Sirah Foighel Brutmann

La Valse is dance a film by Thierry De Mey based on the choreography created on Maurice Ravel’s La Valse as the final part of ZOO’s performance Accords. Created as part of the triptych Equi Voci, the film La Valse exists in versions for one or three screens.

The curators invited a group of artists to be inspired by the work of the well-known, Belgian filmmaker Chantal Akerman. They specifically presented them News from Home, the 1976 feature film with two equal main characters: the island of Manhattan, New York where the director resides and her mother in Brussels who, through a stream of letters, demands increasingly urgent news.

Vents Violents is a dialogue with the absence of Belgian Jewish filmmaker Chantal Akerman. The film follows her footsteps along route 3199 in Al-Naqab desert in southern Israel/colonized Palestine, where she filmed scenes that were used in her last film No Home Movie (2015).

Diamonds are forever imagined as an object of desire that circulates as condensed wealth. They can easily carve through a lens or blind our eyes, severing our fetishistic attachment to the glitter of commodities. A perfect cut, carving lines into our retina, separating screen and lens, stone and fluid.

Focusing on underground locations such as quarries, tunnels and caves, the filmmakers investigate the insatiable human desire to extract natural resources from the ground. In three chapters, they explore the healing powers of radon gas found in Austria, the powerful energy felt in stones in Switzerland, and the pearls created by sweat and blood found in Polish caves, a memento of those who died there. Together, these chapters form a geological and cultural history of our (often bodily) relation to the subsoil of the Earth, enabling different modes of knowing and experiencing the world. Like Castorp, the viewer is hence placed in a different reality, and invited to take "the ride into the mountains to be healed".

An Experiment in Leisure explores the link between free time and creativity, between leisure and the kind of imaginative contemplation it facilitates.

The artists, following Chantal Akerman’s footsteps, decide to turn the camera where Akerman didn’t and pronounce the name of this particular desert in its Arabic name. By this simple gesture, Un Âne frames this location, including its geopolitical history and actuality, where there is evidence of colonial practices of segregation and deprivation of the Bedouin community being practiced.

A film made at home; an uncompromising look at ways in which parenthood and the process of filmmaking crush into each other. Through a collection of family videos, the film challenges the dynamics of agency that children and grown-ups have over their images. Different forms of entangled love and violence are rendered visible and audible within the household setting in an honest attempt to understand where light comes from — and all the while, the police are outside the window.

Echoing the title of its precursor film, Un Âne—“a donkey” in French–, [anan] refers to the phonetic sound of the word “cloud” in Hebrew. The film moves through route 3199 in the Negev desert in southern Israel/colonised Palestine—a route followed and filmed by renowned filmmaker Chantal Akerman around her untimely death in 2015. A work invested in an attempt to mourn Akerman in a time of ravaging genocide that creates an inter-generational trauma. A reckoning with the blind spot of European Jewry towards the settler colonisation of Palestine by Zionism and the ongoing Nakba.