Double Vision is a beautifully written work of biography and criticism that tells the inside story of Robert Beavers (b. 1949), a major American avant-garde filmmaker. Until now, Beavers's dramatic life of itinerancy and resistance to commercial circulation has obscured his recognition as one of today's most significant living filmmakers.
Crack, Brutal Grief came in response to the tragic suicide of the filmmaker's friend, an event that led him to a formative encounter with the grotesque imagery of the early Internet. In response to this inhumanity, the artist poses an alchemical possibility, to confront and raise debased images of death, exploitation and suffering to the full dignity of sorrow, in the process achieving catharsis.
Norman McLaren dijo que «la animación no es el arte de los dibujos que se mueven, sino el arte de los movimientos que se dibujan. Lo que pasa entre cada fotograma es mucho más importante que lo que hay en cada fotograma». ¿Qué veríamos, pues, si pudiéramos parar el tiempo entre fotograma y fotograma? ¿Cómo se manipulan estos intersticios invisibles, esta otra dimensión paralela a las imágenes?
Karel Doing is an experimental filmmaker and researcher who has worked across the globe with fellow artists and filmmakers, creating a body of work that is difficult to pinpoint with a simple catchphrase. In Ruins and Resilience he weaves autobiographical elements and critical reviews together with his wide ranging interdisciplinary approach, reflecting on his own practice by positioning key works within the context of a vibrant experimental film scene in Europe, North and South America, and Asia.
Experiencias: vivir, inventar, escribir. Para Hélio Oiticica no eran tres palabras sino manifestaciones de un mismo gesto, de una realidad única. Y así fue desde el principio, cuando comenzó con el Grupo Frente y participó en la Exposición Nacional de Arte Concreta de 1957, hasta el final de su vida, cuando no dejaba de llenar sus cuadernos con proyectos ni de transformar el espacio urbano con sus obras y su cuerpo en lo que llamó “delirios ambulatorios”.
Paris, 1976: the Centre Pompidou had not yet opened its doors, yet it was already asserting its ambition to include in its programming artistic practices that had until then remained invisible in museums. It is at this moment of prefiguration that the exhibition A History of Cinema is being organised. What kind of history is this? In the course of the sessions, an alternative narrative to the dominant cinematographic canons took shape, on the fringes of the industry and auteur cinema.
Often described as an art of abstraction and subjective introspection, experimental film is also invested in exploring daily objects and materials and in channeling, in the process, a peculiar perception of the modern everyday that this book calls queer materiality.
James Stanley Brakhage, de nombre original Robert Sanders, nació en Kansas City, Missouri, en 1933. A los seis años de edad se mudó a Colorado, donde pasaría la mayor parte de su vida. En su dura infancia, halló un refugio temprano en el arte, primero como niño soprano solista y después como escritor y dramaturgo durante la escuela secundaria. Becado en la Universidad de Dartmouth, estudió sólo un semestre, abandonándola para filmar su primera película en 1952.
Nathaniel Dorsky and Jerome Hiler met in 1964 at the premiere of Dorsky’s first film, Ingreen. This encounter marked the beginning of a shared life and a series of creative exchanges. Covering a span of over forty years, this book brings together interviews, writings, and documents related to the 16mm films made by the two filmmakers in New York, at the country house in New Jersey where they lived in the late 1960s, and in San Francisco, where they moved in 1971 and currently reside.
What do glitches reveal about the normally invisible processes behind our interpretations?
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