Film and video

 

Kersentijd (Cherry season), 2012

Kersentijd (Cherry season), 2012
35 mm film loop, colour, 2’25”
projector, loop system
approx. 200 x 355 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 16:9

Note / In Kersentijd (Cherry Season), a young woman playfully hangs a cherry-bob on her ear. From the intimate intrusiveness, a sensual painterly space emerges: on the shiny surface of the cherries is the reflection of an open window with curtains moving in the wind. Through her mirroring of the immense in the minute, Van Warmerdam manages to inject a magical quality to something as ordinary as a pair of cherries. The two-and-a-half minute sequence is one camera movement looped and will be experienced as a continuous flow. As the film is ‘one big close-up’, the screen is relatively monumental in relation to the space, encouraging the viewer to be immersed in the work.

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

 

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

 

Trembling, 2008

Trembling, 2008
35 mm film loop, colour, 3’09”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP

Note / The calyxes of a petunia quiver more than usual in the shopping basket on the front of a bicycle. With the grey road surface rushing past, Van Warmerdam had the film loop Trembling served to her on a platter. To make it, she first had to ask René Welker to return the plant, which had been a gift. MvW: ‘A strange rhythm is created because the horn-shaped flowers are so top-heavy. It is difficult to fix your attention on single flowers. Every attempt to do so is immediately thwarted.’

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

 

Wake up!, 2006

Wake up!, 2006
35 mm film loop, colour, 2’44”
projector, loop system
approx. 300 x 400 cm
edition 3 + 1 AP

Note / In order to film an Arcadian landscape, Van Warmerdam decided to travel to Morocco with a small crew. The tranquil landscape is disturbed by a splash of water that suddenly appears in the picture.

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

 

Shake, 2001

Shake, 2001
35 mm film loop, colour, 2’15”
projector, loop system
approx. 210 x 280 cm
edition 3 + 1 AP

Note / For the Yokohama Biennale M. combined pink business cards and the blossom of the Japanese cherry in a film. She wanted to respond to something typically Japanese.

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

 

It crossed my mind, 2000

It crossed my mind, 2000
16 mm film loop, colour, 2’58”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP

Note / In this film Van Warmerdam used a panning shot for the first time. To this she adds: ‘Previously the camera was either static or it revolved in a circle around the subject, such as in Voetbal or Kring.’

Film and video

 

Splash, 2000

Splash, 2000
16 mm film loop, colour, 1’28”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP

Note / Splash is a film loop of a car wash with strips of fabric swishing to and fro without any human presence, as is the case in Twine and Happy splash.

Film and video

 

Leapfrog in Kitakyushu, 1999

Leapfrog in Kitakyushu, 1999
16 mm film, colour, 3’14”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP

Note / In 1999 Van Warmerdam was invited to stay in the CCA in Kitakyushu for three months. She concluded her visit by showing a film she made in situ. She interpreted the characteristic Japanese custom of bowing as the start of a game of leapfrog. In the film she brings these two together, with the widest tree in Japan in the background.

Film and video

 

Twine, 1999

Twine, 1999
16 mm film loop, colour, 1’51”
projector, loop system, mirror, aluminium, paper, shelf
projection size 15,4 x 21 cm
edition 5 + 1 AP

Note / As she had done with Passage and Biljart, Van Warmerdam decided to make Twine into a loop and project it onto a small paper screen using a film projector in order to make the image more intimate.

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

 

Car, 1998

Car, 1998
16 mm film loop, colour, 0’45”
projector, loop system, table, projection screen
table: 85 x 100 x 300 cm / screen: 75 x 100 cm
edition 3

Note / MvW: ‘I wanted to make an all-in-one film: a moving subject, stark and shiny, while virtually nothing happens in it. Then I saw a man in Washington polishing a car incredibly well.’

Film and video

 

Echo - Hello version, 1997

Echo – Hello version, 1997-2000
S-16 mm film loop, colour, sound, 3’32”
projector, loop system, projection table, CD, CD-player, speakers
approx. 200 x 334 cm
edition 3 + 1 AP

Note / In 2000 Van Warmerdam made a ‘Hello version’ for the London Lisson Gallery. She hired a number of actors who call out ‘hellooooo’ with an echoing voice several times in the film loop. This was used as
a greeting for the visitors to the gallery.

Film and video

 

Echo - Swiss version, 1997

Echo – Swiss version, 1997
S-16 mm film loop, colour, sound, 3’32”
projector, loop system, projection table, CD, CD-player, speakers
approx. 200 x 334 cm
edition 3 + 1 AP

Note / For the ground floor of her exhibition ‘Bonjour, bon echo’ in the Centre d’Art Contemporain Fri-Art in Fribourg, Van Warmerdam invited a number of Swiss artists, whose combined (family-name) initials formed the word ‘Fri-Art’ and the street name ‘Petites Rames’. These were: Fleury, Rondinone, Ikemura, Armleder, Rütimann, Thomkins & Pozarek, Emch, Toblerone (not an artist, but a huge bar of chocolate), Ireland, Tinguely, Eigenheer, Schiess, Robert-Tissot, Anüll, Moser, Epars, and Schnider. For the first floor she made a film of a typical Swiss mountainside, at which Michel Ritter, director of the CAC, shouted the names of the Swiss artists, which then returned as an echo.

Film and video

 

Koor (Choir), 1997

Koor (Choir), 1997
2 x 16 mm film loop, colour, sound, 6’39”
2 projectors, 2 loop systems, perfo machine, amplifier, speakers
approx. 77 x 104 cm / 400 x 575 cm
edition 3 + 1 AP

Note / For the exhibition ‘Mitenand’, which means ‘together’ in Swiss German, Van Warmerdam made a film of a choir performing a contemporary work by composer Roderik de Man. As companion piece she filmed a young man yodelling in the Swiss Alps. In Koor the footage of the choir, filmed from behind, is alternated with a shot that refers to the local yodelling tradition.

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

 

Biljart (Pool), 1997
16 mm film loop, colour, 3’53”
projector, loop system, paper, aluminium, mirror, shelf
projection size 18,4 x 13,6 cm
edition 5 + 1 AP

Note / MvW: ‘I once saw a photo of a pool champion in an American newspaper. I wanted to recreate that. It had to be something that is motionless and moving simultaneously.’ The film loop shows a pool player standing with a cue in his hand, waiting. While the man looks straight ahead, occasionally a pool ball rolls past.