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Documentaries
BABUSHKA (Russian for grandmother) is a very personal view on the last journey of Adnan's grandmother Nina and her forgetting. Through the perspective of my grandmother Nina's fate it portrays the story of a flight from the wars of the 20th century. We accompany Nina and her grandson, my brother Michael, on their joint journey from Basle via her home town Sarajevo in Bosnia Herzegovina to Ulen her place of birth in Siberia. Nina doesn't remember the places. "Sarajevo, moje mijesto najmilije sretan je ko u tebi nije." "Sarajevo, my beloved city, fortunate those, who do not dwell in you." (folk saying)
FACING ORIGIN tells the story of the search for Lhundup's cultural roots whos parents emigrated from Tibet. Adnan Hadzi documents the wounds families endured from the Chinese genocide and dispassionately shows the results of the exile and integration policy on everyone from grandparents down to grandchildren. During a year of filming, Adnan Hadzi accompany the Swiss bicycle courier Lhundup on his first meeting with his grandparents in India. Adnan Hadzi also documents the life of Lhundup's mother, who was sent to western sponsors in Switzerland, and observe the grandparents on their last pilgrimage to the Dalai Lama in Spiti.
DARFUR HOUSE Four refugees from the Massalit tribe in western Darfur have been commissioned by Iceandfire theatre company to build a traditional Massalit hut in the grounds of the East London Museum of Childhood, to mark World Refugee Day. While they are working they reminisce about their lives and about building similar huts back in Darfur, while recognizing that they may have to develop a new building style, because these huts "can burn down much too easily".
The Internet is changing the music scene: musician, dealers and fans are confronted with a changing environment. Some say it will end badly, others see glorious futures. But, all aks the question: "will copyrights survive?"
CROCODILES SEEKING REFUGE In 2003 the Iceandfire theatre company brought together five British based actors with five individuals who sought refuge in Britain from torture and political persecution. Through improvisation, a play was devised that tells the stories of these individuals. Crocodiles Seeking Refuge follows the process by which memories become stories and scenes to share with an audience in a theatrical experience.
rap, graffiti, break dance in the beginnning of the 90ties
ART REPORTS
F-EST is a report on the artist-led guided tours through the gallery circuit in London's East End, organised by the Hayward-Stewart Curators partnership during the 2004 F-EST gallery festival.
SMS ANGEL O:-)
Sweeping across the vast 80 square metres of façade above the door of St Paul's, Bow Common in the East End of London, is a fiery vision — caused by 83,000 flimsy metallic discs, each about the size of a two-pence piece. ‘Shimmer-discs', as they are called, were used in the sixties for advertising. Requiring no electricity to make them sparkle, they were attached to a board by pins that held them in place, but allowed them to move independently of one another, so that they caught the light and together made swirling patterns in the wind. Glamorous, gaudy and sensual, they were the stuff of Las Vegas glitz. These days, they remain a key part of the armoury of Bollywood, the context in which you're most likely to see them.
ART
NEWSROOM is an installation for four monitors. Fragments of text lifted from promos for CNN International are combined to form a complex and suitably hectic pattern of intonation and repitition. These are then performed for the camera by the artist, the way a presenter might rehearse his lines in front of a mirror.
PEELING is a one-monitor installation consisting of a 24-second seamless loop of the artist's face shedding a layer of skin, using a chemical peeling process. It was recorded over ten days using a time-lapse process similar to the one used in nature films to show flowers opening and wilting in seconds.
EXPRESSION CONSTRAINT The artist makes facial expressions by distorting his face with rubber bands, trying to summon up the correspondig emotions with self-help inspired therapeutic imperatives.
UNTITLED (SEX) The artist hangs upside-down and drinks a glass of milk. Bodily functions and fluids become somewhat confused.
WAR STORIES is a two-monitor video instaliation. One monitor shows uncut camera-footage (about 15 mins.) from Mostar, in Bosnia-Hercegovina, on January the 9th, 1994, occasionally slowed down to reveal the ten commandments of news-gathering. The other monitor shows two actors reading through a script (about 10 mins.) about the cameraman who was in Mostar on that day and shot this footage.
SARAJEVO WORLD REPORT is a 9 min fictional news program, reporting on the issues concerning Amsterdam in peacetime in the summer of 1995 (a time of great military activity around Sarajevo), produced in collaboration with the Sarajevo Festival Ensemble. The video is about narrativity and implied point of view in news reporting, and is based on the simple premise of reversing the roles of object and subject of the report: Sarajevans, at that time only ever the object of global media scrutiny, treat the "peace in Amsterdam" as an extraordinary, newsworthy situation, implying that the "normality" of siege and war for the audience is taken for granted.
LEADER FOR THE NEXT 5 MINUTES leader produced for the Next 5 Minutes conference on tactical television in Amsterdam in 1993, and used for the live cable tv transmissions on the Amsterdam SALTO channel from the conference venue.
LEADER FOR KANAAL ZERO leader produced in 1992 for the artists-run cable tv program Kanaal Zero on the Amsterdam SALTO channel.