• Retrospectiva Adolpho Arrietta II

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    - Imitación del ángel. España, 1966. 20 min.
    El hijo adolescente de una familia de la alta burguesía, testigo asombrado de las pequeñas infamias familiares, se cree un ángel. Arrietta rueda a un personaje maravilloso en un entorno trivial, urbano y gris. La figura del ángelno abandonará ya sus películas.


    Miércoles, Marzo 10, 2010 - 20:00


    La Casa Encendida - Madrid, España
  • Messages From The Co-op: British Avant-garde Film 1967-76

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    Messages From The Co-op: British Avant-garde Film 1967-76
    Wednesday March 31st 2010, 7:00pm
    New Zealand Community Trust mediatheatre, Wellington

    An evening of British avant-garde film of the 1960s and 1970s, introduced by Mark Williams, Curator, New Zealand Film Archive

    The 1960s and 1970s were a defining period for artists’ film and video. As collective and informal groups flourished worldwide, personal film makers were challenging cinematic convention. In England, much of the innovation took place at the London Film-Makers’ Co-operative, an artist-led organisation that incorporated a distribution agency, projection and film workshop.

    In search of new and critical ways of working with film, several of the Co-op artists made the materiality of celluloid their subject. Other works undercut audience expectations for cinematic escapism with duration, repetition and humour. This programme collects several films which embody the critical and creative spirit that informed the work of Anthony McCall and his contemporaries.

    This special screening of filmic explorations has been brought to New Zealand courtesy of LUX, London

    Presented in collaboration with The Adam Art Gallery and their installation Anthony McCall: Drawing With Light


  • no.w.here: Phoney Language

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    Phoney Language
    Saturday 13 March 2010, at 7pm
    3rd Floor, 316-318 Bethnal Green Road, London, E2 0AG
    Tickets: £2

    This film programme presents a broad selection of short films that focus on the meaning of language beyond its verbal articulation. Six international filmmakers explore the way in which language relates us to the world: language is a means of communication, a matrix of behavioural codes and cultural values, an extention of the body and integral to our identity. But what happens to language when it is displaced? Migration can result in the mutation, or mutilation and even muteness of language. Displacement - geographical, social, or gender-related - creates phoney languages, counterfeit codes that negotiate the gap between the familiar and the foreign. Phoney Language also refers to the central role the telephone (the ‘far sound’) plays in some of the films.

    The screening will be followed by a Q&A with Stefan Constantinescu, Nana O Ayim, Zuzanna Janin, Florian Wüst and Maxa Zoller.

    Phoney Language has been organized by Florian Wüst and Maxa Zoller in conjunction with the exhibition All that Remains… The Teenagers of Socialism at Waterside Project Space (13 March - 11 April 2010, Private view: Friday 12 March 2010, 6.30-10pm)

    Film programme
    - Algier Report , Bernhard Dörries, BRD 1963, 15'
    - Troleibuzul 92 , Stefan Constantinescu, SE 2009, 8'
    - A Shred of Identity , Nana Oforiatta-yaim, Ghanaian, 2009, 4'30''
    - Majka from the Movie : Episode ‘Before or After,’ Zuzanna Janin, PL 2009, 13'
    - Love, Jealousy and Revenge , Michael Brynntrup, D 1991, 7'
    - One Day, Ditte Haarløv Johnsen, DK 2007, 30'


  • Películas Pintadas

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    Scratch Pad, de Hy Hirsch. 1960. 7 min
    Grafitti escrito sobre imágenes. La película demuestra la original habilidad de su autor en la manipulación de la imagen.
    * Divinations, de Storm de Hirsch. 1964. 6 min
    El mundo del ritual y de la magia a través de un evento psíquico de colores y formas cuya banda sonora son los cantos de los Maorí.
    * Colour Poems, de Margaret Tait. 1974. 12min


    Martes, Marzo 9, 2010 - 20:00


    La Casa Encendida - Madrid, España
  • Conversations at the edge: The Blindness Series

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    Conversations at the edge: The Blindness Series
    Thursday, March 11, 6pm
    Gene Siskel Film Center
    164 North State St.,Chicago, Illinois 60601
    Tran, T. Kim-Trang in person

    Still from ekleipsis (Tran, T. Kim-Trang, 1998), part of the  Blindness Series, 1992-2006. Courtesy the artist and the Video Data  Bank.
    Still from ekleipsis (Tran, T. Kim-Trang, 1998), part of the Blindness Series, 1992-2006. Courtesy the artist and the Video Data Bank.

    The Blindness Series is Los Angeles-based artist Tran, T. Kim-Trang’s expansive, fourteen-years-in-the-making tour de force on vision and its metaphors. Comprised of eight videos, the series draws upon notions of blindness to explore broader political and cultural themes of identity, sexuality, society, and technology. This evening, to celebrate the Video Data Bank’s release of The Blindness Series in a new DVD box-set, Tran will present five works from the cycle, including a provocative documentary on hysterical blindness and the Cambodian civil war (ekleipsis, 1998); an essay on cosmetic eyelid surgery (operculum, 1993); and a meditation on the phenomenon of word blindness (alexia, 2000). “We are invited to approach these works with all our senses,” writes scholar Laura Marks. “The Blindness Series, crankily, and finally tenderly, gives us our eyes back.” Tran, T. Kim-Trang, 1992-2006, USA, Beta SP video, ca. 82 min (plus discussion).


    TRAN, T. KIM-TRANG (b. 1966, Saigon, Vietnam) emigrated to the U.S. in 1975. She received her MFA from the California Institute of the Arts and has been producing experimental videos since the early 1990s. Her work has been exhibited internationally and nationally in solo and group screenings, including at the Museum of Modern Art, the 2000 Whitney Biennial, and the Robert Flaherty Film Seminar. Tran is the recipient of numerous grants and awards, having been awarded a Creative Capital grant, a Getty Mid-Career Fellowship, and a Rockefeller Film/Video/Multimedia Fellowship. Tran also collaborates with Karl Mihail on a project known as Gene Genies Worldwide© (www.genegenies.com). Their conceptual and public artworks on genetic engineering have exhibited at the Ars Electronica Festival in Linz, Austria; Exit Art, New York; the Tang Museum at Skidmore College, Saratoga Springs, New York and elsewhere in the United States. She is currently an Associate Professor of Art at Scripps College.


  • Light Industry: The Hart of London

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    The Hart of London (Jack Chambers, 1970)Light Industry: The Hart of London
    Wednesday, March 31, 2010 at 7:30pm
    177 Livingston Street, Brooklyn, 11201 NY
    Tickets - $7, available at door.
    Introduced by Carolee Schneemann

    The Hart of London (Jack Chambers, 16mm, 1970, 79 mins)

    Perhaps it was ten years ago that the artists Arakawa and Madeleine Gins told me of a scientist researching optical physiology. He had determined that cats would be his living subjects. To this end he had constructed a three-story-high narrow cylinder. Along its interior vivid images were pasted, illuminated. Photographs within these cylinder walls depicted elements interesting to cats: brightly colored birds, bowls of food, shimmering fishes, wild animals, human faces. The experiment was contrived to photograph the last retinal image mirrored on the pupils of the cats immediately after their death--killed from the impact of being thrown down the narrow cylinder.

    If there could be a retinal analysis of imprinted filmic imagery, expanded in time by description, compressed as memory, as an intensity of linked recognitions--this optical imprint on my inner vision would be inscribed with fragments from the films of Jack Chambers.

    Perhaps, my first viewing of Jack Chambers' films occurred shortly after being told of the sadistic cat experiment. A few years later, I was able to teach his indelible works during a year as film faculty at the San Francisco Art Institute. Associations with the brutal cat experiment recurred, when I realized I would have to lock my students in the film viewing room if they were to see the complete projection of The Hart of London. Unlike the cats, whose volition was stolen from them, my students stood scratching at the locked door insisting. "We're not watching this!"

    They could close their eyes, but could I shift their resistance to the gestural flinch and muscular reciprocity of Chambers' images: moist animal eyes, spurt of blood, birthing of a human infant, fire, shadow--this threshold of spectral literalizations that the mad scientist had intended to capture on the retina of the just-dead cats? Could I brand the students' vision with Chambers' fleeting forms, their flash and tumble, an energy which tosses us into an unconscious ecstatic terror? Because Chambers' images emerge as if structure in time is propelled, an eddying, oceanic force; edited so that we viewers are engulfed by the rhythms of an inspiration as challenging and unstable as the invisible sources of imagination itself.

    So that suddenly we inhabit a ghost city constructed before our very eyes, a hundred years ago. Blacked swirl of smoke. Muscular gestures, men laboring. Darkening clouds. Rail tracks' horizontal spin into receding horizon, parried dissolve of vertical smokestacks ascending. Ascending. Incandescent shapes emerge, dissolved into grains, celluloid falling snow. Dissolve. Intercut to black.

    Dissolve to whitened/greyed curly fur. Close-up sheep's eyes glistening terror: sacrificial ballerinas balanced on planks, facing the camera eye. Slaughterhouse blades gash. Lens eye splattered. Exploding blood. Indelible chaos. (Domestic food chain.) Intercut to black. - Carolee Schneemann

    Jack Chambers is one of Canada's most famous and greatest living painters. Why then have his films been as neglected as they have been? I feel that it is because his films do not arise as an adjunct to his painting (as is true in the case of most other painter film-makers) but that, rather, Jack Chambers has realized the almost opposed aesthetics of paint and film and has created a body of moving pictures so crucially unique as to fright paint buffery: thus his films have inherited a social position kin to that of the films of Joseph Cornell in this country. The fact is that four films of Jack Chambers have changed the whole history of film, despite their neglect, in a way that isn't possible within the field of painting. There are no "masters" of film in any significant sense whatsoever. There are only "makers" of film in the original, or at least medieval, sense of the word. Jack Chambers is a true "maker" of films. He needs no stance, or standing, for he dances attendance upon the coming-into-being of something recognizably new: (and as all is new, always, one must question the veracity of all works, whatever medium, which beseem everything but that truth). - Stan Brakhage


  • Close-up: More or Less Annihilated by Saccadic Enchainment by the Sea

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    More or Less Annihilated by Saccadic Enchainment by the Sea
    March 30th 2009, 20h
    The Working Men’s Club, 44-46 Pollard Row, E2 6NB, London. Ticket: £5/£3 Close-Up members
    Doors open at 7.45 pm
    Presented by Close-Up and curated by Esperanza Collado


    film.jpg Film
    Samuel Beckett | Alan Schneider
    1964 | 17 mins | B&W | 16mm

    A man carefully blots out all external reality. A philosophical principle prevails -George Berkeley’s Esse est percipi- while the film contains elements of comedy.

    emtigon.jpg Emigton
    Joe Comerford
    1965 | 10 mins | B&W | Digibeta, Shot on 16mm

    An elliptical narrative with an injection of perverted Irish humour.

    un-peu-moins.jpg Un Peu Moins (A Little Less)
    Donal O’Ceilleachair | Konstantin Bojanov
    2006 | 6 mins | B&W and Colour | DV, Shot on Super8

    Somewhere between innocence and eroticism, between geography and stasis.

    she-had-her-gun-all-ready.jpg She Had Her Gun All Ready
    Vivienne Dick
    1978 | 22 mins | Colour | 16mm

    This film noir/melodrama set in the Lower East Side is a study of women’s anger and hatred of women at the crucial moment of overpowering identification and obsessional thraldom.
    Performances by Lydia Lunch and Pat Place.

    saint-francis-didn-t-run-numbers.jpg Saint Francis Didn’t Run Numbers
    Christopher O’Neill
    2009 | 4 mins | Colour | DV

    Excavates new and surprising spaces from a famous American film of the ‘70s, abstracting a silent, hidden universe from the bustle of narrativity. — Maximilian Le Cain

    sister-mary-or-mary-the-junkie.jpg Sister Mary Or Mary The Junkie
    Christopher O’Neill
    2010 | 2 mins | Colour | DV

    One figure is seen in three distinctive images, which have been manipulated and isolated to illustrate a different meaning to its original source material.

    after-before.jpg After & Before
    Barry Ronan
    2009 | 2 mins | Colour | DV

    Superimposition of landscapes shot as an expressionistic canvas with Brakhagean reminiscences.

    making-a-home.jpg Making A Home
    Maximilian Le Cain
    2007 | 10 mins | B&W and Colour | DV

    A ‘thinking space’ full of possible discoveries dwelling for and from internal desires using the mystery implied by the given architectural space, which fails.

    film-from-the-sea.jpg Film From The Sea
    Alan Lambert
    2000 | Variable duration | Colour | 35mm

    A strip of corroded 35mm film found washed up on a beach in Valencia, Spain, in 1996.

    Programme Notes
    On the impossibility of writing about this programme

    Since there is no worthwhile commercial cinema in Ireland, all great Irish films come from experimental cinema.

    Maximilian Le Cain in Experimental Conversations.

    I N V I S I B I L I T Y :

    In 1969 Samuel Beckett was awarded the Nobel Prize for Literature in recognition of a circular form of reasoning that implied entrapment in circumstances of one’s own design.

    Beckett’s Film (1964): the best film you never saw in your life, or, as Gilles Deleuze put it, the greatest Irish film.

    Beckett’s film can be seen as the tale of George Berkeley who has had enough of being perceived and of perceiving. The role, which could only have been taken by Buster Keaton, is that of Berkeley, or rather it is the passage from one Irishman to another.

    The attempt to communicate through silence is no deprivation. All depends on the nature of this silence - not a cancelling, static silence, but verbal ‘mutism’. Beckett doesn’t verbalize chaos; he summons it: chaos cannot be depicted but visualized.

    I M P O S S I B I L I T I E S :

    of Irish cinema industry,
    of Irish experimental cinema,
    of thematic concerns common to these works,
    of Irishness as a main feature present in these works,
    of linking threads connecting Irish experimental films,
    of formal concerns perceived as common to these works,
    of linking thread connecting the works on this programme


    P O S S I B I L I T I E S :

    When Bob Quinn was born, S. Beckett was 29 y.o.
    When V. Dick was born, Bob Quinn was 15 y.o.

    When F. Daly was born, V. Dick was 11 y.o.
    When P. Jolley was born, F. Daly was 3 y.o.

    When D. O’Ceilleachair was born, P. Jolley was 4 y.o.
    When A. Lambert was born, D. O’Ceilleachair was 2 y.o.

    When C. O’Neill was born, A. Lambert was 6 y.o.
    M. Le Cain was born, C. O’Neill was 3 y.o.

    When B. Ronan was born,
    M. Le Cain was 7 y.o.