Wednesday, March 28 at 8 PM

Doors 7:30 PM; $5 admission.

Join us for an evening of experimental films provided/curated by Light Cone, CAJU CAJU and Juliana Borinski. CURATOR IN ATTENDANCE!

PROGRAM:

OUTER SPACE by Peter TSCHERKASSKY
1999 / Fichier sur serveur / n&b / sonore / 25 ips / 10′ 00
“A young woman, night, an American feature film. She enters a house, a dark corridor, a thriller. While she forces her way into an unknown space together with the viewer, the cinematographic image-producing processes go off the rails. The rooms telescope into each other, become blurred, while the crackling of the cuts and the background noise – the sound of the film material itself – becomes louder and more penetrating.

“The pace becomes frenetic, the woman is being pursued by invisible opponents, pushed against a mirror, walls of glass burst, furniture tilts and the cinematographic apparatus which the heroine begins to attack in blind fury also collapses. The images jump and stutter, the perforation holes tilt into the picture, the sound track implodes in a will o’ the wisp destruction scenario – something which only film can do so powerfully. In ten minutes OUTER SPACE races through the unsuspected possibilities of cinematographic errors – a masterpiece.” – Stephan Grissemann

PARTIES VISIBLE ET INVISIBLE D’UN ENSEMBLE SOUS TENSION by Emmanuel LEFRANT
2009 / Fichier sur serveur / couleur / sonore / 25 ips / 7′ 00
Africa, 2003: the mechanisms of memory.
I shot the image of a landscape and buried simultaneously a film strip in the same place where the sequence was shot: the emulsion, the victim of erosion is thus subjected to biochemical degradation. The result of these natural processes of decay are then conserved in the state of their dissolution. Those two images, and their negative versions, are then entangled together thanks to double exposure and bi-packing techniques.

These landscapes in fusion, it’s the logic of a world that reveals itself. A bipolar world, where invisible takes shape with the visible, where the first dissolves itself into the second and vice versa.

SOUND OF A MILLION INSECTS, LIGHT OF A THOUSAND STARS by Tomonari NISHIKAWA
2014 / Fichier sur serveur / couleur / sonore / 25 ips / 2′ 00
I buried a 100-foot 35mm negative film under fallen leaves alongside a country road, which was about 25 km away from the Fukushima Daiichi Nuclear Power Station, from the sunset of June 24, 2014, to the sunrise of the following day. The night was beautiful with a starry sky, and numerous summer insects were singing loud. The area was once an evacuation zone, but now people live there after the removal of the contaminated soil. This project is made possible with funds from the Media Arts Assistance Fund, a regrant program of the New York State Council on the Arts, Electronic Media and Film, with the support of Governor Andrew Cuomo and the New York State Legislature; administered by Wave Farm.

STADT IN FLAMMEN by SCHMELZDAHIN
1984 / Fichier sur serveur / couleur / sonore / 25 ips / 5′ 00
Film material is subjected to biochemical processes by burying it in the garden, storing it in a pond, or overheating it. The results of these natural processes of decay or aging are then copied back onto film and thus conserved in the state of their dissolution. In “Stadt in Flammen” the scenes melt due to overheating, producing an infernal image impression of disappearance. The images no longer show a figuratively represented scene, but rather its dissolution as a temporal process

And more!!!!

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