Events

  • Light Reading Series 9: The Wooden Lightbox

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    Light Reading Series 9
    The Wooden Lightbox: A Secret Art Of Seeing
    Friday 20 November 2009, at 7pm
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG

    Light Reading’s ninth series continues with a special performance and screening by Canadian artist and filmmaker Alex Mackenzie. Using a homemade, hand cranked projector and a series of hand processed films, the piece forms part of an ongoing exploration into the experiential potential of the cinematic apparatus and the materiality of film. THE WOODEN LIGHTBOX will be performed after Mackenzie’s day workshop at no.w.here on the techniques of handmade film.

    THE WOODEN LIGHTBOX is both an archaic and a contemporary investigation into an immersive encounter with the moving image, employing deconstructive and reconstructive methods that draw out the potential for various contemporary, expanded experiences of a cinema of illusions that is created through the apparatus and in the hand making of the image. THE WOODEN LIGHTBOX is performed live with a hand-cranked 16mm projector built and assembled from various relic 16mm projector and rewind parts and framed in a wooden box. Ten “chapters” are presented over the course of 4 reels. Film speed is varied manually by cranking more quickly or more slowly, while the direction of the action is controlled by winding forwards and backwards. The Wooden Lightbox is an ongoing work in progress, an assembly of images entirely hand processed and contact printed, transforming and developing as new materials are added and deleted.

    THE WOODEN LIGHTBOX had its world premiere at Victoria’s Anti-Matter Underground Film Festival, Canada and has been screened at the Rotterdam International Film Festival, Lightcone (Scratch Projections) Paris, le 102 Grenoble, (k-raa-k)3 festival Brussels, Grand-Guignol Lyon, WNDX festival of film and video art Winnipeg, Canada, Struts Gallery Sackville, Halifax Independent Filmmakers Festival, Canada and is currently being performed across the UK and most recently in Toronto, Canada in 2009.

    Alex MacKenzie is a media artist working in film, video, light projection and performance. He has worked with a variety of independent film organizations over the past 15 years including Mainfilm, Pacific Cinematheque, Cineworks, and Doxa. He was the founder and director of The Edison Electric Gallery of Moving Images, The Blinding Light!! Cinema and the Vancouver Underground Film Festival, and currently works as an independent curator, graphic designer and writer.

    Light Reading is an ongoing series of critical dialogues that engage artists, writers and curators in conversation around a selected artist’s body of work. To be included on the mailing list for future events, please contact: <[email protected]>. Places are limited so booking is essential.

    at

    no.w.here
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG
    Nearest Tube / Train: Bethnal Green

    Tickets: £5 door / £4 advance / £3 members & students
    Telephone: 020 7729 4494
    Email: [email protected]
    Places are limited so booking is essential

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  • Punto y Raya Festival 2009

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    Train Landscape (Jules Engel, 1974)The 2nd edition of the Punto y Raya Festival (Dot and Line Festival) dedicated to abstract two-dimensiona animation will be held next November 25th-29th in Arts Santa Mònica, Barcelona, Spain. Among the many conferences, installations and workshops a special programme titled "Larry Cuba retrospective and other classics" will feature classic visual music films and digital animations by Larry Cuba, Jules Engel, Hy Hirsch, Adam Beckett, John Whitney Sr. and Frank and Caroline Mouris. Curated by the iota Center.

     

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  • Cinédoc: C r i s e s de Films

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    CrisesAf

    'C r i s e s de films: 35 ans de Cinéma expérimental dans les collections Cinédoc / Paris Films Coop' is the title of the big retrospective presenting over eighty films grouped in six themed programmes from the Cinédoc and Paris Films Coop collections that will be held next November 25th-28th at the Centre Pompidou in Paris.
    This event marks the 35th anniversary of Cinédoc / Paris Films Coop, cooperatives of independent/experimental/avant-garde filmmakers founded in the early seventies, and that currently distributes near 700 films and videos from 165 filmmakers.

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  • ICA Artists' Film Club: Lucile Desamory

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    ICA Artists' Film Club: Lucile Desamory
    Thursday 19 November 2009, at 7pm
    ICA Theatre, Lower Gallery
    The Mall, London, SW1Y 5AH

    For November’s Artists’ Film Club, the Belgian artist Lucile Desamory presents a selection of her films from the past ten years - works in which music, image and text collide.

    Desamory’s films feature fantastic and incongruous scenarios, and the artist describes the characters they contain as “out of touch with reality” and “projected into a universe that is whimsical, unreal, light-hearted and funny”. Her work is deliberately naïve and intuitive, and weaves mythical narratives that are highly personalised, yet absurdly compelling.

    The artist often works with music and musicians, and this month’s Artist’s Film Club is presented as part of "Calling Out Of Context", the ICA’s season of experimental music and sound. After the screeningLucile Desamory will be in conversation with Bruce Haines. The event is supported by the Anglo-Belgian Society.

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    ICA Theatre
    The Mall, London, SW1Y 5AH
    Nearest Tube: Charing Cross

    FREE admission, booking required
    Box Office: 020 7930 3614

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  • Muestra de videodanza

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    Hasta el próximo 14 de noviembre sigue la exposición dedicada a la videodanza de la Muestra itinerante de cine Playtime.

    La cita es en la librería El Argonauta, C/ Blasco de Garay 47 [M] Moncloa - Madrid
    En horario de Lunes a Viernes de 10 a 20 horas y Sábados de 10 a 14.30 horas

    Anuncio de la muestra aquí

    Obras proyectadas
    >> A.P.A.A.I. de Guillem Morales y Erre que Erre
    >> Anestesia de Paulo Fernández y Sebastian Parada
    >> The dancer's cut de Enrique Piñuel
    >> Dreaming Awake de José Carrasco
    >> Paraoffelias de Beatriz Sánchez
    >> Aprop de Aitor Echeverría
    >> 120 Grados de Juanjo Fernández
    >> En Cadena de Hammudi Al - Rahmoun
    >> Cinética de Ana Cembrero
    >> Casual de Aitor Echeverría
    >> Divadlo de Guillem Morales y Erre que Erre

    La entrada es gratuita

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  • La pantalla pintada y Oscuro despierto

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    La pantalla pintada y Oscuro despierto
    Espacio Cultural Carlos Gardel
    Olleros 3640, Buenos Aires. Entrada libre y gratuita.

    Curadas por Macarena Cordiviola, estás dos muestras internacionales se llevarán a cabo en el Espacio Cultural Carlos Gardel durante el mes de noviembre. La primera, La pantalla pintada, reune a veintiún cineastas que representan un amplio espectro de diferentes estéticas y lenguajes a lo largo de la historia del cine experimental y el video arte. La muestra, separada en dos extensos programas, está a su vez dividida en cinco áreas conceptuales: La pantalla pintada, Memoria entremuros, Naturaleza en órbita, Rituales del cuerpo, Geografías de una ficción. La segunda, Oscuro despierto, es una muestra integrada por seis trabajos cinematográficos que se proyectará durante La noche de los museos. A continuación, el detalle de ambas muestras:

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  • Experimental Film Club: Flecks of Interruption

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    Flecks of Interruption
    Sunday 15th November / 5pm
    The Odessa Club / Doors: 7 euro (5 euro concession), Dublin

    “Most thought-provoking in our thought-provoking time is that we are still not thinking”, said Martin Heidegger. Such statement opens the main notions and considerations that motivate the programme the Experimental Film Club presents at an unusual time this month. The reason for such an odd date comes from the inspiring source of this programme: the two-part international group exhibition “Automatic”, curated by Gavin Murphy and Chris Fite-Wassilak, currently on at Pallas Contemporary Project (Dublin). Gavin and Chris proposed to us to organize a film session that explored similar ideas to those that embedded the exhibition, which works, in their own words, attempt to “stretch out the persistent, ghostly sensory circuit between the artist, artwork and audience”. Perception was indeed one of the main subjects we discussed during the plotting of this programme, not so much as an experience which could be rationally comprehended, but as a vigorous, direct and impacting encounter with a percept, or a series of percepts, beyond immediate conscious understanding.

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  • Dragging my video camera down the front steps

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    Dragging my video camera down the front steps: 30 years of unconventional camera movements from the Vtape collection.
    Saturday November 21 2009
    Screening at 2& 3:30pm, Curator talk at 3:00pm
    This installation will run until December 19 2009.

    For over a decade, Vtape has developed an intensive and multi-faceted intern programme for students and members of the interested public. We are very happy to support all your future endeavors and provide as many opportunities as we can within our facilities.

    Dragging my video camera down the front steps: 30 years of unconventional camera movements from the Vtape collection provides a showcase for the curatorial research of one of our recent - and longest serving – technical interns, John Shipman.

    Shipman says this of his intriguing selection: “Eight short videos, from 1974 to 2004, playfully use unusual camera positions and movements to create a slightly different visual gravity, showing things improbable, but viscerally informative."

    The opening screening will be on Saturday November 21 from 2pm-4pm. The screenings will be at 2:00pm and 3:30pm with a curator's talk at 3:00pm.

    401 Richmond St., #452
    Toronto, ON  M5V 3A8
    416 351-1317

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  • Center for Visual Music film series at Guggenheim New York

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    Nonobjective Films, 1920s-1950s
    A program of artists supported by Hilla Rebay
    Friday Nov 6, 2pm, and again on Nov 20, in New York

    An accompanying program to the Guggenheim's KANDINSKY exhibition.
    Organized by the Center for Visual Music

    In the 1940s, curator and founding director Hilla Rebay planned to establish a film center at the Museum of Non-Objective Painting, which later became the Solomon R. Guggenheim Museum, to collect and promote nonobjective films. She awarded grants to artists and presented programs of short experimental films. With the help of Oskar Fischinger, an elaborate film center was planned to include studios and planetarium-style projection capability. Although unrealized, Rebay's support enabled many filmmakers to continue their work in abstract film. This program presents short films by filmmakers whose work was screened and/or supported by Rebay, including Jordan Belson, Mary Ellen Bute, Charles Dockum, Oskar Fischinger, Norman McLaren, Hans Richter, Harry Smith, among others. Having experimented with nonobjectivity, many of these artists were familiar with the work of Vasily Kandinsky, one of its most famous practitioners, having seen his paintings at the Museum of Non-Objective Painting.

    14:00 16mm films
    - Symphonie Diagonale, Viking Eggeling, 1921-24
    - Film Studie, Hans Richter, 1926
    - Tarantella, Mary Ellen Bute, 1940
    - Film no. 7, Harry Smith, c.1952
    - Mobilcolor Performance at the Guggenheim Museum, Charles Dockum, 1952
    - Séance, Jordan Belson, 1959

    14:30 35mm films
    - Studie no. 7, Oskar Fischinger, 1931
    - Loops, Norman McLaren, 1940
    - Allegretto, Oskar Fischinger, 1936-1943
    - Radio Dynamics, Oskar Fischinger, 1942

    New Media Theater, free with Museum admission  (we're told you can access this via the gallery with Kandinsky's works on paper)

    Nov 6 and 20, then 2 December dates; program also screens in January at the upcoming Kandinsky symposium.

    Almost all are new prints; the Fischingers and Dockum are new prints from CVM's recent preservation projects. CVM also thanks Cecile Starr and Robert Haller.

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  • Light Industry: We Dig Repetition - Peter Roehr

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    We Dig Repetition: Peter Roehr
    Tuesday, November 24, 2009 at 7:30pm
    Light Industry
    220 36th Street (between 2nd and 3rd Avenue), 5th Floor
    Brooklyn, New York

    Curated by Mark Webber

    “I alter material by organizing it unchanged. Each work is an organized area of unchanged elements. Neither successive or additive, there is no result or sum.” (Peter Roehr, 1964)

    You might think that Andy Warhol took pleasure in endless repetition, but he’s got nothing on Peter Roehr, a German artist whose brief career produced hundreds of works using type, photography, collage, film and audiotape. Not content with applying mechanical reproduction techniques to art-making, Roehr instead chose to appropriate industrially produced materials. His many photo collages present austere grids of identically cropped images from magazines. Similarly, his film and sound montages are constructed from brief passages, frequently drawn from commercial advertising, repeated without variation, for an irregular number of reiterations. The result is an insistent, hypnotic demonstration of stoic seriality that takes time and time again.

    - Film-Montagen I-III, (Peter Roehr, 16mm, 1965, 23 mins)
    - Ton-Montagen I-II, (Peter Roehr, audiotape, 1965, 60 mins)

    Roehr died at the age of 23 in 1968. From November 2009 to March 2010, his work is surveyed in parallel exhibitions at the Städel Museum and Museum für Moderne Kunst in Frankfurt which commemorate the 60th anniversary since his birth.

    “I feel identical with what I do. In the ‘montages’ I realize, in an unrestricted manner, everything that is important to me. I believe, I am free.” (Peter Roehr, 1965)

    Mark Webber is an independent curator of avant-garde and artists' film and video, and programme advisor to the BFI London Film Festival. Recent projects include "Shoot Shoot Shoot", "Reverence: The Films of Owen Land”, and Tate Modern seasons on Robert Beavers and Tony Conrad. He is currently working on several publications, and visiting New York through the generosity of the Gershwin Hotel's artist-in-residence program.

    Tickets - $7, available at door.

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