A big thank you to all who came to see In Passing at Deptford X Festival 2019!
Your words and reactions are cherished!
In Passing © ANNE• 2019
My newest short film In Passing is screening at this years Deptford X Fringe Festival!
Come and see it at DeliX, 156 Deptford High Street, London
Open daily from 9am – 6.30pm
24 October – 2 November 2019
Monday – Saturday
A short film about navigating the invisible to connect.
Through movement and impossible camera angles we try to find
our way into the 24/7 world in which we start to lose connection
with ourselves and others. How close can the digital age bring us together
and which borders do we cross?
In Passing © ANNE• 2019
Most exciting news!
ONES is a collaboration between Dutch visual artist Anne Verheij and Japanese choreographer Miku Tsuchiya, in which film and dance are explored across the former pedestrian tunnels of Elephant & Castle, London.
Juxtaposing two dance films created from the same footage, ONES captures the individual’s rhythm beating amidst the pulse of the restless city.
ONES – 2 women, 2 countries, 2 disciplines – 1 film
Concept | camera | montage – Anne Verheij
Performance | montage – Miku Tsuchiya
Sound design – Jack Goodwin
© ANNE• 2015
The Outlet Dance Project is committed to providing artists who identify or have identified as women an opportunity to share their artistic vision through site-specific dance, film, and work created for the stage. In partnership with Grounds For Sculpture – an internationally renowned contemporary sculpture park – collaboration, community building, and interdisciplinary experimentation are an integral part of the festival. The Outlet is dedicated to supporting all traditional and nontraditional dance forms. The festival celebrates the intersections of visual and moving arts, exploring relationships between sculpture and dance, between place and movement.
Last month Miku and I took our collaboration to the next boarder: Japan!
We have explored Japan’s city Tokyo and the rural environment of the Izu Peninsula through film and movement.
Whilst filming the theme of the individual versus the mass crept into our frame. Not only does Japan have millions of people living in just one city or travelling over the many highways and train tracks, it also has a great individual disconnect with its direct surroundings.
Dark subject matters as loneliness and the high suicide rate amongst the young generation made their appearance.
The beauty of Japan’s unplanned architectural compositions, however, gave us calligraphy lines to move and explore.
Miku and I are looking to deepen this movement research in a country that has so many beautiful contrasts.
So stay tuned for more exciting projects across borders @AnnePointNL
All photo’s by © ANNE• 2017
The trailer of ONES COUNTERPOINT is online!
Please go and check it out!
More news and developments from us on our ONES collaboration soon straight from Japan @AnnePointNL !
ONES COUNTERPOINT depicts the inner voice of a haunted woman by crawling under her moving skin.
The interior and exterior are brought together by the three elements of water, wind and earth.
As the lines between movement and manipulation blur, the woman’s calm facade cracks, revealing something dark and mysterious that makes its way to the surface.
In ONES COUNTERPOINT Anne Verheij (NL) and Miku Tsuchiya (Japan) cross the vast distance between the UK and Japan via internet to make their second diptych (the first being nominated at LSFF 2017 for Best Experimental Short Film).
Their two individually created contemporary dance films, made from the same footage, are juxtaposed on a single screen where the soundtrack, especially created out of the field recordings they made in the UK and Japan, bring them together.
After months of finding new ways to communicate via the internet, Miku and I were able to start finalising the second part of ONES, a proposed triptych.
Now that Miku is based in China we have to deal with the harsher Internet rules and regulations there. Though the time difference is now 7 hours instead of 9, finding ways to upload and download our work and call each other to discuss the process has brought new challenges. The ‘patience’ that is needed in order to produce and develop our work across continents, can at times become a real strain on our working method.
BUT seeing each other’s work for the first time last week made all our hard work worthwhile.
For this second part of our proposed triptych we have yet again worked individually on our own films. As in the first part of ONES, our process consists of carefully choosing footage and sounds together and then editing our individual films on our own, without communicating what we are doing.
By using the exact same video footage, shot back when Miku was in London, and using the soundtrack by Jack Goodwin as our time line, we have created two distinct videos that come together by our binding theme of communicating over a far distance.
The rhythm and focus of both films are opposites of each other. Miku’s film seems to be an anchor formed by a continuous rhythm like a person breathing, where my film focuses on Miku and telling her story by getting under her skin. These very different films come together through a vertical communication on a single screen, where they together, like the title implies, form the interior and exterior of a person.
Miku Tsuchiya on ONES part 2:
Anne Verheij and myself are excited to announce that our second part of the ‘ONES’ triptych is in its final stage of editing. It will have a first private viewing in June 2016 in London.
Before this film will have its first public appearance, we thought it would be nice to share our experience of our editing process on this second part of our proposed triptych. So here it is!
Since the beginning of this year we’ve been editing individually on this second part of the project, and just last week, we exchanged our edited films, viewing them for the first time.
My first impression of watching Anne’s version of the film was “Wow! This is so different from mine!” I was shocked by the difference and the fact that our films had almost nothing in common!
My second immediate thoughts were “How it’s possible to put these two completely different films together in one piece?… is it even possible?”
Actually, Anne had a similair reaction as mine. We were both completely in shock. The two films turned out completely different from the first part of our ONES triptych. It was very unexpected and thrilling.
My Notes from watching Anne’s film:
“Repetition, abrupt, directions, focus on the body, movement tells a story, theme developing, body speaking, falling, tensions, emotions, fragments of memories, blank … ” (19 May, 2016)
So the fun part began: looking for the possibilities to make these films speak together.
My Notes from watching the 1st trial of playing the two films together
We first tried to put the two films besides each other, horizontally, like we did for the first part of our triptych. This, however, didn’t work as well as we thought. The two films hardly spoke to one another and it created completely separated worlds.
“My eyes are busy, looking right to left, left to right. I don’t know where to look or where to focus. My eyes zoom in on one film, completely missing the other… This is much too busy. As the scenes kept changing, I was left behind. This way a story kept building and instantly diminishing as soon as I looked away. This left me with no flow and no communication between two films. Separate…” (19 May, 2016)
My Notes from watching the 2nd and 3rd trial of playing the two films together
We decided to try and put our two films vertically, the one on top of the other. Surprisingly, this way worked and our films started to speak to each other.
“The two films started to communicate. Sharing a same world. One film is like a under current, which is always there, holding and carrying: like a container, like an anchor holding you in place. The other film is like a reflection, a glimpse of what’s happening in that current, like a magnifying glass: it focuses, it magnifies the invisible world beneath the surface, it tells the invisible story…
At first, the two worlds of each individual film seem very different in its horizontal display, hardly able to communicate with each other, but when we looked at it with a vertical perspective, it started to communicate beyond the visible boundaries and in that moment two worlds became ONE.” (19 May, 2016)
This vertical option worked out beautifully, and we both started to see the huge possibilities of where this project is going. At this point we were reminded that what we saw happening on screen was the drive of this project:
I was very fascinated to see that the drive behind this project is now taking a strong visual form on the screen and I can’t wait to see more!
If you’re interested, please stay tuned!
A small impression of the showing of ONES in Japan.
An audience member responded:
“This is a reflection of reality on today’s society in which people live in their own bubble. I can feel the loneliness from the film.”
It was a real adventure, because most of the 300 audience members came from outside the city and was not familiar with Contemporary Art. However, as one of the audience members pointed out, they were able to make their own story of what was shown.