Events

  • Peter Kubelka presents Monument Film

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    Peter Kubelka presents Monument Film
    Tuesday April 9 2013, 18:30h
    BFI Southbank
    Belvedere Road, South Bank, SE1 8XT London

    The Austrian filmmaker Peter Kubelka has been a vital and uncompromising force in cinema for more than half a century. In a body of work that lasts not much more than an hour in total, he condenses and articulates the essential qualities of analogue cinema, distinguishing film as an autonomous artform. His 1960 film Arnulf Rainer, composed only of the purest elements of light and darkness, sound and silence, remains one of the most radical achievements in film history. In response to that earlier work, his new film Antiphon was revealed in 2012 as part of Monument Film, a powerful testament to the entire medium. With two 35mm projectors situated in the auditorium, each film is screened individually, then combined as double projections, both side-by-side and superimposed upon each other. Throughout this extraordinary projection event, Peter Kubelka will discuss his theories, explaining the differences between film and digital media, and articulating his belief in the survival of cinema.

    Monument Film
    Lecture screening with double 35mm projection
    Peter Kubelka | Austria 1960/2012 | c.90 min

    Curated by Mark Webber. Presented with the support of the Austrian Cultural Forum, London.

    Tickets: £11 / £8.50 concessions (BFI Members pay £1.50 less)

    This performance was originally scheduled for the 56th BFI London Film Festival last October. Audience members with tickets for the original event should contact the BFI Box Office on 020 7928 3232 for an exchange.

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  • PoetryFilm Equinox

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    PoetryFilm Equinox
    Circles, Cycles, Sequences, Planets, Patterns
    Wednesday March 20 2013, 19:30h
    Charlotte Street Hotel Cinema (located downstairs)
    15-17 Charlotte Street, London WIT 1RJ

    A special one-off PoetryFilm event celebrating the Equinox with a bespoke programme of experimental short films, poetry readings and music performances exploring circles, cycles, sequences, planets and patterns.

    Tickets £10 , available in advance only (will not be available on the door). Visit http://poetryfilm.eventbrite.co.uk

    Entry will be by stating your name. Full programme follows.

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  • Projektionen: Melos – Zwischen Räumen

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    Projektionen: Melos – Zwischen Räumen
    Thursday, March 143 2012, 19:30h
    kunstraum t27/Kunstverein Neukölln
    Thomasstrasse 27, 12053 Berlin

    LaborBerlin members Anja Dornieden and Juan David González Monroy are teaming up once again with Deborah S. Phillips to present an evening of films and performances on Super 8 and 16mm at Kunstraum t27. The screening will accompany the exhibition “Melos – Zwischen Räumen” which includes works by LaborBerlin friends Deborah S. Philips and Inger Lise Hansen.

    With performances by Andreas Gogol, Klaus Eisenlohr and Yptu Enth and films by Tomonari Nishikawa, Rose Lowder, Emmanuel Lefrant, Jodie Mack and special guests from Film-Koop Vienna, Daniela Zahlner and Magdalena Pfeifer.

    Programme:
    - Andruck, Superlux; Splash & Roll (Andreas Gogol, 2013, performance, 10 min.)
    - Sketch film #2 (Tomonari Nishikawa, 2005, Super8, 3 min)
    - Les tournesols (Rose Lowder, 1982, 16mm, 3 min.)
    - RGB Prater (Skizze) (Daniela Zahlner, 2013, Super8, 3 min)
    - Hand Made (Magdalena Pfeifer, 2012, Super8, 3 min)
    - Blits (Emmanuel Lefrant, 2006, 16mm, 6 min)
    - Persian Pickles (Jodie Mack, 2012, 16mm, 3 min)
    - 0.1 0.2 0.3 Intervalle (Klaus W.Eisenlohr & Yptu Enth, 2013, performance, 7 min)

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  • Xcèntric: Visions of the Body I

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    Xcèntric: Visions of the Body I
    Sunday, March 17 2013, 18:30h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    The cinema always establishes a relation between the filmed body and the machine that films. The camera captures the light and the duration that envelope the body and, at the same time, the filmed body enters into a process of staging of itself that the camera records. In most cases, this body appears “disembodied”, at the service of a narrative, but there are films, like the ones shown in these sessions, that restore its materiality, bringing flesh to light, allowing gestures to just be themselves. These are works that show us the body’s intimate relationship with itself, with the camera and the other, and the tactile sensation of this experience as an inherent condition of the cinema. Certain imperfections that we see in the images of one of Brakhage’s first great films, Flesh of Morning, speak to us of the most immediate aspects of the body and its carnal obsessions. Beavers’s films, Winged Dialogue and Plan of Brussels, full of lyrical visions of narcissistic, erotic imagination, use psychodrama to show us a divided body: the I and the other. Based on a novel by Balzac, in Himself as Herself Markopoulos portrays a hermaphrodite body, its movements, postures and gestures or expressions, a study of a highly stylized inner landscape that takes Bresson’s ideals to their ultimate conclusions.

    - Flesh of Morning (Stan Brakhage, 1956/1985, 16 mm, 25 min)
    - Winged Dialogue (Robert Beavers, 1967/2000, 16 mm, 3 min)
    - Plan of Brussels (Robert Beavers, 1968/2000, 16 mm, 18 min)
    - Himself as Herself (Gregory Markopoulos, 1967, 16 mm, color, 60 min)

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  • Balagan presents... DIY Dystopia

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    Balagan presents... DIY Dystopia
    Thursday March 14, 2013 19:30h
    Brattle Theatre, 40 Brattle Street in Cambridge, MA USA

    With the natural world teetering on the brink of multilateral catastrophe, a group of analog filmmakers have taken matters into their own hands. Through direct contact with the medium – lifting and reassembling images on the film strip – adhering waste matter to celluloid – leaving emulsion to languish in the landfill – the artists interpret physical processes that ravage our land. Their grave methods yield results of unexpected poetry, vibrancy and beauty.

    Attendees of this show will also receive a special, locally-produced, collaborative zine, made available through the Papercut Zine Library!

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  • Bozar Cinema: Makino Takashi

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    Bozar Cinema: Makino Takashi
    Wednesday March 6 2013, 20h
    Palais des Beaux-Arts / Studio
    Rue Ravenstein 23, 1000 Bruxelles

    The image is always first and I think of it as a graphic score: a visual basis for composing music”.

    Makino Takashi (1978) is an experimental film and video artist living and working in Tokyo. Treating image and sound as elements of equal importance, he produces immersive, cosmic, organic works where music - usually composed by cult musician Jim O'Rourke, with whom Makino Takashi has developed a regular collaboration - unfolds over skilfully created, often abstract images, expanding together into richly layered and dense experiences. Following the screening, Makino Takashi will discuss his work with Floris Vanhoof.

    - Generator (Japan, 2011, 19’, color, HD, music by Jim O'Rourke)
    - [still in cosmos] (Japan, 2009, 17', color, D, music by Jim O'Rourke)
    - 2012 (Japan, 2012, 30’, color, HD). 3D screening with musical live performance by Makino Takashi.

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  • Turbidus Film Presents: Rose Lowder

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    Turbidus Film Presents: Rose Lowder
    16mm films / lecture / q&a
    Friday 22 March 2013, 19h
    Fylkingen
    Münchenbryggeriet, Torkel Knutssonsgatan 2, Stockholm, Sweden

    After training as a painter and sculptor in artist’s studios and art schools in Lima (The Art Center, La Escuela de Bellas Artes) and in London (Regent Street Polytechnic, Chelsea School of Art), Rose Lowder worked in London as an artist while earning a living in the film industry as an editor. From 1977 onwards she concentrated on studying the visual aspect of the cinematographic process, and was encouraged by Jean Rouch and his staff at the University de Paris X to present some of her work as a thesis under the title The experimental film as an instrument towards visual research (1987).Since 1977 Lowder has been active programming rarely shown films. In order to make this body of work available to a wider public, she constituted a collection of films and paper documents, The Experimental Film Archive of Avignon (1981). Since 1996 Lowder is also associate professor at the University de Paris I.

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  • Transparent Things: Mary Helena Clark’s films & influences

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    Transparent Things: Mary Helena Clark’s films & influences
    Monday 25 March 2013, 20:30h
    OFFoff Cinema
    Lange Violettestraat 237  9000 Gent, Belgium

    I want to make cinema that is both trance-like and transparent: that operates on dream logic until disrupted by a moment of self-reflexivity, like tripping on an extension cord.

    What are we seeing when watching images flickering on the screen? One could say that the cinematic experience always involves an unique play of imaginary presence (perceptual experiences, fantasies, illusions) and real absence (what is represented but not really there). The act of perception may be real, but the perceived is merely a shade, a phantom, “a hallucination that is also a fact”. It is this fundamental tension between presence and absence, actual and perceptual, the visible and the spectre of the hidden, that is at the heart of Mary Helena Clark’s work. Taking cues from the fantasy and illusion of early cinema as well as the material and formal exercises of the avant-garde, her hypnotic pieces explore cinema’s primitive magic, hurtling us down the secretive rabbit holes of the moving image. After having screened several of Mary Helena’s films in previous years, Courtisane will once again showcase her work during the coming Courtisane festival (17-21 April 2013), with the screening of her latest short film, Orpheus (outtakes). As a prologue to this year’s festival, Courtisane will present at OFFoff six films by Mary Helena Clark together with a selection of works by other filmmakers that have inspired her practice.

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  • Sonic Acts: The Dark Universe

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    Sonic Acts 2013Sonic Acts: The Dark Universe
    February 21-24, Amsterdam

    The 2013 edition of Sonic Acts, the festival that explores the 'developments at the intersection of art, music and science', begins tomorrow (February 21-24) in Amsterdam. Titled The Dark Universe, this fifteenth edition comes filled with music and expanded cinema performances, including Makino Takashi's latest [2012]3D, William Raban's 1977 performance Wave Formations or Rose Kallal's 16mm abstract work Apeiron. Several screenings and installations include showings of works by Bruce Conner, Peter Tscherkassky, Aldo Tambellini, Joost Rekveld, Jürgen Reble and Nenad Popov & Klara Ravat, among others.

    For further details, you can browse the full programme in the Sonic Acts website.

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  • Barbara Hammer: Dignity

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    Vital Signs (Barbara Hammer, 1991)Barbara Hammer: Dignity
    February 16 - April 13 2013
    Open Wed–Sun 12–18h
    KOW, Brunnenstr. 9, 10119 Berlin

    The experimental filmmaker, documentarist, and visual artist Barbara Hammer, who was born in Hollywood in 1939, has created one of the most influential oeuvres of Queer Cinema. Over the course of a lifetime, the pioneering lesbian film activist has put together a comprehensive manifesto of feminist perspectives. Our first solo exhibition of Barbara Hammer’s work, in 2011, emphasized her contributions to the (self-)representation of lesbian love and sexuality in the 1970s; in this new show, by contrast, we focus on a parallel strand in her oeuvre that commences in the mid-1980s: Hammer’s engagement with illness, aging, and death.

    The centerpiece of the exhibition, which was designed in collaboration with the artist, is “Sanctus” (1990). Hammer uses moving X-ray pictures Dr. James Sibley Watson produced in the 1950s that capture—usually female—bodies in motion.(1) Watson had turned his study subjects’ bodies into a spectacle, subjecting them to visualization and medico-technical manipulation that cut to the quick; Hammer exalts these bodies, presenting them now as threatened, now as threatening, restoring their sensual presence. She copies, crops, and cross-fades Watson’s archival footage, painting on it and using chemicals to burn it. Hammer animates a danse macabre of female skeletons. This is more than a feminist and erotic reappropriation of the female body beset by technology and pathology—it is its canonization, supported on the original soundtrack by the composer Neil B. Rolnick’s computer-generated mass “Sanctus.”(2)

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