SLEEPLESS NIGHTS STORIES
Saturday 22 October 2011, at 9pm
London BFI Southbank NFT3

SLEEPLESS NIGHTS STORIES
Jonas Mekas, USA, 2011, video, colour, sound, 114 min
For two hours we stroll with Jonas Mekas through New York nights, through apartments, studios, backstage rooms, galleries, bars and clubs. We meet old acquaintances like Ken and Flo Jacobs, Yoko Ono, Patti Smith, Carolee Schneemann, Marina Abramovi?, Hans Ulrich Obrist, Pip Chodorov, friends, brothers and sisters, sons and daughters, and we also make many new acquaintances. The father of the diary film begins a film with the words ‘I can’t sleep’. Who hasn’t been in this situation? Sleepy and yet wide awake at the same time, you find yourself in the world of those exhausted from the day’s exertions; the drunk, the relaxed, the dancing, the brooding, the mourning, the pensive, the partiers. In this film Mekas dives into a time vacuum … and it becomes increasingly unclear whether we really did get up and go out, whether what we’re seeing are remnants of the day that we’re remembering, or remnants of films by one of the greatest avant-garde filmmakers whose life wrote film history. (Berlinale)

This film originated from my readings of the One Thousand and One Nights. But unlike the Arabian tales, my stories are all from real life, though at times they too wander into somewhere else, beyond the everyday routine reality. There are some twenty-five different stories in my movie. Their protagonists are all my good friends and I myself am an inseparable part of the stories. The storyteller of the Arabian Nights was also part of his or her tales. Some of the people in the movie you’ll recognize, some not. The fact that some of them you’ll recognize has no bearing on the stories: after all, we all recognize John Wayne or Annette Bening, but in their stories they are no longer the people we know. The subjects of the stories cover a wide range of emotions, geographies, personal anxieties, anecdotes. These are not very big stories, not for the Big Screen: these are all personal big stories … And yes, you’ll also find some provocations … But that’s me, one ‘me’ of many. The very question ‘What is a story?’ is a provocative question. (Jonas Mekas)

www.jonasmekasfilms.com

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OCCUPY THE CINEMA
Thursday 11 October 2012, at 8pm
London ICA Cinema 1

AUSTERITY MEASURES
Ben Russell & Guillaume Cailleau, Greece, 2012, 16mm, colour, silent, 9 min
A colour-separation portrait of the Exarchia neighbourhood of Athens, Greece, made during the Anti-Austerity protests in late 2011. In a place thick with stray cats and scooters, cops and Molotovs, ancient myths and new ruins; where fists are raised like so many columns in the Parthenon, this is a film of surfaces – of grafitti’d marble streets and wheat-pasted city walls – hand-processed in red, green, and blue. Made as part of a hand-processing workshop at LabA in Athens. (Ben Russell)
www.dimeshow.com

SEEKING THE MONKEY KING
Ken Jacobs, USA, 2011, HD video, colour, sound, 40 min
The film could have well been called ‘Kicking and Screaming’ but that only describes me in the process of making it, questioning its taste. Once the message kicked in it overrode all objection. The piece demanded J.G. Thirlwell’s music, normally way too overtly expressive for me as most of my stuff comes out of painting and is also to be absorbed in silence. Who will even notice visual innovation now, or what’s happening with time? Determining a place between two and three dimensions, pushing time to take on substance, is what I do. Seeking the Monkey King is a reversion to my mid-twenties and that sense of horror that drove the making of Star Spangled to Death. (Ken Jacobs)

DEEP STATE
Brad Butler & Karen Mirza, UK, 2012, HD video, colour, sound, 44 min
The film takes its title from the Turkish term ‘Derin Devlet’, meaning ‘state within the state’. Although its existence is impossible to verify, this shadowy nexus of special interests and covert relationships is the place where real power is said to reside, and where fundamental decisions are made – decisions that often run counter to the outward impression of democracy. Amorphous and unseen, the influence of this deep state is glimpsed at regular points throughout the film – most clearly surfacing in its reflexive responses to popular protest, and in legislated acts of violence and containment, but also rumbling and reverberating, deeper down, in an eternally recurring call-and-response between rhetorical positions and counter-languages, in which a raised fist, a thrown rock, a crowd surge, an occupation, provoke a corresponding reaction in the form of a police charge, a baton attack, a pepper spray, assassinations. A powerful undertow in the ongoing tide of history, this push and pull of competing forces is deftly illuminated in a vivid montage of newly filmed and archive footage. Collided together, past, present and future trace a continuum in which the same repetitive patterns are played out. Against a backdrop of momentous, historically resonant demonstrations, an eternal rioter, or ‘riotonaut’, is picked out, as if by a searchlight, ever-present at each and every flashpoint. On a moonscape, confronted with a picket that becomes a riot, an ur-dictator, the personification of the ‘Deep State’, blurts stupefying, hot-air abstractions of neo-liberalism. Deep State is a film by Karen Mirza and Brad Butler that has been scripted in collaboration with author China Miéville. Commissioned by Film and Video Umbrella. Funded by Arts Council England and London Councils. (Karen Mirza & Brad Butler)
www.mirza-butler.net

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FRAGMENTS OF KUBELKA
Saturday 13 October 2012, at 1pm
London ICA Cinema 1

FRAGMENTS OF KUBELKA
Martina Kudlácek, Austria, 2012, HD video, colour, sound, 232 min
Fragments of Kubelka is an epic documentary subtly introduces the complex worldview of iconic filmmaker and theoretician Peter Kubelka (born 1934, Vienna). While Kubelka’s radical and pioneering body of films is a highly condensed work of about an hour, focusing on the essence of cinema, his legendary lectures often unfold over many hours. These lectures on ‘what is cinema’ and ‘cooking as an art form’ are frequently illuminated by presentation of archaeological artefacts from Kubelka’s eclectic collection. He considers his ongoing collecting to be an expanded film practice which explores the evolution of humanity. Martina Kudlácek has carefully woven an open-ended portrait which goes beyond the biographical to reveal fresh insights into the phenomenon of film.

The filmmaker Jonas Mekas has written: ‘Kubelka’s cinema is like a piece of crystal, or some other object of nature: It doesn´t look like it was produced by man; one could easily conceive that it was picked up from among the organic treasures of nature.’

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ON VENOM AND ETERNITY
Friday 19 October 2012, at 6:30pm
London BFI Southbank NFT 3

TRAITÉ DE BAVE ET D’ÉTERNITÉ (ON VENOM AND ETERNITY)
Isidore Isou, France, 1951, 35mm, b/w, sound, 120 min
Isidore Isou arrived in Paris from Romania in 1945 where he founded the Letterist movement, an art and literary movement that owed inspiration to Dada and Surrealism. Letterism attempted to break down poetry into letters and syllables, and then all arts into their constituent parts, to build up new languages for each art form. Isou wrote, directed, photographed, composed the music for, and acted in Traité de bave et d’éternité (Treaty On Venom And Eternity), the first Letterist film manifesto. Isou proceeds to discuss what is wrong with the cinema and then counter it with what he thinks the cinema should consist of through ‘Discrepant Cinema’ in which the sound and the picture are purposefully unrelated and the images are manipulated or destroyed through bleaching and scratching.

Isou brought Traité de bave et d’éternité uninvited to the Cannes Film Festival (1951) where it both caused a riot and won the audience prize for the avant-garde. Isou’s ‘revolt against cinema’ is a landmark work that prefigured the Letterist and Situationist cinema to come and influenced many experimental filmmakers, including Stan Brakhage. The film’s participants include some of the greatest names in 20th Century French arts and letters: Jean-Louis Barrault, Blaise Cendrars, Daniel Gélin, Colette Marchand, André Maurois, and Jean Cocteau (who also designed the poster promoting the 1952 release on the Champs-Elysees). (Re:Voir)

In the above context of The Lumières and Méliès as ‘the 2 wings’ of Film, I take Isou to be the visceral backbone, complete with electrically ‘scratched’ nervous system synopting – all rhythms tending to that consciousness we know as cathexis or investment. His Traité has certainly been prime inspiration for all of my film-making, since I first saw it, and for many of the U.S. independent film-makers … and I do not mean simply for (how did you put it?) the ‘scratch or blinking films’. The verbal rethoric of Traité is at one with the aesthetic of the moving picture imagery and in its subtle weave of be-seemingly dull photography (which effectually obliterates traditional and slavishly composed photography – whether scratched-over, turned upside-down or not). Traité opened each sensibility (that will be open to it) for new feeling about film, thus for the new feelings each might have uniquely rising in each self appropo [sic] that which is intrinsically Film. I know no other works of cinema which, without intruding its own aesthetic, more frees human sensibility to dance, in the mind’s eye, with cinematic possibilities. (Letter from Stan Brakhage to Frédérique Devaux)

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NATHANIEL DORSKY & JEROME HILER
Saturday 20 October 2012, at 2pm
London BFI Southbank NFT 3

AUGUST AND AFTER
Nathaniel Dorsky, USA, 2012, 16mm, colour, silent, 19 min
Nathaniel Dorsky’s August and After is dedicated to two recently departed friends, legendary filmmaker George Kuchar and actress Carla Liss. The film shows them vibrantly, resiliently alive shortly before their passing and then sets off in search of soothing beauty, yielding searing images awash in colours both belonging to and transcending our natural world. Well into the twilight years of 16mm filmmaking, Dorsky continues to present textures and hues that are indispensible to the art of cinema. We will be poorer without them. (Andréa Picard)
www.nathanieldorsky.net

APRIL
Nathaniel Dorsky, USA, 2012, 16mm, colour, silent, 26 min
In my filmmaking I came upon the idea that if I began to arrange images in a certain way, it could transform the ego instead of confirming it. In other words, if you put two shots together to create a solid concept – this is happening, characters getting out of a car and walking down the street, or someone sitting at a window looking – you construct a series of images in such a way that you nurture ego, but then disrupt it through the montage. When you cut to the next shot, there might be a reemergence of presence, but it wouldn’t be a daisy chain back to the previous image, so it wouldn’t solidify the ego. There might be a way of using montage to realize the wisdom of what cinema has to offer. Cinema has great, great wisdom, and it’s very seldom used as a wisdom medium. In a sense, you can nurture the heart in a montage, going from one thing to the next in a way that touches the heart’s intelligence. You can use the energy of the cinema to transform the viewer by letting the viewer rediscover themselves at each moment in the present. (Nathaniel Dorsky interviewed by Ari Spool)
www.nathanieldorsky.net

WORDS OF MERCURY
Jerome Hiler, USA, 2011, video, colour, silent, 25 min
At the very end of ‘Love’s Labour Lost’, as the cast is frolicking around, a messenger comes in to announce a death which brings a sudden shift to the very end of the play. One of the most comical characters, now newly sober, ends the play with a quick dismissal of the audience: ‘The words of Mercury are harsh after the songs of Apollo. You that way – we this way.’Words of Mercury is, if nothing else, economical. It was shot on reversal film and its layers of superimpositions were all shot in the camera. Half of the many fades in the film were made by submerging the original film in a black liquid. The film is silent. The shooting ratio is low and there are areas which are unedited since taken from the camera. I generally shoot first and ask questions later, but I’m struck at the influences that I see in Words of Mercury because they reach back to the very first times that I saw great 16mm films in the early Sixties: Marie Menken, Gregory Markopolous, Stan Brakhage and my lifetime companion Nathaniel Dorsky. (Jerome Hiler)

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TWO ARCHITECTURE STUDIES
Saturday 20 October 2012, at 4pm
London BFI Southbank NFT 3

ALONG THE LINES
Catalina Niculescu, UK-Romania, 2011, HD video, colour, sound, 16 min
Following up the artist’s recent journey to Romania, Along the Lines initially started as ‘a study into vernacular elements of Romanian modernist architecture’. In the final project (including a series of collages) the premise is present, recognizable, but is not made explicit. The work deliberately strays from the plan of rigorous study and develops into a visual exercise in which the assumed subjectivity of the artist becomes the mode of argument. The interference vernacular/modernist is not stated or articulated directly but built up on a set of formal associations and visual suggestions. The artist’s approach becomes calm and poetic; free from a precise mission the project embraces the accidental, the deviation, it accumulates discordant elements to produce new possibilities though vulnerable and problematic, the pleasure of the argument comes into play, it disperses from concept into the aesthetic. Comprising a set of chapters, Along the Lines retraces the visual journey of the artist to explore architecture through a meticulous focus on details and geometric shapes. Each ‘chapter’ is preceded by a postcard collage: one geometrical figure is cut out of a natural landscape which literally illustrates the connection idealized by modernists between architecture and natural environment, placing in this way the interest for simple forms into the simplicity of nature. Although at the end of the video you find yourself back to the same landscape, the perception changes, the view is the same, yet your experience is different this time. (Anca Rujoiu)

RECONVERSÃO
Thom Andersen, Portugal, 2012, HD video, colour, sound, 65 min
Reconversão portrays 17 buildings and projects by Portuguese architect Eduardo Souto Moura, accompanied usually by his own writings. It is a search for his architecture, without critical commentary. Only the tour guide at Braga Stadium offers generalizations, which fit that work well enough, but it may be the exception not the rule. Souto Moura has the last word: ‘If there is nothing there, I invent a preexistence.’ Technically, Reconversão combines the crudeness of proto-cinema with the hyperrealism of digital cinema, bringing us back to the ideals of Dziga Vertov. Shooting only one or two frames per second and animating the images, in the manner of Muybridge, produces greater resolution, although not necessarily a greater sense of reality, and brings attention to the movements of water and vegetation that generally pass unnoticed. (Thom Andersen)

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RITES OF PASSAGE
Saturday 20 October 2012, at 9pm
London BFI Southbank NFT 3

GREAT BLOOD SACRIFICE
Steve Reinke, USA, 2010, video, colour, sound, 4 min
A walk with shaky hand held camera through the landscape of the high desert of New Mexico, down the cliffs to a water reservoir accompanied by Reinke’s voice over. (Argos Arts)
www.myrectumisnotagrave.com

MANQUE DE PREUVES (LACK OF EVIDENCE)
Hayoun Kwon, South Korea-France, 2011, video, colour, sound, 10 min
In Nigeria, to be a twin can be a blessing or a curse. The father of O is the village chief, a witch doctor who believes in the curse of twins. One day, this witch doctor tried to kill his two sons during a ritual ceremony: O managed to escape but saw his brother being murdered. Having fled across his country, he succeeded, by chance, in leaving Nigeria and going into exile in France. In this context, he applied for asylum but his application was refused because he could not produce any proof. (Hayoun Kwon)

BIRDS
Gabriel Abrantes, Portugal-Haiti, 2012, video, colour, sound, 17 min
Three Haitian girls wander through the ripe vegetation and colonial ruins of tropical Jakmel. After listening to an old man’s perverse folk tales they make their way to the town square and see a local staging of a comic masterpiece from ancient Greece; Aristophanes’ Birds. The film’s mysterious intertwining of disparate cultural forms serves as an ode to the potentials of cultural creolization. (Gabriel Abrantes)
mutualrespectproductions.blogspot.co.uk

PONCE DE LEÓN
Ben Russell & Jim Drain, USA, 2012, video, colour, sound, 26 min
‘I could do wonders if I didn’t have a body. But the body grabs me, it slows me, it enslaves me.’
Our Ponce de León discovered the fountain of youth and drank of immortality in the waning moments of his life. In an instant, he became old forever – an 80-year old Spaniard who would continue to walk the earth for century after century after century, watching as coral foundations gave way to mangrove swamps, as swamps were drained and buildings were erected, as buildings decayed and swamps returned. Our Ponce de León is an immortal for whom time poses the greatest dilemma – it is a constant, a given, and his personal battle lies in trying to either arrest time entirely or to make the hands on his clock move ever faster. For Ponce de León, time is a problem of body, and only by escaping his container can he escape time itself. (Ben Russell)
www.dimeshow.com

RIVER RITES
Ben Russell, USA-Suriname, 2011, video, colour, sound, 12 min
A trance dance and water implosion, a kino-line drawn between secular possession and religious phenomena. Filmed in one shot at a sacred site on the Upper Suriname River, the minor secrets of a Saramaccan animist everyday are revealed as time itself is undone. Rites are the new trypps; embodiment is our eternal everything. (Ben Russell)
www.dimeshow.com

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WHERE THE MAGIC HAPPENS
Sunday 21 October 2012, at 7pm
London BFI Southbank NFT 3

TEN MINUTIAE
Peter Miller, Germany, 2012, 16mm, b/w, silent, 5 min
Minutiae are ‘little things’. Here are ten. These little things comprise an exhibition exalting the cinema. (Peter Miller)
www.petermiller.info

I AM MICRO
Shumona Goel & Shai Heredia, India, 2011, 35mm, b/w, sound, 15 min
I Am Micro is an experimental film portrait of an anonymous filmmaker struggling to make films against innumerable odds. A stream of consciousness voiceover describes the film artist as a fragile, amorphous being, working in isolation, within a competitive film industry built by businessmen. The film was shot on black and white 16mm at National Instruments Limited, a now defunct factory in Calcutta which once produced cameras. I Am Micro combines lyrical tracking shots of obsolete machinery and dismembered cameras, with behind the scenes footage of an independent film production in Bombay. (Shumona Goel & Shai Heredia)

RITA LARSON’S BOY
Kevin Jerome Everson, USA, 2012, video, b/w, sound, 11 min
Rita Larson’s Boy portrays ten actors auditioning for the role of Rollo Larson in the 1970s TV sitcom Sanford and Son (the American remake of Steptoe and Son). It is one of three films included in the Tombigbee Chronicles Number Two. The series of films is based on famous people and objects from Columbus, Mississippi, hometown of Everson’s parents (the Tombigbee is the river the runs though the city). The actor Nathaniel Taylor, raised in Columbus, portrayed Rollo Larson – Rita Larson’s boy. (Kevin Everson)

TRUE-LIFE ADVENTURE
Erin Espelie, USA, 2012, video, colour, sound, 4 min
When nature writes the screenplays, she doesn’t abide by crescendos but makes up each adventure as she goes along. A rivulet of time encased in a sliver of space reveals an abundance of life, an expression of persistence, and a vision of a world expanding beyond the limits of human attempts to contain or conclude. (Erin Espelie)

DARK GARDEN
Nick Collins, UK, 2011, 16mm, b/w, silent, 9 min
Dark Garden is a short film that captures the ghostly images of the artist’s garden in wintertime, a silent world of ghostly apparitions. Skeletal and silvery plants and their supports are conjured out of the black of the screen as a series of filmic epiphanies. (Cinecity)

WITHIN
Robert Todd, USA, 2012, 16mm, colour, sound, 9 min
Within is a film that sustains a complex condition: keeping the inner world alive as the camera looks ‘out’ upon the world. The film, edited mainly in-camera, dives into an interior that drifts increasingly internally, seeking a sort of cave-like milieu that dissolves into abstraction (forms seen in the dark, lacking firm definition, confusing both scales and distances), and then employs real-time complications to bring this internally-directed way of feeling space along with us as it moves into the outside world, or is it an imagined outer world? The film is a further complication of the perspectival explorations present in my film Undergrowth: rather than looking either at a figure or what some imaginary figure might be looking ‘at’, Within lives in a state that seems to resist perspectival definition, hovering somewhere between what is ‘out there’ and an internally defined image space that sees along with it. The film exists in a space that is at once shallow and deep, layered and reflective, barely there and yet very much alive. It is twilight. (Robert Todd)
www.roberttoddfilms.com

BY PAIN AND RHYME AND ARABESQUES OF FORAGING
David Gatten, USA, 2012, video, colour, silent, 8 min
Fourteen years of foraging, repeated attempts at rhyming, painful process of pruning. A love letter of sorts to Robert Boyle, FRS of The Invisible College and the Royal Society of London for the Improvement of Natural Knowledge, in a visual embodiment of an obscure poetic form known as an ‘exploded Petrarchan sonnet.’ Lines by Jorie Graham in ‘Of Forced Sightes and Trusty Ferefulness’, after Sir Thomas Wyatt, informed both the impulse for the journey itself and destination I ultimately sought. (David Gatten)
www.davidgattenfilm.com

THE CREATION AS WE SAW IT
Ben Rivers, UK-Vanuatu, 2012, video, b/w, sound, 14 min
Three mythical stories from the island nation of Vanuatu, South Pacific, concerning the origin of humans, why pigs walk on all fours, and why a volcano sits where it does. (Ben Rivers)
www.benrivers.com

Erin Espelie will present a free screening and talk in the Attenborough Auditorium of the Natural History Museum’s Darwin Centre on Monday 22 October 2012, at 2:30pm.

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