DESIGNMATOGRAPHY
CINEMA IN MULTIPLE DIMENSIONS
Apprehending the world through moving images involves recognising the material singularity of the phenomena around us and suggesting, for these manifestations of the sensible world, forms of organisation that are of particular importance for the perceptive capacity of our way of looking. This view, reflected in the original that recognises in the imperceptible (in matter, forces and cadences according to Jean Epstein's formula) the originality of a revelation, takes on the value of a revelation in the variables of the descriptive forms of cinematography, the value of a permanent discovery of all that is around us in the form of textures, colours and the apprehensible forms of the time of the representation and perception of the detail (and its immanence).
As temporal interventions that regulate our way of relating to the world, operations of detail find in film a privileged form for their manifestation. This is indicated by the possibility of intervening at the level of the shot (or the "reduction" of the world to the scale of a look), the different "aberrant movements" of the image (slow motion or its opposite), the recognition of the levels of depth that an image has (sensible images, surface images, etc), the possibilities of creating series and the possibilities of insistence (the loop, repetition) amongst many other forms referred to in this programme.
The whole question of the detail and its processes serves as a basis for the different sessions that reflect it in a direct or indirect manner. In this way, we move from the perceptive adventures of Stan Brakhage to the magnificent miniatures of the work on the poetics of the movements and textures of nature by Leighton Pierce, to the studies of the temporalities of form, colour and movement in the cinema of Arthur and Corinne Cantrill, or to the first projection in Portugal of the short films of Jean-Claude Rousseau. Studies about the detail are continued with the formal reflections of the films of Peter Gidal based on the cinema of Andy Warhol, three films from the 1960s by Stephen Dwoskin, one of the most important films by Hollis Frampton on the descriptive detail in language or the masterpiece on the expressive potentialities of the visual essay: Tom Tom the Piper's Son by Ken Jacobs.
As a complement to the cycle, there will be three special sessions: Ronald Nameth's explosive intervention about a concert by the Velvet Underground and a mythical film from the French underground, Visa de Censure No. X (1967) by Pierre Clémenti. Finally, a reflection on the theme of the detail in the exploration of works that question the frontiers between experimental cinema, filmes d'auteur and the films of artists in a session dedicated to the collective pointligneplan. Almost at the end of the programme, there is another homage to the Basque filmmaker and painter José-António Sistiaga, with his masterpiece of abstract cinema, "Ere Erera...".
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PROGRAM
| SEPTEMBER - Opening Session |
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| SAT 27 |
22:00 |
Lee Ranaldo Live with Films
Induced experience: north-american experimental and underground film
+ improvised music
LAPIS, James Whitney, 1963-66/16mm/color/sound/10'
EARLY ABSTRACTIONS # 1, 2, 3, 4, 5, 7, 10, Harry Smith, 1939-56/16mm/color/b&w/sound/23'
AUTUMN FEAST, Jeff Keen and Piero Heliczer, 1961/16mm/color, b&w/tape sound/14'
THE FLICKER, Tony Conrad, 1966/16mm/b&w/sound/30'
ARABESQUE, John Whitney, 1975/16mm/color/sound/7'
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| OCTOBER |
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| THU 23 |
22:00
Sala 2 |
IMPULSES, Jim Davies, 1958/16mm/color/sound/10'
THE TEXT OF LIGHT, Stan Brakhage, 1974/16mm/color/silent/70'
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| FRI 24 |
22:00
Sala 2 |
Tribute to Leighton Pierce I [Digital Work]
GLASS, 1998/16mm/sound/7'
WOOD, 2002/dvd/color/sound/8'
WATER SEEKING, ITS LEVEL 2002/digital video/sound/5'5"
EVAPORATION, 2002/digital video/sound/12'
THE BACK STEPS, 2001/digital video/sound/5'3"
VEILED RED, [4 - Minutes Concerning Red] 2001/digital video/sound/5'
PINK SOCKS, 2002/digital video/sound/5'
FALL, 2002/digital video/sound/13'
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| SAT 25 |
19:00
Sala 2 |
MONTPARNASSE, Eugène Deslaw, 1929/35mm/b&w/sound/18ips/9'
CAPITALE-PAYSAGE, Michel Nedjar, 1982-83/16mm/color/sound/71'
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22:00
Sala 2 |
Ronald Nameth will be present.
MAGIC SUN, Phil Niblock, 1968/16mm/b&w/sound
ANDY WARHOL'S EXPLODING PLASTIC INEVITABLE, Ronald Nameth, 1967/16mm/color, b&w/sound/23'
VISA DE CENSURE Nº X, Pierre Clémenti, 1967/16mm/color/sound/44'
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| SUN 26 |
19:00
Sala 2 |
ALL MY LIFE, Bruce Baillie, 1966/16mm/color/sound/3'
SWAMP, Nancy Holt and Robert Smithson, 1971/16mm/color/sound/6'
NOTEBOOK, Marie Menken, 1962-63/16mm/color, b&w/no sound/10'
GLIMPSE OF THE GARDEN, Marie Menken, 1957/16mm/color/sound/4'
BOUQUETS 21-24, Rose Lowder, 2001/color/no sound/18ips/24ips/4'
FLEUR SANS TITRE, Miles McKane, 2002/16mm/color/no sound/3'
FILTER BEDS, Guy Sherwin, 1998/16mm/b&w/no sound/9'
CASTRO STREET, Bruce Baillie, 1966/16mm/color/no sound/10'
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22:00
Sala 2 |
Tribute to Arthur and Corinne Cantrill
EARTH MESSAGE, 1970/16mm/color/sound/23'
WARRAH, 1980/16mm/three-color separation/sound/15'
ARTICULATED IMAGE, 1996/16mm/color/sound/3'
ISLAND FUSE, 1971/16mm/color/sound/11'
4000 FRAMES - AN EYE OPENER, 1970/16mm/b&w/sound/3'
THE PAUSE BETWEEN FRAMES, 1993/16mm/color/sound CD/4'
WHITE-ORANGE-GREEN, 1969/16mm/color/sound/4'
NOTES ON THE PASSAGE OF TIME, 1979/16mm/three-color separation/no sound/14'
IVOR PAINTS ARF ARF, 1998/16mm/three-color separation with high contrast b&w negative/sound CD/6'
LIGHT SHARDS, 2001/16mm/color/no sound/6'
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| MON 27 |
19:00
Sala 2 |
UN VENT LEGER DANS LE FEUILLAGE, Martine
Rousset, 1994/16mm/color/sound
3/60 BÄUME IM HERBST, Kurt Kren, 1960/16mm/b&w/5'03"
RUE DES TEINTURIERS, Rose Lowder, 1979/16mm/color/no sound/31'
37/78 TREE AGAIN, Kurt Kren, 1978/16mm/color/no sound/3'46"
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| 22:00 |
Tribute to Leighton Pierce II [Filme Works]
RED SHOVEL, 1992/16mm/8'
YOU CAN DRIVE THE BIG RIGS, 1995/16mm/15'
50 FEET OF STRING, 1995/16mm/53'
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| TUE 28 |
19:00
Sala 2 |
LE CALCUL DU SUJET, Erik Bullot, 2002/16mm/silent
OH OH OH!, Erik Bullot, 2003/16mm/silent
MY NOME IS OONA, Gunvor Nelson, 1969/16mm/color/80'
MESSAGES, Guy Sherwin, 1981-83/16mm/b&w/silent/35'
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22:00
Sala 2 |
Nathaniel Dorski Program
TRISTE, 1978-96/16mm/silent/18'30"
ALAYA, 1976-87/16mm/silent/28'
VARIATIONS, 1992-98/16mm/silent/24'
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| WED 29 |
19:00
Sala 2 |
FOG LINE, Larry Gottheim, 1970/16mm/silent/10'
SOFT RAIN, Ken Jacobs, 1969/16mm/silent/12'
DE GALPÃO DE DONA ANA DE CARRANCAS A PETROLINA, Yann Beauvais, 2003/Mini-dv/color/silent/23'
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22:00
Sala 2 |
Jean-Claude Rousseau Program
LETTRE A ROBERTO, 2002/Beta SP/color/sound/13'
JEUNE FEMME A SA FENETRE LISANT UNE LETTRE, 1983/BetaSP/color/sound/45'
VENISE N'EXISTE PAS, 1984/16mm/color/sound/12'
KEEP IN TOUCH, 1987/16mm/color/sound/25'
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| THU 30 |
19:00
Sala 2 |
CHINESE SERIES, Stan Brakhage, 2003/16mm/color/silent/2'20"
A CHILD'S GARDEN AND THE SERIOUS SEA, Stan Brakhage, 1991/16mm/color/silent/73'
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22:00
Sala 2 |
AI (LOVE), Taka Limura, 1962-63/16mm/b&w/sound/10'
MOMENT, Stephen Dwoskin, 1970/16mm/b&w/sound/12'50"
CHINESE CHECKERS, Stephen Dwoskin, 1964/16mm/b&w/sound/13'
ALONE, Stephen Dwoskin, 1963/16mm/b&w/sound/12'
HEADS, Peter Gidal, 1969/16mm/b&w/silent/35'
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| FRI 31 |
19:00
Sala 2 |
THE GIRL CHEWING GUM, John Smith, 1976/16mm/b&w/sound/12'
L'APPARTEMENT DE LA RUE VAUGIRARD, Christian Boltanski, 1973/16mm/color/sound/7'
POETIC JUSTICE (Hapax Legomena II), Hollis Frampton, 1972/16mm/b&w/silent/31'
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22:00
Sala 2 |
Special Session POINLIGNEPLAN
Un Abecédaire, 128'
Selection byErik Bullot and Christian Merlhiot
FLICKERING, Fanny Adler, 2001/video/2'
CORRESPONDANCE AVEC LE VENT, Fanny Adler, 2001/video/6'
LAYERS, Louidgi Beltrame, 2002/video/10' [+Jean-Philippe Roux]
L'EBRANLEMENT, Érik Bullot, 1997/16 mm/4'
TOUT EST POSSIBLE, Laurent Grasso, 2002/video/16'
ADOLESCENCE, Ange Leccia, 2000/video/13'
BINGO SHOW, Christelle Lheureux, 2002/video/8'
DEWIND, Julien Loustau, 2000/Beta SP/15'
LA SEINE, Christian Merlhiot, 1997/16 mm/13'
PORTRAITS FILMÉS, (14 souvenirs), Valérie Mréjen, 2002/video/13'30''
TOUS ONT BESOIN D'AMOUR, [Barcelone] Arnold Pasquier, 2003/vídeo numérique/20'
MER, Vincent Roux, 2002/video/3'
CIEL, Vincent Roux, 2002/video/2'
ROUTE, Vincent Roux, 2002/video3'
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| NOVEMBER |
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| SAT 01 |
17:00
Sala 2 |
WEATHER DIARIES #3, George Kuchar, 1988/color/sound/Betcam SP/25'
BOUCHE D'OEIL - VOODOOVIDEO, Michel Nedjar, 2003/color/sound/MINI-DV/45'
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19:00
Sala 2 |
LA SORTIE, Siegfried Fruhauf, 1998/16mm/b&w/sound/6'
PIERRE VALLIERES, Joyce Wieland, 1972/16mm/color/sound/45'
VARIATIONS ON A CELLOPHANE WRAPPER, David Rimmer, 1970/16mm/color/sound/8'
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22:00
Sala 1 |
Special Session Jose-Antonio Sistiaga. The Director will be present.
PAISAJE INQUIETANTE – NOCTURNO, Jose-Antonio Sistiaga, 1991/color/sound/14'
IMPRESSIONS EN HAUTE ATMOSPHERE, José Antonio Sistiaga, 1989/35'/color/sound/7'
ERE ERERA BALEIBU ICIK SUBUA ARUAREN, José Antonio Sistiaga, 1970/55'
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24:00
Sala 1 |
Special Session
ANDY WARHOL'S EXPLODING PLASTIC INEVITABLE, Ronald Nameth, 1967/16mm/color, b&w/sound/23'
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| SUN 02 |
19:00
Sala 2 |
JE NE LE REPETERAIS PAS, Jean-Michel Bouhours, 1996/16mm/color/sound/12'
ARTIFICIAL LIGHT, Hollis Frampton, 1969/16mm/color/silent/25'
KEATON'S COPS, Ken Jacobs, 1991/b&w/sound/23'
THE ZAPRUDER FOOTAGE: AN INVESTIGATION OF CONSENSUAL INVESTIGATION, Keith Sanborn/Betacam SP/color/sound/20'
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22:00
Sala 2 |
TOM TOM THE PIPER'S SON, Ken Jacobs, 1969-1971/16mm/b&w/silent/115' |
—
VENUE: Cinema São Jorge
DATE: October 23 - November 02
//Concept and programme: Ricardo Matos Cabo
//Production: Luisa Ramos [EXD] //Assistant: José Madeira [EXD]
//Acknowledgement: José Pichel e João Nisa |