Another Experiment By Women presents a show with guest curator Sasha Waters Freyer
Try a Little Tenderness is a selection of old and new works in 16mm film and video about being vulnerable – exposed and unsafe. Susceptible, yet ready. The program is a personal and collective response to the ontology of artistic canons in and of themselves. It presents a selection of works that cross and expose the boundaries by including Net Art, music video, performance-documentation and video art alongside more traditional approaches to experimental cinema. These nine works address, in very different ways and formats, acts of being naked to the world – the human body in search of love, food, adventure or acceptance; the human challenge to “acceptable” conduct based on race and gender stereotypes. Try It – Try a Little Tenderness. With works by Greta Snider, Kelly Gallagher, Tova Mozard, Ira Eduardovna, Jennifer Chan, Alma Alloro, Laurel Nakadate, Leslie Hall, Roger Beebe and Sasha Waters Freyer.
James Harrar, experimental filmmaker, video artist and musician from Atlanta, Georgia comes to Berlin for this screening. The artist, who mostly collaborates with Musicians for live shows under the name Cinema Soloriens, is currently on tour in Europe. His films - and music – take on a lucid form of audio-visual communications with the audience.
VISIONS in collaboration with the Festival du nouveau cinéma presents : Richard Kerr + Michaela Grill + Emmanuel Lefrant (16mm, 35mm, 60mins)
Shot in the deserts of the American Southwest, Kerr’s The Last Days of Contrition (1988) is a poetic, harrowing vision of the apocalyptic consequences of militarism and the bankruptcy of the American ideal. The film is set after the fall. Disembodied voices prophesize and attest over a swirling ménage of unsettling desert landscapes, weaponry and dystopian nationalist symbolism. Richard Kerr’s film is followed by shorts by Emmanuel Lefrant (France) and Michaela Grill (Austria). Lefrant’s film work is based on abstraction being apprehended as landscape — a landscape that is the actor or producer of emotions and subjective experiences. The films are based on the idea of representing or revealing an invisible world, a nature that one does not see, through the secret forms of the emulsion. Grill builds her work via the digital format, which she considers the most radical form for rethinking the film image. Her videos, a skillful synergy between image and sound, address the question of cinematic perception and its reduction into abstract forms.
Christa Biedermann, Austrian artist who lives in Berlin and Vienna shows animations and performance films. The artist who eludes any kind of categorization, paints, draws, photographs and makes films and videos, where she mostly appears herself in front of the camera. In her videos, she critically and ironically questions the society and the demands on the artists by the society, especially on female artists. She thus markedly disappoints expectations on her work as image-artifacts as well as the expected image of her as woman and artist.
Belgian experimental film festival L’Âge d’Or comes back next October 3-10 with the second edition of its new run. 2015 celebrates the 50th anniversary of Super 8 and so for its second edition, the Âge d’Or festival has chosen to pay homage to the work of the fiercest advocates of this format, too often denigrated and considered ‘amateur’. A format however that has been, and sometimes still is, the terrain of innovative cinematic experiments, full of the constraints that only it can create.
Saturday, October 3, 2015 (All day) to Saturday, October 10, 2015 (All day)
Helga Fanderl will be here in person to present one of her unique screening programs from both Super-8 and 16mm projections.
For Fanderl the film is born out of the act of recording, with a certain immediacy, with the hand-held super 8 camera (some being later blown up to 16mm) and all are edited in the act of filming -the so called "in camera" technique. This limitation, particularly with super 8, provides a certain formal palette from which the decisions of the filmmaker can evolve within, whilst simultaneously reacting very intuitively to the outside.
These films shot on 16mm & 8mm in the US reveal the lyrical charge hidden behind an image. Their use of light, composition and words beyond the physicality of the document; their metaphorical and political connotation comes from a poetic approach to the frame. These works share an enthusiasm for discovery, and exhibit spaces in which what is not written is worth more than what was said... The title, A Picture Is Always A Book, is inspired by the book of poems by Robert Seydel (Siglio, 2014).