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Filmmaking in Relation to a Certain Realness of Site

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Filmmaking in Relation to a Certain Realness of Site Gina: Black was not included in that idea. Juanita: No, that was not the intention.1 In 2016, a potential film location offered me an intriguing combination of circumstances regarding the always-existing questions in 01/12 filmmaking of the site, the set, and the dimensions of space and time. As a multilayered entity – at once an example of Dutch architectural heritage, a corporate asset, an office workplace, and a home to asylum-seekers in need of a roof and recognition – the Amsterdam office complex Tripolis presented a site through which to explore various levels of Wendelien van Oldenborgh colonial-modern here-ness.2 ÊÊÊÊÊÊÊÊÊÊThis combination continues to echo as an abiding theme in my work. The following set of Asset as Set: meditations considers some of its implications, both in my work filmed in Tripolis, Prologue: Filmmaking in Squat/Anti-Squat (2016), and in films by Alain Resnais, Glauber Rocha, and Pedro Costa. These Relation to a thoughts are inspired by Denise Ferreira da Silva, in particular her essay “The Racial Event,” in which she writes: “I move to abandon temporal Certain thinking, which imposes and necessitates the presumption of separability, and move to read Realness of Site back-then and the over-there as constitutive of what happens right-now and right-here and what is about to happen.”3 ÊÊÊÊÊÊÊÊÊÊI want to consider reading the modern city as a site of colonial-capitalistic struggle and as a e t i 4 S “racial event,” using the film edit as a lens. I see f o h in filmmaking a possibility to work with the s g s r e o necessary collapse of time and space that n b l n a e Ferreira da Silva calls us to, pointing to what is e d l R O real here and now by aiming to include all n i n a a t dimensions in cinematic language. r v e n C ÊÊÊÊÊÊÊÊÊÊ*** e i a l e ÊÊÊÊÊÊÊÊÊÊThree buildings make up Tripolis, which was o d t n n e designed by the Dutch structuralist architect o i W t Ê a Aldo van Eyck and his team in 1994. Van Eyck’s l 8 e 1 R respect for the human scale is a well-known 0 2 n i l characteristic of his architecture. In the 1950s, i g r n p i he and the group of architects called Team X a k a — distanced themselves from the large-scale m 0 m 9 l architectural approach of the Conference i # F l : Internationale d’Architecture Moderne (CIAM). As a t n e r S a large corporate project – providing office space u s o j a of more than twenty-thousand square meters – x t u e l s f Tripolis is therefore uncharacteristic of van s - e A Eyck’s work. Nevertheless, its spatial organization carries his spirit of connection and conversation, and his goal of providing a personal experience of space. ÊÊÊÊÊÊÊÊÊÊIn the spring of 2016, We Are Here, a group of people who had been refused official stay in the Netherlands but could neither return to their countries of departure nor go anywhere else, squatted Tripolis 200, one of the three buildings 04.04.18 / 15:58:04 EDT 02/12 Stills fromÊWendelien van Oldenborgh,ÊPrologue: Squat/Anti-Squat,Ê2016. 04.04.18 / 15:58:04 EDT Stills from Alain Resnais’s 1963ÊmovieÊMuriel ou le Temps d’un retour. 04.04.18 / 15:58:04 EDT Stills from Glauber Rocha’sÊ1967 movieÊTerra em Transe. 04.04.18 / 15:58:04 EDT of the complex, for roughly three weeks.5 from Amsterdam. EPOC was responsible for Ironically, until two years earlier, this part of the repurposing the building complex in the service complex had been occupied as the municipal of its owner, the global insurance and equity firm office of South Amsterdam through which AXA Investment Managers, which has its (accepted) citizens passed to register, get headquarters in Paris.9 married, and pick up official documents. ÊÊÊÊÊÊÊÊÊÊEPOC’s friendly location manager eventually ÊÊÊÊÊÊÊÊÊÊThe mirror image of Tripolis 200, a building persuaded an account manager from AXA’s named 300, was also nearly vacant when We Are 05/12 Amsterdam office to meet us. This administrator Here moved in. However, a small number of was not responsible for the building, but took on people were living in a tiny part of Tripolis 300’s the task of speaking on behalf of AXA’s clients. newly renovated office spaces. BNP Paribas As it turned out, Tripolis was contained in the Investment Partners had moved out quite soon portfolio of a German branch of AXA. As such, the after investing in a grand renovation designed by circles of management clearly radiated out from Fokkema & Partners Architecten only a few years a local interest to a global investment level. The earlier.6 The third building, Tripolis 100, was janitors and even the EPOC’s location manager being rented by the European headquarters of for Tripolis neatly navigated between an actual Nikon, which had renovated its part of the relationship with the architecture and its locality, complex in 2012 with the Amsterdam-based and an abstract level of responsibility for the Japanese architect Moriko Kira.7 property of anonymous investors. They ÊÊÊÊÊÊÊÊÊÊThe few inhabitants in the vacant building represented the gap between local urban 300 were living there on a contract with an anti- experience and the global property investment squat – or “vacancy-management” – agency. boom, a phenomenon that is alienated from the These agencies have sprung up everywhere in play of light and space, corners and staircases. the Netherlands and successfully protect empty Toward considering the critical potential within property by offering low-rent space with a long this site, I have below compiled an imaginary set of conditions. Usually the contracts include: montage of three classic and – in their own way being present in the building for a significant – anti-colonial cinemas of time and place. part of the time, not having any children or pets, leaving quickly once the place has found a new, The Here-ness of El Dorado: Three Cinemas “proper” use, and watching out for trespassers.8 of Time and Place About four people had set up bedrooms and 1. kitchens in carpeted boardrooms, spread across ÊÊÊÊÊÊÊÊÊÊThe first film is Muriel ou le Temps d’un e t i six floors, with individual fridges in the main S retour, Alain Resnais’s 1963 experimental f o cafeteria space. When We Are Here entered the h melodrama about French life in the wake of the s g s r 10 e adjacent Tripolis 200, the anti-squat inhabitants o Algerian War. A key scene opens with shots of n b l n a lived up to their task and notified the authorities. e houses and cityscapes. Broken and newly e d l R ÊÊÊÊÊÊÊÊÊÊConsidering its contemporary existence as a O constructed. Daytime, nighttime. No specific n i n a a site of a squatting action by We Are Here, which t order or temporal logic. After a sequence of r v e n points at some of the most urgent national and C close-ups in movement, with each protagonist e i a l urban questions about housing and citizenship e glancing in one or another direction – suggesting o d t n n today, I wanted to cast Tripolis as a location for a e signals between them – or upwards to the o i W t Ê film work. The unlikely combination of this event a possible rain, they eventually arrive at the lit-up l 8 e 1 and the design in the tradition of van Eyck’s R entrance to a modern apartment building. 0 2 n i l socially concerned modernist architecture i g r n p seemed enough reason to try. i – It looks newly built. Is that because of the a k a ÊÊÊÊÊÊÊÊÊÊAfter a failed appointment with a consultant — war? m 0 m 9 from the real-estate agency Cushman and l – A bombed city. i # F l Wakefield, which was responsible for renting out : – Yes. a t n e r the empty offices, my team and I met with a daily S – There were many dead, executed. I don't u s o j a caretaker. The buildings’ caretakers, who showed remember the numbers: 200? 3000? I really x t u e l s a heartfelt fondness for the labyrinthine f don't remember. s - complex, are employed by Facility Solutions, a e A firm based just outside Amsterdam. During the Rapid consecutive shots show signs pointing to a buildings’ more prosperous times, Facility cemetery, a monument to a fallen hero, street Solutions had also delivered janitorial services, names relating to fighting, resistance, World War but in times of vacancy, Facility Solutions was II, and colonial wars. The setting – the town of contracted by the larger property and asset Boulogne-sur-Mer – is as much a character as management firm EPOC (European Property any of the humans in Muriel. All its characters Operations Corporation), based in ’s- carry memories that haunt or taint the present. Hertogenbosch, a city about eighty kilometers Throughout the film, the reconstructed 04.04.18 / 15:58:04 EDT 04.04.18 / 15:58:04 EDT Stills from Pedro Costa’s 2006 movieÊColossal Youth. 04.04.18 / 15:58:04 EDT cityscapes are woven together with the the conversations of the protagonists, who seem obsessions, lies, and fears of a small postwar in constant movement, and the architecture in bourgeois group.
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