Flottements

These three screenings revolve around concerns that are central to the work of this Flemish photographer: the fragmented representation of the female body, the layering of images derived from other sources, and the enigmatic presence of domestic objects uprooted from their everyday context.

ÉCLATS / Tuesday 18 November 2014 at 8:15PM

In 1957, Peter Kubelka created Adebar, his first metric film, which is made up of images of dancing silhouettes. These fragmented bodies, backlit in a shadowy interior, are seen as both positive and negative apparitions. Alternating positive and negative images are also central to Daïchi Saïto’s Chiasmus, which bring forth a tension that ceaselessly solicits the perception of the spectator. Our vision is also implicated by the gazes of Steven Dwoskin and Etienne O'Leary, who plunge us into the intimacy of their personal lives and encounters. They invite the spectator to scrutinize their subjects, who look back at us in turn, as we attempt to navigate the path between fascination and voyeurism.

Moment de Stephen Dwoskin, 1969, 16 mm, color, son, 12’
Day Tripper d’Étienne O’Leary, 1966, 16 mm, black and whitec, son, 9’
Chiasmus de Daïchi Saïto, 2003, 16 mm, black and white, son, 8’
Adebar de Peter Kubelka, 1956-1957, 16 mm, black and white, son, 3’
Sternenschauer – Scattering Stars by Matthias Müller, 1994, 16 mm, black and white, son, 2’
Quando i volti si toccano by Paolo Gioli, 2012, 16 mm, black and white, son, 6’44
Main Line by Michel Bulteau, 1971, 16 mm, black and white, son, 12’
My Name Is Oona by Gunvor Nelson, 1969, 16 mm, black and whitec, son, 10’

IMAGES D’IMAGES / Tuesday 2 December 2014 at 8:15PM

Be it through hand printing, photocopier-generated images, the superimposition of celluloid and video, changes of scale, degenerating images or optical printing, this program offers an overview of the various image reproduction techniques used by experimental filmmakers. In these films, technical reproduction is pushed to its limits; beyond the films themselves (the projected print being a copy of the original), the means of reproduction that are utilized here (paper-based printing, analog film and photography, digital technology, etc.) become the very subject of the finished work.

Outer Space by Peter Tscherkassky, 1999, 35 mm, black and white, son, 10’
Deep Six by Sami Van Ingen, 2007, 35 mm, couleur, son, 7’
Eidola by Peter Miller, 2014, vidéo, color and black and whitec, sil, 6’ 
Errata by Alexander Stewart, 2005, 16 mm, color, son, 6’30
Degradation #1, X-Ray: part 2. Government Radiation by James Schneider, 2007, 16 mm, color, son, 3’
Zèbres by Pierre Rovere, 1978, 16 mm, color, sil, 6’38 
La Sortie by Siegfried Alexander Fruhauf, 1998, 16 mm, black and white, son, 6’
Saugus Series by Pat O’Neill, 1974, 16 mm, color, son, 18’

L’ÉNIGME DU QUOTIDIEN / Tuesday 16 December 2014 at 8:15PM

One of the central concerns of the films in this program is to approach domestic space and everyday objects as enigmatic entities that are endowed with a singular resonance. The artists here confront these objects and transform their very function into something aberrant, as is the case with Martha Rosler’s parody of cooking demonstrations in Semiotic of the Kitchen or the untamable objects in Mark Wallinger’sThe Magic of Things, which float through a space devoid of any human presence. Such reinventions of the everyday invite us to wholly rethink the events that transpire in the most seemingly familiar of domestic spaces.

Mi cocina by Eddy D, 2006, vidéo, color, son, 3’
Semiotics of the Kitchen by Martha Rosler, 1975, vidéo, black and white, son, 6’
The Magic of Things by Mark Wallinger, 2010, vidéo, color, sil, 10’32
Red Shovel by Leighton Pierce, 1992, vidéo, couleur, sil, 3’30
Arrastre by Nicholas Brooks, 2010, vidéo, color, son, 7’55
The Magician’s House by Deborah Stratman, 2007, 16 mm, color et black and white, son, 6’
Recreation by Robert Breer, 1957, 16 mm, color, son, 2’
Pot Smaller than Pot by João Maria Gusmao & Pedro Paiva, 2010, 16 mm, color, sil, 2’25
Lucy in the House by Marco Cardini & Lucia Re, 1998, 16 mm, color, sil, 4’45 
L’Appartement de la rue Vaugirard by Christian Boltanski, 1973, 16 mm, black and white, son, 7’
Du regard comme objet by Jakobois, 1976, 16 mm, color, sil, 6’40