Eventos

  • 13th dresdner schmalfilmtage

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    13th dresdner schmalfilmtage13th dresdner schmalfilmtage
    26th to 28th of Januar 2012
    at Motorenhalle. Project Centre for Contemporary Art

    ... consumption, digestion and the radical otherness
    We guzzle, we shit, we are fancy complex systems of consumption and digestion. Despite social conventions and civilized behaviour, we are what we are! Thus eating has always been a main issue in Fine Arts being presented in films as well: As a symbolic character among sex and violence it has been a metapher for human dependency, obsession and drives. The dresdner schmalfilmtage presents works in the foodfilm-programme which show how Super8-filming was influenced by different ways of feeding and different kinds of food. A Best-of Super8-kitchen-classics.

    The Wiener Aktionismus on the other hand crosses completely different borders of taste. They do not dread taboos. Naked bodies, automutilations and the forced game with flour, blood and excrements excruciate the audience. The Vienna Actionists digest society based on order, and permanently, purement and self-control and truly excrete them. The radical otherness presents the moviemaker Samantha Rebello. She is nowadays one of the "young and upcoming" in London's film and art scene. The human body and daily objects were transformed by extreme close-ups, strict cuts and different uses of music to unknown materials and newly discovered worlds: the radical otherness.

    ... Spanish eyes
    The 13th festival edition focuses on Spain presenting two special sessions. The development of the "other cinema" in Spain was for a long time influenced by the political and cultural restrictions due to the Franco Regime. After the dictatorship the artificial controversy lacked a political rubbbing against it. The 13th dresdner schmalfilmtage centre two Spanish artists, Albert Alcoz and David Domingo aka Stanley Sunday, who both use filming and innovative optical alienation but with very different results.

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  • LUX Evening Course: Opening Up The Archive: Further Themes and Forms

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    LUX collection

    LUX Evening Course: Opening Up The Archive: Further Themes and Forms
    Tuesday March 6th to Tuesday April 10th, 19-21h
    LUX, 18 Shacklewell Lane, London E8 2EZ

    This short course offers another opportunity to explore the richness and diversity of the LUX collection, with a further selection of films and videos from its archive. Over six weeks this March and April, a thematic selection of artists’ moving image, from its pioneers to its most contemporary practitioners, bring to light works rarely seen alongside the legendary, tracing the contexts and concerns that shaped them. From the experience of place, whether faraway or in the diaspora, from film essay and film poem, to the art of the joke and the appropriation of the film archive itself, this course considers the myriad and ingenious ways in which artists continue to engage with the moving image.

    It is not necessary for participants to have attended the previous Archive courses, and no previous knowledge is required, just a curiosity to see and find out more about this fascinating area of art practice. Led by the film writer and curator Lucy Reynolds, and held in the screening room at LUX, the course will present new examples of the rarely seen films and videos from the LUX collection in an introduction to, and an insight into, the thriving culture of artists’ filmmaking. Each class will be supported with weekly hand-outs of key texts and further information on the artists and work under discussion.

    Cost £85/ £65 (student/unemployed). To book a place contact [email protected]

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  • Jeff Keen: Works from the 1960s + 1970s

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    Flick Flack (Jeff Keen, 1964 - 1965)Jeff Keen: Works from the 1960s + 1970s
    Elizabeth Dee Gallery
    545 West 20th Street, New York NY 10011
    January 12 – February 11, 2012
    Opening Thursday, January 12, 18-20h

    Elizabeth Dee Gallery is pleased to announce the first solo exhibition at the gallery and United States debut of paintings and films by Jeff Keen (b. 1923, UK). This important first exhibition in New York will explore in depth Keen's most influential and fundamental period of work, the 1960s and 1970s, during which he established a prolific visual practice extending to five decades of drawing, painting, experimental film, concrete poetry and performance.

    Keen is primarily known as a legendary underground filmmaker whose work and activities coincided with the emergence of expanded cinema. He was one of the original participants in the 60s at the London Filmmakers Co-op. The BFI and later the British Arts Council supported and enabled Keen to make films and devise a multitude of drawings and paintings. During this period, Keen maintained jobs as a landscaper in the Parks and Recreation department of his hometown, Brighton, and sometimes as a postal worker delivering mail. The artist made movies primarily on weekends with his family and friends in an ensemble cast and his painting and drawing studio was for 40 years a repository of props and art that accumulated to extraordinary effect that has been fully documented.

    Embracing the increasingly available technology of 8mm, 16mm and prevelance of American Pop imagery and Comics (and later Punk), Keen employed modes of popular media, technology and music in painting, drawing and collage using a stop frame animation process and in camera editing, resulting in active and evocative films. Utilizing a frequency of speed not found in work of the period, Keen, through the possibilities of the medium, brought new life to the significance of radical visual media.

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  • Phenomenologies of Projection, Aesthetics of Transition

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    Phenomenologies of Projection, Aesthetics of Transition Anthony McCalPhenomenologies of Projection, Aesthetics of Transition
    Anthony McCall 1970-79, 2001—
    Exhibition and Symposium
    Friday and Saturday, February 24 & 25, 2012
    University of Chicago Film Studies Center

    Using atmospheric haze and film projectors, artist Anthony McCall creates beautiful, visually captivating light sculptures that explore ideas of architecture, duration and embodiment. Invoking comparisons to natural formations like waterfalls and moonlight, McCall’s slowly moving luminous projections invite visitors to step into the light, using their bodies to alter the shimmering forms.

    Experience the subtle poetics of McCall’s rarely exhibited 'Solid Light’ films at a special two-day event at the University of Chicago, featuring works on both celluloid film and digital media. This exhibition and its related symposium turn a critical spotlight onto key moments in an artistic career that has moved with singular coherence between the aesthetics of an analog and a digital media paradigm.

    The installation You and I, Horizontal (2006, dv) will open the event at The Experimental Station, a community arts incubator in Hyde Park, Chicago on February 24 & 25, 6-10 p.m. A special screening of Line Describing a Cone (1973, 16mm) and its digital remake Line Describing a Cone 2.0 (2010, dv) will take place at the installation site on alternate evenings. This exhibit is free and open to the public.

    On Saturday, February 25, Anthony McCall will present an artist talk at an afternoon symposium dedicated to his work, then participate in a roundtable with a panel of distinguished curators and scholars. The Symposium will take place at the Film Studies Center, 5811 S. Ellis Ave, University of Chicago. Reservations are recommended, and can be made at filmstudiescenter.uchicago.edu.

    For more information on the exhibit and symposium call 773-702-8596 or visit filmstudiescenter.uchicago.edu.

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  • Episode 1: A Film is a Statement

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    Episode 1: A Film is a Statement
    19 - 22 January 2012
    Centre of Contemporary Art, Glasgow, UK
       
    Every aspect of every film is always about more than just film. Or, as Godard said: a tracking shot is a moral issue. A Film is a Statement is an open, convivial screening/ performance/ ideas hybrid - a cross between a festival, magazine & discussion about experimental artists’ films.
     
    Informed, but informal, there will be plenty of room for just hanging out, chatting, generally thinking together. Everything will be introduced by the filmmaker, or artist, or a critic or someone who will talk about it, very often with you.  Including world leading radical moving image artists, activists, leading theorists and some of the most important political filmmakers of the last 50 years.

    Expect an expanded film performance/lecture/intervention from The Museum of Non-Participation (Karen Mirza, Brad Butler & Nabil Ahmed), Lutz Becker's recently rediscovered film Kino Beleške (Film Notes), the provocative film essay and analysis of the media Argument by Anthony McCall & Andrew Tyndall, Nina Power on Hito Steyerl, a performance from Ayreen Anastas & Rene Gabri (frequent contributors to 16Beaver), Graham Harwood's film/software/book hybrid Aluminium, German documentarist Hartmut Bitomsky's encyclopedic analysis of a B-52 bomber, Jean-Marie Straub & Danièle Huillet's classic Too Soon, Too Late and a programme of Songspiels by Chto Delat?

    Full details of the programme are on the website at http://www.arika.org.uk; if you prefer to peruse a PDF, then have a look at the brochure on our Issuu page: http://issuu.com/arika/docs/episode1

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  • Close-Up: Decasia

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    Air Cries, "Empty Water" (Carl Brown)Close-Up: Decasia
    Tuesday December 13th, 20h
    Bethnal Green Working Men's Club
    42-44 Pollard Row London E2 6NB

    Fechas: 

    De Martes, Diciembre 13, 2011 - 20:00 hasta Miércoles, Diciembre 14, 2011 - 19:55

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