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  • Andy Warhol’s Sexy Silent Films - Presented by Douglas Crimp

    Presentation by Prof. Douglas Crimp, Fanny Knapp Allen Professor of Art History and Professor of Visual and Cultural Studies at the University of Rochester

    Screening of Andy Warhol films, projected on 16mm at silent speed (16 frames per second):
    - Haircut (No. 1) (1963, 24 min.)
    - Blow Job (1964, 35 min.)
    - Mario Banana #1 and #2 (1964, 4 min. each)
    - Jill and Freddy Dancing (1963, 4 min.)

    Dates: 

    Thursday, November 6, 2014 - 19:00

    Venue: 

  • Fire+Light+Vision: New projections by James Harrar

    James Harrar's experimental and highly personal film/video images will be viewed with a live musical rendering of soundtracks for each work. The musical concepts are created, directed and performed by Harrar, often with local musicians. The project places attention on exploring the moving image with live performance and when combined, attempts to reveal deeper levels of interpretation within Harrar’s visceral film poems. This presentation also celebrates the early beginnings of cinema, providing live music to support and elevate the silent movie experience.

    With the performance, the viewers will experience the spiritual states of mind through Harrar’s visual poetry, comparable to a moving painting.

    Dates: 

    Saturday, November 8, 2014 - 19:30

    Venue: 

  • Bozar Cinema: Jack Smith

    A legendary American artist, filmmaker and actor described by Andy Warhol as the only person he would ever copy and by John Waters as “the only true underground filmmaker”.

    The films of Jack Smith (USA, 1932-1989), along with the artist’s complete body of work - including photographs, collages, drawings, slide shows, costumes, sculptures and props that were used in his performances - represent one of the most seminal and important oeuvres in twentieth century art. Born in Ohio and arriving in New York in 1953, Jack Smith transformed the detritus of post-war downtown New York into filmic tableaux vivants of exotic glamour and polysexual fantasy. Rejecting the conservative political climate of an America at war with Vietnam, the trends of Abstract Expressionism, the repression of queer expression and the abstention of the pornographic in high art, Jack Smith was one of the first proponents of the aesthetics which came to be known as 'camp' and 'trash', using no-budget means of production to create a visual cosmos heavily influenced by Hollywood kitsch and orientalism. An actor for Andy Warhol, Ken Jacobs and Robert Wilson, Smith sought in his own filmmaking to create an aesthetic of delirium. Smith’s influence is obvious in the work of artists such as Cindy Sherman, Mike Kelley, Matthew Barney, Nan Goldin, John Waters, Derek Jarman, Guy Maddin and Ryan Trecartin.

    Dates: 

    Friday, November 7, 2014 - 19:00

    Venue: 

  • Intertidal by Alex MacKenzie + Hyas & Stenorinques by Jean Painlevé

    First session in a series of useful labs in partnership with Le Lieu Unique on the porosities between the experimental image and the documentary: documentary cinema / experimental cinema - borders, influences. This first meeting is devoted to one of the common origins of experimental film and documentary cinema: the first science films from the early twentieth century.

    The moving image as an observation, and contemplation tool, of natural phenomena or environments, fragile, unknown and often invisible to the naked eye. A marine evening with the 16mm performance Intertidal by filmmaker Alex MacKenzie (Vancouver, Canada) and the projection in 16mm of the film Hyas & Stenorinques by Jean Painlevé.

    Dates: 

    Tuesday, November 4, 2014 - 20:00

    Venue: 

  • Perímetro: Sally Golding - Unconscious Archives

    Sally Golding combines film projection, lighting and sonic composition to create performances and installations. Golding has developed works where she projects films directly onto her body and harnesses the audience’s reflections, creating live cine-sculptures and interactions. Photographic compositions printed as optical soundtracks and decomposed uprooted vinyl library music, neatly situate Golding’s work at the crossroads of science and superstition, philosophy and pulp. Golding’s projects thread between expanded cinema and media art, curation and audiovisual archiving evolving a practice of ‘hacked cinema’.

    Golding curates the expanded cinema and sound art series Unconscious Archives (London), and is co-curator and co-founder of OtherFilm (Australia) dedicated to experimental, expanded and other forms of art.

    Dates: 

    Friday, October 31, 2014 - 20:00

    Venue: 

  • Light and Sound Machines - Performance Projection

    Participants will cut and splice sonic compositions from existing sound film and create handmade optical sound. Handmade film techniques can be applied to create image to compliment or juxtapose the sound compositions. Participants will then develop ways of playing and interacting with the 16mm film projector - practicing projection manipulations and using devices which interfere with light and sound. At the end of the workshop participants will play solo or as group to unleash expanded projection and aural improvisations. Strips of sound film will be provided, however participants are encouraged to bring additional devices such as toy refracting lenses and pop filters.

    Facilitated by Sally Golding

    Dates: 

    Thursday, October 30, 2014 - 10:00

    Venue: 

  • 2014 BIEFF Experimental Film Workshop Call for participants

    The Experimental Film Workshop is organized by NISI MASA European Network of Young Cinema, under the frame of Bucharest International Experimental Film Festival (BIEFF), whose fifth edition will be held this year in between the 10th  and 14th of December. For the workshop, 2014 marks the third edition.

    During the 10-day workshop (5th-14th December 2014) 25 international filmmakers and visual artists aged 18-35 will be guided by tutors and work on experimental filmmaking. Together, they will produce short film experiments that will be premiered on the very last day of the festival. The working method of the workshop is collaboration, reflection and sharing with fellow participants, with the aim of learning, exploring and developing creativity together. 

    This year’s approach wishes to encourage and support the relationship between film, music and mapping, aiming to render obsolete the gap between the screen and the audience by making the whole process - from conception to screening - a great interactive experience for all those involved. 

    Dates: 

    Friday, November 7, 2014 (All day)

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