The new issue of OEI magazine is focused on experimental film. Edited by Martin Grennberger and Daniel A.
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Starting in the early sixties, Fluxus followed in the footsteps of the Futurist and Dada avant-gardes, going against the established grain of Fine Art and Official Art. Fluxus‚ an interdisciplinary aesthetic brings together influences as diverse as Zen, Science and daily life, and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.
Makimono is an Asian roll painting depicting a landscape. The subject of the film is the language of film itself, its mutability and its influence on the viewer's vision and thinking. While the film gradually progresses the viewer is gently invited to ref
James Lowne's Our Relationships will become Radiant, invites us to experience a digital dream, a suffocating demonic landscape where a horse runs without moving, a man vomits black bile, a plate of food oozes with it own sense of purpose, whilst a godlike visage hovers beneficently in the sky. Such uncanny occurence allow Lowne to map out a space of oblique anomie, a world were ephemeral gestures attain meaning only by being endlessly repeated.
Critics hailed previous editions of Visionary Film as the most complete work written on the exciting, often puzzling, and always controversial genre of American avant-garde film. This book has remained the standard text on American avant-garde film since
Debate over cinema’s credibility as an art form is as old as the medium itself, and largely defined in terms of formal, psychological, ideological, social, or auteurist theories. To explore how artists are also using the medium to investigate a wider rang
Informed by the criticism of iconic filmmaker Pier Pasolini, The Cinema of Poetry offers spirited explorations of poetry's influence on classic films by Dimitri Kirsanoff, Ingmar Bergman, and Andrey Tarkovsky. It also highlights how avant-garde films made by Joseph Cornell, Lawrence Jordan, Jerome Hiler, Gregory Markopoulos, and others found rich, unexpected sources of inspiration in a diverse group of poets that includes Stéphane Mallarmé, Emily Dickinson, H.D., Ezra Pound, Robert Duncan, John Ashbery, and Aeschylus. Written with verve and panache, it represents the culmination of P. Adams Sitney's career-long fascination with the intersection of poetry, film, and the avant-garde.
Published to coincide with the Pompidou Centre\'s major Dada exhibition. Features Rhythmus 21 by Hans Richter, Symphonie Diagonale by Viking Eggeling, La Retour a la Raison by Man Ray, Entr\'acte by René Clair and Francis Picabia, Le Ballet Mecanique by F
The process leading to the making of the film-installation Les Avatars de Vénus goes back thirty years to the thousands of images I began picking up - from news stands, bookshops, libraries, museums, flea markets as I travelled around the world. Finallly,
L'œuvre filmique d'Abigail Child, d'une rare densité, constitue un point de repère incontournable dans le cinéma expérimental des années 1980. Ses films recourent aux stratégies du found footage, de l'art de l'appropriation, de la Language Poetry, ainsi q
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