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The four digital video works on this disk involve an intense and dynamic exploration of colour mixing, phasing tone rows, and illusions of movement. Colour Bars (2004) refers to the ordinarily static television test signal image, which has provided the co
Sanctus composes and recomposes, in a astonishing found-footage film, a series of \"x\" (ray) films shot in the 1950\'s by the doctor and film director James Sibley Watson.
Part essay, part film poem, Magic Mirror translates the startling force of French surrealist Claude Cahun’s photographs into a choreographed series of tableaux vivants. Re-staging Cahun’s black and white images with selected extracts from her book Aveux Non Avenus (Confessions Untold), the film explores the links between Cahun’s photographs and writings. Cahun’s multi-subjectivity, as expressed in both her photographs and book, set the scene for the film, where she dresses and makes her face up in many different ways, swapping identities between gender, age and the inanimate. The splitting of identity appears as a double which persists throughout in image and voice; as literal double through super imposition, as shadow, imprints in sand, reflections in water, mirror or distorting glass. The kaleidoscope aesthetic that runs through the film serves not only to weave between image and word but also between the work of Cahun and the films of Sarah Pucill, creating a dialogue between two artists who share similar iconography and concerns.
Bien que peu connu, Teo Hernández est l'un des réalisateurs mexicains les plus importants du cinéma expérimental au format Super 8, qui depuis son exil volontaire en France, s'est entièrement consacré à une pratique artistique multiforme au sein de la communauté homosexuelle et des milieux culturels alternatifs parisiens. Le livre paraît à l'occasion de l'exposition "Teo Hernández : Éclater les apparences" à la Villa Vassilieff (8 février - 27 avril 2019) et rassemble une sélection de fragments des carnets de l'artiste, disparu prématurément à Paris en 1992.
Kino Lorber have revealed that they are planning to release on Blu-ray two landmarks of the American avant-garde: director Jonas Mekas: Walden (1969) and Lost Lost Lost (1976). The two-disc Blu-ray set will be available for purchase on November 17.
Walden, Mekas' first completed diary film, is an epic portrait of the New York avant-garde arts scene of the 1960s.
Lost Lost Lost documents Mekas' early years in New York as he and his brother Adolfas build their new life in America.
Martin Arnold ist einer der profiliertesten experimentellen Filmemacher Osterreichs. Seine jungste Arbeit "Deanimated: The Invisible Ghost" ist eine Art Ubermalung eines klassischen amerikanischen Horrorstreifens: im Verlauf der Handlung werden zentrale Figuren des Geschehens mit digitalen Mitteln herauskopiert, sodass sich der Film sukzessive entvolkert. Durch diesen Deanimationsprozess entsteht aus der alten, herkommlichen Suspense-Geschichte eine neue, die offener und ratselhafter ist. Deanimated prasentiert den gesamten Film in einer Serie von Fotostills.
This comprehensive new monograph on the influential British artist-filmmaker—renown for his playful and formally ingenious subversion of the everyday world—contains essays by Ian Christie, Martin Herbert, Kathrin Meyer, and Ethan de Seife.
Herbert’s text provides an incisive overview of Smith’s work over the past four decades while Christie examines Smith’s oeuvre within the context of English eccentricity. Meyer’s essay discusses Smith’s film The Black Tower in relation to absence and abstraction while de Seife looks at cinematic scale through the prism of Smith’s Gargantuan.
‘You hear it everywhere: Cinema is tipping over – its epic and dramatic forms are spilling over into television, avant-garde and experimental films have fled to the galleries, and all the images that once belonged to it are now available everywhere, anytime. At the Austrian Film Museum, we tend to refrain from such sweeping and simple-minded swan songs. For this very reason, we are honoured to participate in Vertical Cinema – a project committed to taking one step at a time. Instead of trying to tip cinema in its entirety into the digital netherworld, this project is content with just tipping the screen – observing how an artform changes if you respectfully chafe at its edges.’ – Alexander Horwath, Director of the Austrian Film Museum
What is the significance of gendered identification in relation to artists' moving image? How do women artists grapple with the interlinked narratives of gender discrimination and gender identity in their work? In this groundbreaking book, a diverse range of leading scholars, activists, archivists and artists explore the histories, practices and concerns of women making film and video across the world, from the pioneering German animator Lotte Reiniger, to the influential African American filmmaker Julie Dash and the provocative Scottish contemporary artist Rachel Maclean.
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