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.
