Film and video

 

Overlap, 2017

Overlap, 2017
Digital film loop: H264, aspect ratio 16:9, colour, 0’49”
approx.150 x 265 cm
edition 3 + 1 AP

Note / MvW: ‘In high school I struggled with mathematics. I simply did not get it at all and I failed my final exam. Despite this misery, and it was misery, I can be grateful to mathematics since there is one concept from that class that I still remember: the subset. Imagine two circles crossing with a shared space in the middle that can be small or quite large. This area of overlap is what you call the subset. Recently, to my delight I saw this concept in action on the street. It was right outside my house. I ran out with my camera and the wind did the rest.’

Film and video

 

Fast Forward, 2016

Fast Forward, 2016
Digital film loop: ProRes 422 HQ, aspect ratio 16:9, colour, 3’04”
approx. 250 x 445 cm
edition 3 + 1 AP

Note / MvW: ‘In the fall of 1995, I took the course History of documentary at the New School in New York. I could hardly believe what I saw during the first lectures: Lumière, Flaherty, Vertov and so on. It was somehow so close to what I’d made in the preceding years and yet I’d never even heard of them until that moment. Quite a shock! Particularly due to one scene in Robert Flaherty’s Nanook of the North.
A canoeist and a mother with children emerge from a canoe -followed by even more children and finally a dog too. They all appear like wonderful rabbits of various sizes out of a magician’s hat!
Nanook of the North made a deep impression on me at the time, and also when I recently watched this scene again. It even led me to make a new film, Fast Forward in which the journey itself is more important than the final destination.’

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, 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.’