23 April: An Evening with Broomberg & Chanarin

Eye programmer Anna Abrahams talks with Adam Broomberg & Oliver Chanarin about their sources of inspiration. Work by the two artists is featured in A Tale of Hidden Histories, Eye’s exhibition on how the history of conflict areas is mediated and constructed. Followed by the screening of Mike Nichols’ Catch-22, the film adaptation of Joseph Heller’s recollections of WWII.

Born in South Africa and raised in England, the artists Adam Broomberg (1970) and Oliver Chanarin (1971) trained as photographers but now work in several media. Their work addresses historical, political and religious topics in a fresh and challenging way.

 

impressive

Dodo (2014) centres on the representation of war. Combining archival research and archaeological excavations with unused film clips from Catch-22, the installation is an impressive work on the representation of war and the impact of the Hollywood industry on the Mexican landscape.

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16 April : La casa lobo

The Wolf House is an unsettling, overwhelming stop-motion film about the mental delirium of a girl, reminiscent of the short films by David Lynch and Jan Švankmajer. Screened in Shell Shock, our programme on coping with traumas.

The feature film debut of the Chilean visual artists Cristóbal León and Joaquín Cociña is an ingenious and disturbing visual featabout the mental delirium of Maria, a rebellious girl who escaped from an isolated German settlement in Patagonia.

 

 

cautionary

La casa lobo presents itself as a cautionary film that is meant to deter people from trying to escape from the colony, which many attempt nevertheless. A striking feature of the film are the powerful, surrealist and disorientating images – a cinematic reflection of Maria’s mental disorder. Objects change in size and shape, cartoon images emerge from the walls of the house, works of art and eyes bleed paint like tears.

9 April : Meiro Koizumi – Shorts

Curator Xander Karskens, director of De Ateliers, reflects on Meiro Koizumi’s work. How is the history of conflict areas mediated and constructed? Karskens explores a number of Koizumi’s confrontational  video works and performances that brought the Japanese artist fame. Some of the short films by Koizumi will be screened this evening, while a number of his films are also featured in the exhibition A Tale of Hidden Histories.

Meiro Koizumi (Japan, 1976) exposes numerous deep-seated taboos and painful issues in Japanese society. He creates a steady oeuvre on recurring topics such as individual and collective memory, Japan’s position towards the past, Japanese media culture and perceptions of iconic Japanese traditions such as the Samurai and kamikaze.

traumas and memories

Meiro Koizumi’s Defect in Vision (2011) and Portrait of a Young Samurai (2009) are included in the exhibition A Tale of Hidden Histories. They present an unsettling picture of kamikaze pilots; the traumas and memories of American veterans of the Iraqi and Afghanistan wars are the subject of Koizumi’s recent work Battlelands (2018).

Xander Karskens (1973) was artistic director of the Cobra Museum of Modern Art in Amstelveen and curator Modern and Contemporary Art at the Frans Hals Museum | De Hallen Haarlem.

5 April – An Evening with Omer Fast

Marcella Lista, curator at the Centre Pompidou, Paris, talks with Israeli artist Omer Fast about his work. How is the history of conflict areas mediated and constructed? Fast acquired a name with his politically charged films that pit reality against fiction. Some of Fast’s films are screened in the exhibition A Tale of Hidden Histories.

Contemporary trauma and war are major ingredients of Omer Fast’s politically charged films. Deeply interested in the tension between reality and fiction, Fast (Israel, 1972) explores the construction of stories, in particular how stories are transformed when they are told from various perspectives.

 

drone pilot

The exhibition A Tale of Hidden Histories features two works by Omer Fast. In Continuity (2012) a husband and wife are reunited with their son when he returns from a mission in Afghanistan. The uneasy story soon gets more complicated. The cue for Her Face Was Covered (2011) is the testimony of a drone pilot who talks about the targeted bombing of a convoy of trucks at an unspecified location.

26 March:An Evening About Amar Kanwar

Artist and social activist Amar Kanwar investigates in his deeply unsettling yet poignant work the nature of oppression and the courageous resistance of an oppressed people. This evening he will talk about his work with Selene Wendt (curator of the exhibition A Sheet of Paper Can Become a Knife). Kanwar’s films A Season Outside and Such a Morning will also be screened.

A Season Outside (1997, 35′) 

Amar Kanwar used a border conflict area between India and Pakistan as the basis for a deeply personal and philosophical essay film on the multiple forms of violence and nonviolence. Kanwar’s A Season Outsideopens with the closing of the border gate near Wagah-Atari, a ceremony that incites aggressive nationalism on both sides. This enacted conflict shows how physical aggression can infect cultures as well as individuals.

Amar Kanwar’s talk with curator Selene Wendt is followed by a fifteen-minute intermission

Such a Morning (2017, 85′)

A renowned professor of mathematics resigns out of the blue and retires to the wilderness, where he moves into a deserted railway carriage. Such A Morning, which previously featured at Documenta 14, poses the existential question of how to live in the past.

Selene Wendt is the curator of an exhibition currently showing at the Prins Claus Fund Gallery, A Sheet of Paper Can Become a Knife. This evening is co-organized by Eye and the Prins Claus Fund as part of her exhibition and Eye’s exhibition A Tale of Hidden Histories.

about Amar Kanwar

Amar Kanwar (New Delhi, 1964) won the Prins Claus award in 2017. Kanwar is an artist, filmmaker and social activist committed to making art in reaction to social injustice. He uses hisfilms and multimedia installations to explore such issues as power politics, violence, ecology, sexuality and justice. His work often draws on stories from conflict areas.

To increase the impact of his work, Kanwar makes sure his films reach a wide audience, from local film clubs and organizations that support conflict-ridden communities to exhibitions and film festivals across the world. His work demonstrates the importance of resistance, both individually and collectively, and the power of poetry and art to expose injustice.

12 March:Best of Selected Artist Moving Images

New work by Dutch artists and experimental filmmakers that was recently added to EYE’s collection. The programme includes short films by filmmakers and artist’s like María Molina Peiró and Michiel van Bakel: 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.

Best of Selected Artist Moving Images

Best of Selected Artist Moving Images

Best of Selected Artist Moving Images

Best of Selected Artist Moving Images

programme

Lola Magenta 
The Netherlands  – 2018 – Ansuya Blom – 9 min
Lola Magenta is about a famous name in psychiatric literature, Lola Voss, who was diagnosed as schizophrenic by Ludwig Binswanger, a contemporary of Freud. Nonetheless, Blom chooses not to use Binswanger’s words, but the writings of Voss herself. In letters to her doctors, she lucidly describes her situation and attempts to gain control of her fears. Excerpts from the letters are interspersed with lines from the Greek tragedy Agamemnon and the play 4.48 Psychosis, the final work by playwright Sarah Kane before she opted to escape her depression by committing suicide.

Robert F. Kennedy Funeral Train – The People’s View
Rein Jelle Terpstra – 9 min
On June 8, 1968, amidst a year wracked by division and violence, the casket of assassinated Senator and presidential candidate Robert F. Kennedy was transported on a funeral train from New York City to Washington, D.C. Hundreds of thousands of people united along the tracks in a spontaneous expression of grief. ‘Robert F. Kennedy Funeral Train-The People’s View’ presents a cinematographic reflection on this historic train journey from the people’s perspective.

The Nightshift
The Netherlands  –2017-  Giovanni Giaretta –  7 min
A hypnotic voice-over narrates a text based on personal experience as a night porter. Here, the nightshift becomes a metaphor that tells about the mechanics of perception, describing a particular state of mind caused by working at night in relation to an self-generated filmic illusion in which one pretend that it is daytime. This work consists of a collection of images and resemblances that trick the eye, like the shadows of objects on a wall, CCTV footage or misleading deceptive reflections in windows. The video tackles the relationship between perception and projection, and hints at the suspension of disbelief and at the constant shifting between what is fantasized and what is experienced.

Hours of Glass
The Netherlands  – 2018 – Michiel van Bakel-  7 min
Time-traveling through a sequence of time-lapses. From a dark sky park on Møn, Denmark,  to a vanished observatory in Istanbul (Taqi ad-Din). Via the idiosyncratic Einsteinturm close to Berlin, ultimately reaching a secret service post used for intercepting vast amounts of tele-communications (Joint Sigint Cyber Unit, the largest eavesdropping base in the Netherlands).
This short photographic investigation follows an associative path along places that helped shape the observation, or should we say, the surveillance of the heavens. An extraterrestrial gaze is turned towards earth in the form of a full spectrum camerawith its eerie colour schemes. Likewise, some of the deep-gazing techniques are directed towards people sharing thoughts over the ether.

The Sasha
The Netherlands  – 2019 – María Molina Peiró- 20 min
‘The Sasha’ is a fictional video essay about the human perspective on Earth and our constant struggle with our temporal and spatial limitations. From the exploration of space to cyberspace, from a family portrait to a photograph of the Earth, from an analogue Moon in 1972 to a virtual Moon in Google Earth today.
In the film archive material from Apollo XVI Mission and from the history of space-photography is mixed, animated and post-produced to create a loop of parallel universes where infinity seems to be lost between frames and interfaces.

5 March:Bauhaus, dance and avatars

Oskar Schlemmer

Friederike Zimmermann, art historian and Oskar Schlemmer expert, will give a talk at the opening of Das Totale Tanz Theater, the VR show at Eye inspired by the century-old legacy of the Bauhaus. The programme also includes a discussion with VR co-director Diana Schniedermeier, and several Bauhaus films will be screened as a tribute to the pioneering principles of this revolutionary art school.

Dr Friederike Zimmermann (born in 1963), a graduated Germanist and art historian, is a freelance journalist, publicist, PR consultant and exhibition curator living in Merzhausen near Freiburg/Breisgau. Her book  ‘Mensch und Kunstfigur. Oskar Schlemmers intermediale Programmatik’ was published by the Rombach Verlag publishing house in Freiburg in 2007 (second edition in 2014).

Research Labs winners

On March 2, 2019 we had in Eye the beautiful Research Labs during which 8 different art and film schools presented their new audiovisual works and curated works.

The quality of the audiovisual works was horrific good and the juries had difficulties in awarding the best film. Here their choices:

The student jury (Wyatt Niehaus (Sandberg Institute), Ana Brumat (Piet Zwart Acdemy), Christian Kingo (Rietveld Academy), Vincent Hodde (Leiden University), Andela Vidic (AKV| St.Joost Academy), Sean Kobi Sandoval (KABK) gave special mentions to:

Thrown Ashore by Anastasia Kiseleva and Mischa Lind and Soldier 365 by Elia Kalogianni

The award for the best work went to: The Banquet by Rosella Nisio

The Eye jury (Claartje Opdam, (project manager exhibitions), Christian Gosvig Olesen (Eye scholar in residence 2018), Edith van der Heijde (experimental film distributor) awarded the Sandberg Institute for the best curated program, and The pursuit of anomalous mind habitats by Ana Brumat as the best audiovisual work.

 

Here some photos of the day:

 

 

 

 

2 March: Research Labs

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 Ana Brumat (Piet Zwart Acdemy),  Wyatt Niehaus (Sandberg Institute), Christian Kingo (Rietveld Academy), Vincent Hodde (Leiden University), Andela Vidic (AKV| St.Joost Academy), Sean Kobi Sandoval (KABK).

The Eye jury includes Claartje Opdam, (project manager exhibitions), Christian Gosvig Olesen (Eye scholar in residence 2018), Edith van der Heijde (experimental film distributor).

                                                                   Exhibition

Antfarm (2019) by Monique van de Ven (AKV| St.Joost Academy)

Installation containing live ants and video in loop (4’16”)

Moving image is a never ending phenomenon in nature. Zooming in and out, you’ll find all sorts of moving structures and stories. Catching snails, watching ladybugs, playing around as a small kid outside. The question raised ‘ ‘How do other creatures behave and what can we learn from them?’. It is now the basic question in the practice of van de Ven. For this project van de Ven dived into the world of ants. Mystifying and demystifying them during a series of experiments, without harming them.

still ANTS monique van de ven

Time Machine (2018) by Nikki Nikki van Sprundel (VR Academy)

VR Installation (8’)

What if you could meet your 10-year-old self, standing in your old bedroom? In this VR documentary 10-year-old Rena talks directly to you, her future self. She will not get to see what you’ll be seeing until 2038, when she will travel back in time and meet herself as a kid. What should Rena’s 30-year-old self absolutely know about her life now in 2018? What does she think her life will be like when she grows up? By stepping into Rena’s future shoes, you will also be confronted with your own childhood.

Did you become who you wanted to be when you were 10?

This real-time machine concept enables the viewers to play a role within the story. Having a role within a VR story means your presence is confirmed within that story. This results in an augmented feeling of immersion.

researchlabs-VR-Academy-Time Machine.png

                                                              Cinema Program

11.00 – cinema 2: Wildness by Gerrit Rietveld Academie

The theme of this year’s Research Lab contribution by the VAV, the Moving Image Department of the Gerrit Rietveld Academie is ‘Wildness’, a theme linked to this year’s extracurricular studies program ‘Take a Walk on the Wild Side –  Fabulating Alternative Imaginaries in Art and Life’.

The contributing students will explore a number of keywords connected to this theme, emerging into a broad range of ‘black box works’ stretching from bewilderment through love and its myths to Zen-like seascapes.  From speculative fiction to post-truth. From queer vitality revolting into wild space and the wild beyond… Tapping them from the vibes that are alive in our academy at this very moment.

From fabulation brought to us by monochrome analogue film to more dystopian worlds presented in apparently everyday situations, the students bring to bear a variety of speculative ideas and fascinations in digital formats, using analogue footage and also more performative mediums to reflect upon this theme of Wildness.

We browse through a world of sound and visuals, coming up with even a more surreal world where the wild space is the always present. When we long for calmness, the opposite will be emphasized. As when seeing light, darkness appears. In the same way the Wildness abides in the cracks of our daily lives. Shapeshifters, word inventors, urban doctrines, miniature worlds, all these are explored to get away from the current media hype.

The participating students investigate the implications of these words in very different ways, using all the tools that video and film can offer, such as imagination, storytelling, building constructions, costumes and props.

Program (more info here: handout rietveld)

Introduction by Emile, Ignas & Paula

Nest  (16mm) by Emile Weisz & Ignas van Rijckevorsel, 6’

Hatched by Qianfu Chenny Ye, 4’

Elephant in a Room by Juni Mun, 4’

Bumper 1 I want it extra strong by Meis Vranken, 1’

Doctrines  by Christian Kingo & Chong Lii, 8’

Exploding Chair  by Emile Weisz, 1’

Posthuman by Emre Özakat, 4’

Bumper 2 Where is red light district? by Meis Vranken, 1’

Natives  by Joost Koster, 7’

I get cranky when the moon is full by Maria Kozlitina, 2’

Bumper 3  I am Allergic by Meis Vranken, 1’

Shifting by Clara Langlois, 4’

Dog Days by Paula Garcia Sans, 5’

Soldier 365 by Elia Kalogianni, 6’

 

12.15 – cinema 4: Catalogue by Sandberg Institute

Catalogue examines the state of the archive through new video works. The programme we compiled confronts the audience with history and the ways in which the archive as a principle seeks to create a cohesive whole out of fragmentary cultural projects. The works included in the program reference histories and cultural details underlying the images displayed, working from narratives and reference points that are located elsewhere. These works take varying approaches to dealing with the documents, objects or narratives – from directly referential analyses to more circuitous illustrations of how historical elements evolve and mutate into something meaningful in our contemporary moment.

The Catalogue screening program organized by students and faculty of the Sandberg Instituut features a broad cross-section of practices and methodologies aimed at problematizing the linear and unified narratives of history while also revealing their influence on our day-to-day relationship with cultural, political, and social images and objects. The works screened form a relationship with one another through their strategies and the topics addressed. As a cumulative body of work, they begin to etch out new possibilities for dealing with complex and disparate histories that could operate outside of the traditional institutional concept of the archive.

Program

Work for Room by Wyatt Niehaus, 17’

Mood Keep by Alice dos Reis, 14’

ASRS 2017-2019 by Timo Demollin, 6’

Performance ’Never Ever Archived’ by Silke Xenia Juul 15’

 

 

13.30 – cinema 2 : Disobedient Narratives by Piet Zwart Institute

From the smooth surface of chaos, to the purple hues of desert; from a day at the news stand, to a day of the troop’s return; from a poem to a memory to a dream to a failure to recall. A television breaks. A bell rings. A photograph becomes a moving image. What happens? Where will the dark pulses send us? Whose wistful whisper fills our skin with regret?

In this program of sixteen short films, makers from the Piet Zwart Institute interpret non-linearity on the screen. Fragments adhere. Entities emerge. Silence begets curiosity before reality shatters again. As the hour forks into a universe of thoughts and experiences: do we follow the command, or do we shut our eyes?

Program

/ \ / Pendulum by Sonia Mangiapane, 3’

Look at the Video  by Marieke de Zwart, 3’

Far from Home  by Zhibin Qin, 4’

The Gifted Horse by Andreas Drosdz, 5’

Whatever Is Not Desert No Longer Exists by Ana Buljan, 4’

Seek  by Jue Yang, 3’

Voices by Katia Papanikola, 3’

Anna by Susanna Fasciolo, 4’

A Room of Oblivion by Dorothy Cheung, 4’

Abiding  by Ugo Petronin, 4’

TVACUUM by Mia Paller, 3’

The Banquet by Rosella Nisio, 3’

A lélek, a test és az elme by Henrietta Müller, 6’

No title by Felix Obermaier, 4’

The pursuit of anomalous mind habitats by Ana Brumat, 4’

How I fail to recall who broke the bell (was it me or the cat) by Cem Altinoz, 3’

 

19.30 – cinema 4: Cinematic Reflections by Leiden University 

In our one-hour program Cinematic Reflections, we will investigate the filmic medium itself using both archival and self-generated images. To be able to do this, we decided to divide our program into four parts: audience, materiality, photography and framing. In the first part, audience, we will visually dissect the relation between cinema and audience, exploring the question of whether cinema can exist without an audience. In the second part, materiality, we will look at the changing nature of the materiality of cinema and its relation to the archive as a result of the shift from analogue to digital. In the third part, photography, we will explore the relationship between film and photography, between movement and stillness. In the fourth and last part, framing, we will challenge the boundaries of the filmic screen in order to question the conception of cinema as both passive and landscape-based. Ultimately, these four topics together will both explore and challenge our personal views on cinema.

This program was curated by students from the Master’s program in Film and Photographic Studies at Leiden University and includes films and clips from Eye’s film collection.

Program

Introduction by the group

Audience by Jefri Tangkau, 5’

Beademen van de beeldbuis (fragment, 2’), Joes Odufré, Marinus Boezem, 1971

Vanwege het experiment (fragment, 1’) by Peter Rubin, 1985

Bits & Pieces nr. 620,Mark-Paul Meyer, Elif Rongen, Rixt Jonkman, 2010, 1’

Retour d’enfance (fragment, 30”) by Mattijn Seip, 1970

Vanwege het experiment (fragment, 1’) by Peter Rubin, 1985

Katarakt (fragment, 1’) by Jan Ketelaars, 1978

Show me (fragment, 1’) by Claudia Kölgen, 1994

Attempts. A tribute to Jonas Mekas by Benjamin Schoonenberg, 6’

Edward Muybridge compilation by Vincent Hodde, 1’

I Should See, 16mm, Menno de Nooijer, Paul de Nooijer, 1990, 2’

Movie Audience watching archival footage of Amsterdam by Vincent Hodde, 3’

Touring Holland by bicycle, 16 mm,  Paul de Nooijer, Jerry Musser, 1981, 3’

Zooming in by Vincent Hodde, 2’

Hong Kong’s time-image by Vincent Hodde, 12’

An Unframed Portrait: Hong Kong by Nola Der Weduwe, 10’

 

16.00 – cinema 2:  Unintended by AKV|St.Joost Master Institute of Visual Cultures

I am writing from the empty space.

I don’t choose pages.

I cannot explain it but it is there right in front of me. The flowers, which grow faster and faster. They seem stronger than I will ever be. Therefore, I am asking you once more my friend, can this still be a certainty? And although you are standing on the other side, seeing the same things as me, we are still so far apart. I just want to know how it feels to be like you. Every time I write to you, it is not me who determines time. The only thing I can choose is the emptiness that will be filled with green ink. The loneliness is catching up to me. Actually, I do not have time to waste time, but I am still doing it every day by searching for the tail with no end. I just feel blessed staying around and just think about nothing with so much wisdom in my mind, violating my own rules. Am I the one writing, or is someone writing about me. Nothing is getting closer.

For most Master students their contribution to the Eye Research Lab is a first exploration of the moving image. The works they made, strongly related to their own practice, are chapters of one story intertwined by graphic clips from Amalie Dyrup.

Program

Ying Liu: “A drawing of two people, considering balance and sound”

Andela Vidic: “Words wrapped in personalized memories painted in green color”

Geert vd Schaaf: “Journey to something, an open endless mind. The thoughts of the wanderer”

Minke Nouwens: “Archival-footage with self-shot images explores artistic vulnerability”

Yan Zhao and Shadman Shahid: “A story of China and Bengal told through the eyes of two friends”, performance

Lena Paßlick: “Wanting to give attentiveness to unconscious things”

Giulia Magro: “A monologue about a grotesque nightmare or a premonitory dream”

Leonie Schepers: “An experiential journey where everything we believe is true”

Petru Ciocoiu: “Surprising elements surface, when aspects of an experiment are kept in control”

Jard van Everdink: “A poem: drifting away from reality, I try to find my anchor”

 

17.15 – cinema 4: Cinema as a Dream by The Royal Academy of Art

Dreams are a way of looking into the subconscious mind. Filmmakers like Dali, Buñuel, Gioli and Burroughs explored the theme of dreams for many years, opening up new frontiers by pioneering the genre of surrealism.

Their work was our starting point to investigate the contemporary theme of dreams. Each film explores this through the unique approach of the filmmakers. We embrace the absurdity of dreams to translate them into an experimental and nonlinear structure in the film language.

We employed different kinds of styles, perspectives, and backgrounds of inspiration: our international group of 20 filmmakers consist of students from fine arts, graphic design, photography, interactive media design, interior architecture and art science. Dreams open the door to subconscious perception and we now invite you to step into a different dream state.

Program

Thrown Ashore by Anastasia Kiseleva and Mischa Lind, 8’

A Safe Place? By Anna Charalampidi, 3’

Bedtime Story by  Mirka Kachrimanidou, 3’

White Noise by Ruby Lee, 2’

Unsuccessful Sequence, by Alexandra Dalavaga, 2’

Broken Machine by Caspar von Eugen, 3’

Dépaysement by Arina Livadari, Ella Hebendanz, Thora Thøgersen, 11’

Subliminal Transit by Karoliina Pärnänen, 4’

What the Tide Still Carries by Sean Kobi Sandoval, 5’

Animaive by Nikolas Magkriotis, 7’

Utopian Food by Jinzi Liu & Violet Luu, 6’

 

18.30 – cinema 2: Virtual Music, Movement and Memory by VR Academy

The VRAcademy is an interfaculty innovation hub for all the Academies of the Amsterdam University of the Arts. The main goal of the VRA is to stimulate creative cross-overs between the different academies, disciplines and specialities. Also, the collaboration with industry start-ups at the VRBase is playing an important part in the VRA approach. The research of the VRA is focused on the use of virtual environments, virtual actors and virtual “story-environments” in the broadest sense. Also, the development of tools to create new compelling VR/AR/MR content is one of the research goals.

Synesthesis a sculpted music dance performance with the sonotrope

Sonotrope is a VR-installation and performance tool, a spatial music creation and playback system for sound-artist and dancers. It enables one to capture movement as tracks of music, resulting in an interactive music sculpture, a 3D crystallized composition as recorded multi-track sound score constellation with a significant visual idiom.

The importance of Sonotrope lays in the converging ingredients of innovation, intuition, immersiveness, interdisciplinary cross-pollination, art and technology. We aim at developing a new way of idiomatic composing that perhaps once again might be as revolutionary in the history of music composing as the commencement of minimal music, electronic music and Musique Concrète, as these also emerged alongside technical innovations as the tape recorder and the synthesizer.

Time Machine

What if you could meet your 10-year-old self, standing in your old bedroom? In this VR documentary 10-year-old Rena talks directly to you, her future self. She will not get to see what you’ll be seeing until 2038, when she will travel back in time and meet herself as a kid. What should Rena’s 30-year-old self absolutely know about her life now in 2018? What does she think her life will be like when she grows up? By stepping into Rena’s future shoes, you will also be confronted with your own childhood.

Did you become who you wanted to be when you were 10?

This real-time machine concept enables the viewers to play a role within the story. Having a role within a VR story means your presence is confirmed within that story. This results in an augmented feeling of immersion.

 

21.00 – cinema 2: Spacechangers by VJ Academy

VJ-ing is and has always been about augmenting our experience of reality through adding virtual video layers. This year, VjAcademy students Eva and Bram explore two recent techniques to seamlessly merge the real and the virtual using film. We end with an exciting interactive masterclass for all Research Lab participants based on live editing.

Throwback to 16, Janskerkhof – Eva Verhoef

In this project we welcome back Holland’s Golden Age. Eva Verhoef projects the history of past residents of Utrecht directly on to the still existing houses they once lived in. She uses the technique of ‘3D projection mapping’, whereby the spatial geometry of buildings plus software calculations are used to transform video imagery in such a way as to create powerful optical illusions.

Eva started working on this project with fellow students and with the help of the LiGHT-up collective and HKU, bringing a 3D-scale model to explore this unique version of outdoor cinema at Research Lab. In addition to the scale model on display that shows you how the projection interacts with the 3D shape, Eva will also document the full-sized project on the big screen and reveal how the magic works. For those aspiring to use the entire iconic Eye museum building as their canvas one day: we’re including a scale model of Eye as well.

Close Dancing – Bram de Bree

Stage arts such as dance performances necessarily involve a certain distance between audience and performers. They both need space, and therefore cannot come too close physically. Too bad, because much of the nuance of the dance is lost this way. Cinema solves this problem using strategies such as closeups and multiple camera angles. Only now we miss the experience of being in the same space as the dancers! Bram combines the best of both worlds in this VR dance performance (building on his previous work for the AKI finals in Enschede). To help you distinguish between real and unreal, the dancers are … not quite human. Bram invites you to experience it for yourselves by wearing your VR set. He will also discuss the project in greater detail on the big screen, where everybody can see the individual experiences live. He will also present a demo on how the project was made.

Remixing Research

Bram and Eva are both live video performers (VJs). On behalf of VjAcademy they would like to share their techniques of live editing/SFX in an interactive masterclass, using videos made for other Research Lab programs. They invite you to join them and discover this unique take on video for yourselves. VJing is usually set in clubs, to music, so as an experiment they will remix the entries for the 2019 Research Labs to the best-known music scores from film history, inviting the audience to join them.

 

 

 

 

 

26 February – Looking for the Master

Three international filmmakers living and working in Amsterdam share their views on Jan Švankmajer’s animations and how their own work might possibly be influenced by the Czech master animator. Participators in the conversation are Martha Colburn, Serge Onnen en Sverre Fredriksen, who will show excerpts from their work. A screening of Švankmajer’s Surviving Life – Theory and Practice (2010) follows the discussion.

colburn.jpg

Martha Colburn (US) has a special passion for Jan Švankmajer’s work; she will show Metamorfoza (2013) and Triumph of the Wild (2009, 35mm) accompanied by a ‘lecture video’ about invention in her work. She presents also a miniaturized version of her multi-plane glass animation set for the audience to interact with after the show.

Serge Onnen (The Netherlands) and Sverre Fredriksen (Norway), co-authors of Cloacinae (2017) and L’eau faux (2019) will show excerpts of their work and will focus on the use of materials and sound in their films.

psychoanalyst comedy

In Surviving Life – Theory and Practicemaster animator Švankmajer conjures up dogs sporting ties, snakes and ox tongues in this ‘psychoanalytic comedy’ about a man leading a double life. Freud gets a sound beating in the process.

Švankmajer evokes a provocative, melancholic picture of a bureaucrat who indulges in dreams filled with sex, violence and phantasms. This ageing man called Eugene has recurring dreams about a beautiful young woman bearing several names that all begin with an E.