Viewmaster Projects Presents: EXCHANGE
Tien videowerken in vijf steden, een samenwerkingsproject met:
Pennings Foundation – Eindhoven
Geldropseweg 63 / www.penningsfoundation.com (vanaf 10 december)
Mirte van Duppen
2016 / 12 min
The Stretch: Between two Frames (Morocco)
2018 / 03’55”
In 2016 nam Mirte van Duppen deel aan de workshop Open Set Dutch Design Seoul Sessions te Seoul (KR), mede mogelijk gemaakt door het Stimuleringsfonds Creatieve Industrie. De film toont observaties van de stad, van een straatbeeld met Koreaanse versies op westerse logo’s, tot geregisseerde selfie taferelen met traditionele Koreaanse kledij. De fragmenten tonen de schoonheid van het alledaagse.
Mirte van Duppen (1990, Tilburg) is a visual artist – working with film – that lives and works in the Netherlands. She holds a Master of Graphic Design from the Sandberg Instituut in Amsterdam (NL), and a Bachelor of Graphic Design from ArtEZ Institute of the Arts in Arnhem (NL). In her work she analyses the function, interrelations and transformative powers of (urban) landscapes and the human interaction with these landscapes. She uses reality (what we see) and/or fictional (what we imagine) elements as tools for analysis and composition. In her intuitive and very precise way she captures the landscapes in almost still photographic film footage. With the images she shows, reveals and evokes something from the viewer. Through direct interaction with these landscapes, and their underlying (un)-written rules, functions, history, and their users, she explores the terrain between fieldwork and storytelling.
Between Two Frames in Morocco is part of a series of videos called the Stretch. In these short films we witness a computer program trying to make a transition between two video fragments shot in the same location but with a half century in between them.
The first frame of every transition is taken from digitized holiday video tapes from the 60s, which the artist obtained from a family friend; a woman who had the chance and privilege to travel the world before the dawn of mass tourism. The last frame in the transition is from present day found footage from the same location. Most of these places have now become tourist hotspots.
By instructing the computer to fill the gap between these two moments a lot of flaws and glitches emerge, but also new compositions and connections, reminding us of our human efforts to make sense of change and time.