• Independent Film Show 2009: Morgan Fisher

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    Morgan Fisher Films
    Independent Film Show 2009

    3 - 7 November 2009, Napoli (Italy)
    This programme will be introduced by Morgan Fisher.
    Curated by Stoffel Debuysere and Maria Palacios Cruz.

    The 16mm films of Morgan Fisher (US, 1942) – straightforward, elegant, playful – are particularly idiosyncratic; they are situated both outside the film industry and the central developments of avant-garde cinema. Too minimal and conceptual for Hollywood’s taste; too concerned with the specifics of industry procedures for the underground. Via Diagonal Thoughts.


  • Phil Solomon at the Harvard Film Archive

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    "Over the course of a long and wonderfully prolific career as a filmmaker and educator, Phil Solomon (b. 1954) has established himself as one of the great visionary artists active in American experimental cinema today. Working principally in 16mm and Super-8, Solomon is especially celebrated for his ability to conjure magical, transformative images by carefully manipulating the photochemical surface of film – using ingenious chemical and optical printing techniques to draw out figures and meaning hidden within the shadowy depths of each frame. Solomon’s predilection for nocturnal moods and movements lends his work a ruminative and melancholy quality, a yearning for the lost world evoked by the exquisitely beautiful and emotionally charged imagery of his films. Working within the tradition of lyrical image poetry pioneered by his good friend and former University of Colorado colleague Stan Brakhage, Solomon has defined a mode of oneiric yet intensely rigorous montage, a form of purely cinematic audio-visual language. At the same time, the structural and aesthetic strategies of modernist poetry and narrative painting are central traditions creatively engaged throughout Solomon’s films. In recent years Solomon has turned to video and to an unusual inspiration in particular – the controversial video game Grand Theft Auto: San Andreas – to make a group of bewitching and mournful digital video pieces that explore and stretch the game’s somber urban dreamscape."

    Harvard Film Archive
    Carpenter Center for the Visual Arts
    24 Quincy Street
    Harvard University
    Cambridge, MA 02138

    Monday, Oct. 5 – 7:00 pm

    *Phil Solomon will be present for the screening

    - Nocturne (US 1980, 16mm, b/w silent, 10 min.)
    - The Secret Garden (US 1988, 16mm, color, silent, 17 min.)
    - Remains to be Seen (US 1989/1994, Super-8 and 16mm, color, 17 min.)
    - Twilight Psalm II: “Walking Distance” (US 1999, 16mm, color, 23 min)
    - Rehearsals for Retirement (US 2007, digital video, color, 10 min.)

    *Solomon will also be attending screenings in the afternoon of Tuesday, Oct. 6 at The Museum School, as well as the MassArt Film Society Wednesday, Oct. 7 at 8:00 pm.

    Those interested in exploring Solomon's work further are encouraged to seek out Scott MacDonald's A Critical Cinema 5


  • Light Reading Series 9: After Amerika

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    Light Reading Series 9: After Amerika
    Wednesday 30 September 2009, at 7pm
    London Light Reading
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG

    In a Light Reading event in October 2007 the Berlin-based curator Marcel Schwierin conversed publicly with Tate Modern curator Stuart Comer on the image of the United States of America after the Iraq war. One outcome of this fruitful discussion was the Werkleitz Festival AMERIKA which happened in 2008 in Halle in East Germany.


  • CLOSE-UP Film Program » Histories of the Avant-Garde - Part 1

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    CLOSE-UP Film Program » Histories of the Avant-Garde - Part 1
    October 27, 20:00–21:30
    The Workingmen’s Club, 44-46 Pollard Row, London E2 6NB

    The Histories of the Avant-Garde is a new series presented by Close-Up and curated by the Dog Movement.

    The Hart Of London (1970) by Jack Chambers was a huge inspiration to two of the most influential artists in Experimental film, Stan Brakhage and Nathaniel Dorksy. This screening offers a very rare opportunity to see what Brakhage called ‘One of the true great films of cinema’ alongside his own important ode to light The Riddle Of Lumen (1972) and Dorsky’s devotional song The Visitation (2002).

    - The Visitation (Nathaniel Dorsky, 2002, USA, 18 mins, Colour, 16mm)
    ‘The Visitation is a gradual unfolding, an arrival so to speak. I felt the necessity to describe an occurrence, not one specifically of time and place, but one of revelation in one’s own psyche. The place of articulation is not so much in the realm of images as information, but in the response of the heart to the poignancy of the cuts.’ — Nathaniel Dorsky

    - The Riddle Of Lumen (Stan Brakhage, 1972, USA, 14 mins, Colour, 16mm)
    ‘The classical riddle was meant to be heard, of course. Its answers are contained within its questions, and on the smallest piece of itself this possibility depends upon sound ‘utterly’, like they say… the pun its pivot. Therefore, my Riddle of Lumen depends on qualities of light. All films do of course. But with the Riddle of Lumen, ‘the hero’ of the film is light itself. It is a film I’d long wanted to make - inspired by the sense, and specific formal possibilities, of the classical English riddle…only one appropriate to film and, thus, as distinct from language as I could make it.’ — Stan Brakhage

    - The Hart Of London (Jack Chambers, 1970, Canada, 70 mins, B&W, 16mm)
    ‘The Hart of London is… constructed out of a variety of material; newsreel, found footage and film shot by Chambers himself. Visually and thematically it shares much common ground with the work of Stan Brakhage, whose influence, when watching the film, is hard to ignore; Chambers postulates the primacy of light using a number of techniques, and uses his material of a Spanish slaughter house and the birth of a child (amongst other things) to riff on the themes of life and death, all to stunning effect. The maintenance of the film’s tension, and its complexity of scope, however, pushes The Hart of London way beyond any reductive comparisons. Brakhage called it ‘one of the few great films of cinema’.’ — William J. Fowler

    Venue: The Workingmen’s Club, 44-46 Pollard Row, London E2 6NB | Ticket: £5/£3 to Close-Up members

    This screening is supported by LUX


  • Film As A Subversive Art at Zoo Art Fair

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    Film As A Subversive Art (Amos Vogel, 1974)Film As A Subversive Art is a new LUX project inspired by Amos Vogel’s 1974 book of the same name. It will be one of four curated exhibitions at this year's new-look Zoo Art Fair (London, 16-19 October), alongside projects by Form Content, Studio Voltaire and Rob Tufnell.

    Vogel's original book was based on his encyclopaedic knowledge of cinema, gathered during his formative years as the programmer of the Cinema 16 film society in New York. It offers a catalogue of ‘subversive’ film which stretches from the artistic avant-garde to mondo movies. Recently reprinted, the book remains tendentious, exhilarating and – above all – optimistic: as Vogel concluded, “the subject of this book will always remain on the agenda… these pages are but a rough draft; for the subject of this book is human freedom, and its guardians, at all times and under all circumstances, are the subversives.” Taking its cue from Vogel, LUX's Film As A Subversive Art project will examine the contemporary possibilities and limits of filmic subversion.


  • Robert Beavers: My Hand Outstretched

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    This long-awaited presentation of Robert Beavers’ film cycle has been organized by the Pacific Film Archive in partnership with San Francisco Cinematheque and the San Francisco Museum of Modern Art and is presented with the generous support of the San Francisco Foundation, the National Endowment for the Arts and the Consulate General of Switzerland.

    “The films of Robert Beavers are exceptional for their visual beauty, aural texture and depth of emotional expression. Born in 1949 in Brookline, Massachusetts, Beavers began to make films in the mid-sixties in New York City. By the end of that decade, he had relocated to Europe with fellow American filmmaker Gregory J. Markopoulos, who would be his lifelong companion until Markopoulos’ death in 1992. The majority of Beavers’ films were shot in the 1970s and 1980s in Italy, Switzerland and Greece. Between 1994 and 2002, the artist involved himself in re-editing the images and creating new soundtracks for his eighteen-film cycle, entitled My Hand Outstretched to the Winged Distance and Sightless Measure. Beavers’ films occupy a noble place within the history of avant-garde film, positioned at the intersection of structural and lyrical filmmaking traditions. They seem to embody the ideals of the Renaissance in their fascination with perception, psychology, literature, the natural world, architectural space, musical phrasing and aesthetic beauty. The act of making things by hand is central to Beavers’ cinema, as are the notions of self-reflexivity and portraiture.” (Susan Oxtoby)


  • Impakt Festival 2009: Accelerated Living Performances

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    In the context of the programme “Accelerated Living”, part of IMPAKT FESTIVAL 2009, 14-18 October 2009, Utrecht, NL. Preview here. Via Diagonal Thoughts.

    Wednesday 14 October 2009
    Theater Kikker / 21:00

    “We will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we will sing of the vibrant nightly fervor of arsenals and shipyards blazing with the violent electric moons; greedy railway stations that devour smoke-plumed serpents; factories hung on clouds by the crooked lines of their smoke.”
    - F. T. Marinetti, ‘Futurist Manifest’


    Thomas Köner : The Futurist Manifest
    The work of media artist Thomas Köner cannot be easily categorised. For years he was active as a sound engineer, before his project Porter Ricks caused a stir in the European techno landscape. In filmmaker Jurgen Reble he found the perfect collaborator to pursue his interest in the symbiosis of visual and auditive experiences. All these different influences come together in Köner’s recent work, in which his fascination for sound colour has expanded to the moving image, resulting in a series of acclaimed performances and installations. At the occasion of the festival theme of “Accelerated Living” and the hundredth anniversary of the Futurist Manifesto, he has composed an “opera digitale” for Impakt, which will be performed with a prepared piano, a digital ”noise orchestra” and a singer. The sonic sediments of one hundred years of industrialisation and acceleration will be condensed in a multidimensional audiovisual space, where image and sound interact as if “time and space died yesterday”.

    Carl Faia (prepared piano & live electronics)
    Iris Garrelfs (voice & live electronics)
    Thomas Köner (laptop noise orchestra, visuals)

    An Impakt production


    Thursday 15 October 2009
    Theater Kikker / 21:00

    Dopes to Infinity

    “I have something more cosmic in mind
    It’s a warpage of time and it’s bliss for everyone”

    - Monster Magnet


    Guy Sherwin

    A key figure in British avant-garde cinema, Guy Sherwin pushes the limits of cinema with his films, installation works and performances, in which he explores film’s fundamental properties: light and time. Since the 1970s he has been working on a series of studies on the illusion of movement and stasis experienced during train travel. For Impakt, he will present a selection of his “train films” in the form of an expanded film performance.


    Dirk de Bruyn + Joel Stern
    In his work, filmmaker and media artist Dirk de Bruyn deals with the disorientating and traumatic experience of media-saturated environments. His performance ‘LanterNfanten’ for three projectors creates an absorbing space where time is disturbed and compressed as a kind of personal research on bodily trauma and cultural displacement. It will be accompanied by a live soundtrack from composer Joel Stern, merging music concrète, art brut and noise.


    Core of the Coalman
    Core of the Coalman is one of the alter egos of composer and visual artist Jorge Boehringer, a project in the musical no man’s land between power electronics, noise and contemporary classical music. With violin, his voice and electronics he builds sonic architectures hovering on the edge between chaos and order.


    Bruce McClure
    A film projector is not only a source of light but also of sound. Nobody understands this better than Bruce McClure who with his immersive performances for multiple projectors creates a pure sensory game of pulsating rhythms and shadows, well beyond the borders of cinematographic time and space. For Impakt he has prepared a unique two-hour performance, which is sure to provide a hypnotic and overwhelming experience.


    Friday 16 October 2009
    Tivoli de Helling / 23:30


    “It is not just a matter of music but of how to live: it is by speed and slowness that one slips in among things, that one connects with something else. One never commences; one never has a tabula rasa; one slips in, enters in the middle; one takes up or lays down rhythms.”
    - Gilles Deleuze


    Mount Kimbie + James Blake
    British breakbeat culture is alive and kicking. The explosion of dubstep has provoked a plethora of sound experiments and cross-overs from which a fresh sound emerges from time to time. One of those surprises is London duo Mount Kimbie who inject melancholic pop sensibility and hybrid rhythmic patterns into dubstep. They are joined live by vocalist James Blake whose exciting debut reconciles jazz, soul and a taste for melodrama with the sound of the imploding metropolis.


    Cooly G
    This protégé of the cutting edge Hyperdub label drew the attention of the so-called « UK funky » scene last year. It’s not surprising : her spicy but contagious mixture of deep house and dubstep, seasoned with bitter sweet vocals and subtle touches of acid and hardcore is, without a doubt, a fresh wind in the the British club culture. Tribal rhythms and woozy synth chords, deep basses and aching sighs, light vibes and dark undertones : it’s precisely these contrasts that make her music so irresistible!


    The Bug + Flowdan
    The man behind The Bug is Kevin Martin, who has been reinterpreting industrial, dub and breakbeat since the 1990s. His fascination for intense and dark mutations of electronic rhythms and sub-harmonic frequencies was already present in earlier projects such as God, Techno Animal and Ice. The Bug is the culmination of all these influences : a highly personal exploration of bass culture, with a sound that he self-described as “warped ragga meets heavy electronic dub”. His most recent release London Zoo was praised by several media as one of the most important albums of 2008. MC Flowdan, a key figure of East London’s grime scene, will accompany The Bug as guest artist.


    In recent years Steve Goodman aka Kode 9 has established himself as one of the most influential names in contemporary electronic music culture. A music producer, theorist and the owner of the celebrated Hyperdub label, he obstinately continues to explore the big city’s sonic fabric, its energy fields and rhythms. Movement, vibration, exaltation, emotion: Kode 9’s music acts like a hyper urban virus that mercilessly gets into our central nervous system.

    + DJ Sonido del Principe (Generation Bass)


    Saturday 17 October 2009
    Theater Kikker / 21:00


    “Below the level of sounds and rhythms, music acts upon a primitive terrain, which is the physiological time of the listener. (…) Because of the internal organization of the musical work, the act of listening to it immobilizes passing time; it catches and enfolds it as one catches and enfolds a cloth flapping in the wind.”
    - Claude Lévi-Strauss


    Thomas Brinkmann
    Thomas Brinkmann is one of the foremost figures of the minimal techno movement, which has influenced contemporary music production since the 1990s. His fascination for programmatic and rhythmic structures finds its roots in his background as a drummer and his training as a visual artist, and most particularly in the influence of Minimalism’s principle of reduction. The result is a vast oeuvre of mathematically refined scores made of complex grooves, overtones and doppler effects. In Utrecht he will present for the first time a completely improvised « klick » performance with 8 turntables, a series of vinyl records and a knife.


    Arnold Dreyblatt Ensemble
    The musical exploration of Dreyblatt, a student of the first generation of New York minimalist composers, is driven by an inclination for rhythmic complexity built on resonance and vibration. During the past decades he has developed a number of new instruments, tuning systems and performance techniques, with which he digs even deeper under the rhythmic surfaces in order to find a rich dynamics of textures and timbers. His work remained obscure for years, until it was brought to attention by musicians such as Jim O’Rourke who described one of his albums as “the first genuinely new sound in maybe 10 years”. He has recently brought together an ensemble with Jörg Hiller, Joachim Schutz and Robin Hayward, which will offer a rare not-to-be-missed concert during Impakt.


    Oren Ambarchi + Robbie Avenaim
    Oren Ambachi uses the electro-acoustic transformation of his guitar as a laboratory for tonal research. The result is an abstract and fragile sound world that continuously searches the borders of time and space. He regularly collaborates with different musicians such as Fennesz, Keith Rowe en sunn0))). This time he will be reunited with his long-time friend percussionist Robbie Avenaim, who explores the limits of the sound spectrum using modified and motorised drums. Together they create a visceral and kinetic audiovisual experience.



    “Time is the substance of which I am made. Time is a river which sweeps me along, but I am the river; it is a tiger which mangles me, but I am the tiger; it is a fire which consumes me, but I am the fire.”
    - J.L. Borges


    Sunday 18 October 2009
    Theater Kikker/ 15:00 - 18:00

    Charles Curtis, Carol Robinson & Bruno Martinez : Naldjorlak I, II, III by Eliane Radigue

    The work of French composer Eliane Radigue is first and foremost an exploration of the phenomenological reality of sound : the combination of matter, vibration and resonance which ultimately determines our experience of sound. She began to experiment with electronic feedback in the 1950s, before discovering her medium of choice, the analogue ARP synthesizer. Since 2004 she has composed exclusively for acoustic instruments. ‘Naldjorlak I’, in which the hidden, complex sonority of the cello is fathomed, was developed as a collaboration with renowned cellist Charles Curtis. For the following parts, she required the participation of basset-horn players Carole Robinson and Bruno Martinez. The result is a versatile and volatile sound world, which continuously balances on the verge of perception.


    Friday 16 October - Saturday 17 October 2009
    Werfkelder / 21:00

    Leif Inge : 9 Beet Stretch

    There are few musical works that speak to the imagination as does Beethoven’s 9th Symphony. But although almost everyone in the Western world can easily hum its melody, this classic composition has not yet given away all its secrets. That’s what Norwegian artist Leif Inge does by digitally stretching out the piece to a length of 24 hours, unveiling its unknown and unheard dimensions. A marathon performance which is sure to provide a peculiar perception of time. In the words of a participant : “I thought I was a fly trapped in honey.”


  • Cambridge Film Festival: Mike and George Kuchar

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    Mike And George Kuchar
    Cambridge Picture House
    24-25 September 2009
    38-39 St Andrew's Street, Cambridge, CB2 3AR
    Tickets: £6.60 / £5.70 concessions
    Telephone: 0871 704 2050

    Cambridge Film Festival will screen a selection of rare, classic films in tribute to the work of George and Mike Kuchar, leading figures in the 1960s US underground film movement, and acknowledged pioneers of the camp/pop aesthetic. The Kuchar Brothers influenced practically all who came after them, from Andy Warhol to John Waters, Guy Madden to Roger Vadim, Atom Egoyan, Wayne Wang and David Lynch. However despite having such high profile fans, the Kuchars remain largely unknown. The programmes include several recent 16mm preservation copies of the Kuchar's early 8mm films.

    The 29th Cambridge Film Festival runs from 17 to 27 September 2009.


  • FNC Lab: De Frescobaldi à Pollock, de Rembrandt à Steve Reich

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    Le Festival Du Nouveau Cinéma with the support of Délégation Wallonie-Bruxelles presents:
    De Frescobaldi à Pollock, de Rembrandt à Steve Reich, un dialogue poétique entre images et musique, improvisées ou pas.
    Thursday October 15th, 9pm
    At Agora du Cœur des Sciences of UQÀM
    175 Avenue President-Kennedy, Place-Des-Arts metro
    Montréal, Québec

    Jean-Philippe Collard-Neven (Belgium), piano
    Jean Detheux, images

    A painter-filmmaker and a pianist who (re)discovered each other and (re)connnected somewhere beyond time and space and who very much look forward to the unexpected possibilities of their visual and sonic interplay. You will have the chance to hear a wide range of music, from Frescobaldi, Dowland, and Couperin to the more contemporary Jean-Luc Fafchamps, John Adams, Steve Reich, Maurice Ravel, Claude Ledoux and Collard-Neven himself.
    There will be free improvisation, music that yet doesn’t exist but is however there, somewhere, as a ‘possibility’ of music.


  • Impakt Festival 2009: Accelerated Living Exhibitions

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    “All will be now. Dreams are too fast. You are the first. We are the last.
    No sequence to follow. No fear of tomorrow. Kiss of neverness. Life of timelessness
    We’ll break the speed of change. we’ll tame eternity.”

    - The Pop group, ‘We Are Time’

    We Are Time

    In the context of the programme “Accelerated Living”, part of IMPAKT FESTIVAL 2009, 14-18 October 2009, Utrecht, NL. Preview here. Via Diagonal Thoughts.

    14-18 October, AAMU, Flatland Gallery, Academie Galerie

    The passing of time is something we feel intimately familiar with, and yet it continuously slips away from us. Centuries ago, St. Augustine already caught this tension in words: “What is Time? If nobody asks me, I know; but if I were desirous to explain it to one that should ask me, plainly I know not.” The invention of clock time provided a partial solution: time was rationalised, adjusted to the rhythms of growing industrialisation. This transformation – symbolically completed with the introduction of standard time and the division of the world into time zones – resonated deeply in our social and cultural lives. The experience-based understanding of time was replaced by a rigid, linear and numerical logic which has gradually become embedded in our subconscious. The arrival of ICT and globalisation has pierced this unilateral and troublesome relationship. Ironically enough, the dawning of the computer age –the main source of today’s acceleration – has allowed for new perspectives on the role and potential of time. This exhibition takes that openness as a starting point and presents a series of works which each in their own way strive for a particular time awareness. Different dimensions of time, both social and natural, objective and subjective, are unfolded, deformed and combined, in search for new forms of perception and imagination of time.