TIE at the ICA

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Whole Note by Saul LevineTIE at the ICA
Sunday, April 1, 2012, 16h
The Institute of Contemporary Art/Boston
100 Northern Avenue, Boston, Massachusetts 02210

Curated by Christopher May

Based in Denver, Colorado, this renowned festival presents innovative and poetic celluloid-based films by experimental artists from around the world. The screenings are highlighted by works from filmmakers Jonathan Schwartz, Saul Levine, Luther Price, Tara Nelson, Gordon Nelson, Paul Turano, Luis Arnias, Sheri Wills and Frankie Symonds who join TIE curator Christopher May for a postscreening discussion.

Programme:
- Whole Note by Saul Levine (16mm (new archival print), 18fps, 10 minutes, silent, 1999-2000)
"The title partly refers to a Hasidic saying from the Cabala,'Nothing is as whole as a broken heart.' It also alludes to musical notation, as the film moves slowly and is largely made up of shots that are joined by overlap dissolves." -Saul Levine

- Tarp by Zach Iannazzi (16mm: 24fps, 3 minutes, silent, 2011)
light trails of the golden west

- Hull by Tara Nelson (16mm: 24fps, 8 minutes, optical sound, 2011)
A journey between layers of corporal consciousness, Hull explores the physical memory of trauma, and the psychological repercussions of a surgical disaster.

- Suzistripes by Gordon Nelson (16mm - 24fps, 3 minutes, cd sound, 2012)
"A layered portrait of Suzi the dog out for a walk on a sunny day" -Gordon Nelson

- Hadley Grass by Zach Iannazzi (16mm: 24 fps, 3 minutes, cd sound, 2009)
Tumbled syllables are bolts and bullets from the blue.

- Des Pas sur la Neige (Footprints in the Snow) by Paul Turano (16mm: 24fps, 5 minutes, silent, 2011)
With a day off during a heavy winter storm, I defrosted my last few rolls of Plus-x B+W reversal film that were stowed away in my freezer and set out to a nearby park seeking reverie with nature. Part of a series of films inspired by late 19th and early 20th century short musical forms, typically featuring solo instruments, this work was prompted by Debussy’s “Des pas sur la Neige” (Footprints in the Snow).

- This must be the place. by Luis Arnias (16mm: 24fps, 6 minutes, optical sound, 2011)
"Live each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influences of each." -Henry David Thoureau.

- If the War Continues by Jonathan Schwartz (16mm: 24fps, 6 minutes, optical sound, 2012)
For ascending: “and before I could be noticed again and taken to task, I spoke to the tiny blessed star within me, shut off my heartbeat, made my body disappear into the shadow of a bush,and continued my previous voyage without thinking about returning home ever again.” -H.Hesse

- Little Fissures by Sheri Wills (16mm: 24fps, 5 minutes, optical sound, 2010)
"Little fissures, small rips, barely noticeable tears- intrude into a subtle meditation on white. A film of in-between spaces, a haiku of small moments." –Sheri Wills

- Habitat by Robert Todd (16mm: 24fps, 10 minutes, optical sound, 2012)
the filmmaker's newest (and extraordinary) work in black and white

- Craig's Cutting Room Floor by Linda I. Scobie (16mm: 24fps, 2 minutes, optical sound, 2011)
"Craig is a collage artist with an eclectic archive of 16mm prints. His floor is full of spliced off and discarded film frames left to pile, corrode and live out their inevitable chemical life spans. After many months of collecting these deteriorating treasures, I decided to make a film. The result is an ongoing subliminal flurry of singular moments seemingly superimposed onto each other. A fragmented journey through cinema’s history taken right off the cutting room floor." -Linda I. Scobie

- Flying A (West #1) by Kathryn Ramey (16mm: 24fps, 4 minutes, silent, 2010)
Part of a series of films examining American expansionism and the mythology of "the WEST", Flying A is a silent, terse 4-minute deconstruction of a snippet of a typical American Western film with a shoot out, fist fight and cattle rustling.  As the dramatic narrative winds up in reverse we travel from THE END of  the conflict to where it begins, with two cowboys under a tree.

- Touching Autumn Air by Frankie Symonds (16mm & Super-8 (overlapping projection), 9 minutes, silent, 2011-2012)
Out In Autumn Air , the centered Super-8 film that was shot and edited in Autumn 2011, becomes part of an exclusive expanded-cinema piece that attempts to frame, re-focus, reconsider, and impose itself upon the initial gesture - with a hope of uncertainty.

- Sorry Horns by Luther Price (16mm: 24fps, 4 minutes, optical sound, 2012)
“the men will blow ...the boys will hide ...the crowds will seek...the girls will gush and the woman will swell...the clouds will darken and the earth will cry...the men will stand very nice...and wait to see what happens next.” -Luther Price

- Fragment (original inkblot #48) by Luther Price (16mm: 24fps, optical sound, , 4 minutes, 2012)
“heard a big huge sound and then nothing...only quiet nothing...and then the birds flew away...another sound and then the ground started eating everything above and then the blue wave came…” -Luther Price

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