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A relational [video] grammar: extrapolation is an editing experiment that uses drawing and the addition/reconfiguration/obliteration of text to examine speech generated during the making of direct address to camera, within a context of artists’ film and video. a relational [video] grammar: extrapolation tests the conceptual relationships between linguistic and technological editing processes.
The publication “...and the figtrees in the Alameda gardens” brings together three of Nina Danino’s early 16mm films—First Memory (1980), Close to Home (1985), Stabat Mater (1990)— which are related to Gibraltar as a real place, and as an imagined geography and history. The publication includes the artist’s recent work Meteorologies (2013).
The book is published on the occasion of Nina Danino’s solo exhibition “...and the figtrees in the Alameda gardens” at the Garrison Library, a magnificent library in Gibraltar—established in 1793. Since then, the venue, with its fine collection of rare books and documents, has been a centre of international cultural life in Gibraltar.
The work of these two German artists, Christoph Girardet (* 1966) and Matthias Müller (* 1961), is of outstanding importance for filmic and video art. The publication offers, for the first time, in-depth insights into the joint filmic and photographic oeuvre of these two artists. Girardet and Müller have been working in continuous collaboration for more than 14 years now, primarily on the basis of filmic material already in existence (found footage), from which they produce associative/narrative compositions.
With reference to recent neurological research into Post-Traumatic Stress Disorder (PTSD) using new imaging technologies and models of implicit and explicit memory systems developed from this research, The Performance of Trauma in Moving Image Art examines the capacity of an artist’s cinema of experimental and avant-garde film to perform and communicate traumatic experience.
Alternative Projections: Experimental Film in Los Angeles, 1945-1980 is a ground-breaking anthology that features papers from a conference and series of film screenings on postwar avant-garde filmmaking in Los Angeles sponsored by Filmforum, the Getty Foundation, and the University of Southern California’s School of Cinematic Arts, together with newly-commissioned essays, an account of the screening series, reprints of historical documents by and about experimental filmmakers in the region, and other rare photographs and ephemera. The resulting diverse and multi-voiced collection is of great importance, not simply for its relevance to Los Angeles, but also for its general discoveries and projections about alternative cinemas.
Reference work devoted to the avant-garde filmmaker, emblematic figure of the British experimental cinema, with twenty texts by Malcolm Le Grice and new essays by Yann Beauvais and Philippe Langlois on his film and its relationship with art and music.
Published following the eponymous exhibition at the Espace multimédia Gantner, Bourogne in 2011-2012
Film festivals have had varied and complex histories starting with Benito Mussolini's invention of the form in Venice in 1932. Since then (and too often) festivals are thought of in terms of Hollywood's film industry. This text is a celebration of all things un-dependently cinematic. The essays contained in this volume explore the cultural value of alternative film festivals from a wide range of perspectives and experiences.
Swiss artist Hannes Schüpbach has been working with cinematographic elements since 1990; the conceptual connections between his spatially extended works and his films were highlighted in his solo exhibition Stills and Movies at Kunsthalle Basel in 2009. This publication accompanies screenings of his film trilogy Spin/Verso/Contour at Centre Pompidou, Kunsthalle Wien, and Arsenal, Berlin, among other venues.
Charting the development of the studio practice of New York based artist Anthony McCall (b.1946), this publication features facsimile reproductions of pages from McCall's extensive archive of notebooks, which are supported by production scores and installation photographs. It was formed out of a series of discussions that took place over the last decade between McCall and the artists Graham Ellard and Stephen Johnstone.
John Porter’s CineScenes is the first volume to spotlight Toronto native John Porter’s legendary photographs of alternative film culture – its “celebrities,” places, and rituals – taken across a span of nearly 40 years. This soft-cover, 144-page book features over 200 beautifully reproduced b&w and colour photos by Porter, and includes essays by Scott MacDonald, Nicole Gingras, Dot Tuer, and Tess Takahashi.
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