30 October: Westworld

Two visitors decide to go on a Wild West adventure in a theme park of the future. The two find themselves stalked after a computer malfunction by an unstoppable robot gunslinger on the rampage. Yul Brynner gives a scary performance as a killer robot.


On October 30, preceded by the film lecture (in English) The Sonic DNA or Westworld or: How We Are Lured to Love Intelligent Machines by Frank Mehring (American Studies at Radboud University Nijmegen). Are man machines servants of man or do they revolt against their makers? Do Silicon Valley and Hollywood prepare the global film audience to accept and embrace the human machine as an independent species?



16 October: Pioneers of Electronic Art + introduction by Pawel Pokutycki

Interaction designer Pawel Pokutycki (Royal Academy of Art, The Hague) gives his view on the history of computer art, based on the rich archives of early computer animation awarded with the Prix Ars Electronica. The evening’s programme will be conducted in English.


Photo credits: Nicola Sani & Mario Sasso, Footprint (1990)

From less known works of East European artists to early experiments of John Lasseter (Pixar) the program of the evening will be divided into several short chapters discussing different tendencies in the artistic and technological evolution of computer animation such as: digital image manipulation, generative art and 3D entertainment. Works of artists like Karl Sims, David Rokeby or Támas Waliczky will illustrate various intentions behind electronic art and general expectations from digital revolution in a socio-cultural, technological and political context of the 80’s and 90’s.

This performance is followed by Pi (1998).

9 October – Works and Words: film and art from 1970’s Central Europe

Eye and De Appel are organising a special evening to mark the reprint of the original catalogue to accompany the Works and Words art event in Amsterdam (1979). The evening looks back on the celebrated art show involving artists from Central Europe, which also included a comprehensive film programme presented by De Appel and Holland Experimental Film.

Works and Words was a ten-day art event that took place in Amsterdam in 1979 to focus on contemporary artists from socialist Czechoslovakia, Hungary, Poland and Yugoslavia. The programme included lectures, performances, installations, photo exhibitions and film and video screenings.  The show was an initiative of De Appel and was realised in association with prominent art centres in the city.

The evening highlights the history and significance of this interdisciplinary international art event in 1979 from a modern perspective.

political tension

The programme includes a selection of experimental films from the original programme by pioneering artists such as Dóra Maurer (HU), Józef Robakowski (PL) and Mladen Stilinović (HR). The screening is additionally framed by a conversation on the fascinating context of Works and Words as a cultural event organised during the politically tense Cold War era

everyday life

Contemporary Polish media artist Wojciech Bąkowski will give a concert performance. Bąkowski’s work explores some of the themes that also engaged the experimental filmmakers of the late 1970s, such as the reframing of the stuff of everyday life through film and video.bakowski

The programme is organised on the occasion of the reprint of the original Works and Words exhibition catalogue by De Appel and Roma Publications.

The Program:

Welcome by Anna Abrahams (EYE on Art ) and De Appel director Niels Van Tomme

LIFT, Vladimír Havrilla (Czechoslovakia), 3’15”, b/w, S8, no sound, 1974

Slovak artist Vladimir Havrilla worked as a sculptor before turning to filmmaking in the 1970s. LIFT is a conceptual film that uses pixilation technique to show two women as if they were levitating above a tennis court, systematically capturing their movement through the cinematic space.

TWO TIMES IN ONE SPACE (Dva vremena u jednom prostoru) Ivan Ladislav Galeta (Yugoslavia), 12′, b/w, 2x16mm, 1976-79

With TWO TIMES IN ONE SPACE the Croatian multimedia artist Galeta appropriated Nikola Stojanović’s short film In the kitchen (1969). While the original was filmed in one take, Galeta used an overlapping double projection of this footage, with a time shift of 9 seconds, to alter the time-space structure of the segment and deconstruct the narrative focus of the original.

RELATIVE SWINGS (Relatív lengések), Dóra Maurer (Hungary), 1973, 10′, b/w, 35mm, opt.ds.

Maurer is an artist and graphic designer whose work often involves complex mathematical systems. This film is a playful research into the nature of movement as recorded on film. Through a split screen, we are exposed to the interrelatedness of different moving images: the swinging of geometric objects placed in front of the lens and the camera itself being in motion.

I’M GOING (Idę) Józef Robakowski (Poland), 1973, 3’, 35mm, sound

Robakowski’s wide-ranging experiments on celluloid sought to engage a novel filmic language. I’M GOING places the bodily experience of increased exhaustion in dialogue with the materiality of film. Holding his camera, Robakowski counts his steps as he ascends a parachute tower. As the film is shot in real time in one take, it deconstructs the traditional filmic gaze of narrative cinema.

Conversation with Sonja Simonyi en Kaspars Reinis

RUN AWAY (Bježi), Mladen Stilinović (Yugoslavia) 1973, 7′, color, N8mm, sound

Croatian artist Mladen Stilinović, known by many for his Manifesto of Laziness, produced an idiosyncratic oeuvre of experimental shorts on film. RUN AWAY, shot in Zagreb in one day, is a dynamic exploration of urban life under socialism and the socio-historical and ideological forces that structure it.

SELF-FASHION SHOW (Öndivatbemutató), Tibor Hajas (Hungary) 1976, 13′, b/w, 35mm, opt.sd.

Filmed in a busy square in Budapest by neo-avant-garde artist Tibor Hajas, this film self-reflexively questions the truthfulness of the filmic image. It shows passers-by silently posing in front of the camera, at times separated from their surroundings with a black backdrop. Through an added soundtrack, which alternates internal monologues with probing interrogations, Hajas connects the themes of surveillance, private thought and public space.

STONE CEREMONY, Milan Knížák/Dobroslav Zbornik (Czechoslovakia), 1972, 6,’ b, /w, 16mm

Czech artist Milan Knížák was a central figure of the Fluxus movement, for which he became the “Director of Fluxus East” in 1965. STONE CEREMONY is a re-enactment of a ritualistic performance by a group of young artists. By adding a soundtrack in post-production, the work simultaneously transcends its role as a mere document of an action, and engages the medium specificity of film.

ACTIVITIES (Działania) Przemysław Kwiek, Zofia Kulik (Poland), 1972, 12’, 16mm

The artist duo KwieKulik, active between 1970 and 1988, merged their private lives with artistic experiments in opposition to the authoritative socialist state. ACTIVITIES documents a collective action that encompassed four days of improvised interdisciplinary events, executed by eleven artists at a TV studio. Each gesture unfolded as a reaction to whatever preceded it within this enclosed space.

Concert-performance Wojciech Bąkowski (b. 1979, Poland)

Besides being a visual artist, Bąkowski is also a poet, filmmaker and musician. In his recent musical compositions Bąkowski combines stock sound effects with straightforward melodies. These music collages are enriched by formally uncomplicated poetry, which is comprised of particular chanted words. The concert-performance in Eye will contain the compositions from Bąkowski’s new album “JAZZ DUO” that will be released this winter by Dunno Recordings.

Curator of the Film Programme: Sonja Simonyi

Curator of the performance: Jagna Lewandowska

Curators of De Appel Archive: Kaspar Reinis, Nell Donkers

De Appel website is presenting the film Gallery Alive on the occasion of the reprint of the Works and Words catalogue. This work by famous Polish artist Józef Robakowski from 1975 sketches a fascinating picture of the local avant-garde in that period.

Gallery Alive will be on display from 2 October to 31 October 2018:




De Appel website is presenting the film Gallery Alive on the occasion of the reprint of the Works and Words catalogue. This work by famous Polish artist Józef Robakowski from 1975 sketches a fascinating picture of the local avant-garde in that period.

Gallery Alive will be on display from 2 October to 31 October 2018


2 October: dumb type + inleiding Julian Ross

Since 1994, Ryoji Ikeda has been a member of ‘dumb type’, the artist collective that radically renewed theatre in the 1990s by introducing computer technology and multimedia.

Programmer, curator and researcher Julian Ross places the work of dumb type within the context of Japanese avant­garde and international sources of inspiration.



Photo credits: OR (dumb type, 1997) Photo by Emmanuel Valette

25 September:Maya Fridman vs Films by Paolo Gioli

He deconstructs technology and the language of cinema, she is acclaimed for her emotional performance of works by classical and modern composers. Master cellist Maya Fridman performs live to four experimental films by the Italian artist Paolo Gioli. With an introduction by Eye on Art programmer Anna Abrahams.


  • Del tuffarsi e dell’annegarsi (IT 1972 10’45” 16mm b/w)
  • Film stenopeico (L’uomo senza macchina da presa) (IT 1973/1981/1989 13’ 16mm b/w colour)
  • Quando l’occhio trema (IT 1989 10’45” 16mm b/w)
  • Immagini travolte dalla ruota di Duchamp (IT 1994 12’12” b/w)
  • gioli1

7 September – Laurie Anderson: Artist Talk

Laurie Anderson will give a talk about her work and work process which will centre on how language and stories have affected what she has done in various fields in the visual arts.

Her particular blend of poetical and vernacular language is integral to the creation of her imagery in painting, film, virtual reality and music. In this presentation, she will focus on the influence of storytelling in politics, the importance of having a viable Plan B, and the usefulness of failure. The presentation will include images and music and will also reference works in progress and the many influences and teachers to have inspired her throughout her long career.laurie-anderson-eye-filmmuseum01

16 August – Borderline: the Mexican Frontier

It is not only of major symbolic value in the political arena. The Mexican-American border is also a rewarding topic in film history. Orson Welles’ classic Touch of Evil reveals the border as an explosive territory between law and lawlessness.

Passing from the ultra-technological US to the far more disorganized state of Mexico is an experience that has been narrated by a range of filmmakers. The border is a nowhere land, a transitory zone that is symbolical of freedom as much as tyranny. With clips from Django(1966), The Wild Bunch (1969), The Getaway (1972), No Country for Old Men (2007), Thelma & Louise (1991), From Dusk Till Dawn(1996) and Sicario (2015).

Compiled and presented by Cinema Egzotik programmers Ronald Simons and Martin Koolhoven (in Dutch).

The programme will be followed by Orson Welles’ classic Touch of Evil (1958, featuring Janet Leigh and Charlton Heston), in which the attempted assassination of an American businessman in a small town on the American-Mexican border uncovers a morass of corruption and decay.


11 August: Documenting the Undocumented

Leaving everything behind you in the hope of a better life. The films in this programme highlight the history of migration based on clips from EYE’s collection and recent productions.

The programme includes films by contemporary artists such as The Bureaucracy of Angels by Oliver Chanarin and Adam Broomberg. Also featured is Joost Conijn’s Good evening welcome to the people living in the camp (2018), plus a clip from Transit Levantkade (1990, Rosemarie Blank), with archival footage of East-European migrants around 1900.         

In collaboration with Nathanja van Dijk (director A Tale of a Tub).

This screening is programmed in combination with the film good evening welcome to the people living in the camp.


17 July: The Wall: Crossing Borders

The Wall: Crossing Borders

The wall between Mexico and the US, the Israel-Gaza strip barrier, the Berlin Wall and the Chinese Wall: they are iconic symbols of oppression and the fear of the other.

The Wall explores the meaning of borders and the tangible consequences for anyone having or wanting to pass them. The programme includes short films by Josh Begley (Fields of Vision, based on Google Maps), Hamza Halloubi’s A Letter to Aura (2012) and The Lovers: Great Wall Walk (Abramovic/Ulay, 1988)

 In collaboration with Nathanja van Dijk (director A Tale of a Tub).

This screening is followed by the feature-length documentary El mar la mar (2017) by Joshua Bonnetta & JP Sniadecki, about the scorching desert route migrants take to get to the United States.



3 July: Virtual Reality and the Myth of Total Cinema

Film lecture on the visual language of artistic virtual reality, by William Uricchio.

Are cinema and virtual reality fundamentally intertwined? Or are we pushing familiar content into emerging technologies, just as theater once pushed its way onto early film screens? Drawing on deep historical precedent together with VR’s fast changing technological horizon, William Uricchio will explore the uses and abuses of cinema with VR.

William Uricchio is Professor of Comparative Media Studies at Massachusetts Institute of Technology, and founder and principal investigator of the MIT Open Documentary Lab.

This screening is followed by a screening of Russian Ark (2002, Aleksandr Sokurov).