centre d’art contemporain genève

IMAGE

MOUVEMENT

LES MARQUES AVEUGLES
SCREENINGS

AT THE GRÜTLI CINEMAS, rue Général-Dufour 16

19-1-2012 - 7pm
BRENT GREEN
"GRAVITY WAS EVERYWHERE BACK THEN", 2010

16 mm film and digital photographs transferred to digital video, color, sound, 75’, English. Courtesy the artist and Andrew Edlin Gallery, New York

GRAVITY WAS EVERYWHERE BACK THEN, by Brent Green, tells the true story of Leonard and Mary, of their love, and of Leonard’s desperate attempt to cure his wife of her illness by building a tower on his house. Inspired by the life of Leonard Wood, Brent Green rebuilt his eccentric house in his own garden and recreated his story in the form of a stop-motion animation. With its unusual aesthetic and (inevitable) dislocation of image and sound, the film is an ode to romanticism and do-it-yourself, against a background of more fundamental, spiritual and existential questions.

20-1-2012 - 7pm
JAMES BENNING
"13 LAKES", 2004

16 mm film, color, sound, 135’, without dialogue. © James Benning

A demanding film that requires patience of the viewer, 13 LAKES by James Benning depicts thirteen lakes in thirteen ten-minutes sequences. While the shots chosen lack nothing in depth, they restrict the image to a window and, through their duration, force the viewer into observation inspired by nature and its details. This composition, whose structure recurs (the line of the horizon is located roughly in the centre of the image, dividing water and sky almost equally), also highlights certain elements situated outside the shot (sounds of which can be heard) and the presence of Benning and his camera.

21-1-2012 - 6pm
CHANTAL AKERMAN
"D’EST", 1993

16 mm film, color, sound, 110’, without dialogue. © Chantal Akerman
With the support of Délégation Wallonie-Bruxelles, Geneva

D’EST takes us on a journey in 16mm from summer to deepest winter, from eastern Germany to Moscow, via Poland, Ukraine and the whole of Eastern Europe. Chantal Akerman filmed everything she was struck by; faces, streets, buses, interiors, queues, doors, meals, men and women, the young and the old as they pass by or stop, seated or standing, days and nights, rain, snow, wind, winter and spring. Chantal Akerman filmed a world that was disappearing, at the time when the East was disintegrating, and with it a society full of broken hopes, waiting only for better times to come. In one continuous movement, the film serves as a memory of these moments.

22-1-2012 - 5pm
WILLIAM E. JONES
"DISCREPANCY", 2008-2010

video, color, sound, 9’30’’, english. Courtesy of the artist and David Kordansky Gallery, Los Angeles

ISIDORE ISOU
"TRAITÉ DE BAVE ET D'ÉTERNITÉ", 1951

16mm film transferred to digital betacam, b/w, without sound, 120’, French (without subtitles). © Isidore Isou

DISCREPANCY, by William E. Jones, is the title of a group of works – here shown synchronously, on a single screen – inspired by “Traité de bave et d’éternité” and by the manifesto for a “discrepant cinema” espoused by Isidore Isou. The soundtrack of “Traité...” radically condensed into no more than 9’30 minutes, is read by a computer generated voice programme. It accompanies various kinds of images, ranging from administrative material (a Drug Enforcement Administration conference or footage from the Vietnam War) to formal elements that are directly media-linked, such as the motif that displays on a mini-DV cassette rewind or that of the iTunes music programme.

TRAITÉ DE BAVE ET D’ÉTERNITÉ is an experimental film based on the principle of what its director, Isidore Isou, calls “discrepant” montage, consisting of the complete separation of sound and image, which are granted autonomy and have no particular connection with each other. The soundtrack, which is made up of Letterist poems (which serve as titles and as interludes) and the story of Daniel, the author of a manifesto for a new kind of cinema (“discrepant” cinema), confronts images assembled for the most part from found material (military films, gymnastic exercises), but also scenes of Isou strolling in Saint-Germain-des-Près or with well-known figures such as Cendrars or Cocteau. These images undergo a process of chiseling, which consists of painting, scratching or scoring the photogram so that the flow of the film is disrupted in a violent attempt by the director to renew the medium of film.

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