KIMBALL GUNNAR HOLTH, I have spoken to a banker, 2022
video film, tarpaulin with paint stains
edition 10 + 2 AP
signed, numbered, dated
€ 650,- plus € 24,- Track & Trace registered EU mail
To each numbered and signed copy a tarpaulin with paint stains is added. It was used by the artist to protect the floor of his studio. A manual is describing how to install the video film shown on a flat screen that lies on the tarpaulin, spread out on a floor.
TWAN JANSSEN, Still, stage property # 98013, 1998
VHS film, 10’5”
cassette (20 x 12 x 3 cm), digital couver print, video tape, sticker
edition 5, here number 3/5
published by the artist
Collection K. van Gelder, Amsterdam
DAVID HORVITZ, Rarely Seen Bas Jan Ader Film, 2009
13 x 13 cm
DVD, plastic sleeve, photo copied cover hand written title by the artist on disc, as issued
published by Art Metropole, Toronto, Canada
MARIEKE ELZERMAN, Marieme / Marieke, 2018 [film]
11 x 11 x 2,3 cm
digital film, 21’31”
engraved USB stick, 4 film stills (selfies), English / Dutch text by Kees van Gelder
signed, numbered, dated
edition 13 + 2 AP
published by Galerie van Gelder Editions and Mo-Art Gallery, Amsterdam
A new film titled “Marieme / Marieke” (2018) by Marieke Elzerman is of a natural beauty. The script is elementary: two girls of just no more teener decide to get to know each other better via WhatsApp. One studies and lives in Ghent (Belgium) and the other lives amidst her family in Dakar (Senegal). Both film their direct surrounding in a light-hearted and almost uneasy manner. Marieme is more defiant and expressive, while Marieke is more reflective and aloof. That brings on that one challenges the other to step more into the open and to make selfies.
No doubt there are contrasts in what is registered, but the differences are not that striking and that makes this film into a factual documenting of two equivalent environments of places of birth, without an underlying social-critical undertone. The latter makes this debut film friendly and human.
At the end of the film a warm gesture by Marieke is shown. Two individual youngsters come closer to each other, yet simultaneously one becomes aware of a calm and more timid attitude to life on one continent and a more carpe diem attitude on the other. More than anything else, these opposite attitudes seem to become crucial for the rest of their life.
In “Marieme / Marieke” (duration: 21′ 31″) the individual experience of one’s behaviour and own existence is the heart of the film and could therefore be called a film on existentialism made in 2018.
Marieke Elzerman (born in Amsterdam, 1996) studies at the film academy KASK in Ghent, Belgium
CANDICE BREITZ, Thriller, 2005
commissioned original film on DVD, 5’54”
menu for both loop and single play, jewell box with booklet
with composition of Alex Fahl and contribution by advertising agency KesselsKramer, Amsterdam
€ 65,- plus registered mail
extra: free booklet
Remarkable art piece on DVD! ‘Thriller’ of Michael Jackson has been for this project especially re-mixed by the artist with the help of four Michael Jackson copy cats and fans. Fascinating film cuttings of look-a-likes in the rythm of ‘Thriller’ creating a fragmented collage.
“Thriller originated from a close collaboration between Candice Breitz and Alex Fahl. The work is based on Michael Jackson’s 1982 song of the same name and was made with footage from their 2005 video production King. Of the 16 characters in this work, they selected four hardcore Jackson fans for Thriller: a belly dancer, a Jackson lookalike, a tough guy in his twenties and a real man. We see and hear how they dance and sing along to their heart’s content to the biggest hit of all time, were it not for the fact that Fahl eliminated the text and limited himself to the protagonists’ breathing, humming, laughing and shouting between the words. He made a remix using this audio material and the original beat from Thriller, and later added the original, corresponding video footage. Subsequently, the four clips were edited next to each other. This makes it seem as if they are all performing together, whereas in reality that was not the case. Just as in many of her other films, here too Candice Breitz emphasizes the importance of music as comfort and a source of pleasure. Amateurism, admiration, submission, impudence… Her protagonists are as innocent as children.
Erik Kessels from the KesselsKramer advertising and communications agency also uses the music that Alex Fahl based on Jackson’s Thriller. His contribution can be seen as a tribute, almost bordering on nostalgia. Instead of people, Kessels lets every kind of conceivable cassette tape move across the screen. From Sony to Maxell, from Philips to TDK. They jump to the rhythm of the music, and the tape moves with it for the duration of the song. This conceptual rendition of music gives Fahr’s sounds something that is simultaneously soothing and unsettling. In 1982, there were barely any CDs around, and for a certain generation it’s almost youthful nostalgia to see all those familiar cassettes follow each other on screen at such a quick pace. Kessels shows, in a way bordering on desperation, how immensely popular Thriller was and still is (Michael – written in teenage handwriting on one of the tapes, complete with a heart above the ‘i’ – is an especially poignant detail). Michael Jackson never equalled the sale of 45 million copies worldwide again, and both Kessels and Breitz emphasize with their contribution how fused they have become to this song.”
Bifrons Foundation, Amsterdam
MIKE PARR, Performance – action, 1983
42,2 x 30,2 cm
offset print, September bulletin
published by Time Based Arts, Amsterdam
€ 180,- plus € 8,- Track & Trace registered mail
This poster announces video and film presentations about videos/films from Australia. Other presentations by Mike Parr (performance-action), Paul Müller, Arthur and Corine Cantrill, Juan Davila & Martin Munz, Dale Frank, Randall & Bendinelli and Philip Brophy & Maria Kozic