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2½ Dimensional: Film Featuring Architecture

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2½ Dimensional: Film Featuring Architecture 2009-2010 architectuur theater dans muziek TENTOONSTELLING deSingel Desguinlei 25 / B-2018 Antwerpen 2½ DIMENSIONAL: ma vr 10 19 uur / za 16 19 uur FILM FEATURING www.desingel.be [email protected] T +32 (0)3 248 28 28 ARCHITECTURE F +32 (0)3 248 28 00 04.03 > 22.05.2010 deSingel is een kunstinstelling van de Vlaamse Gemeenschap en geniet de steun van hoofdsponsor mediasponsors 2½ DIMENSIONAL: FILM FEATURING ARCHITECTURE opening tentoonstelling donderdag 4 maart 2010 / 20 uur / Blauwe Zaal Inleiding door Moritz Küng, curator Filmpremière ‘Landhaus Lemke’ (Mies van der Rohe), 2010, regie Heidi Specker; 7‘, coproductie deSingel openingsuren 04.03 > 22.05.2010 woensdag tot en met zondag 14 > 18 uur en bij voorstellingen 19 > 23 uur gesloten ma, di en feestdagen (zo 4 & ma 5 april, za 1 & do 13 mei) gratis toegang gratis tentoonstellingsgids groepsrondleidingen op aanvraag, max. 20 personen, € 60 inlichtingen +32 (0)3 248 28 28 productie tentoonstelling deSingel internationale kunstcampus, Antwerpen met dank aan: Argos, Brussel / Arsenal Institut für Film und Videokunst e.V., Berlijn / Galerie Eigen + Art, Leipzig- Berlijn / Filmgalerie 451, Berlijn / Galerie Erna Hécey, Brussel / Galerie Krobath, Wenen / Motive Gallery, Amsterdam / Galerie Stella Lohaus, Antwerpen / Galerie Greta Meert, Brussel / Jan Mot, Brussel / Galerie Michel Rein, Parijs / Galerie Eva Winkeler, Frankfurt a.M. / White Cube, Londen / Jocelyn Wolff, Parijs filmprogramma en lezingenreeks in samenwerking met Cinema Zuid en Universiteit Antwerpen overzicht achteraan in dit boekje INTRODUCTIE Het aantal gebouwen dat in de filmindustrie als ondersteuning van het andere op een geaccelereerde fotografische manier door middel van de scenario en als achtergrond gebruikt wordt, is immens. Maar wat gebeurt aaneenschakeling van veertienduizend individuele beelden. er als de architectuur zélf de hoofdrol gaat spelen? ‘2½ dimensional: film featuring architecture’ schetst welk soort beelden en vertellingen ont- Anderen - bijvoorbeeld Larry Gottheim, Agalia Konrad, Guillaume Leblon, staan wanneer de architectuur niet meer louter onderdeel van een groter Dorit Magreiter, Heidi Specker of Joëlle Tuerlinckx - observeren architec- scenario is maar zelf plot, protagonist of hoofdacteur wordt. De films van tuuriconen van onder meer Jaques Gillet, John Lautner, Claude Parent, een zestiental beeldend kunstenaars citeren geen architectuur (architec- Paul Virillo, Robert Mallet-Steven, Léon Stynen en Mies van der Rohe met tuur ‘in’ de film) maar leggen de nadruk op de ruimtelijke ervaring (archi- een artistiek-diagnostische blik. De spanningsboog wordt doorgetrokken tectuur ‘als’ film). en bijzonder speculatief in de films van Shahryar Nashat en Dora García, die architectuur associëren met twee genieën uit de twintigste eeuw, Reeds eerder wijdde deSingel drie tentoonstellingen aan gelijkaardige meer bepaald de pianist Glenn Gould en de dichter Samuel Beckett. Het randfenomenen binnen de perceptie van architectuur. ‘Another & another gebouw wordt een ijkpunt van excessen (bij Joachim Koester), hypothesen & another act of seeing urban space’ (1997) had het over de waarneming (bij Aurélien Froment), het bovennatuurlijke (bij Olaf Nicolai) of het pseudo- van stedelijke ruimte, geïnterpreteerd door zesendertig internationale filosofische (bij Sophie Nys). Het werk van Runa Islam tenslotte weet tekst, fotografen. In ‘Urban Dramas’ (2003) behandelden veertien kunstenaars beeld en ruimte te verzoenen binnen een maatschappijkritische context: en videasten de narratieve aspecten in en van de stedelijke ruimte. ‘The ze observeert een verlaten en desolaat terrein en schrijft letterlijk met de Wrong House’ (2007) tenslotte presenteerde regisseur Alfred Hitchcock camera 'La casa è di chi la abita' (het huis is van diegene die erin woont). en zijn uitgekiende filmsets als fictieve architect in een ruimtelijk scenario van de Oostenrijkse architecten PauHof. ‘2½ dimensional: film featuring architecture’ vormde tevens de aanlei- ding voor een samenwerking met Cinema Zuid. Zij bieden gedurende de Deze keer ligt de focus op cinema en het snijpunt tussen de verhalende tentoonstelling een randprogramma met films en lezingen aan. Steven en de representerende ruimte, de vertelling en beeldvorming op de rand Jacobs, docent filmgeschiedenis aan de Universiteit Antwerpen, belicht in van de tweedimensionale cinematografische en de driedimensionale ar- een achttal lezingen uiteenlopende aspecten van architectuur in de film: chitectonische ruimte: kortom de ‘tweeënhalfdimensionale overlap’. Deze architectuur in de gothic romance, de minimal cinema en films over het overlap neemt binnen de tentoonstelling middels een technische, concep- nieuwe bouwen. De hierop aansluitende filmvertoningen betreffen niet en- tuele, speculatieve of documenterende benaderingswijze uiteenlopende kel highlights van Michelangelo Antonioni, Alfred Hitchcock of Jacques Tati vormen aan. maar ook experimentele films en documentaires van onder meer Chantal Akerman en Michael Snow. De kortfilm van de jonge Duitse kunstenaar Matthias Meyer belichaamt misschien het best deze intentie. Hij monteerde alle fragmenten uit de film ‘Le Mépris’ van Jean-Luc Goddard (1963) - op zich al een soort ‘me- tafilm’- waarin de beroemde Villa Malaparte in beeld komt. Zo vestigt hij de aandacht uitsluitend op de architectuur zelf. De camera-standpunten, nu geïsoleerd van het verhaal, komen heel merkwaardig over. Dit niet- conforme filmen is ook in de werken van Heinz Emigholz en Tobias Zielony te zien. De ene filmt op een zeer statische, haast fotografische manier, de WERKEN IN DE TENTOONSTELLING HEINZ EMIGHOLZ Sullivan’s Banks, Photography and beyond - part 2 / Architecture as Autobiography 1993-2000 / 35mm film omgezet naar SD-dvd / 4:3 / 38’00”/ Kleur / Geluid (dolby stereo) / Courtesy kunstenaar & Filmgalerie 451, Berlijn / Camera, montage: Heinz Emigholz / Geluidsassistent: Uli Etter / Geluid: Martin Langenbach / Mix: Stephan Konken / Titels: Heinz Emigholz / Sullivan’s Banks Thomas Wilk / Producent: Pym Films, Berlijn / Coproducent: WDR, Wilfried Reichart. Sullivans ‘Banken’ was de eerste film uit de reeks ‘Architektur als Auto- biografie’ die Heinz Emigholz in het kader van zijn project ‘Photographie und jenseits’ gerealiseerd heeft. De film verkent op een hoogst eigenwijze maar subtiele manier acht bankgebouwen van de Amerikaanse architect Louis Sullivan (1856-1924), die in een omtrek van achthonderd kilometer rond Chicago gebouwd werden: National Farmer’s Bank in Owatonna, Minnesota (1908) / People’s Savings Bank in Cedar Rapids, Iowa (1911) / Land and Loan Office in Algona, Iowa (1913) / Purdue State Bank in West Lafayette, Indiana (1914) / Merchant’s National Bank in Grinnell, Iowa (1914) / Home Building Association Bank in Newark, Ohio (1915) / People’s Savings & Loan Association Bank in Sidney, Ohio (1918) / Farmer’s & Merchants’ Union Bank in Columbus, Wisconsin (1920). Sullivan staat tevens bekend als auteur van de beroemde uitspraak “that form ever follows function” Aurélien Froment / The Apse, the Bell and the Antelope die hem in 1896 bijna zijn carrière kostte. Emigholz’ manier van filmen is haast fotografisch. Hij besluipt als het ware een gebouw, laat de camera onbewogen draaien en capteert zo elk detail: het veranderen van licht, toevallige passanten of achtergrondgeluiden. Deze houding verheft Emig- holz misschien tot de ware protagonist van het thema van deze tentoon- stelling: het 2½ dimensionale tussen film en architectuur. Dora García / Film (Hôtel Wolfers) AURÉLIEN FROMENT LARRY GOTTHEIM The Apse, the Bell and the Antelope Barn Rushes 2005 / mini-dvd omgezet naar SD-dvd / 4:3 / 27’37”/ Kleur / Geluid (mono) / 1971 / 16mm film omgezet naar SD-dvd / 4:3 / 36’43”/ kleur / Zonder geluid / Courtesy Courtesy kunstenaar, Dublin & Motive Gallery, Amsterdam / Concept, script, montage: Arsenal Institut für Film und Videokunst e.V., Berlijn / Concept, camera, montage, Aurélien Froment / Verteller: Roger Tomalty / Fotografie, geluid: Vanessa Colombel / productie: Larry Gottheim. Geluidsmontage: Sébastien Pierre / Geluidsmix: Matthieu Langlet / Postproductie: Franck Isabel / Productiemanager: Rebecca Lee / Producent: Les Laboratoires d'Aubervilliers, Parijs. ‘Barn Rushes’ is een experimentele film van een van de meest invloedrijke Amerikaanse protagonisten van de structurele cinema. De film is geba- De film begeleidt de gids Roger Tomalty - tevens doctor, architect, klimato- seerd op het herhaaldelijk - liefst acht keer - filmen vanuit een rijdende loog en voormalig bewoner van dit bouwproject - tijdens een rondleiding auto van dezelfde profane schuur - een anoniem ontwerp - gelegen langs in het experimenteel stedebouwkundig project Arcosanti van de inmid- een weg in Upper New York State. “De schuur, zachtjes dobberend op het dels hoogbejaarde Italiaanse visionaire architect Paolo Soleri (°1919). doek, openbaart aarzelend zijn veranderend silhouet. Elk filmfragment, ge- Deze grootschalige nederzetting in de woestijn van Arizona is al meer dan scheiden door een lichtflits volgend op een vervagend beeld, registreert veertig jaar in aanbouw. De gids toont in een quasi circulaire beweging de de schuur op een ander moment van de dag en dus telkens met een ene bouwfase na de andere. Ondertussen vertelt hij over het oorspron- andere lichtinval. Een stralende helderheid verklaart de tegenstellingen die kelijke concept, het bouwprogramma, het amfitheater en het bezoekers- de film verkent: transparant/opaak, hemel/aarde, … vlak/ driedimensionaal, centrum,
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