-----Original Message-----
From: Secret Cinema [mailto:[log in to unmask]]
Sent: 02 April 2004 20:09
To: Secret Cinema
Subject: [secretcinema] Whitechapel Film Programme, April-May 2004
Whitechapel Art Gallery
FILM PROGRAMME
Accompanying the exhibition Raoul de Keyser and Edge of the Real, these
programmes present Flemish and British work by artists for whom the act of
looking shifts between the documentary and the abstract. Joris Ivens and
Henri Storck's observations are also experiments in graphic filmmaking. John
Smith's exemplary early films magically explore the functions of the camera,
fusing the everyday with profound formal insight, while Simon Payne's video
works look like hard-edged abstraction but turn out to be quite the
opposite. The season finishes with a programme of recent film and video from
the Flemish art and performance scene, guest curated by Katia Rossini of
Nova Cinema, Brussels.
Thursday 22nd April, 7pm
JOHN SMITH, SIMON PAYNE
LEADING LIGHT, John Smith, UK 1975, 16mm, 11mins
"Leading Light evolves a sense of screen depth and surface through the
simple agency of light, shot in a room over one day" (Deke Dusinbere)
HACKNEY MARSHES, NOVEMBER 4TH 1977, John Smith, UK 1977, 16mm, 15mins
An improvisation filmed from dawn and til after dusk, edited in-camera and
shot from one position in the middle of one of Hackney Marshes' 112 football
pitches.
BLUE BATHROOM, John Smith, UK 1979, 16mm, 14mins
Light and dark, interiors and exteriors, performance and formalism. Nothing
is what it seemed.
FROZEN WAR, John Smith UK 2001, miniDV, 11mins
In a hotel room in Ireland during the second night of the bombardment of
Afghanistan, the filmmaker is provoked into reflection by the frozen image
on the television screen.
MONITOR, Simon Payne, UK 2002, 5mins
On-screen and off-screen: particles, pixels, reflections and then the
difference between these elements and these elements seen simultaneously in
feedback.
4:3 VARIATIONS, Simon Payne, UK 2003, 7mins
4:3 VARIATIONS is composed of struts, grids and gaps. Handheld camera
movements and various inversions suggest temporal and spatial relations
beyond graphic abstraction.
Thursday 6th May, 7pm
FLEMISH FILM/VIDEO
From the flat landscapes of Belgian Vlaanderen and from Brussels, a journey
into audio-visual and film experiments by Flemish artists who navigate the
interdisciplinary zone between video, cinema and performance. Curated by
Katia Rossini, Nova Cinema, Brussels.
TIEN FORMULES OM DE DUIVEL TE BEZWEREN
(Ten formulas for conjuring the devil)
Jan Vromman, 1997, 35mm on DVD, 23mins
WHAT DOES SHE SEE WHEN SHE SHUTS HER EYES
Karen Vanderborght, 1996, 16mm, 13mins
SONAR
Anouk De Clercq, 2001, DVD, 2mins
CONDITION
Ana Torfs & Jana Sterbak, 1995, Beta, 8mins
PAILLON D'AMOUR
Nicolas Provost, 2003, DVD, 4mins
BODY, BODY ON THE WALL
Jan Fabre & Wim Vandekeybus, 1997, Beta, 7mins
PLIER
Karen Vanderborght & Kim Wyns, 2003, miniDV, 4mins
30secs
GOOD AFTERNOON, GENTLEMEN
Nicolas Provost, 2002, DVD, 3mins 30secs
PETIT PALAIS
Anouk De Clercq & Joris Cool, 2002, DVD, 15mins
http://www.nova-cinema.com
...
Tickets: £5.50 / £4
Whitechapel Art Gallery
Whitechapel High Street
London E1
nearest tube: Aldgate East
www.whitechapel.org
telephone020 7522 7888
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