[artinfo] 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