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| ART AND SURROUNDINGS |
| 4.00 p.m. |
| Guernica, pintura de guerra |
| Santiago Torres, Ramon Vallès, Spain, 2007, Muntsa Tarrés, TELEVISIÓ de Catalunya58' |
| In 1937 German planes bombed the small town of Guernica. The sacred Basque city was reduced to ashes. The brutal attack inspired Picasso to paint the masterpiece Guernica. Ever since then, this immense canvas has been seen as a universal cry against the barbarity of war. This documentary narrates the history of this 20th century icon from its creation to the present. In 1939, with the fall of the Republican government, Picasso himself sent Guernica to the Museum of Modern Art in New York for safekeeping during the War. The program reveals many little-known aspects, such as the existence of an almost 200-page FBI report on Picasso, who was considered a dangerous communist. It was precisely Picasso’s communist militancy during the Cold War that kept the United States from issuing him a visa. The painter was never able to see his Guernica in NewYork. The documentary also explains how the painting was vandalized in New York during the Vietnam War; Franco’s attempts to get his hands on it; the secret post-dictatorship negotations to bring the canvas back to Spain and the censorship of a Guernica reproduction hanging in the UN during the US attack on Iraq. |
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| ARCHITECTURE |
| 5.15 p.m. |
| The Making of the New ICA |
| Branka Bogdanov, USA, 2002, ICA Boston28' |
| The Making of the New ICA focuses on the construction of Boston’s new art museum with the backing of the Institut of Contemporary Art (ICA). This documentaire, filmed over a period of four years, captures the project’s most interesting phases, from its exhilarating inception to its historic completion. The film provides an in-depth analysis of the entire process and interviews with architects Elizabeth Diller, Ricardo Scofidio and Charles Renfro as they illustrate their work. |
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| ART AND SURROUNDINGS |
| 5.45 p.m. |
| Light Art: Keith Sonnier in the Cosmos of Colours |
| Marco Wilms, Germany, 2007, ZDF / ARTE, gebrueder beetz filmproduction27' |
In the last twenty years, Keith Sonnier has carried out numerous public interventions at historical and contemporary architectural sites in Europe and America. Many works have been permanent installations, such as the 1 kilometre long Lichtweg (Light path) at Munich International Airport, the largest interior installation Sonnier has realised to date. The Lichtweg functions as a guide way through the airport.
In 2002 he created a second permanent light installation in Munich: the Verbindung RotBlauGelb, 143 metre long neon-lit corridor in red, blue and yellow tones.
Both are interventions in existing architecture, created not as an attempt to simply revitalise architecture through art, but as a functional interaction between art and architecture - in this case the interventions guide our movement.
Functionality is an important aspect of Sonnier’s work, through which he defines a new role for art in relation to architecture. |
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| ART AND SURROUNDINGS |
| 6.30 p.m. |
| Daniel Buren - Vit et travaille in situ |
| Gilles Coudert, France, 2002, a.p.r.e.s., Onlineproduction, ARTE26' |
| Famous the world over for the use of stripes in his installations, for over forty years Daniel Buren has interpreted locations in a critical manner and has managed, thanks to his works, to bring out the particularities of the museum and public sites where he has intervened. The exhibit at the Pompidou Centre allows us to discover a surprisingly sensitive, complex work. While only a few living artists have had the privilege or courage to contemplate works covering the entire centre, in his exhibit, Buren not only occupies more than the 3,000m2 on the sixth floor, but invades the rest of the building and pervades the city. In a conversation with documentarist Pierre-André Boutang, Buren outlines the course of his art which lives and works in situ. |
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| ART AND SURROUNDINGS |
| 7.00 p.m. |
| Gregor Schneiders Cube in Hamburg |
| Peter Schiering, Germany, 2007, 3 sat, ZDF35' |
| Gregor Schneider’s Project Cube encountered many difficulties before finally finding an ideal location. It was rejected at the Venice Biennale of 2005. The black cube, with the same measurements as the Kaaba in Mecca, became the subject of political discussion. The official reason for the rejection in Venice was the danger of a terrorist attack in the heart of the city at Piazza San Marco, where Gregor Schneider wanted the black cube to be. The film documents the construction-process in Hamburg in March 2007, where the piece of art was finally built. It depicts Gregor Schneider and tells the story behind the various rejections. |
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| PHOTOGRAPHY |
| 7.45 p.m. |
| Hiroshi Sugimoto - Visions in My Mind |
| Maria Anna Tappeiner, Germany, 2007, WDR, 3sat43' |
| Hiroshi Sugimoto (b. 1948 in Tokyo) is one of the most fascinating art photographers of our age. The minimalist black-and-white pictures are studies in silence, clarity and emptiness. Sugimoto, who has been living in the USA since 1970, was lastingly influenced during his days as an art student by Minimal Art and Conceptual Art. In his work, he unites Far Eastern aesthetics with artistic influences deriving from modern Western art. “I am not a hunter,” says Sugimoto, “I have my pictures ready in my head, and then I go out in order to implement these ideas”. Among his best-known series are his shots of natural-history showcases, Dioramas, empty cinemas, Theaters, poetic marine views, Seascapes and out-of-focus architecture, Architectures. All the series follow a particular composition and have to do with the theme of time. They are created at a wide variety of locations worldwide. Sugimoto combines technical precision with great conceptual ambition. Every shot is planned exactly, printed by hand and laboriously retouched. |
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| ART AND SURROUNDINGS |
| 8.30 p.m. |
| Das Richter Fenster |
| Corinna Belz, Germany, 2007, zero one film, WDR / ARTE27' |
| Shortly before the end of the war, the huge 115 square metre south transept window was destroyed. For sixty years the Cologne Cathedral waited for the end to a makeshift solution. For a long time the cathedral architect Barbara Schock-Werner and the Cathedral Chapter wanted an artistic concept that would embrace the onset of the 21st century and could co-exist with the centuries-old glass art of the other windows. In 2002 the Cologne-based artist Gerhard Richter was asked to submit a proposal. Richter soon realised the initial request for a figurative depiction of modern saints was out of the question. But he had another idea. Based upon his 1974 painting 4096 Colours he proposed to fill the twenty-meter high window with thousands of coloured glass squares. Initially Richter began with eight hundred glass colours, that were eventually reduced to seventy-two. Over a two year period the film follows the development of the proposal and the test hangings of the sample panes in the cathedral. |
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| ART AND SURROUNDINGS |
| 9.15 p.m. |
| Schiaffilife - Roxy in the box |
| Massimo Andrei, Italy, 2008, Mater17' |
| Bright acid, artificial colours which speak of contemporary consumerism and malaise, chocolate, detergent, fruit and the important issues of our times. In brief, these are the central elements of the works of Roxy in the box, a modern-day artist. A mixture of videos created by Roxy and the video of her own story in an attempt to merge this coloured image into the images she has painted: this is the manner which Massimo Andrei chose to use in depicting Roxy, not through her works but in her works. There are no cryptic messages or complex conceptualism, but rather unadorned narration and, frequently, confessions which touch upon issues and problems regarding Naples, the city where the artist lives and works. The film never loses contact with the two characteristics shared by the painter and the director: playfulness and irony. Perhaps because people need to seize upon rather than protect themselves from external input, those opportune blows in life, stimuli and, when necessary, “schiaffi “(Italian for slaps as in a slap in the face or humiliation)... Schiaffilife which obviously is in reference to a lifetime of slaps or humiliation, but not in a metaphoric or even existential sense. In the film, slaps are expressed as action, used in response, or used like punctuation |
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| ART AND SURROUNDINGS |
| 9.45 p.m. |
| Takashi Murakami - Art in Progress |
| Marina Zenovich, USA, 2008, Gallery HD27' |
| Multi media artists Takashi Murakami has attracted widespread attention for bridging fine art and popular culture, raising eyebrows along the way for affiliating himself with the realm of retail commercialism. Featuring highlights from his current exhibition at the Museum of Contemporary Art, Los Angeles, this film offers a unique and revealing look into Murakami’s world. |
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| ART AND SURROUNDINGS |
| 10.30 p.m. |
| Antony Gormley - Making Space |
| Beeban Kidron, UK, 2007, Cross Street Films48' |
| Filmed over several months, Making Space is an intimate portrait of British sculptor Antony Gormley as he prepares three new works for a major exhibition. The film follows the artist at work and shows how Gormley produces his art, from casting the moulds of his own body to the eventual installation in the gallery. One of his most ambitious pieces, Blind Light, which Gormley describes as a “cloud in a box,” presents huge challenges and shows the frustrations and eventual triumph of the artist’s vision. Exploring both, the premises of his sculptures and the ups and downs of the creative journey, the film gradually builds a picture of both the pressure and the compulsion that lie behind his work. |
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| ART AND SURROUNDINGS |
| 11.30 |
| Damien Hirst: Addicted to Art |
| Lucy Allen, UK, 2006, ITV The South Bank Show48' |
| Damien Hirst was the main catalyst and front man for the vibrant Brit Art scene of the 1990s, but his interests have always stretched far beyond producing art. His entrepreneurialism has made him a global brand, the controller of an expanding business empire worth over $ 200 million. One of Hirst’s motivations for his growing art collection is Toddington, a dilapidated Gothic manor house in Gloucestershire, which he bought in 2005 for three million pounds and which will one day house his entire collection. Buying art, Hirst confesses, is “an addiction”. With contributions from artists Tracey Emin, Sarah Lucas and Jeff Koons, all of whose works figure in the Hirst collection. |
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