This feature-length documentary provides a vivid, eye-opening, and appropriately personal introduction to one of the most important, yet perpetually marginalized, realms of filmmaking: avant-garde cinema.
Xcèntric: Visions of the Body I
Sunday, March 17 2013, 18:30h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona
The cinema always establishes a relation between the filmed body and the machine that films. The camera captures the light and the duration that envelope the body and, at the same time, the filmed body enters into a process of staging of itself that the camera records. In most cases, this body appears “disembodied”, at the service of a narrative, but there are films, like the ones shown in these sessions, that restore its materiality, bringing flesh to light, allowing gestures to just be themselves. These are works that show us the body’s intimate relationship with itself, with the camera and the other, and the tactile sensation of this experience as an inherent condition of the cinema. Certain imperfections that we see in the images of one of Brakhage’s first great films, Flesh of Morning, speak to us of the most immediate aspects of the body and its carnal obsessions. Beavers’s films, Winged Dialogue and Plan of Brussels, full of lyrical visions of narcissistic, erotic imagination, use psychodrama to show us a divided body: the I and the other. Based on a novel by Balzac, in Himself as Herself Markopoulos portrays a hermaphrodite body, its movements, postures and gestures or expressions, a study of a highly stylized inner landscape that takes Bresson’s ideals to their ultimate conclusions.
- Flesh of Morning (Stan Brakhage, 1956/1985, 16 mm, 25 min)
- Winged Dialogue (Robert Beavers, 1967/2000, 16 mm, 3 min)
- Plan of Brussels (Robert Beavers, 1968/2000, 16 mm, 18 min)
- Himself as Herself (Gregory Markopoulos, 1967, 16 mm, color, 60 min)
Balagan presents... DIY Dystopia
Thursday March 14, 2013 19:30h
Brattle Theatre, 40 Brattle Street in Cambridge, MA USA
With the natural world teetering on the brink of multilateral catastrophe, a group of analog filmmakers have taken matters into their own hands. Through direct contact with the medium – lifting and reassembling images on the film strip – adhering waste matter to celluloid – leaving emulsion to languish in the landfill – the artists interpret physical processes that ravage our land. Their grave methods yield results of unexpected poetry, vibrancy and beauty.
Attendees of this show will also receive a special, locally-produced, collaborative zine, made available through the Papercut Zine Library!
Xcèntric: Exquisite collages I & II
Friday, January 11, 20h
Saturday, January 12, 20h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona
A selection of shorts by classic collage artists alongside new talents.
Programme 1, Jan.11, 20h
- Las Variaciones Schwitters (Alberto Cabrera Bernal, 2012, 6 min)
- Mothlight (Stan Brakhage, 1963, 4 min)
- The Garden of Earthly Delights (Stan Brakhage, 1981, 1 min 30)
- Solar Sight (Larry Jordan, 2011, 15 min)
- Odds and Ends (Jane Congel Belson Shimane, 1959, 4 min)
- Recreation (Robert Breer, 1957, 2 min)
- Jamestown Baloos (Robert Breer, 1957, 6 min)
- Unnamed Film (Caroline Avery, 1989, 45 seg)
- Fil(m) (Frédérique Devaux, 2001, 4 min)
- La Pêche Miraculeuse (Cécile Fontaine, 1995, 10 min)
- Speak (John Latham, 1962, 11 min)
Programme 2, Jan.12, 20h
- Brana Calypso Dendrita (David Domingo, Darío Peña y Dostopos (Ana Pfaff y Ari Ribas), with music of Afrika Pseudobrutismus, 2012, vídeo, 14 min (produced for the Picnic Sessions 2012 of CA2M Centro de Arte Dos de Mayo))
- Rabbit (Run Wrake, 2005, 35 mm, 5 min)
- Cineblatz (Jeff Keen, 1967, 16 mm, 3 min)
- Nook & Cranny (Francien Van Everdingen, 2008, 16 mm, 3 min)
- Cats Amore (Martha Colburn, 2002, video, 2 min 30 seg)
- À la Mode (Stan Vanderbeek, 1959-1960, 16 mm, 7 min)
- Tango (Zbigniew Rybcynski, 1981, 35 mm, 8 min)
- Höhenrausch (Siegfried A. Fruhauf, 1999, 16 mm, 4 min)
- Nujiman no borei / 200 000 Fantômes (Jean-Gabriel Périot, 2007, vídeo, 10 min)
- Phantom Canyon (Stacey Steers, 2006, 35 mm, 10 min)
Este libro se basó en artículos que publiqué entre 1967 y 1970 en The Los Angeles Free Press, el primero y el más influyente de los periódicos underground que florecieron en los Estados Unidos en esa época. Las columnas sobre nuevos medios aparecieron bajo el logo "Cine expandido", un término acuñado entre 1966 por el cineasta experimental y artista pionero de multimedios norteamericano Stan Vanderbeek. Investigué y escribí el resto del libro en 1969 y principios de 1970.
Experimental Film Club: Of Ruins and Light
Friday September 21st 2012, 21h
Coal Quay carpark Culture Night, Cork.
This programme of 16mm experimental film works is curated by Esperanza Collado and Aoife Desmond of the Experimental Film Club, Dublin. Their chosen films present expanded representations of time and space; from the earthly to the celestial, from the transience of man's structures on earth, to the vastness of the universe.
- Scotch Tape (Jack Smith, USA, 1959-1962, 3 minutes, B&W, Sound (optical), 16mm)
- The End (Patrick Keiller, 18 min, 16mm, B&W, sound (optical), 1986)
- Stellar (Stan Brakhage, 3 min, Colour, Silent, 16mm, 1993)
- Origin Of Species (Ben Rivers, 16 minutes, Colour, Sound (Optical), 16mm, UK, 2008)
- Redshift (Emily Richardson, 4 min, 16mm, colour, sound, 2001)
- The Cup And The Lip (Warren Sonbert, 20 mins., 16mm, colour, sound, 1986)
- Observando El Cielo (Jeanne Liotta, 19 mins, 16mm, colour, sound, 2007)
- Transit Of Venus (Nicky Hamlyn, 2 Min, 16Mm, B&W, Silent, 2005)
