[spectre] Interzone #0: Document(ary)

[Eric Kluitenberg]

A   N   N   O   U   N   C   E   M   E   N   T


Interzone #0

Document(ary)

De Balie / Friday May 30 / Saturday May 31

Interzone is a new series of programs that De Balie intends to 
develop for the new program season, devoted to interdisciplinary 
explorations across the confines of existing artistic disciplines, in 
the cross-over areas of experimental cinema, media art, sound art and 
performance.

For this zero-edition of Interzone we have brought artists together 
who make explicit use of documentary materials in their work, while 
they have no intention to create an actual documentary. Taking this 
approach, it becomes inescapable that the artist has to articulate a 
different position towards the documentary materials, their origins 
and their context. How is this position defined? Why not rather make 
a straight documentary? What is the influence of the original 
material on the aesthetics of the work and the practice of the artist?

The entire program can also be followed live via the internet at:
http://www.balie.nl/live

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Friday May 30 & Saturday May 31 Grote Zaal

Walk-in Presentation from 13.00 hrs:

SÜDOSTPASSAGE (Southeast Passage. A journey to new Blank Spots on the Map)
Ulrike Ottinger
Ger, 2002, 364', digibeta, eng. subtitles

This (very) long documentary was originally created for the eleventh 
edition of the Documenta (2002), the mayor contemporary art 
exhibition organised every 5 years in Kassel, Germany. Ottinger is an 
acclaimed and highly idiosyncratic feminist fiction film director. 
For this project she pursued an almost ethnographic methodology. From 
her home town Berlin she made numerous journeys to travels to the 
former 'East'. These journeys took her amongst others to Odessa and 
Istanbul, but also to many unknown and little cared about places in 
the country-side. The film, more than 6 hours in length, can be seen 
as a personal travel diary.


George Legrady - An Anecdoted Archive from the Cold War
(Hungary, 1994)

In Legrady's work two different forms of writing history collide: 
Legrady's personal history as an émigré out of Hungary after the 
popular uprising of 1956 was crushed by Soviet army forces, is 
confronted with the official writing of history of the Cold War. 
Legrady subverts the official hierarchical construction of history. 
 From personal memorabilia, propaganda materials, films, and sound 
recordings he creates a personal anecdoted archive, a museum for his 
personal history.

http://www.mat.ucsb.edu/~g.legrady/glWeb/Projects/anecdote/Anecdote.html


Chris Marker - Immemory One
(France, 1997)

Marker engages the viewer in a subtle play. He presents an extensive 
archive of his personal life, his relationship to the things, the 
world (comparable to Legrady). This impression turns out to be 
misleading, however. Marker continuously moves between his actual 
personal history and a fictional existence; memories of events he was 
never part of, while making it apparent that they are truly his 
own.... The treacherous character of memory seems to be the starting 
point for his kaleidoscopic self-image. Marker seems to resist any 
authoritarian information-order and the illusion of universal history.

http://www.mediamatic.net/cwolk/view/2637

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Friday May 30 / Grote Zaal / 20.30 hrs:

Jon Wozencroft & Chris Watson "Weather Report"

Jon Wozencroft, founder of the Touch-label, graphic designer and 
video artist will present  video works that accompany two new 
soundscapes by Chris Watson.

Chris Watson makes sound recordings of rare animal species, natural 
phenomena and specific locations. Beside his work for a.o. the BBC, 
Watson, who in the past was involved with Cabaret Voltaire and the 
Hafler Trio, nowadays also produces works in the genre of 
"soundscapes". "Ol-Olool-O" is the name of a mountain range in the 
west of Kenya, which because of its position has a mayor influence on 
the climate conditions and thus on the animal life and the local 
population. The work, produced only with field recordings, is 
nonetheless marked by an exceptional dramatic tension.

"Vatnajökull" is named after the Vatnajökull-glacier in Iceland. 
Watson follows the journey of the ice to the sea and offers a 'view' 
into the various animal colonies and habitats on its way.

With solemn imagery, largely consisting of nature footage, Wozencroft 
creates a visual pendant of Watson's compositions.

http://www.touch.demon.co.uk/releases/TO15.html

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Friday May 30 / Kleine Zaal / 22.00 hrs

THE DANUBE EXODUS
Péter Forgács
Ned., 1998, 60', betacam, 60', eng. subtitles
The Hungarian  film maker Péter Forgács (Budapest, 1950) is one of 
the most prominent representatives of the so-called found footage 
film makers. In the travel report The Danube Exodus Forgács documents 
the Jewish exodus out of Hungary at the beginning of World War II.

ANGELOS' FILM
Péter Forgács
Ned., 1999, betacam, 60', eng.ond.
In ANGELOS' FILM Forgács uses amateur movies of the Greek marine 
officer and patrician Angelos Papanastassiou, who filmed the 
atrocities of the nazi's in his country, often while endangering his 
own life in the process

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Saturday May 31 / Grote Zaal

Walk-in Presentation from 13.00 hrs:

Ulrike Ottinger - Süd-Ost Passage

George Legrady - An Anecdoted Archive from the Cold War

Chris Marker - Immemory One

(descriptions: see above)

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Saturday May 31 / Salon / 16.00 hrs:

Discussion with participating artists in Interzone about the 
relationship between the documentary source material they use and the 
role these materials play in the final work of art.

With:
John Wozencroft
Gregor Asch (DJ Olive)
John Oswald

Chair: to be confirmed

Language: English

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Saturday May 31 / Grote Zaal / 20.30 hrs

John Oswald "Plexure", "Dab", and "Braziliaires"

Plunderphonics is the name Oswald gives to his music. His composition 
"Dab" is constructed from hundreds of sound fragments of Michael 
Jackson's "I'm Bad". The statement is that compositions that consists 
entirely of samples can be highly original works in their own right, 
there should be no restrictions to the use of samples. This position 
has made Oswald into a controversial composer and a spokesperson for 
the No Copyright movement.
"Plexure" is a staccato of oh's, ah's and yeah's. A flow of sound 
libraries of the last 30 years of popmusic history. "Braziliaires" is 
a radiophonic diary of a journey to Brasil, and deals provocatively 
with the relationships between cultures. In contradiction to the 
soundscapes almost all sounds are imitations of the original recorded 
sound materials.

http://www.plunderphonics.com/


Saturday May 31 / Grote Zaal / 22.00 hrs

DJ Olive "Composition #11" and "Perpetual Soundcheck"

DJ Olive is a turntablist, a composer and musician, who uses the 
turntable as his instrument. He calls his compositions Vinyl Scores. 
DJ Olive makes collections of recordings and stores these sound 
fragments on LP's as if they were his music scores.
As a DJ he creates open compositions by continuously making new 
combinations between archived sounds.

In "Composition #11", a palette of sounds of his immediate living 
environment, DJ Olive attempts to arrive at a personal 
interpretation. "Perpetual Soundcheck" takes the listener to the 
urban metropolis of New York; ranging from the pulsating urban sounds 
to a loud siesta.

http://qrot.net/we/

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Saturday May 31 / Kleine Zaal / 22.00 hrs

LONDON ORBITAL
Chris Petit, Iain Sinclair
GB, 2002, 76', betacam, eng spoken No subtitles

A hallucinating essay-film where the London ring-way (the M25) is the 
starting point for a delirious multitude of poetic and intellectual 
associations. The basis for the film was the book by the same title 
by Ian Sinclair, in which the writer tells about his journey on foot 
along the almost 200 kilometres long road and the multitude of 
observations and connections that emerged during the long march. 
Chris Petit's intention was not to make a film about this march, but 
to start from the trance-like state that the average car driver can 
be put in by the endless car drives along such a road.

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Program team:

Roland Spekle (St. Barooni)
Peter van Hoof (Cinema De Balie)
Eric Kluitenberg (De Balie New Media)

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Ticket sales and reservations:
Admittance evening programs: E 7,50, with reduction: E 5,00
Opening hours ticket box: during working days 13.00-18.00 hrs till 
the start of a program.
In the weekend 1 1/2 hours before start of the program.
Reserve by phone: +31-(0)20 - 55 35 100 during opening hours until 45 
minutes before the start of the program.

De Balie / Kleine-Gartmanplantsoen 10 / 1017 RR / Amsterdam
http://www.balie.nl