projectruimte voor kunst
Pablo Pijnappel

Pablo Pijnappel (BR/NL)
Presentation Andrew Reid and Others

Fri Oct 20 Film screening start at 20.30

Andrew Reid 2003, 34′
Andrew by Maya Pijnappel 2004, 3′49
Rio 2003, 5′
including a short preview of the new work Walderedo

The Brazilien⁄Dutch artist Pablo Pijnappel, currently resident at the Rijksakademie Amsterdam, will show the film Andrew Reid (2003) and the two small accompanying fragments Andrew by Maya Pijnappel and Rio in agentur:. Furthermore, the artist will give a short preview of his newest work, a glimpse of the film Walderedo.

Pablo Pijnappel&′s work deals with the aspect of identity. It plays on the borderline between fact and fiction; exploring personal relationships in family histories, personal remembrances and memory. "His filmic interventions start from the subjective experiences of his family members or people close to their environment and evolve to unexpected narrations where the desire to reaffirm an identity and to recover a lost memory seems to be primarily."

"The lead character in Andrew Reid is Pijnappe′s stepfather, and to a certain extent the film could be interpreted as autobiographical. It consists of two parallel narratives, in which fact and fiction are slowly interwoven. The backbone of the film consists of telephone conversations between the artist and Reid – conversations in Portuguese, that appear on a black screen, typed–out, translated into English. They are discussing a planned meeting in Amsterdam or Paris, and Reid′s preparations for this trip to Europe. Pijnappel visualized the film′s other narrative by means of a familiar artistic practice: the appropriation of existing film fragments. Through a meticulous selection of footage taken from such classics as Blow Up, Fitzcarraldo, and Taxi Driver, the artist illustrates the life story of his illustrious stepfather – a story which is simultaneously narrated on the voice–over track. The combination of the highly improbable, and from time to time totally hilarious biographical facts that we are presented with, and the montage of existing film footage, is irresistible: by emphatically choosing for transitional shots and large totals, instead of famous scenes, Pijnappel leaves a lot to the imagination of the spectator. The tension in the two narrative strands mounts gradually in equal portions: the more his life story becomes fantastic and improbable, the shakier his telephone conversation gets.

Andrew Reid could be viewed as an investigation into the interaction between word and image, and into the effectiveness of the word when the image is absent: the typed–out phone conversations never get boring, because they are being fed by the life story of that weird guy at the other end of the line, in the film′s other narrative. But, in the first place, Andrew Reid is a subtle piece of screenwriting, and crafty play with tension (Is he coming? Or isn′t he coming? Why is he being so vague about things? Is he a criminal?) – triggering the imagination of the spectator in an intelligent fashion."

(Text from: www.iris–