The time of the production of a work is traversed by a cloud of intuition, desires, inklings, finds, coincidences, expectation, recall and concepts. This selection of films refers to the thinking and desire that have come along with the latest production.
Telemach Wiesinger, a long-term contributor to various Directors Lounge events, is coming from South Germany (Riegel, close to Freiburg) for a special film matinée at Z-Bar. Wiesinger works exclusively with analogue film, which he shoots, treats by means of an animation stand and edits by himself. Additionally, he has been collaborating with other artists on sound and visual concepts. His “Film Poems” dive deep into the beauty of 16mm black and white aesthetic, be it image tonality, contrast, grain, small analogue imperfections and, simplicity. While dwelling on his poetic subjects of bridges, water, trains and travel, he was capable of keeping or even exploring deeper the curious joy for the capabilities of film transforming the seen world into something different.
Microscope is pleased to welcome to the gallery artists and filmmakers Derek Jenkins and Sara Sowell, who are respectively based in Hamilton, Ontario, and Milwaukee, WI, for a screening of both of their works as part of our emerging series YES. The screening will also take place online.
The eight short works in the program, including several NY premieres, were made between 2016 and 2023 and were primarily filmed on 16mm film, with others shot on Super 8mm and video. The works will be screened on site in their original formats.
For twenty years Center for Visual Music (CVM), a nonprofit film archive, has been dedicated to visual music, experimental animation and abstract media. CVM has preserved a significant body of at-risk Visual Music films by Oskar Fischinger, Jordan Belson, Mary Ellen Bute, Charles Dockum, Jules Engel, James Whitney and others.
Louise Bourque's œuvre is an irreducible totality in which personal and family secrets hide behind layers of photochemical emulsion. It offers an obsessive world that is both visceral and oneiric, dotted with repetitive motifs. Death and birth, fertility and decomposition. These oppositions run through Bourque's work and find an echo in her practice; she creates out of images that are "dead" (unused, discarded, forgotten) and buried (in the garden of the familial house).
The films of Arthur Lipsett are softly apocalyptic assemblages of midcentury images and sounds—documentaries, street photographs, advertisements, interviews. In the classic Very Nice, Very Nice, hundreds of purloined moments spin past the eye at a jet-age clip: crowds march, highways sprawl, an atom bomb drops, children play, wrestlers grapple, audiences guffaw. Equally magpied, the soundtracks draw heavily on dialog from psychiatric films and religious oratory, continuously circling back to existential themes, collaged with jazz, spirituals, and ritual music.
