Artikel mit ‘Kino’ getagged

Donnerstag, 13. Juni 2013

Transfer: A Street Intervention

VMK-Alumnus Jann Clavadetscher nimmt an der Ausstellung Duende in der Roten Fabrik teil und transportiert sein Exponat – einen 35-mm-Projektor – zu Fuss zum Ausstellungsort.

Date: Monday, June 17, 2013
Start: 8 am
From: Kochstrasse 18, 8004 Zurich
To: Rote Fabrik, Seestrasse 395, 8038 Zurich

In certain parts of the world the spectacularity of the street – processions, traffic deadlocks, hoardings, grime – is irrepressible everyday stuff. In Zurich, however, such occurrences are not on the daily menu. Consequently, there is little doubt that this city of clean, uninterrupted and zippy street life will be doubly alert to a 35 mm projector trundling over to the exhibition site.

Jann, who currently has a day job at a city multiplex, came into possession of the projector when Zurich multiplexes went digital.

In her essay „In Defense of the Poor Image„, Hito Steyerl writes, „In the class society of images, cinema takes on the role of a flagship store. In flagship stores high-end products are marketed in an upscale environment.“ The essay was published in the e-flux’s journal #10 in 2009; at the time the 35 mm format still had some staying power. Circa 2013, flagship stores all over are frantically upgrading.

According to Steyerl, „The poor image is an illicit fifth-generation bastard of an original image. Its genealogy is dubious.“ While the 35 mm image doesn’t qualify as poor in the manner elaborated by Steyerl, it is nevertheless increasingly depleted. Although the richness of the 35 mm continues to be heavily coveted by cineastes, Jann being a case in point, what was until recently top of the charts is now a relic of slowness.

This slowness curbs circulation and thereby impoverishes the icon’s standing in the larger image economy.

Jann embodies this projector; has it on him at all times. While it is true that this intense relation borders on a sort of not-altogether-new fetishisation of the analog; it is also true that the weight of this object and its slowness, stagger the icon and demand a contemplative pace and even a struggle from the artist.

De rigueur digital media will be mobilised to document this transfer and the documentation will be presented at the exhibition site alongside the 35 mm, which won’t be throwing out any images. Outlandishly shiny and sprightly for something that’s hurtling towards obsolescence, the projector’s deliberately eroded functionality is intended, among other things, to draw focus on the crossroads this iconic object is at.

This street intervention is a preface to „Duende“.

– Gitanjali Dang

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Duende

Artists: Gauri Gill, Jann Clavadetscher, Juan Carlos Alom, Navid Tschopp, Raphael Hefti, Raphael Perret, Sam Porritt, Sahej Rahal and Shreyas Karle

Curated by: Gitanjali Dang

Address: Rote Fabrik, Seestrasse 395, 8038 Zurich
Opening: Wednesday, June 19, 6.30 to 9 pm
Dates: June 20 – 25
Timings: June 21, 23 and 25: 4-6 pm; and otherwise by appointment
Exhibition walkthrough: Sunday, June 23, 5 pm

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About Khanabadosh

The idea of the embodied practice, wherein art practitioners embody their aesthetic like turtles embody their home, is central to Khanabadosh, an itinerant arts lab initiated by curator-critic Gitanjali Dang in September 2012. Khanabadosh is the hindustani word for those who carry their homes with them.

For additional details:
Email: gitanjali.dang@gmail.com + kforkhanabadosh@gmail.com
Call: +41 77 49 22 542

Dienstag, 14. Mai 2013

Kino Raum (1)

Kino Raum (1) is the first in a series of collaborative exhibition events by Jann Clavadetscher and Rouzbeh Rashidi. The practice of both artists is rooted in experimental cinema, and Kino Raum will explore and dissect the concept of the cinema-space, both physical and mental. Using the gallery as a laboratory of ‚cinemas,‘ it will encompass not only traditional projection and gallery installation, but will also address the material and dematerialisation of the filmic image, inviting spectators to consider the history of film from its celluloid origins to its current digital state.

Appropriately, Kino Raum (1) will open with a projection of Clavadetscher and Rashidi’s collaborative feature film Jean Speck (1860-1933) (2011), named in honour of the man who opened Zurich’s first cinema. The material origins of cinema will be evoked by Clavadetscher’s expanded cinema performance Atlantik Film, which will involve the exposure of camera-less film in front of the audience. And a selection of works from Rashidi’s ongoing personal digital cinema project Homo Sapiens Project will stand as one artist’s probing look at where the ever-pressing question ‚what is cinema?‘ has arrived today.

Schedule

Wednesday May 15th, 2013
6pm screening films
7:30pm performance

Thursday May 16th, 2013
7pm screening of the film made in the perfomance the day before

Corner College
Kochstrasse 1
8004 Zürich
www.corner-college.com

Short synopsis of the shown films

Jean Speck (1860-1933)

Little is known of Jean Speck (1860-1933) beyond the fact that he opened Zurich’s first cinema. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.

Atlantik Film (Jann Clavadetscher)

Atlantik Film started off as a project called Die Belichtung (‚The Exposure‘) where an audience in absolute darkness attempted to shine light onto part of an unexposed film roll. A match was struck and for this short moment audience and cinema became one. Kino Raum (1) will be the continuation of this Exposure Project. This event will take place in two parts: Day one, the film is exposed to light. Day two, the film will return from the Laboratory and be projected.

Homo Sapiens Project (Rouzbeh Rashidi)

Homo Sapiens Project are highly experimental works, part cryptic film diaries and part impressionistic portraits of places and people, and often suffused with an eerie sense of mystery reminiscent of horror cinema. From highly composed and distantly framed meditations to frenetically flickering plunges into the textural substance of moving images, the restless creativity of this vision of life as a cinematic laboratory is never short of surprising. Encompassing everything from documentary monologues to found footage, Rashidi constantly strives to expand his filmmaking palette while putting his unmistakable stamp on whatever footage passes through his hands.

Donnerstag, 05. Mai 2011

Filmabend Gregory Markopoulos

Still aus The Illiac Passion, 1964-67, Fotografie: F. Eberstadt, Courtesy Temenos-Archiv, Zürich

The Illiac Passion
1964-67, 16mm, Farbe, Ton, 90 Minuten

Ming Green
1966, 16mm, Farbe, Ton, 8 Minuten

Zwei Filme von Gregory Markopoulos
Anschliessend Publikumsgespräch mit Filmemacher Robert Beavers, Temenos-Archiv, Zürich

am Dienstag 10. Mai 2011 um 19 Uhr
im Vortragssaal der ZHdK, Ausstellungsstrasse 60
8005 Zürich

Gregory Markopoulos (1928-92) entwickelte seine experimentelle Filmsprache zunächst im Umfeld von Cinema 16 und später als Mitbegründer der The Film-makers Cooperative (u.a. gemeinsam mit Jonas Mekas), bis er in den späten 1960er Jahren von New York nach Europa übersiedelte. Mit dem Filmemacher Robert Beavers lebte er bis Anfang der 1990er Jahre an verschiedenen Orten u.a. in Griechenland, der Schweiz und Deutschland. War Markoupolos zu Beginn noch an der klassischen Erzählweise des Hollywood-Kinos orientiert, entwickelte er in den 1960er Jahren eine radikale Montagetechnik zwischen mehreren Bild-, Ton- und Sprachebenen. Einzelne Sequenzen wurden in einer speziellen Schnitttechnik noch in der Kamera editiert und einzelne Bilder auf diese Weise collagenartig zusammengesetzt. Durch fragmentarische Erzählweisen und eine weitgehend unabhängige Bild- und Tonebene etabliert Markopoulos eine eigene Zeit-Architektur in seinen Filmen.

The Illiac Passion versetzt die Figuren einer antiken Prometheus-Erzählung in die New Yorker Kunstszene der 60er Jahre. Leidenschaft, Begehren und Gewalt kommen mit einer tragischen Poetik auf die Leinwand, die heute geradezu verstörend wirkt. Kurz bevor Markopoulos sein Appartment im Greenwich Village Ende der 60er Jahre in Richtung Europa verliess, entstand Ming Green als Porträt einer räumlichen Beziehung.

Organisiert von Maria-Cecilia Quadri, Gabriel Möhring, Joris Stemmle und Burkhard Meltzer im Rahmen des Seminars Kunstgeschichte der Medien