As an extension of her exhibition at Matadero's Nave 0, Cineteca hosts AR, FOGO, TERRA, ÁGUA, a carte blanche in which the Brazilian artist Ana Vaz (Brasilia, 1986) puts her own work in dialogue with a personal history of cinema in which claims a poetic-physics of impurity. From Bruce Baillie to Toshio Matsumoto, through the new Latin American cinemas and the North American avant-garde, Vaz invites us on an elementary journey - air, fire, earth, water - for a personal and political, artistic and ethnographic cinema.
P. Adams Sitney | A Half-Century of Showing Avant-garde Cinema | Conference and Screening with commentary
Elías Querejeta Zine Eskola has suggested that the specialist should choose an ideal programme that might illustrate his 50 years as a programmer, curator, critic and spectator.
In this session, in the framework of the exhibition "1,000 m2 of Desire. Architecture and Sexuality", we see three essential pieces of US experimental film. Barbara Rubin, Kenneth Anger and Jack Smith film their respective transgressive visions of the body and desire located in the space of pure fantasy.
Introduction: Toward a new history of the experimental cinema
Part one. Origins of the American avant-garde cinema, 1920-1959. - The first American film avant-garde, 1919-1945 / Jan-Christopher Horak - Notes on the new American cinema / Jonas Mekas - The woman filmmaker in the New York avant-garde / Lauren Rabinovitz - Women in the avant-garde: Germaine Dulac, Maya Deren, Agnès Varda, Chantal Akerman, and Trinh T. Minh-ha / Agnès Varda
Since 1985, publisher Paris Expérimental has become a singular meeting point between experimental cinema and its history. With around fifty landmark publications and events, this publishing house has contributed in France to the knowledge and recognition of experimental film forms that have often been marginalised.
Written by Jonas Mekas for Film Culture in 1955, the article "Experimental Film in America" was particularly critical against the film avant-garde in America considered at that time by the young film critic as "the imprisoned self". Especially violent against filmmakers whose Jonas Mekas will defend the work later with passion and no limits – from Sidney Peterson to Stan Brakhage, Ian Hugo or Kenneth Anger – this lampoon reflected then the need of breaking the accepted ideas inherited from the tradition of the avant-gardism in cinema, but also the necessity, for the film critics, to canalize the dispersed energy of a young and rising generation of filmmakers. Conceived from this founder and critiqueable text, the program Model, Counter Model offers to revisit the use against type of films by critics.
