A TRAP FOR THE LOOKING (Undermining the Overview, part
2) From Februari 23rd until April 2nd, 2003.
Space presents a free
video program every Wednesday and Sunday at 17.00 hrs at Smart Cinema.
Curated by Lee
Huygensstraat 20, Amsterdam. Info:+31-(0)20-4275951
This video program accompanies the exhibition "A Snare for the Eye",
curated by Alice Smits.
Opening Saturday February 22nd, 21:00 hrs. Open
from 22nd February until 30th March 2003.
23, Sunday and February 26, Wednesday, 17.00 hrs.
The Quay Brothers, "Dramolet
(Still Nacht 1)" (1998, UK, 1.5 min) An unsettling curtain raiser to
ponder what you see and what you get.
Georges Melies, "The
Untamable Whiskers" (1904, France, 5 min.) Visual transformations with the
ease of drawing: Ce n'est pas un barbe!
(1995, USA, 2 min.) A one shot wonder in three parts: documenting
the shooting, the shot itself which defies you to imagine it as a single
shot and the director's final comment.
Eleanor Antin, "The Last Night
of Rasputin" (1988, USA, 38 min.) Californian artist Antin's supreme
"Antinova" achievement: the recreation of a silent Russian epic that
details the kidnapping and captivity of her mythic self.
Angelopoulos, "In Which Foreign Country Have I Landed?" (1995, Greece,
1.5 min.) Odysseus is washed ashore and forced to ponder a new and
Georges Melies, "The Eclipse: The Courtship of
the Sun and Moon" (1907, France, 10 min.) Astronomers run wild with
excitement at the prospect of capturing a unique event with the help of their
Hamish Fulton, "Light Confrontation"
(1971, UK, 1, 5 min.) The snare here takes the form of a
Helma Sanders, "Hommage a Louis Cochet, chief electrician,
artisan de la Lumiere depuis 1931..." (1995, Germany, 2 min.) A symphonic
tribute to Monsieur Cochet, he who harnessed the velvet light trap.
Fishbeck, "A Movie Star" (1916, USA, 12 min.) A self reflexive
snare: Keystone Cop Mack Swain is caught in a movie theater in the
audience in front of one of his own films and reality continues to close the
trap around him.
Rene Clair, "The Wax Museum Sequence" (1925,
France, 10 min.) Another anarchic dream where the creatures of the Id
animate wax figures who come alive to hold a tribunal to try a guilty
Paul Leni, "Waxworks" (1921, Germany, 63 min.) German
expressionist benchmark set in the wax museum where the eye is under pressure to
identify what is real and what may not
March 2, Sunday and March 5, Wednesday, at 17.00
Tetsuo Mizuno, "A Stone" (1984, Japan,
8min.) To the activated eye a stone contains more than one can
Abbas Kiarostami, "Message" (1995,
Iran) Here is a witty wake-up call that you need not
William Wegman and Man Ray, "Correction"
(1972, USA) Man Ray learns the difference between a word that looks like
another word and the word itself.
Andre Schwyn, "Enlightenment"
(2001, Switzerland) The ceaseless desire to visualize what one
Lina Wertmuller, "Prelude (to Pasqualino Setzebelieze)"
(1976, Italy, 5 min.) Lina lets them have it and she's sure to give them
enough rope while she's at it. This is for all leaders and their images as
John Boorman, "Preparations for Shooting" (1995, UK, 2
min.) The traffic of the making of images and the images in the
Max Almy, "A Perfect Leader" (1983, USA, 7 min.)
Another image is pounded out on the assembly line.
Joe Goodman and
associates, "Now it is Time for all Good Men" (1959, USA, 1
min.) What was always called ‘paid political advertising’.
Wegman and Man Ray, "Now is the Time for all Good Dogs, or Which side
are you on?" (1971, USA) The predicament of everyone open to a
Russell Calabrese, Doug Compton and Greg Ford, "No
Substitute" (1996, USA, 1,5 min.) Recognition of how tough it is for
political figures to keep up the image. Richard Nixon was no less than
heroic in this contest.
Peter Callas, "Double Trouble" (1988,
Australia, 5 min) Further consideration on trying to separate the one from
Juan Downey, "The Looking Glass" (1989, USA, 29
min.) An incisive study that divides images from what they contain and
what they may be.
Eva Staehle, "Zwischen (Between)" (1998,
Switzerland, 3 min.) Two
simultaneous images of the world around us poses an elegant
"Tuelo" (1985, Japan, 8 min.) The image of the terrain is subject to further
division. The terrain presented is that of Angola.
Sherwin, "Filter Beds" (1998, UK, 9 min.) Planes of focus that catch the eye and create a temporary
The Quay Brothers, "Rehearsal for Extinct Anatomies"
(1987, UK, 14 min.) The visual planes subdivide into alternate focus and
Joseph Strick, Ben Maddow and Sidney Meyers, "The
Savage Eye" (1960, USA, 63 min.) Documentary images burn through the
consciousness of the somewhat fictional character presented here who finds
herself the victim of a real life movie from which there is no
9, Sunday and March 12, Wednesday, at 17.00 hrs.
Van Heusen and company, "In an Animation Studio"
(1931, USA, 8 min.) An insider's view of the studio located just across the
street from the much better known Fleischer Brothers studio that proves that the
images were just as out of control here if not more so.
"Lost in the Image" (1985, USA, 6 min.) Where is the place for one
who makes images by day and watches them by night?
Max and Dave
Fleischer, "HA HA HA" (1932, USA, 6 min) Out of the ink well,
onto the paper, off the paper and somewhere, elsewhere, way out
Peter Callas, "Night's High Noon" (1988, Australia, 8
min.) Here comes one big image show down, so
Rudolf Snafu, "Booby Traps" (1942,
USA, 5 min.) Wartime
shenanigans that teach us to think twice.
A.C. Stephens, "Shower
Scene" (1968, USA, 5 min.) One more booby trap.
Williams, "Mr. Bill Gets Hypnotized" (1975, USA, 2 min) The
little guy always takes it the hard way.
Ante Bozanich, "Alarm" (1980, Yugoslavia/USA, 10
min.) Another illustration, though the
guy is not as little, he still takes it pretty hard.
"Fake Flicker" (1985, Japan, 7 min.) By now it becomes clear that it
is in part a matter of too much exposure to television.
Mehr, "Fernsehfilm" (1999, Switzerland, 3 min) Perhaps the
television itself might take on another
Michael Haneke, "Extracts from the Broadcast News of March 19,
1995, the birthday of the first film shot on March, 19, 1895" (1995,
Austria, 1 min.) A centenary celebration of the first film shot ever
Joseph Beuys, "Confrontations with the Television" (1970,
Germany, 6 min.) Here is a battle which verges on the
Fritz Lang, "The 1,000 Eyes of Dr. Mabuse" (1960,
Germany, 99 min.) The new old metaphor for our times: total control
and total paranoia. Dr. Mabuse's name is popping up so frequently now it's
time for another rash of sequels.
March 16, Sunday and March
19, Wednesday at 17:00 hrs.
Ante Bozanich, "Scratch" (1980, Yugoslavia, USA, 6
min.) First confront your
Costa Gavras, "Shot" (1995, France, 2 min) Consider
this image to be like a magnet.
Klaus vom Bruch, "Jeder Schuss ein
Treffer (Every Shot a Hit)" (1984, Germany, 9 min.) A
typically relentless exercise that insists that you get the point even if it is
only at the end of a stick.
Enrico Farrucci, "Movement from Camille
Symphony" (2000, Italy, 4 min.) Another pointed exercise in
capturing the image, the moment of desiring or just obsession
Alain Corneau, "Hommage a Loie" (1995, France, 3
min) One way to skirt all those traps is just to keep
Georges Melies, "Tchin Chao, The Chinese Conjuror"
(1904, France, 5 min.) More than meets the eyes, he takes
William Wegman, "Wide Eyed Story" (1971, USA, 3
min.) We won't spoil the story here.
Ante Bozanich, "Four Works
to View" (1974-1977, Yugoslavia/USA, 16 min.) A movement from the
image of the self to the image of the other and finding some way back again
Ken Kobland, "Foto Roman" (1990, USA, 26
min.) Some noirish passing of time which leads to the inevitable trapping
of the voyeur.
Enrico Farrucci, "Pretty Ugly" (1998, Italy, 5
min.) The voyeur's conundrum: Is she crying or is she laughing, is
this pleasure or is this pain? Is it cruelty for her or cruelty for
Viktor Kolibal, "Eye" (2000, Switzerland, 3
min.) The weighing of opposing forces.
"It Doesn't Work, We Can See Only The Earth" (1995, France, 1.5
min.) The pressure brought to bear when stalking the great
Peter Callas, "The Aesthetics of Disappearance"
(1986, Australia, 6 min.) An unavoidable territory for the image trapper
with Callas' signature layering of compulsive and restless images.
Davis, "Post Video" (1981, USA, 29 min.) This piss-in-your-pants
funny explication of Davis' oeuvre may not be intended as a total send up of
seventies concept art but it will do just fine, thank you.
Fuest, "The End of the Final Programme" (1973, UK, 5 min.)
It's farewell to the sixties and the seventies and everything else but maybe
it's just back to the drawing board.
Patrick McGoohan, The Final
Episode of "The Prisoner" (1968, UK, 54 min.) This was when
all television time and space was flipped inside out once and for all and we
haven't been able to stop living in it. Will the final episode ever
Sunday and March 26, Wednesday, at 17,00 hrs.
Gabriel Axel, "Academic Study" (1995, Denmark, 3
min) One process simply begats another. There's the rub.
and Jacques Louis Nyst, "L'Image" (1987, Belgium, 42 min.) The
Nysts are forever hunting the wild visual paradox and this charming essay leaves
no image unaltered.
The Quay Brothers, "Anamorphosis" (1991,
UK, 15 min.) A revealing of arcane knowledge in the process of
image production and perception.
Danielle and Jacques Louis Nyst,
"Hyaloide" (1995, Belgium, 27 min.) We delve deeper into the arcana
of the voracious image.
Werner Nekes, "Film Before Film" (1986,
Germany, 83 min) A thorough going tour through centuries of attempts to
manifest an image with every kind of media imaginable.
March 30, Sunday and April 2, Wednesday, at 17.00
Marcel Duchamp, "Anemic
Cinema" (1926, France, 3 min) A roundabout way of coming to grips
with the thing at hand.
M.C. Escher, "A Few Observations from Maurits
Escher" (1967, USA, 27 min,) The master of the image trap
explores his world and lets a thought or two wander freely.
Allouache, "Interdit de Camerer" (1995, Algeria, 1 min) The Algerians
have their own verb which is also an adjective. Here a couple are
"camered" and it doesn't pass without notice.
"Long Distance Wireless Photography" (1907, France, 7 min.) Here is
another approach that one may not have thought of.
Peter Callas, "Kinema No Yoru"
(1984, Australia, 3 min.) Our own
mental copy machine of double cinema where we subject the image to another image
time and again.
Youssef Chahine, "Stop! Cinema is a sin!"
(1995, Egypt, 3 min.)
Though big images
may reign, little images may strike back and really come out
Jean-luc Godard, "Scenario du film Passion" (1982,
France, 54 min.)
Godard struggles with a scenario that has no words,
only images, and seeks another way out of the usual trap of the images we
perceive and take for granted.
Claude Lelouch, "More Passion
Please!" (1995, France, 1 min) Some people just can't get
Fletcher Markle, with Alfred Hitchcock, "Telescope in two
parts" (1964, Canada, 56 min.) Another master of the image trap is
given the last word here, on the set while shooting his masterwork of entrapment
"Marnie". This program was originally broadcast on Canadian
SMART Project Space | www.smartprojectspace.net
Exhibition Space & Cinema: 1e Const.
Opening times: Tues-Sat from 12.00-22.00, Sun
from 14.00-22.00 hrs.
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