Light Cone organizes its 7th edition of its annual event Scratch Expanded on Saturday September 13th. Like every year, it will take place at "Les Voûtes" from 7:30 pm until 1:00 am (19 rue des Frigos, 75013 Paris, Metro Bibliothèque Nationale).
This evening's program is dedicated to expanded cinema practices:
- one installation: Trees In Winter by Chris Welsby
- five performances: La Cellule D'intervention Metamkine (twice in the evening), Rouge De Land by Paolo Gioli, Sans Titre by Gaëlle Rouard, Idrofoni by Pietro Pirelli, Open Core by Julien Maire
- 16mm films from Light Cone's collection will be projected outdoors, in the gardens of "Les Voûtes".
20h30 and 00h15: Cellule d'Intervention Metamkine
- Performance with projectors 16mm, screen & mirror (30'/40', 2014). Jérôme Noetinger, electroacoustic devices; Christophe Auger, projectors 16mm; Xavier Quérel, projectors 16mm.
Through the magic of mirrors, multiple projectors and highly ingenious live on stage editing, Metamkine produces and directs a new film with each of their performances. Working around a core narrative, they spill eddies of impromptu vignettes, accompanied by a live soundtrack of tape fragments and ancient synthesiser sounds. These, three collaborators, who have worked together for ten years, have succeeded in pushing the boundaries of film and soundtrack into the realm of live performance - Utterly unique. La Cellule d'Intervention METAMKINE is an open-ended group including musicians and filmmakers researching the relationship between image and sound. Since 1987 different concepts have been carried out and performed in festivals, galleries, cinemas and contemporary art spaces, in France, Europe, Canada, USA. Since 1995 they have developed collaborations with other groups or artists like Nachtluft (Switzerland), Kinobits (France), Loophole Cinema (England), Le Cube (France), la Flibuste (France), Voice Crack (Switzerland).
21h15: Paolo Gioli (Italy)
- Rouge de Land (Lecture/performance with projection 16mm, 2014)
This performance is based on an experiment conducted in the 1950s by Edwin Land, the inventor of the Polaroid. The American scientist conceived of a mode of color perception by studying nerve impulses in the brain as well as the way cones in the eye analyze light rays. By looking back at this experiment, Gioli revisits the phenomenon of persistence of vision: once a tint is identified and associated with a visualobject, the viewing subject continues to attribute the same color to it even if the lighting is modified, despite the fact that the image which forms in the eye has changed radically. In this case, the image under study is a fruit basket, which is projected from two 16mm black and white loops. The hand of the artist enters into frame, and by changing the position of one of the elements of this still life, our perception of the color spectrum is modified.
22h00: Gaëlle Rouard (France)
- Sans titre (Performance with projector 16mm, 25', 2014)
A new leaf.
In like a lion, out like a lamb.
Rain or shine.
The calm before the storm.
Mad as a March hare.
Out to pasture.
Once in a blue moon.
April showers, May flowers.
Where the wind blows.
The wolf at the door.
To each his own.
22h45: Pietro Pirelli (Italy)
- Idrofoni (Performance, 2011, 30')
In Idrofoni, luminous forms emanate from a composition by Pietro Pirelli, who is the son of the famous light artist Marinella Pirelli. Sound vibrations and visual effects are at the core of this musical performance in which a Hydrophone (light-sensitive lamp) takes the form of a disk on which a thin layer of water vibrates. Thanks to a system of transparencies, light passes through the disk and fills the surrounding space. Carlo Forcolini, a designer and creator of light-instruments, conceived of this specialized lamp. The layer of water that it contains acts as a drumhead, which creates a large liquid membrane that reacts to sound vibrations by generating images and organic shapes.
23h30: Julien Maire (France)
- Open Core (Lecture/performance with video screening, 45', 2009)
With the "Exploding Camera", Julien Maire literally dissected and amputated a camera to present it like a contemporary version of the anatomy lesson. This he continues with the recent Open Core performances, whereby Maire revisits the public anatomical dissections from the 16th century. In the performance he opens up some machines of vision such as cameras and webcams, while also keeping a old Super 8 projector in operation.
The anatomical theatre was indeed one of the original sites for the construction of modern spectatorship in its early stages. Matching the highly theatrical spirit of Renaissance science, painters such as Rembrandt and medical instructors like Fabricius of Aquapendente shared audiences devoted to the workings of the human body. // Bleeker) // edited by Maaike Bleeker Anatomy Live - Performance and the Operating Theatre (2008)
Yet Maire never suffizes with a dismanteling or paralyzing analysis, he always implies a new synthesis, a re-animation, creating new forms of 'living' images without any negative, Frankensteinian bias. His approach is always constructive."Media are spaces of action for constructed attempts to connect what is seperated," Zielinski professes in his Deep Time of the Media. (extract of the text of Edwin Carels' "The productivity of the prototype - on Julien Maire's Cinema of Contraptions")
Open Core is a production of DOCK Berlin e.V with the support of Hauptstadtkulturfonds.
Chris Welsby (Canada/United Kingdom)
- Trees in Winter (A single channel weather driven video installation, 2006)
Shot in "portrait" frame the projected image shows a large leafless tree, back-lit against a stormy winter sky. In the background, low wooded hills recede into the distance and in the lower foreground, a slope of dry, frost bleached, grasses. The occasional human presence, figures huddled against the winter chill, hurry by as if blown by the wind and rain. The shrill cries of starlings, surge through the frozen air, like static from a short wave radio and the half imagined sound of an aeolian harp drifts formlessly through the upper branches.
The moving images of the tree were shot in three separate takes, each take was shot from a different angle twenty degrees apart keeping the tree in the centre of the frame rather like the viewpoints of a cubist painting. Shooting took place over a period of several hours recording multiple single frame exposures to emphasize the changing relationship between the tree branches and the cloudy sky. The still images were made into three quick time movie sequences.
The ingredients of the sound mix include distant human voices, bird cries (starling and raven), wind sounds, footsteps on a nearby gravel pathway and a specially written program simulating the harmonics of the Aeolian harp.
The interactive system which drives the installation, takes data from wind sensors positioned on the roof of the gallery and turns this information into frame rate, picture and sound edit decisions and sound mix levels. In this way the installation operates like wind powered edit suite where all of the edit decisions are made by nature. The incoming weather data is also displayed on a console, which isprominently exhibited as part of the installation.
Open air screenings
From 10:00 to 00:30, Light Cone proposes a selection of silent films, shorts or features, from the collection.
- Interior NY subway, 14th St to 42nd Street (American Mutoscope Biograph, 1905, 16 mm, b&w, silent, 6' 00)
- La grande dame (Alexandre Larose, 2011, 16 mm, colour, silent, 3' 30)
- München-Berlin Wanderung (Oskar Fischinger, 1927, 16 mm, b&w, silent, 5' 00)
- Fil(m) (Frédérique Devaux, 2001, 16 mm, colour, silent, 4' 00)
- Berliner Stilleben (Laszlo Moholy-Nagy, 1931, 16 mm, b&w, silent, 9' 00)
- La pêche miraculeuse (Cécile Fontaine, 1995, 16 mm, colour, silent, 10' 00)
- Sur les bords de la caméra (Henri Storck, 1932, 16 mm, b&w, silent, 10' 00)
- Lovesong (Stan Brakhage, 2001, 16 mm, colour, silent, 11' 00)
- Lovesong 2 (Stan Brakhage, 2001, 16 mm, colour, silent, 3' 00)
- Hand held day (Gary Beydler, 1974, 16 mm, colour, silent, 6' 00)
- Genesee (Chris Kennedy, 2011, 16 mm, colour, silent, 3' 00)
- My life as a bee (Robert Schaller, 2002, 16 mm, colour, silent, 6' 00)
- O.T.89 (Monika Schwitte, 1989, 16 mm, colour, silent, 9' 00)
- Nada (Maurice Lemaître, 1978, 16 mm, b&w, silent, 3' 00)
- Piece Mandala/End War (Paul Sharits, 1966, 16 mm, coul-n&b, silent, 5' 00)
- 3 imperfect three image films (Jonas Mekas, 1995, 16 mm, colour, silent, 6' 00)
- La vache qui rumine (Georges Rey, 1969, 16 mm, b&w, silent, 3' 00)
- Solaris (Olivier Fouchard, 2005-2006, 16 mm, coul-n&b, silent, 4' 00)
- I began to wish..... (Julie Murray, 2003, 16 mm, colour, silent, 5' 00)
- Big Band (Marcelle Thirache, 2001, 16 mm, colour, silent, 3' 00)
- #3 (Joost Rekveld, 1994, 16 mm, colour, silent, 4' 00)
- Abdou's dread in Teatro Argentina, Roma (Guillaume Cailleau, 2013, 16 mm, b&w, silent, 3' 00)
- Overstimulated (Jack Smith, 1959-1963, 16 mm, b&w, silent, 5' 00)
- STEP Print (George Griffin, 1977, 16 mm, colour, silent, 7' 00)
- Mood Mondrian (Marie Menken, 1961, 16 mm, colour, silent, 5' 30)
- Secan Ciel (Jean-Michel Bouhours, 1979, 16 mm, colour, silent, 11' 00)
- 1952 Mobilcolor performance at the Guggenheim (Charles Dockum, 1952, 16 mm, colour, silent, 6' 00)
Doors opening at 19:30
Food available on site