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Size Matters Part Ii: Feature-Length Experimental Video

Wednesday, March 22, 2000
Through the Rearview Mirror: Flemish Film and Video Art, 1989-1998

There are no tulips, Belgian chocolates, or lowlander windmills, no plays on cliches and nothing provincial in these works by Flemish media artists. Rather, it is a worldly lot, savvy about issues both EC and PC, and sustained by a cross-disciplinary mix of visual arts, pop music, dance, opera, and film. Tonight's richly varied program illustrates the rigor, originality, and aesthetic shrewdness of Flemish experimental media arts. Whether it be the Beirut-based plea for political change brilliantly mapped across the music video form in Hä;nzel & Gretzel's Biba Non Biba (1994, 5 mins), or the strange anthropological tale of an inebriated singer from Ecuador in Peter Brosens's El Camino Del Tiempo (1993, 10 mins); the spiralling symmetry of Ana Torfs's dizzying Condition (1995, 10 mins), or the unruly story of everyday surrealism in Karen Vanderborght's What Does She See When She Shuts Her Eyes (1995/96, 14 mins), these contemporary works have no problem arguing that "objects [of art] are always bigger than they appear" in the rearview mirror.-Steve Seid

• lso included: J'Espère Que Vous Allez Bien by Boris Van der Avoort (1998, 13:15 mins); Kobarweng, Or Where Is Your Helicopter? by Johan Grimonprez (1992, 25 mins); Entartement Bill Gates by Noë;l Godin (1998, 1:30 mins); Rue De L'Avenir by Philippe Van Damme (1993, 7 mins).« (Total running time: 77 mins, English subtitles, Beta SP/16mm, Courtesy of Argos)