Poussières d'images

Film cycle around DUST
From 10 November 2015 to 12 January 2016

Murmur

Kirk Palmer, 2006

Based on artists' films and experimental movies from the Light Cone collection, these three sessions highlight three possible interpretations of the landmark work by Marcel Duchamp and Man Ray: the strangeness of forms at the outer reaches of the legible, a point of view that stresses the image's mineral aspect, and a challenge to the established order from telluric natural forces. 

Minéralités / Tuesday 10 November 2015 at 8:15PM

« It is strange to think that nature, which can neither draw nor paint any likeness, sometimes creates the illusion of having done so, while art, which has always been successful at resemblances, renounces its traditional, almost inevitable and 'natural' vocation and turns to the creation of such forms as nature itself abounds in – mute, unpremeditated, and without a model. » Roger Caillois (L’Écriture des pierres, Skira, Genève, 1970). An interest in the mineral world and its diversity is apparent in the work of many artists. Jean Painlevé and Thorsten Fleisch unveil the hidden splendour of crystals, Helene Garberg takes us into the stony depths of Mexico, and Nathaniel Dorsky reveals the concealed wonders of the desert in Alaya, a film eleven years in the making. 

Cristaux liquides by Jean Painlevé 1978, 16 mm, coul., son, 7’
Scene 32 by Shambhavi Kaul 2009, vidéo, coul., son, 5’
Arrastre by Nicholas Brooks 2010, vidéo, coul., son, 7’55
Interim by Helene Garberg 2013, vidéo, coul., son, 12’50
Kosmos by Thorsten Fleisch 2004, 16 mm, coul., son, 5’11
Alaya by Nathaniel Dorsky 1976-1987, 16 mm, coul., sil, 28

Figures de l'informe / Tuesday 1 December 2015 at 8:15PM

« Formlessness designates an inherent capacity on the part of forms to deform themselves, to move suddenly from similarity to dissimilarity », Georges Didi-Huberman (La Ressemblance informe ou le Gai Savoir visuel selon Georges Bataille, Macula, Paris, 1995).The interplay between what assumes form and what is formless, between what obeys classification and what eludes it, between what is identifiable and what shuns identification, is the key to the films on show here: the naturalistic view taken by Robert Schaller when he reproduces the eyesight of a bee with a pinhole camera; the organic approach of Miles McKane, in which mosses and plants turn into forests in miniature; and the purely perceptual vision of things constructed by Rose Lowder.   

Track Moss Bypass by Miles McKane 1987, vidéo, coul., sil, 7’
Murmur by Kirk Palmer 2006, vidéo, n&b, son, 7’
Niagara by Tania Mouraud 2009, vidéo, coul., son, 8’24
24/7 (Into The Direction Of Light) by m.ash 2008, vidéo, coul., sil, 8’43
Sans Titre by Taysir Batniji 2002, vidéo, coul., sil, 1’56
Eye Eclipse by João Maria Gusmão et Pedro Paiva 2007, 16mm, coul., sil, 2’40
My Life As A Bee by Robert Schaller 2002, 16 mm, coul., sil, 6’
Microform by Emilie Serri 2010, 16 mm, coul., son, 6’
Couleurs mécaniques de Rose Lowder 1979, 16 mm, coul., sil, 16’

Forces télluriques / Tuesday 12 January 2016 at 8:15

« From my site you can see mountains with horizontal lines where the old lake bit into the rock as it was going down. The mirages are extraordinary; you can see whole mountains hovering over the earth, reflected upside down in the heat. The feeling of timelessness is overwhelming . . . After camping alone in the desert awhile, I had a strong sense that I was linked through thousands of years of human time with the people who had lived in the caves for so long » Nancy Holt. Ranging from the Racetrack Playa geological site near Death Valley (Adrien Missika) to the volcano of Mt Stromboli (Laurent Grasso) and the Great Salt Lake in Utah (Nancy Holt), these films explore nature's deep driving forces. They too are proof that man cannot afford to cut himself off from the environment he lives in.

Enlighten by Christoph Girardet 2000, vidéo, coul., son, 5’10
Li: The Patterns of Nature by John Nathan Campbell 2007, vidéo, coul., son, 9’07
Luukkaankangas — Updated, Revisited by Dariusz Krzeczek 2004, vidéo, coul, son, 8’
Soleil noir by Laurent Grasso 2014, vidéo, coul., son, 11’40
Sailing Stones by Adrien Missika 2011, vidéo, coul., son, 11’04
Sun Tunnels by Nancy Holt 1978, 16 mm, coul., son, 26’

Practical info

Cinéma des Cinéastes
7, avenue de Clichy - 75017 Paris

9,50 euros full fare
7,50 euros reduced rate
film + exhibition au BAL : 11 euros

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