Selected videos from the ARGOS Collection
Every second and fourth Wednesday of the month, we will showcase a selected program, including multiple short- and long-form videos, from the ARGOS Collection. Our doors open at 6:30pm, with the approx. 60-minute-long screening starting at 7:00pm. Refreshments and free popcorn are available at the bar throughout the occasion. It would be grand to welcome you at one of the following screenings. Please scroll down to explore the program.
Ready-mades with Interest by Rebecca Jane Arthur, 00:25:23, 2017, BELGIUM
When the filmmaker found a 1967 concert ticket in Vienna, this set her on a musico-historical journey in Austria that eventually led her back home to Scotland. Whilst she traced the information on the ticket and the history behind it, a letter arrived from her father that prompted a grander investigation into the sociopolitical backdrop of the music played that night. Together in conversation with her father, they explore a number of eras in Austria, spanning from the Strauss family’s waltz era to the rise of fascism and the stain it left on contemporary politics. The ticket and his letter become ‘ready-mades with interest’ which spark a contemplation on how past and present day intertwine, and upon the tension between the beauty of the waltz and the realities of the time that the waltz persists in. Whilst reflecting upon the ticket, the film becomes a touching portrait of her father as he shares his knowledge and, sometimes light-hearted, memories with her.
For Now by Herman Asselberghs, 00:32:00, 2017, BELGIUM
In times of great turmoil, time comes to a standstill.
The central two movements in For Now are horizontal panoramas shots and firm, vertical edits. They show shifts of place without the journey. Nature, the wind, movement that occurs all on its own: this would seem to be the film’s real subject matter. The film unfolds in waves. Locations come and go, and come back again – Lewinsky Park, Maximilian Park, Habima Square, Lion Square, Zucotti Park, Times Square or pastoral landscapes at opposite ends of the Mediterranean Sea. The actions are the same: people wait, pass by, kill time. The contrasts between refugees and citizens, between tourists and activists, between Israelis and Palestinians, between Europeans and Americans, all become less clear. The repetition of these unclarified relationships, Asselberghs’ decisively filming after the fact, the enigmatic inclusion of hand signals – all these work together to reveal a certain constellation in which things again come together momentarily before taking their leave. It is a film running alongside the events, and alongside time. A contemporary film in the pure sense of the word – a way of being with time.
For Now is also a publication.