“What does the animal see when it looks at me?” Three animals and a woman in an enclosed space. The camera emphasizes this idea of the animal gaze by filming them intently. As the voiceover narration suggests, the film is premised on the idea that animals observe and judge us, and that we may learn something if we try to act according to their standards. Based on complex thoughts about our relationship with the animal kingdom, the film tackles this huge subject from an oblique angle.
- performance ERIN HILL, HERTOG, ONIDA, ALEXANDRA
- camera ADRI SCHROVER
- sound DIEGO VAN UDEN
- gaffer WALTER BIRKHOFF
- costume design and installation HEDWIG VERVOORT, CHARLES ANTOINE CHAPPUIS
- editor BEA DE VISSER
Scripted, performed and recorded for the Pear Shaped Exploratios art project by Bea de Visser. Performed by counter tenor Oscar Verhaar. Lyrics are an assembly of elements of the European Convention on Human Rights and the woman Shakespeare monologues, written by Bea de Visser.
- counter tenor OSCAR VERHAAR
- camera BENITO STRANGIO
- sound MATT KEMP
- editor BEA DE VISSER
- text adaptation Modest Doubt #1 BEA DE VISSER from European Convention on Human Rights, Women Monologues by William Shakespeare
- song adaptation by OSCAR VERHAAR
Scripted, performed and recorded for the Pear Shaped Exploratios art project by Bea de Visser. Performed by Javier Krohn en Erwin Roommert Weerstra.A contemporary interpretation of Gnossiennes 1 by Erik Satie, in both composition and composer.
- piano JAVIER KROHN, ERWIN ROMMERT WEERSTRA
- camera BENITO STRANGIO
- sound MATT KEMP
- editor BEA DE VISSER
- music Modest Doubt #2 Gnossienne nr. Erik Satie adaptation for two piano's by BEA DE VISSER
A cinematic performance where all drama is excised, remains invisible. A post-narrative, staged documentary image of an almost deserted pool, a day before its demolition.
- HD, 18 min.
- Written, directed and edited by Bea de Visser
- cast: Simon Versnel
- Camera: Gregg Telussa, Jan Wich
- Sound: Matt Kemp
- assistant producer: Hans Eijses
- production: Anotherfilm
In one long shot this adaptation of La Mamma
Fricchettona, a monologue by Nobel Prize winner Dario Fo,
shows Viviane De Muynck in a humorous elucidation of a
woman's odyssey from doting motherhood to a state of
independence whilst addressing an invisible and
anonymous man. In an ambiance of a warehouse filled with
white sacks the protagonist vociferously relates her nonexistent
relationship to husband and child and her escape
to the alternative underground of squatters and punks,
who are more of a family to her than her own brood.
- HD, 14 min.
- monologue by Dario Fo and Franca Rame
- scenario, direction: Bea de Visser
- cast: Viviane De Muynck
- camera: Adri Schrover
- sound: Cees van der Knaap
- executive producer: Hans Eijsses
- production: Anotherfilm
Theatre scenery for 'Circusism', performed by the jazz ensemble I Compani
A performance: Mozart looks round, as long until, ..., he flies off...gone.
The film make good use of the expectation that something will happen. The owl Mozart is the performer who touches you by his beauty, plush outlook, lust for murder and its deadly weapons. With some black humour for projection dream images are pushed away by the shadows of the mind and bizarre illusions about the bird and his prey. In the end it happens: the bird flies off.
- HDV video, 7"51 min.
- Director, editing: Bea de Visser
- Camera: Jacques Laureys
- Owl: Mozart
- music (live performance): I Compani
- guidance Mozart: Yvette van Velthuisen
- production: Anotherfilm
"Nothing more comic as the accident" once said by Samuel Beckett. If that is true, we need more accidents, or spend more time exposing ourselves to danger.
14 scenery films for the theatre production by the same name Catastrophes, performed by JG Weis Dance People at the Theatre National de Luxembourg, January - April 2006. Catastrophes is inspired by the play 'Catastrophes' written by Samuel Beckett for Vaclav Havel in 1982.
- HDV, duration performance 55 min. All films and camerawork by Bea De Visser
- Director, editor: Bea de Visser
- Mis en scene: Jean Guillaume Weis, Bea de Visser
- Actor: Marc Planceon
- Dancers: Heloise Vellard, Benjamin Boar, Kare Poutanen, Stefano Spinelli
- Extra: Michelle Tonteling
- Costumes: Marion Rothhaar
- Music: Marianne Faithfull, Johann Sebastian Bach, Stealing Beauty, Shalabi Effect, Wolfgang Amadeus Mozart, Frutz Tonteling e.o.
- Production: Anotherfilm
- Commissioned by Theatre National de Luxembourg
This sober and yet emotional film with dancer Jean-Guillaume Weis visualises the artistic development and the last days of the famous dancer Vaslav Nijinsky in an asylum. At the time, he was writing his diary, which is quoted in the film, and which not only indicates his mental state, but also his desire for love and recognition from the general public.
'Roses and Fall' is released by Homescreen under the title 'Ballets Russes'. Documentary 118 min. About the dancers and choreographers - now as 70ers, 80ers en 90ers - who were the pioneers for the modern ballet, direction Daniel Geller, Dayna Goldfine
- 35mm film, Dolby SR, color, 7 minutes, French spoken, English subtitled
- Choreography / dance / voice: Jean-Guillaume Weis
- Camera, editing: Bea de Visser
- Music: Klar
- Production: Anotherfilm
The screen is the stage. During the theatre performance the 9 dancers are positioned before the screen, hanging on ropes or walking on 3 narrow platforms. The film scenography deepens the dimensions of the performers. One hears Lucas Vandervost (Belgium) reading from Nijinski's Diary. It reads as a long monologue of despair, loneliness, lust, sexual obsession and longing for being loved by the masses. In a repetition of sequences that reflect Nijinski's artistic development and his mental decay, we follow Jean- Guillaume Weis (Luxemburg). He adapts a typical dance idiom of Nijinski in his performance. His movements result in a fabulous touching reveal of a nowadays soul of Nijinski.
- HDV, 9X9 m, 1-channel projection, duration 25 minutes (theater performance 45 minutes)
- Nijinski: Jean-Guillaume Weis
- Choreography: Jean-Guillaume Weis
- camera: Bea de Visser
- Music: George Dedecker (original soundtrack)
- Production: Anotherfilm Rotterdam
- Location: Grand Theatre Groningen, NL
Vanya runs for her life, what for, where ever ... Bea de Visser creates for the Pleinmuseum pavillion a surreal montage by which she makes maximal use of classical, filmic 'suspense'. All means and techniques add to the slow tension; not only the film set (the elongated seaside of Normandy in France), the virtuoso actress (Vanya Rose) and the estranging sound effects, but also the photography (by Bea de Visser herself) and of course the edit, are interwoven into an extreme branched off network.
- 8-channel film by Bea De Visser, HDV, duration 8 X 13 minutes
- Camera, director, editor: Bea de Visser
- Vanya: Vanya Rose
- Location assistance France: Jeroen Degenaar, Hans Eijses, Jean Ressicaud
- Production: Anotherfilm
- Commissioned by Stichting Pleinmuseum and Centraal Museum Utrecht
Just a Minute Yoko. An alternative look at Yoko Ono's famous buttocks film from the 1960s. "it's just a statement of the obvious".
2004
Bottoms, is the wallpaper version, a cineboard. Duration sequence 22 minutes
- Production: AnotherFilm
- Written and directed by Bea de Visser
- Camera: Adri Schrover
- Voice: Jaap Blonk (Just a minute Yoko)
- Language: Guy de Cointet (Just a minute Yoko)
- Bottoms: all friends
- Commissioned by the International Film Festival Rotterdam (Just a minute Yoko)
Portrait of a woman (Marketa Kulhankova) and of pictures of her, taken around the year 1953 by her photographer husband. De Visser had made an installation in 1994, using pictures she had painted based on her photographic portraits. During a world tour of this work, the woman was recognized by her granddaughter at the exhibition at the National Gallery Prague. In this film, De Visser visits the lady in Prague, now in advancing years, for the first time. The discrepancies between past and present are intriguing.
The paintings and animation in the film descent from the installation THE SKIPPING MIND [1994]
- 35mm film, 11 minutes
- scenario, director: Bea de Visser
- animation and paintings: Bea de Visser
- camera: Miroslav Janek
- HD technique: Tomas Majer
- sound: Michael Micek
- original music: the use of ashes
- assistants production:
Hans Eijses (NL), Renata Vlckova (CZ) - production: Anotherfilm
Accessories for girls are i.e.
Dolphins, gold, coloured strings, gum and diamonts.
Digital prints, size varying up to width 1 meter
> Photography: Bea de Visser
> The girls: several
What can a girl do after puberty other than i.e.
Dressing up and make yourself look like a building?
Or lie on a kitchen sink?
Or pretend that due to hard labour you are in a good condition for employment?
- Digital prints, sizes up to width 1 meter
- Photography: Bea de Visser
- The girl : Boukje Koop
4 Girls and 4 pieces of chewing gum together make a world of difference in terms of seduction, dirtiness, emotion, sensitivity, sweetness, playfulness, innocence, color, smell and bewilderment. The scene is uncultivated, incorruptibility, unsolved, invincible, unsurpassed and is almost unbearably beautiful and disillusioning, meant to slip from the hand and to stay on the retina forever.
- BLOWUP [BUBBLS], a cineboard by Bea de Visser, looped sequence 23 min. Digibeta
- Director, edit, stills: Bea de Visser
- Camera: Adri Schrover
- The girls: Anne Marie Obispo, Cindy Klos, Mandy Klos, Suhailly Benilia
- Commissioned by Stichting Picos de Europa, NL
- Distribution Netherlands Media Art Institute Amsterdam
A series of group portraits. An interim reality with indistinct figures, whose personalities are flattened by a uniform appearance. In all portraits appears the face of the same person, of Bea de Visser, split and presented in various guises. They appear as live people or as dummies. The group's identity is almost absorbed by the individual looks of the artist.
- Photography and image processing: Bea De Visser
- print sizes: 80x63 cm and 100x 135 cm
Scenery for the performance Waterlanders of Dance Group Krisztina de Chatel. The projected image is literally snapped from the universe, framed and edited within the choreography, now and then thrown on the floor or left unseen in complete darkness. Three wind machines regulate the screen, blow it in the wind and fold and bow the screen by the wind power they produce. The dance performance has 'water' as its theme that shows us a range from the devastating force of the water on human life towards its almost contrasting beauty.
- HDV, 2 channel video, overlap projection, duration performance: 55 min.
- camera, editing: Bea de Visser
- choreography: Krisztina de Chatel
- production, commissioned by Dance Group Krisztina de Chatel
Scenes for a horror movie, a fairytale or series of snapshots. Explorations, adventures and research for a feature film.
- Mixed media such as photography, video, installation.
- Image, camerawork, edit, image processing: Bea de Visser
- Music: various
A man (Richard Strange), lost in desolation, shows up on a wasteland, a barren plane and a narrow alley. A torn up monologue by a man who has temporary lost his tracks. The Barren Land is loosely based on monologues from the great Tragedies and other words of rumour, humour and horror.
The principle character goes through stages of distortion. He creates situations that excite him or that might bring him back on the main tracks of mind that he has temporary lost. Light-footed, boisterous, absurd and touching The Barren Land tells about primal loneliness, to be considered as one of most individual and simultaneously most general emotions.
All words are found footage i.e. Oedipus, Hamlet, Hank Williams, Mae West, Hugo Claus, Bert Schierbeek, Mick Jagger and the Guinness Book of Records
- a short film by Bea De Visser, 35mm, 8"35 minutes, Dolby Digital
- Language: English
- Scenario, director, editor: Bea de Visser
- Cast: Richard Strange
- Camera: Stef Tijdink
- Sound: Mark Glynne
- Original music: Peter Hoeks
- Line production: Hetty Krapels, Sylvia Baan
- Production: Pieter van Huystee Film
Permanent transmission of a video signal (Netherlands Tax Authority Computer Centre). The view and eye movements of the artist are depicted and transferred into a digital script and performed by means of special designed software, transmitted and edited to 18 monitors. All processes are real-time. This include camera movements, focus and zoom controls, editing and transmmitting the AV-signal, 24 hours a day 7 days a week.
- camera, zoom lens 12-240mm, pan&tilt unit, video control unit, data scripts for editing and camera control, 2 circles of 9 monitors
- concept, eyes, design scripts for editing and camera motion tracks software: Bea De Visser
- programming and technical support: Hecla
- Commissioned by Atelier Rijksbouwmeester / Rijksgebouwendienst
- Location: B/AC, Belastingdienst Automatiseringscentrum, Apeldoorn, NL
Two projections in juxtaposition. On each screen one looks at a person who introduces herself by an intimate monologue only half aware of the listener. The voice is in the soundtrack synchronised. But the text of the two women are interchanged with each other, which is a perversion of intimacy and identity.
I AM NOT was set as a cooperation between curator Christel Vesters and artist Bea De Visser commissioned by Kunstruimte Kampen, NL.
- 2-channel installation, dubbed voices, MDV, 7 minutes
- Camera, sound, edit: Bea de Visser
- Text: Christel Vesters, Bea de Visser
- Language: Dutch
Group portraits under the collective noun Deceit.
In all portraits, the face of Bea de Visser appears, split and staged her own self into a group of distinguishable individuals. She performs each gender, each color and age, and each uniform seem to suit her. Deceit is a directed image - nobody is able to pinpoint reality or where performance comes in. The photo's and video-loops are situated somewhere between fact and fiction.
In the series of 1999, the portraits are the subject of a double-take, the scene and the filming of the scene. Though in the video image time has been stopped into slow motion of stills. The slide projection has its own way of duration; here the image is literally shown frame after frame. Only by the time, one becomes aware of the fact that one finds one single person who dominates all groups. The story of the personages, the building of personages and figurines, becomes its significance by the absence of this central person, who is dominant in the second projection.
- installation with photo's, slides, video
- photo mounted on aluminum: 100 X 135 cm
- camera, photography, image processing, edit: Bea De Visser
- photography, image processing: Bea De Visser
The most magical step in dance is called walking the magic phenomenon of balance when one puts one foot in front of the other. In Another Another, we have a close look at putting one foot in front of the other, bisected with scenes of Rudi van Dantzig (choreographer, former dancer and artistic leader of The National Ballet), who at home works on the first steps of choreography.
Inserts of the dancer Andrew Kelly in a studio, enlarge the idiom of the step into the dance in space. Another Another shows the creative process of dance rather than its theatrical outcome, the resulting ballet.
- a short film by Bea de Visser, 8 minutes, 35mm
- screenplay, director, editor: Bea De Visser
- Cast: Rudi van Dantzig, Andrew Kelly
- Camera: Erik van Empel
- sound: Jan Wouter Stam
- music: Erkki-Sven Tuur
- additional music: Peter Hoeks
- mixage: Michel Schopping
- line producer: Hetty Krapels
- Production: Pieter van Huystee Film
Heartbreaking noise of clear high and highest frequencies by entering the room; a finger rubbing the edge of a crystal glass. The 16mm film installation shows two separate hanging transparent see-through screens. After a short time the noise stops. Voices are heared from a sound route over 8 speakers. One hears almost all imaginary and thinkable expressions and words replacing the sentence and meaning of "I love you", which stands for the ultimate line of a pop-song. In the given lines, performed by the cinema public, one finds out that there are a millon intimate and authentic ways to express your love.
- instalaltion: 2 channel 16mm film projections / 8 speakers
- Concept, interviews, editing, sound: Bea De Visser
- Camera: Stef Tijdink
- Language: Dutch
- Commissioned by Stichting Filmstad and Filmhuis Den Haag, NL
Installation by Bea de Visser for the international exhibition on location: a hotel at the border between Austria and Slovenia. The installation is based and contextualised on 'sweet water', drinkable water. This was the main issue for the interviews Bea De Visser collected from the people in the mountain village, with mixed families from mixed ethnical backgrounds on the border. This water dividing line, which is a given nature fact of that mountainsope on that height, spreads the water towards the Mediterranian or towards the Atlantic Ocean. It reflects a true divorcing power between the groups of the original inhabitants through history.
- hotelroom with wall projection, ghettoblaster and tapes with interviews with the local people
- Language: German, Slovenian
- concept, camera, interviews: Bea De Visser
- Commissioned by Gabrielle Kranzelbinder for the University Klagenfurt Austria
Short and very short films that show the mysterious, magic and unforgettable, in self evident nowadays objects, actions and relations between people and culture or nature.
The Random Journals capture short image-sound tales in which the notion of duration and narration are investigated for a non-cinema (black box), a non-museum (white cube) place.
- magazine-like very short films, various formats
- camera, image, development, interviews, sounds: Bea De Visser
- Music: i.e. the use of ashes
In brief sequences portraits of look-alikes are linked. BLINK reveals how we generalise apparent differences and agreements by reading the face and poses questions about a personal identity. The installation relates to photography and the methods by which the medium film materialises her immaterial origin: the mind that returns as an appearance out of its own disappearance, the most magical of chemical reactions, from black to white, from negative to again positive.
- installation, duration of sequences 20 min.
- 2-channel projection, betacam-SP
- image processing, animation: Bea de Visser
- Music: the use of ashes
'Getting back through' you is a series of photographs that shows a collection of identical faces. The people that are photographed for this work are manipulated with the preferences of the photographers own face.
Their features are very alike, though it is impossible to pinpoint these faces as a natural family. This series of photographs show a survey of people with corresponding outlooks that differ in gender, colour and age.
- 6 photographs mounted on aluminium 60x80 cm
- Photography, image processing: Bea De Visser
A breathtaking short film about breathing, located in the realm where breathing is impossible - a man disappears under the water surface and given by nature he is urged to return to the other side. As the minutes go by, you also hear the sounds of breathing and heartbeat, you begin wondering when the diver will start gasping for air. You see images of another, breathtaking world, where the man almost becomes an alien, being like an unborn child in his amniotic fluid, a cosmonaut adrift in the universe. But the man is unavoidably forced to break away from these immaterial spheres, to emerge and fill his lungs with air...
- Short film, 7"52 minutes, Betacam - SP
- screenplay, director, editor: Bea De Visser
- Cast: Robert de Bruin
- Camera: Eugenio Follender
- Music: the use of ashes
- production: Bea de Visser Producties
25 Paintings are based on a found black and white photograph of an unknown woman. These paintings are animated to recapture the moment that once must have happened; an interaction between photographer and model. The Skipping Mind shows an imagined memory and the gaps of recognition that comes together with remembrance. The installation encloses the painted stills and the animation of these portraits.
After the touring exhibition, THE SKIPPING MIND was exhibited in the National Museum in Prague. The portrayed woman was recognized by her granddaughter. Then suddenly the unknown woman had a name, an address, and a family. I decided to meet her, to make the film THE SECOND MEMORY. In this film, I visited the lady in Prague, then in advancing years, for the first time. The discrepancies between past and present are intriguing.
- installation, video, and 25 paintings, oil on canvas, 25 (40x50cm), original animation sequence: 5"56 minutes - painting, animation: BEA DE VISSER
