Eventos

  • Experimental Film Club: Of Ruins and Light

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    Redshift (Emily Richardson, 2001)Experimental Film Club: Of Ruins and Light
    Friday September 21st 2012, 21h
    Coal Quay carpark Culture Night, Cork.

    This programme of 16mm experimental film works is curated by Esperanza Collado and Aoife Desmond of the Experimental Film Club, Dublin. Their chosen films present expanded representations of time and space; from the earthly to the celestial, from the transience of man's structures on earth, to the vastness of the universe.

    - Scotch Tape (Jack Smith, USA, 1959-1962, 3 minutes, B&W, Sound (optical), 16mm)
    - The End (Patrick Keiller, 18 min, 16mm, B&W, sound (optical), 1986)
    - Stellar (Stan Brakhage, 3 min, Colour, Silent, 16mm, 1993)
    - Origin Of Species (Ben Rivers, 16 minutes, Colour, Sound (Optical), 16mm, UK, 2008)
    - Redshift (Emily Richardson, 4 min, 16mm, colour, sound, 2001)
    - The Cup And The Lip (Warren Sonbert, 20 mins., 16mm, colour, sound, 1986)
    - Observando El Cielo (Jeanne Liotta, 19 mins, 16mm, colour, sound, 2007)
    - Transit Of Venus (Nicky Hamlyn, 2 Min, 16Mm, B&W, Silent, 2005)

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  • Tate Modern: Jeff Keen

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    White Dust (Jeff Keen, 1970-72)Tate Modern: Jeff Keen
    18 September – 23 September 2012
    Part of the series The Tanks: Art in Action
    Tate Modern, Bankside, London SE1 9TG

    Jeff Keen (1923-2012) was a pioneer of experimental film whose rapid-fire animations, multiple screen projections and raucous performances redefined multimedia art in Britain.

    This major installation for The Tanks at Tate Modern was conceived by Keen in response to the unique nature of the Tanks. Featuring a large, dioramic screen, the installation will demonstrate the spirit of Keen’s expanded cinema events, his early experiments in drawing, painting and animation, his fascination with surrealism and popular culture, and his radical development of multiple screen projection, cut-up soundtracks and unruly live action.

    A very special live performance in the Tanks on Friday 21 September at 20.00 will feature projections and live music and actions performed by Keen’s daughter Stella Starr and a range of Keen’s collaborators, including Alan Baker, Chris Blackburn, Rob Gawthrop, Mike Movie and Jason Williams as ‘Silverhead’.

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  • Artists' Film Club: Owen Land

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    Dialogues, or A Waist Is A Terrible Thing To Mind (Owen Land, 2007–09)Artists' Film Club: Owen Land
    Wednesday 19 September 2012, 18:45h
    Institute of Contemporary Arts
    The Mall, London SW1Y 5AH

    The late Owen Land’s final long form work Dialogues, or A Waist Is A Terrible Thing To Mind (2007–09) is an episodic tale of love and hate. Screening in the UK for the first time, it will be supplemented by several of his shorter works. Dialogues “concentrates on the events of Owen Land’s life in 1985, when he returned to Los Angeles after spending a year in Tokyo, Fukuoka, and Okinawa, Japan. […] It was a time for much soulsearching about his relationships with women (and with strippers). There are flashbacks to that very formative period, the 1960s when ‘we won the sexual revolution’ as one character says. Some of the episodes contain events which are more speculative, or imaginative, than literally real.”

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  • Glorious Catastrophes

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    Little Stabs At Happiness (Ken Jacobs, 1958-1963)Glorious Catastrophes
    Wednesday, 31 October 2012, 20:30h
    Beursschouwburg, A. Ortsstraat 20-28, 1000 Brussels
    In collaboration with Courtisane

    “A seriousness that fails”: this is how Susan Sontag described the essence of “camp”, this transient mixture of excess, fantasy, passion and naivety that has taken up a distinctive place in the cultural firmament since the 1960’s. Andy Warhol, who emphatically responded to this trend with his film Camp (1965), saw it differently: he was rather interested in the idea of failure itself, a failure that has to be taken seriously. After all the majority of Warhol’s films consists of observations of people in and as image, who in all their fallibility reveal a genuine authenticity and startling vulnerability. Two characters who play lead roles in Camp also take up a central place in this film programme: Paul Swan and Jack Smith. Warhol’s self-titled portrait of Swan, a dancer and actor who was once lauded as the “most beautiful man in the world” is an as ruthless as affectionate observation of a man who alternately falls in and out of the role of his lifetime. The area of tension between playing and being, playful fantasy and harsh reality, is also the arena of Jack Smith, the “enfant terrible” of the post war American underground scene. The early films Smith made in collaboration with his then confidant Ken Jacobs manifest a brutal beauty and audacious hedonism, unleashing a bewildering vitality not despite but because of their deliberate “trash” esthetics. Between innocence and nonsense, order and disorder, catastrophe and utopia: what the films in this programme have in common, are forms of expression that thrive in relation to their own failing.

    With film works by Andy Warhol, Ken Jacobs, Jack Smith

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  • Black Sun Cinema: White Noise

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    Black Sun Cinema: White Noise
    A film programme curated by Florian Wüst
    in association with Sirius Arts Centre, Cobh, and Arsenal – Institute for Film and Video Art, Berlin
    Saturday September 22nd 2012, 19h
    TDC, Triskel Arts Centre, Tobin St., Cork

    Black Sun Cinema is partnering with Cork Film Centre this September 22nd to present a very special evening of experimental films from Berlin’s famous Arsenal archive. We are delighted to welcome Florian Wüst, Berlin-based artist and film curator, who programmed and will present this selection of works with the theme ‘White Noise’.

    ‘White Noise’ centres on legendary German underground film icons Wilhelm and Birgit Hein and gives Cork audiences the rare opportunity of seeing four of their films.

    The programme as a whole reflects the deconstruction of cinema and television not only as a monolithic system of representation and a dream factory, but also as an instrument of corporate power and social control. Images of (human) disfigurement and the mysteries of childhood mix with the penetration of the senses on different levels. The combination of poetic collage, critical analysis, and radical abstraction intends to challenge the emotional as well as physical capacities of the audience. ‘White Noise’ also features works by internationally acclaimed artists and filmmakers: Thorsten Fleisch, Christoph Girardet & Matthias Müller, Sharon Lockhart, Gunvor Nelson, Richard Serra & Carlota Fay Schoolman, and Wolf Vostell.

    Where possible, films in this programme will be projected from 16mm film prints.

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  • Flash Brides: Performances by Bruce McClure

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    Bruce McClureFlash Brides: Performances by Bruce McClure
    From Saturday September 15th to Sunday September 30th 2012
    France and Switzerland Fall 2012

    'My projection performances celebrate the incandescent beauty of 16 mm projectors and their role in driving desirable reactions in the metabolism of energy from one form to another. Light is modulated at the front gate by the limbic roll and chatter of loops patterned with emulsion. Once screened for the eye these patterns are commented on by the optical sound system from every corner of the room. Itinerate, the two projector works that accompany me on this tour accommodate themselves to any space and are measured only by attention. The territory of provisional occupancy by this work is well known but any familiar feature can become distorted making orientation difficult and likely to be abandoned. As they say, “How can something be missed if it never goes away?”' - Bruce McClure

    Equipment:
    (2) Eiki SSL-0 optical sound projectors
    (2)10 Amp variable transformers for dimming the lamps on my projectors.
    (8) Low voltage guitar effects pedals:
    (2) MT-2 (metal zone)
    (2) DD-6 (digital delay)
    (2) DD-3 (digital delay)
    (2) GE-7 (graphic equalizer)
    (1) Mixer (Alesis Multi Mix 6FX)

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  • Echo Park Film Center: Abraham Ravett

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    Notes for a Polish Jew (Abraham Ravett, 2012)Echo Park Film Center: Abraham Ravett
    Saturday, September 8, 2012, 20h
    Echo Park Film Center
    1200 N. Alvarado Street, Los Angeles, California USA

    Abraham Ravett will present a program of recent and previously made films. The screening includes three films that reflect the complexities of filial relationships; the lingering impact of the Holocaust, and with Horse/Kappa/House, the Japanese rural landscape is presented as a space of loss, memory and collective history.

    Programme:
    - The March (1999)
    - Horse/Kappa/House (1995)
    - Tziporah (2007)
    - Notes for a Polish Jew (2012) (on DVD)

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  • Ship to Shore

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    Study of a River (Peter Hutton, 1997)Balagan and Magic Lantern Cinema Present:
    Ship to Shore
    Experimental land- and seascape documentaries by Peter Hutton and James Benning
    Two outdoor film events:
    Friday, August 24th, 20h
    Norman B. Leventhal Park, Post Office Square, Downtown Boston
    Saturday, August 25th, 20h
    Grant’s Block, 260 Westminster St., Downtown Providence

    Balagan and Magic Lantern Cinema have collaborated to present a pair of outdoor film events on consecutive nights in Boston and Providence under the banner “Ship to Shore,” evoking the seafaring histories of their respective cities. Each screening will present one feature film and one short film by acclaimed experimental filmmakers Peter Hutton and James Benning – two artists who share a similarly contemplative approach to place-based documentary film practice while still retaining strikingly original styles of filmic analysis and expression. A former merchant seaman, Hutton has documented four decades of voyages through such places as the Yangtze River, the coastline of northern Iceland, and the Hudson River Valley in his majestically photographed films, which merge observational and diaristic modes of narration, and whose reverent depictions of landscape have been compared to the work of Thomas Cole and the nineteenth-century Luminist painters. Benning has been producing meditative portraits of the American landscape for as many years, creating works that blend rigorous formal concerns with a deep investment in national politics, local histories, and the environment. Along with receiving a host of awards and critical accolades, Hutton’s and Benning’s films have screened at highly prestigious festivals and institutions throughout the world, such as the Vienna International Film Festival, the Museum of Modern Art in New York, and the Tate Modern in London.

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