Ciclo Narcisa Hirsch
Octubre 6,13 y 20
Casa Nacional del Bicentenario
Riobamba 985, C1116ABB – Buenos Aires, Argentina

La Casa Nacional del Bicentenario presenta un ciclo dedicado al cine de Narcisa Hirsch. Como cierre, el 20 a las 19, junto con la Asociación Argentina de Estudios de Cine y Audiovisual (ASAECA), habrá una mesa redonda dedicada al cine experimental en Argentina.

Una selección de varios de sus cortometrajes, los largometrajes Ana ¿Dónde estás? y El mito de Narciso, y el panel del que participan Adrián Cangi, Pablo Marín, Alejandra Torres y Narcisa Hirsch, componen esta propuesta.

Miércoles 6 de octubre a las 19 hs
Selección de cortometrajes

Retrato de una artista como ser humano
1968. Duración 15 ´51 mm. Color argentina
Documental experimental de la artista que muestra varios eventos artísticos (happenings) que ha ido haciendo a lo largo de los años.
Película en forma de diario personal que documenta una época.

Comeout
Versión en 16 mm. Color, sonora, 10 min. 1971
Sobre la música de Steve Reich. Una frase que se va desfasando electrónicamente mientras la imagen hace un movimiento inverso.
Cámara: Horacio Maira

Testamento y vida interior
Color, sonora, 10,38 min. 1977
La vida interior es una habitación que la cámara recorre muy lentamente. La voz del afuera entra por medio del pregón. El testamento son los compañeros de cine que van llevando un ataúd color naranja a través de la ciudad primero y de la Patagonia nevada después.
(texto tomado del ciclo experimental en el MAMBA año 2002 coordinado por Claudio Caldini)
Dirección: Narcisa Hirsch.
Cámara: John Maldelbaum, Horacio Maira, Narcisa Hirsch.
Con Claudio Caldini, Juan José Mugni, Guillermo Modrón, Horacio Vallereggio, Horacio y Marta Maira, Rafael Maino, Octavio García Faure, Adrián y Cristina Tubio, Jorge y Laura Inc.
Niña: Dolores Tubio.
Reedición en video digital, 2001, Alejandro Areal Vélez.

Homecoming
1978 Color, blanco y negro, sonora, 21.02 min. Reedición 2001 Alejandro Areal Vélez
Una pareja joven encerrada en una habitación se relaciona silenciosamente, mientras ella recuerda su vida desde el nacimiento hasta la llegada del primer amor.

Ama-zona
Color, sonora, 10.38 min. Super 8 1983
re-edición 2001
Basado en el mito de la amazona que se corta un pecho.
Una imagen fuera de foco se transforma en una mujer que repentinamente se mutila, hasta que transfigurada toma nuevas armas: el arco y la flecha.
Dirección: Narcisa Hirsch
Intérpretes:Diana Hirsch y Leila Yael
Música: Stephan Micus
reedición: Alejandro Areal Vélez

Aleph
Original 16 mm, final video Año 2005 / Dur. 1´
El Aleph es el punto donde el tiempo diacrónico y sincrónico se encuentran, y nuestra vida puede ser una experiencia de “toda una vida o de un minuto”.
Los instantes se suceden unos a otros pero al mismo tiempo y a la vez cada instante tiene la profundidad de campo de lo infinito y eterno.
Cada segundo representa una instancia de la vida del nacimiento a la muerte.
El Aleph es el punto que concentra esas instancias.
Dirección: Narcisa Hirsch
Edición: Daniela Muttis
Sonido: Nicolás Diab

Miércoles 13 de octubre a las 19 hs
Ana, ¿Dónde estás? 65 minutos.
Ana se ve desdoblada en dos personalidades. Una salvaje y primitiva y la otra culturalizada y refinada.

Miércoles 20 de octubre a las 19 hs
Mesa de homenaje a Narcisa Hirsch, organizada por la Casa Nacional del Bicentenario y ASAECA (Asociación Argentina de Estudios de Cine y Audiovisual) en el marco del Segundo Congreso Internacional organizado junto con la UBA y la UNGS).
Panel. Adrián Cangi, Pablo Marín, Alejandra Torres.
Proyección de El mito de Narciso con la presencia de Narcisa Hirsch.

Close-Up: Seeing/Hearing/Speaking – The Films of Takahiko Iimura + Live Performance
Tuesday October 5th, Time: 20h, Doors open at 19.45h
Venue: The Working Men’s Club, 44-46 Pollard Row, London E2 6NB
Ticket: £5/£3 to Close-Up members

This programme is a survey of the work of Japan's most influential experimental filmmaker, Takahiko Iimura, from his earliest 1960s experiments and conceptual videos to his later videos on semiology and identity. Takahiko Iimura will perform CIRCLE AND SQUARE and be in attendance for Q&A moderated by Julian Ross.

"Although Taka was and continues to be an active part of the New York avant-garde scene, he always remained an enigmatic, mysterious presence, pursuing his own unique route through the very center of the avant-garde cinema. While the intensity and the fire of the American avant-garde film movement inspired him and attracted him, his Japanese origins contributed decisively to his uncompromising explorations of cinema's minimalist and conceptualist possibilities. He has explored this direction of cinema in greater depth than anyone else." — Jonas Mekas

EYE AM: ANOTHER EXPERIMENT by WOMEN
Tuesday October 12, 2010, 18h
Anthology Film Archives, 32 Second Avenue (at 2nd St.)
New York, NY 10003 USA

EYE AM: WOMEN BEHIND THE LENS is a screening series celebrating experimental, memoir, and documentary film by women. Tonight we will hold a special show, juried by Lili White.

- Fonction Panorama LG KU990 (Caroline Bernard, 2009, video, 5.48 min)
from:  Migratory Project, with Michiko Tsuda, and Damien Guichard    
Poetic ribbon made by a succession of panoramas. The film time is produced by the scrolling image. The past goes out by the left of the image, whereas the future enters by the right. It's also a kind of timeline, the timeline of life, of feelings, feelings trapped in time and space, and it's also a metaphor of tired feeling in a love relationship… There is a kind of a loving duet between the cameraman, and the photographed character (it is true because it is me and my spouse). But of course, it's fictional, we are just in symbolical representations.
- What comes between (Cecilia Araneda, 2009, S8/16mm/digi, 5.36 min)   
An examination of personal memory and loss rooted in the filmmaker's birth place – Chile – and her departure from that country long ago. A collage film created with found footage from personal and historic sources, and original hand printed and tinted footage.
- This kind of town (Marcy Saude, 2010, 16mm/digi, 5:30 min)
The frontier mythos of nature vs. civilization plays out against the landscape of a former gold rush boomtown of Ward, Colorado in the Rocky Mountains. Mining structures, abandoned cars, railroad remains; roadside junk sculptures, tie-dye and American flags; sights and sounds of “the West” then and now attempt to answer the question, “what kind of a town is this, anyway?”
- Le monde est immense (The world is vast) (Muriel Montini, 2008, S8/digi, 9.05 min)
A summer’s day in the countryside. A woman is sewing. A little girl tries to attrack her attention. A boy appears...A few images from a super 8 movie explored in detail and recomposed with a dramatic end in mind.
- You can see the sun in late December (Sasha Waters Freyer, 2010, 6.40 min)
Beautiful emptiness, anguish and calm, absence rendered visible and traces of presence in the winter light, all intensified by the damned (non) question of maternity.  Filming every frigid day in the final month as a strategy for overcoming deflated motivation.
- Bodily heavens (Stephanie Wuertz, 2010, digi, 2.40 min)
A whirl of whorls and dis-astral staccato, Bodily heavens is a frenetic animation created under a microscope that evokes a nostalgia for the intimate sublime.
- Paradise (Noe Kidder, 2010; 16mm/digi, 10.00 min)
Paradise was filmed between 2005-2007 on location in Lisbon, Kauai and at Catwalk Artist Residency in Catskill, NY. By using a kind of home-made optical printing technique and overlapping layers of sound, text and image in the edit, I wanted to experiment with abstraction in a way that would challenge the viewer as well as my own experience of loss.
- The daughter remembers to forget (Sara Strahan, 2010, score by Melissa Grey, digi/S8, 16MM/HD, 3.36 min)
Home movies, found footage and hand-made elements are used to explore the complex mechanisms of perception, memory and recollection. Memory is not a conscious recollection of narrative, but textured and interspersed with media and non-linear traces of recollection that always result in an updated output of the past. Does this conception of memory imply a potential for re-making our own stories? Can the daughter forget to remember, or remember to forget?
- 5 lessons & 9 questions about Chinatown (Shelly Silver, 2010, digi, 10 min)  
You live somewhere, walk down the same street … taking in fragments, but never fully register THE PLACE.  Years, decades go by ... A building comes down, and before the next one is up you ask ‘what used to be there?’… since the 19th century, wave after wave of inhabitants have moved through and transformed these alleyways, tenements, stoops and shops…past, present, future, time…immigration, exclusion, gentrification, racism, history, China, America… 9 questions, 5 lessons, Chinatown