Oscar van der Kroon works for Dutch public television. He wants to do Avant Garde Television but his mediocrity is holding him back. At the end of the Episode, he promises to do some introspection.
Buse, a teenager from Istanbul, is an art student at the Gerrit Rietveld Academy in Amsterdam. She wants to make a movie about her experiences at the school but she is afraid she will be kicked out for making a critical film about the world-renowned institution.
A central motif in this episode is not the nonsense but the meaning of obscure discursive postmodern language. For some people, like the Documenta curator featured in this Episode, it’s a vital and sensual power tool. For other people, it’s a swamp of hope and loneliness.
KIRAC was asked by Rotary club to make a little promo-video for collecting art. Frieze Art Fair was very supportive of giving KIRAC acces. We were allowed to film from 1 till 5, but they wanted us to leave after 30 minutes because a gallery owner got upset.
The #metoo Harvey Weinstein hype simplifies and idealizes female sexuality. All the abuse stories that are being shared must support a specific collective narrative. Kate points at taboo in this narrative, and explores it.
We take apart and review the morality and psychology in the work of artists Jon Rafman and Anna Uddenberg, who are exhibiting in the Stedelijk Museum Amsterdam. It’s a critical psychological portrait of a certain artistic and ideological tendency.
We stumble upon the Sami Flag project. Which exemplifies a very typical mix of modernistic cliches and political cliches, very common for art events such as Documenta.
