Light Movement presents Werner Nekes' Diwan, a film anthology in five installments: 1. sun-a-mul (16 min) 2. alternatim (15 min) 3. kantilene (17 min) 4. moto (16 min) 5. hynningen (21 min). The fifth installment, "hynningen" was awarded the Bundesfilmpreis in Silber in 1975.

"Hynningen (Swedish for 'honey roof') begins with long multiple exposures of a landscape with a clearing, opening up to the horizon. In the middle of the clearing there is a simple log cabin of the type characteristic of Northern Europe or Quebec. There are actors a man and a woman - at the window, at the doorway, strolling in the grass, doubled or even tripled by multiple exposure. Traces they have left at different moments of the day and in the changing light appear as gentle phantoms. If our varying perceptions would outlast changes in location we would experience a strong sense of continuity and of repetition.

Students in the MRes Art: Moving Image programme at Central Saint Martins/LUX present a screening in response to The New Pluralism, a mid-decade survey of British film and video art held at the Tate Gallery in April 1985. Curators Michael O’Pray and Tina Keane selected nearly one hundred works for the exhibition in an ambitious attempt to map the pluralistic practices and politics that emerged as a reaction against the Structuralist aesthetic of 1970s British experimental film. Revisiting this exhibition as a moment rather than a movement, the students will reactivate some of these works within a contemporary critical framework. Works shown as part of this programme will include Kim Flitcroft and Sandra Goldbacher’s Scratch video supercut Night of a Thousand Eyes (1984) and Mark Wilcox’s surreal, proto-Lynchian videotape Calling the Shots (1984).

Every Tuesday night for more than a hex of years, the Robert Beck Memorial Cinema illuminated the snowy-white screen of the Collective Unconscious on Manhattan’s Lower East Side. Initiated by Brian Frye & immediately joined by Bradley Eros, both shared the core curating frenzy of this no-budget operation, managing to produce over 300 programs and exhibiting more than a thousand artists. When Frye left, it relocated & regrouped, mutating into Roberta Beck Mercurial Cinema at Participant Inc’s gallery just around the corner, for a year, with a team of at least six, but primarily & irrepressibly Eros & Joel Schlemowitz. It later became a restless, nomadic cinema, mushrooming & mutating in myriad incarnations, most notoriously at Issue Project Room on the Gowanus Canal in Brooklyn, both indoors and out. Lastly, it explored more artworld and musical contexts, transforming the field of experimental film, as both quixotic and quicksilver.

To celebrate our sixth anniversary we’ve assembled an evening of determined visual magic, radical geometry and single frame exaltation. Takashi Ito’s sublime Spacy uses the Droste effect (or mise-en-abyme), to turn 700 photographs of a gymnasium into a glorious ten-minute kinetic voyage. Paul Sharits’s seminal Ray Gun Virus is a colour field flicker film that offers a visceral palette of sensory pleasures. Rose Lowder’s Scenes de la vie francaise: La Ciotat is from her four-part series “Scenes de la vie francaise” which references the Lumieres and shows two versions of the same scene, shot frame by frame acutely examining the impact of scale, duration and time. La Ciotat features animated landscapes of the port, dry docks, shipyard workers, launched tankers, fishermen and the beach, showing us contrasting views of the Cote d’Azur port city with graceful perception.