Millennium Film Workshop: Deborah Phillips, Gina Carducci & Nazli Dinçel
Sunday November 6th, 17h
Millennium Film Workshop 66E 4th Street, New York
Artists Deborah Phillips and Gina Carducci in person
Co-presented by Mono No Aware
Deborah S Phillips has curated exhibitions as well as numerous film programmes both in Germany and abroad. Her film works on 35mm, 16mm and Super 8mm have been screened as part of the Goethe Institut programme "German Experimental Films of the 1990s" and all over the world; including the Hong Kong International Festival, Toronto International FIlm Festival. The films are distributed by Lightcone (Paris) and Arsenal Experimental (Berlin). She is on the board of kunstraum t27, an artists' run gallery/space and currently resides in Berlin, Germany. There she works as an artist, a translator of art, architecture & film-related texts. Deborah rarely visits New York, do not miss this opportunity to see her work and meet her in person.
Gina Carducci is a contact printer by day and a filmmaker by night. Gina's film, Stone Welcome Mat, premiered at the Venice Film Festival. Generations, a collaboration with Barbara Hammer, premiered at MoMA in 2010 and won the Teddy Award for Best Short Film at the Berlin Film Festival. All That Sheltering Emptiness, a collaboration with Mattilda Bernstein Sycamore, was selected by invitation to International Film Festival Rotterdam 2011. Gina is currently shooting The 16mm Seasonal Seriesto premiere in the fall of 2012. As always, all shot on the Bolex, hand-processed in the kitchen and edited on the flatbed in Gina’s basement in Brooklyn. "Film is not dead." -G.C.
Nazli Dinçel has been influenced by Turkish, Swiss and American cultures. Her work reflects her experiences of growing up between these locations. Dinçel works with film to denote upon the body, gender, nature, immigration, and dislocation in juxtaposition with their material: texture, color and the sustainability of emulsion. Nazli Dinçel is currently pursuing her MFA in film at the San Francisco Art Institute. She received her BFA with Honors from UW-Milwaukee. She was awarded a Kodak film grant in 2009. Her works have been exhibited in the USA at the Minute Gallery, the Pink House, Center and the UWM Union Theatre.
Program: TRT Approx 55 minutes + post screening discussion with the artists
- Noor by Deborah Phillips (6 min, 16 mm, silent)
Noor = light. Light & colour induce hope. This is composition reacting to a whinging zeitgeist, threatened with the possibility of war. A still-life in time, a means of having hope. The Allam house in Esfahan was being renovated when we were there. It had been damaged during the Iran-Iraq war. Other footage was shot (super 8), in Berlin and in the Polish countryside.
- Capsicum by Deborah Phillips (11 min, 16mm, sound) Music by Wolfgang in der Wiesche, sound collage by Ruth Wiesenfeld.
I spent years as a girl fighting to be allowed to have a Bas Mitzvah and read from the Torah, like the boys. I was given a portion containing four weird lines about a perfect red heifer, out of context. I have, since then, identified with this cow & I've thought about it while cooking, as an architectural student and as a woman who prefers blue to red...
- 71 by Deborah Phillips, (7 min, 16mm, sound) Music by The Betel Nuts Brothers (Taiwan) and Urban Myth (UK).
71 is guided by impressions and feelings of the artist during shooting: a feeling of absurdity that comes when one travels to the back of beyond without ever reaching anywhere.
- Herman(n) by Deborah Phillips, (8 min, 16 mm, silent) New York Premiere.
Although this part of Neukölln (a district in Berlin) has a reputation as a dangerous place, I see it, through golden late summer light, as an inviting place. I have lived, for 10 years, on a side street of the Hermannstraße, first on the one side, then on the other. Gentrification has already commenced a few blocks north of where I live: there's a gradual progression heading south on Hermannstraße; closer to Hermannplatz, things get busier. North of the famous square is as trendy as in many other parts of town now. This multimedia project (16mm film and installation) is an attempt to make the very different segments of this street palatable to viewers: it's not a matter of relaying a message, but more a feeling of the place...
- Fontanestr by Deborah Phillips, (2 min, Super 8mm, silent) World Premiere
How I cherished watching the goings on from the balcony of my former flat. When I learned that I would have to move, I made this little film to record the atmosphere...
- De la jonction by Deborah Phillips (3 min, Super 8mm, sound) US Premiere.
In collaboration with Marie Wilz- Brussels is a hard place to pin down. Its neighborhoods are often very different. An installation collaboration, we tried to capture some of the genus locii...
- Stone welcome mat by Gina Carducci, (6 min, 16mm, color, silent).
Stone Welcome Mat exposes formal imperfections of film as a metaphor for language and memory. Carducci discovers a new visual language as she weaves together her grandfather’s 8mm Kodachrome home movie footage with her hand-processed super-8 Ektachrome film shot 30 years later outside of his old house in Pratola Peligna de l?Aquila, Italy.
- Leafless by Nazli Dinçel (8min, 16mm, color, silent) New York Premiere.
Leafless is an experiment of expansion in time, a hand processed love poem of textures about becoming familiar with a significant other’s body in reservation with its landscape.
“But the sun is also fierce; neither graceful athlete nor geometrician’s dummy will embody Apollo, the idol of light.” -Kenneth Clark,