Jody Oberfelder's wonderful Dance of the Neurons on Vimeo
Between 12 September and 17 January an exhibition and retrospective on Michelangelo Anonioni's masterpieces of cinema in EYE. Including one of the most beautiful films of modern film history: Red Desert (1964). Breathtaking brain chemistry of colors of the industrial world. As Antonioni says to Godard in an interview in Cahiers du Cinema in 1964: 'In Red Desert the emotions are taken for granted.. Giuliana's crisis is buried deep inside her; it's almost imperceptible. ... Even though we don't realize it, our lives are dominated by industry. And by 'industry' I don't just mean the factories themselves but also their products. They are all over our houses, made of plastic materials that, up to a few years ago, were totally unknown. They are brightly colored, and they chase after us everywhere. They haunt us from the advertisements, which appeal ever more subtly to our psychology, to our subconscious. I would go as far as to say that, by setting the story of Red Desert in the world of factories, I have gotten to the source of that crisis that, like a river, collects together a thousand tributaries and then bursts out into a delta, overflowing its banks and drowning everything.... I think that if we learn to adapt ourselves to the new techniques of life, perhaps than we will find new solutions to our problems.'
In de dans- en operafilm Symmetry en de bijbehorende documentaireSymmetry Unravelled komen de kunsten en wetenschap op een bijzondere wijze samen. Filmmaker Ruben van Leer combineerde dans en opera met de hightech omgeving van de Large Hadron Collider in het Zwitserse Cern.
Naar aanleiding van beide films organiseert de Akademie van Kunsten een kritisch debat over de relatie tussen kunst en wetenschap. Kunnen kunstenaars en wetenschappers nog van elkaar leren? En zo ja, wat en hoe? Hoe stappen kunstenaars en wetenschappers over de grenzen heen van hun eigen disciplines en welke vaardigheden zijn daarvoor nodig? Ook het feit dat CERN een kunstbeleid voert is interessant. Waarom doen ze dat, hoe doen ze dat, en wat hopen ze er mee te bereiken?
Wedensday 16 September 2015 Time: 20.00 Location: Hazemeijer Hengelo
Lecture (in Dutch):
Beinvloedingsmachines: Cinema en Waanzin
In deze lezing geef Patricia Pisters een overzicht van de verschillende manieren waarop cinema en waanzin met elkaar zijn verbonden. Meer dan een representatie van waanzin in de cinema, zal er worden ingegaan op de veel diepere manieren waarop ‘waanzin’ verbonden is met cinema en andere media als ‘beinvloedingsmachines’. Het betoog zal worden geillusteerd met filmfragmenten.
Zie voor verdere programma de Art Brut Biennale website.
Chiharu Shiota's extremely beautiful and painfully symbolic installation in the Japanese Pavilion at Venice Biennale 2015.
The Winner of the World Cinema Amsterdam festival is the remarkable South African film Necktie Youth from Sibs Shongwe-La Mer. And a Special Mention for Deniz Gmaze Erguven's Mustang. See for more information and the programme the site of World Cinema Amsterdam festival. Below the jury report of this years edition of the festival.
by Patricia Pisters, Carlos M. Quintela & Felix de Rooy
The sixth World Cinema Amsterdam festival has presented a global avalanche of images and sounds that conjure up emotion and insight about the state of humanity through the eyes of talented filmmakers from all over the world. In that sense the value of this festival and of all the films presented in the program cannot be underestimated. The nine films in competition were all very strong, transporting us to different countries and regions; they moved us for many different reasons. We were struck by the political and emancipatory urgency and the empowering forms of resistance in many of the films. Migration between countries and within cultures between urban environments and countryside, as well as all kinds of social injustice are important recurring themes; many films show a younger generation that kicks against the status quo established by previous generations; with varying degrees of success. The jury was also impressed by the quality and variety of the cinematography of all the films in competition. Whether shot in bright colors, strong black and white, poetic light, static framing or fluid camera movements, all films were of remarkable quality and widened our scope of cultural differences and transnational and universal values.
Before announcing the winner, the jury would like to take the opportunity to highlight one of the other films in the competition program, which is a film about the untamable longing for freedom.