SMART Project Space | 1e Constantijn Huygensstraat 20, Amsterdam, +31 (0)20=
427 5951
A Thinly Veiled Threat (Undermining the Overview, Part 3)
Every Sunday and Wednesday at 17.00 SMART Project Space presents free video=
programs in Smart Cinema. This video program accompanies the exhibition, =
SUB REAL | April 5 - May 25, 2003
Sunday 4th May & Wednesday 7th May
Jennifer Tee | Worm (Hit Them Where They Least Expect It) (2000/NL/3 min.) =
Something is coming and it will be here soon.
Atsushi Ogata | Aki No Tawamure (1992/Japan/6 min. 30) The forward rush ov=
er the endlessly transforming ground.
Giusi Campisi | Nave Night Blue (2000/Itlay/3 min.) Certain splits in the =
viewing of things to account for.
Yoshinao Satoh | Selected Works, Variations for Movements (2002/Japan/15 mi=
n.) Satoh restlessly turns all orientation on its head with his particular=
brand of visual music. Satoh is a master at playing the surface against it=
self.
Jean Painleve | Phase Transitions in Liquid Crystals (1965/France/6 min.) =
Painleve produces pure abstraction from nature and joins it to a rarefied s=
ound score by Francois de Roubaix.
Etant Donnes | Two works: Royaume (1991/France/21 min.), Blue (1994/France/=
37 min.) The duo of Etant Donnes are as renowned for their sound and musi=
c works as for their own hybrid experimental cinema which has an intense au=
ral component while flexing the indelible surfaces of a primordially abstra=
cted imagery.
Rene Beekman | Silent Garden (1992/NL/27 min.) Another work casting a new =
relationship between sound and imagery, between music and the visual, betwe=
en elements of nature and pure abstraction.
Sunday 11th May & Wednesday 14th May
Pierre Yves Clouin | Put Your Hands On Your Head (1997/France/3 min.) This=
should inspire a certain amount of thought.
Oliver Held | Spring (2002/Germany/7 min.) Here is a work which is certain=
ly spring wound as it threatens to come undone in any number of associative=
ways.
Julius Sumner Miller | On Atmospheric Pressure (1972/USA/15 min.) Professo=
r Miller treats us to another edifying performance that always engages us w=
ith the threat of the awesome.
Leslie Thornton | Peggy and Fred in Hell (2002/USA/100 min.) What may be t=
he final version of Thornton's magnum opus that concerns two youngsters and=
the general threat to the consciousness of the human race.
Joelle Turlinckx | Fable de Plage (1999/Belgium/23 min. 14) The last threa=
t we have in store for you is sent out to sea.
Counter Intelligence, part 1: Too Smart by Half The Show Down of the Sub-Re=
al: None Shall Escape
Friday 9th May & Friday 16th May
The contemporary television commercial becomes cagier in its attempts to ou=
twit us by absorbing each new crack and subversion in the cultural edifice =
and preparing an artful decoy to our heightened awareness and rueful resist=
ance. The absorption of cynicism, high and low art and new strategies of ma=
intaining the embattled surface of the spectacle are employed in the very p=
ost modern art of the commercial. This program will draw from a wide range =
of very accomplished and witty television commercials from a variety of Eur=
opean countries produced over the last years.
A Certain Dislocation (Undermining the Overview, part 4)
This video program accompanies the exhibition, INTO THE BREACH | Opening S=
aturday May 31, 2003 at 21:00. exhibition runs from Sunday June 1 until Sun=
day July 6, 2003
Sunday 18th May & Wednesday 21th May
Steina Vasulka | In the Land of the Elevator Girls (1989/US/4 min.) We are=
taken on a whirlwind tour of transitional spaces courtesy of the white glo=
ved hands that usher you into another realm.
Hisao | Ihara Sora (2002/Japan/7 min.) The disorientation of the daily com=
mute and the abstraction of the commuters themselves.
Shalom Gorewitz | Dissonant Landscapes: Blue Swee, Run, Beggar's Prayer, Bl=
ack Fire (1985/US/15 min.) Four distinct works, one about the American pre=
sence in Grenada, another using a Lacanian model for language structure, an=
other following a blind beggar in Morocco while the last conflates fire wit=
h video raster while religious symbols and political statements are subsume=
d in the landscape.
Dara Birnbaum | Damnation of Faust: Evocation (1984/US/10 min.) A prologue=
for a much longer work: Observations about alienation and identity are pos=
ed against the raucous tussle of youths in the playground.
Vladimir Oseledchik | This Is How We Live (1987/Soviet Union/30 min.) 'The=
y turn us into robots. We can't think like we want.' The alienation of the =
next generation right down to a proposed program for reconstructing society=
by forced sterilization.
Pam Kray | Ghost Sonata (1986/US/5 min.) Moving in the house and unpacking=
the drama right away leads to curious reallignments and some reshuffling.
Frank Ragano | Midway Mind (2000/US/3 min.) The solitary dweller and the o=
mnipresent outside world which recasts his position.
Ecila Stims | Fast Forward (2003/NL/5 min.) The parallel life of New York =
subway riders and the t(er)ain they inhabit.
Joseph Rucker and Willard van der Heer | With Byrd at the South Pole: the S=
tory of Little America (1930/US/82 min.) Byrd's establishment of Little Am=
erica and his spectacular first flight over the South Pole, part publicity =
stunt, part scientific milestone marked the end of an era. Rucker and van d=
er Heer's rarely seen work is a visual marvel.
Sunday 25th May & Wednesday 28th May
Guillermo Varela | Recuerdos de Flores Muertas (1982/Mexico/7 min.) The fi=
nal adjustments: worn cracked cemetary headstones and dead flowers.
Juan Downey | The Motherland (1987/Chile/7 min.) A symbolic parable is int=
ercut with news actualities of the Pinochet regieme in Chile.
Tatyana Chubakova | Homecoming (1987/Soviet Union/17 min.) Veterans of the=
Soviet operations in Afghanistan come home with unresolved feelings.
Jem Cohen | This is a History of New York (the Golden Dark Age of Reason) (=
1987/US/23 min.) Images of New York people and architecture are slowed and=
repeated and treated as if they represented pivotal periods in the book of=
history.
Jayce Salloum | This is Not Beirut (1994/Lebanon-Canada/49 min.) An artist=
from both worlds comes to terms with misrepresentations of Beirut from bot=
h the perspective of the west and the middle east.
Victor Masayesva Siskyavi | The Place of Chasms (1989/US/30 min.) A Hopi a=
rtist here concerns himself with the Hopi traditions and the western approp=
riations of artifacts in the name of science, anthropology and art. A group=
of school children go on a field trip to the Smithsonian while a Hopi gran=
dmother instructs her grand-daughter with another story.
Steina Vasulka | Lilith (1987/US/9 min.) The eternal disturbing of the sou=
l, the displacing of the body and the voice, the making of a way through th=
e wilderness.
Martine Attille | Dreaming Rivers (1988/UK/26 min.) A mother is on her dea=
thbed in a dream state, contemplating her isolation in England the life she=
left behind in St. Lucia. She explains to her three children: 'Sometimes y=
our dreams depend on what's available. or what's not available.'
The program 'A Certain Dislocation', curated in association with the exhibi=
tion Into the Breach will be continued throughout the month of June.
SMART Project Space | www.smartprojectspace.net
Exhibition Space & Cinema: 1e Const. Huygensstraat 20
Opening times: Tues-Sat from 12.00-22.00, Sun from 14.00-22.00 hrs.
Mail to: P.O.Box 15004, NL-1001 MA Amsterdam
Phone: +31 20 427.5951
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