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The new monster

Dr. Victor Frankenstein imagined, in their wild dreams, the ability to give life to a new human being of unparalleled beauty, strength and intelligence, using pieces of other beings that are already dead and buried. A great work that has been taken on by the artists of the sessions we are presenting today: to create new films with unique nuances by means of appropriation, remix and revival of a static and forgotten imagery. Modern Prometheus, in the wake of Frankenstein, who give life to disturbing creatures. These glorious and splendid monsters mix nostalgia and materialism, humor and evocation, cutting, pasting and reviving the universal imagery in one of the most radical and imaginative appropriation forms ever seen. A season curated by Gloria Vilches and Elena Duque.

 

Session 1

Modern Prometheus

A fascinating and exciting trip (as an album) through the most famous collage animators today. From the pure forms of the legendary Larry Jordan, to the punk spirit of Martha Colburn films, through Jodie Mack’s sharp look on consumer society or Wrik Mead’s queer manifests, without forgetting the young artists who turn the method upside down.

Cats Amore – Martha Colburn, 2002. 16mm. 3 min.

Eccentric vision of our animal instincts. Hot women dancers, cats, “I wanna be your dog” in French.

Skelehellavision – Martha Colburn. 2001. 16mm. 8 min.

Life after death, a hilarious, terrifying and lustful hell where perfect bodies are no longer the object of desire.

Solar Sight – Larry Jordan. 2011. 16mm. 15 min.Where we come from and where we go: the transcendental vision of the legend of collage film, Larry Jordan.

Yard work is Hard work – Jodie Mack. 2008. 16mm. 28 min.

A crazy and colorful musical about the hazards and vicissitudes of adult life routine.

Haven – Wrik Mead. 1992. 16mm. 2,30 min.

Fragmented, deconstructed and reconstructed queer love.

Non zymase penthatlon – Chris Gehman. 1999. 16mm. 5 min.

Buy, use, throw away, buy… An endless cycle repeated throughout the story relentlessly.

Monologue Extérieur – Francien van Everdingen. 2003. 16mm. 2 min.

The outside inside, or how forests are prepared in our living rooms.

Wall of Sound Flowers – Francien van Everdingen. 2004. 16mm. 4 min.

The wallpaper as an allegory of the desire for freedom in domestic life.

Allegory of Mrs. Triangle – Noriko Okaku. 2011. Vídeo. 7 min.

The many strange aspects of Mrs. Triangle’s personality.

The Spectres of Veronica – Dalibor Baric. 2011. Vídeo. 8 min.

The ghostly quality of film, subverted.

The storm is just a rumour – Sarah Mosk. 2011. Vídeo. 2 min.

The door to unknown dimensions, new forms of consciousness through collage.

New Hippie Future – Dalibor Baric. 2011. Vídeo. 4 min.

The past is the future. A future full of acid and delusions.

Reality Is the Most Beautiful Language – Xana Kudrjavcev-DeMilner. 2007. Vídeo. 4 min.

Delicate, almost abstract exploration of shapes and textures. Impossible landscapes, half lunar half land.

Cherries talk – Julia Zastava. 2009. Vídeo. 5 min.

Amazing visions, cherries speaking, skeletons, bright explosions. Television broadcasts from disturbing undiscovered planets.

Thursday May 31th. 5.15 pm. Sala (S). Centro Cultural Ágora.

Session 2

Tales of a forgotten future: time and imagery made in the USA in the cinema of Lewis Klahr

A review of Klahr’s work and his fascinating formal, aesthetic and narrative search. Lewis Klahr, a New Yorker by birth and Californian by adoption, is one of the leading figures of experimental cinema today. Since 1977 Klahr has been pursuing the perfect way to apprehend the elusive qualities of memory through evocative animated collages that recombine the twentieth-century American imagery with temporal weightlessness.

Deep Fishtank Birding. 1983. Super 8. 3 min.

One of the first mature attempts by Klahr with collage, a dive into the depths of memory.

Enchantment, 1983. Super 8. 3 min.

The pains and trials of comic superheros..

Pulls. 1985. Super 8. 5 min.

Another way of making collages: directly on celluloid. Klahr and found footage.

Cartoon Far. 1990. Super 8. 6 min.

A pop love story, in which two players dive into a world of paper clippings.

Downs Are Feminine. 1993. 16mm. 9 min.

Sex and drugs, a boost for bourgeois domestic life. Music by Mercury Rev.

Pony Glass. 1997. 16mm. 15 min.

One of the most powerful movies in Klahr’s filmography, the double standards of the American dream arising among the images of the brave new world of the 50s.

Green ’62. 1996. 16 mm. 6 min.

A portrait of Bowery, New York, seen from the curve window of a restaurant.

Serie The Aperture of Ghostings. 1999-2001. 16mm. Compuesta por: Elsa Kirk (1999. 5 min), Creased Robe Smile (2001. 4 min) y Catherine Street (2001. 3 min).

A series, a feature of Klahr’s work, based on contact sheets: photo shoots of strange women, and the invented lives of these women.

Nimbus Seeds. 2009. Vídeo. 8 min.

A love triangle, and a narrative play of sweeping resonances.

Well then there now. 2011/2012. Vídeo. 13 min.

With music and screenplay by John Zorn, this movie encapsulates and exudes the wealth of Klahr’s work in his conquest of new ways, textures and associations, and confirms him as one of the key figures of contemporary experimental film.

Friday June 1st. 5.00 pm. Sala (S). Centro Cultural Ágora.

 

The ghostly algebra: Janie Geiser, the invented memories and the emotional life of objects

Fragmented and invented childhood memories wrapped in the mists of black cinema. A selection of Geiser’s films, also known for her performances and her unusual work with puppets.

The fourth watch. 2000. 16mm. 11 min.

The Greeks divided the night into four parts. In the fourth hour before dawn, silent film spectra invade the rooms of a house like lost souls.

Terrace 49. 2004. 16mm. 6 min

Impending disaster in the air. Time stops.

Ghost algebra. 2009. Vídeo. 7 min.

One of the original meanings of the word algebra is “the science of restoring what is missing, of uniting the broken parts”. A lone figure struggles to resolve, by this science, the ghostly mysteries of memory.

The Floor of the World. 2009. Vídeo. 10 min.

The roads back and forth between death and life, through the “floor of the world”.

Kindless Villian. 2010. Vídeo. 5 min.

War is a child’s game, played quietly in this forgotten world.

Ricky. 2011. Vídeo. 11 min.

A found letter from a father to a son, on tape, is the theme of this disturbing child imagery film about war, childhood and loss.

The Secret Story. 1996. 16mm. 8 min.

An astonishing, evocative and powerful short film about unsaid memories of past lives of objects and secrets.

Saturday June 2nd. 7.00 pm. Sala (8). Centro Cultural Ágora.

Session 4

Carte Blanche to Lewis Klahr and Janie Geiser

Geiser and Klahr draw a map of their influences and inspirations, ranging beyond animated film to be rooted in the tradition of visionary American cinema.

Rear Window – Ernie Gehr. 1986/1991. 16mm. 10 min.

A study of light and movement, of unexpected and subtle nuances.

Dream of a Rarebit Fiend – Edwin Porter and Wallace McCutcheon, written by Windsor McKay. 1906. Vídeo. 7 min.

Surrealism and comedy get mixed in this early cinema dream / nightmare.

Snake charmer – Mark Lapore. 16mm. 3 min.

In Lapore’s films, every cut is an earned act of faith. Between the faith in the world as photographed, and an skeptical reticence.

The Snowman – Phil Solomon. 1995. 16mm. 8 min.

Childhood memories buried and brought back to life in a short film of startling lyrical beauty.

Nymphlight – Joseph Cornell. 1957. 16mm. 8 min. Cortesía del Museum of Modern Art, New York

A bright young woman with a dancer dress wanders the streets of New York as a being from another world. One of Joseph Cornell’s film participations, the father of American Surrealism.

Valse Triste – Bruce Conner. 1977. 16mm. 6 min.

An excavation in the postwar American imagery and the intricacies of memory, melancholy waltz rhythm in this classic found footage short film.

I Choose Darkness – Karen Yasinsky. 2009. Vídeo. 9 min.

The secret life of the main character of Au Hazard Balthazar (by Robert Bresson) imagined in a hypnotic puppet film.

Martina’s Playhouse – Peggy Ahwesh. 1989. Vídeo. 20 min.

In this film, Martina, the girl of the title, fluctuates among narrator, reader and actress, and between the roles of mother and baby. Ahwesh ruins that fictional construction we call femininity with Super 8.

Fistfight – Robert Breer. 1964. 16mm. 9 min.

Presented with Originale, by Stockhausen, in 1964, Fistfight turns family memories into abstraction, and mixes them with colors and textures.

Scotch Tape – Jack Smith. 1962. 16mm. 3 min.

Taking advantage of the filming gaps of Star Spangled to Death, by Ken Jacobs, Smith “borrowed” his camera to make this inspired and lunatic dancing among the ruins.

Sunday June 3rd. 7.00 pm. Sala (S). Centro Cultural Ágora.

 

The Pettifogger, de Lewis Klahr. 2011. Vídeo. 65 min.


Special Session

The Pettifogger

Premiere in Spain of Lewis Klahr’s feature film that follows a year in the life of The Pettifogger, a gambler and professional swindler. It’s 1963, and the main character of this story, risen from a comic, travels around an impressionist and ghostly America of old photographs, found objects, lights and textures that carry us to the mystery of memory. A constant flight, a life of crime in a film between black cinema and abstraction, which refers to the author’s own memories. One of the most brilliant Klahr’s works to date.

Friday June 1st. 7.00 pm. Auditorium. Centro Cultural Ágora.

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