IMPAKt impakt festival catalogue 2009 14 - 18 october 2009 utrecht www.impakt.nl

aCcElErated living

FEstival catalOguE IMPAKt content 3 CoNtENt introduction P05

accelerated living P07 EVENT NIGHTS P09 SPECIAL EVENTS P15 eXhibition P22 URBAN SCREENS P26 CONFERENCE P32 IMPAKT ONLINE P36 THINGS TO COME P38 SCREENINGS P40

IMPAKT INVITES P62 PANORAMA P74

MEDIATHEQUE & INFO P103 MAP OF UTRECHT P105 SCHEDULE P106 INDEX P110 COLOPHON P113 4 impakt festival 20th edition IMPAKt IMPAKt impakt festival 2009 introduction 5 N o a Niv rsary I tr N E Impakt Festival 2009 - Accelerated Living

IT’s OUR The 20th edition of the Impakt Festival Next to the thematic programme of Acceler- will take place from October 14 through to ated Living, the Festival features the annual October 18. And it is not entirely coincidental Panorama programme which provides an that this anniversary edition of the festival overview of cutting edge film and video focuses on the experience of time. The Ac- productions from the international exhibition celerated Living programme of the festival and festival circuit. For a period of five days, explores the ways in which we experience the city of Utrecht will be the centre stage for time and speed, and the ways in which our important trends and new visions within our experience changes under the infuence of contemporary media culture. social and technological developments. For Submerge and refuel. TH the Accelerated Living programma, Impakt Arjon Dunnewind, Festival Director. invited two guest curators: Stoffel Debuysere (Belgium) and María Palacios Cruz (Spain). As festival curators, they have compiled an exciting programme which throws light on the festival theme from a wide variety of Festival Opening angles. The programme features concerts, Wednesday 14 October, 19:00, Theater Kikker, performances, screenings, new media, a Main Hall conference and an exhibition. It comprises a broad range of styles, genres and approaches 5 days in 50 minutes to time, from dubstep to documentary, from A programme sketching the outlines of the time dimensions turned inside out to 24-hour upcoming festival. On this opening night, performances and double-quick film editing, artists featured extensively later on in the from a brand new digital opera produced es- festival will give a brief preview and vari- pecially for the festival and Internet projects ous festival highlights are presented in a 2O to gems from avantgarde history. nutshell. EDITION 6 accelerated living IMPAKt IMPAKt accelerated living introduction 7 aCcElErated “Time. Time. What is time? living Swiss manufacture it. French introduction One century ago Filippo Marinetti published intensification of time, and its influence on his controversial ‘Futurist Manifesto’, in our perception of reality, and by extension hoard it. Italians squander which he described the enthusiasm brought thereof, of ourselves. The resulting search for about by the arrival of modern industrial a new engagement with time will be explored rhythms, driven by a total belief in speed in a range of screenings, lectures, perform- and progress. In his recent ‘upgrade’ of the ances and an exhibition. it. Americans say it is money. Manifest, media philosopher Franco Berardi rejects unilateral interpretations of modern Stoffel Debuysere (Belgium, 1975) is active speed culture, making a plea for more reflec- in the field of media culture and arts, as tion and autonomy. “The omnipresent and researcher, producer and writer. He’s inter- Hindus say it does not exist. eternal speed”, he writes, “is already behind ested in the relationships between media us, in the Internet, so we can find our own and memory, analogue and digital, sound singular rhythm”. and image, seeing and being. Over the years he has (co)organised numerous conferences, Do you know what I say? I say Our society is still driven by an insatia- lectures, performances and film pro- ble hunger for speed, but during the past grammes. He is one of the members of the decades, the spread of globalisation and the Courtisane Collective and teaches ‘Critical revolution of information and communica- Film Studies’ at the art academies KASK and time is a crook.” tion technologies have unmistakably led to Sint-Lucas in Ghent. a new temporal dynamics, emphasizing the increasing importance of connectivity and María Palacios Cruz (Spain, 1981) is an in- flexibility. The tyranny of clock time has given dependent curator of artists’ film and video. way to a complex web of diverging rhythms, She teaches at the Academy of Fine Arts and – O’Hara (Peter Lorre) in ‘Beat the Devil’ cycles and tempos, which stimulate the tem- Ecole de Recherche Graphique in Brussels poral imagination as never before. and is a PhD candidate at Université Libre de Bruxelles, where her research concerns Under the title “Accelerated Living”, the the relationship between film theory and Impakt Festival 2009 focuses on chang- avant-garde film. She’s also the production ing notions of time and speed today. During coordinator of Atelier Graphoui. As a member a period of five days, a number of artists, of the Courtisane collective, she regularly filmmakers, musicians and thinkers will organizes screenings and events in Belgium share their views on the construction and and abroad. 8 event nights IMPAKt IMPAKt event nights 9 “ We will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we will sing NT of the vibrant nightly fervor of EVE arsenals and shipyards blazing with the violent electric moons; NiGHTs greedy railway stations that devour smoke-plumed serpents; Thomas Köner - and installations. At the occasion of the The Futurist Manifest festival theme of “Accelerated Living” and the Wed 14 Oct, 21:00, Theater Kikker, Main Hall 100th anniversary of the Futurist Manifest, factories hung on clouds by the 7/6 euro he has composed an ‘opera digitale’ for Impa- kt, which will be performed with a prepared The work of media artist Thomas Köner (Ger- piano, a digital ”noise orchestra” and a singer. many) cannot be easily categorised. For years The sonic sediments of one hundred years crooked lines of their smoke.” he was active as a sound engineer, before his of industrialization and acceleration will be project Porter Ricks caused a stir in the Euro- condensed in a multidimensional audiovisual pean techno landscape. In filmmaker Jurgen space, where image and sound interact as if Reble he found the perfect collaborator to “time and space died yesterday”. – F. T. Marinetti, ‘Futurist Manifest’ pursue his interest in the symbiosis of visual and auditive experiences. All these different Carl Faia: prepared piano & live electronics. influences come together in Köner’s recent Iris Garrelfs: voice & live electronics. work, in which his fascination for sound Thomas Köner: laptop noise orchestra, colour has expanded to the moving image, re- visuals. sulting in a series of acclaimed performances An Impakt production 10 event nights IMPAKt IMPAKt event nights 11

DOPES TO INFINITY performance LanterNfanten for three projec- Thu 15 Oct, 21:00, Theater Kikker, Main Hall tors creates an absorbing space where time 10/9 euro is disturbed and compressed as a kind of per- sonal research on bodily trauma and cultural Time has this strange quality: it must be displacement, employing hand drawn, afterim- paced by events for us to be able to orient age, single frame and flicker work. It will be ac- ourselves with it. This seems so natural that companied by a live soundtrack from Brisbane we don’t even regard our temporal relation based composer Joel Stern (Australia), merging to events as something that dictates how we music concrète, art brut and noise. structure meaning and position ourselves in this world, thinking instead of the space- 22:30 Core of the Coalman time continuum as an ideal outside reality, Core of the Coalman is one of the alter egos of unless - of course - the temporal orientation composer and visual artist Jorge Boehringer process is dismantled or overthrown in some (USA), a project in the musical no man’s land way. The performances in this programme between power electronics, noise and contem- “I have something disrupt the structure, the pattern of time. porary classical music. With violin, his voice Using analogue instruments, including 16mm and electronics he builds sonic architectures projectors, these artists generate a variety of hovering on the edge between chaos and sensory manipulations, drawing and reflect- order. Slow in form but powered and etched more cosmic in mind. ing on psychological and phenomenologi- by sunshine continually, in the spirit of biting cal effects of speed, motion and repetition. the hand that feeds one, Core of the Coalman On one level or another some disruption or is “dyspeptic subtended prescient lacuna”. He displacement of conscious processes oc- has collaborated with a spastic mash-up of the It’s a warpage of curs, lapsing into unconscious and visceral experimental music community and the inter- sensations; a recirculation of orientation and national avant-garde, including Yellow Swans, perception. Time is collapsed - leaving us Grouper and Pauline Oliveros. dazzled, between shimmer and bliss. time and it’s bliss 23:15 Bruce McClure 21:00 Guy Sherwin A film projector is not only a source of light A key figure in British avantgarde cinema, but also of sound. Nobody understands this Guy Sherwin (United Kingdom) pushes the better than Bruce McClure (USA) who with his for everyone.” limits of cinema with his films, installa- immersive performances for multiple projec- tion works and performances, in which he tors creates a pure sensory game of pulsating explores film’s fundamental properties: rhythms and shadows, well beyond the borders light and time. Since the 1970s he has been of cinematographic time and space. McClure, – Monster Magnet working on a series of studies on the illusion an architect by training, “crossed over into the of movement and stasis experienced during realm of the proto-cinematic as a consequence train travel. For Impakt, he will present a of trying to represent the beat of a metronome selection of his ‘train films’ in the form of an in time with the ultimate goal of laying down expanded film performance. a line equal to the circumference of the earth at the equator. By recording the tempo and 21:45 Dirk de Bruyn + Joel Stern duration of his markings on paper he could In his work, filmmaker and media artist Dirk calculate the distance travelled and what de Bruyn (The Netherlands/Australia) deals remained to complete a circumnavigation of the with the disorientating and traumatic experi- planet.” For Impakt he has prepared a unique ence of media saturated environments. He two-hour performance, which is sure to provide has made numerous experimental, docu- a hypnotic and overwhelming experience. mentary and animation films and videos and interactive work over the last 30 years. His 12 event nights IMPAKt IMPAKt event nights 13

SPEED TRIBES spicy but contagious mixture of deep house ECSTATIC MUTATIONS 22:15 Arnold Dreyblatt Ensemble Fri 16 Oct, 23:30, Tivoli de Helling and dubstep, seasoned with bitter sweet vo- Sat 17 Oct, 21:00, Theater Kikker, Main Hall The musical quest of Dreyblatt (USA), a stu- 15/12 euro cals and subtle touches of acid and hardcore 10/9 euro dent of the first generation of New York mini- is, without a doubt, a fresh wind in the British malist composers, is driven by an inclination The arrival of low-budget music technolo- club culture. Tribal rhythms and woozy synth As Lévi-Strauss suggested, music is regis- for rhythmic complexity built on resonance gies in the mid 1980s drastically altered chords, deep basses and aching sighs, light tered throughout the body, it is not simply and vibration. During the past decades he the relational bonds between humans and vibes and dark undertones: it’s precisely a matter of mental cognition. Compared to has developed a number of new instru- machines in electronic music cultures. Ac- these contrasts that make her music so ir- forms of visual communication, music pos- ments, tuning systems and performance cording to Kodwo Eshun “Atlantic Futurism is resistible! sesses a visceral quality, relying for its effects techniques, with which he digs even deeper always building Futurythmachines, sensory not only on the neural registration of light under the rhythmic surfaces in order to find technologies, instruments which renovate 1:45 The Bug + Flowdan waves but on the resonance of sound waves a rich dynamics of textures and timbres. His perception, which synthesize new states of The man behind The Bug is Kevin Martin throughout the organs and the body tissues. work remained obscure for years, until it mind”. The possibility of altering the speed of (United Kingdom), who has been reinterpret- It’s safe to say that music has a degree of ma- was brought to attention by musicians such a record functioned as a key audio-technical ing industrial, dub and breakbeat since the teriality which other forms of communication as Jim O’Rourke who described one of his transformation with wide-ranging subcul- 1990s. His fascination for intense and dark - apart from physical touch - do not have. For albums as “the first genuinely new sound in tural impact. The bpm (beats per minute) mutations of electronic rhythms and sub- Lévi-Strauss, music has something in com- maybe 10 years”. He has recently brought to- metric, the operating grid of electronic harmonic frequencies was already present mon with myth in that they’re both “languag- gether an ensemble with Jörg Hiller, Joachim dance music culture, acts as a filter whose in earlier projects such as God, Techno es which, in their different ways transcend Schutz and Robin Hayward, who will offer a fine-grained mesh distributes these audio Animal and Ice. The Bug is the culmination articulate expression, while at the same time rare and must-see concert during Impakt. populations. The sound system driven music of all these influences: a highly personal requiring a temporal dimension in which to cultures of the last two decades, especially exploration of bass culture, with a sound unfold. But this relation to time is of a rather Arnold Dreyblatt: Composer, Excited Bass, in the UK, are populated with thousands of that he self-described as “warped ragga special nature: it is as music and mythology Laptop micro-scenes that have been deploying poly- meets heavy electronic dub”. His most recent needed time in order to deny it. Both, indeed, Robin Hayward: Amplified Tuba rhythmic attacks on this audio metric. Steve release London Zoo was praised by several are instruments for the obliteration of time”. Jörg Hiller: Drums, Automated Electric Guitar Goodman aka Kode9 calls these vertical media as one of the most important albums The acts in this programme explore rhythmic Joachim Schutz: Electric Guitar rhythmic collectives ‘Speed Tribes’, collective of 2008. MC Flowdan (United Kingdom), a key structures built of vibration and pitch, mate- bodies swarming around certain speeds of figure of East London’s grime scene, will ac- rial expressions of raw movement of sound 23:30 Oren Ambarchi sound. This night is all about these ecologies company The Bug as guest artist. that tear us away from conventional time. + Robbie Avenaim of speed, “those molecular seepages and Music as a pulsing line of flight, a surface af- Oren Ambarchi (Australia) uses the electro- rhythmic infections which deviate from social 2:45 Kode9 fect expressed through rhythm. acoustic transformation of his guitar as a segmentations.” In recent years Steve Goodman aka Kode9 laboratory for tonal research. The result is an (United Kingdom) has established himself 21:00 Thomas Brinkmann abstract and fragile world of sound that con- 23:45 Mount Kimbie + James Blake as one of the most influential names in Thomas Brinkmann (Germany) is one of tinuously searches the borders of time and The explosion of breakbeat culture has contemporary electronic music culture. A the foremost figures of the minimal techno space. He regularly collaborates with differ- provoked a plethora of sound experiments music producer, theorist and the owner of the movement, which has influenced contempo- ent musicians such as Fennesz, Keith Rowe and cross-overs from which a fresh sound celebrated Hyperdub label, he obstinately rary music production since the 1990s. His en sunn0))). This time he will be reunited emerges from time to time. One of these sur- continues to explore the big city’s sonic fab- fascination for programmatic and rhythmic with his longtime friend and percussionist prises is London duo Mount Kimbie (United ric, its energy fields and rhythms. Movement, structures finds its roots in his background as Robbie Avenaim (Australia), who explores the Kingdom) who inject melancholic pop sensi- vibration, exaltation, emotion: Kode 9’s music a drummer and his training as a visual artist, limits of the sound spectrum using modified bility and hybrid beats into dubstep. They are acts like a hyper urban virus that mercilessly and most particularly in the influence of Mini- and motorised drums. Together they create a joined live by vocalist James Blake (United gets into our central nervous system. malism’s principle of reduction. The result is a visceral and kinetic audiovisual experience. Kingdom) whose exciting debut reconciles vast oeuvre of mathematically refined scores jazz, soul and a taste for melodrama with the 4:15 Sonido del Principe made of complex grooves, overtones and sound of the imploding metropolis. (Generation Bass) doppler effects. In Utrecht he will present for This is the new incarnation of bass heavy the first time a completely improvised ‘klick’ 0:30 Cooly G music ethnographer Vincent Koreman (The performance using eight turntables, a series This protégé of the cutting edge Hyperdub Netherlands), who will shift this night’s focus of vinyl records and a knife. label drew the attention of the so-called ‘UK to the raw beats and rhythms coming from funky’ scene last year. It’s not surprising: her the slums of the Southern hemisphere. 14 event nights IMPAKt IMPAKt event nights 15 “It is not just a matter i L of music but of how to live: spEC a it is by speed and slowness that EVENTs one slips in among things, that Leif Inge - 9 Beet Stretch de las Artes, Mexico; Wien Modern, Vienna Fri 16 Oct, 21:00 till Sat 17 Oct, 21:00, and Diapason Gallery, New York. Wharf Cellar one connects with something free Eliane Radigue - Naldjorlak I, II, III Sun 18 Oct, 15:00 till 18:00, Theater Kikker, There are few musical works that speak to Main Hall the imagination as does Beethoven’s 9th 7/6 euro else. One never commences; Symphony. But although almost everyone in the Western world can easily hum its melody, The work of French composer Eliane Radigue this classic composition has not yet given (France) is first and foremost an exploration away all its secrets. This is demonstrated of the phenomenological reality of sound: one never has a tabula rasa; by Norwegian artist Leif Inge by digitally the combination of matter, vibration and stretching out the piece to a length of 24 resonance which ultimately determines our hours, unveiling its unknown and unheard experience of sound. She began to experi- dimensions. A marathon performance which ment with electronic feedback in the 1950s, one slips in, enters in the is sure to provide a peculiar perception of before discovering her medium of choice, time. In the words of a participant: “I thought the analogue ARP synthesizer. Since 2004 I was a fly trapped in honey.” she has composed exclusively for acous- tic instruments. Naldjorlak I, in which the middle; one takes up or lays Leif Inge’s (Norway) monumental work in hidden, complex sonority of the cello is sound, 9 Beet Stretch has become emblem- fathomed, was developed as a collaboration atic of his work as an artist, even if it spreads with renowned cellist Charles Curtis (USA). across a great variety of forms, fields and For the following parts, she required the down rhythms.” crafts. Context and idea are given equal im- participation of basset-horn players Carole portance in an open play which emphasises Robinson and Bruno Martinez (France). The the quality of bisociation rather than linear result is a versatile and volatile sound world, association; a play on the context and the which continuously balances on the verge of – Gilles Deleuze definitions used to define it which functions perception. as a cultural statement in such a way that the resulting work is often hard to brand in Charles Curtis: cello one field rather than the other. Leif Inge’s Carole Robinson & Bruno Martinez: basset work has been shown globally in venues like horns BizArt Art Center, Shanghai; Centro Nacional 16 event nights IMPAKt IMPAKt event nights 17 “Below the level of sounds and rhythms, music acts upon a primitive terrain, which is the physiological time of the listener. (…) Because of the

internal organization of the The Bug (p.12) Kode 9 (p.12) musical work, the act of listen- ing to it immobilizes passing time; it catches and enfolds it as one catches and enfolds a cloth flapping in the wind.” – Claude Lévi-Strauss

Cooly G (p.12) Charles Curtis (p.15) 18 event nights IMPAKt IMPAKt event nights 19

Thomas Brinkmann (p.13)

Thomas Köner Vecna Vatra - Usce. Beograd 2007 (p.9) Courtesy of e/static gallery, Torino

Oren Ambarchi + Robbie Avenaim (p.13)

Bruce McClure (p.10) Joel Stern (p.10) 20 event nights IMPAKt IMPAKt EXHIBITION 21 “ All will be now. Dreams are too fast. You are the first. We are the last. No sequence to follow. No fear of

Guy Sherwin Soundtrack, 2000 (p.10) tomorrow. Kiss of neverness. Life of timelessness. We’ll break the speed of change. We’ll tame eternity.” – The Pop Group, ‘We Are Time’

Thomas Köner (p.9) Arnold Dreyblatt Ensemble (p.13) 22 EXHIBITION IMPAKt IMPAKt EXHIBITION 23

ACADEMIEGALERIE Julieta Aranda - You Had No Ninth of May! Guido van der Werve - Various materials, Dimensions variable, 2008 Nummer negen. The work of Julieta Aranda challenges conven- The day I didn’t turn with the world tional notions of temporal experience, propos- Timelapse photography, single channel HD ing alternatives to the rigidity with which time video, 2007 is conceived and measured. The primary source What happens when you take a day off, refus- of inspiration for this installation is the Interna- e h i ing to turn along with the world? One may tional Date Line (IDL), an imaginary line on the ib tion think that such a day void of any motion and globe that separates two consecutive calendar x action has no consequences. Van der Werve days, establishing the boundary between today took this question literally and left for the and tomorrow. Although the precise location of North Pole, where he spent 24 hours on the IDL is not fixed by any international agreement, axis of the world. For one whole day he did it is commonly identified as being 180° lon- not move along with Earth, but let the planet gitude from the Greenwich Meridian. The line rotate around him. This almost Copernican crosses the Kiribati archipelago in the South inversion is both absurd and poetic, gro- Pacific, causing an aberration in our assumed tesque and moving. A tiny figure in the middle space-time continuum. of a white icy plane, in a solitary fight against the tyranny of calendar calculations and the Julieta Aranda (1975, Mexico City, Mexico) ticking of the clock. received her MFA in 2006 from Columbia Uni- WE ARE TIME lives. The experience-based understanding versity in New York and her BFA on filmmaking 14-18 Oct, of time was replaced by a rigid, linear and Guido van der Werve (1977, Papendrecht, The from the School of Visual Arts, New York in AAMU, Flatland Gallery, Academiegalerie numerical logic which has gradually become Netherlands) constructs possible scenarios 2001. Within her multimedia oeuvre, she has embedded in our subconscious. The arrival of and imaginary realities where various geog- frequently focused on the dissemination of The passing of time is something we feel ICT and globalisation has pierced this unilat- raphies collide in order to generate mo- information and the agency of the individual in intimately familiar with, and yet it continu- eral and troublesome relationship. Ironically mentary sensations of unusual, dream-like contemporary society, reinventing existing sys- ously slips away from us. Centuries ago, St. enough, the dawning of the computer age – intensity. An accomplished classical pianist, tems of commerce and circulation to generate Augustine already caught this tension in the main source of today’s acceleration – has composer, and chess player, he studied “alternative transactions of cultural capital”. words: “What is Time? If nobody asks me, I allowed for new perspectives on the role and industrial design, archaeology, and Russian Her work has been exhibited internationally know; but if I were desirous to explain it to potential of time. This exhibition takes that before focusing on fine art first on painting, in venues such as The Kitchen, New York; 10th one that should ask me, plainly I know not.” openness as a starting point and presents then performance work, and finally, film. Lyon Biennial; Solomon Guggenheim Museum, The invention of clock time provided a partial a series of works which each in their own He aims to create a visual and conceptual New York; Transmediale08, Berlin; 2nd Moscow solution: time was rationalised, adjusted to way strive for a particular time awareness. language that manifests a similar directness Biennial, 2007; REDCAT, Los Angeles; and many the rhythms of growing industrialisation. This Different dimensions of time, both social to the one that is typical in music. To date he others. transformation – symbolically completed and natural, objective and subjective, are has completed ten short film works. His work with the introduction of standard time and unfolded, deformed and combined, in search is regularly shown in international exhibi- the division of the world into time zones – for new forms of perception and imagination tions and film festivals. In 2003 he received resonated deeply in our social and cultural of time. the René Coelho Award. 24 EXHIBITION IMPAKt IMPAKt EXHIBITION 25

place at a slower rate than we normally as- of Napster and creator of ueber.com, a Thomson & Craighead - Horizon FLATLAND GALLERY sociate with movement and destruction, but MySpace alternative made for and by artists, Video installation, Internet connection, 2008 we also experience it as an acceleration of Los Angeles-based artist Glenn Kaino (1970, A narrative clock made out of images ex- Vadim Fishkin - A Speedy Day biological and geological time. We feel the Los Angeles, USA) has a multifaceted crea- tracted in real time from webcams found in Electronic clock, light installation, natural force that inevitably leads towards tive practice, characterised by playfulness every time zone around the world. The result room construction, 2003-2009 the erosion and dissolution of all forms. What and a penchant for meditating on political, is a constantly changing array of images that A light installation that compresses an entire remains is a desolation beyond subjectivity. pop-cultural and identity issues without read like a series of movie storyboards, but day (24h) into 2.5 minutes: the experience of being literal. He received his B.A. from the also as an idiosyncratic electronic sun- a day passing as if we were in a space rocket Jonas Dahlberg (1970, Uddevalla, Sweden) University of California, Irvine and his M.F.A. dial. This installation pinpoints the tension travelling away from Earth at a velocity of often engages architectural precision and from the University of California, San Diego. between local time and the Internet’s global 299,782 (only 10 km/sec slower than the an investigative approach in his work, while Kaino’s work has been shown at the Asia time regime. In spite of the attempts to in- speed of light). A homage to Albert Einstein always contemplating on the aesthetics Society, New York; Whitney Biennial at the troduce an online standard time, natural and and his “twins paradox”, a thought experi- of space, light and existence. He builds Whitney Museum of American Art, New York; cultural time differences cannot be ignored. ment in special relativity involving a couple of architectural models of public environments the Bronx Museum of the Arts; The Studio twins that demonstrates that if one of them or private interiors that he also employs as Museum, New York. Jon Thomson (1969, London, United King- set out on a journey into space and back, film sets for his videos - allowing the viewer dom) and Alison Craighead (1971, Aberdeen, they would no longer be the same age, and to be at the same time inside and outside Guy Sherwin - Clock Screen United Kingdom) are London-based visual yet neither would be younger. The installation of the centre of the mise-en-scène. After 16 mm projector, film loop, clock, paper artists, who work with video, sound and becomes an isolation cell where we let go of studying architecture and art history in Lund screen, 2007-2009 the internet. Much of their work to date ex- our conventional sense of time. and Gothenburg, Dahlberg received his MFA A time-lapse film with images of the shifting plores how technology changes the way we from Malmö Art Academy in 2000. His work sunlight is projected onto a small rotating perceive the world around us. They use live Vadim Fishkin (1965, Penza, former USSR) has been shown at the Busan Biennial, South screen attached to the hand of a clock. The data to make artworks, including “template has been living and working in Ljubljana Korea; the Santa Monica Museum; Art Basel; shaft of sunlight changes its shape as a cinema online artworks” and gallery installa- since 1992. His work is principally concerned the 50th Venice Biennal; Centre pour l’image result of Earth and screen revolving. It cre- tions, where networked movies are cre- with science and its specific rules or phe- contemporaine, Geneva; among many others. ates an unexpected dynamics between the ated in real time from online material such nomena, whether gravity (Kaplegraf_Zero_G, abstract, socially constructed clock-time, as remote-user security web cams, audio 2003), meteorology (Changing the Climate, AAMU the natural cycle of Earth’s rotation and the feeds and chat room text transcripts. Their 2004), astronomy (Am I a Star?, 2004), or temporality of film medium, resulting in a work has been shown at Tate Britain; San botany (Self-Portrait, 1997). But the artist’s Glenn Kaino - Quarter Mile meditation on the complexity of our experi- Francisco Museum of Modern Art SFMOMA; science is quite unrealistic, strange, and 3 channel video installation on 50 inch monitors, ence of time. Laboral, Gijon, Spain; Zentrum Kunst Media witty. It is not concerned with the serious- 2007 ZKM, Karlsruhe, Germany; The New Museum, ness of the scientific method or approach, The most recent installation in Glenn Kaino’s Guy Sherwin (1948, London, United King- New York; Mejanlabs, Stockholm; Neuberger but rather with the craziness that lies within ‘Time Machines’ series is a cinematographic dom) pushes the limits of cinema with his Museum of Art at Purchase, New York. a dangerous experiment. His work has been triptych displaying the journey of three films, installation works and performances, shown internationally in venues such as the characters each travelling the distance of in which he explores film’s fundamental 46th, 50th, and the 51st Venice Biennales, a quarter mile (=400 metres) in their own properties: light and time. After studying and the 8th Baltic Biennial, among others. environment: jazz musician Olu Dara, beach painting at the Chelsea School of Art in the volleyball player Sinjin Smith and Formula late 1960’s, Sherwin taught printing and Jonas Dahlberg - Three Rooms D racer Kenji Yamanaka. The sequences are processing at the London Film-Makers’ 3 channel video installation on 46 inch monitors, synchronized so they all take the same time, Co-op during the mid-70s, at the heyday of 2008 in spite of their original speed. Every action is the British Structural Film Movement. He Three different rooms (living room, dining repeated several times, always at a different now teaches at Middlesex University and room and bedroom) with similar everyday rhythm. The movement of each character is University of Wolverhampton, and collabo- furniture are shown on three screens. During essentially bound to the performances of rates on expanded cinema performances the course of 26 minutes the objects in the the other two, challenging our relationship to with his partner, Singaporean film and sound rooms dissolve, leaving only the lighting and time, distance and speed. artist Lynn Loo. His films have been widely the bare space. Time seems to unfold at a exhibited in England and abroad. Solo shows pace that is both slow and infinitely fast: Cofounder of Los Angeles’ artist-run Deep include LUX London, Bozar Brussels and Im- the gradual process of disappearance takes River Gallery, former Creative Director age Forum Tokyo. 26 EXHIBITION IMPAKt IMPAKt EXHIBITION 27 UrbaN scrEENs Thomson & Craighead Mark Formanek & Datenstrudel diovisual sculpture of speed. Using a scale Horizon, 2008 (p.25) Standard Time model of a sports car and a dolly synchro- Theater Kikker nized to the shutter of the camera, Fleisch Single channel HD video, 2007 has produced a capturing visualisation of the The recording of a performance in which phenomenon of speed, with playful refer- 70 workers assemble and reassemble a 4 x ences to Paul Virilio and Jeremy Clarkson. 12m wooden replica of a “digital” clock that displays the “real” time: a task that involves Thorsten Fleisch (1972, Koblenz, Germany) 1611 changes over a 24-hour period. This began experimenting with super 8 film while installation offers an ironic comment on still in high school. He went on to study the tension between labour, technology and with Peter Kulbelka at the Städelschule in temporality. What better way to waste time Frankfurt. His films have been screened than by marking its passage? at festivals worldwide including New York Film Festival, Sarajevo Film Festival, Int. Mark Formanek (1967, Pinneberg, Germany) Film Festival Rotterdam, EMAF, Melbourne Guy Sherwin lives and works in Berlin. His work is gener- Int. Film Festival and many more. “I make Clock Screen, 2007-2009 (p.25) ally concerned with time-related phenome- experimental short films.T hey are literally na. Jörn Hintzer and Jakob Hüfner (Germany) experimental (...) as I really consider my are Datenstrudel. They used to develop films little visual and aural investigations. I scripts and concepts for TV series, that is, have a theme that I’m interested in, it might until they initiated the online broadcaster be a material like for examples crystals (in Datenstrudel with a dozen like minded art- my film kosmos) or something less solid and ists in 2000. With it, they stream interactive concrete like high voltage (in my film ener- web shows each month. gie!), and then experiment on that theme regarding what I can get out of it with film Thorsten Fleisch - Dromosphere and video technology.” City Hall Single channel HD video, 2009 A research on the representation of four Adele Horne dimensional space-time – described by 15 Experiments on Peripheral Vision, 2008 (p.1) Albert Einstein in his theory of special relativity – led to the making of this au- 28 EXHIBITION IMPAKt IMPAKt EXHIBITION 29

Julieta Aranda You Had No Ninth of May!, 2008 (p.24)

Vadim Fishkin A Speedy Day, 2003-2009 (p.24) Courtesy Gregor Podnar gallery, Ljubljana/ Berlin Jonas Dahlberg Courtesy Galerie Nordenhake, Berlin/Stockholm / Juana de Aizpuru, Three Rooms, 2008 (p.24) Madrid / Magazzino de Arte Moderna, Rome / PKM Gallery Seoul/Beijing

Guido van der Werve Adele Horne Nummer Negen. The Day I Didn’t Turn with the World / 2007 (p.23) Adele Horne 15 Experiments on Peripheral Vision, 2008G lenn(p.1) Kaino Courtesy Gallery Juliette Jongma, Amsterdam 15 Experiments on Peripheral Vision, 2008 (p.1) Quarter Mile, 2007 (p.24) 30 EXHIBITION IMPAKt IMPAKt CONFERENCE 31

“In the sun that is

Thorsten Fleisch Dromosphere, 2009 (p.26) young once only Time let me play and be Golden in the mercy of his means” – Dylan Thomas, ‘Fern Hill’

Mark Formanek & Datenstrudel Standard Time, 2007 (p.26) Courtesy Bernd Schuller 32 CONFERENCE IMPAKt IMPAKt CONFERENCE 33

Time: Chronotopographies of Action’, Crang ture” and is now working on Sonic Warfare, presents an analysis of changing temporali- a theoretical research on the intersection ties in societies that are by-products of the between war and sound culture. A member information technology revolution.”Locating of Ccru (Cybernetic Culture Research Unit), the major shifts in space and time as under- under the name of Kode9 he is a main figure stood by key temporal theorists, he sug- in contemporary breakbeat culture. In his es- gests that such space-time shifts are more say ‘Speed Tribes: netwar, affective hacking o complex than commonly thought, requiring and the audio-social’, Goodman formulates N E a conceptual approach that better captures the unifying relay for music cultures through NFE c the effects of ICT’s on the spatial and tem- speed, perception and sensation. Accord- c RE poral fabrics of our daily lives. Crang shows ing to him “speed tribes” are micro-cultures how the flexibility of location and the timing attached to a specific sound and speed. The of activities are mutually interactive dimen- distinguishing instance that defines a speed CONFERENCE Analysis, Nottingham (ICAn). He has pub- sions, and he provides a unique conceptual tribe expresses itself through the motion Thu 15 Oct, 10:00-18:30, lished a number of books on the themes of framework that incorporates the complexity and rest of bodies. A music culture develops Film Theater ’t Hoogt, Hall 1 globalisation, cosmopolitanism and cultural of real-time technologies.” (Robert Hassan & as an assemblage of embodied perceptions free modernity. His recent book The Culture of Ronald E. Purser) which produce and reproduce multiple singu- Speed: The Coming of Immediacy (2007) larities. In this continuous flux of movement Please register your attendance beforehand examines how speed emerged as a cultural 11:45 Carmen Leccardi (Italy) is Pro- bass nature forms itself not as closed entity through [email protected] (indicate your full issue during modernity. “The rise of capitalist fessor of Cultural Sociology at the University but appears as a collective through “rhythmic name and contact details). Lunch and coffee society and the shift to urban settings was of Milan-Bicocca. She has researched ex- consistency and affective potential”. will be available at the venue. rapid and tumultuous and was defined by the tensively in the fields of time, youth cultures belief in ‘progress’. The attempt to regulate and gender. She was a former co-editor 14:15 Stamatia Portanova (Italy) Contemporary science and technology have the acceleration of life created a new set of (1999-2008) of the journal Time & Society. received her PhD in Digital Cultures from the made possible a temporality which -although problems, namely the way in which speed Recent publications include A New Youth? East London University, and is now a Honor- still based upon clock time- has exploded escapes regulation and rebels against Youth, Generations and Family Life (2006) ary Fellow in English Language and Literature into countless different time fractions and controls. This pattern of acceleration and and Sociologie del tempo. Soggetti e tempo at the University of Naples “L’Orientale”. She speeds beyond human comprehension. Today control subsequently defined debates about nella ’società dell’accelerazione’ (Sociologies is a member of The Sense Lab (Concordia we seem to live in several time zones at the the cultural effects of acceleration. However, of Time. Subjects and time in the ‘accelera- University, Montreal) and of the editorial same time, propelled by a variety of internal in the 21st century ‘immediacy’, the combi- tion society’) (2009). According to Leccardi, board of Inflexions, the online journal of the and external time mechanisms and innumer- nation of fast capitalism and the saturation “we live today in a constant becoming which Sense Lab. She is working at the preparation able rhythms which continuously vibrate, of the everyday by media technologies, has wraps present and future together in the of a monograph on the relationship between resonate, connect, oscillate and disconnect. emerged as the core feature of control. This same fluid temporal packaging. The time- choreography, science and philosophy. In her How to grasp the temporal complexity that coming of immediacy will inexorably change anxiety that we suffer is unprecedented. talk, she will propose a redefinition of the surrounds and occupies us? What sort of how we think about and experience media The acceleration of social rhythms is first digital age as a “neo-Baroque” age: digital ecologies of time and speed have we devel- culture, consumption practices, and the core and foremost an economic strategy and it technologies make us ‘almost’ aware of our oped under the influence of new technolo- of our cultural and moral values”. has produced a widespread cult of urgency infinite micro-perceptions, and are therefore gies and what is their impact on our body and on the everyday level, erasing all individual paradoxically able to intensively influence senses? This conference brings together a 11:00 Mike Crang (United Kingdom) possibility of control. This mechanism has our enjoyment, even of the most ‘static’ number of international thinkers who offer is Lecturer in cultural geography at Durham terrible effects on the individual construction arts. “The critique to notions of rhythm and new perspectives on our contemporary expe- University. He has worked extensively on the of identity, forcing people to put to use forms speed intended as ‘pure velocity’, and the rience of time and speed. relationship of social memory and identity. of control and self-defence.” political consideration of how our everyday He is also interested in more abstract issues lives are (not always positively) affected by 10:00 Introduction Ann-Sophie regarding time-space, action and temporal- 12:30 Lunch technological fastness, constitute the main Lehmann ity and co-edited the journal Time & Society shift from a Futurist to what Franco Berardi from 1997 to 2006. The other strand to his 13:30 Steve Goodman (United King- (BIFO) has defined as a Post-Futurist era. 10:15 John Tomlinson (United work is the analysis of transformations of dom) teaches music culture at the School of My intervention would like to replace to this Kingdom) is Professor of Cultural Sociol- space and time through electronic tech- Humanities & Social Sciences, University of definition Gilles Deleuze’s own concept of the ogy and Director of the Institute for Cultural nologies. In his essay ‘Speed=Distance/ East London. He runs the master “Sonic Cul- ‘Neo-Baroque’”. 34 CONFERENCE IMPAKt IMPAKt CONFERENCE 35

15:00 Dirk de Bruyn (The Nether- before. This is a feature they share with other their work deals with the influence of new This conference has been made possible by lands/Australia) teaches animation recent digital cartographical practices such technologies on our experience of time and the Prins Bernhard Cultuurfonds, Mondriaan and digital culture at Deakin University in as navigation devices and Google Earth. Their perception of the world around us. “As time Foundation and the City of Utrecht. Melbourne, Victoria. The past decades he has historical dimension is actually also related has gone by it seems more and more like we produced a number of films, videos and per- to this transformability: players are not just are making artworks that look at whether formances dealing with the feeling of trauma reading maps, but constantly influence the live information (live data) can be considered and disorientation. “The digital nEw has had shape and look of the map itself. This is remi- to be a material at all in artistic terms, and its traumatic impact to become the digital niscent of maps and cartographers before whether it can be used to make artworks, nOw. (From E to O : E > O – i.e. Pinocchio’s the Renaissance when maps were used and much like charcoal or video might be. More donkey-scream)”, he writes. “And just as the made in much more personal, and probably recently, we’ve been exploring how globally speed of train travel imposed its compact slower, ways”. networked communications systems interact sampled staccato reading of the panoramic with global time zones and the physical landscape through its window-screen, nOw 16:45 Charlie Gere (United King- space of the world.” Thomson teaches at the sensory cluster-of-being in global dom) teaches New Media Research at the the Slade School of Fine Art in London, technologised space has been morphed, Institute for Cultural Research, Lancaster and Craighead lectures at the University of skewered most emphatically into the visual University and is Chair of the group ‘Com- Westminster and Goldsmiths, University of to succumb to the omni-presence of the puters and the History of Art’ (CHArt). He’s London. technical image. The ‘new’ critical looking interested in the cultural effects and mean- that is now mandated for the body finds its ings of technology and media, in relation to In collaboration with the MA New Media & traces in the 70s theoretical ruminations art and philosophy. His book Art, Time and Digital Culture, Department of Media and around Materialist film and the 20s cut-up Technology (2006) explores artistic responses Culture Studies, Utrecht University. Introduc- avantgarde response to the shell-shock of to the increasing speed of technological tion: Ann-Sophie Lehmann (Utrecht Universi- WW1. Like the suicided Rock or Movie star, development. In his talk he will look at some ty). Moderation: Klaas Kuitenbrouwer (Virtual film itself flashes-back with a new aura after apocalyptic and messianic understandings Platform, Amsterdam) and Mirko Tobias its own death to stand in that spot reserved of time, especially in relation to ecology. “I Schaefer (Utrecht University). for Banquo’s ghost; to gesticulate both wildly start with John Ruskin’s apocalyptic vision and quietly the ‘essential’ laws and limits of the ‘stormcloud of the nineteenth century’ that this new critical body-situated percep- and show how it relates to the eschatologi- tion expects”. cal messianism of Walter Benjamin, Jacques Derrida and then, via Jacob Taubes, St Paul 15:45 Coffee break and Giorgio Agamben. I will discuss Agam- ben’s concept of ‘messianic time’ in relation 16:00 Sybille Lammes (The Nether- to Benjamin’s concept of ‘dialectics at a lands) is Assistant Professor at the Depart- standstill’. I attempt to think this in relation ment of Media and Culture Studies, Faculty to our current ecological catastrophe. Finally of Humanities, Utrecht University. In recent I relate this to a work exhibited in the 2009 years, her research has focused on the func- Venice Biennale, entitled ‘The Ethics of Dust’, tion of computer games as cultural spaces by Jorge Otero-Pailos.” and the impact of digital maps on the mean- ings of media and cartography. In her talk she 17:30 Jon Thomson and will address the curious treatment of time Alison Craighead (United Kingdom) related to mapping practices in so-called have been working together since the begin- historical strategy games. “What is striking ning of the 1990s on an idiosyncratic oeuvre, about maps that figure in such games is that situated in the twilight zone between visual they are at the same time highly contempo- art and online media. Based in London, they rary and highly historical. Their contempo- have exhibited widely both nationally and rary dimension lies in their transformative internationally, having earned an excellent qualities that make them changeable and reputation as leading UK practitioners in malleable at a speed that we haven’t known the field of artists using technology. Most of 36 IMPAKT ONLINE IMPAKt IMPAKt IMPAKT ONLINE 37 m ak “Time is the substance of I p t which I am made. Time is o NlinE a river which sweeps me along, but I am the river; IMPAKT ONLINE About Time,” Impakt Online invited artists to Friday 16 October, 19:00, Theater Kikker, develop projects reflecting on new notions of Main Hall time on the Internet. free it is a tiger which mangles Richard Rogers (USA/The Netherlands) will With the development of the Internet and the present the IP Browser, a project by Alex Gal- World Wide Web, the connection between loway and the Govcom.org Foundation. The technology and time has been provided with IP Browser creates an alternative browsing me, but I am the tiger; it is a new impulse. Fantasies about Cyberspace experience that brings users back to the included terms like “placeless place” and basics of orderly Web browsing. The Web “timeless time.” And at the end of the 90s, starts here! Swatch even developed Internet Time. The a fire which consumes me, impression of Internet users was that the Constant Dullaart (The Netherlands) will Web made the world turn faster because present his Ready Mades, a collection of online information could be distributed much websites rescued from the dark depths of quicker than in the past. These new develop- domains-for-sale. but I am the fire.” ments were said to take place at ‘Internet Time’, that is, at a terrific speed. More recent- Daan Odijk (The Netherlands) will present the ly, this speed is also reflected in the perma- project A Tag’s Life, which depicts the life of nent ‘Beta’ state of web 2.0 applications, and tags by visualizing the rise and fall of tags at – J.L. Borges the preference for the fresh and new in the the photo sharing platform Flickr. blogosphere and on social networking sites. Theo Deutinger (Australia/The Netherlands) In this talk show, projects from the last two developed World At Work, which zooms out Impakt Online programmes “The Slow Web” and introduces a new world clock represent- and “It’s About Time” will be presented by ing the worldwide 9 to 5 economy in real time. their artists. Impakt Online is curated by Sabine Niederer. In “The Slow Web,” just like in the Slow All projects and interviews with the artists, Food movement, the Web is slowed down are available on www.impakt.nl/online and its features are rediscovered. In “It’s 38 THINGS TO COME IMPAKt IMPAKt SCREENINGS 39 h n s t i g “There is in the world a to o e great and yet ordinary secret. c m All of us are part of it, Things to Come: that may lead us into singularity in the next The Singularity twenty years. Sunday 18 October, 19:00, Moira everyone is aware of it, 7/6 euro This evening will be in Dutch John-Jules Meyer, a reputed professor of Artificial Intelligence at Utrecht University ‘Things to come: The Singularity’ will bring will enter into a discussion with Kamphuis you an evening full of imagery and debate on these issues. He holds that developments but very few ever think of it. about our technological future. will not go this fast and that intelligence is If computers become smart enough to design still harder to copy by computers than people themselves, they could design smarter think. computers, which in turn would design even Most of us just accept it smarter computers. An explosion of artificial Dr. Merel Noorman, who is working for the intelligence would be the result. This vision of Raad voor Maatschappelijke Ontwikkeling the future, known as ‘The Technological Sin- (Council of Social Development) and studied gularity’ is becoming more and more popular. Artificial Intelligence at the University of Am- and never wonder over it. Is this revolution really around the corner? Or sterdam and Science and Technology Studies is it a paranoid dystopia, the horror scenario at the University of Edinburgh, states that the of human redundancy fanned by movies like interesting thing about the idea of singularity The Matrix? is not whether or not it is around the corner, This secret is time.” but the fact that a host of different parties “Any sufficiently advanced technology is in- is using this idea by way of empowerment of distinguishable from magic” - Arthur C Clarke their own agendas. – Michael Ende Speakers: After their presentations, all speakers are in- According to Arjen Kamphuis, the develop- vited for a public debate moderated by Klaas ment of technology accelerates enormously. Kuitenbrouwer. He will lead the discussion As a futurologist for a strategic consulting about the kind of future we can anticipate, bureau, he advises the government and large and the role left for us humans in this future. companies by conducting ‘strategic future research’ on these new technologies. This This programme is curated by ­ evening, he will discuss different scenarios De Zondagsschool. 40 SCREENINGS IMPAKt IMPAKt SCREENINGS 41

Sometimes you get the feeling of movement, second duration between exposures, so sometimes you don’t. No need for staging, I that on projection, individual frames merge just shot things that were happening.” (GB) together making the patterned flows of hu- man movement clearly perceptible. The time- Bouquets 1-10 - Rose Lowder lapse original was then expanded by various France, 1994-95, 16mm, 11:00, mute processes of refilming to reveal the frame- Bouquets 1-10 is Lowder’s first collection in by-frame structure of the original.” (WR) an ongoing series of one minute episodes, G each composed of footage shot around a Short Film Series (selection) - sCR NiN general geographic location that has been Guy Sherwin EE s alternately woven, frame by frame, into a United Kingdom, 1975-1998, 16 mm, single film reel and connected through the 9:00 min, mute interstitial still life image of a flower that It is quite impossible to offer a definitive cues the beginning of each integrated film description of Guy Sherwin’s Short Film Bouquet. Each bouquet of flowers is also a Series, since it has no beginning, middle or bouquet of frames mingling the plants to be end. Composed of a series of three minute As Time Goes By road. At the same time a whole year passes found in a given place with the activities that (100ft.) sections which can be projected Friday 16 October, 13:00 Film Theater by at 50.000 times normal speed! happen to be there at the time. Lowder uses in any order, the series is open-ended and ’t Hoogt, Hall 1 the film strip as a canvas with the freedom ongoing. The ideas of film as a record of life 31/75 Asyl - Kurt Kren to film frames on any part of the strip in any and the camera apparatus as a ‘clock’ which In his book The Psychology of Time French Austria, 1975, 16mm, 9:00 min, mute order, running the film through the camera as actually marks ‘time’ are present throughout psychologist Paul Fraisse claims that we are Recorded over the space of 21 days by many times as needed. the series. Many parts deal with two rates of only aware of time when it appears distorted. selectively masking and exposing the same time measurement, as in Clock and Candle, We have no experience of time as such, ac- three rolls of film, the transformations of #3 - Joost Rekveld or construct visual paradoxes, as in the cording to Fraisse, only of specific sequences a landscape are simultaneously recorded The Netherlands, 1994, 16mm, 4:00 min, mute shuddering stasis of Metronome – an illusion and rhythms. It is not time itself but what in a static image. Peter Weibel coins this “#3 is a film with pure light, in which the caused by the clash between the spring- goes on in time that produces temporal ef- methodology “temporally extended multiple images were created by recording the move- wound mechanisms of the Bolex camera and fects. In this sense, Cinema – the sculpting lighting”. “Since the weather was changing ments of a tiny light-source with extremely of the metronome itself. In Barn Door the of time – is the medium best fit to penetrate throughout the time of shooting (March/ long exposures, so that it draws traces on semi-strobe effect of light pulsations flat- its mysteries. The films and videos in this April) the brightness of the picture is very the emulsion. The light is part of a simple tens the distant landscape. programme use the plasticity of the moving different from take to take. Sometimes snow mechanical system that exhibits chaotic image and the inherent dialectics between is seen on the ground… The exchange of the behaviour. The film was made according to See You Later / Au Revoir - the continuous and the instantaneous in masks does create movement, but not as a an extensive score covering colour, exposure, Michael Snow order to explore the tensions between the course of time towards a goal.” (Birgit Hein) camera position, width of the light-trail and Canada, 1990, 16mm, 18:00 min time of watching, the image’s own time and the direction and speed of movement of the A simple plot: Michael Snow as a “Walking the existential dimension of time. Venice Pier - Gary Beydler mechanical system. The light that draws the Man”, leaving his office in extreme slow mo- United States, 1976, 16mm, 16:00 min traces was fastened to a double pendulum. tion. In a single panning shot thirty seconds A Year Along the Abandoned Road - “I wanted to make a film that was exactly This system is known from chaos-theory and of real-time action are distended to eighteen Morten Skallerud one year in the making. I love the ocean, and shows unpredictable behaviour in a certain minutes by means of a high speed video cam- Norway, 1991, 35mm, 12:00 min I decided to shoot on the Venice Pier, which range of speeds.” (JR) era then step printing the video onto film. A portrait of a deserted fishing village in was about a quarter mile long. About every Filming on video saturates the colour, bring- Northern Norway and a journey through ten feet, there are divisions in the pier, which Broadwalk - William Raban ing a luxuriant richness to the work, which re- time and space: the four seasons unfold in a I decided to use as the shooting points. I United Kingdom, 1972, 16mm, 4:00 min tains the simple conception of Snow’s earlier continuous camera movement through the started shooting maybe in November or De- “Originally, this was a four-minute time- films and once again highlights cinematic village of Børfjord. This 12 minute short film cember, and shot it all the way through to the lapse film which was shot continuously over duration. With See You Later Snow continues was filmed in 70mm Super Panavision, using following year, finishing on the same date. a twenty-four hour period. The camera was his exploration of the ways in which technol- a specially developed “nature animation” Watching the film, you’re moving forward positioned on a busy pathway in Regent’s ogy enhances our ability to perceive, live in technique. The result is a magic flight in one every so slowly, through different times, Park, and recorded three frames a minute. and experience the world. single shot, along the remains of a village different seasons, different situations. The shutter was held open for the twenty- 42 SCREENINGS IMPAKt IMPAKt SCREENINGS 43

Chronoschisms which exists when the film is being screened, Friday 16 October, 15:00, Film Theater and how this can be modulated by technical “Ed Bachelor said: “The movie ’t Hoogt, Hall 1 manipulation of the images and sequences. The film is in two parts joined by a central Modern cinema is a reflection of the ration- superimposition of the material from both alization and standardisation of time. The parts.” (MLG) The soundtrack was supplied projector’s a kind of clock”, amazement caused more than a century ago by Brian Eno who at the time was exploring, by the possibility of recording and analyzing in sound, a similar use of loops that changed movement has given way to an obsession their phase shift. with imitating “real time”. The certainties of Somewhere inside the machine progress and predictability, the two pillars of Versailles - Chris Garrat capitalist modernity, have also shaped the United Kingdom, 1976, 16mm, 11:00 min construction of cinematographic time. This ”For this film I made a contact printing box, programme features a selection of works with a printing area of 16mm x 185mm which beats a Piranesi space, shaped that subvert the mimetic function of audio- enabled the printing of 24 frames of picture visual media, and intervene - via mechanisms plus optical sound area at one time. The first of variation and repetition - in the episte- part is a composition using 7 x 1-second mological process of fragmentation that shots of the statues of Versailles, Palace of and given dimension by a string constitutes the basis of the conventional 1000 Beauties, with accompanying sound- cinematographic vision. track, woven according to a pre-determined sequence. Because sound and picture were Throbs - Fred Worden printed simultaneously, the minute incon- of exposures of a seated woman USA, 1972, 16mm, 7:00 min sistencies in exposure times resulted in Found footage of circuses, fairgrounds and rhythmic fluctuations of picture density and car crashes is repeated, distorted and lay- levels of sound. Two of these shots comprise ered, brought to the point of destruction and the second part of the film which is framed undulating gravity-free. Who is then back again, recoalescing to a hypnotic, by abstract imagery printed across the entire looping and crescendoing soundtrack. Fre- width of the film surface: the visible image is quently employing an optical printer for his also the sound image.” (CG) projects, Worden’s investigations involve sub- the alluring lady of this tle explorations of light, texture, colour, expo- Frank Stein - Iván Zulueta sure, detail, and the other physical qualities Spain, 1972, 16mm, 3:00 min of celluloid, emulsion, and the light that must Filmed before Arrebato, Zulueta’s Frank pass through it. In Throbs unusually beautiful Stein is a very personal reading of horror cult filmstrip tease? I call her Dinah, clashes of colour and shape occur a result of classic Frankenstein (James Whale, 1931), Worden’s creative manipulation of time and filmed directly from its television broadcast use of superimpositions. and reducing Whale’s original to only three packed and dizzying minutes, during which because the name Berlin Horse - Malcolm Le Grice the intimate monster evolves at an unusual United Kingdom, 1970, 16mm, 9:00 min rate. A game of rhythm and tempo which “This film is largely filmed with an explora- Zulueta will continue to explore in a series of tion of the film medium in certain aspects. super 8 short films such as King Kong, Mi ego contains a D, an N, and an A”. It is also concerned with making certain está en babia, A malgam A and El mensaje es conceptions about time in a more illusory facial. way than I have been inclined to explore in many other of my films. It attempts to deal Handtinting - Joyce Wieland – Ken Jacobs with some of the paradoxes of the relation- Canada, 1967-68, 16mm, 6:00 min, mute ships of the “real” time which exists when “This film is composed of cut-away shots the film was being shot, with the “real” time that Wieland filmed for a proposed documen- 44 SCREENINGS IMPAKt IMPAKt SCREENINGS 45

tary on a West Virginia job training center. optical bench). It becomes the sun around most realistic straightforward documentary Wieland dyed this leftover footage, added which the human activities revolve. The first footage, in even the most innocent storyline.” flashes of other footage, and scratched and movement from Debussy’s La Mer and the (RMO). In this video Montañez Ortiz recho- perforated the film itself with her sewing noise of the game, which is mixed with the reographs a scene from the Marx Brothers’ A needles. Recent allusions to Handtinting song of the dolphins, refer to water as the es- Night at the Opera (1935) by stuttered edit- incorporate into feminist critical discus- sential element for life. An ingenious system ing. The original, as we know it, is a love of sion the importance of tools and methods of number symbolism governing the order anarchy. What Montañez Ortiz achieves here of working particular to women’s crafts. The of images and cuts, and references to the is sheer madness; the walls literally vibrate. movie is comprised of looped and reversed significance of sun and water in culture and “In an ongoing dance series, [Ortiz] has images of the girls dancing, swimming, and art place this film in the context of timeless used this [editing] technique to explore the talking so that a repetitive or loop effect human self-reflection. According to Georg rhythmic undertones in social interactions, results in actions that recur but are never Schöllhammer, “Galeta hides a true chamber often fights among men. Ortiz describes the completed. Their incomplete movements and of wonders behind the clear, mathematically overall effect as a “holographic” space within gestures become isolated rhythms of social abstract structure of his films and videos, the Hollywood text, yet outside the familiar rituals. Lacking spatial depth and temporal meticulously compiled rhythmically frame perceptual mode and linear structure of completion, the repetitive actions negate for frame, each work likewise presenting an mass media.” (Chon Noriega) the illusion of solid space in documentary analysis of the film medium.” cinema.” (Lauren Rabinovitz) Mosaik Mécanique - What Happened On 23rd Street Norbert Pfaffenbichler Marilyn Times Five - Bruce Conner In 1901 - Ken Jacobs Austria, 2007, 35mm, 9:30 min USA, 1972, 16mm, 10:00 min USA, 2009, video, 13:00 min, mute The third part of Pfaffenbichler’s ‘Notes on Out of fifty feet of footage from a girlie 1950s “It was a set-up. A couple walks towards Film’ series, which borrows its title from movie (Apple Knockers and the Coke, featur- the camera, a sidewalk air-vent pushes the a combination of Fernand Leger’s Ballet ing Arline Hunter, an actress who clearly woman’s dress up. Layers of cloth billow and Mécanique and Peter Kubelka’s Mosaik in attempts to impersonate Monroe), Conner she is mortified. The moving picture camera, Vertrauen. All the shots of the slapstick com- has conjured an allegory of the human cycle already in place and grinding away, captures edy A Film Johnnie (Charlie Chaplin, 1914) are of birth and death. He breaks up the tenu- the event and her consternation becomes shown simultaneously in a symmetrical grid, ous continuity of the original production history, now transferred to digital and shown one after the other. Each scene, from one cut by reordering poses and distending certain everywhere. In this cine-reassessment, the to the next, from the first to the last frame, movements via looped repetition or a form of action is simultaneously both speeded up is looped. Spatialisation takes the place of progressive looping in which one movement and slowed down. How can that be? Overall temporality, synchronism that of chronology. begins in one shot, is incrementally advanced progression is prolonged, so that a minute of A polyrhythmic kaleidoscope is produced as in the next shot, and so on. Five individual recorded life-action takes ten minutes now a result (reflected in Bernhard Lang’s music), sequences are built around a lush recording to pass onscreen. Slow-motion, yes? No. In- tearing the audience back and forth between of ‘I’m through with Love’; each successive stead, the street action meets with a need to an analytic way of seeing rhythmic patterns permutation displays pieces of previously see more, and there descends upon the event and the impulse to (re)construct a plot. unseen footage interrupted by passages a sudden storm of investigative technique of black leader. Conner’s intent, in his own in the form of rapid churning of film frames, words, “was to take some parts of the found looping of the tiny time-intervals that make footage and rearrange them to see if the up events. Black intervals enter and Eternal- quintessential ‘Marilyn’ could emerge”. isms come into play meaning that directional movements continue in their directions with- Water Pulu 1869 1896 - out moving, potentially forever.” (KJ) Ivan Ladislav Galeta Croatia (SFRY), 1987-88, 16mm, 9:00 min Dance n° 22 - Rafael Montañez Ortiz In Water Pulu we see a game of water polo. USA, 1993, video, 10:00 min The cameras keep the ball in the middle of “In my video work, I seek to suspend time, to the picture (an effect achieved by multiple magnify beyond all proportion the fantasy, exposure, copying and manipulations on the dream, or nightmare I glimpse in even the 46 SCREENINGS IMPAKt IMPAKt SCREENINGS 47

Place Over Time searches amongst the craggy rocks and Friday 16 October, 17:00, Film Theater ruined buildings of a bleak and windswept ’t Hoogt, Hall 1 snowscape, a Geiger counter chatters omi- nously in the background. The sky is overcast This programme brings together a number of at first but gradually clears to reveal a sky of works focusing on landscapes, as medita- unnatural cobalt blue. This film was made in tive time capsules in which different events response to some very strong feelings expe- unfold, activating the potential pasts of a rienced at the time of the Chernobyl disaster “Take some time, take some place. Whereas the landscapes of narrative in 1986.” (CW) cinema are often latent expressionistic thea- tres, echoing the minds of the human figures Observando el Cielo - Jeanne Liotta within them, these films fully focus the at- USA, 2007, 16mm, 19:00 min more, time is passing, the tention on the rhythms of the natural world, “Seven years of celestial field recordings from the microscopic to the cosmological. gathered from the chaos of the cosmos The only signs of human life are the traces of and inscribed onto 16mm film from various destruction left behind by our urge to move locations upon this turning tripod Earth. This time of your life, the earth faster across time and space. Virilio argues: work is neither a metaphor nor a symbol, but “it is no longer God the Father who dies, but is feeling towards a fact in the midst of per- the Earth, the Mother of living creatures ception, which time flows through. Natural since the dawn of time. With light and the VLF radio recordings of the magnetosphere in rotates, seasons come and go, speed of light, it is the whole of matter that is action allow the universe to speak for itself. exterminated”. The Sublime is Now. Amor Fati!”. (JL) Sound- track by Peggy Ahwesh, with recordings by Cobra Mist - Emily Richardson Ahwesh, Liotta, Mailie Colbert, Barbara Ess the machine sorts zeros from United Kingdom, 2008, 16mm, 7:00 min and Radio Guitar. Cobra Mist explores the relationship between the landscape of Orford Ness in Suffolk and Time and Tide - Peter Hutton the traces of its unusual military history, USA, 2000, 16mm, 35:00, mute ones, as another thousand tiny particularly the experiments in radar and The first section of the film is a reprint of a the extraordinary architecture of the Atomic reel shot by Billy Bitzer in 1903 titled Down Weapons Research Establishment. The place the Hudson for Biograph. It chronicles in has a sinister atmosphere, which the archi- single frame time lapse a section of the river bursts of phosphorescent light tecture itself begins to reveal and the sense between Newburgh and Yonkers. The second of foreboding is accentuated via the film’s section of the film was shot by filmmaker Pe- soundtrack by Benedict Drew. “The film cuts ter Hutton and records fragments of several between stillness and activity through time- trips up and down the Hudson River between dance to the rhythm of the lapse, a sweeping camera and changing light. Bayonne (NJ) and Albany (NY). The filmmaker The sound also cuts between birdsong and was travelling on the tugboat “Gotham” as industrial noises suggesting activity when it pushed (up river) and pulled (down river) onscreen there is none.” (William Fowler). the Noel Cutler, a barge filled with 35,000 wind and the tide.” barrels of unleaded gasoline. “Combining the Sky Light - Chris Welsby luminescence and formal contemplation of United Kingdom, 1988, 16mm, 26:00 min the Hudson Valley painters with documen- Sky Light is a single screen version of the tary and ecological concerns, Time and Tide – Chris Welsby 6-projector installation with the same title. extends the panoramic field of Hutton’s pre- “An idyllic river through a forest, flashes of vious Portrait of a River. And after decades light and colour threaten to erase the image, of an exclusive devotion to and mastery of bursts of short wave and static invade the reversal black and white stocks.” tranquility of the natural sound. The camera (Mark McElhatten) 48 SCREENINGS IMPAKt IMPAKt SCREENINGS 49

Terminal Velocity iron or to use in housekeeping and farming. Friday 16 October, 21:00, Film Theater Medvedev delivers a striking visual explora- ’t Hoogt, Hall 2 tion of environmental destruction and the rebirth of a community. “With the fantastic Chernobyl has irremediably infected our perception of time. A few seconds: that’s all Atomic Park - it took to lose control of the reactor. There Dominique Gonzalez-Foerster wasn’t any more time for those who were France, 2003, 35mm, 8:00 min illustration of the exposed to a fatal dose of radioactivity. The Shot on location at White Sands, New Mexico, explosion was only visible for a moment, but very near Trinity Site – the location of the seemed to last for an eternity. In only a few first atomic explosion in July 1945 – Atomic days the radioactive cloud flew all over the Park captures sunbathers and tourists taking dromosphere of the speed world, infecting a great number of people. in the striking sun: the place is now home to a But it will take several millennia until the recreation area as well as a military base for released radioactive isotopes are completely research. The film presents a national park, neutralised. This selection considers the a white desert, a natural exhibition space of light in a vacuum, we rise of the nuclear threat after 1945 and the where each presence, each movement can application of the technological principles of give way to different interpretations and to a mass production to mass destruction. new reading of the setting. On the soundtrack we hear faintly the voice of Marilyn Monroe are at least to question Let Me Count the Ways: in her desperate and accusatory monologue Minus 10, 9, 8, 7 - Leslie Thornton about manly violence in The Misfits (John USA, 2004, video, 22:00 min Huston, 1961). Partially obscured by a degree Let Me Count the Ways is a series of medita- of over-exposure, Atomic Park evokes the the witnesses, those of tions on violence and fear, and their rever- contradictory experiences of leisure and berations on cultural history. The episodes danger. have been built out of a mixture of personal reflections and diverse image material which Crossroads - Bruce Conner Chernobyl, for instance, present the phenomenology of fear with an USA, 1976, 35mm, 36:00 min intensity that breaks abruptly the border “From material recently declassified by the between past and present. Just as in earlier Defense Department, Conner has construct- work, Thornton explores the social effects of ed a 36-minute work, editing together 27 for in 1986 the time of the new technologies and media, but here she different takes of the early atomic explosions goes deeper into autobiographical terri- at Bikini, all un-altered found footage in its tory, suggesting we are all involved in these original black and white. Conner uncovered developments. a vivid historical account of the Bikini tests accident suddenly became written for the Joint Task Force (Army and On the Third Planet from the Sun - Navy) by W. A. Shurcliff. Interestingly, what Pavel Medvedev one would expect to be a dry, methodical de- Russia, 2006, 35mm, 32:00 min scription is in fact dramatic and fascinating, for them, and finally for all of A portrait of life in the Arkhangelsk area near revealing how impossible it was to suppress the Arctic Circle in Northern Russia, where the bomb’s overwhelming power. This original the Soviet army carried out tests of the state of consciousness is what Conner wants hydrogen bomb in 1961. The local Pomors still us to re-experience in his film. What were us, the ‘accident in time’”. live the way they have for centuries; preoccu- the circumstances surrounding these tests, pied with fishing, hunting and growing plants. as described by Shurcliff?” (William Moritz But the nearby rocket launching site has & Beverly O’Neill, 1978). Music by Patrick brought with it a new type of hunt, the hunt Gleeson and Terry Riley. – Paul Virilio for “space garbage” which they sell as scrap 50 SCREENINGS IMPAKt IMPAKt SCREENINGS 51

Rush Hour to wait for the right amount of activity, to time as an editing tool. It represents an in- between our desire to hold onto experiences Saturday 17 October, 13:00, Film Theater show effectively the boats darting about; quiry into the abstract space-time of cinema against the inevitability of the passing of ’t Hoogt, Hall 1 some sequences took over an hour to shoot, where Ota plays with the physical fact that time. A recollection of all the people seen and last perhaps a minute on the screen. time is a ‘function of movement in space’.” through a day, Hold exploits the fact that film The city is the place where the forces and The “strength and health” sequence was (Malin Wahlberg) is made up of separate frames; it features fruits of modernity meet: capitalist enter- shot at a body beautiful convention. Various a new person on practically every frame, prise, mechanised industrialisation, the parts of the city of New York, the busy man’s Terminus For You - Nicolas Rey or every eighteenth of a second. Although movement of anonymous crowds and fast engrossment in his busy-ness, make up the France, 1996, 16mm, 10:00 min occasionally two or three people are held vehicles, kaleidoscopic shopping windows for major part of the film … a tour-de-force on “Rey’s film uses a simple, classic trope of longer, using consecutive frames to jump all tastes and colours. “A city made for speed man’s activities (…) My major film, showing contemporary urban life: the moving walkway back and forth between them, the sound and is made for success” wrote Le Corbusier in the restlessness of human nature and what at the subway station becomes a dual sym- the mechanism of the film are relentless, no 1920. This influential architect saw in speed it is striving for, plus the ridiculousness of its bol, an evocation of the human condition in resolution is reached, we continue to move and urban planning the keys to better living desires”. (MM) the industrial world, as well as a metaphor forward. conditions, but failed to take into account the for the workings of the most representative fundamental ambiguities of modern urban City Slivers - Gordon Matta-Clark of the era’s art forms: the cinema. Like the Interstices - Michel Pavlou living: the simultaneous feeling of agitation USA, 1976, 16mm, 14:00 min, mute film loop, the walkway circles endlessly, yet Greece/Norway, 2009, video, 3:00 min and stress, opportunism and nonchalance, A formal investigation of New York’s urban ar- its visible portion, shadowing the human A series of scenes shot in the Paris metro, order and chaos. The contradiction which chitecture, it was planned to be projected on walk, offers an illusion of linear progression, edited to the rhythm of the trains’ automatic appears to be the city’s essence. This is the the exterior facade of a building. Employing transporting human bodies from A to B with doors. The kaleidoscopic effect of view- central idea behind this screening pro- mattes to segment the film frame into narrow the smooth lateral movement of a traveling ing through the windows of trains as they gramme, in which urban surroundings are vertical bands that readily accommodate shot, and the pre-determined direction and pass each other determines the geometry observed, dissected and transformed into the proportions of Manhattan’s high-rise calculated time of an endlessly repeated of the image. A composition of parallel and matrices of energy and rhythm, surfaces and skyline, Matta-Clark creates a dynamic city scenario. (…) Urban life’s mechanical rhythms divergent vertical and horizontal movements: patterns, colour and design. symphony. The visual slivers capture both continue to provide an artificial sense of those of the camera but also of the trains and the monumentality of the built environment continuity, direction and purpose where the scrolling publicity panels. Everyday traffic Daybreak Express - and the hectic fragmented pace of urban life fragmentation and senselessness reign.” and urban rush are recurring themes in the D.A. Pennebaker as traffic and pedestrians traverse intersec- (Martine Beugnet) work of Michel Pavlou, concerned with the in- USA, 1958, 35mm, 6:00 min tions, workers enter and exit a revolving door, vestigation of film’s primary dimension: time. “A short film for those with a short attention and diaristic texts appear running along the Public Domain - Jim Jennings span”. A five-minute portrait of the soon- edges of the frame. “Time is fluid, again, as USA, 2008, 16mm, 8:00 min, mute Rush Hour, Morning and Evening, to-be-demolished Third Avenue elevated slivers of scenes overlap in rhapsodic simul- In a career that spans over three decades, Cheapside - Mark Lewis subway in New York City set to Duke El- taneity.” (Steve Jenkins) Jim Jennings’ lyrical sensibility has thorough- Canada, 2005, 35mm > HD video, 4:00 min, lington’s music. A simple composition of city ly captured the environs of New York from its mute images in 1950s, the directorial debut of D.A. Incorrect Intermittence - Yo Ota bridges, trellises, and elevated subway lines Shadows of pedestrians during morning and Pennebaker – one of the fathers of Ameri- Japan, 2000, 16mm, 6:00 min to the closely observed nuances of fellow evening rush hour at a major urban intersec- can “direct cinema” – is an extraordinary “This film offers a metacinematic study of New Yorkers. “The film’s title was a response tion. Scenes of people scurrying to and fro, experiment in using the camera in travelling tempo and change and a figure of velocity. It to the debate in New York over the City’s captured from a very different perspective: motion. “I wanted to make a film about this consists of three interrelated parts or scenes plan to require licensing and insurance from Only their shadows appear to collide ran- filthy, noisy train and its packed-in pas- that are unified by three different locations in filmmakers to film on the street, in the public domly. Everyone is hurrying to work. And sub- sengers that would look beautiful, like the Tokyo: a railway crossing, a shopping street, realm. Fortunately, the City backed down. sequently to their homes. Shot in London’s New York City paintings of John Sloan, and I and a temple. In Ota’s experiment, editing In its whirling color, this film expresses my financial district, Rush Hour, Morning and wanted it to go with one of my Duke Ellington is not the primary tool, yet it shows the em- never-ending fascination with the street.” (JJ) Evening, Cheapside is an attempt by Cana- records, ‘Daybreak Express’.” (DAP) phasized rhythm of a montage film. To obtain dian filmmaker-artist Mark Lewis to capture this paradox of continuity, duration, change, Hold - Dryden Goodwin the urban fabric. Go! Go! Go! - Marie Menken and speed, Ota recorded each location at the United Kingdom, 1996, video, 5:00 min USA, 1964, 16mm, 12:00 min, mute interval of hours, and sometimes even days, People observed in the street are a frequent “Taken from a moving vehicle, for much of by using different filters and by alternating subject in Dryden Goodwin’s films, drawings the footage. The rest uses stationary frame, the camera speed. The result mirrors aspects and installations. His video Hold considers stop-motion. In the harbor sequence, I had of both duration and speed while using real the nature of memory, exploring the tension 52 SCREENINGS IMPAKt IMPAKt SCREENINGS 53

Fast Lane unique experience for the passengers. “One Saturday 17 October, 15:00, Film Theater could read the newspapers in the street” one “Speed is the form of ecstasy ’t Hoogt, Hall 1 passenger exclaimed. In Hong Kong (HKG) Holthuis films the approach and the passing Belgian speed racer Camille Jenatzy was by of the airplanes in the middle of a city. An the first man to break the 100 km/h barrier observation at the end of this century. Music the technical revolution has in 1899. The car he entered history with was by David Byrne. called “La Jamais Contente”. Never satis- fied: modernity in a nutshell. The insatiable Routemaster: Theatre of the Motor - hunger for machine speed, as the motor for Ilppo Pohjola bestowed on man. (…) When progress, but also as a sensuous experience, Finland, 2000, 35mm, 13:00 min is the central theme of this programme. The Routemaster - Theatre of the Motor is a filmic arrival of trains, cars, airplanes and space portrait of speed consisting of strobe-like, man delegates the faculty of shuttles changed irrevocably the relation- fast-flickering shots, and grainy, mono- ship between time and space. It increased chrome images of speeding rally cars. While the speed with which bodies could move Pohjola’s Asphalto was still concerned with across space and dramatically shortened human interactions, here the absence of speed to a machine: from then the time involved. But this increase of speed humanity is total: what remains are the ma- brings along contradictions, paradoxes and chines in movement that is an end in itself. dangers…. The rhythmic structure is provided by slow- on, his own body is outside the motion, close-up shots of checkered flags, Rallentando - Guy Sherwin repeated at regular, mathematical intervals, United Kingdom, 2000, 16mm, 9:00 min with passing shades of blue providing almost Accelerating and decelerating rhythms taken the only colour in the film. At times, the process, and he gives over to from a train as it enters a station. Sound is accelerating speed of the images makes it adapted from Honneger’s orchestral work painful to watch the film, like a sort of visual ‘Pacific 231’. Rallentando is part of Sherwin’s Blitzkrieg waged on the human nervous sys- a speed that is noncorporeal, Train Films, which he will present during tem through the viewer’s tortured retinas. Impakt in the form of a film performance (see ‘Dopes to Infinity’). Inspired by the Mer dare / Our Century - Artavazd movements and parallax effects of objects Pelechian nonmaterial, pure speed, speed appearing to cross each other when viewed Armenia (USSR), 1982, 35mm, 50:00 min from a moving train, as well as by the paral- Pelechian’s Our Century is a masterful mon- lels between film form and train journeys, tage of archive footage of space travel, edited itself, ecstasy speed. A curious these films have titles which denote specific with images from the beginnings of manned musical forms; Canon, Stretto, or instruc- flight. A meditation on the space race, the tions; Da Capo, Rallentando. Soviets’ and Americans’ Icarus Dream, the deformed faces of astronauts undergoing alliance: the cold impersonality Hong Kong (HKG) - Gerard Holthuis acceleration, the imminent catastrophe…. The Netherlands, 1999, 35mm, 13:00 min Our century is the century of conquests The city of Hong Kong is often seen as a liv- and genocides, the century of vanity. The ing example of the Virilian notion of ‘speed’. absurdity of Man’s totalitarian inclination to of technology with all the flames “Change takes place in present-day Hong colonise and occupy worlds. A philosophical Kong in ways that do not merely disturb our film-poem; Pelechian works his images as if sense of time but completely upset and re- they were a musical score. A symphony about of ecstasy.” verse it. (…) It suggest[s] a space traversed by humanity, nature and the cosmos. different times and speeds”. (Ackbar Abbas). In 1998 Kai Tak airport in the middle of Hong Kong was closed. Approaching Kai Tak was a – Milan Kundera 54 SCREENINGS IMPAKt IMPAKt SCREENINGS 55

Chaosmosis Simultaneously, the rhythm unfolds in an fers to a state in which the name or location Out of the Present Saturday 17 October, 17:00, Film Theater unsynchronized sound bar. Squeaking, suck- of ‘objects’ remains unknown. For instance, Sunday 18 October, 13:00, Film Theater ’t Hoogt, Hall 1 ing, the noise of a passing train: all these dif- if a bird escapes from its cage, the world it ’t Hoogt, Hall 1 ferent noises put together a soundtrack that discovers outside will appear to be chaos, Ours is a world in constant flux. Life un- sometimes falters, sometimes accelerates, but if it joins with a flock of other birds, it will Out of the Present - Andrei Ujica folds in a fog of conscious and unconscious diminishes and increases in volume, or sim- gradually learn to apply ‘names’ to various Germany/Russia/France, 1995, 35mm, perceptions, a chaos animated by infinite ply falls into silence. Tramage’s interruptive places – a safe place, a dangerous place, 96:00 min speeds. There is no distance, no proximity, no and disruptive repetition of the city dweller’s etcetera, thereby creating cosmos (order). In May 1991 Soviet astronaut Sergei Krikalev sense of foreground or background. We move impressions revives the moment of experi- When watching a film, the viewers all sit in left Earth for the space station Mir. 310 through physical and virtual spaces with ence in our perception.” (Antonia Birnbaum) the same darkness and receive the same days later – 5 months longer than initially limbs still nimble - touch, taste and smell light and sound but each sees a different foreseen – he returned home, which in the intact - but our eyes do not see, they reflect. Besenbahn - Dietmar Offenhuber dream. I believe this symbolizes a reversion meantime was no longer the Soviet Union The world comes to a halt as a pure staccato, Austria, 2001, video, 10:00 min to their initial state, that when they look but Russia. Krikalev’s experience throws a a vision without space, without perspective, Images of the city of Los Angeles, which has at total chaos through newborn eyes, they light not only on the acceleration of history without context. Gilles Deleuze: “From chaos, been shaped by the history of motorization give birth to a new cosmos. I sincerely hope in his country, but also on the acceleration of Milieus and Rhythms are born. This is the and where moving perception has come to be that the violent chaos that exists in Still in reality, which according to speed philosopher concern of very ancient cosmogonies. Chaos regarded as integral to natural perception. ­Cosmos will give rise to the same number of Paul Virilio leads to the “time accident”. Mir is not without its own directional compo- The repetition and temporal reordering of se- new cosmoses as there are viewers.” (MT). is no longer a monument under the stars but nents, which are its own ecstasies”. quences creates a stream of images that can Music by Jim O’Rourke. a co(s)mic ruin that symbolises the failure of only be read through the speed of the travel- the progressive myth of mankind’s conquest Chimera - Philip Hoffman ling camera. According to Offenhuber, in its Sync Up Element - Stom Sogo of the stars. Canada, 1996, 16mm, 15:00 min fragmentation of the continuum of percep- Japan/USA, 2007, video, 23:00 min “Chimera is Hoffman’s most understated film tion “the subjective geometry which defines “Since I was a teenager, I have an epileptic that explores his two most common themes: space through intervals of time” can remain fit. I passed out twice in this year. It is like a death and chaos. And it is perhaps his most submerged because it is already so familiar. memory flashback; wrapped by the vari- immediate film dealing with frozen moments, A work that explores the forms of perception ous warm childhood images. In this movie, a life transitions and fragments of memory. transmitted by technological media. bisexual boy and a girl are dancing, a kind of The shots are in constant movement and it love. However; you may not see them though; makes the image blurred a good portion of Acceleration - Scott Stark a strobe light creates you to see the clear the time; periodically, a readable moment will USA, 1993, video, 10:00 min images inside of you. (…) All of my film and appear, just briefly, and then the movement A snapshot taken in a moment of human video pieces are in many ways the abstrac- continues. It’s a statement in chaos at its evolution, where the souls of the living are re- tion of feeling of people whom have been most heightened state. The world is blurry flected in the windows of passing trains. The driven into a corner or stuck in their own with only snatches of clarity—it’s moving camera captures the reflections of passen- maze. Sync Up Element is the cure vision in fast with only glimpses of calm. You never gers in the train windows as the trains enter our data oriented digital lives. I mean I am know exactly where you are or what is going and leave the station, and the movement not making a medicine but film viewing ex- on, except for fleeting moments.” (Janis Cole) creates a stroboscopic flickering effect that perience itself will open up many discoveries magically exploits the pure sensuality of the to our natural details in our memories” (SS). Tramage - Jean-François Guiton moving image. Acceleration reads like a dou- The soundtrack is based on a composition by France, 1999, video, 12:00 min ble motion study, examining the movement of William Basinski. “Rhythm is the theme as well as the form its outward subjects (passengers and trains) of this video. Its elements are constructed as well as the camera’s own ability to pro- and played out through a time measure duce illusions of motion different than those resembling the busy tempo of city life. To usually generated by the apparatus. begin, stripes of light are drawn through the two sides of the black empty screen; their Still in Cosmos - Makino Takashi unpredictable crossings and untimely colli- Japan, 2009, 35mm > HD video, 19:00 min sions lead to the appearance of an opening “I do not think that the word ‘chaos’ means and closing tramway car door in the picture. ‘confusion’ or ‘disarray’, rather I believe it re- 56 SCREENINGS IMPAKt IMPAKt SCREENINGS 57

Ilppo Pohjola Routemaster: Theatre of the Motor, 2000 (p.52) Courtesy Crystal Eye “So many things have Malcolm Le Grice changed. But what amazes Berlin Horse, 1970 (p.43) me the most is: just now it was night, and now

Kurt Kren it is day and the seasons 31/75 Asyl, 1975 (p.40) just fly by. I’d say that is the most impressive thing you see from up here.” – Sergei Krikalev

Gerard Holthuis Hong Kong (HKG), 1999 (p.52) 58 SCREENINGS IMPAKt IMPAKt SCREENINGS 59

Andrei Ujica Pavel Medvedev Out of the Present, 1995 (p.55) On the Third Planet from the Sun, 2006 (p.48)

Artavazd Pelechian Mer dare / Our Century, 1982 (p.52)

Jeanne Liotta Observando el Cielo,2007 (p.46)

D.A. Pennebaker Michel Pavlou Philip Hoffman Daybreak Express, 1958 (p.50) Interstices, 2009 (p.51) Chimera, 1996 (p.54) 60 SCREENINGS IMPAKt IMPAKt SCREENINGS 61

“In every whirlwind hides a potential for form, just as

Joyce Wieland Joyce Wieland Handtinting, 1967-68 (p.43) Handtinting, 1967-68 (p.43) in chaos there is a potential

Emily Richardson cosmos. Let me possess Cobra Mist,2008 (p.46) an infinite number of unrealized, potential forms! Let everything vibrate in me with the universal anxiety of the beginning, just awakening from nothingness!” – Emil Cioran

Bruce Conner Crossroads, 1976 (p.48) 62 IMPAKT INVITES IMPAKt IMPAKt IMPAKT INVITES 63

The program includes: have all the information and history about it? To what extent does an over abundance Maïder Fortuné - La Licorne of information and interpretation blind us France, 2005, video, 07:00 min to the pleasure of looking at an artwork and In a confined room enclosed with black walls, using our imaginations? a light magnifies the body of a mythical ani- mal, a white unicorn. A black rain begins to Bade Area - Chen Chieh-jen fall, the droplets thicken and hide gradually Taiwan, 2005, video, 30:00 min, silent parts of the body of the animal to reveal a This film was made in the Bade Area of masquerade of wonder: the horn is only the ­Taoyuan County, Taiwan. Chen Chieh-jen accessory of a ridiculous dressing-up. invited local temporary laborers to wander This revelation shakes the foundation of around the area, and enter office buildings t theunicorn myth and on the flip side reveals and factory spaces that had been sealed off I it as an exposition of cheap junk. by the courts due to property right disputes. K Examining the objects left behind in these M A Delay Glass - Txuspo Poyo spaces from the viewpoint of these tem- P Spain 2007, video, 08:54 min porary laborers, it muses on the voids and Delay Glass makes a reference to the un- landscapes left behind in Taiwan amidst the finished work by Marcel Duchamp, “The large torrent of globalization. Glass” in a simulation where scientific con- s tributions, technology, mechanical and erotic acquire a rotating and onanist movement VIT with different artefacts, between fact and N E fiction. I Van Gogh’s The Midday Sleep and the Thai villagers - Araya Rasdjarm- rearnsook Thailand, 2008, video, 18:00 min This video is one out of a series of interna- tional encounters between classical paint- In the Panorama programme, Impakt pro- Impakt Invites: Loop Barcelona ings and Thai villagers and farmers. vides an annual overview of contemporary Thursday 15 October, 19:00, Filmtheater Araya Rasdjarmrearnsook’s The Two Planets cutting edge film and video art. The works ’t Hoogt, Hall 1 series explores how narratives of art his- have been selected by Impakt at various in- tory are constructed. The series includes ternational festivals and exhibitions. Conse- LOOP is a platform devoted to the promotion film and photographic work recording the quently, the programme offers a wide variety of video art. It organizes an international responses of Thai farmers to well-known of visual artists, filmmakers and video artists event that takes place in Barcelona every western art masterpieces. Sitting in front of from all over the world. In the so-called year in May. Next to the LOOP Fair, the first reproductions of works such as Van Gogh’s Impakt Invites series some Panorama artists art fair specialized in video art, the event La méridienne, 1889-1890, local farmers who are put centre stage, they are interviewed includes LOOP Festival, a festival that in- do not know the cultural value or history of and invited to present a selection from their volves the city of Barcelona and LOOP Panels, the painting discuss it with a freshness and oeuvre. Impakt also invited three organiza- a programme with seminars, artist-talks and curiosity not available to those of us familiar tions to present themselves. curated presentations. Emilio Alvarez, one with the painting. We hear the farmers try- of the LOOP directors and Alexandra Laudo, ing to interpret the image in front of them, LOOP Festival coordinator will present a questioning what the protagonists are doing, selection of Highlights of LOOP’09 that was and why. Rasdjarmrearnsook’s film raises organized from May 21 to 31, 2009. numerous questions: can we have a full www.loop-barcelona.com appreciation of an artwork even if we don’t 64 IMPAKT INVITES IMPAKt IMPAKt IMPAKT INVITES 65

Impakt Invites: Cartune Xprez Untitled (Pink Dot) - Takeshi Murata The Mountain Where Everything is and TRASH - Hooliganship (featuring Hooliganship) USA, 2007, video, 5:00 min Upside Down - Shana Moulton Performance Friday 16 October, 21:00, Moira Primarily an abstract animator, Murata has USA, 2008, video, 4:00 min Live music, cartoons and video game worlds gained recent notoriety through his innova- Shana Moulton, born in 1976, lives in Brook- cross paths in a surreal adventure through This programme of contemporary cartoons tive psychedelic videos. His Untitled (Pink lyn, New York. She creates evocative videos a trash landscape. We watch a high-energy from North America celebrates the wilder- Dot) is retina-burning optical trick that melts and performances that combine new age hoodie-clad performer musically and physi- ness of imagination. A selection of the best at the hands of Rambo. humor with a low-tech elegance. Her use of cally interact with the cartoon images on the video works from the American underground subtle video effects and simple animated screen behind. Pure absurd rainbow bliss, will be projected in an inflatable backdrop of The Comic that Frenches Your Mind objects charges the seemingly banal domes- Trash is a wacky journey into media oversatu- glowing 3D crystals. Dark Voyage will provide - Bruce Bickford tic rituals in her videos with supernatural ration, inspired by a hypnotic abundance of a rare opportunity to see videos by emerg- USA, 2008, video 6:00 min qualities. In The Mountain Where Everything digital information. ing artists as well as internationally known Bruce Bickford, born in 1947, lives in Seatac, Is Upside Down Moulton stars as Cynthia, an artists whose collective resume includes col- Washington. Considered by some critics to anxiety-ridden hypochondriac who explores a Hooliganship Workshop laborations with Frank Zappa and major ex- be the world’s greatest animator, he first collection of nick-knacks in a surreal workout Friday 16 & Saturday 17 October, hibitions at the Whitney Biennial, the MOMA garnered recognition for his collaborations room. This character`s internal angst and ex- 13:00 - 17:00, Moira in New York, the Sundance Film Festival, and with Frank Zappa in the 1970s. In The Comic ternal absurdity untangle through a cathartic free many other institutions across the world. That Frenches Your Mind Bickford presents release of special effects magic. Register before 12 October at: In addition, Hooliganship will be doing a live a handdrawn masterpiece comprised of [email protected] performance of their newest cartoon theater. thousands of detailed pencil drawings on a Psychedelic Death Vomit - Yoshi simple white field. Morphing beasts, junkies, Sodeoka On October 16 and 17 Peter Burr of Hooligan- Junk Spirals - Hooliganship and davy crockett tourists take the screen USA, 2008, 5:00 ship will give a workshop in two parts that USA, 2009, video, 6:00 min among other puzzling characters in this Yoshi Sodeoka, Born in 1967, lives in Brook- investigates the aesthetics of appropriation Hooliganship is Peter Burr and Christopher twisting line animation. lyn, NY. He has been making digital artwork in current video culture. Participants can Doulgeris, both born in 1980. They live and since the early 90’s, most noted for his work with FFmpeg and Avidemux and use work in Portland, Oregon. They began col- Booty Melt - Jacob Ciocci minimal abstractions of highly manipulated the Greasekit web plugin to experiment with laborating in 2002 creating performances, USA, 2008, video, 3:00 min video and noise. In Psychedelic Death Vomit ‘datamoshing’, and online video curating to videos, music, and installations that revel in Jacob Ciocci, born in 1977, live in Pittsburgh, he employs an array of digital and analog produce a collaborative mix-video. Partici- a hypnotic abundance of digital information. Pennsylvania. He is a member of the artist processing techniques to weave a violent pants would be required to bring their own Junk Spirals is their most recent animation, collective ‘Paper Rad’ and the band ‘Extreme rainbow vortex. Through the use of duration, internet-accessible Mac laptops. a senseless tumble through a faded cartoon Animals’. In Booty Melt, Ciocci datamoshes a repetition, and saturation he allows a simple world. At its core they have erected a totem barrage of faceless internet videos, GIFs, and 16-bit scream to decay within the hidden lay- of sad clowns oscillating between benign hand drawn cartoon creatures. The resulting ers of our monkey mind. postures and a despertate marathon crushed few minutes portrays a strange vision of a by a grid system. scary fairy tale. At The Heart of A Sparrow - Barry Doupe Thing Pit - Taras Hrabowsky Meet Me in Wichita - Canada, 2006, video, 29:00 min USA, 2009, video, 2:00 min Martha Colburn Barry Doupe, born in 1982, lives in Vancouver, Taras Hrabowsky, Born in 1981, lives in USA, 2006, 16mm > video, 7:00 min BC. He is a member of the Lions collaborative Brooklyn, NY. He creates videos that explore Martha Colburn, born in 1971, lives in New drawing club and is a recipient of multiple imaginative possibilities within the urban en- York City. A self-taught filmmaker, she began Canada Council Production Grant for his vironment, often screening his work guerilla- in 1994 with found footage and Super 8 cam- recent films. With seemingly rudimentary style directly on buildings in public spaces. eras and has since completed over 40 films. animation techniques indicative of early Thing Pit, his most recent animation, is a In Meet Me In Wichita she uses a combination video game design, At The Heart Of A Sparrow dense vacuum of detritus: airplanes, automo- of watercolors, collage and paint on glass presents a series of casual encounters with biles, melted glaciers, innocent bystanders, animation. This film fuses Osama Bin Laden fractured beings. Sampling dialogue directly and atomic dust in and out of a brick wall. into the fairytale Land of Oz with yellow brick from a variety of black holes in pop culture, roads, oily geysers, wicked witches, and mod- Doupe conjures a powerful glimpse of the ern day artillery. It is a play between fact, senseless vacancy in our own world. fiction, politics, fantasy, terror and morality. ­ 66 IMPAKT INVITES IMPAKt IMPAKt IMPAKT INVITES 67

Impakt Invites: OK. Video - a piracy of the father of China’s industrial Impakt Invites: Annika Larsson The programme includes a.o.: Jakarta International Video revolution Mao Zhedong through Nike’s ideol- Saturday 17 October, 19:00, Filmtheater Festival ogy “Just do it (for piracy)”. ’t Hoogt, Hall 1 3l33t - Annika Larsson Saturday 17 October, 15:00. Filmtheater Sweden, 2007, video, 19:30 min ’t Hoogt, Hall 2 Sssshh.. - Dita Gambiro The work of Swedish artist Annika Larsson Indonesia, 2007, video, 04:00 min focuses on patterns of human behaviour in Dolls - Annika Larsson OK. Video - Jakarta International Video Festi- This video uses the concept of washing contemporary culture. Her video installations Sweden, 2008, video, excerpts val is a biannual video festival held in Indone- hands and the differences in meaning for represent slightly altered universes obey- sia since 2003. It is organized by the artist both children and adults. ing autonomous rules. Actors are shown in Blind (work in progress) - initiative Ruangrupa. The festival comprises close-up, in great detail. The shots are slow Annika Larsson an exhibition, workshops, collaborations, Gemah Sampah: Lho Kok Malah and carefully composed and framed. Images Sweden, 2009, video special presentations, discussions, and art- Numpuk? - Y Sukarya shot from different viewpoints succeed one ists’ talks focusing on specific themes. Indonesia, 2007, video, 09:50 min another, but without ever offering a view In 2003, OK. Video was held in the National This video is an insinuation for the Province of the whole. Larsson focuses on the body Gallery of Indonesia and featured an exhibi- of West Java’s slogan: Gema Ripah Loh Jinawi language and the eyes of the actors. Her work tion of 60 video works by 56 artists from 19 (prosperous and peaceful land). Garbage is seems to be about the almost ritual quality countries. In 2005, the thematic Sub-Version the source of problems in this video. of everyday actions. In the spectator, these exhibition presented video works from 17 videos arouse an oppressive feeling or even a countries. In the third edition of the festival Segara Setu Patok - Teddy Abeng form of claustrophobia, not only because of (2007), the theme was ‘Militia’ and the festi- Indonesia, 2007, video, 07:00 min the close-ups but also the apparent strange- val included a series of video workshops in A video music about Situ Patok, the forgotten ness of the environment in which the figures 12 Indonesian cities and many video screen- lake. This video captures the interaction of move about. ings in public spaces in Jakarta. In 2009, the people and the lake. In her work Annika Larsson stages only men festival took ‘Comedy’ as its main theme. and deals with primarily male themes and Ade Darmawan and Reza Afisina of OK. Video Sleeping matter - Ahmad Nursalim its symbolic language, playing with concepts will introduce the Ruangrupa collective and Indonesia, 2009, video, 04:05 min such as power, submission or violence, her present highlights from the OK. Video Festi- When we sleep, we may, without realizing it, work must not be simply understood as val. The program includes: adopt weird postures, causing the laughter a mere criticism of these preestablished from others. codes. Rather than developing an analytical Long Gone Republic - Jompet discourse, she tries to submerge us into a Indonesia, 2000, video, 03:24 min Bercerobong - Eko Nugroho peculiar atmosphere, in order to confront us This song brings a patriotic memory that Indonesia, 2002, video, 05:11 min with our own ambivalence towards the power comes up at the commemoration of the an- This animation deals with the change of the of seduction and indisputable eroticism niversary of the independence. The ‘mouse’ political agenda that took place in Indonesia which emerges from her images. is the incoming reality that is cultivated by after the downfall of the Soeharto regime. Because of her recent works Dolls and 3l33t facing his era. Like chameleons politicians, army officials, Impakt invited her for an artist-talk . In this governmental officers, religious teachers, program Larsson will show 3l33t, excerpts Halte VS Stampbox - and others quickly changed their attitudes, from Dolls and a preview of her new video Ari Satria Darma ways of speaking, and actions. Blind . Also she will present some artists Indonesia, 2003, video, 02:00 min films and excerpts of feature films that We are brought to observe the inside of the From 10 October to 16 October ruangrupa inspired her and a selection of fetish related kiosk in detail, which actually represents a in collaboration with Casco organizes the clips from her archive of private and amateur small part of the more complex problems in ‘ruangrupa huis’ and related events with the videos from the internet. Jakarta. objective of challenging the idea of (cultural) Annika Larsson will be interviewed by Martijn exchange. For more information, please visit: van Nieuwenhuyzen, curator at the Stedelijk Just do it - Andry Mohamed www. cascoprojects.org. Museum, Amsterdam. Indonesia, 2005, video The activities by Ruangrupa in Utrecht are This video is a re-piracy of pirated products part of the exhibition ‘Beyond the Dutch’ and brands of this country of piracy and also organized by and at Centraal Museum. 68 IMPAKT INVITES IMPAKt IMPAKt IMPAKT INVITES 69

Impakt Invites: Jonas Staal en Vincent van Gerven Oei studied composition, Vincent van Gerven Oei linguistics and conceptual art in The Hague, Sunday 18 October, 15:00, Film Theater Leiden and Amherst MA, USA. He is currently ’t Hoogt, Hall 1 working on his doctorate at the European Graduate School in Switzerland. In both ‘proper’ and ‘improper’ ways, Vincent Jonas Staal studied monumental arts in van Gerven Oei and Jonas Staal explore ­Enschede and Boston MA, USA. He works the relationship between art, morality and and lives in Rotterdam. society. In their work, they transform a court Chris Keulemans is author, journalist and session into a performance, fragments of artistic director of the Tolhuistuin in Amster- car bomb wrecks into jewellery, while a dam Noord. suicide terrorist is judged on his composition techniques. Without compromises, they fight for the position of art in society. This position should not be secondary to politics or the administration of justice. With Staal’s The Geert Wilders Works this discussion was even brought before Dutch Parliament. Memorials with candles, flowers and photos were exhibited as installations in public space. They were fictitious signs of spontaneous national mourning brought about by a suggested assassination of Jacob Ciocci Wilders. These works attracted much at- Booty Melt (p.64) tention from the media and caused political controversy. Central in this Impakt Invites, is the pres- entation of van Gerven Oei and Staal’s most recent video pamphlet Follow us or Die. It is a reflection on the so-called ‘high school shooters’, young people who kill their teach- ers and classmates in a brutal manner. The visual and textual legacy of these ‘shooters’- the pre-recorded videos and texts circulating in the media after the events – function as central elements in this video. Follow Us Or Die utilizes these high school shooters - who saw total annihilation as the only possibility to express themselves – to point to the core civil fears and desires in our current society, which both the political and cultural establishment seems to ignore. Ear- lier this year, an essay bundle was dedicated to the video pamphlet “Follow Us or Die”. During this presentation Chris Keulemans discusses the broader societal and artistic context of “Follow Us Or Die” with the artists. The talk will be illustrated with footage on Jonas Staal the phenomenon. Follow Us Or Die (p.68) 70 IMPAKT INVITES IMPAKt IMPAKt IMPAKT INVITES 71

Annika Larsson Hooliganship (p.64) 3l33t (p.68) photos by M. Blash 72 IMPAKT INVITES IMPAKt

Araya Rasdjarmrearnsook Van Gogh’s The Midday Sleep and the Thai Villagers (p.63) Courtesy the artist and Gimpel Fils, London

Ari Satria Darma Andry Mohamed Halte vs Stampbox (p.66) Just Do It (p.66) 74 Panorama IMPAKt IMPAKt Panorama 75

The Shape of Things - Oliver Pietsch quence is based on sound snippets from the Germany, 2008, video, 17:30 min movie Blue Thunder (USA, 1982), which was Found Footage-Film about the representa- one of the early 80s media rehabilitations tion of sleep, fear and human desires of Vietnam war veterans in civilian society. in movies. The thematic sequences of The In Murphy, the visible stream of colour light Shape of Things project a variety of motifs, and the absence of the image itself creates interspersing humorous and erotic fantasies, an imaginary movie that possibly connects as well as peaceful slumber with multiple to the first draft of the screenplay for Blue N a phobias, private anxieties and psychologi- Thunder which featured Captain Frank pa oram cal torments. This accumulation of images Murphy as more of a crazy main character is open to interpretation as the viewers take with deeper psychological issues, who went their own journey, making their own connec- on a rampage and destroyed a lot more of the tions between scenes to form an individual city. Murphy is a true abstract Post Traumatic narrative. Stress Disorder.

Panorama 1: Metamorphosis - Clare Langan Scary Maze - Camille Verbunt A lecture on Schizophonia - I Thought I Was Hallucinating Ireland, 2007, video, 12:00 min The Netherlands, 2008, video, 02:30 min Erik Bünger Thursday 15 October, 15:00, Film Theater Clare Langan powerfully cultivates introspec- This film is part of a series of mosaic-films Germany, 2009, video, 37:19 min ’t Hoogt, Hall 2 tion, where poetic atmospheres and elegiac that unite many individual and private, yet A video essay on the phenomenon of Friday 16 October, 19:00, Moira landscapes, capture the very nature of our published experiences into a single frame, a ‘schizophonia’. Erik Bünger defines this as fragile existence against the perpetual forces collective experience. It reveals a synchronic- “that which makes dogs bark at speakers, Sometimes the living room gradually fills up of nature. Langan uses the camera as an ity in seemingly unique webcam- and home that which makes children look for the man with snow, people walk the water and a little instrument to capture the reverberation of videos posted on the Internet. The mimicking behind the box (the television) and the entity girl lisps the words “your mother sucks cocks something that has disappeared. It depicts a of other Internet videos is more than the de- that makes savages demand their captured in hell.” These are moments somewhere world in an unrelenting state of transforma- sire to share a personal thrill. Through pub- souls returned.” Bünger employs a diversity between sleeping and waking with the devil tion and motion, as it shifts between scenes lishing one becomes part of a larger move- of film historical footage to grasp this fasci- seemingly lurking in the background. This of stormy landscapes to snow filled interiors, ment. The mechanical repetition of action nating phenomenon. programme records supernatural phenomena from frozen glacial surroundings to violent and design within this group in turn propels in all their insanity and serenity. seas, and ultimately chaos. Metamorphosis new contributions with small alterations. deals with issues of cinematic off time, but These so called ‘memes’ (units of cultural On the Lake - Jeroen Kooijmans here time becomes specific, as we see a transmission or imitation) make up the evo- The Netherlands, 2008, video, 01:35 min suspended time of social history. Langan’s lutionary DNA of the Internet. Slow memetic Opinions on other people’s religions and su- work investigates an empty cityscape whose changes in degrees of openness and social perstitions and rumours of threats, fed by the streets are eerily absent of its inhabitations. behaviour are already detectable. Collective mass media, co-determine our perception The storm leads us into snow filled interiors, anxiety has never looked this funny. of the world. With a number of works that with only flashes of it’s former inhabitants to are part of a larger project, entitled The Fish suggest a human presence, but not lead- Murphy - Bjørn Melhus Pond Song, Kooijmans tries to provide con- ing to any definitive conclusions as to their Germany, 2008, video, 03:01 min trast to this perception by different images. fate. Metamorphosis is shot in a mixture Murphy is a pure synchronized sound and On the Lake is part of this. His strategy of of created environments, architectural light projection from which the artist con- choice is totally different from those of trivial models (built by the artist), along with actual sciously redraws his own figure. Unlike more politics or the media. These are images that landscape. There is no clear line between traditional Melhus’ pieces, in which the artist are not bent on convincing you of one thing or reality and created environments. This, along embodies different roles - including that another, but rather, force you into a medi- with Langan’s familiar use of exquisite hand of a woman sometimes -, Murphy envelops tative state. Beyond conflict and dualism, ­ –painted filters, creates a physically power- a dramatic reduction to abstract fields of Kooijmans creates an image that does not ful visual dynamic in the film, a world that is colour and concentrates exclusively on its take a stand, but rather, stimulates reflection both familiar yet beautifully unreal. sound footage, which results in a collage of that helps you to think yes and no, this and some of the most significant moments from that, and to say nothing at all for a while. mainstream war movies. The video light se- 76 Panorama IMPAKt IMPAKt Panorama 77

Panorama 2: Cleopatra’s Teeth – Mika Kiburz A Perfect Day - Paul Wong work is closely related to the video Oh, I’m So The New High USA, 2008, video, 17:00 min Canada, 2007, video, 07:30 min Happy. Thursday 15 Ocotber, 17:00, Film Theater Nearing the end of his life, an oral historian A riveting look at a day in the life of the artist ’t Hoogt, Hall 2 pursues a non-traditional love affair with that is recorded and edited over a 24 hour Crystal Gaze – Ursula Mayer Sunday 18 Oktober, 21:00, Film Theater the most powerful woman of the ancient period. This poignant self-portrait is pathetic United Kingdom, 2008, 16mm > video, 08:00 ’t Hoogt, Hall 2 world. On an expedition to fill the cavities of and hilarious, a brave and truthful reveal of min decay, explicit dental problems coincide with Wong’s private other. The title and the sound- In the Crystal Gaze three women occupy a Cosmopolites are wrong. Happiness is in archaeological excavations of Egypts’ history. track are references to Lou Reed’s song of lavish setting, namely in the magnificently art little things. Housekeeping never was so the same name Its A Perfect Day. deco rooms of the Eltham Palace in London. pleasing and Sky Radio sounds better than The Hose Heads Get Unhosed With help of these women, who are wearing ever. Choreographic explorations evoke (Gray Poodle & Shit Heads Getting Jennet Thomas - impeccable period clothing and pearl jewelry unprecedented sensual experiences in sultry Shit Faced) - Seth Scriver Return of the Black Tower – reminiscent of the excessive 1920’s – hotel rooms. With the right pills the living Canada, 2008, video , 02:00 min United Kingdom, 2008, video, Ursula Mayer is able to create a visual paral- room turns into the perfect location for ‘The The Hose Heads Get Unhosed is a collection 14:40 min lel to the tradition of the classical Hollywood New High.’ of animations from stories of living in the A distinguished looking man (performance film and it’s iconic actors. In contrast to her northern Canadian bush. Most of the stories artist Richrd Layzell) is apparently trapped previous films, there is a script – however it are narrated by Seth’s father and brother or in an ever changing void of colour, locked in a is in the form of single statements, mono- are adaptations of their stories. Impakt will power play with a perversely operated cam- logues and quotes. Cinematic role-playing show two parts, Gray Poodle & Shit Heads era. A mute, caged, charismatic TV presenter shows a complicated web of dramatization, Getting Shit Faced. het is by turns charming, menacing, educa- camera and staging. tional, confused. At times he appears to have Hotshot - Camille Verbunt great powers. A voice over tells us extraordi- Close Encounter – Zak Tatham The Netherlands, 2008, video, 03:52 min nary things – how this man is special – the Canada, 2008, video, 06:36 min These films are part of a series of mosaic- first man to ‘have a baby’. Hallucinogenic Trying to touch and give advice to yourself films that unite many individual and private, flash – frames punctuate the colour field to does not really work without an edgy love yet published experiences into a single give us a view of his world’s disturbing and triangle or a good workout that’s not just frame, a collective experience. This reveals a alien futuristic logic. A retro Sci-fi critique of physical. synchronicity in seemingly unique webcam- representation. A playful meditation on the and home videos posted on the Internet. The idiocies of making sense. mimicking of other Internet videos is more than the desire to share a personal thrill. Oh, I’m So Happy - Cecilia Lundqvist Through publishing one becomes part of a Sweden, 2008, video, 03:07 min larger movement. The mechanical repeti- Oh, I’m So Happy is an animated video where tion of action and design within this group we meet a middle-aged woman who is living in turn propels new contributions with small in total isolation, with extreme loneliness as alterations. These so called ‘memes’ (units of a result. The woman performs a monologue, cultural transmission or imitation) make up in which she tries her best to convince us the evolutionary DNA of the Internet. Slow about how happy and content she is with her memetic changes in degrees of openness present situation. However, her attempt is and social behaviour are already detectable. totally shallow and transparent. In this video the collective experience of an amusement park attraction is transformed Area of Use - Cecilia Lundqvist into an abstract light sensation. Sweden, 2009, video, 05:12 min The video Area of Use is an illustration of a Men Seeking Women – Penny Lane housewife’s inner thoughts about alterna- USA, 2007, video, 04:30 tive ways of using her most common working A random survey of personal ads one night on tools. It is also a manifestation of a sealed Craigslist opens up performative possibilities existence that exposes a mind which gives for a corporate tool. a sense of being trapped in a treadmill. This 78 Panorama IMPAKt IMPAKt Panorama 79

Panorama 3: Naufrage - Clorinde Durand Line - Johanna Reich mise-en-scène where social order has My Body, A Maze France, 2008, video, 07:00 min Germany, 2008, video, 02:20 min ceased to exist. Location of the action: both Thursday 15 October, 19:00, Moira Naufrage lists fears: the narration stops In the video Line, a high-resolution digital the great outdoors and the deep inside – Saturday 17 October, 19:00, Moira at the frozen instant. But Naufrage relates camera reaches its limits. A person dressed the uncanny spaces in our bowels where something. What is it talking about ? We don’t in black paints a black line on a wall. As a re- parasites overrule any existing form of social Having a body is not always easy. The body know... perhaps an accident, a depression, an sult of lighting conditions, the camera cannot order. often is a battle scene of romances, exotic explosion? This scene might be the summit differentiate between the black of the person parasites, obscure sexuality and uncertainty. of a catastrophic scenario: the moment of and the black background. Artist and art “S” - Yuri A This programme therefore offers useful physical emotion. However, nothing in the fuse, the person seems to disappear in front Switzerland, 2008, video, 12:20 min lessons of life for the future: at last we see sequence of events tries to explain this state of the camera. In a day and age where cam- Cakes in general only evoke good feelings, the true face of excrements, horse sperm of things. eras observe us every minute, Line seems to while farts, some of the most common as elixir for eternal beauty, the world-wide be a humorous way to escape surveillance. substances around, shock, repel and offend. lament of adolescents and the recipe for Kassandra - Johanna Reich DLP video projectors often used in recent But the consequence of a culinary dish is invisibleness. Germany, 2008, video, 04:00 min cinemas reproduce black while sending no always a fart. It cannot be repressed. This Onto a female face one can see excerpts light. The black parts of the video turn off the will be shown in the film “S” sparking new from Fritz Lang’s silent film Doctor Mabuse, light of the projector – a vanishing image. realisations and forcing the audience to which like no other came to stand for the acknowledge ignored sections of society aura of its time. Lang’s Mabuse, similarly to Everybody - Steve Reinke and to modify accepted values. This is a true Cassandra’s warning about the Trojan Horse, USA, 2009, video, 04:00 min creation of the underground. Nobody ever was interpreted as the prophecy of a dicta- This short fable depicts how animals suffer stamped an official stamp of approval on this tor like Adolf Hitler. Holes are now cut into from the exact same interpersonal everyday film. No market research, no demographic the projection enclosing the female head. struggles as we humans do. As an example segmentation, nothing but imagination and The cutting of holes through the projection, a snippet from the conversation between a attitude. 100% analogue. Yuri A’s film is like through the fabric, through the various levels deer and a rabbit: life; short and shitty. down to the naked face, uncovers the many “RABBIT: And your ass is like a peach, like a layers of narrative, the superimposed histori- peach ass. Plus Travailler - Yves-Marie Mahé cal seams. It is a gesture that requires us to DEER W/ UNICORN HORN: Stop staring all France, 2008, video, 01:45 min continually reposition our own seeing. of you. There won’t be enough room for you Plus Travailler demands a closer look at our to climb in; I am too small in the necessary work ethics. In the setting of folkloristic mu- Beautiful - Camille Verbunt spaces.” sic the viewer is gradually confronted with an The Netherlands, 2008, video, 04:32 min Steve Reinke developed Everybody together explicit advice to our hard working citizens: This film is part of a series of mosaic-films with Jessie Mott, who made the drawings “Travailler plus pour se fair baisser plus!” that unite many individual and private, yet and the script for this video. published experiences into a single frame, Chirpy Returns - John Goras a collective experience. This reveals a syn- Adressen unmöglicher Orte - USA, 2007, video, 08:00 min chronicity in seemingly unique home videos Yves Netzhammer It took 7 years for John Goras to create the posted on the Internet. The mimicking of Switzerland, 2009, video, 22:00 min now already legendary follow-up to his short other Internet videos is more than the desire In this new work by Yves Netzhammer, he sex-romp bird, Chirpy. In this revolting sequel to share a personal thrill. Through publishing further explores the poetics of his computer to her initial love story, Chirpy and XL lover one becomes part of a larger movement. The animated aesthetic. Netzhammer juxta- Stud sadly break up. While Chirpy flourishes, repetition of action and design within this poses the apparent serenity of his digitally Stud is enslaved by his special gift from na- group in turn propels new contributions with rendered characters to sentiments of love ture. Will they ever be together again? small alterations. These so called ‘memes’ and hostility in beautiful uncanny micro- (units of cultural transmission or imita- narratives. tion) make up the evolutionary DNA of the internet. Slow memetic changes in degrees West Project - Erkka Nissinen of openness and social behavior are already The Netherlands, 2008, video, 16:22 min detectable. This video explores adolescent A failed opening ceremony of a desperate sentiments on beauty. cultural development project in a subversive 80 Panorama IMPAKt IMPAKt Panorama 81

Panorama 4: They Shine - Rosa Barba Ottica Zero - Maja Borg Re:akt! - Lucas Bambozzi New Horizons USA, 2008, 35mm, 04:00 min United Kingdom, 2007, video, 13:00 min Brazil, 2009, video, 10:15 min Thursday 15 Oktober, 21:00, Film Theater In her work, Rosa Barba focuses on idealis- Soon after her ‘big break’, Italian actress In May 2006 PCC, an anti-establishment ’t Hoogt, Hall 2 tic sceneries from a recent past. In this film Nadya Cazan disappeared. With TV and film Brazilian prison gang and criminal organiza- Saturday 17 October, 17:00, Film Theater she zooms in on a field of solar panels in offers flooding in, she refused to accept the tion, coordinated the largest wave of violence ’t Hoogt, Hall 2 the Mojave desert. A fragmented voice-over competitive and superficial values of the of its kind against security forces and civilian recalls memories and fictional stories about society they represented. Ottica Zero follows targets that ever happened in the history of Who will emerge as the winners of the new these strange machines from inhabitants Nadya on her search to find an alternative Brazil. One of the most interesting aspects world order? Neo-conservatives? Utopians? of a nearby village. In a meditative fashion a way of living; a quest to discover a means to of the events in São Paulo was probably the Globalists? Or will it be gangsta rappers? series of solar panels slowly moves towards recycle the whole spectrum of cultures and role of the media in the entire episode. This In this selection, new and old candidates the sun, reflecting their wide surroundings. political ideologies into a new way of manag- applies to the organization of the revolts, present themselves in a struggle for ideals. ing a global society. It is a journey, which which were orchestrated by a handful of pris- But what are our ideals exactly and who ‘You’ll never walk alone’ - takes us from Rome to Venus, where 91-year- oners and their outside contacts by mobile defines them? Bear witness to a struggle in Witte van Hulzen & Sander Breure old social innovator and futurist, Jacques phone, mostly using text messages and short the arena of political and cultural codes. The Uganda, 2008, video, 13:00 min Fresco, proposes a solution. pre-paid calls. The Day São Paulo Stopped verdict is yours. For this work Van Hulzen travelled through Ottica Zero is a film about people who refuse is a project that attempts to analyse this Uganda for three months together with to conform to the present and instead choose particular aspect of the events in São Paulo, Sander Breure. You’ll Never Walk Alone shows to live in their own concepts of the future, and takes the form of a single flow of images: young men playing in surrealistic scenes that here and now. Instead of adapting a post- both “original” material, conveyed by the refer to Western film history and popular modern worldview with multiple truths, they mass media or produced by those involved culture. A mixture of African culture, 50 Cent look at the common needs of global society in the events, and material “reconstructed” and cowboy hats. in order to provide people with the necessi- by the artist for the occasion. The result is a ties of life through the universal methodology series of videos which roll out different ver- Dear Advisor - Vincent Meessen of science. sions of the events, and which, when taken Belgium, 2008, video, 08:00 min together, form a complex, fragmented, multi- Meessen’s work is set in Chandigarh, the The New China - Sun Xun faceted mockumentary. ideal of the modernist city planned by Le China, 2008, video,05:19 min Corbusier in the 1950s as a symbol of the All inspiration derived from a small book Civilization (Megaplex) - new, progressive nation of India who had called New China given by a friend of mine. Marco Brambilla just emerged from its colonial past. Due to This book was probably printed the Second USA, 2008, video, 02:40 min its strategic situation – close to the frontier World War. It is written by a missionary who Civilization depicts a journey from hell to with Pakistan and on the border between two lived in China for many years and knows heaven interpreted through the modern Indian states, Punjab and the subsequently China very well. The general content of this language of film using computer-enhanced created state of Haryana - Chandigarh book tells people how to love their country, found footage. This epic video mural contains houses common institutions for both lin- how to construct their country, how to be a over 300 individual channels of looped guistic communities. The city’s architectural useful person and tells about China’s revolu- video blended into a multi-layered seam- structure is that of a grid pattern, at the very tion of that time. less tableau of interconnecting images that centre of which the ‘Capitol’ rises: a phan- illustrates a contemporary, satirical take on tasm of centralised political power, over- Speech Bubble - Adam Leech the concepts of Heaven and Hell. looking the unfinished city. Haunted by the Belgium, 2008, video, 05:00 min ghosts of modernism, it leaves plenty of room Adam Leech investigates connections for silhouettes, voices and sounds weaving between speech, vocal semantics and the together a fable cherished by the late archi- political economy behind the construction of tect about the Raven that wants to imitate social space and public life. Speech Bub- the Eagle. Dear Advisor is a poetic address to ble started as an investigation of a Belgian le Corbusier and the legislator in Chandigarh speech recognition company that had gone superstitiously disguised as “advisor.”. bankrupt. The result is a fast dialogue be- tween a salesman and his wife, reminiscing better times. 82 Panorama IMPAKt IMPAKt Panorama 83

Panorama 5: The Sea is a Stereo - ­ “eliminate imperialist mentality.” In other nate an artist for the duration of a day, for the Pulling the Strings Mounira Al Solh words, for Taiwanese citizens this work has purpose of bettering her career. The relation- Thursday 15 October, 21:00, Moira The Netherlands, 2007-2008, video, 13:07 min the effect of stripping away internalised ship between the slave and the dominators Saturday 17 October, 21:00, Moira The Sea is a Stereo is an ongoing series of imperialist mentality and enhancing self- reflect upon the inner struggle of personal reflections on a group of men who swim awareness. For the Empire, it is a “foreign and societal guilt and pressure within a pro- Every abuse hides a source of pleasure. This everyday at the beach in Beirut no matter the affairs” protest against its domineering at- fession that is hard to define both in terms of programme zooms in on the many differ- circumstances: rain, wind, war, etc ... Even as titude towards foreign relations. structure and functionality. ent appearances of power relations. Are we we read this, the men might be swimming or The power relations between hired and hirer, watching the ultimate humiliation or is it just preparing themselves to do so. The project is Sub-Optimal - John Butler master and slave, actor and director become instinctive behaviour? Ethical relativism has ongoing and consists of different elements: a United Kingdom, 2007, video, 03:34 min completely convoluted as the situation blurred the line between these opposites. A number of videos, photographs, a lecture and John Butler is known for his animated futur- progresses. journey past border guards and gallery own- other materials. Al Solh sees these elements istic environments. Sub-Optimal takes place ers, and a cat-and-mouse game about who as different possibilities for making The Sea in this near future where power relations in Night School - Erkka Nissinen can hold out the longest. is a Stereo, which seems to me a never-end- human interaction loses its subtlety. We see China, 2007, video, 15:25 min ing work - like the men who will never stop labour arbitrage in a futuristic transaction An assortment of characters is brought into swimming. space. An altruistic action results in a sub- a total institution where they are subjected optimal outcome. to various mandatory exercises. The cast Yellow Fever - Marianne Theunissen ranges from cooks to bears and prostitutes to The Netherlands, 2007, video, 05:20 min We Could Have Helped - digitally rendered panda bears. Offices turn Yellow Fever is a film about language, the Cecilia Lundqvist into sci-fi environments and relationships visual language of a beautiful furnished Sweden, 2008, video, 01:57 min between digital and real-life appear difficult house in which two ladies reside, as well as We Could Have Helped is an animated video. to sustain. the language of their bodies. The ladies play Three men in costumes represent rich men The interiors of Erkka Nissinen’s Night School with words, words that are not addressed to with power and possession. People who (2007) are as cold as the human relation- one of them in particular, but get lost instead actually have the possibility to lend a helping ships it portrays. The character gallery is in the house and in the ongoing physical hand, but in this video they choose to play astounding and rich; their words are sparse confrontation. The rustling noise of breathing innocent bystanders, all this while they are and erratic. At the beginning of the work the and the moments of stillness in which they enjoying the situation. The men in the video artist wears a tie and reveals his feelings to hold their breath are marking the dynamics are totally unaware of their shortcomings, a panda bear. In the middle of the confession of the conversation. and continue with their lives without taking he changes into a women’s attire, and is now any notice of these. wearing a British Union Jack top and a pink Empire’s Border 1 - Chen Chieh-Jen frilly skirt. Along the journey “the woman” is Taïwan, 2008-2009, video, 27:00 min Please Say Something - David tempted by three fat singing chefs who lure The new work, Empire’s Borders (2009), is O’Reilly her into performing immoral services. a film that opens showing the various and Ireland, 2009, video, 10:00 min The plot contains suprising twists and per- sundry checks that Taiwanese citizens must Please Say Something is a 10 minute short verse associations free from domestic ties, endure when applying for a U.S. visa for busi- concerning a troubled relationship between the artist presents the catharsis of the work, ness, tourism, or family reasons. From there, a cat and mouse set in the distant future. a philosophical realization: human aware- it discusses how the empire employs all The cat and mouse are confronted with both ness of the possibilities of ethical realtivsism means at hand to penetrate every other area feelings of love and tenderness, but also with can be a result of unexpected circumstances. with its imperial mentality. In her interview their basic instincts towards their significant If only people kept their minds open when with Chen Chieh-Jen, Amy Cheng writes other. The video contains 23 episodes of roaming around, it could lead to liberation. that Empire’s Borders 1 goes on to reflect on exactly 25 seconds each. the internalisation of imperial conscious- ness within Taiwanese society. In one sense Discipline Aid Attempt #1 it coaxes out the thinking embedded and (Confessions of a Video Artist) - internalised in their consciousness, while Dafna Maimon in another, the acts of writing and speaking The Netherland, 2009, video, 10:48 min about it are the beginning of a movement to A professional Dominatrix and Master domi- 84 Panorama IMPAKt IMPAKt Panorama 85

Panorama 6: Self Portrait - Emilia Ukkonen a great new film. I’ve been vaguely aware of A Necessary Music - Dissecting Mimesis Finland, 2007, video, 06:15 min Oliver Husain, mostly as a video artist, over Beatrice Gibson Thursday 15 October, 23:00, Film Theater “The video Self Portrait is a portrayal of the past few years, but this 16mm production USA, 2008, video, 20:00 min ’t Hoogt, Hall 1 expectations and desires. A small-town girl represents my first encounter with his work, Derived from texts by residents of Roosevelt Sundag 18 October, 19:00, Film Theater wants to be someone. This semi autobio- and I must say I am duly impressed. Judging Island, and Bioy Casares, A Necessary Music ’t Hoogt, Hall 1 graphical video challenges the motivations of from his website, Husain frequently employs is a musically conceived science fiction my own actions, too. Why do I do what I do? If puppetry, props, and other sculptural and film featuring Robert Ashley. The takes BREAKING THE MAGICIAN’S CODE is so I claimed that my art is motivated by higher musical elements in his work, but the bizarre long, languid and beautifully pictorial - in outmoded. Impakt therefore now shifts focus ideals, and stated that I make art to enrich confluence of text, performance, gesture a narration shared between Robert Ashley to artists. All secrets of the trade are for the the world, find truth or solve existential and ambiance that goes to concoct Mount (perhaps one of the most distinguished taking in this programme. For everyone who questions, this would be extremely naive or Shasta is really rather thrilling. This is a film voices in contemporary music) and dwellers always wanted to know why films make us even hypocritical and false. The reasons for that doesn’t look like anything else out there, of Roosevelt Island (a small sliver of land laugh and cry and scare us: The curtain falls, making art often include such human traits but points of comparison can be drawn if situated between NYC burrows Manhattan but new mysteries come to the fore. as vanity, self-aggrandisement and need for you stretch the pencil far enough. My initial and Queens) - A Necessary Music is a musi- recognition. Self Portrait is made to portray thought was “Spike Jonze doing Owen Land, cally conceived science fiction film, exploring the Finnish inborn state making us feel that sort of,” and there is a hint of truth to this. the social imaginary of a utopian landscape everything is smarter, better and grander Like Land’s films, Mount Shasta plays with through directed attention to the voices that elsewhere. Life is like an endless dress conventions of text / image relations, the inhabit it. rehearsal and continuous overreaching, fallibility of narrative drive, the mismatch without a chance to show our true capacities: between the written word and its performa- why does no one see the genius in me? In the tive visualization. And, like Land’s best work, video, life is just plain miserable trudging Mount Shasta evokes a time and place -- an through gray bleakness. We wait for sum- earnest 1970s, before the social and educa- mer, for holidays, for retirement, or for that tional theories of the 60s had been rejected big breakthrough exhibition in New York, for as failures. Pastel-coloured institutional the moment when our life truly begins. There walls contain fabric-and-pipe-cleaner inven- must be a place where life is worth living, tions of a whimsy that almost seems forced, where happiness awaits us. Life is elsewhere, were it not for the total belief evinced by but where? A person moves from place to those participating in it. In the background, a place, but life is always somewhere else.” bearded man at a cheap keyboard (again, of (Emilia Ukkonen) the sort familiar from middle-school music rooms of a certain era) warbles a story-song The Fantastical World of as half-formed handkerchief puppets fly Scriptwriting - Jack Feldstein around each other on visible wires, the pup- Australia, 2007, video, 32:00 min peteers made “invisible” by their white can- An amazing, perceptive and fun neon anima- vas beekeeper suits. Husain’s story is about tion film on how to write a script by stream- a mountain trip waylaid by a fog which turns of-consciousness neon filmmaker Jack out to be the smoke from a destructive fire. In Feldstein. a sense, this could be a way of understanding Mount Shasta as a film. The elements that JLG/PG - Paolo Gregori envelop this gorgeous film in mystery (is this Croatia/Brazil, 2008, 16mm > video, 08:06 min avantgarde? a narrative short? a children’s A 20,000 km journey to meet the master film?) are also the ones that threaten to of modern cinema and how this encounter unmake it at every turn, since “the spell” is turned out to be deceitful. always already about our ability to turn away from its blatant disenchantment.” Mount Shasta - Oliver Husain (Michael Sicinski) Canada, 2008, 16mm, 08:05 min “It’s always a pleasure to get blindsided by 86 Panorama IMPAKt IMPAKt Panorama 87

Panorama 7: Sharing a Beautiful Sunset - used in the Hellenic Radio television (ERT) describing his experience of the passage of In Retrospect Jasper Elings studios for the production of news bulletins. time in prison. After his death the letter was Friday 16 October, 15:00, Film Theater The Netherlands, 2009, video, 01:12 min Finally, on a third level he elaborates on some published in the magazine, Ramparts. As I ’t Hoogt, Hall 2 Synopsis: Sharing a Beautiful Sunset, a video sequences that have been saved from the read it I was impressed both by the poetic Sunday 18 October, 17:00, Film Theater composed of shared sunset photos found rehearsals of news bulletin broadcasters of quality of the text and by its cryptic irony. I ’t Hoogt, Hall 1 with google image search the period and stages a precise appropriation read it over and over again. It seemed that with the use of actors. Such a triple structure I was trying both to capture a sense of the How much do we know of the past? And what Everyone Has to Get Over His attributes multiple meanings to the title: physical presence of the writer, and at the determines our view of past? Is there such a Biography - Yael Assaf Remake. On the one hand, it is a rethinking on same time to unlock a hidden meaning from thing as a collective memory? Do we remem- The Netherlands, 2008, video, 19:20 min the possibility of the reconstruction of reality the simple but ambiguous language. The act ber our own experiences or do we recognise A journey in which we come across people, and the fundamental role technique plays in of reading and rereading finally led me to the the visual tradition? This selection of films stories and mind states, only to lose them this process. On the other, it is a comment on idea of a musical treatment.” delves into the blind spots of our history. again. The memories and stories of the main the propaganda mechanisms of the regime Both politically and personally. Cultural icons characters are sometimes really theirs, but and the reversed, from the supposedly Capital - Aleksander Komarov are extras in a fairy tale. A prison break is could sometimes also be everybody else’s. existing, association between reality and its The Netherlands, 2009, video, 20:00 min turned into an opera. Put together by using different techniques documentation in the news. What is more, “The past and the present meet in my new and styles, including documentary and Su- the title Remake highlights the deep roots of film work ‘Capital’ in an unpredictable way. per8 home movie material, and stop-motion contemporary political, television discourse The interrelation between Rotterdam’s de- and collage animation. Graduation film in the typology, clichés and ideologies of the struction during WWII, its current renovation Rietveld Academie 2008. dictatorship era. and a blind person is not visible directly, but emerges only when certain imagery and con- After the Empire - Elodie Pong Attica - Manon de Boer tents are linked to each other in one timeline. Switzerland, 2008, video, 13:50 min Belgium, 2008, 16 mm > video, 09:55 min I am interested in how the city’s “capital” is Zurich-based video artist Elodie Pong is In this work music again plays an important expanded on our physical condition and im- known for her subtle, analytic works focusing role. The work is based on the composition agination. This is the material I will work with on how human relationships and cultural of the same title by the American Frederic in this new body of film, choosing Rotterdam conventions impact contemporary society. Rzewski which was written in 1971. The film itself as its protagonist. The eyes of the blind In After The Empire, Pong orchestrates tries to give a visual and auditive echo to the is a metaphor for the inability to see what is face-to-face conversations between various political subject of Rzewski’s composition. inscribed in the ground level of Rotterdam’s late icons of popular culture and politi- On these works Rzweski wrote the following 20th century history. The image of the blind cal history, including Marilyn Monroe, Elvis text: “Coming Together” was written in No- person’s eyes is a mediator between my Presley, Batman, and Karl Marx. Surrounded vember and December of 1971 in response to imagination of facts and the real condition of by a post-apocalyptic set, the actors embody a historical event. In September of that year the person that is filmed. The film takes a lit- their character’s individual and symbolic inmates of the state prison at Attica, New eral challenge with the Russian avantgarde, extremes, longings, and ideals in simultane- York revolted and took control of a part of the which back then proclaimed that reality is a ously humorous and elegiac ways. institution. Foremost among their demands mechanical process and can be corrected, was the recognition of their right “to be rebuilt, destroyed.” Untitled (Remake) - treated as human beings.” After several days (Aleksander Komarov, February 2009) Stefans Tsivopoulos of fruitless negotiations, Governor Nelson Greece, 2007, video, 14:08 min Rockefeller ordered state police to retake the In Untitled (The Remake), 2007, Tsivopoulos prison by force on the grounds that the lives turns to archive material from the years of of the guards whom the prisoners had taken the 1967 dictatorship and the early years hostage were in danger. In the ensuing vio- of Greek State Television. He organises the lence forty-three persons, including several artwork on three levels: on the first level, he of the hostages, were killed and many more employs material from the official celebra- wounded. One of the dead was Sam Melville, tions of the Colonels and festivities in the a prisoner who had played a significant role Athens Marble Stadium. On a second level, in organizing the rebellion. In the spring of he shoots the technical equipment then 1971, Melville had written a letter to a friend 88 Panorama IMPAKt IMPAKt Panorama 89

Panorama 8: visual narrative tells about a journey within world.” With minimalist staging devices, the stimuli under the influence of hypnosis. I was On The Shoulders of Giants the existing mental framework, namely a trip artist opens a discourse on the forms of interested to see how an audience would Friday 16 October, 17:00, Film Theater through outdated visions of the moon and aphasia between the sexes, between body respond to one of my video narratives after ’t Hoogt, Hall 2 Mars, an imaginary planet, a savage, empty and intellect, between the emotional and their conscious state had been altered. I Saturday 17 October, 21:00, Film Theater Earth, and finally an observatory, the point the rational, between nature and culture, filmed a group of 12 people, all of whom had ’t Hoogt, Hall 2 of departure for the unknown. between one world and another. been hypnotized by a professional stage hypnotist, as they watched a new video work Scientists tend to complicate their ideas. Sand Saga - Shana Moulton Boy / Analysis: An Abridgement of I made using a range of subliminal images Fortunately, artists can explain us how the USA, 2008, video, 10:32 min Melanie Klein’s “Narrative of a Child and other kinds of prompts. Each member world works. A rocket can also be launched In Sand Saga, Moulton’s alter ego Cynthia Analysis” - Steve Reinke of the audience was given specific sugges- with a scrap car, laboratories need not be again gains access to a parallel universe USA, 2008, video, 05:26 min tions while under trance, instructing them averse of eroticism and the big questions of via the transformative powers of New Age Disrupted identities and unconscious dy- to behave in certain ways at different visual life can easily be answered in three minutes. body treatments and domestic objects. namics are ever-recurring motives in Steve and aural cues. They were then woken, and After applying a facial beauty mask, she Reinke’s work. With great rhetorical sup- filmed as they viewed the video. The results Vostok ’1 – Jan Andersen moves through an environment energized pleness he ties together observations and were remarkable, and there are some very France, 2008, 35mm > video, 02:45 min with South-western motifs and rituals, from speculations on ego, sexuality, nostalgia and unusual moments where people responded “Vostok’” takes a humorous look at the sculpted heads and Georgia O’Keefe-like artistic practice. The content of the rogue without any self-consciousness whatsoever. USSR’s Vostok program, which was designed forms to sand painting and hot stone mas- computer animation ‘Boy / Analysis’ is per- Their reactions raise a broad range of ques- to put the first human in space. Andersen sage. Ultimately Cynthia is transported to a fectly illustrated by the integral title, namely, tions about manipulation and behavioural recreates the launches with a dilapidated fantastical world and emerges transformed. a drastic abbreviation of Melanie Klein’s 1961 conditioning, and the relativity of perception station wagon. He conveys a sense of the key study on child psychology. The initial 93 from one individual to the next. How natural ramshackle nature of each launch with Vostok ’2 - Jan Andersen sessions the psychoanalyst booked with a are our responses to our environment, and his makeshift launch pads, sparklers and France, 2008, 35mm > video, 02:36 min ten-year-old boy, are reduced down to 16 by how accurate are our perceptions?” wooden beams propping up the station Reinke, and thoroughly illuminated. (Doug Fishbone) wagon. The astronaut’s spacesuit looks like Le Grand Content - someone had taken a winter coat, insulated Clemens Kögler & Karo Szmit Vostok ’3 - Jan Andersen Vostok ’4 - Jan Andersen pants and a biker’s helmet, and wrapped it Austria, 2007, video, 03:57 min France, 2008, 35mm > video, 02:21 min France, 2008, 35mm > video, 03:51 min all in aluminium foil. Actually, it looks a little The wild chains of associations set in motion better than the suit Yuri Gagarin wore. by Le Grand Content are insidiously trans- Secret Machine - Reynold Reynolds Please Note: Vostok part ’5, ’6 and ’7 are lated into the language of contemporary Germany, 2009, video, 14:00 min screened as part of ‘Panorama 9: Nation PowerPoint presentations: pie charts, graphs In Secret Machine, a protagonist encounters Analysis’ and tables. Le Grand Content is a subversive an antagonist that is studying her, measuring undertaking: It demonstrates how systemati- her body and comparing her to units of space Manifest Destiny - cally disorientation can take place, how logi- and time. Clocks rush and her movements Persijn Broersen & Margit Lukacs cal nonsense can seem. (Stefan Grissemann) are calculated on a grid: the eye is observed The Netherlands, 2009, video, 17:30 min augmented through lenses; under water her In Manifest Destiny, Persijn Broersen & About a World - Corinna Schnitt breath is submitted to a resistance rate; Margit Lukacs explore the boundaries of Germany 2007, video, 09:00 min needles are use to quantify her reactions and what we can perceive in time and space, In “Von einer Welt” [“About a World”], the pain: and storing machines capture voice fictionalizing this with a voice over that is world is an idyllic Alpine landscape of forests and motion. For the scientist measurement based on real stories from scientists. The and meadows. A man is striding through it, is understanding. While human nature ap- video reveals the limitations of our tinted im- alone, to stand in the next scene on a mead- pears confined in the framework and efforts agination, while also showing how we desire ow with a dozen nude women lying in high of rationality, the aspiration of trapping the to look beyond these boundaries and conquer grass; each is draped. The man approaches soul conduce the antagonist to imagine the new territories (our Manifest Destiny). For each woman individually at times tenderly, improvable. years the fictional scientist in the voice-over at others more overtly. His attempts at mak- - based on interviews with real scientists - ing contact remain futile, as they produce Hypno Project - Doug Fishbone has been doing research on alien planets no reaction at all. The women seem to have United Kingdom, 2009, video, 12:55 min where there may be life. In contrast, the become part of nature, as if “from another “This work examines how people react to 90 Panorama IMPAKt IMPAKt Panorama 91

Panorama 9: Vostok ’5 - Jan Andersen consumption, patriotism and the possibil- Y’a plus d’os - Jean-Charles Hue Nation Analysis France, 2008, 35mm > video, 03:40 min ity of personal transcendence. Of particular France, 2008, video, 05:00 min Friday 16 October, 19:00, Film Theater “Vostok’” takes a humorous look at the interest are the ways Americans have come The spiral of violence in this baroque sketch ’t Hoogt, Hall 1 USSR’s Vostok program, which was designed to understand freedom and the increasingly from the gypsy milieu inevitably leads to the Saturday 17 October, 23:00, Film Theater to put the first human in space. Andersen technological reiterations of manifest des- most confrontational final shot of this festi- ’t Hoogt, Hall 1 recreates the launches with a dilapidated tiny. The piece is simultaneously a critique of val. Jean-Charles Hue has gypsy blood and in station wagon. He conveys a sense of the violence, a rumination upon our national psy- his often hard and violent videos he sketches Prosperity and happiness have a price tag. ramshackle nature of each launch with che, and a ritualized celebration of colossal stories and situations from his own environ- Moral and physical boundaries are stretched his makeshift launch pads, sparklers and forces beyond our control. It is interrupted ment as seen from the inside. He stays close in order to achieve these ideals and keep wooden beams propping up the station by the story of Col. William Rankin who in to the protagonists, closer than you would re- them, and to exclude others. This programme wagon. The astronaut’s spacesuit looks like 1959, was forced to eject from his F8U fighter ally want as a viewer. This rawness inevitably shows the national pursuit of happiness. Not someone had taken a winter coat, insulated jet at 48,000 feet without a pressure suit, leads in the case of There Ain’t No Bones to a as a critical pamphlet, but rather as a thrill- pants and a biker’s helmet, and wrapped it only to get trapped for 45 minutes in the up confrontational finale. ing page from a boys’ book. all in aluminum foil. Actually, it looks a little and down drafts of a massive thunderstorm. better than the suit Yuri Gagarin wore. Remarkably, he survived. Rankin’s story rep- Andersen uses visual repetition to great ef- resents a non-material, metaphysical kind of fect. With just a few elements and a simple freedom. He was vomited up by his own jet, visual gag — the wagon catches fire and that American icon of progress and strength, falls down during launch — it creates an but violent purging does not necessarily lead expectation where the “punch line” of to reassessment or redirection. Over the Vostok 7’ is surprisingly rewarding. Land is concerned with the sudden, simple, Please Note: Vostok part ’1, ’2, ’3 and ’4 are thorough ways that events can separate us screened as part of ‘Panorama 8: On The from the system of things, and place us in a Shoulders of Giants’ kind of limbo. Like when we fall. Or cross a border. Or get shot. Or saved. The film forces Farewell East Germany - 22 Years together culturally acceptable icons of heroic Later - Elisabeth Smolarz national tradition with the suggestion of un- USA, 2007, video, 05:15 min acceptable historical consequences, so that At the age of 19 Peter S. became a soldier in seemingly benign locations become zones of the National People’s Army of East Germany. moral angst. One of the most important skills which a soldier would learn during the basic training Silverleaf - Adam Leech was to disassemble and to reassemble an Belgium, 2007, video, 06:00 min AK47 in absolute darkness. This elementary “Adam Leech produces videos with a narra- skill assured the functionality of the weapon tive touch. The protagonists of these stories and therefore the completion of the mission. are usually archetypical inhabitants of ‘the 22 years later Peter S. was asked again to American suburbia’ we are familiar with from disassemble and to reassemble an AK47 in countless television series. Their preferred absolute darkness. pastimes are shopping, parties and interior design - in short, everything that has to do Vostok ’6 - Jan Andersen with the aestheticization of the everyday. France, 2008, 35mm > video, 03:00 min Leech does not subject these characters to critical analysis or a moral judgment from a Over the Land - Deborah Stratman detached point of view, but simply presents USA, 2008, 16mm > video, 51:40 min their world from inside…” (Frank Maes and With the excuse of freedom, we lose so Beatrijs Eemans) many things. Silvio Barile. A meditation on the milieu of elevated threat addressing Vostok ’7 - Jan Andersen national identity, gun culture, wilderness, France, 2008, 35mm > video, 02:00 min 92 Panorama IMPAKt IMPAKt Panorama 93

Panorama 10: 1859 - Fred Worden written in 1906 by the Danish writer Karl tell about things which are normally sort of a Visual Trickery USA, 2008, video, 11:12 min Gjellerup, the protagonists are reborn as two taboo in society.” (Clemens Kögler) Friday 17 October, 23:00, Film Theater “The political or cultural aspects of his- stars and take centuries to recite their sto- ’t Hoogt, Hall 1 tory are the mere surface of history; that in ries to each other, until they no longer exist. Vantaa - Erkka Nissinen Sunday 17 October, 17:00, Film Theater preference to, and deeper than these, the Morakot is a derelict and defunct hotel in the The Netherlands, 2008, video, 11:30 min ’t Hoogt, Hall 1 reality of history lies in biological power, heart of Bangkok that opened its doors in the In the spirit of Wittgenstein, the form of in pure vitality, in what is in man of cosmic 1980’s: a time when Thailand shifted gears to language, sound and repetition expand War is hidden behind paradisiacal images energy, not identical with, but related to, the accelerated economic industrialization and the limits of logic to create a structure of and children’s television is the best means of energy which agitates the sea, fecundates a time when Cambodians poured into Thai absurdity. In Vantaa, spelling lessons set to revealing the hard lessons from the evil adult the beast, causes the tree to flower and the refugee camps after the invasion of Vietnam- synthesized melodies punctuate a search world. Images happily lead us astray. “What star to shine.” ese forces. It was a hostile time. Later, when for the protagonist’s missing yogurt. The you see is not what you get.” This can be an- (Ortega y Gasset, The Revolt of the Masses, the East Asian financial crisis struck in 1997, singing of animated flowers and neat rows of noying, but delusion can be fun too. This pro- 1930 ) these reveries collapsed. Like Kamanita, the Crayola-coloured houses recalls the set of an gramme explores the natural high of images, Composed from a 30-frame clip of a lens unchanged Morakot is a star burdened with educational program for children, although breaks the cinematic spell and subjects the flare. LSD is illegal, 1859 is not. (or fuelled by) memories. Apichatpong Weera- instants of obscenity bring it closer to Paul viewer to dark visual experiments. sethakul collaborated with his three regular McCarthy meets the Teletubbies. Nissinen Black Hole - Johanna Reich actors, who recounted their dreams, home- cleverly implicates composers Schoenberg Germany, 2009, video, 06:00 min town life, bad moments, and love poems, to and Stockhausen in Vantaa, creating a cul- A person dressed in black clothing digs a re-supply the hotel with new memories. tural context while drawing inspiration from hole into snow until the black of the clothes the radical originality of both figures. and the black of the ground fuse. The person 15 Experiments on Peripheral Vision - disappears in front of the camera. The video Adele Horne and Paul VanDeCarr The Two Teams Team - Manuel Saiz ‘Black Hole’ shows a strategy to escape in USA, 2008, 16mm, 29:00 min United Kingdom, 2008, video, 10:00 min front of a camera, to escape from the cin- Surrounded as we are by the proliferation of A short film about the differences and simi- ema’s audience into another space. photographic images, we sometimes confuse larities in video-art and cinema. Two actors these images with the actual, embodied are chatting in a film set, on a break, in the Painting Paradise - Barbara Hlali experience of seeing. In reality, only a small middle of props and cables. The conversa- Germany, 2008, video, 05:30 min central portion of human vision is sharp like tion is about film sets in film and video-art Media reports show how the wall, which a photograph. Peripheral vision is blurry and projects, they are pointing out the differ- surrounds the Shiite quarter in Bagdad, is indistinct, the realm of intuition. In a series of ences of both ways of filming. They talk about painted with beautiful landscapes. Aesthetic short, playful experiments, this film explores budget, emotions and about the different creation is used to cover military measures what can be seen from the corner of the eye, approaches to fiction and reality that cinema and war effects. In my film I proceed in a perversely pushing at the central rectangle of and video-art have. Along the conversation similar way: pictures from crisis zones are the film frame to see how far it can stretch to the camera is getting closer and the quality changed, darned and covered with colours. suggest what lies beyond it. of the image becomes more cinematographic. A deceitful idyll develops, which can not be What at the beginning was a casual video in kept up in view of the real (war-) situation. CUTECUTECUTE - Clemens Kögler a break of a shooting is now a proper film of The film points to actual beauty in an area, Austria, 2008, video, 01:50 min two characters talking. The reality becomes in which the mythological paradise is to be “The concept was to take the ‘well-known seamlessly fiction until the microphone ir- located and which wakes (European) dreams genre’ of instructional videos for kids, usually rupts on the frame and someone shouts: cut! of the Orient, yet which is now a scene of war teaching the various sounds of animals or and terror. It also questions whether military how to count to 10 and changing the subjects interference can be the suitable means to to more grown-up themes like abortion, child achieve this goal. abuse etc. Content and graphics are inspired by the Japanese ‘kawaii’ phenomena, where Morakot (Emerald) - cute little mascots and characters cheer- Apichatpong Weerasethakul fully guide citizens through all sorts of daily Thailand, 2007, video, 11:50 min activities and situations. In CUTECUTECUTE In The Pilgrim Kamanita, a Buddhist novel these cute little critters go a step further and 94 tag IMPAKt IMPAKt Panorama 95

Chen Chieh-Jen Empire’s Border 1 (p.82)

Adele Horne and Paul VanDeCarr 15 Experiments on Peripheral Vision (p.93) 96 Panorama IMPAKt IMPAKt Panorama 97

Yuri A “S” (p.79)

Manon de Boer Attica (p.87)

Steve Reinke Marianne Theunissen Everybody (p.79) Yellow Fever (p.82)

Fred Worden Beatrice Gibson John Butler 1859 (p.92) A Necessary Music (p.85) Sub-Optimal (p.83) 98 Panorama IMPAKt IMPAKt Panorama 99

Mounira Al Solh Oliver Husain The Sea is a Stereo (p.82) Mount Shasta (p.84)

Vincent Meessen Dear Advisor (p.80)

Adam Leech Erik Bünger Speech Bubble (p.81) A Lecture on Schizophonia (p.75)

Persijn Broersen & Margit Lukacs Johanna Reich Jan Andersen Manifest Destiny (p.88) Kassandra (p.78) Vostok (p.88) 100 Panorama IMPAKt IMPAKt Panorama 101

Cecilia Lundqvist We Could Have Helped (p.83)

Adele Horne 15 Experiments on Peripheral Vision, 2008 (p.1)

Adele Horne 15 Experiments on Perip- Clorinde Durand heral Vision, 2008 (p.1) Naufrage (p.78)

Jeroen Kooijmans On the Lake (p.74) 102 Panorama IMPAKt IMPAKt Mediatheque & Info 103 mEdiathequE &

Deborah Stratman Over the Land (p.90) INfo

Mediatheque FESTIVAL RESTAURANT / LUNCH & DINNER The major part of films and videos from the festival can also be viewed individually at From Thursday 15 to Sunday 18 October the TV sets in the Mediatheque, which for this Festival Restaurant is opened in the small edition of the festival is housed in the new hall of Kikker. Daily, visitors can have lunch in Impakt office at the Lauwerecht 10. The from 11:00 to 13:00 hours, at a price of 5 euro. Mediatheque does not only comprise films In the evening, dinner will be served from and videos from the Impakt Festival 2009, 17:30 to 20:30 hours, at a price of 10 euro. but also holds the Impakt archives of the last The menu changes daily and there are always twenty years allowing visitors to delve into vegetarian options. the rich Impakt history. Please note, videos can only be viewed on Manuel Saiz presentation of a valid ID, so be sure to take The Two Teams Team (p.93) this with you. 104 General Info IMPAKt IMPAKt Map of Utrecht 105 GEneRAL INfo 8 7 FESTIVAL CENTRE AND Complete programme INFORMATION COUNTER Check our website for the latest news and The heart of the Impakt festival is located at most recent information: www.impakt.nl Theater Kikker. The theatre bar on the first In the weeks preceding the festival, this site floor lodges the Impakt Festival Counter will be updated regularly. where visitors can obtain information. The Impakt music programmes are also Tickets held at Theater Kikker. Ticket prices are listed below (between 2 5 Filmtheater ’t Hoogt and Moira host the brackets the CJP and U-pas reduced prices): 1 festival film and video programmes and the Conference, Workshop, 9 Beet Stretch, exhibition is on show at the Aboriginal Art Impakt Online: Free Museum Utrecht (AAMU), the Flatland Gallery Film programmes, Impakt Invites and and the Academiegalerie. Things to Come: € 7,- (€ 6,-) On the façade of Kikker and in the annex of Concerts by Köner and Radigue: € 7,- (€ 6,-) the City Hall opposite of Kikker you can see Concerts on Thursday and Saturday in 3 the Urban Screens projects Theater Kikker: € 10,- (€ 9,-) Speed Tribes on Friday in Tivoli: € 15,- (€ 12,-) Locations 9 4 Theater Kikker exhibition Ganzenmarkt 14 The exhibition is free of charge upon Filmtheater ’t Hoogt presentation of an exhibition pass. This pass Hoogt 4 is available at the festival counter and the AAMU, Museum of contemporary exhibition locations. Aboriginal Art 6 Oudegracht 176 Presale Flatland Gallery Online presale is possible till one hour Lange Nieuwstraat 7 before a show on http://utrechtsuitburo. Abraham Dolehof activetickets.com/impakt. Academiegalerie Payments can be made using iDeal and 1 theater Kikker 5 academiegalerie 9 Wharf Cellar Minrebroederstraat 16 Credit Card. Ganzenmarkt 14 Minrebroederstraat 16 Oudegracht aan Tivoli De Helling 2 Film Theater ’t Hoogt 6 tivoli De Helling de Werf 222 / Helling 7 Ticket sales Hoogt 4 Helling 7 Go to Oudegracht 222, Moira During the festival it is also possible to buy 3 aaMU, Museum 7 Moira take the stairs down to Wolvenstraat 10 tickets for shows at the festival counter in of contemporary Wolvenstraat 10 canal level, enter the Impakt Office Theater Kikker. aboriginal Art 8 impakt Office cellar under the street. Lauwerecht 10 Note: Ticket sales for Moira will stop at the Oudegracht 176 Lauwerecht 10 Wharf Cellar festival counter one hour before each show. 4 Flatland Gallery Oudegracht aan de Werf 222 Ticket sales will continue at Moira (cash Lange Nieuwstraat 7 only). Abraham Dolehof 106 Schedule IMPAKt IMPAKt Schedule 107

impakt theater Kikker theater Kikker ’t hoogt ’t hoogt moira wharf AAMU / office Main Hall small Hall Hall 1 Hall 2 Screenings / Performance cellar ACADEMIEGalerie / Media- Music / Event Nights / Brunch & Dinner Screenings / Conference / Artists Talks Screenings / Presentations FLATLAND GallerY starting times: theque Panel / Opening 17:00 Opening exhibition 17:00 from 17:00 till 19:00 wed 18:00 (p22-29) 18:00 14 OCT 19:00 Festival Opening (p5) 19:00 21:00 The Futurist Manifest (p9) 21:00

10:00 10:00

11:00 lunch from 11:00 till 13:00 11:00 Conference 13:00 Exhibition open 13:00 from 10.00 till 18.30 (p32-35) THU P1: I Thought I was from 10:00 till 21:00 15:00 15:00 15 OCT Hallucinating (p74-75) 17:00 dinner from 17:30 till 20:30 P2: Domestic Heights (p76-77) 17:00 19:00 Impakt Invites: LOOP Barcelona (p62-63) P3: My Body, a Maze (p78-79) 19:00 21:00 P4: New Horizons (p80-81) P5: Pulling the Strings (p82-83) 21:00 Dopes to Infinity(p10) 23:00 P6: Dissecting Mimesis (p84-85) 23:00

10:00 10:00 11:00 lunch from 11:00 till 13:00 11:00 13:00 As Time Goes By (p40-41) 13:00 Exhibition open 15:00 Chronoschisms (p43-45) P7: In Retrospect (p86-87) from 10:00 till 21:00 15:00 17:00 dinner from 17:30 till 20:30 Place over Time (p46) P8: On the Shoulders (p88-89) 17:00 FRI P1: I Thought I was 19:00 Impakt Online (p36) P9: Nation Analysis (p90-91) 19:00 16 OCT Hallucinating (p74-75) Impakt Invites: Cartune Xprez + 21:00 Terminal Velocity (p48) 21:00 performance Hooliganship (p64-65) 23:00 P10: Visual Trickery (p92-93) 23:00 Speed Tribes in Tivoli 23:00 23:30 De Helling till 5:00 (p12) 5:00 5:00 Leif Inge - 9 Beet 10:00 Stretch 10:00 11:00 lunch from 11:00 till 13:00 (p15) Exhibition open 11:00 13:00 Rush Hour (p50-51) from 10:00 till 21:00. 13:00 But on Saturday 17 Impakt Invites: 15:00 Fast Lane (p52) October the AAMU will 15:00 SAT OK. Video Festival Jakarta (p66) 17 OCT be closed from 17:00 17:00 dinner from 17:30 till 20:30 Chaosmosis (p54-55) P4: New Horizons (p80-81) till 19:00 17:00 19:00 Impakt Invites: Annika Larsson (p68) P3: My Body, a Maze (p78-79) 19:00 21:00 P8: On the Shoulders (p88-89) P5: Pulling the Strings (p82-83) 21:00 Ecstatic mutations (p13) 23:00 P9: Nation Analysis (p90-91) 23:00

10:00 10:00 11:00 lunch from 11.00 till 13.00 11:00 13:00 Out of the Present (p55) 13:00 Exhibition open Impakt Invites: Jonas Staal SUN 15:00 from 10:00 till 21:00 15:00 Concert : & Vincent van Gerven Oei (p68) 18 OCT Naldjorlak I, II, III (p15) 17:00 dinner from 17:30 till 20:30 P10: Visual Trickery (p92-93) P7: In Retrospect (p86-87) 17:00 19:00 P6: Dissecting Mimesis (p84-85) Things to Come; 19:00 21:00 P2: Domestic Heights (p76-77) The Singularity (p38) 21:00 23:00 Closing Night 23:00 cbku weer open in 2010 Kunst heeft ruimte nodig Ook fysiek

In 2010 is Utrecht een ruimte rijker Vrijwilligers gezocht met het vernieuwde CBKU op Heb jij iets met hedendaagse beel- Plompetorengracht 4. Een werk-, dende kunst en wil je een handje expositie- en ontmoetingsplek voor mee helpen? CBKU is altijd op zoek hedendaagse beeldende kunst. Met naar vrijwilligers voor de ondersteu- een grafische werkplaats die weer ning van het programma. Stuur een vanaf november 2009 in gebruik is. e-mail met een kort CV en je beschik- baarheid naar [email protected] Nieuwsgierig? o.v.v. ‘vrijwilliger’. Hou de website www.cbk-utrecht.nl in de gaten

Plompetorengracht 4 3512 CC Utrecht www.cbk-utrecht.nl 110 INDEX IMPAKt IMPAKt INDEX 111

Index Works City Slivers, 50 G M Perfect Day About A Sky Light, 46 Y Ciocci, Jacob, 64 Civilization Gemah Sampha: Lho Maïder Fortuné, 63 World, A, 77 Sleeping Matter, 66 Y’a Plus D’os, 91 Colburn, Martha, 64 #3, 41 (Megaplex), 81 Kok Malah Numpuk?, Manifest Destiny, 88 Place Over Time, 46 Speedy Day, A, 24 Year Along The Conner, Bruce, 44, 48 3l33t, 66 Cleopatra’s Teeth, 76 66 Marilyn Times Five, 44 Please Say Sssshh.., 66 Abandoned Road, Cooly G, 12 “S”, 79 Clock Screen, 25 Grand Content, Le, 88 Meet Me in Wichita, 64 Something, 83 Standard Time, 26 A, 40 Core of the 5 Days In 50 Close Encounter, 77 Go! Go! Go!, 50 Men Seeking Women, Plus Travailler, 79 Still In Cosmos, 54 Yellow Fever, 82 Coalman, 10 Minutes, 5 Cobra Mist, 46 76 Psychedelic Death Speech Bubble, 81 You Had No Ninth Of Crang, Mike, 32 9 Beet Stretch, 15 Comic that Frenches H Mer Dare / Our Vomit, 65 Speed Tribes, 12 May!, 22 Craighead, Alison, 15 Experiments On your Mind, The, 64 Halte vs Stampbox, 66 Century, 52 Public Domain, 51 Sub-Optimal, 83 You’ll Never Walk 25, 34 Peripheral Vision, 93 Crossroads, 48 Handtinting, 43 Metamorphosis, 74 Pulling The Strings, Sync Up Element, 55 Alone, 80 Curtis, Charles, 15 31/75 Asyl, 40 Crystal Gaze, 77 Hold, 51 Morakot, 92 82, 83 1859, 92 CUTECUTECUTE, 93 Hong Kong (HKG), 52 Mosaik Mécanique, 45 T D Horizon, 25 Mount Shasta, 84 Q Terminal Velocity, 48 Index Artists Dahlberg, Jonas, 24 A D Hose Heads Get Mountain Where Quarter Mile, 24 Terminus For You, 51 Darma, Satria Ari, 66 About a World, 88 Dance Number 22, 44 Unhosed (Gray Everything is Upside They Shine, 80 A Datenstrudel, 26 Acceleration, 54 Daybreak Express, 50 Poodle), The, 76 Down, The, 65 R Thing Pit, 64 A, Yuri, 79 Deutinger, Theo, 36 Adressen Dear Advisor, 80 Hose Heads Get Murphy, 75 Rallentando, 52 Things To Come: Abeng, Teddy, 66 Doupe, Barry, 65 Unmöglicher Orte, 79 Delay Glass, 63 Unhosed (Shit Heads My Body, A Maze, Re:akt!, 81 The Singularity, 38 Al Solh, Mounira, 82 Dreyblatt, Arnold, 13 After The Empire, 86 Discipline Aid Attempt Getting Shit Faced), 78, 79 Return Of The Black Three Rooms, 24 Ambarchi, Oren, 13 Dullaart, Constant, 36 Area Of Use, 77 #1, 83 The, 76 Tower, 77 Throbs, 43 Andersen, Jan, 88, 89, Durand, Clorinde, 78 As Time Goes By, Dissecting Mimesis, Hotshot, 76 N Routemaster: Theatre Time And Tide, 46 90, 91 40, 41 84, 85 Hypno Project, 89 Naldjorak I, II, III, 15 of the Motor, 52 TRASH, 65 Aranda, Julieta, 22 E At the Heart of the Dolls, 67 Nation Analysis, 90, 91 Rush Hour, 50, 51 Tramage, 54 Assaf, Yael, 86 Elings, Jasper, 86 Sparrow, 65 Domestic Heights, I Naufrage, 78 Rush Hour, Morning Two Teams Team, Avenaim, Robbie, 13 Atomic Park, 48 76, 77 I Thought I Was Necessary Music, and Evening, The, 93 F Attica, 87 Dopes To Infinity, 10 Hallucinating, 74, 75 A, 85 Cheapside, 51 B Feldstein, Jack, 84 Dromosphere, 26 In Retrospect, 86, 87 New China, The, 81 U Bambozzi, Lucas, 81 Fishbone, Doug, 89 B Incorrect New High, The, 76 S Untitled (Pink Dot), 64 Barba, Rosa, 80 Fishkin, Vadim, 24 Bade Area, 63 E Intermittence, 50 New Horizons, 80, 81 Sand Saga, 88 Untitled (Remake), 86 Beydler, Gary, 40 Fleisch, Thorsten, 26 Beautiful, 78 Ecstatic Mutations, 13 Interstices, 51 Night School, 83 Scary Maze, 75 Bickford, Bruce, 64 Flowdan, 12 Bercerobong, 66 Empire’s Border 1, 82 Nummer Negen. The Sea Is A Stereo, The, V Blake, James, 12 Formanek, Mark, 26 Berlin Horse (single Everybody, 79 J Day I Didn’t Turn With 82 Van Gogh’s the Midday Boehringer, Jorge, 10 projection), 43 Everyone Has To Get JLG/PG, 84 The World, 22 Secret Machine, 89 Sleep and the Thai Boer de, Manon, 87 G Besenbahn, 54 Over His Biography, 86 Junk Spirals, 64 See You Later/ Villagers, 63 Borg, Maja, 81 G, Cooly, 12 Black Hole, 92 Just Do It, 66 O Au revoir, 41 Vantaa, 93 Brambilla, Marco, 81 Gambira, Dita, 66 Blind (work in F Observando el Cielo, Segara Setu Patok, 66 Venice Pier, 40 Breure, Sander, 80 Garrat, Chris, 43 progress), 67 Fantastical World Of K 46 Self Portrait, 84 Versailles, 43 Brinkmann, Thomas, Gere, Charlie 34 Booty Melt, 64 Scriptwriting, The, 84 Kassandra, 78 Oh, I’m So Happy, 77 Shape Of Things, Visual Trickery, 92, 93 13 Gerven van Oei, Bouquets 1-10, 41 Farewell East On The Lake, 74 The, 75 Vostok, 88, 89, 90, 91 Broersen, Persijn, 88 Vincent, 68 Boy / Analysis, 89 Germany - 22 Years L On The Shoulders of Sharing A Beautiful Bruyn, de Dirk, 10, 34 Gibson, Beatrice, 85 Broadwalk, 41 Later, 90 Le Grand Content Giants, 88, 89 Sunset, 86 W Bug, The, 12 Gonzalez-Foerster, Fast Lane, 52 Lecture On On The Third Planet Short Films: Barn Water Pulu 1869 1896, Bünger, Erik, 75 Dominique, 48 C Frank Stein, 43 Schizophonia, A, 75 From The Sun, 48 Door, 41 44 Burr, Peter, 64 Goodman, Steve, 33 Capital, 87 Futurist Manifest, Let Me Count The Ottica Zero, 81 Short Films: Clock We Are Time, 22 Butler, John, 83 Goodwin, Dryden, 51 Chaosmosis, 54, 55 The, 9 Ways: Minus 10, 9, Out Of The Present, 55 & Candle, 41 We Could Have Goras, John, 79 Chimera, 54 8, 7, pag 48 Ove the Land, 90 Short Films: Helped, 83 C Gregori, Paolo, 84 Chirpy Returns, 79 Line, 79 Metronome, 41 West Project, 79 Cartune Xprez, 64, 65 Guiton, Jean-François, Chronoschisms, Long Gone Republic, P Silverleaf, 91 What Happened On Chieh-Jen, Chen, 54 43, 44, 45 66 Painting Paradise, 92 Singularity, The, 38 23rd Street In 1901, 44 63, 82 112 INDEX IMPAKt IMPAKt COLOPHON 113

H Sophie, 32 P Szmit, Karo, 88 IMPAKT Michael van Rosmalen Panorama Selection Mike Sperlinger & Hayward, Robin, 13 Lewis, Mark, 51 Pavlou, Michel, 51 Sukarya, Y, 66 ORGANISATION Sander Pahlplatz Panel: Core Members Adam Jones (LUX) Hiller, Jörg, 13 Licorne, La, 63 Pelechian, Artavazd, Nicky Assmann Christophe Bichon Hlali, Barbara, 92 Liotta, Jeanne, 46 52 T Board Video Editing Peter van Dijk (Lightcone) Hoffman, Philip, 54 Lowder, Rose, 41 Pennebaker, D.A., 50 Takashi, Makino, 54 Hugo Bongers Claas Hille Arjon Dunnewind Toril Simonsen Holthuis, Gerard, 52 Lukacs, Margit, 88 Pfaffenbichler, Tatham, Zak, 77 Benno van Marum Pim Verlaek ­(Norwegian Film Hooliganship, 64, 65 Lundqvist, Cecilia, Norbert, 45 The Bug, 12 Thomas Peutz Festival Institute) Horne, Adele, 93 77, 83 Pietsch, Oliver, 75 Theunissen, Adi Martis Photographer Guest Viewers Michelle Silva (Conner Hrabowsky, Taras, 64 Pohjola, Ilppo, 52 Marianne, 82 Arno van Roosmalen Pieter Kers Roos Beute Foundation) Hue, Jean-Charles, 91 M Pong, Elodie, 86 Thomas, Jennet, 77 Anne Nigten Manon Bovenkerk Anika Tannert (imai) Hulzen van, Witte, 80 Mahé, Yves-Marie, 79 Portanova, Stamatia, Thomson, Jon, 25, 34 Festival News Hilde de Bruijn Kati Nuora Husain, Oliver, 84 Maimon, Dafna, 83 33 Thornton, Leslie, 48 Festival Director Margarita Kouvatsou Remco van Esch (Crystal Eye) Hutton, Peter, 46 Martin, Kevin, 12 Poyo, Txuspo, 63 Tomlinson, John, 32 Arjon Dunnewind Irene Ford Otto Suuronen Martinez, Bruno, 15 Tsivopoulos, Stefanos, Festival Décor Maaike Gouwenberg ­(Finnish Film I Matta-Clark, Gordon, R 86 Managing Director Suzan Jorritsma Lene ter Haar ­Foundation) Inge, Leif, 15 50 Raban, William, 41 Marc Boonstra Petra Heck Hanna Maria Anttila Mayer, Ursula, 77 Radique, Eliane, 15 U Design Harmke Heezen (av-arkki) J McClure, Bruce, 10 Rasdjarmrearnsook, Ujica, Andrei, 55 Production lava.nl (Man Kit Lam, Gé Huismans Christophe Calmels Jacobs, Ken, 44 Medvedev, Pavel, 48 Araya, 63 Ukkonen, Emilia, 84 Coordinators Daan Hornstra, Uxue Joris Lindhout (Films Sans Jennings, Jim, 51 Meessen, Vincent, 80 Reich, Johanna, 78, Chantal Ehrhardt Arbelbide) Magali Meijers ­Frontières) Jompet, 66 Melhus, Bjørn, 75 79, 92 V Simon Halsberghe Shirley Niemans Claartje Opdam Menken, Marie, 50 Reinke, Steve, 79, 89 VanDeCarr, Paul, 93 Elizabet van der Kooij Website Roland Sohier ­(Filmbank) K Meyer, John-Jules, 36 Rekveld, Joost, 41 Verbunt, Camille, 75, Pim Verlaek workandplay, Utrecht Ruth Timmermans Jane Balfour Kamphuis, Arjen, 38 Mohamed, Andry, 66 Rey, Nicolas, 51 76, 78 Ranti Tjan Mark Lewis Studio Kaino, Glenn, 24 Montañez Ortiz, Reynolds, Reynold, 89 Production Catering Heure Exquise Kiburz, Mike, 76 Rafael, 44 Richardson, Emily, 46 W Mélanie Gravelat De Blauwe Kameel Curators Impakt Julia Sosnovskaya Kode9, 12 Moulton, Shana, Robinson, Carole, 15 Weerasethakul, Maarten Kat PuntKookt Invites Jan Mot and Heidi ­ Kögler, Clemens, 65, 88 Rogers, Richard, 36 Apichatpong, 92 Linda Koncz Pim Verlaek Ballet (Jan Mot 88, 93 Mount Kimbie, 12 Welsby, Chris, 46 Tess van Westen Programming Arjon Dunnewind Galerie) Komarov, Aleksander, Murata, Takeshi, 64 S Werve van der, Guido, Loes Stoop Joke Ballintijn and 87 Saiz, Manuel, 93 22 Shannon Veltman General Programming Thanks to Theus Zwakhals Köner, Thomas, 9 N Schaefer, Mirko Wieland, Joyce, 43 Arjon Dunnewind (NIMK) Kooijmans, Jeroen, 74 Netzhammer, Yves, 79 Tobias, 35 Wong, Paul, 77 Publicity All Artists Gregor Podnar Gallery Koreman, Vincent, 12 Niederer, Sabine, 36 Schnitt, Corinna, 88 Worden, Fred, 43, 92 Marije Janssen Curators Accelerated All Volunteers ZKM Kren, Kurt, 40 Nissinen, Erkka, 79, Schutz, Joachim, 13 Loraën van de Burgt Living Maurice Spijker Kuitenbrouwer, Klaas, 83, 93 Scriver, Seth, 76 X Nikki Gijselhart Stoffel Debuysere Alex Siegers (Mojo Music) 35, 38 Noorman, Merel, 38 Sherwin, Guy, 10, 25, Xun, Sun, 81 Maria Palacios Cruz Mark Toscano & May Rebecca Prochnik Nugroho, Eko, 66 41, 52 Online Marketing & Haduong (Academy (Elastic Artists) L Nursalim, Ahmad, 66 Skallerud, Morten, 40 Y Blogging Guest Curators Film Archive) Karl Winter (Arsenal) Ladislav Galeta, Ivan, Smolarz, Elisabeth, 90 Yuri A, 79 Miguel Varela Escobar Pim Verlaek (co-cura- Michaela Grill & Anna Hesselbom 44 O Snow, Michael, 41 tor Speed Tribes) Gerald Weber (Andréhn-Schiptjenko Lammes, Sybille, 34 O’Reilly, David, 83 Sodeyoka, Yoshi, 65 Z Education Kraak (support music ­(Sixpack) Gallery) Lane, Penny, 76 Odijk, Daan, 36 Sogo, Stom, 55 Zulueta, Iván, 43 Lieke Verkooijen program) Kim Leroy Alice Correia Langan, Clare, 74 Offenhuber, Dietmar, Sonido del Principe, Marijke van Heiningen Sabine Niederer Pieter-Paul Mortier (Gimpel Fils Gallery) Larsson, Annika, 67 54 12 (Impakt Online) Marie Logie Pablo de Ocampo and Le Grice, Malcolm, 43 OK.Video - Jakarta Staal, Jonas, 68 Technical staff Zondagsschool Dirk Deblauwe Scott Miller Berry Leccardi, Carmen, 33 International Video Stark, Scott, 54 Jasper Droogers (Things to Come: (Courtisane) (The Images Festival) Leech, Adam, 81, 91 Festival, 66 Stern, Joel, 10 Bart Cuppens The Singularity) Dominic Angerame Lehmann, Ann- Ota, Yo, 50 Stratman, Deborah, 90 (Canyon) 114 COLOphon IMPAKt

Impakt is Film Theater ’t Hoogt supported by Theater Kikker Mondriaan AAMU, Museum ­Foundation of contemporary City of Utrecht ­Aboriginal art Province of Utrecht Flatland Gallery Dutch Film Fund Academiegalerie Nederlands Fonds ­ Moira voor de Podium­ ASU Advies kunsten Lava Grafisch Prins Bernhard ­Ont­werpers, ­Cultuurfonds ­Amsterdam VSB Fonds Beamsystems, K.F. Heinfonds Projectie en Video, Fentener van Amsterdam ­Vlissingenfonds FedEx European ­Commission, Culture ­Programme (2007- 2013)

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