Sabine Folie and Susanne Titz, edited for the Generali Foundation, Vienna and Museum Abteiberg, Mönchengladbach 2012.
With introductions by Sabine Folie and Susanne Titz
Rewind: Artists video in the 70s and 80s derives from a four-year research project into the history of an art form that has become the hallmark of contemporary art. Based on an archive of interviews, ephemera and archive copies of tapes and installations from the pioneering period of British video art, this anthology brings together some of the leading scholars in the field, backed by an expert panel, to lay the groundwork for a history of the people, activities, institutions and interventions that made of video art the one true avant-garde in the United Kingdom in the 20th century. Rewind is the founding text for the history of British video art; draws on a unique archive of oral history and personal experience; and opens up the archive for contemporary artists, curators, media historians and archivists.
The story of my hair can be told in two lines. My hair was long and black. It has turned white. It hasn't been cut since 1982, almost thirty years ago. Story of my Hair is a journey, both in space and in time. Anyone looking for truths, whether geographical, scientific or historical, will be disappointed. After looking at real events and real places the film very soon distances itself from them, preferring poetry and fiction. In his own fashion the auteur has combined the story of Samson and Delilah, the journey of those condemned to the death camps, the science of hair and a few thoughts about the meaning and fragility of life.
The Flicker sweeps away reality, transports us into another environment and acts as a sort of instrument of perceptual experimentation. The filmmaker himself considers it as a kind of science fiction film which, instead of entering us into strange worlds – which have everything to do with this world and the development of conventional narrative structures –, proposes to transport us into a totally different dimension which is abstract and structured in a manner radically different from our environment.
"Caldini emphasizes the idea of cinema as an activity of absolutely direct vision—an idea that, far from reclaimed by certain realist agendas, has always been, consciously or not, at the heart of the avant-garde."
"Anyone who has seen Caldini in action can confirm that his work environment privileges calm over agitation and reflection over continuous action. His body of work, based on anti-despair, appears eternal, dematerialized, and transcendent in the sense that its virtues and its beauty seem to reach far and beyond, and it seems to have existed since the beginning of time."
The antennae collection is proud to announce the release of the inaugural publication, Dialéctica en suspenso: Argentine Experimental Film and Video, a selection of eighteen works compiled by contemporary Argentine artists and film and video specialists Pablo Marín and Andres Denegri. One of the DVDs exhibits nine films created by different authors whose works were shot and presented on super 8mm and 16mm film. The other DVD contains nine videos created by different authors whose works were produced with a range of mediums (film, and/or other electronic forms) and presented on video. The Box set includes a 230 page bilingual book that presents essays written by the compilators, comprehensive biographical information about the artists and additional content related to Argentine experimental film and video.
In casting a glance one artist pays tribute to another as James Benning offers his filmic paean to Robert Smithson's legendary "earthwork" sculpture, the Spiral Jetty. With RR, his homage to the American railroad, the filmmaker brings an era to its close by going back to cinema's roots. Shot back-to-back over a period of two years, these works marked James Benning's farewell to analogue filmmaking and together constitute the profound "last words" on the film medium by one of its most singular innovators. This 2-disc set presents both films together with rare audio interviews in which Benning recounts the experience of making his "last" films and gives unique insight into his creative methods.
¿Cómo se presenta el cine en las prácticas artísticas cuando éste ha sido progresivamente despojado de su aparato tecnológico? ¿Es el cine una técnica o un método de asociación mental que estimula el pensamiento? Desde su mismo nacimiento, el cine se vio ceñido a una serie de normas y valores que le impedían expresar la naturaleza radical de sus potencias y, no obstante, unos cuantos visionarios han logrado extirparlo de su laberinto circular. No se trata de practicar una destrucción total del cine en todos los casos, sino de transformarlo en otras formas artísticas. Paracinema, en oposición al cine expandido, es la realización de la idea de cine a un nivel conceptual, experiencial y artístico. Se trata, en cualquier caso, de generar una experiencia cinemática desconectada, entera o parcialmente de su aparato tradicional.
Jay Rosenblatt, who has been making short films since the early 1980s, makes films that deal with a variety of themes — from birth and childhood to religious faith, tyranny and death. Frequently screened on public television and film festivals, Rosenblatt ’s films are consistently recognized for their unique style and his commitment to taking risks.
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