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XCÈNTRIC 2012-2013 (2): LANDSCAPE PLUS. EL CINE DE LAIDA LERTXUNDI

Aquí y ahora: el cine de Laida Lertxundi www.elumiere.net

por Esperanza Collado

Llora cuando te pase (Laida Lertxundi, 2010) El único medio de renovación consiste en abrir los ojos y contemplar el desorden. No se trata de un desorden que quepa comprender. He propuesto que lo dejemos entrar porque es la verdad. Samuel Beckett

He titulado así esta reflexión para subrayar uno de los aspectos que más me interesan del trabajo cinematográfico de Laida Lertxundi. Cuando pienso retrospectivamente en sus películas, siempre me imagino a mí misma observando la pantalla. Por supuesto, también recuerdo los paisajes transparentes, los cuerpos fragmentados, las canciones populares, los sonidos que genera cada situación. Pero lo que más recuerdo a posteriori son los intervalos, los momentos estáticos que se hacen presentes a través de

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una espacialidad radical –pienso en un plano muy largo de una palmera californiana, la pantalla negra que cierra My Tears Are Dry, la tela blanca al comienzo de Footnotes to a House of Love, o la forma en que el paisaje oscila entre ausencia y presencia en A Lax Riddle Unit, por citar ejemplos muy claros–. La primera impresión es que no hay separación. Mi presencia en la sala de cine es inseparable de lo que veo y oigo: me identifico con la pantalla. Lo vuelvo a pensar y cambio de opinión: es la separación radical entre la película y yo lo que hace que mi presencia no desaparezca durante la percepción. En cualquier caso, creo que las películas de Laida Lertxundi nos hacen especialmente conscientes del aquí y del ahora, y es este aspecto en concreto el que voy a tratar de desarrollar. Dijo Pasolini que en el cine no existe el presente y que, más que de un movimiento físico, se trata de un desplazarse en el tiempo. Ante una fotografía o una imagen fija, siempre podemos recorrerlas con la mirada durante el tiempo que queramos. En el cine, por el contrario, se impone, por obra de su «consecutividad impostora» –maravillosa expresión de Isidore Isou– esa coerción de la imagen-movimiento que es su mismo signo de génesis. Por un lado, la forma pensante sustituye o arrastra nuestros propios pensamientos. Por otro, el tiempo es algo subjetivado, ligado a la situación pragmática del espectador. El tercer elemento consiste en que la película no permanece más que el tiempo de su proyección, al menos de forma presencial. Laida Lertxundi ha comprendido que para hacer que exista el tiempo en el cine –un tiempo en presente tenso– es necesario invertir la ecuación visual del movimiento. Para ello cada trabajo fílmico debe por lo menos hallarse entre una condición móvil y otra estática. Sus películas expresan situaciones de proceso: procesos perceptivos, procesos de producción fílmica y, también, el proceso por el cual una película avanza y se desenrolla, es decir, su duración. Construyen, pues, una relación tautológica entre el espectador en la obra y la situación procesal en la que ésta se desarrolla. Pero también hacen sentir, a través de los agujeros del tiempo y de los sonidos, el proceso por el cual la imagen se vacía de sí misma, vaciándonos a nosotros también y cediendo su movimiento a nuestro espacio mental perceptivo, por un lado, y a la posibilidad de una escucha consciente, por otro. Los planos fijos, y más significativamente las tomas del paisaje, pueden contener movimientos mínimos, como el vaivén sutil de la palmera, los encrespamientos de las olas, o una persona que vemos de espaldas observando el horizonte. Pero todos ellos son expresiones de la imagen-tiempo tal y como la definía Deleuze, pues ahora el movimiento se subordina al tiempo –como ocurre precisamente con el modo en que se nos presenta la música–. Las películas de Laida Lertxundi son efectivamente «espacios de libertad»1, verdaderos nunc-stans – huecos o ventanas espaciotemporales que se abren a un ahora consciente–. La experiencia del filme debe ser considerada como un pasaje de tiempo real a través de intervalos por los que nos hacemos presentes, nos volvemos conscientes del estar ahí, viendo y escuchando signos ópticos y sonoros puros. Y esa es la expresión más honesta de la libertad en el cine, como también lo son la ruptura de la suspensión crítica y la presentación de un paisaje propiamente dialéctico, el cual es uno de los sentidos de ese «plus» en «Landscape Plus». Últimamente, Laida Lertxundi se refiere a su trabajo como «Landscape Plus», es decir, sus películas reúnen una exploración del paisaje y algo más. A veces, ese extra puede materializarse en un conjunto de películas que ella elije para revelarnos los afectos de su trabajo: Hollis Frampton y su exploración de la modulación luminosa en el tiempo, traducida a la ilusión volumétrica del espacio (Lemon); Bruce Baillie y el movimiento panorámico de la cámara, puesto en correlato con la experiencia pura de la duración y de la escucha (All My Life); Morgan Fisher y la deconstrucción ilusionista mediante estrategias ligadas a las propiedades inherentes del cine (Picture and Sound Rushes). El paisaje cinemático lo forman sus películas, pero también las de otros antes que ella, con ella. En lo referente a su trabajo en conjunto, ese «algo más», ese «plus» que se adhiere al paisaje, parece lo suficientemente ambiguo, porque es lo otro que no es paisaje y que lo abraza. Laida Lertxundi nos recuerda que no es posible observar el paisaje desde un solo punto de vista, porque también están la máquina que filma, la filmmaker, el cine en general, el trabajo en colectivo, y nosotros –espectadores– al otro lado de la ventana. Al escribir sobre el paisaje dialéctico, Robert Smithson apuntó que la Naturaleza como entidad estática es puesta «en interrogativo» ante el ojo de la cámara, lo cual remitía a Dziga Vertov. Su dialéctica radicaba en la materia misma y su relación con el medio, en el par materia-ojo u organismo-máquina. En las películas de Laida Lertxundi tampoco se trata de contraponer, sino de correlacionar y hacer que todos esos elementos dialoguen y se filtren unos en los otros, como así dialogan y se permeabilizan los espacios domésticos e íntimos con la magnitud del paisaje en su trabajo. El aparato fílmico es parte del paisaje o de la película en general, como primero ilustraba de forma muy explicita Farce Sensasionelle, y luego más sutilmente Llora Cuando Te Pase. En una secuencia concreta de ésta última, las bandas negras que atraviesan la imagen del cielo en un monitor de TV nos dejan ver claramente a la artista filmando, al sujeto y la cámara. Esta imagen, que nos muestra las dos caras simultáneamente (lo filmado y el acto de filmar), no sólo confirma esa mirada necesariamente dialéctica, sino que al tratarse de una representación (una reproducción del cielo en una pantalla), volvemos a entender que «no es una imagen del paisaje, sino una imagen de la cineasta en el paisaje, es una experiencia indirecta»2. En última instancia, cabría decir que esa imagen del monitor también nos confirma que es a través de los intersticios como construimos el sentido. La visibilidad de los aparatos tecnológicos relacionados con la imagen-movimiento y el sonido, el mismo montaje, las visibles manipulaciones del funcionamiento mecánico de la cámara durante la filmación, el sonido diegético y, en general, la presentación directa de las propiedades formales del medio en sus películas, son también una clara desmitificación de los valores convencionales del cine de ficción. Destruyen ese estado perceptivo conocido como «suspensión crítica» (suspensión of disbelief) por medio del cual obviamos los aspectos técnicos que hacen posible la credulidad de una obra ficticia. Una vez más se nos devuelve la percepción del presente, del aquí y del ahora.

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No es por casualidad que las personas que aparecen en las películas de Laida nunca hablen. Entre ellas hay diálogo, pero no es un diálogo materializado en palabras, sino en gestos y actos que remiten al proceso de producción de la película. Esto me recuerda al fenómeno de la auto-percepción, del «Esse est percipi» de Berkeley, que otro maestro de la elipsis, Samuel Beckett, llevó al cine con Film (1964), cuyo único sonido era un ligero «¡ssshhh!». Las películas de Laida Lertxundi, en definitiva, están impregnadas de ese mutismo a través de pausas y puntos suspensivos. Estos son lugares radicales de espaciamiento, expropiación, proyección y suspensión, y nos seducen sin necesidad de comprender o articular. Simplemente tenemos que abrir los ojos y contemplar el desorden para que pueda entrar la verdad.

1 «Espacios de libertad», Laida Lertxundi, 2012. Leer aquí. 2 «What we see is no longer an image of a landscape but an image of the filmmaker in the landscape, the indirectness of the experience is embraced». «Focus Interview: Laida Lertxundi», Frieze Magazine, nº 152, enero-febrero, 2013.

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Footnotes to a House of Love (Laida Lertxundi, 2007)

Laida Lertxundi


Frieze Magazine | Archive | Focus Interview: Laida Lertxundi

Galería Marta Cervera 23/04/13 13:32

January - February 2013 Focus Interview: Laida Lertxundi

About this article Published on 01/01/13

The Los Angeles-based filmmaker discusses cities, soundtracks and landscapes I’m a sucker for film soundtracks. When a filmmaker wants me to feel something that can be expressed through music, I am putty in their hands. The first Laida Lertxundi film I saw – My Tears Are Dry (2009), at the 2012 Whitney Biennial – caught my attention with its use of Hoagy Lands’s heartcrushing 1961 soul ballad of the same name. As in many of Lertxundi’s films, music gives the domestic space it depicts a heavy charge that balances the pleasures of pop with a reflexive awareness of the role of sound in cinema. Glowing southern Californian light saturates her works, films that articulate the connections between domesticity and landscape, and how technology gives shape and colour to our place in them.

The Room Called Heaven, 2012, 16mm film stills Back to the main site

Dan Fox What’s your relationship to California? Films such as Footnotes to a House of Love (2007), My Tears Are Dry, and A Lax Riddle Unit (2011) depict apartments and domestic spaces, but they also feel like hymns to Los Angeles and the landscape around it. Laida Lertxundi I treat Los Angeles and its surrounding areas as a subject in my films. To make films here is to enter into dialogue with the misrepresentations of the city that Hollywood creates: we share the same space, history and, to a certain extent, the same resources. My approach is nonspectacular; I want to present Los Angeles as a lived-in place. In a city with little public space, this becomes about the intimacy of interior spaces and the magnitude of open landscapes. I like to define the work as ‘landscape plus’: the natural environments in my films are being altered by people and objects that operate as a kind of demarcation or interference in the land, creating an image of the filmmaker in the landscape. DF Can you talk about your use of music? Songs by Hoagy Lands, The Shangri-Las, Robert Wyatt and James Carr all appear in your films, cut together in ways that suggest more http://www.frieze.com/issue/print_article/focus-interview-laida-lertxundi/

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GalerĂ­a Marta Cervera Printing - Film in Spotlight at the Whitney Biennial - Art in America

23/04/13 13:40

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Film in Spotlight at the Whitney Biennial paul david young 02/28/12

This year's Whitney Biennial turns decisively toward performance and film. The Breuer building's 4th floor is devoted to live events, where folding chairs are set up before a 6,000-square-foot theater. Performances will also take place amid the works on the 5th floor mezzanine. Biennial curators Elisabeth Sussman and Jay Sanders invited Thomas Beard and Ed Halter of Light Industry, the Brooklyn film and video center, to book screenings for 15 film- and video-makers, giving each artist about a week to screen their work in the museum's second-floor theater. At a preview screening on Friday, Beard and Halter showed films by Luther Price, Laida Lertxundi, Nathaniel Dorsky and Jerome Hiler. These filmmakers are by no means undiscovered in the experimental film world, though their appearance in the art world is new. The Bostonian Price makes film about film by heavily working 16mm film stock: burying it in the yard, scraping it with tools, staining it with inks and hand-splicing the footage. His material approach to film has precedents in Wallace Berman and Stan Brakhage, and is now a popular approach in experimental film. In After the Garden: Silking (2010), much of the disfigured remains of a strip of 16mm film pass through the projector without yielding more than an occasional discernible image, effectively stills or slides, barely perceptible amidst streams of visual abstraction. Glimpses of what appear to be a home movie, and a still portrait of a nude, are like figure studies in the jumping series of blue and brown abstractions. At one point, the broken images give way to a sequence in which a boy is shown playing. Shelly [sic] Winters (2010) comprises Price's typically damaged film, in an austere black-and-white palette. The soundtrack features voices discussing first-person experiences of domestic violence. A husband confesses to beating his wife day after day. A wife recounts how she tried to stop her husband from going out to drink because if inebriated he would most certainly abuse her. The somewhat restrained, even quaint language used by the speakers suggests that this is a period piece, which creates a sense of distance. Unlike Price, Bilbao-born, Los Angeles-based Laida Lertxundi isn't focused on the material aspect of film. Using 16mm, she picks her shots and holds. Inside the frame there is rarely action of any kind. A figure occasionally moves, or the wind reveals that the image on screen is not a still photo. When she does admit action, it's a nice touch. In Footnotes to a House of Love (2007) a woman exits the abandoned house in which much of the piece was filmed, and the screen door falls off in her hand. She keeps walking, without hesitation. Lertxundi's soundtrack favors twee or retro music, like '60s-era girl groups or Mexican radio. Some of the film features the sound and image of someone scraping randomly at a double bass. Each of the shots is obviously composed, incorporating the mountains and arid earth of her adopted California. She plants her people in the landscape, sometimes absurdly (a couple, about twenty feet apart, feet facing each other, beneath a long blanket) or subtly (a barely visible still figure to the extreme right of the frame, reflected in a mirror). Both Nathaniel Dorsky and Jerome Hiler are represented by silent films with layers of superimposed images, though the filmmakers use different methods to conjure multiple worlds. Dorsky, who lives in San Francisco, trains his camera on shop windows in The Return (2011). The film is most especially concerned with what the camera records in the window of a florist shop. He also goes into nature to milk the halo effect of http://www.artinamericamagazine.com/news-opinion/finer-things/2012-02-28/whitney-biennial-film-preview/print/

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Printing - Film in Spotlight at the Whitney Biennial - Art in America

23/04/13 13:40

the sun shot through the threads of a spider's web. The film inhabits the extremes of natural light, looking directly into the sun or wallowing in shadows. Dorsky's sense of light, shadow and film color is keen, as in shots of two women having coffee: the shadows on the cup, the hands in motion as they speak. Shooting for the first time in Fuji color negative after the discontinuation of Kodachrome, he uses film to disclose an enhanced, quiet reality of sunlight as it moves around a still, cloistered world and a dry winter landscape. Where Dorsky doubles images by filming reflective surfaces, Hiler uses multiple exposures to compound one over the other. Hiler, like Dorsky, has been making films since the 1960s. Hiler makes films as unique objects--excepting the HD transfer used at the press screening. During the Biennial proper, the 16 mm strip will be projected. Press materials portray the artist as a loner, exhibiting for his friends, though he has shown at The New York Film Festival. A wintery field, a stretch of barbed wire, sandbags tied to ropes as part of a river levy, close-ups of milkweed and Sweet William, a stone façade with stained glass and a building with a red-tiled roof as seen through wrought iron: these motifs appear simultaneously in varying combinations, flecked with jelly beans of light and color from different exposures. Sometimes the multiple exposures are colored red, as if filmed through a gel. Hiler and Dorsky make pretty films that exploit the color of reproduction and distortion. The beauty seems too easy at times, like the oldfashioned abstraction that forms Price's After the Garden. As the Whitney promotes film as an alternative to "art" made with "traditional techniques," it might bear asking how such abstraction would fair if presented in, say, photography or painting. The fetishism of medium and obsolescence are more closely scrutinized elsewhere in the visual arts. Luther Price (b. 1962), Meat, 1999. Handmade slide, 1 1/2 × 1 1/2 in. (3.8 × 3.8 cm). Collection of the artist. © Luther Price; courtesy the artist

find this article: http://www.artinamericamagazine.com/news-opinion/finer-things/2012-02-28/whitney-biennialfilm-preview/

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Eight Footnotes on a Brief Description of Footnotes to a House of Love, and Other Films by Laida Lertxundi - Cinema Scope

23/04/13 13:35

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Issue 51, 2012

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Eight Footnotes on a Brief Description of Footnotes to a House of Love, and Other Films by Laida Lertxundi By Phil Coldiron In CS51, Features, From The Magazine

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GalerĂ­a Marta Cervera Light meter

23/04/13 13:37

Published on San Francisco Bay Guardian (http://www.sfbg.com) SFBG > This Week > Printer-friendly

Light meter By marke Created 05/15/2012 - 8:09pm

Top picks from San Francisco Cinematheque's third 'Crossroads' festival

Remote viewing: still from Laida Lertxundi's Llora Cuando Te Pase/Cry When It Happens (2010)

art@sfbg.com [1] FILM San Francisco Cinematheque artistic director Steve Polta balances familiar names with lesser known for the third annual "Crossroads" festival at the Victoria Theater, though Ken Jacobs' Occupy-strength Seeking the Monkey King (2011) promises to unseat the image of a mellowing old master. The festival's only solo program, besides a tribute to Canyon Cinema co-founder Chick Strand (her 1979 film Soft Fiction is rarely screened and highly recommended), belongs to Laida Lertxundi. A former CalArts student with a sure handle on 16mm as a philosophical instrument, Lertxundi was recently featured in the Whitney Biennial. Where Strand made some of her most beautiful work far from Southern California, Bilbao-born Lertxundi brings an outsider's eye and sharply turned cadence to the shifting landscape of Los Angeles: one has the sense of desert reclaiming city watching her short films. A Lax Riddle Unit (2011) opens on the curled lip of James Carr's soul number "Love Attack" and a cragged landscape view. The long take floods with softening light, but then a terrifically http://www.sfbg.com/print/2012/05/15/light-meter

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decisive cut deposits us in the flat light of an apartment. The sudden switch bears the imprint of both insight and displacement. Leafy potted plants reach for the natural light framed in a window, and Carr's wail gives way to Robert Wyatt's impressionism: a different emotional architecture entirely. The camera turns slow pirouettes through the apartment, passing over an amplifier (always this confusion about the relationship between sight and sound), a woman kneeling to play a keyboard, some records, and then catching up with her again sprawled in bed. As is often the case in Lertxundi's films, the composition does not settle on the human form in the usual way. The residue of the apartment, oddly reminiscent of Jean-Luc Godard's Contempt (1963), develops until a few shots later we end with a bleeding red dusk spreading across Los Angeles — an image pitched on the edge of surrender. My Tears are Dry (2009) is even more minimalist in its riddling structure. Lertxundi cuts between an image of a woman's torso on a bed, playing and rewinding the same snip of Hoagy Lands' title ballad, and another woman sitting on a couch strumming a dissonant chord. Out of this frustrated syntax comes blessed continuity. The song breaks through and sets in motion a weightless daydream borrowed from Bruce Baillie's 1966 single-shot film, All My Life (included on the same program along with other antecedents by Hollis Frampton and Morgan Fisher): in place of his horizontal pan across flowers, Lertxundi tilts her camera up past palms towards the same pale blue sky. Poignant without object, the film delivers a gentle spiritual plea for persistence. Several other "Crossroads" films successfully hone in on resonances specific to film stock. Curious Light (2011), Charlotte Pryce's hand-processed illumination of Lewis Carroll's Alice in Wonderland, provides a tactile 16mm equivalent to the absorption of reading. Scott Stark's brilliant collage, One Way to Find Out (2012), stretches Hollywood 'Scope images of desire like so much taffy. Rei Hayama's A Child Burying Dead Insects (2009) decelerates a short fragment of film (a girl jogs into a leafy frame, tosses up a ball, kneels for the burial, and exits the frame) until the film itself begins to rebel in the frame. The Lumière-like simplicity of the action and swirling soundtrack music opens up a spry meditation on film's still-startling capacity for reincarnation. Ben Russell foregoes his "Trypps" film-series tag for River Rites (2011), but the concept of a single-roll invocation of ritual and trance remains. Curving cultural anthropology into the experience of time, Russell generates ontological fireworks and in situ reflection on filming other people. Ben Rivers builds on the fictive anthropology mode last seen in I Know Where I'm Going (2009) for his ambitious Slow Action (2010). His camera picks over "the ruins of ruins" of four island sites elaborated by voiceover narration (written by novelist and critic Mark von Schlegell) rich in invented ethnographic detail and philosophical speculation as to the true nature of utopia. The two Bens have collaborated on the forthcoming A Spell to Ward off Darkness, a film shot in Norway starring the musician Rob Lowe. Fingers crossed it's ready for the next "Crossroads." *

"CROSSROADS 2012" Fri/18-Sun/20, $10 (festival pass, $50) Victoria Theatre 2961 16th St., SF Laida Lertxundi http://www.sfbg.com/print/2012/05/15/light-meter

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LAIDA LERTXUNDI - THIS LONG CENTURY

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LAIDA LERTXUNDI [194] I took the opportunity to make a manual for shooting. These are the first few pages. As I work, new entries are added.

Click image to see inside. — Laida Lertxundi makes films with non-actors, landscapes and sounds. Her work has been selected for the 2012 Whitney Biennial, MoMA, LACMA, the Viennale, VIEWS FROM THE AVANT GARDE at the New York Film Festival, and the Rotterdam International Film Festival. She received the Tom Berman Award for Most Promising Filmmaker at the 48th Ann Arbor Film Festival and was named as one of the “25 Filmmakers for the 21st Century” in Film Comment’s Avant-Garde Poll. She is a film Laida Lertxundi 28/06/13 11:44


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Galería Marta Cervera Last Picture Shows: Film and Obsolescence | The Nation

http://www.thenation.com/article/170020/last-picture-show

John Nichols: Austerity Loses in Massachusetts

Sean Jacobs: After M

Last Picture Shows: Film and Obsolescence Until the final reel of celluloid is shot and projected, will every film’s primary subject be film itself? Akiva Gottlieb September 18, 2012 Like

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A proposition, based on sampling three months of contemporary American cinema at the 2012 Whitney Biennial: from now until the final reel of celluloid is shot and projected, every film’s primary subject will be film itself. This year’s biennial, which ran from March 1 through May 27, was explicitly devoted to varieties of time-based art—memorable touchstones of the ephemeral—but only the films dwelt intimately on their own obsolescence. The program’s opening presentation featured recent work About the Author Akiva Gottlieb Akiva Gottlieb writes for The Nation, the Los Angeles Times and Dissent, and lives in Ann Arbor, Michigan.

Also by the Author Shelf Life (Arts and Entertainment, Film, Shelf Life, Books and the Arts)

Robert Bresson’s The Devil, Probably ; Maurice Pilat’s Police ; Leo McCary’s My Son John .

by Luther Price, and it could have been titled “How to Die.” A Boston-based found-footage expressionist, Price treats celluloid as dynamic material. Inkblot #1 (2007), the first in an ongoing and seemingly infinite series, is a blistering string of Rorschach-like color codes that Price created by scraping the emulsion from previously used eight- and sixteen-millimeter film, which he also disfigured with a Sharpie. While many, if not most, of the filmmakers holding fast to sixteen-millimeter in the face of overwhelming pressure to make the switch to digital have taken a mournful stance toward material decay, Price engages in

Akiva Gottlieb

acts of righteous vengeance. His reconfigurations of

the Arts)

discarded prints are accompanied by soundtracks of

Shelf Life (Film, Shelf Life, Books and Louis Malle’s Vanya on 42nd Street ; Vera Farmiga’s Higher Ground ; John Cassavetes’s Too Late Blues Akiva Gottlieb

brutal, rhythmic feedback—amplifications of the mechanical noise of celluloid projection. Sprocket holes pop like machine guns. Sometimes the aural onslaught is given a direct visual corollary: in Turbulent Blue (2006), which segments the surfaces of a rotting, now

unidentifiable Hollywood action movie, the medium seems locked in a battle to maintain its materiality in the heat of explosions and gunfire. For Price, images that persist through decay aren’t necessarily plaintive or melancholy, and at the biennial his work made for an auspicious beginning to an ambitious, ambivalent goodbye. The Whitney has a long and storied history of film exhibition. In the 1970s and ’80s, its New American Filmmakers Series provided an invaluable showcase for iconoclasts like Ernie Gehr, Joan Jonas and Paul Sharits. Charles Burnett’s Killer of Sheep , only recently recognized and canonized by the Library of Congress for being the product of “a one man African-American New Wave,” premiered at the Whitney for one week in 1978—more than four years after its completion—before falling off the map. The museum’s biennial has behaved differently, treating cinema as an afterthought, even allowing museum curators to oversee the film program. But this year the Whitney changed course, tapping two film stalwarts, Ed Halter and Thomas Beard, to act as the exhibition’s curators. An accomplished critic and veteran of the New York avant-garde scene, Halter is the former programmer of the New York Underground Film Festival, which has since evolved into the similarly adventurous Migrating Forms. He and Beard now operate the alternative art space Light Industry in the Brooklyn neighborhood of Greenpoint, where they program experimental film events that somehow almost always sell out. In their most significant departure from past practice, Halter and Beard offered each of the fifteen filmmakers a weeklong run in the museum’s second-floor Film and Video Gallery, with films screened at scheduled times instead of running at all hours on a loop. In theory, this was meant to keep the exhibition from developing the hothouse atmosphere of a major film festival, with sleep deprivation nibbling away at attention spans. In practice, it meant that anyone except museum members planning to experience the entire film program needed to

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Galería Marta Cervera Last Picture Shows: Film and Obsolescence | The Nation

http://www.thenation.com/article/170020/last-picture-sh

make fifteen separate visits—and pay fifteen separate admission fees. Because most verdicts on the biennial were issued in the early weeks of the exhibition, art critics could only feebly engage with a film program designed to unfold over a three-month run. Roberta Smith’s rave in The New York Times only bothered to mention Frederick Wiseman’s Boxing Gym (2010) and Thom Andersen’s Los Angeles Plays Itself (2003), both of which also enjoyed conventional releases in New York City. Shouldn’t time-based art require a time-based criticism? One can’t help but see the biennial’s recalibration of its film programming, which has revived the iconoclasm of the Whitney’s New American Filmmakers Series, as an acknowledgment of changing realities in cinematic exhibition. The deleterious effects of the digital transformation have been well documented, most assiduously by David Bordwell, whose essential overview Pandora’s Digital Box has recently been made available through davidbordwell.et as a $3.99 download. As Bordwell explains, the prohibitive costs of converting from celluloid to digital projection will likely force 20 percent of the theaters in the United States to close, leaving cultural redoubts like the Whitney—and, on a smaller scale, Light Industry—with a new imperative. (The Film Society of Lincoln Center’s annual Views From the Avant-Garde, a sidebar to the New York Film Festival, will remain the country’s most consequential showcase of avant-garde cinema.) Anyone worried that the exhibition of new films within a contemporary art context smacks of elitism would do well to consider what other venues remain available. *** Akiva Gottlieb September 18, 2012 Like Print

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The Film Society Of Lincoln Center and the Kazuko Trust Announce First Two Recipients of the Kazuko Trust Scholarship Award Grants for 2012 at the 2012 NYFF Views from the Avant-Garde

Publicity Release Posted: October 03, 2012 12:18:50 EST Filmmakers Laida Lertxundi and Michael Robinson to receive $5000 grants for recognized excellence in their field NEW YORK, October 03, 2012 | SHOOT Publicity Wire | --- The Film Society of Lincoln Center and the Kazuko Trust announced today that filmmakers Laida Lertxundi and Michael Robinson will be the first two recipients of the Kazuko Trust Scholarship Award Grants to be presented during the 16th edition of NYFF's Views from the Avant-Garde, the popular yearly touchstone for experimental film around the world. The filmmakers will each receive a $5000 grant in www.Filmlinc.com/NYFF recognition of excellence in their field. Both filmmakers will also debut new works at this year's Views From the Avant-Garde. Lertxundi's THE ROOM CALLED HEAVEN will make its World Premiere on Saturday, October 6 at 12:00PM in the Howard Gilman Theater and Robinson's CIRCLE IN THE SAND will have its World Premiere on Friday, October 5 at 5:30PM in the Francesca Beale Theater. The Kazuko Trust was established upon the death of Kazuko Oshima, a Patron of the Film Society who loved film, experimental film most of all. It was her wish to contribute to this worthy area of the film world after her passing, by awarding the Film Society with a five-year $50K grant ($10,000 a year or $5000 for two filmmakers per annum) for the purpose of creating a scholarship fund for worthy experimental filmmakers featured in NYFF's Views from the Avant-Garde. In addition, a seat in the Elinor Bunin Munroe Film Center was named in her honor. The Kazuko Trust Scholarship filmmakers were chosen by Views curators Mark McElhatten and Gavin Smith as well as Nellie Killian, film programmer at the Brooklyn Academy of Music and founding director of the Migrating Forms festival and Chris Stults, associate curator in the Film/Video department at the Wexner Center for the Arts. Kazuko Oshima (1942-2007) was born in Hiroshima on January 4, 1942 and was 3 years of age when the atomic attacks took place. Moving to the U.S. from Tokyo when she was in her early 20's Kazuko began experimenting with photography and later with video art. She made many notable contributions to the world of film and theater, artisanal jewelry and design and was known for her idiosyncratic style and convictions. Onscreen, Kazuko acted in Robert Frank's and Rudy Wurlitzer's film CANDY MOUNTAIN and was a narrator for two documentaries on Hiroshima-Nagasaki. Known throughout the city of New York as a notable art loving, art practicing woman, Kazuko made exclusive jewelry creations for Bianca Jagger and others as well as designing the wedding veil used by Madonna in the 1984 video for "Like A Virgin." These are but a few footnotes to her career. Laida Lertxundi's films have been selected for the 2012 Whitney Biennial, and other venues and festivals where http://www.shootonline.com/go/index.php?name=Release&op=action_print&id=rs-web3-1288568-1349281010-2

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Galería Marta Cervera The Film Society Of Lincoln Center and the Kazuko Trust Announce F…or 2012 at the 2012 NYFF Views from the Avant-Garde - SHOOTonline

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her work has been shown include MoMA, LACMA, the Viennale, Views from the Avant Garde at the New York Film Festival, and the Rotterdam International Film Festival. She received the Tom Berman Award for Most Promising Filmmaker at the 48th Ann Arbor Film Festival and was named in Cinema Scope’s "Best of the Decade" reviews and as one of the "25 Filmmakers for the 21st Century" in Film Comment’s 2010 Avant-Garde Film Poll. She is a film and video programmer in the U.S. and Spain, and has published various articles on film, most recently in the anthology La risa oblicua and Bostezo magazine. Lertxundi teaches film at the University of California San Diego and lives in Los Angeles, California. Michael Robinson's work has screened in both solo and group shows at a variety of festivals, museums, and cinematheques including The 2012 Whitney Biennial, the International Film Festival Rotterdam, the New York Film Festival, the London Film Festival, the Sundance Film Festival, Anthology Film Archives, the Wexner Center for the Arts, Tate Modern, MoMA P.S.1, Impakt, Courtisane, The Yerba Buena Center for the Arts, The Walker Center, Cinematexas, PDX, Kurzfilmtage Oberhausen, and the San Francisco, Melbourne, Leeds, Vienna, Singapore and Hong Kong International Film Festivals. He was the recipient of a 2009 residency from the Headlands Center for the Arts, a 2011-2012 Film/Video Residency Award from the Wexner Center for the Arts, a 2012 Creative Capital grant, and his films have received prizes from the Ann Arbor Film Festival, the Images Festival, Media City, Onion City, and the Chicago and Milwaukee Underground Film Festivals. Originally from upstate NY, Robinson holds a BFA from Ithaca College, a MFA from the University of Illinois at Chicago, and was a Visiting Assistant Professor of Cinema at Binghamton University. The 16th edition of Views from the Avant-Garde (October 5-8) once again will offer a robust slate of programming at the Elinor Bunin Munroe Film Center including free-to-the-public screenings in its Amphitheater, as it presents four days of singular work from the frontiers of innovative moving-image making curated by Mark McElhatten and Gavin Smith and sponsored by Film Armada. The opening day of Views will kick off with a Special Presentation of Phil Solomon's "EMPIRE" in a free public presentation with reception in the Elinor Bunin Film Center Amphitheater. The four-day event will conclude with a special day devoted to Avant-Garde master Peter Kubleka, including the U.S. Premiere of Martina Kudlácek;s four hour documentary FRAGMENTS OF KUBELKA and the special multiple projector piece MONUMENT FILM, a World Premiere presented by Peter Kubelka himself. Additional highlights include a retrospective presentation of Ferdinand Khittl's rarely seen THE PARALLEL ROAD, as well as tributes to the late Chris Marker (the first NYFF showing of SANS SOLEIL) and Raul Ruiz (the presentation of the fabled but rarely screened THE BLIND OWL). In addition Views is proud to once again include stellar new work by Deborah Stratman, Janie Geiser, Erin Espele, April Simmons, Mike Gibisser, Ben Russell, Shambhavi Kaul. Dani Leventhal, Fern Silva Ernie Gehr, James Benning, and many others. Also for the first time this year, web-based film distributor Film Armada has come onboard as a sponsor for Views From the Avant-Garde. Film Armada takes an editorial approach to web-based independent film distribution, focused on building a profitable channel for vanguard cinema. Other Views presentations of special note: Luther Price a notorious and perennial favorite at Views from the Avant-Garde will be featured with his first one-person show, A LUTHER PRICE BESTIARY. Each film screened is a unique art object carefully sculpted, treated, and collaged. Price was included in the 2012 Whitney Biennial where Roberta Smith of the New Times praised his work as one of the outstanding highlights of the exhibition. The first NYFF showings of Turner prize nominee Luke Fowler, internationally known artist Camille Henrot, and the installation artist and filmmaker, cinematographer, Peter Bo Rappmund. The presentation of Peggy Ahwesh's new restoration super 8 to 16mm blow-ups of her infamous and widely celebrated MARTINA'S PLAYHOUSE along with rare screenings of then new restorations of the work of Joe Gibbons. Both artists will be present at the screenings.

Laida Lertxundi http://www.shootonline.com/go/index.php?name=Release&op=action_print&id=rs-web3-1288568-1349281010-2

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Together at Last: The Whitney Biennial 2012 Film & Video Program | Film Comment | Film Society of Lincoln Center

23/04/13 13:37

Together at Last: The Whitney Biennial 2012 Film & Video Program By R. Emmet Sweeney on 4.23.2012 Until this year, Whitney Biennial film programs have felt like hastily arranged afterthoughts. Video artists would be granted their white-box loops, but filmmakers outside of the museum circuit would be sparsely represented. The 2012 edition came as a pleasant shock by including 15 directors, who, for one week each, would present their work in a dedicated screening room. This came about because Biennial curators Jay Sanders and Elisabeth Sussman tapped veteran film programmers Thomas Beard and Ed Halter to co-curate the section. Halter and Beard have made it their mission to break down boundaries between the contemporary art and film scenes. Halter helmed the magpie New York Underground Film Festival from 1996 to 2006 (which has since turned into the Migrating Forms festival), and both now lead the Brooklyn-based venue Light Industry, which presents installations and performances alongside rare screenings by Godard, Straub-Huillet, and other titans of the film avant-garde. For the Biennial, they selected works from all over the artistic spectrum—experimental (Nathaniel Dorsky, Jerome Hiler, Laida Lertxundi), documentary (Laura Poitras, Frederick Wiseman, Thom Andersen), and even (gasp!) narrative (Kelly Reichardt, Matt Porterfield).

Luther Price While the film section was previously run as a separate entity, this year it was programmed as part of the main exhibition, so the works selected for the theater enter a conversation with the pieces in the gallery. The first filmmaker scheduled, Luther Price, is a materialist who scratches and draws right onto the film frame, and has some of his slides are included in the galleries, objects of contemplation that start dancing when set in motion through a projector in the Whitney’s second-floor screening space. Nathaniel Dorsky’s films dance in their own way, although his are more traditionally produced through a camera lens. He is a patient image-grabber, lugging around his 16mm Bolex searching for moments of offhand beauty, whether a fugitive hand gesture or an accidental lens flare. He combines these disparate images into instinctual montages that flow according to a logic that seems to lie tantalizingly beyond conscious thought. He told Scott MacDonald in A Critical Cinema that, “I want successive images to be disparate and connected, and I want each shot to link back to earlier shots. The connection can be as simple as the return of a simple red or of a particular pattern. Sometimes it’s the iconography. There are various levels where your mind can make connections.” (The approach is a striking contrast to Werner Herzog’s forced connections in his second-floor installation piece, http://filmcomment.com/film-comment/entry/together-at-last-the-whitney-biennial-2012-film-video-program/print

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Galería Marta Cervera Together at Last: The Whitney Biennial 2012 Film & Video Program | Film Comment | Film Society of Lincoln Center

23/04/13 13:37

Hearsay of the Soul, which randomly mashes up landscapes by Dutch painter Hercules Segers with the music of Ernst Reijseger.)

Werner Herzog, Hearsay of the Soul There is an astonishing moment in Dorsky’s The Return (2011) when a woman is having a conversation in a café; only her hands are visible, framed behind a glass wall. There are no words, since his films are always silent (his artistic manifesto is named Devotional Cinema for a reason), forcing focus onto her expressive hands, which twirl through elaborations and then punctuate thoughts in staccato movements. It is a mini-ballet of embodied thought, whose arcs of movements are echoed throughout the rest of the piece, in the sway of a flower or a ray of the sun.

Forrest Bess, The Penetrator Dorsky seemingly has easy access to the maneuverings of his unconscious, and can give himself over to it, linking his work to one of the revelatory exhibits in the main galleries, that of Forrest Bess, the late Texas eccentric expressionist. Bess, a sometime Jungian who exchanged letters with Carl, was convinced that the truths of his existence lay somewhere beneath his consciousness, which he thought he could unlock by becoming a hermaphrodite and opening a hole at the base of his penis. The backstory might elicit shocked giggles, but his work http://filmcomment.com/film-comment/entry/together-at-last-the-whitney-biennial-2012-film-video-program/print

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Together at Last: The Whitney Biennial 2012 Film & Video Program | Film Comment | Film Society of Lincoln Center

23/04/13 13:37

silences those knee-jerk reactions. Using his invented symbology (there is an explanatory legend in the exhibit), Bess alternates between bold, comic-book style compositions of animals or evocative abstractions that work as psychedelic Rorschach tests, provoking associations as unexpected as those in Dorsky’s films. His Untitled #31 (1951) is either the uvula of a man counting sheep, or the penis of a perv into bestiality. Your imaginations may vary. While Dorsky is a major figure in experimental film circles, his longtime partner Jerome Hiler is a word-of-mouth master who has mainly showed his work at home to friends. Hiler’s usual medium is stained glass, creating panes for private homes, and the sculptural delicacy of the light in his rapturous new film, Words of Mercury (2011), attests to this experience. Hiler told MacDonald that “As a result of all the things that can happen with the great Projector in the Sky, what a piece looks like at ten in the morning in autumn is not what it looks like at six in the evening in summertime....’” In Words of Mercury he uses in-camera superimpositions to allow for a similar variability in the quality of light: capturing an image, rewinding the film, and recording a different visual over the same stretch of film stock.

Jerome Hiler, Words of Mercury This process creates conversations within shots as well as between. Upon first glance I thought the structure was to layer images of manmade and natural images, where a clock would be absorbed into the image of a field, which would flutter back and forth between background and foreground, a battle for supremacy. This turned out to be bunk, forcing my own need for structure on a film that operates on intuition and jaw-dropping spectacle. The images are their own justification. Laida Lertxundi also invites speculative narratives, but for a wildly different stylistic approach. Lertxundi is a Spaniard who now lives and works in Los Angeles, and her elegiac work expresses the solitary curiosity of the expat, built around the contrasts of loneliness and wonder. Cry When It Happens (2010) flips between images of boxy enclosures (windows, TV screens, bedrooms) and the open sky, set to the shimmering mod rock of the Blue (http://youtu.be/m9dX6jPHDHc) Rondos (http://youtu.be/m9dX6jPHDHc) ’ “ (http://youtu.be/m9dX6jPHDHc) Little (http://youtu.be/m9dX6jPHDHc) Baby (http://youtu.be/m9dX6jPHDHc) ” (http://youtu.be/m9dX6jPHDHc) , a plaint that is also an offer of escape. A Lax Riddle Unit (2011) uses James (http://youtu.be/p9crj3S0GSQ) Carr (http://youtu.be/p9crj3S0GSQ) ’ (http://youtu.be/p9crj3S0GSQ) s (http://youtu.be/p9crj3S0GSQ) “ (http://youtu.be/p9crj3S0GSQ) Love (http://youtu.be/p9crj3S0GSQ) Attack (http://youtu.be/p9crj3S0GSQ) ” (http://youtu.be/p9crj3S0GSQ) as the emotive backdrop to the indolent adults whirling aimlessly inside, the churning soul track expressing emotions Lertxundi’s actors won’t provide, locked inside their boxes, dreaming of the world outside. I found her work echoed in the languorous undated “sketches of women” by Eyre de Lanux, the writer and art deco designer, which feature emblems of femininity in scattered array, reclined torsos and pursed lips, emblems of eroticism and yearning. On the reverse side she writes the text of a lament: “oh my darling where are you,” a passive version of the Rondos’ lyrics of loneliness: “I need to see you/See you alone.”

http://filmcomment.com/film-comment/entry/together-at-last-the-whitney-biennial-2012-film-video-program/print

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Together at Last: The Whitney Biennial 2012 Film & Video Program | Film Comment | Film Society of Lincoln Center

23/04/13 13:37

Laida Lertxundi, A Lax Riddle Unit While Lertxundi wrings pathos from being an L.A. outsider, Thom Andersen is a native Los Angelean whose curmudgeonly historical excavations reveal a secret history of the city. His legendary “city symphony in reverse” Los Angeles Plays Itself (2003) traces the history of the city’s representation on film, filtered through Andersen’s gimlet eye. The more traditional documentarians on hand, Laura Poitras and Frederick Wiseman, give a cross-section of contemporary approaches to the form. Poitras is making a trilogy on the effect of 9/11 through, as she describes it, a “micro-macro” approach, following one individual to get a sense of the larger, fissured picture. My Country, My Country (2006) tracked a Sunni doctor as he ran for office before 2005 elections in Iraq, while The Oath (2010, being shown at the Biennial) looked into the life of Abu Jandal, an ex-Al Qaeda member (and current sympathizer), who once worked as a bodyguard for Osama Bin Laden. Because of her frequent visits to Iraq and Yemen to make these films, Poitras suspects she has been placed on a Homeland Security watch list. Glenn (http://www.salon.com/2012/04/08/u_s_filmmaker_repeatedly_detained_at_border/) Greenwald (http://www.salon.com/2012/04/08/u_s_filmmaker_repeatedly_detained_at_border/) of (http://www.salon.com/2012/04/08/u_s_filmmaker_repeatedly_detained_at_border/) Salon (http://www.salon.com/2012/04/08/u_s_filmmaker_repeatedly_detained_at_border/) . (http://www.salon.com/2012/04/08/u_s_filmmaker_repeatedly_detained_at_border/) com (http://www.salon.com/2012/04/08/u_s_filmmaker_repeatedly_detained_at_border/) has recently spotlighted her endless travails at U.S. customs, where she is always detained, and her electronic devices taken (and the data presumably copied). For the final chapter of these journalistic narratives, for which she has said will take place in the U.S., she may now be able to incorporate her life into her art.

http://filmcomment.com/film-comment/entry/together-at-last-the-whitney-biennial-2012-film-video-program/print

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Together at Last: The Whitney Biennial 2012 Film & Video Program | Film Comment | Film Society of Lincoln Center

23/04/13 13:37

Latoya Ruby Frazier, Grandma Ruby Smoking Pall Malls Wiseman is represented by Boxing Gym (2010), his sweat-drenched portrait of a small, un-air-conditioned gym in Austin, Texas. It’s every bit a dance film as his ballet portrait (La Danse, 2009) and burlesque show movie (Crazy Horse, 2011), and its portrait of working-class life mirrors the work of Latoya Ruby Frazier, whose series of stark B&W photographs document the industrial decay of her hometown of Braddock, Pennsylvania. This year’s Biennial percolates with such unexpected artistic dialogues. As Wiseman is considered alongside Frazier, and Dorsky with Bess, the arbitrary boundaries separating film art from fine art begin to disappear. And with independent theaters closing at an alarming rate due to the onerous costs of new digital projection equipment, moving images need the legitimacy and screening spaces of contemporary art museums more than ever. The 2012 Whitney Biennial is an inspiring template for how that union could work.

http://filmcomment.com/film-comment/entry/together-at-last-the-whitney-biennial-2012-film-video-program/print

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Views from the Avant-Garde, 2011

Unstable Images New York Film Festival’s Views from the Avant-Garde, 2011 by Genevieve Yue Depending on whom you talk to, Views from the Avant-Garde, the New York Film Festival’s experimental outpost, has either stubbornly or bravely maintained its core of what could be called the “traditional” avant-garde: screenings devoted to the work of long-canonized elders, a familiar range of formal stylistics, and a stalwart dedication to celluloid filmmaking and projection. And while that emphasis is certainly present, the festival’s programmers, Mark McElhatten and Gavin Smith, deserve 1 de 5

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Unstable Images New York Film Festival’s Views from the Avant-Garde, 2011 Laida Lertxundi by Genevieve Yue


Views from the Avant-Garde, 2011 | Reverse Shot

Galería Marta Cervera

http://reverseshot.com/article/views_avantgarde_2011

credit for bringing to attention the films of younger and emerging artists, works shaped by a range of available and sometimes invented technologies, and, true to the general notion of experimental film itself, films that push the size, shape, and scope of what the medium, or media, might be. Now in its fifteenth year, the mini-festival has returned larger than ever, stretching into the Monday of a long weekend and, for the first time, running simultaneous programs in two theaters, the Walter Reade auditorium and the newly constructed Elinor Bunin Munroe Film Center across the street. Claims to size, though, might be misleading; although Views is the preeminent North American festival for films of its kind, it’s still relatively small, a feature that facilitates both a manageable sense of community as well as grumbling complaints of exclusion. I’ll consider the latter an occupational hazard, particularly when the work selected is so consistently strong. The word “views” may sound antiquated, recalling the sepia-bathed landscapes of early photography, but it is also forward-looking, opening cinema up to a broader history, and inclusive future, of a variety of moving-image technologies. This year featured a gallery displaying plasma-screen installations that gestured to the always-shifting terrain where experimental film meets the art world. This intersection was perhaps best represented by Anne McGuire’s Inferno Towering The (2011), one of the video artist’s reverse edits in which an entire Hollywood disaster movie is resequenced from end to beginning. Nothing plays in reverse, so while the film might appear sensible at first, a closer look reveals severed lines of continuity. By exposing the seams of suture, McGuire demonstrates just how contingent our comprehension of film grammar can be. Additionally, as this work concerns the fall (and fallout) of a burning skyscraper, it’s difficult not to watch it without recalling the footage of 9/11, which, on its tenth anniversary, dominated television news just a month ago. The clunkiness of the original here remains, but in distorted form, and out of the work’s scrambled language emerges a long shadow of foreboding. George Kuchar explicitly invokes the Tower of Babel in Lingo of the Lost (2010), one of two collaborations the late filmmaker made with his students at the San Francisco Art Institute, the other being Empire of Evil (2011). Deliriously inventive and energetic, the two videos, like all of Kuchar’s work, gleefully transgress good taste and generic boundaries. In Lingo of the Lost, which is, fittingly, less narratively coherent than the noirish Empire of Evil, Kuchar mixes a tale of a nun who gives in to the “naked heat of poison passion” with pouty melodrama, sci-fi inflected eschatology, and a debauched Hollywood red carpet scene featuring starlets that preen and pose amid fluttering paper money. Of all the film’s wildly alliterative intertitles—see “a cosmetic cosmos of corrupt concubines” or “kidnapped by kindness”—the funniest might be “contemporary cinema,” a domain perennially ripe for Kuchar’s twisted sense of satire. Empire of Evil, meanwhile, features the lurid underworld of illicit arms dealer and nightclub owner Christina Salazar, her chaste daughter, and the detectives that get swept up in her nefarious plotting. In contrast to the tense We Can’t Go Home Again (1972/2011), the Nicholas Ray student collaboration playing elsewhere at NYFF, Kuchar’s students actually seem to be having fun. While each film contains only a few main characters, it’s the near-ubiquitous crowd of people in the background, seen draped around each other and often dancing, that lends both works a sense of irrepressible enthusiasm, an “otherworldly humanity” discovered at the end of Lingo of the Lost that could also describe Kuchar’s indelible legacy. Peter Mays similarly mixed and muddled genres with The Death of the Gorilla (1966), one of several films presented as recent restorations made by the Academy Film Archive. With the camera pointed at the television, Mays recorded snippets of Hollywood films reformatted for the small screen, with images of swashbucklers, flying saucers, and imperiled women frequently superimposed over each other and viewed through colored filters. As the title suggests, King Kong makes up the film’s core, and the recurrent images of the great ape trampling across Manhattan to his own eventual death points to, in concert with the fragments of sound and generic image crammed around it, a rush of accumulated chaos. Chick Strand’s raw and vivid Señora con flores (1995/2011), another Academy Film Archives project, was easily one of the boldest works presented at Views. This tale of a flower 2 de 5

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Galería Marta Cervera

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seller and her violent husband, and the nights she’s too afraid to sleep, is set off by robust colors—seen in her wares and the brilliant prints of the clothes she washes in the river. Her words open a painful depth to the film’s images of rural splendor, though out in the fields and flowers, accompanied by her children, she finds some sense of relief. However beautiful Strand’s camerawork, the woman’s sorrowful, folk song–like story, by its very presence, insists that images cannot be read innocently as mere objects of aesthetic pleasure. Jonathan Schwartz’s Between Gold (2011) also maintains a sense of ambivalence in the viewer in its journey between the Straits of Bosporus, the waterway that connects Europe and Asia. Still shots of market vendors and mostly quiet alleyways where, at one residence, two children peer through the crack of a red door, give way to a longer sequence at sea, and there Schwartz films a woman sitting on a ferry’s open deck, her face slightly turned and her hair flapping gently in the wind. While the camera maintains its gaze on her, it’s uncertain what she’s looking at, or what she might be thinking. Her expression remains inscrutable, even when her eyes glance over to meet the camera lens, momentarily acknowledging its presence without comment. In the space between two points or two people, Between Gold stretches the unknowable distance. Such gaps are more hazily suggested in Gazette (2009), Eliénore de Montesquiou’s documentary portrait of an elderly woman, Dora Grafova, chatting about the magazines her family read during the Soviet era. Shot in soft, over-exposed Super 8, she sits at a table with a bookshelf behind her, trying to recall how many subscriptions they received. The names of the journals return to her—Peasant Woman, Worker Woman, and the curiously titled Potato and Vegetable—and she discovers she remembers more than she initially thought. Though the four-minute film appears modest in its singular question and subject, its implications are much more grand, awakening a history that many, including Grafova, have forgotten either willfully or not, and, in the process, discovering its presumed scarcities to be replete with another kind of life. A number of films depicted the process of labor, whether in the observation of factory workers or the making of moving images. Sack Barrow (2011), one of three Ben Rivers titles this year, takes place in an electroplating factory shortly before it was to be closed down. Keeping the workers on the margins of the frame, the film concentrates on the factory’s steaming vats and rusted machinery. It cuts occasionally to the decaying surfaces of doors and walls of peeling paint to emphasize an abstracted, otherworldly sense of place. We see the ritual of work, as well as the tiny, totemic objects that labor creates, but Rivers, instead of producing the kind of film that shows how things are made, remystifies the forces of production as something enigmatic, even alchemical. Daniel Eisenberg’s The Unstable Object (2011), meanwhile, fixes on the sensual aspect of work in its examination of three workplaces: a gleaming luxury car factory in Dresden; a clock-making plant in Chicago; and a small, 400-year old cymbal factory in Habiblar, Turkey. Eisenberg refrains from commentary or interview, though as Harun Farocki did in In Comparison (the two filmmakers also share a cinematographer, Ingo Kratisch), he uses juxtaposition to underscore variation in different types of work, focusing here on the progression of the senses. In Dresden, sight is emphasized through the image of routinized whitegloved labor as offered to the factory’s visitors and customers; the Chicago location showcases the sense of touch as blind and sight-impaired workers feel their way through the assembly of office clocks; and in Habiblar, where craftsmen hammer bronze discs into cymbals, sound gives the film its resplendent, hand-wrought conclusion. What’s unstable here aren’t the fabricated objects, but the way the workers are themselves variably defined by the products they make, appearing as performers, assembly line cogs, and artisans. In watching and comparing them, Eisenberg’s camera further destabilizes these roles, suggesting that a worker might be all of these things at once, and possibly more. In Klaus Wyborny’s case, the filmmaker is also a kind of engineer, and in Studies for the Decay of the West he matches tinkling piano notes and a quavering violin with 6,299 shots of industrial detritus, machine-blighted landscapes, and the facades of urban factories—from the Ruhr valley, mostly, but also East Africa, Rimini, and New York. Wyborny’s 80-minute opus, begun in 1979 and completed 3 de 5

Laida Lertxundi

27/06/13 19:09


Views from the Avant-Garde, 2011 | Reverse Shot

Galería Marta Cervera

http://reverseshot.com/article/views_avantgarde_2011

last year, was composed entirely in-camera based on audio recordings he made in the 1980s, and beyond the impressive magnitude of his project, his greatest achievement is his sensitivity to machine and musical decay. With filters, angled repetitions, and superimpositions designating related notes and chords, Wyborny’s synaesthetic organ also registers an acute synchronicity as sounds and images fade, together, into darkness. In many ways the opposite of Wyborny’s meticulous synthesis, selections from Stephanie Barber’s Jhana and the Rats of James Olds or 31 days/31 videos, a project she made in more or less literal residence at the Baltimore Museum of Art, also demonstrated the process of image making but in a far more improvisational way. Barber, having relocated her studio into the museum’s central gallery, worked with visitors to create a video every day, and in addition to participating in Barber’s videos, those who would normally be passive viewers of her work could also watch her shoot, edit, and exhibit their collaborative films, putting the artist and her method on display. The results are unsurprisingly aleatoric, but no less delightful. Miniatures, for example, pairs lines of text read by visitors with tiny Elizabethan portraits, and in a sense giving ghostly voice (at one point a child says, “I have already grown and died”) to the staid, stiff-collared figures. In Tatum’s Ghost she reedits an episode of Unsolved Mysteries, itself about the mildest of haunted houses, and in scrolling text overlays a range of thoughtful and absurd YouTube comments, some invented by Barber, about other people named Tatum, ghost pranks, and something called “a Hitler walk.” It’s impossible to read everything and pay attention to the clipped narrative, but the video is delightfully frustrating, providing surprises on both levels. As the eye shifts between text and image, the film demonstrates what ghostly imprints each has on the other. Charlotte Pryce’s Curious Light (2011) reads text as image, studying in close detail the shape of a book, as Pryce’s camera enters, sidelong, an illustrated copy of Lewis Carroll’s Through the Looking Glass. This manuscript is illuminated by sharp slivers of light, which also cast deep shadows in the textured page folds, suggesting mysteries as deep as the story’s rabbit hole. Laida Lertxundi’s A Lax Riddle Unit (2011) also shows a series of gentle transformations. Each of the film’s turns reveals a surprise: a woman suddenly appearing in bed, and, from behind an album cover, her shy smile. With the film’s elements of Los Angeles landscape, houseplants, and James Carr’s plaintive “Love Attack,” continually rearranged like the letters of the title, which is an anagram for Lertxundi’s own name, there is the sense of kaleidoscopic rotation, breathtaking views made with the slightest of movements: changing light, cuts, and slowly revolving camera pans. The world in Josh Gibson’s Kudzu Vine (2011), meanwhile, is already changed. Nearly buzzing with Kirilian energy in hand-processed black-and-white 35mm Cinemascope, and shot frequently in time-lapsed sequences, the film presents the title plant as though animated with otherworldly life as it overtakes the rural South. The film is a science-fiction fable in which humankind didn’t adapt; save for a cheery voice, heard from an antique radio, that extols the merits of the miracle plant, and a woman who has learned to live with the kudzu by making baskets and paper from its pulp, the landscape is entirely depopulated, and whatever life remains is covered in thick, downy layers of the omnipresent vine. Erin Espelie’s Silent Springs (2011) depicts another version of evolutionary peril. Amid a solemn, grainy wall of fountain heads, the film’s images of laboratory frogs tells a different story, their tiny figures prodded by blue-gloved fingers and tweezers, and, as the voiceover tells us, their skin dissolved by chemicals. As Silent Springs, which borrows its title from the work of biologist and conservationist Rachel Carson, highlights the deleterious effects of pesticides, it indicates how these amphibians, among the oldest forms of life on earth, are threatened by change that comes too quickly. All that may remain, the film seems to suggest, are dusty slides seen in early scenes through an antique microscope. Like the series of stony faces spouting water, their neatly labeled procession freezes an image of rarefied life. In the Q&A following the screening of Words of Mercury (2011), Jerome Hiler explained why, early in his career, he left cinema to work in stained glass. Film images were ephemeral, but with medieval glass, he observed, “the colors won’t fade.” Many years later he returned to cinema and embraced the 4 de 5

Laida Lertxundi

27/06/13 19:09


Galería Marta Cervera Views from the Avant-Garde, 2011 | Reverse Shot

http://reverseshot.com/article/views_avantgarde_20

medium’s fragility, and Words of Mercury, shot on reversal film, edited largely in camera, and projected as original, made for Views’ most immediate and most moving experience of film’s luminosity. Pairs of superimposed landscapes light up the screen, often in mixed light: an afternoon pond glowing with fireworks, a magenta seascape brushed with long stalks of yellow grass. In between these segments the film fades to a black so dense it is as if the projector lamp has been momentarily extinguished; the effect was achieved by dipping the film into black liquid. Like all of Words of Mercury’s colors, the darkness is a crucial ingredient for the film’s magic, and it matched that moment when, before a film, the theater lights are down and the audience is hushed with anticipation for what might appear. Here, too, we rested and waited for the next brilliant image to emerge. Image from Señora con flores. issue 30 New York Film Festival 2011 Advertise here

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Laida Lertxundi


nicht kannte, zwar über ein DJ-Fe wundert, weil Cervera er das Ganze Klangvoll: Was haben die DJ-Duos Flowing und Fabian Reichelt & Jaycoa Folk-Konze Jr. (von links) mit Marco Resmann (rechts oben, sonst tes im Duo Luna C Theorien Express) und Mentell sowie den nicht abgebildeten DJsmit Dsant, M.onod Blood Axis au nette Dinge in decken. Seite 11 SZENE LEIPZIG Weitere Hinweise auf der Service-Seite Worin liegt Leipzig Live und im Internet unter Weine, wenn’s dir passiert: Szene aus dem den Dubliners? www.leipzig-live.com Experimentalfilm „Llora Cuando Te Pase“. Darin, welc weils davon h Was da im Einzelnen zu sehen ist, er- chael Moynih Feinkost-Sommerkino innert in Stimmung und Habitus nicht Strömung nam Langebach ü selten an Soziologe die FotografienMartin eines Stephen lismus zuzuord Shore. Sequenzen wie aufscheinend aus sches Konzep Jour Das Kruckenkreuz erinnert ans Hakendem Unspektakulären, wie die siker, Suchesondern Renéauch Guénon Erdem gibt diedem Zeitschrift Ty kreuz. Es nach war in den Unbestimmtem 30er Jahren ein etwas hinter Italiener etwa Alain de Benoist, Erkennungszeichen österreichischer Gewöhnlichen, dem Offensichtlichen. wurde. Der I französischen R Nationalisten und Unbestimmte ist heute dasistLogo Dieses eine reizvolle lehntNeuen die aufge über der US-Band Blood inAxis, die am vonMoynihan Grundierung den Arbeiten Laida elHeide, Moynihan ein Aufsatz 20. AugustLertxundi, in der Theaterfabrik spielt. die wie sanfte EcholoteAuch funkOdinist.Julius Er plE Drei Exkursionen. Kontemplativ. in Tyr. ist längst DJ-Festival im KomGrünen: Café Waldi feiert in der Villa Hasenholz Deren Musik klingt aber wie Suche harmloser tionieren. Auf der nach der ver- Evola Vorstellung vot Klangvoll: Was haben die DJ-Duos Flowing und Fabian Reichelt Jaycoux Luvless, Dan Drastic und Daniel Stefanik gemein? Sie legen von morgen, statt, wo die Südvorstadt fast schon zur Innenstadt wird, sondern tief im primiert. Kunstvoll. Die &„Reihe ExperiAufstieg des italienisch Irish Folk. Mathias Wöbking hat den lorenen Zeit? Vielleicht. In Jr. (von links) mit Marco Resmann (rechts oben, sonst im Duo Luna City 20 Uhr, bis Sonntag, 22 Uhr, alle beim vielversprechenden SommerfestiNordwesten: in Ballsaal und Garten derjedem Villa HasenholzFall (Gustav-Escheüberdenken. E Express)mentalfilm“, und Mentell sowie den nichtdie abgebildeten DJs Dsant,Folge M.ono & val Cafés Waldi auf. Das findet nicht in der angestammten Kneipe Straße 1) am Leutzscher S-Bahnhof, Eintritt 10 Euro. in loser indesKoopephilosophisch begleitet, Soziologenaber Martin Langebachunakademisch über poangenehm auf-Fotos: PR ration zwischen Filmgalerie Alpha 60, litische und davon distanziert, weil ideologische Hintergründe scheinend (selten bei ExperimentalfilKunstraum D21 und der Kinobar Prager einer merkwürdigen ihm zu positiv auf die M Gruppe befragt. men) und nicht ohne Sinn für obskure Frühling stattfindet, zeigt heute auf der grale Traditionalisten se optische Effekte und eigentümlichen Frage: Warum istNeben es so schwer, die poFeinkost drei Arbeiten der spanisch te in der Pflicht. Humor. „Cry When It Happens“ Soziologe Martin Langebach über das Konzert der litische umstrittenen Neofolk-Band Blood AxisBlood in der Theaterfabrik Haltung der auf Band Axis stämmigen Künstlerin Laida Lertxundi. sind heute der Feinkost noch „FootInwiefern greift die M siker, sondern auch Journalist und Autor. Die übliche Ausrede lautet, dass ein Das Kruckenkreuz erinnert ans Hakeneindeutig zu benennen? Motel-FassaEr gibt dieeiner Zeitschrift Tyr heraus, in der Emblem wie „My das Kruckenkreuz schon kreuz. Es warDer in den Bildausschnitt 30er Jahren ein notes To A House Of Love“ und AxisTediese esoterisch-ph etwa Alain de Benoist, Vordenker der Jahrtausende vor den Austrofaschisten Erkennungszeichen österreichischer de.undInist den Scheiben derNeuen Fenster spiegelt französischen Rechten und wie entstanden sei. Nationalisten heute das Logo Martin Langebach: Weil unsere Und Katears Are Dry“ zu sehen. zwar nicht Ideen auf? tischen Moynihan Heide, über Götter schreibt. der US-Band Blood Axis, die am Die Ausrede ist völliger Schwachsinn. Auch ein Aufsatz Julius Los Evolas findet sich 20. August in der Theaterfabrik spielt. sich eine Stadtlandschaft. Angeles, gorien zu eindimensional sind. Die Frage Essondern waren erst Blood von Axis, die dieses als Digital-Projektionen, Erst gibtRechte es e in Tyr. Evola ist längst tot, er hatte den Deren Musik klingt aber wie harmloser In der Neuen Symbol in die Grufti-Szene eingeführt Aufstieg des italienischen Faschismus entIrish Folk. Mathiaseine Wöbking Fata hat den wie Morgana, seltsam haben. Und zwar vonreizAnfang an explizit lautet meistens schlicht: Ist Bandchef Mioriginaler 16-Millimeter-Kopie. Ein öffnet sich m philosophisch begleitet, sich dann aber Soziologen Martin Langebach über pomit dem Verweis Konzept auf die österreichischen der Metapolit davon distanziert, weil der Faschismus litische und ideologische Hintergründe rückt und sehr präsent zugleich. Später chael Moynihan Nationalisten. Auf Lanz von ein Neonazi oder sich nicht? volles Format, welches ungefähr soLiebenfels, vorhang. Eine ihm zu positiv auf die Masse setzte. Inteeiner merkwürdigen Gruppe befragt. der als Mann gilt, der Hitler die Ideenpolitischer konkreter Z grale Traditionalisten sehen eher die Eliein TV-Gerät in einer Wüstenlandschaft, gab. Aber das politische Spektrum kennt Abansieht, wie sich alte Rock’n’Roll-Raubten und So Frage: Warum ist es so schwer, die pote in der Pflicht. metapolitisch Auch auf demversucht, Wave-Gotik-Treffen ist litische Haltung der Band Blood Axis InwiefernWolken greift die Musik an von Blood auf dem Bildschirm einem stufungen.pressungen einejunge gängige Rechtfertigung für das TraMoynihan anhören. gehört Die keiner FilmeFranky’s Bar. eindeutig zu benennen? Axis diese esoterisch-philosophisch-poliüber gen zweifelhafter Symbole,Musik dass sie zu vermitte Martin hohen Langebach: Weil unsere Kate- Noch tischen Ideeneinmal auf? Himmel. später, auf rechtsextremen schon vor den Nazis existierten. Kann Partei an, doch lässt sich macherin wird zudem Gast auf der schen un gorien zu eindimensional sind. Die Frage In der Neuen Rechten existiert das ein Zeichen aberzu nicht machen. auch seine UnAls sie Kunst lautet meistens Ist Bandchef Midenschlicht: Felsen vorKonzept Gischt schäumendem der Metapolitik als Überbau schuld verlieren?Georgi meines sehr wohl dass Feinkost sein. Steffen Tisch. Doch d Von der christlichen Lehre hältErachtens Michael Moynihan, Jahrgang 1969, als Odinistsagen, nicht viel. chael Moynihan ein Neonazi oder nicht? konkreter politischer Ziele. Moynihan Axis einen Geist erwecke Um ein krasses Beispiel zu nennen: Dennoch stilisiert er sich mit seiner Lebensgefährtin, Geigerin Annabel Lee, wie in einem Aber das politische Spektrum kennt Abversucht, metapolitische Vorstellungen eine Meer, ein Ghettoblaster, daneben Mag sein, dass das Hakenkreuz einst hen. für ein umRechtsradikaler ist. „Born Der philosoJesus-Bild der er Renaissance, das 2010 erschienene zweite Studio-Album Again“Laida zu Eine jun stufungen. Moynihan gehört keiner von Lertxundi, heuüber Musik zu vermitteln und attraktiv GExperimentalfilme die Sonne stand.völkischer Die dominante Bedeu-und faschisti bewerben. Daneben ein Plakat von 1998 samt Kruckenkreuz. Der Düsseldorfer Soziologe rechtsextremen Partei an, doch lässt sich zu machen. Als Betrachter, Kunstform soll Blood den Frau, Rücken zum tung ist hierzulande aber, dass es für die phische Überbau für seine Arbeit als MuMartin Langebach, Jahrgang 1969, hat unter dem 21 Pseudonym Christian Dornbusch unter anderjacke deutD meines Erachtens sehr den wohl sagen, dass te, Uhr, Feinkost-Sommerkino (Karl-LiebAxis einen Geist erwecken, der auf Basis nationalsozialistische Partei steht. Und nationalsozialistischer derem das Standardwerk „Rechtsrock – Bestandsaufnahme und Gegenstrategien“ mitherauser ein Rechtsradikaler ist. Der philosovölkischer und faschistischer respektive Blick zum wenn die Öffentlichkeit genau das damit gegeben. Da ersiker für seine Forschung weiterhin unerkannt auf Veranstaltungen von Rechtsradi- 6/5 knecht-Straße 36), Eintritt Euro und Herausgeber wie Verleger baphische Überbau für seine ArbeitHorizont. als MuMann, der m nationalsozialistischer Denker die Zuassoziiert, dann dürfen sich Leute, die möchte, veröffentlichen wir kein Foto von ihm. Fotos: Storm, Sigill kunft gestaltet. siker und Herausgeber wie Verleger bakunft gestaltet. „Llora Te Pase (Cry Whenkalen Itrecherchieren sich damit schmücken, nicht beschwesiert auch auf weit rechts Cuando stehenden siert auch aufdet. weit rechts stehenden „Er ist Frank Man fragt sich zuerst, was ist denn durch ist Moynihan bekannt geworden. Wie wichtig ist die ren, wenn sie als Nazis angesehen werDenkern, solchen, die das für eine Ästhetik? Aber die Rückseite Später hat nicht nur der eklektische Muin der Neofolkden. Sie tragen das Zeichen schließlich, Happens)“ heißt diese Band 14-minütige Inspiration der NeuDenkern, solchen, die INTERVIEW sich nicht soWi l zeigt einen Jungen mit erhobenen Armen, sikstil Blood Axis Aufmerksamkeit beSzene? um etwas nach außen zu symbolisieren. en Rechten sind. ein Foto aus dem Warschauer Ghetto. Da schert, auch die militaristische Band Genauso wenig wie mit dem Hakenkreuz Impressionen Sie zwischen ur- sondern ist eine Legender NeuWoran Film-Reise. ist das zu nicht Franky INTERVIEW wird die Ambivalenz deutlich. Die RückAufmachung Inspiration der Tonträger. kann man mit dem Kruckenkreuz heVolkshaus: Ü30-Party de – und das, obwohl sie musikalisch reerkennen? seite des Blood-Axis-Albums „Gospels of Szen rumrennen und sagen, es hatte vor tauIan Curtis trat sogar in SSbanen Beengungen und bedrückend lativ wenig veröffentlicht hat. Der Status enseinerzeit Rechten sind. noch Haare!“ Es ist auf den ersten Blick nicht leicht. Inhumanity“, Choräle der Unmenschlichsenden Jahren eine andere Bedeutung. Uniform auf und verwirrte damit das in der Szene hängt zum einen damit zuAuf der Facebook-Seite von Blood Axis keit, von 1995 besteht hingegen aus eiBlood Axis haben es nunmal mit dem Publikum. Heute ist er eine unumstritteweiten Landschaften, jetzt „Discotronic“ sammen, dasszwischen Moynihan vor BloodBlicken Axis Mit den Wh kann man drei Youtube-Videos von einem Bild, auf dem österreichische NatioSie Bild österreichischer Nationalisten in die ne Indie- wie Darkwave-Ikone. Worin das zu Woran ist schon an anderen Projekten beteiligt war, nem Auftritt im April in Rom anschauen. nalisten mit Kruckenkreuz-Fahnen durch Szene eingeführt. unterschied sich die Form, in der sich etwa an einer vielbeachteten NON-Insze- und auf Details kleinen Brennwinkeln Man hat da den Eindruck, einfachin auf eiArm stolpern Straßen ziehen. Dasvom Kruckenkreuz de das, obwohl sie Ist der Anfang Ende eines Trends? Joy Division erkennen? solcher Nazi-Symbole be-esdie Was erwarten Sie für–einund Publikum in nierung mit Boyd Rice 1989 in Japan. nem Irish-Folk-Konzert zu sein. Drei Muhaben Blood Axis zu ihrem Bandlogo gedienten, von Blood Axis? der Theaterfabrik? Die Performance war sehr hart, symbo-auch suggestiven Totalen. Und immer siker, einer sitzt und singt, dazu folklorismacht. Und das ohne jeden Bruch, da ist Vor acht W lativ wenig veröffentlich Das Volkshaus tauft seine Party-Reihe, lisch offen und wurde zum Teil als TabuAuf der ersten Joy-Division-Platte von Ein klassisches Neofolk-Publikum im tische Klänge. Es könnte auch in der nichts, wo man sagen könnte, ach, da leicht. Es ist auf den ersten Blick nicht bruch wahrgenommenPortraits. und goutiert. Da- Bil1978 ist ein stilisierter HJ-Junge abgebilMilitary-Look. Es ist das einzige Konzert Leipziger Menschenbeobachtungen, Theaterfabrik manchem Kurzsetzen sie sich„Ü30-Exquisit“ kritisch auseinander. werk-Sommer inLeute der Szene hängt zum die zuletzt hieß, morgen Deutschland. Die aus Nordrheinentschlossenen, der die Band bislang von Blood inWestfalen Axis fahren wohl eher nach Belgien, der, in einer sanft schreitenden und Auf der Facebook-Seite nicht kannte, so ergehen, dass er mal sich Am 15. Juni e sammen, dass Moynihan in „Discotronic“ um. Man wolle die Ü30alle anderen kommen nach Leipzig. Auch zwar über ein paar komische Besucher kann man drei Youtube-Videos von eiRechtsradikaler oder Hippie? Eine Leipziger Kontroverse ganz normale Gruftis werden sich darunmal harsch Montage verfügt. wundert, weil sie Uniformen tragen.ruppigen Dass und seinProjek The schon an Fete nicht mehr so nennen, weil es derlei ter mischen. Und dann noch ein paaranderen von er das Ganze aber ansonsten für ein netder Theaterfabrik fühlt man anschauen. sich „zwizufolge als „altlinke In dem vonim InApril Das Aktionsnetzwerk „Leipzig nimmt Platz“ nemZecke“. Auftritt in Rom der NPD – so wie auf dem Wave-Gotiktes Folk-Konzert hält. Wer sich hingegen schen zwei Stühlen“, Sprecher Roy ihm herausgegebenen und im Leipziger hat die Theaterfabrik im Juni in einem nicht Casino name etwa vielbeacht inden Leipzig undwie Umgebung Treffenmittlerweile seit Jahren auch, daan musseiner man mit Theorien der Neuen Rechten und mit Meißner sagt. Es handelteinfach sich um eine auf eiPlöttner-VerlagMan erschienenen Band „Schilöffentlichen Brief gebeten, „die Ausrichhat da Eindruck, sich nichts vormachen. Die NPD weiß um Blood Axis auskennt, wird auch weniger Fremdveranstaltung. Bevor Meer“ die jetzige De- gebe, dort lerndes Dunkel“ ist Moynihan mit „wie einem tung des Konzertes von Blood Axis zu überdem sitzen je mit Boyd Rice Sand am aber Traditiodiesen Überbau nierung des Integralen nette Dinge in Musik und Auftreten entbatte begonnen habe, man trotz Drei ReAufsatz über nem den Soundtrack zum Film denken“. Das Schreiben zitiert Michael Irish-Folk-Konzert zuseisein. Mu-und sucht nalismus Anknüpfungspunkte. decken. cherchen nicht auf die Idee gekommen, „Lucifer Rising“ vertreten. Moynihan unter anderem mit der Aussage, Mau-Mau-Spi Die Performance war se „meist eine andere Musik“ laufe. oder Halten Sie esSo für Zufall, dass die NPD Worin liegt also der Unterschied zu dass mit Blood Axis etwas nicht in Ordnung Im Gegensatz zu Nym einer charakterisierte dass ihn an Geschichtsrevisionisten, also siker, sitzt und singt, dazu folklorisam Konzerttag eine Kundgebung am Völden Dubliners? Nach wie vor fällt die Musik für Meißdie Leipziger Linken-Stadträtin Juliane NaHolocaust-Leugnern, in erster Linie störe, lisch offen und wurdeaus zu so seisei. im Volkshaus morgen der „bewährangemeldet hat? Gestalten nerEs unter die Freiheit der Kunst. Um sicher in kerschlachtdenkmal gel Moynihan daraufhin als „Überzeugungs„dass sie von der Annahme ausgehen, Darin, welches Verständnis man jetische Klänge. könnte auch der zu gehen, habe das Haus aber Ordnungstäter“, dessen „rechte Phase offensichtdas Töten Millionen unschuldiger MenDa würde ich schon deutlich trennen. weils davon hat, Kultur zu machen. Mibitionszeit mu wahrgenommen te Mix aus Rock, Pop und Soul“ zuderbruch hören. amt und Verfassungsschutz zum Konzert lich nicht“ vorbei sei. Bis in die Gegenwart schen sei als solches ‚böse‘“. Nachdem Denn das Gros Leute dort wird durch chael Moynihan ist einer politischen Leipziger Theaterfabrik manchem Kurzeingeladen. Zudem wolle die Theaterfabrik veröffentliche er ohne Distanzierung Texte die Leipziger Internet-Zeitung über den die Musik bedient, die es auf dem AufStrömung namens Integraler Traditionaauf die Tanzfl deutlich machen, dass Nazis 22marsch von obskuren Okkultisten wie dem SS-Bri-„Discotronic“, Brief berichtet hatte, entbrannte auf deren hören bekommt. Ein paar morgen, Uhr,zu Volkshaus lismus zuzuordnen. Es ist ein philosophiG mitund Plakaten entschlossenen, derSymbole dieunerwünscht Band deren seien.bislang gadeführer Karl Maria Wiligut und US-NeoOnline-Seiten eine Kontroverse. wenige Ausnahmen sind die Macher der sches Konzept, das auf den Franzosen den inszenie Meißner fällt von anderer Warte ein ver-36)NPD-nahen Zeitung „Hier und jetzt“ aus nazi James Mason. Nun schaltete sich(Karl-Liebknecht-Straße Der Kulturwissenschaftler Alexander René Guénon zurückgeht und das von nicht kannte, so ergehen, dass er sich nichtendes Urteil über Blood Axis: „Die Moynihan selbst ein und beanspruchte als Nym nahm Blood Axis als „Hippies“ in Sachsen, die in den vergangenen Jahren dem Italiener Julius Evola modifiziert Musik“, sagt er, „ist todlangweilig“. mwö „Künstler, Musiker und Schreiber“ wahrgeSchutz, „die Folkmusik machen“. Moyniauch immer Veröffentlichungen aus dem wurde. Der Integrale Traditionalismus zwar paar komische Besucher nommen zu werden, nicht über als Politiker.ein In han habe lediglich Anfang bis Mitte der Neofolk-Spektrum rezensiert hat. Deren lehnt die aufgeklärte Moderne ab. MichaGBlood Axis, Andrew King, Barditus, 20. AuReaktion auf Nagel nannte er Wiligut „ei90er eine „rechte Phase“ durchlebt. Sich Chefredakteur Arne Schimmer, NPD20.30 Uhr, Theaterfabrik (Franz-Flemel Moynihan ist Heide, praktizierender weil siegust, Uniformen tragen. Dass ming-Straße 16), Eintritt 24 Euro genartig“ und wundert, Masons Ideen „widerlich“. selbst bezeichnet Nym der Internet-Zeitung Landtagsabgeordneter, war dieses Jahr Odinist. Er plädiert dafür, die bisherige mit Kameraden auf dem Wave-GoVorstellung von Menschlichkeit neu zu er das Ganze aber ansonsten für einauch nettik-Treffen. überdenken. Er ist zudem nicht nur MuDas Aktionsnetzwerk „Le tes Folk-Konzert hält. Wer sich hingegen die Theaterfabrik im J Schaubühnehat Lindenfels mit Theorien der Neuen Rechten und mit öffentlichen Brief gebet „Totentanz“ des Blood Axis auskennt, wird auch weniger tung des Konzertes von B Vier Wochen vor dem Finale fällt die Mafia in die Mau-Mau-Town vom Theater Pack ein Theaters Derevo nette Dinge in Musik und Auftreten entdenken“. Das Schreibe Erst gibt es einen lauten Schrei, dann Die schillerndste Figur ist aber zwei- Das mehrfach preisgeöffnet sich mit einem Ruck der Samtfellos Mademoiselle Aubergine, gespielt krönte Theater Derevo decken. Moynihan unter anderem vorhang. Eine Horde Männer mit Hüvon Stephan Jurichs im schwarzen lässt sich für sein Gastten und Sonnenbrillen stürmt in Samt-Minikleid. Sie führt an Stelle von spiel heute und morgen Worin liegt Mr. also Unterschied zu Schaubühne Franky’s Bar. „Wo ist Franky?“, kreiSimpleder Dimple (Marko Taubmann) in der dass ihn an Geschichtsr schen sie und rennen von Tisch zu durch den Abend und gibt sich zunächst Lindenfels von einem Tisch. Doch der ist nirgendwo zu seflirtet dann aber heftig mit f r ü h n e u z e i t l i c h Holocaust-Leugnern, en in Weine, wenn’s dir passiert: Szene aus dem den Dubliners?schüchtern, hen. Eine junge Frau in schwarzer Leeinem männlichen Gast. Dieser lässt es Sandsteinrelief inspiderjacke Experimentalfilm deutet auf den glatzköpfigen „Llora Cuando Te Pase“. amüsiert über sich ergehen, dass die rieren. In der Dresdner „dass sie von der Ann Darin, welches Verständnis man jeMann, der mit ihr am Spieltisch sitzt: feurige Dame ihn beim Tanzen zu Bo- Dreikönigskirche kann „Er ist Franky.“ Aber die Mafia lässt den wirft und am Spieltisch mit Küssen man noch heute bedas Töten Millionen u weils davon hat, Kultur zuist machen. Mi-wie der Bildsich nicht so leicht täuschen. „Das kann überhäuft. Hoffentlich Jurichs noch staunen, nicht Franky Was sein! Derda hatteim nämlich mit dabei, wenn Taubmann aus dem hauer Christoph Walschen sei als solches ‚ Einzelnen zu sehen ist, er- chael Moynihan ist ist.einer politischen noch Haare!“, ruft einer der Ganoven. Urlaub zurück ther I. 1534/35 drei Mit den Whiskeyfässern unter dem Man wünscht den Theater-Pack-Dar- Todesgestalten und die 24 Tänzelnd Im Mau Mau gibt es kaum ein besseres Blatt. Foto: André Kempner in den Leipziger Internet-Z innert in Stimmung und Habitus nicht Strömung namens TraditionaArm stolpern sie aus dem Saal. stellern, Integraler dass das Publikum auch wei- dem Tod geweihte Tod: Szenenbild. die Herren im Saal immer wieder zum Überfällen und Todesfällen (jede Woche Vor acht Wochen hat auf der Westterhin so gut mitzieht. Die Idee, die Menschen miteinander Brief berichtet hatte, ent selten an die Fotografien eines Stephen Sieg an, da lismus auf der „Goldenen Liste“ stirbt mindestens der Klavierspieler) werk-Sommerbühne alles angefangen. Gäste zu Mitspielern zuein machen, ist eine tanzen ließ. Für das Theater Derevo ist zuzuordnen. Es ist philosophibisher mehr weibliche als männliche nicht ablenken lässt, sammelt die meisAm 15. Juni eröffneten Frank Schletter originelle Alternative zum bloßen Ab- es bereits die dritte Inszenierung, die sich Online-Seiten eine Kontr Sequenzen wieUndaufscheinend Namen stehen. Mario Rothe-Frese als ten Chips. gewinnt vielleicht beim aus und sein Shore. Theater Pack hier ihr fiktives spulen einerauf Bühnenhandlung. Es gebe mit Totentänzen befasst. Das Ensemble sches Konzept, das den Franzosen strenger Pater Benjamin Walter reimt Champions-Turnier am 7. September, Casino namens Mau-Mau-Town. SeitAnfragen von Firmen, die das Konzept gründete sich 1988 im damaligen LeninDer Kulturwissensch dem Unspektakulären, wieMau-Mau-Sieger die Suche vor der ersten Spielrunde ein spontawenn alle bisherigen dem sitzen jeden Mittwoch Gäste beim der Mau-Mau-Town fürund sich nutzen grad. 1996 zog die Gruppe von St. PetersRené Guénon zurückgeht das von nes Gebet: „Der Herr segne diesen um eine Reise nach London zocken. Mau-Mau-Spiel, während zwielichtige wollen, berichtet Schletter. Als Maßnah- burg nach Dresden und ist mittlerweile Nymansässig. nahm Blood Axis etwas Unbestimmtem hinter Tisch mit Fleisch und Fisch. Wer verAuch nach acht Abenden in der Mau- dem Gestaltennach aus dem Chicago der Prohime zum Teambuilding. Lutter am Festspielhaus Hellerau mwö dem Italiener Julius EvolaVerena modifiziert liert, fliegt vom Tisch.“ Später sorgt er Mau-Town hat das Theater-Pack-Enbitionszeit mit ihnen flirten oder sie Weitere Mau-Mau-Runden: 17., 24., 31. Auheute und morgen, jeG GDerevo: „Totentanz“,Schutz, „die Folkmusik Gewöhnlichen, Offensichtlichen. als fieser Mafia-Boss für Aufregung im Integrale semble seine Spielfreude nicht verloauf die Tanzfläche zerren. Wer sich von dem gust und 7. September, jeweils 20 Uhr, Westweils 20.30 Uhr, Schaubühne Lindenfels wurde. Der Traditionalismus werk (Karl-Heine-Straße 87), Eintritt 8/6 Euro (Karl-Heine-Straße 50), Eintritt 14/10 Euro Saal. ren. Frank Schletter alias Franky feuert den inszenierten Eifersuchtsdramen, han habe lediglich Anfa Dieses Unbestimmte ist eine reizvolle lehnt die aufgeklärte Moderne ab. Micha90er eine „rechte Phase Grundierung in den Arbeiten von Laida el Moynihan ist Heide, praktizierender LaidafunkLertxundi selbst bezeichnet Nym d Lertxundi, die wie sanfte Echolote Odinist. Er plädiert dafür, die bisherige tionieren. Auf der Suche nach der ver- Vorstellung von Menschlichkeit neu zu

Weitere Hinweise auf der Service-Seite Leipzig Live und im Internet unter www.leipzig-live.com

Feinkost-Sommerkino

Experimentelle Filme aus Spanien

Foto: Laida Lertxundi

Drei Exkursionen. Kontemplativ. Komprimiert. Kunstvoll. Die „Reihe Experimentalfilm“, die in loser Folge in Kooperation zwischen Filmgalerie Alpha 60, Kunstraum D21 und der Kinobar Prager Frühling stattfindet, zeigt heute auf der Feinkost drei Arbeiten der spanisch stämmigen Künstlerin Laida Lertxundi. Der Bildausschnitt einer Motel-Fassade. In den Scheiben der Fenster spiegelt sich eine Stadtlandschaft. Los Angeles, wie eine Fata Morgana, seltsam entrückt und sehr präsent zugleich. Später ein TV-Gerät in einer Wüstenlandschaft, auf dem Bildschirm Wolken an einem hohen Himmel. Noch einmal später, auf den Felsen vor Gischt schäumendem Meer, ein Ghettoblaster, daneben eine Frau, den Rücken zum Betrachter, den Blick zum Horizont. „Llora Cuando Te Pase (Cry When It Happens)“ heißt diese 14-minütige Film-Reise. Impressionen zwischen urbanen Beengungen und bedrückend weiten Landschaften, zwischen Blicken auf Details in kleinen Brennwinkeln und suggestiven Totalen. Und immer auch Menschenbeobachtungen, Portraits. Bilder, in einer mal sanft schreitenden und mal harsch ruppigen Montage verfügt.

Weine, wenn’s dir passiert: Szene aus dem Experimentalfilm „Llora Cuando Te Pase“. Was da im Einzelnen zu sehen ist, erinnert in Stimmung und Habitus nicht selten an die Fotografien eines Stephen Shore. Sequenzen wie aufscheinend aus dem Unspektakulären, wie die Suche nach etwas Unbestimmtem hinter dem Gewöhnlichen, dem Offensichtlichen. Dieses Unbestimmte ist eine reizvolle Grundierung in den Arbeiten von Laida Lertxundi, die wie sanfte Echolote funktionieren. Auf der Suche nach der verlorenen Zeit? Vielleicht. In jedem Fall aber angenehm unakademisch aufscheinend (selten bei Experimentalfilmen) und nicht ohne Sinn für obskure optische Effekte und eigentümlichen Humor. Neben „Cry When It Happens“ sind heute auf der Feinkost noch „Footnotes To A House Of Love“ und „My Tears Are Dry“ zu sehen. Und zwar nicht als Digital-Projektionen, sondern von originaler 16-Millimeter-Kopie. Ein reizvolles Format, welches sich ungefähr so ansieht, wie sich alte Rock’n’Roll-Raubpressungen anhören. Die junge Filmemacherin wird zudem Gast auf der Feinkost sein. Steffen Georgi

GExperimentalfilme von Laida Lertxundi, heu-

te, 21 Uhr, Feinkost-Sommerkino (Karl-Liebknecht-Straße 36), Eintritt 6/5 Euro

Volkshaus: Ü30-Party jetzt „Discotronic“ Ist es der Anfang vom Ende eines Trends? Das Volkshaus tauft seine Party-Reihe, die zuletzt „Ü30-Exquisit“ hieß, morgen in „Discotronic“ um. Man wolle die Ü30Fete nicht mehr so nennen, weil es derlei in Leipzig und Umgebung mittlerweile „wie Sand am Meer“ gebe, dort aber „meist eine andere Musik“ laufe. So oder so sei im Volkshaus morgen der „bewährte Mix aus Rock, Pop und Soul“ zu hören.

G„Discotronic“,

morgen, 22 Uhr, Volkshaus (Karl-Liebknecht-Straße 36)

Im Ge

Experimentelle Filme aus Spanien

Im Geist völkischer Denker

Recht

Jeden Mittwoch stirbt der Pianist

Foto: Lisa Liphardt

SZENE-TIPPS Lust: Für fünf abendliche Vorstellungen kehrt Sachsendiva Katrin Troendle mit ihrem Programm „Lust“ heute um 20.30 Uhr ins Revue-Theater am Palmengarten (Jahnallee 52) zurück, Eintritt 18 Euro. Freundschaft: Das Theater Light spielt seine Sommer-Inszenierung „Casablanca Reloaded“ ab heute, 20 Uhr, nun vier Mal auf der Westwerk-Sommerbühne (Karl-Heine-Straße 87), Eintritt 10/7 Euro. Liebe: Nach der gestrigen Premiere macht die Inselbühne heute um 20.30 Uhr im Hof der Moritzbastei (Universitätsstraße 9) mit „Play Shakespeare“ weiter, 15/10 Euro. Verrat: Frei nach Shakespeare zieht heute ab 21 Uhr ein „Stürmchen“ durch Webers Hof (Hainstraße 3) – im Sommerstück des Theaters Fact, Eintritt 7 bis 16 Euro. Wahnsinn: Auch das Knalltheater orientiert sich in „King Lear Various“ an Shakespeare – heute, 19.30 Uhr, Feinkost-Hof (Karl-Liebknecht-Straße 36). Emanzipation: Vorerst letztmals ist in der Westwerk-Mensa (Karl-Heine-Straße 87) heute um 20.30 Uhr „Margaret Mead’s Island of Passion“ zu erleben, 7/5 Euro. Kontrolle: Ute Loeck, Marco Schiedt und Peter Mohr haben in der Pfeffermühle (Katharinenstraße 17) heute um 20 Uhr „Alles unter Kontrolle“, Eintritt 22 Euro.

Foto: Laida Lertxundi

Freitag, 12. August 2011

Foto: Laida Lertxundi

Emanzipation: Vorerst letztmals ist in der Westwerk-Mensa (Karl-Heine-Straße 87) heute um 20.30 Uhr „Margaret Mead’s Galería Marta Island of Passion“ zu erleben, 7/5 Euro. Kontrolle: Ute Loeck, Marco Schiedt und Peter Mohr haben in der Pfeffermühle (Katharinenstraße 17) heute um 20 Uhr „Alles unter Kontrolle“, Eintritt 22 Euro.


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Left: José Val del Omar, Fuego en Castilla, 1958–59, still from a black-and-white film in 35 mm, 17 minutes. Right: José Antonio Sistiaga, . . . ere erera baleibu izik subua aruaren . . ., 1968–70, color film in 35 mm, 70 minutes.

EXACTLY WHAT General Franco thought of José Val del Omar’s “longings to communicate the ineffable” is not a matter of record, but the Spanish ruler would most certainly not have approved of the filmmaker’s way with a pietà. The 1958–59 short Fuego en Castilla is the second work in a triptych made in the 1950s and ’60s by the

film and sound artist whose work has recently attracted considerable interest both in Spain m a black-and-white film in 35 mm, 17 minutes.Granada-born Right: José . ., 1968–70, color film in 35 mm, 70 minutes. and abroad. In this film, Val del Omar presents various examples of religious statuary by Alonso

Berruguete and Juan de Juni in a decidedly impious fashion. Blasting the icons with rapidly shifting al del Omar’s “longings to communicate the ineffable” patterns of light or draping them in sinister shadows, he situates them in a chiaroscuro hellscape. A most certainly not have approved of the filmmaker’s crackly voice imploring listeners to “rejoice at your power to be God” adds another sacrilegious flourish to the film, which earned Val del Omar a prize at Cannes and much official consternation at home. work in a triptych made in the 1950s and ’60s by the The fact that such a flagrantly strange work could surface during an era of severe political and creative ecently attracted considerable interest both in Spain repression points to the surprising hardiness of Spain’s most wayward artistic strains. The earliest film us examples of religious statuary by Alonso included in a program that spans a half century, Fuego en Castilla serves as an appropriately startling ashion. Blasting the icons with rapidly shifting opener for “From Ecstasy to Rapture,” a survey of Spanish experimental film and video at Toronto’s TIFF he situates them in a chiaroscuro hellscape. A Bell Lightbox. wer to be God” adds another sacrilegious flourish to s and much official consternation at home. Charting “50 years of the other Spanish cinema,” the series is the first in TIFF Cinematheque’s shiny new complex for the Free Screen, its long-running Wednesday night program of independent and avant-garde face during era ofPICKS severe political and creative NEWSan DIARY SLANT works. Originally curated by Antoni Pinent and Andrés Hispano for the Contemporary Cultural Centre of ’s most wayward artistic strains. The earliest film Barcelona, the series is rich with revelations about what was possible for filmmakers both during the Newest Headlines go en Castilla serves as an appropriately startling Franco regime and in the decades that followed. anish experimental film and video at Toronto’s TIFF Ellen Cantor (1963–2013) Early selections also demonstrate the influence of artists from far beyond Spain’s borders. The impact of Paul Hobson Appointed Director of Modern Art Norman McLaren’s filmic experiments is clear in Joaquim Puigvert’s Exp. I/II, a pair of short animations series isOxford the first in TIFF Cinematheque’s shiny new made in 1958 and 1959. For a more extreme example of McLaren-inspired hyperkineticism, see Jordi sday night of independent and avant-garde Parkprogram Avenue Armory Artigas’s Ritmes cromàtics, a 1978 marvel scored to a jazz-rock instrumental by Billy Cobham. s Hispano for the Contemporary Cultural Centre of Names Artists in hat was Residence possible for filmmakers both during the Even more audacious are the films that put a Spanish spin on the affronts of Warhol and Godard. An artistic by-product of the student protests that rocked Madrid in 1968, Carlos Durán’s BiBiCi Story (1969) Dan Fox Appointed Coeditor of Frieze is a Molotov cocktail of sex, politics, and death by red spray paint. Ice Cream (1970), underground ists fromMagazine far beyond Spain’s borders. The impact of filmmaker Antoni Padrós’s ode to fellatio, involves more than its fair share of licking, writhing, and heavy quim Puigvert’s Exp. I/II, a pair of short animations Tanya Paul Appointed breathing. e of McLaren-inspired hyperkineticism, see Jordi Curator of European Art at a jazz-rock instrumental by Billy Cobham. Each of this series’s two feature-length works qualifies as a milestone in this alternate history of Spanish Milwaukee Art Museum cinema. Screened from a recently restored 35-mm print that was presented in Los Angeles last year with Lynn Orr Sues San h spin onFrancisco’s the affronts of Warhol and Godard. An Fine Art a live score by Savage Republic, José Antonio Sistiaga’s 1968–70 . . . ere erera baleibu izik subua Madrid in 1968, Carlos Durán’s BiBiCi Story (1969) Museum aruaren . . . (the title is a nonsensical phrase in mock-Basque) is the only full-length Spanish film to deploy spray paint. Ice Cream (1970), underground Pedro Ramírez Vázquez an entirely cameraless technique. (Sistiaga painted directly onto each of the frames.) Closing the ore than (1919–2013) its fair share of licking, writhing, and heavy program, Arrebato (1980) is a freewheeling, semilegendary curio by Iván Zulueta, a designer and director LA MoCA Endowment at best known for the equally wild posters he made for Pedro Almodóvar. $75 Million

s as a milestone in this alternate historyItofcan Spanish be hard for contemporary filmmakers to match the outrages of their forebears. Nevertheless, recent Plans Abandoned for int that was presented in Los Angeles last year such with as Oriol Sánchez’s Copy Scream (2005)—a Super 8 short that makes ingenious use of everentries Anthony McCall’s Column ga’s 1968–70 . . . ere erera baleibu izik subua more-degraded photocopies—and Laida Lertxundi’s Farce Sensationelle! (2004)—a cunning, thoroughly Paul O’Neill Named -Basque) is the only full-length Spanish Vertovian film to deploy Director of Graduate self-portrait made while Lertxundi was studying with Jennifer Reeves at Bard College—indicate irectly onto eachatof the frames.) Closingthat the Spain’s film artists are still eager to defy whatever authorities may remain. Program Bard endary curio by Iván Zulueta, a designer and director Pedro Almodóvar. — Jason Anderson

“From recent Ecstasy to Rapture: 50 Years of the Other Spanish Cinema” runs January 5–February 2, 2011, at the outrages of their forebears. Nevertheless, TIFF Bell Lightbox. For more details, click here. —a Super 8 short that makes ingeniousToronto’s use of everFarce Sensationelle! (2004)—a cunning, thoroughly ying with Jennifer Reeves at Bard College—indicate http://artforum.com/film/id=27168 r authorities may remain. — Jason Anderson

nish Cinema” runs January 5–February 2, 2011, at here. Página 1 de 2

Laida Lertxundi

Página 1 de 2


Galería Marta Cervera

Cinemascope - ‘Best of the Decade’ 2010

Laida Lertxundi


Nathaniel Dorsky’s Sarabande

Tomonari Nishikawa’s Lumphini 2552

Laida Lertxundi

10

11

12 12 12 11

10 10

She Puppet Peggy Ahwesh, U.S., 2001 Skagafjördur Peter Hutton, U.S./Iceland, 2004

7 7 7 7 7 7 7

Still Raining, Still Dreaming Phil Solomon, U.S., 2009 The Two Minutes to Zero Trilogy Lewis Klahr, U.S., 2003-04 What the Water Said, nos. 4-6 David Gatten, U.S., 2007

7

8 8

*Corpus Callosum Michael Snow, Canada, 2002 Dream Work (for Man Ray) Peter Tscherkassky, Austria, 2001 Horizontal Boundaries Pat O’Neill, U.S., 2008 Let Each One Go Where He May Ben Russell, U.S./Suriname, 2009

41. California Trilogy: Los, Sogobi, El Valley Centro James Benning, U.S., 2000-01

Psalm III: Night of the Meek Phil Solomon, U.S., 2002 Winter Nathaniel Dorsky, U.S., 2008

Meditations on Revolution, Part V: Foreign City Robert Fenz, U.S., 2003 8 Nest of Tens Miranda July, U.S., 2000 8 O’er the Land Deborah Stratman, U.S., 2009 8

8

8 8

9 9 9 9

14 filmcomment May-June 2010

>> in focus: Views from the Avant-Garde will present a series of best-of-the-decade programs on July 11, 18 & 25 at the Walter Reade Theater.

10

A Letter to Uncle Boonmee Apichatpong Weerasethakul, Thailand, 2009

10 Instructions for a Light and Sound Machine Peter Tscherkassky, 10 Austria, 2005

The Glass System Mark LaPore, U.S., 2000

Song and Solitude Nathaniel Dorsky, U.S., 2006 19. False Aging Lewis Klahr, U.S., 2008

17. The General Returns from One Place to Another Michael Robinson, U.S., 2006

An Injury to One Travis Wilkerson, U.S., 2002 Kolkata Mark LaPore, US/India, 2005 13 Lakes James Benning, U.S., 2004

33. Arbor Vitae Nathaniel Dorsky, U.S., 2000 In Comparison Harun Farocki, Germany/Austria, 2009

RR James Benning, U.S., 2007 13 11. Black and White Trypps Number Three Ben Russell, U.S., 2007 12 The Decay of Fiction Pat O’Neill, U.S., 2002 12 The God of Day Had Gone Down Upon Him Stan Brakhage, U.S., 2002 12 It’s Not My Memory of It – Three Recollected Documents The Speculative Archive U.S., 2003

Poetry and Truth Peter Kubelka, Austria, 2003 Sarabande Nathaniel Dorsky, U.S., 2008 The Visitation Nathaniel Dorsky, U.S., 2002 When It Was Blue Jennifer Reeves, U.S./Iceland, 2008

9 9 9

The Great Art of Knowing David Gatten, U.S., 2004 The Ground Robert Beavers, U.S., 1993-2001 The Hedge Theater Robert Beavers, U.S./Switzerland, 2002

15 14 13 13

9

25. As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty Jonas Mekas, U.S., 2000

Star Spangled to Death Ken Jacobs, U.S., 1956-2004 7. Ten Skies James Benning, U.S., 2004 8. The Fourth Watch Janie Geiser, U.S., 2000 The Heart of the World Guy Maddin, Canada, 2000

18

16 15 15 15

At Sea Peter Hutton, U.S., 2007

2. Pitcher of Colored Light Robert Beavers, U.S./Switzerland, 2007 3. ( ) Morgan Fisher, U.S., 2003 Ah Liberty! Ben Rivers, U.K., 2008 Observando el Cielo Jeanne Liotta, U.S., 2007

1.

50 Best Films of the Decade

in the past decade the making and showing of experimental film worldwide has gone from strength to strength, so much so that it can be categorically said that avant-garde cinema is as vital now as it has ever been. This addendum to our Jan/Feb end-of-decade wrap-up serves to acknowledge just some of the experimental film achievements of the 21st century’s first 10 years. The rankings on the three lists below were obtained through the tabulation of the number of mentions a given film or filmmaker received in poll responses from a 46-strong group of critics, programmers, and teachers.

A Decade in the Dark: Avant-Garde Film & Video 2000-2009

Peter Hutton’s At Sea

avant-garde poll

32 30 29 29 27 24 23

Peter Hutton 10. Michael Robinson 11. Ernie Gehr Ben Russell 13. Mark LaPore 14. Ben Rivers 15. Janie Geiser

17

Fred Worden

12 11 11

Leslie Thornton 40. Heinz Emigholz Miranda July

9 9 9 9 9 9

Nicky Hamlyn Peter Kubelka Sharon Lockhart Jim Trainor Jean-Marie Straub & Danièle Huillet

10

The Speculative Archive 45. Jacqueline Goss

10

Michelle Smith

10

12

Michael Snow

42. Eve Heller

12

Robert Fenz

13 12

Jonas Mekas

13

36. Bruce Conner

34. Harun Farocki

14

31. Scott Stark Travis Wilkerson

15 14

30. Morgan Fisher

14

16

Julie Murray

Deborah Stratman

16

Bruce McClure

16

17

Peter Tscherkassky 27. Guy Maddin

17

Jim Jennings

17

21. Peggy Ahwesh 17

18

20. Apichatpong Weerasethakul

Vincent Grenier

19

19. Pat O’Neill

17

20

18. Jennifer Reeves

Stephanie Barber

21

17. Luther Price

23

32

8. David Gatten

Jeanne Liotta

35

7. Robert Beavers

37

5. Stan Brakhage 37

41

4. Lewis Klahr Phil Solomon

45

3. Ken Jacobs

54 49

Nathaniel Dorsky

2. James Benning

1.

Top 50 Filmmakers REATING CINEMA WITH AND WITHOUT FILM,

p o l l pa rt i c i pa n t s : Acquarello, Steve Anker, Thomas Beard, Ariella Ben-Dov, Amy Beste, Robin Blaetz, Nicole Brenez, Autumn Campbell, Fred Camper, Abigail Child, David Dinnell, Patrick Friel, David Gatten, Jacqueline Goss, Ed Halter, Alexander Horwath, Kristin M. Jones, Chris Kennedy, Nellie Killian, Lewis Klahr, Irina Leimbacher, Scott MacDonald, Matt McCormick, Mark McElhatten, Kevin McGarry, Don McMahon, Olaf Möller, Oona Mosna, Pablo de Ocampo, Susan Oxtoby, Andréa Picard, Tony Pipolo, Steve Polta, J.R. Rigsby, Jeremy Rossen, Lynne Sachs, Keith Sanborn, Michael Sicinski, Josh Siegel, P. Adams Sitney, Gavin Smith, Phil Solomon, Scott Stark, Chris Stults, Jim Supanick, Genevieve Yue

many emerging and established artists have been producing striking new work in expanded forms and performance modes at a pace that shows no sign of waning as we enter the new decade. Employing AV department overhead projectors, laptop PowerPoint, multiple 16mm projectors in antiphonal crossfire, 35mm projectors operating without film, shadow-play and silhouettes, archaic technologies and toys found in flea markets, homemade contraptions constructed with balsam wood and styrofoam; with backing by orchestras, techno music, rock bands, and foley artists; projecting bloodprints, bi-packed images of pelicans in negative, sanded emulsion, translucent sheets with layered illustrations, mysterious objects, loops, filmstrips buried in topsoil or caked with paint and carefully applied pharmaceutical capsules stitched with thread; casting images onto walls, faces, fog banks, smoke, water, and sometimes even screens—the artists on this abbreviated list (right) contributed to a rich decade of projection-performance art. Many makers brought innovation, refinement, raw power, and original conjuration to an ever-flexible medium by referencing ancient forms of fireside storytelling and shadow play, expanded cinema approaches pioneered in the Sixties, Dada Cabaret, John Cage, benshi, classroom reveries, minimalism, maximalism, and unclassifiable visionary practices. Ken Jacobs has been a beacon for his itinerant Nervous Magic Lantern performances (pictured), which grew out of diverse approaches to live performance since the late Sixties and his own film performances of the last 30 years. Tony Conrad continued and revisited his biological and culinary approaches to film stock as well as live photochemical processing, along with his music/image and personality-based performances (as scientist, activist, theorist, magician, misfit child, i.e., himself). Anthony McCall ended the Nineties and rang in the new millennium by presenting a better-realized and youngerthan-yesterday manifestation of his ultra-elegant 1973 Line Describing a Cone (a performance shot heard round the world) before going on to activate old and new scores for sculptural light projections. And in less than a decade Bruce McClure went from being “an artist’s artist” and intermittent-wunderkind-with-a-day-job to being a master of the form, an eye-opening skullsplitter performing in storefronts, theaters, and temples across the globe.—Mark McElhatten

C

The Decade of Projection Performance

11 11 11 11

Laida Lertxundi Alexandra Cuesta Kevin J. Everson Vanessa O’Neill

May-June 2010 filmcomment 15

7

7

Chris Kennedy Matt McCormick

7

Andrew Lampert

7

20. Bobby Abate

7

8

Fern Silva

7

8

Minyong Jang

Jonathan Schwartz

8

Gretchen Skogerson

Rebecca Meyers

8 8

14. Ryan Trecartin Hannes Schüpbach

8

Paul Chan Soon Mi Yoo

9 9

Emily Richardson

9

9

10 Sylvia Schedelbauer

10. Paul Clipson

10

13 4. Luis Recoder & Sandra Gibson

8. Shiho Kano

15

23 3. Daichi Saito

Tomonari Nishikawa 2. Jim Finn

1.

(emerging artists beyond the top 50)

25 Filmmakers for the 21st Century

Guy Sherwin

Jennifer Reeves

Luis Recoder & Sandra Gibson

Jürgen Reble

Greg Pope

Metamkine

Bruce McClure

Guy Maddin

Larry 7

Andrew Lampert

Ken Jacobs

Emma Hart & Benedict Drew

Sally Golding

Ben Coonley

Tony Conrad

Paul Clipson

Dirk de Bruyn

Daniel Barrow

Stephanie Barber

(listed alphabetically)

21 Leading Lights of Projection Perfomance

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Senses of Cinema – Time Will Tell: The 13th Annual Views From the Avant-Garde and the Walking Picture Palace

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Time Will Tell: The 13th Annual Views From the Avant-Garde and the Walking Picture Palace by P atrick Friel

23/

December 2009

Festival Reports, Issue 53

The end of the year is always a time of reflection and consideration; the end of a decade even more so. As

Features Editor: Rolando Caputo Festival Reports Editor: Michelle Carey Book Reviews Editor: Wendy Haslem

Cteq Annotations & Australian Cinema Edit Danks

Webmaster and Administrator: Rachel Brow Social Media Editor: Hayley Inch

IN THIS ISSUE…

I’ve been working on a “Best Experimental Films of 2000-2009” list, mulling over the thousands of films

Welcome to Issue 66 of our journal

and videos and live moving image works that I’ve seen during that time, it’s hard not to wonder about trends, themes and movements. What has characterised the first decade of the new millennium? How are the avant-garde works of the last ten years different from those of the last decade of the old millennium? The answer, it turns out, is surprising but simple: there is no difference. The 2000s feel very much like a continuation of the 1990s, with no clearly defining

Features

From Ubu Roi to My Generation : A Tribute to Cinémathèque Annotations on Film Book Reviews Festival Reports

movements or trends – both decades seem marked more by a lack of clear labels or boxes for the work made than by anything else. This is a good thing: it is easy and lazy to “group” films, spending time defining and filling categories – and

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conveniently ignoring those works that don’t fit – rather than dealing with the films themselves. It also speaks to the diversity and frequent eclecticism of the work being made over the last twenty years. While we may not have towering masters (Brakhage, Frampton, Warhol, Markopoulos, et al) any longer, the avant-garde as a whole has never been as rich or as democratic.

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Oth er Am oun t:

Perhaps the 2000s will be defined by exceptional artists rather than by overarching movements. Even before the decade is out it seems clear, to me at least, that it belongs to four remarkable film and video makers: Kyle Canterbury, Michael Robinson, Bruce McClure, and Lewis Klahr. That’s not a shot against anyone else; it’s simply

Y our Em ail Address :

that these four artists have achieved a level of sustained greatness, some across many years, some across many works, that they stand apart from their peers. Of course this is my own opinion and compelling cases can be made for many others, including Ben Russell, David Gatten, Ben Rivers, Luis Recoder, Stephanie Barber, Vincent Grenier, Fred Worden, Julie Murray, Luther Price, Robert Todd, Brian Frye and Phil Solomon, just to name a handful. (Certainly David Gatten’s presence alone, with his infectious enthusiasm, his intelligent and carefully considered opinions, his generosity towards his fellow artists and his audiences, and his damned charm, would make him invaluable to the avant-garde decade even if he’d never touched a scrap of celluloid. If we had to nominate an ambassador of Experimental Film, he’d be the only candidate I’d support.)

TAGS Albie Thoms Alfred Tarkovsky

Hitchcoc

Australian cin

It’s not surprising that all of these artists mentioned (with the curious exception of Canterbury) have been well

Australia on film Barbara Stanwyc

represented at the New York Film Festival’s Views from the Avant-Garde over the years – and most of them had

Chris Marker Claire Denis Davi

work at the 2009 festival as well. And now when one mentions Views (curated by Gavin Smith and Mark McElhatten), it is nearly a sin of omission not to mention the unofficial “satellite” series Walking Picture Palace – curated by McElhatten and, for the last few years, taking place at Anthology Film Archives. The 2009 editions of Views and the Walking Picture Palace were marked by a wide swath of good films and

documentary Elio Petri Emeric Pressbu

Rohmer featured Frank Borzage François Tru G.W. Pabst Howard

Hawks Ingmar

interview Jacques Rivette Jean

videos, very few bad ones, and a handful of exciting ones. In short, one snapshot of the state of the avant-garde

Godard Jean-Pierre Melville Jerzy Sko

today – filtered by Smith and McElhatten’s curatorial preferences. Having the luxury of selection and bias, here

Ford Joris Ivens Kenji Mizoguchi Lee

are some of the works that excited or fascinated me the most. I’ll begin with four stunning miniatures (and end

Marlene Dietrich Michael

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Laida Lertxundi

Mar

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Senses of Cinema – Time Will Tell: The 13th Annual Views From the Avant-Garde and the Walking Picture Palace

with the monumental).

23/04

Michael Powell MIFF Orson We

For the last decade Rebecca Meyers has been staking a claim to the rich legacy of lyrical filmmaking in America. Her newest film, night side , is delicate and beautiful – gem-like one might say – but it does have an edge to it. Meyers’ images are certainly familiar ones: trees, the eaves of houses, snow-covered ground, a solitary squirrel;

Cox Robert

Bresson Roberto Rossellini

Polanski Samuel Fuller Stan

Brakhag

Vagh Yasujiro Ozu

but her editing keeps everything unbalanced and the dusk and night time photography shrouds her images in a faintly otherworldly haze. There is a subtle tension in her unpopulated spaces, reinforced by a low rumbling soundtrack that slowly builds over the length of the film. It’s not quite science fiction, but it’s not domestic quietude either. Laida Lertxundi’s My Tears Are Dry is something of a coda to her wonderful 2008 film Footnotes to a House of

Love . It is a haiku-like sunshiny Southern California riff on Bruce Baillie’s classic All My Life , with a towering palm tree instead of the brambling roses. But the simple, yet elegant, skyward tilt at the end is still there. As with her earlier film, Lertxundi is concerned with the feeling of a location. She creates an off-hand, casual tone that is both comfortable and slightly on edge. The effect is gentler here, but the cross-cutting at the beginning between a woman sprawled on a bed playing snippets of the 1961 Hoagy Landis song “My Tears Are Dry” on a portable cassette deck and a woman plucking discordantly on a guitar sets up an uneasy tension (a slight nod to the “Dueling Banjos” in Deliverance ?). It’s the experimental film equivalent of lo-fi pop. Nicky Hamlyn’s Quartet is an exercise in minimalism and theme-and-variation. His stationary camera films the interior of an apartment, focusing primarily on architectural details: a skylight, closet doors, a smoke detector. The four sections – the first two in nearly-monochromatic colour; the second two in low-contrast grainy blackand-white – revisit the same images with alternate framings. The result is a spare, contemplative film that seems to owe much of its visual look to 1960s and ‘70s minimalist painters and sculptors. Where Hamlyn’s film is spare in its simplicity, Vincent Grenier’s new HD video, Straight Lines, is rich in its (as contradictory as that sounds). It is nothing more than the wavering shadow cast by window blinds on a desk or table top, but Grenier has a keen sensitivity to light and colour and texture and to finding tiny, magical details in the world around us. Here, at least at first, we’re uncertain what we are looking at: the titular straight lines with a quivering black mass in the centre. It’s an abstraction, but one culled from daily life. As in many of his films and videos, Grenier allows the real world to have its play, revealing itself in delicacies of light and shadow, colour and form. It’s an instructional manual showing us how to find the same kind of miraculous little moments in our own lives. Luther Price has been a man on a mission the last couple of years. Best known for his Super-8 and 16mm found footage films, he has recently been creating hand-painted films and burying found films in his backyard. And not making prints – each film is an original and sheds a grimy mess of paint flecks or emulsion as it’s projected. I’ve lost count, but there must be dozens of these new films by now. These are abstract works and easily compared to Stan Brakhage’s hand-painted films, but Price’s work is less structured and more organic in its feel. He might be modelling Brakhage but he’s not copying him. The buried films, which retain only fragments of the original image after they are dug up and cleaned, are visceral reminders about the instability of the filmed image (quite literally here). Price’s hand-painted films, two of which screened at Walking Picture Palace, are richly textured works that aim for a particular mood more than anything else. Ink Blot #25: The Burnt Night is one of the most sombre of the series, its palette consisting of browns and rusts. But it’s also one of the most beautiful and moving – there’s a certain magnificence in sadness. Ernie Gehr’s Waterfront Follies is a challenging work. At water’s edge (the Brooklyn waterfront) he films three sunsets in single 13 minute takes, allowing any pedestrian traffic or ambient noise to come and go as it pleases (including people inquiring what he’s doing). It’s a slow piece, meant for contemplation of the image (he refers to it as “Zen-like”) and as the last work in a program near the end of a long weekend of viewing it was hard going. But it’s one of the works that has also stayed with me the most in the following weeks. The colour is astounding – saturated to the point of disbelief – but Gehr did not manipulate it or the light exposure at any point. What we see is the unreality of reality – letting the world expose itself in unexpected ways. Something Gehr has been a master at for four decades. For Faces by a Person Unknown Paolo Gioli re-photographed footage from a turn of the 20th century film he had found in 1972, using the same camera the original footage was likely shot on. The images – mainly of men, women and children, usually alone, sometimes in groups – collide and overlap each other in rapid succession. There is barely enough time for them to register before they are gone. Given the time frame – just a decade or

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two before Europe is engulfed in nearly a quarter century of turmoil – the film becomes an elegy of sorts: a secular memento mori, an after-the-fact portrait of loss and mortality. These once-private and long forgotten images are brought out of hiding, but Gioli only allows them a brief second in the light – forcing them to remain elusive, but telling, ghostly reminders of the past and our own eventual end. For the program notes for his film Parallax, Christopher Becks provides three dictionary definitions of the term – all of which centre on the notion of displacement. A conceit, certainly, but an apt one for this visually jarring travel film shot over three continents. Becks’ seemingly disjointed editing creates unexpected, confounding and constantly shifting rhythms that gain meaning through accumulation. Where most travel films aim for creating pictorial beauty or a “sense of a place”, Becks seems interested in conveying the feeling of disorientation or lack of sync with one’s surroundings that travellers can have. Stranger in a strange land might be too obvious: Becks does allow for moments of respite and recognition between headlong rushes forward. Finally, though, it’s a masterful take on being out of place. One work in particular made extensive use of cutting edge technology – only the video at hand is from 1974 and the technology is mid-‘70s analogue video processing and effects. Jack Bond and Jane Arden’s Vibration is a puzzler, to say the least. It split the audience, and I’m still not quite sure if it’s any good, but it is compelling and fascinating. A trippy work about consciousness and religious mysticism, it’s the kind of thing that should be insufferable. But there is a sincerity and naïveté about it that pulls it back from the brink of pretentiousness. Arden’s writing on it attempts to clarify the intent (“Scientific, therapeutic investigation of the dream world and Sufic. Edges up to the Eastern void and in an audio video unification carries the experiencing self along the biologic path to the cosmos”), but it’s really more of a poetic corollary to what we see on screen than it is an explanation. Images of a Sufi mystic in the desert, two Westerners undergoing dream therapy, and chromakeyed images of a reel-to-reel tape deck and other images all combine into an inscrutable, but strangely riveting, work that could be a Nam June Paik remake of Owen Land’s Thank You Jesus for the Eternal Present. Michael Robinson continues to make work like no one else. His deft combinations of pop and cultural artifacts are just so intuitively right and never devolve into simple post-modernist pastiche or cultural commentary. They move beyond that to become something deeper, more mysterious, and less fathomable. The word that keeps coming to mind is uncanny: his work feels haunted by a time out of time. His newest video, If There Be Thorns, is his most narratively-bent work yet. He fashions an elusive tale of siblings – with hints of social withdrawal, incest and tragedy – through fragments from horror author V.C. Andrews, William S. Burroughs, Stevie Nicks and others. There is an uneasy quality to Robinson’s work, a vaguely troubling glimpse beneath the surface of things into a dark place he never lets one actually see. Strangely, there is also a simultaneous feeling of euphoria in his work – suggestions of redemption or grace or peace. There is no dark without light, after all. Lewis Klahr continues to find his stride with digital video. Earlier works seemed to incorporate the slick look of the medium in the late, rather than mid, 20th century themes of medical and air travel anxieties (Antigenic

Drift) and perhaps the closest he has come to nostalgic longing (False Aging). With the works in his new series, “Prolix Satori”, Klahr returns to the look and feel of his stunning 16mm films – demonstrating that while his work seems attenuated for the film medium it’s not dependent on it. (Actually, what I can’t quite get used to is seeing Klahr in a 16!9 aspect ratio.) In Wednesday Morning Two A.M., Klahr presents his usual cryptic narrative (perhaps something about a woman’s emotional turmoil?) set, brilliantly, to the Shangri-Las’ song “I’ll Never Learn”. In the second half of the video, the song repeats and the cutout animation and three-dimensional objects (a key, flower petals) are replaced with solid colour-fields and close-ups of textured and patterned objects (cloth, wallpaper, etc.). The tone of loss, heartache and confusion Klahr creates in the first section carries over, informing his abstractions with the same emotional weight. It’s a stunning move, and demonstrates that Klahr, more than most, understands the power of music and has a great sympathy for the intricacies and complexities of feeling. I was fortunate to see seven Bruce McClure multiprojector performances in four different cities in 2009. At Views he presented Cong In Our Gregational PomPoms, in which he used a small stand-alone screen as a foil for the large main screen behind. Unfortunately, the simplicity of the piece seemed mismatched to the size of the space – the work felt dwarfed and I’m not sure he got what he was after. The screening at Walking Picture Palace was more successful. McClure performed three of the works in his amazing new Pie Pellicane Jesu Dominae series. Here he bi-packs three projectors with two film loops each – one alternating clear and black leader, the other of bird imagery from a found nature film. Despite this rare use of representative images, McClure pushes towards abstraction. My disjointed notes on the first piece: “pelican, red/yellow/blue, diseased lung tissue, red/blue corpuscles, op art,

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Senses of Cinema – Time Will Tell: The 13th Annual Views From the Avant-Garde and the Walking Picture Palace

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Shock Corridor, epileptic seizure, descent into madness, cri au coeur, psychotic breakdown”. This, accompanied by a deafening, relentless percussive soundtrack generated by the film and manipulated live be McClure. Needless to say, when he’s in his groove McClure’s performances are visceral experiences not soon forgotten. With Let Each One Go Where He May Ben Russell has raised the bar and set an expectation for himself that seems foolish: one wonders how he can exceed what is clearly his masterwork. Let me be blunt – this is a great film. The many outstanding films and videos he’s made over the last ten years all seem preamble now. A ramping up to what seemed inevitable, even from the early 2000 short Daumë . Let Each One hints at the mythological in its structure as a journey or quest. Blending reality and fiction, two brothers travel across Surinam – mirroring the route their ancestors took as escaped slaves centuries before. Russell’s feature, shot in 13 uninterrupted single takes, is part reverie, part explication. He combines documentary and narrative into an open-ended ethnography that allows for multiple entry points and asks and invites many questions. It is part history, biography, autobiography, structural film, landscape film, political tract, ritual performance, and more. But, ultimately, it is mostly poetry. A slow unwinding of images that allow time and space for consideration and wonder. Vie w s from the A vant- Garde 2-4 October, 2009 Part of the New York Film Festival Program website: http://www.filmlinc.com/nyff/program/avantgarde/avantgarde.html Avant-Garde

About the Author Patrick Friel is the Director and Programmer of the Onion City Experimental Film and Video Festival (organised by Chicago Filmmakers), founder and programmer of the independent screening series White Light Cinema, and former Program Director (1996-2007) for Chicago Filmmakers. He has published in Film Comment, Cineaste and Time Out Chicago and is the current Managing Editor for the volunteer-run Chicago online film resource

Cine-File .

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Galería Marta Cervera "El cine está entre el museo y la sala de proyección" | Edición impresa | EL PAÍS

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EDICIÓN IMPRESA

DOMINGO, 2 de diciembre de 2007

ENTREVISTA:LAIDA LERTXUNDI | CORTOMETRAJISTA

"El cine está entre el museo y la sala de proyección" 2 DIC 2007

Archivado en:

País Vasco

España

Laida Lertxundi (Barakaldo, 1981), ganadora del Gran Premio del Cine Vasco del Zinebi con Footnotes to a house of love, se ha formado como cineasta en EEUU, tierra abonada para el cine experimental, donde "es una reacción al de Hollywood". Reside en California, donde imparte clases de cine y video en un instituto. Celebrará el premio "haciendo otro corto". Pregunta. ¿Footnotes es su corto más convencional? Respuesta. Convencional en el sentido de que puede tener lo que se considera el espacio diegético. Parece que hay una historia y personajes, pero realmente no hay historia ni personajes, por lo que te puedes imaginar qué es más convencional, pero no creo que lo sea. P. ¿Sería capaz de explicar su corto? R. Es difícil. El cine experimental es como la poesía, mucho más interpretativo, requiere que el espectador se implique mucho más. Yo digo que es una película abstracta que trata más o menos el tema del amor, pero la cuestión es más bien lo que tú ves. Yo te doy una serie de imágenes, pero el significado está entre la pantalla y el espectador. Ése es el trabajo pendiente, establecer una especie de diálogo. Por eso el cine experimental, igual que el de arte y ensayo y el documental, es mucho más estimulante, porque tienes que pensar. P. ¿Igual por eso no triunfa? R. Es un error pensar así. Hay cosas que son comerciales y recaudan, y cosas que no son comerciales y no recaudan. Eso no quiere decir que no triunfen. El artista más rico es simplemente el más rico, no quiere decir que sea el mejor. P. Rodó en el desierto. R. Como europeo vas al desierto de Estados Unidos y flipas. Para empezar porque en El Valle de la Muerte puedes morir si no llevas agua, ropa de abrigo y más cosas. Y es un paisaje superimpactante por la luz, el color. El protagonista de mi película es el paisaje. P. ¿Qué influencias asume? R. James Benning hace retratos de paisajes superlargos. Con sus películas aprendí a estar en el cine viendo un paisaje con su sonido ambiente como si estuvieras en ese paisaje. Se trata de ir al cine y observar. P. Sin corporativismos, ¿se hace buen cine en Euskadi? R. Depende. [Daniel] Calparsoro me gusta, pero luego está Julio Medem, al que cada vez se http://elpais.com/diario/2007/12/02/paisvasco/1196628005_850215.html

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le va más la pelota y hace cine supermístico. Me gusta más el portugués Pedro Costa. P. ¿Aspira a tener, como Pere Portabella, un pie en los museos de arte moderno y otro en los cines? R. Sería lo ideal, porque así puedes hacer exactamente lo que quieres. Creo que el cine está entre el museo y la sala de proyección.

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