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.

discovery

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′)

22 December: Opening Alice

 

Eye transforms into Wonderland tonight: the new film programme includes both early as well as recent Alice film & VR adaptations, together with work by directors who were inspired by the idea of displacement, time paradoxes and encounters with fantastic creatures

 

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

3 December – Eye Artist and Scholar-in-Residence week: The Margins of the Archive

Artist Aimée Zito Lema will present her new work ‘214322’, which she realized during her residency at the Eye Collection Centre in 2019. Together with invited guests Amal Alhaag and Daniela Agostinho, Zito Lema will present an evening investigating the margins of the archive.

Zito Lema created a new work, consisting of film and photographs, based on footage from the collection of Eye.

playing with concepts

For ‘214322’ she investigated the borders of the archive, such as unidentified materials, the gaps in cataloguing and accessibility, looking for the ‘forgotten’ and ‘neglected’. Her work is playing with concepts of classification, categorization and selection, and includes technical and material information as part of the image, such as punch-hole typography or Kodak edge codes.

Zito Lema made use of both analogue and digital processes, including tinting techniques, as they were common in the silent era of the cinema.

From 2-8 December the work “214322”, film and photographs, will also be exhibited at Eye.

Visual artist Aimée Zito Lema (1982, Amsterdam) engages in her practice with questions around social memory and the body as an agent of resistance, making uses of large photographic prints, sculptural installations and video. She was artist in residence at the Rijksacademie voor Beeldende Kunsten in Amsterdam, 2015-2016; her work has been exhibited internationally at Gulbenkian Museum, Lisbon (2018), Kunsthall, Trondheim (2017), Kunstmuseum Bonn and the Centre Pompidou, Paris (2016).

Amal Alhaag is an Amsterdam-based independent curator, dj and researcher who develops ongoing experimental and collaborative research practice, public programmes and projects on global spatial politics, archives, colonialism, counter-culture, oral histories and popular culture.

Daniela Agostinho is a postdoctoral fellow at the Department of Arts and Cultural Studies, University of Copenhagen. Her research interests are in the fields of visual culture, digital media, archives, moving image studies, feminist and postcolonial theory. She currently runs a project on the archives of Danish colonialism entitled ‘Archival Encounters: Ethics of Care, Curatorial Practice and Postcolonial Digital Archives’.

19 November – (Hand)made in Holland: Women Make Films

This all-female programme of artist’s films will put the spotlight on the rich tradition of handcrafted films within the Dutch filmmaking panorama. The selected titles celebrate the analogue process and tactile nature of filmmaking, while exploring its importance as a counter-practice in the digital age and the need to preserve the essence of this practice during restoration.

 

Simona Monizza, Eye’s experimental film curator, chose handcrafted films by female artists that she recently preserved.  In between the screenings she will talk to the filmmakers. She also focuses on the need to preserve these special  films through restoration.

programme

  • Berlin Wall and the Sex Pistols (Babeth VanLoo, 1975, 16mm (DCP), 14′ (new restoration))
  • Ysabel’s Table Dance (Ansuya Blom, 1987, 16mm, 6′)
  • There is a Garden in My Head(Karin Wietz & Jacques Verbeek, 1987, 16mm, 3′)
  • Wall of Sound Flowers (Francien van Everdingen, 2004, 16mm, 5′)
  • Fences(José Vonk, 2009, 35mm, 6′)
  • Cosmetic Emergency (Martha Colburn, 2005, 35mm, 9′)
  • Deletion(Esther Urlus, 2017, 16mm, 12′)
  • Portraits(double-screening) (Barbara Meter, 1972, 16mm, 6′)

22 October: Sexual Unease

A literary film evening on gender diversity in association with the periodical De Gids and SLAA. We look at stills and film clips based on an essay by writer and film journalist Basje Boer. In between various poets and writers offer their own view on gender and the awkwardness of demarcated sexual roles. The evening is in Dutch.

Later that night, we screen John Cassavetes’ Opening Night.

 

8 October: George – The Story of George Maciunas and Fluxus

George Maciunas (1931-1978) was the founder of Fluxus, a radical avant-garde art movement of the 20th century. The documentary traces how the Lithuanian-born iconoclastic polymath assembled an international network of artists, musicians, and poets in the sixties and seventies. Interviews with Nam June Paik, Yoko Ono, Jonas Mekas. Documentary director Jeffrey Perkins and assistant director Liz Dautzenberg will also be offering a Fluxus Ping-Pong demonstration on the stairs of Eye’s Arena.

Together they provoked social and political change through performance, ready-mades, and artworks aimed at collapsing the boundary between art and life. From developing the first artist-owned lofts in SoHo, New York, to his attempt to realize a utopian society on a desolate island in the Caribbean, Maciunas was an uncompromising visionary with a DIY-mentality and a rebellious sense of humour.

revealing portrait

What emerges in the documentary is a kaleidoscopic, often contradictory but always revealing portrait of Maciunas’ bold and tragic life.

With interviews among over thirty artists and scholars including Yoko Ono, Jonas Mekas, and Nam June Paik, the film recounts Maciunas’ mercurial personality, asks questions that remain central to our contemporary society, and explores how one can live a meaningful and artful life.

performances

Two performances will accompany the screening:

  • Fluxus Butthead by Jeffrey Perkins. Haircut- and shave performance, first performed at Anthology Film Archives in XXXX.
  • Maciunas laughter (Choir Edition no.3) by Weronika Trojańska. A choir performance of the laughter of George Maciunas, first performed at MoMa in 2018.

1 October : Transnatural – In the Age of Post-Drought

An evening with Transnatural, an organisation dedicated to promoting artists and designers who work with new technologies and science. Global warming, pollution, rising sea levels: the earth is not well and we humans are accountable. This evening artists will be addressing the theme of water. The programme includes a film by Nicky Assmann and Joris Strijbos and performances by TeZ & Federico Murgia and Robertina Šebjanič.

programme

Regen (Joris Ivens, NL 1929, 15’ silent short film) with live music (water piano: Rogier Kappers, piano: Martin de Ruiter)

Aquatic State: Perfromance (TeZ & Federico Murgia, 20’, premiere)

Liquid Solid (Nicky Assmann & John Strijbos, NL 2016, 7’, short film)

Aquatocene: Performance (Robertina Šebjanič, 20’)

Careless Reef part 4: Marsa Abu Galawa (Gerard Holthuis, NL, 2004, 12 min, short film)

24 September – Tarkovsky & Tarkovsky

Film specialist and IFFR programmer Edwin Carels talks about the oeuvre of Andrei Tarkovsky. A surprising element is that Tarkovsky’s films – virtually all of them classics – are indebted to the work of Tarkovsky’s father, the poet and translator Arseny Tarkovsky. Carels argues that Arseny’s poems ‘already anticipate what his son would later try to achieve with the medium of film’.

The lecture is followed by the screening ofNostalghia.