From 4 to 7 June 2015, the first Kumu Art Film Festival will take place, which is also the first cultural event in Estonia to focus on the relationship between film and the visual arts. During the four days of KuFF, documentary, staged and experimental art and artist’s films will be screened in the Kumu auditorium. The film-makers are all connected to the visual arts in one way or another and they reveal this relationship in their films. This can mean focusing on the pictorial language of film and its dislocation, documenting the internal life of the art world, combining film and video art strategies, and much more.
The Kumu Art Film Festival is comprised of many thematic sections: artist’s films, documentary films on art, experimental forms combining film and video, as well as archival materials. KuFF is also collaborating with the Oberhausen Film Festival and will screen materials from their archives.
The opening and the first screening will take place on Thursday 4 June, and the festival will continue from Friday through Sunday.
Artist talks will also be organised at the festival.
Ticket for one screening 3 € / Day ticket 9 €. Tickets: Piletilevi and Kumu.
All screenings apart from “A Clockwork Orange” (in the Sõprus cinema) will take place in the auditorium of the Kumu Art Museum.
Artist talk after the screening. Conversation is conducted by Lee Maripuu.
Nora’s Sisters, 2009, 7’5’’
Forum, 2009, 15’
Shaken, Not Stirred, 2010, 19’
Red Dawn, 2013, 4’10’’
Misses, 2007/2013, 16’
Dear D, 2015, 9’
Marge Monko (1976, Tallinn) is an Estonian photo and video artist, who often works in the video format that unites the documentary and the staged. Monko is interested in the representations of gender roles and in social tensions; her oeuvre is founded on feminist and psychoanalytical texts. Monko also tends to employ a lot of archived materials and historical documents, which she links to the present day. The video Nora’s Sisters has previously been shown at the Manifesta Biennial of Contemporary Art in 2012.
Dir Andy Kimpton-Nye
Great Britain 2004, 59 min
Introduction by Tõnu Karjatse
Derek Jarman was one of the UK’s most talented, innovative and controversial independent film-makers, making such significant films as Caravaggio and Wittgenstein. He was also a hugely talented painter, writer and gardener, and following his HIV+ diagnosis became an ardent activist for gay rights. He only made the films he wanted to make, giving voice to his vision of the world as a gay man, and a lover of high art and Super-8. He died in 1994. Derek Jarman: Life as Art explores the rich and colourful life and loves of Jarman through the entertaining, insightful and thought-provoking recollections and perspectives of some of Jarman’s closest friends, family and colleagues, including Tilda Swinton, Christopher Hobbs, James Mackay, Simon Fisher Turner, Nigel Terry, Tariq Ali, Peter Tatchell and Jill Balcon. Gorgeous slow-motion Super-8 shots of the contributors act as cut-aways, bringing the influence of Jarman’s stylistic look to the documentary. Clips and stills from his films and previously unseen footage of Jarman directing Wittgenstein give a clear feel for the anarchy, colour, imagery and poetry of the man and his work.
Introduction by Peep Puks
Peeter Tooming. A Sentimental Short Story, 1966, 10’53’’, Tallinnfilm
Peeter Tooming, Peep Puks. Home Village, 1969, 10’15’’, Tallinnfilm
Peeter Tooming. Years, 1977, 18’21’’, Tallinnfilm
Peeter Tooming. Walking to the Spring, 10’19’’, Tallinnfilm
Peeter Tooming (1939–1997) was a director and cameraman of documentaries at Tallinnfilm (1961–1994), and the author of nearly a hundred films, as well as a photographer, founder of the photo group Stodom (1964) and one of the most significant organisers and influences in the Estonian photography circles. His films are characterised by entwined documentary and staged elements, as well as poetic imagery rich in symbols, which creates an independent film space. The earliest of the films shown at KuFF – A Sentimental Short Story (1966) – has not been shown to general audiences before.
Artist talk after the screening
Wassertanz II / Water Dance II
Für M. / For M.
Schmetterling / Water Dance II
Nach dem Feuer II / After the Fire II
Skulptur und Wasser / Sculpture and Water
Leopard, der gähnt / Yawning Leopard
Kolonialgarten / Colonial Garden
The Colour Run*
Mona Lisa (2013)*
Löwenkopfbrunnen* / Fountain with a Lion’s Head
Schlittenfahren* / Sledging*
Im Schnee* / In the Snow
Abendglitzern / Evening Twinkling
Nachmittagslicht / Afternoon Light
Kakibaum III / Persimmon Tree III
Große Wasser / Big Waters
Super 8 to 16mm, silent, colour and bw*
Helga Fanderl (1947, Ingolstadt, Germany) lives and works in Paris, France, and Frankfurt-am-Main, Germany. Fanderl is an artist whose films have been recorded on Super 8 mm or 16 mm. She always puts together a new, intimate programme for screenings and likes to present it in person. Fanderl films the surrounding environment, capturing on the tape whatever happens to be intriguing her the most at any given moment.
Dir Stanley Kubrick
USA, Great Britain 1971, 136’
Introduction by Tristan Priimägi
Stomping, whomping, stealing, singing, tap-dancing and violating, Derby-topped teddy-boy hooligan Alex (Malcolm McDowell) has his own way of having a good time – at the tragic expense of others. Alex’s journey from amoral punk to brainwashed proper citizen forms the dynamic arc of Stanley Kubrick’s future-shock vision of Anthony Burgess’s novel. Unforgettable images, startling musical counterpoints, the fascinating language used by Alex and his pals: Kubrick shapes them into a shattering whole.
Controversial when first released, the film garnered four Academy Award nominations: Best Picture, Best Director, Best Screenplay and Best Film Editing. Its power still entices, shocks and mesmerises.
Introduction by Laurence Boyce
L’Amour sauvage. Dir Lior Shamriz, Germany 2014, 26’
xx-xx-xx-gewobenes papier / xx-xx-xx-punutud paber. Dir Michel Klöfkorn, Germany 2014, 6’ 30’’
River Plate. Dir Josef Dabernig, Austria 2013, 16’
False Twins. Dir Sandro Aguilar, Portugal 2014, 21’
La Estancia. Dir Federico Adorno, Paraguay 2014, 14’
The International Short Film Festival Oberhausen, founded in 1954, is one of the oldest short film festivals in the world. It has become one of the world’s most respected film events: a place where film-makers and artists, ranging from Roman Polanski to Cate Shortland, from George Lucas to Pipilotti Rist, have presented their first films.
KuFF is happy to present a selection of the Oberhausen on Tour 2015 programme, 2014 festival highlights from the “International Competition” and “Artist Film and Video” selections.
Dir Derek Jarman
Great Britain 1986, 93’
Introduction by Hanno Soans
Derek Jarman struggled for seven years to bring his portrait of the seventeenth-century Italian artist Michelangelo da Caravaggio to the screen. The result was well worth the wait, and was greeted with critical acclaim: a freely dramatised portrait of the controversial artist and a powerful meditation on sexuality, criminality and art, a new and refreshing take on the usual biopic.
The film centres on an imagined love triangle between Caravaggio, his friend and model Ranuccio, and Ranuccio’s low-life partner Lena. Conjuring up some of the artist’s most famous paintings through elaborate and beautifully photographed tableaux vivants, these works are woven into the fabric of the story, providing a starting point for its characters and narrative episodes. Caravaggio features wonderful performances from Nigel Terry, Sean Bean and, in her first role, Tilda Swinton, who was to become Jarman’s muse and long-time collaborator. A visual treat, it was the first major film production for award-winning costume designer Sandy Powell, with luscious production design by Christopher Hobbs.
Introduction by Kati Ilves
Stong Sory (Vegetables), 2005, 2’
For a Better Life, 2006, 2’
OWT, 2007, 3’
Monolog, 2009, 12’
It, Heat, It, 2010, 6’
The Artist, 2010, 10’10’’
I Wish this Video was Deeper, 2011, 5’
Swallow, 2013, 12’
Wantee, 2013, 15’
After After the End, 2014, 8’35’’
We Know We Are, 2015, 4’44’’
Laure Prouvost (1978, Croix-Lille, France) lives and works in London and Antwerp. Prouvost mainly uses videos and installations in her oeuvre. The imagery and story-telling in her videos is multi-layered, containing a number of astonishing moments and surrealistic references. Prouvost was the first French artist to win the renowned Turner Prize, in 2013 for her work Wantee.
Introduction by Jagna Lewandowska, Marika Kuźmicz (Fundacja ARTon, Warsaw)
Wojciech Bruszewski. YYAA, 1973, 2’53”
Wojciech Bruszewski. Text – Door, 1974, 2’
Paweł Kwiek. 1,2,3 … Cinematographer’s Exercise, 1972, 7’55”
Paweł Kwiek. Numbers, 1973, 7’53”
Paweł Kwiek. Video A, Studio Situation, 1974, 3’25”
Paweł Kwiek. Video P, 1975, 10’59”
Tomasz Konart. Film and Memory, 1978, 15’14’’
Jolanta Marcolla. Kiss, 1975, 1’51”
Jolanta Marcolla. Caprice, 1975, 10’
Jolanta Marcolla. Forced Response, 1976, 1’20”
The programme of Polish experimental films from the 1970s allows us to get acquainted with one of the most interesting conceptual film schools in Eastern Europe. The oeuvre of all the authors of the screened films is characterised by movement between different media (film, photo, performance, installations and object art, etc.) and an innovative approach to filming in their time. Their short films examine the specifics of film imagery by focusing on its various elements and conventions, with a close inspection of single gestures and sensory experiences.
Dir Cindy Sherman
USA 1997, 82’
Introduction by Liina Siib
Known primarily for her photography, Cindy Sherman has made a career out of crafting fascinating identities for her mythical “self-portraits”, in which she literally becomes a different person. Sherman takes that notion of invisibility to her debut feature film, Office Killer, a horror-comedy that depicts the gruesome metamorphosis of an employee whose hours have been cut having trouble coping with her diminished role. Like her artwork, Office Killer has all of the high drama, unusual humour and clever references a Sherman fan could want. The artist’s emphasis on feminine roles in society is cunningly entwined in Hitchcockian fashion with the role of a female killer.
Dorine Douglas, a mousey copy editor who has been one of the back-office copy editors for Constant Consumer magazine for 16 years, has her hours cut and becomes a part-time work-at-home employee faced with spending more time tending her invalid mother. When Dorine is called into the office late one night to help the demanding writer Gary Michaels fix his computer, she is shocked when he is electrocuted trying to jimmy the wires. To assuage her loneliness, Dorine decides to take the dead body home to the basement of the house. When the chain-smoking publisher Virginia commands Dorine to team up with the pushy Kim Poole to re-write Gary’s lead story in time for publication, Dorine decides to add to the dead bodies in her basement, and Virginia’s body joins Gary’s….
DJ Kersten Kõrge, Kumu Café is open.
No entrance fee and party lasts until midnight.
Introduction by Laurence Boyce
Returning to Aeolus Street . Dir Maria Kourkouta, France and Greece 2013, 14’
Non-Euclidean Geometry. Dir Solveiga Masteikaite / Skirmanta Jakaite, Lithuania 2013, 11’
A Million Miles Away / Miljon miili eemal. Dir Jennifer Reeder, USA 2014, 28’
Exorcize Me. Dir Ang Sookoon, Singapore 2013, 3’
Gangster Backstage. Dir Teboho Edkins, France and South Africa 2013, 37’
Introduction by Kati Ilves
Onion, 1997, 5’40’’
A Man and a Carrot, 2001, 2’
Helsinki 2000, Episode 2, 2001, 10’30’’
The Social Construction of Reality, 2005, 17’
Night School, 2007, 15’30’’
Vantaa, 2008, 10’
Rigid Regime, 2002, 13’
Polis X, 2012, 15’30’’
Material Conditions of Inner Spaces, 2014, 15’29’’
Erkka Nissinen (1975, Helsinki, Finland) lives and works in Hong Kong and New York. Nissinen is an artist who mainly works with video, performance and film media. His oeuvre is based on absurdity, dark humour and the grotesque; he is fascinated by linguistic and cultural misunderstandings and clashes. He can often be seen in his own videos, playing the central role.
Introduction by Anu Allas
Tamás St. Auby, Kentaur, 1973–1975, Ungari, 39’, Béla Balázs Studio
Marge Monko, Nora’s Sisters, 2009, 7’5’’, Eesti Kunstimuuseum
Tamás St. Auby’s film Centaur is one of the most intriguing films ever created in the Eastern-European socialist countries. It deals with the conflict between the socialist living environment and the ideology that shaped this environment. The film includes scenes of everyday life in Hungary in the 1970s and workers who have been made to speak critical, philosophical and humorous texts written by St. Auby. Centaur is a parody of contemporary propaganda films, and creates an opposition between the image (daily life) and voice (utopia). The film, which was made in the famous Béla Balázs Studio, was banned in 1975, even before its last version was completed; it was restored from preserved material in 2009.
Dir Peter Greenaway
Great Britain 1982, 103’
Introduction by Peeter Laurits
Peter Greenaway became a director of international status with this witty, stylised, erotic country-house murder mystery. In idyllic 17th century Wiltshare, an ambitious draughtsman is commissioned by the wife of an aristocrat to produce twelve drawings of her husband’s estate, in return for which he will receive payment, board and bed – hers. There’s a very complex game being played here, hidden away beneath all the ostentatious politeness. Extravagant costumes, a convoluted plot, elegantly barbed dialogue and a score by Michael Nyman make the film a treat for ear, eye and mind.
With the support of: