film screening

rehearse, replay, repeat

A screening of time-based work by Rijksakademie residents
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Location:
Het Documentaire Paviljoen
Vondelpark 3, Amsterdam

Screenings:
Thursday 11 July: 14.00–17.00
Friday 19 July: 16.00–18.00 (followed by a talk, 18.00–19.00)
Doors will open 30 minutes before screening starts.

Registration and payment:
RSVP here. We encourage early registration as spaces are limited.
Tickets are 5 euros, to be paid at the door.

About

Following Rijksakademie Open Studios 2024, we are pleased to present:

'Rehearse, Replay, Repeat – a screening of time-based work by Rijksakademie residents'

Featuring works by: Ai Ozaki, Benjamin Li, Hsu Che-Yu, Danae Tapia, Daniel Vorthuys, Fransisca Angela, Jort van der Laan, Kahee Jeong, Karel van Laere, Katarina Jazbec, Lili Huston-Herterich, Miloš Trakilović, Moe Satt, Reyhan Lál, Silvia Gatti, Zauri Matikashvili and Zeynep Kayan.

The event will offer an in-depth look at some of the artists' latest works beyond their studio environment and in a format that allows for more critical engagement. The films and videos presented reflect on the residency period that the work is produced as well as the studio as a site for ideation. They consider possible ways that showcase how moving images work can be reworked, screened and staged to accommodate different viewing experiences.

After the screening on 19 July, please join us for the after-talk, during which Rijksakademie resident artists will share some insights on their practices and intersections as an expansion of their studio presentations.

THURSDAY 11 JULY

Films by Zeynep Kayan, Miloš Trakilović, Danae Tapia, Karel van Laere, Hsu Che-Yu, Ai Ozaki, Kahee Jeong and Daniel Vorthuys

13.00 – Doors open
14.05 – Zeynep Kayan, 'This is how you return'
14.15 – Miloš Trakilović, 'Colorless Green Freedoms Sleep Furiously'
14.50 – Danae Tapea, '22 Mirrors - The CEO'
14.55 – Break
15.10 – Karel van Laere, Untitled
15.12 – Hsu Che-Yu, 'Zoo Hypothesis'
15.44 – Ai Ozaki, 'Spinning'
15.58 – Kahee Jeong, 'Charybdis'
16.11 – Break
16.26 – Daniel Vorthuys, 'La Petite Fadette'
17.00 – End of day 1 (Bar open for public from 17.00 to 19.00)

14.05
Zeynep Kayan – This is How You Return (2024)
A meditation on loss and grief, shedding and covering, remembering

14.15
Miloš Trakilović – Colorless Green Freedoms Sleep Furiously (2023)
Colorless Green Freedoms Sleep Furiously (2023) is a film essay by Miloš Trakilović that explores visibility and freedom in the digital age through the lens of his family history. The work is rooted in the account of his mother who survived the atrocities of the Bosnian War and fled via Germany to the Netherlands with her two children in 1995. In 2018, Trakilović conducted an extensive interview with her about their experiences of war and displacement. In this conversation, she vividly recalls some of her first moments once outside of the war zone: “When I arrived as a refugee, the first thing I remember doing was sitting in a park for hours. I could not stop staring at the grass. It was so lush and green. I’ve seen grass many times in my life before, but I’ve never again seen it so bright. I remember sitting there and thinking; this grass here is so green, it is free, and in that moment, I felt free too. I felt liberated from my past.” Twenty-eight years after their arrival, Colorless Green Freedoms Sleep Furiously embodies Trakilović’s speculative quest to recreate and revive that same shade of green once more. The film entwines heartfelt triangulations between green, grass, and freedom with the coded and simulative nature of digital technologies in which green plays an imperative role, such as the green screen or chroma key, and computer-generated imagery. Filmed in the Netherlands, Germany and Bosnia and Herzegovina, and oscillating between simulated and existing landscapes, Colorless Green Freedoms Sleep Furiously unfolds as an inquisitive and poetic dream sequence that challenges the hegemonic role of vision and truth in the narratives of war and visual culture at large. Here, Trakilović invokes the invisible, unrelenting spectral forces that constitute the experience and memory of war and its aftermath.

14.50
Danae Tapia – 22 Mirrors - The CEO (2023)
22 Mirrors is an oracle/film that portrays archetypal and psychical forces playing a role in the current climate emergency. It uses visual programming to create unique 10-minute sequences where the code uses different levels of randomisation to pick clips and graphics from a pool of footage and other visual resources prepared by the authors. With this film we are exploring notions of subjectivity, meaning, and human/machine alliances. We also consider this an opportunity to approach film from a perspective that takes advantage of automated tech.

15.10
Karel van Laere – Untitled (2023)
Freeing the space with a breeze at Rijksakademie 
By Karel van Laere, Amol K Patil, Ada Rave and Zauri Matikashvili

15.12
Hsu Che-Yu – Zoo Hypothesis (2023)
A scriptwriter and a performer have a conversation in an animal taxidermist’s studio. They attempt to come up with a performance, exploring the relationship between ‘gestures’ and ‘horrors’. The conversation revolves around two events from Japanese Taiwan during World War II. One is the memorial ceremony held in a zoo to commemorate animals that died during military operations. Animals such as elephants and orangutans were trained to kneel as a symbolic posture for mourning. The other reference is the 1944 massive animal execution in the Taiwanese zoo, intended to prevent civilian casualties caused by animals after the US military had bombed the cities. The unfortunate animals were then turned into taxidermy to preserve their movements and postures. In addition to the dialogue between the two characters, both the Taiwanese Zoo and the zoo's taxidermy studio were architecturally reconstructed using 3D scanning technology.

15.44
Ai Ozaki – Spinning (2023)
In 2020, the state of emergency was lifted in Japan, and I went to the beach after a long time and got a bad sunburn. My skin burned, and the dead skin gradually lifted. The texture of the peeling skin resembled the larvae of silkworms I used to touch, so I started raising silkworms. The experience of raising silkworms was somehow intense for me. From the beginning to the end, I observed them closely with my own hands. Before long, my thoughts and body felt vaguely cramped, as if wound up in the silkworms' thread. I do not know whether I'm going to cast off the skin or cocoon. But I remember the comforts they left behind. In September 2023, I moved from Tokyo to Amsterdam. I’m still in a blurry place. I create words and images as if I were touching this blurry place. When I do this, there are moments when I see details very clearly. It could be just my imagination, or I might realize the next day that I was mistaken. In my daily life, I feel their touch and connect with them. I want that connection to be loose and flexible yet a little bit strong. I know it may be too convenient, but I feel like it would save me.

15.58
Kahee Jeong – Charybdis (2024)
In Homer’s 'Odyssey', Charybdis is depicted as the daughter of Poseidon, the god of the sea, and Gaia, the embodiment of the Earth. Charybdis' loyalty to her father during his disputes with Zeus, the king of the gods, leads her to aid Poseidon by causing the land to flood. This act of allegiance provokes the wrath of Zeus, who transforms her into a fearsome creature anchored to a fixed spot beneath the surface of the sea. Cursed with an uncontrollable thirst, Charybdis is doomed to swallow and expel vast quantities of seawater three times daily, monstrous gulps which form deadly whirlpools. Charybdis mirrors the power of destruction, relentlessly drawing everything within reach into its engulfing vortex. Her story—being cursed by higher powers, manipulated and used against her will—echoes the modern dynamics of addiction driven by broader societal forces. It serves as a poignant reminder of the peril of succumbing to human desire's darker currents and the transformative power of external forces in shaping human behaviour.

16.26
Daniel Vorthuys – La Petite Fadette (2024)
Rooted in the present, this folk/noise/noire musical brings together a cross dresser, a French country girl, and a fairy. Referencing jealousy, dysphoria, desire, and encaged sexuality/gender, the music conjures up deep repression through its slow but climatic progression. In the deathly, tortuous grip of the corsets exist the ideals and fantasies which morph the body. When the fairy enters the scene, she immediately assumes the role of arbiter of taste and fashion. Ultimately, this film is part of an investigation into the language and daily rituals of fashion and getting dressed, showing how thinking and feeling through all this can help emancipate us from historical or societal scripts.

The music was composed and performed by members of the performance group/dream-pop band Cold in Church, comprised of Giovanni Giaretta, Charlott Weise, Cécile Tafanelli, Faysal Mroueh, Helena Sanders, Jacob Dwyer, and Daniel Vorthuys.

Director of Photography – Julia Sokolnicka
Editing – Julia Sokolnicka, Daniel Vorthuys
Illustrations – Fadi Houmani

FRIDAY 19 JULY

Films by Fransisca Angela, Jort van der Laan, Katarina Jazbec, Zauri Matikashvili, Benjamin Li, Moe Satt, Silvia Gatti, Lili Huston-Herterich and Reyhan Lál

15.30 – Doors open
16.05 – Fransisca Angela, 'prosperity, luck, joy'
16.07 – Jort van der Laan, 'A'
16.10 – Katarina Jazbec, 'By the Clay Oven, We Bobbin-Lace Together'
16.16 – Zauri Matikashvili, 'Made in Europe'
16.31 – Break
16.46 – Jort van der Laan, 'B'
16.48 – Benjamin Li, 'Untitled/No title'
16.53 – Moe Satt, 'Untitled # 1 (1 & ½ decade after)'
16.55 – Silvia Gatti, 'Written in the Body'
17.00 – Jort van der Laan, 'C'
17.02 – Break
17.17 – Lili Huston-Herterich, 'Reading a Painting'
17.28 – Reyhan Lál, 'You'
18.10 – Break
18.15 – After talk
19.00 – End of day 2 (bar open for public from 19.00 to 21.00)


16.05
Fransisca Angela – prosperity, luck, joy (2024)
'prosperity, luck, joy' features Siput Lokasari, a Chinese-Indonesian man fighting for justice toward land ownership in Yogyakarta, where ethnic groups cannot own land because of Dutch colonial law. Filmed in the coastal area of Java, the weaving of visual narratives and the character’s own voice enables a collaborative approach and revelation of repressed voices. This performative piece explores the impact of censorship and segregation across generations as a legacy of the colonization era, and how the body endures.

16.07
Jort van der Laan – A (2024)
An audio-visual ABC of terms related to both the physical and abstract phenomena of autoimmune disease.

16.10
Katarina Jazbec – By the Clay Oven, We Bobbin-Lace Together (2024)
In the past year, I traversed the narrow valleys and the curvy roads of countless steep hills in western Slovenia visiting very old bobbin-lace makers. Mici, the oldest one I talked to, is 104 years old. I was looking for women who bobbin-laced to survive. They started very early, as young as five years old. The work was done from October until April, while in the summer they helped the land-owners work their fields or foraged for herbs in forests and mountain pastures. Often they would leave their homes at the age of eight to babysit at other land-owner homes. The bobbin-lace making was commonly collective and done by the clay oven well into the night. While the patterns were drawn by professional drawers, the motifs used are often unique to the region. They speak of a deep attachment to nature, which was reflected in the conversations I had with these women. My great-grandmother was a bobbin-lace maker as well. She lived in the area, and her house was right on the Rapallo border. She was a single mother with three children amidst the Second World War.After two films sets in industrial landscapes (the harbour of Rotterdam and the Ruhr region), I turn my attention to my ancestral landscape, with a 16mm camera and a series of ceramic works. I observe the cycles of nature, I listen to the hands bobbin-lacing, I sit by the clay oven with these women—and with you.
Bobbin-lace makers: Albina Štucin, Alojzija Bogataj, Mici Kacin, Pavla Mežek, Lojzka Šturm, Ivanka Štremfelj, Francka Ogrič, Milka Pišler, Marinka Slabe, Marijanca Yartz, Tinca Slabe,
Vida Likar, Zinka Slabe

16.16
Zauri Matikashvili – Made in Europe (2023)
For more than thirty years, my father has been traveling from Georgia to Germany or the Netherlands to buy second-hand cars, preferably Mercedes Sprinter vans. He packs them full of bicycles and furniture such as used leather sofas, chairs, and tables. For some years now, he has also been buying scrap cars. He dismantles them into their components, which he sends to Georgia by container, often on behalf of Georgian wholesalers. Then my father drives 4,800 kilometers back to Georgia in a Sprinter alone. Spare parts and second-hand goods from Europe are valuable enough in Georgia to sell them for a small profit, despite the high cost of travel. This is how my father earns his living in the international flow of goods – under difficult conditions: hard physical work, health hazards, separation from his family, poor accommodations. My father and I both live between Georgia and Central Europe. But in the time I've been living in Europe, my values and lifestyle have changed a lot, while my father insists on traditional social obligations. This creates tension between us.

16.46
Jort van der Laan – B (2024)
An audio-visual ABC of terms related to both the physical and abstract phenomena of autoimmune disease.

16.48
Benjamin Li, 'Untitled/no title' (2024)
Just my workflow at Rijks

16.53
Moe Satt – Untitled # 1 (1 & ½ decade after) (2022)
I did my first performance art in 2005. It was the first artwork I created in my artistic career. I stayed inside the T-shirt and moved my body a bit. It was like a baby moving inside his/her mom’s womb. One and a half decades later, I decided to transform the performance piece into sculpture and video form as well. This work relates to the current situation in Myanmar. Outside, the world can’t see what is happening there. You can see a bit, but you can't clearly see the current situation of living under the Military Junta. I dedicate this work to all the citizens and artists who are living and struggling in Myanmar.

16.55
Silvia Gatti – Written in the Body (2024)
"Every night, When I lay down, my weary self is extinguished.
There is nothing until I wake up inside my sleepy body,
in a space disconnected from the external world."
A human voice seeks a lost body, whistling, yearning for connection and belonging. Meanwhile, a digital presence types fragments of poetry, moving brushes across the screen, tracing lines in a quest to recover what is lost.
What is human and what is not? This animated conceptual video work delves into the notion of body, consciousness, and artificial intelligence, questioning the essence of human identity and belonging.

17.00
Jort van der Laan – C (2024)
An audio-visual ABC of terms related to both the physical and abstract phenomena of autoimmune disease.

17.17
Lili Huston-Herterich – Reading a Painting (2024)
In 'Reading a Painting', artist Meg Huston reads a painting she made in 1990 as a response to the Gulf War, which she witnessed through news coverage from her home in the United States. The single-shot work unfolds Huston's hesitations about the purpose of making art in a time of war, and the implications on the citizens of countries who wage wars, but rarely experience them on their own soils. Meg Huston is the filmmaker's mother, who she collaborates with sometimes.

17.28
Reyhan Lál – You (2024)
'You' is a 40-minute, black-and-white film shot in one take. The film features a single performer: Paca Faraus.
The director, represented by her shadow in the film, employs the performer within an empty room to act a fusion of scripted and improvisational compositions. The scenery is defined by two sources of light, a spotlight and daylight from an open door. There are no props, other than Paca's imagination.
Paca improvises the assigned scenario with a minimum of words and emotions. She shifts the language between French and English, depending on the nature of the spoken words, to declare multiple statements. Statements that are revealed only on the verge of undermining their validity, consistently reshaping the conceptual landscape of the stage.
Lál's works center on the enduring themes of the human condition, and strategically attempt to interfere with established orders in an ironic and playful manner.

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