Film and video

 

Rrrolle - red, 2011

Rrrolle – red, 2011
35 mm film loop, colour, 0’32”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / MvW: ‘A blue-winged macaw is just as beautiful as a red-winged macaw and that’s why I had both birds turn a somersault on their perch.’

Note / Van Warmerdam is sensitive to the directness of onomatopoeic appeals in titles. The titles Rrrolle – blue and Rrrolle – red are examples of this onomatopoeia.

Film and video

 

Rrrolle - blue, 2011

Rrrolle – blue, 2011
35 mm film loop, colour, 0’53”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / MvW: ‘A blue-winged macaw is just as beautiful as a red-winged macaw and that’s why I had both birds turn a somersault on their perch.’

Note / Van Warmerdam is sensitive to the directness of onomatopoeic appeals in titles. The titles Rrrolle – blue and Rrrolle – red are examples of this onomatopoeia.

Film and video

 

Face to face, 2011

Face to face, 2011
35 mm film loop, colour, 2’14”
projector, loop system
approx. 300 x 530 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9

Note / In Face to face a group of macaws circle round a tree, which appears to exert a strong force of attraction on the birds. The tree trunk has an anthropoid face. Could that be the reason for all the excitement? One might believe it is, particularly when one of the macaws goes and sits on the ‘chin’ of the tree and looks straight into the tree trunk’s eyes. But is it true? MvW: ‘People have a primitive urge to see faces and objects in things and in the film the birds also seem to have that tendency. To me, Face to face is an encounter not just between the birds and the tree, but also between the viewer of the film and the tree.’

Film and video

 

Light, 2010

Light, 2010
35 mm film loop, aspect ratio 4:3, colour, 1’30”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9
N.B. Light is part of Life, a concert in collaboration with composer Louis Andriessen with four films.

Note / The artist’s hand slides across the slats of closed Venetian blinds, allowing light into the room. The end of the film shows an uncontrollable burst of light entering the space. Van Warmerdam reacts to the work In the distance, and in Light she gives ‘looking into the distance’ a more abstract form. MvW: ‘To me, the light that blinds you at the end of the film is an anticipation of what eventually awaits us all.’

Film and video

 

In the distance, 2010

In the distance, 2010
35 mm film loop, aspect ratio 4:3, colour, 2’00”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9
N.B. In the distance is part of Life, a concert in collaboration with composer Louis Andriessen with four films.

Note / Drops of condensation roll down a windowpane before the artist’s hand wipes them away, clearing the view and revealing the relaxed elderly couple in the distance. MvW: ‘With their blurred and un-blurred existence far away, I wanted to emphasize the notion of temporality and the end of time.’

Film and video

 

Couple in the distance, 2010

Couple in the distance, 2010
2x 35 mm film loop, aspect ratio 4:3, colour, 5’23” and 2’00”
projector, loop system
approx. 300 x 400 cm each
edition 1 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9

Note / The film loops Couple and In the distance are combined in this work and are projected on each side of a freestanding wall as an autonomous film sculpture. Two film loops of the same couple are shown from two angles.

Film and video

 

Couple, 2010

Couple, 2010
35 mm film loop, aspect ratio 4:3, colour, 5’23”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9
N.B. Couple is part of Life, a concert in collaboration with composer Louis Andriessen with four films.

Note / Curator Martijn van Nieuwenhuyzen once photographed the former museum director Bram Hammacher and his wife while they rested on a bench in the Giardini di Venezia during a visit to the Biennale. In response to this, Van Warmerdam made the film loop Couple, in which the camera traces a circular motion above and beneath them, sometimes in a distinct close-up, sometimes viewed from a distance or from above.

Film and video

 

Wind, 2010

Wind, 2010
35 mm film loop, aspect ratio 4:3, colour, 5’03”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9
N.B. Wind is part of Life, a concert in collaboration with composer Louis Andriessen with four films

Note / This film was made in response to wagonloads of autumn leaves that Van Warmerdam saw being delivered to a coastal town somewhere in Belgium. Shortly afterwards she collected leaves on the Elswout country estate near Haarlem and laid them out to dry on the floor of her studio. She used them for the film loop Wind, which opens with leaves being lifted up and blown along, carried by gusts of wind in a deserted industrial environment. MvW: ‘A lone feather is whisked away on a sudden breeze, which to me makes this my most narrative film so far. Fortunately, just before the end of the film, the feather is completely reabsorbed into the mass of blowing leaves; not much happened.’

Film and video

 

Onderweg (On the way), 2009

Onderweg (On the way), 2009
35 mm film loop, aspect ratio 4:3, colour, 4’13”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9

Note / ‘An image is most attractive when it just looks normal, but conveys a sense that something’s not quite right,’ says Van Warmerdam

Onderweg – installatie (On the way – installation), 2009
installation with digital film loop, mobile French fries stand, light
52 inch LCD screen
cabin: 220 x 320 x 220 cm

Note / Van Warmerdam was invited by museum director Philip van den Bossche to make an outdoor piece for Beaufort 3, a triennial of contemporary art on the Belgian coast. She made the film Onderweg and installed it in a mobile snack bar. The self-explanatory nature of a Belgian fish and chips stand is counteracted on entering, when one unexpectedly sees a film of a boy on a bicycle, lost in thought.
MvW: ‘No chips with mayonnaise here, but a different kind of energy.’

Film and video

 

Het Grote Geheugen (The Big Memory), 2008

Het Grote Geheugen (The Big Memory), 2008
35 mm film loop, aspect ratio 4:3, colour, 0’22”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9

Note / For the International Sculpture Exhibition Sonsbeek ’08, Van Warmerdam made a film of an eye that has developed over thousands of years, from the woolly mammoth to the contemporary elephant. By filming an omniscient eye, she creates an ode to seeing. MvW: ‘I heard recently that scientific study has shown that three quarters of the brain is reserved for seeing. I don’t know what the further implications of that are, but I do know that I also experience it as such.’

Het Grote Geheugen – sculptuur (The Big Memory – sculpture), 2008
sculpture for digital film loop
concrete, iron, wood, polyester, 52 inch LCD screen
270 x 160 x 420 cm

Note / Van Warmerdam wished to extend the cautious blinking of an elephant’s eye, which must have already witnessed so much throughout evolution, towards the present day by placing the film in a sculpture with an elongated roof.

Het Grote Geheugen – doek (The Big Memory – cloth), 2008
painted elephant cloth : digital print, paint on fabric
151 x 332 cm

Note / This elephant in the procession on the opening day of the Sonsbeek exhibition helped draw the public’s attention to the film sculpture Het grote geheugen in Sonsbeek Park. The cloth on the animal’s back shows a film still, which, in the context of the procession through the city of Arnhem, was intended mainly as a promotional element.

 

Film and video

 

Film and video

 

Dream machine, 2006

Dream machine, 2006
35 mm film loop, colour, 2’39”
projector, loop system
approx. 300 x 400 cm
edition 5 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / Marijke van Warmerdam says about this piece, ‘I hope the viewer soon becomes engrossed in what he or she is seeing. It’s not just the glass but also the background. This film loop is black and white at the start of the film, but changes into strong vibrant colours. Such a change can also occur in a dream, it’s an extra layer, an extra space.’

Film and video

 

Roeren in de verte (Stirring in the distance), 2004

Roeren in de verte (Stirring in the distance), 2004
35 mm film loop, colour, 2’34”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / In Roeren in de verte Van Warmerdam combines the ‘here’ and ‘there’ in various ways in one single image. This mental construct yields not only the interior and exterior, a tabletop and a horizon, but also stirring a cup of tea in the room and the snow outside. MvW: ‘The snow is emphasized by the fact that it’s gradually accelerated and slowed down as it falls; it’s self-evident, but not quite.’

Film and video

 

Film and video

 

The Fuck, 2004

The Fuck, 2004
16 mm film loop, colour, 1’58”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 +1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / This film loop originated as a result of a fragment of the film loop Shake, which the artist found the most beautiful part of the film.

Film and video

 

Film and video

 

LichteStelle, 2000

Lichte Stelle, 2000
35 mm film loop, colour, 2’53”
projector, loop system
approx. 300 x 400 cm
installed with pavilion at Expo 2000, Hanover
installed with wooden bridge at S.M.A.K., Ghent

Lichte Stelle, 2000
16 mm film loop, colour, 2’53”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / MvW: ‘While jogging at the Krumme Lanke in Berlin I saw a boy standing by the water. I wanted to record this tranquillity in a film. During the filming a duck unexpectedly traced a horizontal line straight across the picture. In the montage I saw this horizon correction by the duck as a gift and embraced it.’

 

Film and video

 

Le retour du chapeau (The return of the hat), 1998

Le retour du chapeau (The return of the hat), 1998
35 mm film loop, colour, 1’31”
projector, loop system, straw hats
approx. 300 x 400 cm

Le retour du chapeau (The return of the hat), 1998
16 mm film loop, colour, 1’31”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / Le Creux du Van is in the Swiss Jura, where fickle whirlwinds blow. According to local legend, if you lose your hat on the edge of the ravine, the wind will ensure that it lands back on your head of its own accord. Van Warmerdam made a permanent installation in the Wilhelmina Children’s Hospital in Utrecht, which she supplied with straw hats for the children receiving treatment there. MvW: ‘They watch the film of a hat that disappears and then returns after a while… just like the child who goes into hospital and hopefully comes out again.’

Film and video

 

Skytypers, 1997

Skytypers, 1997
16 mm film loop, colour, 6’23”
projector, loop system, projection table
approx. 210 x 280 cm
edition 5 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / MvW: ‘In New York I regularly saw advertising texts in the sky above the city in the form of matrix letters, which were radio-controlled from aircraft. That gave me the idea of hiring five pilots and having them draw an abstract and Morse-like trail across the sky.’

Film and video

 

Beer (Bear), 1997

Beer (Bear), 1997
2 x 16 mm film loop, colour, 6’06” / 3’53”
2 projectors, 2 loop systems, 2 projection tables
approx. 210 x 280 cm each
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / In the run-up to her first museum exhibition in The Netherlands, Van Warmerdam was thinking about a new work while pacing up and down in her New York studio. After a few days she became aware of this pacing. The Dutch term for pacing up and down is ‘ijsberen’, which also means ‘polar bears’. That persuaded her to place a tame bear in a doorway and, by filming it from two angles, make a double film loop. The bear became restless during the shoot, probably due to the heat from the lights, so it had to be returned to its trailer prematurely. The film was later reshot at the home of the bear’s trainer.

Film and video

 

Blondine (Blond), 1995

Blondine (Blond), 1995
16 mm film loop, colour, 3’25”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / For the Kwangju Biennale in Seoul, Van Warmerdam contemplated the South Koreans with their raven-black hair and she thought it would be nice to bring ‘a blonde’ to that country.

Film and video

 

Vliegtuigen (Aeroplanes), 1994

Vliegtuigen (Aeroplanes), 1994
16 mm film loop, colour, sound, 7’55”
projector, loop system, projection table, speakers
approx. 240 x 320 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / For the exhibition ‘Ik & de Ander’ in the former Berlage stock exchange building in Amsterdam, the initiators Ine Gevers and Jeanne van Heeswijk asked participating artists to make a work that referred to the ‘I and the other’. Van Warmerdam decided to make a work in which no people are present, but instead to ‘react in the opposite direction’, as she herself put it. An aircraft seemed suitable to her, ‘… all the more so because it is actually full of people’.