Tag: Screening

Zes kunstenaars worden uitgenodigd om te reageren op de vraag “Who can afford to not sell their own skin?” door een playlist van audiovisueel materiaal samen te stellen voor dit wekelijkse programma van screenings. Het schema en de uitgenodigde kunstenaars zijn als volgt:

Dinsdag 31 januari – Mariana Penas Charrua 
Dinsdag 7 februari – Sophie Soobramanien 
Dinsdag 14 februari – Jay Tan
Dinsdag 21 februari – Nolwenn Vuillier 
Dinsdag 28 februari – G 
Dinsdag 7 maart – Henna Hyvärinen

Elke dinsdag van 18:00-19:00

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Mariana Charrua is een ______toerist, kunstenaar_________ uit Portugal. 

Haar werk manifesteert zich in verschillende vormen—van schilderijen of objecten tot ann tekeningen of performances, of een vorm daartussenin. Charrua probeert dingen gelijk te schakelen en neemt ze niet als heilig maar geeft ze een symbolische lading. 

Het resultaat: onzinnige beelden die verwijzen naar dagelijkse situaties en personages (dieren) of levensbehoeften: voedsel of liefde; provocaties die vragen oproepen, geen antwoorden. Een theatrale, groteske en humoristische toon die een narratief vervaardigt en het idee van elegantie deconstrueert.

Het beeld dat dit programma presenteert is een collage tussen een internetbeeld en een foto uit haar vorige samenwerkingsvoorstelling I AM A COLUMN, een voorstelling waarbij de performers als zuilen fungeren, en daarmee dynamieken in een relatie symboliseren en met normen spelen.

Instagram: @___l0la_____

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Sophie Soobramanien (b. 1995) is a British Mauritian artist living and working in Amsterdam. She is not sure what she is doing anymore. But she recently bought a 2023 year planner and this felt good. 

Instagram: @ssooooobs

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Jay Tan is geboren in Londen en verhuisde in 2008 naar Nederland. Hen voltooide de MFA aan het Piet Zwart Institute in 2010 en was een resident aan de Rijksakademie in 2014/15. Vanuit Rotterdam maakt hen sculpturen en installaties, soms met video en geluid, of andere bewegende delen, vaak met een focus op huiselijke mechanica en decoratie. Hen geeft momenteel les bij de Master Artistic Research aan de KABK, Den Haag en bij Fine Arts aan de Gerrit Rietveld Academie, Amsterdam. 

Hen heeft werk getoond in Tent, Rotterdam; CACC, Parijs; Ujazdowski Castle Centre for Contemporary Art, Warschau; Ellen de Bruijne Projects en Galerie van Gelder, Amsterdam; Futura, Praag; Kunstverein, Amsterdam; Vleeshal, Middelburg; CAC, Vilnius; Museum Boijmans Van Beuningen, Rotterdam; Hollybush Gardens, Londen; Kunstinstituut Melly, Rotterdam en RongWrong, Amsterdam. 

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Nolwenn Vuillier is een beeldend kunstenaar wiens praktijk de natuur-cultuur tweedeling en de daaruit voortvloeiende gestandaardiseerde voorstelling van onze omgeving in vraag stelt. Ze werkt vaak buiten (of open het grensgebied van) traditionele tentoonstellingsruimten en zoekt naar manieren om zich met een publiek buiten het kunstlandschap bezig te houden. Momenteel is ze geïnteresseerd in speculatieve verzinsels, dialogen tussen verschillende soorten leven en druppels in stillevens.

Instagram: @nolwennvuillier

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Luton, The Galaxy, The Mall. Mourning, natural death/doulaship The ‘Anti Bio’. ‘Non performers’, ‘Non Dancers’ everything that we are told we are not good at or need a qualification for. Humour x 10000000000000000000000000. Power Dynamics. FREE ART SCHOOLS. FUNDING 4 ALL. Sculptures made in a day. Care as a necessary tool. Anthropology. The internet (beware 2nd hand information and the vacuous). Some Comedians. Performance as a survival technique. Embarrassing myself. Bass players.
 Barbados.
 Semantics. Shouting in the countryside. Dancing instead of talking. My Mother and Father (RIP). Sci Fi as a survival technique. Britishness. Mental Health.
 Grinding my hips as slow as I can (Sam I love you).
 Sub woofers. Dressing up as other things.
 Joy.
 ‘Non-Artists’. Friends above the age of 70yrs old.
 Exciting poetry. My forever ongoing Death Doulaship training (Be weary of it ever being done). Keeping naval gazing in check.

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Henna Hyvärinen (geboren in Iisalmi, Finland) is een kunstenaar, momenteel wonend in Amsterdam.Hyvärinen gebruikt video, performance en tekst om autofictionele verhalen te creëren. Ze gebruikt humor en haar interesse in het absurde om dichter bij thema’s te komen die anders misschien ongemakkelijk of griezelig aanvoelen. Hyvärinen maakte deel uit van collectieven en artist-run initiatieven zoals het muziekperformance duo echo+seashell, en artist-run ruimte en collectief Sorbus (2013-2020) in Helsinki. Ze studeerde in 2014 af met een MFA aan de University of the Arts in Helsinki en was in 2017-2019 reisdent aan het residentieprogramma De Ateliers in Amsterdam, waar ze samen met medebewoners Root Canal oprichtte, een nomadisch kunstenaarsinitiatief.

Instagram: @hyvarinen.henna52

A new narrative for Ukraine: told by its children

What is the influence of war on daily life in Ukraine? What is it like to grow up in a conflict zone? To live in constant fear? What dreams do young people hold for the future?

In 2016 and 2017, The One Minutes Jr. went to Ukraine multiple times for workshops with young people in Avdiivka, Bakhmut, Dobropillia, Kharkiv, Liman, Mariupol, Militopol, Severodonestk, Sloviansk and Volnovakha to find answers to these questions.

In 2022, with the war in the Ukraine, these films are highly topical and at the request of International Short Film Festival Oberhausen, one of the most important short film institutions anywhere in the world, a compilation was made of 46 One Minutes.

Watch The One Minutes Jr. Ukraine here.

Participating artists:
Yekaterina Masalskaya
Andrey Gruzdev
Vadym
Sofia Devotchenkova
Marina Postolati
Katia Tsap
Denis Levchenko
Dina Nadel
Denis and Adrej
Dasha Starikova
Bibikova Anastasia
Anna Kolesnyk
Danil Potapov
Kristina Tolmacheva
Mikhail Perekhrest
Viktoriya Shchelkunova
Oleksandr
Volodymyr
Artyr
Viacheslav
Alexandra Kulichenko
Daniil Buli
Bogdan Yali
Veronika Shaposhnikova
Aleksandr Tsukor
Alena Solyanik
Alexander Kurilenko
Anna Lusenkova
Mariya Tseluh
Lilia Migutsa
Ivan Kuraksin
Ulyana Chernikh
Rostyslav
Vadim Ergard
Vyacheslav Potsko
Nastya Starchenko
Maruschenko Valeria
Dasha Shmulich
Ivan Gorb
Yana Muntyan
Nikita Novgorodse
Danilo Savkevich
Daniil Buzevskyu
Valeria Gukezheva

Images courtesy of the One Minutes foundation

Image 2 – Strong family bond, Sofia Devotchenkova, 2017 (© the artist, courtesy by The One Minutes Foundation)

“There are different ways to tell a story. I wanted to think about the way we bear ongoing witness to our own lives, and how this material tells bigger stories about the material, technological and socio-economic circumstances of the past and present. I wanted to give space to the unreliable narrator and the chaos of memory. To take seriously the political dimension of telling stories through the low fidelity, poor images and unobjective close-ups that we are often left with in contrast to sovereign forms of cinema (newsreel, advertisement, video-essay). Building on these ideas, in reconnaissance and reclamation, here are 24 video-poems, as true and accurate as any other form of storytelling, or perhaps even more so.”
– Jesse Darling, April 2020

Everything happened so much is curated by Jesse Darling. Jesse Darling is an artist working in sculpture, installation, video, drawing, text, sound and performance. They live and work in Berlin.

The One Minutes — Everything happened so much: archive as poem in an age of perpetual witnessing here.

Participating artists:
Toni Brell
Lauren de Sa Naylor
L’nique Noel
Sulaïman Majali
Francisca Khamis Giacoman and Levi van Gelder
Cristina Planas
Frank Wasser
Kamilya Kuspanova
Lin Li
Ibrahim kurt
Samar Al Summary
Rozemarijn Jens
Nestor Solano
Andro Eradze
Ghenwa Abou Fayad
Anuka Ramischwili-Schäfer
Torreya Cummings
Pernilla Manjula Philip
Stelios Markou Ilchuk
_monkii
Callum Copley
Louise Gholam
Flo Ray

Images courtesy of The One Minutes Foundation

Image 2 – Lubricants Rebranded as Anti-Slip, Flo Ray, 2020 (© the artist, courtesy by The One Minutes Foundation)

In Squeeze Crush Press Blush, curated by Afra Eisma and Marnix van Uum, twenty-one artists and filmmakers invite you to take a dive into their ever-changing minds. A crack in the gloss, a break, a rupture, a split, a breach, a slit, a smack, a smash, a blow, a bang, a grin, our mind is a container. The selected One Minutes were sent in from China, Belgium, Finland, France, Greece, Netherlands, Suriname, Turkey, United Kingdom and United States.‘Squeeze Crush Press Blush’ offers a non-linear journey across a multitude of feelings.

The One Minutes — Squeeze Crush Press Blush was curated by Afra Eisma and Marnix van Uum.

Afra Eisma (b. 1993, the Netherlands) creates intimate worlds bursting with colour and energy. Her work consists of tufted carpets, ceramics, drawings, paintings and textiles.

Marnix van Uum (b. 1991, the Netherlands) works with media (i.e. video, photography and text) that have descriptive qualities and thus imply to depict (fragments of) reality.

More info about The One Minutes — Squeeze Crush Press Blush

Participating artists:
Margaret Haines
Bob Demper
Pieter Van Den Bosch
Daisy Madden-Wells
meng florent
Hilary Yip
Elina Alekseeva
Kubilay Mert Ural
Gijsje Heemskerk and Sjuul Joosen
Foteini Makri
Alejandra López
Mimi Shi Co., Ltd
Cabenda
Alfie Dwyer
Annemarie Wadlow
Naïmé Perrette
Jef Nollet
Erkka Nissinen
Juyi Mao
Heleen Mineur
Kim David Bots & Eliane Esther Bots

Images courtesy of the One Minutes foundation.

Image 2: The Stars Down To Earth, Margaret Haines, 2015 (© the artist, courtesy by The One Minutes Foundation)

Ronnie Close
More out of Curiosity

26:07 minutes, single-screen, 16:9, HD Digital Video, 2014.

One of the key players in the new emergent political debate are Egypt’s fanatical football supporters, the Ultras. Although affiliated to different teams in the domestic league they often joined forces in street protests to remove Hosni Mubarak in January 2011. The controversy over the 2012 Port Said incident when 72 Al-Ahly fans were killed in an orchestrated attack forced the Ultras back onto the streets. They mounted a successful political protest campaign against the state forces that culminated a year later in legal conviction and a sense of retribution.

More Out of Curiosity is a film work drawing on documentary narratives to frame the capacity of resistance in current social movements. This film is constructed from video footage drawn from a number of sources, including the Al-Ahly Ultras themselves who shared their video archive material. The assemblage of images of street protests, football games, riots and banner making helps stitch together a narrative to expose their unique local subculture in an overlapping meta-documentary format. The film work is bookended by the Port Said incident and the court verdict a year later. This structure is divided into seven scenes which define and categorize the video imagery. No voiceover resists the direct deciphering of the video material and the film operates on an instinctive, visceral level driven by a charged soundtrack.

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Pia Lindman
Sports Arenas (series), 2000-2004  

Many of Lindman’s video works focus on how the built environment relates to the social interaction it is designed to contain. In this series of video works—including Viewing Platform, 2002; Shea Stars Flashes, 2004; and Game-Time, 2001—Lindman uses a video camera to record changes of light and movements in space and time within sports arenas and stadiums. The video works are filmed from a fixed camera position and the video footage is then made transparent and cut into one-minute segments. These segments are then layered on top of each other. During one minute the viewer sees the entire 60-minute video in real time, however simultaneously as multiple layers. Among other spaces, she has shot baseball stadiums and other sports arenas in New York, contrasting the monumental structure of the stadiums to the fluctuating density of the audience.

Presentation of this video work series is courtesy of the artist and New York MoMA.

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Florian van Zandwijk

Our human and technological sensorial perceptions are inseparably connected and constantly shaping each other in today’s digital age; this fact usually serves as the basis for Van Zandwijk’s projects. With a simple intervention or through written or visual essays, Van Zandwijk researches topics from his own perception and hypothesis about present human and non-human Ways of Seeing. In this way van Zandwijk tries to provide insight into and make a statement about contemporary themes involving the biases and limited capacities of human and technological perception. Such themes are; social media, mass-surveillance and computer vision.

The Ball, The Field, The Arena

In his book Homo Ludens (1938) Dutch cultural theorist Johan Huizinga suggests that play is both a primary and a necessary condition for generating culture. The game of football—the biggest globalised manifestation of organised play—is taken in The Ball, The Field, The Arena as a metaphor for the inseparable relationship humans have with culture, play, and our own technological developments. By zooming out from the ball to the field into the arena, the work shows that human culture is not only shaped via play but that our play is equally shaped by the technology we create—the two engaging in a mutual relationship with one another.

Als onderdeel van Farida Sedoc’s People’s Forum organiseert MUBI een vertoning van de iconische Kung-fu flick, The 36th Chamber of Shaolin, uit Hong Kong – beroemd geworden door de Wu-Tang Clan.

Martial arts films worden niet iconischer dan dit kung fu meesterwerk van regisseur Lau Kar-leung, geproduceerd door de Shaw Brothers. Met een scherpe focus op de gevechtsdiscipline is dit de ultieme trainingsfilm, waarin Gordon Liu’s leerling het pad van wraak verruilt voor een pad van gratie en spirituele zelfbeschikking.

Foto’s door Elodie Vreeburg.