Tags: Jack Smith

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Xcèntric: Rituals of transfiguration

By Marcos Ortega on Mon, 06/02/2017 - 09:11

In this session, in the framework of the exhibition "1,000 m2 of Desire. Architecture and Sexuality", we see three essential pieces of US experimental film. Barbara Rubin, Kenneth Anger and Jack Smith film their respective transgressive visions of the body and desire located in the space of pure fantasy.
Dates:
Sunday, February 19, 2017 - 18:30
Venue:
Centre de Cultura Contemporània de Barcelona - Barcelona, España
Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino

Hein B. 1971. Film im Underground. Von seinen Anfangen bis zum Unabhangigen Kino. :239pp.
An Introduction to the American Underground Film
Renan S. 1967. An Introduction to the American Underground Film. :326pp.
Contents:

What is the underground film?

A history of the avant-garde/experimental/underground film in America

A gallery of film-makers

Stars of the underground films

The underground establishment

Expanded cinema.
Experimental Cinema: The Film Reader

Horak J-C, Mekas J, Rabinovitz L, Varda A, Suárez JAntonio, Ganguly S, Tartaglia J, Haug K, Wolf R, Chin D et al.. 2002. Experimental Cinema: The Film Reader. :356pp.
Contents:

Introduction: Toward a new history of the experimental cinema

Part one. Origins of the American avant-garde cinema, 1920-1959.
- The first American film avant-garde, 1919-1945 / Jan-Christopher Horak
- Notes on the new American cinema / Jonas Mekas
- The woman filmmaker in the New York avant-garde / Lauren Rabinovitz
- Women in the avant-garde: Germaine Dulac, Maya Deren, Agnès Varda, Chantal Akerman, and Trinh T. Minh-ha / Agnès Varda
Bozar Cinema: Jack Smith

By Marcos Ortega on Thu, 30/10/2014 - 11:21

A legendary American artist, filmmaker and actor described by Andy Warhol as the only person he would ever copy and by John Waters as “the only true underground filmmaker”.

The films of Jack Smith (USA, 1932-1989), along with the artist’s complete body of work - including photographs, collages, drawings, slide shows, costumes, sculptures and props that were used in his performances - represent one of the most seminal and important oeuvres in twentieth century art. Born in Ohio and arriving in New York in 1953, Jack Smith transformed the detritus of post-war downtown New York into filmic tableaux vivants of exotic glamour and polysexual fantasy. Rejecting the conservative political climate of an America at war with Vietnam, the trends of Abstract Expressionism, the repression of queer expression and the abstention of the pornographic in high art, Jack Smith was one of the first proponents of the aesthetics which came to be known as 'camp' and 'trash', using no-budget means of production to create a visual cosmos heavily influenced by Hollywood kitsch and orientalism. An actor for Andy Warhol, Ken Jacobs and Robert Wilson, Smith sought in his own filmmaking to create an aesthetic of delirium. Smith’s influence is obvious in the work of artists such as Cindy Sherman, Mike Kelley, Matthew Barney, Nan Goldin, John Waters, Derek Jarman, Guy Maddin and Ryan Trecartin.

Dates:
Friday, November 7, 2014 - 19:00 to Saturday, November 8, 2014 - 18:55
Venue:
Bozar Cinema (Centre For Fine Arts) - Bruxelles, Bélgica
MuMaBoX #29: Performative body

By Marcos Ortega on Wed, 05/02/2014 - 16:30

In the history of contemporary art, the body has been a particular medium in the sense that it implies a physical engagement of the artist who is not necessarily present with other media: it isn't just action painting and the rise of Abstract Expressionism in the United States in the 50s that made us realize that the painter paints (also) with his body. With Gutai in Japan, the Vienna actionists, Fluxus and body art - or corporal art, and many other artists out of any movement, the body becomes all or part of the artistic language.

This performative body, filmed under various schemes - of the acquisition to the intimate theater,, we will give an overview of creation in the field of performance, territory of the art or History, sexuality and gender are examined.

Dates:
Wednesday, February 12, 2014 - 20:00 to Thursday, February 13, 2014 - 19:55
Venue:
Musée d'art moderne André Malraux - Le Havre, Francia
Xcèntric: Found footage / re-enactment

By Marcos Ortega on Tue, 11/12/2012 - 08:16
Xcèntric: Found footage / re-enactment
Museum's films: the Pompidou Collection
Thursday December 13, 2012, 20h
Xcèntric CCCB, Montalegre, 5, 08001 Barcelona

Programme two in the selection from the film collection of the Centre Georges Pompidou, with three high priests of the experimental sharing the screen in a session not to be missed.

- Rose Hobart (Joseph Cornell, 1937, 17 min)
- Opening the Nineteenth Century: 1896 (Ken Jacobs, 1990, 9 min)
- Flaming Creatures (Jack Smith, 1963, 42 min)
Category:
Events
Glorious Catastrophe: Jack Smith, Performance and Visual Culture
Glorious catastrophe presents a detailed critical analysis of the work of Jack Smith from the early 1960s until his AIDS-related death in 1989. Dominic Johnson argues that Smith's work offers critical strategies for rethinking art's histories after 1960. Heralded by peers as well as later generations of artists, Smith is an icon of the New York avant-garde. Nevertheless, he is conspicuously absent from dominant histories of American culture in the 1960s, as well as from narratives of the impact that decade would have on coming years.

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Category:
Books
Publisher:
Manchester University Press
Experimental Film Club: Of Ruins and Light

By Marcos Ortega on Sun, 16/09/2012 - 15:18
Experimental Film Club: Of Ruins and Light
Friday September 21st 2012, 21h
Coal Quay carpark Culture Night, Cork.

This programme of 16mm experimental film works is curated by Esperanza Collado and Aoife Desmond of the Experimental Film Club, Dublin. Their chosen films present expanded representations of time and space; from the earthly to the celestial, from the transience of man's structures on earth, to the vastness of the universe.

- Scotch Tape (Jack Smith, USA, 1959-1962, 3 minutes, B&W, Sound (optical), 16mm)
- The End (Patrick Keiller, 18 min, 16mm, B&W, sound (optical), 1986)
- Stellar (Stan Brakhage, 3 min, Colour, Silent, 16mm, 1993)
- Origin Of Species (Ben Rivers, 16 minutes, Colour, Sound (Optical), 16mm, UK, 2008)
- Redshift (Emily Richardson, 4 min, 16mm, colour, sound, 2001)
- The Cup And The Lip (Warren Sonbert, 20 mins., 16mm, colour, sound, 1986)
- Observando El Cielo (Jeanne Liotta, 19 mins, 16mm, colour, sound, 2007)
- Transit Of Venus (Nicky Hamlyn, 2 Min, 16Mm, B&W, Silent, 2005)
Category:
Events
Glorious Catastrophes

By Marcos Ortega on Wed, 12/09/2012 - 16:06
Glorious Catastrophes
Wednesday, 31 October 2012, 20:30h
Beursschouwburg, A. Ortsstraat 20-28, 1000 Brussels
In collaboration with Courtisane

“A seriousness that fails”: this is how Susan Sontag described the essence of “camp”, this transient mixture of excess, fantasy, passion and naivety that has taken up a distinctive place in the cultural firmament since the 1960’s. Andy Warhol, who emphatically responded to this trend with his film Camp (1965), saw it differently: he was rather interested in the idea of failure itself, a failure that has to be taken seriously. After all the majority of Warhol’s films consists of observations of people in and as image, who in all their fallibility reveal a genuine authenticity and startling vulnerability. Two characters who play lead roles in Camp also take up a central place in this film programme: Paul Swan and Jack Smith. Warhol’s self-titled portrait of Swan, a dancer and actor who was once lauded as the “most beautiful man in the world” is an as ruthless as affectionate observation of a man who alternately falls in and out of the role of his lifetime. The area of tension between playing and being, playful fantasy and harsh reality, is also the arena of Jack Smith, the “enfant terrible” of the post war American underground scene. The early films Smith made in collaboration with his then confidant Ken Jacobs manifest a brutal beauty and audacious hedonism, unleashing a bewildering vitality not despite but because of their deliberate “trash” esthetics. Between innocence and nonsense, order and disorder, catastrophe and utopia: what the films in this programme have in common, are forms of expression that thrive in relation to their own failing.

With film works by Andy Warhol, Ken Jacobs, Jack Smith
Category:
Events

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