The Art of Destruction or destruction of art. The fascination artists have with explosions, crashes, disassembly and dismantling may be unsettling, but it is certainly a captivating phenomenon. Their motivation may vary from an ordinary thirst for sensation to a necessity to map out or challenge certain social developments. There are also those artists who are purely interested in the artistic and aesthetic potential of destruction.

The Art of Destruction offers a subjective overview of films, videos and documented performances. ‘De Goudslagers’ will provide the evening with explosive intermezzi.



The phenomenon ‘Time’ is firmly embedded in our culture. The idea that time is a linear sequence of smaller units, is the classical conceptual foundation of the film medium; a series of successive images create the illusion of the passing of time. Recent developments in new media challenge artists to experiment with alternative conceptions of time. Indeed, experimental filmmakers and sound artists have long sought after ways in which to express different experiences of time: the expansion and contraction of time, parallel dimensions, acceleration/ deceleration. Audiovisual media as the tools to use to create and experience a new perception of time.

This programme was compiled by Joost Rekveld, filmmaker.



The body of work of the philosophers Gilles Deleuze and Felix Guttari is not intended to be exclusively consumed by scholarly intellectuals. Conversely, the concepts in their book ‘Mille Plateaux’ (1980) resurface time and again in literature, architecture, film, video and especially new electronic music. A kind of audiovisual force that widens the most familiar and trusted horizons of our perception and clears the way of deconstruction and subjectivity. According to Deleuze, the book ‘Mille Plateaux’ need not be read from cover to cover; the reader is encouraged to pursue it for useable ideas and to select only that which is of benefit. The programme ‘1001 Plateaus: Mode(s) d’emploi’ was compiled in this exact same way, by browsing through a widely differentiated body of works, defining a line, and being pleasantly surprised at the unexpected structure that is revealed.

This programme was compiled by Pieter Van Bogaert and Herman Asselberghs, both of whom contribute to the Belgian magazine ‘Andere Cinema’.



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