SSS: When the viewer just sees big colour fields, gaps develop on the screen that open up not just one but an infinite number of spaces of possibility. Thus, in a very contemporary way, Honda is meeting Deren’s demand for a cinema that changes perception by leading the viewer to its fundamentals. In my opinion, it is a very political gesture.
Have you watched this work in its entirety?
SSS: No – we couldn’t have blocked the cinema for 36 hours. And it isn’t essential to see the film in its entirety either – although we initially toyed with the idea of screening it at full length overnight and organising catering for the spectators. 30 ago there would have been a huge audience for this. But today, viewers prefer at some stage to go and watch another film or go to bed or to a party. Therefore, we decided to screen it in sections for a few hours each evening during the festival in the small auditorium at Kino Arsenal.
Works like 6144 x 1024 are difficult to distribute. Is there nevertheless a “market” for such works?
SSS: In Forum we offer to take the work of every invited artist and filmmaker into our collection and/or our distribution company. However, this is not about the market: it’s about creating the largest possible visibility above and beyond the duration of the festival. We see it as our duty, at least to a certain extent, to take on responsibility for the works that we invite and to offer them a home. Our viewers include a large specialist, professional audience. Not just film distributors but also gallery owners, curators and other disseminators. Their experiences during the festival often have long-lasting effects. Some of the works in our programme are still finding their way into other projects and exhibitions years later. I wouldn’t call this “market” but rather interface.