Giovedi’ Sperimentale
Immagini e Suoni: studi sensoriali e disamine sociali
Thursday April 18 2013, 22h
Cinema Filmstudio
Via degli Orti d’Alibert 1/c – Roma (Trastevere)

Curated by Piero Pala

On Thursday, April 18, 2013 there continues the themed programming of experimental and artists' films at Filmstudio. "Images and Sounds: sensory studies and social analysis' investigates the fundamental relationship between the two primary components of cinema where the autonomy of the two "languages" is at the service of audiovisual compositions without persuasive intent. Seven unique films (Manon De Boer, Pierre Hébert, Fernand Léger, Dudley Murphy, Karl Lemieux, Bruno Munari and Marcello Piccardo, Bernhard Schreiner, Georges Schwizgebel) that can be appreciated consistently in a movie theater.

Programme:
- Ballet mécanique (Fernand Léger & Dudley Murphy, 1924, 35mm, b&w and colour, 16’)
- I colori della luce (Bruno Munari & Marcello Piccardo, 1963, 16mm on DVD, music by Luciano Berio, 5’)
- Fugue (Georges Schwizgebel, 1998, 35mm, colour, sound, 7’4’’)
- The Technology of Tears (Pierre Hébert, 2005, 35mm, b&w, 14 min.)
- Dissection (Bernhard Schreiner, 2005, DVD, b&w, sound, 5’50’’)
- Western Sunburn (Karl Lemieux, 2006, b&w and colour, music by Radwan Moumneh, 10’)
- Attica (Manon De Boer, 2008, 16mm,b&w, sound, 9’55’’)

971 Horses and 4 Zebras: Artists Apply Animation
Thursday November 29th 2012, 18:30h
Tate Modern, Starr Auditorium, Bankside, London SE1 9TG

Contemporary artists increasingly are using animation techniques in a wide variety of approach and style. This international and eclectic programme celebrates the unpredictable processes of experimental animation, with a focus on how animation as a labour intensive process and form is being applied in the creation of conceptual artworks. It includes films by Geraint Evans, David Theobald, Inger Lise Hansen, James Lowne, Nathaniel Mellors, Emily Richardson, and Chris Shepherd, and the title is taken from a work by Yu Araki in which images of horses, appropriated from the internet, reference the pre-cinema animation of Eadweard Muybridge.

The screening is followed by a panel discussion on the ways in which contemporary artists approach, appropriate and apply animation techniques in their work.

971 Horses and 4 Zebras is co-curated by artist Jordan Baseman and Gary Thomas (Animate Projects). An exhibition runs at Wimbledon Space, Wimbledon College of Art, from 2 November – 9 December 2012 and tours to CAST (Contemporary Art Spaces Tasmania), Monash University Museum of Art, Melbourne, Australia, and The British School at Rome, in 2013.

RE-TRACKED ANIMATION: JEREMY ROURKE + THOMAS CARNACKI + QUAY / STOCKHAUSEN +
Saturday, March 31, 2012, 20:30h
Other Cinema @ Artists' Television Access
992 Valencia Street, San Francisco, CA 94110
 
ATA Gallery's flagship exhibition series OTHER CINEMA, in the second iteration of its OptrOnica series, presents two live acts and several pre-recordings towards an appreciation of creative soundtracking.

Mr. Jeremy Rourke juggles guitar, voice, and singing bowls in a refreshing accompaniment to his own charming pixillations, including Rollinsville, Honey the Moon, Snow and Buffalo in SF, Eyes Hearing Stars, and more!

Greg Scharpen’s experimental ensemble Thomas Carnacki enlists Jim Kaiser, Jesse Burson, and Gregory Hagan in performing new audiotracks to Jan Svankmajer’s Poe-penned House of Usher (live vox by Dean Santomieri), and Ladislas Starewicz’ marvelous The Mascot.

PLUS Karlheinz Stockhausen’s composition for the Brothers’ Quay In Absentia, musical cartoons, and free vinyl!

Doors open at 8:00pm; Show at 8:30pm. Admission: $7.77.

Jeremy Rourke: http://www.jeremyrourke.com/
Thomas Carnacki: http://www.myspace.com/thomascarnacki

Scratch Projection: Steven Woloshen - Scratchatopia!
Tuesday 13 March 2012, 20h
Cinéma Action Christine
4, rue Christine, 75006 Paris, France

Born in Montreal in 1960, Steven Woloshen began to make animated films without a camera while still a student, first in Super 8 and then 16mm. The early films of Woloshen seem to owe nothing to McLaren. Son of Dada was developed rather in reference to Kurt Schwitters, while Didre Novo, perhaps because of the Maasai rhythm of its soundtrack is more reminiscent of Len Lye's Free Radicals. He returns to filmmaking in 1996, after a hiatus of nearly 12 years. Woloshen is the origin of a work which, while evolving, remains a consistent, particularly because it denotes an attractiveness unchanged for a cinema that is both festive and formally demanding.

Visions: Animation and Abstraction, 1908-1994
Wednesday, August 10th, 19h
Northwest Film Forum, 1515 12th Ave., Seattle, Washington

Co-presented by the Sprocket Society and Third Eye Cinema

A must-see selection of outstanding animated and abstract experimental short films by some of the most highly acclaimed masters of the form(s). Brilliant classics utilizing collage, direct animation, visual music, and other time-space distortions that span nearly 90 years of exploration.

Featuring works by legendary filmmakers: Len Lye, Harry Smith, Mary Ellen Bute, Émile Cohl, Oskar Fischinger, Lawrence Jordan, Hans Richter, Ed Emshwiller, Stan Vanderbeek, Robert Breer, Stan Brakhage, Piotr Kamler, Jud Yalkut/USCO and more.

Showing rare 16mm prints from Canyon Cinema (San Francisco), The Film-Makers’ Cooperative (New York) and private collections (Seattle), using a 1,000-watt theatrical-grade projector. Program notes will be provided.

One show only!

Punto y Raya Festival explores the ultimate synthesis of the form·movement duality in different spheres of human endeavour. Due to the simplicity of its criteria, it seeks to reveal the limitations and achievements of our representation systems using abstraction's prime matter.

This entry call is addressed to audiovisual pieces built up entirely from dots and lines. No representation whatsoever, just dots and lines as ends in themselves!

Conversations at the Edge: The Wild Triumphs of Martha Colburn
Thursday, February 10, 18h
Gene Siskel Film Center
164 N. State, Chicago, IL, USA

Martha Colburn in person!

Martha Colburn’s wickedly witty animations are assemblages of stop-motion puppetry, multi-layered glass painting, and all forms of pop cultural detritus. Drawing inspiration from the histories of the American West and more recent narratives of methamphetamine use and environmental catastrophe, Colburn’s outrageous pastiches offer incendiary commentary on our contemporary condition. Writes Jonas Mekas: “Martha Colburn’s films are naked testimonials of our times, and of her generation.” This evening, she will present a range of works from across her oeuvre—including early favorites like Evil of Dracula (1997) and Cosmetic Emergency (2005)—and the Chicago premiere of two brand-new projects, in addition to an in-depth discussion about her process. 1994-2010, Martha Colburn, Netherlands/USA, multiple formats, ca. 75 mins plus discussion.

"Punto y Raya" Animation Festival
Friday, February 25, 2011, 20h
Chicago Filmmakers
5423 N.Clark Street, Chicago, IL 60640, USA

Based in Barcelona, Spain, Punto y Raya has taken on the mantle “most abstract in the world” by exclusively showcasing 2D animation made up entirely of dots, lines, and flat backgrounds. This “back to basics” approach has challenged filmmakers and abstract artists to find freedom and expression within stringent limitations, and the results are fantastic. In 2009, submissions came from 37 countries, 80% of them created specifically for the festival. This program consists of 16 semi-finalist, finalist and awarded films from 2009, plus two shorts by renowned abstract artist Larry Cuba, whose work was presented in a retrospective at Punto y Raya in 2010. (1978-79, 2007-09, total running time 76 min.)

Robert Breer
Wednesday 25 August 2010, 19h, £5
South London Gallery
65 Peckham Road, London, SE5 8UH

Prolific American artist and filmmaker Robert Breer was pivotal in merging cinema and collage, mechanics and sculpture.

“A founding member of the American avant-garde, Robert Breer (b.1926) has been working at the forefront of experimental animation for over fifty years. The son of an inventor and engineer, Breer’s continued experimentation with a range of film and animation techniques has drawn from his deep knowledge of early cinema and cinematographic technologies. Breer is celebrated not only for his remarkable line and live action techniques, but also for fabulous collage films and his dazzling use of single-frame photography.” (Harvard Film Archive)

- 77 (1977, 16mm on DVD, 10 min)
- T.Z. (1979, 16mm on DVD, 9 min)
- Swiss Army Knife with Rats and Pigeons (1980, 16mm on DVD, 6 min)
- Bang! (1986, 16mm on DVD, 8 min)
- A Frog on the Swing (1989, 16mm on DVD, 5 min)

The screening will be preceded by Isabelle Cornaro’s “Projection” (2009), a series of cinematic sketches of red, yellow and blue paint on cardboard.

Robert Breer is curated and presented by Marie Canet, an independent film curator based in London. Robert Breer’s films are 16mm transferred to DVD, screening courtesy of the artist and galerie gb agency, Paris. Isabelle Cornaro’s film is 16mm transferred to DVD. screening courtesy of the artist and galerie Balice Hertling, Paris

Tracing The Line
Wednesday 18 August 2010, 19h, £5
South London Gallery
65 Peckham Road, London, SE5 8UH

Experimental film and video works exploring the relationship between film and drawing practice are brought together in a screening complementing the current South London Gallery exhibition “Nothing is Forever”. Ranging from early animation through to contemporary video made with computer manipulation, the featured works embrace a broad spectrum of techniques including drawing directly on celluloid and the use of chance as a creative process.

- Drawing Cubes (David Haxton, 1982, 16mm, 10 min)
- Colour Cry (Len Lye, 1952, 16mm, 4 min)
- Brooklyn Bridge (Joan Jonas, 1988, video, 6 min)
- Ghostrider (Amy Granat, 2006, 16mm on DVD, 3 min)
- Koloraturen (Oskar Fischinger, 1932, 16mm, 2 min)
- Allegretto (Oskar Fischinger, 1936, 16mm, 3 min)
- Automotive Action Painting (George Barber, 2007, video, 6 min)
- Kiri (Takahiko Iimura, 1970, 16mm, 5 min)
- Blue Moon Over (Laurence Weiner, 2001, video, 5 min)
- Mankinda (Stan Vanderbeek, 1957, 16mm, 10 min)
- Peak Project (Sebastian Buerkner, 2005, video, 6 min)

Tracing The Line is curated by Anne-Sophie Dinant, Associate Curator, South London Gallery. The screening is supported by LUX, London, and Lightcone, Paris.