Film and video

 

La visione, 2018

La visione, 2018
Digital film loop: ProRes 422 HQ, aspect ratio 16:9, colour, 1’36”
approx. 300 x 530 cm
edition 3 + 1 AP

Note / La visione is one of the many film loops Van Warmerdam made recently while during a longer stay in Rome. One might describe the motif in this work as “appearing” and “disappearing”. The camera plays with the aura of bright sunlight behind the statue of an angel. About her work, the artist says: ‘It’s important to me that the work moves in some way or another, either literally or figuratively. I’m looking for clarity, too – for a simple image that intensifies for example through repetition.’

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

 

Prague 24/7, 2015

Prague 24/7, 2015
Digital film loop: ProRes 422 HQ, aspect ratio 16:9, colour, sound, 1’32”
approx. 122 x 217 cm
edition 3 + 1 AP

Note / In tourist shops, nothing is as fleeting as the trinkets that are supplemented once again every season with a new eye-catcher. Such as the thermal mug that reacts to differences in temperature; when filled, the heat of the coffee or tea makes an image appear. MvW: ‘After pouring in the hot tea, a panoramic cityscape gradually crawled up from the bottom to the top. I’d never previously seen a vertical film pass before my eyes.’

Film and video

 

Film and video

 

Monologue intérieur, 2013

Monologue intérieur, 2013
Digital film loop: ProRes 422 HQ, aspect ratio 16:9, colour, 19’34”
approx. 200 x 355 cm
edition 3 + 1 AP

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

 

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’.

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.’