Tuesday, May 23, 2017

EFS @ GOMA, Waterford

Experimental Film Society (EFS) is pleased to be the subject of a weekend-long event at GOMA (Gallery of Modern Art Waterford) curated by Mick Fortune. Taking place over June 3rd/4th, this will feature the looped projection of three films as well as an artist talk exploring the ideas and history behind EFS.

The films being screened are:

Self Decapitation (2017, 65 mins), a Janus-headed self-portrait by EFS founder Rouzbeh Rashidi and Maximilian Le Cain in which death and desire each in turn take possession of this film in two parts. The ambiguities of inhabiting a human body are conjured by way of film technology in its faults, faulty memories and false promises.

Gleanings (2017, 8 mins) by Atoosa Pour Hosseini in which Super-8 memories emerge and vanish into the imageless texture of scratched celluloid, an object at once very present and channelling long absent moments of ambiguity.

Carcass Programme: Akephalos (2017, 60 mins), the latest in an ongoing series of films edited together from the past work of various EFS members. “Pieced together like cinematic Frankenstein’s monsters, these morbid creations will feed on the flesh of previous EFS films, simultaneously announcing their death and enacting a potentially limitless series of resurrections. Each one will be specifically created for a single venue or event” (Rouzbeh Rashidi). 

Wednesday, May 03, 2017

slips, speaks @ 12 Star Gallery, London

CIT Crawford College of Art & Design, Cork, Ireland
at 12 Star Gallery, Europe House, London

slips, speaks

Jackie Burke, Cat Gambel, Vicky Langan, Max Le Cain
Curated by Pádraig Spillane
Accompanying text by Sarah Hayden

17 – 26 May 2017
Opening Reception with a reading by Sarah Hayden
Tues 16 May, 6:30 – 8:30pm
(RSVP comm-lon-exhibtion@ec.europa.eu)

To mark the 60th anniversary of the founding of what has become the EU, 12 Star Gallery is organizing a season of exhibitions that features students from Europe’s leading art schools.

slips, speaks features four 2017 graduates from the MA in Art & Process at CIT Crawford College of Art and Design in Cork, Ireland. This exhibition explores shifting influences within our contemporary times. It contemplates our present flux with works by Jackie Burke, which give back to us digitally disseminated and mass-consumed images of power, through paint on board. In searching from the present to the past, Cat Gambel’s clay and photographic works interrogate how to represent forgotten individuals from family archives. These works do not provoke reaction but reflection. They want us to take notice of what is hidden in plain sight and for examination to bring understanding and reconciliation.

Vicky Langan and Max Le Cain, working singularly and collaboratively, seek to bring our attention to the passing moments within in our lives. Langan ask us to listen to the sounds of a roof being taken down to be reconstructed, to immerse ourselves in an intimate reorientating of place. Le Cain, with both moving image and stills, creates ambiguous filmic moments disclosing alternatives that reside in every moment. In this respect, the works presented in slips, speaks look beyond the binaries we are fed by seeking ways to connect with others and to ground ourselves beyond the obvious.

Pádraig Spillane is an artist and exhibition-maker based in Cork, Ireland. His work has been exhibited in Kerlin Gallery, Dublin; Treignac Projet, France; and CCA Derry-Londonderry, Northern Ireland. He has curated exhibitions featuring Viviane Sassen, Dara McGrath, Tom Climent, Miriam O’Connor, Zhang Kechun, and Mariela Sancari. Spillane is a 2012 graduate from the MA in Art & Process at CIT Crawford College of Art & Design.

CIT Crawford College of Art & Design (CCAD) is a vibrant multi-campus College, which has been providing education in the arts for over 200 years. Crawford graduates are among Ireland’s top artists, designers, media designers and communicators, art therapists and art educationalists.

12 Star Gallery, Europe House,
32 Smith Square, Westminster, London SW1P 3EU

10 am – 6pm, Monday – Friday
For private views please contact
+44 (0) 20 7973 1992
or comm-lon-exhibtion@ec.europa.eu

Saturday, April 22, 2017

EFS @ UP Film Institute, Philippines

A programme of Experimental Film Society will be screening at UP Film Institute Film Studio, Quezon City on 27th April 2017 at 17:30. It will be as part the Pelikula Obskura programme organised by Kino Punch Magazine.

Carcass Programme: Relics (2017 / 86 mins / Ireland / 2K)

Created by: Jann Clavadetscher, Michael Higgins, Dean Kavanagh, Vicky Langan & Maximilian Le Cain, Atoosa Pour Hosseini & Rouzbeh Rashidi.

“Pieced together like a cinematic Frankenstein’s monsters, Carcass Programme: Relics is an experimental feature film that has been created from shots and sequences reworked from films from the archive of the Experimental Film Society.”

Address: UP Film Institute Film Studio, Media Center Building, Ylanan Street, University of the Philippines Diliman, Quezon City, Philippines.

Wednesday, April 19, 2017

SELF DECAPITATION Premiere @ Guesthouse, Cork

Self Decapitation (2017, 65 mins) is a Janus-headed self-portrait by Rouzbeh Rashidi and Maximilian Le Cain in which death and desire each take possession of this film in two parts. The ambiguities of inhabiting a human body are conjured by way of film technology in its faults, faulty memories and false promises. There is no escape from its haunting – except perhaps to haunt it in turn…

It will premiere at The Guesthouse, 10 Chapel St., Cork on Tuesday 25th at 8 pm.

Monday, April 17, 2017

EFS @ Bogotá Experimental Film Festival

Rouzbeh Rashidi will be at the Bogotá Experimental Film Festival (May 2nd-9th) to present his feature Trailers and a programme of Experimental Film Society shorts including two of mine: Hotel La Mirage (2010) and the Vicky Langan collaboration Contact (2011). Full details here.

Friday, April 14, 2017

Toshio Matsumoto 1932 - 2017

Wednesday, April 12, 2017

Chris O'Neill Short Films @ Triskel, Cork

This Saturday, Cork audiences will have the welcome (and, I would say, overdue) opportunity to see a full programme of short films by Chris O'Neill, one of Ireland's most intriguing, cinematically sophisticated and tantalizingly elusive filmmakers. Having seen all of these films at one point or another over the years, they struck me as being part of an incomplete puzzle: hints at an emerging and distinctive cinematic sensibility that hadn't quite revealed itself. And at a first glance they do seem like a disparate bunch, ranging from full-on structuralist experimentation to found footage conjuring to the most oblique of documentaries to mumblecore to music video to glossy narrative. Looking at these titles listed as a programme, however, it suddenly seems the puzzle has completed itself and Chris has finally revealed himself.

What is most impressive about the films as a group is the coherence that soon becomes apparent, the way Chris makes all these works personal. This is not simply a matter of tossing in some superficially self-indulgent thematic or iconographic tokens to 'sign' an otherwise anonymous work. Rather, each film is an engagement with a different set of filmmaking rules which Chris approaches with craftsmanlike humility and yet always finds a way to tackle with a lucid formal precision that is, in fact, always structuralist and experimental. Each film is an inquiry into a form of cinema and an organic vessel into which his preoccupations can quietly seep. There are two significant poles to his work. The first is a reflection on the moving image apparatus and the act of watching film. The second is an obsession with portraiture, specifically of women. The two overlap significantly, of course. The first can be traced from It'll Always Be 11.16, an elegy for a closed down cinema, through his two Scorsese found footage works, especially the magnificent Saint Francis Didn't Run Numbers, which focus on what we miss in every shot when we watch a film, through Tony & Bill, a re-imagining of Balch/Burrough's identity swapping routine in the form of a shot-by-shot remake with a female cast, and perhaps culminating in Raquel Times Ten in which a video portrait is seen in process of poignant technological decomposition through being repeated with increasing degrees of VHS visual noise and degradation. This technique is again used in the music video Almost Perfect, another series of video portraits under attack from VHS decomposition and the melancholy just-five-minutes-ago becoming-memory quality that VHS has now acquired. Raquel is an uncompromising example of minimalist experimental cinema at its most severe; Almost Perfect is a music video, a type of filmmaking often despised as the most commercial and superficial. With an ordinary filmmaker, one might be suspicious of the relationship between these works: the former the product of a dilettante, the latter of someone all too willing to sell out and trivialize his ostensibly more serious endeavors. It is testament to Chris' very unusual capacity to own any genre he takes on that each of the two films feels equally powerful, equally personal and equally serious as an investigation of form.                    

Finally, it must be emphasized that Chris is not simply a dry formalist. What unites these films is a troubling and poetic sense of isolation and an omnipresent instability, a feeling of being cut adrift from solid ground. This is equally true of the young woman leaving her job in Receptive. Totally Receptive as of familiar images being rendered strange in St Francis as of the image itself slowly dying in Raquel. This mysterious insecurity about ones identity in the world, as human or as image, is at the heart of these films.

Screening details: http://triskelartscentre.ie/events/3407/chris-oneill-short-films/