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

 

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

 

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

 

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

 

Empty house, 1997

Empty house, 1997
16 mm film loop, colour, 0’39”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP

Note / MvW: ‘One day I was visiting Barbara Bloom in Long Island when I saw an empty house for sale. We had a look around inside. The image of the deserted rooms lingered and I wanted to film that emptiness.’

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

 

Chasing Colours, 1996

Chasing Colours, 1996
16 mm film loop, colour, 6’35”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP
added: ProRes 422 HQ, aspect ratio 4:3

Note / During rush hour the traffic on the highways around New York is frantic. Van Warmerdam noticed how the coloured backs of the trucks alternate as they overtake each other, in her words ‘like a moving Colour Field painting’. This became the point of departure for Chasing colours. The hired trucks in this film loop were painted orange and green as a tribute to the then director of the Centraal Museum Sjarel Ex, who had invited her to make an exhibition. Ex once said in an interview that orange and green were his favourite colours; a remark that, incidentally, he later said was meant to be ironic, referring to the World Cup football matches being played at the time.

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

 

Douche (Shower), 1995
16 mm film loop, colour, 5’51”
projector, loop system, projection table
approx. 210 x 280 cm
edition 3 + 1 AP

Note / In addition to Handstand and Sprong, Van Warmerdam also wanted to make a new film for her contribution to the Venice Biennale. ‘During the humid days of the Venice Biennale, what could be better than cooling off under a shower?’ she wondered. In a radio interview Rudi Fuchs once asked her why she chose to film a man under the shower, to which she replied: ‘This is someone who is very good at showering.’
Shortly after the Biennale she was invited to make a work for NS Schiphol. This was Douche as a permanent installation: ‘A refreshing image for travellers who are sorely in need of it’, the artist comments. The film was reshot and the cinema projector placed in a container that was so dust-free that, to everyone’s surprise, the film could be screened for eight to ten months without changing the copy.

Film and video

 

Fiets (Bicycle), 1994

Fiets (Bicycle), 1994
VHS, colour, sound, 2’12”
monitor, 8 bricks, wooden shelf
monitor: 52 cm diagonal / bricks and shelf: 15 x 62 x 45 cm
edition 10 + 2 AP
added: DVD

Note / Van Warmerdam videoed a rehearsal of the performance Bicycle the day before the opening of the ‘Caravanserail’ exhibition. The ringing of the church bells was not in the script, but Van Warmerdam was delighted to record it in the video.

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’.

Film and video

 

Sprong (Jump), 1994

Sprong (Jump), 1994
16 mm film loop, colour, sound, 2’04″
projector, loop system, projection table, speakers
approx. 400 x 300 cm
edition 3 + 1 AP

Note / Van Warmerdam made a film about repetition for the exhibition ‘Watt’ in Centrum Witte de With in Rotterdam. The central figure Watt, from the book of the same name by Samuel Beckett, is characterized as someone who used repetition in an almost hypnotic manner.

Film and video

 

Handstand, 1992

Handstand, 1992
16 mm film loop, colour, 1’40”
projector, loop system, projection table
approx. 190 x 253 cm
edition 5 + 1 AP + 1 HC
added: ProRes 422 HQ, aspect ratio 4:3

Note / Handstand together with Passage, Pashok, Kring and Fare thee well formed Van Warmerdam’s entry for the Prix de Rome 1992. MvW: ‘Since childhood I have done countless handstands in my room and making a film of a girl doing a handstand was very obvious, once I’d decided to make something with movement.’