Cinema Remake – art & film
23 March–1 June 2014
EYE, the new film museum in Amsterdam
IJpromenade 1
1031 KT Amsterdam
The Netherlands
Hours: Saturday–Thursday 11–18h,
Friday 11–21h
Cory Arcangel, Slater Bradley & Ed Lachman, Chris Chong Chan Fui & Yasuhiro Morinaga, Gregory Crewdson, David Maljković, Nicolas Provost, Ana Torfs, Clemens von Wedemeyer
As a sequel to EYE’s successful opening exhibition, Found Footage: Cinema Exposed, which focused on the use of existing footage by artists and filmmakers, EYE presents the exhibition Cinema Remake – art & film, which opens on 23 March. The exhibition shows the work of filmmakers and artists who use iconic feature films as a basis with which to create something radically new, both within cinema and on the interface between film and visual art.
Many artists and filmmakers seize upon existing films in order to unravel their cinematic language, to make the viewer aware of the codes and unwritten laws of film, and to tell their own story. For instance, a well-known feature film that has been ‘transformed’ to a totally abstract shifting field of colour; a documentary based on Hollywood conventions of suspense; or an installation based on a famous film of Roberto Rossellini. In various film, slide, video installations and photographic works, Cinema Remake reveals how cinema continues to serve as a starting point from which to create new and meaningful artworks, time and time again.
Accompanying film programme
EYE’s screening rooms are showing feature films in which the source material is moulded into a completely autonomous film work. The remake is a familiar and frequent phenomenon in the world of cinema. Hollywood in particular often revisits existing films that were either trendsetters or box-office hits in their day or country of origin. Famous examples of successful remakes include Sergio Leone’s A Fistful of Dollars (1964), with which he effectively launched the genre of the spaghetti western, based on Akira Kurosawa’s Yojimbo (1961). Or Rainer Werner Fassbinder’s Angst essen Seele auf (1973), with which he successfully dusted off the romantic drama All That Heaven Allows (1955) by his great example Douglas Sirk. There’s also room in the programme for the films that are reconstructed and given new meaning by the artists in the exhibition, such as Colors (1988) directed by Dennis Hopper and The Trial (1962) by Orson Welles.
Curated by Jaap Guldemond and Marente Bloemheuvel
