Events

  • Episode 1: A Film is a Statement

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    Episode 1: A Film is a Statement
    19 - 22 January 2012
    Centre of Contemporary Art, Glasgow, UK
       
    Every aspect of every film is always about more than just film. Or, as Godard said: a tracking shot is a moral issue. A Film is a Statement is an open, convivial screening/ performance/ ideas hybrid - a cross between a festival, magazine & discussion about experimental artists’ films.
     
    Informed, but informal, there will be plenty of room for just hanging out, chatting, generally thinking together. Everything will be introduced by the filmmaker, or artist, or a critic or someone who will talk about it, very often with you.  Including world leading radical moving image artists, activists, leading theorists and some of the most important political filmmakers of the last 50 years.

    Expect an expanded film performance/lecture/intervention from The Museum of Non-Participation (Karen Mirza, Brad Butler & Nabil Ahmed), Lutz Becker's recently rediscovered film Kino Beleške (Film Notes), the provocative film essay and analysis of the media Argument by Anthony McCall & Andrew Tyndall, Nina Power on Hito Steyerl, a performance from Ayreen Anastas & Rene Gabri (frequent contributors to 16Beaver), Graham Harwood's film/software/book hybrid Aluminium, German documentarist Hartmut Bitomsky's encyclopedic analysis of a B-52 bomber, Jean-Marie Straub & Danièle Huillet's classic Too Soon, Too Late and a programme of Songspiels by Chto Delat?

    Full details of the programme are on the website at http://www.arika.org.uk; if you prefer to peruse a PDF, then have a look at the brochure on our Issuu page: http://issuu.com/arika/docs/episode1

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  • Close-Up: Decasia

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    Air Cries, "Empty Water" (Carl Brown)Close-Up: Decasia
    Tuesday December 13th, 20h
    Bethnal Green Working Men's Club
    42-44 Pollard Row London E2 6NB

    Dates: 

    Tuesday, December 13, 2011 - 20:00 to Wednesday, December 14, 2011 - 19:55

  • Self portrait in four hands: Emotional performativity

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    Lover Other (Barbara Hammer, 2006)Self portrait in four hands: Emotional performativity
    Barbara Hammer in conversation with Virginia Villaplana
    Thursday, 15 December 2011
    Palau de la Virreina, La Rambla 99, Barcelona

    18h, screening of Tender Fictions (1995, 50min, V.O.S.)
    19h, conversation and screening of Lover Other: The Story of Claude Cahun and Marcel Moore (2006, 55 min, V.O.S.)

    The relationship between Claude Cahun and Marcel Moore calls into question the unique "I" of a portrait built in collaboration with four hands. The uniqueness of the couple’s work resides in a performative creativity embedded in everyday life, which, to some extend, can be interpreted as an intimate game. This session addresses ways of understanding art as "emotional politics" in relation to privacy and the spaces of everyday action. The session with Barbara Hammer is presented in a dialog format with Virginia Villaplana, based on the drifts of the intimacy narratives, the emotional politic and the self-representation of lesbian identities in the experimental cinema.

    Claude Cahun
    28.10.2011 - 05.02.2012
    Palau de la Virreina
    La Rambla 99

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  • Eugeni Bonet. Presentación de eGolem

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    eGolem (Eugeni Bonet, 2007-2011)Proyección. Eugeni Bonet. Presentación de eGolem (2007-2011)
    Martes 13 de diciembre. Auditorio. 19:30h. Acceso gratuito
    ARTIUM Centro-Museo Vasco de Arte Contemporáneo Vitoria-Gasteiz
    Francia 24, 01002, Vitoria-Gasteiz

    ARTIUM, Centro-Museo Vasco de Arte Contemporáneo de Vitoria-Gasteiz, presenta la proyección de Eugeni Bonet eGolem, un work in progress que crece y se modifica cada vez que se presenta, y que es un intento de literatura visual y palimpséstica (un texto que se escribe sobre otro). El proyecto se basa en la leyenda judía del Golem y cuenta con la música de Cristina Casanova y Pelayo Fernández Arrizabalaga. La presentación es el martes 13 de diciembre en el auditorio a las 19:30 horas y la entrada es gratuita.

    Eugeni Bonet (Barcelona, 1954) es comisario, escritor, creador y artista en diversos campos como el cine, el vídeo o los medios digitales desde 1973. Fue profesor asociado durante cuatro años en la única asignatura sobre historia y teoría de cine experimental de España en la Universidad de Barcelona, y dirige un curso de videoarte en la Universidad Ramon Llul en colaboración con el Museo d´Art Contemporani de Barcelona. En los años 70 realizó varias obras experimentales de cine y video, y posteriormente ha escrito y dirigido diversos trabajos audiovisuales sobre temas de arte contemporáneo.

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  • Takahiko Iimura: Writing with light

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    White calligraphy, Takahiko IimuraTakahiko Iimura: Writing with light
    Films and live performance by Takahiko Iimura
    Saturday December 10, 19h, Admission $6
    MICROSCOPE, 4 Charles Place Bushwick Brooklyn NY 11221

    Microscope Gallery is very happy to welcome back from Tokyo Japanese master of experimental cinema Takahiko Iimura. The show will feature the NY premieres of several of Iimura’s works on film, as well as a special Super 8mm performance White Calligraphy, Re-read where Iimura will write with light. Not to be missed.

    Programme:

    Eye For Eye, Ear For Ear (NY Premiere)
    featuring:
    - Film Strips I (1967-1970/2009) 12 min, music by Haruyuki Suzuki (2009)
    - Film Strips II (1967-70/2009) 13 min, music by Haruyuki Suzuki (2009)

    “The best work of Iimura’s middle period is characterized by increasingly formal concerns, concerns most effectively demonstrated by Film Strips I and II (1967-70). Film Strips II […] resulted in an experience which is not only interesting visually, but which is implicitly a powerful record of a painful time and a warning about the future.”
    – Scott MacDonald (Afterimage, April, 1978 (The author of “Critical Cinema,” California Univ. Press)

    “When I came to the USA in the mid 1960s, it was the high point of the Hippie movement and the black riots. I lived in the East Village in New York, which was a center of the former, and watched TV news of the latter often. These two films, Film Strips I and II, were taken from the scenes respectively, not as a documentary but as an inner report of mine, abstracted yet chaotic.” — Taka Iimura

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