Six Minutes - by Residents of the Rijksakademie
Eye on Art: Six Minutes - by Residents of the Rijksakademie
Compilation programme – with Jackie Karuti and Silvia Gatti – of work by international artists on a two-year residency at the Rijksakademie, created in dialogue with Eye on Art programmer Anna Abrahams. All films are subject to a time limit (6’).
Six minutes... presents time-based works by artists in residence at the Rijksakademie. This collection not only reflects the diversity of practices and influences that emerge within a two-year international residency but also brings into perspective the conditions under which durational practice takes place today. Conditions here can be understood as the position the artist takes as well as the time, expenses and labour spent working on the film. Additionally, the title refers to the strategies employed during the editing process in order to adapt the work from the studio to the screen while attempting to stay within a specified screening time.
The programme is structured in three categories:
‘Digital Infrastructures’ gathers works that experiment with sound and digital poetry, computer generated animation and game development. ‘The Short Film’ presents works in their original length or as excerpts adapted to fit the time allocated while articulating a textured visual language through different formats. Finally, ‘The Body and Performance’ brings together performances both live and adapted for the screen. Created in intimate spaces such as the house and the studio, the body experiments and extends itself through space, movement, touch and sound.
Six minutes... is an extension of this year’s Rijksakademie Open Studios and presents time-based works by fourteen current residents. The programme has been organized by artists Jackie Karuti and Silvia Gatti in dialogue with Eye on Art programmer Anna Abrahams. The title refers to the time adaptation strategies of video works from the studio to the screen.
Programme
Pretend I’m Dead (Jessica Wilson, 2025)
CG animation of a pair of disembodied hands making and unmaking invisible towers on a wooden floor. Through repetitive movements and acts of concealment, the work reflects on the unstable boundary between psychic and objective reality. [Digital Infrastructures]
Preludio (Silvia Gatti, 2025)
An extensive written exploration of dreams and dream memories, questioning the nature of memory, the limits of perception, and the experience of inhabiting a (non)human body. The visuals, partially self-created and partially generated by an AI program trained on body scans and neural connections, blur the fragile boundary between life and death, function and malfunction. [Digital Infrastructures]
Ghost Rococó (Lucas Lugarinho, 2025)
In the last few minutes before the departure of a space vessel containing all of humanity's accomplished dreams, a group of rogue corpse fauna insects hacks into the sleep of a stray bullet in a desperate attempt to produce a dream of their own. Ghost Rococó is a video game that interrogates the double-edged nature of dreams—both as ephemeral and symbolic landscapes of the subconscious, and as the waking ambitions we set to accomplish in waking life. [Digital Infrastructures]
Infected Honey Eyes (Abdo Zin Eldin & Mahdy Abo Bahat, 2025 )
Ali encounters a visitation at his home in Berket El Hag, Cairo. The spectral guest spurs Ali to salvage all his work, igniting him with the spiritual imagination of sufi dwellers and peripheral objects. [The Short Film]
petals like skin, turning: magnolia (Fransisca Angela, 2025)
Looking at the body of a Magnolia tree inside a convent's garden, petals gathered in spring 2024 and 2025 were exposed on a 16mm film as a loop. The work was inspired by letters between Fransisca Angela's oma, Elisabeth Souw, and her Dutch nun friend, Zr. Edmundis Verstappen, who did missionary work in the Dutch East Indies. In 2024, Fransisca visited the monastery in Maastricht. A large magnolia tree stood inside the convent's garden, witnessing the care duties and devoted lives these women have chosen to live. [The Short Film]
An Improvisation Requires, Whenever It May Occur, Whatever You May See, Neither Becoming Stable nor Proclaiming That It Is New (Jort van der Laan, 2025)
Mapping the micro-movements of a compromised immune system, An Improvisation Requires… takes shape as an electric wiring of atmospheric references: earthquake emergency exercises; Body Weather Manipulations (developed by non-dancer and non-choreographer Min Tanaka); anagama (tunnel kilns) and noborigama (climbing kilns). The work forms part of a visual vocabulary that softens and loosens, opening to a more environmental sense of self. [The Short Film]
Top’s Columns and Cracks (Hasan Özgür, 2025)
During the general elections in May 2023, the Turkish government decided to dock a brand new drone warship at the quay just downhill from the Haga Sophia in Istanbul. The weight of this toy elevated to mobile temple becomes an integral part of how the fate-obsessed wounded masculinity of Arabesk music is scaled up to national mythology. What is the fugitive route when the mythological architecture cuts through the total sum of the social in a city? [The Short Film]
those who lived / those who were forced to leave / who stayed in between (Maksud Ali Mondal, 2025)
This documentary is about a riot that happened in the 1950s, right after India gained independence in 1947. The story is from a village named Kethardanga, Bankura. The villagers were forced to leave the country and sent to East Pakistan (now Bangladesh). The architecture in the video carries the memories and traumas of that riot. [The Short Film]
I am who you are afraid of (Lili Huston-Herterich, 2025)
I am who you are afraid of is a short introduction of puppets made by Meg Huston, the artist's mother. [The Body and Performance]
For You – For Me (Avril Corroon, 2025)
For You - For Me documents scientists and the artist at Wageningen University conducting a laboratory experiment to create late blight (Phytophthora infestans) resistance in gene-edited potato leaves. This same disease was responsible for the British Empire-facilitated Great Famine of Ireland (1845-1852) and triggered a severe food crisis in the Netherlands during the same period. The Irish artist periodically appears in scenes as a poorly trained—or perhaps lost—lab assistant, examining both the developed strain of late blight and her own subjectivity as a kind of surviving strain. [The Body and Performance]
explore, adapt, rebel against (Nora Aurrekoetxea Etxebarria, 2024)
“Exploring the relationship between bodies and furniture and how these forms shape us ephemerally, I invited Lisa Barnard, Fernanda Libman and Andoni Zamora to explore through writing and movement the demands of different furniture. Explore the form - adapt to the form - rebel against the form were the prompts to follow. The aim was to create a partiture-script on movement for the following sessions to be read out loud and be performed by fernanda again, in this case without the furniture. Andoni recorded the movement and the gap between her body and furniture, between her body and the voice for 3 days.” [The Body and Performance]
Tuin (Lotte Werkema, 2025)
Experiment with walking through a garden. [The Body and Performance]
No es lo mismo padecerla, que bailarla… (Huaca infectada) (Wynnie Mynerva, 2025)
For this project, Mynerva proposes a first-person experience and places blood at the center of their research: both because of the Christian colonial tradition of “blood purity” and its drifts in terms of privileges. Mynerva uses speculative fiction, creating new myths and legends. To do so, they irreverently subverts colonial religious symbols, such as the Cruz del Camino de los Andes on the canvases or the religious garments used in the inaugural performance. [The Body and Performance]
Flutura (Astrit Ismaili, 2025)
In Flutura (‘butterfly’) Ismaili reclaims Balkan, gendered practices as sites of imagination. The film sheds light on the supposed divide between ancestral knowledge systems and futurity. Drawing on tepsijanje, it introduces a queer singer whose voice transcends time and space. They proclaim: "I shine in the dark. I am what I am, and what I am is what I want to become." Several motifs -the pan, but also hip and arm extensions-, are repurposed as tools towards liberated, self-expression. Weaving these elements together, Ismaili’s queer, futurist vision reframes these traditions as sophisticated technologies. [The Body and Performance]
This is part of
Details
Production year
2025
Length
115 min.
Event language
English
Country
NL
Part of
Eye on Art
Eye on Art is a programme on the intersection between film and other arts. Eye on Art keeps up with current events, with presentations on contemporary artists and programmes that coincide with important exhibitions, manifestations and Eye activities.
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