de Appel (on the side)
In addition to its regular menu ? the exhibitions ? de Appel is offering a selection of ‘side dishes’ this autumn, additional events that run from lectures and book presentations to mini-exhibitions.
A fixed part of this auxiliary programme will be The Shadow Cabinet, where past and present students from the Curatorial Training Programme (CTP), which de Appel has been running since 1994, will be our guests. They will use the space to make comments about the exhibition policy or to propose their own projects to a wider audience.
The kickoff will be introduced by curator Hilde de Bruijn (NL, CTP 00/01) and artist-curator Gavin Wade (GB) with Strategic Questions – Platform 06 (17 September- 15 October), an exhibition of a series of publications related to 40 questions asked by R. Buckminster Fuller.
Included is the new book work ‘What is positive? Why?’ with contributions by Lise Autogena, Yona Friedman, Marko Lulic, Ioana Nemes, Maria Pask, Marjetica Potrc, Oliver Ressler and Jun Yang.
Nieuwe Spiegelstraat 10
1017 DE Amsterdam
Thu-Sun: 11 am – 6 pm
I've only seen one show at de appel that was worth visiting. After two seperate and unrelated unpleasant experiences at the door I must admit it hasnt been high on my visiting list. Perhaps a change in management will be an improvement, lets face it, things couldnt get much worse.
de Appel presents:
Somewhere in Time
9 September - 5 November 2006
de Appel is kicking off the cultural season, under the leadership of new director Ann Demeester, with a solo exhibition by French-Armenian artist Melik Ohanian (1969).
Ohanian’s Invisible Film (2005), inspired by British filmmaker Peter Watkins’ Punishment Park (1971), will be shown at the Film Museum Amsterdam (Vondelpark 3).
On 22 October the Film Museum will be showing Invisible Film (2005) and the film Punishment Park by Peter Watkins (1971), which served as a source of inspiration for Ohanian’s experiment. Punishment Park depicts an imaginary detention camp in the Californian El Mirage Desert and records, in pseudo-documentary style, the agony of a group of young activists who are persecuted for their resistance to the Vietnam War. After its NY premiere Watkins’s film was immediately withdrawn from distribution in cinemas and has never been shown on television in the US.
If I reading this correctly, Ohanian has copied/remade an obscure film and is presenting it as new work.
Ohanian sees the works he produces first of all as ‘instruments’-cum-containers that must be filled with an array of ‘contents’. He develops strategies and methodologies for research and presentation. The range of contents he covers is broad and extremely varied. He delves into the history of cinema and explores socio-political phenomena
ie he re-presents old found footage as new work. And the creative input is what exactly?