OVERZICHT TITELS

THREE SITTERS: NORMAN, BRIAN, FRANCES

Rebecca Jane Arthur
Where we place our chairs at home defines us as our lives grow around them with the things that receive our attention and form our habitats. As the focal point for attention and observation in these portraits, each chair is a motif for setting one’s place in the world and each habitat is explored as a construction, dictated by presence and absence...

1937 [FIRST CHAPTER OF INSTALLATION, ENGLISH VERSION]

Nora Martirosyan
"Two chapters, two time periods, one story. On the one hand, 1937, at the height of the Stalinist purges in Erevan, in the soviet Armenia, the year of the arrest of Nora Dabagian’s father who was a political dissident. On the other hand, 2006, the circumstantial story of this arrest related by the old woman, affectionally known as Baboulia, who was a very young girl in the 1930ies...

BLENDER

Hans Op de Beeck
The video opens with a view of a deserted carousel. After a pause, the carousel slowly begins to turn, spinning faster and faster, the horses and the carriages blending into a single image, which blurs and disappears as the speed increases. As the speed decreases, the image of the carousel reappears and the fairground ride comes to a standstill. (Source: www.hansopdebeeck.com)...

ASH TREE

Sarah Vanagt
"A girl touches tombstones in a graveyard. Her hand glides over the letters and carved inscriptions.  Can she read death?   Can she see death? In Ash Tree, the beginning of knowledge - the alphabet - mingles with the end of all knowledge: death...

OUTPLACEMENT 02 (TRAVEL)

Cel Crabeels
In ‘Détachement’ and ‘Outplacement’ Crabeels researches the possibilities and limitations of mapping something by means of video. In ‘Preview’ he looks at the way video can be used to show the spectator different ‘worlds’: past/ present, trauma/ reality...

PIETER ENGELS, PARAMARCHE (REVERSE EVENT)

Jef Cornelis
Cornelis prefers to make use of the medium of television to show a work by the Amsterdam artist Pieter Engels in its conceptual form, in stead of supplying a typical purely sterile and pedantic framework. Similar to his other work from the 1960s and 1970s, Engels focuses on tiny, everyday things, creating confusion by questioning expectations and preconditions...

IT WILL BE ALL RIGHT IF YOU COME AGAIN, ONLY NEXT TIME DON’T BRING ANY GEAR, EXCEPT A TEA KETTLE…

Johan Grimonprez
The multi-channel installation ‘It will be all right if you come again, only next time don’t bring any gear, except a tea kettle…’ (1994-2004) explores the creation of new mythologies in the wake of Western imperialism...

PASS-ING]

Peter Downsbrough
In a long travelling the camera tracks the fences around a factory building. At the end the camera slowly swerves out to a frontal image of the fencing. Downsbrough draws our attention to an inconspicuous, everyday image, which all too often escapes our attention, reconstructing it within his own visual language...

SANTIAGO DE CHILE

Jef Cornelis
Santiago de Chile, 1.500.000 inhabitants, is today recovering from the umpteenth dictatorship and from the exodus of intellectuals. Visual artist Juan Davila (Santiago, 1946) returned from Australia, where he had been living since 1974, especially for this film. He holds a dialogue with his colleague Eugenio Dittborn (Santiago, 1944) about dictatorship, staying or leaving, elitism and childhood...

IJSBREKER 17: VAN TOETERS EN BLAZERS

Jef Cornelis - Stefaan Decostere - Karel Schoetens - Jackie Claeys
For the very first time the Flemish public broadcasting network lifts a corner of the veil which surrounds one of the main aspects of amateur art: the world of local musical associations, symphonic bands and brass bands. From Dutch Limburg a live report is transmitted of a large-scale symphonic band festival. At the same time the brass band Midden-Brabant responds over another satellite uplink...