7. Werkleitz Biennale Happy Believers
Festival Program
Picture Gallery
german version
Friday 08.09.2006

11 a.m.
Führung durch die Exhibition

11 a.m. Exkursion nach Silberhöhe - Beesen
Church visits and talk
with Pfarrer Hans-Dieter Schubert

2 p.m. Weinecksaal / Cinema
Einführung Solvej Helweg Ovesen & Melvin Moti

Da zdravstvuyet Meksika! / Que Viva Mexico!
Sergei Eisenstein & Grigori Alexandrov
MX 1930-32/USSR 1979, 84 min,
Russian with German voice over

4 p.m. Weinecksaal

Experiencing the Unexperienceable
lecture by Katrin Solhdju, Berlin

Media Practices:
The Séance as an Artistic Format and Technique

lecture by Verena Kuni, Frankfurt a.M.
Moderation: Anke Hoffmann

6 p.m.
Führung durch die Exhibition

8 p.m. Weinecksaal / Cinema
Einführung von Solvej Helweg Ovesen & Melvin Moti

Adrian Paci
AL 2002, 14 min

La Ricotta
Pier Paolo Pasolini
IT 1962, 30 min, Italian with German subtitles

Sriwhana Spong
NZ 2005, 3:47 min, English

Les maîtres fous / The Mad Masters
Jean Rouch
FR 1955, 30 min, English

10 p.m. Happy Believers Club
Press Conference with Marcel Duchamp
Eine Séance von und with Julia Kissina, Berlin


Spiritual Soft Hop
DJ F.S. Blumm, Berlin

11 p.m. Weinecksaal / Cinema
Einführung von Jan Schuijren

Get on Board
PlayStation 2
1 min, English

Wir sind Dir treu
Michael Koch
CH 2005, 9 min, English

PlayStation 2
Life 0:59 min, English

Jeroen Eisinga
NL 1993, 3 min, English

Escape the Circus
PlayStation 2
1:01 min, English

Lara Rettondini & Oscar Brito
IT 2004, 3:18 min

Different Place, Different Rules
PlayStation 2
0:42 min

The Juggler
Sami Kallinen
FI 2003, 7:40 min, English

Calin Dan
RO/NL 2003, 3:30 min

My Browser
NL 2002, 3 min, Dutch with English subtitles

Everybody Loves a Winner
Doug Fishbone
US/GB 2004, 8:30 min, English

Visit Your Third Place
PlayStation 2
0:35 min

The Great Escape
Jeroen Offerman
NL 2000, 10 min

The Great Escape

Jeroen Offerman: The Great Escape
The videowork The Great Escape by Jeroen Offerman has an affinity with the landscape paintings of the German romanticist Caspar David Friedrich. The Romantic School revolved around the artist’s personal feelings and longings – romanticists wanted to escape from reality and were inclined towards what is faraway, foreign and unfamiliar. Offerman takes romanticism to an extreme, because here, everything is about ‘Sehnsucht’, or in the artist’s own words: when a man is offered the possibility to change his life expectations for good, he doesn’t hesitate a moment and seizes the opportunity. We see a landscape of a beach and the sea on a remote coast. There is not much ‘movement’ in the image, because the camera is in a fixed position and the video virtually consists of a single shot (Offerman regards his work as a ‘living painting’). During the projection, the small speck in the distance slowly changes into an approaching hovercraft. The sound of the engines also builds up more and more, heralding the arrival of the vessel. Once it has landed on the beach, the rear-loading ramp is lowered, and a young man runs into the craft and sails away into the distance. Eventually the image is back where it started. We could interpret this work as being rooted in a romantic inclination for individual freedom, with the vessel the symbol of human destiny, a mysterious yearning for distant journeys in both the geographical and spiritual sense, and with the young man as a repoussé figure with whom the viewer can identify by looking over his shoulder into the immense world that is out there. At the same time, The Great Escape refers to science-fiction films in the genre ‘Extraterrestrial life comes to earth to save mankind from its destruction’, such as Close Encounters of the Third Kind by Steven Spielberg or The Day the Earth Stood Still by Robert Wise, in which extraterrestrials come to earth in spaceships to save mankind. The hovercraft can easily serve as a metaphor for a spaceship. Both interpretations (romanticist and sci-fi) have an influence on Offerman’s work. The theme of man versus nature also plays a central role in both interpretations.
(Vinken & Van Kampen)
Courtesy of Netherlands Media Art Institute, Montevideo/TBA