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Lost Property Office

Different ways of working with what is found, different medium, different approaches: these two programs compile recent films that use appropriation. A catalog as varied and random as that of the objects that would merge into a hypothetical lost property office of an imagined train station.


Program 1

The Last Train
Dianna Barrie, 2016, 16mm, 12 min.

The trailer for the Indonesian propaganda film Kereta Api Terakhir (The Last Train), passed through the optical printer and the photochemical reworking of Barrie, is the soul of this film. A colorful train ride to the heart of the film archive, in danger of disappearing, of Lab Laba Laba in Jakarta.

Engram of Returning
Daïchi Saïto, 2015, 35mm, 19 min.

In 35mm and Cinemascope, Saito’s work grows not only in size but in depth and impact. Saïto works in the laboratory with anonymous footage and turns it into moving painting with black rhythms, intense colors and epic dimensions: traces of memory printed indelibly on the celluloid strip and our retinas.

Ir e vir
Miguel Mariño, 2016, 16mm to video, 11 min.

The coming and going of a girl on a swing, turned into eternity thanks to the infinite copying of the film stock and the take-off of the accompanying soundtrack: the swing has become trance.

¡PíFIES!
Ignacio Tamarit, 2016, super 8 to video, 4 min.

With Len Lye and Breer as target, Tamarit makes a savory and bouncy film stew with the help of the moviola, old movies and animated framing by scratching and painting the celluloid strip directly.

By The Time We Got To Expo
Eva Kolcze, Philip Hofmann, 2015, super 8 to video, 9 min.

Veteran Hofmann and young Kolcze meet to remember Expo 67: nostalgia for the future seen with the eyes of the past, in a movie in which the photochemical manipulation draws textures and blurs that morning that never was.

Duration: 55 min. CGAI – 1/06. 18h.


Program 2

Nissan Ariana Window

This Bogeyman
Pere Ginard, 2017, super 8 to video, 3 min.

The bogeyman, the ogre… that creature without form or face that populates the nightmares of children and the threats of the parents is materialized ghostly in this movie, as minimal as evocative.

Flowers of the Sky
Janie Geiser, 2016, video, 9 min.

These “flowers of the sky” (medieval term to speak of comets), are constructed around two photographs found in a thrift shop that portray the congress of the masonic Eastern Star order. Janie Geiser, hiding and revealing details, animates the photographs in a film that, being enigmatic, opens a door of supernatural dimensions to what happened there.

The Dark, Krystle
Michael Robinson, 2013, video, 9 min.

Dynasty, the series that induced sleep (and nightmares) of so many, is an indelible part of the television imaginary of generations. “The cabin is on fire! Krystle can’t stop crying, Alexis won’t stop drinking, and the fabric of existence hangs in the balance, again and again and again.” (Michael Robinson)

Self Improvement
Clint Enns, 2013, video, 3 min.

Corporate videos, an obsession for self-improvement and reflection on new forms of image coexist in this “self help video that rests somewhere between the realms of code hacking, archaic design and spiritual awakening,” according to Enns.

Los (De)pendientes
Sebastian Wiedemann, 2016, video, 24 min.

Sampling Argentinian critical and revolutionary films from 1956 to 2006, Los (De)pendientes offers a great step in the conception of film history. Without any words, considering the past, it tells what visual works were faithful to the real issues of their times; considering the present, it shows in which poor condition are these crucial images of life and struggle; considering the becoming, it indicates what remains to be done to reconstruct a fairest and truest history of cinema; considering eternity, it is an auratic poem of bold shadows. (Nicole Brenez)

Duration: 48 min. Sala (S8) PALEXCO – 4/06. 17h.

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