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May 17, 2016

The Bruce Baillie Project

“I want everybody really lost, and I want us all to be at home there.”

In collaboration with Canyon Cinema, Los Angeles Filmforum, Interior XIII and Distral, Garbiñe Ortega and Frankie Fleming have embarked on a campaign to preserve and share Bruce Baillie’s work. The project includes publication of a bilingual book (English / Spanish), featuring contributions from Steve Anker, Andréa Picard, Scott MacDonald and others.

A traveling film series programmed by Ortega, entitled ‘All My Life: The Films of Bruce Baillie’, has had its premiere at the Film Society of Lincoln Center in New York, and will now embark on a tour to several cities throughout the US, Spain, Mexico City, and to Tate Modern in London. The retrospective includes 14 of Baillie’s films shown in dialogue with works by his contemporaries such as Stan Brakhage, Robert Nelson and Chick Strand.

Please support this initiative by donating to the Bruce Baillie Project Kickstarter campaign to help fund the preservation of Baillie’s films, complete the book and facilitate the ‘All My Life’ tour.

Watch Baillie in conversation with P. Adams Sitney at Lincoln Center here :-

https://www.youtube.com/watch?v=GZ95vg_z4rg

September 21, 2017

Thom Andersen & William E. Jones in Conversation

Slow Writing
Thom Andersen & William E. Jones in Conversation

We are pleased to announce that Thom Andersen and artist/filmmaker William E. Jones will be in conversation at Artbook @ Hauser and Wirth in downtown Los Angeles on the afternoon of Sunday 8 April, 2018. Beginning with discussion of Slow Writing: Thom Andersen on Cinema (The Visible Press, 2017), the conversation will likely explore their working practice as essayists in print and the moving image, and their mutual interests as critics and film viewers.

The event is free admission, and no need to book. Copies of Slow Writing: Thom Andersen on Cinema will be available for purchase.

Thom Andersen has lived in Los Angeles for most of his life, and his knowledge of and enthusiasm for the city has deeply informed his work, not least his widely praised study of its representation in movies, Los Angeles Plays Itself (2003). His other films include Eadweard Muybridge, Zoopraxographer (1974), Red Hollywood (1996, made with Noël Burch), Get Out of the Car (2010) and The Thoughts That Once We Had (2015). Andersen has contributed to journals such as Film Comment, Artforum, Sight and Sound and Cinema Scope, and has taught at the California Institute of the Arts since 1987. Slow Writing: Thom Andersen on Cinema is the first collection of his essays.

William E. Jones is an artist, filmmaker and writer. His films and videos include Massillon (1991), The Fall of Communism as Seen in Gay Pornography (1998), Is It Really So Strange? (2004), and the recent essay film Fall into Ruin (2017) about the Greek art dealer Alexander Iolas and his abandoned house in Athens. He teaches film history at the Art Center College of Design in Pasadena, and is represented by David Kordansky Gallery, Los Angeles, The Modern Institute, Glasgow, and Galleria Raffaella Cortese, Milan. Books by William E. Jones include Halsted Plays Himself (2011) and True Homosexual Experiences: Boyd McDonald and Straight to Hell (2016).

Thom Andersen and William E. Jones collaborated on the book Between Artists: Thom Andersen and William E. Jones (A.R.T. Press) in 2013.

With thanks to Lacy Soto, Skuta Helgason and Tosh Berman.

June 24, 2014

Markopoulos Filmography

Filmography of Gregory J. Markopoulos

A Christmas Carol, 1940, 5 min
Du Sang, de la volupté et de la mort, 1947-48, 59 min
inc. Psyche, 1947, 24 min
Lysis, 1948, 25 min
Charmides, 1948, 11 min
Christmas U.S.A., 1949, 13 min
The Dead Ones, 1949, 29 min (unfinished)
Jackdaw, 1950, 14 min (no longer extant)
L’arbre aux champignons, 1950, unfinished (no longer extant)
Swain, 1950, 20 min
Flowers of Asphalt, 1951, 7 min
Father’s Day, 1952, 6 min (unfinished)
Eldora, 1953, 11 min
Serenity, 1961, unfinished (no longer extant)
Twice a Man, 1963, 46 min
Rushes for ‘The Illiac Passion’, c.1964, 12 min
The Death of Hemingway (An Obituary Fantasy), 1965, 12 min
Galaxie, 1966, 82 min
Ming Green, 1966, 7 min
Test with Masks for ‘The Illiac Passion’, 1966, 3 min
Eros, o Basileus, 1967, 49 min
Himself as Herself, 1967, 60 min
Through a Lens Brightly: Mark Turbyfill, 1967, 14 min
Bliss, 1967, 6 min
The Illiac Passion, 1964-67, 91 min
The Divine Damnation, 1968/72, 57 min
Gammelion, 1968, 54 min
The Mysteries,1968, 64 min
(A)lter (A)action, 1968, 65 min
Der Schachtel, 1968, 29 min
Index – Hans Richter, 1969, 23 min
The Olympian, 1969, 23 min
Political Portraits, 1969, 70 min
Sorrows, 1969, 6 min
Alph, 1970, 15 min
Genius, 1970, 60 min
Hagiographia (first version), 1970, 60 min
Moment, 1970, 6 min
Cimabue! Cimabue!, 1971, 80 min
Doldertal 7, 1971, 6 min
Saint Acteon, 1971, 9 min
35, Boulevard General Koenig, 1971, 8 min
Hagiographia (second version), 1973, 60 min
Heracles, 1973, running time unknown
Meta, 1973, running time unknown
Prosopographia, 1976, 5 min (unfinished)
ENIAIOS, 1947-91, circa 80 hours

For access to film prints for screenings or research, please contact Temenos.

Please note that the information on this page has been revised since the book was pubished, and several running times have been amended.

February 10, 2016

Peter Gidal: Close Up at Close Up

Peter Gidal: Close Up at Close Up

Peter Gidal, Close Up, 1983, 70 min
Introduced by Mark Webber and Peter Gidal

“Close Up is crystal hard, intransigent, and film in extremis. In short, one of the best ‘political’ films made in this country.”
(Michael O’Pray, Monthly Film Bulletin)

A rare screening of Peter Gidal’s ‘feature length’ film Close Up (1983) to coincide with the publication of Flare Out: Aesthetics 1966–2016, a collection of essays by one of film’s great polemicists. Gidal was a central figure during the formative years of the London Film-Makers’ Co-operative and made some its most radical works. His cinema is anti-narrative, against representation, and fiercely materialist.

In Close Up, Gidal’s political, ultra-leftist practice is augmented by the disembodied voices of two Nicaraguan revolutionaries heard on the soundtrack. These voices punctuate a film whose representation of a room, an inhabited space, is one in which the viewer must consciously search for recognition, for meaning-making. The image-content is muted and abstract, but continually fascinating, with moments of (no-doubt) inadvertent beauty.

Presented in association with LUX. Flare Out: Aesthetics 1966–2016, edited by Mark Webber and Peter Gidal, is available now from The Visible Press, and will be on sale at the screening.

…

Close Up
Peter Gidal, 1983, 16mm, colour, sound, 70 minutes

“After three years, this film attempts yet again to deal with the problematizing of filmic representation in sound and image: the overtly politically-polemical soundtrack from Nicaragua must not synchronise with, nor must it find a separate continuum of reality away from, the image sequences.

“Without avoiding the interrogation of narrative/anti-narrative cinematic structures (the way the images, and the sounds, at times hold/do not hold … or the way they attempt to force a position contradictory to any representational imaginary or homogeneity, of constructed space, time, ego, language, film) an attempted materialist use of sound and image must be at the same time an anti-individualist work.

“Both the sound-contradictions, and the image-contradictions, of subjectivity in this film (and of this film) must be in constant process with/against the political polemic: the film can not allow for a final exclusion of either (neither some pure documentary reality nor some pure formal dialectic). The viewer’s attempts, via her/his/the cultural context of meaning making (political/sexual/narrative) are worked against by the film’s process. The work against the capitalist patriarchal position of narrative, in other words, is (still, and in specificity) the main interest.”

Peter Gidal, August 1983

November 30, 2014

Présentation des écrits de Gregory J. Markopoulos

Présentation des écrits de Gregory J. Markopoulos

Bilingual French / English avec Mark Webber et Helga Fanderl

Nous sommes ravis de vous inviter à une lecture des écrits de Gregory Markopoulos à notre boutique. Mark Webber sera sur place pour présenter et lire en anglais les textes de ce cinéaste et personnage clef de l’avant-garde américaine. Les textes seront également présentés en français, et lus par Helga Fanderl. Venez nombreux!!

Venez aussi à la séance exceptionnelle du trilogie de Markopoulos, “Du Sang de la volupté et de la mort” au Centre Pompidou, mecredi le 10 December à 19h. Info ici: http://bit.ly/125b83x

Film as Film : The Collected Writings of Gregory J. Markopoulos contient quatre-vingt dix articles inédits par le cinéaste grec-américain qui, étant un contemporain de Kenneth Anger, Stan Brakhage et Andy Warhol, était à l’avant-garde d’un mouvement qui a établi une forme véritablement indépendante du cinéma. À commencer par ses premiers écrits sur l’avant-garde américaine et des auteurs tels que Dreyer, Bresson et Mizoguchi, le livre présente également de nombreux essais sur la pratique personnelle de Markopoulos et sur les films de Robert Beavers, qui ont été publiés seulement dans des revues, éditions auto-éditées ou notes de programme. Les textes deviennent de plus en plus métaphysiques et poétique alors que le cinéaste poursuit son idéal de Temenos, un espace d’archivage et de projection situé sur un site dans le Péloponnèse où son travail épique pourrait finalement coexister en harmonie avec le paysage grec. Pour plus d’infos sur ce livre, visitez www.thevisiblepress.com

Gregory Markopoulos (1928-1992) fut l’un des véritables visionnaires de l’avant-garde américaine. À travers ses exquisses stylisées, premiers films oniriques et à travers ses oeuvres de maîtres éblouissantes de la fin des années soixante à soixante-dix, Markopoulos a défini un langage cinématographique unique d’une rigueur formelle, d’une incomparable beauté visuelle et d’un lyrisme envoûtant. Perfectionniste infatigable, Markopoulos conçu un mode unique de l’art du cinéma, avec un minimum de financement et de ressources, souvent en éditant ses négatifs à la main avec seulement une lame de rasoir et perfectionnant des techniques d’édition à huis clos qui ont apporté une densité poétique à ses films. Dans ses premiers films majeurs, la fascination du mythe et du rituel est évidente, et se retrouve dans le travail ultérieur de Markopoulos, qui, éventuellement, le rappele dans sa Grèce ancestrale. La mythopoésie grisante de premiers films clés comme Swain et Twice a Man est également marquée par une exploration audacieuse du désir sexuel et homosexuel qui était, à tous points de vue, en avance sur son temps. (Harvard Cinema Archive)

Mark Webber est un programmateur de film basé à Londres, qui est à l’origine de grandes séances ou tournées organisées par des institutions telles que la Tate Modern, LUX et ICA (Londres), Whitney Museum (New York), le Centre Georges Pompidou (Paris), Kunsthalle de Bâle, Oberhausen Kurzfilmtage, IFFR Rotterdam et de nombreux festivals internationaux, musées et centres d’art. Il était programmateur pour le Festival BFI de Londres 2000-13, et l’éditeur de Two Films by Owen Land.

Helga Fanderl est une artiste allemande qui travaille avec film, basé à Francfort et Paris. Elle a étudié à la Städelschule Francfort et à la Cooper Union à New York. Depuis 1990, son travail a été présenté dans les cinémathèques, les musées et galeries à travers le monde, et est dans les collections permanentes du Museum für Moderne Kunst (Francfort), Auditorium du Louvre et du Centre Pompidou (Paris).

For the English version of this text please visit http://revoirvideo.blogspot.fr/2014/11/presentation-des-ecrits-de-gregory-j.html