|Coded Cinema | November Programme Code: 0705
Still from The New Architecture of the London Zoo, Laszlo Maholy-Nagy, 1936
Kiosk7 : OudWestKiosk
In the framework of the project Kiosk7: OudWestKiosk (opening on 3 November 2007), there is a three part programme in the Coded Cinema for the
month of November. The artists group Gavin Wade mit Simon & Tom
Bloor have invited four local groups involved in their project to present a
documentary or other film work that relates to their organization. The second
part of the Coded Cinema programme consists of two documentaries on Russian
architect Berthold Lubetkin, and is followed by a third part consisting of
films selected by the artists themselves.
Ingenioso Hidalgo Don Quijote de la Mancha, English subtitles,
10:00 min, 2005, a video by artist Jean-Baptiste Gannes, proposed by M4guesststudio.
Jean-Baptiste Gannes was an artist-in-residence at M4gueststudio in 2005.
During his stay he produced this film which shows a red light shining through
the window of the studio. The light flickers Morse code transmitting the text
of the novel El Ingenioso Hidalgo Don
Quijote de la Mancha.
wereld maar dan Anders, a documentary by Beeldend Gesproken art
library / gallery, in Dutch, 30:00 min, 2004. Beeldend Gesproken is a national
institution working with artists with a psychiatric background. The documentary
focuses on Steven van den Broeke, Mirande Phernambucq and Yair AA, three
artists from the gallery, and is presented by Professor in Art History Henk van
Historical film fragments of Amsterdam Oud West from the City Archives, proposed by Stichting Tijdgeest, 3 min, fragments of film from the 1930s.
Lodewijk Crijns, in Dutch, 79:00 min, 2003, proposed by Stedelijk Jongerenwerk
Amsterdam, unit Argan. Loverboy is a drama dealing
with the phenomenon of loverboy prostitution. It tells the story of 17-year old
high school student Denise, and 19-year old Michael. It takes Denice, in love
with Michael, a while to see that it has been Michael´s plan from the outset to
have her work as a prostitute. The film was made for Dutch television and was
praised for showing a nuanced view of the motivations behind the characters
relationship, but is criticized for presenting an overly positive ending, which
trivializes the seriousness of this reality.
The New Architecture of the
London Zoo, documentary
by Laszlo Moholy-Nagy for the Museum
of Modern Art New York,
silent, 15:00 min, 1936
. Moholy-Nagy made
two documentary films in London
that further illustrate his biologically-inspired design programme. The first
was commissioned by a London
documentary film company and released in 1935 as In the Cradle of the Deep. It is a sixteen-minute-long
naturalistic record of the growth of lobsters from baby to old age, as well as
of the fisherman's struggle to search them out. He argued that a
"prehistoric animal shell is constructed in such a wonderful way that we
could immediately adapt it to a fine bakelite or other moulded plastic
form". The second was a fifteen-minute silent film commissioned by the Museum of Modern Art,
New York, The New Architecture of the London Zoo
(1936). It is an attempt to show the spacial relationships within a set of
avant-garde buildings designed by Berthold Lubetkin, and fits well with
Moholy-Nagy's project of documentation of different biological experiences of
space in the human and animal world.
Chosen People: The Architect,
documentary by Russia Today, in English, 30 min, 2007. Berthold
Lubetkin - the main character of a new installment of The Chosen People
documentary series ? is a Russian émigré architect who pioneered modernist
design in Britain
in the 1930s. In the 1920s, he practiced in Paris where he associated with the leading
figures of the European Avant-Garde, including Le Corbusier. The architectural
style he brought to London
was something absolutely new. He's not well known in Russia,
but in London
his achievements are highly respected and still a lot
of buildings remind one of his talent.
Rashomon, Akira Kurosawa, in
English, 88:00 min, 1950. Rashomon is a 1950 Japanese film directed by Akira
Kurosawa, working in close collaboration with cinematographer Kazu Miyagawa. The
film has an unusual narrative structure that reflects the impossibility of
obtaining the truth about an event when there are conflicting witness accounts.
In English and other languages, 'Rashomon' has become a byword for any
situation in which the truth of an event is difficult to verify due to the
conflicting accounts of different witnesses. In psychology, the film has lent
its name to the 'Rashomon effect'.
Charlie Chaplin, in English, 85:00 min, 1936. Modern Times is a 1936 comedy film by Charlie Chaplin that has his famous Little
Tramp character struggling to survive in the modern, industrialized world. The
film is a comment on the desperate employment and fiscal conditions many people
faced during the Great Depression, conditions created, in Chaplin's view, by
the efficiencies of modern industrialization. The movie stars Chaplin, Paulette
Goddard, Henry Bergman, Stanley Sandford and Chester Conklin. It was written
and directed by Chaplin, and marked the final screen appearance of the iconic
Groundhog Day, Harold Ramis, in English, 101:00, 1993. Groundhog Day is a 1993 comedy film directed by Harold
Ramis, starring Bill Murray and Andie MacDowell. In the film, Murray
plays Phil Connors, an egocentric Pittsburgh, Pennsylvania TV weatherman who, during a hated assignment
covering the annual Groundhog Day event (February 2) in Punxsutawney, finds himself repeating the
sameday over and over again. Subsequent to his indulging in all sorts of hedonistic
pursuits, he begins to reexamine his life and priorities.
Night on Earth, Jim
Jarmush, in English, 129:00, 1991. Night on Earth is a 1991 film written and directed by Jim Jarmusch.
It is a collection of five vignettes concerning the temporary bond formed
between taxi driver and passenger in five different cities: Los
Angeles, New York, Paris, Rome, and Helsinki. The movie
begins with the Los Angeles-based snapshot and moves from city to city as the
clock turns during the late hours of the night.
Kiosk7 : OudWestKiosk|
Exhibition by Gavin Wade mit Simon & Tom Bloor
Opening: Saturday 3 November 2007, 21.00 hrs
3 November - 15 December 2007
Gavin Wade mit Simon & Tom
Bloor are an artist group based in Birmingham, UK. Their ongoing Kiosk
project exploits two ellipsoid concrete buildings located among enclosures
created for Dudley Zoo (UK) in 1937 by the Russian architect
Berthold Lubetkin and his young architecture group Tecton. Kiosk7:
OudWestKiosk has been developed by the artists and SPS over the course of
2007. It is an ongoing project that is simultaneously a competition, an artwork
and an exhibition.
Organizations in the local
neighbourhood Oud-West, were invited to propose new functions for the kiosk.
After an edifying response from a broad range of Oud-West groups, four Kiosk
proposals have been selected by the artists which are being developed for the
final round of the competition. The artists have selected kiosk functions they
deem as most beneficial to the local community and ones that enhance new
understandings of the public realm. These four proposals are the heart of the
artwork and form this exhibition.
incorporates aspects of architecture, urban planning and social systems within a
framework of localized and international aesthetics, forms and ideals. Each of
the four entries are designated a section of the kiosk (the bar, roof etc.) as a
symbolic sculptural gesture and each group is invited to provide content and
materials for use in the exhibition that represent the organizations? ongoing
activities and aspirations. The artists have (re)worked the material resulting
from the proposals, using the principle of collage, appropriating and adapting
quotes by Berthold Lubetkin, and have playfully composed a special edition of
the publication series SMART Papers.
The winning Kiosk will be selected by an international panel of experts and
exhibition visitors in December 2007. SPS aims to realize the winning kiosk
proposal as a public artwork in the neighbourhood Oud-West in 2008.
|Coded Cinema | October Programme Code: 7793 |
towards the re-opening of SMART Cinema, as a gesture of appreciation
to our audience, SMART has developed a radical new approach to the
cinematic experience. The new Coded Cinema offers 24 hour access to an intimate
12 seat film theater, allowing visitors to let themselves in at their own
leisure, make themselves at home and enjoy the eclectically mixed programme of
video art, experimental film, art house cinema and documentary film. The Coded
Cinema is located in a small outbuilding adjacent to the main building.
Each month the access code is distributed through an emailing for which you can
register at the SPS website.
CUT IT OUT (Turkey, 2004, 2mins)
Ögüt's Cut it Out is a sardonic take on what is perhaps the newest TV genre
that can safely lay claim to any political impact, one that has already
established its own codes and conventions as a genre ? the self-staged
statement on the part of armed insurgents. Ögüt's film employs these codes in a
manner that is striking and humorous, though it remains open on whom the joke
is ? the genre, the audience, or the artwork itself. Courtesy of the artist.
Born in Diyarbakir, Turkey in 1981. Graduated from Hacettepe University, Fine Art Faculty,
Painting Department. He currently works as a researcher at the Yildiz Teknik
University and lives in Istanbul. He has
exhibited widely, including 9th International Istanbul Biennial, Platform Garanti
Centre, Instanbul, Ikon Gallery, Birmingham, and The
Museum of Modern Art Slovenia.
AC 130 GUNSHIP (Switzerland,
Büchel's AC 130 Gunship, in some ways a cornerstone of the programme, is an
edited documentation of a US
attack on a building complex somewhere in rural Afghanistan. The violent
nonchalance of the off-voices of military pilots becomes all the more chilling
as one realises that the brutality unfolding on the screen is irresistibly
entertaining. Courtesy of the artist and Hauser & Wirth Zürich.
1966 in Basel, Switzerland,
lives and works in Basel.
Recent exhibitions have included Always a little further, Arsenale, 51st
International Art Exhibition, La Biennale di Venezia, Italy; Sharjah
International Biennial 7, Sharjah, United Arab Emirates; Dionysiac, Centre
Pompidou, Paris; Close Quarters, Kunstverein Freiburg; Untitled, Swiss
Institute New York; Guantanamo Initiative, Centre Culturel Suisse (with
G.Motti), Paris; Under Destruction, MNAC, Palace of the People (with G.Motti),
Bucharest; 1st international Biennial of Contemporary Art of Sevilla , Spain;
The beauty of failure and the failure of beauty, Mirò Foundation Barcelona.
SAIDA. JUNE 6, 1982 [extract] (Lebanon,
Zaatari's, Saida. June 6, 1982, is perhaps his one most elegant renditions among
the many visual inquiries into the value of documentation and the possibility
of historical memory, a piece that renders the bomb explosions of that day as
beautiful as they were terrifying, by way of an ingenious juxtaposition of only
six photographs Zaatari took of the attack. Courtesy of the artist and Sfeir
Akram Zaatari is a video artist and curator who lives and
works in Beirut.
In addition to his television and teaching experiences, he is the author of
more than 30 videos and video installations exploring political issues
pertinent to the Lebanese post-war condition, particularly the logic of religious
and national resistance and the mediation of political conflicts through
television such as in All Is Well on the Border (1997). Co-founder of the Arab
Image Foundation (Beirut), Zaatari based his work on collecting, studying and
archiving the photographic history of the Middle East.
INVERTED STAR (Mexico, 2002, 4mins)
Calderon's Inverted Star departs from war issues, turning to a more general
inquiry into questions of sensationalism and testimony. For this piece,
Calderon posted announcements in newspapers offering a small sum to anyone
possessed by the devil who would be willing to be filmed. It is a brilliant
take on poOrnography and the exploitation of misery to aesthetic / artistic
ends ? but without forgetting crucial questions of self-staging and strategy on
behalf of the actors. Courtesy of the artist.
Born 1971, Mexico
lives and works in Mexico City.
His work has been exhibited in Mexico
and abroad, including at the Museo Rufino Tamayo, the Diego Rivera Gallery,
Mexico, ICA, London,
the Sharjah Biennial, United Arab Emirates
and the Solomon R.
in New York. He
both curates and writes about art and was founder of La Panadería art space in Mexico City. Calderón has
a BFA from the San Francisco Art Institute. His artworks had a scene specially
written for them in the movie The Royal Tenenbaums.
OUR VILLAGE (Turkey, 2004, 7mins)
Özmen's Our Village is the most atmospheric or uncanny of the works in the
programme, using the high-pitched cheerfulness of children's songs, and the
benign, innocent demeanor of two little girls, to create a very crass and
simple - but perhaps all the more effective - contrast with a depressing tale
of rural dejection. Courtesy of the artist.
Born 1971, Idil, Sirnak, Turkey,
Lives and works in Diyarbakir,
painting at the University of Cukurova, Adana,
Turkey. He has
exhibited widely in Turkey
and abroad including Istanbul Museum of Contemporary Art, Akbank Culture and
Art Center Istanbul, Kunsthalle Fridericianum, Kassel,
Germany and Museo D'Arte
Contemporanea Roma, Italy.
He also works as an art critic and curator.
ERIK VAN LIESHOUT
AWAKENING [single channel version of installation] (The Netherlands, 2005,
Van Lieshout's Awakening is a typically hard-hitting portrayal of the artist's
social surroundings in the wake of shifting social parameters regarding
homosexuality, xenophobia and nationalism. Courtesy of the artist.
in the Netherlands, lives
and works in Rotterdam.
Having started as a painter and draughtsman, Van Lieshout has increasingly
manifested himself as an artist interested in installations. In his video
productions he questions his own position with regard to other cultures in an
often playful manner. And in approaching the question of what is politically
correct or incorrect, he juggles with the established values. He has exhibited
throughout Europe, including a solo show at the Groniger Museum,
Gronigen, entitled 'Naughty By Nature, Not Because I Hate You'. He represented
The Netherlands at the Venice Biennale in 2003 and was the recipient of the
prestigious 'Prix de Rome.'
SUCH A NICE BOY I GAVE BIRTH TO (Poland, 1999, 25mins)
Koszalka's, Such a Nice Boy I Gave Birth To is a portrayal of the sheer
brutality of the filmmaker's relationship to his parents, one of undying
humiliation and abuse. It is by far the longest film in the selection, and
resorts to persistent, almost insufferable repetition ? repetitions only
gradually undermined by subtle narrative developments throughout the film ? as
a manner of getting its point across. Courtesy of the artist.
Koszalka was born in 1970 in Cracow and studied
sociology at Jagiellonian University and filmmaking at the Radio and Television
Department of the University of
SCHADENFREUDE, the October programme in the Coded Cinema, was curated by Tirdad Zolghadr. Since 1999, the
focus of Zolghadr's work has shifted from documentary practices to the visual
arts. After co-founding the Tehran-based feminist online magazine Bad Jens, he
collaborated with artist Solmaz Shahbazi on a documentary on large-scale
urbanism in Tehran, Tehran 1380. His ongoing projects in the
field of curating and criticism arose from his critical engagement with the
mise-en-scene of internationalism in the arts. Recent curatorial projects have
include Ethnic Marketing at the Kunsthalle Geneva (with M. Anderfuhren), and
the 7th International Sharjah Biennial. He is further active as a founding
member of the Shahrzad Art & Design Collective, as a contributor to Frieze
magazine and as an editor of Bidoun, a publication on arts & culture in the
Middle East. -- Schadenfreude originated as
part of The Artists Cinema, a Frieze Projects/ LUX collaboration which took
place at the Frieze Art Fair 2006.
Renovations Underway |
In August 2005 SMART Project Space acquired
the former Pathological Anatomical Laboratories of the Wilhelmina Hospital
area in Amsterdam Old West. After two years of developing plans, fundraising
and permit procedures, renovation work began in May 2007 to the 3600m2
building. Peter Sas Architects and Bouwborg Nordwest are developing it into
exhibition spaces (500 m2), a 3 screen cinema, a multi platform auditorium (120
seat capacity), ten studios, a café/restaurant, library with reading room and an
art bookshop. The renovations will be complete by the end of 2007. The
café/restaurant opens its doors to the public with a party on New Years Eve (tickets available in November) and
SMART Cinema will be operational early 2008. During this time, access through
the main entrance will remain available for all visitors and resident artists.s
SMART Project Space is kindly supported by the Mondriaan Foundation, Gemeente Amsterdam, VSBfonds, Stichting Doen, Filmfonds, and Prins Bernhard Cultuurfonds.
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