1 May h 20: Ben Rivers – Heading for Utopia

The work of Ben Rivers, who received the EYE Art & Film Prize in 2016, can be regarded as a long and sinuous investigation of an as yet unknown world – using footage, locations, literature, desert beaches or his own house. “Everywhere, new utopias are possible”, the narrator tells us in Slow Action. What are we looking for when we step out, and what do we find? An evening about new realities and old habits.

A special evening to mark the exhibition Hito Steyerl, Ben Rivers, Wang Bing – EYE Art & Film Prize.


The programme features short films and audio work by Ben Rivers, Ico Costa, Fiona Tan and a talk + film by Jan Dietvorst and Roy Villevoye.

The following films by Ben Rivers will be screened: A World Rattled of Habits (2008), Slow Action (2010) and/or Urth (2016)Introduction and hosting: Sacha Bronwasser.


3 April-Paul Auster: Words, Films and VR + Blue in the Face

A talk by Jason Wood about Paul Auster as an author, filmmaker and scriptwriter for theatre and Virtual Reality. Followed by Blue in the Face. An evening to accompany My Name is Peter Stillman, the VR adaptation of Auster’s The New York Trilogy, which is also running in EYE.


Jason Wood is artistic director of HOME in Manchester, author of many film books and co-director of the J.G. Ballard film adaptation Always (crashing). Wood will talk about the numerous crossovers between the books, screenplays and films of Paul Auster on the basis of film fragments. He will also draw a connection with the VR installation EYE is running in its Project Space from 1-10 April: My Name is Peter Stillman, which immerses the visitor in the haunting story of Peter Stillman, the protagonist in Paul Auster’s debut novels that make up The New York Trilogy.

Critics described Auster’s work as possessing an inherent ‘cinematic quality’. Auster has always enjoyed an entwined relationship with cinema, from having the great Walter Donohue (a true man of cinema, best known as the script editor for Wim Wenders) as his editor at publisher Faber & Faber to being an ardent cinephile with a deep passion and knowledge of the moving image. ‘I was always crazy about movies from early childhood’, Auster commented in 2011. Auster had even briefly considered studying to become a film director in his youth, but ultimately felt his personality too shy to command the required attention of a large crew.

Wood’s lecture is followed by Blue in the Face, the sequel to Smoke, about a New York tobacco shop and a place for unexpected meetings, featuring Lou Reed, Michael J. Fox, Madonna and Jim Jarmusch as the regulars and loosely directed by Paul Auster.

27 March: Hito Steyerl – How not to be Seen

We all want to be noticed, but we are also being tracked all the time; going unnoticed has become practically impossible. The entire oeuvre of Hito Steyerl, winner of the EYE Art & Film Prize, is about ‘disappearing’ and the relationship between image and identity. An evening filled with short films, music and talks about disappearing, visibility and invisibility and transformation.

A special event to mark the exhibition Hito Steyerl, Ben Rivers, Wang Bing – EYE Art & Film Prize. 

The programme includes short films by Semiconductor, Lernert & Sander, eteam and Hito Steyerl, a talk by Frank Schallmaier (de Volkskrant photo editor) and a two-part performance by Friday Wilkinson (aka Hidde van Schie).

The following films by Hito Steyerl will be screened: How Not to Be Seen: A Fucking Didactic Educational .MOV file (2013), November (2004) and Lovely Andrea (2007)

Introduction and hosting: Sacha Bronwasser.

13 March:EYE’s Selected Artist’s Moving Image

New work by Dutch artists and experimental filmmakers that was recently added to EYE’s collection. The programme includes short films by filmmakers like Martha Colburn, Michiel van Bakel and EYE’s artist in residence Alexandra Navratil: both emerging artists and established names.

The new collection films are distributed by EYE and are also screened at 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 will be present for a Q&A.


EYE’s Selected Artist’s Moving Image

New work by Dutch artists and experimental filmmakers that was recently added to EYE’s collection. The programme includes short films by filmmakers like Martha Colburn, Michiel van Bakel and EYE’s artist in residence Alexandra Navratil: both emerging artists and established names.

The new collection films are distributed by EYE and are also screened at 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 will be present for a Q&A.


Elastic Recurrence 
Netherlands – 2017 – Johan Rijpma – 2 min.
From all sides gravity tugs at a plate falling to pieces. While the shards appear to expand into space, new connections suggest a kind of virtual union.


The Craft
Kuwait, Netherlands, Lebanon – 2018 – Monira Al Qadiri – 16 min.
Al Qadiri explores her childhood in Kuwait and asks herself:”Were my parents conspiring with extraterrestrials?” Gradually reality dissolves like quicksand in this film dealing with paranoia, futuristic architecture, political culture, junk food, geopolitics, war and peace.

Stand-by Office 
Netherlands, Lebanon, France – 2017 – Randa Maroufi – 13 min.
We are introduced to a group of people in an office space, but nothing appears to be in place. As the camera guides us through the rooms, our perception of this space changes. What does this office mean to this group of people having no official status?

We’re All Here 
Netherlands, United States – 2016 – Beny Wagner – 12 min.
Beny Wagner focuses on the sense of inexplicable loss and yearning for something unknown using two unexpected metaphors: camouflage and fossil fuels.

Western Wild… or how I found Wanderlust and met Old Shatterhand 
United States, Netherlands – 2018 – Martha Colburn – 9 min.
A richly textured documentary about a filmmaker preparing a film on the famous German author Karl May. The film subtly interweaves stop-motion animations, found footage and interviews, any of which are enough to rouse wanderlust.

Holy Land 
Netherlands – 2017 – Roman Ermolaev – 7 min.
Holy Land flirts with the history and cultural codes of the Netherlands through a counterfeit Dutch ‘landscape’ that has been copied to evoke an experience of what it is like to live in this country.

The Night Side 
Netherlands, Germany – 2016 – Alexandra Navratil – 4 min.
The large Agfa-Orwo plant in Wolfen-Bitterfeld shut down when East and West Germany merged and was transformed into a museum of film and industry almost overnight. A former employee worked for 25 years in the plant’s dark room and takes a long look at her hands.

Forest Paths (Forget Heidegger) 
Netherlands – 2018 – Michiel van Bakel – 3 min
A twisted walk through a forest. Animated still photographs show movement and light on the forest paths that are normally invisible to the naked eye. Van Bakel made a ‘scanner camera’ able to augment human vision. What is the fundamental difference between the perception of a robot, an insect or a human being?

17 February: Researchlabs 2018 | Leiden University- The Ghost in the Machine

The Ghost in The Machine
By: Maxime Botz, Anastassia Dalcolmo, Melissa Delmée Maletras and Lauren Spencer

 The film program “The Ghost In The Machine” tackles different aspects of the impact of machines – and technology – on our societies and the way we live our lives. Initially used as a critique of the Cartesian mind/body dualism, here it serves as an allegory for the way in which this dualism has evolved over the past decades. This raises new questions about the place that certain mediums have in our lives and societies. The reference to the ‘ghost’ as the mind, and the ‘machine’ as the body, is often invoked to indicate the split between a mechanical concept of the body and the mind as the animating spirit of the lifeless machine. Nowadays, our minds are literally inhabiting machines as our constant use of computers, social media and all the like, transfers our animated spirits into these new technological bodies.There is a displacement of our minds and mental presence into new technological skins. Our constant use of these technologies makes them our new hosts. This relationship we have with the machines is deeply dialectic as we have a tendency to see our bodies as machines and machines as bodies.

The choice and programming of the films is not chronological as the exploration of our relation to machines is timeless and gives us particularly relevant insights in today’s technologically-driven lives. For instance, the precursor of skype created in Amour et Science (1912) forces us to face how this obsession with the machines that seemed so foreign then, is now just a conventional component of our lives. The entire program explores an aspect of this dualistic and dialectic relation that we have to machines through allegories and hints. This program doesn’t aim to provide any answers but simply opens up a discussion and reflection on this ever more invading and porous relationship.

  1. M.J. Roche, Amour et Science, 1912, 14.04 mins.

A scientist develops the very first video phone and is so preoccupied with his invention that it leaves his fiancee neglected. In order to draw him away from his obsession, she concocts a plan to make him jealous. A comical scenario sprung from the absence of human interaction and a genius insight into how people imagined technologies back in the early 20th century that are so reminiscent of our own.

Amour et science









2. Raul Marroquin, Computers Chat, 1984, 3.00 mins.

Originally an installation which was then recorded on video, this short clip displays the extraordinary dialogue between two computers and its surprisingly human characteristics.

computer chat










3. Segundo de Chomón, Le Rêve des Marmitons, 1908, 5.26 mins.

A comical silent film taking place in a kitchen where a group of scullions performs the daily tasks until they begin to fall asleep one by one. Having drifted away into their dreams, their chores are magically completed on their own.

Le reve des Marmitons










4. Martha Colburn, What’s On?, 1997, 1.46 mins.

A visual assault of images originating from American pop culture and mass media, anything from nudity to celebrities such as Lady Di and Oprah, and politicians including Ronald Reagan to gameshows. Colburn’s film creates a montage of images that we are already bombarded with on a daily basis through our use of media.

what's on


5. Segundo de Chomón, Physique Diabolique, 1912, 4.09 mins.

A magnificent example of the so-called trick film, Physique Diabolique is a spectacle of special effects in early cinema showing the devil performing his magical powers. Some argue that de Chomón was an ‘imitator’ of Georges Méliès, using the same kind of special effects in his films.

physique diabolique











6. Ian Kerkhof, Frank Scheffer, Miriam Kruishoop, Rob Schröder and Alexander Oey, Sonic Fragment (extract: Sign of the Times: The End of Ego), 2000, 2.10 mins.

A digital montage with incorporation of technology, it consists of seven remixes of six short film and originally submitted for Sonic Fragment at the International Film Festival Rotterdam. The selected short film from the compilation featured in this programme will be Sign of the Times: The End of Ego.

sonic fragments





7.Arianne Olthaar, Hotel Nachtclub, 2011, 3.26 mins.

Built in the seventies, the great luxurious hotels contained not only a restaurant, a hairdresser salon, a souvenir shop and a bar, but also a nightclub in the basement. Having visited the remaining hotels, filmmaker Arianne Olthaar juxtaposes an abandoned space with the sound of absent clubbers.

8.Jean-Paul Vroom, Dinner, 1969, 3.00 mins.         

A family sits at the dinner table without talking to one another with only the radio playing in the background and increasingly the awkward silence among the family members builds up to something unexpected.


17 February: Researchlabs 2018 | Gerrit Rietveld Academie- Tactics and Tactilities

By Kleoniki Stanich – kleo.st@gmail.com
Duration: 3’50”
Title: Tactilis

This film introduces three strangers; a woman around 40, a truck driver in his 50s and an older lady of around 75 years old, who co-exist in the same space. An immobile ferryboat. The characters are lonely passengers unconsciously seeking the feeling of belonging. Through what seems to be a moment of accidental physical contact, a new language starts to form between them. The film replaces words with gestures and it navigates around the structure of a relationship. The minimum amount of contact that takes place, becomes an alphabet. All the fragments of their encounter get mentally amplified by each one of them and end up forming a game.



By Jaakko Myyri – jmyyri@gmail.com
Duration: 3’09”
Title: Best make of 9 months for a gig

The character in this psycho-commercial wants to live free and speculate gender by addressing a letter for his people. The talk is monologuesque, which is constructed out of gala charm and regenerated TV clichés and vogue, the surroundings are filled with disposable body-attachments, yet he is inventive. Afterwards he is immediate abducted by his cyber consciousness retinue, with something that looks like a three headed alien, to blazon for more fare gender representations. The character traits and multi-dimensional-broadcast-editing form together a collage like effect, where the digital and reality blend towards each other, forming a hyper-platform with free one-to-one body relationship.

Best make of 9 months for a gig

By Mathieu Mulder – mathieumulder@hotmail.com
Duration: 2’37’’
Title: Ultracorsa

In an abandoned parking lot, a hooligan is struck by his inner consciousness. A mysterious young girl tries to guide him after this violent event.



By Martina Anna Gudmundson – martinagudmundson@gmail.com
Duration: 2’30’’
Title: Humankind things derive from humankind things – a concert

The vinyl floor is our playground. The camera stays fixed, staging a fragment of the floor. In this frame things may be seen and heard, but what we hear and see may as well come from outside of it.

I am a child. Objects and things may be unfamiliar to me, but exploring seems deeply inherited in me.

This is a concert. Can we look at what we hear and listen to what we see?

Humankind things derive from humankind things - a concert

By Ebba Stoppelenburg – ebba.stoppelenburg@gmail.com
Duration: 4’59”
Title: Mokum Meermin

Mokum Meermin is an abstract story about a woman from the water. We rarely get to see her, maybe she likes her privacy. The narrated voice tells us something but not much about the main character. What we know is that she lived under bridges and has left a destructive life behind her. The film explores intuitive editing and the transcendence of meditative sound scape. The film was filmed in the last days of summer.

Mokum Meermaid

By Kenneth Aidoo – kennethaidoo@hotmail.com
Duration: 2’
Title: Forced

We are born freely to shape our lives in the manner we want too, without the thought of
harming that of an other. The way of nature is free and in that way does it create life. So is
it with man as well.

Free will is the expression of the soul. The same will that will not be contained even when
it is being claimed.

In “Forced” we see the fight of the upholding of a will that is not one’s own. The question
arises for why do we so hardly desire to do that which is in conflict of who we are. That
same desire which causes the loss of life.



By Marie Sizorn – marielassize@gmail.com
Duration: 6’
Title: To be seen

This project started from an observation on the rising of tactile devices in the daily life. Technology became an essential part of our life. The development of haptic devices increases direct interactions leading to new gestures, where hands have a central role, involving the body and the skin. The distance between the user and the device gets closer, there is nothing in between anymore. This transition is mainly visible on the new generation, children learn very fast how to use tactile devices through sensitive, visual and playful interface. The aim of this project is to show the omnipresence of screens and visuals along with the speed of consuming them in a choreographic dance in between the body and a glass ball. 

Contact juggling is a way to manipulate object like translucent balls in contact with the body, this juggling technic involves to roll one or several objects without releasing them into the air. The sphere, translucent object, reflects the world upside down and distort it. Used as a lens it shows the world in an unusual way, as an object it can takes the shape of a planet, a microcosm, a light or a mirrored and reversed vision of the body and landscape.
To be seen

By Qianfu Ye – yeqianfu@gmail.com
Duration: 3’28’’
Titlle: Fall in to

While washing my feet, I see some reflections, images that come out of the floating water. Is it some random image, similar to my floating ideas that you can’t even catch? Do I link the images to my old memories? Or do I just watch the reflection as it is? I cannot tell.I turned my living room into a dark room and looked into every frame in order to dig into the confusion. I see the dark frame with noise that cannot be heard. I translated the living water into still photos, I looked at one frame fighting with my mixed feelings. I may just pass a frame in a few seconds, or spend one and a half hours to think about this frame as I am at the same time shopping, or even sleep with one single frame. I still can’t tell.How does it connect to the topic ‘Tactics and Tactilities’? While observing the memories, what appeals to you most cannot be told, and chewing these memories, gives you something more than just the sentence ‘I am washing my feet and see the reflections.’Anyway, after I finished my tactilities of washing my feet, I went ahead with the next tactics of falling asleep.

Fall in to


Duration: 1’45’’
Title: True Life Adventures

In 1940 Walt Disney got the idea for the first ever nature documentary True Life Adventures during animal studies for his upcoming film Bambi. Instead of imitating the natural through animation, he could just use what was already there.

When the sun rises and light enters through the eyelids the body is triggered to begin its wake-up cycle, including the release of cortisol. By the time the light is at full brightness, sleepers wake up on their own. An alarm is not needed anymore.

True Life Adventures


Duration: 15’
Title: Zuidoost-Noordwest

In one quiet morning the neighbourhood of the Bijlmer was brought in to the centre of Amsterdam. For approximately half an hour, the two urban landscapes shared one perspective.
True Life Adventures


Installation (on top of the stairs)
Wooden cube 170cm. screws sticking out on the outside. There is a door that can
be locked from the inside. Inside is a tv, a dvd player, 41 dvd’s and a chair. Each dvd consists of the same video material but with different soundtracks.
The title is made up from two factors put together. MIDI as an idea of a tool or
program that can be plugged into a system. MIDI tools are many and unique, and this is a play on individuality playing a part in the“outcome” referring to the brain as an electronic plug-in device reacting and working with what is presented.

Duration: upon request
Title: MIDI dismissal

The box looks aggressive on the outside, but the inside of the box is made from clothes cushioned in a symmetric way that looks like an isolation chamber. Clothes is something we wear on our outside to match with our personality and tendencies in a culture at one time in our life, to later get thrown out and replaced. living is a forever ongoing chase of new ways to look and feel as you grow up and learn. In the box the viewer has to play the active part of putting on one DVD after another only for the mild surprise of the music changing for every DVD. The viewer must find it awarding to keep on going to get more from the work. It is also an exercise of matching different styles and feeling to the same “base”. Like with every work you will have to engage yourself to it, to let it work for you or take you somewhere, which is easier without the social game of relating to other peoples’ reactions. So I build a sort of mental institution of a personal space with the possibility of a rainbow of feelings.


17 February: Researchlabs 2018 | St. Joost- Transition

Elena Chemerska / All is funny when you have a sense of tumor


Skopje, Macedonia 2014/ 2017.

A city traumatized by an outrageously overprized renovation project executed by a now ex-government regime designed to shape a perverted hybrid identity and promote ethnic division in a multicultural community and profit from it, enormously. Malice spreading with a frightening speed. The quality of life has changed. Manipulating the past, physical violence, neglect, violation of law, urban mafia, poverty, uncontrolled pollution, cancer, a lot of it; outbursts of pure primitivism that often takes an evil form. Protests. Devastated health system. Arrogance and the assumption of an absolute power. That must be wrong. Ignorance and boredom and poison. Poisoned animals everywhere. The occasional flame of rebellion demonstrated in the creative potential of individuals and groups. Music that defies oppression and aggression over life itself. Interrupted beauty, brutal and blunt. In the midst of that disturbing unfamiliarity that was once familiar, the remaining of a home that is changing, the narrator talks about the last day in the battle for the life of a loved one.

Defne Tesal / Falling Needles

Needles falling down on a shiny, white, uneven surface. They create an audial and visual composition.

I think of myself as not the maker but the observer, or at least the collaborator.
My role is to set the camera, pour down the needles.

Right away the Needles start to create a visual and audial composition, a movement. I am opening a space and time for it to happen. Every material with its own attributes has a potential. And maybe my part in this is to create an environment for the material to perform.

A moment for it to do its own choreography, its dance, its ephemeral and undetermined performance…

Marta Meng / We are light, we are night
you are walking

I used an old second-hand camera to capture what I saw when daydreaming. It was a wonderful feeling that you knew you were alive but could not feel yourself. Until I read Nietzsche’s night song, I realized that even the lonely feeling can be magnificent.

My work is an animation film, I shoot, I draw, I write poetry, I read aloud, I create background music myself, this work is full of my mark, but anyway, I hope when the audience see it they can have a sense of empathy, as if, once in a while, they were also the stickman in this movie

We are all light, and we are all night.

Simon Oosterhuis / Performance

With my performance I want to show how everyday objects can get a higher meaning by using them in special way, like in a ritual. A ritual is described as a scripted performance with a supernatural goal. What interests me in this is that when an action with an object is performed in a certain context with a special reason, everyday phenomena, like a sip of wine, or a piece of bread, become meaningful, even supernatural for the people that use them. A piece of bread becomes for them the flesh of the Son of God, and a sip of wine His blood. This elevating of everyday objects, the transformation of a common thing to something that is supernatural I address with my performance. By doing this, by elevating everyday life I express my understanding of the world as a place that seems ordinary but can suddenly, in a flash, reveal itself as a mystery.

 Murat Yildiz / 0+1+0 (They are silent for themselves)

In this work we can hear hundreds of people (an audience) talking at the same time inside a theater house. One may imagine that they are there for similar acquisitions.

In the middle of the sound piece you can hear that they are becoming silent. And after a short while, they immediately start to talk again, instead of continuing to be silent. It is like, as if they were silent for themselves.

Ami Tsang / C-H-IN-A, HI-A-CA, A-HI-CA, I-NCH-A, N-I-CH-A, AH-CHI




Pride when sharing the recent economic achievements, insecurity when explaining the assertion of the Communist Party and a deep grief over my family history. Video compresses my feelings. When limited time and storyline requires me to capsulate a communicable idea, I make a detour. Research allows me to stand still when I am confronting others, meanwhile light-hearted performance gives me a rest to breathe out and generate more open-minded and inclusive dialogues.


Raffaella Huizinga / MMM

 “Because of my name, my religion, and the poor reputation of the community I live in, I am considered by some parts of the population, and of the world as a potential terrorist” – Mohamed el Bachiri

How is it possible that this combination of words generates prejudices? What do the words Moroccan, Muslim and Mohamed do separately and what do you think of when you hearing these words?

Alireza Abbasy / Being Iranian, a comedy

passpoort iran

– So where are you from?
– Iran.
– [Pause, Contemplating, trying to digest, the smile on his face melting down, feeling kinda “guilty” because of something] It must be tough over there.
– [Totally innocent] Well, it’s not easy. Living is complicated; the culture, the people, the politics…
– [Surprised] Well, that too, but I mean, geographically, you live kinda in the middle of a desert right? It must be tough, no?
– Oh sorry, my bad… Hmm, yes, the desert, absolutely, Just imagine waking up every morning before sunrise to milk the camel for breakfast.
– [Not sure what to say, just repeating] Yeah life is tough over there.
– [Too serious] It is man! It really is!

17 February: Researchlabs 2018 | UvA / Piet Zwart- The Utopian Dystopian

The University of Amsterdam and the Piet Zwart Institute come together to reflect on and explore the notions of utopia and dystopia. Both concepts are mirrors on our current state, as well as dreams of or warnings about what comes next. The programme will feature 16 original film and artworks presented by young researchers and artists diving into utopia and dystopia aesthetically and philosophically.

Civilization on a piercing train! Party forever in a virtual 80s Funky Town! But beware—Big Brother is watching you. Dystopia and Utopia capture many forces that fascinate us, drive us, and transform them into visions of futures or even other presents. No two utopias are alike and the dreamers that present these visions all take a stand on the nature of order versus chaos, control versus freedom and transparency versus manipulation.

Tonight we present a few visions of our own. Ways of living, fears and hopes for things to come, observations on how our lives are already utopian and dystopic. Join us and explore the future-present.

The topic of utopia/dystopia was suggested to us by the teachers who guided us through this project: Maryn Wilkinson (UvA) and Simon Pummell (PZ).

The programme

The Looping World – a video installation by Shinyoung

Relax – a film by Lex Griffiths and Harry Marchbank

Divided Together – A film by Ewan Mitchell

Aim Down Sights  – a film by Sal

Letter to the Outsider – a film by Dorothy

Bodies of Colour – a film by Nadica Denic

Untitled – a film by Sigrun Lydsdottir

Intersection – a film by Qinzhibin

BRB – a film by Lotte de Jong

The Society of Secrets – A performance by Henrietta Müller

Ardour – a film by Marloes Claire Berends and Tom van der Krieke

Nothing Has To Be Official – a film by Irma

Ring a Bell – a performance by Galder and Gordon

Lake of Fire/Altar of the Gods – a film by Ryan

Rolling Coal – a film by Mike Pelletier

The Splintering Sun – a film by Rosella

17 February: Researchlabs 2018 | Sandberg- Blood from a Turnip

The work of the artists in Blood from a Turnip utilise filmmaking processes as a strategy for revealing hidden information – the camera drawing out and giving form to the invisible. Reflecting the long tradition of cinema itself being used as a prosthesis for exploring haunted houses, the lenses of BfaT are turned towards depicting ghostly and abstract entities inhabiting mundane structures. Using filmmaking as a mediator, disembodied forces like international bureaucracy, the financial market and chemical hallucination are reluctantly bound to tangible forms: architectural models, boardgames, party decorations and recipes.

In Alice Dos Reis’ The Real Estate Render Blackout, a power cut is virtually induced in a 3D real estate rendering. Views of luxury interiors in almost absolute darkness follow as the environments virtual characters, real estate agencies, consumers and other entities are forced to face and adjust to their unexpectedly dark reality.

Tom Kemp’s Difficult Salad employs a developmental card game as a journalistic filmmaking tool. Primary sources representing the legal, spiritual and personal are documented attempting to design a game themed around the topic of international marriage. Positioned somewhere between a panel discussion and a ouija board, the game design functions as a strategy for drawing out unconscious positions and possible consensus from its participants.

The Chapel, by Loui Meeuwissen, is a place where memories, dreams and hallucinations are exhibited on pedestals and trapped in objects that bely a fascination with the club scene and its decoration. Anecdotal texts relating these intangible experiences are narrated by a mind caught between childlike naivety and conditioned sophistication.

The Scent of Time, by Tatsuhiko Togashi, is a collage of footage foraging the flavorful moments of gastronomical scape – a cooked film instead of a cooking show. The camera is not the observer of a dinner, but a participant that has its own unique sensory system for savoring time. The film is a pot in where boundaries between ingredients and materials, food and utensils are dissolved, mingled each other and showing the materiality of taste.