J. Tobias Anderson, Miriam Bäckström, Johanna Billing, Sonja Lillebaek Christensen, Carl Johan De Geer, Nathalie Djurberg, Bodil Furu, Veli Granö, Sara Jordenö, Jesper Just, Ragnar Kjartanson, Andrea Lange, Cecilia Lundquist, Tova Mozard, Jesper Nordahl, Henriette Pedersen, Pia Rönicke, Mika Taanila, Gitte Villesen The thematic film blocks associated with the exhibition, Dreamlands Burn, unravel and further interpret the questions, which inspired the project, as well as the determinant subject matter that appears in the works. Viewers can enjoy the six film programs (with a length of one to one and a half hours each), consisting of videos and short films, in a cinema milieu at the Menu Pont Gallery, in the project space of the Mûcsarnok/Kunsthalle which was specially transformed for this occasion. The programs – which are held in the auditorium and have been organised with the collaboration of various film institutes – along with the related discussions and presentations take place within the framework of the BBS forum and situate the exhibition program in a more comprehensive cultural context.
ME, MYESELF & I 66’23”)
One of the most significant paradigm shifts that occurred in the 90s had to do with a questioning and re-evaluation of the statements made in reference to national and cultural identity. This film program, on the one hand, focuses on the problematics of national, cultural and gender identities. On the other hand, through presenting stories of individual paths, of possibilities and of the difficulties of finding one’s place, it points to the rather fragile, and not in the least static, essence of individual identity.
1. Bodil Furu: A Place in the Sun (2004) 17’
2. Andrea Lange: Countdown for 2000 broken dreams (2003) 8’ 26”
3. Cecilia Lundquist: C (2001) 2’37”
4. Cecilia Lundquist: Absolutely Normal (2000) 7’
5. Jesper Nordahl: Crazy Girls (2001) 8’25”
6. Carl Johan De Geer: Grandmother, Hitler and I (2000) 17’
7. Johanna Billing: Missing Out (2001) 4’40”
BETWEEN APPETITE AND REASON (67’49”)
The films featured here are diverse in terms of both storytelling and formal/aesthetic approaches. What they do share, however, is a fairly radical, almost absurd, tone. The pieces draw on a wide variety of motion picture genres (from play dough animations through concert recordings to major feature films) while telling stories about dreams, the web of fixations and obsessions, and our human sufferings and passions.
1. Jesper Just: Bliss and Heaven (2004) 7’42”
2. J. Tobias Anderson: 879 colour (2002) 1’23”
3. Veli Granö: Lego Funfair (2002) 6’
4. Henriette Pedersen: Wolfgang and Eva (2005) 9’
5. Nathalie Djurberg: Dans macabre (2005) 5’08”
6. Nathalie Djurberg: Florentin (2004) 3’36”
7. Ragnar Kjartanson: Sorrow Conquers Happiness (2006) 10’
WHAT DO YOU KNOW ABOUT ME? (94’53")
These works ponder the obstacles of our human relations and the boundaries of personality as a knowable thing. The films compiled in this psychologising selection do all this by utilising an impressive repertoire of tools, by making the most of the endless possibilities afforded by role playing and by using intensified dialogues so that our doubts continue to surface and we keep having to ask: what can we know (or found out) about each other?
1. Henriette Pedersen: Is the Queen Getting Bigger? (2004) 5’ 05”
2. Nathalie Djurberg: On Fire (2006) 2’30”
3. Jesper Just: Invitation to Love (2003) 7’40”
4. Cecilia Lundquist: Making Pancakes (2005) 4’58”
5. Miriam Bäckström: The Viewer (2005) 68’
THE ANTHROPOLOGISTICAL EYE (87’53”)
The pieces which are featured in the program entitled The Anthropologistical Eye deal mostly with the altered role and creative strategies of the artist. A working method, which also incorporates documentaristic elements, was a determining feature of the international art scene of the 90s and has been a productive contributing factor to the reinterpretation of the kind of art that is predisposed to social questions. Artist who assess and document phenomena or situations do more than merely use anthropological and sociological research methods; they also reflect on this process, as well as on the questions revolving around the concept and interpretation of documentarism.
1. Tova Mozard: Leona Babette (2002) 7’
2. Sonja Lillebaek Christensen: On a Slow Boat to China (2005) 18’
3. Gitte Villesen: Bus Stops and Parties (2000) 20’
4. Sonja Lillebaek Christensen: Just a Man (2003) 30’53”
5. Bodil Furu: Errol Nordstedt alias Eddie Medusa (2002) 21’
THIS USED TO BE THE FUTURE (72’40”)
This selection, comprised mostly of documentarist films, presents intriguing examples of ideas and dreams about the future through introducing the theories of authors, scientist and everyday people who imagine the verification of their concepts based on the most varied factors possible – be this future a function of explosive technological developments or of interventions by extraterrestrials who rule the universe.
1. Mika Taanila: The Future Is Not What It Used To Be (2002) 52’
2. Pia Rönicke: Untitled Eames Model (2001) 1’40”
3. Tova Mozard: Just Visiting This Planet (2005) 19’
SKETCHES FOR UTOPIA (51’22”)
These works address the questions of historicity through a special approach. They engage the ambitious, modernist historical heritage, which determines the art and political life of northern societies, through contemplations about current visions of the future, touching upon, among other things, the questions of the development of the Scandinavian model and the modern welfare state, its present modus operandi and validity, its crisis or, perhaps, its criticism.
1. Pia Rönicke: Outside the Living Room (2000) 9’08”
2. Mika Taanila: Futuro, A New Stance for Tomorrow 30’
3. Mika Taanila: Optical Sound (2005) 6’
4. Johanna Billing: Project for a Revolution (2000) 3’14”
We reserve the right to make changes in the program.