FILM SCREENING - KURANT KINO
Robert Julian B. Hvistendahl (NO)
Ruth Aitken (UK)
Humle Isabella Rosenkvist (SE)
Sarah Schipschack (DE)
Responding to the theme of NOUAs annual program theme Kurant Visningsrom has curated an evening of moving image and experimental films.
Kurant Kino presents Things To Come at Atelier NOUA. The programme reflects upon choice, its impact and its application. How is our life subject to the decisions of others, and the environment we find ourselves within? Are we each “A free person”, or are we bound by external forces? Do we balance on a knife’s edge, one decision away from falling? Or, are we fated and should just resign ourselves to enjoy what comes? Afterall, it is said the proof of the pudding is in the eating.
The programme has been selected in collaboration with Sarah Schipschack, and with use of film archives Filmform (SE), Lightcone (FR) and Arsenal (DE). Kurant would also like to extend thanks to the artists Bernd Lützeler, Ørjan Amundsen and Basim Magdy.
Things to Come
Act 1- 50 min
Der Optionist - Sylvie Boisseau, Frank Westermeyer, 2004 (Arsenal)
One Infinite Loop - Ørjan Amundsen, 2018
From the Top of a Steep Hill - Katja Aglert, 2011 (Filmform)
A Country’s New Dawn - Sandra Schäfer, 2001 (Arsenal)
Golf - Mårten Nillson, 1999 (Filmform)
_galore - Bernd Lützeler, 2018
The Watchmen - Fern Silva, 2017 (Lightcone)
A Film About The Way Things Are - Basim Magdy, 2010
Act 2 - 40 min
Kontoret, Skärholmen - Mats Eriksson Dunér, 2012
Kurant Visningsrom is an artist-led gallery, events and project space for contemporary art in Tromsø, established in 2009. Their mission is to be a champion of early career and emerging artists, to support the emerging contemporary, art-scene in Tromsø and to instigate and engage in discourse with the broader community. Kurant Kino is a semi-regular event open to the public, where we screen curated programmes of artists’ moving image and experimental film.
Robert Julian B. Hvistendahl materialises social structures, amplifying moments of tension, disintegration and transformation through process-based sculptures and installation. He graduated from the MA programme at Tromsø Academy for Contemporary Art, 2017 and has been a drift member for Kurant since spring, 2017.
Humle Rosenkvist is a homesick, installation artist, who uses ceramics and other media to explore socialism and collectivism - both Swedish and globally. She joined Kurant in winter 2017, and graduated from the BA at Tromsø Academy of Contemporary Art in 2018.
Ruth Alexander Aitken is an interdisciplinary artist who works with ethics, climate and economics through subtle acts of resisistance and non-action. She graduated from the MA programme at Tromsø Academy of Conteporary Art in summer 2018, and has since worked for Kurant.
Sarah Schipschack is a curator for artist moving images and she started working with screenings in 2003 in Leipzig, Germany and initiated together with curator Leif Magne Tangen a screening series for Artists´moving image (AMI) called “Reihe Experimentalfilm” in 2006. She co-founded Polar Film Labs in Tromsø and is the guestcurator for Kurant Kino.
ABOUT THE FILMS
Sylvie Boisseau, Frank Westermeyer
The protagonist considers his choices going forth, as if his wishes were not contingent on those who pass by, while also giving himself up to the vagaries and chances of the universe.
One Infinite Loop
Ørjan Amundsen, 2018
A wealth of luxurious images and advertising-copy appear in a ceaseless train. Emblems of individual choice, stripped of soundtrack and logo, now reveal a homogeneity and relentlessness in their looping silence. An aesthetic futurism reveals a bland and hollow collective imagination, a denuded language and an absence of choice.
From the Top of a Steep Hill
Katja Aglert, 2011
A precise and insistent voice recites to us anecdotes about light, over footage from the brightest place on earth - New York’s Times Square. Stories are formed from the collision of lives, matter and energy or from an absence of such, shedding light on an universal complexity.
A Country’s New Dawn
Sandra Schäfer, 2001
The turn of the millenium symbolised a moment of fear, aspiration and hope. A transition from the old to the new. A year after the ill-fated Millenium Dome was opened, the exhibition was closed due to consistent financial problems, and its constituent artifacts were auctioned off. While made in 2001, A Country’s New Dawn gains new meaning and context in 2019. Does it capture a pivotal moment, is it prophetic or merely another oddity within our linear history?
Golf. A community, an arena for power, a social activity, entertainment, a period of peace, a game - striking a ball is a moment of transference of both energy and control.
A slow tracking camera indulges in an excess of items, displayed and sold in shops and markets in Bangalore, India. Announcements from the streets remind those taking public transport to be careful of their belongings, drawing parallels between value, utility, decoration and abundance, in a city of over 10 million people.
A visual poetry links together a slow imagery - from the everyday to the fictitious images of hollywood, the watchtower to the body and the sky. We are all connected in the act of watching, but how does this determine the material conditions of our experience, and of society? Who and what controls our decisions and where do we assign agency in the act of watching?
A Film About the Way Things Are
“Every second was a failed attempt at understanding the complex geometry of time” speaks a narrator reflecting on existence, the ‘real’ and its perception. Does this voice speak for a person, a community, an intangible force? Moving from the architectural to the social, the work never settles - its shifting position and imagery reminding us of the ambiguities, paradoxes and inconsistencies with which we build our sense of the world.
Mats Eriksson Dunér, 2012
Narrated by an actor, ‘Kontoret Skärholm’ follows the anecdotes of Kenneth and his time being homeless, participating in the systematic theft of copper from abandoned factories and warehouses. The copper being stolen was, in part, from the communications networks of Stockholm. For it to be sold on, for their own survival, the group needed to officially set themselves up as a business - ‘The Office”. We follow Kenneth’s history and activities as he reflects upon his ‘outsiderness’, position, and connectivity - and the interconnection of the society he once left, and has since rejoined.a