BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:adamgibbons/ics METHOD:PUBLISH X-PUBLISHED-TTL:PT1H BEGIN:VEVENT UID:20416@offbeat.amsterdam SUMMARY:Screening Zachary Formwalt and Rumiko Hagiwara DTSTAMP:20260403T184018Z DTSTART:20260412T140000Z DESCRIPTION:On Sunday\, April 12th\, from 4–6 pm\, Rozenstraat hosts a scre ening of two recent\nfilm works by Rumiko Hagiwara and Zachary Formwalt\, followed by a Q&A with the\nartists.\n\nBoth films express\, in different ways\, the absurdity of trying to grasp the\nvast\, seemingly incomprehens ible forces shaping our world\, from an individual\nvantage point. As is o ften the case these days\, the smartphone appears in these\nworks as a key technical object through which the individual is synchronised\,\nand ulti mately metabolised. While this device concretely renders our place\nwithin these present-day processes\, the films turn to earlier\, historical\nmec hanisms. In Hagiwara’s View of Dejima\, it is the Japanese folding hand fa n\,\nand its circulation as a gendered and racialising screen in nineteent h-century\npaintings produced in the West\, that serves as a historical pr ototype for the\nderacination at the heart of smartphone production and us e. In Formwalt’s Scenes\nfrom a film called ‘capture’ it is Etienne-Jules Marey’s myograph—an instrument\ndeveloped in the nineteenth century to mea sure the reaction of muscles to\nelectric shocks—that becomes a model for the extraction of energy and attention\nunderpinning today’s technical obj ects.\n\nView of Dejima (2025\, 20′′)\n\nA Japanese woman stands in front of the 19th-century folding screen “View of\nDejima in Nagasaki Bay” at th e National Museum of Ethnology in Leiden. She is\ncaptivated by the image of Dejima — the Dutch East India Company’s trading post\nand Japan’s only gateway to the West for over two centuries — which takes the\nshape of a f olding fan. What if that “gate” to the West had remained closed? How\nmigh t Japan’s culture and economy have evolved\, and what would it mean for he r\,\na Japanese woman living in the Netherlands?\n\nScenes from a film cal led “capture” (2025\, 23′′)\n\nFrom left to right\, a barge full of waste crosses the screen. From bottom to\ntop\, waves gather — traces\, perhaps\ , of a wasted body. A ship is burning in the\nPort of Amsterdam as fingers tap screens to tell friends: “It smells like burnt\ntoast.”\n\n“On the ot her hand\,” someone reads in a newly translated classic\, “it disrupts\nth e metabolizing that goes on between human beings and the earth\,” and wond ers\nwhat “it” is — and how they might see it. Scenes from a film called “ capture”\nmoves through industrial ports\, 19th-century physiological expe riments\, and\ndigital interfaces in search of sites where movement and me tabolism have become\nforms through which life and labor are abstracted in to data and value.\n\nRead more... URL:https://offbeat.amsterdam/event/screening-zachary-formwalt-and-rumiko-h agiwara GEO:52.3727362;4.8811391 LOCATION:Rozenstraat - Rozenstraat 59\, 1016 NN Amsterdam STATUS:CONFIRMED CATEGORIES:amsterdam-centrum,event,film,jordaan,q&a X-ALT-DESC;FMTTYPE=text/html:

On Sunday, April 12th, from 4–6 pm, Rozenst raat hosts a screening of two recent film works by Rumiko Hagiwara and Zac hary Formwalt, followed by a Q&A with the artists.

Both films e xpress, in different ways, the absurdity of trying to grasp the vast, seem ingly incomprehensible forces shaping our world, from an individual vantag e point. As is often the case these days, the smartphone appears in these works as a key technical object through which the individual is synchronis ed, and ultimately metabolised. While this device concretely renders our p lace within these present-day processes, the films turn to earlier, histor ical mechanisms. In Hagiwara’s View of Dejima, it is the Japanese folding hand fan, and its circulation as a gendered and racialising scree n in nineteenth-century paintings produced in the West, that serves as a h istorical prototype for the deracination at the heart of smartphone produc tion and use. In Formwalt’s Scenes from a film called ‘capture’ i t is Etienne-Jules Marey’s myograph—an instrument developed in the ninetee nth century to measure the reaction of muscles to electric shocks—that bec omes a model for the extraction of energy and attention underpinning today ’s technical objects.

View of Dejima (202 5, 20′′)

A Japanese woman stands in front of the 19th-century foldi ng screen “View of Dejima in Nagasaki Bay” at the National Museum of Ethno logy in Leiden. She is captivated by the image of Dejima — the Dutch East India Company’s trading post and Japan’s only gateway to the West for over two centuries — which takes the shape of a folding fan. What if that “gat e” to the West had remained closed? How might Japan’s culture and economy have evolved, and what would it mean for her, a Japanese woman living in t he Netherlands?

Scenes from a film called “capture” (2025, 23′′)

From left to right, a barge full of waste c rosses the screen. From bottom to top, waves gather — traces, perhaps, of a wasted body. A ship is burning in the Port of Amsterdam as fingers tap s creens to tell friends: “It smells like burnt toast.”

“On the other hand,” someone reads in a newly translated classic, “it disrupts the metab olizing that goes on between human beings and the earth,” and wonders what “it” is — and how they might see it. Scenes from a film called “captu re” moves through industrial ports, 19th-century physiological experi ments, and digital interfaces in search of sites where movement and metabo lism have become forms through which life and labor are abstracted into da ta and value.

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