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Collectif Jeune Cinema
Festival des Cinémas Différents, Paris




Image credits: no.w.here main page: Still from Vice Versa Et Cetera, Simon Payne, 2010. This page: Still from Circumnavigation of the Outer Trial Bank, Neil Henderson, 2011

December 6th-11th, 2011 at Les Voûtes, 19 rue des Frigos
75013, Paris, France. Free entry
For more information, and to download a programme please see here:
www.cjcinema.org/pages/festival_edition.php?langue=en
www.cjcinema.org/pages/historique.php


Collectif Jeune Cinema has invited no.w.here to curate a carte blanche programme of films and performances for the 13th Festival des Cinémas Différents et Expérimentaux in Paris.

Since 1970 Collectif Jeune Cinema has sought to create moments of exchange and reflection around artists film practice and modes of representation within experimental and 'different' cinema. CJC programmes reflect the diversity of work made by artists in both digital media and film.



For it's carte blanche on Saturday 10th December, no.w.here will present the following work:

Charlotte Prodger | METALPLEATER
2009; 9mins; Colour; Optical Sound; 16mm film print

Charlotte Prodger worked with silversmith Maya Selway to create an object which originated in her short story Mountainpleater, in which an artist pleats a mountain from afar using only a hand-held ‘pleating tool’ and a trick of perception. Metalpleater transmutates this written narrative into mute material; water, silver, sound, light and dirt. Less a document of a process than an elliptical portrait of an object, it combines an interest in traditional craft with a passion for the discordance of contemporary noise music. The restorative yet abrasive gestures of the silversmith create a disjuncture between the ritual of making and the act of stripping away. These positive/negative inversions are inherent in the material process of filmmaking.Made in collaboration with Silversmith: Maya Selway.
Commissioned by Artangel.



Sam Rebello | THE OBJECT WHICH THINKS US: OBJECT 1
2007; 7mins; Colour; Sound; 16mm film print

"From largely domestic objects, the glass stare of the close-up lens unfolds an oblique drama, mapped by an associative chain of emblematic images that summon a personal vision from everyday objects and gestures transformed by the camera." A.L.Rees



Simon Payne | VICE VERSA ET CETERA
2010; 10mins; Colour; Sound; Stereo channel video 4:3 (as single channel for screening)

Ten variations of four transitions transform the screen from one field of clashing complementary colours to another, via radiating, sweeping and twisting graphic dividing lines. The course of these transitions is interrupted from the offset and becomes increasingly frenetic, especially as the spectrum turns to black and white.



Neil Henderson | CIRCUMNAVIGATION OF THE OUTER TRIAL BANK 2011; 7mins; Monochrome; Sound; 16mm transferred to DVD

The film is a study of a circular man made island off the east coast of England. The island was part of a trial in the early 1970’s to see if fresh water could be collected from nearby rivers and stored out at sea. Seawater eventually permeated the island and the project was abandoned. It has since become a bird colony. The film is a circumnavigation of the island in 36 shots. The soundtrack is a continuous recording made while walking around the island.



Lucy Parker | RETURNING
2009; 9mins; Colour; Silent; 16mm film print

Theatrical garments are ordered by a visual language of camera movement, composition, light and colour. The film avoids a narrative structure, but by happenstance, dialogues form between the objects. Endeavouring to animate the deadpan remnants of human activity in this costume archive, images shift between symbols and simple visual pleasures.



LIVE PERFORMANCE PROGRAM

SALLY GOLDING (AU) | OtherFilm | Abject Leader
Golding combines film projection with performance and installation creating live cine-sculptures and interactions. Folly and foray into physiological cinematics, embodied beams and alchemical projection performance. Photographic compositions from printed optical sound and uprooted vinyl library music. Deconstruction of cinematic materials and apparatus, creating slippage between materialist investigation, sculptural forms, and bodily intervention. Cracked cinema for darkroom compositions, light bleed, contorted projection sports, dismembered narrative, strained sonorousness, whimsical instructional and wanton optics.

Since 2004 Sally has performed for and programmed for key festivals and events around the globe including; Star and Shadow Cinema, (Newcastle), Abandon Normal Devices Festival (Manchester), Sonica (Slovenia), New Zealand Film Archives, The Stone (New York), Cafe Oto (London), Director’ (Berlin), Open Frame (Brisbane Powerhouse), No.w.here (London), Mal Au Pixel (Paris), Apparent Motion Festival (San Francisco Cinematheque), Australian Centre for the Moving Image (Melbourne), Oddball (San Francisco), Melbourne & Brisbane International Film Festivals, Institute of Modern Art (Brisbane), Anthology Film Archives (New York), Unsound (Wagga Wagga, Australia), Liquid Architecture (Sydney), MadCat International Film Festival (San Francisco), Now Now Festival of Spontaneous Music (Sydney).

Sally is co-director and workshop facilitator of OtherFilm, a Brisbane based collective dedicated to expanded cinema, sound art and discussions. Now based in London, Sally has been an associate of no.w.here since 2010 and runs the London based live art series Unconscious Archives with James Holcombe.

www.otherfilm.org | www.abjectleader.org

SUPER GROTESQUERIE
16mm film reel and film loops, original 16mm & Super8 images, made & found waveforms, refracting lenses & filters; 10mins
A form of disjunctive archiving, images and sounds were contact printed from 16mm science educational films Voice of the Insect and Photons, and Golding’s home archive of classic Super8 horror and sci-fi films. Projected images are further manipulated with refracting lenses during the performance, shifting the locked rectangle of the screen. The soundtrack was made by manually sampling contacted printed waveforms and made sound graphics - a darkroom composition.

PSYCHO SUB-TROPO
3 x 16mm projectors, contact printed optical sound film loops, rotating colour wheel, laboratory strobe, oscillator synth, prismatic interference, bodily obstruction; 15mins
An audience of seated children react in horror and delight as a finger wags across the screen and the performers own body moves across the projectors obscuring and blending the images. A laboratory strobe light cuts a rhythmic beat over the gurgling optical printed soundtracks. A rotating colour wheel turns the vision on screen into a brain melting vortex of abstracted shape. Duration shifting piece for blurred/sharp flickering vision.

and

JAMES HOLCOMBE (UK) | no.w.here

James Holcombe’s work is a collision of working processes that explores the expanded outcomes that are possible through combinations of chance, improvisation and structure. Holcombe often engages subjects that play out their physical temporariness through a conceptual and physical treatment of decomposition; of the subject and of the material of film itself. Cycles of decay, rot and the ephemeral work with a representation and materiality of the image on a level of imperfection and reduction. Our encounter with them occurs conversely through an expansion of visual and aural registers.

James Holcombe’s work has been exhibited throughout the UK and Europe. Screenings include Serpentine Gallery, 2009, VideoEx Festival, Switzerland, 2009, “Starting From Scratch”, Rotterdam, 2008, Evolution Festival, Leeds, 2007, Tate Modern, 2006, Avanto Festival Helsinki, 2005. He has also performed sound pieces throughout the UK since 2001 and leads workshops on the various technical aspects of filmmaking at no.w.here.
www.no-w-here.org.uk

ELECTRIC FENCE

2 x 16mm film loops, 2 x 35mm slide projection, electronic sound; 20mins

Film originally shot on colour Super8 of an electric fence in a field was buried at the site and left to decompose. By this process the image surface of the film was transformed back into a mix of organic substances and swirling vortices by the processes of time and decay.

Unrecognisable and unplayable, the images were optically printed at no.w.here and blown up to create 16mm film loops. The images were also rephotographed for two pairs of 35mm slides sets. Projected together the images are an array of disorientation and conjunction, colliding to form representations of the original site, and the resulting state of the film material.

Stroboscopic imagery and retinal remixing are forced upon the viewer to render this work as psychedelic colour fields.

Curated by James Holcombe (no.w.here) and Sally Golding (Otherfilm)


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