Tinne Zenner is a visual artist and filmmaker based in Copenhagen. She holds an MFA from The Royal Danish Academy of Fine Arts. Working with analogue film and digital animation, her work explores the physical structures, in which layers of history, politics and collective memory are embedded. With a point of departure in modern and global landscape, the films utilise cultural narratives, abstract information and analogue materiality in an ongoing portrayal of the world in circular transformation.
Turbidus Film #24, Walden And Fylkingen presents Nicolas Rey’s Les Soviets plus l'électricité (2001) on 16mm. Les Soviets plus l'électricité is a cinematic and epic journey across Russia that ends deep in Siberia at the port town of Magadan, a city famous in Soviet times for being synonymous with deportation. Based on excerpts from his acoustic diary, documentary footage and some autobiographical insights given on the way, the roving reporter searches for imaginary roots and its historical and political implications.
FYLKINGEN presents TURBIDUS FILM #20: LUKE FOWLER (film/sound) and JOHN CHANTLER (sound) in person.
The British artist, filmmaker and musician Luke Fowler has over the past 15 years, developed a practice that is, at the same time, singular and collaborative, poetic and political, structural and documentary, archival and deeply human. With an emphasis on communities of people, outward thinkers and the history of the left, his 16mm films tell the stories of alternative movements in Britain, from psychiatry to photography to music to education.
Turbidus Film and Fylkingen present, as a part of Kortfilmsdagen, three films by Jerome Hiler. The films by Hiler blend a beauteous celebration of the sensual world with a deep sense of introspection and solitude. They are occasions for reflection and meditation, on light, landscape, time and the motions of consciousness. For example, In the Stone House literally compiles physically fragile and intensely poignant footage shot during the same period chronicled in Nathaniel Dorsky's Hours for Jerome (1967-1971).
Fylkingen and Turbidus Film present Landscapes and abandoned places, a second program with five experimental film makers that focused on landscapes, architecture, abandoned places, strata, glimpses of gardens, light patterns, and elements as earth, water, fire and wind...
Films by: Julie Murray (IRL), Giovanna Puggioni (IT), Adèle Friedman (US), and Arthur & Corinne Cantrill (AUS). All films on 16mm.
Fylkingen and Turbidus Film present a film programme focused on gardens, structural landscapes and field studies. In micro narrative of almost non-action, re-structuring cinematic forms, archetypal routines, off-screen presence, image in the images, this program provides the violence of the Atlantic Ocean hitting the coast, Brancusi's scuplture garden at Tirgu Jiu, the beach of Palud, the fields in Bourgogne and a garden in blossom from a dead mother's house.
Wolfgang Lehmann's Dragonflies with Birds and Snake is a powerfully vibrant film based on zoological and educational footage of insects, birds, and amphibians. The structural montage of the film, with small repititive variations and flicker effects, creating its own spatial and temporal essence.
”A menagerie of semiotic editing techniques employed during this exercise allows the marshy world of the dragonfly to unfold before us: dragonfly larvae hatch, whilst mere frames later, a bird slowly devours an adult specimen. We see bird and prey gradually merge forms, holding a constant value of image as all other areas of the frame flicker between positive and negative image, blue sky or green grass.”
Turbidus Film and Fylkingen present Nathaniel Dorsky
The films of Nathaniel Dorsky blend a beauteous celebration of the sensual world with a deep sense of introspection and solitude. They are occasions for reflection and meditation, on light, landscape, time and the motions of consciousness. Their luminous photography emphasizes the elemental frisson between solidity and luminosity, between spirit and matter, while his uniquely developed montage permits a fluid and flowing experience of time. Dorsky’s films reveal the mystery behind everyday existence, providing intimations of eternity.