*Act 1 Frontline Observations. Act 1 Frontline Observations. (video archive production)
Act 1 Frontline Observations. (video archive production)
Direct counter-video observations and surveillances video strategies from my studio window; capturing the world as it (dis) appears, every day for a period of one year.
I discovered numerous incidents where the camera captured peoples producing fiction (in staged street photo sessions, staged street film sets) I spotted a Nazi actor under a fake rain shower on the bridge, an impersonator of the late neder-blues singer Andre Hazes, fashion shoots, tourist lenses, the floating by of seasonal events.
Not without alienation, I monitored time and at the same time the ongoing over-budgeted city-work in front of my door; the Sewerage Disposal Service was intensively renovated for protection against future flooding (see Act 4).
Direct counter-video observations and surveillances video strategies from my studio window; capturing the world as it (dis) appears, every day for a period of one year.
I discovered numerous incidents where the camera captured peoples producing fiction (in staged street photo sessions, staged street film sets) I spotted a Nazi actor under a fake rain shower on the bridge, an impersonator of the late neder-blues singer Andre Hazes, fashion shoots, tourist lenses, the floating by of seasonal events.
Not without alienation, I monitored time and at the same time the ongoing over-budgeted city-work in front of my door; the Sewerage Disposal Service was intensively renovated for protection against future flooding (see Act 4).
*Act 2 Images of the Absence.*Act 2 Images of the Absence. (video lecture on archival gap)
*Act 2 Images of the Absence. (video lecture on the archival gap)
Lecture on dynamics of appearing and disappearing of images in archival fields, which are never neutral acts, there is always an element of power. Marie Baronian articulates the paradoxical political aspects of the un-archived (hidden) Armenian holocaust and ‘the Armenian ‘cry’ for an actual archive.
Act 3 Anomic Training. Act 3 Anomic Training. (body with floating monitor)
Act 3 Anomic Training. (my body with floating camera)
The Archival questions the images of control. What is a 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,
*Act 4 Inoculation Sequence,
Re-enactment. This play is based on real meetings, and on original minutes written during preparations for Waterworks in the Netherlands. (Flevo-polder 1938). The script for eight actors was rewritten from remains of partly burned archives of this board meeting. This sequence is shot at its historical location, the Regenten Kamer in the Amsterdam Tropical Museum.
POLDERPIECE (act 4, scene3: The Souther Sea Gathering)
Actors; Margreet Sweerts, Sonja Snoek, Rein Hartog, Ad, Addie Schulte, Robert Duijf, Sien, Patrick Faas
Director/ script/ concept/camera/ sound/ composition/ editing; Zoot Derks
Assistant, second camera; Jeanette Groenendaal
Production; G-netwerkGrime, costumes; Arlette Muschter, Jeanette Groenendaal
Re-enactment. This play is based on real meetings, and on original minutes written during preparations for Waterworks in the Netherlands. (Flevo-polder 1938). The script for eight actors was rewritten from remains of partly burned archives of this board meeting. This sequence is shot at its historical location, the Regenten Kamer in the Amsterdam Tropical Museum.
POLDERPIECE (act 4, scene3: The Souther Sea Gathering)
Actors; Margreet Sweerts, Sonja Snoek, Rein Hartog, Ad, Addie Schulte, Robert Duijf, Sien, Patrick Faas
Director/ script/ concept/camera/ sound/ composition/ editing; Zoot Derks
Assistant, second camera; Jeanette Groenendaal
Production; G-netwerkGrime, costumes; Arlette Muschter, Jeanette Groenendaal
*Act 5 Pre- enactment, *Act 5 designing future archives; collaboration Jeanette Groenendaal.
Act 5 designing future archives; in collaboration with artist Jeanette Groenendaal.
The PolderPiece video research ventures into un-chartered territory. Invited by Mr. Bernard Foing to participate in Crew 77 of the EuroGeoMars Project, ESA research team in the desert of Utah, USA. In the ‘as if situation’ ESA scientists used performance methods to conduct research. To act as if we actually ‘Are’ and ‘Live’ on Mars, playing astronauts, future subjects.
Are we preparing the ‘end’ of the archive? Are we leaving earth ‘as it is’, by way of a Kantian ‘fresh start’, built an (holy) Arch of all rational, indefinite trust in the exo-terrestrial future, in dialectics of domination and exclusion?
The PolderPiece video research ventures into un-chartered territory. Invited by Mr. Bernard Foing to participate in Crew 77 of the EuroGeoMars Project, ESA research team in the desert of Utah, USA. In the ‘as if situation’ ESA scientists used performance methods to conduct research. To act as if we actually ‘Are’ and ‘Live’ on Mars, playing astronauts, future subjects.
Are we preparing the ‘end’ of the archive? Are we leaving earth ‘as it is’, by way of a Kantian ‘fresh start’, built an (holy) Arch of all rational, indefinite trust in the exo-terrestrial future, in dialectics of domination and exclusion?
*Act 6 Not an-archivalisticly determined *Act 6 Not an-archivalisticly determined,
(a videoimpression)
*Act 6 Not an-archivalisticly determined, (a video-impression)
Talk with the artist Thomas Hirschhorn about his Spinoza Bijlmer Festival, and about his problem of being described as ‘an-archival artist’ by a famous American art-critic Hal Foster.
Talk with the artist Thomas Hirschhorn about his Spinoza Bijlmer Festival, and about his problem of being described as ‘an-archival artist’ by a famous American art-critic Hal Foster.
The Best of Both Worlds
Graduation Show of the Master Artistic Research of the Universiteit van Amsterdam
Opening: W139, Friday 30 January 21.00 pm
The University of Amsterdam launched a Masters in Artistic Research in 2007, for students with a BA in fine art, music, dance or theatre. The Masters programme offers a combined theory/practice study. The first of the MA graduates will be presenting work in W139.
Zoot Derks, Joa Hug, Zbigniew Maciak, Imke Ruigrok and Vital Stahievitch will present work at W139 on Thursday 19 February. An evening with shows, performances and a lecture.
Presentation: Thursday 19 February 20.00 until 23.00 pm
W139, Warmoesstraat 139, 1012 JB Amsterdam, www.w139.nl
The Master Artistic Research is a collaboration between the Amsterdamse Hogeschool voor de Kunsten, the Gerrit Rietveld Academie and the Universiteit van Amsterdam. The exhibition is sponsored by W139 and the Fonds BKVB.