A rollicking picaresque memoir on moviemaking from the titans of underground trash cinema.
In the underbelly of underground cinema, the Kuchar brothers have long been the prophets of experimental filmmaking. Reflections from a Cinematic Cesspool is a raucous journey through the minds of these two transcendent artists.
“No doubt the fragile stuff of film, made newly strange in an age of immaterial electronic images, encourages the contemplation of change and chance, birth and death; such notions are registered through utterly physical means by Reeves in the fractal cracks of distressed pigment that adorn some of her hand-edited frames, or the tidal flows of thick, opalescent paint, sometimes dotted with stellar bubbles of captured air, that wash across other moments.”
— Ed Halter, Artforum
Lisl Ponger is a visual artist, working at the interface of art, art history and ethnology. Her works dismantle cultural stereotypes and challenge the power of images about others. In the decades of her work with photography, film and installation, the artist has consistently developed a characteristic "Pongerish perspective" on the world. Her pictorial constructions are invariably also deconstructions of dominant scopic regimes that operate in the interstitial spaces between art, society and politics.
This critical anthology of newly commissioned essays by established and emerging scholars examines the work and legacy of Annette Michelson (1922–2018), pioneering critic and theorist of avant-garde cinema. Michelson’s insights transformed our understanding of cinema through her provocative and profoundly original analyses. As a contributor and editor for Artforum in the 1960s and early 1970s, then founding editor of the journal October, Michelson defined the terms of moving image art and its relation to painting, sculpture, and performance.
BOOM! is the secret history of the Exploding Cinema told by its key activists. And in particular it is the history of the Exploding Collective, a unique experiment in total democracy, open access, collective ownership and voluntary action. For the last 3 decades, this unfunded gang of radical cinema activists have been staging regular monthly open access nights of short D.I.Y. underground film in pubs, clubs and squats across London; turning shabby interiors into temporary convivial utopias that seethe with multiple moving projections.
“a blueprint for critical resistance and aesthetic defiance in the face of digital capitalism and a rising new age” — Laila Shereen Sakr/ VJ Um Amel
Fear of the ‘machine artist’ reflects a deep cultural anxiety about industrialization, shaped by unresolved conflicts over automation and its potential to supplant human artists. Automated machinery represents both a technical development and a social paradigm that redefines labor, authorship, and creativity itself.
Through the course of the 1980s, Canadian artist-filmmaker Richard Kerr had gradually moved towards an ‘accelerated cinema,’ an imagistic cinema of movement, montage and aggressive sound design. Kerr’s work in this ‘accelerated cinema’ became increasingly total at the same time that he became invested in the model of the ‘teacher-practitioner,’ collaborating directly with his students and working with simple, accessible tools.
The films and videos of Christine Lucy Latimer defy their containers: they reveal the fragile systems underlying media, press the boundaries of image-making machines, and embrace the faults and frailties of vision. Almost all of Latimer’s work is silent, but nothing is truly silent: Latimer’s images recall the hums, tweets and mechanical moans of the technology with which she made them. Her work began long after most of the formats she employs had become obsolete.
An analysis of artistic processes and filmic forms resulting from hybridization with dance. An exploration of a different history of experimental cine-choreographic forms, in which movement inspired by or aspiring to dance takes shape in the material of the film itself, rather than in the physical bodies displayed on screen.
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