Fall 2014 - Cinema Visitors Series at Binghamton University
LECTURE HALL 6 AT 7:30 (Unless otherwise noted)
All Shows are free and open to The Public
Series Sponsored by Cinema Department and Harpur College Dean's Speakers Series.
With live projector performance by Sandra Gibson & Luis Recoder
Aberration of Light is a live collaborative cinematic work that reflects and refracts the role of projectionist-as-performer in the standard theatrical projection of the 35mm changeover system. Two projectionists perform within the cinema theater to critically unmask the otherwise masked cinematic apparatus in a dazzling abstract play of sights and sounds. The dual-projection changeover system in which two identical 35mm projectors alternate back-and-forth in their restorative reassembly of feature-length films provides the theatrical platform and oblique precursor to historical movements in the field of Expanded Cinema.
Sandra Gibson & Luis Recoderhave collaborated on various expanded cinema projects since 2007. Performances of Aberration of Light have taken place at the Toronto International Film Festival, Conversations at the Edge in Chicago, Serralves Foundation in Porto, and Courtisane Festival in Ghent. - Sandra Gibson + Luis Recoder -
Sandra Gibson and Luis Recoder stage the scene of film as orphaned object through the temporal labour of moving image installation. Collaborators since 2000, Gibson and Recoder unite the rich traditions of the experimental film (particularly its structuralist and materialist strands) and the multi-modal sensibility of expanded cinema that emerged in the 1960s, in which the moving image was woven into the labile space of performance, sound and audience interaction. Their larger body of work explores this interstice between avant-garde film practice and the incorporation of moving images and time-based media into the museum and art gallery.
Cinema Department Artist in Residence with:
Three/3(5 min. short video)
"That's psychohydrography as in psychogeography. Peter Bo Rappmund's HD epic is a wordless Situationist essay about water, with images as rigorous as they are beautiful, a long dérive, beginning with snow melting in the Sierras, passing along the Los Angeles Aqueduct to its terminus in the San Fernando Valley, and then along the Los Angeles River from its source to its mouth in Long Beach. Our river may be the world's least picturesque urban stream, but there is something sublime about it. That's why Hollywood directors love it, but nobody before Rappmund has captured its peculiar sublimity so precisely. The epilogue of sky, surf, and beach in constantly shifting colors is electronic Rothko." - Thom Andersen, Film Comment
A portrait of risk and language, DAREDEVILS, presents the experimental narrative of a writer as she interviews a well-known artist and feels the reverberations of their discussion throughout her day. Visually spare, still and verbose, the video considers three formal handlings of language—a dialog, two monologues and a song.
Starring KimSu Theiler, Flora Coker and Adam Robinson, shot by Matthew Thompson, and featuring the voices of Susan Howe and Jenny Graf, DAREDEVILS constructs a metaphor of an artist's life and work as daredevilry.
The piece sits gently between video art, narrative and poetic essay. The classic rising action, climax and denouement are sculpted, not by cause and effect, but by the subtle movements to and from understanding that are inherent in conversation. Bubbles of intimacy are blown and popped, begin to be blown again.
Stephanie Barber, an alumni of the Cinema Department, is an American writer and artist. She has created a poetic, conceptual and philosophical body of work in a variety of media. Many of her videos are concerned with the content, musicality and experiential qualities of language. They ferry viewers through philosophical inquiry with the unexpected oars of play, emotionalism, story, and humor.
James Glisson at Artforum wrote "...the films of Stephanie Barber engage universal themes—time, death, memory, forgetting, frustration." and Ed Halter at Afterall Online wrote "Barber...approaches cinema as a philosophical toy, intimately small, in which the play itself generates both pleasure and insight."
Barber's films and videos have has been screened nationally and internationally in solo show and group shows at MOMA, NY; The Tate Modern, London; The Whitney Museum of American Art, NY; The Paris Cinematheque; The Walker Art Center, MN; MOCA Los Angeles, Th
e Wexner Center for Art, OH, among other galleries, museums and festivals.
While many commercial film labs are shutting there doors, a counter movement is taking place in the form of the international network of artist-run film labs. The Australian experimental filmmaker Richard Tuohy – a prominent figure in this cinematic d-i-y turn - sees this new phase for the traditional media as an opportunity; as a chance for the film artist to directly engage with the once inaccessible, now too often discarded tools of the traditional film lab.
Tuohy's hand crafted cinema presents us with multiple visual manipulations in camera, in printer techniques, in experimental processing procedures and in projection to sculpt an activated and reanimated reality which collectively represent a distinctively cinematic experience. More visual then cerebral, these pictures move, and with an energy unique to film. While covering a range of techniques, strategies and visual themes, they each share the same tenacious unfolding of a set of abstract possibilities from out of singular visual ideas. This program presents eight hand-processed and d-i-y printed 16mm film works from the artists recent output. The films, though diverse, are all highly abstract and tightly structured and share a fascination with the visual possibilities of basic traditional film technology.
These artists’ screenings are co-sponsored by Harpur College Dean’s Speaker Series.
Last Updated: 9/16/14