18:30 a 21 hs (PUNTUAL)
En el marco del PoliLAB interior (III-b) del proyecto abierto BABELIANA – acciones CONstructivas de Graciela Ovejero Postigo, esta vez en colaboración con LoLas Crønicas durante el mes de Septiembre en Peras de Olmo – Ars Continua, surge la posibilidad de lanzar una nueva Serie curatorial permanente para el espacio Peras de Olmo/ con dos proyectos diferentes de curaduría internacional:
Serie curatorial para la imagen en movimiento y sus diversas combinatorias espaciales
Doble programa inaugural de lujo para la nueva Serie XXX / Xine-video eXperi-mental y eXpandido con las curadurías internacionales de:
9hundred (100 artistas para narrar una centuria), gestión de Silvio De Gracia:
Sept. 25, 26 ,27 de 18:30 hs (3 programas diferentes de videoarte cubriendo 7hs de proyección)
The Friendship State: Texas Experimental Filmmakers, Curaduría de Caroline Koebel:
sept. 28 a 19hs y 21hs (2 screenings del mismo programa)
AMBOS EVENTOS son GRATUITOS y abiertos al PÚBLICO
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9hundred project en Argentina: 100 videoartistas cuentan un siglo
El videoarte cumple cincuenta años en 2013, y una gran muestra itinerante está recorriendo el mundo para celebrarlo. Se trata del proyecto 9hundred, concebido y patrocinado por el prestigioso festival internacional de videoarte Magmart, de Nápoles, Italia. Una iniciativa que toma como fecha de nacimiento del videoarte una videoinstalación de Nam June Paik en Alemania (junio de 1963), y que se propone explorar y redescubrir nuestro pasado a través del lenguaje de la videocreación. Para esto, el proyecto convocó a 100 artistas de todos los continentes para que a través de 100 videos dieran cuenta de los últimos 100 años, un siglo. Así, el proyecto 100x100 = 900 (100 videoartistas cuentan un siglo) evoca de forma lírica, poética, bajo la estética del falso documental o la pura ficción los acontecimientos de uno de los siglos más convulsos de la Historia de la Humanidad. Un verdadero banquete para la mirada de casi 7 horas de duración. Desde el trabajo de la iraní Alysse Stepanian, que se ocupa de 1900, hasta el de los estadounidenses Russell J. Chartier y Paul J Botelho, encargados de 1999, la muestra prácticamente no deja afuera ningún enfoque cultural. La gira mundial comenzó en abril de este año en el Fórum de las Culturas, en Nápoles, bajo el lema “La memoria del futuro”, y hasta la fecha ya se han concretado más de 200 exhibiciones en 17 países.
En Argentina, el proyecto desembarca en el espacio de arte contemporáneo Peras de Olmo- Ars continua, a través de mi gestión como curador local y director de la plataforma Videoplay, una organización que desde hace varios años se dedica a la difusión del lenguaje del videoarte, propiciando intercambios con festivales y organizaciones similares. Las proyecciones se realizarán durante los días 25, 26 y 27 de setiembre, en Peras de Olmo….
Una oportunidad imperdible para asomarse a la historia que todos compartimos y para celebrar los 50 años del videoarte, acercándose a las múltiples tendencias y a los enfoques más recientes de este “joven” lenguaje. Silvio De Gracia
Ver más info en http://www.9hundred.org/
http://videoplay-platform.weebly.com/news.html
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The Friendship State: Texas Experimental Filmmakers
Lyndsay Bloom, Caroline Koebel, Jennifer Lane, Kelly Sears, Scott Stark
Curaduría de Caroline Koebel
Duracción aproximada de todo el programa 76 min.
El Estado de la Amistad fue concebido originalmente para su presentación en Nueva York (donde vivía) como un testimonio de la vitalidad del cine-arte en Texas (donde vivo ahora). Confundiendo a todos los prejuicios alienantes sobre mi nuevo estado surge el encuentro directo de Texas desde el interior; la profundidad de lo familiar adquiere presencia. Aunque todavía estoy consternada - horrorizada - por la realidad de la política dominante de este estado, ahora sé por experiencia propia que también hay un montón de cosas buenas en circulación. El lema de Texas es "amistad". En mi tiempo aquí, se me he sentido sostenida e inspirada por la presencia de una gran cantidad de artistas de cine y video. El Estado la Amistad abarca el diálogo entre los creadores y consta de cinco realizadores, incluyéndome a mí, desde diversos puntos de Texas --cada cual empeñándose selectas tácticas para revelar, negar y en última instancia trascender las fronteras de la imagen en movimiento. Caroline Koebel, Austin. (Trad. G.O.P.)
The Friendship State was originally conceived for presentation in NYC (where I used to live) as a testament to the vitality of cinema art in Texas (where I live now). Befuddling all the alienating preconceptions about my new state is the direct encounter of Texas from the inside; depth of familiarity takes presence. While I’m still dismayed - horrified - by the reality of the state’s dominant politics, now I know from firsthand experience that there’s also a whole lot of good in circulation. The motto of Texas is "friendship." In my time here, I have been sustained and inspired by the presence of a plethora of film and video artists. The Friendship State embraces the dialog between makers and comprises five directors, including me, from diverse points of Texas—each engaging select tactics to reveal, negate and ultimately transcend moving image boundaries. Caroline Koebel, Austin.
Traces (SS, 2012, 35mm, color, sound, 7:00)
Worldly surfaces, shifting shadows and overlooked patterns: a series of short 35mm films generated from digital still images and printed onto movie film. The top and bottom half of each image alternate in the projector gate, arranged in a dizzying array of rhythms and patterns. The images also bleed onto the optical soundtrack area of the film, generating their own unexpected sounds.
Swoop (CK, 2011, miniDV & Super 8 on video, color/b&w, silent, 7:45)
Inspired by a colony of cliff swallows nesting under a freeway in Austin, Swoop considers human-animal interactions through optical rhythms and flight patterns. Birds—cliff swallows as well as thousands of purple martins on their migration path—collide with new construction to nowhere.
Once It Started It Could Not End Otherwise (KS, 2011, video, color/b&w, sound, 7:30)
An animated horror film constructed from the candid photos and handwritten messages of discarded high school yearbooks. As an unknown force seeps into the walls of the school, the student body is consumed one extra curricular activity at a time.
Clouds (JL, 2010, HD video, color, sound, 8:00)
An experimental nature film about the water cycle of planet earth. Mirroring the style of an educational film, images of the unique and varied cloud formations of far West Texas are accompanied by voice-over narration that could have originated from another time and place.
Williamsburg Bridge Walk (LB, 2012, hand processed 16mm on video, color, silent, 0:20)
Frame shot every five steps walking across the Williamsburg Bridge, New York, New York.
Plumeria Spider (LB, 2012, hand processed 16mm on video, color, silent, 1:05)
Plumeria palm blooms and a hill country spider weaves its web, Houston and Dripping Springs, Texas.
Boat Ride (LB, 2012, hand processed 16mm on video, color, silent, 4:45)
Pedal boating Lady Bird Lake with Jesse and discovering an island, Austin, Texas.
Repeat Photography & the Albedo Effect (CK, 2008, video, b&w, sound 8:12)
Intermixes unlikely suspects to reflect upon the impact of global warming on glaciers. Boxing scenes from Scorsese's Raging Bull are re-shot with a Bolex 16mm camera and then hand processed and juxtaposed against NPR reportage and artist Katie Paterson's audio project. Part 1 of Flicker On Off.
Fawn (JL, 2003, 16mm on video, color, sound, 5:00)
A nude, androgynous woman and a wild deer engage in a subtle pas de deux in the rigidly designed interior of a suburban house.
The Drift (KS, 2007, digital video, color, sound, 8:20)
A mysterious disappearance on a 1960s space journey launches the counter-culture revolution, the government blocks contraband radio broadcasts, and American fervor for conquering space results in tragic ends. Psychedelic Rock, wayward space transmission, happenings, scientific research, the space race, high hopes, failed dreams, and bodily levitation all come together in the story of The Drift.
Hotel Cartograph (SS, 1983, 16mm, color, sound, 11:00)
A camera mounted on a movable cart, pointing down at the floor, passes over a seemingly endless succession of gaudy carpets and surfaces in a single shot through a major hotel. The movements across the 2-dimensional space, and in and out of elevators through 3-dimensional space, suggest a conceptual map of the visible environment, which is perhaps drawn by the camera itself.
XOXO (LB, 2012, 16mm, color, silent, 2:55)
Multiple exposures of making love with an ex-lover, Austin, Texas.
Barton Springs Lake Travis (LB, 2011, hand processed 16mm, color, silent, 2:30)
Water scenes, Austin, Texas.
Kiss (LB, 2012, hand processed 16mm, b&w, silent, 1:31)
Underwater shot at Film Farm, Mount Forest, Ontario.
LYNDSAY BLOOM received her BFA at Cooper Union in New York City and currently works out of Texas where she has been shooting and processing her own 16mm and super 8 films since 2009. In addition to being an artist-educator in Texas public schools, she has worked on films with Jennifer Reeves and Winsome Brown, taught photography at Camp Stanton Meadows in Virginia, built dioramas for The American Museum of Natural History's Climate Change exhibit, and joined grassroots organization Lo Curativo in teaching art and performing puppet shows for youth in Buratovich, Argentina. She was a 2012 resident at Film Farm in Mount Forest, Ontario. She currently teaches movie making for Aurora Picture Show in Houston.
CAROLINE KOEBEL is an Austin-based filmmaker and writer on faculty at Transart Institute (New York-Berlin). Her experimental films and art videos have played internationally, with recent retrospectives at Festival Cine//B (Santiago, Chile) and Directors Lounge (Berlin, Germany). She has published in Jump Cut, Brooklyn Rail, Afterimage, Art Papers, and elsewhere. She holds a BA in Film Studies from UC Berkeley and an MFA in Visual Arts from UC San Diego.
www.carolinekoebel.com
JENNIFER LANE was born in Dallas in August of 1968 and currently lives and works in Marfa. She studied art at the Rhode Island School of Design in Providence and the Art Center College of Design in Pasadena. Her films, videos, and drawings have been exhibited at the Castillo Di Rivoli in Turin, the ZKM Center for Experimental Media and Technology in Karlsruhe, the Royal College of Art in London, the UCLA Hammer Museum in Los Angeles, the Miami International Film Festival, the Austin Film Society, and on Japanese television.
www.jenniferlanestudio.com
KELLY SEARS is a Houston-based animator and filmmaker, whose award-winning collage films draw on documentary, science fiction and experimental cinema and combine traditional stop motion animation with digital compositing techniques. She reworks popular media artifacts to create new readings of the nation's past and forge connections with contemporary history. Her many exhibition venues include MoMA, The Hammer Museum, Light Industry, Sundance Film Festival, Chicago Underground Film Festival, Ann Arbor Film Festival, and Black Maria Film Festival. She teaches classes on experimental animation, found footage video and collaborative arts practices at the University of Houston.
www.kellysears.com
SCOTT STARK has made over 75 films and videos since the early 1980s, and has created numerous installations, performances and photo-collages. His work has shown nationally and internationally in venues as diverse as New York's Museum of Modern Art, the San Francisco Cinematheque, the Film Festival Rotterdam, and the Tokyo Image Forum. His 16mm film Angel Beach was invited into the 2002 Whitney Biennial, and in 2007 he received a Guggenheim Fellowship. He is the webmaster for Flicker, the web resource for experimental film and video.
www.scottstark.com
