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  • Takahiko Iimura: Movies & Performance

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    “To review all of Iimura’s work is an important occasion for all who are concerned with the development and pleasures of cinema as an art” (Jonas Mekas)

    The most influential figure in Japanese experimental cinema, Takahiko Iimura is a pioneer of expanded cinema, video art and film installations in his native country. Living “in & out” of Japan since the 1960s, Iimura has shown an impressive breadth in his artistic practice that spans decades and various continents. His focus, nevertheless, has remained distinctly material, engaged with the physicality of the media with which he works to bring out the key components of darkness and light that he considers the essence of cinema. Returning to Amsterdam for the first time since his screening at the Nederlands Filmmuseum on his six-month European tour in 1969, our unique program comprise of three distinct sections that highlight his career: the first, a focus on his early Dada-inspired work; the second, a presentation of structuralist film experiments; and the third, an expanded cinema performance. Takahiko Iimura will be present for a Q&A moderated by Julian Ross.

    Dates: 

    Tuesday, October 21, 2014 - 19:15

    Venue: 

  • Film Studies Center: Films of Mark LaPore

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    From the 1980s until his death in 2005, American filmmaker Mark LaPore turned his intense gaze towards documenting life across several continents, as well as virtual worlds.  Whether training his Super 8 camera on Sudanese life early in his career or documenting the faces and gestures of laborers during his travels in India and Sri Lanka, LaPore cemented a position not only as a master of the visual essay, but also as one of cinema’s keenest chroniclers of the wanderer’s impulse.  Renowned for his penetrating style, LaPore’s films achieve a rare blend of sensuousness and severity, mixing subtle observation with stark juxtapositions.

    Dates: 

    Friday, November 14, 2014 - 19:00

    Venue: 

  • Film's Not Dead!

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    There is a number of filmmakers worldwide who have the distinction of making themselves the emulsion which they then use to shoot. From October 27 to November 2, L'Abominable has invited a few of them to spend a week together in La Courneuve for the "Maddox Seminar", a time together for exchange and experimentation, sharing and transmission.

    On this occasion, we propose a session with films by Will Rifer from Mire in Nantes, Robert Schaller from the Handmade Film Institute in Colorado, Lindsay McIntyre from Montréal, Kevin Rice from Process Reversal (Colorado & NY), Esther Urlus from Filmwerkplaats in Rotterdam and a 30-minute 16mm live performance by Alex MacKenzie.

    Dates: 

    Saturday, November 1, 2014 - 20:30

    Venue: 

  • Crater Lab: Brillo garantizado

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    David Domingo (Valencia, 1973), also known as Davidson or Stanley Sunday, began his career filming and editing in VHS with a Panasonic camera and video player. These were appropriation re-montages or short stories filmed at home, featuring his sister Alba Domingo (also known as Alba Lavada, Vomitoni or Albon’s) and his grandmother Josefa Fernández. After the death of the latter, he started working with Super-8 and filmed La mansión acelerada, a neogay epic inspired by the myth of turning the house upside down in the parents’ absence, as done by Joel Goodsen’s character in Risky Business.

    Dates: 

    Saturday, October 18, 2014 - 20:00

    Venue: 

  • Cineclube: Imagem-Pensamento - Fall 2014

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    The diversity of thought with cinema. Thus the text as an image, the relations between image and sound, are part of personal films with an autobiographical dimension. Themes such as the contemporary consumer society, advertising, representation of women and neocolonialism are the focus of several sessions. While others show the film in a situation where celluloid and video speak their differences through the film as sculpture. The issue of the media, placing film and video in different sites, ranging from theater to the gallery, will also be addressed in the sessions. The films will be screened with subtitles in Portuguese and those will be available for filmmakers, and / or distributors.

    Dates: 

    Wednesday, October 15, 2014 - 15:30
    Wednesday, October 22, 2014 - 15:30
    Wednesday, October 29, 2014 - 15:30
    Wednesday, November 5, 2014 - 15:30
    Wednesday, November 12, 2014 - 15:30
    Wednesday, November 19, 2014 - 15:30
    Wednesday, November 26, 2014 - 15:30
    Wednesday, December 3, 2014 - 15:30
    Wednesday, December 10, 2014 - 15:30

    Venue: 

  • Alternative Visions: Films of Jerome Hiler

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    Jerome Hiler's In the Stone House records and recollects a period of life of four years in rural New Jersey. In the latter 1960s, two young guys with monastic leanings leave the clatter of Manhattan’s art and film scene to catch the wave of higher consciousness that was about to change the world forever to find themselves washed ashore in a place only slightly updated from Way Down East. The monastic retreat quickly turned into the weekend getaway for a host of extravagant Manhattanites seeking films and fun. We learned from hitch-hiking guests that the police referred to our haven as “the stone house.” Although New Shores is a completely independent project, it could also be seen as a continuation of the world of In the Stone House. It affords glimpses of life led over three decades from the 1970s to the 1990s in San Francisco.

    Dates: 

    Wednesday, October 22, 2014 - 19:00

    Venue: 

  • 2014 Avant-Garde Masters Grant Winners

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    The National Film Preservation Foundation has just announced its 2014 grant winners:

    Anthology Film Archives (New York)
    - Globe (1971), Ken Jacobs' 3D view of the streets of Binghamton, New York.

    Bard College (New York)
    - FF (1986), Julie Murray’s assemblage of rephotographed images from pop culture.
    - Tr’cheot’my P’sy (1988), Julie Murray’s fast-paced feminist collage.
    - A Legend of Parts (1988), parodic history of civilization by Julie Murray, assembled from found footage and 3D postcards.
    - Conscious (1993), Julie Murray’s collage of educational and science films.

    Category: 

  • Sight Unseen presents Richard Tuohy: Hand Crafted Cinema

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    While many commercial film labs are shutting there doors, a counter movement is taking place in the form of the international network of artist-run film labs. The Australian experimental filmmaker, Richard Tuohy – a prominent figure in this cinematic d-i-y turn – sees this new phase for the traditional media as an opportunity; as a chance for the film artist to directly engage with the once inaccessible, now too often discarded tools of the traditional film lab. 

    Tuohy's hand crafted cinema presents us with multiple visual manipulations in camera, in printer techniques, in experimental processing procedures and in projection to sculpt an activated and reanimated reality which collectively represent a distinctively cinematic experience. More visual then cerebral, these pictures move, and with an energy unique to film. While covering a range of techniques, strategies and visual themes, they each share the same tenacious unfolding of a set of abstract possibilities from out of singular visual ideas. This program presents eight hand-processed and d-i-y printed 16mm film works from the artists recent output. The films, though diverse, are all highly abstract and tightly structured and share a fascination with the visual possibilities of basic traditional film technology.

    Dates: 

    Friday, October 24, 2014 - 21:00 to 23:00

    Venue: 

  • Videofocus 10th Edition International Call

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    Since its foundation, Stigmart10 has encouraged a conception of art based on a dynamic dialogue between artists and audience which reflects the interactive nature of the creation process itself. Due to the advent of technologies like DSLR and microbudget cinecameras, in the last decade it came a true revolution in the video field. The fusion of differents worlds, like videoart, experimental cinema, and even fashion video and corageus documentary is attested by the increasing number of videoartists cooperating with filmmakers in the last decade, though this synergy is not limited to the improvement of the overall quality in mainstream cinema terms, but shows the great potential of a new generation of artists able to renew the cinematographic language itself from the inside.

    Whether it falls under the heading of artfilm or experimental movie, you are invited to submit your work to the Biennial Edition of Videofocus, our special Stigmart issue focused on video. A special section of our next issue will be dedicated to cinematographers: it is possible to send your reels too.

    Dates: 

    Friday, November 14, 2014 (All day)