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Lis Rhodes: Telling Invents Told

Lis Rhodes: Telling Invents Told

Lis Rhodes, Light Reading, 1978, 20 min
Lis Rhodes & Jo Davis, Hang on a Minute, 1983-85, 13 × 1 min (excerpts)
Lis Rhodes, Ambiguous Journeys, 2019, 28 min

An evening of readings and screenings of films and texts by artist and filmmaker Lis Rhodes, occasioned by the publication of the first collection of her writings, Telling Invents Told, by The Visible Press.

Rhodes, an important figure at the London Film-Makers’ Co-operative and a founding member of feminist film and video network Circles, has been making radical and experimental work that challenges dominant power structures since the 1970s. Her writing addresses urgent political issues – from the refugee crisis to workers’ rights, police brutality, discrimination and homelessness – as well as film history and theory, from a feminist perspective.

With an introduction by the book’s editor, María Palacios Cruz, and readings by artist Kathryn Elkin and Irene Aristizábal, curator of the recent survey of Lis Rhodes’ work, Dissident Lines, at Nottingham Contemporary.

“Whose history? It is hard to think of a question more central to our moment, or an artist who has posed it more insistently and urgently than Lis Rhodes. Her films comprise one of the most radical rethinkings of experimental film and politics of the last fifty years; they are like flashbulbs, exposing the physiognomies of power in the cracks of everyday experience.” (Mike Sperlinger)

Copies of Telling Invents Told will be available for purchase at the event.

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Film as Film: Program 2

Gregory J. Markopoulos: Film as Film: Program 2

Gregory J. Markopoulos, Sorrows, 1969, 6 min
Gregory J. Markopoulos, The Mysteries, 1968, 80 min

The Mysteries was made in Munich, Spring 1968, during the same period in which Markopoulos directed two opera pieces for German television. (Rosa von Praunheim was his assistant on all three projects.) Writing in Artforum, Kristin M. Jones described the film as “… a mournful work in which, as in many of the earlier films, the rhythmic repetition of imagery evokes poetic speech, and changes in costume emphasize shifts in time, space, and emotion. Here, a young man’s struggles with memories of love and intimations of death are set alternately to deafening silence and the music of Wagner.” The Swiss chateau built for Wagner by King Ludwig II is documented in Sorrows, an in-camera film composed through intricate layers of superimposition.

“In my film I suggest that there is no greater mystery than that of the protagonists. War and Love are simply equated for what they are; the aftermath is inevitable, and a normal human condition, for which like the ancients one can only have pity and understanding. In this lies the mystery. All else is irrelevant. That there are other sub-currents of equal power in The Mysteries goes without saying; and, those who are capable of the numerous visual visitations and annunciations which the film offers them will realise what is the Ultimate Mystery of my work.” (Disclosed Knowledge, 1970)

Part of Gregory J. Markopoulos: Film as Film at Anthology Film Archives, New York, USA.

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Film as Film: Program 4

Gregory J. Markopoulos: Film as Film: Program 4

Gregory J. Markopoulos, Genius (from Eniaios III), 1970, 86 min

Inspired by the legend of Faust, Genius is a triple-portrait of three significant art world figures – the British artist David Hockney, the Argentinian surrealist painter Leonor Fini, and the German-born art dealer Daniel-Henry Kahnweiler, an important early supporter of the Cubists. With its measured structure, carefully spacing images between passages of clear or opaque film, Genius forms the central section of the third cycle of Eniaios. This 80-hour long silent film, one of the most remarkable and ambitious projects in the history of cinema, is intended to be shown only at the remote site in Greece chosen by Markopoulos as the ideal setting for his work.

“In film, in the beautiful, stupid past of the commercial film with its total lack of creative achievement, though stated otherwise by film historians, the absolute Barbarians of our diminishing cultural age, the film construction was dependant on the story in the guise of the necessary message; the necessary message impounded for the benefit, that is the enlightenment and therefore the deliberate enslavement of the filmgoer. However, in my finished work, entitled Genius,the development is along absolute philosophical lines. For instance the three unsuspecting figures who became my characters, represent, in their own milieu, the crises of our times. I refuse to say more. Perhaps, I do not know more! Suffice to say, that even as I was filming, I knew: we look at a face, at the gestures, and we know, if we so wish, the content of the inner being.” (The Redeeming of the Contrary, 1973)

Part of Gregory J. Markopoulos: Film as Film at Anthology Film Archives, New York, USA.

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Film as Film: The Cinema of Gregory Markopoulos: 1

Film as Film: The Cinema of Gregory Markopoulos: Program 1

Gregory J. Markopoulos, Bliss, 1967, 6 min
Gregory J. Markopoulos, Gammelion, 1968, 55 min
Followed by a conversation with P. Adams Sitney, Mark Webber and Robert Beavers

“To be loved means to be consumed. To love means to radiate with inexhaustible light. To be loved is to pass away, to love is to endure.” (Text by Rainer Maria Rilke, recited on the soundtrack of Gammelion.)

GAMMELION
Markopoulos’ elegant film of the castle of Roccasinibalda in Rieti, Italy, (then owned by patron, publisher and activist Caresse Crosby) employs an intricate system of fades to extend five minutes of footage to an hour of viewing time. This inventive new film form, in which brief images appear amongst measures of black and clear frames, was a crucial step towards Markopoulos’ monumental final work Eniaios (1947-91).

BLISS
An exquisite portrait of the interior of a Byzantine church on the Greek island of Hydra, edited in-camera in the moment of filming.

Part of Film as Film: The Cinema of Gregory Markopoulos at Harvard Film Archive, Cambridge, MA.

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Film as Film: The Cinema of Gregory Markopoulos: 3

Film as Film: The Cinema of Gregory Markopoulos: Program 3

Gregory J. Markopoulos, Galaxie, 1966, 82 min
Introduced by Mark Webber and Roy Grundmann

Galaxie is his intimate record of cultural luminaries in mid-1960s New York: 33 painters, poets, filmmakers, choreographers, and critics, including W. H. Auden, Jasper Johns, Susan Sontag, Paul Thek, Maurice Sendak, Shirley Clarke, George and Mike Kuchar, and Allen Ginsberg, whom he observed in their studios or homes and filmed in a single session. While Andy Warhol had his Screen Tests, and Brakhage and Jonas Mekas were also making their own beautiful film portraits, Markopoulos perfected a technique of layering and editing within his Bolex camera that had the effect, he noted, of making “the idea and the image more concentrated; the result a more brilliant appeal to the mind and dormant senses.” (Museum of Modern Art, NY)

Part of Film as Film: The Cinema of Gregory Markopoulos at Harvard Film Archive, Cambridge, MA.

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