Cinema Project welcomes Canadian artist and filmmaker Jean-Paul Kelly to Portland for a special one-night end-of-season event. Jean-Paul Kelly is an artist exploring the relationship between materiality and perception. The videos, drawings, and photographs that Kelly makes pose questions about the limits of representation by examining complex associations between found photographs, videos, and sounds from documentaries, photojournalism and online media streams.
Cinema Project and the Northwest Film Center present night two of Interaction of Formats. The program title is a direct reference to the 1963 educational text by painter Josef Albers (Interaction of Color), which presents a number of visual exercises as a way to understand and perceive color and for artists to train their eyes.
Hierarchy of Particles is a program of films and videos that explore particles and fragments of image and sound through a variety of formats – from image-processing of video signals, to high-contrast and hand-processed or manipulated celluloid film stock, and re-purposing film footage and warbled audio fragments.
Cinema Project is excited to host guest curator David Dinnell, who has crafted two unique evenings of experimental film and video for us. Over the course of two evenings, we will see 19 contemporary works of animation, fiction, abstraction, observation, and motion studies, including three rarely presented works for multiple 16mm projection.
Cinema Project’s second program of Japanese experimental films—the first presented in May 2013—continues to explore the short works of filmmakers Takashi Ito and Toshio Matsumoto. Once a student and teacher duo, both experimented with techniques of still photography in a number of their films produced during the 1970s and 80s. Techniques included using time-lapse photography, single-frame shooting, or employing the still photo as both object and extra-dimensional window.
In this one-night program, Berlin-based OJOBOCA (Anja Dornieden and Juan David González Monroy) will present a selection of 16mm films and projector performances that demonstrates the collective’s practice of Horrorism, “a simulated method of inner and outer transformation.” OJOBOCA’s films and performances are as rich in visual and sensory texture as they are in drawing upon and inspiring an imaginative and creative spirit. Taking place 3000 years in the future and featuring a cast of jungle-dwelling gnomes, La Gente Perra is a film based on fragments of a story by the Colombian writer, Gomati D. Wahn. The collective’s penchant for representing phantasmagoric stories and images continues with Wolkenschatten, a narrated slideshow composed of remnant images that eerily document the mysterious disappearance of an entire German town in the 1980s. The program concludes with two projection performances and will be followed by a conversation with the artists.
Celluloid-based filmmaking is alive and well in Europe, thanks to a network of film labs dedicated to both the preservation of technology and cinematic experimentation! This two-night program on October 27th and 28th features work from three of these cooperatives: L'Abominable in La Courneuve, France; Labor Berlin in Berlin, Germany; and Labo Bruxelles in Brussels, Belgium.
While the artists associated with these labs produce work in a variety of styles, the films selected for these two evenings are similar in that they demonstrate extremes of the photographic process. In Mahine Rouhi and Olivier Fouchard's Tahousse, and Emmanuel Lefrant’s Parties visible et invisible d'un ensemble sous tension, filmed landscapes are manipulated in color and texture toward otherworldliness and abstraction respectively. In Els van Riel's Gradual Speed, winner of the Gus Van Sant Award for Best Experimental at the 2014 Anna Arbor Film Festival, the image in each vignette appears through time much like a photograph developing while the hum and crackle of vibrating dust erupts on the optical track.
Everyone Gets Hurt But There’s No One To Blame December 7th and 8th, 19:30h Cinema Project 2522 SE Clinton Street, 97202, Portland, Oregon
Guest curated by Pablo de Ocampo
Melodrama—the combination of the Greek word for music (melos) and the French word for drama (drame)—forms the core of this program, guest curated by Cinema Project co-founder Pablo de Ocampo. In each of these works, the artists pursue the melodramatic and use it as the basis for exploring cinematic narrative. In Bruce Baillie’s drama without actors, All My Life, an Ella Fitzgerald song is juxtaposed with a slow, sincere gaze upon the blue skies of California. Keren Cytter’s Four Seasons is a series of deadpan, forlorn exchanges between a man and a woman in an apartment. In Ming Wong’s Angst Essen / Eat Fear, a reconstruction of Fassbinder’s 1973 film Ali, Fear Eats the Soul, Ming casts himself in all the roles, reflecting this narrative about identity and difference back on himself. Pussy on a Hot Tin Roof closes the screening as a brief epilogue from the long-standing master of kitsch and cult, George Kuchar. A short musical prelude and interlude will accompany the work in this program, check the website for more details later this fall.
- All My Life by Bruce Baillie [1966, 16mm, 3 min. ] - Footnotes to a House of Love by Laida Lertxundi [USA/Spain, 2007, 16mm, 13 min. ] - Four Seasons by Keren Cytter [Israel, 2009, video, 12 min. ] - Angst Essen / Eat Fear by Ming Wong [Singapore, 2008, video, 27 min. ] - Pussy on a Hot Tin Roof by George Kuchar [1961, 16mm, 4 min. ]
Cinema Project: Makino Takashi June 1 and 2, 19:00h, $7 Suggested Donation Clinton Street Theatre 2552 SE Clinton St., Portland, OR, USA
Cinema Project brings Japanese video artist Makino Takashi to Portland for two nights of dynamic images and sound, including the world premiere of his newest work Inter View with a live score composed and performed by Portland-based musicians Tara Jane O'Neil and Brian Mumford. Preceded by a night of short recent videos with soundtracks composed by Jim O'Rourke, Takashi's work is experimental and abstract, exploring dark and crackling landscapes heightened by the transfer process from film to video. He will be in attendance to present and discuss his work.
Takashi describes his latest work, Inter View, as "dark, fast, complex, blue, and poetic," revealing the potential intangibility of his images. For this world premiere, curated and presented by Cinema Project, Takashi collaborates with Portland-based musicians Tara Jane O'Neil and Brian Mumford who will perform live their original score.
With glimpses of representation rising to an often scratched and hand-painted surface, texture is key in the work of the Japanese artist. Combining his images with dynamic soundscapes created by experimental musicians like Jim O'Rourke, Takashi's work is a seemingly tenuous bending of both time and space. A telecine master, Takashi uses the transfer process to translate initially film-based images into crackling digital landscapes, making him part of a new generation of Japanese experimental film and video artists.
Tuesday June 1st - No is E [2006, video, color, sound, 23 min.] - Elements of Nothing [2007, video, color, sound, 20 min.] - still in cosmos [2009, video, color, sound,18 min.] All music by Jim O'Rourke
Wednesday June 2nd - The Seasons [2008, video, color, sound, 30 min.] music by Jim O'Rourke - while we are here [2009, video, color, sound, 15 min.] music by COLLEEN - The Low Storm [2009, video, color, sound, 16 min.] music by Lawrence English - Inter View [2010, video, color, 25 min.] original score performed by Tara Jane O'Neil and Brian Mumford
Supported in part by a grant from the Regional Arts & Culture Council
Cinema Project: Screaming City - West Berlin 1980s Beyond Borders Program VIII: Germany April 20 & 21, 6:45pm Clinton Street Theatre 2522 SE Clinton St., Portland, Oregon 97202, USA Suggested donation of $7 ($3 for members).
For this two-night event, Cinema Project welcomes curator Stefanie Schulte Strathaus of Berlin’s Arsenal. Stefanie has toured extensively with many of these films and will be on hand to present the work each night.
On Tuesday April 20th is a selection of shorts including a-b-city by Brigitte Bühler and Dieter Hormel that features a psychedelic West Berlin pumped with the music of Pere Ubu and Einstürzende Neubauten, and Cynthia Beatt's Cycling the Frame, with a young Tilda Swinton who mumbles, "This is completely mad, this place," while cycling along the Wall.
On Wednesday April 21st is the feature length Flug durch die Nacht, by Ilona Baltrusch, which shows a highly staged West Berlin embedded in the apocalyptic atmosphere typical of the 1980s.
In the decade before the fall of the Berlin Wall, a vast number of films were produced in and about West Berlin, dealing with the ambivalent realities of the enclosed city. No longer was it about devoting oneself to the World Revolution, but rather about implementing alternative life-styles, which gave rise to social resistance, strident underground cultures, and sexual border-crossing. For many young filmmakers, the super-8 medium facilitated the production of low cost and truly independent films. The technical limitations tended to embody a strong means of spontaneity and purposeful dilettantism, while being easily distributed and shown in underground cinemas, clubs, and cafes. Curator Stefanie Schulte-Strathaus of Berlin’s Arsenal brings with her to Portland a selection of experimental films from this dynamic and complex period of our recent past.
Tuesday April 20th - Normalzustand (Yana Yo, 1981, S8mm to video, color, sound, 3 min.) - Musterhaft–das Ende, ein Intermezzo (Michael Brynntrup, 1985, S8mm to video, color, sound, 8 min.) - Darum oder was erwartest Du? (Jürgen Baldiga , 1981, S8mm to video, color, silent, 7 min.) - Persona Non Grata (Christoph Doering, 1981, S8mm to video, color, sound, 16 min.) - a-b-city (Brigitte Bühler & Dieter Hormel, 1985, S8mm to video, color, sound, 8 min.) - Cycling the Frame (Cynthia Beatt, 1988, 16mm, color, sound, 28 min.) - Naturkatastrophenkonzert (Die Tödliche Doris, 1983, S8mm to video, color, sound, 3 min.)
Wednesday April 21st - Flug durch die Nacht (Ilona Baltrusch, 1980, video, color, sound, 90 min.)