DINCA » avant-garde

Film for Invisible Ink, case no. 142 Abbreviation for Dead Winter [diminished by 1,794] (2008) by David Gatten

Andrew Rosinski — Mon, 06 Sep 2010 18:35:27 +0000

Film for invisible ink, david gatten, USA, 2008, 13 min, 16mm, b/w, sound

“A single piece of paper, a second stab at suture, a story three times over, a frame for every mile. With words by Charles Darwin.

A long-distance dedication for a far-away friend halfway up the mountain.”—David Gatten

Audio Interview: Robert Breer Interviewed by Charles Levine, July 1970

Andrew Rosinski — Thu, 02 Sep 2010 02:35:04 +0000

Download audio file (robert-breer-filmmaker-interviewed-by-charles-levine-july-1970-afa.mp3)

(7″ IPS; 1/4″ REEL-7″; 00:45:46)

Found via Anthology Film Archives / UbuWeb

Filmmaker Charles Levine interviews animator/artist Robert Breer at his home in Palisades, New York. They cover Breer’s transition from painting to film, his years spent in Paris, neo-plastic painting, W.K.L. Dickson’s Mutoscope, image and sound composition, modes of exhibition, audience impact and the conventions of cinema.

10 Film Strips: Ten Second Film (1965) by Bruce Conner

Andrew Rosinski — Mon, 30 Aug 2010 17:22:40 +0000

Ten Second Film, Bruce Conner, 1965, 10 sec, b&w, silent

Film Center of Lincoln Society :

“When Conner was commissioned to design the poster for the 1965 New York Film Festival he constructed TEN SECOND FILM, which he intended to act as its television commercial and to precede the film programs in the theater. It was a public ‘leader’ in that it was composed, like the poster, of a series of ten strips of film (each 24 frames long) of count-down leader, seen as fundamental heraldry of motion picture exhibition.” —Anthony Reveaux

Film Strips: T.O.U.C.H.I.N.G. (1969) by Paul Sharits

Andrew Rosinski — Wed, 25 Aug 2010 05:01:21 +0000

T.O.U.C.H.I.N.G., Paul Sharits, 1969, 12 min

The above images are from T.O.U.C.H.I.N.G. by Paul Sharits. Not all frames are embedded in successive order. The above frames have an unknown copyright. The below frames are © Copyright Paul Sharits Estate.

All frames found via The Anthology Film Archives.

NYFF 2010 Views from the Avant-Garde Film Schedule

Andrew Rosinski — Mon, 23 Aug 2010 18:00:16 +0000

2010 is yet another fantastic year for avant-garde film; yet another fantastic New York Film Festival: Views from the Avant-Garde film program. With this post, I will try my best to provide an organized, comprehensive schedule for the 2010 NYFF: Views from the Avant-Garde. Soon enough, I will add all respective links for filmmakers and venues. (Hopefully all have a website these days.) Check back — I’ll keep you posted.

Straight verbatim from the 2010 NYFF 2010 Views from the Avant-Garde Website:

Curated by Mark McElhatten and Gavin Smith. For its 14th year, Views offers an expanded edition, presenting four nights of New York and world premieres from the frontiers of innovative moving image making. Highlights include Robert Beavers’s The Suppliant, James Benning’s Ruhr, Nathaniel Dorsky’s Pastourelle, a restoration of Manoel de Oliveira’s Rite of Spring, and Phil Solomon’s three-screen American Falls. Also expect new work by Thom Andersen, Ute Aurand, Stephanie Barber, Mati Diop, David Gatten, Janie Geiser, Lewis Klahr, Dani Leventhal, Jeanne Liotta, Matt McCormick, Tomonari Nishikawa, Michael Robinson, Fern Silva, Deborah Stratman, Peter Tscherkassky and many others, plus nightly special Furman Gallery projection performances by Paul Clipson and Bruce McClure.

THURSDAY SEPT 30

6:30pm in the Furman Gallery
Pierre Clémenti: Inédite Bobines
“lost” reels from the 16mm films of actor-director Pierre Clémenti
France, c. 1965-75; 104m.

FRIDAY OCT 1

Noon
Jean-Marie Straub
O somma luce Jean-Marie Straub, France, 2009, 18m.
Corneille–Brecht Jean-Marie Straub & Cornelia Geise, France, 2009, 80m.

2:00pm
Helga Fanderl
Super 8 to 16mm blow-ups

//////// I ////////
Birds at Checkpoint Charlie (Vögel am Checkpoint Charlie)
East Berlin (Ostberlin)
Tunnel
From the Empire State Building (Aus dem Empire State Building)
Tortelloni
Wild Waters (Wilde Wasser)
Polar Bear (Eisbär)
18m.

//////// II ////////
Porte St. Denis
Columbus Circle
Rue Labat Mourning (Rue Labat in Trauer)
Mirrored Café (Spiegelcafé)
Hut (Hütte)
Tropical Garden in Spring Time (Jardin tropical im Frühling)
15m.

//////// III ////////
Portrait
Tea Time (Teetrinken)
Red Curtain (Roter Vorhang)
c. 7m.

//////// IV ////////
Dancing Water II (Wassertanz II)
For M. (Für M.)
Butterflies (Schmetterlinge)
After the Fire II (Nach dem Feuer II)
Sculpture and Water (Skulptur und Wasser)
15m.

//////// V ////////
Mist II (Nebel II)
Winklerweiher
Dancing Water I (Wassertanz I)
Mist I (Nebel I)
Künettegraben short (Künettegraben kurz)
Ingolstadt at Night (Ingolstadt nachts)
Oranges, Moon and Sun (Orangen, Mond und Sonne)
Cobwebs and Fishes (Spinnweben und Fische)
13m.

3.30pm
History is Homemade at Night: The Crazy, Beautiful World of Jeff Keen
Marvo Movie U.K., 1967, 5m.
Cineblatz, U.K., 1967, 3m.
Meatdaze U.K., 1968, 10m.
White Lite U.K., 1968, 3m.
Wail U.K., 1961, 5m.
Rayday Film U.K., 1968-1970/1976, 13m.
White Dust U.K., 1970-72, 33m.

5.30pm
Jennifer Montgomery
The Agonal Phase U.S., 2010, 42m.
Transitional Objects U.S., 2000, 19m.

7:30pm
Phil Solomon
American Falls U.S., 2010, 55m.
What’s Out Tonight Is Lost U.S., 1983, 8m.; new print – preservation by the Academy Film Archive

9:00pm
James Benning
Ruhr Germany/U.S., 2009, 120m.

SATURDAY OCT 2

12 noon
Mirror of Shadow and Cinders
Photofinish Figures (Il finish delle figure) Paolo Gioli, Italy, 2009, 9.12m.
A Thousand Julys Lewis Klahr, USA, 2010, 6.30m.
Marie Karen Yasinsky, USA, 2010, 5m.
Dissonant Manon de Boer, Netherlands/Belgium, 11m.
Ape of Nature Peggy Ahwesh, USA, 2010, 24m. double-screen version
The Soul of Things Dominck Angerame, USA, 2010, 15m.
Destination Final Philip Widmann, Germany, 2010 9m.
Valleys of Fear Erin Espelie, USA, 2010, 22m.
SHU (Blue Hour Lullaby) Philipp Lachenmann, Germany, 2008, 12m.

2:30pm
Station to Station
Crosswalk Jeanne Liotta, USA, 2010, 25m.
Servants of Mercy Fern Silva, Portugal/USA, 2010, 14m.
Rite of Spring (restoration) Manoel de Oliveira, Portugal, 1963, 99m
Print courtesy of Cinemateca Portuguesa-Museu do Cinema,
presented in cooperation with the Museum of Modern Art.

5:30pm
Visibility Unknown
The Flight of Tulugaq (O Voo de Tulugaq) André Guerreiro Lopes, Brazil, 8m.
New Year Sun Jonathan Schwartz, USA, 2010, 3m.
Trypps #7 (Badlands) Ben Russell, USA, 2010, 9.30m.
Burning Bush Vincent Grenier, USA, 2010, 9.5m
Materia Obscura Jürgen Reble, Germany 11.29m.
a loft Ken Jacobs, USA, 2010, 16m.
Mamori Karl Lemieux, Canada, 2010, 7.44m.
Union Paul Clipson, USA, 2010, 10m.
Parties visible et invisible d’un ensemble sous tension Emmanuel Lefrant, France, 2010, 7m.
Drifter Timoleon Wilkins, USA, 1996-2010, 26m.

8:15pm
Since You Were Here …
Dust Studies Michael Gitlin, USA, 2010, 9m.
Washes Norbert Shieh, USA, 2010, 8.40m.
Get Out of the Car Thom Andersen, USA, 2010, 35m.
Obscurando el Apartiemento Rosario Sotelo, USA, 2010, 3m.
Cry When it Happens (Llora cuando te pase) Laida Lertxundi, USA, 2010, 17m.
Night Shift Gretchen Skogersen, USA, 2010, 5m.
Future So Bright Matt McCormick, USA, 2010, 30m.

10:30pm in the Furman Gallery
Night Gallery – Turn on the High Beams I
two projection performances
Untitled Galaxy Paul Clipson & Jefre Cantu-Ledesma, 2010, 30m.
FIST I – IMPROPER FRICTIONS Bruce McClure, 2010, approx 30m

Sunday October 3

12 noon
Sea Scrolls
Atlantis Pieter Geenen, China/Netherlands, 2008, 11.18m.
Dining Cars Arianne Olthar, Netherlands, 2009, 15.5m.
Sea Series #7: Naufrage aux îles de Madeleine John Price, Canada, 2010, 3.39m.
Atlantiques Mati Diop, Senegal/France, 2009, 11m.
Distance Julie Murray, USA, 2010, 12m.
Travelogue Vincent Grenier, USA, 2010, 8.8m.
Shrimp Boat Log David Gatten, USA, 2010, 6m.
Blue Mantle Rebecca Meyer, USA, 2010, 34m.

2:30pm
Landing on the Edge
Place for Landing Shambavi Kaul, USA, 2010, 6m.
Hearts are Trump Again Dani Leventhal, USA, 2010, 14m.
Ray’s Birds Deborah Stratman, USA, 2010, 7m.
In the Absence of Light, Darkness Prevails Fern Silva, Brazil/USA, 2010, 13m.
Slave Ship T. Marie, USA, 2010, 4m.
Someone Should Be Happy Here April Simmons, USA, 2010, 5m.
THE HUNCH THAT CAUSED THE WINNING STREAK AND FOUGHT THE DOLDRUMS MIGHTILY Stephanie Barber, USA, 2010, 1.53m., 4.5m.
Razor’s Edge Stephanie Barber and Xav LePlae, USA, 2010, 44m.

4:30pm
Séance
bust chance Stephanie Barber, USA, 2010, 7m.
Love Rose Bobby Abate, USA, 2010, 13.7m.
Kindless Villain Janie Geiser, USA, 2010, 5m.
So Sure of Nowhere Buying Times to Come David Gatten, USA, 2010, 9m.
April Snow Lewis Klahr, USA, 2010, 10m.
Facts Told at Retail (after Henry James) Erin Espelie, USA, 2010, 7m.
Ghost Algebra Janie Geiser, USA, 2009 7.5m.
Tokyo–Ebisu Tomanari Nishikawa, Japan, 2010, 5m.
Possessed Fred Worden, USA, 2010, 8m.
These Hammers Don’t Hurt Us Michael Robinson, USA, 2010, 13m.

6.30pm
Song Cycle
Pastourelle Nathaniel Dorsky, USA, 2010, 16.5m.
Ouverture Christopher Becks, France, 2010, 5m.
The Suppliant Robert Beavers, USA/Switzerland, 2010, 5m.
Hanging upside down in the branches Ute Aurand, Germany, 2009, 15m.
Film for Invisible Ink, case no. 323: ONCE UPON A TIME IN THE WEST David Gatten, USA, 2010, 20m.
In a Year with 13 Deaths Jonathan Schwartz, USA, 2008, 3m.
One Eve Heller, USA/Austria, 2010, 4m.
Shibiyu-Tokyo Tomanari Nishikawa, Japan, 2010, 10m.
Beneath Your Skin of Deep Hollow Malena Szlam, Chile/Canada, 2010, 3m.
Gesturings Peter Herwitz, USA, 2010, 5m.
Day Dream Jim Jennings, USA, 2010, 7m.

8:30
Fatal Attractions: An Introduction to Black and White Magic
These Blaezing Starrs Deborah Stratman, USA, 2010, 14.4m.
Tranquility Sigfried A. Fruhauf, Austria, 2010, 6.30m.
To Another Josh Mabe, USA, 2010, 48sec.
Sugar Slim Says Lewis Klahr, USA, 2010, 7m.
Sorry Luther Price, USA, 2010, 14m.
Shutter Alexi Mani, Canada, 2009, 7m.
Floor of the World Janie Geiser, USA, 2010, 8m.
Toads Milena Gierke, Germany, 1997/2008, 6m.
Pigs Pavel Wojtasik, U.S., 2010, 7.45m.
Shadow Cut Martin Arnold, Austria, 2010, 4m.
Coming Attractions Peter Tscherkassky, Austria, 2010, 23.40m.
Total running time: 105.5m

10:30pm in the Furman Gallery
Night Gallery – Turn on the High Beams II
two projection performances
Crescent Paul Clipson & Jefre Cantu-Ledesma, 2010, 30m.
FIST II – INTO A SOTSPOT Bruce McClure, 2010, approx 30m.

More:

2010 NYFF Views from the Avant-Garde website

Smart Dust: Pyramid (2009) by Duncan Malashock

Andrew Rosinski — Fri, 20 Aug 2010 06:27:04 +0000

Pyramid, Duncan Malashock, 2 minutes, Video

This animation is smart dust that explores ancient gold truths. The animation was created by Duncan Malashock, a nyc-based artist whose work we have posted previously.

Deborah Stratman: Tactical Uses of a Belief in the Unseen

Andrew Rosinski — Wed, 18 Aug 2010 16:59:46 +0000

Deborah Stratman: Tactical Uses of a Belief in the Unseen
26 August to 16 October, 2010

Venue: Gahlberg Gallery McAninich Arts Center
Reception: 26 August 2010, 6:00pm–8:00pm
Address: 425 Fawell Blvd, Glen Ellyn, IL 60137

This installation draws upon the ecological effects of vibration and the history of sonic warfare. At root is an interest in the way sound both makes and disturbs place. Its very nothingness seduces us. Historically, sound has been an ideal medium for the performance of psychological warfare because of how efficiently it evokes events and locations. Whether declarative, as with anthems or artillery, or deceptive, as with sonic decoys or surveillance, the audiosphere is well disposed to militarization.

Inside the gallery, aural encounters occur in two strains: one territorial, where sound travels through the ground walked upon, as much felt as heard, the other aerial, as a sonic beam that occasionally sweeps the visitor unannounced like a wandering ghost. A third Aeolian harp element will occur outside the Art Center. This will be a wire made to resonate by the wind, and so aleatory by nature.

More:

Pythagoras Film

L’Âge d’Or (1930) by Luis Buñuel (four archbishop skeletons on the rocks)

Andrew Rosinski — Tue, 17 Aug 2010 05:53:50 +0000

Still from L’Âge d’Or (1930) by Luis Buñuel and Salvador Dalí

At the beginning of Buñuel and Dalí’s second film, L’Âge d’Or, four archbishops turn to skeletons on the rocks.

Closing Night: Rooftop Films, NYC: Transitions, Departures, and Disappearances

Andrew Rosinski — Mon, 16 Aug 2010 20:01:09 +0000

Friday, August 20^th

ROOFTOP SHOTS

The official Closing Night of Rooftop Films 2010 Summer Series includes short films all about endings. Films so sharp we call them shots, fired from the roof one last time this year.

There’s nothing sadder than saying goodbye to something you cherish. Nothing more painful than the loss of something personal, or the death of a loved one. Rooftop Films isn’t dying (or even leaving for long; thanks to donations from our audience we will have special new shows in September), but on the official Closing Night of our 14th Annual Summer Series, we finish an amazing summer of cinema with a powerful, poignant program of films about transitions, departures and disappearances.

This year Rooftop has hosted 44 screenings in 13 different outdoor locations, showing 22 feature-length films and over 120 short films. But we’ve saved some of the best for last, as the spectacular films in our grand finale remind us that sometimes you don’t know a great thing till it’s gone. Come out to Rooftop and come celebrate the conclusion with us. — Lela Scott McNeil, Rooftop Films / Underground Movies Outdoors

Where:

On the roof of The Old American Can Factory
232 3^rd St. (Gowanus/Park Slope, Brooklyn)

When:

Friday, August 20^th
8:00 Doors open
8:30 Live music
9:00 Films begin
11:00 After Party in the courtyard with free open bar
Tickets are $10, online or at the door. For tickets and more information, click here.

The Films:

CENTIPEDE SUN (Mihai Grecu | France | 10 min.)
An artist of visual wonder, Grecu returns to Rooftop with a film about the mysteriously barren Altiplano region of Chile, finding mythical creatures who might once have filled the now desolate landscape, a haunting metaphor for a desperate future world. (official link)

OLD FANGS (Adrien Merigeau | Ireland | 11 min.)
After years away from the ruthless natural world of the woods, a young wolf confronts his savage father (and his own transition from child to adult), in this dark, enveloping animation. (official link)

12 NOTES DOWN (Andreas Koefoed | Denmark | 26 min.)
How do you decide when it’s time to let go? For young Jorgis, the star voice of the Copenhagen Royal Chapel Choir, the moment is upon him. Just a few weeks before an important concert, his voice has suddenly begun to break, forcing the fourteen-year-old into a state of transition he is not prepared for. He must choose between damaging his vocal cords trying to hit the high notes or dashing his hopes by walking away. This tender documentary is a portrayal of a universal, yet intensely personal, rite of passage that resonates with viewers of any age.

THE POODLE TRAINER (Vance Malone | Culver City, CA | 7 min.)
In this intimate portrait of destiny, passion, and loss, Irina Markova, a solitary Russian poodle trainer, reveals her transcendent relationship with her dogs, the childhood tragedy that sparked a lifetime of working with animals, and the welcome isolation behind the red velvet curtains of the circus. (official link)

KISS (KUS) (Joost van Ginkel | The Netherlands | 10 min.)
Eight-year-old Bruno finds it interesting that his father, Daan, routinely wants to shave his beard and head before he leaves on a dangerous military mission in a desert country far away. This time, Daan lets Bruno shave him. Along with this intimate way of saying goodbye, we see what happens to Daan on his mission through Bruno’s visions playing with his toy soldiers. (official link)

CHAINSAW FOUND JESUS (Spencer Parsons | Austin, TX | 21 min.)
Rooftop Filmmakers’ Fund Grantee! A melancholy comedy about two fathers, two sons, and the cocaine sale that brings them all together for an everyday adventure. Far from your standard drug movie, this sad but hilariously bizarre film is about the moment before making a change, and maybe worrying that change just means trading up one sorry addiction for another.

I WITHOUT END (Laleh Khorramian | New York, NY | 7 min.)
Two uniquely discarded lovers live out lives of sensual decay, in a literally bittersweet animated film.

MARY LAST SEEN (Sean Durkin | New York, NY | 13 min.)
A young woman embarks on a road trip with her boyfriend to a place he promises will be beautiful and peaceful. But a series of strange events occur on their journey, and it becomes clear that their relationship is not what she thinks and their destination is not what was promised. (official link)

More:

rooftopfilms.com

MAZES at the MCA, Chicago, Ben Russell and Joe Grimm

Andrew Rosinski — Sun, 15 Aug 2010 17:34:23 +0000

Ben Russell + Joe Grimm – Mazes / La Casa Encendida, Madrid

September 3 · 8:00pm – 9:00pm

Museum of Contemporary Art

220 East Chicago Avenue

Chicago, Illinois

Chicago premiere. Presented in conjunction with the UBS 12×12 Exhibition: BEN RUSSELL (free to those attending the First Fridays opening):

After touring extensively through Europe with PEACE NOISE and appearing at festivals in Bordeaux and Madrid in their newest incarnation, light-noise duo MAZES come to the MCA for their first Chicago performance. Positioned behind a fistful of audio circuits and a pair of 16mm film projectors,… media artist Ben Russell sprays white light in pulsating patterns onto your optic nerves, shaping sound and eyebeam with fingers/hands that intercede between lens and screen. A photon’s throw away, sound artist Joe Grimm weaves a tangle of hand-built electronics into a skin of noise, a further manifestation of light pattern and intensity as real time audio. Light is sound is light, cause and effect and chaos and hypnosis, again and again and again. — Ben Russell

All My Life (1966) by Bruce Baillie

Andrew Rosinski — Thu, 12 Aug 2010 15:58:36 +0000

All My Life (1966) by Bruce Baillie

Click here to visit Bruce Baillie’s website.

Video Interview: Peter Hutton, Robert Gardner, the Screening Room (1977)

Andrew Rosinski — Fri, 06 Aug 2010 18:10:48 +0000

Peter Hutton (At Sea, 2007, Skagafjordur, 2003, Looking at the Sea, 2001), an eminent experimental filmmaker from Michigan, visited the Screening Room Series, in March 1977, to screen excerpts from his films and discuss his experiences with filmmaking and education; Hutton is interviewed by Robert Gardner. Gardner is a eminent visual anthropologist who is widely known for his 1965 ethnographic film, Dead Birds (1965). Throughout the years, Dead Birds has functioned as essential referential material and a common case study in the world of anthrology, visual anthropology, and ethnographic filmmaking. Dead Birds in referenced in essential ethnographic readings, including Karl Heider’s book, Ethnographic Film, and Jay Ruby’s book, Picturing Culture: Explorations of Film and Anthropology. (Click here to visit Gardner’s website.)

Gardner developed and hosted The Screening Room, and the program ran from 1972–1981. The Boston-based program offered independent filmmakers an opportunity to screen and discuss their work on a commercial (ABC-TV) affiliate station. Gardner interviews the filmmakers in a minimal-intellectualist setting that’s somewhat comparable to the aesthetics of the Charlie Rose show. The Screening Room also featured filmmakers Robert Breer, John Whitney SR, Jean Rouch, Jonas Menkas, Bruce Baillie, Jan Lenica, John and Faith Hubley, Emile DeAntonio, Ricky Leacock, Yvonne Rainer and Michael Snow, and other notables.

In this interview, excerpts from Hutton’s films include: July ’71 in San Francisco (1973), Images of Asian Music (1973-1974), Florence (1975), New York Near Sleep for Saskia (1972), and footage from New York Portrait: Chapter One (1978–1979). (Click here to view Peter Hutton’s filmography.)

The featured video above is only an 11 minute excerpt; the original episode ran 72 minutes, and is available as a digital download, rental or purchase, from the Documentary Educational Resources website. Enjoy!

14 Posters: Andrei Tarkovsky’s Solaris (1972)

Andrew Rosinski — Wed, 04 Aug 2010 15:59:51 +0000

Great films usually have great poster art, and Andrei Tarkovsky’s Solaris (1972) is no exception. Solaris is Tarkovsky’s filmic adaptation of Stanisław Lem’s 1961 story Solaris. Solaris is a fantastic science-fiction film, wherein Tarkovsky chases the metaphysical, dreams, alternate planes of existence, phantom entities, nodes of the past, present and future, and one’s longing for a wife whom is dead, but appears in present-time feverish visions. A large part of the film is falling in love with ghosts.

Solaris won the Grand Jury Prize at Cannes. During that time, Solaris was compared to Kubrick’s 2001: A Space Odysessy; however, it’s known that Tarkovsky disliked 2001 and thought it was cold and sterile. According to Phillip Lopate in his essay “Solaris”, the media pushed a cold war sort of narrative during the time of its making: “The media played up the Cold War angle of the Soviet director’s determination to make an ‘anti-2001,’ and certainly Tarkovsky used more intensely individual characters and a more passionate human drama at the center than Kubrick.”

Steven Soderbergh remade Solaris with George Clooney in 2002.

It’s an undertaking to write about Andrei Tarkovsky’s films, Solaris speaks for itself, so, let’s reference the Criterion Collection’s synopsis:

Ground control has been receiving strange transmissions from the three remaining residents of the Solaris space station. When cosmonaut and psychologist Kris Kelvin is sent to investigate, he experiences the strange phenomena that afflict the Solaris crew, sending him on a voyage into the darkest recesses of his own consciousness. In Solaris, legendary Russian filmmaker Andrei Tarkovsky creates a brilliantly original science-fiction epic that challenges our preconceived notions of love, truth, and humanity itself.

As expected, the Criterion Collection released a lavish two-disc Solaris set, worthy of your purchase. Click here to watch an excerpt from the film. Also, the film is available as a $5.00 online rental via the Criterion Collection.

Below are 11 more posters — and two snaps of laser disc artwork — for Solaris.

Solaris Poster polish version

Poster Art for Andrei Tarkovsky's Solaris (1972)

Solaris Poster US Version

Solaris Spanish Poster

Solaris Japanese Laserdisc Artwork (front side)

Solaris Japanese Laserdisc Artwork (back)

Solaris Poster Russian Version

Solaris poster from east germany

Solaris Poster Sweden

Solaris Poster United Kingdom

Solaris Poster United States

Spanish Solaris Poster

Italian Poster Art for Solaris

Trypps #5 (2008) by Ben Russell (a sign of happiness)

Andrew Rosinski — Mon, 26 Jul 2010 13:43:02 +0000

Trypps #5 (Dubai) from Ben Russell. | (3:00, 16mm, color, silent, 2008)

Happiness.

Three Frames: Sans Soleil (1983) by Chris Marker

Andrew Rosinski — Sun, 25 Jul 2010 06:41:12 +0000

Chris Marker, 1983, 103 minutes, 16mm

This is a phenomenal film — a prophetic film — and if you haven’t seen it, highly recommended.

Click images to enlarge
Click here to read a transcript of the film

Sound Over Water (2009) by Mary Helena Clark

Andrew Rosinski — Sun, 25 Jul 2010 06:40:02 +0000

Sound Over Water, Mary Helena Clark, USA, 2009, 6m; 16mm, color/black & white, sound

A film by Baltimore-based filmmaker, Mary Helena Clark.

Synopsis: The sky and the sea meet in a deep blue underwater evocation on 16mm. Floating particles, schools of fish and film emulsion converge.

a beach in Boston, July 23rd – August 28th: Axiom Center for New and Experimental Media

Andrew Rosinski — Thu, 22 Jul 2010 22:29:54 +0000

a beach (2010) | click to enlarge

Hey ya’ll East-Siders: my two-part film, a beach (2010), will be wavin’ simultaneously on two monitors at the Axiom Center for New and Experimental Media, as part of Refresh, “an exhibition of video and animation work that explores an alternative aesthetic in digital media artwork.” … “Refresh features a group of artists that all ask the viewer to reevaluate our collective definition of digital beauty and the value we place on visual quality in contemporary culture.”

The opening reception is tomorrow, 23 July, 2010, and the exhibit will sit pretty 23 July – August 28th, 2010. Artists in the show include: Nick Briz (Chicago), Michelle Ceja (NY), Clint Ennis (Canada), Elna Frederick (the internet), Doug Goodwin and Rebecca Baron (Los Angeles), Duncan Malashock (NY), Rosa Menkman (a Dutch-visualist DINCA recently interviewed, the Netherlands), Andrew Rosinski (Chicago), and Nicolas Sassoon (Canada).

This exhibition is curated by Yuri Stone.

REFRESH

23 July – 28 August, 2010

Opening Reception: Friday, July 23, 6-9pm

Axiom Center for New and Experimental Media is pleased to present Refresh, an exhibition of video and animation work that explores an alternative aesthetic in digital media artwork. Refresh features a group of artists that all ask the viewer to reevaluate our collective definition of digital beauty and the value we place on visual quality in contemporary culture.

Spanning from 8bit and ascii animations to manipulated digital video, this exhibition creates an aesthetic and conceptual dialogue that allows us to question conventions of digital media in our society as well as our relationship to new and past technology. The artists included in this exhibition evoke notions of nostalgia, document unintended artifacts, and push the boundaries of the ↓field by experimenting with new technologies. In doing so, these artists create a refreshingly alternative digital practice that functions outside of the mainstream aesthetic.

More:

Axiom Center for New and Experimental Media
Refresh Exhibit Page
Nick Briz
Michelle Ceja
Elna Frederick
Doug Goodwin and Rebecca Baron
Duncan Malashock
Rosa Menkman
Andrew Rosinski
Nicolas Sassoon

Please spread the word of this exhibit by clicking the “Share/Save” button below. Great thanks, and remember: this summer, take a break and beat the heat by visiting a beach.
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Video Interview with Takeshi Murata

Andrew Rosinski — Wed, 21 Jul 2010 05:08:42 +0000

Chicago-based animator and digital media artist, Takeshi Murata, is featured on The Creators Project. Takeshi takes a unique approach to his work, emphasizing the relationship between humanity and technology as an important element of his artistic ethos. His brilliant displays of color and animation have an organic edge that gives them a life of their own.

In this short feature, VICE sits down with Takeshi as he discusses his relationship with his work. Takeshi’s projects are like living creatures; he follows them through technological experimentation, ultimately allowing them to develop creative story arcs of their own. Combining hand-drawn animation with software manipulation and beyond, Takeshi has mastered communicating the human behind the digital.

Andréa Stanislav, “Divine Creatures”

Andrew Rosinski — Thu, 15 Jul 2010 19:00:12 +0000

Andréa Stanislav, "Divine Creatures," 2006

Andréa Stanislav is a Chicago-based artist. “Divine Creatures”, part of Stanislav’s to the Western Lands exhibit at the Packer Schopf Gallery.

Four Frames: Color Rhapsodie (1948) by Mary Ellen Bute

Andrew Rosinski — Wed, 14 Jul 2010 15:45:52 +0000

A Music Video Like None Other: Black and White Trypps Number Three by Ben Russell

Andrew Rosinski — Tue, 13 Jul 2010 06:17:01 +0000

This post embeds two lovely music videos by Ben Russell, an eminent Chicago-based experimental filmmaker, known for his Black and White Trypps series and the recent experimental ethnopgraphy, Let Each One Go Where He May (2009). There are a number of reasons why these two films defy a classification, namely, they are captured on film, not video. Black and White Trypps Number Three (2007, embedded below) was shot on 35mm; Rock Me Amadeus by Falco Via Kardinal by Otto Muehl (2009, embedded above) was shot on 16mm film. Whether it be 35mm, 16mm, 8mm, black/white or color, a music video shot on film looks volumes better than a music video shot on video. Film captures sunlight on celluloid; film is warm.

The above video is an avant-garde kareokee performance between filmmaker Ben Russell and Celeste Neus. The film observes the sticky-synergy between the two as they rock to Falco’s lengendary 1983 hit “Rock Me Amadeus.” This film ponders humiliation of some sort — preparation, then humiliation — other than that, it’s strikingly similar to the original Falco video. Five Stars, verily.

Black and White Trypps Number Three captures a live-performance from Providence-based band Lightning Bolt. Although we’re at the show, we only catch a glimpse of the two-piece band, that being the neck of a bass guitar. We don’t see the band; we see the audience, we hear the music, and we see how the music affects the audience.

They say film can only capture sight and sound; however, these films capture more. Plus, music can speak louder than words. If you haven’t heard Lightning Bolt, try listening to the mp3s below — they bring the light from above to the below. It’s a heavy feeling in a good whey.

Download audio file (2-towers.mp3)

Download audio file (crown-of-storms.mp3)

Download audio file (fleeing-in-the-valley-of-whirling-knives.mp3)

Four Frames: Chromatic Cocktail by Kerry Laitala

Andrew Rosinski — Sun, 11 Jul 2010 16:10:55 +0000

Chromatic Cocktail, 2008, 9 min

Synopsis: The vibrant, abstract spirals of Kerry Laitala’s experiments with chromovision leap off the screen in pulsating 3-D. — San Francisco International Film Festival

Three Frames: Orbit by Kerry Laitala

Andrew Rosinski — Sun, 11 Jul 2010 14:33:08 +0000

2006, 9 min, 16mm, hand-made soundtrack

Synopsis: Candy apple light emissions create a series of photic stimulating events that tickle the retinas. Orbit takes one into the realm of the mistake…. a playful pulsation of mis-registered images made when a lab accidentally split the film from 16mm to regular 8. This format was then reconstituted on the optical printer making the colors and contrast further blow out into the atmosphere. Kodachrome color fields create tremulous vibrations whose flickerings hypnotize.

The Kodachrome Series, of which Orbit is a part, deals directly with chromatic motion studies and creates an illusion of frozen light fields; holding light captive and exploring the phenomenon of retinal afterimage. The soundtrack is comprised of the flutterings of optical noise reverberating to the splices of the film that is intermixed with hand drawn extensions of the visual plane onto the soundtrack area. By combining a series of abstract shapes with permanent marker, the rhythm and tempo of the image is directly enhanced through this mark making process. The fanciful sputterings crackle and snap, tickling the tympanum of the eardrums. We enter through the oval window, while the Gravitron spins eternally.

— LA Film Forum

Big Waves and Beach: Peter Hutton’s At Sea, Maya Deren’s At Land, and Vimukthi Jayasundara’s Between Two Worlds

Andrew Rosinski — Thu, 08 Jul 2010 18:06:00 +0000

Entre dos mundos from Banda TRANSIT

“In the beginning was the sea … and when a man or a woman, falls from the sky to the sea, the game starts or restarts …”

Watching this is highly recommended. It is a visceral montage from Banda TRANSIT, dubbed Entre dos mundos — my roommate, Juan, says that translates as, “Between two worlds.” Makes sense, haha, it’s part of the titular line.

This is a montage of coalescing images of big waves, beach footage, driftwood, and a man whom jumps into the water and climbs the rocky cliff neighboring a beach. The opening shot is from Peter Hutton’s At Sea, a film I pine to sea in its entirety, and footage from the great Maya Deren’s At Land, and footage from Vimukthi Jayasundara’s Between Two Worlds.

Synopsis: This video contains footage from At Land (Maya Deren, 1944), At Sea (Peter Hutton, 2007), and Between Two Worlds (Vimukthi Jayasundara, 2009). They try to illustrate a divulgative and creative text about Deren’s, Hutton’s and Jayasundara’s productions. It doesn’t exist any profit motive in mind. (Covadonga G. Lahera for (cinentransit.com)

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Additional Synopsis: Diálogo imaginario entre tres interlocutores: At Land (Maya Deren, 1944), At Sea (Peter Hutton, 2007) y Between Two Worlds (Vimukthi Jayasundara, 2009); tres conexiones surgidas a lo largo del tiempo en marcos dispares: un curso iniciático de cine experimental y dos festivales tan distintos, a priori, en cuanto a concepción y público objetivo, como Documenta Madrid y el Barcelona Asian Film Festival (BAFF).

Maya Deren, escupida por el mar, asiste a un rewind de las olas en la playa y así comienza su gloriosa deriva surrealista; para Peter Hutton la mar es una forma de vida y marca la primitiva línea del horizonte como una enigmática sutura entre el cielo y el océano, entre la embarcación donde aguarda encaramado y la distancia que lo aleja de tierra firme. Caminos que surcar, cuestiones de escalas. Rojo (barco), azul (cielo) y aún más azul (mar).

Existe, por descontado, una forma de “activismo observacional” en la realidad sensible… y Hutton es uno de sus acólitos. Utiliza sencillamente el cine “como herramienta para enseñar las cosas que le gusta mirar”. Deren también parte de la observación y del mundo, de los sueños y de las pesadillas y los conecta, los subvierte, los altera… Ambos realizadores norteamericanos (nos) reivindican otra mirada sobre las cosas.

Jayasundara explicita esa histórica tensión mar-tierra en su nativa Sri Lanka. Between Two Worlds arranca precisamente en tal intersticio. Y, una vez más, un hombre cae del cielo al mar. En el filme de Jayasundara también ocurre y sucede con un tema musical de Lakshman Joseph De Saram que impregna de dramatismo las imágenes: es el comienzo de la película, pero también una existencia recién llegada.

Deren silente y muda; Hutton mudo y silente, salvo por diecisiete palabras, las que inauguran At Sea y que bien podrían ser los cimientos de toda una obra: “Al nacer, el ser humano se precipita en un sueño, como un hombre que cae al mar” (Joseph Conrad).

Las intersecciones surgidas entre estos tres filmes, y algún otro título más llamado a la fricción, dan pie al texto “Asociación libre: Enlaces acuosos”, publicado en la sección Derivas de este mismo número. En el comienzo era el mar… Y cuando un hombre, o una mujer, cae del cielo al mar, la partida empieza o vuelve a empezar.

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Google Translator Translates (expect inaccuracy): Imaginary dialogue between three parties: At Land (Maya Deren, 1944), At Sea (Peter Hutton, 2007) and Between Two Worlds (Vimukthi Jayasundara, 2009), three connections have arisen over time in different frameworks: a course of initiation of experimental film festivals and two so different, a priori, as to design and target audience, such as Documenta Madrid and Barcelona Asian Film Festival (BAFF).

Maya Deren, thrown up by the sea, attending a rewind of the waves on the beach and so begins his glorious surreal drift, for Peter Hutton the sea is a way of life and mark the original line of the horizon as a suture between heaven enigmatic and the ocean, between the boat which waits perched and its distance away from the mainland. Ways to sail, issues of scale. Red (ship), blue (sky) and even blue (sea).

There is, of course, a form of observational activism “in the sensible reality … and Hutton is one of his acolytes. Use simple film “as a tool to teach the things you like to watch.” Deren also part of the observation and the world of dreams and nightmares and connects the subverts the alter … Both American filmmakers (we) claim a different perspective on things.

Jayasundara explicit tension that historic sea-land in his native Sri Lanka. Between Two Worlds starts precisely in this gap. And once again, a man falls from the sky to the sea. In the film Jayasundara also occurs and it happens on one piece of Lakshman Joseph De Saram of drama that pervades the images: the beginning of the film, but also a newcomer there.

Deren silent and dumb; Hutton mute and silent, except for seventeen words, which open At Sea and that could well be the foundation of an entire work: “At birth, the human being precipitated in a dream, like a man falling the sea “(Joseph Conrad).

The intersections between these three films have emerged, and some another title called friction, give rise to the text “free association: Links aqueous” published in the section derived from this same number. In the beginning was the sea … And when a man or a woman, falls from the sky to the sea, the game starts or restarts.

Seven Question Interview with Will Reed, Brooklyn-Based Painter

Andrew Rosinski — Wed, 07 Jul 2010 12:27:47 +0000

Will Reed is a Brooklyn-based painter. His work speaks for itself. Will received a BA, Summa Cum Laude, Studio Art; a BA, Psychology, Magna Cum Laude, and minors in Religion and Philosphy from Lyon College, Batesville, AR. Will received his Post-Baccalaureate Certificate of Fine Art at Maryland Institute College of Art (MICA), Baltimore, MD, and is currenting working on a MFA, Painting, New York Studio School, New York, NY. Also, a Master’s of Art Education at Columbia University, New York, NY.

In this interview, Will discusses why and what he paints, what women he finds attractive, and brushes his inspiration, which includes filmmakers Andrei Tarkovsky, Alfred Hitchcock, Michelangelo Antonioni, Bela Tarr, and more.

(1) Why do you paint?

I feel that I am carrying a torch, the torch of the original imagists of Lascaux and Avignon those wonderful, magical cave painters (probably women) in the prehistoric times. It is a powerful notion that profound and poetic images can come into being from primitive and simple means — pigment, natural oils, fabric supports, etc. They were making these amazing metaphors for their existence and that is essentially what I am doing today. Painting and drawing both have a very physical visceral quality that other 2-D media simply lack. I am a practitioner of a communicative form that predates written language and I think that is a very special and powerful thing given the contemporary art climate.

(2) What do you paint?

My painting language encompasses a broad subject matter. I paint often time exclusively from life. I love painting fellow humans. I also think painting the animals that we share our world with is meaningful subject matter as well. I also spend a great deal of time painting outdoor and interior spaces directly from life too. But, many people would probably say that my synthetic work, that is work derived from memories or imagination, might be the most powerful and original. These paintings/drawings are reflections on my past, on the current world, and on the realm of nightmares and what many might consider the macabre or terrifying. In these works I feel that the Freudian idea of “Thanatos” and to a lesser extent the idea of “Eros” is paramount.

(3) Are certain things better left unpainted?

I feel that almost anything can and has been painted. Is it well done and meaningful, probably not. I love the ambition and fearlessness that it takes to paint the figure today. It is such a hard subject to paint. You get to realistic and it slips into stale academism, too flagrantly sexual and your looking at soft core porn, and too sweet and its just sentimental. This is why for me the figure is really the make or break motif for me. Can I do it right now? I don’t think I am capable, but I will continue. Failing makes me a better painter. So, returning to the question I think some things are tremendously difficult to paint. But that doesn’t mean they’re better left unpainted.

(4) What is your inspiration soup?

Wow, that’s a tough one. Obviously the history of painting. My favorite paintings and painters changes from month to month. Right now I would say Giotto, Paulo Ucello, Titian, El Greco, Goya, Degas, Bonnard, Ceazanne, Seurat, A.P. Ryder, Edwin Dickinson, Euan Uglow, and Antonio Lopez Garcia are the painters that make the list. Within that group I take a little from each painter and try to synthesize it with my own language. And if you know those painters that group begins in the late 1300′s and continue into today. I pay attention to what my contemporaries are doing, I enjoy the Leipzig painters and there are some young painters here in the US I look at it, but I feel like I have a lot to learn from the past masters.

In terms of influences outside of painting well that is whole other story. I am deeply influenced by film and literature/poetry and too a lesser extent by music. I am in an intense period of watching the films of Andrei Tarkovsky- late Russian filmmaker active from the 60′s until 1988 when he died. The harmony of beautiful imagery, the history of all art, personal narrative, and craft all speak to me in his work. For me, Tarkovsky stand with the great masters of painting. His images transcend temporality and specificity, yet at the the same time they have such a unique personal language and history to them and that is similar to how I want my work to function.

I watch Hitchcock on repeat as well. The films of Michelangelo Antonioni have impacted my drawing as well and recently the high drama of Bela Tarr has influenced some of my images.

In terms of literature, well I feel as though we live in dark times and really for me no one is darker than Dostoevsky, so I don’t buy too many new books I just re-read all of his (I own all his works). Its an extreme examination of the human condition and you don’t get much serious than that. Plus, he just takes you into the gloom, that dark tonal gloom of dark earth colors and cold greys, at least that what sort of color his stories emit for me. For a very long time I loved the works of William Faulkner, I even spent a great deal of my MFA thesis writing about Faulkner. A critic once asked me who I read while I was working on a specific body of paintings, I replied Faulkner and he said, “It figures, you’re a southern gothic” — I was very complimented, obviously.

Faulkner has that same sense of time and place as Tarkovsky, but yet the imagery functions on a universal level.

Music wise, well Johnny Cash is always playing in the studio. But recently I have been addicted to Daniel Johnston and Elliot Smith, obviously for their darkness. But I thoroughly enjoy listening to Bach, Beethoven, and Rachmaninoff as well. I hope that is a rich enough soup for you!!

(5) Your work very much pulls focus on the relationship of man and animal; man and nature. Over the last few years, the public has gradually become aware of the existence of a new cause: animal liberation. DINCA believes that animals and all creatures are absolute equals to the human.

What are your thoughts?

I think I could return to an earlier answer. Those cave people, the very first imagists, what were they drawing and painting? The animals around which they structured their existence.

For me, animals are amazing things, they are magical if you will. It is a wonderful thing when you realize the sentience of animals. I feel like I did at an early age because it was something my mother instilled in me.

From my first memories as a child I can remember being with dogs. They have always been my friends, and more often than not the most loyal ones. But, though my work focuses almost exclusively on dogs, I believe most all creatures have this magic about them. I know “magic” seems cheesy or too whimsical but I mean really if you’re in the “know” how else do you describe this? Concerning the equals aspect of your question — I don’t know if I can agree across the board. For instance, I know that without a doubt my dogs have a stronger life force and intelligence than many people I meet, but do I think they have that compared to me, no. But there are plenty of slovenly worthless human beings out there that I would prefer the company of rats to!! So, I think its more a spectrum than absolutism. I don’t I could paint such great images of my animals if that did not posses a profound life force — more profound than say many humans I meet.

(6) This is a general question: what will happen in the future?

I want to believe that this a broad existential question. I could go into a diatribe/rant on this. I will try to be succinct. Where we’re at is here: slaves to a imperialist, globalized, capitalist fascism that has raped the earth and a majority of its inhabitants. We are spiraling towards oblivion and we as a total culture have set into motion forces that will destroy us if we do not change. But, we have shown that the only change we are capable of is change for the worst. Hence, I can only see Apocalypse. But not in the earth shattering Hollywood variety, more like the slow creeping type that only T.S. Eliot could sum up: “This is how the world ends, This how the world ends, this is how the world ends………………not with a bang, but with a whimper.”

(7) What animal/creature comes to mind when you hear the word “DINCA?”

Also, when you hear “… a beautiful girl …” what lady initially comes to mind?

DINCA- A Rhino type dinosaur creature.

Beautiful girl: I can’t say just one so I’ll give you a few — Halle Berry, Zoe Sladana, Uma Thurman, Salma Hayek, Audrey Hepburn, Donna Reed, Nina Simone, Jennifer Wallace, and true to my weird Freudian roots my Mother of course!

More:

Will Reed’s Website

Will Reed’s C.V.

Underground Film Loop Links culled weekly by Badlit.com

Andrew Rosinski — Sun, 04 Jul 2010 19:29:57 +0000

Around two months ago, one of my favourite underground film journals, badlit.com, started a handy roundup up notable posts, culled from the corners of the somewhat established underground film loop. If you enjoy underground film, or have interest in discovering something new, subscribe to the badlit RSS feed, or simply check badlit.com every Sunday.

Also, I’m working on expanding the dinca-hosted undergroundfilmloop, which will be a separate micro-site with categorized links by blog/website/journal, filmmakers/artists, writers/poets, and more.

So, in the words of Zira, the companion of Cornelius in Escape from the Planet of the Apes (1971), aka Planet of the Apes 3: “It’s grape juice, plus!” In other words, this will be a undergroundfilmloop, plus (!).

Summer is prime for the exc!amation po!nt. (My rule is keep yourself to 2-3 per summer writing; with this post I’ve already exceeded my limit.) (However, there is no cap on thinking with an exclamation point, for it is a recipe for joy.)

Folks, it’s time to get to work.

Short Notes on the CUFF

Andrew Rosinski — Wed, 30 Jun 2010 17:34:10 +0000

Two days left for the Chicago Underground Film Festival. They have already announced the award-winners. Above is the trailer for the CUFF; I think it’s a darn neat trailer.

IFP Chicago presents:

The 17th Chicago Underground Film Festival
June 24th – July 1st
at the Gene Siskel Film Center
http://www.cuff.org/

Trailer by Jon Satrom

DINCA » avant-garde

Film for Invisible Ink, case no. 142 Abbreviation for Dead Winter [diminished by 1,794] (2008) by David Gatten

Audio Interview: Robert Breer Interviewed by Charles Levine, July 1970

10 Film Strips: Ten Second Film (1965) by Bruce Conner

Film Strips: T.O.U.C.H.I.N.G. (1969) by Paul Sharits

NYFF 2010 Views from the Avant-Garde Film Schedule

THURSDAY SEPT 30

FRIDAY OCT 1

SATURDAY OCT 2

Sunday October 3

Smart Dust: Pyramid (2009) by Duncan Malashock

Deborah Stratman: Tactical Uses of a Belief in the Unseen

L’Âge d’Or (1930) by Luis Buñuel (four archbishop skeletons on the rocks)

Closing Night: Rooftop Films, NYC: Transitions, Departures, and Disappearances

Where:

When:

The Films:

MAZES at the MCA, Chicago, Ben Russell and Joe Grimm

All My Life (1966) by Bruce Baillie

All My Life (1966) by Bruce Baillie

Video Interview: Peter Hutton, Robert Gardner, the Screening Room (1977)

14 Posters: Andrei Tarkovsky’s Solaris (1972)

Trypps #5 (2008) by Ben Russell (a sign of happiness)

Three Frames: Sans Soleil (1983) by Chris Marker

Sound Over Water (2009) by Mary Helena Clark

a beach in Boston, July 23rd – August 28th: Axiom Center for New and Experimental Media

REFRESH

23 July – 28 August, 2010

Opening Reception: Friday, July 23, 6-9pm

Please spread the word of this exhibit by clicking the “Share/Save” button below. Great thanks, and remember: this summer, take a break and beat the heat by visiting a beach. ⇊⇊

Video Interview with Takeshi Murata

Andréa Stanislav, “Divine Creatures”

Four Frames: Color Rhapsodie (1948) by Mary Ellen Bute

A Music Video Like None Other: Black and White Trypps Number Three by Ben Russell

Four Frames: Chromatic Cocktail by Kerry Laitala

Three Frames: Orbit by Kerry Laitala

Big Waves and Beach: Peter Hutton’s At Sea, Maya Deren’s At Land, and Vimukthi Jayasundara’s Between Two Worlds

“In the beginning was the sea … and when a man or a woman, falls from the sky to the sea, the game starts or restarts …”

Seven Question Interview with Will Reed, Brooklyn-Based Painter

Underground Film Loop Links culled weekly by Badlit.com

Short Notes on the CUFF

Please spread the word of this exhibit by clicking the “Share/Save” button below. Great thanks, and remember: this summer, take a break and beat the heat by visiting a beach.
⇊⇊