TIE, The International Experimental Cinema Exposition seeks films that challenge popular and conventional modes of the moving image. From difficult and hand-made films to extraordinarily radical and obscure compositions, TIE selects only outstanding celluloid cinema from the outer spaces of contemporaryscreen-culture.
If a submitted film is selected, the exhibition print must be film (8mm, Super-8, 9.5mm, 16mm, 35mm, 70mm). All lengths are considered. A nominal entry fee is required. Works from any country are considered. Films are considered on an ongoing basis forvarious programs and events.
If you have a film that you would like to submit then click here.
Laura Mulvey and Peter Wollen's visually accomplished and intellectually rigorous Riddles of the Sphinx is one of the most important avant-garde films to have emerged from Britain during the 1970s.
The second collaboration between Mulvey and Wollen, both of whom are recognised as seminal figures in the field of film theory, Riddles of the Sphinx explores issues of female representation, the place of motherhood within society and the relationship between mother and daughter. Composed of a number of discrete sections, many of which are shot as continuous circular pans, the film takes place in a range of domestic and public spaces, shot in locations which include Malcolm LeGrice's kitchen and Stephen Dwoskin's bedroom.
MQ2* is a publishing house specializing in experimental film and video whose main object is the promotion and publication of experimental audiovisual artists.
In its first publication MQ2* presents a selection of Narcisa Hirsch’s experimental films plus a bilingual book featuring a foreword by Victoria Sayago, a critical text by Emilio Bernini and a text written specifically for this publication by Narcisa herself.
This comprehensive new monograph on the influential British artist-filmmaker—renown for his playful and formally ingenious subversion of the everyday world—contains essays by Ian Christie, Martin Herbert, Kathrin Meyer, and Ethan de Seife.
Paul de Nooijer (* 1943) has been making films for 40 years now – an incredible achievement in a field not exactly showered by public interest and funding. His reputation is solidly based on works displaying mostly ‘illusionism’ – the interdependency of film and photography. Since son Menno (*1967) joined in this ‘family business of art’ as a full-fledged partner in 1989, the films became faster and more colourful. But more importantly, the focus of their artistic efforts slightly shifted from just photography and film to a combination with theatre and performance.
This publication offers a selective retrospective of the work of photographer and filmmaker Friedl Kubelka, known as a filmmaker under the name of Friedl vom Gröller. In addition to a selection of her fashion photographs, the book focuses on portraits of her friends and family, as well as series of images and films.
Balagan presents... An Evening with Sami van Ingen
Monday, April 1st 2013, 19:30h
Brattle Theatre
40 Brattle Street, Cambridge, MA 02138
Filmmaker in attendance!
We are thrilled to present, in person, the Finland-based experimental filmmaker, installation artist, curator, and educator Sami van Ingen!
In his work, Sami distills meaning from fleeting moments of footage -- be it home movies, travelogue scenes, mainstream blockbusters, or archival discoveries -- by physically deconstructing, manipulating and rephotographing the film strip. A passionate proponent of analog film, he is also interested in the ways digital technology can add new qualities to experimental filmmaking. He has recently published a book on the subject, Moving Shadows: Experimental Film Practices in a Landscape of Change (2012). Together with filmmaker Mika Taanila, Sami co-curates the new Helsinki-based screening series, Pakopiste (Vanishing Point).
GAZE #4: Bodies Rest and Motion
Friday, April 5 2013, 20h
Artists' Television Access
992 Valencia Street, San Francisco, CA 94110
As San Francisco’s dank and verdant spring arrives, GAZE presents a kinetic program of short moving image works that lay bare both streams of consciousness and visceral embodiment. Absurdity, queerness, and melodrama collide; the camera is a mirror, the screen is a diary.
Featuring film, video and animation by local and international women filmmakers:
Jillian Peña
Angel Rose
Jamie Walters
Emily Kuehn
Maria Magnusson
Kristin Reeves
Christina Kolozsvary
Allison Halter
Dolissa Medina
Daniela Zahlner
and more…
GAZE is a film series dedicated to screening independent film and video made by women. GAZE promotes women’s artistic expression and creates dialogue related to the influence of this powerful medium.
Fifty years of experimental filmmaking:
FILMnight with David Rimmer
Wednesday, March 27th, 2013, 20h
WORM, Boomgaardsstraat 71, 3011 XA Rotterdam, The Netherlands
Organized by Filmwerkplaats, a DIY film lab community at the artist-run venue WORM in Rotterdam, The Netherlands
We are delighted to announce an evening with David Rimmer. He will talk about his work and show a broad selection of his films and videos.
David Rimmer is recognised as one of the most important experimental filmmakers working today. Recipient of the Canadian Governor General’s Award in 2011, Rimmer has produced over 50 films ranging from purely experimental forms, documentary, hand-painted animation as well as a number of immersive dance and music videos. His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.
Programme:
- Variations on a Cellophane Wrapper (1970, 8min, 16mm)
- Surfacing on the Thames (1970, 10min, 16mm)
- As Seen on TV (1986, 14min 16mm)
- Divine Mannequin (1989, 7min, video to film transfer)
- Bricolage (1984, 11min, 16mm)
- Canadian Pacific 1 (1974, 10min, 16mm)
- Real Italian Pizza (1971, 10min, 16mm)
- Seashore (1971, 10min, silent, 16mm)
- Tiger (1994, 5min, 35mm)
- The Dance (1970, 5min, 16mm)
- Digital Psyche (2007, 12min, hand-painted film transferred to video)
- Padayatra - a walking meditation (2005, 12min, hand-painted film transferred to video)
- Eye for an Eye (2003, 12min, hand-painted film transferred to video)
More information and tickets: http://www.worm.org/home/view/event/5995
Back To Landscape
As part of the 1st International Festival Of Short Movies About Painting Arts "Erarta MOTION PICTURES"
Saturday, March 30 2013, 20h
Erarta Museum
Line 29th, 2 Vasilyevsky island, Saint-Petersburg 199106, Russia
Curated by Xavier G.Puerto
After the appearance of Giorgione’s “La Tempesta” in 1506, the importance of landscape grew. It occupied the centre of compositions and became a key topic of consideration for the history of painting in recent centuries, reaching its pinnacle with the German proto-Romantic movement “Sturm und Drang” and the British painters of the 19th Century.
But this huge popularity prompted a use and abuse of the topic, and tastes changed with the arrival of the Novecento (20th.). The new art of the century, cinematography, made its final bet on fiction, setting landscape to a decorative function. When painting, its original and main field of action, underwent the rise of abstraction, it seemed the last nail in the coffin for what was now considered a kitsch topic. While some masters of cinema tried to place landscape at the centre of discussion their championing wasn’t enough for a seventh art which focused its attention on new techniques.
Right at the turn of the second millennium, with a wide development of different techniques and methods in filmmaking, stunning new special effects technologies, and the possibility of creating worlds from nowhere, artists have paradoxically decided to return to an ancient means of expressing themselves - not as the topic of their works in an intellectual manner but in transforming, manipulating, and retouching nature with new tools, taking the landscape as a concept for demonstrating all their capacities, and providing a new interpretation of a historic issue.
Take a seat, a program of more than an hour will bring us in a soft and rough trip. “Back to Landscape”, through different pieces, sees filmmakers employing unusual lenses, coordinated choreographies, barely real environments or new perspectives, considering whether landscape or cityscape a free field for experimentation and a testing place for new techniques and formal innovation.
TIE, The International Experimental Cinema Exposition seeks films that challenge popular and conventional modes of the moving image. From difficult and hand-made films to extraordinarily radical and obscure compositions, TIE selects only outstanding celluloid cinema from the outer spaces of contemporaryscreen-culture.
If a submitted film is selected, the exhibition print must be film (8mm, Super-8, 9.5mm, 16mm, 35mm, 70mm). All lengths are considered. A nominal entry fee is required. Works from any country are considered. Films are considered on an ongoing basis forvarious programs and events.
If you have a film that you would like to submit then click here.
Laura Mulvey and Peter Wollen's visually accomplished and intellectually rigorous Riddles of the Sphinx is one of the most important avant-garde films to have emerged from Britain during the 1970s.
The second collaboration between Mulvey and Wollen, both of whom are recognised as seminal figures in the field of film theory, Riddles of the Sphinx explores issues of female representation, the place of motherhood within society and the relationship between mother and daughter. Composed of a number of discrete sections, many of which are shot as continuous circular pans, the film takes place in a range of domestic and public spaces, shot in locations which include Malcolm LeGrice's kitchen and Stephen Dwoskin's bedroom.
MQ2* is a publishing house specializing in experimental film and video whose main object is the promotion and publication of experimental audiovisual artists.
In its first publication MQ2* presents a selection of Narcisa Hirsch’s experimental films plus a bilingual book featuring a foreword by Victoria Sayago, a critical text by Emilio Bernini and a text written specifically for this publication by Narcisa herself.
This comprehensive new monograph on the influential British artist-filmmaker—renown for his playful and formally ingenious subversion of the everyday world—contains essays by Ian Christie, Martin Herbert, Kathrin Meyer, and Ethan de Seife.
Paul de Nooijer (* 1943) has been making films for 40 years now – an incredible achievement in a field not exactly showered by public interest and funding. His reputation is solidly based on works displaying mostly ‘illusionism’ – the interdependency of film and photography. Since son Menno (*1967) joined in this ‘family business of art’ as a full-fledged partner in 1989, the films became faster and more colourful. But more importantly, the focus of their artistic efforts slightly shifted from just photography and film to a combination with theatre and performance.
This publication offers a selective retrospective of the work of photographer and filmmaker Friedl Kubelka, known as a filmmaker under the name of Friedl vom Gröller. In addition to a selection of her fashion photographs, the book focuses on portraits of her friends and family, as well as series of images and films.
Balagan presents... An Evening with Sami van Ingen
Monday, April 1st 2013, 19:30h
Brattle Theatre
40 Brattle Street, Cambridge, MA 02138
Filmmaker in attendance!
We are thrilled to present, in person, the Finland-based experimental filmmaker, installation artist, curator, and educator Sami van Ingen!
In his work, Sami distills meaning from fleeting moments of footage -- be it home movies, travelogue scenes, mainstream blockbusters, or archival discoveries -- by physically deconstructing, manipulating and rephotographing the film strip. A passionate proponent of analog film, he is also interested in the ways digital technology can add new qualities to experimental filmmaking. He has recently published a book on the subject, Moving Shadows: Experimental Film Practices in a Landscape of Change (2012). Together with filmmaker Mika Taanila, Sami co-curates the new Helsinki-based screening series, Pakopiste (Vanishing Point).
GAZE #4: Bodies Rest and Motion
Friday, April 5 2013, 20h
Artists' Television Access
992 Valencia Street, San Francisco, CA 94110
As San Francisco’s dank and verdant spring arrives, GAZE presents a kinetic program of short moving image works that lay bare both streams of consciousness and visceral embodiment. Absurdity, queerness, and melodrama collide; the camera is a mirror, the screen is a diary.
Featuring film, video and animation by local and international women filmmakers:
Jillian Peña
Angel Rose
Jamie Walters
Emily Kuehn
Maria Magnusson
Kristin Reeves
Christina Kolozsvary
Allison Halter
Dolissa Medina
Daniela Zahlner
and more…
GAZE is a film series dedicated to screening independent film and video made by women. GAZE promotes women’s artistic expression and creates dialogue related to the influence of this powerful medium.
Fifty years of experimental filmmaking:
FILMnight with David Rimmer
Wednesday, March 27th, 2013, 20h
WORM, Boomgaardsstraat 71, 3011 XA Rotterdam, The Netherlands
Organized by Filmwerkplaats, a DIY film lab community at the artist-run venue WORM in Rotterdam, The Netherlands
We are delighted to announce an evening with David Rimmer. He will talk about his work and show a broad selection of his films and videos.
David Rimmer is recognised as one of the most important experimental filmmakers working today. Recipient of the Canadian Governor General’s Award in 2011, Rimmer has produced over 50 films ranging from purely experimental forms, documentary, hand-painted animation as well as a number of immersive dance and music videos. His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.
Programme:
- Variations on a Cellophane Wrapper (1970, 8min, 16mm)
- Surfacing on the Thames (1970, 10min, 16mm)
- As Seen on TV (1986, 14min 16mm)
- Divine Mannequin (1989, 7min, video to film transfer)
- Bricolage (1984, 11min, 16mm)
- Canadian Pacific 1 (1974, 10min, 16mm)
- Real Italian Pizza (1971, 10min, 16mm)
- Seashore (1971, 10min, silent, 16mm)
- Tiger (1994, 5min, 35mm)
- The Dance (1970, 5min, 16mm)
- Digital Psyche (2007, 12min, hand-painted film transferred to video)
- Padayatra - a walking meditation (2005, 12min, hand-painted film transferred to video)
- Eye for an Eye (2003, 12min, hand-painted film transferred to video)
More information and tickets: http://www.worm.org/home/view/event/5995
Back To Landscape
As part of the 1st International Festival Of Short Movies About Painting Arts "Erarta MOTION PICTURES"
Saturday, March 30 2013, 20h
Erarta Museum
Line 29th, 2 Vasilyevsky island, Saint-Petersburg 199106, Russia
Curated by Xavier G.Puerto
After the appearance of Giorgione’s “La Tempesta” in 1506, the importance of landscape grew. It occupied the centre of compositions and became a key topic of consideration for the history of painting in recent centuries, reaching its pinnacle with the German proto-Romantic movement “Sturm und Drang” and the British painters of the 19th Century.
But this huge popularity prompted a use and abuse of the topic, and tastes changed with the arrival of the Novecento (20th.). The new art of the century, cinematography, made its final bet on fiction, setting landscape to a decorative function. When painting, its original and main field of action, underwent the rise of abstraction, it seemed the last nail in the coffin for what was now considered a kitsch topic. While some masters of cinema tried to place landscape at the centre of discussion their championing wasn’t enough for a seventh art which focused its attention on new techniques.
Right at the turn of the second millennium, with a wide development of different techniques and methods in filmmaking, stunning new special effects technologies, and the possibility of creating worlds from nowhere, artists have paradoxically decided to return to an ancient means of expressing themselves - not as the topic of their works in an intellectual manner but in transforming, manipulating, and retouching nature with new tools, taking the landscape as a concept for demonstrating all their capacities, and providing a new interpretation of a historic issue.
Take a seat, a program of more than an hour will bring us in a soft and rough trip. “Back to Landscape”, through different pieces, sees filmmakers employing unusual lenses, coordinated choreographies, barely real environments or new perspectives, considering whether landscape or cityscape a free field for experimentation and a testing place for new techniques and formal innovation.
TIE, The International Experimental Cinema Exposition seeks films that challenge popular and conventional modes of the moving image. From difficult and hand-made films to extraordinarily radical and obscure compositions, TIE selects only outstanding celluloid cinema from the outer spaces of contemporaryscreen-culture.
If a submitted film is selected, the exhibition print must be film (8mm, Super-8, 9.5mm, 16mm, 35mm, 70mm). All lengths are considered. A nominal entry fee is required. Works from any country are considered. Films are considered on an ongoing basis forvarious programs and events.
If you have a film that you would like to submit then click here.
Laura Mulvey and Peter Wollen's visually accomplished and intellectually rigorous Riddles of the Sphinx is one of the most important avant-garde films to have emerged from Britain during the 1970s.
The second collaboration between Mulvey and Wollen, both of whom are recognised as seminal figures in the field of film theory, Riddles of the Sphinx explores issues of female representation, the place of motherhood within society and the relationship between mother and daughter. Composed of a number of discrete sections, many of which are shot as continuous circular pans, the film takes place in a range of domestic and public spaces, shot in locations which include Malcolm LeGrice's kitchen and Stephen Dwoskin's bedroom.
MQ2* is a publishing house specializing in experimental film and video whose main object is the promotion and publication of experimental audiovisual artists.
In its first publication MQ2* presents a selection of Narcisa Hirsch’s experimental films plus a bilingual book featuring a foreword by Victoria Sayago, a critical text by Emilio Bernini and a text written specifically for this publication by Narcisa herself.
This comprehensive new monograph on the influential British artist-filmmaker—renown for his playful and formally ingenious subversion of the everyday world—contains essays by Ian Christie, Martin Herbert, Kathrin Meyer, and Ethan de Seife.
Paul de Nooijer (* 1943) has been making films for 40 years now – an incredible achievement in a field not exactly showered by public interest and funding. His reputation is solidly based on works displaying mostly ‘illusionism’ – the interdependency of film and photography. Since son Menno (*1967) joined in this ‘family business of art’ as a full-fledged partner in 1989, the films became faster and more colourful. But more importantly, the focus of their artistic efforts slightly shifted from just photography and film to a combination with theatre and performance.
This publication offers a selective retrospective of the work of photographer and filmmaker Friedl Kubelka, known as a filmmaker under the name of Friedl vom Gröller. In addition to a selection of her fashion photographs, the book focuses on portraits of her friends and family, as well as series of images and films.
Balagan presents... An Evening with Sami van Ingen
Monday, April 1st 2013, 19:30h
Brattle Theatre
40 Brattle Street, Cambridge, MA 02138
Filmmaker in attendance!
We are thrilled to present, in person, the Finland-based experimental filmmaker, installation artist, curator, and educator Sami van Ingen!
In his work, Sami distills meaning from fleeting moments of footage -- be it home movies, travelogue scenes, mainstream blockbusters, or archival discoveries -- by physically deconstructing, manipulating and rephotographing the film strip. A passionate proponent of analog film, he is also interested in the ways digital technology can add new qualities to experimental filmmaking. He has recently published a book on the subject, Moving Shadows: Experimental Film Practices in a Landscape of Change (2012). Together with filmmaker Mika Taanila, Sami co-curates the new Helsinki-based screening series, Pakopiste (Vanishing Point).
GAZE #4: Bodies Rest and Motion
Friday, April 5 2013, 20h
Artists' Television Access
992 Valencia Street, San Francisco, CA 94110
As San Francisco’s dank and verdant spring arrives, GAZE presents a kinetic program of short moving image works that lay bare both streams of consciousness and visceral embodiment. Absurdity, queerness, and melodrama collide; the camera is a mirror, the screen is a diary.
Featuring film, video and animation by local and international women filmmakers:
Jillian Peña
Angel Rose
Jamie Walters
Emily Kuehn
Maria Magnusson
Kristin Reeves
Christina Kolozsvary
Allison Halter
Dolissa Medina
Daniela Zahlner
and more…
GAZE is a film series dedicated to screening independent film and video made by women. GAZE promotes women’s artistic expression and creates dialogue related to the influence of this powerful medium.
Fifty years of experimental filmmaking:
FILMnight with David Rimmer
Wednesday, March 27th, 2013, 20h
WORM, Boomgaardsstraat 71, 3011 XA Rotterdam, The Netherlands
Organized by Filmwerkplaats, a DIY film lab community at the artist-run venue WORM in Rotterdam, The Netherlands
We are delighted to announce an evening with David Rimmer. He will talk about his work and show a broad selection of his films and videos.
David Rimmer is recognised as one of the most important experimental filmmakers working today. Recipient of the Canadian Governor General’s Award in 2011, Rimmer has produced over 50 films ranging from purely experimental forms, documentary, hand-painted animation as well as a number of immersive dance and music videos. His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.
Programme:
- Variations on a Cellophane Wrapper (1970, 8min, 16mm)
- Surfacing on the Thames (1970, 10min, 16mm)
- As Seen on TV (1986, 14min 16mm)
- Divine Mannequin (1989, 7min, video to film transfer)
- Bricolage (1984, 11min, 16mm)
- Canadian Pacific 1 (1974, 10min, 16mm)
- Real Italian Pizza (1971, 10min, 16mm)
- Seashore (1971, 10min, silent, 16mm)
- Tiger (1994, 5min, 35mm)
- The Dance (1970, 5min, 16mm)
- Digital Psyche (2007, 12min, hand-painted film transferred to video)
- Padayatra - a walking meditation (2005, 12min, hand-painted film transferred to video)
- Eye for an Eye (2003, 12min, hand-painted film transferred to video)
More information and tickets: http://www.worm.org/home/view/event/5995
Back To Landscape
As part of the 1st International Festival Of Short Movies About Painting Arts "Erarta MOTION PICTURES"
Saturday, March 30 2013, 20h
Erarta Museum
Line 29th, 2 Vasilyevsky island, Saint-Petersburg 199106, Russia
Curated by Xavier G.Puerto
After the appearance of Giorgione’s “La Tempesta” in 1506, the importance of landscape grew. It occupied the centre of compositions and became a key topic of consideration for the history of painting in recent centuries, reaching its pinnacle with the German proto-Romantic movement “Sturm und Drang” and the British painters of the 19th Century.
But this huge popularity prompted a use and abuse of the topic, and tastes changed with the arrival of the Novecento (20th.). The new art of the century, cinematography, made its final bet on fiction, setting landscape to a decorative function. When painting, its original and main field of action, underwent the rise of abstraction, it seemed the last nail in the coffin for what was now considered a kitsch topic. While some masters of cinema tried to place landscape at the centre of discussion their championing wasn’t enough for a seventh art which focused its attention on new techniques.
Right at the turn of the second millennium, with a wide development of different techniques and methods in filmmaking, stunning new special effects technologies, and the possibility of creating worlds from nowhere, artists have paradoxically decided to return to an ancient means of expressing themselves - not as the topic of their works in an intellectual manner but in transforming, manipulating, and retouching nature with new tools, taking the landscape as a concept for demonstrating all their capacities, and providing a new interpretation of a historic issue.
Take a seat, a program of more than an hour will bring us in a soft and rough trip. “Back to Landscape”, through different pieces, sees filmmakers employing unusual lenses, coordinated choreographies, barely real environments or new perspectives, considering whether landscape or cityscape a free field for experimentation and a testing place for new techniques and formal innovation.