diárias, d jonas mekas (dienoraščiai) aparece pela primeira vez em português e em espanhol. trabalho a dez mãos realizado pelo conluio cisplatino .txt / a tradução tomou três anos de empenho, tornando-se possível pelo auxílio de parceiros lituanos. jonas mekas viu nascer e florescer o projeto, mas não sua conclusão, falecendo no início de 2019 pouco antes do último ponto final. esta edição expõe apoética do conhecido happy man e celebrado film-maker
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Ivan Ladislav Galeta from Zagreb is the neo-Platonist among European experimental film directors. Galeta hides a true chamber of wonders behind the clear, mathematically abstract structure of his films and videos, meticulously compiled rhythmically frame
Alfred Leslie is a pivotal American artist-painter-filmmaker whose work spans the past fifty years. A celebrated contemporary of the Abstract Expressionists and a key figure in the extraordinary social milieu of downtown New York from the 1950s and 60s toAlfred Leslie is a pivotal American artist-painter-filmmaker whose work spans the past fifty years. A celebrated contemporary of the Abstract Expressionists and a key figure in the extraordinary social milieu of downtown New York from the 1950s and 60s to the present, his own canvases were amongst the most revered of his peers. In 1964 he made Pull My Daisy with the photographer Robert Frank and in 1966 collaborated with the inimitable poet Frank O’Hara on The Last Clean Shirt. In 1960 he edited and published the amazing collection of texts and drawings that form the ‘one shot review’ The Hasty Papers – in and of itself a summation of cultural activity with contributions from Allen Ginsberg, John Ashbery and Fidel Castro amongst may others. Leslie dramatically moved away from abstraction to make giant almost hyper-real portraits, the majority of which were destroyed in the now infamous fire that ripped through his studio and its neighbouring blocks on October 17 1966. This utterly devastating event, that completely destroyed paintings, films and manuscripts, continues to inform his work today.
Dietmar Brehm's Praxis series is driven by a spirit of enterprise that is clearly palpable: Since 1974 Brehm has been sensuously modulating his private iconography in ever new variations, ceaselessly engaged with his ever growing image and sound archive, withdrawn into the interior of an infernal fantasy. There is no posturing behind his cool treatment of the disquieting signs in his work, but rather ennui, a loner life, solipsism. Dietmar Brehm orchestrates implosions and idling states. He could be seen as the representative of a telephone-game art movement: His work is post avant-garde, post-narrative, post-surreal, post-pornographic and post-psychoanalytic; it appears like an extra entry in the annals of a long since shelved cultural history, like a last ditch effort of art after the end of time. - (Stefan Grissemann)
The new issue of OEI magazine is focused on experimental film. Edited by Martin Grennberger and Daniel A.
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
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