The second part of our film program The Distance Between Slits and Screen – which runs parallel to Cauleen Smith’s solo exhibition, Bronze Icebergs – is now live and online until December 23.
With it we dive deeper into Cauleen Smith’s use of Afrofuturism and the artists’ interest in both real and imagined spaces and territories that transcend the everyday. The program centers around her rarely screened film, The Fullness of Time, made in 2008 in New Orleans’ post-Katrina landscape. It was produced by Creative Time and Paul Chan in collaboration with Kalamu ya Salaam. In this work, Smith used the boundless terrain of science fiction to focus on resistance to historical erasure and a post-traumatic stress disorder rumination. Considering a similar lens, Smith and Kunstverein selected a number of other films, shorts, and archival materials that go into conversation with her own work, leading us on a journey past black caves, crystallization processes, African and indigenous spiritual dance practices, darkly comedic shorts in the style of a public access TV show, Yemaya – the goddess of the sea – and a group of dancers sprouting from the earth, marching joyfully, to the rhythm of a song.
The program includes, in order of appearance, Grondslag by René Hazekamp and Ari Versluis, Pattaki by Everlane Moraes, Children Inhale by Tina Schott, Everybody Dies! by Nuotama Bodomo, The Fullness of Time by Cauleen Smith, Apariciones/Apparitions by Carolina Caycedo, Uit het Rijk der Kristallen by J.C. Mol, and La Cueva Negra by Beatriz Santiago Muñoz.
Please note that some of the material in the film program can be triggering.
For their support to The Distance Between Slits and Screen we wish to thank all the artists, Simona Monizza, Leenke Ripmeester, Marente Bloemheuvel and the team of the Eye Filmmuseum collection, who kindly co-organised this with us.
With it we dive deeper into Cauleen Smith’s use of Afrofuturism and the artists’ interest in both real and imagined spaces and territories that transcend the everyday. The program centers around her rarely screened film, The Fullness of Time, made in 2008 in New Orleans’ post-Katrina landscape. It was produced by Creative Time and Paul Chan in collaboration with Kalamu ya Salaam. In this work, Smith used the boundless terrain of science fiction to focus on resistance to historical erasure and a post-traumatic stress disorder rumination. Considering a similar lens, Smith and Kunstverein selected a number of other films, shorts, and archival materials that go into conversation with her own work, leading us on a journey past black caves, crystallization processes, African and indigenous spiritual dance practices, darkly comedic shorts in the style of a public access TV show, Yemaya – the goddess of the sea – and a group of dancers sprouting from the earth, marching joyfully, to the rhythm of a song.
The program includes, in order of appearance, Grondslag by René Hazekamp and Ari Versluis, Pattaki by Everlane Moraes, Children Inhale by Tina Schott, Everybody Dies! by Nuotama Bodomo, The Fullness of Time by Cauleen Smith, Apariciones/Apparitions by Carolina Caycedo, Uit het Rijk der Kristallen by J.C. Mol, and La Cueva Negra by Beatriz Santiago Muñoz.
Please note that some of the material in the film program can be triggering.
For their support to The Distance Between Slits and Screen we wish to thank all the artists, Simona Monizza, Leenke Ripmeester, Marente Bloemheuvel and the team of the Eye Filmmuseum collection, who kindly co-organised this with us.