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September 12, 2016

Peter Gidal: Flare Out: 2

Peter Gidal: Flare Out: Program 2

Peter Gidal, Assumption, 1997, 1 min
Peter Gidal, Clouds, 1969, 10 min 
Peter Gidal, Silent Partner, 1977, 35 min
Peter Gidal, Epilogue, 1978, 7 min
Peter Gidal, not far at all, 2013, 15 min
Introduced by Mark Webber

“Mental activation toward material analysis is the process that is relevant, whether or not actual structure is ‘revealed’.” (Peter Gidal, 1969)

Clouds was the first real manifestation of Gidal’s anti-illusionist project, a film in which “There is virtually nothing on screen, in the sense of in screen. Obsessive repetition as materialist practice not psychoanalytical indulgence.” Assumption is, by stark contrast, exhilarating viewing. One of the densest minutes of all cinema, the screen bristles with recognizable images, fleeting texts and snatches of dialogue in tribute to filmmaker/activist Mary Pat Leece. Silent Partner and Epilogue return to the more familiar territory of domestic interiors, inhabited spaces interrogated by a restless camera. Anti-narrative, against representation, militant and uncompromising, yet despite themselves, strangely compelling. After a hiatus from filmmaking, Gidal returned in 2013 with not far at all: “tempted to say different yet the same, but not.” The film was awarded the L’age d’or Prize at the Brussels Cinematek in 2015.

Mark Webber

October 5, 2014

Markopoulos in Belgium

Markopoulos in Belgium, 9-14 October 2014

In 1963 Markopoulos won the Prix Baron Lambert (an award of $2000) at EXPRMNTL 3 for his film Twice a Man, and in 1967 Belgian patrons made it possible for the filmmaker to finish his epic The Illiac Passion. Jacques Ledoux was a faithful supporter who brought many Markopoulos films into the Royal Belgian Film Archive.

Almost 50 years later, a series of events in October 2014 will celebrate the special connection between Markopoulos and Belgium. Courtisane and the University of Gent will present an illustrated lecture by Mark Webber, to be followed by a projection of Twice a Man. In Brussels, the Cinematek’s newly inaugurated festival L’Âge d’or will screen four programmes based on the Markopoulos films in their collection.

The following introduction text is from the L’Âge d’or catalogue :-

“Gregory Markopoulos is one of the most important American independent filmmakers. From 1950-1960 he was one of the central figures of the New American Cinema Group along- side Jonas Mekas, Robert Frank and Shirley Clarke. Contemporary of Anger, Brakhage, Deren and Warhol, he significantly contributed to the establishment of cinema as an independent art form. During his career, Markopoulos developed his own filmmaking language, based on a musical conception of editing and a symbolic use of colour. Son of Greek immigrants, mythology shaped his imagination. Psyche or Twice a Man – a film that won an award at the EXPRMNTL Festival in Knokke-le-Zoute in 1963 – are all based on the idea of integrating myth in a contemporary setting. Markopoulos is also one of the first filmmakers to explicitly address the topic of homosexual identity. In 1967, total devotion to his vision of cinema leads him with his companion filmmaker Robert Beavers, to leave the United States and settle in Greece. This exile is accompanied by the decision to withdraw all his films from circulation. Markopoulos then brings them all together in a major and ultimate work: Eniaios, previewed to last 80 hours. The screening could only take place on the site of Temenos, near the birthplace of his father. Although Eniaios was never completed during his lifetime, the project of an ideal site where Markopoulos’ work can be seen in harmony with the landscape is maintained by Robert Beavers who strives to make this a reality since the death of his companion by organising every four years, screenings of new segments of Eniaios that he has been able to process and print. This programme coincides with the publication of the book Film as Film: The Collected Writings of Gregory J. Markopoulos. Edited by curator Mark Webber and published by The Visible Press (London), the book compiles nearly a hundred rare and unpublished texts, in which Markopoulos reflects on his filmmaking as well as that of authors like Dreyer, Bresson and Mizoguchi.” (Xavier Garcia Bardon)

Visit the calendar for details of each screening, or view the programmes on the Courtisane and Cinematek websites.

January 18, 2018

“Film as Film” Paperback

The Visible Press are pleased to announce the newly available paperback edition of Film as Film: The Collected Writings of Gregory J. Markopoulos.

The 2014 publication of Gregory Markopoulos’ writings was greeted with widespread acclaim and celebration. As the original hardback edition falls out of print, we felt that it was necessary to keep these important texts available.

The new paperback has a slightly smaller page size (8 x 5 inches) and is 544 pages long. This edition is printed throughout in black and white, and does not contain the 16 pages of colour images that were in the original, but it does benefit from minor corrections and a revised filmography. All of the original texts are intact.

Gregory J. Markopoulos (1928-1992) is a unique figure in film history. As a contemporary of Kenneth Anger, Stan Brakhage and Andy Warhol, he was at the forefront of a movement that established a truly independent form of cinema. Later in life, the filmmaker pursued his ideal of Temenos, an archive and screening space to be located at a remote site in the Peloponnese where his epic work ENIAIOS could be viewed in harmony with the Greek landscape. The publication of Film as Film brought to light some ninety out-of-print or previously unavailable articles written between the mid-1950s and 1992.

Film as Film: The Collected Writings of Gregory J. Markopoulos can be ordered direct from The Visible Press, and should also be available through your local Amazon site. It is also being stocked by some of our partner shops.

The paperback edition is being printed digitally. The Visible Press maintains copies on hand for mail order and retail, but the book may be printed on demand if you purchase from other online sources.

Whilst we are very happy with the quality of this digital production, rest assured that we remain committed to producing new books with the same high quality and production values as our first three titles.

A handful of copies of the first edition hardback are still available. The book is now becoming collectable so we have increased the price to £50 to raise additional funds for Temenos and to support the continuation of The Visible Press. To purchase, please select “Hardback” from the pop-up menu on the order page.

The vital statistics for the paperback are as follows :-

Film as Film: The Collected Writings of Gregory J. Markopoulos
Edited by Mark Webber, with a foreword by P. Adams Sitney
The Visible Press, December 2014

ISBN: 978-0-9928377-3-0
203 x 127 x 35 mm
544 pages, black and white, with Revised filmography

For more details, or to place an order, visit The Visible Press shop.

May 20, 2019

Lis Rhodes: Telling Invents Told

The Visible Press is pleased to announce our new book Telling Invents Told by British artist and filmmaker Lis Rhodes.

Telling Invents Told is the first collection of writings by Lis Rhodes. It includes the influential essay Whose History? alongside texts from works such as Light Reading, Pictures on Pink Paper and A Cold Draft, together with new and previously unpublished materials. Since the 1970s, Rhodes has been making radical and experimental work that challenges hegemonic narratives and the power structures of language. Her writing addresses urgent political issues – from the refugee crisis to workers’ rights, police brutality, racial discrimination and homelessness – as well as film history and theory, from a feminist perspective. An important figure at the London Film-Makers’ Co-operative, Rhodes was also a founding member of Circles, the first British distributor of film, video and performance by women artists.

Lis Rhodes’ early films and expanded cinema works include Dresden Dynamo (1971), Light Music (1975-77), and Light Reading (1978). These, and more recent works in video and digital, have featured in solo exhibitions at Tate Modern, the ICA, and are currently on display in the solo exhibition Dissident Lines at Nottingham Contemporary (25 May – 1 September 2019).

Telling Invents Told is edited by María Palacios Cruz, co-founder of The Visible Press and deputy director of LUX. Details of events that will celebrate its publication will be announced soon.

For more information, and to pre-order the book please see the product page in The Visible Press online shop.

September 12, 2016

Soft Floor, Hard Film: 50 Years of the London Film-Makers’ Co-op

Frieze Video, ICA Artists’ Film Club and LUX present

Soft Floor, Hard Film: 50 Years of the London Film-Makers’ Co-op

The London Film-Makers’ Co-operative (LFMC) started life at Better Books, a counter-culture bookshop on Charing Cross Road, where a group led by poet Bob Cobbing and filmmakers Stephen Dwoskin and Jeff Keen met to screen films. Initially inspired by the activities of the New American Cinema Group in New York, the London Co-op grew into a pioneering organisation that incorporated a film workshop, cinema space and distribution office.

The LFMC played a crucial role in establishing moving image as an art form in the UK and internationally. Malcolm Le Grice, Peter Gidal, Annabel Nicolson and Lis Rhodes were among its active members in the 1960s and ’70s, and later associates included John Akomfrah, Derek Jarman and Isaac Julien. Through the work of LUX, which continues to manage its distribution collection, the radical, inventive and varied output of the LFMC continues to influence artists and filmmakers today.

On the 50th anniversary–to the day–of the LFMC’s formation, Frieze Video presents Soft Floor, Hard Film, a short video about the organisation produced in collaboration with artist and writer Matthew Noel-Tod, who will chair a discussion with former LFMC members on its early ideals and ongoing legacy.

The event also marks the launch of a new book, published by LUX and edited by Mark Webber. Shoot Shoot Shoot: The First Decade of the London Film-Makers’ Co-operative 1966–76 brings together texts, interviews, images and archival documents, and includes newly commissioned essays by Mark Webber, Kathryn Siegel & Federico Windhausen.