Eventos

  • Barbara Hammer: Dignity

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    Vital Signs (Barbara Hammer, 1991)Barbara Hammer: Dignity
    February 16 - April 13 2013
    Open Wed–Sun 12–18h
    KOW, Brunnenstr. 9, 10119 Berlin

    The experimental filmmaker, documentarist, and visual artist Barbara Hammer, who was born in Hollywood in 1939, has created one of the most influential oeuvres of Queer Cinema. Over the course of a lifetime, the pioneering lesbian film activist has put together a comprehensive manifesto of feminist perspectives. Our first solo exhibition of Barbara Hammer’s work, in 2011, emphasized her contributions to the (self-)representation of lesbian love and sexuality in the 1970s; in this new show, by contrast, we focus on a parallel strand in her oeuvre that commences in the mid-1980s: Hammer’s engagement with illness, aging, and death.

    The centerpiece of the exhibition, which was designed in collaboration with the artist, is “Sanctus” (1990). Hammer uses moving X-ray pictures Dr. James Sibley Watson produced in the 1950s that capture—usually female—bodies in motion.(1) Watson had turned his study subjects’ bodies into a spectacle, subjecting them to visualization and medico-technical manipulation that cut to the quick; Hammer exalts these bodies, presenting them now as threatened, now as threatening, restoring their sensual presence. She copies, crops, and cross-fades Watson’s archival footage, painting on it and using chemicals to burn it. Hammer animates a danse macabre of female skeletons. This is more than a feminist and erotic reappropriation of the female body beset by technology and pathology—it is its canonization, supported on the original soundtrack by the composer Neil B. Rolnick’s computer-generated mass “Sanctus.”(2)

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  • Balagan presents... Breakwater

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    Venice Pier (Gary Beydler, 1976)Balagan presents... Breakwater
    Tuesday, February 19 2013, 20h
    Brattle Theatre, 40 Brattle Street in Cambridge, MA USA

    From camera motion inspired by the fluidity of bubbling streams -- to the productive potential of organisms residing within -- to the symbolic significance of a teacup's or a storm's destructive powers -- water has given rise to some incredible cinematic images. With this small-gauge film program of works old and new, the first of 2013, we explore the form's aesthetic and figurative possibilities.

    Balagan is an acclaimed screening series that hosts regular shows at the historic Brattle Theatre in Harvard Square, Cambridge. It was started in 2000 by Jeff Silva and Alla Kovgan to make up for the absence of experimental programming in Boston. Since then, the series has showcased hundreds of works from unconventional artists working on the fringes of cinema. Some of the qualities that make Balagan unique are 1) a commitment to showing work in the intended format whenever possible, 2) efforts to bring artists in person, making for a more exciting interaction between artist and audience, 3) one-of-a-kind, screen-printed posters that we commission from local designers for each show.

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  • Experimental Film Club: Ruins & Entropy Part 2

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    The End (Patrick Keiller, 1986)Experimental Film Club: Ruins & Entropy Part 2
    Part 2 of a two part programme curated by Aoife Desmond.
    Tuesday February 26, 18:30h
    Irish Film Institute, 6 Eustace Street, Temple Bar, Dublin 2)
    Introduced by Dr Declan Long (Co-director, MA Art in the Contemporary World, NCAD)

    EFC and IFI present Ruins & Entropy Part 2. Part 2 continues the thread explored in Part 1 which focused on Robert Smithson’s art practice and theory. Part 2 focuses on contemporary filmmakers; Emily Richardson, Ben Rivers and Patrick Keiller and their exploration of decay and impermanence within the contemporary landscape. A selection of four films from these filmmakers combines architectural residue and history with a wandering or drifting protagonist and his/her poetic overview. The locations range from Hackney in London and Oxford Ness a disused military site in England to a wide ranging European tour and a fragmented tour of Britain ending up in the Isle of Mull.

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  • Unconscious Archives #7

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    Intertidal (Alex MacKenzie)Unconscious Archives #7
    Tuesday 26th February, 19h
    Apiary Studios, 458 Hackney Road, London, E2 9EG

    Unconscious Archives returns with folly and foray into oceanographic plundering, cataclysmic foley and crowd sourced emotions. Alex MacKenzie (Canada) presents a special extended dual 16mm live film and sound work exquisitely capturing the marine environments of the Canadian coastline present and past using a veritable feast of techniques including hand cranked cameras and camerless film. Adam Bohman unleashes a creeping array of apprehensive noise from household items and made instruments. Erica Scourti brings us two video works capturing her unflinching desire to ascribe human attributes to media generated debris. UA is back at the Apiary! If you haven?t had a chance to check out this funky independent warehouse venue in East London - now here's your chance!

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  • Environmental Agency: A Landscape Film Programme

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    Water Wrackets (Peter Greenaway, 1975)Environmental Agency: A Landscape Film Programme
    Tuesday March 5 2013, 18:20h
    BFI Southbank
    Belvedere Road, South Bank, London SE1 8XT

    The awe-inspiring power of nature and its associated weather systems as explored across a range of groundbreaking works by renowned artist filmmakers. Subtle shifts in natural light, delicate tidal movements and the terraforming power of seasonal change determine the shape and structure of several of the films here. Others reflect with great beauty on the impact that nature has on our lives as an alchemical, elemental force. A timely programme for today’s changing world.

    Breath (1975. William Raban. 16min); Colour Separation (1976. Chris Welsby. 2min); Colours of This Time (1972. William Raban. 4min); Water Wrackets (1975. Peter Greenaway. 12min); Three Short Landscape Films (1979. Renny Croft. 6min); Walk (1975. Jenny Okun. 5min); Bridge (1980. John Woodman. 4min); Aerial (1974. Margaret Tait. 4min); Aspect (2004. Emily Richardson. 9min); Proximity (2006. Inger Lise Hansen. 4min)

    Introduced by artist John Woodman and BFI National Archive curator William Fowler.

    The programme will be followed by a launch in the BFI Shop of two new LUX titles on DVD: Trilogy (Inger Lise Hansen) and Landscape Films 1977-1982 (John Woodman).

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  • Geometry in motion

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    Radio dynamics (Oskar Fischinger, 1942)Geometry in motion
    Wednesday, February 18 2013, 18h
    Musée d'art moderne André Malraux
    2, boulevard Clemenceau, 76600 Le Havre

    A programme in resonance with the coming of the Centre Pompidou Mobile to Le Havre that will present "Circles and Squares," a selection of works about geometric abstraction.

    Shortly after painting, cinema takes possession of abstraction in the first decades of the 20th century. After the first works (the chromatic music of the Italian Futurists, the colorful rhythms of Leopold Survage) it is in Germany where the first stream of abstract film develops.

    Based on this historical avant-garde, this programme will provide an overview of geometry in motion along with American films and contemporary digital experimentation.

    Programme:
    - Rhythmus 21 (Hans Richter, 1921-23, 3’20, 16 mm, b&w)
    - Symphonie Diagonale (Viking Eggeling, 1921-24, 7’00, 16 mm, b&w)
    - Anémic cinéma (Marcel Duchamp, 1925-26, 2’00, 16 mm, b&w)
    - Kreise (Oskar Fischinger, 1933, 2’00, 16 mm, colour)
    - Squares (Oskar Fischinger, 1934, 5’00, 16 mm, colour)
    - Radio dynamics (Oskar Fischinger, 1942, 4’00, 16 mm, colour)
    - Matrix III (John Whitney, 1972, 11’00, 16 mm, colour)
    - 69 (Robert Breer, 968, 5’00, 16 mm, colour)
    - Get Set (Ian Helliwell, 2005, 3’25, video, colour)
    - Machination (Lia, 2010, 5’43, video, colour)
    - Star light n°5 bis (Cécile Fontaine, 2012, 5’55, video, colour)

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  • A Shroud to Hold the Light: films by John Price

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    the sounding lines are obsolete (John Price, 2009)Double Negative Collective presents:
    A Shroud to Hold the Light: films by John Price
    Saturday February, 16th 2013, 21h
    Cinémathèque québécoise, Claude-Jutra Theatre
    335, De Maisonneuve Blvd East, Montréal, Québec, H2X 1K1
    Filmmaker In Person

    In a career spanning over two decades, Toronto-based filmmaker John Price has created an impressive body of work in 16mm and 35mm. Price’s remarkably prolific creative output places him among the finest voices working today in the tradition of diaristic filmmaking.

    An avid chronicler of the quotidian, Price documents the intimate details of his personal life. His careful observation captures precious moments of domestic events – the birth of his child (naissance #1), family trips and Thanksgiving celebrations (Party #4, Camp #2), the growth of his children (domashnyee kino / home movie). The episodic fragments he collects often form a series of thematically linked vignettes (Sea Series #5, #7, #8 and #11), and one of the pleasures his films offer derives from viewing them in ensemble rather than in isolation.

    His films, however, extend far beyond the simple memorialization of the everyday; they also foreground his engagement in aesthetic experimentation with light, colour, grains and textures, functioning as the records of the filmmaker’s meditation on the medium he chooses to work with. His filmmaking grew out of his early interest in traditional darkroom photography. The tactile experience of working with physical material constitutes the essential part of his craft. Experimenting with unconventional processing techniques that produce unpredictable photochemical reactions on the fragile emulsion, Price creates images that have unique tonal and textural qualities, imbued with timeless beauty and quiet lyricism.

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  • The 9th Berlin International Directors Lounge

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    The 9th Berlin International Directors LoungeThe 9th Berlin International Directors Lounge
    the festival for contemporary media and film
    February 7 - 17, Naherholung Sternchen, behind the Kino International
    U-Schillingstraße, Berolinastr. 7, 10178 Berlin-Mitte

    [DL9], the 9th Berlin International Directors Lounge, the annual festival for contemporary media and film, is heading at you, faster than a bullet and with more power to knock you off your feet. Flights of fancy without (more than occasional) flights from sanity - just what the doctor ordered, antidote and overdose rolled into one. Films have come in from all over the globe, all shapes and sizes, to be trussed up into the neatest of packages and their fuses lit for the explosion. And snaking around it all, live music and performance art and a whole lot more. These eleven days dare you to miss them.

    The Naherholung Sternchen, in-spot with cult appeal, will once again provide the stage for this melding of flickering visions and formidable visionaries... just behind the near-legendary Kino International near Alexanderplatz, eleven days waiting to shake your world. A truly one-off Berliner film-and-more experience. No sides drawn up - filmmaker and film-goer thrown together. No red carpet, but a yellow brick road into Wonder City.

    Nine years can't be wrong. Believing is indeed seeing.

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  • Scratch Projection: F O C U S

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    1859 (Fred Worden, 2008)Scratch Projection: F O C U S
    Tuesday 12 February 2013, 20:30h
    Cinéma Action Christine
    4, rue Christine, 75006 Paris

    Program introduced by Erwin van ‘t Hart (International Film Festival of Rotterdam and freelance programmer)

    Zen for film, a retreat in the cinema. Complex film structures leading to a coherent visual experience, striving for simplicity and ultimately: nothingness. Films by Nicholas Brooks, Ivan Ladislav Galeta, Fred Worden, Takahiko Iimura and Paul Sharits will fill the space. An invitation to sit and contemplate.
    How to prepare for a choreographic etude for unusual objects, a symmetrical film concept with two distinct centers, a celestial space filled with spherical light flares, a balanced superimposition of natural and rectangular form or a complex narrative of solid color harmonies? A quote by Arata Isozaki from the text of the film Ma: Space/Time from the Garden of Ryoan-ji will lead the way.

    Perceive not the objects
    but the distance
    between them
    not the sounds
    but the pauses
    they leave unfilled

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