Yalda Afsah, Mit Borrás, Steffen Goldkamp, Vika Kirchenbauer, Thomas Taube, Jeroen Van der Stock, Tobias Zielony
The Antwerp based art space TICK TACK has invited PYLON to host a screening program during the summer months.
CTT (Cinema Tick Tack) is a new and exclusive platform for moving image works. Reaching numerous of passersby and commuters on a daily basis, CTT serves as a channel, stimulating a connection in its urban setting.
The screening program INSOMNIA features video works of seven international artists:
Jeroen Van der Stock
INSOMNIA deals with different levels of reality as well as the phenomenal and psychological processes associated with the night and the motif of sleep. The films portray notions of isolation and solitude, restlessness, subculture and the occult, as they question the twilight states of in-betweenness – the interstice between logic and the delusion.
A selection of films will be streamed here on our website during the month of August:
4th - 8th | "ADAPTASI CYCLE - ARCYRIA" (2021) by Mit Borrás
9th - 13th | "After Two Hours, Ten Minutes Had Passed" (2019) by Steffen Goldkamp
14th - 18th | "Dark Matters" (2014) by Thomas Taube
19th - 23rd | "Night Horse" (2019) by Jeroen Van der Stock
24th - 28th | "Al-Akrab" (2014) by Tobias Zielony
From between billowing clouds of foam, tense bodies appear, sneakily passing through the image. The youngsters whose gazes and gestures alternate between aggression and fear, provocation and fallback are fully focused on their opponent – the bull, a physically superior force of nature that they are trying to corner.
As a balancing act between observational documentation and abstract study, the short film „Tourneur“ documents a bull fight in Southern France. The film subtly comments on the disparity between the young, adrenaline rushed participants and the physically superior animal, cornered by the adolescent men. The unpredictability of the situation is increased by foam flooding into the makeshift arena, which equally affects the participants’ and the audience’s view. In the opaque foam mass, the encounter between human and animal turns into a surreal and archaic performative act – as if it has slipped away from reality, it becomes its own abstraction. The footage, made up of momentary sequences, removes the event from its cultural and geographic context, transposing it into an abstract cinematic space. Afsah’s sound track and the use of music highlight the physicality of the humans and the bull.