This film programme is a collection of new and old audiovisual works, which takes the viewer on a search for the notion of “place” through language, identity and memory. Selected films unveil stunningly beautiful and personal stories about the search for roots and belonging. These works discover the poetics and performative characteristics of camera movement detecting the tension between space, architecture and the human body. The programme creates a dialogue between well-known artists and young filmmakers who work in the expanded field of contemporary moving image practice.
Guest artist: Mattijs Driesen (BE)
Admission is free of charge.
Manon de Boer (BE) Resonating Surfaces (2005, 39’)
Mattijs Driesen (BE) Krakeel (2017, 19’)
Beatrice Gibson (UK) A Necessary Music (2008, 25’)
Els Opsomer(BE) 10th of November | 09:05 (2008, 14’)
MATTIJS DRIESEN (b. 1994 in Belgium) obtained his Masters degree in film at the School Of Arts Ghent in 2017. He is currently based in Brussels. Driesen mainly works with documentary filmmaking focusing on the territorial space that his subjects inhabit, but also on the physical presence of the camera within this space.
Resonating Surfaces (2005) is a part of De Boer’s series of cinematic portraits of the 1970s centred on the memories of women. The film unfolds through the introspective narrative of Brazilian psychoanalyst Suely Rolnik, with the city of São Paulo acting as a second protagonist. Among other topics, Rolnik discusses the dictatorship in Brazil in the sixties, her exile in Paris in the seventies, her experience of imprisonment in Brazil for her dissidence, her psychoanalytic work, as well as her relationship with Gilles Deleuze and Felix Guattari. The work undermines its narrative by misaligning the images in the film with the narration and music. As demonstrated by the film’s
opening sequence featuring fragments from Alban Berg’s operas Lulu and Wozzeck, De Boer explores the materiality of sound, especially the physical relationship between the body and the voice.
Krakeel (2017) takes place in the Krakeel neighbourhood in Brussels. An area where the massive social living
blocks are slowly being renovated. During the day, different kinds of machinery move through the neighbourhood while youngsters hang around the football field. At night, two boys explore the rooftops of the buildings. While they are barely visible in this little illuminated space, they do exist. They give comments about their neighbourhood, the city, and each other’s lives. The camera observes them and the forms surrounding them with a certain nervous tension, until it’s time to go home.
A Necessary Music (2008): A musically conceived piece, referencing the video operas of Robert Ashley, the film explores the social imaginary of a utopian landscape through directed attention to the voices that inhabit it. Treating the medium of film as both a musical proposition and a proposal for collective production, A Necessary Music employs the residents of New York’s Roosevelt Island as its authors and actors, gathering together texts written by them and using them to construct a script for the film. Framed by a fictional narration taken from Adolfo Bioy Casares’ 1941 science fiction novel The Invention of Morel, the film self-consciously dissolves from attempted realism to imagined narrative; what begins as an ethnographic study becomes instead an imagined fiction and an investigation into the mechanics of representation itself.
10th of November | 09:05 (2008) Every year on 10th of November | 09:05 in the morning, individuals across Turkey cease all activities – cars pull over, pedestrians stop and stand still – in remembrance of the death of Mustafa Kemal Atatürk (founder and first president of the Republic of Turkey), which occurred on this day and time in 1938. In 2007, Els Opsomer witnessed this strange collective happening, which she has made the subject of a new film. The Turks’ reverence for Atatürk, the charismatic leader who modernized and secularized Turkey after the fall of the Ottoman Empire, is an astonishing national phenomenon that reveals much about the ideological constructions binding – some would say too tightly – the country together. Opsomer’s film, like much of her previous work, is informed by her experiences in the places she visits. It begins with photographic slides taken on site and added to her ongoing “urban archive”. Concerned with how we maneuver through what she considers to be an increasingly aggressive world, she often trains her gaze on urban phenomena that reveal the ways we engage with our surroundings.