Cinema Parenthèse #27 and iMAL present Bruce Mcclure (US) and Alex Mendizabal (ES)
For over twenty years Bruce McClure has been making performances that explore the fundamentals of the experience of projected film, where often the technology is modified and augmented so that it becomes arguable whether we are seeing a ‘film’ or something else.
In this new work Bruce McClure will perform with four fans, loudspeakers and 16mm film projector and loops. This will be preceded with a new work by Alex Mendizabal, the details of which will declare themselves during the event itself.
- Alex Mendizabal
Countless amounts of films (doesn't make it digital): decrementi frequenziali. Cinema as a fraud.
- Bruce Mcclure
"TOWER Chamber scene. Boxed. Ordinary bedroom set. Slipping through those and playing down from the conning towers all differing as clocks from keys since nobody appeared to have the same time. Rotables, have quadrants in its title chances to long on but stands up to legs is escape master-in-chief from all sorts of places broached by the spin of towers amid the lampless. Casting swan beams on sends whispers up frau-frau's frou-frous; arranging tumblers on table. Ah ho ! Fontmouther."
- Q&A with Bruce McClure and Alex Mendizabal
Interested in pause and effect. Builds his own instruments and tempos.
Since childhood, Mendizabal has composed scores for ensembles, orchestras, soloists, stone and paper players, choirs, etc In 1996, stopped writing and since then he builds and plays his own instruments. Some works: Interposed Counterpoints, Dagherrosounds, under water concerts, Saving Time Service (all classic music unabridged in 1 minute), micro musics, Imitation Project, Blind Cinema, several sound installations, silencing mute films, Fraudulent and Freudulent cinema, Music Upside down, Discus Record – Disco Echo, Betoben, Almost Sound Instalments, Play what you hear, etc.
Bruce McClure graduated in 1985 from architecture school and practiced the profession in small offices for 23 years. Beginning in 1994 optical toys in flashing light were the conditions employed to engage the concrete attributes of cinema. Since the mid-1990's, projector light beams and 16 mm. optical sound signals have been used in the context of audience subjectivity. Packaged as “projector performances” these representations continue to free cinematic light from filmic obstacles.
Cinema Parenthèse is a collective of writers, programmers and filmmakers that organizes experi-mental film screenings and dialogues in Brussels. Current members are Wendy Evan, Els van Riel, Nicky Hamlyn, Daniel A. Swarthnas and Arindam Sen.