (Michiel van Bakel, 2020) 10′
Drifting between data, images and seemingly incompatible moods: Tarkovsky’s cinematic dreams on the one hand and utopian architecture Sanatorium Zonnestraal’s (Jan Duiker, 1931) on the other. The sanatorium turned into point clouds where you fly through – as in a dream.

The Silent Ray (Rossella Nisio, 2019) 18′
The man’s presence lingers in the room that for years served as his study. Present and past intertwine as he follows threads of his memory and recalls the time of his participation in the colonial war against Ethiopia in 1935-36.

The restless dread of some(thing) evil (Silvia Martes, 2019) 17′
A dystopia in which humans have a body part removed based on a conviction that such amputations will extend their life. At a facility specializing in these operations appears for the first a woman wanting to get rid of her heart.

Cloud Forest (Eliane Esther Bots, 2019) 18′
A fairytale-like film in which five Dutch girls take the viewer on an imaginative journey through their parents’ experiences of the war in the former Yugoslavia. A war which the girls haven’t physically experienced themselves. The narratives are a combination of facts and imaginations, vague memories and detailed impressions, transferred from the parents to their daughters. It is in the darkness, in the shadows, lit by mobile phones, where these narratives can unfold.

The Ride (Esther Polak en Ivar van Bekkum, 2019) 12′
It’s a clear and starry night. Road markings are lighting up with reassuring regularity. We only see the view through the windshield, but from the sparse dialogue we know we are in the company of a man and a woman. They’re on their way to a place where something bad happened long ago. The visual landscape of impersonal Google Earth satellite images counterbalances the emotional charge of the short, low-key sentences and the sound of amplified heartbeats.

Awards Research Labs 2020

Winners Eye on Art Research Lab 2020 – Eye jury

This year’s edition of the Eye on Art Research Lab stood out in quality of both programs and individual works. The programs were all well curated, and artistically and intellectually entertaining. The mix of live performance and film screenings and the use of ‘bumpers’ have become common features of most programs and was highly appreciated by the Eye jury. Most programs contained also one or more films or installations that surprised and intrigued the members of the jury, and which demonstrated a great variety of highly talented upcoming artists.

The Eye jury considered several individual works (films and installations) for the award of ‘best work’. Considering the conceptual power, artistic quality and originality, the jury gave a honourable mention to “La Senda” by Ed Chilton (Royal Academy of the Arts). The jury decided however to award “Flowers of the Motherland” by Yannan Pan (Master Institute of Visual Cultures (MIVC) which is part of St.Joost School of Fine Art and Design) with the prize for the best work, for its artistic urgency and its formal qualities. As part of a program on systems and power structures, “Flowers of the Motherland” showed in an imaginative and powerful way the effect of binding and limiting forces, making expressive use of colour and black and white and the metaphor of the flower. Her second film in the program, “Young Eagle Flying”, underlined her artistic and conceptual capacities to represent issues of power and totalitarianism in a playful and communicative way, which is however not to be taken frivolous and impossible to ignore.

The prize for the best program was awarded to Leiden University. This program had a clear concept that was researched and presented in a consequent and coherent way. The concept of ‘walking’ was at the end of the program translated into a performative walk that took the audience outside the building of Eye which extended the cinema space to the riverside of the IJ. The jury appreciated the investigating attitude of the curators and that they included the experience of walking as part of the program to call attention to walking as both a physical act and as a condition for reflection and interaction. A nice leaflet, the basic idea to react on other activities in Eye, the exhibition in particular, as well as the creation of a wider platform for comments and reflections by means of Instagram accounts, completed the overall structure of a fascinating program.

leiden winnars

Students of Leiden University at the award ceremony.

The Eye jury highly encourages the ‘research’ in the ‘Eye on Art Research Lab’ and seeks for authenticity and effectiveness in the results. The jury believes both winners answer to these criteria in playful, bold and exceptional ways. The Eye jury looks forward to adding the best work to the collection of Eye and to welcome all participants of the Research Labs to our future programmes and events.


Winners Eye on Art Research Lab 2020 – Student jury

Best work: the installation Perception by Farah Shretah

student jury diner 3student jury diner

Student Jury at work: Luca Soudant (Sandberg Institute), Lea Novi (Piet Zwart Academy), Shifra Osorio Whewell (Rietveld Academie), Rebecca Nevins (Leiden University), Hussel Zhu (AKV| St.Joost Academy), Anca Barjovanu (KABK), Maya Barenstein (UvA).


Other pictures of the day:

rietveld performance

The introduction performance of the Rietveld Academie by Meis Vranken and Ilona West.

poster installation by rowena

Poster Installation “When Did You Become a Heterosexual?” by Rowena Buur

29 February: Research Labs 2020

Eye on Art’s Research Labs provide scope for a new generation of curators and artists to hone their skills. Students from different art academies and universities are asked to put together a programme featuring their own work and films (including remixes) from Eye’s collection. Research Labs do not follow a strict format and often result in a cultural crossover between film and other art forms.

The best curated programme and the best work will be awarded by two different juries.

The student jury includes Luca Soudant (Sandberg Institute), Lea Novi (Piet Zwart Academy), Shifra Osorio Whewell (Rietveld Academy), Rebecca Nevins (Leiden University), Hussel Zhu (AKV| St.Joost Academy), Anca Barjovanu (KABK), Maya Barenstein (University of Amsterdam).

The Eye jury includes Mark-Paul Meyer (senior curator), Claartje Opdam, (project manager exhibitions), Edith van der Heijde (experimental film distributor), Marian Cousijn (Eye on Art program assistant).


Please find the whole program on a word doc or scroll down:

RL 2020 handout

10.00-19.00 – Waterfront   VR Installation : IVF-X Posthuman parenting in hybrid reality: Become a digital parent now! by Victorine van Alphen

In the future, what will it mean to breed or reproduce if it is not so much a physical matter but a matter of choice and technology? Speculating on the future of human reproduction, Victorine van Alphen created a hybrid reality in which you can breed & meet your own cyborg baby based on human characteristics in post- human bodies. After a kafka-esque interview with futuristic elements you will encounter your interactive cyborg baby, uniquely rendered for you, based on your answers.

Artist & philosopher Victorine van Alphen is interested in achieving a togetherness in VirtualReality: Can we as physical beings feel a togetherness with digital beings? What does it mean to be a ‘digital being’?  Furthermore, as 21st century woman, she is fascinated by the tendency of technology moving more and more away from the body and its obstacles, leaving us free to choose for parenthood, without even sleeping with a partner, or in the future, perhaps without even having a body…

10.00-21.00 – Project Space Installation : Perception by Farah Shretah

The capacity of the mind or soul is what actively ‘sees’ and understands. In other words,  “Reality” is a huge word. Sometimes the unknown in our head is intertwined with our visualization. Reflecting these moving images on broken mirrors, floating on the water surface. It seems similar to what I experienced. But it’s only me who relates to it this way.

I notice myself trying to bring the past to this space, but relying on a collage of different people’s memories. Using patterns of looping images, playing on small screens, it shows a mix between reality and hallucination. The effect of playing back music is driving me back, testing my memories. Maybe I can remember what it feels like, to be home. Home is not just what was in the past, home is where I feel safe.

It’s not important  for my work where or how it ends, because I am trying to create a memory with you all. Somehow my images, my words or performance and sounds, will create an idea in your head, and you will experience it.  It might take you somewhere else or remind you of some old feeling. This experience will be your new memory as you start watching.

I hope our energies connect.

10.00-19.00 – near Project Space Installation : ¿ɹǝʇʇıl ɹo ɓoℲ  by Lauren Fong Nápoles Gonzáles

The video game explores the concept of navigation in relation to a background of cultural

in-betweenness and mixed cultural identity as a first generation Cuban-European, all set within the framework of a fictional post-revolutionary Cuba. The journey of the main character begins at her wake within her own dream, as she wanders through the spaces that embody her inner world/hybrid matter: an in-between space where memory and fantasy overlap. In this dream you’re guided towards a labyrinth of memories that merge into a loop: the embodiment of the malleability of identity and the non-fixation of the self.

10.00-22.00 – near cinema 2  Poster exhibition: When Did You Become a Heterosexual? by Rowena Buur

 The poster exhibition exists around sexuality and the heteronormative morals that society spits in our face. Within the project Buur explores the daily and (in)visible aggressions that LGBTQI+ people have to face. It is a protest against oppressing morals, a protest that aims to make a reflection and a transformative reaction by reversing recurrent comments, questions and opinions that we didn’t ask for, so… When did you become heterosexual?

10.30 – cinema 2

Whatever colour you have in your mind

Gerrit Rietveld Academy


The theme of this year’s Research Lab contribution by the VAV – Moving Image Department of the Gerrit Rietveld Academie is ‘Whatever colour you have in your mind’ (Bob Dylan), a theme linked to the Studium Generale of 2020 titled, Relating to Colour; the affect and agency of colour in our daily lives and artistic practices.


A range of key words connected to this theme will be tackled by our students emerging into a broad range of ‘black-box-works’. As a starting point in trying to approach colour with all our senses, visual, sensual, textual, audible and political, the students will drift through all sorts of coloured realms that surround us in our everyday life, be it multi coloured or the more grey-some zones of twilight where colour merges into the shadows of the night.

colour pencil

Thinking colour is seeing colour in all dimensions. Even a simple clear line of a colour pencil on white paper can enchant our eyes. In very different ways the participating students investigate the implications of these worlds. And they use all the tools that video and film offer as a vehicle for their imagination.


11 Bumpers by Charles Debord

Fabula Rasa is a series of hand drawn animated scenes that give shape to a universe. Archetypal forms appear and exist in a cyclic time. The vague underlying story is forever revolving in another reality. Animation here allows the author to give an existence to its formal vocabulary in a cinematic medium that derives from a visual thinking that starts in drawing. The scenes are, in order of appearance: Flex, Body, Dance, Angle, Newlands, Grid, Silhouettes, Utopia, Shadows, Crown, Volcano.

607nm by Elisabeth Mesnier

A wave length of 607 nanometers on the visible spectrum. Scattered around in the house, it piles up for a moment, gathers into the big and small, the hard and soft, the useful and the futile. It covers and sinks to compact itself into the narrow frame of the camera, visible at a glance in its entirety.

The Dawn by Xinzhu Wu

What happens during the transition of day and night? I always wander in the forest and forget about the time. The last minute before the sunset, I rush out of the forest. This game is endless. Darkness throws ND filters in front of me fast. It’s a magical moment for both animals and human. What I cannot find in the day time, I feel them in the dark.

Documentary about the house by Meis Vranken

What does it mean to live in a room? Is to live in a space to take possession of it? What does taking possession of a place mean? From what time does a place become truly yours? Is it when you’ve put your three pairs of socks to soak in a pink plastic bowl? Is it when you’ve heated up your spaghetti over a camping-gaz? Is it when you’ve used up all the non-matching hangers in the cupboard? Is it when you’ve experienced there the throes of anticipation, or the exaltations of passion, or the torments of a toothache? Is it when you’ve hung suitable curtains up on the windows, and put up the wallpaper, and sanded the parquet flooring? (From: Georges Perec, Species of Spaces)

Het Strijkorkest by Ilona West

This is my brightest green, I will never hear the sound of my brightest green. Because I only have one, it will never strike to flame. Brightest green is the last musician in the striking–orchestra of matches. The first introduction episode will show a brief selection of the orchestra. Every colour has another sound. A video album of colour symphonises is in the making.

Hopende Wachters by Zep Nieuwenhuijs

Most of our lives are spent waiting.  What happens in this in-between: these moments of expectation? Seemingly empty, they are still subject to the vibrancy of life: filled with colour, depth, and intensified at night.  Night lights illuminate the city: the glow of streetlights, cars, or bus stops.
A composition of four screens illustrates the way colours deepen with the night.

Each scene depicts a person in active anticipation.

¿ɹǝʇʇıl ɹo ɓoℲ  by Lauren Fong Nápoles Gonzáles

The film explores the concept of navigation in relation to a background of cultural

in-betweenness and mixed cultural identity as a first generation Cuban-European, all set within the framework of a fictional post-revolutionary Cuba. The journey of the main character begins at her wake within her own dream, as she wanders through the spaces that embody her inner world/hybrid matter: an in-between space where memory and fantasy overlap. In this dream you’re guided towards a labyrinth of memories that merge into a loop: the embodiment of the malleability of identity and the non-fixation of the self.

Self-Reflection #1 by Emile Weisz

An animation film exploring occurrences and structures within the artist’s inner world visualising it with a highly symbolic tone. The process of making can be compared with the craft of meditation wherein you learn to observe the way, will and form of consciousness. Rather than applying a clear narrative to the film, it is more about being in the space of your mind and getting an understanding with whatever comes up and playing with that. In Self-Reflection #1 as day breaks we enter a world where there are big and small people, who don’t get along.

A trip by Ju-An Hsieh
The white sprays of the sea, merging the entire colour spectrum, vanishing into colorlessness. What do we really see? In this film, the artist shares her childhood memories and the art project ‘Voir la mer’ by Sophie Calle to talk about a philosophical question: can we see through the essence of things?

~m • by Ursula Marlee Marcussen and Georgina Dávid


landing on a leaf

whisper of the sky


undressing The Earth




through the sturdy fabric of soil


now it’s open

come lay in here dear


with the worms

in the sleeve of the Grassy Coat


while the dark cradle

keeps opening

keeps opening

keeps opening…

Mirage by Nina Blagojevic

The video takes us to a journey at Disneyland Paris. The atmosphere of the park directly links to childhood memories, and therefore leads to a feeling of nostalgia. The video begins with the traditional fireworks in the park. The landscape slowly transitions into an ambiguous scene. The flowing elements

and the saturated colours create a feeling of confusion – the vibrant colours of the Fairyland are gone. What is shown may not be interpreted as being safe anymore, as the images become blurry and distorted. The abstract scene challenges the illusion conceived by Disneyland in order to make the visit a brief and unique experience for everyone.

Most Gracious by Shifra Osorio Whewell

‘Order!’ goes the cry. But still the lords shout and the hordes whinge and the battle rages. The queen, her royal majesty’s ‘Most Gracious Speech’ is about anything but grace. In the Houses of Parliament they don’t hit each other with flaming sticks, yet, but they may as well. Will we ‘build Jerusalem in England’s green and pleasant land’ like Blake imagines in his once anti-establishment poem, turned patriotic hymn, once everything has been destroyed in the blaze? We’re not crying, the smoke got in our eyes. Cheerio chaps.

Colour Fades by Athena Potamianos

As I stepped out of the car, I could not understand where I was. I tried to find the point where the sea stopped and the sky began, but I couldn’t find it. I felt disorientated. As I sat down and stared into the distance, I perceived how the colours would change and mix into each other. It resulted in a very dark blue colour on one side of the mountain, which would change through light blue, pink, orange, red, green and back to blue on the other side of the mountain. I was amazed by the colours created in the sky, that made the horizon disappear completely. As I tried to find a place and time to film this in the Netherlands, I realised I kept finding the perfect horizon view instead. That is the magic of this place, the different lines created by colours, instead of them dissolving into each other. To give this film more depth in these coloured lines, it is accompanied by a live performed sound piece.

11.45 – cinema 4

Subterranean Grids

Sandberg Institute


A Queer Programme Curated by Luca Soudant.

What does it mean to belong in a communing sense of non-belonging? Queer bonding is a subterranean grid-practice in which our messy currents meet and spark below formal structures. Within institutions, we connect on underground levels. The selection of works is by current or former Sandberg students and can be approached as – but should not be reduced to – acts of queering and subverting dominant orders.

Alice Slyngstad (first year Fine Art)

Alice Slyngstad makes performances where architectural sites and bodies become resonance chambers for mental voids, excitement and nervousness. Working with text collages, musical compositions and choreography, Slyngstad makes spatial sequences reflecting on the shaping of language and identities. By dwelling in awkward moments, they negotiate the tension between performers and audiences as well as space. Recent performances include «Soft boiled» at Les Urbaines festival in Lausanne (2019), «Magic Towel» at Kunsthall Trondheim (2019).

Derk Over (alumni Design Department)

Tough Boys is a short movie about non-western gay migrants interacting with the Amsterdam gay scene. Through their eyes, we take a look at a party scene where loneliness and depression is still very present. What does it mean to build a life as a “western” homosexual? We hear stories of speakers struggling to exist in a world where everything is possible, but where you fight mostly for yourself. Those unable to blend in to the Dutch gay lifestyle, are often left on the outside, alone. What does it take and who do you need to become to live the gay dream?

Vita Evangelista (alumni Critical Studies)

How does somebody stay in and out of touch with materialities that are sliced by oceans / borders / differences / laws / optical fibers?

Reinterpreting the affects that permeate their gendered experience of trauma and migration, Vita collaborates with developer and visual artist Javier Damonte to construct the VR environment for Unwound. The performance work combines intuitive writing, spoken word, and VR. Using the common potential of these mediums for creating immersive narratives that are only enabled through embodiment, the emotional environment can in turn be collectively inhabited. Strangers become familiar. Bodies, memories, affects, hardware, and digital technologies exist with and through each other.

Rowena Buur (alumni Design Department)

Rowena Buur is a non-binary feminist and ‘artivist’. Their work revolves around identity, sexuality, gender and family. Buur works with interviews, video, photography and typography as a method to confront themselves and others, with a bit of humor and irony. This process becomes a way in which they can deal with reality.

The short documentary shown is a work-in- progress where Rowena investigates the meaning of femininity by interviewing people who stand close to them. What does it mean to be feminine? How do we perform Femininity? What did our parents teach us about being feminine? By asking these questions Rowena tries to find their own definition of femininity.

13.00 – cinema 2


AKV| St.Joost Master Institute of Visual Cultures


The students of Master Institute of Visual Cultures – AKV|St. Joost come from different cultures and countries and in their program they will be reflecting on the systems and power structures they have encountered, how they dealt or deal with them.

pre-existing systems

It can feel as a strange notion that you are born in a society that has existed for thousands of years before you. The borders of countries have already been decided, the languages divided, wars have been fought about religion and politics. Systems and power structures are in place, and that power is not always evenly distributed. From the clothes you wear to the language you speak, from the education you get to the knowledge you have, all are influenced by systems that are seemingly out of your own control. It can therefore be difficult to find your place as an individual in pre-existing systems. Do you have the agency to change them? Can you make those systems work for you?

knowledge and power

Most of the group have kept their research very close to their own experience, the emotional impact a system has had on them. For many of them, moving out of their previous surroundings and to new ones in the Netherlands has provided them with the necessary distance to reflect on the situation they came from. In their research, certain reoccurring motives are recognizable. One of these is the relation between knowledge and power: knowledge is power and never neutral.

confronting stereotypes

Often it becomes a question about where authority can be found and making it visible, to map out abstract systems like ownership, capital, politics or even emotions themselves, starting from personal experiences. Even language becomes a power structure when dissonance arises in understanding each other. By confronting stereotypes, dominant gender roles and beauty standards are questioned in the way they control individuals.

Terra Caiçara by Giovana Ciannella Galva

The film follows the caiçara canoe, part of the culture of the traditional Caiçara community located in the southeast of Rio de Janeiro (Brazil). With a combination of archive material and new footage, we see that over time the canoe still remains, as this community resists external forces to maintain its culture and practices. From the perspective of the canoe production, the hard work of removing the boat from the forest, where it is made, and taking it to the sea shows the symbolic and literal value of the canoe for this community.

Flowers of the Motherland and Young Eagle Flying by Yannan Pan

I originally come from the mainland of China, but I studied in Taiwan for four years. I got the strong feeling that there is a big difference between the Chinese mainlander and Taiwanese opinion about whether Taiwan is a part of China or not. I started to wonder why people’s beliefs are so different regarding this subject. I compared the textbooks of mainland China and Taiwan and found that they described the same events in totally different ways. At the same time I discovered that more than ten different governments edited textbooks to rewrite history. I want to do research with the question: What is the relationship between knowledge and power ?

I made two videos, where school rituals are the central aspect. The red scarf is a neckerchief worn by young pioneers of several countries during the socialist (“communist”) era. It’s also one part of student’s uniform in mainland China. (Flowers of the Motherland) Wahaha is a popular Chinese children’s song . Broadcast gymnastics is a kind of daily exercise in China, all the students have to do it once per day.(Young Eagle Flying)

Re-Dress by Yasmila van Vliet

Although since the beginning of the last century (or maybe even earlier) men experimented with wearing skirts and dresses, it is not common in our western society. Men who wear skirts and dresses are exceptions, more often than not perceived to carry out ‘femininity’ as seen in mass culture. But, how would it be if the ‘ordinary man’ would appropriate these garments and would wear them as we all wear trousers? Why are most men actually still not wearing dresses and skirts?

Re-Dress is a research about the interaction between common skirts and the male body. What kind of images will arise, what do they evoke and how do we look at them from our visual culture.

Walking in Sleep by Jiaojiao Li

Dreaming. A woman sleeps in a white room. Fake windows on the wall and plants in the room, the theatrical scenery forges a fake space between corporeality and incorporeality. The spider constantly intertwines himself with the sleeping woman. Every clip in the film is like an emotional connection of words for me. When I came to the Netherlands, I began to observe the city, its streets and buildings, and especially its inhabitants. On these long walks I gradually discovered the urban fabric, for example the market on Saturday, people walking in the park, temporary playgrounds, gaming rooms at night in the city. Small, seemingly futile acts introduce a note of poetry into the harsh reality of life.

Lost in Translation by Hussel Zhu

We intertwined our lives with each other’s, but how could we touch our ‘original soul’ if we speak different mother languages? Are we so close but yet so distant?

I collected a piece of ‘original soul’ from my artist friends by audio messages in a social app, through three questions associated to time. I then translated their instant thoughts in video clips which represent my understanding of what they said according to our past conversations, their personalities and the pieces or traces (of their artworks) they left to me.

In a dark room, space is occupied with sounds. The audience tries to find a clue of what the speaker is talking about, but can only focus on the sentiment inside these sounds since the screen only shows a few readable visual messages. The context seems to be revealed by the hints which are set in between the stories, but somehow they are still lost in translation. Different language speakers will have different experiences within this video.

Un(Identified) by Olgu Tosoun

There is a corner in my room, a corner that is always cold, dark and black & white. The light that shines through the clouds every morning hits to that specific corner and an unrecognizable pain in my stomach. Hard to describe, it’s like there is a balloon in my stomach filled with nails getting bigger every minute and pushing against my chest. I see a creature that hid all these years, kept hiding from humans and has only been free behind black curtains.I know that as soon as I make this happen I will feel naked – but aren’t we all naked under our clothes. I look at myself in front of the mirror, all naked. The thing that I see is not myself, perhaps it is the creature that was hiding under the clothes. No more hiding anymore. Is someone watching me, what is this sound? Am I making everything up in my mind? Selfless paranoia whispering through my ears, keeping me away from doing the things that I want to do. Anxiety is his best friend, walking behind me like my shadow and interacting with every thought and action I make.

Perception by Farah Shretah

The capacity of the mind or soul is what actively ‘sees’ and understands. In other words,  “Reality” is a huge word. Sometimes the unknown in our head is intertwined with our visualization. Reflecting these moving images on broken mirrors, floating on the water surface. It seems similar to what I experienced. But it’s only me who relates to it this way.

I notice myself trying to bring the past to this space, but relying on a collage of different people’s memories. Using patterns of looping images, playing on small screens, it shows a mix between reality and hallucination. The effect of playing back music is driving me back, testing my memories. Maybe I can remember what it feels like, to be home. Home is not just what was in the past, home is where I feel safe.

It’s not important  for my work where or how it ends, because I am trying to create a memory with you all. Somehow my images, my words or performance and sounds, will create an idea in your head, and you will experience it.  It might take you somewhere else or remind you of some old feeling. This experience will be your new memory as you start watching.

I hope our energies connect.

14.15 – cinema 4

Ways of Seeing

University of Amsterdam

Ways of Seeing is an installation and short film program that explores the broad theme of voyeurism. Moving-images can both reveal and hide and as students considering the archive both metaphorically and literally, we draw connections between the filmmaker’s initial looking, the object’s fetishized potential in the archivist’s care, and now again the audience’s looking. The program title borrows directly from John Berger’s text of the same name, in which he states, “[w]e only see what we look at. To look is an act of choice.” And to continue by way of Susan Sontag, this choice “is a way of at least tacitly, often explicitly, encouraging whatever is going on to keep on happening.”

The selected shorts span from early cinema fragments like L’indiscret mystifié demonstrating how to outwit the voyeur and Barbara Hanlo’s 2009 An honest man has nothing to hide in which the camera peers into the open windows of Amsterdam homes on winter evenings. In addition are Barbara Meter’s interior counterpoint in Convalescing (2000), Siegfried Fruhauf’s 16mm black-and-white palimpsest film Exposed (2001), and a performative assimilation into the screen with Anke Schäfer’s Undercover (2003). As a symmetry, we also ask our audience to consider their own position as object through the site-specific installation of filmmaker Claudia Kölgen’s Show Me (1994) in which a larger-than-life eyeball will look back at passers-by. In their own ways, each film takes on tacit, complicit, or subconscious choices in order to question these ways of seeing as we experience them in both public and private spaces.


Een rechtschapen mens heeft niets te verbergen (An honest man has nothing to hide), BarBara Hanlo, 2009, DCP, 23’

Exposed, Siegried A. Fruhauf, 2001, 16mm, 9’

Convalescing, Barbara Meter, 2000, 35mm, 3’

Bit & pieces no.91, DCP, 44”

L’indiscret Mystifie, 35mm, 2’

Undercover, Anke Schäfer, 2003, DCP, 4’33”


TV installation, entrance cinema 2

Show Me, Claudia Kölgen, 1994, video installation, 5’


Curated by:

Mia Ferm, Maya Barenstein, Cecilia Pezzini, Nia Eliza Jones, Paulina Reizi and Didi Liang


15.30 – cinema 2

Cloud Cuckoo Land

Piet Zwart Institute

In this one hour program, the artists present their moving image pieces that relate to our perception of the world around us and will open your eyes to the possible illusions of reality.


As consumers, we are confronted with a seemingly endless stream of images. Our faith in these images is being increasingly challenged by our understanding of the technologies involved, both in their production and distribution. This, in turn, leads to questions concerning the image’s dialogue with reality, raising questions of ‘fake news’ in the (social) media and leading to a wider anxiety that possibly our whole understanding of reality is based on a simulation.

absurd and fluid

The Lens Based Media artists from Piet Zwart Institute seek to both address and offer alternative voices for dealing with these situations. In this light, the real is not necessarily what you perceive it to be. The nature of (un-)reality is unstable, transformative, absurd, fluid, and unreliable. It can take the shape of a gaze, a home, a morning routine, traffic, observations of nature and much more.


Dawn  by Cem Altinoz

Function(chaos)// a planet is not a sphere by Fileona Dkhar

Ain’t nothin but a sun by Ugo Petronin

Take a slow smooth breath by Anh Dao

Massa Confusa: The Alteration Process of the Grey Matter by Ana Brumat

Mr  by Jacob Morris

A silent witness  by Lea Novi

Deliquescing  by Mia Paller

[Untitled] by Jelle Havermans

Audition  by Marieke de Zwart

Then I started looking back  by Elysa-James Kooijman

Querida  by Jue Yang

Domani ti dimenticherò meglio by Annalisa Urti

Untitled  by Bojan Salaj

NTRNL RFLCTN  by Sonia Mangiapane

In A Big Island  by Kamali van Bochove, On A Small Island

Louder Louder by Muxingye Chen

Dis  by Yael Laroes

35 Boxes  by Thy Trang

The present  by Yu Ching Chiang


16.45 – cinema 4

The artist as Dog

The Royal Academy of Art

The focus of this year’s research lab of the KABK is on Diogenes, the infamous Greek philosopher born in the Black Sea coastal city of Sinope in 412 BCE. Diogenes was called the Dog (from the Greek word Kyôn) because of his shameless doglike behaviour. The philosophical school that he and his followers developed is called Cynicism. It is a loosely based, slightly anarchistic and meandering way of thought characterised by notions like living in the moment, true independence (autarky), free speech, voluntary poverty, austerity and cosmopolitism.

The Lab’s theme gravitates around the research question how an artist can achieve a state of independence within the tightly woven fabric of today’s society. Where society’s complex social, economic and technological character forces the individual to adapt to it with a fair chance of losing the possibility of creating a genuine autonomous voice.


Passage by Sarah Hoogman and Max Olffen

A film about the underground. The subcultural underground as a place of refuge and coming of age. But also in the sense of a spiritual refuge, a place of divergence from both cultural and religious norms and spiritual safety. It visualizes the battle to find this safe space through rituals that bring the protagonist closer to his ideal world, an underground heaven, outside of the real world. Rituals characterized by, among other things, a combination of elements from different subcultures, religious ceremonies and ancient warrior cultures.

Snienie by Marysia Swietlicka and Szymon Hernik

What happens when you stumble upon a fish in the woods.

Chimaera by Chloe Snoeks and Menghua Wu

A short film that presents a woman confronted by overbearing reality. So utterly controlled by anxiety and stress from her daily life, her own identity – to the point of her very being as a human – has mutated and become lost in the mix.

Throughout the film you see a battle of multiple personas. “Chimaera” addresses the attempt to search for the autonomous voice. It touches on the theme relate to us all that of struggling.

Sandcastles by Anca Barjovanu

A short movie that reveals to the viewer the universe that can be found on a duck’s body. By zooming in, the audience peaks into the ecosystem of a living micro-universe. The emphasis of the movie lies on the multiple ecosystems of our world and aims to shine light on their correlations and interrelations between the visible and invisible; between the human species and all other sentient creatures.

La Senda by Ed Chilton

A young traveller searches within himself whilst wandering through a foreign range of mountains.

Inaccurate Gaze by Lui Wolstencroft, Yujia Wu, Mischa Lind and A.Zhaishylyk

Rhizomatic, Macrocosm-Microcosm, Desynchronisation, Undead, Psychedelia, Hollow Marrow, De-Anthropocentric, Lichen, Moss, Zombie, Shift, Leaf-Cutter, Silverfish, Ophiocordyceps Sinensis, Soil, Extension, Exception, Exit, Dark Ecology, Microscope, Magic Rock, Liquid, Hierarchy, Coherency, Nutrino, String, Leaves, Trees, Mycelium, Spikehead, Cosmic Ray, Cloud, Lens, Air, Vibrating, Decomposing, Resonating

Leader and bumbers by Besan Pas (Maya Bahner, Ivo Borovečki, Pier van den Elsen, Joel Heikkinen, Fabian Kasper, Vladimir Vidanovski, Igor Šiler)

the mad dog

The program is presented by Besan Pas (the mad dog), a popular talkshow host from the former Yugoslavian State Television. After his downfall prompted by his involvement in the Ljubostinja nuns convent scandal, he is now making a weekly YouTube vlog from his native village of Trstenik

18.15 – cinema 2


Leiden University

While walking, the subject embodies transformations and the spaces determine auditory, visual, tactile experiences and perceptions. For example, ideas can elaborate, relationships can bound, identities within oneself and the space through which one walks can be found and walking can be labour, too. As a repetitive act examined from a closer lens walking holds within itself great value and is not something static but dependent on the space in which the movement takes place.

These circumstances define how space is being recognized and how the movement of walking shifts which consequently has an impact on how the body perceives itself. However, identities determine how space is walked through and experienced. Therefore, walking carries privilege and is not neutral.

By reflecting on walking as a repetitive movement, as part of a physical and psychological act to mediate and to rehearse, the program resonates with the ongoing exhibition on Francis Alÿs pieces c that is held at Eye Filmmuseum until March 2020. However, through an Instagram account called ‘walkingateye’ created for this exhibition only, the program aims to react on contemporary questions of exhibiting in a filmmuseum, of authorship as both filmmaker and curator, of recording formats used by filmmakers as well as the position of the visitor within an exhibition.

Walking as a perpetual motion that includes transforming forces as shown above is therefore of great value for a film exhibition. The embodied visitors’ desires to walk and to experience walking while paying more attention to it shall be awaken through a performance lead by the artists Natasha Rijkhoff and Caroline Straver, who are going to lead the audience in the end of the screening outside the Eye Filmmuseum.

The one hour program represented by students of Leiden University will present a variety of short, diverse films which approach walking from different angles: Walk 1 by Jean-Pierre Sens, Harvest by Nir Nadler and Chaja Hertog, Forest Paths by Michiel van Bakel, Start by Werner Nekes, and Run 5:19 by Sascha Engel.

Curated by:

Melisa Sari Arslan, Amy Miner Huang, Federica Notari, Jialing Sun (Lynn)

20.15 – cinema 2

Real-time performance research


Every year students of the Amsterdam University of the Arts get the chance to apply for a research-period at the VRSpace(VRAcademy) on the Marineterrein, in which they can explore and develop their concepts with the newest techniques like mocap, VR and AR with the support and coaching of different specialists. They can work alone or in cross-over collaboration with students of other AHK faculties or with creative start-ups. This schoolyear 2019-2020 six students will present their research at the ResearchLabs 2020 in Eye.

Caught up synergy by Diogo Carricos & Daniel Bolba

An audiovisual performance that reflects on the converging relation between humans and machines. By reading diversified digital files as raw audio and as raw video data, the artists uncover the underlying digital culture produced by digital beings, hearing and seeing it. This is then used as source material to explore how the performer’s actions and body movement can affect live the electronic musical and visual outcome, and how this, in turn, affects the performer’s reactions.

Instant Composing in a Digital Rehearsal Space by Robin Coops

Over the past two years, Robin has been researching the tension between control and losing control, as a theme and working method. In his research at the VRSpace (VRAcademy), he will continue this journey and explores how VR and game engines as Unity, can be turned into tools for instant composing. A live-cinema improvisation between a dancer, musician and visual effects designer.

5ssense by Neda Ruzheva

Neda Ruzheva and fellow digital alchemist Anna Bacheva from Studio Otaika and fellow practioner of embodied dream states Devika Chotoe have been conducting heavy and complex research in a mysterious lab, trying to unfold the archaic mystery of how to turn digital information into performance art.

Connectome by Noor Stenfert Kroese

The Connectome is the complete chart of neural connections in our brain. Our humaness arises from these moments of connection. But our connectome is not constant. It disforms and develops into new connections. Old ones disappear. Without AI it will not be possible to map the whole connectome. The goal of Noor’s research is to develop an installation in which this ever changing process, fed by science and technology, can be encountered through texture, sound, silence, light, video, smell, temperature, actions and space itself.

IVF-X Posthuman parenting in hybrid reality: Become a digital parent now! by Victorine van Alphen by Victorine van Alphen

Speculating on the future of human reproduction Victorine van Alphen breeds cyborgs based on human characteristics in post- human bodies. After a kafka-esque interview with retro- futuristic elements you will encounter your unique interactive cyborg baby, that will be uniquely rendered for you, based on your answers.



18 February: Performance and registration

Eye is teaming up with Stedelijk Museum Amsterdam for this edition of Eye on Art. The programme offers insight into the exhibition Francis Alÿs: Children’s Games, which runs at Eye until 8 March. The work of Alÿs (born in 1959 in Antwerp) focuses on simple performative actions in public space. The artist usually performs the actions himself, and records them in photographs, films and drawings.


Performances and their registeration also play an important role in the work of visual artists Carlos Amorales (b. 1970, Mexico City) and Gabriël Lester (b. 1972, Amsterdam), who frequently collaborated in the 1990s. What is the relationship between an artwork performed live and its recording? What do artists consider when they do not perform an action themselves but invite someone else? During this edition of Eye on Art, Amorales and Lester will discuss the work of Alÿs, their own practice, and other artists who are important to them.

The programme includes a screening of Alÿs’s short film Paradox of Praxis: Sometimes Making Something Leads to Nothing from 1997, in which the artist pushes a big block of ice through the bustling streets of Mexico City. Work by Amorales and Lester, as well as Buster Keaton, Joan Jonas, Bruce Nauman and Krõõt Juurak & Alex Bailey (Performance for Pets) will also feature. The evening is introduced by Marian Cousijn, associate programmer of Eye on Art.


Carlos Amorales (Mexico City, 1970) moved to Amsterdam in 1992 to study fine arts. In 2003, he invited visitors to the Venice Biennale to make lucha libre boots at the Dutch pavilion. In 2004 he founded music label Nuevos Ricos with musician Julián Lede, specializing in producing large-scale concerts and distributing pirated editions of CDs with covers based on the silhouettes from the Liquid Archive, a collection of vector images. Amorales represented Mexico at the 2017 Venice Biennale. His exhibition The Factory is on at Stedelijk Museum Amsterdam until May 17.



Gabriel Lester (Amsterdam, 1972) studied cinema and fine arts. His works can be typified as cinematographic, although he does not always employ film or video. Like cinema, Lesters practice has come to embrace all imaginable media and occupies both time and space. His works propose a tension span and are either implicitly narrative, explicitly visual, or both at once. The artist seldom conveys an explicit message or singular idea, but rather propose ways to relate to the world. Lesters work is shown extensively at museums and art biennials.

4 February: On Francis Alÿs

Jaap Guldemond, Director of Exhibitions and curator of Eye, and art historian Sacha Bronwasser explore the work of Francis Alÿs, to whom Eye is currently devoting an exhibition. Some of Alÿs’ short films will also be screened this evening: Don’t Cross the Bridge Before You Get to the River (2008), El Gringo (2003) and Paradox of Praxis 5 (2013).


‘On Francis Alÿs’ is part of the supporting programme for the exhibition Francis Alÿs – Children’s Games. The film Los Olvidados (Luis Buñuel, 1950) will be screened later this evening (tickets for Buñuel’s film must be bought separately).


21 JANUARY- Eye on Art: Kinema Ikon

Still underexplored: the rich history of the avant garde in Central and Eastern Europe. The Romania programme Videograms of a Nation, Redux features eleven short experimental films by the illustrious art collective Kinema IkonWith an introduction by Andrei Tănăsescu (film curator EUROPALIA România 2019).

It was in the early 1970s that George Săbău formed a cine club at the Art Academy of Arad named Atelier 16. Its lectures and film screenings had an irresistible appeal for young artists, and also attracted the attention of the Ministry of Education. As extracurricular activities were encouraged by the state, Atelier 16 received funding to set up the technically well-equipped, self-provisioning Kinema Ikon collective.

secretly holding on to film reels

The collective did not only make 16mm films on behalf of the state, but also secretly held on to half of the film reels so as to make experimental films. In 1989 Kinema Ikon produced 62 documentaries and 62 experimental films, delivering a major contribution to Romania’s experimental cinema.


Deconstructing, reediting, abstracting or even having a go at film material itself: it turns out the artists of Kinema Ikon challenged the conventions of mainstream cinema just like their colleagues in the free West. They examined everything, from the materiality of film to the possibilities of an abstract film language. These works amount to a true cinematic discovery and are now screened internationally for the first time since 1995.


Film programme

Alone with the Snow (Romulus Budiu, 1975, 8′)

Autopsy of Forgiveness (Ioan T. Morar, 1977, 5′)

Spring-Coming Effects (Ioan Pleș, 1978, 4′)

Subliminal Exercise (Alexandru Pecican, 1979, 6′) 

Bird Hunting (Emanuel Țeț, 1980, 6′)

The Snake Charmer (Emanuel Țeț, 1981, 7′)

Illuminations (Ioan Pleș, 1981, 5′)

Pulsations (Marcela Muntean, 1983, 7′)

The Window Open Toward (Alexandru Pecican, 1984, 6′) 

Fragmentarium (George Sabau, 1985-1990. 9′)

10 DECEMBER: Night Has Come

“A fictional journey, just a step away from reality.” That is how the Belgian director and visual artist, Peter Van Goethem, describes his feature debut.


Night Has Come, Peter van Goethem

An anonymous elderly man wakes up in a sanatorium at an unspecified location. He suffers from amnesia induced by a virus. The people call it ‘night’ because it steals memories and leaves only darkness. The State steps in with a new programme that can store memories and begins to harvest them all, ‘just in case.’ But is the virus really of natural origin or was it engineered to provide the next generation with a fresh start (and the State with an easily controlled population)? Quarantine, resistance, riots… Slowly but surely, the old man starts questioning the authenticity of his own memories, while growing increasingly conscious of another truth.


Night Has Come, Peter van Goethem

Johan Leysen plays the protagonist’s voice. The footage comes from the Cinematek film archive in Brussels. Director Peter van Goethem will be present for a Q&A at the screening .


Night Has Come, Peter van Goethem