Screenings

  • Photography? An Enigma

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    The ability of photography to make visible the imperceptible has fascinated and nourished a collective unconscious inclined to assign her with a set of supernatural attributes. Taking up the foundations of an ontology based on ageless beliefs to images and their conversation with the invisible powers, cinema has drawn from the register of spirit photography the elements of a formal grammar in which the phenomenon of appearance and disappearance on the screen are the markers of its magical nature. Like Georges Méliès in the role of a photographer making a portrait of a young woman by only using his psychic powers (The Spiritualistic Photographer, 1903), the American artist Rebecca Baron (based in Los Angeles) offers with Détour de Force (2014) an disturbing portrait of Ted Serios, an atypical figure in American popular culture of the 1960s who was able to expose the surfaces of Polaroid film by his thought. If Méliès has exalted through its optical traps the magical aspect of the photographic image, Rebecca Baron explores the mainstream media coverage of Ted Serios and his mental pictures (thoughtography) in which both became the subjects a morbid attraction where the use of imagination is denied. The demystification of photography denounced by Détour de Force seems to find in an industrial film produced by the American Chemical Society his negative reflection.

    Dates: 

    Wednesday, April 15, 2015 - 19:00

    Venue: 

    Centre Pompidou - Paris, France
  • Photography? A Story

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    Emblematic film of the modernity in the cinema history, La Jetée (1963) by Chris Marker has influenced the unconscious of a cinephilia by its revolutionary structure borrowed from the photomontage. Created from still images on which the comment of an off-camera narrator adds its own story, the film draws the outline of a utopian space in which the temporalities of photography and narrative are intermingled through the phenomenon of cinema projection. In his search of childhood buried memories, the Brazilian artist Pablo Pijnappel (born in Paris in 1979) revives in his work Fontenay-aux-Roses (2010) the founding principles of an experience based on memory and poetry that was inaugurated by Chris Marker. By borrowing a selection of 80 still images made in Paris by other, Fontenay-aux-Roses deploys the intriguing beauty of a chronicle nourished by the nostalgia of memories and the desire of a fiction without beginning or end. On the projected images that appear successively on the screen by following the predetermined order by the carousel of a slide projector, the voice of a narrator physically present in the movie theater, delivers one after the other the pieces of a puzzle that each viewer is led to reconstruct.

    Dates: 

    Wednesday, April 8, 2015 - 19:00

    Venue: 

    Centre Pompidou - Paris, France
  • Unconscious Archives #17: Derek Holzer/Hangjun Lee & Chulki Hong/Ewa Justka/Rose Kallal

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    Cracked electronics, distorted luminosities and photochemical aberrations are brought into being across four intensely unique and electrify acts. Derek Holzer unleashes opti-sonic graphic scores utilising his homemade Tonewheels technology. Hangjun Lee and Chulki Hong present a brutal expanded cinema set with 16mm film projections, optical sound and turntables. Ewa Justka performs optoelectric noise with pulsing hacked light. And Rose Kallal presents immersive 16mm film projections with live modular synthesis soundscapes.

    Dates: 

    Friday, May 22, 2015 - 20:00

    Venue: 

    Apiary Studios - London, United Kingdom
  • Photography? An Artifice!

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    If the end of the 1960s was marked by the American underground, it was also a particularly fecund period in the development of conceptual cinematic proposals made by artists and filmmakers who were sharing a special interest to the consubstantial components of the film. This approach, which some film historians have defined as structuralist, has drawn the outlines of a new ontology of the film based on the rejection of his illusionist nature and motivated by the deconstruction of its own means of production. Paradoxically or not, this reflexive tendency of cinema has made its dependence – firstly historical and technological - to the photography one of the central elements in the affirmation of its autonomy. By appropriating production stills photography, the American artist Morgan Fisher has displaced, in Production Stills (1970), the documentary function of these still pictures by exhibiting them successively in the front of his 16mm camera and making them both object and subject of his film. This principle of succession finds an extension in Gary Beydler’s Pasadena Freeway Stills (1974) in which the Californian artist explores the relationship between stillness and moving pictures through the scrolling phenomenon. If the films of Fisher and Beydler make from the exposure of their production process by using photography one of the theoretical clue of their reading, Wavelength (1967) by the Canadian Michael Snow achieves, through the masterful and minimalist operation of a continuous zoom movement toward a photograph hung on the wall of a studio, a new ontology of the film in which the photography would appear as a simple off-center element.

    Dates: 

    Wednesday, April 1, 2015 - 19:00

    Venue: 

    Centre Pompidou - Paris, France
  • Music of the bodies

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    Paths of musics and bodies stirring many sounds from punk to electronic music through Bizet. These films oscillate between two poles of body representation, from geometrical dance to an erotic of gesture and editing.

    Curated by Boris Monneau

    Dates: 

    Thursday, April 2, 2015 - 18:30

    Venue: 

  • Unconscious Archives #16: Bruce Mcclure + Roberto Crippa

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    Bruce McClure steps off the international stage to treat an intimate audience at Apiary Studios to his durational, banging, attack and decay on overdriven celluloid with an hour long film and sound projection performance. With support from Roberto Crippa providing his special brand of corporeal-aural intensity.

    Dates: 

    Wednesday, April 1, 2015 - 20:00

    Venue: 

    Apiary Studios - London, United Kingdom
  • Xcèntric: Tortured dust

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    Stan Brakhage, central figure in US avant-garde cinema, lived from the early sixties in Rollinsville, Colorado, with his wife and children, isolated in the mountains. There, he developed a highly personal and lyrical cinema, centred on his family: a series of autobiographical films that he entitled The Book of the FamilyTortured Dust was the end of this cycle. Filmed throughout three years in the eighties, at the heart of a household in crisis, it is his longest and most moving home movie. Using a hand-held camera, a rhythmic, intricate editing process and touches of psychodrama, the film portrays with insight and distance their everyday life. Through windows, mirrors, flashes of colour and chiaroscuro, Brakhage records his children leaving home, the lack of communication and the breakdown of his marriage.

    Dates: 

    Thursday, March 26, 2015 - 20:00

    Venue: 

  • CROSSROADS 2015, program 9: greetings to ancestors

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    In Person: Mary Helena Clark; Joshua Gen Solondz and Eric Stewart

    - PRISONER'S CINEMA (2012) by Joshua Gen Solondz; digital video, b&w, sound, 10 minutes, from the maker bay area premiere
    —It has been widely reported that prisoners confined to dark cells often see brilliant light displays, which is sometimes called the “prisoner’s cinema.”

    Dates: 

    Sunday, April 12, 2015 - 20:00

    Venue: 

    Victoria Theatre - San Francisco, United States
  • CROSSROADS 2015, program 4: forward reverse read write: conjectures about the animal

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    In Person: Michael Betancourt; Karissa Hahn; Jeremy Moss and Deborah Stratman

    - CICATRIX (2014) by Jeremy Moss; digital video, color, silent, 7 minutes, from the maker
    —A textural experience in layers, scars and deterioration that combines hand processed, tinted and toned 16mm imagery. Both sight and sound ooze and emulate those tangible tremors catalyzed by increasing awareness of loss and decay. Footage created at the Independent Imaging Retreat (Film Farm) in Mt. Forest, Ontario, Canada. (Jeremy Moss)

    Dates: 

    Saturday, April 11, 2015 - 16:00

    Venue: 

    Victoria Theatre - San Francisco, United States
  • CROSSROADS 2015, program 1: visitations, dreams of falls (watch them collapsing)

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    IN PERSON: Tommy Becker; Jon Behrens and Vanessa Renwick

    - LAYOVER (2014) by Vanessa Renwick; digital video, color, sound, 6 minutes, from the maker
    —A swan song for the factory age. A vortex of swirling Vaux’s Swifts which layover for three weeks in Portland OR each fall on their migration to South America. Birds swoop over our demise, their relentless choreography signaling a new start. (Vanessa Renwick)

    Dates: 

    Friday, April 10, 2015 - 19:00

    Venue: 

    Victoria Theatre - San Francisco, United States

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