In June 2020, Luther Price (US), one of the most unique personalities prematurely left this world at the age of 58. His real name is unknown or at least unrevealed, Price purposely kept it secret “like a fairy-tale character would,” since his work is “rooted profoundly in the story of family and the traumatic events of his personal history.” Price's visceral work, in which pain, violence, eschatology, and transgression were singularly combined and transformed into healing acts, pure and moving, is the subject of this screening.
Cinema Parenthèse and iMAL present the program Gunvor Nelson - Collage Films. Nelson was born in 1931 in Stockholm, but grew up in the small town of Kristinehamn, Sweden. After studying art in Stockholm, she moved to San Francisco in 1953 where she studied and later taught art and film at San Francisco State University (1969–70) and the San Francisco Art Institute (1970–1992).
Cinema Parenthèse and iMAL invites the British artist SIMON PAYNE to talk about and show his works. Payne has been making abstract cinema for over twenty years. His videos are predominantly orientated around bold graphic forms and highly structured sequences that produce unexpected color combinations and conflicting planes. Sometimes there are contingent elements in his work, which correspond with incidental indications of the artist’s hand. The systems that underpin his videos involve the entirety of the screen and every edge.
Cinema Parenthèse and iMAL present Befoew We Knew Nothing, a series of six film programs featuring the work of Mark Lapore, Chick Strand, Peter Hutton, Diane Kitchen, Naomi Uman, and Nathaniel Dorsky, whose varied practices are centred on ethnographic and anthropological studies.
Friday, March 25, 2022 (All day) to Sunday, March 27, 2022 (All day)
The films of Jerome Hiler (1943) blend a beauteous celebration of the sensual world with a deep sense of introspection and solitude. They are occasions for reflection and meditation, on light, landscape, time and the motions of consciousness. Hiler's encounter with the films of Nathaniel Dorsky, Marie Menken, Gregory Markopoulos and Stan Brakhage deeply affected his own artistic path.
Claudine Eizykman (1945-2018) was a major figure of the French experimental film renaissance since the Seventies. She was filmmaker, theoretician, and professor of cinema at Paris VIII Vincennes University, co-founder of the Paris Films Co-op (1974) and of Cinedoc (1979).
Stan Brakhage (1933-2003) is most well-known for the development, from the late 1950s onwards, of a cinema (he made over 450 films) in which the camera replaces the protagonist, freeing it from conventional positions and hence engagement with both subject and the viewer. His work is characterized by images where variations in exposure and focus, handheld camera movement, light flares, refractions and flashes are in a constant state of flux and interplay.
Cinema Parenthèse and iMAL are very pleased to invite the german filmmaker Helga Fanderl to present a personally selected super 8 film program. As a student of both Peter Kubelka and Robert Breer, Fanderl has created her own specific working methods, attitudes, and cinematic expressions. For instance, it is crucial for her to confront and work in the present, to process the various pro-cinematic impressions directly in the camera (as a kind of live filming) without any form of post-production.