This is the story of two short-lived artist-run spaces that are associated with some of the most innovative developments in the arts in Britain in the late 1960s. The Drury Lane Arts Lab (1967–69) was home to the first UK screenings of Andy Warhol's twin-screen 3 hour film Chelsea Girls, challenging exhibitions (John and Yoko / John Latham / Takis / Roelof Louw), poetry and music (first UK performance of Erik Satie's 24-hour Vexations) and fringe theatre (People Show / Freehold / Jane Arden's Vagina Rex and the Gas Oven / Will Spoor Mime Theatre).
- 24,99 GBP
"Michael Snow has challenged the reader’s/viewer's notion of a book, indeed one's very notion of perception." - Benjamin Buchloh
Compelling interviews with notables in avant-garde cinema offer insights into moving image art--its creative processes, formative influences, and hidden psychic effects. Through interviews with George Manupelli, Chick Strand, Tom Gunning, Lynne Sachs, Jay Rosenblatt, Martha Colburn, Evan Meaney, Mike Hoolboom, Robert Nelson, and Nina Menkes, Strange Questions links powerful personal stories with the contemporary media-scape.
Questions addressed in this collection include:
What role does the audience play in the creative process?
Price:Paperback - 10 USDKindle - 5 USD
Special Edition: Digipack DVD with 4 short films and 2 bonus films by filmmakers Maria Klonaris and Katerina Thomadaki. 48-page booklet.
Notes For An Aleatory Flame is a personal manifesto of cinematic self expression flipped into speculative entryway for possibilities of communion with fresh & unforeseen personal methodologies. Through inquisitive poetics, this essay functions as a call for the self as image-making-instrument to slice through the media manure by engaging in the necromantic act of reinvigorating cinematic ruin. Martinod’s words beckon us to traverse new realms through the creation of portals and to witness reality through our personal relations with images.
Blu-ray anthology of Japanese artist Jun Kurosawa’s short films presented by KRAUT FILM.
Reflected light of water’s surface and sunlight that penetrates glass, the shadow of the blue sky and things. In the darkness of a theater space, the fixed light on a film becomes various modes through tungsten light. Selected experimental works by Japanese filmmaker "Jun Kurosawa" that one would be attracted by the mystique and beauty of a film.
Intermedia and Expanded Cinema, both as critical approach and artistic practice, left an indelible mark in a period of Japanese art history that is broadly considered to be one of its most dynamic moments in the wake of its postwar reemergence.
Despite the burgeoning interest in academic and curatorial circles in this segment of Japanese art history, the paucity of readily available material in a language other that Japanese has meant the local context, particularly the ways in which the terms were critically debated, was relatively neglected.
DVD with 15 films by Storm De Hirsch. Second release of re:voir's New York Film-makers' Cooperative Collection.
A major work in terms of style, structure, graphic invention, image manipulation and symbolic ritual. Short abbreviated dream-like moments, fused together by the tension and the dynamic of motion-picture time.
This book assesses the contemporary status of photochemical film practice against a backdrop of technological transition and obsolescence. It argues for the continued relevance of material engagement for opening up alternative ways of seeing and sensing the world. Questioning narratives of replacement and notions of fetishism and nostalgia, the book sketches out the contours of a photochemical renaissance driven by collective passion, creative resistance and artistic reinvention.
Price:Ebook - 66,99 EURHardcover - 83,19 EUR
Expanded cinema: avant-garde moving image works that claim new territory for the cinematic, beyond the bounds of familiar filmmaking practices and the traditional theatrical exhibition space. First emerging in the 1960s amidst seismic shifts in the arts, multi-screen films, live cinematic performance, light art, kinetic art, video, and computer-generated imagery - all placed under expanded cinema's umbrella - re-emerged at the dawn of the 2000s, opening a vast new horizon of possibility for the moving image, and perhaps even heralding the end of cinema as we know it.
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