Category: News

Peter Gidal in Brussels, October 2016

Peter Gidal will be a special guest of this year’s L’age d’or Festival. Three programmes of Gidal’s films will be shown from 7-10 October 2016 at the Brussels Cinematek. Peter Gidal will be present for the first two screenings, and Mark Webber will attend all three.

The festival’s second retrospective is devoted to Lebanese artists Joana Hadjithomas and Khalil Joreig. In addition to the competition programme, the festival also includes a special focus on US West Coast filmmakers that features Bruce Baillie, Chick Strand, Robert Nelson and others preserved by the Academy Film Archive. It opens with live soundtracks for films by Pierre Clementi and the world premiere of Brecht Debackere’s documentary on Jacques Ledoux’s legendary EXPRMNTL festivals.

Details of the Gidal screenings are below and on the EVENTS page. The complete festival programme can be downloaded from the L’age d’or site.


Friday 7 October 2016, at 9pm
Peter Gidal, Clouds, 1969, 10 min
Peter Gidal, Flare Out, 1992, 20 min
Peter Gidal, Volcano, 2002, 30 min
Peter Gidal, not far at all, 2013, 15 min

Saturday 8 October 2016, at 3pm
Peter Gidal, Hall, 1968-69, 10 min
Peter Gidal, Key, 1968-69, 10 min
Peter Gidal, Room Film 1973, 1973, 46 min (at 18fps)

Sunday 9 October 2016, at 4pm
Peter Gidal, Assumption, 1997, 1 min
Peter Gidal, Epilogue, 1978, 9 min
Peter Gidal, C/O/N/S/T/R/U/C/T, 1974/2016, 13 min
Peter Gidal, Condition of Illusion, 1975, 30 min
Peter Gidal, Coda I, 2013, 2 min
Peter Gidal, Coda II, 2013, 2 min
This programme will be repeated on Monday 10 October 2016, at 6pm.

Peter Gidal’s book Flare Out: Aesthetics 1966-2016 will be on sale in the Cinematek lobby.

Film Comment Review

Film Comment has published the first review of Flare Out: Aesthetics 1966–2016 in its July/August 2016 issue. Jordan Cronk’s enthusiastic response to the book concludes that Gidal’s prose is “as dense, complex, and harmonically composed as any the field has produced.”

Referencing the first publication from The Visible Press, the review draws parallels with Gregory Markopoulos, whose dictum “Film as Film” was also, coincidentally, used by Gidal in his own writing.

Gidal responds:-

thanks for the lovely review by jordan cronk, just a note about fim as film, which does not reference the work or writings of gregory markopoulos … when writing my piece “film as film” (not reprinted in my flare out: aesthetics 1966-2016)  around 1972 for the artists film issue of Art and Artists, i had thought the phrase was of my invention, due to ignorance of the many others who used that phrase from the 1920s onwards … in any case, gregory m. once phoned me in london in the late 1970s in a fury about the use of the term for an exhibition at the hayward gallery and also at the Kölnischer Kunstverein, organized by Wilhelm and Birgit Hein and others, in any case i said gregory before you blame only them i have to tell you i wrote a piece called that in the early 70s not aware of your use of the term and he said oh that’s ok peter, but this exhibition is an outrage etc etc … so somehow i was exempted. but this note just to say it doesnt reference anything but my own ideas (which of course don’t exist in a vacuum). and to thank film comment for the kind review. the visible press will no doubt echo beckett’s “7 copies sold, 3 at trade discount”.

Gidal’s text “Film as Film”, which originally appeared in the December 1972 issue of Art and Artists, will be reprinted in “Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative 1966-76”, due to be published by LUX in October 2016.

Temenos 2016

Outdoor Screenings in Arcadia, 1-3 July 2016

The premiere of ENIAIOS cycles IX -XI by Gregory J. Markopoulos will take place on July 1, 2, and 3 outside the village of Lyssarea in Arcadia. Temenos Archive has restored these next three film orders of Markopoulos’s 80-hour, silent, 16mm film ENIAIOS; the restoration has been a delicate and time-consuming process similar to the restoration of a monumental mosaic or fresco.

Each cycle of ENIAIOS is composed of mythic themes, film portraits, and films of place. His extraordinarily complex editing and individual use of color transport the spectator and help them to reflect on complex emotions within a meditative vision. It is an immersive experience that unlocks distinct and individual qualities for each spectator.

In the three ENIAIOS cycles to be shown this year, there are portraits of the Greek painters Nikos Hadtzkiriakos Ghika and Yannis Tsarouchis; writers Pahndelis Prevelakis, Lilika Nakou, and Patricia Highsmith; and other personalities such as Nina Kandinsky and Catherine Gide. The films of place include the archeological sites of Mycenae, Dodona, Delphi, and the Archontika Spitia in Siatista.

The original meaning of the term TEMENOS is ‘a piece of land set apart.’ Markopoulos chose the site near Lyssarea as the ideal place for his spectators’ aesthetic quest. Deeply imbued with Hellenic culture, his films gain their most powerful impact in this setting. He associated the experience of viewing ENIAIOS to the ancient Greek god of medicine, Asclepius. The premiere screenings on July 1, 2 and 3 will be held at the setting of the sun, approximately 21:45, and vary in length between two and three hours.

Linda Levinson will exhibit photographs taken at the 2008 and 2012 Temenos screenings in the Lyssarea Community Offices.

Film as Film: The Collected Writings of Gregory J. Markopoulos will be available for purchase.

Tim Cawkwell on Peter Gidal

Reviews of “Flare Out” and its launch at Tate Britain

Filmmaker and writer Tim Cawkwell has reviewed both the book Flare Out: Aesthetics 1966-2016 and its launch event in two separate blog posts.

“Unlike Joyce, he does not opt for the mellifluity of nonsense, or rather seeming nonsense, but instead for the pleasure of spikiness. His music is of the sharply modern plink-plunk kind rather than the seductions of melody and harmony. Yet it does keep you reading.”

The book review is online at Tim Cawkwell’s Cinema and his observations of the screening at Tate Britain on 14 April 2016 are here.

New Kurt Kren Book

Passages of Peter Gidal’s writings (excerpted from Materialist Film) appear in a new volume on Kurt Kren, published by Intellect Books and edited by Nicky Hamlyn, Simon Payne, and A. L. Rees.

Kurt Kren: Structural Films is a 298 page book that collects together interviews, film scores, new and out of print texts on the work of the Austrian filmmaker. A screening and book launch takes place at Close-Up Film Centre on Monday 30 May 2016.

“A series of quick cuts resulting in short bursts of half-second film movements, in Kurt Kren’s Trees in Autumn (Bäume im Herbst) (Austria, 1960) can instigate a specific one to one relation rather than becoming a variegated jumble of images or an impressionistic haze. Bit such a process as in this film forces the viewer to make of the possible jumble of images discreen and separate segments. The process of the film demands a disruption of the  ‘normal’ cultural codes of viewing. Each shot becomes analysed and examined during the viewing, simultaneous to the moment to moment shock of each suceeding half-second ‘flash’.” (Peter Gidal)