Series of films May 18th-20th and June 1st 2025 at iMAL (Brussels), Art Cinema OffOff (Gent) and Cinematek (Brussels). CINEMA PARENTHÈSE #45 and iMAL present MOVING STATICS: THE FILMS OF ARTHUR AND CORINNE CANTRILL.
In June 2020, Luther Price (US), one of the most unique personalities prematurely left this world at the age of 58. His real name is unknown or at least unrevealed, Price purposely kept it secret “like a fairy-tale character would,” since his work is “rooted profoundly in the story of family and the traumatic events of his personal history.” Price's visceral work, in which pain, violence, eschatology, and transgression were singularly combined and transformed into healing acts, pure and moving, is the subject of this screening.
Cinema Parenthèse and iMAL invites the British artist SIMON PAYNE to talk about and show his works. Payne has been making abstract cinema for over twenty years. His videos are predominantly orientated around bold graphic forms and highly structured sequences that produce unexpected color combinations and conflicting planes. Sometimes there are contingent elements in his work, which correspond with incidental indications of the artist’s hand.
Cinema Parenthèse and iMAL present Befoew We Knew Nothing, a series of six film programs featuring the work of Mark Lapore, Chick Strand, Peter Hutton, Diane Kitchen, Naomi Uman, and Nathaniel Dorsky, whose varied practices are centred on ethnographic and anthropological studies.
Dates:
Friday, March 25, 2022 (All day) to Sunday, March 27, 2022 (All day)
The films of Jerome Hiler (1943) blend a beauteous celebration of the sensual world with a deep sense of introspection and solitude. They are occasions for reflection and meditation, on light, landscape, time and the motions of consciousness. Hiler's encounter with the films of Nathaniel Dorsky, Marie Menken, Gregory Markopoulos and Stan Brakhage deeply affected his own artistic path.
Claudine Eizykman (1945-2018) was a major figure of the French experimental film renaissance since the Seventies. She was filmmaker, theoretician, and professor of cinema at Paris VIII Vincennes University, co-founder of the Paris Films Co-op (1974) and of Cinedoc (1979).
Stan Brakhage (1933-2003) is most well-known for the development, from the late 1950s onwards, of a cinema (he made over 450 films) in which the camera replaces the protagonist, freeing it from conventional positions and hence engagement with both subject and the viewer. His work is characterized by images where variations in exposure and focus, handheld camera movement, light flares, refractions and flashes are in a constant state of flux and interplay.
