Rei Hayama and Takashi Makino at Kurant Kino

10.06.2017 til 11.06.2017

Kurant is proud to present the first edition of our new cinema concept, Kurant Kino, curated by Sarah Schipschack in collaboration with the Kurant team. Throughout the next 2 years we will be bringing you a selection of film and filmmakers operating in the borderland between cinema and contemporary art.

This weekend, we present a two-day screening, performance and workshop program with Japanese artists Rei Hayama and Takashi Makino. More information on the program and the artists below.

The workshop is a collaboration with Polar Film and given on sunday by Takashi Makino, it will be announced in a separate event.

Doors open at 19.00 both saturday and sunday. Entrance is free, as usual. Screenings will begin at 20.00 sharp.


Saturday, 10th of June - Rei Hayama

(2010-2012, 8 mm film & video, 13 min)

The film is about a human who visits a forest. Observing the existence of humans who has to go back to their home, through the experience of the pretend game of being a bird. Film is based on Rei Hayama's memory of a childhood in the forest where she spent much time.

The film was shot In 2010 when she revisited this forest with her sister. One was playing the bird-man and the other controlled 8 mm film camera for the first time in her life.

(2015, silent,16mm, 1min)

This film based on a scene of Lumiere brothers early film occasion. Shot by hand cranked film shooting, the film developing was done with coffee. There is only one take scene and no synchronized sound. In this film, a typical house of present Japan starts a fire, and it burns out quickly.

(2015, video, 12min)

One day, one moment, forest is a forest. The place without meridian. The empty place. The place without human. Yet it is still imagined as Forest, and still it is. This film is a suspense story for the small forest that is left in urban city.

(2015, video, 25min)

The story flowing under this film bears certain parallels to the theory of birds hibernation and transformation advocated by Aristotle which is already dated today. At the land, ash snow is falling. Lands flag is fluttering in the blowing wind. And the quail will be there, too. Truth has no clear picture. Just listening to the voice of soil, in the loss of nationality of Land.

Sunday, 11th of June - Takashi Makino

music by Jim O’rourke

Borrowing its title from a treatise by Aristotle, the latest film by Makino Takashi is an abstract work that finds its drive in the clash between light and darkness. Entirely composed of superimposed images of Tokyo’s landscape and water sites, the film takes its rhythm from the cycles of repetition that are the pillars of life and civilisation. As light emerges from the chaos, Jim O’Rourke’s ambient drone sets the tone for what is to come. (International Film Festival Rotterdam 2017)


Makino Takashi’s audiovisual performance Space Noise 3D is a hallucinatory delirium whose image and sound levels merge to become an immersive cinematic experience with 16mm and digital projection and a live soundtrack. The 30-minute performance uses the three-dimensional effects for a coagulation of the various layers and abstract levels to a physical and almost concretely perceptible visual tempest. (Austrian Filmmuseum / Sixpack Film)



The history of cinema has been considered a separate entity to that of other art forms, primarily due to its connections with commerce. My approach to film counters this for I consider film to have a place amongst the other arts. Nevertheless, film does have qualities unique to itself, particularly in regard to its treatment of time and its relationship with an audience. The time a gallery visitor spends looking at a painting or sculpture is up to them; a cinema audience, on the other hand, is bound by the film’s own duration. While the audience experiences the film’s visual and sonic display, nonetheless, they are free to dwell into their own imagination. What fascinates me most about film expression is the potential for what is presented on the screen to collide with each individual viewer’s emotional landscape, and the new ‘image’ created inside the viewer’s mind resulting from this collision.

Like news reports of wartime Japan, films with stories or a precise structure throw images at an audience with their meanings already intact. Rather than making films with my own imposed structure, my method is to abandon structure altogether or, in other words, layer images that once embodied meaning on top of one another until they become unintelligible.

I aim for the resulting composite ‘image’ to be like a nameless animate being with a limitless capacity for meanings, so that my films become triggers for an audience to venture into their own imagination. This desire is embodied in the title of my 2011 film

In commercial films, the techniques of superimposition and multiple exposure are tired signifiers to indicate a transition between scenes or a departure into a dream state. However, I see new potentials in these techniques. I have developed an alternative
technique for multiple exposure that practices the principles of the collages made by the Surrealists of 1920s Paris. I believe people do not come up with things out of the blue but, instead, combine different things in their own ways to arrive at something new – collages and multiple exposure as techniques, for me, artistically deal with this very notion. In the layering of existing matter, my filmmaking method is to take images into territory even I cannot foresee and allow for them to flourish in their newfound environment.

My approach to sound similarly rejects synchronisation in favour of inserting audio and music seemingly unrelated to the images. My collaborations with musicians from overseas have been, in one sense, a way to stage such unforeseeable encounters.


I am Rei Hayama. I am making films.

I walk and work with my camera for understanding many different dignities and places that I can not see.

I think about the thing that have been lost or neglected from anthropocentric view of the world.

I attempt to fall off from the arbitrary illusion of human's "height", transport nature into the space of human's thought by the temporal art, that makes a time for think about what we are, and what the relation between human and others.

My works are based on an allegorical plot, and it told by a poetic writings and symbolical images such as recorded body action. There are some key factors often appear in work such as: bird's‐eye view point, forest, pretend(play), non-human leading character.


Rei Hayama is a Japanese artist who mainly works on moving image. After many thoughtful experiences among wildlife at the unique environment in her youth, Rei Hayama she studied at Department of Moving Images and Performing Arts, Tama Art University and started filmmaking since 2008. Rei Hayama is
considering the imagery of others -animal, wildlife, nature- in visual culture and the treatment of it. And through film and video works with sound, a poetic writings and symbolical images such as recorded body action, Rei Hayama has been seeking the harmoniousness between human and others. Currently she lives
in Kanagawa, and doing screenings and exhibitions at various locations such as film festival, art museum and gallery internationally. In 2016, her work had been screened at Tokyo Metropolitan Museum of Photography(Tokyo), MUSEUM OF THE MOVING IMAGE(New York), Tromsø International Film Festival, so on.