Fylkingen and Turbidus Film present a film programme focused on gardens, structural landscapes and field studies. In micro narrative of almost non-action, re-structuring cinematic forms, archetypal routines, off-screen presence, image in the images, this program provides the violence of the Atlantic Ocean hitting the coast, Brancusi's scuplture garden at Tirgu Jiu, the beach of Palud, the fields in Bourgogne and a garden in blossom from a dead mother's house.
All films on 16mm.
6:30 PM - Doors Open
7:00 PM - Film Programme 1
- Saugatucket (Scott Hammen, 1993, 16 mm, 10'00)
Sequences shot between 1968 and 1975, re-examined twenty years later. Water is observed in different aspects and from different ways of seeing: from the calmness of a pond to the violence of the Atlantic Ocean hitting the coast.
- Seven Landscapes (Scott Hammen, 1995, 16 mm, 11'00)
Seven series of images, twenty-four per second, shot between May and October in Mont Bué, Hockanum, Mount Boreas, Plum Brook, Plainville, at the Saint Bernard quay and on the beach of Palud.
- Field Studies (Scott Hammen, 1996, 16 mm, 10'00)
Eight series of images, twenty-four per second, shot between February and November in Bourgogne and in Kent.
- Seashore (David Rimmer, 1971, 16 mm, 10'00)
"The basic image derives from a shot of women in (Edwardian era) dresses standing along the edge of the ocean. Within this eight-second loop, [Rimmer] cuts shorter ones. For example, the activity of a central group of three women is cut so that the figures repeat certain motions over and over and over again... “Rimmer also chose to use the forms of surface imperfections, the scratches and dirt patterns, as bases for his loops... Although working in a disciplined style of re-structuring cinematic forms, his highly orchestrated creations have inspired great admiration both from cineastes and the more general public." - Kristina Nordstrom, The Village Voice
8:00 PM - Film Programme 2
- For You (Peter Todd, 2000, 16 mm, 3'00)
Intertitles and images of a suburban garden as a record of a relationship.
In its address Peter Todd’s FOR YOU is closer to Margaret Tait’s film poems. Inter-titles speak to an unseen other, the You of the title. The tone is intimate as the camera lingers on small favourite places and plants in a back garden, or dwells on the skeletal forms of trees in the street outside. Recorded in autumn and early spring the film chronicles the changes in texture and colour wrought by seasons. Is the film’s addressee another person – and by extension us its audience – or is You the garden itself, the subject and object of the film? If this is an ode, then Bruce Baillie’s enigmatic 1966 film All My Life must be a haiku.
- An Office Worker Thinks Of Their Love, And Home (Peter Todd, 2003, 16 mm, 3'00)
Continuing in the vein of his earlier For You, Todd here develops that work’s silent observation and meditation on the local, the environmentally familiar, within the frame of an archetypal routine and with his trademark white-pad texts signaling the pivotal sentiments of the piece. The journey revealed is deceptively simple, charting the movement from the film-makers’s garden to his city centre office employment (as information officer at the BFI, its frontage seen) and then back, via the underground and a written declaration of emotional attentions, to his evening house.
A description such as the one offered does nothing, however, to convey the richness of this passage as Todd presents it. One’s own mundane circuit is often so internalized, that it takes the visualization of another’s (indeed its written analysis; think of novelist Nicholson Baker’s precise prose epiphanies of the everyday) to let us see our own afresh. To be benignly jolted, camly encouraged to reconsider the possible immanence of awe, is one of the recurrent effects of Todd’s work in this vein.
- We Saw (Peter Todd, 2009, 16 mm, 4'00)
WE SAW continues Peter Todd's enquiry into domestic spaces - the garden in particular - and the revelatory power of seeing the known world afresh. In this film, Peter Todd limits himself to filming his immediate surroundings: his street, his living room, and his yard in particular. The result is a wordless torrent of daily life, exposed to the willful character of the seasons. Intensely in bloom on a beautiful summer day, covered by a thick layer of snow in the winter. In this microcosmos, there's always something to enjoy for those who have an eye for the rhythm of nature. The typical colors and the coarse graininess of 16mm film contribute to an atmosphere of nostalgia. Handheld shots are tightly edited together to create a film that jumps from one mini-tableau to another. Amazement at what is everyday and the mortality of it all; the seasons pass by and return again, but it's always slightly different than the year before. And we sit by and watch, a year older as well.
- Mourning Garden Blackbird (Anna Thew, 1984, 2x16 mm, 8'00)
My mother died in December. In the Spring the blossom came through as though nothing had happened. I filmed the Easter morning and evening. The sound was recorded in the same place one year before the image, that is before her death. It does not tell. It is her garden for the last time.
- Brancusi's Sculpture Garden At Tirgu Jiu (Paul Sharits, 1984, 16 mm, 25'00)
This film is a chronicle of a visit I made in 1977 to Romania to experience three of Brancusi's most famous sculptures: "The Endless Column"; "The Gate Of The Kiss": "The Table of Silence". These works are in the small, rural town of Tirgu Jiu, not far from the village of Hobitza (where Brancusi was born and spent his childhood). These works are shown in photographs and discussed as totally autonomous "abstract" sculptures simply placed conveniently around the town; but, in fact, they are also parts of a larger and very specific environmental (and symbolic) motif. Their placement suggests a metaphysical continuum; they span the boundaries of the town and while aligned in a (virtual) straight line, a-1 three cannot be seen from any single point of view, so there is a temporal unfolding as one moves through the town to experience the relationship.
All films from LightCone