*Act 1 Frontline Observations.
*Act 1 Frontline Observations. (video archive production)
For a period of one year, I observed my front view, the street view, in a surveillance perspective. Direct ‘counter-video’ observations, and ‘surveillances’ from my studio window; capturing the world as it appeared every three minutes in stop motion style, every day.
I discovered numerous incidents where the camera captured peoples producing fiction (photo sessions, film scenes) in front of my house. I spotted A Nazi under a fake rain shower on the bridge, an impersonator of Andre Hazes, fashion shoots and tourist lenses, the floating by of seasonal events; the fiction industry of the very day life outside my window has separated me from real life as well as it brings reflection on the cinematographic thinking.
Not without alienation I monitored through time an ongoing over budgeted city work in front of my door; the sewerage disposal service was intensively renovated for protection immediate flooding in the near future, physically connecting to the waterworks of the Flevopolder of my study. Producing a personal surveillance archive, to reflect on its meaning
For a period of one year, I observed my front view, the street view, in a surveillance perspective. Direct ‘counter-video’ observations, and ‘surveillances’ from my studio window; capturing the world as it appeared every three minutes in stop motion style, every day.
I discovered numerous incidents where the camera captured peoples producing fiction (photo sessions, film scenes) in front of my house. I spotted A Nazi under a fake rain shower on the bridge, an impersonator of Andre Hazes, fashion shoots and tourist lenses, the floating by of seasonal events; the fiction industry of the very day life outside my window has separated me from real life as well as it brings reflection on the cinematographic thinking.
Not without alienation I monitored through time an ongoing over budgeted city work in front of my door; the sewerage disposal service was intensively renovated for protection immediate flooding in the near future, physically connecting to the waterworks of the Flevopolder of my study. Producing a personal surveillance archive, to reflect on its meaning
*Act 2 Images of the Absence.
*Act 2 Images of the Absence. (video lecture on the archival gap)
Lectures the dynamics of appearing and disappearing of images in archival fields, which are never neutral acts, there is always an element of power. In my talk with Professor Marie Baronian, she articulates the paradoxical political aspects of the un-archived (hidden) Armenian holocaust and ‘the Armenian ‘cry’ for an archive’.
Lectures the dynamics of appearing and disappearing of images in archival fields, which are never neutral acts, there is always an element of power. In my talk with Professor Marie Baronian, she articulates the paradoxical political aspects of the un-archived (hidden) Armenian holocaust and ‘the Armenian ‘cry’ for an archive’.
Act 3 Anomic Training.
Act 3 Anomic Training. (body with floating monitor)
The archival questions the image of control. What is this precise moment, the archeology, the un-indexical moment, free flowing in libidinal energies as proposed by Deleuze and Guattari? My body itself is the historical construct, with layers of reification and power inscriptions (Foucault).
The archival questions the image of control. What is this precise moment, the archeology, the un-indexical moment, free flowing in libidinal energies as proposed by Deleuze and Guattari? My body itself is the historical construct, with layers of reification and power inscriptions (Foucault).
*Act 4 Inoculation Sequence,
*Act 4 Inoculation Sequence, (never ending story)
Re-enactment based on meeting minutes. I reconstructed a decisive meeting (1938) on the Waterworks of the Netherlands, Fleovopolder. The script for eight actors was founded on the original remains of a partly burned archive of the board meeting. The Board, responsible for the development and design of the Dutch Polderprogram or New land and their effort to build resistance prior to future political counter arguments.
The sequence is shot at the historical location, the Regenten Kamer in the Amsterdam Tropical Museum
POLDERPIECE ( 5 acts)
Picture album of
scene 3: The Souther Sea Gathering,
Margreet Sweerts, Sonja Snoeck, Rein Hartog, Ad, Addie Schulte, Robert Duijf, Sien, and Patrick Faas
ZOOT DERKS
director/ script/ concept/camera/ sound/ composition/ editing
Jeanette Groenendaal; assistent, second camera
G-netwerk
Production
Grime kostuums; Arlette Muschter en Jeanette Groenendaal
Re-enactment based on meeting minutes. I reconstructed a decisive meeting (1938) on the Waterworks of the Netherlands, Fleovopolder. The script for eight actors was founded on the original remains of a partly burned archive of the board meeting. The Board, responsible for the development and design of the Dutch Polderprogram or New land and their effort to build resistance prior to future political counter arguments.
The sequence is shot at the historical location, the Regenten Kamer in the Amsterdam Tropical Museum
POLDERPIECE ( 5 acts)
Picture album of
scene 3: The Souther Sea Gathering,
Margreet Sweerts, Sonja Snoeck, Rein Hartog, Ad, Addie Schulte, Robert Duijf, Sien, and Patrick Faas
ZOOT DERKS
director/ script/ concept/camera/ sound/ composition/ editing
Jeanette Groenendaal; assistent, second camera
G-netwerk
Production
Grime kostuums; Arlette Muschter en Jeanette Groenendaal
*Act 5 Pre- enactment,
*Act 5 Pre- enactment, (scientific research designing future archive)
The moon and mars as the creation of a counter public sphere, discussed with moon philosopher Professor Bernard Foing. The Act 5 video research ventured into un-chartered territory. Invited by Foing to participate for a week in Crew 77 the EuroGeoMars Project, ESA research team. desert of Utah USA. Collaboration with Artist Jeanette Groenendaal; To act as if we actually ‘Are’ and ‘Live’ in a Mars Simulation Habitat, as an astronaut, as a future subject. Scientists using performance as a method to produces pictures.
The ‘end’ of the archive, we are leaving earth ‘as it is’, by way of a Kantian ‘fresh start’, an Arch of all rational, indefinite trust in the exo-terrestrial future, and the dialectic of domination and exclusion.
The last day of the exhibition (in W139 The Best of Both Worlds) I did audit from this expedition and showed roughly sketched video fragments.
The moon and mars as the creation of a counter public sphere, discussed with moon philosopher Professor Bernard Foing. The Act 5 video research ventured into un-chartered territory. Invited by Foing to participate for a week in Crew 77 the EuroGeoMars Project, ESA research team. desert of Utah USA. Collaboration with Artist Jeanette Groenendaal; To act as if we actually ‘Are’ and ‘Live’ in a Mars Simulation Habitat, as an astronaut, as a future subject. Scientists using performance as a method to produces pictures.
The ‘end’ of the archive, we are leaving earth ‘as it is’, by way of a Kantian ‘fresh start’, an Arch of all rational, indefinite trust in the exo-terrestrial future, and the dialectic of domination and exclusion.
The last day of the exhibition (in W139 The Best of Both Worlds) I did audit from this expedition and showed roughly sketched video fragments.
*Act 6 Not an-archivalisticly determined
*Act 6 Not an-archivalisticly determined, (a videoimpression)
Talk with the artist Thomas Hirschhorn about the Spinoza Bijlmer Festival, and a about his problems of being described as ‘an-archival artist’ by a famous American art critic Hal Foster.
Talk with the artist Thomas Hirschhorn about the Spinoza Bijlmer Festival, and a about his problems of being described as ‘an-archival artist’ by a famous American art critic Hal Foster.