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GGerriterrit RRietveldietveld AcademieAcademie 20112011


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“TheThe GodardianGodardian ‘flash’‘flash’ mightmight wellwell embodyembody thethe indis-indis- ccernibilityernibility ofof twotwo procedures,procedures, sincesince itit isis atat thethe samesame ttimeime aa bbreakreak andand aa link.link. ItIt isis aa signalsignal ofof disconnec-disconnec- ttionion andand thethe lightlight ofof anotheranother world.world. ConnectingConnecting oneone sshothot ttoo aanother,nother, aa shotshot ttoo aa pphrase,hrase, fresco,fresco, ssong,ong, ppoliticalolitical speech,speech, newsreelnewsreel imageimage oror advertisement,advertisement, eetc.,tc., sstilltill mmeanseans bothboth stagingstaging aa clashclash andand framingframing aa ccontinuum.ontinuum. TheThe time-spacetime-space ofof thethe clashclash andand tthehe ttime-spaceime-space ofof tthehe ccontinuumontinuum have,have, inin fact,fact, thethe ssameame name:name: History.History. DisconnectingDisconnecting imagesimages fromfrom sstories,tories, GGodardodard assumes,assumes, isis connectingconnecting themthem soso aass toto mmakeake History.”History.”

JJacquesacques RancièreRancière

NNowow thatthat wewe areare eleveneleven yearsyears intointo thethe 21st21st century,century, aandnd ourour NorthNorth AfricanAfrican andand MiddleMiddle EasternEastern colleaguescolleagues aandnd contemporariescontemporaries fight,fight, winwin andand propagatepropagate theirtheir bbattlesattles onon TahrirTahrir SquareSquare andand elsewhere,elsewhere, armedarmed withwith nnothingothing moremore thanthan theirtheir mobilemobile phones,phones, wewe sitsit inin cclasslass atat artart schoolschool andand askask ourselvesourselves questionsquestions aboutabout tthehe eendnd ofof ‘cinema’‘cinema’ asas thethe mostmost engagedengaged artart formform ooff tthehe 220th0th century.century. NNowow thatthat mainstreammainstream filmfilm pro-pro- dductionuction rulesrules thethe waveswaves onon privateprivate flatflat screensscreens andand BBlue-lue- rayray players,players, whilewhile experimentalexperimental cinemacinema increas-increas- iinglyngly hashas toto taketake refugerefuge inin ‘black‘black boxes’boxes’ atat biennialsbiennials aandnd otherother gatheringsgatherings ofof thethe artart world,world, wewe wonderwonder hhowow wewe cancan understandunderstand aa newnew generation’sgeneration’s fascina-fascina- ttionion withwith thethe NouvelleNouvelle Vague.Vague. CanCan wewe stillstill learnlearn fromfrom oorr useuse GodardianGodardian cinematographiccinematographic techniquestechniques likelike ‘‘montage’?montage’? AreAre wewe nostalgicnostalgic forfor thethe authorityauthority ofof thethe ddirectorirector asas aa mediatormediator ofof thethe revolutionrevolution becausebecause wewe


are unable to deal creatively with the ‘undisciplined’

democraticdemocratic powerpower ofof thethe newnew media?media?
democraticdemocratic powerpower ofof thethe newnew media?media?
powerpower ofof thethe newnew media?media? HistoryHistory inin thethe AgeAge ofof Godard’Godard’
HistoryHistory inin thethe AgeAge ofof Godard’Godard’ asas aa modusmodus operandioperandi forfor
HistoryHistory inin thethe AgeAge ofof Godard’Godard’ asas aa modusmodus operandioperandi forfor
extensiveextensive reflectionreflection onon Jean-LucJean-Luc Godard’sGodard’s filmsfilms andand
extensiveextensive reflectionreflection onon Jean-LucJean-Luc Godard’sGodard’s filmsfilms andand

those of many others, the cinematic medium in itself,

its relation to ‘history’ and its connection with social

media and contemporary artistic practices. From

28.March to 1.April, a team of 11 curators will present

their burning questions and musings to the students

and the faculty of the Rietveld Academie as well

as to the general public. Together with forty-five guest

as to the general public. Together with forty-five guest embark on this energetic explorative journey. The

embark on this energetic explorative journey. The

guest embark on this energetic explorative journey. The to be launched during the period of final

to be launched during the period of final exams at

thethe GerritGerrit RietveldRietveld AcademieAcademie inin JulyJuly 2011.2011.
thethe GerritGerrit RietveldRietveld AcademieAcademie inin JulyJuly 2011.2011.
during the period of final exams at thethe GerritGerrit RietveldRietveld AcademieAcademie inin JulyJuly 2011.2011.
during the period of final exams at thethe GerritGerrit RietveldRietveld AcademieAcademie inin JulyJuly 2011.2011.




GGabriëlleabriëlle SchleijpenSchleijpen iinn collaborationcollaboration withwith SolangeSolange dede BoerBoer



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OOpeningpening LecturesLectures && BookBook LaunchLaunch FForor tthehe kkick-offick-off ttoo oourur wweekeek longlong questquest forfor aa betterbetter uunderstandingnderstanding ofof thethe workingsworkings ofof lm,lm, art,art, spacespace andand timetime wwee havehave broughtbrought togethertogether fourfour influentialinfluential voices,voices, threethree vveryery muchmuch alivealive andand oneone whosewhose wordswords areare remarkablyremarkably aalivelive inin spitespite ofof hishis untimelyuntimely deathdeath inin 1992.1992. TheThe fourfour iindependentndependent presentationspresentations whichwhich startstart offoff CCinemainema ClashClash CContinuumontinuum areare thethe markersmarkers ofof justjust asas manymany crucialcrucial posi-posi- ttionsions onon lmlm andand historyhistory thatthat wewe willwill seekseek toto unfold.unfold. First,First, ttherehere isis thatthat ofof tthehe vvisualisual artistartist reinventingreinventing traditionaltraditional ffilmilm techniques.techniques. InIn “Your“Your LifeLife WasWas AA Film”Film” MarkMark LewisLewis wwillill talktalk aboutabout hishis workwork withwith particularparticular emphasisemphasis onon rearrear pprojectionrojection andand day-for-nightday-for-night asas wellwell asas thethe ideaidea ofof aa kkindind ofof modernitymodernity thatthat isis unintentionallyunintentionally producedproduced inin film.film. SSecondlyecondly wewe havehave invitedinvited culturalcultural theoristtheorist BorisBoris BBudenuden toto comparecompare FrenchFrench NewNew WaveWave andand YugoslavYugoslav BBlacklack Wave.Wave. IInn hhisis lecturelecture ‘Waves‘Waves inin SpaceSpace andand Time’Time’ hhee willwill argueargue thatthat thesethese NewNew WavesWaves shareshare aa clearclear ideaidea aaboutbout spacespace andand timetime inin filmmaking.filmmaking. SpaceSpace forfor themthem wwasas society;society; timetime waswas history.history. CanCan wewe reallyreally understandunderstand tthishis today,today, wewe whowho havehave squeezedsqueezed bothboth societysociety andand his-his- ttoryory iintonto aa ssingleingle time-spacetime-space calledcalled cultureculture wherewhere therethere aarere stylesstyles toto bebe createdcreated andand followedfollowed butbut nono waveswaves toto bbringring usus toto anan undiscoveredundiscovered shore?shore? TThehe tthirdhird ppositionosition willwill bebe representedrepresented byby politicalpolitical lm-lm- mmakeraker EyalEyal SivanSivan whowho willwill reflreflectect onon Godard'sGodard's impactimpact inin


tthehe ccontextontext ooff tthehe PPalestinianalestinian question,question, whichwhich GodardGodard sawsaw aass tthehe ccontinuationontinuation ofof thethe EuropeanEuropean JewishJewish questionquestion andand wwhichhich isis oftenoften presentpresent inin hishis work.work. SomeSome callcall itit anan obses-obses- ssion,ion, wwhilehile othersothers havehave accusedaccused himhim ofof anti-Semitism.anti-Semitism. ForFor PPalestinianalestinian filmmakersfilmmakers hehe isis aa politicalpolitical andand revolutionaryrevolutionary ccolleague,olleague, forfor theirtheir IsraeliIsraeli counterpartscounterparts hehe isis anan experi-experi- mmentalental EuropeanEuropean artist.artist. EyalEyal SivanSivan willwill trytry toto readread somesome ooff tthehe iiconicconic andand controversialcontroversial cinematiccinematic momentsmoments inin GGodard'sodard's oeuvreoeuvre concerningconcerning thethe Palestinian-JewishPalestinian-Jewish qquestion.uestion. HeHe willwill looklook atat hishis anti-Zionismanti-Zionism andand hishis fasci-fasci- nnationation withwith PalestinePalestine andand thethe SemitesSemites inin thethe contextcontext ofof ccontemporaryontemporary cinemacinema productionproduction inin PalestinePalestine andand Israel.Israel. OOurur ffourthourth ppresentationresentation isis dedicateddedicated toto thethe latelate SergeSerge DDaneyaney who,who, inin thethe wordswords ofof Godard,Godard, “was“was thethe endend ofof ccriticismriticism asas II uunderstoodnderstood it”.it”. SergeSerge DaneyDaney hashas aa guru-guru- llikeike statusstatus amongamong cinephiles.cinephiles. HeHe waswas rearedreared onon thethe FFrenchrench NewNew WaveWave andand beganbegan writingwriting forfor CahiersCahiers dudu CCinémainéma inin 1964.1964. HisHis outlookoutlook onon things,things, however,however, waswas mmuchuch broader.broader. HeHe waswas oneone ofof thethe firstfirst toto includeinclude non-non- WWesternestern ccinemainema inin hishis criticism,criticism, andand inin thethe 1980s1980s hehe bbeganegan toto contributecontribute articlesarticles onon television,television, advertisingadvertising aandnd thethe newnew mediamedia to,to, amongamong others,others, thethe newspapernewspaper LLibération.ibération. AA recurringrecurring themetheme inin hishis writingwriting isis thethe issueissue ooff tthehe ppoliticsolitics ofof filmmaking:filmmaking: whatwhat pointpoint ofof viewview doesdoes tthehe ffilmmakerilmmaker choosechoose toto literallyliterally andand figurativelyfiguratively confrontconfront tthehe viewerviewer withwith imagesimages ofof thethe world?world?

CCuratedurated byby GabriëlleGabriëlle SchleijpenSchleijpen iinn collaborationcollaboration withwith SolangeSolange dede BoerBoer

GGabriëlleabriëlle SchleijpenSchleijpen

((Netherlands)Netherlands) waswas trainedtrained asas aa visualvisual artist,artist, butbut herher interestinterest inin thethe intersec-intersec- ttionsions betweenbetween art,art, knowledgeknowledge productionproduction andand thethe politicalpolitical ledled hherer toto becomebecome aann educatoreducator andand aa curator.curator. CurrentlyCurrently sheshe isis headhead ofof StudiumStudium GenGenerale,erale, tthehe RRietveldietveld Academie’sAcademie’s transdisciplinarytransdisciplinary lecturelecture program,program, andand headhead ofof tthehe DDutchutch ArtArt IInstitute,nstitute, tthehe MMFAFA pprogramrogram ooff tthehe AArtEZrtEZ ffacultyaculty ooff AArtrt aandnd DDesignesign inin Arnhem.Arnhem.


SSolangeolange dede BoerBoer

((Netherlands)Netherlands) isis thethe foundingfounding directordirector ofof OctavoOctavo publications,publications, whosewhose aimaim iitt iiss ttoo iintroducentroduce seminalseminal textstexts onon contemporarycontemporary artart andand aestheaesthetictic theorytheory ttoo aa DDutchutch aaudience,udience, byby meansmeans ofof excellentexcellent translations,translations, accompaccompaniedanied byby iintroductoryntroductory essaysessays andand interviews.interviews. SergeSerge Daney’sDaney’s bookbook presentapresentationtion isis ccuratedurated byby SolangeSolange dede Boer.Boer. ForFor thisthis programprogram GabriëlleGabriëlle SchleijpeSchleijpenn andand SSolangeolange dede BoerBoer havehave invited:invited:

BBorisoris BBudenuden

((Germany)Germany) isis aa writer,writer, culturalcultural criticcritic andand theoristtheorist basedbased inin BeBerlin.rlin. HisHis essaysessays

aandnd articlesarticles covercover thethe topicstopics ofof philosophy,philosophy, politics,politics, culturalcultural andand artart criticism.criticism. HHee hashas participatedparticipated inin variousvarious conferencesconferences andand artart projectsprojects inin WesternWestern aandnd EasternEastern Europe,Europe, AsiaAsia andand USA,USA, includingincluding DocumentaDocumenta XI.XI. HisHis rresearchesearch

ffocusesocuses onon thethe post-communistpost-communist conditioncondition andand communistcommunist modernismmodernism hhasas writtenwritten extensivelyextensively onon YugoslavYugoslav BlackBlack WaveWave cinema.cinema.


MMarkark LewisLewis

((Canada)Canada) isis anan artistartist livingliving andand workingworking inin London.London. HisHis filmsfilms hhaveave beenbeen thethe ssubjectubject ofof numerousnumerous solosolo exhibitionsexhibitions including:including: thethe VancouverVancouver AArtrt GalleryGallery ((Canada),Canada), HamburgerHamburger KunstvereinKunstverein (Germany),(Germany), MuséeMusée d’Artd’Art ModerneModerne ((Luxembourg),Luxembourg), BFIBFI SouthbankSouthbank (London),(London), MuseoMuseo MarinoMarino MariniMarini (Ital(Italy),y), andand FForteorte ddii BBardard (Italy).(Italy). IInn 22009009 hehe representedrepresented CanadaCanada atat thethe 53r53rdd VeniceVenice BBiennale.iennale. Lewis’Lewis’ filmsfilms havehave beenbeen shownshown atat aa numbernumber ofof InternatiInternationalonal filmfilm ffestivalsestivals including:including: RotterdamRotterdam InternationalInternational FilmFilm FestivalFestival 20102010,, TorontoToronto IInternationalnternational FilmFilm FestivalFestival 20092009 andand BerlinBerlin InternationalInternational FilmFilm FestivalFestival 22010.010. LewisLewis isis ProfessorProfessor ofof FineFine ArtArt atat CentralCentral SaintSaint MartinsMartins CCollegeollege ofof AArtrt aandnd DDesign,esign, London.London. HeHe isis alsoalso co-founderco-founder andand co-directorco-director ooff AfterallAfterall JJournalournal andand AfterallAfterall Books.Books.

EEyalyal SSivanivan

((Israel)Israel) isis aa filmmaker,filmmaker, producer,producer, lecturer,lecturer, essayistessayist andand editoeditor.r. HeHe hashas beenbeen llivingiving inin EuropeEurope andand IsraelIsrael sincesince 1985.1985. HeHe hashas directeddirected moremore ththenen 1010 fea-fea- tture-lengthure-length politicalpolitical documentariesdocumentaries andand producedproduced manymany others.others. BBesideeside wworldwideorldwide theatricaltheatrical releasesreleases andand TVTV broadcasts,broadcasts, Sivan’sSivan’s worksworks areare regu-regu- llarlyarly screenedscreened atat prestigiousprestigious festivalsfestivals andand exhibitedexhibited inin majormajor contemporarycontemporary aartrt sshowshows aroundaround thethe world.world. SivanSivan publishespublishes andand lectureslectures onon thethe Israeli-Israeli- PPalestinianalestinian conflict,conflict, documentarydocumentary filmmakingfilmmaking andand ethics,ethics, politipoliticalcal crimescrimes rrepresentation,epresentation, politicalpolitical useuse ofof memory,memory, genocidegenocide andand representrepresentation,ation, eetc.tc. CCurrentlyurrently SivanSivan isis readerreader inin MediaMedia ProductionProduction atat thethe schooschooll ofof humani-humani- ttiesies aandnd socialsocial sciencessciences ofof thethe UniversityUniversity ofof EastEast LondonLondon (UEL)(UEL) andand tteacheseaches atat thethe schoolschool ofof soundsound andand screenscreen artart atat SapirSapir AcademicAcademic CollegeCollege iinn Israel.Israel.



CCinemainema ClashClash Continuum:Continuum:

AA SSpacepace toto MMoveove IInn ppp.p. 66 –88

113.303.30 15.0015.00

MMarkark LLewisewis ‘Your‘Your LifeLife WasWas AA Film’Film’

115:005:00 15.3015.30


115.305.30 17.3017.30

BBorisoris Buden,Buden, WavesWaves inin SpaceSpace andand TimeTime

117:307:30 19:3019:30 DDINNERINNER ANDAND AA MOVIEMOVIE JJACQUESACQUES RIVETTE,RIVETTE, LLEE VVEILLEUREILLEUR ((ClaireClaire Denis,Denis, 1990)1990) withwith SergeSerge DaneyDaney aandnd JacquesJacques RivetteRivette

119:309:30 21:0021:00 EEyalyal Sivan,Sivan, Godard’sGodard’s TimeTime Line:Line:

11939939 19491949 FromFrom EuropeEurope toto PalestinePalestine aandnd back.back.

221:001:00 21.1521.15


221:151:15 22.1522.15 AA ppresentationresentation onon thethe occasionoccasion ofof thethe llaunchaunch ofof twotwo booksbooks byby andand onon SergeSerge DDaney:aney: ‘Volharden’‘Volharden’ (‘Perseverance’)(‘Perseverance’) isis tthehe aautobiographyutobiography SergeSerge DaneyDaney couldcould nnotot ffinishinish becausebecause ofof hishis earlyearly deathdeath iinn 19921992 andand ‘Een‘Een ruimteruimte omom inin tete bewe-bewe- ggen.en. SergeSerge DaneyDaney tussentussen cinemacinema eenn beeldcultuur’beeldcultuur’ (‘A(‘A SpaceSpace toto MoveMove in.in. SSergeerge DaneyDaney betweenbetween cinemacinema andand vvisualisual culture’)culture’) aa selectionselection ofof translatedtranslated eessaysssays byby SergeSerge Daney,Daney, JacquesJacques RRivette,ivette, GGillesilles Deleuze,Deleuze, OlivierOlivier AAssayas,ssayas, Jean-LucJean-Luc Godard,Godard, withwith anan iintroductionntroduction byby PieterPieter VanVan BogaertBogaert






EErikrik VViskiliskil


ppp.p. 1122 – 1155

IIff II CCan'tan't DDanceance // WWendelienendelien vanvan OIdenborghOIdenborgh


ppp.p. 1155 – 1188



WWhathat ccanan wewe learnlearn aboutabout cinemacinema andand historyhistory ifif wewe ddecideecide notnot toto startstart fromfrom thethe bbrightright ideasideas ofof Jean-LucJean-Luc GGodard,odard, butbut ratherrather choosechoose aa conflictingconflicting pointpoint ofof depar-depar- tture?ure? InIn ‘Totally‘Totally AgainstAgainst GodardGodard Politics’,Politics’, wewe exploreexplore thethe ppowerower ofof cinemacinema fromfrom thethe viewpointviewpoint ofof thethe experimentalexperimental ffilmmaker,ilmmaker, journalist,journalist, poet,poet, andand collectorcollector JonasJonas Mekas.Mekas. WWee kkickick ooffff wwithith aa sshorthort iinterviewnterview oonn videovideo inin whichwhich JJonasonas MekasMekas clarifiesclarifies hishis troublesometroublesome relationrelation withwith GGodardodard andand firmlyfirmly statesstates thatthat hehe isis “totally“totally againstagainst GGodardodard politics”.politics”. InIn thethe lectures,lectures, screenings,screenings, andand dis-dis- ccussionsussions thatthat followfollow wewe willwill trytry toto findfind outout whatwhat hishis oownwn viewsviews onon filmmakingfilmmaking amountamount to,to, andand inin whichwhich ddirectionirection hishis attitudeattitude ofof experimentalexperimental freedomfreedom leadsleads uus.s. WWee aarere eextremelyxtremely pleasedpleased thatthat somesome ofof JonasJonas MMekas’sekas’s closeclose friendsfriends areare willingwilling toto contributecontribute toto thethe pprogram,rogram, andand thatthat wewe areare ableable toto dodo aa fullfull screeningscreening

ooff tthehe ddocumentaryocumentary FFREEREE RRADICALSADICALS

iingng documentarydocumentary onon thethe historyhistory ofof experimentalexperimental cin-cin- eemama thatthat waswas releasedreleased onlyonly aa fewfew monthsmonths ago.ago. TheThe

IItt iiss aann eexcit-xcit-


pprogramrogram highlightshighlights JonasJonas Mekas,Mekas, andand alsoalso payspays aattentionttention toto aa rangerange ofof filmmakersfilmmakers andand artistsartists whowho aarere inin oneone wayway oror thethe otherother relatedrelated toto him.him. WWhathat sshouldhould youyou knowknow aboutabout ourour mainmain protagonist?protagonist? JJonasonas MekasMekas waswas bornborn inin LithuaniaLithuania inin 1922.1922. AfterAfter sspendingpending thethe warwar inin aa GermanGerman laborlabor camp,camp, hehe movedmoved ttoo NNewew YorkYork inin 1949.1949. ThereThere hehe continuedcontinued toto writewrite ppoetryoetry andand startedstarted filmingfilming hishis ownown dailydaily life.life. HeHe soonsoon bbecameecame aa thrivingthriving forceforce inin thethe artart scene,scene, writingwriting aboutabout aandnd supportingsupporting thethe avant-garde,avant-garde, workingworking withwith AndyAndy WWarholarhol andand GeorgeGeorge Maciunas,Maciunas, foundingfounding institutions,institutions, aandnd developingdeveloping hishis ownown filmmakingfilmmaking intointo anan extremelyextremely ppersonal,ersonal, erraticerratic homehome moviemovie style.style. TheThe AnthologyAnthology FFilmilm Archives,Archives, whichwhich hehe co-foundedco-founded inin 1970,1970, isis thethe ffirstirst mmuseumuseum ddevotedevoted entirelyentirely toto filmfilm asas art,art, andand hhousesouses thethe largestlargest collectioncollection ofof avant-gardeavant-garde andand eexperimentalxperimental filmfilm inin thethe world.world. AtAt thethe ageage ofof 8888 JonasJonas MMekasekas isis nownow recognizedrecognized asas aa filmmakerfilmmaker andand artistartist ooff cclassicallassical staturestature whosewhose experimentsexperiments showshow thethe mostmost iintriguingntriguing strategiesstrategies suitablesuitable forfor capturingcapturing historyhistory byby wwayay ofof sstayingtaying asas closeclose asas possiblepossible toto everydayeveryday life.life.

CCuratedurated byby ErikErik ViskilViskil

EErikrik VViskiliskil (Netherlands)(Netherlands) isis aa researcher,researcher, writer,writer, andand aa filmfilm eenthusiast.nthusiast. HeHe iiss aa fformerormer mmemberember ofof thethe boardboard ofof directorsdirectors ofof RietveldRietveld academacademieie andand ffounding-coordinatorounding-coordinator ofof itsits departmentdepartment ofof ImageImage && Language.Language. ForFor thisthis pprogramrogram ErikErik ViskilViskil hashas invited:invited:

GGideonideon BachmannBachmann

((Germany)Germany) isis aa writer,writer, critic,critic, interviewer,interviewer, photographerphotographer andand fifilmmaker.lmmaker. HeHe mmetet JJonasonas MekasMekas inin thethe filmfilm classesclasses ofof HansHans RichterRichter atat thethe CityCity CollegeCollege inin NNewew York.York. WhenWhen BachmannBachmann startedstarted thethe GroupGroup forfor FilmFilm StudyStudy JonasJonas MekasMekas jjoinedoined himhim andand theythey workedworked togethertogether forfor somesome time.time. BachmannBachmann dirdirectedected ttwowo ddocumentaryocumentary filmsfilms inin whichwhich hehe portrayedportrayed hishis friend:friend: JJONASONAS ((1967)1967) andand UUNDERGROUNDNDERGROUND ((1967).1967). GideonGideon BachmannBachmann isis aa well-knownwell-known moderatormoderator ooff ddiscussionsiscussions andand presspress conferencesconferences atat internationalinternational filmfilm festfestivals.ivals.

PPipip ChodorovChodorov

((USA)USA) iiss aa ffilmmaker,ilmmaker, distributor,distributor, historian,historian, andand friendfriend ofof JonJonasas MekasMekas ffromrom aa yyoungerounger generation.generation. HisHis Paris-basedParis-based publishingpublishing companycompany Re:Voir’Re:Voir’ sspecializespecializes inin avant-gardeavant-garde cinema.cinema. HeHe broughtbrought outout severalseveral filmsfilms byby


JJonasonas MekasMekas onon DVDDVD andand publishedpublished aa numbernumber ofof hishis books.books. TogetheTogetherr withwith CChristianhristian LebratLebrat hehe isis thethe editoreditor ofof anan elaborateelaborate analysisanalysis andand handbookshandbooks oonn Mekas’sMekas’s filmsfilms Walden:Walden: DiariesDiaries NotesNotes andand Sketches,Sketches, andand LostLost LLostost Lost.Lost. HHisis mostmost rrecentecent projectproject isis aa documentarydocumentary onon thethe historyhistory ofof expeexperimentalrimental ffilmmaking,ilmmaking, withwith thethe appropriateappropriate titletitle FFREEREE RRADICALSADICALS ((2010).2010).

SSaraharah PaytonPayton andand ChrisChris TeerinkTeerink

((USAUSA aandnd Netherlands)Netherlands) areare filmmakersfilmmakers basedbased inin Amsterdam.Amsterdam. InIn 20020022 theythey sspentpent sixsix weeksweeks withwith aa cameracamera inin andand aroundaround thethe AnthologyAnthology FilmFilm ArchivesArchives iinn NewNew York.York. TheyThey capturedcaptured thethe dailydaily lifelife ofof JonasJonas MekasMekas andand tatalkedlked withwith hhimim aboutabout hishis viewsviews onon filmfilm andand filmmaking.filmmaking. TheirTheir documentarydocumentary IINN TTHEHE SSHADOWHADOW OOFF TTHEHE LLIGHTIGHT,, wwhichhich evolvedevolved outout ofof thethe project,project, waswas launchedlaunched aatt tthehe IInternationalnternational FilmFilm FestivalFestival RotterdamRotterdam inin 2007.2007.


AAdamsdams SSitneyitney

((USA)USA) iiss aa FFellowellow ofof thethe AmericanAmerican AcademyAcademy ofof BerlinBerlin andand ProfessProfessoror ofof VVisualisual ArtsArts atat PPrincetonrinceton University.University. HeHe firstfirst metmet JonasJonas MekasMekas aatt thethe ageage ofof 117,7, aandnd theythey becamebecame closeclose friendsfriends andand collaborators.collaborators. HeHe appearsappears inin sev-sev- eeralral ofof JonasJonas Mekas’sMekas’s films.films. TheyThey co-foundedco-founded thethe AnthologyAnthology FilmFilm ArchivesArchives iinn 1970.1970. HisHis ‘Visionary‘Visionary Film’Film’ (1974)(1974) isis thethe firstfirst majormajor writtenwritten historyhistory ofof AAmericanmerican avant-gardeavant-garde film.film. InIn ‘Eyes‘Eyes UpsideUpside Down’Down’ (2008)(2008) hehe givegivess aa ddetailedetailed analysisanalysis ofof JonasJonas Mekas’Mekas’ filmmaking,filmmaking, whichwhich hehe describedescribess asas thethe ppoetryoetry ofof eeverydayveryday life.life.



TTotallyotally AgainstAgainst GGodardodard Politics!Politics! ppp.p. 1212 – 1144

113.303.30 13.4513.45

IInterviewnterview JonasJonas Mekas,Mekas, videovideo

113.453.45 15.0015.00

IInn tthehe SShadowhadow ofof thethe Light,Light, lecturelecture SSaraharah PaytonPayton andand ChrisChris TeerinkTeerink

115:005:00 15.3015.30 BBREAKREAK

115.305.30 16.4516.45

TThehe PPoetryoetry ooff EEverydayveryday Life,Life, llectureecture P.P. AAdamsdams SitneySitney

117.007.00 18.3018.30

FFREEREE RRADICALS:ADICALS: AA HHISTORYISTORY OOFF EEXPERIMENTALXPERIMENTAL CCINEMAINEMA ((PipPip CChodorov,hodorov, 2010,2010, 82”),82”), screeningscreening iinn presencepresence ofof thethe directordirector

118:308:30 20:1520:15 DDINNERINNER BREAKBREAK

220.150.15 21.1521.15

SSelectionelection ofof filmsfilms andand fragmentsfragments byby JJonasonas MekasMekas

221.151.15 22.0022.00

DDiscussioniscussion withwith SarahSarah Payton,Payton, PP AAdamsdams SSitney,itney, PPipip CChodorov,hodorov, andand CChrishris Teerink,Teerink, moderatedmoderated byby GideonGideon BBachmannachmann

222.002.00 22.3022.30

JJONASONAS ((GideonGideon Bachmann,Bachmann, 1967,1967, 30’)30’)