In the framework of the exhibition "1,000 m2 of Desire. Architecture and Sexuality", Xcèntric Cinema presents Extreme Private Eros: Love Song 1974, by Kazuo Hara, a revolutionary film that borders on self-therapy to heal the wounds of mutilated love. In his ex-wife’s new apartment, the camera gives the filmmaker the explanation he needed about the end of their relationship .
L.A. Plays Itself, Fred Halsted’s first feature, opens this series of sessions in the framework of the exhibition "1.000 m2 of Desire. Architecture and Sexuality". Made in 1972, the film traces a route around the cruising areas of the city of Los Angeles. The session is completed by one of Halsted’s shorts, Sex Garage.
For Robert Beavers, the camera is not a simple recording device; it has a very lively quality that surrounds the elements of filming. This session presents two films he made in the 1970s based on a 15th-century painting and the writings of John Ruskin. The construction of images and sounds in these works connects the present with the past and the past with the present in a continual toing and froing.
Anne Rees-Mogg (1924-1984) was a dedicated teacher and an active defender of 16mm film. Her films deal with time, memory, personal relations and the discovery of cinematography. This session presents a series of works that sketch out a short personal journey through the history of the cinema: from the pre-cinematographic devices of the magic lantern to a poetic tutorial about how to make experimental films, via the photography and the time and movement studies of Muybridge.
Lacrima Christi is the longest of the over 150 films made by the Mexican filmmaker resident in Paris, Teo Hernández. Part three of a tetralogy devoted to Christ’s Passion, Lacrima Christi is an exploration of the transfer between desire and myth that takes as its starting point a series of objects found in the flea market of Belleville.
Chick Strand, joint founder with Bruce Baillie of the Canyon Cinema cooperative in 1961, was a pioneering filmmaker with her poetic combination of documentary elements and experimental techniques. In the course of her 30-year career, she made several summer trips to Mexico, during which she made the ethnographic films that make up this session, some of the most important of the avant-garde cinema.
This session presents an experimental animation film by Patrick Bokanowski, a renowned filmmaker who, in this work, continues his investigation into filmic material and the expressionist use of colour, aspects which he works intensively and meticulously in each new piece.
In her films, Manon de Boer explores the way in which memory is activated and how she renders it visible by means of the artistic process. Her portraits are introspective narratives in which the image and sound tracks are sensible surfaces that record the pleasure of filming the other, and music and words are regarded as sensorial experiences. This session shows her work by means of four of her most important films, including the presentation of her latest.
Xcèntric opens the 2017 season with a special extraordinary session: a selection of the home movies of filmmaker José Val del Omar, made from reels from his family archive, accompanied by the live music of Niño de Elche.
In the 1970s, Val del Omar started to film frequently in Super 8. These reels, in the form of essays and notebooks, include the fabulous experiences with image and light that he investigated in his PLAT laboratory, and a series of private recordings (trips, holidays, portraits), that also include variations and experiments on his main themes (water, flowers, the Alhambra…). Transfiguring his most everyday reality, Val del Omar continued the revelations of its mecamystics: “The extraordinary is in the bowels of the everyday […] I feel as though I am submerged in a palpitating being. Logical chains enchain and imprison us.” A selection of these images, rarely before shown in public, can now be seen through the “collective eye” which, for Val del Omar, is the cinema.
A programme of screenings to accompany the exhibition “The Thinking Machine. Ramon Llull and the «ars combinatoria»”
Before artists worked with computers, a series of avant-garde painters such as Oskar Fischinger, Harry Smith and Jordan Belson created a form of non-narrative film that addressed geometry, the possibilities of mathematic combinations, and spirituality. After these visionaries, artists like John Whitney embraced the new synthetic image medium to continue exploring abstract animation. Many artists have followed in their wake, up until the present day.