Xcèntric

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There is a confidential art that is timeless, which moves around on the fringes, unperturbed by the one-way traffic of the commercial circuits. The aim of Xcentric is to promote greater awareness of this cinema and the videographic projects that use commitment and a will to experiment to challenge images and define the medium. It sets out to recover these secret or forgotten works by means of the public's personal experience.

The contents are organized by genre and theme, but all have in common the fact that they are works of personal creation with a strong commitment on the part of their creators, as regards both content and formal solutions. These are creators who have a strong desire to challenge the medium, break with formal language and incorporate new aesthetic treatments to produce new ways of seeing that are the product of the inherent freedom of independent production.

The films that go to make up Xcentric's programme all share the fact that they are difficult to get to see, and scant or non-existent circulation on audiovisual distribution circuits. The difficulty in obtaining a copy for screening makes each session an act of exhibition, like works of art hanging in a museum.

The Xcentric programme is selected by a team of programmers, renowned specialists in documentary, experimental, animation and art-house cinema. In addition to its regular team, Xcentric also has invited programmers.

Links: 

http://www.cccb.org/xcentric/en

Email: 

xcentric@cccb.org

Location: 

Montalegre, 5
08001   Barcelona, Barcelona
Spain
Phone: +34 93 306 41 00
Fax: +34 93 306 41 01
41° 23' 1.986" N, 2° 10' 0.4116" E
See map: Google Maps

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Related content

  • Xcèntric: Visions of the Body I

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    Xcèntric: Visions of the Body I
    Sunday, March 17 2013, 18:30h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    The cinema always establishes a relation between the filmed body and the machine that films. The camera captures the light and the duration that envelope the body and, at the same time, the filmed body enters into a process of staging of itself that the camera records. In most cases, this body appears “disembodied”, at the service of a narrative, but there are films, like the ones shown in these sessions, that restore its materiality, bringing flesh to light, allowing gestures to just be themselves. These are works that show us the body’s intimate relationship with itself, with the camera and the other, and the tactile sensation of this experience as an inherent condition of the cinema. Certain imperfections that we see in the images of one of Brakhage’s first great films, Flesh of Morning, speak to us of the most immediate aspects of the body and its carnal obsessions. Beavers’s films, Winged Dialogue and Plan of Brussels, full of lyrical visions of narcissistic, erotic imagination, use psychodrama to show us a divided body: the I and the other. Based on a novel by Balzac, in Himself as Herself Markopoulos portrays a hermaphrodite body, its movements, postures and gestures or expressions, a study of a highly stylized inner landscape that takes Bresson’s ideals to their ultimate conclusions.

    - Flesh of Morning (Stan Brakhage, 1956/1985, 16 mm, 25 min)
    - Winged Dialogue (Robert Beavers, 1967/2000, 16 mm, 3 min)
    - Plan of Brussels (Robert Beavers, 1968/2000, 16 mm, 18 min)
    - Himself as Herself (Gregory Markopoulos, 1967, 16 mm, color, 60 min)

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  • Xcèntric: Landscape Plus. The cinema of Laida Lertxundi

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    Llora cuando te pase (Cry When it Happens) (Laida Lertxundi, 2010)Xcèntric: Landscape Plus. The cinema of Laida Lertxundi
    Sunday, February 10 2013, 18:30h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    The cinema of Laida Lertxundi, made in and around Los Angeles, draws out a physical and psychological geography of the area, as well as dismounting cinematographic conventions. This session includes her most recent films and a selection of works in 16 mm by Hollis Frampton, Bruce Baillie and Morgan Fisher, who had a major influence on her work.

    - Lemon (Hollis Frampton, 1969, 16 mm, 7 min)
    - Footnotes to a House of Love (Laida Lertxundi, 2007, 16 mm, 13 min)
    - My Tears Are Dry (Laida Lertxundi, 2009, 16 mm, 4 min)
    - All My Life (Bruce Baillie, 1966, 16 mm, 3 min)
    - Llora cuando te pase (Cry When it Happens) (Laida Lertxundi, 2010, 16 mm, 14 min)
    - A Lax Riddle Unit (Laida Lertxundi, 2011, 16 mm, 5 min)
    - Picture and Sound Rushes (Morgan Fisher, 1974, 16 mm, 11 min)
    - Farce Sensationelle! (Laida Lertxundi, 2004, 35 mm, 2 min)

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  • Xcèntric: Political matters

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    Austerity Measures (Guillaume Cailleau & Ben Russell, 2012)Xcèntric: Political matters
    Thursday, February 7, 20h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    Political reality is frequently limited to a more documentary or realistic register. This programme presents different contemporary approaches to politics and the corrosive effects of capitalism, from the viewpoint of the sensitive, formalist abstraction of the visual material itself: the clandestine night-time recording of Afghan and Iraqi refugees at the camp at Sangatte, France (Border); the crushing of cars at the end of the consumer cycle (Chevelle); protests against austerity measures in Athens (Austerity Measures), and the political commentary of Ken Jacobs on the decline of capitalism.

    - Border (Laura Waddington, 2004, video, 27 min)
    - Chevelle (Kevin Jerome Everson, 2012, 35 mm, 7 min)
    - Austerity Measures (Guillaume Cailleau & Ben Russell, 2012, 16 mm, 8 min)
    - Seeking the Monkey King (Ken Jacobs, 2011, Blu-ray, 39 min)

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  • Xcèntric: Museum Films II - The MACBA Collection

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    Not I (Samuel Beckett, 1972)Xcèntric: Museum Films II - The MACBA Collection
    Thursday January 31st 2013, 20h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    The early days of video: the day a camera was taken into an artist’s studio not only provided a reflective, narcissistic gaze, as Rosalind Krauss has said, it also discovered a time of its own—genuine, expanded and with no restrictions whatsoever. Four titles provide an introduction to the key decade around which the MACBA Collection is constructed. Presented by Carles Guerra, chief conservator at the MACBA and programmer of this session.

    - Pulling Mouth (Bruce Nauman, 1969, 11 min.)
    - Marcel Broodthaers. Musée d’art du XVIIe siècle (Jef Cornelis, 1969, 5 min.)
    - Not I (Samuel Beckett, 1972, 12 min.)
    - Baldessari Sings Lewitt (John Baldessari, 1972, 13 min.)

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  • Xcèntric: The parallel attempt

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    Doppio autoritratto (Marinella Pirelli, 1974)Xcèntric: The parallel attempt. Italian experimental film
    Thursday January 24th 2013, 20h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    A reflection on the figure of Marinella Pirelli, an Italian experimental filmmaker with a body of work that has languished for over 40 years in a dark basement. Her films dialogue directly with those of two other Italian filmmakers, Piero Bargellini and Paolo Gioli, constantly questioning the paradigms required to generate an image and its relation with the cinematographic device. Styles, forms and means of production that initially seem very different come together in this session to generate a narrative that runs through the cinema, the technological imaginary and the optical unconscious of Italian experimental film production of the 1960s and 1970s.

    - Gioco di dama (Marinella Pirelli, 1961-1963, 6 min)
    - Inter-vento (Marinella Pirelli, 1969, 3 min)
    - Sole in mano (appropriazione, azione propria, a propria azione) (Marinella Pirelli, 1973, 6 min)
    - Il lago (soggettivo-oggettivo) (Marinella Pirelli, 1965, 14 min)
    - Nelda (Piero Bargellini, 1969, silent, 4 min)
    - Secondo il mio occhio di vetro (Paolo Gioli, 1971, 10 min)
    - Immagini reali immagini virtuali (Paolo Gioli, 1972, 10 min)
    - Doppio autoritratto (Marinella Pirelli, 1974, 12 min.)

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  • Xcèntric: Dressing for pleasure

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    Scorpio Rising (Kenneth Anger, 1963)Xcèntric: Dressing for pleasure
    Thursday January 17th 2013, 20h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    Julien Temple offered segments of the film Dressing for Pleasure in the Sex Pistols’ documentary The Filth and the Fury (2000). Four years later, designer Vivienne Westwood, the mother of punk style, ran the entire film on a continuous loop at the London retrospective of her career. Only then was the first recognition expressed of the work of John Samson, a forgotten filmmaker who influenced the British punk aesthetic of the seventies and eighties. He has often been considered the European Kenneth Anger, which is why we present the work of the two in a single session for the first time. Scorpio Rising is a fundamental work in American underground cinema that continues to fascinate contemporary creators. To top it off, we retrieve the recreation of Scorpio Rising that video clip artist Luis Cerveró made for the CCCB to publicise the exhibition “That’s Not Entertainment! Film Begets Film”.

    - Scorpio Rising (Kenneth Anger, 1963, 16 mm, 29 min)
    - Dressing for Pleasure (John Samson, 1977, 25 min)
    - Tattoo (John Samson, 1975, 20 min.)
    - Xcèntric. That’s Not Entertainment (Luis Cerveró, 2007, 35 mm, 1 min 30 s.)

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  • Xcèntric: The Gas Works Screenings & Threaded Cocktails

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    Esperanza Collado, The Gas WorksXcèntric: The Gas Works Screenings & Threaded Cocktails performance
    Friday, January 11, 18:30h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    The Gas Works are a series of unique films conceived as instable performances of sonic light. Made and projected by hand, the author - Esperanza Collado- describes them as "ephemeral collages in motion or gaseous light sculptures in which cinema is derailed and subject to stitching." The project explores performative aspects involved in mechanical projection such as the plasticity of luminous space, the reading of optical sounds, and the microstructures of the interval.

    - The Gas Thus Cuts in Bits (Esperanza Collado, 2012, 16mm and Super16, colour and b&w, optical sound, 8min. 40sec.)
    - The Illuminating Gas (Esperanza Collado, 2012, 16mm and Super16, colour and b&w, optical sound, 9min 6sec.)

    Operation Rewrite is the artistic collaboration of The Consecutive Impostors (Esperanza Collado and Maximilian Le Cain), in which they explore the cinematic workings of the cut and interruption. Their performances are disturbing and humorous, showing the artists as 'scientist' figures realizing a series of actions involving elaborate projections and sounds, awaken dreams, and domestic objects. Irish theatre maker John McCarthy collaborates.

    With the support of Culture Ireland.

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  • Xcèntric: Exquisite collages

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    Rabbit (Run Wrake, 2005)Xcèntric: Exquisite collages I & II
    Friday, January 11, 20h
    Saturday, January 12, 20h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    A selection of shorts by classic collage artists alongside new talents.

    Programme 1, Jan.11, 20h
    - Las Variaciones Schwitters (Alberto Cabrera Bernal, 2012, 6 min)
    - Mothlight (Stan Brakhage, 1963, 4 min)
    - The Garden of Earthly Delights (Stan Brakhage, 1981, 1 min 30)
    - Solar Sight (Larry Jordan, 2011, 15 min)
    - Odds and Ends (Jane Congel Belson Shimane, 1959, 4 min)
    - Recreation (Robert Breer, 1957, 2 min)
    - Jamestown Baloos (Robert Breer, 1957, 6 min)
    - Unnamed Film (Caroline Avery, 1989, 45 seg)
    - Fil(m) (Frédérique Devaux, 2001, 4 min)
    - La Pêche Miraculeuse (Cécile Fontaine, 1995, 10 min)
    - Speak (John Latham, 1962, 11 min)

    Programme 2, Jan.12, 20h
    - Brana Calypso Dendrita (David Domingo, Darío Peña y Dostopos (Ana Pfaff y Ari Ribas), with music of Afrika Pseudobrutismus, 2012, vídeo, 14 min (produced for the Picnic Sessions 2012 of CA2M Centro de Arte Dos de Mayo))
    - Rabbit (Run Wrake, 2005, 35 mm, 5 min)
    - Cineblatz (Jeff Keen, 1967, 16 mm, 3 min)
    - Nook & Cranny (Francien Van Everdingen, 2008, 16 mm, 3 min)
    - Cats Amore (Martha Colburn, 2002, video, 2 min 30 seg)
    - À la Mode (Stan Vanderbeek, 1959-1960, 16 mm, 7 min)
    - Tango (Zbigniew Rybcynski, 1981, 35 mm, 8 min)
    - Höhenrausch (Siegfried A. Fruhauf, 1999, 16 mm, 4 min)
    - Nujiman no borei / 200 000 Fantômes (Jean-Gabriel Périot, 2007, vídeo, 10 min)
    - Phantom Canyon (Stacey Steers, 2006, 35 mm, 10 min)

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  • Xcèntric: Austerity measures

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    Climbing (Jesse McLean, 2011)Xcèntric: Austerity measures
    Thursday December 20th, 20h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    Presentation by João Laia.

    This video programme, curated by João Laia and Andrey Shental, examines the notion of austerity not just in the sense we have become used to hearing it used in the political discourse of the present crisis, but as a creative tool. The films included present an inventory of poor materials and marginal techniques (such as found footage and low-resolution video), much used on the Internet but not so much in artistic circles, where they continue to shock.

    - Replica (Daniel Lopatin (Oneohtrix Point Never), USA, 2011, 4 min 36 s)
    - The Meaning of "Austerity" (James Corbett, USA, 2010, 8 min (6 min fragment)
    - Touch my Body (Ilya Korobkov, Russia, 2009, 4 min)
    - Infinite Doors (Takeshi Murata, USA, 2010, 2 min)
    - Nobody Here (Daniel Lopatin (Oneohtrix Point Never), USA, 2009, 2 min)
    - #67 (Jean-Gabriel Périot, France, 2012, 3 min 30 s)
    - The Misty Suite (James Richards, United Kingdom, 2009, 7 min)
    - Climbing (Jesse McLean, USA, 2011, 6 min 30 s (2 min 30 s fragment))
    - Versions (Oliver Laric, United Kingdom, 2010, 6 min 30 s)
    - The Barbarians (Jean-Gabriel Périot, France, 2010, 5 min)
    - New Materials in the Reading of the World (Chooc Ly Tan, France, 2011, 5 min 30 s)

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  • Xcèntric: Scenes in the life of Mary Shelley

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    A Shape of Error (Abigail Child,2012)Xcèntric: Scenes in the life of Mary Shelley
    Sunday, December 16 2012, 18:30h
    Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

    Filmed in Italy with amateur actors, A Shape of Error is an experimental feature film based on the diaries of Mary Shelley, author of Frankenstein, and her stepsister Claire, two emancipated women for their time. In the form of an imaginary home movie, Abigail Child tells her story, centring particularly on the passionate affair of Mary with Percy Shelley, employing formal strategies developed in earlier works (The Future Is Behind You, Covert Action), such as the shared screen and split images.

    - A Shape of Error (Abigail Child, United States, 2012, 72 min, 16 mm/digital).

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